Heart of the ocean _ Titanic (Documentary film)

Exclusive documentary film on 'Titanic' Classic

“Titanic” Exclusive Screenplay (Part Six)

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 mylife... up till then at least.

CUT TO

REVERSE: A semicircle of listeners staring in rapt, frozen silence.The story of Jack and Rose has finally and completely grabbed them.

BODINE

What, uh... happened next?

OLD ROSE

(smiling)

You mean, did we "do it"?

CUT TO:

107 INT. ROSE AND CAL'S SUITE – NIGHT

BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono

again,is leaning on his shoulder, watching.

OLD ROSE (V.O.)

Sorry to disappoint you Mr. Bodine.

Rose gazes at the drawing. He has X-rayed her soul.

ROSE

Date it, Jack. I want to always remember this night.

He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanicstationary. We don't see what it says. She accepts the drawing from him,and crosses to the safe in the wardrobe.

She puts the diamond back in the safe, placing hte drawing and the note ontop 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 crossesthe room toward Hockley. A fire is blazing in the marble fireplace, and theusual fatcats are playing cards, drinking and talking. Cal sees Lovejoy anddetaches 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, blakc and calm as a pool of oil.The ships lights are mirrored almost perfectly in the black water. The skyis 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 theship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. Itsteams in the bitter cold of the open bridge. Second Officer Lightoller isnext to him, staring out at the sheet of black glass the Atlantic hasbecome.

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's 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 inthe lock. Rose takes Jack's hand and leads him silently through thebedrooms. 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 himquickly along the corridor toward the B deck foyer. They are halfway acrossthe open space when the sitting room door opens in the corridor and Lovejoycomes 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 gentlemenabout. Rose leads him past the stairs to the bank of elevators. They runinto 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 thebars of the gate. Rose makes a very rude and unladylike gesture, and laughsas 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 werein. The Operator is just closing the gate to go back up. Lovejoy runsaround the bank of elevators and scans the foyer... no Jack and Rose. Hetries the stairs going down to F-Deck.

CUT TO:

114 INT. F-DECK CORRIDORS / FAN ROOM

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

JACK

Pretty tough for a valet, this fella.

ROSE

He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble...to make sure he always got back to the hotel with his wallet and watch,after some crawl through the less reputable parts of town...

JACK

Kinda like we're doin' right now-- uh oh!

Lovejoy has spotted them from a cross-corridor nearby. He charges towardthem. Jack and Rose run around a corner into a blind alley. There is onedoor, 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 amoment 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. Itis like a vision of hell itself, with the roaring furnaces and blackfigures 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 pullsher through the fiercely hot alley between two boilers and they wind up inthe dark, out of sight of the working crew. Watching from the shadows, theysee the stokers working in the hellish glow, shovelling coal into theinsatiable maws of the furnaces. The whole place thunders with the roar ofthe fires.

CUT TO:

117 INT. FIRST CLASS SMOKING ROOM

Amid unparalled luxury, Cal sits at a card game, sipping brandy.

COLONEL GRACIE

We're going like hell I tel you. I have fifty dollars that says we make itinto 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'sface, tasting the sweat trickling down from her forehead. They kisspassionately in the steamy, pounding darkness.

CUT TO:

120 INT. HOLD #2

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

They come upon William Carter's brand new RENAULT touring car, lashing downto a pallet. It looks like a royal coach from a fairy tale, its brass trimand 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 arose. Jack jumps into the driver's seat, enjoying hte feel of the leatherand wood.

JACK

Where to, Miss?

ROSE

To the stars.

ON JACK as her hands come out of the shadows and pull him over the seatinto the back. He lands next to her, and his breath seems loud in the quietdarkness. He looks at her and she is smiling. It is the moment of truth.

JACK

Are you nervous?

ROSE

Au contraire, mon cher.

He strokes her face, cherishing her. She kisses his artist's fingers.

ROSE

Put your hands on me Jack. He kisses her, and she slides down in the seat under his welcome weight.

CUT TO:

121 INT. WIRELESS ROOM

A BRILLIANT ARC OF ELECTRICITY fills frame-- the sparks gap of the Marconiinstrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS (24) rapidly keys outa message. Junior Operator Bride looks through the huge stack of outgoingmessages swamping them.

BRIDE

Look at this one, he wants his private train to meet him. La dee da.

(slaps them down)

We'll be up all bloody night on this lot.

Phillips start to receive an incoming message from a nearby ship, theLeyland frieghter CALIFORNIAN, which jams his outgoing signal. At suchclose range, the beeps are deafening.

PHILLIPS

Christ! It's that idiot on the Californian.

Cursing, Phillips furiously keys a rebuke.

CUT TO:

122 INT. / EXT. WIRELESS SHAK / FREIGHTER CALIFORNIAN

Wireless Operater CYRIL EVANS pulls his earphone off his ear as theTitanic's spark deafens him. he translates the message for THIRD OFFICERGROVES.

EVANS

Stupid bastard. I try to warn him about the ice, and he says "Keep out.Shut up. I'm working Cape Race."

GROVES

Now what's he sending?

EVANS

"No seasickness. Poker business good. Al". Well that's it for me. I'mshutting down.

As Evans wearily switches off his generator, Groves goes out on deck. PANoFF Him to reveal the ship is stopped fifty yards from the edge of a fieldof pack ice and icebergs stretching as far as the eye can see.

CUT TO:

123 EXT. OCEAN / TITANIC

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

CUT TO:

124 INT. HOLD #2

PUSHING IN on the rear window of the Renault, which is completely foggedup. Rose's hand comes up and slams against the glass for a moment, making ahandprint in the veil of condensation.

INSIDE THE CAR, Jack's overcoat is liek a blanket over them. It stirs andRose pulls it down. They are huddled under it, intertwined, still mostlyclothed. 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.

JACK

I can feel your heart beating.

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

OLD ROSE (V.O.)

Well, I wasn't the first teenage girl to get seduced in the backseat of acar, and certainly not the last, by several million. He had such finehands, artists' hands, but strong too... roughened by work. I remembertheir touch even now.

CUT TO:

125 EXT. ATLANTIC / TITANIC – NIGHT

The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and thetiny half-cylinder of the crow's nest, which grows as we push in onlookouts Fleet and Lee. They are stamping their feet and swinging theirarms, trying to keep warm in the 22 knot freezing wind, which whips caporof 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 hte words over the roar of the furnaces, we see stokerstelling TWO STEWARDS which way Rose and Jack went. The stewards move offtoward 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 faceclenches with fury.

He reads the not again: "DARLING, NOW YOU CAN KEEP USBOTH LOCKED IN YOUR SAFE, ROSE".

Lovejoy, standing behind him, looks over his shoulder at the drawing. Calcrumples Rose's not, then takes the drawing in both hands as if to rip itin 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 beamsaround the hold. They spot the Renault with its fogged up rear window andapproach it slowly.

FROM INSIDE we see the torch light up Rose's passionate handprint, stillthere 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. Theycan barely stand, they are laughing so hard.

