글
(영화대본) 타이타닉 (2부)
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 fatcats 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 RAN 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 SHANK / 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,
artists' 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 capor 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 not, 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
picket 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.
137 UNDERWATER we see the ice smashing in the steel hull plates. The iceberg
bumps and scrapes along the side of the ship. Rivets pop as the steel plate
of the hull flexes under the load.
138 IN #2 HOLD the two stewards stagger as the hull buckles in four feet
with a sound like THUNDER. Like a sledgehammer beating along outside the
ship, the berg splits the hull plates and the sea pour in, sweeping them off
their feet. The icy water swirls around the Renault as the men scramble for
the stairs.
139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. He hears
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 ROLLING
THUNDER of the collision. They see the starboard side of the ship buckle in
toward them and are almost swept off their feet by a rush of water coming in
about two feet above the floor.
141 ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up in
astonishment 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 jump
back to avoid flying chunks of ice.
142 ON THE BRIDGE Murdoch rings the watertight door alarm. He quickly throws
the 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 the
swirling water to the watertight door between Boiler Rooms 6 and 5. The room
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 down like a
slow guillotine.
BARRETT
Go Lads! Go! Go!
He dives through into Boiler Room 5 just before the door rumbles down with a
CLANG.
144 JACK AND ROSE rush to the starboard rail in time to see the berg moving
aft down the side of the ship.
145 In his stateroom, surrounded by piles of plans while making notes in his
ever-present book, Andrews looks up at the sound of a cut-crystal light
fixture tinkling like a windchime.
He feels the shudder run through the ship. And we see it in his face. Too
much of his soul is in this great ship for him not to feel its mortal wound.
146 IN THE FIRST CLASS SMOKING ROOM Gracie watches his highball vibrating on
the table.
147 IN THE PALM COURT, with its high arched windows, Molly Brown holds up
her drink to a passing waiter.
MOLLY
Hey, can I get some ice here, please?
Silently, a moving wall of ice fills the window behind her. She doesn't see
it. 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 to
reflect his inner state. He is in shock, unable to get a grip on what just
happened. He just ran the biggest ship in history into an iceberg on its
maiden 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 his shirt.
SMITH
What was that, Mr. Murdoch?
MURDOCH
An iceberg, sir. I put her hard a' starboard and run the engines full
astern, but it was too close. I tried to port around it, but she hi... and
I--
SMITH
Close the emergency doors.
MURDOCH
The doors are closed.
Together they rush out onto the starboard wing, and Murdoch points. Smith
looks into the darkness aft, then wheels around to FOURTH OFFICER BOHALL.
SMITH
Find the Carpenter and get him to sound the ship.
CUT TO:
151 INT. G-DECK FORWARD
In steerage, Fabrizio comes out into the hall to see what's going on. He
sees dozens of rats running toward him in the corridor, fleeing the flooding
bow. Fabrizio jumps aside as the rats run by.
FABRIZIO
Ma-- che cazzo!
152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and drops
down to the floor. SPLASH!!
TOMMMY
Cor!! What in hell--?!
He naps on the light. The floor is covered with 3 inches of freezing water,
and more coming in. He pulls the door open, and steps out into the corridor,
which is flooded. Fabrizio is running toward him, yelling something in
Italian. Tommy and Fabrizio start pounding on doors, getting everybody up
and out. The alarm spreads in several languages.
CUT TO:
153 INT. FIRST CLASS CORRIDOR / A-DECK
A couple of people have come out into the corridor in robes and slippers. A
STEWARD hurries along, reassuring them.
WOMAN
Why have the engines stopped? I felt a shudder?
STEWARD #1
I shouldn't worry, ma'am. We've likely thrown a propeller blade, that's the
shudder you felt. May I bring you anything?
THOMAS ANDREWS brushes past them, walking fast and carrying an armload of
rolled up ship's plans.
CUT TO:
154 EXT. FORWARD WELL DECK
Jack and Rose are leaning over the starboard rail, looking at the hull of
the ship.
JACK
Looks okay. I don't see anything.
ROSE
Could it have damaged the ship?
JACK
It didn't seem like much of a bump. I'm sure we're okay.
Behind them a couple of steerage guys are kicking the ice around the deck,
laughing.
CUT TO:
155 INT. STEERAGE FORWARD
Fabrizio and Tommy are in a crowd of steerage men clogging the corridors,
heading aft away from the flooding. Many of them have grabbed suitcases and
duffel bags, some of which are soaked.
TOMMY
If this is the direction the rats were runnin', it's good enough for me.
CUT TO:
156 INT. CORRIDOR ON B DECK
Bruce Ismay, dressed in pajamas under the topcoat, hurries down the
corridor, headed for the bridge. An officious steward named BARNES comes
along the other direction, getting the few concerned passengers back into
their rooms.
STEWARD BARNES
There's no cause for alarm. Please, go back to your rooms.
He is stopped in his tracks by Cal and Lovejoy.
STEWARD BARNES
Please, sir. There's no emergency--
CAL
Yes there is, I have been robbed. Now get the Master at Arms. Now you moron!
CUT TO:
157 INT. BRIDGE / CHARTROOM
C.U. CAPTAIN SMITH studying the commutator.
He turns to Andrews, standing behind him.
SMITH
A five degree list in less than ten minutes.
SHIP'S CARPENTER JOHN HUTCHINSON enters behind him, out of breath and
clearly unnerved.
HUTCHINSON
She's making water fast... in the forepeak tank and the forward holds, in
boiler room six.
ISMAY enters, his movements quick with anger and frustration. Smith glances
at him with annoyance.
ISMAY
Why have we stopped?
SMITH
We've struck ice.
ISMAY
Well, do you think the ship is seriously damaged?
SMITH
(glaring)
Excuse me.
Smith pushes past him, with Andrews and Hutchinson in tow.
CUT TO:
158 INT. BOILER ROOM 6
Strokers and firemen are struggling to draw the fires. They are working in
waist deep water churning around as it flows into the boiler room, ice cold
and swirling with grease from the machinery. Chief Engineer Bell comes
partway down the ladder and shouts.
BELL
That's it, lads. Get the hell up!
They scramble up the escape ladders.
CUT TO:
159 EXT. B-DECK FORWARD / WELL DECK
The gentlemen, now joined by another man, leans on the forward rail watching
the steerage men playing soccer with chunks of ice.
GENTLEMAN
I guess it's nothing too serious. I'm going back to my cabin to read.
A 20ish YALE MAN pops through the door wearing a topcoat over pajamas.
YALEY
Say, did I miss the fun?
Rose and Jack come up the steps from the well deck, which are right next to
the three men. They stare as the couple climbs over the locked gate.
A moment later Captain Smith rounds the corner, followed by Andrews and
Carpenter Hutchinson. They have come down from the bridge by the outside
stairs. The three men, their faces grim, crush right past Jack and Rose.
Andrews barely glances at her.
SMITH
Can you shore up?
HUTCHINSON
Not unless the pumps get ahead.
The inspection party goes down the stairs to the well deck.
JACK
(low, to her)
It's bad.
ROSE
We have to tell Mother and Cal.
JACK
Now it's worse.
ROSE
Come with me, Jack. I jump, you jump... Right?
JACK
Right.
Jack follows Rose through the door inside the ship.
CUT TO:
160 INT. B-DECK FOYER / CORRIDOR
Jack and Rose cross the foyer, entering the corridor. Lovejoy is waiting for
them in the hall as they approach the room.
LOVEJOY
We've been looking for you miss.
Lovejoy follows and, unseen, moves close behind Jack and smoothly slips the
diamond necklace into the pocket of his overcoat.
CUT TO:
161 INT. ROSE AND CAL'S SUITE
Cal and Ruth wait in the sitting room, along with the Master at Arms and two
stewards (Steward #1 and Barnes). Silence as Rose and Jack enter. Ruth
closes her robe at her throat when she sees Jack.
ROSE
Something serious has happened.
CAL
That's right. Two things dear to me have disappeared this evening. Now that
one is back...
(he looks from Rose to Jack)
... I have a pretty good idea where to fine the other.
(to Master at Arms)
Search him.
The Master at Arms steps up to Jack.
MASTER AT ARMS
Coat off, mate.
Lovejoy pulls at Jack's coat and Jack shakes his head in dismay, shrugging
out of it. The Master at Arms pats him down.
JACK
This is horseshit.
ROSE
Cal, you can't be serious! We're in the middle of an emergency and you--
Steward Barnes pulls the Heart of the Ocean out of the pocket of Jack's
coat.
STEWARD BARNES
Is this it?
Rose is stunned. Needless to say, so is Jack.
CAL
That's it.
MASTER AT ARMS
Right then. Now don't make a fuss.
He starts to handcuff Jack.
JACK
Don't you believe it, Rose. Don't!
ROSE
(uncertain)
He couldn't have.
CAL
Of course he could. Easy enough for a professional. He memorized the
combination when you opened the safe.
FLASHBACK: Rose at the safe, looking in the mirror and meeting Jack's eyes
as he stands behind her, watching.
ROSE
But I was with him the whole time.
CAL
(just to her, low and cold)
Maybe he did it while you were putting your clothes back on.
JACK
They put it in my pocket!
LOVEJOY
(holding Jack's coat)
It's not even your pocket, son.
(reading)
"Property of A. L. Ryerson".
Lovejoy shows the coat to the Master at Arms. There is a label inside the
collar with the owner's name.
MASTER AT ARMS
That was reported stolen today.
JACK
I was going to return it! Rose--
Rose feels utterly betrayed, hurt and confused. She shrinks away from him.
He starts shouting to her as Lovejoy and the Master at Arms drag him out
into the hall. She can't look him in the eye.
JACK
Rose, don't listen to them... I didn't do this! You know I didn't! You know
it!
She is devastated. Her mother lays a comforting hand on her shoulder as the
tears well up.
RUTH
Why do women believe men?
CUT TO:
162 INT. MAIL SORTING ROOM / HOLD
Smith and Andrews come down the steps to the Mail Sorting Room and finds the
clerks scrambling to pull mail from the racks. They are furiously hauling
wet sacks of mail up from the hold below.
Andrews climbs partway down the stairs to the hold, which is almost full.
Sacks of mail float everywhere. The lights are still on below the surface,
casting an eerie glow. The Renault is visible under the water, the brass
glinting cheerfully. Andrews looks down as the water covers his shoe, and
scrambles back up the stairs.
CUT TO:
163 INT. BRIDE / CHARTROOM
Andrews unrolls a big drawing of the ship across the chartroom table. It is
a side elevation, showing all the watertight bulkheads. His hands are
shaking. Murdoch and Ismay hover behind Andrews and the Captain.
ISMAY
When can we get underway, do you think?
Smith glares at him and turns his attention to Andrews' drawing. The builder
points to it for emphasis as he talks.
ANDREWS
Water 14 feet above the keel in ten minutes... in the forepeak... in all
three holds... and in boiler room six.
SMITH
That's right.
ANDREWS
Five compartments. She can stay afloat with the first four compartments
breached. But not five. Not five. As she goes down by the head the water
will spill over the tops of the bulkheads... at E Deck... from one to the
next... back and back. There's no stopping it.
SMITH
The pumps--
ANDREWS
The pumps buy you time... but minutes only. From this moment, no matter what
we do, Titanic will founder.
ISMAY
But this ship can't sink!
ANDREWS
She is made of iron, sir. I assure you, she can. And she will. It is a
mathematical certainty.
Smith looks like he has been gutpunched.
SMITH
How much time?
ANDREWS
An hour, two at most.
Ismay reels as his dream turns into his worst nightmare.
SMITH
And how many aboard, Mr. Murdoch?
MURDOCH
Two thousand two hundred souls aboard, sir.
A long beat. Smith turns to his employer.
SMITH
I believe you may get your headlines, Mr. Ismay.
CUT TO:
164 EXT. BOAT DECK
Andrews is striding along the boat deck, as seamen and officers scurry to
uncover the boats. Steam is venting from pipes on the funnels overhead, and
the din is horrendous. Speech is difficult adding to the crew's level of
disorganization. Andrews sees some men fumbling with the mechanism of one of
the Wellin davits and yells to them over the roar of steam.
ANDREWS
Turn to the right! Pull the falls taut before you unchock. Have you never
had a boat drill?
SEAMAN
No sir! Not with these new davits, sir.
He looks around, disgusted as the crew fumble with the davits, and the
tackle for the "falls"... the ropes which are used to lower the boats. A few
passengers are coming out on deck, hesitantly in the noise and bitter cold.
CUT TO:
165 INT. ROSE AND CAL'S SUITE
From inside the sitting room they can hear knocking and voices in the
corridor.
RUTH
I had better go dress.
Ruth exits and Hockley crosses to Rose. He regards her coldly for a moment,
then SLAPS her across the face.
CAL
It is a little slut, isn't it?
To Rose the blow is inconsequential compared to the blow her heart has been
given. Cal grabs her shoulders roughly.
CAL
Look at me, you little--
There is a loud knock on the door and an urgent voice. The door opens and
their steward puts his head in.
STEWARD BARNES
Sir, I've been told to ask you to please put on your lifebelt, and come up
to the boat deck.
CAL
Get out. We're busy.
The steward persists, coming in to get the lifebelts down from the top of a
dresser.
STEWARD
I'm sorry about the inconvenience, Mr. Hockley, but it's Captain's orders.
