(Pictures to be added shortly.....)



At the divine service, Captain Smith is leading a group in the hymn "Almighty Father Strong To Save." Rose and Ruth sing in the middle of the group.

Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the entry doors. Jack has been halted there by two stewards. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place.

STEWARD: Look, you, you're not supposed to be in here.
JACK: I was just here last night... don't you remember?

(seeing Lovejoy coming toward him) He'll tell you.

LOVEJOY: Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your assistance. They asked me to give you this in gratitude--
He holds out two twenty dollar bills, which Jack refuses to take.
JACK: I don't want money, I--
LOVEJOY: --and also to remind you that you hold a third class ticket and your presence here is no longer appropriate.
Jack spots Rose but she doesn't see him.
JACK: I just need to talk to Rose for a--
LOVEJOY: Gentlemen, please see that Mr. Dawson gets back where he belongs.

(giving the twenties to the stewards) And that he stays there.

STEWARD: Yes sir!

(to Jack) Come along you.

END ON ROSE, not seeing Jack hustled out.
ROSE: (singing) O hear us when we cry to thee for those in peril on the sea.


An 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 trained stroke.

CAL: Reminds 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 on an "Abflex" infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose puts her hand on it, curious.
MCCAULEY: The electric horse is very popular. We even have an electric camel.

(to Ruth) Care to try your hand at the rowing, ma'am?

RUTH: Don't be absurd. I can't think of a skill I should likely need less.
ANDREWS: The next stop on our tour will be bridge. This way, please.


Jack, walking with determination, is followed closely by Tommy and Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class.

TOMMY: She's a goddess amongst mortal men, there's no denyin'. But she's in another world, Jackie, forget her. She's closed the door.
Jack moves furtively to the wall below the A-Deck promenade, aft.
JACK: It was them, not her.

(glancing around the deck) Ready... go.

Tommy shakes his head resignedly and puts his hands together, crouching down. Jack steps into Tommy's hands and gets boosted up to the next deck, where he scrambles nimbly over the railing, onto the First Class deck.
TOMMY: He's not bein' logical, I tell ya.
FABRIZIO: Amore is'a not logical.


A man is playing with his son, who is spinning a top with a string. The man's overcoat and hat are sitting on a deck chair nearby. Jack emerges from behind one of the huge deck cranes and calmly picks up the coat and bowler hat. He walks away, slipping into the coat, and slicks his hair back with spit. Then puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen.



HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and skirts around Andrews' tour group to hand a Marconigram to Captain Smith.

BRIDE: Another ice warning, sir. This one from the "Baltic".
CAPTAIN SMITH: Thank you, Sparks.
Smith glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Rose and the group.
CAPTAIN SMITH: Not to worry, it's quite normal for this time of year. In fact, we're speeding up. I've just ordered the last boilers lit.
Andrews scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch.
LIGHTOLLER: Did we ever find those binoculars for the lookouts?
FIRST OFFICER MURDOCH: Haven't seen them since Southhampton.


Andrews leads the group back from the bridge along the boat deck.

ROSE: Mr. Andrews, I did the sum in my head, and with the number of lifeboats times the capacity you mentioned... forgive me, but it seems that there are not enough for everyone aboard.
ANDREWS: About half, actually. Rose, you miss nothing, do you? In fact, I put in these 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. So I was over-ruled.

CAL: (slapping the side of a boat) Waste of deck space as it is, on an unsinkable ship!
ANDREWS: Sleep soundly, young Rose. I have built you a good ship, strong and true. She's all the lifeboat you need.
As they are passing Boat 7, a gentlemen turns from the rail and walks up behind 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 which Jack holds open. They duck into the--



Jack closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Rose and Jack are alone in the room.

ROSE: Jack, this is impossible. I can't see you.
He takes her by the shoulders.
JACK: Rose, you're no picnic... you're a spoiled little brat even, but under that you're a strong, pure heart, and you're the most amazingly astounding girl I've ever known and--
ROSE: Jack, I--
JACK: No wait. Let me try to get this out. You're amazing... and I know I have nothing to offer you, Rose. I know that. But I'm involved now. You jump, I jump, remember? I can't turn away without knowin' that you're goin' to be alright.
Rose feels the tears coming to her eyes. Jack is so open and real... not like anyone she has ever known.
ROSE: You're making this very hard. I'll be fine. Really.
JACK: I don't think so. They've got you in a glass jar like some butterfly, and you're goin' to die if you don't break out. Maybe not right away, 'cause you're strong. But sooner or later the fire in you is goin' to go out.
ROSE: It's not up to you to save me, Jack.
JACK: You're right. Only you can do that.
ROSE: I have to get back, they'll miss me. Please, Jack, for both our sakes, leave me alone.


The 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 of Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as a porcelain figurine as the conversation washes around her.

