| TRANSITION
68 INT. KELDYSH IMAGING SHACK
Without a cut the wrinkled, weathered landscape
of age has appeared around her eyes. But the eyes themselves are the
same. |
| OLD ROSE: |
After all these years, feel it closing around my throat like a dog
collar. |
| THE CAMERA PULLS BACK to show her
whole face. |
| OLD ROSE: |
I can still feel its weight. If you could have felt it, not just seen
it... |
| LOVETT: |
Well, that's the general idea, my dear. |
| BODINE: |
So let me get this right. You were gonna kill yourself by jumping
off the Titanic?
(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 have passed. This process is taking too long. |
| LOVETT: |
Rose,
tell us more about the diamond. What did Hockley do with it after that? |
| OLD ROSE: |
I'm
afraid I'm feeling a little tired, Mr. Lovett. |
| Lizzy picks up the cue and starts
to wheel her out. |
| LOVETT: |
Wait!
Can you give us something go on, here. Like who had access to the safe. What
about this Lovejoy guy? The valet. Did he have the combination? |
| LIZZY: |
That's
enough. |
| Lizzy takes her out. Rose's old hand
reappears at the doorway in a frail wave goodbye.
CUT TO:
69 EXT. LAUNCH AREA/KELDYSH DECK -
DAY
As the big hydraulic jib swings one of the Mir
subs out over the water. Lovett walks as he talks with Bobby Buell, the partners'
rep. They weave among deck cranes, launch crew, sub maintenance guys. |
| BUELL: |
The
partners are pissed. |
| LOVETT: |
Bobby,
buy me time. I need time. |
| BUELL: |
We're
running thirty thousand a day, and we're six days over. I'm telling you what
they're telling me. The hand is on the plug. It's starting to pull. |
| LOVETT: |
Well
you tell the hand I need another two days! Bobby, Bobby, Bobby...we're close!
I smell it. I smell ice. She had the diamond on... now we justhave to find
out where it wound up. I just gotta work her a bit more. Okay? |
| Brock turns and sees Lizzy standing
behind him. She has overheard the past part of his dialogue with Buell. He
goes to her and hustles her away from Buell, toward a quite spot on the
deck. |
| LOVETT: |
Hey,
Lizzy. I need to talk to you for a second. |
| LIZZY: |
Don't
you mean work me? |
| LOVETT: |
Look,
I'm running out of time. I need your help. |
| LIZZY: |
I'm
not going to help you browbeat my hundred and one year old grandmother. I
came down here to tell you to back off. |
| LOVETT: |
(with
undisguised desperation) Lizzy... you gotta understand something. I've bet
it all to find the Heart of the Ocean. I've got all my dough tied up in this
thing. My wife even divorced me over this hunt. I need what's locked inside
your grandma's memory.
(he holds out his hand) You see this?
Right here? |
| She looks at his hand, palm up. Empty.
Cupped, as if around an imaginary shape. |
| LIZZY: |
What? |
| LOVETT: |
That's
the shape my hand's gonna be when I hold that thing. You understand? I'm
not leaving here without it. |
| LIZZY: |
Look,
Brock, she's going to do this her way, in her own time. Don't forget, she
contacted you. She's out here for her own reasons, God knows what they
are. |
| LOVETT: |
Maybe
she wants to make peace with the past. |
| LIZZY: |
What
past? She has never once, not once, ever said a word about being on the Titanic
until two days ago. |
| LOVETT: |
Then
we're all meeting your grandmother for the first time. |
| LIZZY: |
(looks
at him hard) You think she was really there? |
| LOVETT: |
Oh,
yeah. Yeah, I'm a believer. She was there. |
| CUT TO:
70 INT. IMAGING SHACK
Bodine starts the tape recorder. Rose is gazing
at the screen seeing THE LIVE FEED FROM THE WRECK--SNOOP DOG is moving along
the starboard side of the hull, heading aft. The rectangular windows of A
deck (forward) march past on the right. |
| OLD ROSE: |
The
next day, Saturday, I remember thinking how the sunlight felt. |
| DISSOLVE TO:
71 EXT. B DECK TITANIC - DAY
MATCH DISSOLVE from the rusting hulk to the gleaming
new Titanic in 1912, passing the end of the enclosed promenade just as Rose
walks into the sunlight right in front of us. She is stunningly dressed and
walking with purpose. |
| 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 third class. The steerage men on the deck
stop what they're doing and stare at her.