Please dress warmly, it's quite cold tonight.
(he hands a lifebelt to Rose)
Not to worry, miss, I'm sure it's just a precaution.
CAL
This is ridiculous.
In the corridor outside the stewards are being so polite and obsequious they
are conveying no sense of danger whatsoever. However, it's another story
in...
CUT TO:
166 INT. STEERAGE BERTHING AFT
BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by a
steward. The Cartmell family rouses from a sound sleep.
STEWARD #2
Everybody up. Let's go. Put your lifebelts on.
IN THE CORRIDOR outside, another steward is going from door to door along
the hall, pouncing and yelling.
STEWARD #2
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on...
People come out of the doors behind the steward, perplexed. In the
foreground a SYRIAN WOMAN asks her husband what was said. He shrugs.
CUT TO:
167 INT. WIRELESS ROOM
ON PHILLIPS, looking shocked.
PHILLIPS
CQD, sir?
SMITH
That's right. The distress call. CQD. Tell whoever responds that we are
going down by the head and need immediate assistance.
Smith hurries out.
PHILLIPS
Blimey.
BRIDE
Maybe you ought to try that new distress call... S.O.S.
(grinning)
It may be our only chance to use it.
Phillips laughs in spite of himself and starts sending history's first
S.O.S. Dit dit dit, da da da, dit dit dit... over and over.
CUT TO:
168 EXT. BOAT DECK
Thomas Andrews looks around in amazement. The deck is empty except for the
crew fumbling with the davits. He yells over the roar of the steam to First
Officer Murdoch.
ANDREWS
Where are all the passengers?
MURDOCH
They've all gone back inside. Too damn cold and noisy for them.
Andrews feels like he is in a bad dream. He looks at his pocketwatch and
heads for the foyer entrance.
CUT TO:
169 INT. A-DECK FOYER
A large number of First Class passengers have gathered near the staircase.
They are getting indignant about the confusion. Molly Brown snags a passing
YOUNG STEWARD.
MOLLY
What's doing, sonny? You've got us all trussed up and now we're cooling our
heels.
The young steward backs away, actually stumbling on the stairs.
YOUNG STEWARD
Sorry, mum. Let me go and find out.
The jumpy piano rhythm of "Alexander's Ragtime Band" comes out of the first
class lounge a few yards away. Band leader WALLACE HARTLEY has assembled
some of his men on Captain's orders, to allay panic.
Hockley's entourage comes up to the A-deck foyer. Cal is carrying the
lifebelts, almost as an afterthought. Rose is like a sleepwalker.
CAL
It's just the God damned English doing everything by the book.
RUTH
There's no need for language, Mr. Hockley.
(to Trudy)
Go back and turn the heater on in my room, so it won't be too cold when we
get back.
Thomas Andrews enters, looking around the magnificent room, which he knows
is doomed. Rose, standing nearby, sees his heartbroken expression. She walks
over to him and Cal goes after her.
ROSE
I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell me
the truth.
ANDREWS
The ship will sink.
ROSE
You're certain?
ANDREWS
Yes. In an hour or so... all this... will be at the bottom of the Atlantic.
CAL
My God.
Now it is Cal's turn to look stunned. The Titanic? Sinking?
ANDREWS
Please tell only who you must, I don't want to be responsible for a panic.
And get to a boat quickly. Don't wait. You remember what I told you about
the boats?
ROSE
Yes, I understand. Thank you.
Andrews goes off, moving among the passengers and urging them to put on
their lifebelts and get to the boats.
CUT TO:
170 INT. MASTER AT ARMS OFFICE
Lovejoy and the Master at Arms are handcuffing Jack to a 4" WATER PIPE as a
crewman rushes in anxiously and almost blurts to the Master at Arms--
CREWMAN
You're wanted by the Purser, sir. Urgently.
LOVEJOY
Go on. I'll keep an eye on him.
Lovejoy pulls a pearl handled Colt .45 automatic from under his coat. The
Master at Arms nods and tosses the handcuff key to Lovejoy, then exits with
the crewman. Lovejoy flips the key in the air. Catches it.
CUT TO:
171 INT. BRIDGE
Junior Wireless Operator Bride is relaying a message to Captain Smith from
the CUNARD LINER CARPATHIA.
BRIDE
Carpathia says they're making 17 knots, full steam for them, sir.
SMITH
And she's the only one who's responding?
BRIDE
The only one close, sir. She says they can be here in four hours.
SMITH
Four hours!
The enormity of it hits Smith like a sledgehammer blow.
SMITH
Thank you, Bride.
He turns as Bride exits, and looks out onto the blackness.
SMITH
(to himself)
My God.
CUT TO:
172 EXT. BOAT DECK - NIGHT
Lightoller has his boats swung out. He is standing amidst a crowd of
uncertain passengers in all states of dress and undress. One first class
woman is barefoot. Others are in stockings. The maitre of the restaurant is
in top hat and overcoat. Others are still in evening dress, while some are
in bathrobes and kimonos. Women are wearing lifebelts over velvet gowns,
then topping it with sable stoles. Some brought jewels, others books, even
small dogs.
Lightoller sees Smith walking stiffly toward him and quickly goes to him. He
yells into the Captain's ear, through cupped hands, over the roar of the
steam...
LIGHTOLLER
Hadn't we better get the women and children into the boats, sir?
Smith just nods, a bit abstractly. The fire has gone out of him. Lightoller
sees the awesome truth in Smith's face.
LIGHTOLLER
(to the men)
Right! Start the loading. Women and children!
The appalling din of escaping steam abruptly cuts off, leaving a sudden
unearthly silence in which Lightoller's voice echoes.
ON WALLACE HARTLEY raising his violin to play.
HARTLEY
Number 26. Ready and--
The band has reassembled just outside the First Class Entrance, port side,
near where Lightoller is calling for the boats to be loaded. They strike up
a waltz, lively and elegant. The music wafts all over the ship.
LIGHTOLLER
Ladies, please. Step into the boat.
Finally one woman steps across the gap, into the boat, terrified of the drop
to the water far below.
WOMAN IN CROWD
You watch. They'll put us off in these silly little boats to freeze, and
we'll all be back on board by breakfast.
Cal, Rose and Ruth come out of the doors near the band.
RUTH
My brooch, I left my brooch. I must have it!
She turns back to go to her room but Cal takes her by the arm, refusing to
let her go. The firmness of his hold surprises her.
CAL
Stay here, Ruth.
Ruth sees his expression, and knows fear for the first time.
CUT TO:
173 INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL
It is chaos, with stewards pushing their way through narrow corridors
clogged with people carrying suitcases, duffel bags, children. Some have
lifebelts on, others don't.
STEWARD #2
(to Steward #3)
I told the stupid sods no luggage. Aw, bloody hell!
He throws up his hand at the sight of a family, loaded down with cases and
bags, completely blocking the corridor.
Fabrizio and Tommy push past the stewards, going the other way. They reach a
huge crowd gathered at the bottom of the MAIN 3RD CLASS STAIRWELL. Fabrizio
spots Helga with the rest of the Dahl family, standing patiently with
suitcases in hand. He reaches her and she grins, hugging him.
Tommy pushes to where he can see what's holding up the group. There is a
steel gate across the top of the stairs, with several stewards and seamen on
the other side.
STEWARD
Stay calm, please. It's not time to go up to the boats yet.
Near Tommy, an IRISHWOMAN stands stoically with two small children and their
battered luggage.
LITTLE BOY
What are we doing, mummy?
WOMAN
We're just waiting, dear. When they finish putting First Class people in the
boats, they'll be startin' with us, and we'll want to be all ready, won't
we?
CUT TO:
174 EXT. STARBOARD SIDE
Boat 7 is less than half full, with 28 aboard a boat made for 65.
FIRST OFFICER MURDOCH
Lower away! By the left and right together, steady lads!
The boat lurches as the falls start to pay out through the pulley blocks.
The women gasp. The boat descends, swaying and jerking, toward the water 60
feet below. The passengers are terrified.
CUT TO:
175 EXT. / INT. TITANIC HULL AND MASTER AT ARMS OFFICE
TRACKING along the rows of portholes angling down into the water. Under the
surface, they glow green. PUSHING IN on one porthole which is have
submerged. Inside we see Jack, looking apprehensively at the water rising up
the glass.
INSIDE THE MASTER AT ARMS' OFFICE Jack sits chained to the waterpipe, next
to the porthole. Lovejoy sits on the edge of a desk. He puts a .45 bullet on
the desk and watches it roll across and fall off. He picks up the bullet.
LOVEJOY
You know... I believe this ship may sink.
(crosses to Jack)
I've been asked to give you this small token of our appreciation...
He punches Jack hard in the stomach, knocking the wind out of him.
LOVEJOY
Compliments of Mr. Caledon Hockley.
Lovejoy flips the handcuff key in the air, catches it and puts it in his
pocket. He exits. Jack is left gasping, handcuffed to the pipe.
CUT TO:
176 EXT. BOAT DECK / STARBOARD SIDE, FORWARD
At the stairwell rail on the bridge wing, Fourth Officer Boxhall and
Quartermaster Rowe light the first distress rocket. It shoots into the sky
and EXPLODES with a thunderclap over the ship, sending out white starbursts
which light up the entire deck as they fall.
WHIP PAN off the starbursts to Ismay. The Managing Director of White Star
Line is cracking. Already at the breaking point from his immense guilt, the
rocket panics him. He starts shouting at the officers struggling with the
falls of BOAT 5.
ISMAY
There is no time to waste!
(yelling and waving his arms)
Lower away! Lower away! Lower away!
FIFTH OFFICER LOWE, a baby-faced 28, and the youngest officer, looks up from
the tangled falls at the madman.
LOWE
Get out of the way, you fool!
ISMAY
Do you know who I am?
Lowe, not having a clue nor caring, squares up to Ismay.
LOWE
You're a passenger. And I'm a ship's bloody officer. Now do what you're
told!
(MORE)
LOWE (CONT'D)
(turning away)
Steady men! Stand by the falls!
ISMAY
(numbly, backing away)
Yes, quite right. Sorry.
CUT TO:
177 EXT. BOAT DECK / PORT SIDE
SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose... Boat
6.
LIGHTOLLER
Women and children only! Sorry sir, no men yet.
Another rocket bursts overhead, lighting the crowd. Startled faces turn
upward. Fear now in the eyes.
DANIEL MARVIN has his Biograph camera set up, cranking away... hoping to get
an exposure off the rocket's light. he has Mary posed in front of the scene
at the boats.
MARVIN
You're afraid, darling. Scared to death. That's it!
Either she suddenly learned to act or she is petrified.
ROSE watches the farewells taking pace right in front of her as they step
closer to the boat. Husbands saying goodbye to wives and children. Lovers
and friends parted. Nearby MOLLY is getting a reluctant woman to board the
boat.
MOLLY
Come on, you heard the man. Get in the boat, sister.
RUTH
Will the lifeboats be seated according to class? I hope they're not too
crowded--
ROSE
Oh, Mother shut up!
(Ruth freezes, mouth open)
Don't you understand? The water is freezing and there aren't enough boats...
not enough by half. Half the people on this ship are going to die.
CAL
Not the better half.
PUSH IN ON ROSE'S FACE as it hits her like a thunderbolt. Jack is third
class. He doesn't stand a chance. Another rocket bursts overhead, bathing
her face in white light.
ROSE
You unimaginable bastard.
MOLLY
Come on, Ruth, get in the boat. These are the first class seats right up
here. That's it.
Molly practically hands her over to Lightoller, then looks around for some
other women who might need a push.
MOLLY
Come on, Rose. You're next, darlin'.
Rose steps back, shaking her head.
RUTH
Rose, get in the boat!
ROSE
Goodbye, mother.
Ruth, standing in the tippy lifeboat, can do nothing. Cal grabs Rose's arm
but she pulls free and walks away through the crowd. Cal catches up to Rose
and grabs her again, roughly.
CAL
Where are you going? To him? Is that it? To be a whore to that gutter rat?
ROSE
I'd rather be his whore than your wife.
He clenches his jaw and squeezes her arm viciously, pulling her back toward
the lifeboat. Rose pulls out a hairpin and jabs him with it. he lets go with
a curse and she runs into the crowd.
LIGHTOLLER
Lower away!!
RUTH
Rose! ROSE!!
MOLLY
Stuff a sock in it, would ya, Ruth. She'll be along.
The boat lurches downward as the falls are paid out.
TRACKING WITH ROSE, as she runs through the clusters of people. She looks
back and a furious Cal is coming after her. She runs breathlessly up to two
proper looking men.
ROSE
That man tried to take advantage of me in the crowd!
Appalled, they turn to see Cal running toward them. Rose runs on as the two
men grab Cal, restraining him. She runs through the First Class entrance.
Cal breaks free and runs after her. He reaches the entrance, but runs into a
knot of people coming out. He pushes rudely through them...
CUT TO:
178 INT. BOAT DECK FOYER / STAIRCASE / A-DECK FOYER
Cal runs in, and down to the landing, pushing past the gentlemen and ladies
who are filling up the stairs. He scans the A-deck foyer. Rose is gone.
CUT TO:
179 EXT. OCEAN / TITANIC / BOAT 6
The hull of Titanic looms over Boat 6 like a cliff. Its enormous mass is
suddenly threatening to those in the tiny boat. Quartermaster Hitchins, at
the tiller, wants nothing but to get away from the ship. Unfortunately his
two seamen can't row. They flail like a duck with a broken wing.
