|34 EXT. SOUTHHAMPTON
DOCK - DAY
SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming
white superstructure of Titanic rises mountainously beyond the rail, and
above that the buff-colored funnels stand against the sky like the pillars
of a great temple. Crewmen move across the deck, dwarfed by the awesome scale
of the steamer.
Southhampton, England, April 10, 1912. It is almost
noon on ailing day. A crowd of hundreds blackens the pier next to Titanic
like ants on a jelly sandwich.
IN FG a gorgeous burgundy RENAULT TOURING CAR swings
into frame, hanging from a loading crane. It is lowered toward HATCH #2.
On the pier horsedrawn vehicles, motorcars and
lorries move slowly through the dense throng. The atmosphere is one of excitement
and general giddiness. People embrace in tearful farewells, or wave and shout
bon voyage wishes to friends and relatives on the decks above.
A white RENAULT, leading a silver-gray DAIMLER-BENZ,
pushes through the crowd leaving a wake in the press of people. Around the
handsome cars people are 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 a YOUNG WOMAN dressed in a stunning white and purple
outfit, with an enormous feathered hat. She is 17 years old and beautiful,
regal of bearing, with piercing eyes.
It is the girl in the drawing. ROSE. She looks
up at the ship, taking it in with cool appraisal.
||I don't see what all the fuss is about. It doesn't look any bigger
than the Mauretania.
|A PERSONAL VALET opens
the door on the other side of the car for CALEDON HOCKLEY, the 30 year old
heir to the elder Hockley's fortune. "Cal" is handsome, arrogant and rich
||You can be blase about some things, Rose, but not about Titanic.
It's over a hundred feet longer than Mauretania, and far more luxurious.
It has squash courts, a Parisian cafe... even Turkish baths.
|Cal turns and fives
his hand to Rose's mother, RUTH DEWITT BUKATER, who descends from the touring
car being him. Ruth is a 40ish society empress, from one of the most prominent
Philadelphia families. She is a widow, and rules her household with iron
||Your daughter is much too hard to impress, Ruth.
(indicating a puddle) Mind your step.
||(gazing at the leviathan) So this is the ship they say is
||It is unsinkable. God himself couldn't sink this ship.
|Cal speaks with the
pride of a host providing a special experience.
This entire entourage of rich Americans is impeccably
turned out, a quintessential 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
A WHITE STAR LINE PORTER scurries toward them,
harried by last minute loading.
||Sir, you'll have to check your baggage through the main terminal,
round that way--
|Cal nonchalantly hands
the man a fiver. The porter's eyes dilate. Five pounds was a monster tip
in those days.
||I put my faith in you, good sir.
(MORE) CAL (CONT'D)
(curtly, indicating Lovejoy) See my
sir. My pleasure, sir.
|Cal never tires of the
effect of money on the unwashed masses.
||(to the porter)
These trunks here, and 12
more in the Daimler. We'll have all this lot up in the rooms.
|The White Star man looks
stricken when he sees the enormous pile of steamer trunks and suitcases loading
down the second car, including wooden crates and steel safe. He whistles
frantically for some cargo-handlers nearby who come running.
Cal breezes on, leaving the minions to scramble.
He quickly checks his pocket watch.
better hurry. This way, ladies.
|He indicates the way
toward the first class gangway. They move into the crowd. TRUDY BOLT, Rose's
maid, hustles behind them, laden with bags of her mistress's most recent
purchases... things too delicate for the baggage handlers.
Cal leads, weaving between vehicles and handcarts,
hurrying passengers (mostly second class and steerage) and well-wishers.
Most of the first class passengers are avoiding the smelly press of the dockside
crowd by using an elevated boarding bridge, twenty feet above.
