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 – NIGHTRose 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 – NIGHTShe 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 – NIGHTRose 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 – NIGHTJack 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 – NIGHTA 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...
No comments:
Post a Comment