HITCHINS
Keep pulling... away from the ship. Pull.
MOLLY
Ain't you boys ever rowed before? Here, gimme those oars. I'll show ya how
it's done.
She climbs over Ruth to get at the oars, stepping on her feet.
Around them the evacuation is in full swing, with boats in the water, others
being lowered.
CUT TO:
180 INT. MASTER AT ARMS OFFICE / CORRIDOR
Jack pulls on the pipe with all his strength. It's not budging. He hears
gurgling sound. Water pours under the door, spreading rapidly across the
floor.
JACK
Shit.
He tries to pull one hand out of the cuffs, working until the skin is raw...
no good.
JACK
Help!! Somebody!! Can anybody hear me?!
(to himself)
This could be bad.
181 THE CORRIDOR outside is deserted. Flooded a couple of inches deep.
Jack's voice comes faintly through the door, but there is no one to hear it.
CUT TO:
182 INT. FIRST CLASS CORRIDOR
Thomas Andrews is opening stateroom doors, checking that people are out.
ANDREWS
Anyone in here?
Rose runs up to him, breathless.
ROSE
Mr. Andrews, thank God! Where would the Master at Arms take someone under
arrest?!
ANDREWS
What? You have to get to a boat right away!
ROSE
No! I'll do this with or without your help, sir. But without will take
longer.
ANDREWS
(beat)
Take the elevator to the very bottom, go left, down the crewman's passage,
then make a right.
ROSE
Bottom, left, right. I have it.
ANDREWS
Hurry, Rose.
CUT TO:
183 INT. FOYER / ELEVATORS
Rose runs up as the last Elevator Operator is closing up his lift to leave.
OPERATOR
Sorry, miss, lifts are closed--
Without thinking she grabs him and shoves him back into the lift.
ROSE
I'm through with being polite, goddamnit!! I may never be polite the rest of
my life! Now take me down!!
The operator fumbles to close the gate and start the lift.
CUT TO:
184 EXT. OCEAN / BOAT 6
Molly and the two seamen are rowing, and they've made it a hundred feet or
so. Enough to see that the ship is angled down into the water, with the bow
rail less than ten feet above the surface.
MOLLY
Come on girls, join in, it'll keep ya warm. Let's go Ruth. Grab an oar!
Ruth just stares at the spectacle of the great liner, its rows of lights
blazing, slanting down into the sullen black mirror of the Atlantic.
CUT TO:
185 INT. FIRST CLASS ELEVATOR / CORRIDORS
Through the wrought iron door of the elevator car Rose can see the decks
going past. The lift slows. Suddenly ICE WATER is swirling around her legs.
She SCREAMS in surprise. So does the operator.
The car has landed in a foot of freezing water, shocking the hell out of
her. She claws the door open and splashes out, hiking up her floor-length
skirt so she can move. The lift goes back up, behind her, as she looks
around.
ROSE
Left, crew passage.
She spots it and slogs down the flooded corridor. The place is
understandably deserted. She is on her own.
ROSE
Right, right... right.
She turns into a cross-corridor, splashing down the hall. A row of doors on
each side.
ROSE
Jack? Jaaacckk??
CUT TO:
186 INT. MASTER AT ARMS OFFICE / CORRIDOR
Jack is hopelessly pulling on the pipe again, straining until he turns red.
He collapses back on the bench. realizing he's screwed. Then he hears her
through the door.
JACK
ROSE!! In here!
187 IN THE HALL Rose hears his voice behind her. She spins and runs back,
locating the right door, then pushes it open, creating a small wave.
She splashes over Jack and puts her arms around him.
ROSE
Jack, Jack, Jack... I'm sorry, I'm so sorry.
They are so happy to see each other it's embarrassing.
JACK
That guy Lovejoy put it in my pocket.
ROSE
I know, I know.
JACK
See if you can find a key for these. Try those drawers. It's a little brass
one.
She kisses his face and hugs him again, then starts to go through the desk.
JACK
So... how did you find out I didn't do it?
ROSE
I didn't.
(she looks at him)
I just realized I already knew.
They share a look, then she goes back to ransacking the room, searching
drawers and cupboards. Jack sees movement out the porthole and looks out.
A LIFEBOAT hits the surface of the water, seen from below.
CUT TO:
188 EXT. TITANIC / BOAT ONE
While the seamen detach the falls, Boat One rocks next to the hull. Lucile
and Sir Cosmo Duff-Gordon sit with ten others in a boat made for four times
that many.
LUCILE
I despise small boats. I just know I'm going to be seasick. I always get
seasick in small boats. Good Heavens, there's a man down there.
In a lit porthole beneath the surface she sees Jack looking up at her... a
face in a bubble of light under the water.
CUT TO:
189 INT. MASTER AT ARMS OFFICE
Rose stops trashing the room, and stands there, breathing hard.
ROSE
There's no key in here.
They look around at the water, now almost two feet deep. Jack has pulled his
feet up onto the bench.
JACK
You have to go for help.
ROSE
(nodding)
I'll be right back.
JACK
I'll wait here.
She runs out, looking back at him once from the doorway, then splashes away.
Jack looks down at the swirling water.
CUT TO:
190 INT. STAIRWELL AND CORRIDORS
Rose splashes down the hall to a stairwell going up to the next deck. She
climbs the stairs, her long skirt leaving a trail like a giant snail. The
weight of it is really slowing her down. She rips at the buttons and
shimmies quickly out of the thing. She bounds up the stairs in her stockings
and knee-length slip, to find herself in--
191 A LONG CORRIDOR... part of the labyrinth of steerage hallways forward.
She is alone here. A long groan of stressing metal echoes along the hall as
the ship continues to settle. She runs down the hall, unimpeded now.
ROSE
Hello? Somebody?!
She turns a corner and runs along another corridor in a daze. The hall
slopes down into water which, shimmers, reflecting the light. The margin of
the water creeps toward her. A YOUNG MAN appears, running through the water,
sending up geysers of spray. He pelts past her without slowing, his eyes
crazed...
ROSE
Help me! We need help!
He doesn't look back. It is like a bad dream. The hull gongs with terrifying
sounds.
The lights flicker and go out, leaving utter darkness. A beat. Then they
come back on. She finds herself hyperventilating. That one moment of
blackness was the most terrifying of her life.
A STEWARD runs around the nearest corner, his arms full of lifebelts. He is
upset to see someone still in his section. He grabs her forcefully by the
arm, pulling her with him like a wayward child.
STEWARD
Come on, then, let's get you topside, miss, that's right.
ROSE
Wait. Wait! I need your help! There's--
STEWARD
No need for panic, miss. Come along!
ROSE
No, let me go! You're going the wrong way!
He's not listening. And he won't let her go.
She SHOUTS in his ear, and when he turns, she punches him squarely in the
nose. Shocked, he lets her go and staggers back.
STEWARD
To Hell with you!
ROSE
See you there, buster!
The steward runs off, holding his bloody nose. She spits after him. Just the
way Jack taught: her.
She turns around, SEES: a glass case with a fire-axe in it. She breaks the
glass with a battered suitcase which is lying discarded nearby, and seizes
the axe, running back the way she came.
192 AT THE STAIRWELL she looks down and gasps. The water has flooded the
bottom five steps. She goes down and has to crouch to look along the
corridor to the room where Jack is trapped.
Rose plunges into the water, which is up to her waist... and powers forward,
holding the axe above her head in two hands. She grimaces at the pain from
the literally freezing water.
CUT TO:
193 INT. MASTER AT ARMS OFFICE
Jack has climbed up on the bench, and is hugging the waterpipe. Rose wades
in, holding the axe above her head.
ROSE
Will this work?
JACK
We'll find out.
They are both terrified, but trying to keep panic at bay. He positions the
chain connecting the two cuffs, stretching it taut across the steel pipe.
The chain is of course very short, and his exposed wrists are on either side
of it.
JACK
Try a couple practice swings.
Rose hefts the axe and thunks it into a wooden cabinet.
JACK
Now try to hit the same mark again.
She swings hard and the blade thunks in four inches from the mark.
JACK
Okay, that's enough practice.
He winces, bracing himself as she raises the axe. She has to hit a target
about an inch wide with all the force she can muster, with his hands on
either side.
JACK
(sounding calm)
You can do it, Rose. Hit it as hard as you can, I trust you.
Jack closes his eyes. So does she.
The axe comes down. K-WHANG! Rose gingerly opens her eyes looks... Jack is
grinning with two separate cuffs.
Rose drops the axe, all the strength going out of her.
JACK
Nice work, there, Paul Bunyan.
He climbs down into the water next to her. He can't breathe for a second.
JACK
Shit! Excuse my French. Ow ow ow, that is cold! Come on, let's go.
They wade out into the hall. Rose starts toward the stairs going up, but
Jack stops her. There is only about a foot of the stairwell opening visible.
JACK
Too deep. We gotta find another way out.
CUT TO:
194 EXT. BOAT 6 AND TITANIC
TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomed
steamer. Once 50 feet above the waterline, they now quietly slip below the
surface. We see them, gold on black, rippling and dimming to a pale green as
they go deeper.
195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight of
the dying liner. The bowsprit is now barely above the waterline. Another of
Boxhall's rockets EXPLODES overhead. K-BOOM! It lights up the whole area,
and we see half a dozen boats in the water, spreading out from the ship.
MOLLY
Now there's somethin' you don't see every day.
CUT TO:
196 INT. SCOTLAND ROAD / E-DECK
The widest passageway in the ship, it is used by crew and steerage alike,
and runs almost the length of the ship. Right now steerage passengers move
along it like refugees, heading aft.
CRASH! A wooden doorframe splinters and the door bursts open under the force
of Jack's shoulder. Jack and Rose stumble through, into the corridor. A
STEWARD, who was nearby herding people along, marches over.
STEWARD
Here you! You'll have to pay for that, you know. That's White Star Line
property--
JACK AND ROSE
(turning together)
Shutup!
Jack leads her past the dumbfounded steward. They join the steerage
stragglers going aft. In places the corridor is almost completely blocked by
large families carrying all their luggage.
AN IRISH WOMAN gives Rose a blanket, more for modesty than because she is
blue-lipped and shivering.
IRISHWOMAN
Here, lass, cover yerself.
Jack rubs her arms and tries to warm her up as they walk along. The woman's
husband offers them a flask of whiskey.
IRISHMAN
This'll take the chill off.
Rose takes a mighty belt and hands it to Jack. He grins and follows suit.
Jack tries a number of DOORS and IRON GATES along the way, finding them all
locked.
CUT TO:
197 EXT. BOAT DECK
ON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9,
11, 13 and 15 on the starboard side, and 10, 12, 14 and 16 on the port side.
The pace of work is more frantic. You see crew and officers running now to
work the davits, their previous complacency gone.
CAL pushes through the crowd, scanning for Rose. Around him is chaos and
confusion. A woman is calling for a child who has become separated from the
crowd. A man is shouting over people's heads. A woman takes hold of Second
Officer Lightoller's arm as he is about to launch Boat 10.
WOMAN
Will you hold the boat a moment? I have to run back to my room for
something--
Lightoller grabs her and shoves her bodily into the boat. Thomas Andrews
rushes up to him just then.
ANDREWS
Why are the boats being launched half full?!
Lightoller steps past him, helping a seaman clear a snarled fall.
LIGHTOLLER
Not now, Mr. Andrews.
ANDREWS
(pointing down at the water)
There, look... twenty or so in a boat built for sixty five. And I saw one
boat with only twelve. Twelve!
LIGHTOLLER
Well... we were not sure of the weight--
ANDREWS
Rubbish! They were tested in Belfast with the weight of 70 men. Now fill
these boats, Mr. Lightoller. For God's sake, man!
The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through the
aisle connecting the port and starboard sides of the boat deck.
LOVEJOY
She's not on the starboard side either.
CAL
We're running out of time. And this strutting martinet...
(indicating Lightoller)
...isn't letting any men in at all.
LOVEJOY
The one on the other side is letting men in.
CAL
Then that's our play. But we're still going to need some insurance.
(he starts off forward)
Come on.
Cal charges off, heading forward, followed by Lovejoy. The SHOT HANDS OFF to
a finely dressed elderly couple, IDA and ISADOR STRAUSS.
ISADOR
Please, Ida, get into the boat.
IDA
No. We've been together for forty years, and where
(MORE)
IDA (CONT'D)
you go, I go. Don't argue with me, Isador, you know it does no good.
He looks at her with sadness and great love. They embrace gently.
LIGHTOLLER
Lower away!!
CUT TO:
198 EXT. BRIDGE / FORWARD WELL DECK / FOC'SLE
AT THE BOW... the place where Jack and Rose first kissed... the bow railing
goes under water water. Water swirls around the captsans and windlasses on
the foc'sle deck.
Smith strides to the bridge rail and looks down at the well deck. Water is
shipped over the sides and the well deck is awash. Two men run across the
deck, their feet sending up spray. Behind Smith, Boxhall fires another
rocket. WHOOSH!
CUT TO:
199 OMITTED
200 OMITTED
201 INT. E-DECK CORRIDORS AND STAIRWELL
Fabrizio, standing with Helga Dahl and her family, hears Jack's voice.