They pass a line of steerage passengers in their
coarse wool and tweeds, queued up inside movable barriers like cattle in
a chute. A HEALTH OFFICER examines 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 father founded the Biograph Film Studio) is filming his young
bride in front of the Titanic. MARY MARVIN stands stiffly and smiles, self
up at the ship, darling, that's it. You're amazed! You can't believe how
big it is! Like a mountain. That's great.
|Mary Marvin, without
an acting fiber in her body, does a bad Clara Bow pantomime of awe, hands
Cal is jostled by two yelling steerage boys who
shove past him. And he is bumped again a second later by the boys'
|The Cockney father pushes
on, after his kids, shouting.
swine. Apparently missed his annual bath.
Cal, if you weren't forever booking everything at the last instant, we could
have gone through the terminal instead of running along the dock like some
squalid immigrant family.
part of my charm, Ruth. At any rate, it was my darling fiancee's beauty rituals
which made us late.
told me to change.
let you wear black on sailing day, sweetpea. It's bad luck.
|Cal guides them out
of the path of a horse-drawn wagon loaded down with two tons of OXFORD MARMALADE,
in wooden cases, for Titanic's Victualling Department.
I've pulled every string I could to book us on the grandest ship in history,
in her most luxurious suites... and you act as if you're going to your
|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 gangway to the D Deck doors with
a sense of overwhelming dread.
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's arm. He escorts her
up the gangway and the black hull of Titanic swallows them.
I was everything a well brought up girl should be. Inside, I was
|35 CUT TO a SCREAMING
BLAST from the mighty triple steam horns on Titanic's funnels, bellowing
their departure warning.
36 EXT. SOUTHHAMPTON DOCKS / TITANIC -
A VIEW OF TITANIC from several blocks away, towering
above the terminal buildings like the skyline of a city. The steamer's whistle
echoes across Southhampton.
PULL BACK, revealing that we were looking through
a window, and back further to show the smoky inside of a pub. It is crowded
with dockworkers and ship's crew.
Just inside the window, a poker game is in progress.
FOUR MEN, in working class clothes, play a very serious hand.
JACK DAWSON and FABRIZIO DE ROSSI, both about 20,
exchange a glance as the other two players argue in Swedish. Jack is American,
a lanky drifter with his 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 has adopted the Bohemian style of art scene in Paris. He
is also very self-possessed and sure-footed for 20, having lived on his own
The TWO SWEDES continue their sullen argument,
||(subtitled) You stupid
fishhead. I can't believe you bet our tickets.
||(subtitled) You lost
our money. I'm just trying to get it back. Now shut up and take a card.
||(jaunty) Hit me again,
|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 3RD CLASS TICKETS for RMS TITANIC.
The Titanic's whistle blows again. Final
moment of truth boys. Somebody's life's about to change.
|Fabrizio puts his cards
down. So do the Swedes. Jack holds his close.
see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh...two pair...
(turns to his friend)
sorry? What you got? You lose my money?? Ma va fa'n culo testa di
you're not gonna see your mama again for a long time...
|He slaps a full house
down on the table.
'Cause you're goin' to America!! Full house boys!
|The table explodes into
shouting in several languages. Jack rakes in the money and the tickets.
||(to the Swedes)
Sorry boys. Three of a kind
and a pair. I'm high and you're dry and...
... we're going to--
|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 and sits there, looking
depressed. Olaf forgets about Jack and Fabrizio, who are dancing around,
and goes into a rapid harangue of his stupid cousin. Jack kisses the tickets,
then jumps on Fabrizio's back and rides him around the pub. It's like they
won the lottery.
home... to the land o' the free and the home of the real hot-dogs! On the
TITANIC!! We're ridin' in high style now! We're practically goddamned royalty,
see? Is my destinio!! Like I told you. I go to l'America!! To be a
(MORE) FABRIZIO (CONT'D)
Capito?? I go to America!!
mate. Titanic go to America. In five minutes.
Come on, Fabri!
(grabbing their stuff)
grinning) It's been
They run for the door.
I'm sure if they knew it was you lot comin', they'd be pleased to wait!
38 EXT. TERMINAL - TITANIC
Jack and Fabrizio, carrying everything they own
in the world in the kit bags on their shoulders, sprint toward the pier.