CUT TO:
72 INT. THIRD CLASS GENERAL ROOM
The social center of steerage life. It is stark
by comparison to the opulence of first class, but is a loud, boisterous place.
There are mothers with babies, kids running between the benches yelling in
several languages and being scolded in several more. There are old women
yelling, men playing chess, girls doing needlepoint and reading dime novels.
There is even an upright piano and Tommy Ryan is noodling around it.
Three boys, shrieking and shouting, are scrambling
around chasing a rat under 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 together in his sketchbook.
Fabrizio is struggling to get a conversation going
with an attractive Norwegian girl, HELGA DAHL, sitting with her family at
a table across the room. |
| FABRIZIO: |
No
Italian? Some little English? |
| HELGA: |
No,
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 openly at this princess, some with resentment, others with
awe. She spots Jack and gives a little smile, walking straight to him. He
rises to meet her, smiling. |
| ROSE: |
Hello
Jack. |
| Fabrizio and Tommy are floored. It's
like the slipper fitting Cinderella. |
| JACK: |
Hello
again. |
| ROSE: |
Could
I speak to you in private? |
| JACK: |
Uh,
yes. Of course. After you. |
| He motions her ahead and follows.
Jack glances over his shoulder, one eyebrow raised, as he walks out with
her leaving a stunned silence.
CUT TO:
73 EXT. BOAT DECK - DAY
Jack and Rose walk side by side. They pass people
reading and talking in steamer chairs, some of whom glance curiously at the
mismatched couple. He feels out of place in his rough clothes. They are both
awkward, for different reasons. |
| JACK: |
So,
you got a name by the way? |
| ROSE: |
Rose.
Rose DeWitt Bukater. |
| JACK: |
That's
quite a moniker. I may hafta get you to write that down. |
| There is an awkward pause. |
| ROSE: |
Mr.
Dawson, I-- |
| JACK: |
Jack. |
| ROSE: |
Jack...
I feel like such an idiot. It took me all morning to get up the nerve to
face you. |
| JACK: |
Well,
here you are. |
| ROSE: |
Here
I am. I... I want to thank you for what you did. Not just for... for pulling
me back. But for your discretion. |
| JACK: |
You're
welcome. Rose. |
| ROSE: |
Look,
I know what you must be thinking! Poor little rich girl. What does she know
about misery? |
| JACK: |
That's
not what I was thinking. What I was thinking was... what could have happened
to hurt this girl so much she though she had no way out. |
| ROSE: |
I don't...
it wasn't just one thing. It was everything. It was them, it was their 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, I was over the rail. I
was so furious. I'll show them. They'll be sorry! |
| JACK: |
Uh huh. They'll be sorry. 'Course you'll
be dead. |
| ROSE: |
(she
lowers her head) Oh God, I am such an utter fool. |
| JACK: |
That
penguin last night, is he one of them? |
| ROSE: |
Penguin?
Oh, Cal! He is them. |
| JACK: |
Is
he your boyfriend? |
| ROSE: |
Worse
I'm afraid. |
| She
shows him her engagement ring. A sizable diamond. |
| JACK: |
Gawd
look at that thing! You would have gone straight to the bottom. |
| They laugh together. A passing steward
scowls at Jack, who is clearly not a first class passenger, but Rose just
glares at him away. |
| JACK: |
So
you feel like you're stuck on a train you can't get off 'cause you're marryin'
this fella. |
| ROSE: |
Yes,
exactly! |
| JACK: |
So
don't marry him. |
| ROSE: |
If
only it were that simple. |
| JACK: |
It
is that simple. |
| ROSE: |
Oh,
Jack... please don't judge me until you've seen my world. |
| JACK: |
Well,
I guess I will tonight. |
| Looking for another topic, any other
topic, she indicates his sketchbook. |
| ROSE: |
What's
this? |
| JACK: |
Just
some sketches. |
| ROSE: |
May
I? |
| The question is rhetorical because
she has already grabbed the book. She sits on a deck chair and opens the
sketchbook. ON JACK'S sketches... each one an expressive little bit of humanity:
an old woman's hands, a sleeping man, a father and daughter at the rail.
