TITANIC
Motion Picture Screenplay (Film Version)

Cast:

KATE WINSLET... Rose DeWitt Bukater
LEONARDO DICAPRIO... Jack Dawson
KATHY BATES... The Unsinkable Molly Brown
BILLY ZANE... Caledon Hockley
BILL PAXTON... Brock Lovett

Written and Directed by:

JAMES CAMERON
































1 BLACKNESS

Then two faint lights appear, close together... growing brighter. They
resolve into two DEEP SUBMERSIBLES, free-falling toward us like express
elevators.

One is ahead of the other, and passes close enough to FILL FRAME, looking
like a spacecraft blazing with lights, bristling with insectile
manipulators.

TILTING DOWN to follow it as it descends away into the limitless blackness
below. Soon they are fireflies, then stars. Then gone.

CUT TO:

2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP

PUSHING IN on one of the falling submersibles, called MIR ONE, right up to
its circular viewport to see the occupants.

INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLY
MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing
softly in Russian.

Next to him on one side is BROCK LOVETT. He's in his late forties, deeply
tanned, and likes to wear his Nomex suit unzipped to show the gold from
famous shipwrecks covering his gray chest hair. He is a wiley, fast-talking
treasure hunter, a salvage superstar who is part historian, part adventurer
and part vacuum cleaner salesman. Right now, he is propped against the CO2
scrubber, fast asleep and snoring.

On the other side, crammed into the remaining space is a bearded wide-body
named LEWIS BODINE, who is also asleep. Lewis is an R.O.V. (REMOTELY
OPERATED 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 SEA

A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR
ONE enters FRAME and drops to the seafloor in a downblast from its
thrusters. It hits bottom after its two hour free-fall with a loud BONK.



CUT TO:

EXT. / INT. MIR ONE AND TWO

THE TWO SUBS skim over the seafloor to the sound of sidescan 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
huge pointed object is visible. Anatoly lies prone, driving the sub, his
face pressed to the center port.

BODINE
Come left a little. She's right in front of us, eighteen meters. Fifteen.
Thirteen... you should see it.

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
bottom sediment like ocean waves. It towers above the seafloor, standing
just as it landed 84 years ago.

THE TITANIC. Or what is left of her. Mir One goes up and over the bow
railing, intact except for an overgrowth of "rusticles" draping it like
mutated Spanish moss.

TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face
fills the BLACK AND WHITE FRAME.

LOVETT
Coming out of the darkness like a ghost ship, It still gets me every time
to see the sad ruin of the great ship sitting here, where she landed at 2:30 in 
the morning, April 15, 1912, after her long fall from the world above.

The image pans to the front viewport, looking over Anatoly's shoulder, to
the bow railing visible in the lights beyond.

Bodine chuckles and watches the sonar.

BODINE
You are so full of shit, 

7 Mir Two drives aft down the starboard side, past the huge anchor while
Mir One passes over the seemingly endless forecastle deck, with its massive
anchor chains still laid out in two neat rows, its bronze windlass caps
gleaming. The 22 foot long subs are like white bugs next to the 
wreck.
LOVETT (V.O.)
Dive nine. Here we are again on the deck of Titanic... two and a half miles
freight train going over an ant if our hull fails. These windows are nine
inches 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's
Quarters. Mir One lands on the roof of the deck house nearby.

LOVETT
Ok, that's enough of that bullshit. Just set her down on top of the
officer's quarter's like yesterday.

Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick
controls of the 

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 behind
it like a robot yo-yo. Its twin stereo-video cameras swivel like insect
eyes. The ROV descends through an open shaft that once was the beautiful
First Class Grand Staircase.

Snoop Dog goes down several decks, then moves laterally into the First
Class Reception 


SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of
the ornate handcarved woodwork which gave the ship its elegance move
through the floodlights, the lines blurred by slow dissolution and
descending rusticle formations. Stalactites of rust hang down so that at
times it looks like a natural grotto, then the scene shifts and the lines
of a ghostly undersea mansion 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 a
wall. The keys gleam black and white in the lights.

11 A chandelier, still hanging from the ceiling by its wire... glinting as
Snoop moves around it.

12 Its lights play across the floor, revealing a champagne bottle, then
some WHITE STAR LINE china... a woman's high-top "granny shoe". Then
something eerie: what looks like a child's skull resolves into the
porcelain head of a doll.

Snoop enters a corridor which is much better preserved. Here and there a
door still hangs on its rusted hinges. An ornate piece of molding, a wall
sconce... hint at the grandeur of the past.

13 THE ROV turns and goes through a black doorway, entering room B-52, the
sitting room of a "promenade suite", one of the most luxurious staterooms
on Titanic.

BODINE
I'm in the sitting room. Heading for bedroom B-54.

LOVETT
Stay off the floor. Don't stir it up like you did yesterday.

Glinting in the lights are the brass fixtures of the near-perfectly
preserved fireplace. An albino Galathea crab crawls over it. Nearby are the
remains of a divan and a writing desk. The Dog crosses the ruins of the
once elegant room toward another DOOR. It squeezes through the 
scraping rust and wood chunks loose on both sides. It moves out of a cloud
of rust and keeps on 


I'm crossing the bedroom.
The ROV moves into the bedroom. We can see where there was a wall to the
bathroom. The tub is there, filled with debris and rust.

BODINE
Oops, someone left the water running...

LOVETT
There's Hockley's bed. That's where the son of a bitch slept.

The remains of a pillared canopy bed. Broken chairs, a dresser. Through the
collapsed wall of the bathroom, the porcelain commode and bathtub took
almost new, gleaming in the dark.

LOVETT
Wait wait go 

BODINE
You smellin' somethin' Boss?

LOVETT
I want to see what's under that wardrobe door.

BODINE
Give me my hands man! Alright!

SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and starts moving
debris aside. A lamp is lifted, its ceramic colors as bright as they were
in 1912.

LOVETT
Easy, Lewis. Take it slow. It might come apart. Ok OK GO!

Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it
with Snoop's gripper. It moves reluctantly in a cloud of silt. Under it is
a dark object. The silt clears and Snoop's cameras show them what was under

BODINE
Ooohh baby baby, are you seein' what I'm seein'?

CLOSE ON LOVETT, watching his monitors. By his expression it is like he is
seeing the Holy Grail.

LOVETT
It's payday, boys.

ON THE SCREEN, in the glare of the lights, is the object of their quest: a
small STEEL COMBINATION SAFE.

CUT TO:

14 EXT. STERN OF DECK OF KEDYSH - DAY 

THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of 
ship by a winch cable.

We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowd
has gathered, including most of the crew of KELDYSH, the sub crews, and a
hand-wringing money guy named BOBBY BUELL who represents the limited
partners. There is also a documentary video crew, hired by Lovett to cover
his moment of glory.

Everyone crowds around the safe. In the background Mir Two is being 
recovered with Lewis Bodine following Brock Lovett as he bounds over to the
safe like a kid on Christmas morning.

BODINE
Who's the best, baby? Say it. Say it!

LOVETT
You are, Lewis.
(to the video crew)
You rolling?

CAMERAMAN
Rolling.

Brock nods to his technicians, and they set about drilling the safe's
hinges. During this operation, Brock amps the suspense, working the lens 
fill the time.

LOVETT
Well, 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 out here to the middle of the North Atlantic... were worth it. If what
we think is in that same... is in that safe... it will be.

Lovett grins wolfishly in anticipation of his greatest find yet. The door
is pried loose. It clangs onto the deck. Lovett moves closer, peering into
the safe's wet interior. A long moment then... his face says it all.

LOVETT
Shit.

BODINE
You know, boss, this happened to Geraldo and his career never recovered.


LOVETT (to the video cameraman)
Turn the camera off.

CUT TO:

15 INT. LAB DECK, PRESERVATION ROOM - DAY

Technicians are carefully removing some papers from the safe and placing
them in a tray of water to separate them safely. Nearby, other artifacts
from the stateroom are being washed and preserved.

Buell is on the satellite phone with the INVESTORS. Lovett is yelling at
the video crew. Buell covers the phone and turns to Lovett.

BUELL
The partners want to know how it's going?

Lovett grabs the phone from Buell and goes instantly smooth.

LOVETT
Hi, Dave! Barry! Look, it wasn't in the safe... no, look, don't worry
about it, there're still plenty of places it could be... in the floor
debris in the suite, in the mother's room, in the purser's safe on C
deck... (seeing something) Hang on a second.

He hands the phone back to Buell. A tech coaxes some letters in the water
tray to one side with a tong... revealing a pencil (conte crayon) drawing
of a woman.

BUELL (on the phone)
Hey we might have something. We'll have to call you back.

Brock looks closely at the drawing, which is in excellent shape, though its
edges have partially disintegrated. The woman is beautiful, and beautifully
rendered. In her late teens or early twenties, she is nude, though posed
with a kind of casual modesty. She is on an Empire divan, in a pool of
light that seems to radiate outward from her eyes. Scrawled in the lower
right corner is the date: April 14 1912. And the initials JD.

The girl is not entirely nude. At her throat is a diamond necklace with one
large stone hanging in the center.

LOVETT
Where's the picture of the necklace?!

Lovett is handed a reference photo from the clutter on the lab table. It is
a period black-and-white photo of a diamond necklace on a black velvet
jeweler's display stand. He holds it next to the drawing. It is clearly the
same piece... a complex setting with a massive central stone which is
almost heart-shaped.

LOVETT
I'll be God damned.

CUT TO:

16 INSERT

A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh,
intercut with the CNN studio.

ANNOUNCER
Treasure hunter Brock Lovett is best known for finding Spanish gold in
sunken galleons in the Caribbean. Now he is using deep submergence
technology to work two and a half miles down at another famous wreck... the
Titanic. He is with us live via satellite from a Russian research ship in
the middle of the Atlantic... hello Brock?

LOVETT
Yes, hi, Tracy. You know, Titanic is not just A shipwreck, Titanic is THE shipwreck. It's the
Mount Everest of shipwrecks.

CUT TO:

17 INT. HOUSE / CERAMICS STUDIO

PULL BACK from the screen, showing the CNN report playing on a TV set in
the living room of a small rustic house. It is full of ceramics, figurines,
folk art, the walls crammed with drawings and paintings... things collected
over a lifetime.

PANNING to show a glassed-in studio attached to the house. Outside it is a
quiet 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 clay
covers her hands... hands that are gnarled and age-spotted, but still
surprisingly 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 recovering
some amazing things... things that will have enormous historical and
educational value.


CNN REPORTER (V.O.)
But it's no secret that education is not your main purpose. You're a
treasure 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 doing
just that.

The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body
shapeless 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 her
hands with a rag. A Pomeranian dog gets up and comes in with her.

The younger woman, LIZZY CALVERT, rushes to help her.

ROSE
Turn that up, dear.

REPORTER (V.O.)
Your expedition is at the center of a storm of controversy over salvage
rights and even ethics. Many are calling you a grave robber.

TIGHT ON THE SCREEN.

LOVETT
Nobody called the recovery of the artifacts from King Tut's tomb grave
robbing. I have museum-trained experts here, making sure this stuff is
preserved and catalogued properly. Look at this drawing, which was found
today...

The video camera pans off Brock to the drawing, in a tray of water. The
image of the woman with the necklace FILLS FRAME.

LOVETT
...a piece of paper that's been underwater for 84 years... and my team are
able to preserve it intact. Should this have remained unseen at the bottom
of 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.

ROSE
I'll be God damned.

CUT TO:
18 EXT. KELDYSH DECK - NIGHT

CUT TO KELDYSH. The Mir subs are being launched. Mir Two is already in the
water, and Lovett is getting ready to climb into Mir One when Bobby Buell
runs up to him.

BUELL
There's a satellite call for you.

LOVETT
Bobby, we're launching. See these submersibles here, going in the water?
Take a message.

BUELL
Trust me! You want to take this call!

CUT TO:

19 INT. LAB DECK / KELDYSH - NIGHT

Beull hands Lovett the phone, pushing down the blinking line. The call is
from Rose and we see both ends of the conversation. She is in her kitchen
with a mystified Lizzy.

BUELL
You have to speak up, she's kinda old....

LOVETT (irritated)
Great! This is Brock Lovett. What can I do for you, Mrs... ?

BUELL
Calvert, Rose Calvert

LOVETT
... Mrs. Calvert?

ROSE
I 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...

BUELL
I told you you wanted to take the call.

LOVETT (to Rose)
Alright. You have my attention, Rose. Can you tell me who the woman in the
picture is?

ROSE
Oh yes. The woman in the picture is me.

CUT TO:

20 EXT. OCEAN - DAY

SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the
ocean. 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,
looking out calmly. She holds her Pomeranian in her lap. Lizzy is with
her also.

CUT TO:

21 EXT. KELDYSH - DAY

Brock and Bodine are watching Mir 2 being swung over the side to start a dive.

BODINE
She's a goddamned liar! Some kind a nutcase after publicity. Like
that... that Anesthesia babe...

BUELL
They're inbound!

Brock nods and the three of them head forward to meet the approaching helo.

BODINE
Look, Rose DeWitt Bukater died on the Titanic at the age of 17. If she'd've
lived, she'd be over a hundred now.

LOVETT
A hundred and one next month.

BODINE (yelling over the noise of the approaching helicopter)
Okay, so she's a very old goddamned liar. Look, I've already done the
background on this woman. I traced her as far back as the 20's... she was
working as an actress. There's a clue Sherlock, an actress. Her name was
Rose Dawson. Then she married a guy named Calvert, moved to Cedar Rapids,
and punched out a couple of kids. Now Calvert's dead, and from what I hear
Cedar Rapids is dead.

LOVETT
And everybody who knows about the diamond is supposed to be dead or on this
ship. But she knows!

CUT TO:

22 EXT. KELDYSH HELIPAD

IN A THUNDERING DOWNBLAST the helicopter's wheels bounce down on the helipad.

Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF hands out about
ten suitcases.


BODINE (to Buell)
Doesn't exactly travel light does she?

Lovett walks over the helicopter to greet Rose.

LOVETT
Mrs. Calvert, I'm Brock Lovett.

Rose is being lowered to the deck in a wheelchair by Keldysh crewmen and
nods a greeting to Lovett. Lizzy, ducking unnecessarily under the rotor,
follows her out and takes Roses' protectively takes the handles of Roses'
wheelchair from the hands of a Keldysh crewmember. The crew chief hands a
puzzled Lovett a goldfish bowl with several fish in it.

CUT TO:

23 INT. ROSE'S STATEROOM / KELDYSH - DAY

Lizzy is unpacking Rose's things in the small utilitarian room. Rose is
placing a number of FRAMED PHOTOS on the bureau, arranging them carefully
next to the fishbowl. Brock and Bodine are in the doorway.

LOVETT
Is your stateroom alright?

ROSE
Yes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me.

LIZZY
Yes. We met just a few minutes ago. Remember Nana, up on deck?

ROSE
Oh, yes.

Brock glances at Bodine... oh oh. Bodine rolls his eyes. Rose finishes
arranging her photographs. We get a general glimpse of them: the usual
snapshots... children and grandchildren, her late husband.

ROSE
There, that's nice. I have to have my pictures when I travel.

LOVETT
Would you like anything? Is there anything I can get you?


ROSE (after a pause)
Yes.... I would like to see my drawing.


CUT TO:

24 INT. LAB DECK, PRESERVATION AREA

Rose looks at the drawing in its tray of water, confronting herself across
a span 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 a
shoulder 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 necklace
in his hand.


LOVETT
Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the
Crown, which disappeared in 1792, about the time Louis lost everything from
the neck up. The theory goes that the crown diamond was chopped too...
recut into a heart-like shape... and it became Le Coeur de la Mer. The
Heart of the Ocean. Today it would be worth more than the Hope Diamond.

ROSE
It was a dreadful, heavy thing. (she points at the drawing) I only wore it
this once.

LIZZY
You actually believe this is you, grandma?

