Just scroll down and read...I've tried to separate these with *** marks. If you've seen the movie you'll know where they all fit.
ROSE
(holds up her hand for silence)
It's been 84 years... and I can still smell the fresh paint. The china had never been used. The sheets had never been slept in.
He switches on the minirecorder and sets it near her.
ROSE
Titanic was called the Ship of Dreams. And it was. It really was...
As the underwater camera rises past the rusted bow rail, WE DISSOLVE / MATCH MOVE to that same railing in 1912...
MATCH DISSOLVE:
34 EXT. SOUTHAMPTON DOCK - DAY
SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure of Titanic rises mountainously beyond
the rail, and above that the buff-colored funnels stand against the sky like the pillars of a great temple. Crewmen move across
the deck, dwarfed by the awesome scale of the steamer.
Southanmpton, England, April 10, 1912. It is almost nnon on ailing day. A crowd of hundreds blackens the pier next to Titanic
like ants on a jelly sandwich.
IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging from a loading crane. It is lowered
toward HATCH #2.
On the pier horsedrawn vehicles, motorcars and lorries move slowly through the dense throng. The atmosphere is one of
excitement and general giddiness. People embrace in tearful farewells, or wave and shout bon voyage wishes to friends and
relatives on the decks above.
A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the crowd leaving a wake in the press of people.
Around the handsome cars people are streaming to board the ship, jostling with hustling seamen and stokers, porters, and
barking WHITE STAR LINE officials.
The Renault stops and the LIVERIED DRIVER scurries to open the door for a YOUNG WOMAN dressed in a stunning
white and purple outfit, with an enormous feathered hat. She is 17 years old and beautiful, regal of bearing, with piercing eyes.
It is the girl in the drawing. ROSE. She looks up at the ship, taking it in with cool appraisal.
ROSE
I don't see what all the fuss is about. It doesn't look any bigger than the Mauretania.
A PERSONAL VALET opens the door on the other side of the car for CALEDON HOCKLEY, the 30 year old heir to the
elder Hockley's fortune. "Cal" is handsome, arrogant and rich beyond meaning.
CAL
You can be blase about some things, Rose, but not about Titanic. It's over a hundred feet longer than Mauretania, and far
more luxurious. It has squash courts, a Parisian cafe... even Turkish baths.
Cal turns and fives his hand to Rose's mother, RUTH DEWITT BUKATER, who descends from the touring car being him.
Ruth is a 40ish society empress, from one of the most prominent Philadelphia families. She is a widow, and rules her household
with iron will.
CAL
Your daughter is much too hard to impress, Ruth.
(indicating a puddle)
Mind your step.
RUTH
(gazing at the leviathan)
So this is the ship they say is unsinkable.
CAL
It is unsinkable. God himself couldn't sink this ship.
Cal speaks with the pride of a host providing a special experience.
This entire entourage of rich Americans is impeccably turned out, a quintessential example of the Edwardian upper class,
complete with servants. Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an undertaker. Behind him emerge
TWO MAIDS, personal servants to Ruth and Rose.
A WHITE STAR LINE PORTER scurries toward them, harried by last minute loading.
PORTER
Sir, you'll have to check your baggage through the main terminal, round that way--
Cal nonchalantly hands the man a fiver. The porter's eyes dilate. Five pounds was a monster tip in those days.
CAL
I put my faith in you, good sir.
(MORE)
CAL (CONT'D)
(curtly, indicating Lovejoy)
See my man.
PORTER
Yes, sir. My pleasure, sir.
Cal never tires of the effect of money on the unwashed masses.
LOVEJOY
(to the porter)
These trunks here, and 12 more in the Daimler. We'll have all this lot up in the rooms.
The White Star man looks stricken when he sees the enormous pile of steamer trunks and suitcases loading down the second
car, including wooden crates and steel safe. He whistles frantically for some cargo-handlers nearby who come running.