JACK
Fabrizio! Fabri!
Fabrizio turns and sees Jack and Rose pushing through the crowd. He and Jack
hug like brothers.
FABRIZIO
The boats are all going.
JACK
We gotta get up there or we're gonna be gargling saltwater. Where's Tommy?
Fabrizio points over the heads of the solidly packed crowd to the stairwell.
Tommy has his hands on the bars of the steel gate which blocks the head of
the stairwell. The crew open the gate a foot or so and a few women are
squeezing through.
STEWARD #2
Women only. No men. No men!!
But some terrified men, not understanding English, try to rush through the
gap, forcing the gate open. The crewmen and stewards push them back, shoving
and punching them.
STEWARD #2
Get back! Get back you lot!
(to the crewmen)
Lock it!!
They struggle to get the gate closed again, while Steward #2 brandishes a
small revolver. Another holds a fire axe. They lock the gate, and a cry goes
up among the crowd, who surge forward, pounding against the steel and
shouting in several languages.
TOMMY
For the love of God, man, there are children down here! Let us up, so we can
have a chance!
But the crewmen are scared now. They have let the situation get out of hand,
and now they have a mob. Tommy gives up and pushes his way back through the
crowd, going down the stairs. He rejoins Jack, Rose and Fabrizio.
TOMMY
It's hopeless that way.
JACK
Well, whatever we're goin' to do, we better do it fast.
Fabrizio turns to Helga, praying he can make himself understood.
FABRIZIO
(with a lot of hand gestures)
Everyone... all of you... come with me now. We go to the boats. We go to the
boats. Capito? Come now!
They can't understand what he's saying. They can see his urgency, but OLUF
DAHL, the patriarch of the family, shakes his head. He will not panic, and
will not let his family go with this boy. Fabrizio turns to Helga.
FABRIZIO
Helga... per favore... please... come with me, I am lucky. Is my destiny to
go to America.
She kisses him, then steps back to be with her family. Jack lays a hand on
his shoulder, his eyes saying "Let's go".
FABRIZIO
I will never forget you.
He turns to Jack, who leads the way out of the crowd. Looking back Fabrizio
sees her face disappear into the crowd.
CUT TO:
202 OMITTED
203 OMITTED
204 INT. CAL AND ROSE'S SUITE
CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pulls
out two stacks of bills, still banded by bank wrappers. Then he takes out
"Heart of the Ocean", putting it in the pocket of his overcoat, and locks
the safe.
CAL
(holding up stacks of bills)
I make my own luck.
LOVEJOY
(putting the .45 in his waistband)
So do I.
Cal grins, putting the money in his pocket as they go out.
CUT TO:
205 INT. STEERAGE, AFT
Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They push
past confused passengers... past a mother changing her baby's diaper on top
of an upturned steamer trunk... past a woman arguing heatedly with a man in
Serbo-Croatian, a wailing child next to them... past a man kneeling to
console a woman who is just sitting on the floor, sobbing... and past
another man with an English/Arabic dictionary, trying to figure out what the
signs mean, while his wife and children wait patiently.
Jack et al come upon a narrow stairwell and they go up two decks before they
are stopped by a small group pressed up against a steel gate. The steerage
men are yelling at a scared STEWARD.
STEWARD
Go to the main stairwell, with everyone else. It'll all get sorted out
there.
Jack takes one look at this scene and finally just loses it.
JACK
God damn it to Hell son of a bitch!!
He grabs one end of a bench bolted to the floor on the landing. He starts
pulling on it, and Tommy and Fabrizio pitch in until the bolts shear and it
breaks free. Rose figures out what they are doing and clears a path up the
stairs between the waiting people.
ROSE
Move aside! Quickly, move aside!
Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE with
all their strength. It rips loose from its track and falls outward, narrowly
missing the steward. Led by Jack, the crowd surges though. Rose steps up to
the cowering steward and says in her most imperious tone:
ROSE
If you have any intention of keeping your pathetic job
(MORE)
ROSE (CONT'D)
with the White Star Line, I suggest you escort these good people to the boat
deck... now.
Class wins out. He nods dumbly motions form them to follow.
CUT TO:
206 EXT. BOAT 6 / TITANIC - NIGHT
Ruth rows with Molly Brown, two other women and the incompetent sailors. She
rests on her oars, exhausted, and looks back at the ship.
It slants down into the water, still ablaze with light. Nothing is above
water forward of the bridge except for the foremast. Another rocket goes
off, lighting up the entire area... there are a dozen boats moving outward
from the ship.
207 AT THE BOAT DECK RAIL Captain Smith is shouting to Boat 6 through a
large metal megaphone.
SMITH
Come back! Come back to the ship!
CHIEF OFFICER WILDE joins him, blowing his silver whistle.
208 FROM BOAT 6 the whistle comes shrilly across the water. Quartermaster
Hitchins grips the rudder in fear.
HITCHINS
The suction will pull us right down if we don't keep going.
MOLLY
We got room for lots more. I say we go back.
HITCHINS
No! It's our lives now, not theirs. And I'm in charge of this boat! Now
row!!
209 CAPTAIN SMITH, at the rail of the boat deck, lowers his megaphone slowly
SMITH
The fools.
CUT TO:
210 INT. A-DECK FOYER
As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and his
valet, both dressed in white tie, tail-coats and top hats.
CAL
Ben, what's the occasion?
GUGGENHEIM
We have dressed in our best and are prepared to go down like gentlemen.
CAL
That's admirable, Ben.
(walking on)
I'll sure and tell your wife... when I get to New York.
CUT TO:
211 INT. FIRST CLASS SMOKING ROOM
There are still two card games in progress. The room is quiet and civilized.
A silver serving cart, holding a large humidor, begins to roll slowly across
the room. One of the cardplayers takes a cigar from it as it rolls by.
CARDPLAYER
It seems we've been dealt a bad hand this time.
CUT TO:
212 EXT. / INT. A-DECK PROMENADE
Cal and Lovejoy are walking aft with a purposeful stride. They pass CHIEF
BAKER JOHGHIN, who is working up a sweat tossing deck chairs over the rail.
After they go by, Joughin takes a break and pulls a bottle of scotch from a
pocket, opening it. He drains it, and tosses it over the side too, then
stands there a little unsteadily.
CUT TO:
213 EXT. BOAT DECK AND A-DECK, AFT
PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a
mix of all three classes. Officers repeatedly warn men back from the boats.
The crowd presses in closer.
Seamen SCAROTT brandishes the tiller of boat 14 to discourage a close press
of men who look ready to rush the boat. Several men break ranks and rush
forward.
Lightoller pulls out his Webley revolver and aims it at them.
LIGHTOLLER
Get back! Keep order!
The men back down. Fifth Officer Lowe standing in the boat, yells to the
crew.
LOWE
Lower away left and right!
Lightoller turns away from the crowd and, out of their sight, breaks his
pistol open. Letting out a long breath, he starts to LOAD IT.
CUT TO:
214 EXT. BOAT DECK, STARBOARD SIDE, AFT
Cal and Lovejoy arrive in time to see Murdoch lowering his last boat.
CAL
We're too late.
LOVEJOY
There are still some boats forward. Stay with this one... Murdoch. He seems
to be quite... practical.
215 IN THE WATER BELOW there is another panic. Boat 13, already in the water
but still attached to its falls, is pushed aft by the discharge water being
pumped out of the ship. It winds up directly under boat 15, which is coming
down he right on top of it.
The passengers shout in panic to the crew above to stop lowering. They are
ignored. Some men put their hands up, trying futilely to keep the 5 tons of
boat 15 from crushing them.
Fred Barrett, the stoker, gets out his knife and leaps to the after falls,
climbing rudely over people. He cuts the aft falls while another crewman
cuts the forward lines. 13 drifts out from beneath 15 just seconds before it
touches the water with a slap.
Cal, looking down from the rail hears GUNSHOTS--
CUT TO:
216 EXT. BOAT DECK / A-DECK, PORT, AFT
Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch of
men threatening to jump into the boat as it passes the open promenade on
A-Deck.
LOWE
Stay back you lot!
BLAM! BLAM!
CUT TO:
217 EXT. BOAT DECK, STARBOARD, AFT
The shots echo away.
CAL
It's starting to fall apart. We don't have much time.
Cal sees three dogs run by, including the black French bulldog. Someone has
released the pets from the kennels.
Cal sees Murdoch turn from the davits of boat 15 and start walking toward
the bow. He catches up and falls in beside him.
CAL
Mr. Murdoch, I'm a businessman, as you know, and I have a business
proposition for you.
CUT TO:
218 OMITTED
219 EXT. BOAT DECK, PORT
Jack, Rose et al burst out onto the boat deck from the crew stairs just aft
of the third funnel. They look at the empty davits.
ROSE
The boats are gone!
She sees Colonel Gracie chugging forward along the deck, escorting two first
class ladies.
ROSE
Colonel! Are there any boats left?
GRACIE
(staring at her bedraggled state)
Yes, miss... there are still a couple of boats all the way forward. This
way, I'll lead you!
Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizio
close behind.
ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and the
others run by.
TOMMY
Music to drown by. Now I know I'm in First Class.
CUT TO:
220 EXT. BOAT DECK, STARBOARD, FORWARD
Water pours like a spillway over the forward railing on B-Deck. CAMERA
SWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team are
loading Collapsible Car the forward-most davits.
NOTE: There are four so-called collapsibles, or Engelhardts boats, including
two which are stored on the roof of the officer's quarters.
The crowd is sparse, with most people still aft. Cal slips his hand out of
the pocket of his overcoat and into the waist pocket of Murdoch's greatcoat,
leaving the stacks of bills there.
CAL
So we have an understanding then?
MURDOCH
(nodding curtly)
As you've said.
Cal, satisfied, steps back. He finds himself waiting next to J. Bruce Ismay.
Ismay does not meet his eyes, nor anyone's. Lovejoy come sup to Cal at that
moment.
LOVEJOY
I've found her. She's just over on the port side. With him.
MURDOCH
Women and children? Any more women and children?
(glancing at Cal)
Any one else, then?
Cal looks longingly at his boat... his moment has arrived.
CAL
God damn it to hell! Come on.
He and Lovejoy head for the port side, taking a short-cut through the
bridge.
Bruce Ismay, seeing his opportunity, steps quickly into Collapsible C. He
stares straight ahead, not meeting Murdoch's eyes.
MURDOCH
(staring at Ismay)
Take them down.
CUT TO:
221 EXT. BOAT DECK / PORT SIDE - NIGHT
ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps his
pistol in his hand at this point. Twenty feet below them the sea is pouring
into the doors and windows of B deck staterooms. They can hear the roar of
water cascading into the ship.
LIGHTOLLER
Women and children, please. Women and children only. Step back, sir.
Even with Jack's arms wrapped around her, Rose is shivering in the cold.
Near her a WOMAN with TWO YOUNG DAUGHTERS looks into the eyes of a HUSBAND
she knows she may not see again
HUSBAND
Goodbye for a little while... only for a little while.
(to his two little girls)
Go with mummy.
The woman stumbles to the boat with the children, hiding her tears from
them. Beneath the false good cheer, the man is choked with emotion.
HUSBAND
Hold mummy's hand and be a good girl. That's right.
Some of the women are stoic, others are overwhelmed by emotion and have to
be helped into the boats. A MAN scribbles a note and hands it to a woman who
is about to board.
MAN
Please get this to my wife in DeMoines, Iowa.
Jack looks at Tommy and Fabrizio.
JACK
You better check out the other side.
They nod and run off, searching for a way around the deckhouse.
ROSE
I'm not going without you.
JACK
Get in the boat, Rose.
Cal walks up just then.
CAL
Yes. Get in the boat, Rose.
She is shocked to see him. She steps instinctively to Jack. Cal looks at
her, standing there shivering in her wet slip and stockings, a shocking
display in 1912.
CAL
My God, look at you.
(taking off his boat)
Here, put this on.
She numbly shrugs into it. He is doing it for modesty, not the cold.
LIGHTOLLER
Quickly, ladies. Step into the boat. Hurry, please!
JACK
Go on. I'll get the next one.
ROSE
No. Not without you!
She doesn't even care that Cal is standing right there. He sees the emotion
between Jack and Rose and his jaw clenches. But then he leans close to her
and says...
CAL
(low)
There are boats on the other side that are allowing men in. Jack and I can
get off safely. Both of us.
JACK
(he smiles reassuringly)
I'll be alright. Hurry up so we can get going... we got our own boat to
catch.
CAL
Get in... hurry up, it's almost full.
Lightoller grabs her arm and pulls her toward the boat. She reaches out for
Jack and her fingers brush his for a moment. Then she finds herself stepping
down into the boat. It's all a rush and blur.
LIGHTOLLER
Lower away!
The two men watch at the rail as the boat begins to descend.
CAL
(low)
You're a good liar.
JACK
Almost as good as you.
CAL
I always win, Jack. One way or another.
(looks at him, smiling)
Pity I didn't keep that drawing. It's going to be worth a lot more by
morning.
Jack knows he is screwed. He looks down at Rose, not wanting to waste a
second of his last view of her.