ROSE
It is me, dear. Wasn't I a dish?

LOVETT
I tracked it down through insurance records... and old claim that was
settled under terms of absolute secrecy. Do you know who the claiment was,
Rose?

ROSE
I should imagine someone named Hockley,

A current of excitement runs the crew members in the room.

LOVETT
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his
son Caledon Hockley bought in France for his fianc�e... you... a week
before he sailed on Titanic. And the claim was filed right after the
sinking. So the diamond had to've gone down with the ship.

(to Lizzy)
See the date?

LIZZY
April 14, 1912.

BODINE
So if your grandma is who she says she is, she was wearing the diamond the
day Titanic sank.

LOVETT (to Rose)
And that makes you my new best friend.


CUT TO:
24 INT. LAB DECK, PRESERVATION AREA

LOVETT
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 a
trembling hand she lifts a tortoise shell hand mirror, inlaid with mother
of pearl. She caresses it wonderingly.



ROSE
This was mine. How extraordinary! It looks the same as the last time I saw it.

She turns the mirror over and looks at her ancient face in the cracked glass.

ROSE
The reflection has changed a bit.

Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes
flight on the ebony handle of the comb. She turns it slowly, remembering.
We can see that Rose is experiencing a rush of images and emotions that
have lain dormant for eight decades as she handles the butterfly comb.

LOVETT
Are you ready to go back to Titanic?

CUT TO:

29 INT. IMAGING SHACK / KELDYSH

It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the
screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN.

BODINE
Live from 12,000 feet.

ROSE stares raptly at the screens. She is enthralled by one in particular,
an image of the bow railing. It obviously means something to her. Brock is
studying her reactions carefully.

BODINE (showing Rose a graphic animation of the disaster)
She 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's
flooding in the

BODINE (cont'd)
forward compartments... and the water spills over the tops of the bulkheads
which unfortunately don't go any higher than D Deck. As her bow is going
down, her stern is coming up... slow at first... and then faster and faster
until it's lifting her ass out of the water, and that's a BIG ass, maybe 20
or 30 thousand tons 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 the
bow swings down and the stern falls back level... but the weight of the bow
pulls the stern up vertical, and then the bow section detaches, heading for
the bottom. The stern bobs like a cork, floods and goes under about 2:20
a.m. Two hours and forty minutes after the collision.

The animation then follows the bow section as it sinks. Rose watches this
clinical dissection of the disaster without emotion.

BODINE
The bow pulls out of its dive and planes away, almost a half a mile, before
it hits the bottom going maybe 12 miles an hour. KABOOM!

Cool huh?

ROSE
Thank you for that fine forensic analysis, Mr. Bodine. Of course the
experience of it was somewhat different...

LOVETT
Will 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. Rose
recognizes one of the Wellin davits, still in place. She hears ghostly
waltz music. 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 in the dark.

31 Rose Looks at another monitor. SNOOP DOG moving down a rusted,
debris-filled corridor. Rose watches the endless row of doorways sliding
past, like dark mouths.

32 IMAGE OF A CHILD, three years old, standing ankle deep in water in the 
middle of an endless corridor. The child is lost alone, crying.

33 Rose is shaken by the flood of memories and emotions. Her eyes well up
and she puts her head down, sobbing quietly.

LIZZY (taking the wheelchair)
I'm taking her to rest.

ROSE
No!

Her voice is surprisingly strong. The sweet little old lady is gone,
replaced by a woman with eyes of steel. Lovett signals everyone to stay
quiet.

LOVETT
Tell us, Rose.

She looks from screen to screen, the images of the ruined ship.

ROSE
It's been 84 years...

LOVETT
Just tell us what you can--

ROSE (holds up her hand for silence) Do you want to hear this or not Mr.
Lovett? It's been 84 years... and I can still smell the fresh paint. The
china had never been used. The sheets had never been slept in.

He switches on the minirecorder and sets it near her.

ROSE
Titanic was called the Ship of Dreams. And it was. It really was...


As the underwater camera rises past the rusted bow rail, WE DISSOLVE /
MATCH MOVE to that same railing in 1912...

MATCH DISSOLVE:

34 EXT. SOUTHAMPTON 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.

Southampton, England, April 10, 1912. It is almost noon on sailing 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. 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 beyond meaning.

ROSE
I don't see what all the fuss is about. It doesn't look any bigger than the
Mauretania.

CAL
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.

Cal turns and gives 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 will.

CAL
Your daughter is much too hard to impress, Ruth.

RUTH (gazing at the leviathan)
So this is the ship they say is unsinkable.

CAL
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 and
Rose.

A WHITE STAR LINE PORTER scurries toward them, harried by last minute loading.

PORTER
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.

CAL
I put my faith in you, good sir. (curtly, indicating Lovejoy) Now kindly see my man.

PORTER
Yes, 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 there, and the safe... to the parlor suite
rooms B-52, 54, and 56.

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.

CAL
We'd 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. 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.

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.

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's
arm. He escorts her up the gangway and the black hull of Titanic swallows
them.

OLD ROSE (V.O.)
Outwardly I was everything a well brought up girl should be. Inside, I was
screaming.

35 CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic's
funnels, bellowing their departure warning.

CUT TO:

36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY


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
Southampton.

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 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 a card.

FABRIZIO
Jack, I can't believe you bet everything we have!

JACK (leaning close to Fabrizio)
When you got nothin' you got nothin' to lose.

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 3RD
CLASS TICKETS for RMS TITANIC.

The Titanic's whistle blows again. Final warning.

JACK
The moment of truth boys. Somebody's life's about to change. Fabrizio?
Fabrizio puts his cards down.

FABRIZIO
Niente.

JACK
Niente.. Olaf..... nothing. Sven, ....uh oh... two pair... mmm.
(turns to his friend) Sorry Fabrizio.

FABRIZIO
What sorry? What you got? You lose my money?? Ma va fa'n culo testa di cazzo--

JACK
Sorry, 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!

FABRIZIO
Porca Madonna!! YEEAAAAA!!!

The table explodes into shouting in several languages. Jack rakes in the
money and the tickets.

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.

JACK
Goin' home...

FABRIZIO
You see? Is my destinio!! Like I told you. I go to l'America!!
(to pubkeeper) Capito?? I go to America!!

PUBKEEPER
No, mate. Titanic go to America. In five minutes.

JACK
Shit!! Come on, Fabri! (grabbing their stuff) Come on!!

They run for the door.


CUT TO:

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
monstrous.

JACK
Come on Fabri! We'll a couple of regular swells. Practically Goddamned
royalty! I thought you said you were fast!

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.

JACK
Wait!! We're passengers!

Flushed and panting, he waves the tickets.

MOODY
Have 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 come
aboard. Moody glances at the tickets, then passes Jack and Fabrizio through


Jack and Fabrizio whoop with victory as they run down the white-painted
corridero... grinning from ear to ear.

JACK
We are the luckiest sons of bitches in the world!


CUT TO:

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.

CUT TO:

41 EXT. AFT WELL DECK / POOP DECK - DAY

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.


FABRIZIO
You know somebody?

JACK
Of 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.

FABRIZIO
Goodbye! I will never forget you!!


CUT TO:

EXT. SOUTHAMPTON 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.


CUT TO:

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 Channel.

CUT TO:

45 INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY

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 ( the Gundersons)
Hi, Jack Dawson. How ya doing?

Jack throws his kit on one open bunk, while Fabrizio takes the other.


JACK (wrestling with Fabrizio)
Hey, who says you get top bunk, huh?

BJORN (in Swedish/ subtitled)
Where is Sven?


CUT TO:

46 INT. SUITE B-52-56 PROMENADE - 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 deck outside. Cal is
out on the covered deck, which has potted trees and vines on trellises,
talking through the doorway to Rose in the sitting room.

STEWARD
Will there be anything else, sir.

Cal dismisses him with a wave.

CUT TO
INT. SUITE B-52-56
Rose 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.

TRUDY
Do you want them all out, Miss?

ROSE
Yes, this room could use some color.

CAL (at the doorway)
Oh no, not those finger paintings again. They certainly were a waste of money.


ROSE (looking at a cubist portrait) The difference in Cal's taste in art and mine is that I have some. They're
fascinating. Like in a dream... there's truth but no logic. What's the
artist's name again...something Picasso...

CAL (coming into the sitting room)
Something Picasso? 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.

LOVEJOY
Put that in the wardrobe.


CUT TO:

48 EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK

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 image.

CUT TO:

49 INT. FIRST CLASS RECEPTION/ D-DECK

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.

OLD ROSE (V.O.)
At 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
money".

MOLLY
Well, I wasn't about to wait all day for you, sonny. Take 'em the rest of
the way if you think you can manage.

MOLLY (to John Jacob Astor entering the elevator)
Hey J.J., see you at dinner!

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.


OLD ROSE (V.O.)
By 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...


CUT TO:

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.

CUT TO:

52 INT. / EXT. TITANIC - SERIES OF SCENES - DAY

ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER
WILLIAM MURDOCH.

CAPTAIN SMITH
Take 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 dreams.

IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".

CHIEF ENGINEER BELL
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, hurling
the steamer forward and churning up a vortex of foam that lingers for miles
behind the juggernaut ship. Smoke pours from the funnels as--

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.

FIRST OFFICER MURDOCH
Twenty one knots, sir!

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, looking down.



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.


FABRIZIO
I can see the Statue of Liberty already. (grinning at Jack) Very small...
of course.

Jack climbs excitedly up on the railing, exulting in the moment

JACK
I'm the King of the World!

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 majesty.

ISMAY (V.O.)
She is the largest moving object ever made by the hand of man in all history...


CUT TO:

59 INT. PALM COURT RESTAURANT - DAY

CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line.


ISMAY
...and our master shipbuilder, Mr. Andrews here, designed her from the keel
plates up.

He indicates a handsome 39 year old Irish gentlemen to his right, THOMAS
ANDREWS, of Harland and Wolf Shipbuilders.

WIDER, showing the group assembled for lunch the next day. Ismay seated
with Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm Court, a
beautiful 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. He
envisioned a steamer so grand in scale, and so luxurious in its
appointments, that its supremacy would never be challenged. And here she
is... (he slaps the table) ...willed into solid reality.

The waiter arrives to take orders. Rose lights a cigarette.

RUTH
You know I don't like that, Rose.

CAL
She 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.

MOLLY
So, you gonna cut her meat for her too there, Cal? (turning to Ismay)
Hey, who came up with the name Titanic? Was it you, Bruce?

ISMAY
Yes, actually. I wanted to convey sheer size. And size means stability,
luxury... and safety--

ROSE
Do you know of Dr. Freud? His ideas about the male preoccupation with size
might be of particular interest to you, Mr. Ismay.

Andrews chokes on his breadstick, suppressing laughter.

RUTH
My God, Rose, what's gotten into--

ROSE
Excuse me.

She stalks away.

RUTH (mortified)
I do apologize.

MOLLY
She'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, won't I Mrs.
Brown?


CUT TO:

60 EXT. POOP DECK / AFTER DECKS - DAY

Jack sits on a bench in the sun. Titanic's wake spreads out behind him to
the horizon. He has his knees pulled up, supporting a leather bound
sketching pad, his only valuable possession. With conte crayon he draws
rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has
his 3 year old daughter CORA standing on the lower rung of the rail. She is
leaned back against his beer barrel of a stomach, watching the seagulls.

THE SKETCH captures them perfectly, with a great sense of the humanity of
the 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 comes
by, walking three small dogs around the deck. One of them, a BLACK FRENCH
BULLDOG, is among the ugliest creatures on the planet.

TOMMY
That's typical. First class dogs come down here to take a shite.

Jack looks up from his sketch.

JACK
That's so we know where we rank in the scheme of things.

TOMMY
Like we could forget. I.m Tommy Ryan (shakes hands with Jack & Fabrizio,
introductions are exchanged)

TOMMY (CONT"D)
You make any money with your drawings?

Jack glances across the well deck. At the aft railing of B deck promenade
stands ROSE, in a long yellow dress and white gloves.

CLOSE ON JACK, unable to take his eyes off of her. They are across from
each other, 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
the water. He is riveted by her. She looks like a figure in a romantic
novel, sad and isolated.

Fabrizio and Tommy follow Jack's stare to Rose. Fabrizio and Tommy grin at
each other.

TOMMY
Forget it, boyo. You'd as like have angels fly out o' yer arse as get next
to the likes o' her.

Rose turns suddenly and looks right at Jack. He is caught staring, but he
doesn't look away. She does, but then looks back. Their eyes meet across
the space 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
arm away. They argue in pantomime. She storms away, and he goes after her,
disappearing along the A-deck promenade. Jack stares after her.


CUT TO:

61 INT. FIRST CLASS DINING SALOON - NIGHT

SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated
conversation. Cal and Ruth are laughing together, while on the other side
LADY DUFF-GORDON is holding forth animatedly. We don't hear what they are
saying. Rose is staring at her plate, barely listening to the
inconsequential babble around her.

OLD ROSE (V.O.)
I saw my whole life as if I'd already lived it... an endless parade of
parties and cotillions, yachts and polo matches... always the same narrow
people, the same mindless chatter. I felt like I was standing at a great
precipice, with no one to pull me back, no one who cared... or even
noticed.

CUT TO:

64 EXT. A DECK PROMENADE, AFT - NIGHT

Rose runs along the B deck promenade. She is disheveled, 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 emotional
display in public.

CUT TO:

65 EXT. POOP DECK - NIGHT

Jack is kicked back on one of the benches gazing at the stars blazing
gloriously 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 Jack
in the shadows, and runs right past him.

TRACKING WITH ROSE as she runs across the deserted fantail. Her breath
hitches in an occasional sob, which she suppresses. Rose slams against the
base of the stern flagpole and clings there, panting. She stares out at the
black water.

Then starts to climb over the railing. She has to hitch her long dress way
up, and climbing is clumsy. Moving methodically she turns her body and gets
her heels on the white-painted gunwale, her back to the railing, facing out
toward blackness. 60 feet below her, the massive propellers are churning
the Atlantic 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
her are the huge letters of the name "TITANIC".

She leans out, her arms straightening... looking down hypnotized, into the
vortex below her. Her dress and hair are lifted by the wind of the ship's
movement. The only sound, above the rush of water below, is the flutter and
snap of the big Union Jack right above her.

JACK
Don't do it!

She whips her head around at the sound of his voice. It takes a second for
her eyes to focus.

ROSE
Stay back! Don't come any closer!

Jack sees the tear tracks on her cheeks in the faint glow from the stern
running lights.

JACK
Take my hand. I'll pull you back over.

ROSE
No! Stay where you are. I mean it. I'll let go.

JACK
No you won't.

ROSE
What do you mean no I won't? Don't presume to tell me what I will and will
not do. You don't know me.

JACK
Well, you woulda done it already. Now come on, take my hand.

Rose is confused now. She can't see him very well through the tears, so she
wipes them with one hand, almost losing her balance.

ROSE
You're distracting me. Go away.

JACK
I can't. I'm involved now. If you let go I have to jump in after you.

ROSE
Don't be absurd. You'll be killed.

He takes off his jacket.

JACK
I'm a good swimmer.

He starts unlacing his left shoe.

ROSE
The fall alone would kill you.

JACK
It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more
concerned about the water being so cold.

She looks down. The reality factor of what she is doing is sinking in.

ROSE
How cold?

JACK (taking off his left shoe)
Freezing. Maybe a couple degrees over.

He starts unlacing his right shoe.

JACK
Ever been to Wisconsin?

ROSE (perplexed)
What?

JACK
Well they have some of the coldest winters around, and I grew up there,
near Chippewa Falls. Once when I was a kid me and my father were
ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole in
the--

ROSE
I know what ice fishing is!

JACK
Sorry. ... you just sorta look like kind of an indoor girl. Anyway, I went
through some thin ice and I'm tellin' ya, water that cold... like that
right down there... it hits you like a thousand knives all over your body.
You can't breath, 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 I
said, I don't have a choice. I guess I'm kinda hoping you'll come back
over the rail and get me off the hook here.