Cal breezes on, leaving the minions to scramble. He quickly checks his pocket watch.
CAL
We'd better hurry. This way, ladies.
He indicates the way toward the first class gangway. They move into the crowd. TRUDY BOLT, Rose's maid, hustles behind
them, laden with bags of her mistress's most recent purchases... things too delicate for the baggage handlers.
Cal leads, weaving between vehicles and handcarts, hurrying passengers (mostly second class and steerage) and well-wishers.
Most of the first class passengers are avoiding the smelly press of the dockside crowd by using an elevated boarding bridge,
twenty feet above.
They pass a line of steerage passengers in their coarse wool and tweeds, queued up inside movable barriers like cattle in a
chute. A HEALTH OFFICER examines their heads one by one, checking scalp and eyelashes for lice.
They pass a well-dressed young man cranking the handle of a wooden Biograph "cinematograph" camera mounted on a tripod.
NANIEL MARVIN (whose father founded the Biograph Film Studio) is filming his young bride in front of the Titanic. MARY
MARVIN stands stiffly and smiles, self conscious.
DANIEL
Look up at the ship, darling, that's it. You're amazed! You can't believe how big it is! Like a mountain. That's great.
Mary Marvin, without an acting fiber in her body, does a bad Clara Bow pantomime of awe, hands raised.
Cal is jostled by two yelling steerage boys who shove past him. And he is bumped again a second later by the boys' father.
CAL
Steady!!
MAN
Sorry squire!
The Cockney father pushes on, after his kids, shouting.
CAL
Steerage swine. Apparently missed his annual bath.
RUTH
Honestly, Cal, if you weren't forever booking everything at the last instant, we could have gone through the terminal instead of
running along the dock like some squalid immigrant family.
CAL
All part of my charm, Ruth. At any rate, it was my darling fiancee's beauty rituals which made us late.
ROSE
You told me to change.
CAL
I couldn't let you wear black on sailing day, sweetpea. It's bad luck.
ROSE
I felt like black.
Cal guides them out of the path of a horse-drawn wagon loaded down with two tons of OXFORD MARMALADE, in
wooden cases, for Titanic's Victualling Department.
CAL
Here I've pulled every string I could to book us on the grandest ship in history, in her most luxurious suites... and you act as if
you're going to your execution.
Rose looks up as the hull of Titanic looms over them...a great iron wall, Bible black and sever. Cal motions her forward, and
she enters the gangway to the D Deck doors with a sense of overwhelming dread.
OLD ROSE (V.O.)
It was the ship of dreams... to everyone else. To me it was a slave ship, taking me back to America in chains.
CLOSE ON CAL'S HAND IN SLOW-MOTION as it closes possessively over Rose's arm. He escorts her up the gangway
and the black hull of Titanic swallows them.
OLD ROSE (V.O.)
Outwardly I was everything a well brought up girl should be. Inside, I was screaming.
35 CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic's funnels, bellowing their departure
warning.
*****
CUT TO:
46 INT. SUITE B-52-56 - DAY
By contrast, the so-called "Millionaire Suite" is in the Empire style, and comprises two bedrooms, a bath, WC, wardrobe
room, and a large sitting room. In addition there is a private 50 foot promenade deck outside.
A room service waiter pours champagne into a tulip glass of orange juice and hands the Bucks Fizz to Rose. She is looking
through her new paintings. There is a Monet of water lilies, a Degas of dancers, and a few abstract works. They are all
unknown paintings... lost works.
Cal is out on the covered deck, which has potted trees and vines on trellises, talking through the doorway to Rose in the sitting
room.
CAL
Those mud puddles were certainly a waste of money.
ROSE
(looking at a cubist portrait)
You're wrong. They're fascinating. Like in a dream... there's truth without logic. What's his name again... ?
(reading off the canvas)
Picasso.
CAL
(coming into the sitting room)
He'll never amount to a thing, trust me. At least they were cheap.