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

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

ROSE

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

JACK

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, ifit's all the same.

They both have a good laugh at that one. It is Fleet whose expression fallsfirst. Glancing forward again, he does a double take. The color drains outof 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 grabsthe telephone, calling the bridge. He waits precious seconds for it to bepicket up, never taking his eyes off the black mass ahead.

FLEET

Pick up, ya bastard.

CUT TO:

131 INT. / EXT. BRIDGE

Inside the enclosed wheelhous, SIXTH OFFICER MOODY walks unhurriedly to thetelephone, picking it up.

FLEET (V.O.)

Is someone 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 thewheel.

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 steammanifold when the engine telegraph clangs, then goes... incredibly... toFULL 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 startbraking the mighty propeller shafts, big as Sequias, to a stop.

133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with2nd Engineer JAMES HESKETH when the red warning light and "STOP" indicatorcome on.

BARRETT

Shut all dampers! Shut 'em!!

134 FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. Thebow finally starts to come left (since the ship turns the reverse of thehelm setting). MURDOCH'S jaw clenches as the bow turns with agonizing slowness. He holdshis 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. Theiceberg bumps and scrapes along the side of the ship. Rivets pop as thesteel plate of the hull flexes under the load.

138 IN #2 HOLD the two stewards stagger as the hull buckles in four feetwith a sound like THUNDER. Like a sledgehammer beating along outside theship, the berg splits the hull plates and the sea pour in, sweeping themoff their feert. The icy water swirls around the Renault as the menscramble for the stairs.

139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. Hehears 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 ROLLINGTHUNDER of the collision. They see the starboard side of the ship buckle intoward them and are almost swept off their feet by a rush of water comingin about two feet above the floor.

141 ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up inastonishment 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 jumpback to avoid flying chunks of ice.

142 ON THE BRIDGE Murdoch rings the watertight door alarm. He quicky throwsthe 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 theswirling water to the watertight door between Boiler Rooms 6 and 5. Theroom 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 downlike a slow guillotine.

BARRETT

Go Lads! Go! Go!

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

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

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

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

146 IN THE FIRST CLASS SMOKING ROOM

Gracie watches his highball vibratingon the table.

147 IN THE PALM COURT,

with its high arched windows, Molly Brown holds upher drink tao a passing Vaiter.

MOLLY

Hey, can I get some ice here, please?

Silently, a moving wall of ice fills the window behind her. She doesn't seeit. It disappears astern.

148 OMITTED

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 toreflect his inner state. He is in shock, unable to get a grip on what justhappened. He just ran the biggest ship in history into an iceberg on itsmaiden 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 hisshirt.

SMITH

What was that, Mr. Murdoch?

MURDOCH

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

SMITH

Close the emergency doors.

MURDOCH

The doors are closed.

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

SMITH

Find the Carpenter and get him to sound the ship.

CUT TO:

To be continued…

“Titanic” Exclusive Screenplay (Part Five)

81 INT. DINING SALOON
Like a ballroom at the palace, alive and lit by a constellation ofchandeliers, full of elegantly dressed people and beautiful music fromBANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter andmove 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 ofthem... a young captain of industry perhaps... new money, obviously, butstill a memeber of the club. Mother of course, could always be countedupon...

CUT TO:

82 INT. DINING SALOON
CLOSE ON RUTH.

RUTH

Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quitegood on this ship. WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal andThomas 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, m'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 myfiancee last night.

(to Jack, as if to a child)

This is foie gras. It's goose liver.
We see whispers exchanged. Jack becomesthe subject of furtive glances. Nowthey're all feeling terribly liberal and dangerous.

GUGGENHEIM

(low to Madame Aubert)

What is Hockly hoping to prove, bringing this... bohemian... up here?

WAITER

(to Jack)

How do you take your caviar, sir?

CAL

(answering for him)

Just a soupcon of lemon...

(to Jack, smiling)

...it improves the flavor with champagne.

JACK

(to the waiter)

No caviar for me, thanks.

(to Cal)

Never did like it much.
He looks at Rose, pokerfaced, and she smiles.

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'sgood humor.
Salad is served. Jack reaches for the fish fork. Rose gives him a look andpicks up the salad fork, prompting him with her eyes. He changes forks.

RUTH

You find that sort of rootless existence appealing, do you?

JACK

Well... it's a big world, and I want to see it all before I go. My fatherwas always talkin' about goin' to see the ocean. He died in the town he wasborn in, and never did see it. You can't wait around, because you neverknow what hand you're going to get dealt next. See, my folks died in a firewhen I was fifteen, and I've been on the road since. Somethin' like thatteaches you to take life as it comes at you. To make each day count.
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.
Ruth, annoyed that Jack has scored a point, presses him further.

RUTH

How is it you have the means to travel, Mr. Dawson?

JACK

I work my way from place to place. Tramp steamers and such.
I won my ticketon Titanic here in a lucky hand at poker.

(he glances at Rose)

A very lucky hand.

GRACIE

All life is a game of luck.

CAL

A real man makes his own luck, Archie.
Rose notices that Thomas Andrews, sitting next to her, is writing in hisnotebook, completely ignoring the conversation.

ROSE

Mr. Andrews, what are you doing? I see you everywhere writing in thislittle book.

(grabs it and reads)

Increase number of screws in hat hooks from 2 to 3. You build the biggestship in the world and this preoccupies you?! Andrews smiles sheepishly.

ISMAY

He knows every rivet in her, don't you Thomas?

ANDREWS

All three million of them.

ISMAY

His blood and soul are in the ship. She may be mine on paper, but in theeyes of God she belongs to Thomas Andrews.

ROSE

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

ANDREWS

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

83 TIME TRANSITION:
Dessert has been served and a waiter arrives withcigars in a humidor on a wheeled cart.
The men start clipping ends andlighting.

ROSE

(low, to Jack)

Nest 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 beingmasters 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.

CAL

Probably best. It'll be all business and politics, that sort of thing.Wouldn't interest you. Good of you to come.
Cal and te other gentlemen exit.

ROSE

Jack, must you go?

JACK

Time for my coach to turn back into a pumpkin.
He leans over to take her hand.
INSERT: We see him slip a tiny folded not into her palm.
Ruth, scowling, watches him walk away across the enormous room. Rosesurreptitiously opens the note below table level. It reads: "Make it count.
Meet me at the clock".

CUT TO:

84 INT. A-DECK FOYER-NIGHT
Rose crosses the A-Deck foyer, sighting Jack at the landing above.
Overheadis the crystal dome. Jack has his back to her, studying the ornate clockwith its carved figures of Honor and Glory. It softly strikes the hour.
MOVING WITH ROSE as she goes up the sweeping staircase toward him. Heturns, sees her... smiles.

JACK

Want to go to a real party?

