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Part Three of Six Want to hear the Titanic's distress call?
84 INT. A-DECK FOYER-NIGHT Rose crosses the A-Deck foyer, sighting Jack at the landing above. MOVING WITH ROSE as she goes up the sweeping staircase toward him. He turns, sees her... smiles. JACK Want to go to a real party? CUT TO: 85 INT. THIRD CLASS GENERAL ROOM Crowded and alive with music, laughter and raucous carrying on. An ad hoc band is gathered near the upright piano, honking out lively stomping music on fiddle, accordion 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 dances with 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 he takes her right hand in his left. His other hand slides to the small of her back. 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 to get into it. She grins at Jack as she starts to get the rhythm of the steps. ROSE Wait... stop! She bends down, pulling off her high heeled shoes, and flings them to Tommy. Then she grabs Jack and they plunge back into the fray, dancing faster 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 drunk crashes into it. And in the middle of it... Rose dancing with Jack in her stocking feet. The steps are fast and she shines with sweat. A space opens around them, and people watch them, clapping as the band plays faster and faster. FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He whirls her, then she responds by whirling him... Fabrizio's eyes go wide when 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 a graceful ballet ployer, feet turned out perfectly. Everyone laughs and applauds. Rose is a hit with the steerage folks, who've never had a lady party with them.
They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigarette and takes a big drag. She's feeling cocky. Fabrizio is grinning, holding hands with Helga. JACK How you two doin'? FABRIZIO I don't know what she's say, she don't know what I say, so we get along fine. 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 Tommy lunges, grabbing Bjorn and wheeling him around. TOMMY You stupid bastard!! Bjorn comes around, his fists coming up... and Jack leaps into the middle of it, pushing them apart. JACK Boys, boys! Did I ever tell you the one about the Swede and the Irishman goin' to the whorehouse? Tommy stands there, all piss and vinegar, chest puffed up. Then he grins and 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 up on point, taking her entire weight on the tips of her toes. The guys gape at her incredible muscle control. She comes back down, then her face screws up 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 through the 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 They fumble the words and break down laughing. They have reached the First Class 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. Rose grabs 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 on the earth, but they're not even dust in God's eye. They live inside this little 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 the slightest contact imaginable, and all either one of them can feel is that square 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? (pointing suddenly) Look! A shooting star. JACK That was a long one. My father used to say that whenever you saw one, it was 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. It would be so easy to move another couple of inches, to kiss her. Rose seems to 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. ROSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Rose and Cal are having breakfast in silence. The tension is palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes inside. CAL I had hoped you would come to me last night. ROSE I was tired. CAL Yes. Your exertions below decks were no doubt exhausting. ROSE (stiffening) I see you had that undertaker of a manservant follow me. CAL You will never behave like that again! Do you understand? ROSE I'm not some foreman in your mills than you can command! I am your fiancee-- Cal explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering over her and gripping the sides of her chair, so she is trapped between his arms. CAL Yes! You are! And my wife... in practice, if not yet by law. So you will honor me, as a wife is required to honor her husband! I will not be made out a fool! Is this in any way unclear? Rose shrinks into the chair. She sees Trudy, frozen, partway through the door bringing the orange juice. Cal follows Rose's glance and straightens up. He stalks past the maid, entering the stateroom. ROSE We... had a little accident. I'm sorry, Trudy. CUT TO: 90 INT. RUTH'S SUITE - DAY Rose is dressed for the day, and is in the middle of helping Ruth with her corset. The tight bindings do not inhibit Ruth's fury at all. RUTH You are not to see that boy again, do you understand me Rose? I forbid it! Rose has her knee at the base of her mother's back and is pulling the corset strings with both hands. ROSE Oh, stop it, Mother. You'll give yourself a nosebleed. Ruth pulls away from her, and crosses to the door, locking it. CLACK! RUTH (wheeling on her) Rose, this is not a game! Our situation is precarious. You know the money's gone! ROSE Of course I know it's gone. You remind me every day! RUTH Your father left us nothing but a legacy of bad debts hidden by a good name. And that name is the only card we have to play. Rose turns her around and grabs the corset strings again. Ruth sucks in her waist and Rose pulls. RUTH I don't understand you. It is a fine match with Hockley, and it will insure our survival. ROSE (hurt and lost) How can you put this on my shoulders? Rose turns to her, and we see what Rose sees-- the naked fear in her mother's eyes.