ROSE (accusatorily to Jack and then turning back to lean over the water)
You're crazy!

JACK
That's what everybody says. But with all due respect Miss, I'm not the one hanging off the
back of a ship here.

He slides one step closer, like moving up on a spooked horse.

JACK
Come on. You don't want to do this. Give me your hand.

Rose turns and stares at this madman for a long time. She looks at his eyes
and they somehow suddenly seem to fill her universe.

ROSE
Alright.

Now that she has decided to live, the height is terrifying. She unfastens
one hand from the rail and reaches it around toward him. He reaches out to
take it, firmly. She turns around facing him, close.

JACK

ROSE (voice quavering)
Rose Dewitt Bukater.

JACK
I may hafta get you to write that one down.

Rose chuckles weakly. As she starts to climb, her dress gets in the way,
and one foot slips off the edge of the deck.

She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is
jerked 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 for
the ladder.

ROSE
HELP! HELP!!

JACK
I've got you. I won't let go.

Jack holds her hand with all his strength, bracing himself on the railing
with his other hand. Rose tries to get some kind of foothold on the smooth
hull. Jack tries to lift her bodily over the railing. She can't get any
footing in her dress and evening shoes, and she slips back. Rose SCREAMS
again.

Jack, awkwardly clutching Rose by whatever he can get a grip on as she
flails, gets her over the railing. They fall together onto the deck in a
tangled heap, spinning in such a way that Jack winds up slightly on top of
her.

Rowe slides down the ladder from the docking bridge like it's a fire drill
and sprints across the fantail.

ROWE
Here, what's all this?!

Rowe runs up and pulls Jack off of Rose, revealing her disheveled and
sobbing on the deck. Her dress is torn, and the hem is pushing up above her
knees, showing one ripped stocking. He looks at Jack, the shaggy steerage
man with his jacket off, and the first class lady clearly in distress, and
starts drawing conclusions. Two seamen chug across the deck to join them.

ROWE (to Jack)
Here you, stand back! And don't move an inch! (to the seamen) Fetch the
Master at Arms.


CUT TO:

66 EXT. POOP DECK - NIGHT

A few minutes later. Jack is being detained by the burly MASTER AT ARMS,
the closest thing to a cop on board. He is handcuffing Jack. Cal is right
in front of Jack, and furious. He has obviously just rushed out here with
Lovejoy and another man, and none of them have coats over their black tie
evening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioed
blowhard who still has his brandy snifter. He offers it to Rose, who is
hunched over crying on a bench nearby, but she waves it away. Cal is more
concerned with Jack. He grabs him by the lapels.

CAL
What made you think you could put your hands on my fianc�e?! Look at me,
you filth! What did you think you were doing?!

ROSE
Cal, stop! It was an accident.


CAL
An accident?!

ROSE
It was... stupid really. I was leaning over and I slipped.

Rose looks at Jack, getting eye contact.

ROSE
I was leaning far over, to see the...ah..ah.. ah... propellers. And I
slipped and I would have gone overboard... but Mr. Dawson here saved me and
he almost went over himself.

CAL
You 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.

JACK
Uh huh. That was pretty much it.

He looks at Rose a moment longer. Now they have a secret together.

COLONEL GRACIE
Well! 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?

CAL
Oh, right. Mr. Lovejoy. I think a twenty should do it.

ROSE (chiding)
Is that the going rate for saving the woman you love?

CAL
Rose is displeased. Mmm... what to do?

Cal turns back to Jack. He appraises him condescendingly... a steerage
ruffian, unwashed and ill-mannered.

CAL
I know. (to Jack) Perhaps you could join us for dinner tomorrow..... to
regale our group with your heroic tale?

JACK (looking straight at Rose)
Sure. Count me in.

CAL
Good. Settled then.

Cal turns to go, putting a protective arm around Rose. he leans close to
Gracie as they walk away.

CAL
This should be amusing.

JACK (as Lovejoy passes)
Can I bum a cigarette?

Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it
open. Jack takes a cigarette, then another, popping it behind his ear for
later. Lovejoy lights Jack's cigarette.

LOVEJOY
You'll want to tie those. (Jack looks at his shoes) Interesting that the
young lady slipped so suddenly and you still had time to take of your
jacket and shoes. Mmmm?

Lovejoy's expression is bland, but the eyes are cold. He turns away to join
his group.


CUT TO:

67 INT. ROSE'S BEDROOM - NIGHT

Rose is seated at her vanity listening to a music box. As she undresses
for bed Rose sees Cal standing in her doorway, reflected in the cracked
mirror of her vanity. He comes toward her.

CAL (unexpectedly tender)
I know you've been melancholy. I don't pretend to know why.

From behind his back he hands her a large black velvet jewel case. She
takes it, numbly.

CAL
I intended to save this till the engagement gala next week. But I thought
tonight.....perhaps as a reminder of my feeling for you...

Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN"
in all its glory. It is huge... a malevolent blue stone glittering with an
infinity of scalpel-like inner reflections.

ROSE
Good Gracious... Cal. Is it a--

CAL
Diamond. Yes. 56 carats to be exact.

He takes the necklace and during the following places it around her throat.
He turns her to the mirror, staring behind her.

CAL
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer, the--

ROSE
The Heart of the Ocean. ...... it's overwhelming.

He gazes at the image of the two of them in the mirror.

CAL
It's for royalty. We are royalty, Rose.

His fingers caress her neck and throat. He seems himself to be disarmed by
Rose's elegance and beauty. His emotion is, for the first time, unguarded.

CAL (kneeling next to her)
You know there's nothing I couldn't give you. There's nothing I'd deny you,
if you wouldn't deny me. Open your heart to me, Rose.


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
Well after my parents died I lit out of there and I haven't been back. I
guess you could just call me a tumbleweed blowin' in the wind. So, Rose, I
guess we've walked about a mile around this ship. We've talked about the
weather, and all about me ....but I guess that's not why you wanted to see
me.

ROSE
Mr. Dawson, I--

JACK
Jack.

ROSE
Jack?... 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
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 make this girl think she had no way out.


ROSE
I don't... It was them. It was my whole world and everything in it. And
the inertia in my life, with me powerless to stop it.

She shows him her engagement ring. A sizable diamond.


JACK
Gawd look at that thing! You would have gone straight to the bottom.


ROSE
Five hundred invitations have gone out, all of Philadelphia society will be
there, and all the while I feel like standing in the middle of a crowded
room screaming out loud and no one even looks up!

JACK
Do you love him?

ROSE (indignant)
Pardon me?

JACK
Do you love him?

ROSE
You're being very rude. You shouldn't be asking me this.

JACK
Well it's a simple question, do you love the guy or not?

ROSE (flustered)
You don't know me and I don't know you and we are not having this
conversation at all!

JACK
Why can't you just answer the question?

ROSE
This is not a suitable conversation. You are rude and uncouth and
presumptuous and I am leaving now. (shaking his hand) Jack. Mister Dawson,
I sought you out to thank you and now I have thanked you.....

JACK (amused)
And you've insulted me.

ROSE
Well...you deserved it.

They continue shaking hands.

JACK
Really?..........I thought you were leaving.

ROSE
I am!

She begins to walk away

ROSE (turning to face him, really taken aback)
You are so annoying! (she starts to turn back around but stops) Wait a
minute! I don't have to leave. This is my part of the ship. You leave!

JACK
OH,OH WELL WELL WELL! Now who's being rude?

Rose does not know what to say. Jack laughs. To easy her discomfort and
change the subject she grabs his sketchbook from his hands.

ROSE
What is this stupid thing you keep carrying around?

She examines his drawings...

ROSE (interested reluctantly, moving away slightly, still trying to feign
being indignant)What are you an artist? Well, these are rather good.
Actually they're very good.

Fascinated she sits down on one of the deck chairs. Jack sits next to her.

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. 
JACK
Well, they didn't think too much of 'em in Paree.

ROSE
Well, well... Paris. You do get around for a po...(embarrassed) well, a
person of limited means.

JACK
It's OK you can say it, a poor guy.

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)
Well, well, well! 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. She was a one legged prostitute. See?
(indicating another picture)
Rose chokes on the picture and then is morbidly interested.

JACK
It's Ok, she had a great sense of humor. Oh, and this woman. I call her
Madame Bijou. She would come this bar every night, wearing every piece of
jewelry she owned, just waiting for her long lost love. See how her
clothes are moth-eaten?

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 (drawing herself up with a smile)
And...?

JACK
You wouldn'ta jumped.

(Rose's smile fades as she looks intently at Jack)

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 patrician features.

RUTH
...but the purpose of University is to find a suitable husband. Rose has
already done that.

Ruth sees someone coming across the room and lowers her voice.

RUTH
Oh no, it's that vulgar Brown woman! 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 like a wonderful idea. 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 yet lit the last four boilers then?

SMITH
No, I don't see the need. We are making excellent time.

ISMAY (impatiently)
Captain, the press knows about the size of Titanic, Now I want them to
marvel at her speed. We must give them something new to print. And the
maiden voyage of Titanic must make headlines!

SMITH
I would 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.

ISMAY
Good Man!


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.

JACK
So I went down to Los Angeles to the pier in Santa Monica. I sketched
portraits there for ten cents a piece.

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
No we'll go! We'll drink cheap beer, ride the rollercoaster until we
throw up. And we'll ride horses on the beach... right in the surf... but
you'll have to ride like a real cowboy, none of that side-saddle stuff.

ROSE (flustered)
You mean ....one leg on each side? Can you show me?

JACK
Sure. If you like.

ROSE (smiling at him)
Teach me to ride like a man!

JACK (in a bad texas accent)
And chew tobacco like a man!

ROSE (in the same bad accent)
And SPIT like a man!

JACK
They didn't teach you that in finishing school?

ROSE
No!

JACK (grabbing her hand and pulling her to the side railing)
I'll teach you! Come on.


ROSE (resisting but smiling)
No! No Jack! No! No Jack!

JACK (pulling her to the side rail)
Ok, Watch closely.

He spits. It arcs out over the water.

ROSE
Ugh, that's disgusting!


JACK
Your turn. Come on!

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
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
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, indicates the spittle which he promptly wipes away. 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.

The Countess exits with Ruth and Rose, leaving Jack and Molly alone on
deck. Jack stretches mightily to get a last look at Rose as she is walking
away, enchanted by her.

MOLLY (getting his attention)
Son....son, do you have the slightest comprehension of what you're doing?

JACK (smiling)
Not really.

MOLLY
Well, you're about to go into the snakepit. What are you planning to wear?

Jack looks down at his clothes. Back up at her. He shrugs. He hadn't
thought about that.

MOLLY
I figured. Come on.

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 holding it as he puts it on.

MOLLY
I was RIGHT! You and my son are about the same size!

JACK
Pretty close!

He turns to look at himself in the mirror. Molly is next to him taking him in.

MOLLY
My, my, my... you shine up like a new penny. Ha!

CUT TO:

78 EXT. BOAT DECK / FIRST CLASS ENTRANCE - DUSK

A purple sky, shot with orange, in the west. Drifting strains of classic
music. We TRACK WITH JACK along the deck. By Edwardian standards he looks
badass. Dashing in his borrowed white-tie outfit, right down to his pearl
studs.

A steward bows and smartly opens the door to the First Class Entrance.

STEWARD
Good evening, sir.

Jack nods, uncomfortable.

CUT TO:

79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK

Jack steps in and his breath is taken away by the splendor spread out
before him. Overhead is the enormous glass dome, with a crystal chandelier
at its center. Sweeping down six stories is the First Class Grand
Staircase, the epitome of the opulent naval architecture of the time.

And the people: the women in their floor length dresses, elaborate
hairstyles and abundant jewelry... the gentlemen in evening dress, standing
with one hand at the small of the back, talking quietly.

Jack descends to A deck. He stops near a pillar, crosses his arms and leans
on it. Quickly scanning the crowd, he realizes that the men are not
standing this way. He assumes a proper stance with his hand behind him.
Several men walk by, nod a perfunctory greeting. He nods back, keeping it
simple. He feels like a spy.

Cal comes down the stairs, with Ruth on his arm, covered in jewelry. We
overhear their conversation.

CAL
Did you know there are several tons of Hockley Steel in the Titanic?

RUTH
Really? Which part?

CAL
All the right ones, of course!

RUTH
Well then we'll know who to hold accountable if something goes wrong.

They both walk right past Jack, neither one recognizing him. Cal nods at
him, one gent to another. Jack turns as if to shake hands with Cal,
pantomimes it for practice. He is caught in the act by Rose who is coming
down the staircase, watching him, amazed. Jack catches her from the corner
of his eye and turns to face her. She is a vision in red and black, her
low-cut dress showing off her neck and shoulders, her arms sheathed in
white gloves that come well above the elbow. Jack is hypnotized by her
beauty.

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, kissing
the back of her fingers. Rose flushes, beaming noticeably. She can't take
her eyes off him.


JACK
I saw that in a nickelodeon once, and I always wanted to do it.

She takes his arm and comes down the stairs. She is visibly impressed by
him. They come up behind Cal and Ruth.

ROSE
Darling, 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.

JACK (matter of factly)
Almost.

They begin heading for the next staircase. Jack smiles at Rose, raises his
nose as if to mock the first class upper-crust attitude he is emulating.
She laughs, still taken with him.

CUT TO
80 INT. D-DECK RECEPTION ROOM / STAIRWAY
Jack and Rose descend the Grand Staircase to D Deck. Rose keeps looking
over at Jack in amazement. He catches her looking. As they reach the
bottom, Rose decides to brief Jack on those around them.

ROSE
There's the Countess of Rothes. And that's John Jacob Astor... the richest man on the ship.
His little wifey there, Madeleine, is my age and in a delicate condition. 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 designs naughty lingerie, among her many talents. Very
popular with the royals.

ROSE (CONT'D)
And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs.
Guggenheim is at home with the children, of course.

Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel
Gracie, while Ruth, the Countess and Lucille discuss fashion. Cal,
meanwhile, is accepting the praise of his male counterparts, who are
looking at Rose like a prize show horse.

SIR COSMO
Hockley, she is splendid.

CAL
Thank you.

The entourage strolls toward the dining saloon, where they run into the
Astor's going through the ornate double doors.

They encounter Molly Brown, looking good in a beaded dress, in her own
busty broad-shouldered way. Molly grins when she sees Jack. As they are
going into the dining saloon she walks next to him, speaking low:

MOLLY
Escort a lady to dinner Jack?
She takes his other arm as they enter the dining room.


MOLLY
Ain't nothin' to it, is there, Jack? Remember, they all love money, so
just act like you've got a lot of it and you're in the club. Hey Astor!

ASTOR (again pained at being called loudly in public)
Well, Hello Molly!

ROSE
J.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?

JACK
No, the Chippewa Falls Dawsons, actually.

J.J. nods as if he's heard of them, then looks puzzled.

CUT TO:
81 INT. DINING SALOON

Like a ballroom at the palace, alive and lit by a constellation of
chandeliers, full of elegantly dressed people and beautiful music from
BANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter and
move 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 of
them... a young captain of industry perhaps... new money, obviously, but
still a member of the club. Mother of course, could always be counted
upon...

CUT TO:

82 INT. DINING SALOON

CLOSE ON RUTH.


RUTH
Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quite
good on this ship.

WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and
Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie,
the Countess, Guggenheim, Madame Aubert, and the Astors.

JACK
The best I've seen, ma'am. Hardly any rats.

Rose motions surreptitiously for Jack to take his napkin off his plate.

CAL
Mr. Dawson is joining us from third class. He was of some assistance to my
fianc�e last night.

We see whispers exchanged. Jack becomes the subject of furtive glances. Now
they're all feeling terribly liberal and dangerous.

