Titanic Screenplay
Page 5
CUT TO:
89
INT. ROSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Rose and Cal are having breakfast in silence. The tension is palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes inside.
CAL
I had hoped you would come to me last night.
ROSE
I was tired.
CAL
Yes. Your exertions below decks were no doubt exhausting.
ROSE
(stiffening)
I see you had that undertaker of a manservant follow me.
CAL
You will never behave like that again! Do you understand?
ROSE
I'm not some foreman in your mills that you can command! I am your fiancee--
Cal explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering over her and gripping the sides of her chair, so she is trapped between his arms.
CAL
Yes! You are! And my wife... in practice, if not yet by law. So you will
honor me, as a wife is required to honor her husband! I will not be made
out a fool! Is this in any way unclear?
Rose shrinks into the chair. She sees Trudy, frozen, partway through the door bringing the orange juice. Cal follows Rose's glance and straightens up. He stalks past the maid, entering the stateroom.
ROSE
We... had a little accident. I'm sorry, Trudy.
CUT TO:
90
INT. RUTH'S SUITE - DAY
Rose is dressed for the day, and is in the middle of helping Ruth with her corset. The tight bindings do not inhibit Ruth's fury at all.
RUTH
You are not to see that boy again, do you understand me Rose? I forbid
it!
Rose has her knee at the base of her mother's back and is pulling the corset strings with both hands.
ROSE
Oh, stop it, Mother. You'll give yourself a nosebleed.
Ruth pulls away from her, and crosses to the door, locking it. CLACK!
RUTH
(wheeling on her)
Rose, this is not a game! Our situation is precarious. You know the
money's gone!
ROSE
Of course I know it's gone. You remind me every day!
RUTH
Your father left us nothing but a legacy of bad debts hidden by a good
name. And that name is the only card we have to play.
Rose turns her around and grabs the corset strings again. Ruth sucks in her waist and Rose pulls.
RUTH
I can't understand you. It is a fine match with Hockley, and it will insure
our survival.
ROSE
(hurt and lost)
How can you put this on my shoulders?
Ruth turns to her, and we see what Rose sees-- the naked fear in her mother's eyes.
RUTH
Do you want to see me working as a seamstress? Is that what you want? Do
you want to see our fine things sold at auction, our memories scattered
to the winds? My God, Rose, how can you be so selfish?
ROSE
It's so unfair.
RUTH
Of course it's unfair! We're women. Our choices are never easy.
Rose pulls the corset tighter.
CUT TO:
91
INT. FIRST CLASS DINING SALOON
At the divine service, Captain Smith is leading a large group in the hymn "Almighty Father Strong To Save." Rose and Ruth sing in the middle of the group.
Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the entry doors. Jack has been halted there by two stewards. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place.
STEWARD
Look, you, you're not supposed to be in here.
JACK
I was just here last night... don't you remember?
(seeing Lovejoy coming toward him)
He'll tell you.
LOVEJOY
Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of
your assistance. They asked me to give you this in gratitude--
He holds out two twenty dollar bills, which Jack refuses to take.
JACK
I don't want money, I --
LOVEJOY
-- and also to remind you that you hold a third class ticket and your presence
here is no longer appropriate
Jack spots Rose but she doesn’t see him.
JACK
I just need to talk to Rose for a--
LOVEJOY
Gentlemen, please see that Mr. Dawson gets back where he belongs.
(giving the twenties to the stewards)
And that he stays there.
STEWARD
Yes sir!
(to Jack)
Come along you.
END ON ROSE, not seeing Jack hustled out.
ROSE
(singing)
O hear us when we cry to thee for those in peril on the sea
CUT TO:
92
INT. GYMNASIUM - DAY An Edwardian nautilus room. There are machines
we recognize, and some we don't. A woman pedals a stationary bicycle in
a long dress, looking ridiculous. Thomas Andrews is leading a small tour
group, including Rose, Ruth and Cal. Cal is working the oars of a stationary
rowing machine with a well trained stroke.
CAL
Reminds me of my Harvard days.
T.W. McCAWLEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his present-day counterpart on an "Abflex" infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose puts her hand on it, curious.
MCCAULEY
The electric horse is very popular. We even have an electric camel. (to
Ruth) Care to try your hand at the rowing, m'am?
RUTH
Don't be absurd. I can't think of a skill I should likely need less.
ANDREWS
The next stop on our tour will be the bridge. This way, please.
CUT TO:
93
EXT. AFT WELL DECK, B-DECK AND A-DECK - DAY
Jack, walking with determination, is followed closely by Tommy and Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class.
TOMMY
She's a goddess amongst mortal men, there's no denyin'. But she's in another
world, Jackie, forgether. She's closed the door.