222 ROSE'S PERCEPTION... IN SLOW MOTION: The ropes going through the pulleys
as the seamen start to lower. All sound going away... Lightoller giving
orders, his lips moving... but Rose hears only the blood pounding in her
ears... this cannot be happening... a rocket bursts above in slow-motion,
outlining Jack in a halo of light... Rose's hair blowing in slow motion as
she gazes up at him, descending away from him... she sees his hand
trembling, the tears at the corners of his eyes, and cannot believe the
unbearable pain she is feeling...
Rose is still staring up, tears pouring down her face.
SUDDENLY SHE IS MOVING. She lunges across the women next to her. Reaches the
gunwale, climbing it...
Hurls herself out of the boat to the rail of the A-Deck promenade, catching
it, and scrambling over the rail. The Boat 2 continues down. But Rose is
back on Titanic.
JACK
No Rose! NOOOO!!
Jack spins from the rail, running for the nearest way down to A-Deck.
Hockley too has seen her jump. She is willing to die for this man, this
gutter scum. He is overwhelmed by a rage so all consuming it eclipses all
thought.
CUT TO:
223 INT. GRAND STAIRCASE
TRACKING WITH JACK as he bangs through the doors to the foyer and sprints
down the stairs. He sees her coming into A-deck foyer, running toward him,
Cal's long coat flying out behind her as she runs.
They meet at the bottom of the stairs, and collide in an embrace.
JACK
Rose, Rose, you're so stupid, you're such an idiot--
And all the while he's kissing her and holding her as tight as he can.
ROSE
You jump, I jump, right?
JACK
Right.
Hockley comes in and runs to the railing. Looking down he sees them locked
in their embrace. Lovejoy comes up behind Cal and puts a restraining HAND on
him, but Cal whips around, grabbing the pistol from Lovejoy's waistband in
one cobra-fast move.
He RUNS along the rail and down the stairs. As he reaches the landing above
them he raises the gun. SCREAMING in rage, he FIRES.
The carved cherub at the foot of the center railing EXPLODES. Jack pulls
Rose toward the stairs going down to the next deck. Cal fires again, running
down the steps toward them. A bullet blows a divet out of the oak panelling
behind Jack's head as he pulls Rose down the next flight of stairs.
Hockley steps on the skittering head of the cherub statue and goes
sprawling. The gun clatters across the marble floor. He gets up, and reeling
drunkenly goes over to retrieve it.
CUT TO:
224 INT. D-DECK RECEPTION ROOM
The bottom of the grand staircase is flooded several feet deep. Jack and
Rose come down the stairs two at a time and run straight into the water,
fording across the room to where the floor slopes up, until they reach dry
footing at the entrance to the dining saloon.
STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack and
Rose splashing through the water toward the dining saloon. He FIRES twice.
Big gouts of spray near them, but he's not a great shot.
The water boils up around his feet and he retreats up the stairs a couple of
steps. Around him the woodward groans and creaks.
CAL
(calling to them)
Enjoy your time together!!
Lovejoy arrives next to him. Cal suddenly remembers something and starts to
laugh.
LOVEJOY
What could possible be funny?
CAL
I put the diamond in my coat pocket. And I put my coat... on her.
He turns to Lovejoy with a sickly expression, his eyes glittering.
CAL
I give it to you... if you can get it.
He hands Lovejoy the pistol and goes back up the stairs. Lovejoy thinks
about it... then slogs into the water. The icewater is up to his waist as he
crosses the pool into the dining saloon.
CUT TO:
225 INT. DINING SALOON
Lovejoy moves among the tables and ornate columns, searching... listening...
his eyes tracking rapidly. It is a sea of tables, and they could be
anywhere. A silver serving trolley rolls downhill, bumping into tables and
pillars.
He glances behind him. The water is following him into the room, advancing
in a hundred foot wide tide. The reception room is now a roiling lake, and
the grand staircase is submerged past the first landing. Monstrous groans
echo through the ship.
ON JACK AND ROSE, crouched behind a table, somewhere in the middle. They see
the water advancing toward them, swirling over the floor. They crawl ahead
of it to the next row of tables.
JACK
(whispering)
Stay here.
He moves off as--
Lovejoy moves over one row and looks along the tables. Nothing.
The ship GROANS and CREAKS. He moves another row.
ANGLE ON A METAL CART... five feet tall and full of stacks of china dishes.
It starts to roll down the aisle between tables.
ON ROSE as the cart rolls toward her. It hits a table and the stacks of
dishes topple out, EXPLODING across the floor and showering her.
She scrambles out of the way and--
Lovejoy spins, seeing her. He moves rapidly toward her, keeping the gun
aimed--
That's when Jack tackles him from the side. They slam together into a table,
crashing over it, and toppling to the floor. They land in the water which is
flowing rapidly between the tables.
Jack and Lovejoy grapple in the icy water. Jack jams his knee down on
Lovejoy's hand, breaking his grip on the pistol, and kicks it away. Lovejoy
scrambles up and lunges at him, but Jack GUTPUNCHES him right in the solar
plexus, doubling him over.
JACK
Compliments of the Chippewa Falls Dawsons.
He grabs Lovejoy and slams him into an ornate column. Lovejoy drops to the
floor with a splat, stunned.
JACK
Let's go.
Jack and Rose run aft... uphill... entering the galley. Behind them the
tables have become islands in a lake... and the far end of the room is
flooded up to the ceiling.
Lovejoy gets up and looks around for his gun. He pulls it up out of the
water and wades after them.
CUT TO:
226 INT. GALLEY / STAIRWELL
They run through the galley and Rose spots the stairs. She starts up and
Jack grabs her hand. He leads her DOWN.
They crouch together on the landing as Lovejoy runs to the stairs. Assuming
they have gone up (who wouldn't?) he climbs up them two at a time.
They wait for the footstep to recede. A long CREAKING GROAN. Then they hear
it... a CRYING CHILD. Below them. They go down a few steps to looks along
the next deck.
CUT TO:
227 INT. E-DECK CORRIDORS
The corridor is awash, about a foot deep. Standing against the wall, about
50 feet away, is a little BOY, about 3. The water swirls around his legs and
he is wailing.
ROSE
We can't leave him.
Jack nods and they leave the promise of escape up the stairwell to run to
the child. Jack scoops up the kid and they run back to the stairs but--
A torrent of water comes pouring down the stairs like rapids. In seconds it
is too powerful for them to go against.
JACK
Come on.
Charging the other way down the flooding corridor, they blast up spray with
each footstep. At the end of the hall are heavy double doors. As Jack
approaches them he sees water spraying through the gap between the doors
right up to the ceiling. The doors groan and start to crack under the tons
of pressure.
JACK
Back! Go back!!
Rose pivots and runs back the way they came, taking a turn into a
cross-corridor. A MAN is coming the other way. He sees the boy in Jack's
arms and cries out, grabbing him away from Jack. Starts cursing him in
Russian. He runs on with the boy--
ROSE
No! Not that way! Come back!
228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor. The
father and child DISAPPEAR instantly.
Jack and Rose run as a wave blasts around the corner, foaming from floor to
ceiling. It gains on them like a locomotive. They make it to a stairway
going up.
CUT TO:
229 INT. STAIRWELL
Jack and Rose pound up the steps as white water swirls up behind them. PULL
BACK to reveal that a steel gate blocks the top of the stairs. Jack SLAMS
against the fate, gripping the bars.
A terrified steward standing guard on the landing above turns to run at the
sight of the water thundering up the stairs.
JACK
Wait! Wait! Help us! Unlock the gate.
The steward runs on. The water wells up around Jack and Rose, pouring
through the gate and slamming them against it. In seconds it is up to their
waist.
ROSE
Help us! Please!
The steward stops and looks back. He sees Jack and Rose at the gate, their
arms reaching through... sees the water POURING through the gate onto the
landing.
STEWARD
Fucking 'ell!
He runs back, slogging against the current. He pulls a key ring from his
belt and struggles to unlock the padlock as the water fountains up around
them.
The lights short out and the landing is plunged into darkness.
The water rises over the lock and he's doing it by feel.
JACK
Come on! Come on!
Jack and Rose are right up against the ceiling...
Suddenly the gate gives and SWINGS OPEN. They are pushing through by the
force of the water. They make it to stairs on the other side of the landing
and follow the steward up to the next deck.
CUT TO:
230 EXT. BOAT DECK, STARBOARD SIDE
Cal comes reeling out of the first class entrance, looking wild-eyed. The
lurches down the deck toward the bridge. Waltz music wafts over the ship.
Somewhere the band is still playing.
CAL'S POV: A little girl, maybe two years old, is crying along in the
alcove. She looks up at Cal beseechingly. Cal moves on without a glance
back... reaching a large crowd clustered around COLLAPSIBLE A just aft of
the bridge. He sees Murdoch and a number of crewmen struggling to drag the
boat to the davits, with no luck.
Cal pushes forward, trying to signal Murdoch, but the officer ignores him.
Nearby Tommy and Fabrizio are being pushed forward by the crowd behind.
PURSER MCELROY pushes them back, getting a couple of seamen to help him. He
brandishes his gun, waving it in the air, yelling for the crowd to stay
back.
CUT TO:
231 EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS' QUARTERS
Lightoller, with a group of crew and passengers, is trying to get
Collapsible B down from the roof. They slide it down a pair of oars leaned
against the deck house.
LIGHTOLLER
Hold it! Hold it!
The weight of the boat snaps the oars and it crashes to the deck, upside
down. The two Swedish cousins, OLAUS and BJORN GUNERSEN, jump back as the
boat nearly hits them.
CUT TO:
232 OMITTED
233 INT. STAIRWELL
Jack and Rose run up seemingly endless stairs as the ship groans and torques
around them.
CUT TO:
234 EXT. BOAT DECK, STARBOARD SIDE
Murdoch, at Collapsible A, is no longer in control. The crowd is threatening
to rush the boat. They push and jostle, yelling and shouting at the
officers. The pressure from behind pushes them forward, and one guy falls
off the edge of the deck into the water less than ten feet below.
TOMMY
Give us a chance to live, you limey bastards!
Murdoch fires his Webley twice in the air, then point it at the crowd.
MURDOCH
I'll shoot any man who tries to get past me.
Cal steps up to him.
CAL
We had a deal, damn you.
Murdoch pushes him back, pointing the pistol at Cal.
MURDOCH
Get back!
A man next to Tommy rushes forward, and Tommy is shoved from behind. Murdoch
SHOOTS the first man, and seeing Tommy coming forward, puts a bullet into
his chest.
Tommy collapses, and Fabrizio grabs him, holding him in his arms as his life
flows out over the deck.
Murdoch turns to his men and salutes smartly. Then he puts the pistol to his
temple and... BLAM! He drops like a puppet with the strings cut and topples
over the edge of the boat deck into the water only a few feet below.
Cal stares in horror at Murdoch's body bobbing in the black water. The MONEY
FLOATS out of the pocket of his greatcoat, the bills spreading across the
surface.
The crew rush to get the last few women aboard the boat.
PURSER MCELROY
(calling above the confusion)
Any more women or children?!
THE CHILD crying in the alcove. Cal scoops her up and runs forward, cradling
her in his arms.
CAL
(forcing his way through the crowd)
Here's a child! I've got a child!
CAL (CONT'D)
(to McElroy)
Please... I'm all she has in the world.
McElroy nods curtly and pushes him into the boat. He spins with his gun,
brandishing it in the air to keep the other men back. Cal gets into the
boat, holding the little girl. He takes a seat with the women.
CAL
There, there.
CUT TO:
235 INT. FIRST CLASS SMOKE ROOM
Thomas Andrews stands in front of the fireplace, staring at the large
painting above the mantle. The fire is still going in the fireplace.
The room is empty except for Andrews. An ashtray falls off the table. Behind
him Jack and Rose run into the room, out of breath and soaked. They run
through, toward the aft revolving door... then Rose recognizes him. She sees
that his lifebelt is off, lying on a table.
ROSE
Won't you even make a try for it, Mr. Andrews?
ANDREWS
(a tear rolls down his cheek)
I'm sorry that I didn't build you a stronger ship, young Rose.
JACK
(to her)
It's going fast... we've got to keep moving.
Andrews picks up his lifebelt and hands it to her.
ANDREWS
Good luck to you, Rose.
ROSE
(hugging him)
And to you, Mr. Andrews.
Jack pulls her away and they run through the revolving door.
CUT TO:
236 EXT. BOAT DECK AND VARIOUS LOCATIONS
The band finishes the waltz. Wallace Hartley looks at the orchestra members.
HARTLEY
Right, that's it then.
They leave him, walking forward along the deck. Hartley puts his violin to
his chin and bows the first notes of "Nearer My God to Thee". One by one the
band members turn, hearing the lonely melody.
Without a word they walk back and take their places. They join in with
Hartley, filling out the sound so that it reaches all over the ship on this
still night. The vocalist begins: "If in my dreams I be, nearer my God to
thee..."
THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE:
237 A seaman pulls off his lifebelt and catches up to Captain Smith as he
walks to the bridge. He proffers it, but Smith seems to stare through him.
Without a word he turns and goes onto the bridge. He enters the enclosed
WHEELHOUSE and closes the door. He is alone, surrounded by the gleaming
brass instruments. He seems to inwardly collapse.
238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pulls
out his pocketwatch and checks the time. Then he opens the face of the
mantle clock and adjusts it to the correct time: 2:12 a.m. Everything must
be correct.