ROSE (determined not to let Cal ride Jack)
It turns out that Mr. Dawson is quite a fine artist. He was kind enough to
show me some of his work.

CAL
Rose and I differ somewhat in our definition of art. Not to impugn your
work, sir.

Jack takes that comment in stride with a wave of his hand.

WAITER (to Jack)
And how do you take your caviar, sir?

JACK
No caviar for me, thanks. Never did like it much.

He looks at Rose, pokerfaced, and she smiles.

Salad is served. Jack surveys the wide array of utensils...

JACK (low, to Molly )
Are these all for me.

MOLLY (also low)
Just start from the outside and work your way in.

ISMAY (overheard from another conversation)
....She may be mine on paper, but in the eyes of God she belongs to Thomas
Andrews. He knows every rivet in her, don't you Thomas?

ROSE
Your ship is a wonder, Mr. Andrews. Truly.

ANDREWS
Thank you, Rose.

We see that Andrews has come under Rose's spell.


RUTH
And where exactly do you live, Mr. Dawson?

JACK
Well, right now my address is the RMS Titanic. After that, I'm on God's
good humor.

RUTH
And how is it you have means to travel?

JACK
Well I work my way from place to place, tramp steamers and such, but I won
my ticket on Titanic here is a lucky hand at poker. (Looking at Rose) A
very lucky hand

GRACIE
All life is a game of luck.

CAL
A real man makes his own luck, Archie. Right Dawson?

Jack nods his agreement.
RUTH (back to Jack) And You find that sort of rootless existence appealing, do you? JACK Well, yes. Yes I do. I've got everthing I need in the world right here. I've got air in my lungs and a few blank sheets of paper. I love waking up in the morning not knowing what I'm gonna do or who I'm gonna meet. Just the other day I was sleeping under a bridge, and here I am today, on the grandest ship in the world, drinking champagne with you fine people. (to the waiter) I take a little more of that. (back to the table) You never know what hand you're gonna be dealt next. You've got to take life as it comes at you. To make each day count. (notices Cal searching for matches, he throw his pack to him, taking Cal of guard) Oh, here you go Cal! Molly Brown raises her glass in a salute. MOLLY Well said, Jack. COLONEL GRACIE (raising his glass) Here, here. Rose raises her glass, looking at Jack. ROSE To making it count. 83 TIME TRANSITION: Dessert has been served and a waiter arrives with cigars in a humidor on a wheeled cart. The men start clipping ends and lighting. 
ROSE (low, to Jack) Next 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 being
masters of the universe.

GRACIE
Joining us, Dawson? You don't want to stay out here with the women, do you?

Actually he does, but...

JACK
No thanks. I'm heading back.

We see Jack hand a golden pen back to Molly who nonchalantly returns it to
her purse.

CAL
Probably best. It'll be all business and politics, that sort of thing.
Wouldn't interest you. And Dawson! (throwing his matches back to him),
Good of you to come.

Cal and the other gentlemen exit.

ROSE
Jack, must you go?

JACK
Time for me to go row with the other slaves. Thank you.

He leans over to take her hand, kisses it again as before, looking deep
into her eyes.

INSERT: We see him slip a tiny folded 
not into her palm.

Ruth, scowling, watches him walk away across the enormous room. Rose
surreptitiously opens the note below table level. It reads: "Make it count.
Meet me at the clock". We see the wonder and excitement in her eyes as she
watches Jack leave the room.

CUT TO:

84 INT. A-DECK FOYER-NIGHT

Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead
is the crystal dome. Jack has his back to her, studying the ornate clock
with its carved figures of Honor and Glory. It softly strikes the hour.
She hesitates, draws a breath, as if trying to decide if she's doing the
right thing.

MOVING WITH ROSE as she goes up the sweeping staircase toward him. He
turns, sees her... smiles.

JACK
So you want to go to a real party?

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. More like a cop.

ROSE
I think he was!

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, shoveling coal into the
insatiable maws of the furnaces. The whole place thunders with the roar of
the fires.

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
No.

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.

CUT TO:

123 EXT. OCEAN / TITANIC

ON TITANIC, steaming hellbent through the darkness, hurling up white water
at the bows. The bow comes straight at us, until the bow wave WIPES THE
FRAME--

CUT TO

124 EXT BRIDGE PROMENADE

Exiting the bridge are Second Officer Lightoller and First Officer Murdoch.

LIGHTOLLER
Did we ever find those binoculars for the lookouts?

FIRST OFFICER MURDOCH
Haven't seen them since Southampton.

LIGHTOLLER
Well, I be off to my rounds.


CUT TO:

124 INT. HOLD #2

PUSHING 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 a
handprint in the veil of condensation.

INSIDE THE CAR, Jack's overcoat is like a blanket over them. It stirs and
Rose pulls it down. They are huddled under it, intertwined, still mostly
clothed. 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.

ROSE
You're trembling.

JACK
It's okay. I'm alright.

He lays his cheek against her chest.

She hugs his head to her chest, and just holds on for dear life.

CUT TO:

125 EXT. ATLANTIC / TITANIC - NIGHT

The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and the
tiny half-cylinder of the crow's nest, which grows as we push in on
lookouts Fleet and Lee. They are stamping their feet and swinging their
arms, trying to keep warm in the 22 knot freezing wind, which whips vapor
of their breath away behind.

FLEET
You can smell ice, you know, when it's near.

LEE
Bollocks.

FLEET
Well I can.

CUT TO:

126 INT. BOILER ROOM SIX

Without hearing the words over the roar of the furnaces, we see stokers
telling TWO STEWARDS which way Rose and Jack went. The stewards move off
toward the forward holds.

CUT TO:

127 INT. CAL AND ROSE'S SUITE

Cal stands at the open safe. He stares at the drawing of Rose and his face
clenches with fury. He reads the not again: "DARLING, NOW YOU CAN KEEP US
BOTH LOCKED IN YOUR SAFE, ROSE".

Lovejoy, standing behind him, looks over his shoulder at the drawing. Cal
crumples Rose's not, then takes the drawing in both hands as if to rip it
in half. He tenses to do it, then stops himself.

CAL
I have a better idea.

CUT TO:

128 INT. HOLD #2 - NIGHT

The two stewards enter. They have electric torches and play the beams
around the hold. They spot the Renault with its fogged up rear window and
approach it slowly.

FROM INSIDE we see the torch light up Rose's passionate handprint, still
there on the fogged up glass. One steward whips open the door.

STEWARD
Got yer!

REVERSE: the back seat is empty.

CUT TO:

129 EXT. FORWARD WELL DECK AND CROW'S NEST - NIGHT

Rose and Jack, fully dressed, come through a crew door onto the deck. They
can barely stand, they are laughing so hard.

UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the disturbance
below and looks around and back down to the well deck, where he can see two
figures embracing.

Jack and Rose stand in each others arms. Their breath clouds around them in
the now freezing air, but they don't even feel the cold.

JACK (laughing)
Did you see their faces?

Rose calms him by placing her finger on his lips. She looks into his eyes
and draws a deep breath.

ROSE
When this ship docks, I'm getting off with you.

JACK (incredulous)
This is crazy.

ROSE
I 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.

FLEET
Cor... look at that, would ya.

LEE
They're a bloody sight warmer than we are.

FLEET
Well if that's what it takes for us two to get warm, I'd rather not, if it's all the same.

They both have a good laugh at that one. It is Fleet whose expression falls
first. Glancing forward again, he does a double take. The color drains out
of his face.

FLEET'S POV: a massive iceberg right in their path, 500 yards out.

FLEET
Bugger me!!

Fleet reaches past Lee and rings the lookout bell three times, then grabs
the telephone, calling the bridge. He waits precious seconds for it to be
picket up, never taking his eyes off the black mass ahead.



FLEET
Pick up, you bastards!

CUT TO:

131 INT. / EXT. BRIDGE

Inside the enclosed wheelhouse, SIXTH OFFICER MOODY walks unhurriedly to
the telephone, picking it up.

FLEET (V.O.)
Is anyone there?

MOODY
Yes. What do you see?

FLEET
Iceberg right ahead!

MOODY
Thank 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.

MURDOCH
Hard 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 steam
manifold when the engine telegraph clangs, then goes... incredibly... to
FULL SPEED ASTERN. He and the other ENGINEERS just stare at it a second,
unbelieving. Then Bell reacts.

BELL
Full astern! FULL ASTERN!!

The engineers and greasers like madmen to close steam valves and start
braking the mighty propeller shafts, big as Sequoias, to a stop.

133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with
2nd Engineer JAMES HESKETH when the red warning light and "STOP" indicator
come on.

BARRETT Shut all dampers! Shut 'em!!

134 FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. The
bow finally starts to come left (since the ship turns the reverse of the
helm setting).

MURDOCH'S jaw clenches as the bow turns with agonizing slowness. He holds
his 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
iceberg bumps and scrapes along the side of the ship. Rivets pop as the
steel plate of the hull flexes under the load.

138 IN #2 HOLD the two stewards stagger as the hull buckles in four feet
with a sound like THUNDER. Like a sledgehammer beating along outside the
ship, the berg splits the hull plates and the sea pour in, sweeping them
off their feet. The icy water swirls around the Renault as the men scramble
for the stairs.

139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. He
hears a sound like the greatly amplified squeal of a skate on ice.

140 IN BOILER ROOM SIX Barret and Hesketh stagger as they hear the ROLLING
THUNDER of the collision. They see the starboard side of the ship buckle in
toward them and are almost swept off their feet by a rush of water coming
in about two feet above the floor.

141 ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up in
astonishment 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 jump
back to avoid flying chunks of ice.

142 ON THE BRIDGE Murdoch rings the watertight door alarm. He quickly
throws the switch that closes them.

MURDOCH
Hard 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 the
swirling water to the watertight door between Boiler Rooms 6 and 5. The
room is full of water vapor as the cold sea strikes the red hot furnaces.
Barrett yells to the stokers scrambling through the door as it comes down
like a slow guillotine.

BARRETT
Go Lads! Go! Go!

He dives through into Boiler Room 5 just before the door rumbles down with
a CLANG.

144 JACK AND ROSE rush to the starboard rail in time to see the berg moving aft down the
side of the ship.

145 In his stateroom, surrounded by piles of plans while making notes in
his ever-present book, Andrews looks up at the sound of a cut-crystal light
fixture tinkling like a windchime.

He feels the shudder run through the ship. And we see it in his face. Too
much of his soul is in this great ship for him not to feel its mortal
wound.


149 IN THE CROW'S NEST Fleet turns to his Lee...

FLEET
Oy, mate... that was a close shave.

LEE
Smell ice, can you? Bleedin' Christ!

CUT TO:

150 INT. / EXT. BRIDGE

CLOSE ON MURDOCH. The alarm bells still clatter mindlessly, seeming to
reflect his inner state. He is in shock, unable to get a grip on what just
happened. He just ran the biggest ship in history into an iceberg on its
maiden 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.

SMITH
What was that, Mr. Murdoch?

MURDOCH
An iceberg, sir. I put her hard a' starboard and run the engines full
astern, but it was too close. I tried to port around it, but she hi... and
I--

SMITH
Close the emergency doors.

MURDOCH
The doors are closed.

Together they rush out onto the starboard wing, and Murdoch points. Smith
looks into the darkness aft, then wheels around to FOURTH OFFICER BOHALL.

SMITH
Find the Carpenter and get him to sound the ship.

CUT TO:

151 INT. G-DECK FORWARD

In steerage, Fabrizio comes out into the hall to see what's going on. He
sees dozens of rats running toward him in the corridor, fleeing the
flooding bow. Fabrizio jumps aside as the rats run by.

FABRIZIO
Ma-- che cazzo!

152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and drops
down to the floor. SPLASH!!

TOMMMY
Cor!! 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 in Italian. Tommy and Fabrizio start pounding on doors, getting
everybody up and out. The alarm spreads in several languages.

CUT TO:

153 INT. FIRST CLASS CORRIDOR / A-DECK

A couple of people have come out into the corridor in robes and slippers. A
Steward hurries along, reassuring them. The Countess of Rothes comes into
the hallway.

Countess
Why have the engines stopped? I felt a shudder?

STEWARD #1
I shouldn't worry, ma'am. We've likely thrown a propeller blade, that's the
shudder you felt. May I bring you anything?

THOMAS ANDREWS brushes past them, walking fast and carrying an armload of
rolled up ship's plans.


CUT TO:

155 INT. STEERAGE FORWARD

Fabrizio and Tommy are in a crowd of steerage men clogging the corridors,
heading aft away from the flooding. Many of them have grabbed suitcases and
duffel bags, some of which are soaked.

TOMMY
If this is the direction the rats were runnin', it's good enough for me.

CUT TO:

156 INT. CORRIDOR ON B DECK

Bruce Ismay, dressed in pajamas under the topcoat, hurries down the
corridor, headed for the bridge. An officious steward named BARNES comes
along the other direction, getting the few concerned passengers back into
their rooms.

STEWARD BARNES
There's no cause for alarm. Please, go back to your rooms.

He is stopped in his tracks by Cal and Lovejoy.

STEWARD BARNES
Please, sir. There's no emergency--

CAL
Yes there is, I have been robbed. Now get the Master at Arms. Now you moron!


CUT TO:

159 EXT. B-DECK FORWARD / WELL DECK

The gentlemen, now joined by another man, leans on the forward rail
watching the steerage men playing soccer with chunks of ice.

A 20ish YALE MAN pops through the door wearing a topcoat over pajamas.

YALEY
Say, did I miss the fun?

Rose and Jack come up the steps from the well deck, which are right next to
the three men. They stare as the couple climbs over the locked gate.

A moment later Captain Smith rounds the corner, followed by Andrews and
Carpenter Hutchinson. They have come down from the bridge by the outside
stairs. The three men, their faces grim, crush right past Jack and Rose.
Andrews barely glances at her.

SMITH
Can you shore up?

HUTCHINSON
Not unless the pumps get ahead.

The inspection party goes down the stairs to the well deck.

JACK
(low, to her)
It's bad.

ROSE
We have to tell Mother and Cal.


CUT TO:

160 INT. B-DECK FOYER / CORRIDOR

Jack and Rose cross the foyer, entering the corridor. Lovejoy is waiting
for them in the hall as they approach the room.

ROSE (to Jack)
Just keep holding my hand.....

LOVEJOY
We've been looking for you miss.

Lovejoy follows and, unseen, moves close behind Jack and smoothly slips the
diamond necklace into the pocket of his overcoat.

CUT TO:

161 INT. ROSE AND CAL'S SUITE

Cal and Ruth wait in the sitting room, along with the Master at Arms and
two stewards (Steward #1 and Barnes). Silence as Rose and Jack enter. Ruth
closes her robe at her throat when she sees Jack.


ROSE
Something serious has happened.

CAL
Yes it has!. Two things dear to me have disappeared this evening. Now that
one 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 ARMS
Coat off, mate.

Lovejoy pulls at Jack's coat and Jack shakes his head in dismay, shrugging
out of it. The Master at Arms pats him down.

ROSE
Cal, 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's coat.

STEWARD BARNES
Is this it?

Rose is stunned. Needless to say, so is Jack.

JACK
This is horseshit! Don't you believe it, Rose. Don't!

ROSE (uncertain)
He couldn't have.

CAL
Of course he could. Easy enough for a professional. He memorized the
combination when you opened the safe.

ROSE
But 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.

JACK
Rose, They 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 the
collar with the owner's name.

MASTER AT ARMS
That was reported stolen today.

JACK
I was going to return it! Rose--

CAL
Oh an honest thief! We have an honest thief.

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 out
into the hall. She can't look him in the eye.

JACK
Rose, don't listen to them... I didn't do this! You know me! You know I
didn't! You know it!

She is devastated. Her mother lays a comforting hand on her shoulder as the
tears well up.

CUT TO:

163 INT. BRIDE / CHARTROOM

Andrews unrolls a big drawing of the ship across the chartroom table. It is
a side elevation, showing all the watertight bulkheads. His hands are
shaking. Murdoch and Ismay hover behind Andrews and the Captain.