CUT TO:

85 INT. THIRD CLASS GENERAL ROOM
Crow led and alive with music, laughter and raucous carrying on. An ad hocband is gathered near the upright piano, honking out lively stomping musicon fiddle, accoridon and tambourine. People of all ages are dancing,drinking beer and wine, smoking, laughing, even brawling. Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile danceswith 5 year old Cora Cartmell, or tries to, with her standing on his feet.As the tune ends, Rose leans down to the little girl.

ROSE

May I cut in, miss?

JACK

You're still my best girl, Cora.
Cora scampers off. Rose and Jack face each other. She is trembling as hetakes her right hand in his left. His other hand slides to the small of herback. It is an electrifying moment.

ROSE

I don't know the steps.

JACK

Just move with me. Don't think.
The music starts and they are off. A little awkward at first, she starts toget into it. She grins at Jack as she starts to get the rhythm of thesteops.

ROSE

Wait... stop!
She bends down, pulling off her high heeled shoes, and flings them toTommy. Then she grabs Jack and they plunge back into the fray, dancingfaster as the music speeds up.

CUT TO:

86 OMITTED
87 INT. THIRD CLASS GENERAL ROOM
The scene is rowdy and rollicking. A table gets knocked over as a drunkcrashes into it. And in the middle of it... Rose dancing with Jack in herstocking feet. The steps are fast and she shines with sweat. A space opensaround them, and people watch them, clapping as the band plays faster andfaster.
FABRIZIO AND HELGA. Dancing has obviated the need for a common language. Hewhirls her, then she responds by whirling him... Fabrizio's eyes go widewhen he realizes she's stronger than he is.
The tune ends in a mad rush. Jack steps away from Rose with a flourish,allowing her to take a bow. Exhilarated and slightly tipsy, she does agraceful ballet ployer, feet turned out perfectly. Everyone laughs andapplauds. Rose is a hit with the steerage folks, who've never had a ladyparty with them.
They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigaretteand takes a big drag. She's feeling cocky. Fabrizio is grinning, holdinghands with Helga.

JACK

How you two doin'?

FABRIZIO

I don't know hwat she's say, she don't know what I say, so we get alongfine.
Tommy walks up with a pint for each of them. Rose chugs hers, showing off.

ROSE

You think a first class girl can't drink?
Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy,who sloshes his beer over Rose's dress. She laughs, not caring. But Tommylunges, grabbing Bjorn and wheeling him around.

TOMMY

You stupid bastard!!
Bjorn comes around, his fists coming up... and Jack leaps into the middleof it, pushing them apart.

JACK

Boys, boys! Did I ever tell you the one about the Swede and the Irishmangoin' to the whorehouse?
Tommy stands there, all piss and vinegar, chest puffed up. Then he grinsand claps Bjorn on the shoulder.

ROSE

So, you think you're big tough men? Let's see you do this.
In her stocking feet she assumes a ballet stance, arms raised, and goes upon point, taking her entire weight on the tips of her toes. The guys gapeat her incredible muscle control. She comes back down, then her face screwsup in pain. She grabs one foot, hopping around.

ROSE

Oooowww! I haven't done that in years.
Jack catches her as she loses her balance, and everyone cracks up.
THE DOOR to the well deck is open a few inches as Lovejoy watches throughthe gap. He sees Jack holding Rose, both of them laughing.
LOVEJOY closes the door.

CUT TO:

88 EXT. BOAT DECK – NIGHT
The stars blaze overhead, so bright and clear you can see the Milky Way.Rose and Jack walk along the row of lifeboats. Still giddy from the party,they are singing a popular song "Come Josephine in My Flying Machine".

JACK/ROSE

Come Josephine in my flying machine
And it's up she goes! Up she goes!
In the air she goes. Where? There she goes!
They fumble the words and break down laughing. They have reached the FirstClass Entrance, but don't go straight in, not wanting the evening to end.Through the doors the sound of the ship's orchestra wafts gently. Rosegrabs a davit and leans back, staring at the cosmos.

ROSE

Isn't it magnificent? So grand and endless.
She goes to the rail and leans on it.

ROSE

They're such small people, Jack... my crowd. They think they're giants onthe earth, but they're not even dust in God's eye. They live inside thislittle tiny champagne bubble... and someday the bubble's going to burst.
He leans at the rail next to her, his hand just touching hers. It is theslightest contact imaginable, and all either one of them can feel is thatsquare inch of skin where their hands are touching.

JACK

You're not one of them. There's been a mistake.

ROSE

A mistake?

JACK

Uh huh. You got mailed to the wrong address.

ROSE

(laughing)

I did, didn't I?

(MORE)

ROSE (CONT'D)

(pointing suddenly)

Look! A shooting star.

JACK

That was a long one. My father used to say that whenever you saw one, itwas a soul going to heaven.

ROSE

I like that. Aren't we supposed to wish on it?
Jack looks at her, and finds that they are suddenly very close together. Itwould be so easy to move another couple of inches, to kiss her. Rose seemsto be thinking the same thing.

JACK

What would you wish for?
After a beat, Rose pulls back.

ROSE

Something I can't have.

(she smiles sadly)

Goodnight, Jack. And thank you.
She leaves the rail and hurries through the First Class Entrance.

JACK

Rose!!
But the door bangs shut, and she is gone. Back to her world.

CUT TO:

89 INT. ORSE AND CAL'S SUITE / PRIVATE PROMENADE – DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across thepromenade. Rose and Cal are having breakfast in silence. The tension ispalpable. Trudy Bolt, in her maid's uniform, pours the coffee and goesinside.

CAL

I had hoped you would come to me last night.

ROSE

I was tired.

CAL

Yes. Your exertions below decks were no doubt exausting.

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 than you can command! I am yourfiancee-- Cal explodes, sweeping the breakfast china off the table with a crash. Hemoves to her in one shocking moment, glowering over her and gripping thesides 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 willhonor me, as a wife is required to honor her husband! I will not be madeout a fool! Is this in any way unclear?
Rose shrinks into the chair. She sees Trudy, frozen, partway through thedoor bringing the orange juice. Cal follows Rose's glance and straightensup. 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 hercorset. 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 thecorset 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'sgone!

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 goodname. And that name is the only card we have to play.
Rose turns her around and grabs the corset strings again. Ruth sucks in herwaist and Rose pulls.

RUTH

I don't understand you. It is a fine match with Hockley, and it will insureour survival.

ROSE

(hurt and lost)

How can you put this on my shoulders?
Rose turns to her, and we see what Rose sees-- the naked fear in hermother's eyes.

RUTH

Do you want to se me working as a seamstress? Is that what you want? Do youwant to see our fine things sold at an auction, our memories scattered tothe 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 group in the hymn"Almighty Father Strong To Save." Rose and Ruth sing in the middle of thegroup.
Lovejoy stands well back, keeping an eye on Rose. He notices a commotion atthe entry doors. Jack has been halted there by two stewards. He is dressedin his third class clothes, and stands there, hat in hand, looking out ofplace.

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 ofyour 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 yourpresence 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 somedon't. A woman pedals a stationary bicycle in a long dress, lookingrediculous. Thomas Andrews is leading a small tour group, including Rose,Ruth and Cal. Cal is wroking the oars of a stationary rowing machine with awell trained stroke.