A porter wheels Cal's private safe (which we recognize) into the room on a handtruck.
CAL
Put that in the wardrobe.
47 IN THE BEDROOM Rose enters with the large Degas of the dancers. She sets it on the dresser, near the canopy bed.
Trudy is already in there, hanging up some of Rose's clothes.
TRUDY
It smells so brand new. Like they built it all just for us. I mean... just to think that tonight, when I crawl between the sheets, Iill
be the first--
Cal appears in the doorway of the bedroom.
CAL
(looking at Rose)
And when I crawl between the sheets tonight, I'll still be the first.
TRUDY
(blushing at the innuendo)
S'cuse me, Miss.
She edges around Cal and makes a quick exit. Cal comes up behind Rose and puts his hands on her shoulders. An act of
possession, not intimacy.
CAL
The first and only. Forever.
Rose's expression shows how bleak a prospect this is for her, now.
*****Back
CUT TO:
59 INT. PALM COURT RESTAURANT - DAY
CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line.
ISMAY
...and our master shipbuilder, Mr. Andrews here, designed her from the keel plates up.
He indicates a handsome 39 year old Irish gentlemen to his right, THOMAS ANDREWS, of Harland and Wolf Shipbuilders.
WIDER, showing the group assembled for lunch the next day. Ismay seated with Cal, Rose, Ruth, Molly Brown and Thomas
Andrews in the Palm Court, a beautiful sunny spot enclosed by high arched windows.
ANDREWS
(disliking the attention)
Well, I may have knocked her together, but the idea was Mr. Ismay's. He envisioned a steamer so grand in scale, and so
luxurious in its appointments, that its supremacy would never be challenged. And here she is...
(he slaps the table)
...willed into solid reality.
MOLLY
Why're ships always bein' called "she"? Is it because men think half the women around have big sterns and should be weighed
in tonnage?
(they all laugh)
Just another example of the men settin' the rules their way.
The waiter arrives to take orders. Rose lights a cigarette.
RUTH
You know I don't like that, Rose.
CAL
She knows.
Cal takes the cigarette from her and stubs it out.
CAL
(to the waiter)
We'll both have the lamb. Rare, with a little mint sauce.
(to Rose, after the waiter moves away)
You like lamb, don't you sweetpea?
Molly is watching the dynamic between Rose, Cal and Ruth.
MOLLY
So, you gonna cut her meat for her too there, Cal?
(turning to Ismay)
Hey, who came up with the name Titanic? You, Bruce?
ISMAY
Yes, actually. I wanted to convey sheer size. And size means stability, luxury... and safety--
ROSE
Do you know of Dr. Freud? His ideas about the male preoccupation with size might be of particular interest to you, Mr. Ismay.
Andrews chockes on his breadstick, suppressing laughter.
RUTH
My God, Rose, what's gotten into--
ROSE
Excuse me.
She stalks away.
RUTH
(mortified)
I do apologize.
MOLLY
She's a pistol, Cal. You sure you can handle her?
CAL
(tense but feigning unconcern)
Well, I may have to start minding what she reads from now on.
******
CUT TO:
66 EXT. POOP DECK - NIGHT
A few minutes later. Jack is being detained by the burly MASTER AT ARMS, the closest thing to a cop on board. He is
handcuffing Jack. Cal is right in front of Jack, and furious. He has obviously just rushed out here with Lovejoy and another man,
and none of them have coats over their black tie evening dress. The other man is COLONEL ARCHIBALD GRACIE, a
mustachioed blowhard who still has his brandy snifter. He offers it to Rose, who is hunched over crying on a bench nearby, but
she waves it away. Cal is more concerned with Jack. He grabs him by the lapels.
CAL
What made you think you could put your hands on my fiancee?! Look at me, you filth! What did you think you were doing?!
ROSE
Cal, stop! It was an accident.
CAL
An accident?!
ROSE
It was... stupid really. I was leaning over and I slipped.