ISMAY
When can we get underway, dammit?

Smith glares at him and turns his attention to Andrews' drawing. The
builder points to it for emphasis as he talks.

ANDREWS
Water 14 feet above the keel in ten minutes... in the forepeak... in all
three holds... and in boiler room six.

SMITH
That's right.

ANDREWS
Five compartments. She can stay afloat with the first four compartments
breached. But not five. Not five. As she goes down by the head the water
will spill over the tops of the bulkheads... at E Deck... from one to the
next... back and back. There's no stopping it.

SMITH
The pumps--

ANDREWS
The pumps buy you time... but minutes only. From this moment, no matter
what we do, Titanic will founder.

ISMAY
But this ship can't sink!

ANDREWS She is made of iron, sir. I assure you, she can. And she will. It is a
mathematical certainty.

Smith looks like he has been gutpunched.

SMITH
How much time?

ANDREWS
An hour, two at most.

Ismay reels as his dream turns into his worst nightmare.

SMITH
And how many aboard, Mr. Murdoch?

MURDOCH
Two thousand two hundred souls aboard, sir.

A long beat. Smith turns to his employer.

SMITH
I believe you may get your headlines, Mr. Ismay.


CUT TO:

165 INT. ROSE AND CAL'S SUITE

From inside the sitting room they can hear knocking and voices in the corridor.

Hockley crosses to Rose. He regards her coldly for a moment, then SLAPS her
across the face.

CAL
It is a little slut, isn't it?

To Rose the blow is inconsequential compared to the blow her heart has been
given. Cal grabs her shoulders roughly.

CAL
Look at me, you little--

There is a loud knock on the door and an urgent voice. The door opens and
their steward puts his head in.

STEWARD BARNES
Sir, I've been told to ask you to please put on your lifebelt, and come up
to the boat deck.

CAL
Not now! We're busy.

The steward persists, coming in to get the lifebelts down from the top of a
dresser.

STEWARD
I'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.

CAL
This is ridiculous.

In the corridor outside the stewards are being so polite and obsequious
they are conveying no sense of danger whatsoever. However, it's another
story in...

CUT TO:

166 INT. STEERAGE BERTHING AFT

BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by
a steward. The Cartmell family rouses from a sound sleep. 

STEWARD #2
Everybody up. Let's go. Put your lifebelts on. 

IN THE CORRIDOR outside, another steward is going from door to door along
the hall, pouncing and yelling. 

STEWARD #2
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on... 

People come out of the doors behind the steward, perplexed. In the
foreground a SYRIAN WOMAN asks her husband what was said. He shrugs. 

CUT TO: 

167 INT. WIRELESS ROOM

ON PHILLIPS, looking shocked. 

PHILLIPS
CQD, sir? 

SMITH
That's right. The distress call. CQD. Tell whoever responds that we are
going down by the head and need immediate assistance. 

Smith hurries out. 

PHILLIPS
Blimey. 


CUT TO: 

168 EXT. BOAT DECK

Thomas Andrews looks around in amazement. The deck is empty except for the
crew fumbling with the davits. He yells over the roar of the steam to First
Officer Murdoch. 

ANDREWS
Where are all the passengers? 

MURDOCH
They'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 and
heads for the foyer entrance. 

CUT TO: 

169 INT. A-DECK FOYER

A large number of First Class passengers have gathered near the staircase. 
They are getting indignant about the confusion. Molly Brown snags a passing
YOUNG STEWARD. 

MOLLY
What's doing, sonny? You've got us all trussed up and now we're cooling our
heels. 

The young steward backs away, actually stumbling on the stairs. 

YOUNG STEWARD
Sorry, mum. Let me go and find out. 

The jumpy piano rhythm of "Alexander's Ragtime Band" comes out of the first
class lounge a few yards away. Band leader WALLACE HARTLEY has assembled
some of his men on Captain's orders, to allay panic. 

Hockley's entourage comes up to the A-deck foyer. Cal is carrying the
lifebelts, almost as an afterthought. Rose is like a sleepwalker. 

CAL
It's just the God damned English doing everything by the book. 

RUTH
There'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 we get back. 

Thomas Andrews enters, looking around the magnificent room, which he knows
is doomed. Rose, standing nearby, sees his heartbroken expression. She
walks over to him and Cal goes after her. 

ROSE
I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell me
the truth. 

ANDREWS
The ship will sink. 

ROSE
You're certain? 

ANDREWS
Yes. In an hour or so... all this... will be at the bottom of the Atlantic. 

CAL
What? 

Now it is Cal's turn to look stunned. The Titanic? Sinking? 

ANDREWS
Please 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 about the boats? 

ROSE
Yes, I understand. Thank you. 

Andrews goes off, moving among the passengers and urging them to put on
their lifebelts and get to the boats. 

CUT TO: 

170 INT. MASTER AT ARMS OFFICE

Lovejoy and the Master at Arms are handcuffing Jack to a 4" WATER PIPE as a
crewman rushes in anxiously and almost blurts to the Master at Arms--

CREWMAN
You're wanted by the Purser, sir. Urgently. 

LOVEJOY
Go on. I'll keep an eye on him. 

Lovejoy pulls a pearl handled Colt .45 automatic from under his coat. The
Master at Arms nods and tosses the handcuff key to Lovejoy, then exits with
the crewman. Lovejoy flips the key in the air. Catches it. 


CUT TO:

171 INT. BRIDGE

Junior Wireless Operator Bride is relaying a message to Captain Smith from
the CUNARD LINER CARPATHIA.

BRIDE
Carpathia says they're making 17 knots, full steam for them, sir.

SMITH
And she's the only one who's responding?

BRIDE
The only one close, sir. She says they can be here in four hours.

SMITH
Four hours!

The enormity of it hits Smith like a sledgehammer blow.

SMITH
Thank you, Bride.

He turns as Bride exits, and looks out onto the blackness.


CUT TO:

172 EXT. BOAT DECK - NIGHT

Lightoller has his boats swung out. He is standing amidst a crowd of
uncertain passengers in all states of dress and undress. One first class
woman is barefoot. Others are in stockings. The maitre of the restaurant is
in top hat and overcoat. Others are still in evening dress, while some are
in bathrobes and kimonos. Women are wearing lifebelts over velvet gowns,
then topping it with sable stoles. Some brought jewels, others books, even
small dogs.

Lightoller sees Smith walking stiffly toward him and quickly goes to him.
He yells into the Captain's ear, through cupped hands, over the roar of the
steam...

LIGHTOLLER
Hadn'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. Lightoller
sees 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 sudden
unearthly silence in which Lightoller's voice echoes.

ON WALLACE HARTLEY raising his violin to play.

HARTLEY
Alright boys, nice and cheery like the Captain said so there's no panic.
Wedding Dance. 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 up
a waltz, lively and elegant. The music wafts all over the ship.


CUT TO:

173 INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL

It is chaos, with stewards pushing their way through narrow corridors
clogged with people carrying suitcases, duffel bags, children. Some have
lifebelts on, others don't.

Tommy pushes to where he can see what's holding up the group. There is a
steel gate across the top of the stairs, with several stewards and seamen
on the other side.

STEWARD
Stay calm, please. It's not time to go up to the boats yet.

Near Tommy, an IRISHWOMAN stands stoically with two small children and
their battered luggage.

LITTLE BOY
What are we doing, mummy?

WOMAN
We're just waiting, dear. When they finish putting First Class people in
the boats, they'll be startin' with us, and we'll want to be all ready,
won't we?

CUT TO:

174 EXT. STARBOARD SIDE

Boat 7 is less than half full, with 28 aboard a boat made for 65.

FIRST OFFICER MURDOCH
Lower 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 60
feet below. The passengers are terrified.

CUT TO:

175 EXT. / INT. TITANIC HULL AND MASTER AT ARMS OFFICE

TRACKING along the rows of portholes angling down into the water. Under the
surface, they glow green. PUSHING IN on one porthole which is have
submerged. Inside wesee Jack, looking apprehensively at the water rising
up the glass.

INSIDE THE MASTER AT ARMS' OFFICE Jack sits chained to the waterpipe, next
to the porthole. Lovejoy sits on the edge of a desk. He puts a .45 bullet
on theܥe 


BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by
a steward. The Cartmell family rouses from a sound sleep.

STEWARD #2
Everybody up. Let's go. Put your lifebelts on.

IN THE CORRIDOR outside, another steward is going from door to door along
the hall, pouncing and yelling.

STEWARD #2
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on...

People come out of the doors behind the steward, perplexed. In the
foreground a SYRIAN WOMAN asks her husband what was said. He shrugs.

CUT TO:

167 INT. WIRELESS ROOM

ON PHILLIPS, looking shocked.

PHILLIPS
CQD, sir?

SMITH
That's right. The distress call. CQD. Tell whoever responds that we are
going down by the head and need immediate assistance.

Smith hurries out.

PHILLIPS
Blimey.


CUT TO:

168 EXT. BOAT DECK

Thomas Andrews looks around in amazement. The deck is empty except for the
crew fumbling with the davits. He yells over the roar of the steam to First
Officer Murdoch.

ANDREWS
Where are all the passengers?

MURDOCH
They'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 and
heads for the foyer entrance.

CUT TO:

169 INT. A-DECK FOYER

A large number of First Class passengers have gathered near the staircase.
They are getting indignant about the confusion. Molly Brown snags a passing
YOUNG STEWARD.

MOLLY
What's doing, sonny? You've got us all trussed up and now we're cooling our
heels.

The young steward backs away, actually stumbling on the stairs.

YOUNG STEWARD
Sorry, mum. Let me go and find out.

The jumpy piano rhythm of "Alexander's Ragtime Band" comes out of the first
class lounge a few yards away. Band leader WALLACE HARTLEY has assembled
some of his men on Captain's orders, to allay panic.

Hockley's entourage comes up to the A-deck foyer. Cal is carrying the
lifebelts, almost as an afterthought. Rose is like a sleepwalker.

CAL
It's just the God damned English doing everything by the book.

RUTH
There'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 we get back.

Thomas Andrews enters, looking around the magnificent room, which he knows
is doomed. Rose, standing nearby, sees his heartbroken expression. She
walks over to him and Cal goes after her.

ROSE
I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell me
the truth.

ANDREWS
The ship will sink.

ROSE
You're certain?

ANDREWS
Yes. In an hour or so... all this... will be at the bottom of the Atlantic.

CAL
What?

Now it is Cal's turn to look stunned. The Titanic? Sinking?

ANDREWS
Please 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 about the boats?

ROSE
Yes, I understand. Thank you.

Andrews goes off, moving among the passengers and urging them to put on
their lifebelts and get to the boats.

CUT TO:

170 INT. MASTER AT ARMS OFFICE

Lovejoy and the Master at Arms are handcuffing Jack to a 4" WATER PIPE as a
crewman rushes in anxiously and almost blurts to the Master at Arms--

CREWMAN
You're wanted by the Purser, sir. Urgently.

LOVEJOY
Go on. I'll keep an eye on him.

Lovejoy pulls a pearl handled Colt .45 automatic from under his coat. The
Master at Arms desk and watches it roll across and fall off. He picks up the
bullet.

LOVEJOY
You 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.

LOVEJOY
Compliments of Mr. Caledon Hockley.

Lovejoy flips the handcuff key in the air, catches it and puts it in his
pocket. He exits. Jack is left gasping, handcuffed to the pipe.



CUT TO:

177 EXT. BOAT DECK / PORT SIDE

SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose... Boat 6.

ROSE watches the farewells taking pace right in front of her as they step
closer to the boat. Husbands saying goodbye to wives and children. Lovers
and friends parted. Nearby MOLLY is getting a reluctant woman to board the
boat.

MOLLY
Come on, you heard the man. Get in the boat, sister.

RUTH
Will the lifeboats be seated according to class? I hope they're not too
crowded--

ROSE
Oh, 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.

CAL
Not the better half. You know, it's a pity I didn't keep that drawing.
It'll be a worth a lot more by morning.

PUSH IN ON ROSE'S FACE as it hits her like a thunderbolt. Jack is third
class. He doesn't stand a chance. Another rocket bursts overhead, bathing
her face in white light.

ROSE
You unimaginable bastard.

MOLLY
Come on, Ruth, get in the boat. These are the first class seats right up
here. That's it.

Molly practically hands her over to Lightoller, then looks around for some
other women who might need a push.

MOLLY
Come on, Rose. You're next, darlin'.

Rose steps back, shaking her head.

RUTH
Rose, get in the boat!

ROSE
Goodbye, mother.

Ruth, standing in the tipsy lifeboat, can do nothing. Cal grabs Rose's arm
but she pulls free and walks away through the crowd. Cal catches up to Rose
and grabs her again, roughly.

CAL
Where are you going? What? To him? To be a whore to a gutter rat?

ROSE
I'd rather be his whore than your wife.

He clenches his jaw and squeezes her arm viciously, pulling her back toward
the lifeboat. She resists mightily, finally hawks up and spits in his face.
Stunned he lets go and she runs into the crowd.

LIGHTOLLER
Lower away!!

RUTH
Rose! ROSE!!

The boat lurches downward as the falls are paid out.


CUT TO:

180 INT. MASTER AT ARMS OFFICE / CORRIDOR

Jack pulls on the pipe with all his strength. It's not budging. He hears
gurgling sound. Water pours under the door, spreading rapidly across the
floor.

JACK
Shit.

He tries to pull one hand out of the cuffs, working until the skin is
raw... no good.

JACK
Help!! 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 CORRIDOR

Thomas Andrews is opening stateroom doors, checking that people are out.

ANDREWS
Anyone in here?

Rose runs up to him, breathless.

ROSE
Mr. Andrews, thank God! Where would the Master at Arms take someone under
arrest?!

ANDREWS
What? You have to get to a boat right away!

ROSE
No! I'll do this with or without your help, sir. But without will take longer.
ANDREWS (beat)
Take the elevator to the very bottom, go left, down the crewman's passage,
then make a right.

ROSE
Bottom, left, right. I have it.

ANDREWS
Hurry, Rose.

CUT TO:

183 INT. FOYER / ELEVATORS

Rose runs up as the last Elevator Operator is closing up his lift to leave.

OPERATOR
Sorry, miss, lifts are closed--

Without thinking she grabs him and shoves him back into the lift.

ROSE
I'm through with being polite, goddamnit!!! Now take me down!!

The operator fumbles to close the gate and start the lift.



CUT TO:

185 INT. FIRST CLASS ELEVATOR / CORRIDORS

Through the wrought iron door of the elevator car Rose can see the decks
going 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 of
her. She claws the door open and splashes out, hiking up her floor-length
skirt so she can move. The lift goes back up, behind her, as she looks
around.

ROSE
Left, crew passage.

She spots it and slogs down the flooded corridor. The place is
understandably deserted. She is on her own.

ROSE
Right, right... right.

She turns into a cross-corridor, splashing down the hall. A row of doors on
each side.

ROSE
Jack? Jaaacckk??

CUT TO:

186 INT. MASTER AT ARMS OFFICE / CORRIDOR

Jack 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 her
through the door.

JACK
ROSE!! 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.

ROSE
Jack, Jack, Jack... I'm sorry, I'm so sorry.

They are so happy to see each other it's embarrassing.

JACK
That guy Lovejoy put it in my pocket.

ROSE
I know, I know.

JACK
See if you can find a key for these. Try over there. It's a little silver one.

She kisses his face and hugs him again, then slogs to the key board, searches

ROSE
These are all brass ones!!


JACK (indicating the desk)

Try over here!

She starts to go through the desk.

JACK
Rose... how did you find out I didn't do it?

ROSE
I didn't. (she looks at him) I just realized I already knew.

They share a long look. 

JACK
Keep looking! 

Rose goes back to ransacking the room, searching drawers and cupboards. 
Eventually, she stops and stands there, breathing hard. 