RUTH: Of course the invitations had to be sent back to the printers twice. And the bridesmaids dresses! Let me tell you what an odyssey that has been...
TRACKING SLOWLY IN on Rose as Ruth goes on.

REVERSE, ROSE'S POV: A tableau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl is trying so hard to please, her expression serious. A glimpse of Rose at that age, and we see the relentless conditioning... the pain to becoming an Edwardian geisha.

ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all over her dress.

ROSE: Oh, look what I've done.


TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head.

Jack hears her voice, behind him...

ROSE: Hello, Jack.
He turns and she is standing there.
ROSE: I changed my mind.
He smiles at her, his eyes drinking her in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face.
ROSE: Fabrizio said you might be up--
JACK: Sssshh. Come here.
He puts his hands on her waist. As if he is going to kiss her.
JACK: Close your eyes.
She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her. Then he takes her two hands and raises them until she is standing with her arms outstretched on each side. Rose is going along with him. When he lowers his hands, her arms stay up... like wings.
JACK: Okay. Open them.
Rose gasps. There is nothing in her field of vision but water. It's like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a dusk sky. There is only the wind, and the hiss of the water 50 feel below.
ROSE: I'm flying!
She leans forward, arching her back. He puts his hands on her waist to steady 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 his chest. He pushes forward slightly against her.

Slowly he raises his hands, arms outstretched, and they meet hers... fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers.

Jack tips his face forward into her blowing hair, letting the scent of her wash 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 arms around her from behind, and they kiss like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, 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 a night without fear.

100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET nudges his mate, REGINALD LEE, pointing down at the figures in the bow.

FLEET: Wish I had those bleedin' binoculars.
101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the ruined bow of the WRECK--



OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss.

OLD ROSE: That was the last time Titanic ever saw daylight.
Brock Lovett changes the tape in the minicassette recorder.
LOVETT: So we're up to dusk on the night of the sinking. Six hours to go.
BODINE: Don't you love it? There's Smith, he's standing there with the iceberg warning in his fucking hand...

(remembering Rose) ... excuse me... in his hand, and he's ordering more speed.

LOVETT: 26 years of experience working against him. He figures anything big enough to sink the ship they're going to see in time to turn. But the ship's too big, with too small a rudder... it can't corner worth shit. Everything he knows is wrong.
ROSE is ignoring this conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame.



... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets his sketchbook and drawing materials on the marble table.

ROSE: Will this light do? Don't artists need good light?
JACK: (bad French accent) Zat is true, I am not used to working in such 'orreeble conditions.

(seeing the paintings) Hey... Monet!

He crouches next to the paintings stacked against the wall.
JACK: Isn't he great... the use of color? I saw him once... through a hole in this garden fence in Giverny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He's fascinated.
ROSE: Cal insists on lugging this thing everywhere.
JACK: Should I be expecting him anytime soon?
ROSE: Not as long as the cigars and brandy hold out.
CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Jack who takes it nervously.
JACK: What is it? A sapphire?
ROSE: A diamond. A very rare diamond, called the Heart of the Ocean.
Jack gazes at wealth beyond his comprehension.
ROSE: I want you to draw me like your French girl. Wearing this.

(she smiles at him) Wearing only this.

He looks up at her, surprised, and we CUT TO:

104 ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair. She shakes her head and her hair falls free around her shoulders.

105 IN THE SITTING ROOM Jack is laying out his pencils like surgical tools. His sketchbook is open and ready. He looks up as she comes into the room, wearing a silk kimono.

ROSE: The last thing I need is another picture of me looking like a china doll. As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stone lies on 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).

ROSE: Tell me when it looks right to you.
JACK: Uh... just bend your left leg a little and... and lower your head. Eyes to me. That's it.
Jack starts to sketch. He drops his pencil and she stifles a laugh.
ROSE: I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet blushing.
JACK: (sweating) He does landscapes.
TIGHT ON JACK as his eyes come up to look at her over the top edge of his sketchpad. We have seen this image of him before, in her memory. It is an image she will carry the rest of her life.

Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy.




MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same.

OLD ROSE: My heart was pounding the whole time. It was the most erotic moment of my life... up till then at least.
CUT TO REVERSE:A semicircle of listeners staring in rapt, frozen silence. The story of Jack and Rose has finally and completely grabbed them.
BODINE: What, uh... happened next?
OLD ROSE: (smiling) You mean, did we "do it"?


BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again, is leaning on his shoulder, watching.

OLD ROSE (V.O.): Sorry to disappoint you Mr. Bodine.
Rose gazes at the drawing. He has X-rayed her soul.
ROSE: Date it, Jack. I want to always remember this night.
He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic stationary. We don't see what it says. She accepts the drawing from him, and crosses to the safe in the wardrobe.

She puts the diamond back in the safe, placing the drawing and the note on top of it. Closes the door with a CLUNK!