They tear through milling crowds next to the terminal. Shouts go up behind
them as they jostle slow-moving gentlemen. 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 the cast wall of the ship's hull, towering seven
stories above the wharf and over an eighth of a mile long. The Titanic is
Fabrizio runs back and grabs Jack, and they sprint
toward the third class gangway aft, at E deck. They reach the bottom of the
ramp just as SIXTH OFFICER MOODY detaches it at the top. It starts to swing
down from the gangway doors.
|Flushed and panting,
he waves the tickets.
you been through the inspection queue?
Of course! Anyway, we don't
have lice, we're Americans.
Fabrizio) Both of us.
||(testy) Right, come
|Moody has QUARTERMASTER
ROWE reattach the gangway. Jack and Fabrizio come aboard. Moody glances at
the tickets, then passes Jack and Fabrizio through to Rowe. Rowe looks at
the names on the tickets to enter them in the passenger list.
|He hands the tickets
back, eyeing Fabrizio's Mediterranean looks suspiciously.
||(grabbing Fabrizio's arm)
Come on, Sven.
|Jack and Fabrizio whoop
with victory as they run down the white-painted corridor... grinning from
ear to ear.
are the luckiest sons of bitches in the world!
40 EXT. TITANIC AND DOCK - DAY
The 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 the quay.
41 EXT. AFT WELL DECK / POOP DECK -
JACK AND FABRIZIO burst through a door onto the
aft well deck. TRACKING WITH THEM 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 the dock.
course not. That's not the point.
(to the crowd)
Goodbye! Goodbye!! I'll
|Grinning, Fabrizio joins
in, adding his voice to the swell of voices, feeling the exhilaration of
I will never forget you!!
EXT. SOUTHHAMPTON DOCK - DAY
The crowd of cheering well-wishers waves heartily
as a black wall of metal moves past them. Impossibly tiny figures wave back
from the ship's rails. Titanic gathers speed.
44 EXT. RIVER TEST - DAY
IN A LONG LENS SHOT the prow of Titanic FILLS FRAME
behind the lead tug, which is dwarfed. The bow wave spreads before the mighty
plow of the liner's hull as it moves down the River Test toward the English
45 INT. THIRD CLASS BERTHING / G-DECK FORWARD
Jack and Fabrizio walk down a narrow corridor
with doors lining both sides like a college dorm. Total confusion as people
argue over luggage in several languages, or wander in confusion in the labyrinth.
They pass emigrants studying 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, with four 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.
||(in Swedish/ subtitled)
Where is Sven?
|46 INT. SUITE
B-52-56 - DAY
By contrast, the so-called "Millionaire Suite"
is in the Empire style, and comprises two bedrooms, a bath, WC, wardrobe
room, and a large sitting room. In addition there is a private 50 foot promenade
A room service waiter pours champagne into a tulip
glass of orange juice and hands the Bucks Fizz to Rose. She is looking through
her new paintings. There is a Monet of water lilies, a Degas of dancers,
and a few abstract works. They are all unknown paintings... lost works.
Cal is out on the covered deck, which has potted
trees and vines on trellises, talking through the doorway to Rose in the
mud puddles were certainly a waste of money.
||(looking at a cubist portrait)
You're wrong. They're
fascinating. Like in a dream... there's truth without logic. What's his name
(reading off the
||(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 a handtruck.
that in the wardrobe.
|47 IN THE BEDROOM Rose
enters with the large Degas of the dancers. She sets it on the dresser, near
the canopy bed. Trudy is already in there, hanging up some of Rose's
smells so brand new. Like they built it all just for us. I mean... just to
think that tonight, when I crawl between the sheets, I'll be the first--
|Cal appears in the doorway
of the bedroom.
||(looking at Rose)
And when I crawl between
the sheets tonight, I'll still be the first.
||(blushing at the innuendo)
S'cuse me, Miss.
|She edges around Cal
and makes a quick exit. Cal comes up behind Rose and puts his hands on her
shoulders. An act of possession, not intimacy.
first and only. Forever.
|Rose's expression shows
how bleak a prospect this is for her, now.