RUTH Do you want to se me working as a seamstress? Is that what you want? Do you want to see our fine things sold at an auction, our memories scattered to the winds? My God, Rose, how can you be so selfish? ROSE It's so unfair. RUTH Of course it's unfair! We're women. Our choices are never easy. Rose pulls the corset tighter. CUT TO: 91 INT. FIRST CLASS DINING SALOON At the divine service, Captain Smith is leading a group in the hymn "Almighty Father Strong To Save." Rose and Ruth sing in the middle of the group. Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the entry doors. Jack has been halted there by two stewards. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place. STEWARD Look, you, you're not supposed to be in here. JACK I was just here last night... don't you remember? (seeing Lovejoy coming toward him) He'll tell you. LOVEJOY Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your assistance. They asked me to give you this in gratitude-- He holds out two twenty dollar bills, which Jack refuses to take. JACK I don't want money, I-- LOVEJOY --and also to remind you that you hold a third class ticket and your presence here is no longer appropriate. Jack spots Rose but she doesn't see him. JACK I just need to talk to Rose for a-- LOVEJOY Gentlemen, please see that Mr. Dawson gets back where he belongs. (giving the twenties to the stewards) And that he stays there. STEWARD Yes, sir! (to Jack) Come along, you. END ON ROSE, not seeing Jack hustled out. ROSE (singing) O hear us when we cry to thee CUT TO: 92 INT. GYMNASIUM - DAY An Edwardian nautilus room. There are machines we recognize, and some don't. A woman pedals a stationary bicycle in a long dress, looking ridiculous. Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal. Cal is working the oars of a stationary rowing machine with a well trained stroke. CAL Reminds me of my Harvard days. T.W. McCAULEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his present-day counterpart on an "Abflex" infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose puts her hand on it, curious. MCCAULEY The electric horse is very popular. We even have an electric camel. (to Ruth) Care to try your hand at the rowing, Ma'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 and Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class. TOMMY She's a goddess amongst mortal men, there's no denyin'. But she's in another world, Jackie, 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, crouching down. 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. The man's overcoat and hat are sitting on a deck chair nearby. Jack emerges from behind one of the huge deck cranes and calmly picks up the coat and bowler hat. He walks away, slipping into the coat, and slicks his hair back with spit. Then puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen. CUT TO: 95 INT. BRIDGE / CHARTROOM - DAY HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and skirts around Andrews' tour group to hand a Marconigram to Captain Smith. BRIDE Another ice warning, sir. This one from the Baltic. SMITH Thank you, Sparks. Smith glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Rose and the group. SMITH Not to worry, it's quite normal for this time of year. In fact, we're speeding up. I've just ordered the last boilers lit. Andrews scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch. LIGHTOLLER Did we ever find those binoculars for the lookouts? FIRST OFFICER MURDOCH 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 lifeboats times the capacity you mentioned... forgive me, but it seems that there are not enough for everyone aboard. ANDREWS About half, actually. Rose, you miss nothing, do you? In fact, I put in these new type davits, which can take an extra row of boats here. (he gestures along the deck) But it was thought... by some... that the deck would look too cluttered. So I was over-ruled. CAL (slapping the side of a boat) Waste of deck space as it is, on an unsinkable ship! ANDREWS Sleep soundly, young Rose. I have built you a good ship, strong and true. She's all the lifeboat you need. As they are passing Boat 7, a gentlemen turns from the rail and walks up behind the group. It is Jack. He taps Rose on the arm and she turns, gasping. He motions and she cuts away from the group toward a door which Jack holds open. They duck into the-- CUT TO: 97 INT. GYMNASIUM - DAY Jack closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Rose and Jack are alone in the room. ROSE Jack, this is impossible. I can't see you. He takes her by the shoulders. JACK Rose, you're no picnic... you're a spoiled little brat even, but under that you're a strong, pure heart, and you're the most amazingly astounding girl I've ever known and-- ROSE Jack, I-- JACK No wait. Let me try to get this out. You're amazing... and I know I have nothing to offer you, Rose. I know that. But I'm involved now. You jump, I jump, remember? I can't turn away without knowin' that you're goin' to be alright. Rose feels the tears coming to her eyes. Jack is so open and real... not like anyone she has ever known. ROSE You're making this very hard. I'll be fine. Really. JACK I don't think so. They've got you in a glass jar like some butterfly, and you're goin' to die if you don't break out. Maybe not right away, 'cause you're