CAL

Reminds me of my Harvard days.
T.W. McCAULEY, the gym instructor, is a bouncy little man in whiteflannels, eager to show off his modern equipment, like his present-daycounterpart on an "Abflex" infomercial. He hits a switch and a machine witha 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 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 andFabrizio. He quickly climbs the steps to B-Deck and steps over the gateseparating 3rd from 2nd class.

TOMMY

She's a goddess amongst mortal men, there's no denyin'. But she's inanother world, Jackie, forget her. She's closed the door.
Jack moves furtively to the wall below the A-Deck promenade, aft.

JACK

It was them, not her.

(glancing around the deck)

Ready... go.
Tommy shakes his head resignedly and puts his hands together, crouchingdown. Jack steps into Tommy's hands and gets boosted up to the next deck,where he scrambles nimbly over the railing, onto the First Class deck.

TOMMY

He's not bein' logical, I tell ya.

FABRIZIO

Amore is'a not logical.

CUT TO:

94 EXT. A-DECK / AFT – DAY
A man is playing with his son, who is spinning a top with a string. Theman's overcoat and hat are sitting on a deck chair nearby. Jack emergesfrom behind one of the huge deck cranes and calmly picks up the coat andbowler hat. He walks away, slipping into the coat, and slicks his hair backwith spit. Then puts the hat on at a jaunty angle. At a distance he couldpass for a gentlemen.

CUT TO:

95 INT. BRIDGE / CHARTROOM – DAY
HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in andskirts around Andrews' tour group to hand a Marconigram to Captain Smith.

BRIDE

Another ice warning, sir. This one from the "Baltic".

SMITH

Thank you, Sparks.
Smith glances at the message then nonchalantly puts it in his pocket. Henods reassuringly to Rose and the group.

SMITH

Not to worry, it's quite normal for this time of year. In fact, we'respeeding up. I've just ordered the last boilers lit.
Andrews scowls slightly before motioning the group toward the door. Theyexit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of thechartroom, stopping next to First Officer Murdoch.

LIGHTOLLER

Did we ever find those binoculars for the lookouts?

FIRST OFFICER MURDOCH

Haven'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 lifeboatstimes the capacity you mentioned... forgive me, but it seems that there arenot enough for everyone aboard.

ANDREWS

About half, actually. Rose, you miss nothing, do you? In fact, I put inthese new type davits, which can take an extra row of boats here.

(he gestures along the eck)

But it was thought... by some... that the deck would look too cluttered. SoI was over-ruled.

CAL

(slapping the side of a boat)

Waste of deck space as it is, on an unsinkable ship!

ANDREWS

Sleep soundly, young Rose. I have built you a good ship, strong and true.She's all the lifeboat you need.
As they are passing Boat 7, a gentlemen turns from the rail and walks upbehind 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 whichJack holds open. They duck into the--

CUT TO:

97 INT. GYMNASIUM – DAY
Jack closes the door behind her, and glances out through the ripple-glasswindow to the starboard rail, where the gym instructor is chatting up thewoman who was riding the bike. Rose and Jack are alone in the room.

ROSE

Jack, this is impossible. I can't see you.
He takes her by the shoulders.

JACK

Rose, you're no picnic... you're a spoiled little brat even, but under thatyou're a strong, pure heart, and you're the most amazingly astounding girlI've ever known and--

ROSE

Jack, I--

JACK

No wait. Let me try to get this out. You're amazing... and I know I havenothing to offer you, Rose. I know that. But I'm involved now. You jump, Ijump, remember? I can't turn away without knowin' that you're goin' to bealright.
Rose feels the tears coming to her eyes. Jack is so open and real... notlike 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, andyou're goin' to die if you don't break out. Maybe not right away, 'causeyou're strong. But sooner or later the fire in you is goin' to go out.

ROSE

It's not up to you to save me, Jack.

JACK

You're right. Only you can do that.

ROSE

I have to get back, they'll miss me. Please, Jack, for both our sakes,leave me alone.

CUT TO:

98 INT. FIRST CLASS LOUNG – 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 andstill as a porcelain figurine as the conversation washes around her.

RUTH

Of course the invitations had to be sent back to the printers twice. Andthe 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 tabeau of MOTHER and DAUGHTER having tea. The fouryear old girl, wearing white gloves, daintily picking up a cookie. Themother correcting her on her posture, and the way she holds the teacup. Thelittle girl is trying so hard to please, her expression serious. A glimpseof Rose at that age, and we see the relentless conditioning... the pain tobecoming an Edwardian geisha.
ON ROSE. She calmly and deliberately turns her teacup over, spilling teaall over her dress.

ROSE

Oh, look what I've done.

CUT TO:

99 EXT. TITANIC – DAY
TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of agiant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jackis there, right at the apex of the bow railing, his favorite spot. Hecloses 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 thechill 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. Hepresses her gently to the rail, standing right behind her. Then he takesher two hands and raises them until she is standing with her armsoutstetched on each side. Rose is going along with him. When he lowers hishands, her arms stay up... like wings.

JACK

Okay. Open them.
Rose gasps. There is nothing in her field of vision but water. It's likethere is no ship under them at all, just the two of them soaring. TheAtlantic unrolls toward her, a hammered copper shield under a dusk sky.There is only the wind, and the hiss of the water 50 feel below.

ROSE

I'm flying!
She leans forward, arching her back. He puts his hands on her waist tosteady her.

JACK

(singing softly)

Come Josephine in my flying machine...
Rose cleses her eyes, feeling herself floating weightless far above thesea. She smiles dreamily, then leans back, gently pressing her back againsthis 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 twolovers.
Jack tips his face forward into her blowing hair, letting the scent of herwash over him, until his cheek is agianst 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 armsaround her from behind, and they kiss like this with her head turned andtilted back, surrendering to him, to the emotion, to the inevitable. Theykiss, 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 intoa night without fear.
100 IN THE CROW'S NEST,
high above and behind them, lookout FREDERICK FLEETnudges 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, leavingthe 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 onthe screen, the sad ghost ship deep in the abyss.

ROSE

That was the last time 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 icebergwarning 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 enoughto sink the ship they're going to see in time to turn. But the ship's toobig, with too small a rudder... it can't corner worth shit. Everything heknows is wrong.
ROSE is ignoring this conversation. She has the art-nouveau comb with thejade butterfly on the handle in her hands, turning it slowly. She iswatching a monitor, which shows the ruins of Suite B-52/56. PUSH IN untilthe image fills frame. TRANSITION:
103 INT. ROSE'S SUITE
... 1912. Like in a dream the beautiful woodwork and satin upholsteryemerge from the rusted ruin. Jack is overwhelmed by the opulence of theroom. He sets his sketchbood 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 inthis garden fence in Giverny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to thesafe and start working the combination. He's fascinated.

ROSE

Cal insist on luggin 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 mirrorbehind the safe. She opens it and removes the necklace, then holds it outto Jack who takes it nervously.