The faces are luminous and alive. His book is a celebration of the human
condition. |
| ROSE: |
Jack,
these are quite good! Really, they are. |
| JACK: |
Well,
they didn't think too much of 'em in Paree. |
| Some loose sketches fall out and
are taken by the wind. Jack scrambles after them... catching two, but the
rest are gone, over the rail. |
| ROSE: |
Oh
no! Oh, I'm so sorry. Truly! |
| JACK: |
Well,
they didn't think too much of 'em in Paree. |
| He snaps his wrist, shaking his drawing
hand in a flourish. |
| JACK: |
I just
seem to spew 'em out. Besides, they're not worth a damn anyway. |
| For emphasis he throws away the two
he caught. They sail off. |
| ROSE: |
(laughing)
You're deranged! |
| She goes back to the book, turning
a page. |
| ROSE: |
Well,
well... |
| She has come upon a series of nudes.
Rose is transfixed by the languid beauty he has created. His nudes are soulful,
real, with expressive hands and eyes. They feel more like portraits than
studies of the human form... almost uncomfortably intimate. Rose blushes,
raising the book as some strollers go by. |
| ROSE: |
(trying
to be very adult) And these were drawn from life? |
| JACK: |
Yup.
That's one of the great things about Paris. Lots of girls willing take their
clothes off. |
| She studies one drawing in particular,
the girl posed half in sunlight, half in shadow. Her hands lie at her chin,
one furled and one open like a flower, languid and graceful. The drawing
is like an Alfred Steiglitz print of Georgia O'Keefe. |
| ROSE: |
You
liked this woman. You used her several times. |
| JACK: |
She
had beautiful hands. |
| ROSE: |
(smiling)
I think you must have had a love affair with her... |
| JACK: |
(laughing)
No, no! Just with her hands. |
| ROSE: |
(looking
up from the drawings) You have a gift, Jack. You do. You see people. |
| JACK: |
I see
you. |
| There it is. That piercing gaze
again. |
| ROSE: |
And...? |
| JACK: |
You
wouldn'ta jumped. |
| CUT TO:
74 INT. RECEPTION ROOM / D-DECK -
DAY
Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES,
the COUNTESS OF ROTHES, a 35ish English blue-blood with patirician features.
Ruth sees someone coming across the room and lowers her voice. |
| RUTH: |
Oh
no, that vulgar Brown woman is coming this way. Get up, quickly before she
sits with us. |
| Molly Brown walks up, greeting them
cheerfully as they are rising. |
| MOLLY: |
Hello
girls, I was hoping I'd catch you at tea. |
| RUTH: |
We're
awfully sorry you missed it. The Countess and I are just off to take the
air on the boat deck. |
| MOLLY: |
That
sounds great. Let's go. I need to catch up on the gossip. |
| Ruth grits her teeth as the three
of them head for the Grand Staircase to go up. TRACKING WITH THEM, as they
cross the room, the SHOT HANDS OFF to Bruce Ismay and Captain Smith at another
table. |
| ISMAY: |
So
you've not lit the last four boilers then? |
| CAPTAIN SMITH: |
No,
but we're making excellent time. |
| ISMAY: |
(impatiently)
Captain, the press knows the size of Titanic, let them marvel at her speed
too. We must give them something new to print. And the maiden voyage of Titanic
must make headlines! |
| CAPTAIN SMITH: |
I prefer
not to push the engines until they've been properly run in. |
| ISMAY: |
Of
course I leave it to your good offices to decide what's best, but what a
glorious end to your last crossing if we get into New York Tuesday night
and surprise 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 - DAY
Rose and Jack stroll aft, past people lounging
on deck chairs in the slanting 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 an artist... living in a garret, poor but free! |
| JACK: |
(laughing)
You wouldn't last two days. There's no hot water, and hardly ever any
caviar. |
| ROSE: |
(angry
in a flash) Listen, buster... I hate caviar! And I'm tired of people dismissing
my dreams with a chuckle and a pat on the head. |
| JACK: |
I'm
sorry. Really... I am. |
| ROSE: |
Well,
alright. There's something in me, Jack. I feel it. I don't know what it is,
whether I should be an artist, or, I don't know... a dancer. Like Isadora
Duncan.... a wild pagan spirit... |
| She leaps forward, lands deftly and
whirls like a dervish. Then she sees something 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 as she poses stiffly at the rail. |
| MARVIN: |
You're
sad. Sad, sad, sad. You've left your lover on the shore. You may never see
him again. Try to be sadder, darling. |
| SUDDENLY Rose shoots into the shot
and strikes a theatrical pose at the rail next to Mary. Mary bursts out laughing.
Rose pulls Jack into the picture and makes him pose.
Marvin grins and starts yelling and gesturing.
We see this in CUTS, with music 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 pantomiming fanning him like slave girls.