239 IN CAL'S PARLOUR SUITE water swirls in from the private promenade deck.
Rose's paintings are submerged. The Picasso transforms under the water's
surface. Degas' colors run. Monet's water lilies come to life.
240 DOWNANGLE on the two figures lying side by side, fully clothed, on a bed
in a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at the ceiling,
holding hands like young lovers. Water pours into the room through a
doorway. It swirls around the bed, two feet deep rising fast.
241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the young IRISH
MOTHER, seen earlier stoically waiting at the stairs, is tucking her two
young children into bed. She pulls up the covers, making sure they are all
warm and cozy. She lies down with them on the bed, speaking soothingly and
holding them.
CUT TO:
EXT. BOAT DECK / BRIDGE
242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridge house
sinks into the water.
243 ON THE PORT SIDE Collapsible B is picked up by water. Working
frantically, the men try to detach it from the falls so the ship won't drag
it under. Colonel Gracie hands Lightoller a pocket knife and he saws
furiously at the ropes as the water swirls around his legs. The boat, still
upside down, is swept off the ship. Men start diving in, swimming to stay
with it.
244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he has
completely forgotten. He watches the water rising around the men as they
work, scrambling to get the ropes cut so the ship won't drag the collapsible
under.
Fabrizio removes the lifebelt from Tommy's body and struggles to put it on
as the water rises around him.
245 CAPTAIN SMITH, standing near the wheel, watches the black water climbing
the windows of the enclosed wheelhouse. He has the stricken expression of a
damned soul on Judgment Day. The windows burst suddenly and a wall of water
edged with shards of glass slams into Smith. He disappears in a vortex of
foam.
246 Collapsible A is hit by a wave as the bow plunges suddenly. It partially
swamps the boat, washing it along the deck. Over a hundred passengers are
plunged into the freezing water and the area around the boat becomes a
frenzy of splashing, screaming people.
As men are trying to climb into the collapsible, Cal grabs an oar and pushes
them back into the water.
CAL
Get back! You'll swamp us!
Fabrizio, swimming for his life, gets swirled under a davit. The ropes and
pulleys tangle around him as the davit goes under the water, and he is
dragged down. Underwater he struggles to free himself, and then kicks back
to the surface. He surfaces, gasping for air in the freezing water.
247 WALLACE HARTLEY sees the water rolling rapidly up the deck toward them.
He holds the last note of the hymn in a sustain, and then lowers his violin.
HARTLEY
Gentlemen, it has been a privilege playing with you tonight.
CUT TO:
248 EXT. A-DECK AFT, PORT SIDE
Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes his
way to the rail and looks at the state of the ship. The bridge is under
water and there is chaos on deck. Jack helps her put her lifebelt on. People
stream around them, shouting and pushing.
JACK
Okay... we keep moving aft. We have to stay on the ship as long as possible.
They push their way aft through the panicking crowd.
CUT TO:
249 EXT. FORWARD FUNNEL
Collapsible A is whirled like a leaf in the currents around the sinking ship.
It slams against the side of the forward funnel.
CAL
(to the crew in the boat)
Row! Row you bastards!!
250 NEARBY: Fabrizio is drawn up against the grating of a STICKLED VENT as
water pours through it. The force of tons of water roaring down the ship
traps him against it, and he is dragged down under the surface as the ship
sinks. He struggles to free himself but cannot.
Suddenly there is a concussion deep in the bowels of the ship as a furnace
explodes and a blast of hot air belches out of the ventilator, ejecting
Fabrizio. He surfaces in a roar of foam and keeps swimming.
CUT TO:
251 EXT. A-DECK / B-DECK / WELL DECK, AFT
Jack and Rose clamber over the A-Deck aft rail. Then, using all his
strength, he lowers her toward the deck below, holding on with one hand. She
dangles, then falls. Jack jumps down behind her.
They join a crush of people literally clawing and scrambling over each other
to get down the narrow stairs to the well deck... the only way aft.
Seeing that the stairs are impossible, Jack climbs over the B-Deck railing
and helps Rose over. He lowers her again, and she falls in a heap. Baker
Joughin, now three sheets to the wind, happens to be next to her. He hauls
Rose to her feet. Jack drops down and the three of them push through the
crowd across the well deck. Near them, at the rail, people are jumping into
the water.
The ship GROANS and SHUDDERS. The man ahead of Jack is walking like a
zombie.
MAN
Yeah, though I walk through the valley of the shadow of death--
JACK
You wanna walk a little faster through that valley, fella?
CUT TO:
252 EXT. FORWARD FUNNEL
The stay cables along the top of the funnel snap, and they lash like steel
whips down into the water. Cal watches as the funnel topples from its
mounts. Falling like a temple pillar twenty eight feet across it whomps into
the water with a tremendous splash. People swimming underneath it disappear
in an instant.
Fabrizio, a few feet away, is hurled back by a huge wave. He comes up,
gasping... still swimming. The water pouring into the open end of the funnel
draws in several swimmers. The funnel sinks, disappearing, but--
Hundreds of tons of water pour down through the 30 foot hole where the
funnel stood, thundering down into the belly of the ship. A whirlpool forms,
a hole in the ocean, like at enormous toiler-flush. T. W. McCauley, the gym
instructor swims in a frenzy as the vortex draws him in. He is sucked down
like a spider going down a drain.
Fabrizio, nearby, swims like Hell as more people are sucked down behind him.
He manages to get clear. He's going to live no matter what it takes.
CUT TO:
253 INT. BOAT DECK FOYER / GRAND STAIRCASE
Water roars through the doors and windows, cascading down the stairs like a
rapids. John Jacob Astor is swept down the marble steps to A-Deck, which is
already flooded... a roiling vortex. He grabs the headless cherub at the
bottom of the staircase and wraps his arms around it.
Astor looks up in time to see the 30 foot glass dome overhead EXPLODE INWARD
with the wave of water washing over it. A Niagara of sea water thunders down
into the room, blasting through the first class opulence. IT is the
Armageddon of elegance.
CUT TO:
254 OMITTED
255 INT. BELOWDECKS
The flooding is horrific. Walls and doors are splintered like kindling.
Water roars down corridors with pile-driver force.
The CARTMELL FAMILY is at the top of a stairwell, jammed against a locked
gate like Jack and Rose were. Water boils up the stairwell behind them. Bert
Cartmell shakes the gate futilely, shouting for help. Little Cora wails as
the water boils up around them all.
CUT TO:
256 EXT. STERN
Rose and Jack struggle to climb the well deck stairs as the ship tilts.
Drunk Baker Joughin puts a hand squarely on Rose's butt and shoves her up
onto the deck.
JOUGHIN
Sorry, miss!
Hundreds of people are already on the poop deck, and more are pouring up
every second. Jack and Rose cling together as they struggle across the
tilting deck.
257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off the
stern, passengers gape as the giant bronze propellers rise out of the water
like gods of the deep, FILLING FRAME behind them.
People are JUMPING from the well deck, the poop deck, the gangway doors.
Some hit debris in the water and are hurt or killed.
258 OMITTED
259 OMITTED
260 EXT. STERN
ON THE POOP DECK Jack and Rose struggle aft as the angle increases. Hundreds
of passengers, clinging to every fixed object on deck, huddle on their knees
around FATHER BYLES, who has his voice raised in prayer. They are praying,
sobbing, or just staring at nothing, their minds blank with dread.
Pulling himself from handhold to handhold, Jack tugs Rose aft along the
deck.
JACK
Come on, Rose. We can't expect God to do all the work for us.
They struggle on, pushing through the praying people. A MAN loses his
footing ahead and slides toward them. Jack helps him.
261 THE PROPELLERS are twenty feet above the water and rising faster.
262 JACK AND ROSE make it to the stern rail, right at the base of the
flagpole. They grip the rail, jammed in between other people. It is the spot
where Jack pulled her back onto the ship, just two night... and a lifetime...
ago.
Above the wailing and sobbing, Father Byles' voice carries, cracking with
emotion.
FATHER BYLES
...and I saw new heavens and a new earth. The former heavens and the former
earth had passed away and the sea was no longer.
The lights flicker, threatening to go out. Rose grips Jack as the stern
rises into a night sky ablaze with stars.
FATHER BYLES
I also saw a new Jerusalem, the holy city coming down out of heaven from
God, beautiful as a bride prepared to meet her husband. I heard a loud voice
from the throne ring out this is God's dwelling among men. He shall dwell
with them and they shall be his people and He shall be their God who is
always with them.
Rose stares about her at the faces of the doomed. Near them are the DAHL
FAMILY, clinging together stoically. Helga looks at her briefly, and her
eyes are infinitely sad.
Rose sees a young mother next to her, clutching her five year old son, who
is crying in terror.
MOTHER
Shhh. Don't cry. It'll be over soon, darling. It'll all be over soon.
FATHER BYLES
He shall wipe every tear from their eyes. And there shall be no more death
or mourning, crying out or pain, for the former world has passed away.
CUT TO:
INT. SHIP-- VARIOUS
As the ship tilts further everything not bolted down inside shifts.
263 CUPBOARDS burst open in the pantry showering the floor with tons of
china. A PIANO slides across the floor, crashing into a wall. FURNITURE
tumbles across the Smoking Room floor.
264 ON THE A-DECK PROMENADE passengers lose their grip and slide down the
wooden deck like a bobsled run, hundreds of feet before they hit the water.
TRUDY BOLT, Rose's maid, slips as she struggles along the railing and slides
away screaming.
265 AT THE STERN the propellers are 100 feet out of the water and rising.
Panicking people leap from the poop deck rail, fall screaming and hit the
water like mortar rounds. A man falls from the poop deck, hitting the bronze
hub of the starboard propeller with a sickening smack.
266 SWIMMERS LOOK UP and see the stern towering over them like a monolith,
the propellers rising against the stars. 110 feet. 120.
267 AT THE STERN RAIL a man jumps. IN HIS POV we fall seemingly forever,
right past one of the giant screws. The water rushes up--
CUT TO:
EXT. TITANIC / BOAT 6
268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and the
screaming people come across the water.
269 REVERSE / HER POV: IN A WIDE SHOT we see the spectacle of the Titanic,
her lights blazing, reflecting in the still water. Its stern is high in the
air, angles up over forty five degrees. The propellers are 150 feet out of
the water. Over a thousand passengers cling to the decks, looking from a
distance like a swarm of bees.
The image is shocking, unbelievable, unthinkable. Ruth stares at the
spectacle, unable to frame it or put it into any proportion.
MOLLY BROWN
God Almighty.
The great liner's lights flicker.
CUT TO:
270 INT. ENGINE ROOM
In darkness Chief Engineer Bell hangs onto a pipe at the master braker
panel. Around him men climb through tilted cyclopean machines with electric
hand-torches. It is a black hell of breaking pipes, spraying water, and
groaning machinery threatening to tear right out of its bedplates.
Water sprays down, hitting the breaker panel, but Bell will not leave his
post. CLUNK. The breakers kick. He slams them in again and-- WHOOM! a blast
of light! Something melts and arcing fills the engine room with nightmarish
light--
CUT TO:
271 EXT. TITANIC
WIDE SHOT. The lights go out all over the ship. Titanic becomes a vast black
silhouette against the stars.
IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, unable to watch the
great steamer die. He is catatonic with remorse, his mind overloaded. He can
avert his eyes, but he can't block out the sounds of dying people and
machinery.
A loud CRACKING REPORT comes across the water.
CUT TO:
272 EXT. BOAT DECK
Near the third funnel a man clutches the ship's rail. He stares down as the
DECK SPLITS right between his feet. A yawning chasm opens with a THUNDER of
breaking steel
LOVEJOY is clutching the railing on the roof of the Officers' Mess. He
watches in horror as the ship's structure RIPS APART right in front of him.
He gapes down into a widening maw, seeing straight down into the bowels of
the ship, amid a BOOMING CONCUSSION like the sound of artillery. People
falling into the widening crevasse look like dolls.
The stay cables on the funnel part and snap across the decks like whips,
ripping off davits and ventilators. A man is hit by a whipping cable and
snatched OUT OF FRAME. Another cable smashes the rail next to Lovejoy and it
rips free. He falls backward into the pit of jagged metal.
Fires, explosions and sparks light the yawning chasm as the hull splits down
through nine decks to the keel. The sea pours into the gaping wound--
CUT TO:
273 INT. ENGINE ROOM
It is a thundering black hell. Men scream as monstrous machinery comes apart
around them, steel frames twisting like taffy. Their torches illuminate the
roaring, foaming demon of water as it races at the through the machines.
Trying to climb they are overtaken in seconds.
CUT TO:
274 EXT. TITANIC - NIGHT
The STERN ALF of the ship, almost four hundred feet long, falls back toward
the water. On the poop deck everyone screams as they feel themselves
plummeting. The sound goes up like the roar of fans at a baseball stadium
when a run is scored.
Swimming in the water directly under the stern a few unfortunates shriek as
they see the keel coming down on them like God's bootheel. The massive stern
section falls back almost level, thundering down into the sea and pushing
out a mighty wave of displaced water.
Jack and Rose struggle to hole onto the stern rail. They feel the ship
seemingly RIGHT ITSELF. Some of those praying think it is salvation.
SEVERAL PEOPLE
We're saved!
Jack looks at Rose and shakes his head, grimly.
Now the horrible mechanics play out. Pulled down by the awesome weight of
the flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OF
ASCENT as the fantail angles up again. Everyone is clinging to benches,
railings, ventilators... anything to keep from sliding as the stern lifts.