Lovejoy enters from the Palm Court through the revolving door and crosses the room toward Hockley. A fire is blazing in the marble fireplace, and the usual fatcats are playing cards, drinking and talking. Cal sees Lovejoy and detaches from his group, coming to him.

LOVEJOY: None of the stewards have seen her.
CAL: (low but forceful)This is ridiculous, Lovejoy. Find her.


TITANIC glides across an unnatural sea, black and calm as a pool of oil. The ships lights are mirrored almost perfectly in the black water. The sky is brilliant with stars. A meteor traces a bright line across the heavens.

110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the ship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It steams in the bitter cold of the open bridge. Second Officer Lightoller is next to him, staring out at the sheet of black glass the Atlantic has become.

LIGHTOLLER: I don't think I've ever seen such a flat calm, in 24 years at sea.
CAPTAIN SMITH: Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER: It's make the bergs harder to see, with no breaking water at the base.
CAPTAIN SMITH: Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.
CAPTAIN SMITH: And wake me, of course, if anything becomes in the slightest degree doubtful.


Rose, fully dressed now, returns to the sitting room. They hear a key in the lock. Rose takes Jack's hand and leads him silently through the bedrooms. Lovejoy enters by the sitting room door.

LOVEJOY: Miss Rose? Hello?
He hears a door opening and goes through Cal's room toward hers.



Rose and Jack come out of her stateroom, closing the door. She leads him quickly along the corridor toward the B deck foyer. They are halfway across the open space when the sitting room door opens in the corridor and Lovejoy comes out. The valet sees Jack with Rose and hustles after them.

ROSE: Come on!
She and Jack break into a run, surprising the few ladies and gentlemen about. Rose leads him past the stairs to the bank of elevators. They run into one, shocking the hell out of the OPERATOR.
ROSE: Take us down. Quickly, quickly!
The Operator scrambles to comply. Jack even helps him close the steel gate. Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of the gate. Rose makes a very rude and unladylike gesture, and laughs as Lovejoy disappears above. The Operator gapes at her.



Lovejoy 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 the bank of elevators and scans the foyer... no Jack and Rose. He tries the stairs going down to F-Deck.



A functional space, with access to a number of machine spaces (fan rooms, boiler uptakes). Jack and Rose are leaning against a wall, laughing.

JACK: Pretty tough for a valet, this fella.
ROSE: He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble... to make sure he always got back to the hotel with his wallet and watch, after some crawl through the less reputable parts of town...
JACK: Kinda like we're doin' right now-- uh oh!
Lovejoy has spotted them from a cross-corridor nearby. He charges toward them. Jack and Rose run around a corner into a blind alley. There is one door, 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 moment later. Jack grins at Rose, pointing to the ladder.

JACK: After you, m'lady.


Jack and Rose come down the escape ladder and look around in amazement. It is like a vision of hell itself, with the roaring furnaces and black figures moving in the smoky glow. They run the length of the boiler room, dodging amazed stokers, and trimmers with their wheelbarrows of coal.

JACK: (shouting over the din) Carry on! Don't mind us!
They run through the open watertight door into BOILER ROOM SIX. Jack pulls her through the fiercely hot alley between two boilers and they wind up in the dark, out of sight of the working crew. Watching from the shadows, they see the stokers working in the hellish glow, shovelling coal into the insatiable maws of the furnaces. The whole place thunders with the roar of the fires.


117 INT. FIRST CLASS SMOKING ROOM Amid unparalled luxury, Cal sits at a card game, sipping brandy.

COLONEL GRACIE: We're going like hell I tel you. I have fifty dollars that says we make it into New York Tuesday night!
Cal looks at his gold pocket watch, and scowls, not listening.




The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose's face, tasting the sweat trickling down from her forehead. They kiss passionately in the steamy, pounding darkness.


120 INT. HOLD #2

Jack and Rose enter and run laughing between the rows of stacked cargo. She hugs herself against the cold, after the dripping heat of the boiler room.

They come upon William Carter's brand new RENAULT touring car, lashing down to a pallet. It looks like a royal coach from a fairy tale, its brass trim and headlamps nicely set off by its deep burgundy color.

Rose climbs into the plushly upholstered back seat, acting very royal. There are cut crystals bud vases on the walls back there, each containing a rose. Jack jumps into the driver's seat, enjoying the feel of the leather and wood.

JACK: Where to, Miss?
ROSE: To the stars.
ON JACK as her hands come out of the shadows and pull him over the seat into the back. He lands next to her, and his breath seems loud in the quiet darkness. He looks at her and she is smiling. It is the moment of truth.
JACK: Are you nervous?
ROSE: Au contraire, mon cher.
He strokes her face, cherishing her. She kisses his artist's fingers.
ROSE: Put your hands on me Jack.
He kisses her, and she slides down in the seat under his welcome weight.