Jack moves furtively to the wall below the A-Deck promenade, aft.
JACK
It was them, not her.
(glancing around the deck)
Ready.. go.
Tommy shakes his head resignedly and puts his hands together, crouching down. Jack steps into Tommy's hands and gets boosted up to the deck, where he scrambles nimbly over the railing, onto the First Class deck.
TOMMY
He's not bein' logical, I tell ya.
FABRIZIO
Amore is'a not logical.
CUT TO:
94
EXT. A-DECK / AFT - DAY A man is playing with his son, who is spinning
a top with a string. The man's overcoat and hat are sitting on a deck chair
nearby. Jack emerges from behind one of the huge deck cranes and calmly
picks up the coat and bowler hat. He walks away, slipping into the coat,
and slicks his hair back with spit. Then puts the hat on at a jaunty angle.
At a distance he could pass for a gentleman.
CUT TO:
95
INT. BRIDGE / CHARTROOM - DAY
HAROLD BRIDE, the 21 year old junior Wireless Operator, hustles in and skirts around Andrews' tour group to hand a Marconigram to Captain Smith.
BRIDE
Another ice warning, sir. This one from the "Baltic".
SMITH
Thankyou, Sparks.
Smith glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Rose and the group.
SMITH
Not to worry, it's quite normal for this time of year. In fact, we're speeding
up. I've just ordered the last boilers lit.
Andrews scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch.
LIGHTOLLER
Did we ever find those binoculars for the lookouts?
FIRST OFFICER MURDOCH
Havn't seen them since Southampton.
CUT TO:
96
EXT. BOAT DECK / STARBOARD SIDE - DAY
Andrews leads the group back from the bridge along the boat deck.
ROSE
Mr. Andrews, I did the sum in my head, and with the number of lifeboats
times the capacity you mentioned... forgive me, but it seems that there
are not enough for everyone aboard.
ANDREWS
About half, actually. Rose, you miss nothing, do you? In fact, I put in
these new type davits, which can take an extra row of boats here. (he gestures
along the deck) But it was thought... by some... that the deck would look
too cluttered. So I was over-ruled.
CAL
(slapping the side of a boat)
Waste of deck space as it is, on an unsinkable ship!
ANDREWS
Sleep soundly, young Rose. I have built you a good ship, strong and true.
She's all the lifeboat you need.
As they are passing Boat 7, a gentleman turns from the rail and walks up behind the group. It is Jack. He taps Rose on the arm and she turns, gasping. He motions and she cuts away from the group toward a door which Jack holds open. They duck into the--
CUT TO:
97
INT. GYMNASIUM - DAY
Jack closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Rose and Jack are alone in the room.
ROSE
Jack, this is impossible. I can't see you.
He takes her by the shoulders.
JACK
Rose, you're no picnic... you're a spoiled brat even, but under that you're
a strong, pure heart, and you're the most amazing astounding girl I've
ever known and--
ROSE
Jack I--
JACK
No wait. Let me try to get this out. You're amazing... and I know I have
nothing to offer you, Rose. I know that. But I'm involved now. You jump,
I jump, remember? I can't turn away without knowin' you're going to be
alright.
Rose feels the tears coming to her eyes. Jack is so open and real... not like anyone she has ever known.
ROSE
You're making this very hard. I'll be fine. Really.
JACK
I don't think so. They've got you in a glass jar like some butterfly, and
you're goin' to die it you don't break out. Maybe not right away, 'cause
you're strong. But sooner or later the fire in you is goin' to go out.
ROSE
It's not up to you to save me, Jack.
JACK
You're right. Only you can do that.
ROSE
I have to go back, they'll miss me. Please, Jack, for both our sakes, leave
me alone.
Rose runs out onto the deck. Jack watches her go, through the rippled windows of the gymnasium.. like a figure underwater.
CUT TO:
98
INT. FIRST CLASS LOUNGE - DAY
The most elegant room on the ship, done in Louis Quinze Versaille style. Rose sits on a divan, with a group of other women arrayed around her. Ruth, the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as a porcelain figurine as the conversation washes around her.
RUTH
Of course the invitations had to be sent back to the printers twice. And
the bridesmaids dresses! Let me tell you what an odyssey that has been...
TRACKING SLOWLY IN on Rose as Ruth goes on.
REVERSE, ROSE'S POV: A tableau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl trying so hard to please, her expression serious. A glimpse of Rose at that age, and we see the relentless conditioning... the path to becoming an Edwardian geisha.
ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all over her dress.
ROSE
Oh, look what I've done.
CUT TO:
99
EXT. TITANIC - DAY
TITANIC STEAMS TOWARD US, in the dusk sky, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, we push on the bow. Jack is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head.