Rose looks at Jack, getting eye contact.
ROSE
I was leaning way over, to see the... ah... propellers. And I slipped and I would have gone overboard... and Mr. Dawson here
saved me and he almost went over himself.
CAL
You wanted to see the propellers?
GRACIE
(shaking his head)
Women and machinery do not mix.
MASTER AT ARMS
(to Jack)
Was that the way of it?
Rose is begging him with her eyes not to say what really happened.
JACK
Uh huh. That was pretty much it.
He looks at Rose a moment longer. Now they have a secret together.
COLONEL GRACIE
Well! The boy's a hero then. Good for you son, well done!
(to Cal)
So it's all's well and back to our brandy, eh?
Jack is uncuffed. Cal gets Rose to her feet and moving.
CAL
(rubbing her arms)
Let's get you in. You're freezing.
Cal is leaving without a second thought for Jack.
GRACIE
(low)
Ah... perhaps a little something for the boy?
CAL
Oh, right. Mr. Lovejoy. A twenty should do it.
ROSE
Is that the going rate for saving the woman you love?
CAL
Rose is displeased. Mmm... what to do?
Cal turns back to Jack. He appraises him condescendingly... a steerage ruffian, unwashed and ill-mannered.
CAL
I know.
(to Jack)
Perhaps you could join us for dinner tomorrow, to regale our group with your heroic tale?
JACK
(looking straight at Rose)
Sure. Count me in.
CAL
Good. Settled then.
Cal turns to go, putting a protective arm around Rose. he leans close to Gracie as they walk away.
CAL
This should be amusing.
JACK
(as Lovejoy passes)
Can I bum a cigarette?
Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it open. Jack takes a cigarette, then another, popping
it behind his ear for later. Lovejoy lights Jack's cigarette.
LOVEJOY
You'll want to tie those.
(Jack looks at his shoes)
Interesting that the young lady slipped so mighty all of a sudden and you still had time to take of your jacket and shoes.
Mmmm?
Lovejoy's expression is bland, but the eyes are cold. He turns away to join his group.
CUT TO:
67 INT. ROSE'S BEDROOM - NIGHT
As she undresses for bed Rose sees Cal standing in her doorway, reflected in the cracked mirror of her vanity. He comes
toward her.
CAL
(unexpectedly tender)
I know you've een melancholy, and I don't pretent to know why.
From behind his back he hands her a large black velvet jewel case. She takes it, numbly.
CAL
I intended to save this till the engagement gals next week. But I thought tonight, perhaps a reminder of my feeling for you...
Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN" in all its glory. It is huge... a malevolent blue
stone glittering with an infinity of scalpel-like inner reflections.
ROSE
My God... Cal. Is it a--
CAL
Daimond. Yes it is. 56 carats.
He takes the necklace and during the following places it around her throat. He turns her to the mirror, staring behind her.
CAL
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer, the--
ROSE
The Heart of the Ocean. Cal, it's... it's overwhelming.
He gazes at the image of the two of them in the mirror.
CAL
It's for royalty. And we are royalty.
His fingers caress her neck and throat. He seems himself to be disarmed by Rose's elegance and beauty. His emotion is, for the
first time, unguarded.
CAL
There's nothing I couldn't give you. There's nothing I'd deny you if you would deny me. Open your heart to me, Rose.
CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:
OLD ROSE (V.O.)
Of course his gift was only to reflect light back onto himself, to illuminate the greatness that was Caledon Hockley. It
was a cold stone... a heart of ice.
Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the are now... transforming through 84 years
of life...
TRANSITION
68 INT. KELDYSH IMAGING SHACK
Without a cut the wrinkled, weathered landscape of age has appeared around her eyes. But the eyes themselves are the same.
OLD ROSE
After all these years, feel it closing around my throat like a dog collar.
THE CAMERA PUllS BACK to show her whole face.
ROSE
I can still feel its weight. If you could have felt it, not just seen it...