JACK

What is it? A sapphire?

ROSE

A diamond. A very rare diamond, called the Heart of the Ocean.
Jack gazes at wealth beyond his comprehension.

ROSE

I want you to draw me like your French girl. Wearing this.

(she smiles at him)

Wearing only this.
He looks up at her, surprised, and we

CUT TO:

104 ROSE'S BEDROOM.
ON THE BUTTERFLY COMB as Rose draws it out of her hair. She shakes her head and her hair falls free around her shoulders.
105 IN THE SITTING ROOM
Jack is laying out his pencils like surgical tools.
His sketchbook is open and ready. He looks up as she comes into the room,wearing a silk kimono.

ROSE

The last thing I need is another picture of me looking like a china doll.
As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stonelies on her creamy breast. Her heart is pounding as she slowly lowers therobe.
Jakc 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 rememberfrom the drawing... almost.

JACK

Uh... just bend your left leg a little and... and lower your head. Eyes tome. 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 Monetblushing.

JACK

(sweating)

He does landscapes.
TIGHT ON JACK as his eyes come up to look at her over the top edge of hissketchpad. We have seen this image of him before, in her memory. It is animage she will carry the rest of her life. Despite his nervousness, he draws with sure strokes, and what emerges isthe 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:
To be continued…

“Titanic” Exclusive Screenplay (Part Four)

61 INT. FIRST CLASS DINING SALOON –
NIGHT SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heatedconversation. Cal and Ruth are laughing together, while on the other sideLADY DUFF-GORDON is holding forth animatedly. We don't hear what they aresaying. Rose is staring at her plate, barely listening to theinconsequential babble around her.

OLD ROSE (V.O.)

I saw my whole life as if I'd already lived it... an endless parade ofparties and cotillions, yachts and polo matches... always the same narrowpeople, the same mindless chatter. I felt like I was standing at a greatprecipice, with no one to pull me back, no one who cared... or evennoticed. ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her crabsalad. She pokes the crab-fork into the skin of her arm, harder and harderuntil it draws blood.

CUT TO:

62 INT. CORRIDOR / B DECK – NIGHT
Rose walks along the corridor. A steward coming the other way greets her,and she nods with a slight smile. She is perfectly composed.

CUT TO:

63 INT. ROSE'S BEDROOM – NIGHT
She enters the room. Stands in the middle, staring at her reflection in thelarge vanity mirror. Just stands there, then--
With a primal, anguished cry she claws at her throat, ripping off her pearlnecklace, which explodes across the room. In a frenzy she tears at herself,her clothes, her hair... then attacks the room. She flings everything offthe dresser and it flies clattering against the wall. She hurls ahandmirror against the vanity, cracking it.

CUT TO:

64 EXT. A DECK PROMENADE, AFT – NIGHT
Rose runs along the B deck promenade. She is dishevelled, 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 emotionaldisplay in public.

CUT TO:

65 EXT. POOP DECK – NIGHT
Jack is kicked back on one of the benches gazing at the stars blazinggloriously 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 Jackin the shadows, and runs right past him.
TRACKING WITH ROSE as she runs across the deserted fantail. Her breathhitches in an occasional sob, which she suppresses. Rose slams against thebase of the stern flagpole and clings there, panting. She stares out at theblack water.
Then starts to climb over the railing. She has to hitch her long dress wayup, and climbing is clumsy. Moving methodically she turns her body and getsher heels on the white-painted gunwale, her back to the railing, facing outtoward blackness. 60 feet below her, the massive propellers are churningthe atlantin into white foam, and a ghostly wake trails off toward thehorizon.
IN A LOW ANGLE, we see Rose standing like a figurehead in reverse.Belowher are the huge letters of the name "TITANIC". She leans out, her arms straightening... looking down hypnotized, into thevortex below her. Her dress and hair are lifted by the wind of the ship'smovement. The only sound, above the rush of water below, is the flutter andsnap 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 forher 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 sternrunning lights.

JACK

Take my hand. I'll pull you back in.

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 willnot do. You don't know me.

JACK

You would have done it already. Now come on, take my hand. Rose is confused now. She can't see him very well through the tears, so shewipes 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 moreconcerned 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)

No.

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 wereice-fishing out on Lake Wissota... ice-fishing's where you chop a hole inthe--

ROSE

I know what ice fishing is!

JACK

Sorry. Just... you look like kind of an indoor girl. Anyway, I went throughsome thin ice and I'm tellin' ya, water that cold... like that right downthere... it hits you like a thousand knives all over your body. You can'tbreath, 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 Isaid, I don't see a choice. I guess I'm kinda hoping you'll come back overthe rail and get me off the hook here.

ROSE

You're crazy.

JACK

That's what everybody says. But with all due respect, I'm not the onehanging off the back of a ship. 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 stares at this madman for a long time. She looks at his eyes and theysomehow suddenly seem to fill her universe.

ROSE

Alright.
She unfastens one hand from the rail and reaches it around toward him. Hereaches out to take it, firmly.

JACK

I'm Jack Dawson.

ROSE

(voice quavering)

Pleased to meet you, Mr. Dawson.
Rose starts to turn. Now that she has decided to live, the height isterrifying. She is overcome by vertigo as she shifts her footing, turningto face the ship. As she starts to climb, her dress gets in the way, andone foot slips off the edge of the deck.
She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, isjerked 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 forthe 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 railingwith his other hand. Rose tries to get some kind of foothold on the smoothhull. Jack tries to lift her bodily over the railing. She can't get anyfooting in her dress and evening shoes, and she slips back. Rose SCREAMSagain.
Jack, awkwardly clutching Rose by whatever he can get a grip on as sheflails, gets her over the railing. They fall together onto the deck in atangled heap, spinning in such a way that Jack winds up slightly on top ofher.
Rowe slides down the ladder from the docking bridge like it's a fire drilland sprints across the fantail.

ROWE

Here, what's all this?!
Rowe runs up and pulls Jack off of Rose, revealing her dishevelled andsobbing on the deck. Her dress is torn, and the hem is pushing up above herknees, showing one ripped stocking. He looks at Jack, the shaggy steerageman with his jacket off, and the first class lady clearly in distress, andstarts drawing conclusions. Two seamen chug across the deck to join them.

ROWE

(to Jack)

Here you, stand back! 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 rightin front of Jack, and furious.
He has obviously just rushed out here withLovejoy and another man, and none of them have coats over their black tieevening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioedblowhard who still has his brandy snifter. He offers it to Rose, who ishunched over crying on a bench nearby, but she waves it away. Cal is moreconcerned with Jack. He grabs him by the lapels.

CAL

What made you think you could put your hands on my fiancee?! 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 way over, to see the... ah... propellers. And I slipped and Iwould have gone overboard... and Mr. Dawson here saved me and he almostwent 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. A twenty should do it.

ROSE

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 steerageruffian, unwashed and ill-mannered.

CAL

I know.