Jack hears her voice, behind him...
ROSE
Hello, Jack.
He turns and she is standing there.
ROSE
I changed my mind.
He smiles at her, his eyes drinking her in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face.
ROSE
Fabrizio said you might be up --
JACK
Sssshh. Come here.
He puts his hands on her waist. As if he is going to kiss her.
JACK
Close your eyes.
She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her. Then he takes her two hands and raises them until she is standing with her arms outstretched on each side. Rose is going along with him. When he lowers his hands, her arms stay up... like wings.
JACK
Okay. Open them.
Rose gasps. There is nothing in her field of vision but water. It's like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a dusk sky. There is only the wind, and the hiss of the water 50 feet below.
ROSE
I'm flying! 
She leans forward, arching her back. He puts his hands on her waist to steady her.
JACK
(singing softly)
Come Josephine in my flying machine...
Rose closes her eyes, feeling herself floating weightless far above the sea. She smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her.
Slowly he raises his hands, arms outstretched, and they meet hers... fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers.
Jack tips his face forward into her blowing hair, letting the scent of her wash over him, until his cheek is against her ear.
Rose turns her head until her lips are near his. She lowers her arms, turning further, until she finds his mouth with hers. He wraps his arms around her from behind, and they kiss like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, slowly and tremulously, and then with building passion.
Jack and the ship seem to merge into one force of power and optimism, lifting her, buoying her forward on a magical journey, soaring onward into a night without fear.
100
IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET
nudges his mate, REGINALD LEE, pointing down at the figures in the bow.
FLEET
Wish I had those bleedin' binoculars.
101
JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the ruined bow of the WRECK--
CUT TO:
102
INT. KELDYSH IMAGING SHACK
OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss.
ROSE
That was the last time the Titanic ever saw daylight.
Brock Lovett changes the tape in the minicassette recorder.
BROCK
So we're up to dusk on the night of the sinking. Six hours to go.
BODINE
Don't you love it? There's Smith, he's standing there with the iceberg
warning in his fucking hand...
(remembering Rose)
... excuse me... in his hand, and he's ordering more speed.
BROCK
26 years of experience working against him. He figures anything big enough
to sink the ship they're going to see it in time to turn. But the ship's
too big, with too small a rudder... it can't corner worth shit. Everything
he knows is wrong.
ROSE is ignoring the conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame.
TRANSITION:
103
INT. ROSE'S SUITE
... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets his sketchbook and drawing materials on the marble table.
ROSE
Will this light do? Don't artists need good light?
JACK
(bad French accent)
Zat is true, I am not used to working in such 'orreeble conditions.
(seeing the paintings)
Hey... Monet!
He crouches next to the paintings stacked against the wall.
JACK
Isn't he great... the use of color? I saw him once... through a hole in
his garden fence in Givereny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He's fascinated.
ROSE
Cal insists on lugging this thing everywhere.
JACK
Should I be expecting him anytime soon?
ROSE
Not as long as the cigars and brandy hold out.
CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Jack who takes it nervously.
JACK
What is it? A sapphire?
ROSE
A diamond. A very rare diamond, called the Heart of the Ocean.
Jack gazes at wealth beyond his comprehension.
ROSE
I want you to draw me like your French girl. Wearing this.
(she smiles at him)
Wearing only this.
He looks up and we CUT TO:
104
ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair.
She shakes her head and her hair falls free around her shoulders.
105
IN THE SITTING ROOM Jack is laying out his pencils like surgical tools.
His sketchbook is open and ready. He looks up as she comes into the room,
wearing a silk kimono.
ROSE
The last thing I need is another picture of me looking like a china doll.
As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stone lies on her creamy breast. Her heart is pounding as she slowly lowers the robe.
Jack looks so stricken, it is almost comical. The kimono drops to the floor (this is all in cuts, lyrical).
ROSE
Tell me when it looks right to you.
She poses on the divan, settling like a cat into the position we remember from the drawing... almost.
JACK
Uh... just bend your left leg a little and... and lower your head. Eyes
on me. That's it.
Jack starts to sketch. He drops his pencil and she stifles a laugh.
ROSE
I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet
blushing.
JACK
(sweating)
He does landscapes.
TIGHT ON JACK as his eyes come up to look at her over the top edge of his sketchpad. We have seen this image before, in her memory. It is an image she will carry the rest of her life.
Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy.
PUSH SLOWLY IN ON ROSE'S FACE...
TRANSITION:
106
INT. KELDYSH/ IMAGING SHACK
MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same.
OLD ROSE
My heart was pounding the whole time. It was the most erotic moment of
my life... up till then at least.
CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence. The story of Jack and Rose has finally completely grabbed them.
BODINE
What, uh... happened next?
OLD ROSE
(smiling)
You mean, did we "do it"?
CUT TO:
107
INT. ROSE AND CAL'S SUITE - NIGHT
BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again, is leaning on his shoulder, watching.
OLD ROSE (V.O.)
Sorry to disappoint you Mr. Bodine.
Rose gazes at the drawing. He has X-rayed her soul.
ROSE
Date it, Jack. I want to always remember this night.
He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic stationary. We don't see what is says. She accepts the drawing from him, and crosses to the safe in the wardrobe.
She puts the diamond back in the safe, placing the drawing and the note on top of it. Closes the door with a CLUNK!
CUT TO:
108
INT. FIRST CLASS SMOKING ROOM - NIGHT
Lovejoy enters from the Palm Court through the revolving door and crosses the room toward Hockley. A fire is blazing in the marble fireplace, and the usual fatcats are playing cards, drinking and talking. Cal sees Lovejoy and detaches from his group, coming to him.
LOVEJOY
None of the stewards have seen her.
CAL
(low but forceful)
This is ridiculous, Lovejoy. Find her.
CUT TO:
109
EXT. ATLANTIC - NIGHT
TITANIC glides across an unnatural sea, black and calm as a pool of oil. The ships lights are mirrored almost perfectly in the black water. The sky is brilliant with stars. A meteor traces a bright line across the heavens.
110
ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the
ship. QUARTERMASTER HICHENS brings him a cup of hot tea with lemon. It
steams in the bitter cold of the open bridge. Second Officer Lightoller
is next to him, staring out at the sheet of black glass the Atlantic has
become.
LIGHTOLLER
I don't think I've ever seen such a flat calm, in 24 years at sea.
SMITH
Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER
It'll make the bergs harder to see, with no breaking water at the base.
SMITH
Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.
LIGHTOLLER
Yes sir.
SMITH
And wake me, of course, if anything becomes in the slightest degree doubtful.
CUT TO:
111
INT. ROSE AND CAL'S SUITE
Rose, fully dressed now, returns to the sitting room. They hear a key in the lock. Rose takes Jacks hand and leads him silently through the bedrooms. Lovejoy enters by the sitting room door.
LOVEJOY
Miss Rose? Hello?
He hears a door opening and goes through Cal's room toward hers.
CUT TO:
112
INT. CORRIDOR OUTSIDE SUITE
Rose and Jack come out of her stateroom, closing the door. She leads him quickly along the corridor toward the B deck foyer. They are halfway across the open space when the sitting room door opens in the corridor and Lovejoy comes out. The valet sees Jack with Rose and hustles after them.
ROSE
Come on!
She and Jack break into a run, surprising the few ladies and gentlemen about. Rose leads him past the stairs to the bank of elevators. They run into one shocking the hell out of the OPERATOR.
ROSE
Take us down. Quickly, quickly!
The Operator scrambles to comply. Jack even helps him close the steel gate. Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of the gate. Rose makes a very rude and unladylike gesture, and laughs as Lovejoy disappears above. The Operator gapes at her.
CUT TO:
113
INT. E-DECK FOYER/ELEVATORS
Lovejoy emerges from another lift and runs to the one Jack and Rose were in. The Operator is just closing the gate to go back up. Lovejoy runs around the bank of elevators and scans the foyer... no Jack and Rose. He tries the stairs going down to F-Deck.
CUT TO:
114
INT. F-DECK CORRIDORS/ FAN ROOM
A functional space, with access to a number of machine spaces (fan rooms, boiler uptakes). Jack and Rose are leaning against the wall, laughing.
JACK
Pretty tough for a valet, this fella.
ROSE
He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble...
to make sure he always got back to the hotel with his wallet and watch,
after some crawl through the less reputable parts of town...
JACK
Kinda like what we're doin' right now-- uh oh!
Lovejoy has spotted them from a cross-corridor nearby. He charges toward them. Jack and Rose run around a corner into a blind alley. There is one door, marked CREW ONLY, and Jack flings it open.
115
They enter a roaring FAN 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 smoking 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:
117
INT. FIRST CLASS SMOKING ROOM
Amid unparalleled luxury, Cal sits at a card game, sipping brandy.
COLONEL GRACIE
We're going like hell I tell you. I have fifty dollars that says we make
it into New York Tuesday night!
Cal looks at his gold pocket watch, and scowls, not listening.
CUT TO:
118
OMITTED
119
INT. BOILER ROOM SIX
The furnaces roar, silhouetting the glistening stokers. JACK kisses Rose's face, tasting the sweat trickling down from her forehead. They kiss passionately in the steamy, pounding darkness.
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