48 EXT. CHERBOURG HARBOR, FRANCE - LATE
Titanic stands silhouetted against a purple post-sunset
sky. She is lit up like a floating palace, and her thousand portholes reflect
in the calm harbor waters. The 150 foot tender Nomadic lies-to alongside,
looking like a rowboat. The lights of a Cherbourg harbor complete the postcard
49 INT. FIRST CLASS RECEPTION/
Entering the first class reception room from the
tender are a number of prominent passengers. A BROAD-SHOULDERED WOMAN in
an enormous feathered hat comes up the gangway, carrying a suitcase in each
hand, a spindly porter running to catch up with her to take the bags.
I wasn't about to wait all day for you, sonny. Take 'em the rest of the way
if you think you can manage.
Cherbourg a woman came aboard named Margaret Brown, but we all called her
Molly. History would call her the Unsinkable Molly Brown. Her husband had
struck gold someplace out west, and she was what mother called "new
|At 45, MOLLY BROWN is a tough talking straightshooter
who dresses in the finery of her genteel peers but will never be one of them.
the next afternoon we had made our final stop and we were steaming west from
the coast of Ireland, with nothing out ahead of us but ocean...
51 EXT. BOW - DAY
The ship glows with the warm creamy light of late
afternoon. Jack and Fabrizio stand right at the bow gripping the curving
railing so familiar from images of the wreck. Jack leans over, looking down
fifty feet to where the prow cuts the surface like a knife, sending up two
glassy sheets of water.
52 INT. / EXT. TITANIC - SERIES OF SCENES
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle
to FIRST OFFICER WILLIAM MURDOCH.
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 addresses the majesty and optimism of the ship of
IN THE ENGINE ROOM the telegraph clangs and moves
to "All Ahead Full".
|On the catwalk THOMAS
ANDREWS, the shipbuilder, watches carefully as the engineers and greasers
scramble to adjust valves. Towering above them are the twin RECIPROCATING
engines, four stories tall, their ten-foot-long connecting rods surging up
and down with the turning of the massive crankshafts. The engines thunder
like the footfalls of marching giants.
54 IN THE BOILER ROOMS the STOKERS chant a song
as they hurl coal into the roaring furnaces. The "black gang" are covered
with sweat and coal dust, their muscles working like part of the machinery
as they toil in the hellish glow.
55 UNDERWATER the enormous bronze screws chop through
the water, hurlingthe steamer forward and churning up a vortex of foam that
lingers for miles behind the juggernaut ship. Smoke pours from the funnels
56 The riven water flares higher at the bow as
the ship's speeds builds. THE CAMERA SWEEPS UP the prow to find Jack, the
wind streaming through his hair and--
57 Captain Smith steps out of the enclosed bridge
onto the wing. He stands with his hands on the rail, looking every bit the
storybook picture of a Captain... a great patriarch of the sea.
one knots, sir!
got a bone in her teeth now, eh, Mr. Murdoch.
|Smith accepts a cup
of tea from FIFTH OFFICER LOWE. He contentedly watches the white V of water
hurled outward from the bows like an expression of his own personal power.
They are invulnerable, towering over the sea.
58 AT THE BOW Jack and Fabrizio lean far over,
In the glassy bow-wave two dolphins appear, under
the water, running fast just in front of the steel blade of the prow. They
do it for the sheer joy and exultation of motion. Jack watches the dolphins
and grins. They breach, jumping clear of the water and then dive back,
crisscrossing in front of the bow, dancing ahead of the juggernaut.
FABRIZIO looks forward across the Atlantic, staring
into the sunsparkles.
see the Statue of Liberty already.
(grinning at Jack)
Very small... of
|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 march past like the pillars of heaven, one
by one. We pull back and up, until we are looking down the funnels, and the
people strolling on the decks and standing at the rail become antlike.
And still we pull back until the great lady is
seen whole in a gorgeous aerial portrait, black and severe in her
is the largest moving object ever made by the hand of man in all