| CUT TO:
91 INT. FIRST CLASS DINING SALOON
At the divine service, Captain Smith is leading
a group in the hymn "Almighty Father Strong To Save." Rose and Ruth sing
in the middle of 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. |
| CUT TO:
92 INT. GYMNASIUM - DAY
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. |
| CUT TO:
93 EXT. AFT WELL DECK, B-DECK AND A-DECK
- DAY
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. |
| CUT TO:
94 EXT. A-DECK / AFT - DAY
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.
CUT TO:
95 INT. BRIDGE / CHARTROOM - DAY
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. |
| CUT TO:
96 EXT. BOAT DECK / STARBOARD SIDE -
DAY
Andrews leads the group back from the bridge along
the boat deck. |
| ROSE: |
Mr.
Andrews, I did the sum in my head, and with the number of 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--
CUT TO:
97 INT. GYMNASIUM - DAY
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. |
| CUT TO:
98 INT. FIRST CLASS LOUNGE - DAY
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. |
| CUT TO:
99 EXT. TITANIC - DAY
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--
CUT TO:
102 INT. KELDYSH IMAGING SHACK
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.
TRANSITION:
103 INT. ROSE'S SUITE
... 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.
PUSH SLOWLY IN ON ROSE'S FACE...
TRANSITION:
106 INT. KELDYSH / IMAGING SHACK
MATCH DISSOLVE/MORPH to Rose, 101 years old. Only
her eyes are the same. |
| OLD ROSE: |
My heart
was pounding the whole time. It was the most erotic moment of 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"? |
| CUT TO:
107 INT. ROSE AND CAL'S SUITE -
NIGHT
BACK TO 1912. Jack is signing the drawing. Rose,
wearing her kimono again, is leaning on his shoulder, watching. |
| OLD ROSE (V.O.): |
Sorry
to disappoint you Mr. Bodine. |
| Rose gazes at the drawing. He has
X-rayed her soul. |
| ROSE: |
Date
it, Jack. I want to always remember this night. |
| He does: 4/14/1912. Rose meanwhile
scribbles a note on a piece of 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!
CUT TO:
108 INT. FIRST CLASS SMOKING ROOM -
NIGHT
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. |
| CUT TO:
109 EXT. ATLANTIC - NIGHT
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. |
| LIGHTOLLER: |
Yes
sir. |
| CAPTAIN SMITH: |
And
wake me, of course, if anything becomes in the slightest degree
doubtful. |
| CUT TO:
111 INT. ROSE AND CAL'S SUITE
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.
CUT TO:
112 INT. CORRIDOR OUTSIDE SUITE
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.
CUT TO:
113 INT. E-DECK FOYER / ELEVATORS
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.
CUT TO:
114 INT. F-DECK CORRIDORS / FAN
ROOM
A functional space, with access to a number of
machine spaces (fan rooms, boiler uptakes). Jack and Rose are leaning against
a wall, laughing. |
| JACK: |
Pretty
tough for a valet, this fella. |
| ROSE: |
He's
an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble... to
make sure he always got back to the hotel with his wallet and watch, after
some crawl through the less reputable parts of town... |
| JACK: |
Kinda
like we're doin' right now-- uh oh! |
| Lovejoy has spotted them from a
cross-corridor nearby. He charges 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. |
| CUT TO:
116 INT. BOILER ROOM FIVE AND SIX
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.
CUT TO:
117 INT. FIRST CLASS SMOKING ROOM Amid
unparalled luxury, Cal sits at a card game, sipping brandy. |
| COLONEL GRACIE: |
We're
going like hell I tel you. I have fifty dollars that says we make it into
New York Tuesday night! |
| Cal looks at his gold pocket watch,
and scowls, not listening.
CUT TO:
118 OMITTED
119 INT. BOILER ROOM SIX
The furnaces roar, silhouetting the glistening
stokers. Jack kisses Rose's face, tasting the sweat trickling down from her
forehead. They kiss passionately in the steamy, pounding darkness.
CUT TO:
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. |