LOVETT
Well, that's the general idea, my dear.
BODINE
So let me get this right. You were gonna kill yourself by jumping off the Titanic?
(he guffaws)
That's great!
LOVETT
(warningly)
Lewis...
But Rose laughs with Bodine.
BODINE
(still laughing)
All you had to do was wait two days!
Lovett, standing out of Rose's sightline, checks his watch. Hours have passed. This process is taking too long.
LOVETT
Rose, tell us more about the diamond. What did Hockley do with it after that?
ROSE
Im afraid I'm feeling a little tired, Mr. Lovett.
Lizzy picks up the cue and starts to wheel her out.
LOVETT
Wait! Can you give us something go on, here. Like who had access to the safe. What about this Lovejoy guy? The valet. Did
he have the combination?
LIZZY
That's enough.
Lizzy takes her out. Rose's old hand reapears at the doorway in a frail wave goodbye.
*****
CUT TO:
79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK
Jack steps in and his breath is taken away by the splendor spread out before him. Overhead is the enormous glass dome, with
a crystal chandelier at its center. Sweeping down six stories is the First Class Grand Staircase, the epitome of the opulent naval
architecture of the time.
And the people: the women in their floor length dresses, elaborate hairstyles and abundant jewelry... the gentlemen in evening
dress, standing with one hand at the small of the back, talking quietly.
Jack descends to A deck. Several men nod a perfunctory greeting. He nods back, keeping it simple. He feels like a spy.
Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They both walk right past Jack, neither one gecognizeing
him. Cal nods at him, one gent to another. But Jack barely has time to be amused. Because just behind Cal and Ruth on the
stairs is Rose, a vision in red and black, her low-cut dress showing off her neck and shoulders, her arms seathed in white gloves
that come well above above the elbow. Jack is hypnotized by her beauty.
CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen's stance, hand behind his back. She extends her gloved
hand and he takes it, kissing the back of her fingers. Rose flushes, beaming noticeably. She can't take her eyes off him.
JACK
I saw that in a nickelodean once, and I always wanted to do it.
ROSE
Cal, surely you remember Mr. Dawson.
CAL
(caught off guard)
Dawson! I didn't recognize you.
(studies him)
Amazing! You could almost pass for a gentlemen.
CUT TO:
80 INT. D-DECK RECEPTION ROOM
CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They encounter Molly Brown, looking
good in a beaded dress, in her own busty broad-shouldered way. Molly grins when she sees Jack. As they are going into the
dining saloon she walks next to him, speaking low:
MOLLY
Ain't nothin' to it, is there, Jack?
JACK
Yeah, you just dress like a pallbearer and keep your nose up.
MOLLY
Remember, the only thing they respect is money, so just act like you've got a lot of it and you're in the club.
As they enter the swirling throng, Rose leans close to him, pointing out several notables.
ROSE
There's the Countess Rothes. And that's John Jacob Astor... the richest man on the ship. His little wifey there, Madeleine, is my
age and in a delicate condition. See how she's trying to hide it. Quite the scandal.
(nodding toward a couple)
And over there, that's Sir Cosmo and Lucile, Lady Duff-Gordon. She designs naughty lingerie, among her many talents. Very
popular with the royals.
Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel Gracie, while Ruth, the Countess and Lucille
discuss fashion. Rose picots Jack smoothly, to show him another couple, dressed impeccably.
ROSE
And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs. Guggenheim is at home with the children, of course.
Cal, meanwhile, is accepting the praise of his male counterparts, who are looking at Rose like a prize show horse.
SIR COSMO
Hockley, she is splendid.
CAL
Thank you.
GRACIE
Cal's a lucky man. I know him well, and it can only be luck.
Ruth steps over, hearing the last. She takes Cal's arm, somewhat coquettishly.
RUTH
How can you say that Colonel? Caledon Hockley is a great catch.