The stern goes up and up, past 45 degrees, then past sixty.
People start to fall, sliding and tumbling. They skid down the deck,
screaming and flailing to grab onto something. They wrench other people
loose and pull them down as well. There is a pile-up of bodies at the
forward rail. The DAHL FAMILY falls one by one.
JACK
We have to move!
He climbs over the stern rail and reaches back for Rose. She is terrified to
move. He grabs her hand.
JACK
Come on! I've got you!
Jack pulls her over the rail. It is the same place he pulled her over the
rail two nights earlier, going the other direction. She gets over just as
the railing is going HORIZONTAL, and the deck VERTICAL. Jack grips her
fiercely.
The stern is now straight up in the air... a rumbling black monolith
standing against the stars. It hangs there like that for a long grace note,
its buoyancy stable.
Rose lies on the railing, looking down fifteen stories to the boiling sea at
the base of the stern section. People near them, who didn't climb over, hang
from the railing, their legs dangling over the long drop. They fall one by
one, plummeting down the vertical face of the poop deck. Some of them bounce
horribly off deck benches and ventilators.
Jack and Rose lie side by side on what was the vertical face of the hull,
gripping the railing, which is now horizontal. Just beneath their feet are
the gold letters TITANIC emblazoned across the stern.
Rose stares down terrified at the black ocean waiting below to claim them.
Jack looks to his left and sees Baker Joughin, crouching on the hull,
holding onto the railing. It is a surreal moment.
JOUGHIN
(nodding a greeting)
Helluva night.
The final relentless plunge begins as the stern section floods. Looking down
a hundred feet to the water, we drop like an elevator with Jack and Rose.
JACK
(talking fast)
Take a deep breath and hold it right before we go into the water. The ship
will suck us down. Kick for the surface and keep kicking. Don't let go of my
hand. We're gonna make it Rose. Trust me.
She stares at the water coming up at them, and grips his hand harder.
ROSE
I trust you.
Below them the poop deck is disappearing. The plunge gathers speed... the
boiling surface engulfs the docking bridge and then rushes up the last
thirty feet.
278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The name
TITANIC disappears, and the tiny figures of Jack and Rose vanish under the
water.
Where the ship stood, now there is nothing. Only the black ocean.
CUT TO:
279 EXT. OCEAN / UNDERWATER AND SURFACE
Bodies are whirled and spun, some limp as dolls, others struggling
spasmodically, as the vortex sucks them down and tumbles them.
280 Jack rises INTO FRAME F.G. kicking hard for the surface... holding
tightly to Rose, pulling her up.
281 AT THE SURFACE: a roiling chaos of screaming, thrashing people. Over a
thousand people are now floating where the ship went down. Some are stunned,
gasping for breath. Others are crying, praying, moaning, shouting...
screaming.
Jack and Rose surface among them. They barely have time to gasp for air
before people are clawing at them. People driven insane by the water, 4
degrees below freezing, a cold so intense it is indistinguishable form death
by fire.
A man pushes Rose under, trying to climb on top of her... senselessly trying
to get out of the water, to climb onto anything. Jack PUNCHES him
repeatedly, pulling her free.
JACK
Swim, Rose! SWIM!
She tries, but her strokes are not as effective as his because of her
lifejacket. They break out of the clot of people. He has to find some kind
of flotation, anything to get her out of the freezing water.
JACK
Keep swimming. Keep moving. Come one, you can do it.
All about them there is a tremendous wailing, screaming and moaning... a
chorus of tormented souls. And beyond that... nothing but black water
stretching to the horizon. The sense of isolation and hopelessness is
overwhelming.
CUT TO:
282 OMITTED
283 EXT. OCEAN
Jack strokes rhythmically, the effort keeping him from freezing.
JACK
Look for something floating. Some debris... wood... anything.
ROSE
It's so cold.
JACK
I know. I know. Help me, here. Look around.
His words keep her focused, taking her mind off the wailing around them.
Rose scans the water, panting, barely able to draw a breath. She turns
and... SCREAMS.
A DEVIL is right in from of her face. It is the black FRENCH BULLDOG,
swimming right at her like a seamonster in the darkness, its coal eyes
bugging. It motors past her, like it is headed for Newfoundland.
Beyond it Rose sees something in the water.
ROSE
What's that?
Jack sees what she is pointing to, and they make for it together. It is a
piece of wooden debris, intricately carved. He pushes her up and she
slithers onto it belly down.
But when Jack tries to get up onto the thing, it tilts and submerges, almost
dumping Rose off. It is clearly only big enough to support her. He clings to
it, close to her, keeping his upper body out of the water as best he can.
Their breath floats around them in a cloud as they pant from exertion. A MAN
swims toward them, homing in on the piece of debris. Jack warns him back.
JACK
It's just enough for this lady... you'll push it under.
MAN
Let me try at least, or I'll die soon.
JACK
You'll die quicker if you come any closer.
MAN
Yes, I see. Good luck to you then.
(swimming off)
God bless.
CUT TO:
284 EXT. COLLAPSIBLE A / OCEAN
The boat is overloaded and half-flooded. Men cling to the sides in the
water. Others, swimming, are drawn to it as their only hope. Cal, standing
in the boat, slaps his oar in the water as a warning.
CAL
Stay back! Keep off!
Fabrizio, exhausted and near the limit, makes it almost to the boat. Cal
CLUBS HIM with the oar, cutting open his scalp.
FABRIZIO
You don't... understand... I have... to get... to America.
CAL
(pointing with the oar)
It's that way!
CLOSE ON FABRIZIO as he floats, panting each breath agony. You see the
spirit leave him.
FABRIZIO'S POV: Cal in SLOW MOTION, yelling and wielding the oar. A demon in
a tuxedo. The image fades to black.
CUT TO:
285 EXT. OCEAN
JACK AND ROSE still float amid a chorus of the damned. Jack sees the ship's
officer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously,
knowing the sound will carry over the water for miles.
JACK
The boats will come back for us, Rose. Hold on just a little longer. They
had to row away for the suction and now they'll be coming back.
She nods, his words helping her. She is shivering uncontrollably, her lips
blue and her teeth chattering.
ROSE
Thank God for you Jack.
People are still screaming, calling to the lifeboats.
WOMAN
Come back! Please! We know you can hear us. For God's sake!
MAN
Please... help us. Save one life! SAVE ON LIFE!
CUT TO:
286 EXT. LIFEBOATS / OCEAN
IN BOAT 6: Ruth has her ears covered against the wailing in the darkness.
The first class women in the boat sit, stunned, listening to the sounds of
hundreds screaming.
HITCHINS
They'll pull us right down I tell ya!
MOLLY
Aw knock it off, yer scarin' me. Come on girls, grab your oars. Let's go.
(nobody moves)
Well come on!
The women won't meet her eyes. They huddle into their ermine wraps.
MOLLY
I don't understand a one of you. What's the matter with you? It's your men
back there! We got plenty a' room for more.
HITCHINS
If you don't shut that hole in yer face, there'll be one less in this boat!
Ruth keeps her ears covered and her eyes closed, shutting it all out.
287 IN BOAT ONE: Sir Cosmo and Lucile Duff-Gordon sit with ten other people
in a boat that is two thirds empty. They are two hundred yards from the
screaming in the darkness.
FIREMAN HENDRICKSON
We should do something.
Lucile squeezes Cosmo's hand and pleads him with her eyes. She is terrified.
SIR COSMO
It's out of the question.
The crewmembers, intimidated by a nobleman, acquiesce. They hunch guiltily,
hoping the sound will stop soon.
TWENTY BOATS, most half full, float in the darkness. None of them make a
move.
CUT TO:
288 EXT. OCEAN
Jack and Rose drift under the blazing stars. The water is glassy, with only
the faintest undulating swell. Rose can actually see the stars reflecting on
the black mirror of the sea.
Jack squeezes the water out of her long coat, tucking it in tightly around
her legs. He rubs her arms. His face is chalk with in the darkness. A low
MOANING in the darkness around them.
ROSE
It's getting quiet.
JACK
Just a few more minutes. It'll take them a while to get the boats
organized...
Rose is unmoving, just staring into space. She knows the truth. There won't
be any boats. Behind Jack she sees that Officer Wilde has stopped moving. He
is slumped in his lifejacket, looking almost asleep. He has died of exposure
already.
JACK
I don't know about you, but I intend to write a strongly worded letter to
the White Star Line about all this.
She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyes in
the dim light.
ROSE
I love you Jack.
He takes her hand.
JACK
No... don't say your good-byes, Rose. Don't you give up. Don't do it.
ROSE
I'm so cold.
JACK
You're going to get out of this... you're going to go on and you're going to
make babies and watch them grow and you're going to die an old lady, warm in
your bed. Not here. Not this night. Do you understand me?
ROSE
I can't feel my body.
JACK
Rose, listen to me. Listen. Winning that ticket was the best thing that ever
happened to me.
Jack is having trouble getting the breath to speak.
JACK
It brought me to you. And I'm thankful, Rose. I'm thankful.
His voice is trembling with the cold which is working tis way to his heart.
But his eyes are unwavering.
JACK
You must do me this honor... promise me you will survive... that you will
never give up... no matter what happens... no matter how hopeless... promise
me now, and never let go of that promise.
ROSE
I promise.
JACK
Never let go.
ROSE
I promise. I will never let go, Jack. I'll never let go.
She grips his hand and they lie with their heads together. It is quiet now,
except for the lapping of the water.
CUT TO:
289 EXT. LIFEBOATS / OCEAN - NIGHT
Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12
and Collapsible D together with his own Boat 14. A demon of energy, he's had
everyone hold the boats together and is transferring passengers from 14 into
the others, to empty his boat for a rescue attempt.
As the women step gingerly across the other boats, Lowe sees a shawled
figure in too much of a hurry. He rips the shawl off, and finds himself
staring into the face of a man. He angrily shoves the stowaway into another
boat and turns to his crew of three.
LOWE
Right, man the oars.
CUT TO:
290 EXT. OCEAN / BOAT 14
The beam of an electric torch plays across the water like a searchlight as
boat 14 comes toward us.
ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignant
trail of flotsam: a violin, a child's wooden soldier, a framed photo of a
steerage family. Daniel Marvin's wooden Biograph camera.
Then, their white lifebelts bobbing in the darkness like signposts, the
first bodies come into the torch's beam. The people are dead but not
drowned, killed by the freezing water. Some look like they could be
sleeping. Others stare with frozen eyes at the stars.
Soon bodies are so thick the seamen cannot row. They hit the oars on the
heads of floating men and women... a wooden trunk. One seaman throws up.
Lowe sees a mother floating with her arms frozen around her lifeless baby.
LOWE
(the worst moment of his life)
We waited too long.
CUT TO:
291 EXT. OCEAN
IN A HOVERING DOWNANGLE we see Jack and Rose floating in the black water.
The stars reflect in the mill pond surface, and the two of them seem to be
floating in interstellar space. They are absolutely still. Their hands are
locked together. Rose is staring upwards at the canopy of stars wheeling
above her. The music is transparent, floating... as the long sleep steals
over Rose, and she feels peace.
CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to be
floating in a void. Rose is in a semi-hallucinatory state. She knows she is
dying. Her lips barely move as she sings a scrap of Jack's song:
ROSE
"Come Josephine in my flying machine..."
ROSE'S POV: The stars. Like you've never seen them. The Milky Way a glorious
band from horizon to horizon.
A SHOOTING STAR flares... a line of light across the heavens.
TIGHT ON ROSE again. We see that her hair is dusted with frost crystals. Her
breathing is so shallow, she is almost motionless. Her eyes track down from
the stars to the water.
ROSE'S POV... SLOW MOTION: The silhouette of a boat crossing the stars. She
sees men in it, rowing so slowly the oars lift out of the syrupy water,
leaving weightless pearls floating in the air. The VOICES of the men sound
slow and DISTORTED.
Then the lookout flashes his torch toward her and the light flares across
the water, silhouetting the bobbing corpses in between. It flicks past her
motionless form and moves on. The boat is 50 feet away, and moving past her.
The men look away.
Rose lifts her head to turn to Jack. We see that her hair has frozen to the
wood under her.
ROSE
(barely audible)
Jack.
She touches his shoulder with her free hand. He doesn't respond. Rose gently
turns his face toward her. It is rimed with frost.
He seems to be sleeping peacefully.
But he is not asleep.
Rose can only stare at his still face as the realization goes through her.
ROSE
Oh, Jack.
All hope, will and spirit leave her. She looks at the boat. It is further
away now, the voices fainter. Rose watches them go.
She closes her eyes. She is so weak, and there just seems to be no reason to
even try.
And then... her eyes snap open.
She raises her head suddenly, cracking the ice as she rips her hair off the
wood. She calls out, but her voice is so weak they don't hear her. The boat
is invisible now, the torch light a star impossibly far away. She struggles
to draw breath, calling again.
292 IN THE BOAT Lowe hears nothing behind him. He points to something ahead,
turning the tiller.
293 ROSE struggles to move. Her hand, she realizes, is actually frozen to
Jack's. She breaths on it, melting the ice a little, and gently unclasps
their hands, breaking away a thin tinkling film.
ROSE
I won't let go. I promise.