(to Jack)

Perhaps you could join us for dinner tomorrow, to regale our group withyour 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 toGracie 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 itopen. Jack takes a cigarette, then another, popping it behind his ear forlater. Lovejoy lights Jack's cigarette.

LOVEJOY

You'll want to tie those.

(Jack looks at his shoes)

Interesting that the young lady slipped so mighty all of a sudden and youstill had time to take of your jacket and shoes. Mmmm?
Lovejoy's expression is bland, but the eyes are cold. He turns away to joinhis group.

CUT TO:

67 INT. ROSE'S BEDROOM – NIGHT

As she undresses for bed Rose sees Cal standing in her doorway, reflectedin the cracked mirror of her vanity. He comes toward her.

CAL

(unexpectedly tender)

I know you've een melancholy, and I don't pretent to know why.

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

CAL

I intended to save this till the engagement gals next week. But I thoughttonight, perhaps 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 aninfinity of scalpel-like inner reflections.

ROSE

My God... Cal. Is it a--

CAL

Daimond. Yes it is. 56 carats.

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. Cal, it's... it's overwhelming.

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

CAL

It's for royalty. And we are royalty.

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

CAL

There's nothing I couldn't give you. There's nothing I'd deny you if youwould deny me. Open your heart to me, Rose.

CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:

OLD ROSE (V.O.)

Of course his gift was only to reflect light back onto himself, toilluminate the greatness that was Caledon Hockley. It was a cold stone... aheart of ice.

Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the arenow... transforming through 84 years of life... TRANSITION

68 INT. KELDYSH IMAGING SHACK

Without a cut the wrinkled, weathered landscape of age has appeared aroundher eyes. But the eyes themselves are the same.

OLD ROSE

After all these years, feel it closing around my throat like a dog collar. THE CAMERA PUllS BACK to show her whole face.

ROSE

I can still feel its weight. If you could have felt it, not just seen it...

LOVETT

Well, that's the general idea, my dear.

BODINE

So let me get this right. You were gonna kill yourself by jumping off theTitanic?

(he guffaws)

That's great!

LOVETT

(warningly)

Lewis...

But Rose laughs with Bodine.

BODINE

(still laughing)

All you had to do was wait two days!

Lovett, standing out of Rose's sightline, checks his watch. Hours havepassed. This process is taking too long.

LOVETT

Rose, tell us more about the diamond. What did Hockley do with it afterthat?

ROSE

Im afraid I'm feeling a little tired, Mr. Lovett.

Lizzy picks up the cue and starts to wheel her out.

LOVETT

Wait! Can you give us something go on, here. Like who had access to thesafe. What about this Lovejoy guy? The valet. Did he have the combination?

LIZZY

That's enough.

Lizzy takes her out. Rose's old hand reapears at the doorway in a frailwave goodbye.

CUT TO:

69 EXT. LAUNCH AREA/KELDYSH DECK – DAY

As the big hydraulic jib swings one of the Mir subs out over the water.Lovett walks as he talks with Bobby Buell, the partners' rep. They weaveamong deck cranes, launch crew, sub maintenance guys.

BUELL

The partners are pissed.

BROCK

Bobby, buy me time. I need time.

BUELL

We're running thirty thousand a day, and we're six days over. I'm tellingyou what they're telling me. The hand is on the plug. It's starting topull.

BROCK

Well you tell the hand I need another two days! Bobby, Bobby, Bobby...we're close! I smell it. I smell ice. She had the diamond on... now we justhave to find out where it wound up. I just gotta work her a bit more. Okay?

Brock turns and sees Lizy standing behind him. She has overheard the pastpart of his dialogue with Buell. He goes to her and hustles her away fromBuell, toward a quite spot on the deck.

BROCK

Hey, Lizzy. I need to talk to you for a second.

LIZZY

Don't you mean work me?

BROCK

Look, I'm running out of time. I need your help.

LIZZY

I'm not going to help you browbeat my hundred and

(MORE)

LIZZY (CONT'D)

one year old grandmother. I came down here to tell you to back off. BROCK

(with undisguised desperation)

Lizzy... you gotta understand something. I've bet it all to find the Heartof the Ocean. I've got all my dough tied up in this thing. My wife evendivorced me over this hunt. I need what's locked inside your grandma'smemory.

(he holds out his hand)

You see this? Right here?

She looks at his hand, palm up. Empty. Cupped, as if around an imaginaryshape.

LIZZY

What?

BROCK

That's the shape my hand's gonna be when I hold that thing. You understand?I'm not leaving here without it.

LIZZY

Look, Brock, she's going to do this her way, in her own time. Don't forget,she contacted you. She's out here for her own reasons, God knows what theyare.

LOVETT

Maybe she wants to make peace with the past.

LIZZY

What past? She has never once, not once, ever said a word about being onthe Titanic until two days ago.

LOVETT

Then we're all meeting your grandmother for the first time.

LIZZY

(looks at him hard)

You think she was really there?

LOVETT

Oh, yeah. Yeah, I'm a believer. She was there.

CUT TO:

70 INT. IMAGING SHACK

Bodine starts the tape recorder. Rose is gazing at the screen seeing THELIVE FEED FROM THE WRECK--SNOOP DOG is moving along the starboard side ofthe hull, heading aft. The rectangular windows of A deck (forward) marchpast on the right.

ROSE

The next day, Saturday, I remember thinking how the sunlight felt.

DISSOLVE TO:

71 EXT. B DECK TITANIC – DAY

MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912,passing the end of the enclosed promenade just as Rose walks into thesunlight right in front of us. She is stunningly dressed and walking withpurpose.

OLD ROSE (V.O.)

As if I hadn't felt the sun in years.

IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down intothird class. The steerage men on the deck stop what they're doing and stareat her.

CUT TO:

72 INT. THIRD CLASS GENERAL ROOM

The social center of steerage life. It is stark by comparison to theopulence of first class, but is a loud, boisterous place. There are motherswith babies, kids running between the benches yelling in several languagesand being scolded in several more. There are old women yelling, men playingchess, girls doing needlepoint and reading dime novels. There is even anupright piano and Tommy Ryan is noodling around it. Three boys, shrieking and shouting, are scrambling around chasing a ratunder the benches, trying to whomp it with a shoe and causing generalhavoc. Jack is playing with 5 year old CORA CARTMeLL, drawing funny facestogether in his sketchbook. Fabrizio is struggling to get a conversation going with an attractiveNorwegian girl, HELGA DAHL, sitting with her family at a table across theroom.

FABRIZIO

No Italian? Some little English?

HELGA

No, no. Norwegian. Only.

Helga's eye is caught by something. Fabrizio looks, does a take... andJack, curious, follows their gaze to see...

Rose, coming toward them. The activity in the room stops... a hush falls.

Rose feels suddenly self-conscious as the steerage passengers stare openlyat this princess, some with resentment, others with awe. She spots Jack andgives a little smile, walking straight to him. He rises to meet her,smiling.

ROSE

Hello Jack.

Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella.

JACK

Hello again.

ROSE

Could I speak to you in private?

JACK

Uh, yes. Of course. After you.