The entourage strolls toward the dining saloon, where they run into the Astor's going through the ornate double doors.
ROSE
J.J., Madeleine, I'd like you to meet Jack Dawson.
ASTOR
(shaking his hand)
Good to meet you Jack. Are you of the Boston Dawsons?
JACK
No, the Chippewa Falls Dawsons, actually.
J.J. nods as if he's heard of them, then looks puzzled. Madeleine Astor appraises Jack and whispers girlishly to Rose:
MADELEINE
It's a pity we're both spoken for, isn't it?
CUT TO:
81 INT. DINING SALOON
Like a ballroom at the palace, alive and lit by a constellation of chandeliers, full of elegantly dressed people and beautiful music
from BANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter and move across the room to their
table, Cal and Ruth beside them, we hear...
OLD ROSE (V.O.)
He must have been nervous but he never faltered. They assumed he was one of them... a young captain of industry
perhaps... new money, obviously, but still a memeber of the club. Mother of course, could always be counted upon...
CUT TO:
82 INT. DINING SALOON
CLOSE ON RUTH.
RUTH
Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quite good on this ship.
WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and Thomas Andrews. Also at the table are
Molly Brown, Ismay, Colonel Gracie, the Countess, Guggenheim, Madame Aubert, and the Astors.
JACK
The best I've seen, m'am. Hardly any rats.
Rose motions surreptitiously for Jack to take his napkin off his plate.
CAL
Mr. Dawson is joining us from third class. He was of some assistance to my fiancee last night.
(to Jack, as if to a child)
This is foie gras. It's goose liver.
We see whispers exchanged. Jack becomesthe subject of furtive glances. Now they're all feeling terribly liberal and dangerous.
GUGGENHEIM
(low to Madame Aubert)
What is Hockly hoping to prove, bringing this... bohemian... up here?
WAITER
(to Jack)
How do you take your caviar, sir?
CAL
(answering for him)
Just a soupcon of lemon...
(to Jack, smiling)
...it improves the flavor with champagne.
JACK
(to the waiter)
No caviar for me, thanks.
(to Cal)
Never did like it much.
He looks at Rose, pokerfaced, and she smiles.
RUTH
And where exactly do you live, Mr. Dawson?
JACK
Well, right now my address is the RMS Titanic. After that, I'm on God's good humor.
Salad is served. Jack reaches for the fish fork. Rose gives him a look and picks up the salad fork, prompting him with her eyes.
He changes forks.
RUTH
You find that sort of rootless existence appealing, do you?
JACK
Well... it's a big world, and I want to see it all before I go. My father was always talkin' about goin' to see the ocean. He died in
the town he was born in, and never did see it. You can't wait around, because you never know what hand you're going to get
dealt next. See, my folks died in a fire when I was fifteen, and I've been on the road since. Somethin' like that teaches you to
take life as it comes at you. To make each day count.
Molly Brown raises her glass in a salute.
MOLLY
Well said, Jack.
COLONEL GRACIE
(raising his glass)
Here, here.
Rose raises her glass, looking at Jack.
ROSE
To making it count.
Ruth, annoyed that Jack has scored a point, presses him further.
RUTH
How is it you have the means to travel, Mr. Dawson?
JACK
I work my way from place to place. Tramp steamers and such. I won my ticket on Titanic here in a lucky hand at poker.
(he glances at Rose)
A very lucky hand.
GRACIE
All life is a game of luck.
CAL
A real man makes his own luck, Archie.
Rose notices that Thomas Andrews, sitting next to her, is writing in his notebook, completely ignoring the conversation.
ROSE
Mr. Andrews, what are you doing? I see you everywhere writing in this little book.
(grabs it and reads)
Increase number of screws in hat hooks from 2 to 3. You build the biggest ship in the world and this preoccupies you?!
Andrews smiles sheepishly.
ISMAY
He knows every rivet in her, don't you Thomas?
ANDREWS
All three million of them.