She releases him and he sinks into the black water. He seems to fade out
like a spirit returning to some immaterial plane.
Rose rolls off the floating staircase and plunges into the icy water. She
swims to Chief Officer Wilde's body and grabs his whistle. She starts to
BLOW THE WHISTLE with all the strength in her body. Its sound slaps across
the still water.
294 IN BOAT 14 Lowe whips around at the sound of the whistle.
LOWE
(turning the tiller)
Row back! That way! Pull!
Rose keeps blowing as the boat comes to her. She is still blowing when Lowe
takes the whistle from her mouth as they haul her into the boat. She slips
into unconsciousness and they scramble to cover her with blankets...
DISSOLVE TO:
295 INT. IMAGING SHACK / KELDYSH
EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day.
OLD ROSE
Fifteen hundred people went into the sea when Titanic sank from under us.
There were twenty boats floating nearby and only one came back. One. Six
were saved from the water, myself included. Six out of fifteen hundred.
As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and the
salvage crew on KELDYSH. Lovett, Bodine, Buell, the others... the reality of
what happened here 84 years before has hit them like never before. With her
story Rose has put them on Titanic in its final hours, and or the first
time, they do feel like graverobbers.
Lovett, for the first time, has even forgotten to ask about the diamond.
OLD ROSE
Afterward, the seven hundred people in the boats had nothing to do but
wait... wait to die, wait to live, wait for an absolution which would never
come.
DISSOLVE TO:
296 EXT. LIFEBOATS / OPEN SEA - PRE-DAWN
MATCHING MOVE as the camera tracks along the faces of the saved.
DISSOLVE TO: ANOTHER BOAT, and then ANOTHER, seeing faces we know among the
survivors: Ismay in a trance, just staring and trembling... Cal, sipping
from a hip flask offered to him by a black-faced stoker... Ruth hugging
herself, rocking gently.
IN BOAT 14: CLOSE ON ROSE, lying swaddled. Only her face is visible, white as
the moon. The man next to her jumps up, pointing and yelling. Soon everyone
is looking and shouting excitedly. In Rose's POV it is all silent, SLOW
MOTION.
IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it as
everyone shouts and cheers. Rose doesn't react. She floats beyond all human
emotion.
DISSOLVE TO:
298 EXT. LIFEBOATS / OPEN SEA - DAWN
Golden light washes across the white boats, which gloat in a calm sea
reflecting the rosy sky. All around them, like a flotilla of sailing ships,
are icebergs. The CARPATHIA sits nearby, as boats row toward her.
DISSOLVE TO:
299 EXT. LIFEBOATS / OCEAN / CARPATHIA MONTAGE - DAY
IMAGES DISSOLVE into one another: a ship's hull looming, with the letters
CARPATHIA visible on the bow... Rose watching, rocked by the sea, her face
blank... seamen helping survivors up the rope ladder to the Carpathia's
gangway doors... two women crying and hugging each other inside the ship...
ALL SILENT, ALL IN SLOW-MOTION. There is just music, so gentle and sad, part
elegy, part hymn, part aching song of love lost forever.
THE IMAGES CONTINUE to music... Rose, outside of time, outside of herself,
coming into Carpathia, barely able to stand... Rose being draped with warm
blankets and given hot tea... BRUCE ISMAY climbing aboard. He has the face
and eyes of a damned soul.
As Ismay walks along the hall, guided by a crewman toward the doctor's
cabin, he passes rows of seated and standing widows. He must run the
gauntlet of their accusing gazes.
CUT TO:
300 EXT. DECK / CARPATHIA - DAY
It is the afternoon of the 15th. Cal is searching the faces of the widows
lining the deck, looking for Rose. The deck of Carpathia is crammed with
huddled people, and even the recovered lifeboats of Titanic. On a hatch
cover sits an enormous pile of lifebelts.
He keeps walking toward the stern. Seeing Cal's tuxedo, a steward approaches
him.
CARPATHIA STEWARD
You won't find any of your people back here, sir. It's all steerage.
Cal ignores him and goes amongst this wrecked group, looking under shawls
and blankets at one bleak face after another.
Rose is sipping hot tea. Her eyes focus on him as he approaches her. He
barely recognizes her. She looks like a refugee, her matted hair hanging in
her eyes.
ROSE
Yes, I lived. How awkward for you.
CAL
Rose... your mother and I have been looking for you--
She holds up her hand, stopping him.
ROSE
Please don't. Don't talk. Just listen. We will make a deal, since that is
something you understand. From this moment you do not exist for me, nor I
for you. You shall not see me again. And you will not attempt to find me. In
return I will keep my silence. Your actions last night need never come to
light, and you will get to keep the honor you have carefully purchased.
She fixes him with a glare as cold and hard as the ice which changed their
lives.
ROSE
Is this in any way unclear?
CAL
(after a long beat)
What do I tell your mother?
ROSE
Tell her that her daughter died with the Titanic.
She stands, turning to the rail. Dismissing him. We see Cal stricken with
emotion.
CAL
You're precious to me, Rose.
ROSE
Jewels are precious. Goodbye, Mr. Hockley.
We see that in his way, the only way he knows, he does truly love her.
After a moment, he turns and walks away.
OLD ROSE (V.O.)
That was the last time I ever saw him. He married, of course, and inherited
his millions. The crash of 28 hit his interests hard, and he put a pistol in
his mouth that year. His children fought over the scraps of his estate like
hyenas, or so I read.
301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. She
gazes up at the Statue of Liberty, looking just as it does today, welcoming
her home with her glowing torch. It is just as Fabrizio saw it, so clearly,
in his mind.
302 LATER CARPATHIA DISGORGES THE SURVIVORS at the Cunard pier, Pier 54.
Over 30,000 people line the dock and fill the surrounding streets. The
magnesium flashes of the photographers go off like small bombs, lighting an
amazing tableau.
Several hundred police keep the mob back. The dock is packed with friends
and relatives, officials, ambulances, and the press--
Reporters and photographers swarm everywhere... 6 deep at the foot of the
gangways, lining the tops of cars and trucks... it is the 1912 equivalent of
a media circus. They jostle to get close to the survivors, tugging on them
as they pass and shouting over each other to ask them questions.
Rose is covered with a woollen shawl and walking with a group of steerage
passengers. Immigration officers are asking them questions as they come off
the gangway.
IMMIGRATION OFFICER
Name?
ROSE
Dawson. Rose Dawson.
The officer steers her toward a holding area for processing. Rose walks
forward with the dazed immigrants. The BOOM! of photographer's magnesium
flashes cause them to flinch, and the glare is blinding. There is a sudden
disturbance near her as two men burst through the cordon, running to embrace
an older woman along the survivors, who cries out with joy. The reporters
converge on this emotional scene, and flashes explode.
Rose uses this moment to slip away into the crowd. She pushes through the
jostling people, moving with purpose, and none challenges her in the
confusion.
OLD ROSE (V.O.)
Can you exchange one life for another? A caterpillar turns into a butterfly.
If a mindless insect can do it, why couldn't I? Was it any more unimaginable
than the sinking of the Titanic?
TRACKING WITH HER as she walks away, further and further until she flashes
and the roar are far behind her, and she is s till walking, determined.
CUT TO:
303 INT. IMAGING SHACK / KELDYSH
Old Rose sits with the group in the Imaging Shack, lit by the blue glow of
the screens. She holds the haircomb with the jade butterfly on the handle in
her gnarled hands.
BODINE
We never found anything on Jack. There's no record of him at all.
OLD ROSE
No, there wouldn't be, would there? And I've never spoken of him until now,
not to anyone.
(to Lizzy)
Not even your grandfather. A woman's heart is a deep ocean of secrets. But
now you all know there was a man named Jack Dawson, and that he saved me, in
every way that a person can be saved.
(closing her eyes)
I don't even have a picture of him. He exists now only in my memory.
CUT TO:
304 OMITTED
305 EXT. OCEAN FLOOR / TITANIC WRECK
The Mir submersibles make their last pass over the ship. We hear Yuri the
pilot on the UQC:
YURI
Mir One returning to surface.
The sub rises off the deck of the wreck, taking its light with it, leaving
the Titanic once again it its fine and private darkness.
CUT TO:
306 EXT. KELDYSH DECK
A desultory wrap party for the expedition is in progress. There is music and
some of the (co-ed) Russian crew are dancing. Bodine is getting drunk in the
aggressive style of Baker Joughin.
Lovett stands at the rail, looking down into the black water. Lizzy comes to
him, offering him a beer. She puts her hand on his arm.
LIZZY
I'm sorry.
LOVETT
We were pissin' in the wind the whole time.
Lovett notices a figure move through the lights far down at the stern of the
ship.
LOVETT
Oh shit.
CUT TO:
307 EXT. KELDYSH STERN DECK
Rose walks through the shadows of the deck machinery. Her nightgown blows in
the wind. Her feet are bare. Her hands are clutched at her chest, almost as
if she is praying.
ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass.
ROSE reaches the stern rail. Her gnarled fingers wrap over the rail. Her
ancient foot steps up on the gunwale. She pushes herself up, leaning
forward. Over her shoulder, we see the black water glinting far below.
LOVETT AND LIZZY run up behind her.
LIZZY
Grandma, wait!! Don't--
ROSE TURNS her head, looking at them. She turns further, and we see she has
something in her hand, something she was about to drop overboard.
It is the "Heart of the Ocean".
Lovett sees his holy grail in her hand and his eyes go wide. Rose keeps it
over the railing where she can drop it anytime.
ROSE
Don't come any closer.
LOVETT
You had it the entire time?!
FLASH CUT TO: A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. The
photographers' flashes go off like a battle behind her. She has her hands in
her pockets. She stops, feeling something, and pulls out the necklace. She
stares at it in amazement.
BACK ON KELDYSH, Rose smiles at Brock's incomprehension.
ROSE
The hardest part about being so poor, was being so rich. But every time I
though of selling it, I though of Cal. And somehow I always got by without
his help.
She holds it out over the water. Bodine and a couple of the other guys come
up behind Lovett, reacting to what is in Rose's hand.
BODINE
Holy shit.
LOVETT
Don't drop it Rose.
BODINE
(a fierce whisper)
Rush her.
LOVETT
(to Bodine)
It's hers, you schmuck.
(to her)
Look, Rose, I... I don't know what to say to a woman who tries to jump off
the Titanic when it's not sinking, and jumps back onto it when it is...
we're not dealing with logic here, I know that... but please... think about
this a second.
ROSE
I have. I came all the way here so this could go back where it belongs.
The massive diamond glitters. Brock edges closer and holds out his hand...
LOVETT
Just let me hold it in my hand, Rose. Please. Just once.
He comes closer to her. It is reminiscent of Jack slowly moving up to her at
the stern of Titanic.
Surprisingly, she calmly places the massive stone in the palm of his hand,
while still holding onto the necklace. Lovett gazes at the object of his
quest. An infinity of cold scalpels glint in its blue depths. It is
mesmerizing. It fits in his hand just like he imagined.
LOVETT
My God.
His grip tightens on the diamond.
He looks up, meeting her gaze. Her eyes are suddenly infinitely wise and
deep.
ROSE
You look for treasures in the wrong place, Mr. Lovett. Only life is
priceless, and making each day count.
His fingers relax. He opens them slowly. Gently she slips the diamond out of
his hand. He feels it sliding away.
Then, with an impish little grin, Rose tosses the necklace over the rail.
Lovett gives a strangled cry and rushes to the rail in time to see it hit
the water and disappear forever.
BODINE
Aww!! That really sucks, lady!
Brock Lovett goes through ten changes before he settles on a reaction... HE
LAUGHS. He laughs until the tears come to his eyes. Then he turns to Lizzy.
LOVETT
Would you like to dance?
Lizzy grins at him and nods. Rose smiles. She looks up at the stars.
308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end over
end, into the infinite depths.
CUT TO:
309 INT. ROSE'S CABIN / KELDYSH
A GRACEFUL PAN across Rose's shelf of carefully arranged pictures:
Rose as a young actress in California, radiant... a theatrically lit studio
publicity shot... Rose and her husband, with their two children... Rose with
her son at his college graduation... Rose with her children and
grandchildren at her 70th birthday. A collage of images of a life lived
well.
THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at the
beach, sitting on a horse at the surfline. The Santa Monica pier, with its
rollercoaster is behind her. She is grinning, full of life.
We PAN OFF the last picture to Rose herself, warm in her bunk. A profile
shot. She is very still. She could be sleeping, or maybe something else.
CUT TO:
BLACKNESS
310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a
kind of moonlight, a light of the mind. We pass over the endless forecastle
deck to the superstructure, moving faster than subs can move... almost like
we are flying.
WE GO INSIDE, and the echoing sound of distant waltz music is heard. The
rust fades away from the walls of the dark corridor and it is transformed...
WE EMERGE onto the grand staircase, lit by glowing chandelier. The music is
vibrant now, and the room is populated by men in tie and tails, women in
gowns. It is exquisitely beautiful.
IN POV we sweep down the staircase. The crowd of beautiful gentlemen and
ladies turn as we descend toward them. At the bottom a man stands with his
back to us... he turns and it is Jack. Smiling he holds his hand out toward
us.
IN A SIDE ANGLE Rose goes into his arms, a girl of 17. The passengers,
officers and crew of the RMS Titanic smile and applaud in the utter silence
of the abyss.