strong. But sooner or later the fire in you is goin' to go out. ROSE It's not up to you to save me, Jack. JACK You're right. Only you can do that. ROSE I have to get back, they'll miss me. Please, Jack, for both our sakes, leave me alone. CUT TO: 98 INT. FIRST CLASS LOUNGE - DAY The most elegant room on the ship, done in Louis Quinze Versaille style. Rose sits on a divan, with a group of other women arrayed around her. Ruth, the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as a porcelain figurine as the conversation washes around her. RUTH Of course the invitations had to be sent back to the printers twice. And the bridesmaids dresses! Let me tell you what an odyssey that has been... TRACKING SLOWLY IN on Rose as Ruth goes on. REVERSE, ROSE'S POV: A tableau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl is trying so hard to please, her expression serious. A glimpse of Rose at that age, and we see the relentless conditioning... the pain in becoming an Edwardian geisha. ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all over her dress. ROSE Oh, look what I've done. CUT TO: 99 EXT. TITANIC - DAY TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head. Jack hears her voice, behind him... ROSE Hello, Jack. He turns and she is standing there. ROSE I changed my mind. He smiles at her, his eyes drinking her in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face. ROSE Fabrizio said you might be up-- JACK Sssshh. Come here. He puts his hands on her waist. As if he is going to kiss her. JACK Close your eyes. She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her. Then he takes her two hands and raises them until she is standing with her arms outstretched on each side. Rose is going along with him. When he lowers his hands, her arms stay up... like wings. JACK Okay. Open them. Rose gasps. There is nothing in her field of vision but water. It's like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a dusk sky. There is only the wind, and the hiss of the water 50 feel below. ROSE I'm flying!
She leans forward, arching her back. He puts his hands on her waist to steady her. JACK (singing softly) Come Josephine in my flying machine... Rose closes her eyes, feeling herself floating weightless far above the sea. She smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her. Slowly he raises his hands, arms outstretched, and they meet hers... fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers. Jack tips his face forward into her blowing hair, letting the scent of her wash over him, until his cheek is against her ear. Rose turns her head until her lips are near his. She lowers her arms, turning further, until she finds his mouth with hers. He wraps his arms around her from behind, and they kiss like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, slowly and tremulously, and then with building passion. Jack and the ship seem to merge into one force of power and optimism, lifting her, buoying her forward on a magical journey, soaring onward into a night without fear. 100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET nudges his mate, REGINALD LEE, pointing down at the figures in the bow. FLEET Wish I had those bleedin' binoculars. 101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the ruined bow of the WRECK-- CUT TO: 102 INT. KELDYSH IMAGING SHACK OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss. ROSE That was the last time Titanic ever saw daylight. Brock Lovett changes the tape in the minicassette recorder. BROCK So we're up to dusk on the night of the sinking. Six hours to go. BODINE Don't you love it? There's Smith, he's standing there with the iceberg warning in his fucking hand... (remembering Rose) ... excuse me... in his hand, and he's ordering more speed. BROCK Twenty-six years of experience working against him. He figures anything big enough to sink the ship they're going to see in time to turn. But the ship's too big, with too small a rudder... it can't corner worth shit. Everything he knows is wrong. ROSE is ignoring this conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame. TRANSITION: 103 INT. ROSE'S SUITE ... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets his sketchbook and drawing materials on the marble table. ROSE Will this light do? Don't artists need good light? JACK (bad French accent) Zat is true, I am not used to working in such 'orreeble conditions. (seeing the paintings) Hey... Monet! He crouches next to the paintings stacked against the wall. JACK Isn't he great... the use of color? I saw him once... through a hole in this garden fence in Giverny. She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He's fascinated. ROSE Cal insist on luggingJack this thing everywhere. JACK Should I be expecting him anytime soon? ROSE Not as long as the cigars and brandy hold out. CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Jack who takes it nervously. JACK What is it? A sapphire? ROSE A diamond. A very rare diamond, called the Heart of the Ocean. Jack gazes at wealth beyond his comprehension. ROSE I want you to draw me like your French girl. Wearing this. (she smiles at him) Wearing only this. He looks up 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 stone lies on her creamy breast. Her heart is pounding as she slowly lowers the robe.
