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…
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