ROSE
There's no key. 

They look around at the water, now almost two feet deep. Jack has pulled
his feet up onto the bench. 

JACK
Rose, You're gonna have to go for help. 

ROSE (wading to Jack, kissing him fiercely) 
I'll be right back. 

JACK
I'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 CORRIDORS

Rose splashes down the hall to a stairwell going up to the next deck. She
climbs the stairs, her long skirt leaving a trail like a giant snail. The
weight of it is really slowing her down. She rips at the buttons and
shimmies quickly out of the thing. She bounds up the stairs in her
stockings and 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 as
the ship continues to settle. She runs down the hall, unimpeded now. 

ROSE
Hello? Somebody?! 

She turns a corner and runs along another corridor in a daze. The hall
slopes down into water which, shimmers, reflecting the light. The margin of
the water creeps toward her. A YOUNG MAN appears, running through the
water, sending up geysers of spray. He pelts past her without slowing, his
eyes crazed... 

ROSE
Help me! We need help! 

He doesn't look back. It is like a bad dream. The hull gongs with
terrifying sounds. 

The lights flicker and go out, leaving utter darkness. A beat. Then they
come back on. She finds herself hyperventilating. That one moment of
blackness was the most terrifying of her life. 

A STEWARD runs around the nearest corner, his arms full of lifebelts. He is
upset to see someone still in his section. He grabs her forcefully by the
arm, pulling her with him like a wayward child. 

STEWARD
Come on, then, let's get you topside, miss, that's right. 

ROSE
Wait. Wait! I need your help! There's--

STEWARD
No need for panic, miss. Come along! 

ROSE
No, 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 the
nose. Shocked, he lets her go and staggers back. 

STEWARD
To Hell with you! 

ROSE
See you there, buster! 

The steward runs off, holding his bloody nose... 

She turns around, SEES: a glass case with a fire-axe in it. She breaks the
glass with a battered suitcase which is lying discarded nearby, and seizes
the axe, running back the way she came. 

192 AT THE STAIRWELL she looks down and gasps. The water has flooded the
bottom five steps. She goes down and has to crouch to look along the
corridor 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 from the literally freezing water. 


CUT TO: 

193 INT. MASTER AT ARMS OFFICE

Jack has climbed up on the bench, and is hugging the waterpipe. Rose wades
in, holding the axe above her head. 

ROSE
Will this work? 

JACK
We'll find out. 

They are both terrified, but trying to keep panic at bay. He positions the
chain 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
side of it. 

JACK
Try a couple practice swings. 

Rose hefts the axe and thunks it into a wooden cabinet. 

JACK
Now try to hit the same mark again. 

She swings hard and the blade thunks in four inches from the mark. 

JACK
Okay, that's enough practice. 

He winces, bracing himself as she raises the axe. She has to hit a target
about an inch wide with all the force she can muster, with his hands on
either 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 is
grinning with two separate cuffs. 

Rose drops the axe, all the strength going out of her. 

He climbs down into the water next to her. He can't breathe for a second. 

JACK
Shit!. Oh shit, oh shit, this is cold! 

They wade out into the hall. Rose starts toward the stairs going up, but
Jack stops her. There is only about a foot of the stairwell opening
visible. 

ROSE
That's the way out! 

JACK
We gotta find another way out. 


CUT TO: 

194 EXT. BOAT 6 AND TITANIC

TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomed
steamer. Once 50 feet above the waterline, they now quietly slip below the
surface. We see them, gold on black, rippling and dimming to a pale green
as they go deeper. 

195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight of
the dying liner. The bowsprit is now barely above the waterline. Another of
Boxhall'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. 

MOLLY
Now there's somethin' you don't see every day. 


CUT TO: 

196 INT. SCOTLAND ROAD / E-DECK

The 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 move
along it like refugees, heading aft. 

CRASH! A wooden doorframe splinters and the door bursts open under the
force of Jack's shoulder. Jack and Rose stumble through, into the corridor. 
A STEWARD, who was nearby herding people along, marches over. 

STEWARD
Here you! You'll have to pay for that, you know. That's White Star Line
property--

JACK AND ROSE (turning together) 
Shutup! 

Jack leads her past the dumbfounded steward. They join the steerage
stragglers going aft. In places the corridor is almost completely blocked
by large families carrying all their luggage. 


CUT TO: 

197 EXT. BOAT DECK

ON 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 to work the davits, their previous complacency gone. 

CAL pushes through the crowd, scanning for Rose. Around him is chaos and
confusion. A woman is calling for a child who has become separated from the
crowd. A man is shouting over people's heads. A woman takes hold of Second
Officer Lightoller's arm as he is about to launch Boat 10. 

WOMAN
Will you hold the boat a moment? I have to run back to my room for something--

Lightoller grabs her and shoves her bodily into the boat. Thomas Andrews
rushes up to him just then. 

ANDREWS
Why are the boats being launched half full?! 

Lightoller steps past him, helping a seaman clear a snarled fall. 

LIGHTOLLER
Not now, Mr. Andrews. 

ANDREWS (pointing down at the water) 
There, look... twenty or so in a boat built for sixty five. And I saw one
boat with only twelve. Twelve! 

LIGHTOLLER
Well... we were not sure of the weight--

ANDREWS
Rubbish! They were tested in Belfast with the weight of 70 men. Now fill
these boats, Mr. Lightoller. For God's sake, man! 

The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through the
aisle connecting the port and starboard sides of the boat deck. 

LOVEJOY
She's not on the starboard side either. 

CAL
We're running out of time. And this strutting martinet... (indicating
Lightoller) ...isn't letting any men in at all. 

LOVEJOY
The one on the other side is letting men in. 

CAL
Then that's our play. But we're still going to need some insurance. 
(he starts off forward) 
Come on. 


CUT TO: 

198 EXT. BRIDGE / FORWARD WELL DECK / FOC'SLE

AT THE BOW... the place where Jack and Rose first kissed... the bow railing
goes under water. Water swirls around the capstan and windlasses on the
foc'sle deck. 

Smith strides to the bridge rail and looks down at the well deck. Water is
shipped over the sides and the well deck is awash. Two men run across the
deck, their feet sending up spray. Behind Smith, Boxhall fires another
rocket. WHOOSH! 

CUT TO: 

201 INT. E-DECK CORRIDORS AND STAIRWELL

Fabrizio, standing with Helga Dahl and her family, hears Jack's voice. 

JACK
Fabrizio! Fabri! 

Fabrizio turns and sees Jack and Rose pushing through the crowd. He and
Jack hug like brothers. 

FABRIZIO
The boats are all gone. 

JACK
We gotta get up get out of here. 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 of
the stairwell. The crew open the gate a foot or so and a few women are
squeezing through. 

STEWARD #2
Women only. No men. No men!! 

But some terrified men, not understanding English, try to rush through the
gap, forcing the gate open. The crewmen and stewards push them back, 
shoving and punching them. 

STEWARD #2
Get back! Get back you lot! (to the crewmen) Lock the gate!! 

They struggle to get the gate closed again, while Steward #2 brandishes a
small revolver. Another holds a fire axe. They lock the gate, and a cry
goes up among the crowd, who surge forward, pounding against the steel and
shouting in several languages. 

TOMMY
For God sakes man, there are children down here! Let us up, so we can have
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 the crowd, going down the stairs. He rejoins Jack, Rose and
Fabrizio. 

TOMMY
Jack,it's hopeless that way. 

JACK
Well, whatever we're goin' to do, we better do it fast. 


CUT TO: 

204 INT. CAL AND ROSE'S SUITE

CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pulls
out 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 locks
the 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, AFT

Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They push
past confused passengers... past a mother changing her baby's diaper on top
of an upturned steamer trunk...past a woman arguing heatedly with a man in
Serbo-Croatian, a wailing child next to them... past a man kneeling to
console a woman who is just sitting on the floor, sobbing... and past
another man with an English/Arabic dictionary, trying to figure out what
the signs mean, while his wife and children wait patiently. 

Jack et al come upon a narrow stairwell and they go up two decks before
they are stopped by a small group pressed up against a steel gate. The
steerage men are yelling at a scared STEWARD. 

STEWARD
Go to the main stairwell, with everyone else. It'll all get sorted out there. 

JACK
Open the gate! 

STEWARD
GO back to the main stairwell! 

Jack takes one look at this scene and finally just loses it. 

JACK
God damn it to Hell son of a bitch!! 

He grabs one end of a bench bolted to the floor on the landing. He starts
pulling on it, and Tommy and Fabrizio pitch in until the bolts shear and it
breaks free. Rose figures out what they are doing and clears a path up the
stairs between the waiting people. 

ROSE
Move aside! Quickly, move aside! 

Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE
with all their strength. It rips loose from its track and falls outward, 
narrowly missing the steward. Led by Jack, the crowd surges though. 


CUT TO: 

210 INT. A-DECK FOYER

As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and his
valet, both dressed in white tie, tail-coats and top hats. 

STEWARD
Mr. Guggenheim! Mr. Guggenheim! You lifebelts...... 

GUGGENHEIM
We have dressed in our best and are prepared to go down like gentlemen. 
But we would like a brandy! 


CUT TO: 

213 EXT. BOAT DECK AND A-DECK, AFT

PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a
mix 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 press
of men who look ready to rush the boat. Several men break ranks and rush
forward. 

Lightoller pulls out his Webley revolver and aims it at them. 

LIGHTOLLER
Get back! Or I'll shoot you all like dogs! Keep order here. Keep order I say! 

Lightoller turns away from the crowd and, out of their sight, breaks his
pistol open. Letting out a long breath, he starts to LOAD IT. 

LIGHTOLLER
Mr. Lowe, man this boat. 


CUT TO: 

214 EXT. BOAT DECK, STARBOARD SIDE, AFT

Cal and Lovejoy arrive in time to see Murdoch lowering his last boat. 

CAL
We're too late. 

LOVEJOY
There are still some boats forward. Stay with this one... Murdoch. He seems
to be quite... practical. 

215 IN THE WATER BELOW there is another panic. Boat 13, already in the
water but still attached to its falls, is pushed aft by the discharge water
being pumped out of the ship. It winds up directly under boat 15, which is
coming down he right on top of it. 

The passengers shout in panic to the crew above to stop lowering. They are
ignored. Some men put their hands up, trying futilely to keep the 5 tons of
boat 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 crewman
cuts the forward lines. 13 drifts out from beneath 15 just seconds before
it touches the water with a slap. 

Cal, looking down from the rail hears GUNSHOTS--

CUT TO: 

216 EXT. BOAT DECK / A-DECK, PORT, AFT

Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch of
men threatening to jump into the boat as it passes the open promenade on
A-Deck. 

LOWE
Stay back you lot! 

BLAM! BLAM! 


CUT TO: 

217 EXT. BOAT DECK, STARBOARD, AFT

The shots echo away. 

CAL
It's starting to fall apart. We don't have much time. 

Cal sees three dogs run by, including the black French bulldog. Someone has
released the pets from the kennels. 

Cal sees Murdoch turn from the davits of boat 15 and start walking toward
the bow. He catches up and falls in beside him. 

CAL
Mr. Murdoch, I'm a businessman, as you know, and I have a business
proposition for you. 


CUT TO: 

219 EXT. BOAT DECK, PORT

Jack, Rose et al burst out onto the boat deck from the second class stairs. 
They look at the empty davits. 

ROSE
The boats are gone! 

She sees Colonel Gracie chugging forward along the deck, escorting two
first class ladies. 

ROSE
Colonel! Are there any boats left? 

GRACIE (staring at her bedraggled state) 
Yes, miss... there are still a couple of boats all the way forward. This
way, I'll lead you! 

Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizio
close behind. 

ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and the
others run by. 

TOMMY
Music to drown by. Now I know I'm in First Class. 

CUT TO: 

220 EXT. BOAT DECK, STARBOARD, FORWARD

Water pours like a spillway over the forward railing on B-Deck. CAMERA
SWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team are
loading Collapsible Car the forward-most davits. 

The crowd is sparse, with most people still aft. Cal slips his hand out of
the pocket of his overcoat and into the waist pocket of Murdoch's
greatcoat, leaving the stacks of bills there. 


CAL
So we have an understanding then? 

Murdoch stares mutely at Cal, then turns away. Cal, satisfied, steps back. 
He finds himself waiting next to J. Bruce Ismay. Ismay does not meet his
eyes, nor anyone's. Lovejoy comes up to Cal at that moment. 

LOVEJOY
I've found her. She's just over on the port side. With him. 

MURDOCH
Women and children? Any more women and children? (glancing at Cal) Any one
else, then? 

Cal looks longingly at his boat... his moment has arrived. 

CAL
God damn it to hell! Come on. 

He and Lovejoy head for the port side, taking a short-cut through the bridge. 

Bruce Ismay, seeing his opportunity, steps quickly into Collapsible C. He
stares straight ahead, not meeting Murdoch's eyes. 

MURDOCH (staring at Ismay) 
Take them down. 


CUT TO: 

221 EXT. BOAT DECK / PORT SIDE - NIGHT

ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps his
pistol in his hand at this point. Twenty feet below them the sea is pouring
into the doors and windows of B deck staterooms. They can hear the roar of
water cascading into the ship. 

LIGHTOLLER
Women 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 HUSBAND
she knows she may not see again

HUSBAND
Goodbye 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 from
them. Beneath the false good cheer, the man is choked with emotion. 

HUSBAND
Hold mummy's hand and be a good girl. That's right. 

Some of the women are stoic, others are overwhelmed by emotion and have to
be helped into the boats. Jack looks at Tommy and Fabrizio. 

JACK
You better check out the other side. 

They nod and run off, searching for a way around the deckhouse. 

ROSE
I'm not going without you. 

JACK
Get in the boat, Rose. 

ROSE
No Jack. 

JACK
Get in the boat, Rose. I'm a survivor; I'll be alright. Get in the boat! 

Cal walks up just then. 

CAL
Yes. Get in the boat, Rose. 

She is shocked to see him. She steps instinctively to Jack. Cal looks at
her, standing there shivering in her wet slip and stockings, a shocking
display in 1912. 

CAL
My God, look at you. You look a fright. (taking off his boat) Here, put
this on. 

Cal roughly removes Jacks coat and throws it at him. He puts his coat on
Rose and begins to caress her hair and face. She reacts violently, pulling
away from Cal and grabbing Jack. 

LIGHTOLLER
Quickly, ladies. Step into the boat. Hurry, please! 

JACK
Go on. I'll get the next one. 

ROSE
No. Not without you! 

She doesn't even care that Cal is standing right there. He sees the emotion
between Jack and Rose and his jaw clenches. But then he leans close to her
and says... 

CAL (low) 
I have an arrangement with an officer on the other side. Jack and I can get
off safely. Both of us. 

JACK (knowing Cal is lying, he smiles reassuringly at Rose) 
See? I've got my own boat to catch. 

CAL
Better hurry .....almost full. 

Lightoller grabs her arm and pulls her toward the boat. She reaches out for
Jack and her fingers brush his for a moment. Then she finds herself
stepping down into the boat. It's all a rush and blur. 

LIGHTOLLER
Lower away! 

The two men watch at the rail as the boat begins to descend. 

CAL (low) 
You're a good liar. 

JACK
Almost as good as you. ...There's no "arrangement" is there? 

CAL
No, there is. Not that you'll benefit much from it. I always win, Jack. 
One way or another. 

Jack knows he is screwed. He looks down at Rose, not wanting to waste a
second of his last view of her. 


222 ROSE'S PERCEPTION... IN SLOW MOTION: The ropes going through the
pulleys as the seamen start to lower. All sound going away... Lightoller
giving orders, his lips moving... but Rose hears only the blood pounding in
her ears... 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 as she gazes up at him, descending away from him... she sees
his hand trembling, the tears at the corners of his eyes, and cannot
believe the unbearable 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
the gunwale, climbing it... 