He motions her ahead and follows. Jack glances over his shoulder, oneeyebrow raised, as he walks out with her leaving a stunned silence.

CUT TO:

73 EXT. BOAT DECK – DAY

Jack and Rose walk side by side. They pass people reading and talking insteamer chairs, some of whom glance curiously at the mismatched couple. Hefeels out of place in his rough clothes. They are both awkward, fordifferent reasons.

JACK

So, you got a name by the way?

ROSE

Rose. Rose DeWitt Bukater.

JACK

That's quite a moniker. I may hafta get you to write that down.

There is an awkward pause.

ROSE

Mr. Dawson, I--

JACK

Jack.

ROSE

Jack... I feel like such an idiot. It took me all morning to get up thenerve to face you.

JACK

Well, here you are.

ROSE

Here I am. I... I want to thank you for what you did. Not just for... forpulling me back. But for your discretion.

JACK

You're welcome. Rose.

ROSE

Look, I know what you must be thinking! Poor little rich girl. What doesshe know about misery?

JACK

That's not what I was thinking. What I was thinking was... what could havehappened to hurt this girl so much she though she had no way out.

ROSE

I don't... it wasn't just one thing. It was everything. It was them, it wastheir whole world. And I was trapped in it, like an insect in amber.

(in a rush)

I just had to get away... just run and run and run... and then I was at theback rail and there was no more ship... even the Titanic wasn't big enough.

Not enough to get away from them. And before I'd really though about it, Iwas over the rail. I was so furious. I'll show them. They'll be sorry!

JACK

Uh huh. They'll be sorry. 'Course you'll be dead.

ROSE

(she lowers her head)

Oh God, I am such an utter fool.

JACK

That penguin last night, is he one of them?

ROSE

Penguin? Oh, Cal! He is them.

JACK

Is he your boyfriend?

ROSE

Worse I'm afraid.

She shows him her engagement ring. A sizable diamond.

JACK

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

They laugh together. A passing steward scowls at Jack, who is clearly not afirst class passenger, but Rose just glares at him away.

JACK

So you feel like you're stuck on a train you can't get off 'cause you'remarryin' this fella.

ROSE

Yes, exactly!

JACK

So don't marry him.

ROSE

If only it were that simple.

JACK

It is that simple.

ROSE

Oh, Jack... please don't judge me until you've seen my world.

JACK

Well, I guess I will tonight. Looking for another topic, any other topic, she indicates his sketchbook.

ROSE

What's this?

JACK

Just some sketches.

ROSE

May I?

The question is rhetorical because she has already grabbed the book. Shesits on a deck chair and opens the sketchbook. ON JACK'S sketches... eachone an expressive little bit of humanity: an old woman's hands, a sleepingman, a father and daughter at the rail. The faces are luminous and alive.His book is a celebration of the human condition.

ROSE

Jack, these are quite good! Really, they are.

JACK

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

Some loose sketches fall out and are taken by the wind. Jack scramblesafter them... catching two, but the rest are gone, over the rail.

ROSE

Oh no! Oh, I'm so sorry. Truly!

JACK

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

He snaps his wrist, shaking his drawing hand in a flourish.

JACK

I just seem to spew 'em out. Besides, they're not worth a damn anyway.

For emphasis he throws away the two he caught. They sail off.

ROSE

(laughing)

You're deranged!

She goes back to the book, turning a page.

ROSE

Well, well...

She has come upon a series of nudes. Rose is transfixed by the languidbeauty he has created. His nudes are soulful, real, with expressive handsand eyes. They feel more like portraits than studies of the human form...almost uncomfortably intimate. Rose blushes, raising the book as somestrollers go by.

ROSE

(trying to be very adult)

And these were drawn from life?

JACK

Yup. That's one of the great things about Paris. Lots of girls willing taketheir 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 aflower, languid and graceful. The drawing is like an Alfred Steiglitz printof Georgia O'Keefe.

ROSE

You liked this woman. You used her several times.

JACK

She had beautiful hands.

ROSE

(smiling)

I think you must have had a love affair with her...

JACK

(laughing)

No, no! Just with her hands.

ROSE

(looking up from the drawings)

You have a gift, Jack. You do. You see people.

JACK

I see you.

There it is. That piercing gaze again.

ROSE

And...?

JACK

You wouldn'ta jumped.

CUT TO:

74 INT. RECEPTION ROOM / D-DECK – DAY

Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OFROTHES, a 35ish English blue-blood with patirician features. Ruth seessomeone coming across the room and lowers her voice.

RUTH

Oh no, that vulgar Brown woman is coming this way. Get up, quickly beforeshe 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 takethe air on the boat deck.

MOLLY

That sounds great. Let's go. I need to catch up on the gossip.

Ruth grits her teeth as the three of them head for the Grand Staircase togo up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF toBruce Ismay and Captain Smith at another table.

ISMAY

So you've not lit the last four boilers then?

SMITH

No, but we're making excellent time.

ISMAY

(impatiently)

Captain, the press knows the size of Titanic, let them marvel at her speedtoo. We must give them something new to print. And the maiden voyage ofTitnaic must make headlines!

SMITH

I prefer not to push the engines until they've been properly run in. ISMAY

Of course I leave it to your good offices to decide what's best, but what aglorious end to your last crossing if we get into New York Tuesday nightand surprise them all.

(Ismay slaps his hand on the table)

Retire with a bang, eh, E.J?

A beat. Then Smith nods, stiffy.

CUT TO:

75 EXT. A DECK PROMENADE – DAY

Rose and Jack stroll aft, past people lounging on deck chairs in theslanting late-afternoon light. Stewards scurry to serve tea or hot cocoa.

ROSE

(girlish and excited)

You know, my dream has always been to just chuck it all and become anartist... living in a garret, poor but free!

JACK

(laughing)

You wouldn't last two days. There's no hot water, and hardly ever anycaviar.

ROSE

(angry in a flash)

Listen, buster... I hate caviar! And I'm tired of people dismissing mydreams with a chuckle and a pat on the head.

JACK

I'm sorry. Really... I am.

ROSE

Well, alright. There's something in me, Jack. I feel it. I don't know whatit is, whether I should be an artist, or, I don't know... a dancer. LikeIsadora Duncan.... a wild pagan spirit...

She leaps forward, lands deftly and whirls like a dervish. Then she seessomething ahead and her face lights up.

ROSE

...or a moving picture actress!

She takes his hand and runs, pulling him along the deck toward--

DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera asshe poses stiffly at the rail.

MARVIN

You're sad. Sad, sad, sad. You've left your lover on the shore. You maynever see him agian. Try to be sadder, darling.

SUDDENLY Rose shoots into the shot and strikes a theatrical pose at therail next to Mary. Mary bursts out laughing. Rose pulls Jack into thepicture and makes him pose.

Marvin grins and starts yelling and gesturing. We see this in CUTS, withmusic and no dialogue. SERIES OF CUTS:

Rose posing tragically at the rail, the back of her hand to her forehead. Jack on a deck chair, pretending to be a Pasha, the two girls pantomimingfanning him like slave girls.