Jack looks so stricken, it is almost comical. The kimono drops to the floor (this is all in cuts, lyrical). ROSE Tell me when it looks right to you. She poses on the divan, settling like a cat into the position we remember from the drawing... almost. JACK Uh... just bend your left leg a little and... and lower your head. Eyes to me. That's it. Jack starts to sketch. He drops his pencil and she stifles a laugh. ROSE I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet blushing. JACK (sweating) He does landscapes. TIGHT ON JACK as his eyes come up to look at her over the top edge of his sketchpad. We have seen this image of him before, in her memory. It is an image she will carry the rest of her life. Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy. PUSH SLOWLY IN ON ROSE'S FACE... TRANSITION: 106 INT. KELDYSH / IMAGING SHACK MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same. OLD ROSE My heart was pounding the whole time. It was the most erotic moment of my life... up till then at least. CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence. The story of Jack and Rose has finally 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 Titanic stationary. 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 the drawing and the note on top of it. Closes the door with a CLUNK! CUT TO: 108 INT. FIRST CLASS SMOKING ROOM - NIGHT Lovejoy enters from the Palm Court through the revolving door and crosses the room toward Hockley. A fire is blazing in the marble fireplace, and the usual fatcatsblack are playing cards, drinking and talking. Cal sees Lovejoy and detaches from his group, coming to him. LOVEJOY None of the stewards have seen her. CAL (low but forceful) This is ridiculous, Lovejoy. Find her. CUT TO: 109 EXT. ATLANTIC - NIGHT TITANIC glides across an unnatural sea, black and calm as a pool of oil. The ships lights are mirrored almost perfectly in the black water. The sky is brilliant with stars. A meteor traces a bright line across the heavens. 110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the ship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It steams in the bitter cold of the open bridge. Second Officer Lightoller is next to him, staring out at the sheet of black glass the Atlantic has become. LIGHTOLLER I don't think I've ever seen such a flat calm, in 24 years at sea. SMITH Yes, like a mill pond. Not a breath of wind. LIGHTOLLER It'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 in the lock. Rose takes Jack's hand and leads him silently through the bedrooms. Lovejoy enters by the sitting room door. LOVEJOY Miss Rose? Hello? He hears a door opening and goes through Cal's room toward hers. CUT TO: 112 INT. CORRIDOR OUTSIDE SUITE Rose and Jack come out of her stateroom, closing the door. She leads him quickly along the corridor toward the B deck foyer. They are halfway across the open space when the sitting room door opens in the corridor and Lovejoy comes out. The valet sees Jack with Rose and hustles after them. ROSE Come on! She and Jack break into a run, surprising the few ladies and gentlemen about. Rose leads him past the stairs to the bank of elevators. They run into one, shocking the hell out of the OPERATOR. ROSE Take us down. Quickly, quickly! The Operator scrambles to comply. Jack even helps him close the steel gate. Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of the gate. Rose makes a very rude and unladylike gesture, and laughs as Lovejoy disappears above. The Operator gapes at her. CUT TO: 113 INT. E-DECK FOYER / ELEVATORS Lovejoy emerges from another lift and runs to the one Jack and Rose were in. The Operator is just closing the gate to go back up. Lovejoy runs around the bank of elevators and scans the foyer... no Jack and Rose. He tries the stairs going down to F-Deck. CUT TO: 114 INT. F-DECK CORRIDORS / FAN ROOM A functional space, with access to a number of machine spaces (fan rooms, boiler uptakes). Jack and Rose are leaning against 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 toward them. Jack and Rose run around a corner into a blind alley. There is one door, marked CREW ONLY, and Jack flings it open. 115 They enter a roaring FAN ROOM, with no way out but a ladder going down. Jack latches the deadbolt on the door, and Lovejoy slams against it a moment later. Jack grins at Rose, pointing to the ladder. JACK After you, m'lady. CUT TO: 116 INT. BOILER ROOM FIVE AND SIX Jack and Rose come down the escape ladder and look around in amazement. It is like a vision of hell itself, with the roaring furnaces and black figures moving in the 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 pulls her through the fiercely hot alley between two boilers and they wind up in the dark, out of sight of the working crew. Watching from the shadows, they see the stokers working in the hellish glow, shovelling coal into the insatiable maws of the furnaces. The whole place thunders with the roar of the fires. CUT TO: 117 INT. FIRST CLASS SMOKING ROOM Amid unparalleled luxury, Cal sits at a card game, sipping brandy. COLONEL GRACIE We're going like hell I tell you. I have fifty dollars that says we make it into New York Tuesday night! Cal looks at his gold pocket watch, and scowls, not listening. CUT TO: 118 OMITTED 119 INT. BOILER ROOM SIX The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose's face, tasting the sweat trickling down from her forehead. They kiss passionately in the steamy, pounding darkness. CUT TO: 120 INT. HOLD #2 Jack and Rose enter and run laughing between the rows of stacked cargo. She hugs herself against the cold, after the dripping heat of the boiler room. They come upon William Carter's brand new RENAULT touring car, lashing down to a pallet. It looks like a royal coach from a fairy tale, its brass trim and 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 a rose. Jack jumps into the driver's seat, enjoying the feel of the leather and wood. JACK Where to, Miss? ROSE To the stars. ON JACK as her hands come out of the shadows and pull him over the seat into the back. He lands next to her, and his breath seems loud in the quiet darkness. 