Hurls herself out of the boat to the rail of the A-Deck promenade, catching
it, and scrambling over the rail. The Boat 2 continues down. But Rose is
back on Titanic. 

JACK
No Rose! NOOOO!! ROSE! 

Jack spins from the rail, running for the nearest way down to A-Deck. 

and they leave the promise of escape up the stairwell to run to
the 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 it
is too powerful for them to go against.

JACK
Come on.

Charging the other way down the flooding corridor, they blast up spray with
each footstep. At the end of the hall are heavy double doors. As Jack
approaches them he sees water spraying through the gap between the doors
right up to the ceiling. The doors groan and start to crack under the tons
of pressure.

JACK
Back! Go back!!

Rose pivots and runs back the way they came, taking a turn into a
cross-corridor. A MAN is coming the other way. He sees the boy in Jack's
arms and cries out, grabbing him away from Jack. Starts cursing him in
Russian. He runs on with the boy--

ROSE
No! Not that way! Come back!

228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor.
The father and child DISAPPEAR instantly.

Jack and Rose run as a wave blasts around the corner, foaming from floor to
ceiling. It gains on them like a locomotive. They make it to a stairway
going up.


CUT TO:

229 INT. STAIRWELL

Jack and Rose pound up the steps as white water swirls up behind them. PULL
BACK to reveal that a steel gate blocks the top of the stairs. Jack SLAMS
against the fate, gripping the bars.

A terrified steward standing guard on the landing above turns to run at the
sight of the water thundering up the stairs.

JACK
Wait! Wait! Help us! Unlock the gate.

The steward runs on. The water wells up around Jack and Rose, pouring
through the gate and slamming them against it. In seconds it is up to their
waist.

ROSE
Help us! Please!

The steward stops and looks back. He sees Jack and Rose at the gate, their
arms reaching through... sees the water POURING through the gate onto the
landing.

STEWARD
Bloody 'ell!

He runs back, slogging against the current. He pulls a key ring from his
belt and struggles to unlock the padlock as the water fountains up around
them.

The lights short out and the landing is plunged into darkness.

The water rises over the lock and he's doing it by feel.

JACK
Come on! Come on!

Jack and Rose are right up against the ceiling...

Suddenly the gate gives and SWINGS OPEN. They are pushing through by the
force of the water. They make it to stairs on the other side of the landing
and follow the steward up to the next deck.


CUT TO:

230 EXT. BOAT DECK, STARBOARD SIDE

Cal comes reeling out of the first class entrance, looking wild-eyed. The
lurches 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 the
alcove. She looks up at Cal beseechingly. Cal moves on without a glance
back... reaching a large crowd clustered around COLLAPSIBLE A just aft of
the bridge. He sees Murdoch and a number of crewmen struggling to drag the
boat 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. He
brandishes his gun, waving it in the air, yelling for the crowd to stay
back. CUT TO: 231 EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS' QUARTERS Lightoller, with a group of crew and passengers, is trying to get Collapsible B down from the roof. They slide it down a pair of oars leaned against the deck house. LIGHTOLLER Hold it! Hold it! The weight of the boat snaps the oars and it crashes to the deck, upside down. The two Swedish cousins, OLAUS and BJORN GUNERSEN, juܥe#� �+��
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Hockley too has seen her jump. She is willing to die for this man, this
gutter scum. He is overwhelmed by a rage so all consuming it eclipses all
thought.


CUT TO:

223 INT. GRAND STAIRCASE

TRACKING WITH JACK as he bangs through the doors to the foyer and sprints
down 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.

JACK
Rose, Rose, you're so stupid, Why'd you do that, huh? You're so stupid...

And all the while he's kissing her and holding her as tight as he can.

ROSE
You jump, I jump, right?

Jack hugs her for all he's worth.

ROSE
I couldn't go, Jack. I couldn't go. At least we're together.....

Hockley comes in and runs to the railing. Looking down he sees them locked
in their embrace, can hear Rose. Lovejoy comes up behind Cal and puts a
restraining HAND on him, but Cal whips around, grabbing the pistol from
Lovejoy's waistband in one cobra-fast move.

He RUNS along the rail and down the stairs. As he reaches the landing above
them he raises the gun. SCREAMING in rage, he FIRES.

The carved cherub at the foot of the center railing EXPLODES. Jack pulls
Rose toward the stairs going down to the next deck. Cal fires again,
running down the steps toward them. A bullet blows a divot out of the oak
paneling behind Jack's head as he pulls Rose down the next flight of
stairs.

Hockley steps on the skittering head of the cherub statue and goes
sprawling. The gun clatters across the marble floor. He gets up, and
reeling drunkenly goes over to retrieve it.


CUT TO:

224 INT. D-DECK RECEPTION ROOM

The bottom of the grand staircase is flooded several feet deep. Jack and
Rose 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 dry
footing at the entrance to the dining saloon.

STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack and
Rose 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
of steps. Around him the woodwork groans and creaks.

CAL (calling to them)
I hope you enjoy your time together!!

Lovejoy arrives next to him. Cal suddenly remembers something and starts to laugh.

LOVEJOY
What could possible be funny?

CAL
I put the diamond in my coat pocket. And I put my coat... on her.


Jack and Rose run aft... uphill... entering the galley. Behind them the
tables have become islands in a lake... and the far end of the room is
flooded up to the ceiling.

Lovejoy gets up and looks around for his gun. He pulls it up out of the
water and wades after them.


CUT TO:

226 INT. GALLEY / STAIRWELL

They run through the galley and Rose spots the stairs. She starts up and
Jack grabs her hand. He leads her DOWN. They crouch together on the
landing.
They wait for the footstep to recede. A long CREAKING GROAN. Then they hear
it... a CRYING CHILD. Below them. They go down a few steps to looks along
the next deck.


CUT TO:

227 INT. E-DECK CORRIDORS

The corridor is awash, about a foot deep. Standing against the wall, about
50 feet away, is a little BOY, about 3. The water swirls around his legs
and he is wailing.

ROSE
We can't leave him.

Jack nomp back as the boat nearly hits them. CUT TO: 233 INT. STAIRWELL Jack and Rose run up seemingly endless stairs as the ship groans and torgues around them. CUT TO: 234 EXT. BOAT DECK, STARBOARD SIDE Murdoch, at Collapsible A, is no longer in control. The crowd is threatening to rush the boat. They push and jostle, yelling and shouting at the officers. The pressure from behind pushes them forward, and one guy falls off the edge of the deck into the water less than ten feet below. TOMMY Give us a chance to live, you limey bastards! Murdoch fires his Webley twice in the air, then point it at the crowd. MURDOCH I'll shoot any man who tries to get past me. Cal steps up to him. CAL We had a deal, damn you. Murdoch pushes him back, pointing the pistol at Cal. MURDOCH (throwing Cal's money at him) Get back! You money can no more save you than it can save me. Now get back! A man next to Tommy rushes forward, and Tommy is shoved from behind. Murdoch SHOOTS the first man, and seeing Tommy coming forward, puts a bullet into his chest. Tommy collapses, and Fabrizio grabs him, holding him in his arms as his life flows out over the deck. Murdoch turns to his men and salutes smartly. Then he puts the pistol to his temple and... BLAM! He drops like a puppet with the strings cut and topples over 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 MONEY FLOATS out of the pocket of his greatcoat, the bills spreading across the surface. 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, cradling her in his arms. CAL (forcing his way through the crowd) Here's a child! I've got a child! (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 the boat, holding the little girl. He takes a seat with the women. CAL There, there. CUT TO: 235 INT. FIRST CLASS SMOKE ROOM Thomas Andrews stands in front of the fireplace, staring at the large painting above the mantle. The fire is still going in the fireplace. The room is empty except for Andrews. An ashtray falls off the table. Behind him Jack and Rose run into the room, out of breath and soaked. They run through, toward the aft revolving door... then Rose recognizes him. She sees that his lifebelt is off, lying on a table. ROSE Won'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. ANDREWS Good 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 LOCATIONS The band finishes the waltz. Wallace Hartley looks at the orchestra members. HARTLEY Right, that's it then. They leave him, walking forward along the deck. Hartley puts his violin to his chin and bows the first notes of "Nearer My God to Thee". One by one the band members turn, hearing the lonely melody. Without a word they walk back and take their places. They join in with Hartley, filling out the sound so that it reaches all over the ship on this still night. The vocalist begins: "If in my dreams I be, nearer my God to thee..." THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE: 237 A seaman pulls off his lifebelt and catches up to Captain Smith as he walks 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 enclosed WHEELHOUSE and closes the door. He is alone, surrounded by the gleaming brass instruments. He seems to inwardly collapse. 238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pulls out his pocketwatch and checks the time. Then he opens the face of the mantle clock and adjusts it to the correct time: 2:12 a.m. Everything must be 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's surface. Degas' colors run. Monet's water lilies come to life. 240 DOWNANGLE on the two figures lying side by side, fully clothed, on a bed in a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at the ceiling, holding hands like young lovers. Water pours into the room through a doorway. It swirls around the bed, two feet deep rising fast. 241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the young IRISH MOTHER, seen earlier stoically waiting at the stairs, is tucking her two young children into bed. She pulls up the covers, making sure they are all warm and cozy. She lies down with them on the bed, speaking soothingly and holding them. CUT TO: EXT. BOAT DECK / BRIDGE 242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridge house sinks into the water. 243 ON THE PORT SIDE Collapsible B is picked up by water. Working frantically, the men try to detach it from the falls so the ship won't drag it under. Colonel Gracie hands Lightoller a pocket knife and he saws furiously at the ropes as the water swirls around his legs. The boat, still upside down, is swept off the ship. Men start diving in, swimming to stay with it. 244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he has completely forgotten. He watches the water rising around the men as they work, scrambling to get the ropes cut so the ship won't drag the collapsible under. Fabrizio removes the lifebelt from Tommy's body and struggles to put it on as the water rises around him. 245 CAPTAIN SMITH, standing near the wheel, watches the black water climbing the windows of the enclosed wheelhouse. He has the stricken expression of a damned soul on Judgment Day. The windows burst suddenly and a wall of water edged with shards of glass slams into Smith. He disappears in a vortex of foam. 246 Collapsible A is hit by a wave as the bow plunges suddenly. It partially swamps the boat, washing it along the deck. Over a hundred passengers are plunged into the freezing water and the area around the boat becomes a frenzy of splashing, screaming people. As men are trying to climb into the collapsible, Cal grabs an oar and pushes them back into the water. CAL Get back! You'll swamp us! Fabrizio, swimming for his life, gets swirled under a davit. The ropes and pulleys tangle around him as the davit goes under the water, and he is dragged down. Underwater he struggles to free himself, and then kicks back to 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. HARTLEY Gentlemen, it has been a privilege playing with you tonight. CUT TO: 248 EXT. A-DECK AFT, PORT SIDE Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes his way to the rail and looks at the state of the ship. The bridge is under water and there is chaos on deck. Jack helps her put her lifebelt on. People stream around them, shouting and pushing. JACK 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 FUNNEL Collapsible A is whirled like a leaf in the currents around the sinking ship. It slams against the side of the forward funnel. 250 NEARBY: Fabrizio is drawn up against the grating of a STOKEHOLD VENT as water pours through it. The force of tons of water roaring down the ship traps him against it, and he is dragged down under the surface as the ship sinks. He struggles to free himself, swims away. CUT TO: 251 EXT. A-DECK / B-DECK / WELL DECK, AFT Jack and Rose clamber over the A-Deck aft rail. Then, using all his strength, he lowers her toward the deck below, holding on with one hand. She dangles, then falls. Jack jumps down behind her. They join a crush of people literally clawing and scrambling over each other to 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 railing and helps Rose over. He lowers her again, and she falls in a heap. Baker Joughin, now three sheets to the wind, happens to be next to her. He hauls Rose to her feet. Jack drops down and the three of them push through the crowd across the well deck. Near them, at the rail, people are jumping into the water. The ship GROANS and SHUDDERS. The man ahead of Jack is walking like a zombie. MAN Yeah, though I walk through the valley of the shadow of death-- JACK You wanna walk a little faster through that valley, fella? CUT TO: 252 EXT. FORWARD FUNNEL The stay cables along the top of the funnel snap, and they lash like steel whips down into the water. Cal watches as the funnel topples from its mounts. Falling like a temple pillar twenty eight feet across it whomps into the water with a tremendous splash. People swimming underneath it disappear in an instant. Fabrizio is among them. CUT TO: 253 INT. BOAT DECK FOYER / GRAND STAIRCASE Water roars through the doors and windows, cascading down the stairs like a rapids. John Jacob Astor is swept down the marble steps to A-Deck, which is already flooded... a roiling vortex. He grabs the headless cherub at the bottom of the staircase and wraps his arms around it. Astor looks up in time to see the 30 foot glass dome overhead EXPLOSE INWARD with the wave of water washing over it. A Niagara of sea water thunders down into the room, blasting through the first class opulence. IT is the Armageddon of elegance. CUT TO: 256 EXT. STERN Rose and Jack struggle to climb the well deck stairs as the ship tilts. Hundreds of people are already on the poop deck, and more are pouring up every second. Jack and Rose cling together as they struggle across the tilting deck. 257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off the stern, passengers gape as the giant bronze propellers rise out of the water like 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. 260 EXT. STERN ON THE POOP DECK Jack and Rose struggle aft as the angle increases. Hundreds of passengers, clinging to every fixed object on deck, huddle on their knees around 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 the deck. They struggle on, pushing through the praying people. A MAN loses his footing 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 the flagpole. They grip the rail, jammed in between other people. It is the spot where Jack pulled her back onto the ship, just two night... and a lifetime... ago. Above the wailing and sobbing, Father Byles' voice carries, cracking with emotion. FATHER BYLES ...and I saw new heavens and a new earth. The former heavens and the former earth had passed away... The lights flicker, threatening to go out. Rose grips Jack as the stern rises into a night sky ablaze with stars. Rose stares about her at the faces of the doomed. Near them are the DAHL FAMILY, clinging together stoically. Helga looks at her briefly, and her eyes are infinitely sad. Rose sees a young mother next to her, clutching her five year old son, who is crying in terror. MOTHER Shhh. Don't cry. It'll be over soon, darling. It'll all be over soon. FATHER BYLES He shall wipe every tear from their eyes. And there shall be no more death or mourning, crying out or pain, for the former world has passed away. CUT TO: INT. SHIP-- VARIOUS As the ship tilts further everything not bolted down inside shifts. 263 CUPBOARDS burst open in the pantry showering the floor with tons of china. A PIANO slides across the floor, crashing into a wall. FURNITURE tumbles across the Smoking Room floor. 264 ON THE A-DECK PROMENADE passengers lose their grip and slide down the wooden 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 slides away 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 the water like mortar rounds. A man falls from the poop deck, hitting the bronze hub 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 6 268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and the screaming 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 the air, angles up over forty five degrees. The propellers are 150 feet out of the water. Over a thousand passengers cling to the decks, looking from a distance like a swarm of bees. The image is shocking, unbelievable, unthinkable. Ruth stares at the spectacle, unable to frame it or put it into any proportion. MOLLY BROWN God Almighty. The great liner's lights flicker. CUT TO: 270 INT. ENGINE ROOM In darkness Chief Engineer Bell hangs onto a pipe at the master breaker panel. Around him men climb through tilted cyclopean machines with electric hand-torches. It is a black hell of breaking pipes, spraying water, and groaning machinery threatening to tear right out of its bedplates. Water sprays down, hitting the breaker panel, but Bell will not leave his post. CLUNK. The breakers kick. He slams them in again and-- WHOOM! a blast of light! Something melts and arcing fills the engine room with nightmarish light-- CUT TO: 271 EXT. TITANIC WIDE SHOT. The lights go out all over the ship. Titanic becomes a vast black silhouette against the stars. IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, unable to watch the great steamer die. He is catatonic with remorse, his mind overloaded. He can avert his eyes, but he can't block out the sounds of dying people and machinery. A loud CRACKING REPORT comes across the water. CUT TO: 272 EXT. BOAT DECK Near the third funnel a man clutches the ship's rail. He stares down as the DECK SPLITS right between his feet. A yawning chasm opens with a THUNDER of breaking steel LOVEJOY is clutching the railing on the roof of the Officers' Mess. He watches 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 of the ship, amid a BOOMING CONCUSSION like the sound of artillery. People falling 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 and snatched OUT OF FRAME. Another cable smashes the rail next to Lovejoy and it rips free. He falls backward into the pit of jagged metal. Fires, explosions and sparks light the yawning chasm as the hull splits down through nine decks to the keel. The sea pours into the gaping wound-- CUT TO: 274 EXT. TITANIC - NIGHT The STERN ALF of the ship, almost four hundred feet long, falls back toward the water. On the poop deck everyone screams as they feel themselves plummeting. The sound goes up like the roar of fans at a baseball stadium when a run is scored. Swimming in the water directly under the stern a few unfortunates shriek as they see the keel coming down on them like God's bootheel. The massive stern section falls back almost level, thundering down into the sea and pushing out a mighty wave of displaced water. Jack and Rose struggle to hole onto the stern rail. They feel the ship seemingly RIGHT ITSELF. Some of those praying think it is salvation. Now the horrible mechanics play out. Pulled down by the awesome weight of the flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OF ASCENT 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 people loose and pull them down as well. There is a pile-up of bodies at the forward rail. The DAHL FAMILY falls one by one. JACK We have to move! He climbs over the stern rail and reaches back for Rose. She is terrified to move. He grabs her hand. JACK Come on! I've got you! I won't let go! Jack pulls her over the rail. It is the same place he pulled her over the rail two nights earlier, going the other direction. She gets over just as the railing is going HORIZONTAL, and the deck VERITCAL. Jack grips her fiercely. The stern is now straight up in the air... a rumbling black monolith standing 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 at the base of the stern section. People near them, who didn't climb over, hang from the railing, their legs dangling over the long drop. They fall one by one, plummeting down the vertical face of the poop deck. Some of them bounce horribly 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 are the 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. The final relentless plunge begins as the stern section floods. Looking down a 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 ship will suck us down. Kick for the surface and keep kicking. Don't let go of my hand. We're gonna make it Rose. Trust me. She stares at the water coming up at them, and grips his hand harder. ROSE I trust you. Below them the poop deck is disappearing. The plunge gathers speed... the boiling surface engulfs the docking bridge and then rushes up the last thirty feet. 278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The name TITANIC disappears, and the tiny figures of Jack and Rose vanish under the water. Where the ship stood, now there is nothing. Only the black ocean. CUT TO: 279 EXT. OCEAN / UNDERWATER AND SURFACE Bodies are whirled and spun, some limp as dolls, others struggling spasmodically, as the vortex sucks them down and tumbles them. 280 Jack rises INTO FRAME F.G. kicking hard for the surface... holding tightly to Rose, pulling her up. 281 AT THE SURFACE: a roiling chaos of screaming, thrashing people. Over a thousand 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 air before people are clawing at them. People driven insane by the water, 4 degrees below freezing, a cold so intense it is indistinguishable from death by fire. A man pushes Rose under, trying to climb on top of her... senselessly trying to get out of the water, to climb onto anything. Jack PUNCHES him repeatedly, pulling her free. JACK Swim, Rose! I need you to SWIM! She tries, but her strokes are not as effective as his because of her lifejacket. They break out of the clot of people. He has to find some kind of flotation, anything to get her out of the freezing water. JACK Keep swimming. Keep moving. Come one, you can do it. All about them there is a tremendous wailing, screaming and moaning... a chorus of tormented souls. And beyond that... nothing but black water stretching to the horizon. The sense of isolation and hopelessness is overwhelming. CUT TO: 283 EXT. OCEAN Jack strokes rhythmically, the effort keeping him from freezing. ROSE It's so cold. JACK I know. I know. Keep swimming. His words keep her focused, taking her mind off the wailing around them. Rose scans the water, panting, barely able to draw a breath. Jack sees a piece of wooden debris, intricately carved. He pushes her up and she slithers onto it belly down. But when Jack tries to get up onto the thing, it tilts and submerges, almost dumping Rose off. It is clearly only big enough to support her. He clings to it, 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 CUT TO: 285 EXT. OCEAN JACK AND ROSE still float amid a chorus of the damned. Jack sees the ship's officer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously, knowing the sound will carry over the water for miles. JACK The boats will come back for us, Rose. Hold on just a little longer. They had to row away for the suction and now they'll be coming back. She nods, his words helping her. She is shivering uncontrollably, her lips blue and her teeth chattering. WOMAN Come back! Please! We know you can hear us. For God's sake! MAN Please... help us! CUT TO: 286 EXT. LIFEBOATS / OCEAN IN 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 of hundreds screaming. HITCHINS They'll pull us right down I tell ya! MOLLY Aw 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. MOLLY I don't understand a one of you. What's the matter with you? It's your men back there! We got plenty a' room for more. HITCHINS And there'll be one less in this boat, if you don't shut that hole in yer face! Ruth keeps her ears covered and her eyes closed, shutting it all out. Molly reluctantly sits. CUT TO: 288 EXT. OCEAN Jack and Rose drift under the blazing stars. The water is glassy, with only the faintest undulating swell. Rose can actually see the stars reflecting on the black mirror of the sea. Jack squeezes the water out of her long coat, tucking it in tightly around her legs. He rubs her arms. His face is chalk with in the darkness. A low MOANING in the darkens around them. ROSE It's getting quiet. JACK Just a few more minutes. It'll take them a while to get the boats organized... Rose is unmoving, just staring into space. She knows the truth. There won't be any boats. Behind Jack she sees that Officer Wilde has stopped moving. He is slumped in his lifejacket, looking almost asleep. He has died of exposure already. JACK I don't know about you, but I intend to write a strongly worded letter to the White Star Line about all this. She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyes in the dim light. ROSE I love you Jack. He takes her hand. JACK No...don't you do that! Don't you say your good-byes, Rose. ROSE I'm so cold. JACK You're going to get out of this... you're going to go on and you're going to make babies and watch them grow and you're going to die an old lady, warm in your bed. Not here. Not this night. Do you understand me? ROSE I can't feel my body. JACK Rose, listen to me. Listen. Winning that ticket was the best thing that ever happened to me. Jack is having trouble getting the breath to speak. JACK It brought me to you. And I'm thankful for that , Rose. His voice is trembling with the cold which is working its way to his heart. But his eyes are unwavering. JACK You must do me this honor... promise me you will survive... that you will never give up... no matter what happens... no matter how hopeless... promise me now, and never let go of that promise. ROSE I promise. JACK Never let go. ROSE I 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 - NIGHT Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12 and Collapsible D together with his own Boat 14. A demon of energy, he's had everyone hold the boats together and is transferring passengers from 14 into the others, to empty his boat for a rescue attempt. As the women step gingerly across the other boats, Lowe sees a shawled figure in too much of a hurry. He rips the shawl off, and finds himself staring into the face of a man. He angrily shoves the stowaway into another boat and turns to his crew of three. LOWE Right, man the oars. CUT TO: 290 EXT. OCEAN / BOAT 14 The beam of an electric torch plays across the water like a searchlight as boat 14 comes toward us. ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignant trail of flotsam: a violin, a child's wooden soldier, a framed photo of a steerage family. Daniel Marvin's wooden Biograph camera. Then, their white lifebelts bobbing in the darkness like signposts, the first bodies come into the torch's beam. The people are dead but not drowned, killed by the freezing water. Some look like they could be sleeping. Others stare with frozen eyes at the stars. Soon bodies are so thick the seamen cannot row. They hit the oars on the heads of floating men and women... a wooden thunk. 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. OCEAN IN 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 be floating in interstellar space. They are absolutely still. Their hands are locked together. Rose is staring upwards at the canopy of stars wheeling above her. The music is transparent, floating... as the long sleep steals over Rose, and she feels peace. CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to be floating in a void. Rose is in a semi-hallucinatory state. She knows she is dying. 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 glorious band 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. Her breathing is so shallow, she is almost motionless. Her eyes track down from the stars to the water. ROSE'S POV... SLOW MOTION: The silhouette of a boat crossing the stars. She sees 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 sound slow and DISTORTED. Then the lookout flashes his torch toward her and the light flares across the water, silhouetting the bobbing corpses in between. It flicks past her motionless 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 the wood under her. ROSE (barely audible) Jack. There's a boat Jack. Jack?! She touches his shoulder with her free hand. He doesn't respond. Rose gently turns 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. ROSE Oh, Jack. All hope, will and spirit leave her. She looks at the boat. It is further away now, the voices fainter. Rose watches them go. She closes her eyes. She is so weak, and there just seems to be no reason to even try. And then... her eyes snap open. She raises her head suddenly, cracking the ice as she rips her hair off the wood. She calls out, but her voice is so weak they don't hear her. The boat is invisible now, the torch light a star impossibly far away. She struggles to 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 to Jack's. She breaths on it, melting the ice a little, and gently unclasps their hands, breaking away a thin tinkling film. ROSE I will never let go. Jack. I will never let go. She releases him and he sinks into the black water. He seems to fade out like a spirit returning to some immaterial plane. Rose rolls off the floating staircase and plunges into the icy water. She swims to Chief Officer Wilde's body and grabs his whistle. She starts to BLOW THE WHISTLE with all the strength in her body. Its sound slaps across the still water. 294 IN BOAT 14 Lowe whips around at the sound of the whistle. LOWE (turning the tiller) Come about! Rose keeps blowing as the boat comes to her. She is still blowing when Lowe takes the whistle from her mouth as they haul her into the boat. She slips into unconsciousness and they scramble to cover her with blankets... 