ISMAY
His blood and soul are in the ship. She may be mine on paper, but in the eyes of God she belongs to Thomas Andrews.
ROSE
Your ship is a wonder, Mr. Andrews. Truly.
ANDREWS
Thankyou, Rose.
We see that Andrews has come under Rose's spell.
83 TIME TRANSITION: Dessert has been served and a waiter arrives with cigars in a humidor on a wheeled cart. The men
start clipping ends and lighting.
ROSE
(low, to Jack)
Nest it'll be brandies in the Smoking Room.
GRACIE
(rising)
Well, join me for a brandy, gentlemen?
ROSE
(low)
Now they retreat into a cloud of smoke and congratulate each other on being masters of the universe.
GRACIE
Joining us, Dawson? You don't want to stay out here with the women, do you?
Actually he does, but...
JACK
No thanks. I'm heading back.
CAL
Probably best. It'll be all business and politics, that sort of thing. Wouldn't interest you. Good of you to come.
Cal and te other gentlemen exit.
ROSE
Jack, must you go?
JACK
Time for my coach to turn back into a pumpkin.
He leans over to take her hand.
INSERT: We see him slip a tiny folded not into her palm.
Ruth, scowling, watches him walk away across the enormous room. Rose surreptitiously opens the note below table level. It
reads: "Make it count. Meet me at the clock".
****
CUT TO:
92 INT. GYMNASIUM - DAY
An Edwardian nautilus room. There are machines we recognize, and some don't. A woman pedals a stationary bicycle in a long
dress, looking rediculous. Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal. Cal is wroking the oars
of a stationary rowing machine with a well trained stroke.
CAL
Reminds me of my Harvard days.
T.W. McCAULEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his
present-day counterpart on an "Abflex" infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose
puts her hand on it, curious.
MCCAULEY
The electric horse is very popular. We even have an electric camel.
(to Ruth)
Care to try your hand at the rowing, m'am?
RUTH
Don't be absurd. I can't think of a skill I should likely need less.
ANDREWS
The next stop on our tour will be bridge. This way, please.
****
CUT TO:
89 INT. ORSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Rose and Cal are having breakfast
in silence. The tension is palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes inside.
CAL
I had hoped you would come to me last night.
ROSE
I was tired.
CAL
Yes. Your exertions below decks were no doubt exausting.
ROSE
(stiffening)
I see you had that undertaker of a manservant follow me.
CAL
You will never behave like that again! Do you understand?
ROSE
I'm not some foreman in your mills than you can command! I am your fiancee--
Cal explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering
over her and gripping the sides of her chair, so she is trapped between his arms.
CAL
Yes! You are! And my wife... in practice, if not yet by law. So you will honor me, as a wife is required to honor her husband! I
will not be made out a fool! Is this in any way unclear?
Rose shrinks into the chair. She sees Trudy, frozen, partway through the door bringing the orange juice. Cal follows Rose's
glance and straightens up. He stalks past the maid, entering the stateroom.
ROSE
We... had a little accident. I'm sorry, Trudy.
*****
CUT TO:
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:
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:
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!
****Back
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 opend 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 te tears well up.
RUTH
Why do women believe men?
****
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:
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. Thankyou.
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:
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 sble 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 soman 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:
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 throught
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:
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 seperated 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!!
****Back
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:
210 INT. A-DECK FOYER
As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and his valet, coth 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 cardgames 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 unteadily.
*****
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 downt 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:
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:
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 hte 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 oppurtunity, 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 retreast 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:
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 aboart 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.
****
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 callapsible, Cal grabs an oar and pushes them back into the water.
CAL
Get back! You'll swamp us!
****
249 EXT. FORWARD FUNNEL
Collapsible A is whirled like a leaf in the currents around the sining ship. It slams against the side of the forward funnel.
CAL
(to the crew in the boat)
Row! Row you bastards!!
*****
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:
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.
**** Back