Jack, on his knees, pleading with his hands clasped while Rose, standing,turns her head in bored disdain.

Rose cranking the camera, while Daniel and Jack have a western shoot-out.

Jack wins and leers into the lens, twirling an air mustache like SnidelyWhiplash.

CUT TO:

76 EXT. A DECK PROMENADE / AFT – SUNSET

Painted with orange light, Jack and Rose lean on the A-deck rail aft,shoulder to shoulder. The ship's lights come on.

It is a magical moment... perfect.

ROSE

So then what, Mr. Wandering Jack?

JACK

Well, then logging got to be too much like work, so I went down to LosAngelas to the pier in Santa Monica. That's a swell place, they even have arollercoaster. I sketched portraits there for ten cents a piece.

ROSE

A whole ten cents?!

JACK

(not getting it)

Yeah; it was great money... I could make a dollar a day, sometimes. Butonly in summer. When it got cold, I decided to go to Paris and see what thereal artists were doing.

ROSE

(looks at the dusk sky)

Why can't I be like you Jack? Just head out for the horizon whenever I feellike it.

(turning to him)

Say we'll go there, sometime... to that pier... even if we only ever justtalk about it.

JACK

Alright, we're going. We'll drink cheap beer and go on the rollercoasteruntil we throw up and we'll ride horses on the beach... right in thesurf... but you have to ride like a cowboy, none of that side-saddle stuff.

ROSE

You mean one leg on each side? Scandalous! Can you show me?

JACK

Sure. If you like.

ROSE

(smiling at him)

I think I would.

(she looks at the horizon)

And teach me to spit too. Like a man. Why should only men be able to spit.It's unfair.

JACK

They didn't teach you that in finishing school? Here, it's easy. Watchclosely.

He spits. It arcs out over the water.

JACK

Your turn.

Rose screws up her mouth and spits. A pathetic little bit of foamy spittlewhich mostly runs down her chin before falling off into the water.

JACK

Nope, that was pitiful. Here, like this... you hawk it down...

HHHNNNK!...

then roll it on your tongue, up to the front, like thith, then a big breathand PLOOOW!! You see the range on that thing?

She goes through the steps. Hawks it down, etc. He coaches her through it(ad lib) while doing the steps himself. She lets fly. So does he. Twocomets of gob fly out over the water.

JACK

That was great!

Rose turns to him, her face alight. Suddenly she blanches. He sees herexpression and turns. RUTH, the Countess of Rothes, and Molly Brown have been watching themhawking 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. MollyBrown is grinning. As Rose proceeds with the introductions, we hear...

OLD ROSE (V.O.)

The others were gracious and curious about the man who'd saved my life. Butmy mother looked at him like an insect. A dangerous insect which must besquashed quickly.

MOLLY

Well, Jack, it sounds like you're a good man to have around in a stickyspot--

They all jump as a BUGLER sounds the meal call right behind them.

MOLLY

Why do they insist on always announcing dinner like a damn cavalry charge?

ROSE

Shall we go dress, mother?

(over her shoulder)

See you at dinner, Jack.

RUTH

(as they walk away)

Rose, look at you... out in the sun with no hat. Honestly!

The Countess exits with Ruth and Rose, leaving Jack and Molly alone ondeck.

MOLLY

Son, do you have the slightest comprehension of what you're doing?

JACK

Not really.

MOLLY

Well, you're about to go into the snakepit. I hope you're ready. What areyou planning to wear? Jack looks down at his clothes. Back up at her. He hadn't thought aboutthat.

MOLLY

I figured.

CUT TO:

77 INT. MOLLY BROWN'S STATEROOM

Men's suits and jackets and formal wear are strewn all over the place.Molly is having a fine time. Jack is dressed, except for his jacket, andMolly is tying his bow tie. MOLLY

Don't feel bad about it. My husband still can't tie one of these damnthings after 20 years. There you go.

She picks up a jacket off the bed and hands it to him. Jack goes into thebathroom to put it on. Molly starts picking up the stuff off the bed.

MOLLY

I gotta buy everything in three sizes 'cause I never know how much he'sbeen eating while I'm away.

She turns and sees him, though we don't.

MOLLY

My, my, my... you shine up like a new penny.

CUT TO:

78 EXT. BOAT DECK / FIRST CLAsS ENTRANCE – DUSK

A purple sky, shot with orange, in the west. Drifting strains of classicmusic. We TRACK WITH JACK along the deck. By Edwardian standards he looksbadass. Dashing in his borrowed white-tie outfit, right down to his pearlstuds.

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

STEWARD

Good evening, sir.

Jack plays the role smoothly. Nods with just the right degree of disdain.

CUT TO:

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

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

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

Jack descends to A deck. Several men nod a perfunctory greeting. He nodsback, keeping it simple. He feels like a spy.

Cal comes down the stairs, with Ruth on his arm, covered in jewelry. Theyboth walk right past Jack, neither one gecognizeing him. Cal nods at him,one gent to another. But Jack barely has time to be amused. Because justbehind Cal and Ruth on the stairs is Rose, a vision in red and black, herlow-cut dress showing off her neck and shoulders, her arms seathed in whitegloves that come well above above the elbow. Jack is hypnotized by herbeauty.

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, kissingthe back of her fingers. Rose flushes, beaming noticeably. She can't takeher eyes off him.

JACK

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

ROSE

Cal, 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. CUT TO:

80 INT. D-DECK RECEPTION ROOM

CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. Theyencounter Molly Brown, looking good in a beaded dress, in her own bustybroad-shouldered way. Molly grins when she sees Jack. As they are goinginto the dining saloon she walks next to him, speaking low:

MOLLY

Ain't nothin' to it, is there, Jack?

JACK

Yeah, you just dress like a pallbearer and keep your nose up.

MOLLY

Remember, the only thing they respect is money, so just act like you've gota lot of it and you're in the club.

As they enter the swirling throng, Rose leans close to him, pointing outseveral notables.

ROSE

There's the Countess Rothes. And that's John Jacob Astor... the richest manon the ship. His little wifey there, Madeleine, is my age and in a delicatecondition. 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 designsnaughty lingerie, among her many talents. Very popular with the royals. Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and ColonelGracie, while Ruth, the Countess and Lucille discuss fashion. Rose picotsJack smoothly, to show him another couple, dressed impeccably.

ROSE

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

Cal, meanwhile, is accepting the praise of his male counterparts, who arelooking at Rose like a prize show horse.

SIR COSMO

Hockley, she is splendid.

CAL

Thank you.

GRACIE

Cal's a lucky man. I know him well, and it can only be luck. Ruth steps over, hearing the last. She takes Cal's arm, somewhatcoquettishly.

RUTH

How can you say that Colonel? Caledon Hockley is a great catch.

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

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. Madeleine Astorappraises Jack and whispers girlishly to Rose:

MADELEINE

It's a pity we're both spoken for, isn't it?

CUT TO:

To be Continued...