DISSOLVE TO: 295 INT. IMAGING SHACK / KELDYSH EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day. OLD ROSE Fifteen hundred people went into the sea when Titanic sank from under us. There were twenty boats floating nearby and only one came back. One. Six were saved from the water, myself included. Six out of fifteen hundred. As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and the salvage crew on KELDYSH. Lovett, Bodine, Buell, the others... the reality of what happened here 84 years before has hit them like never before. With her story Rose has put them on Titanic in its final hours, and or the first time, they do feel like graverobbers. Lovett, for the first time, has even forgotten to ask about the diamond. OLD ROSE Afterward, the seven hundred people in the boats had nothing to do but wait... wait to die, wait to live, wait for an absolution which would never come. 

DISSOLVE TO: 296 EXT. LIFEBOATS / OPEN SEA - PRE-DAWN MATCHING MOVE as the camera tracks along the faces of the saved. 

DISSOLVE TO: ANOTHER BOAT, and then ANOTHER, seeing faces we know among the survivors: Ismay in a trance, just staring and trembling... Cal, sipping from a hip flask offered to him by a black-faced stoker... Ruth hugging herself, rocking gently. IN BOAT 14: CLOSE ON ROSE, lying swaddled. Only her face is visible, white as the moon. The man next to her jumps up, pointing and yelling. Soon everyone is looking and shouting excitedly. In Rose's POV it is all silent, SLOW MOTION. IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it as everyone shouts and cheers. Rose doesn't react. She floats beyond all human emotion. 

DISSOLVE TO: 298 EXT. LIFEBOATS / OPEN SEA - DAWN Golden light washes across the white boats, which gloat in a calm sea reflecting 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 - DAY IMAGES DISSOLVE into one another: a ship's hull looming, with the letters CARPATHIA visible on the bow... Rose watching, rocked by the sea, her face blank... seamen helping survivors up the rope ladder to the Carpathia's gangway 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, part elegy, 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 warm blankets and given hot tea 

CUT TO: 300 EXT. DECK / CARPATHIA - DAY It is the afternoon of the 15th. Cal is searching the faces of the widows lining the deck, looking for Rose. The deck of Carpathia is crammed with huddled people, and even the recovered lifeboats of Titanic. On a hatch cover sits an enormous pile of lifebelts. He keeps walking toward the stern. Seeing Cal's tuxedo, a steward approaches him. 

CARPATHIA STEWARD You 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 shawls and blankets at one bleak face after another. Rose is sipping hot tea. Her eyes focus on him as he approaches her. She does not let him see her, and he walks away, stricken. 

OLD ROSE (V.O.) That was the last time I ever saw him. He married, of course, and inherited his millions. The crash of 28 hit his interests hard, and he put a pistol in his mouth that year. His children fought over the scraps of his estate like hyenas, or so I read. 

301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. She gazes up at the Statue of Liberty, looking just as it does today, welcoming her home with her glowing torch. It is just as Fabrizio saw it, so clearly, in his mind. Rose is covered with a woolen shawl and walking with a group of steerage passengers. Immigration officers are asking them questions as they come off the gangway. 

IMMIGRATION OFFICER May I have you name, love? 

ROSE Dawson. Rose Dawson. 

CUT TO: 303 INT. IMAGING SHACK / KELDYSH Old Rose sits with the group in the Imaging Shack, lit by the blue glow of the screens. She holds the haircomb with the jade butterfly on the handle in her gnarled hands. 

BODINE We never found anything on Jack. There's no record of him at all. 

OLD ROSE No, 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. But now you all know there was a man named Jack Dawson, and that he saved me, in every way that a person can be saved. I don't even have a picture of him. He exists now only in my memory. 

CUT TO: 305 EXT. OCEAN FLOOR / TITANIC WRECK The Mir submersibles make their last pass over the ship. We hear Yuri the pilot on the UQC: YURI Mir One returning to surface. The sub rises off the deck of the wreck, taking its light with it, leaving the Titanic once again it its fine and private darkness. 

CUT TO: 306 EXT. KELDYSH DECK Lovett stands at the rail, looking down into the black water. Lizzy is with him. Lovett is smelling a cigar. 

LOVETT (depressed, saddened) I was saving this until we found the diamond. (He throws it overboard) For three years I've thought of nothing but Titanic, but I never got it. I never let it in... Lizzy looks at him, smiles to soften his pain. 

CUT TO: 307 EXT. KELDYSH STERN DECK Rose walks through the shadows of the deck machinery. Her nightgown blows in the wind. Her feet are bare. Her hands are clutched at her chest, almost as if she is praying. ROSE reaches the stern rail. Her gnarled fingers wrap over the rail. Her ancient foot steps up on the gunwale. She pushes herself up, leaning forward. Over her shoulder, we see the black water glinting far below. 

FLASH CUT TO: A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. The photographers' flashes go off like a battle behind her. She has her hands in her pockets. She stops, feeling something, and pulls out the necklace. She stares at it in amazement. 

308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end over end, into the infinite depths. 

CUT TO: 309 INT. ROSE'S CABIN / KELDYSH A GRACEFUL PAN across Rose's shelf of carefully arranged pictures: Rose as a young actress in California, radiant... a theatrically lit studio publicity shot... Rose and her husband, with their two children... Rose with her son at his college graduation... Rose with her children and grandchildren at her 70th birthday. A collage of images of a life lived well. THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at the beach, sitting on a horse at the surfline. The Santa Monica pier, with its rollercoaster is behind her. She is grinning, full of life. We PAN OFF the last picture to Rose herself, warm in her bunk. A profile shot. She is very still. She could be sleeping, or maybe something else. 

CUT TO: BLACKNESS 310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a kind of moonlight, a light of the mind. We pass over the endless forecastle deck to the superstructure, moving faster than subs can move... almost like we are flying. WE GO INSIDE, and the echoing sound of distant waltz music is heard. The rust 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 is vibrant now, and the room is populated by men in tie and tails, women in gowns. It is exquisitely beautiful. IN POV we sweep down the staircase. The crowd of beautiful gentleman and ladies turn as we descend toward them. At the bottom a man stands with his back to us... he turns and it is Jack. Smiling he holds his hand out toward us. 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 silence of the abyss.

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