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…
TRANSITION: To be continued…
1 comment:
It's a good script. When I saw the same part I was crying with my daughter. It was the best movie that year, isn't?
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