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 Marconi instrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS (24) rapidly keys out a message. Junior Operator Bride looks through the huge stack of outgoing messages 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, the Leyland freighter CALIFORNIAN, which jams his outgoing signal. At such close 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 SHACK / FREIGHTER CALIFORNIAN Wireless Operator CYRIL EVANS pulls his earphone off his ear as the Titanic's spark deafens him. he translates the message for THIRD OFFICER GROVES. 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'm shutting down. As Evans wearily switches off his generator, Groves goes out on deck. PAN OFF him to reveal the ship is stopped fifty yards from the edge of a field of 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 water at the bows. The bow comes straight at us, until the bow wave WIPES THE FRAME-- CUT TO: 124 INT. HOLD #2 PUSHING IN on the rear window of the Renault, which is completely fogged up. Rose's hand comes up and slams against the glass for a moment, making a handprint in the veil of condensation. INSIDE THE CAR, Jack's overcoat is like a blanket over them. It stirs and Rose pulls it down. They are huddled under it, intertwined, still mostly clothed. 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 a car, and certainly not the last, by several million. He had such fine hands, artist's hands, but strong too... roughened by work. I remember their touch even now. CUT TO: 125 EXT. ATLANTIC / TITANIC - NIGHT The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and the tiny half-cylinder of the crow's nest, which grows as we push in on lookouts Fleet and Lee. They are stamping their feet and swinging their arms, trying to keep warm in the 22 knot freezing wind, which whips vapor of 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 the words over the roar of the furnaces, we see stokers telling TWO STEWARDS which way Rose and Jack went. The stewards move off toward 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 face clenches with fury. He reads the not again: "DARLING, NOW YOU CAN KEEP US BOTH LOCKED IN YOUR SAFE, ROSE". Lovejoy, standing behind him, looks over his shoulder at the drawing. Cal crumples Rose's note, then takes the drawing in both hands as if to rip it in 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 beams around the hold. They spot the Renault with its fogged up rear window and approach it slowly. FROM INSIDE we see the torch light up Rose's passionate handprint, still there 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. They can barely stand, they are laughing so hard. UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the disturbance below and looks around and back down to the well deck, where he can see two figures embracing. Jack and Rose stand in each others arms. Their breath clouds around them in the 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, if it's all the same. They both have a good laugh at that one. It is Fleet whose expression falls first. Glancing forward again, he does a double take. The color drains out of 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 grabs the telephone, calling the bridge. He waits precious seconds for it to be picked up, never taking his eyes off the black mass ahead. FLEET Pick up, ya bastard. CUT TO: 131 INT. / EXT. BRIDGE Inside the enclosed wheelhouse, SIXTH OFFICER MOODY walks unhurriedly to the telephone, 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 the wheel. 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 steam manifold when the engine telegraph clangs, then goes... incredibly... to FULL 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 start braking the mighty propeller shafts, big as Sequoias, to a stop. 133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with 2nd Engineer JAMES HESKETH when the red warning light and "STOP" indicator come on. BARRETT Shut all dampers! Shut 'em!! 134 FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. The bow finally starts to come left (since the ship turns the reverse of the helm setting). MURDOCH'S jaw clenches as the bow turns with agonizing slowness. He holds his 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. Script © 1996 James Cameron. All photos © 1997 by Paramount Pictures and Twentieth-Century Fox.
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James Cameron's Titanic
Overhead is the crystal dome. Jack has his back to her, studying
the ornate clock with its carved figures of Honor and Glory. It softly strikes the hour.