Jack, on his knees, pleading with his hands clasped
while Rose, standing, turns her head in bored disdain.
Rose cranking the camera, while Daniel and Jack
have a western shoot-out. Jack wins and leers into the lens, twirling an
air mustache like Snidely Whiplash.
CUT TO:
76 EXT. A DECK PROMENADE / AFT -
SUNSET
Painted with orange light, Jack and Rose lean on
the A-deck rail aft, shoulder to shoulder. The ship's lights come on.
It is a magical moment... perfect. |
| ROSE: |
So
then what, Mr. Wandering Jack? |
| JACK: |
Well,
then logging got to be too much like work, so I went down to Los Angeles
to the pier in Santa Monica. That's a swell place, they even have a
rollercoaster. I sketched portraits there for ten cents a piece. |
| ROSE: |
A whole
ten cents?! |
| JACK: |
(not
getting it) Yeah; it was great money... I could make a dollar a day, sometimes.
Butonly in summer. When it got cold, I decided to go to Paris and see what
the real artists were doing. |
| ROSE: |
(looks
at the dusk sky)Why can't I be like you Jack? Just head out for the horizon
whenever I feel like it.
(turning to him) Say we'll go there,
sometime... to that pier... even if we only ever just talk about it. |
| JACK: |
Alright,
we're going. We'll drink cheap beer and go on the rollercoaster until we
throw up and we'll ride horses on the beach... right in thesurf... but you
have to ride like a cowboy, none of that side-saddle stuff. |
| ROSE: |
You
mean one leg on each side? Scandalous! Can you show me? |
| JACK: |
Sure.
If you like. |
| ROSE: |
(smiling
at him) I think I would.
(she looks at the horizon) And teach me
to spit too. Like a man. Why should only men be able to spit. It's
unfair. |
| JACK: |
They
didn't teach you that in finishing school? Here, it's easy. Watch
closely. |
| He spits. It arcs out over the
water. |
| JACK: |
Your turn. |
| Rose screws up her mouth and spits.
A pathetic little bit of foamy spittle which mostly runs down her chin before
falling off into the water. |
| JACK: |
Nope,
that was pitiful. Here, like this... you hawk it down... HHHNNNK!...then
roll it on your tongue, up to the front, like thith, then a big breath and
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 comets of gob fly out over the water. |
| JACK: |
That
was great! |
| Rose turns to him, her face alight.
Suddenly she blanches. He sees her expression and turns.
RUTH, the Countess of Rothes, and Molly Brown have
been watching them hawking lugees. Rose becomes instantly composed. |
| ROSE: |
Mother,
may I introduce Jack Dawson. |
| RUTH: |
Charmed,
I'm sure. |
| Jack has a little spit running down
his chin. He doesn't know it. Molly Brown 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. But my
mother looked at him like an insect. A dangerous insect which must be squashed
quickly. |
| MOLLY: |
Well,
Jack, it sounds like you're a good man to have around in a sticky spot-- |
| They all jump as a BUGLER sounds
the meal call right behind them. |
| MOLLY: |
Why
do they insist on always announcing dinner like a damn cavalry charge? |
| ROSE: |
Shall
we go dress, mother?
(over her shoulder) See you at dinner,
Jack. |
| RUTH: |
(as
they walk away) Rose, look at you... out in the sun with no hat.
Honestly! |
| The Countess exits with Ruth and
Rose, leaving Jack and Molly alone on deck. |
| MOLLY: |
Son,
do you have the slightest comprehension of what you're doing? |
| JACK: |
Not
really. |
| MOLLY: |
Well,
you're about to go into the snakepit. I hope you're ready. What are you planning
to wear? |
| Jack looks down at his clothes. Back
up at her. He hadn't thought about that. |
| MOLLY: |
I
figured. |
| CUT TO:
77 INT. MOLLY BROWN'S STATEROOM
Men's suits and jackets and formal wear are strewn
all over the place. Molly is having a fine time. Jack is dressed, except
for his jacket, and Molly is tying his bow tie. |
| MOLLY: |
Don't
feel bad about it. My husband still can't tie one of these damn things after
20 years. There you go. |
| She picks up a jacket off the bed
and hands it to him. Jack goes into the bathroom to put it on. Molly starts
picking up the stuff off the bed. |
| MOLLY: |
I gotta
buy everything in three sizes 'cause I never know how much he's been eating
while I'm away. |
| She turns and sees him, though we
don't. |
| MOLLY: |
My,
my, my... you shine up like a new penny. |
