Please enable JavaScript.
Coggle requires JavaScript to display documents.
geography work ;), Shrek: {laughs} yes, well, actually, that would be a…
geography work ;)
-
I put my faith in you, good sir.
-
-
(curtly, indicating Lovejoy)
-
-
You know, boss, this happened to Geraldo and his career never recovered.
-
-
-
-
-
and she puts her head down, sobbing quietly.
-
-
-
-
-
The TWO SWEDES continue their sullen argument, in Swedish.
-
-
-
-
-
-
-
-
-
Jack throws his kit on one open bunk, while Fabrizio takes the other.
-
-
-
-
-
And when I crawl between the sheets tonight, I'll still be the first.
-
-
-
-
-
She's a pistol, Cal. You sure you can handle her?
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
No, no! Just with her hands.
-
-
No, but we're making excellent time.
-
-
-
artist... living in a garret, poor but free!
-
-
-
-
below. Soon they are fireflies, then stars. Then gone.
-
-
-
-
-
-
-
-
-
-
-
-
DOG, lifts from its cradle and flies forward.
-
-
-
-
-
almost new, gleaming in the dark.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
the suite, in the mother's room, in the purser's safe on C deck...
-
-
-
-
-
-
-
-
-
The younger soman, LIZZY CALVERT, rushes to help her.
-
Turn that up please, dear.
-
-
-
-
-
-
-
-
No, trust me, you want to take this call.
-
-
This is Brock Lovett. What can I do for you, Mrs... ?
-
-
-
-
-
-
-
-
-
-
Titanic. At the age of 17. If she'd've lived, she'd be over a hundred now.
-
-
-
-
-
S'cuse me, I have to go check our supply of Depends.
-
-
-
Yes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me.
-
Yes. We met just a few minutes ago, grandma. Remember, up on deck?
-
snapshots... children and grandchildren, her late husband.
-
-
Isn't that right, sweetie.
-
-
-
-
-
It was a dreadful, heavy thing.
-
-
You actually believe this is you, grandma?
-
It is me, dear. Wasn't I a hot number?
-
-
Someone named Hockley, I should imagine.
-
-
-
-
-
You may give me this, if anything I tell you is of value.
-
-
-
-
She spies something else, a silver and moonstone art-nouveau brooch.
-
-
-
screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN.
-
-
he is calling up the file, he keeps talking.
-
-
Rose might not want to see this, Lewis.
-
-
-
-
-
-
force of the current as it falls, landing like a big pile of junk.
-
-
-
-
-
She looks from screen to screen, the images of the ruined ship.
-
-
-
-
-
handsome, arrogant and rich beyond meaning.
-
-
Your daughter is much too hard to impress, Ruth.
-
-
-
-
-
-
the Titanic. MARY MARVIN stands stiffly and smiles, self conscious.
-
-
-
The Cockney father pushes on, after his kids, shouting.
-
-
-
-
-
I couldn't let you wear black on sailing day, sweetpea. It's bad luck.
-
-
-
-
funnels, bellowing their departure warning.
-
-
-
-
-
-
-
-
-
-
-
-
No, mate. Titanic go to America. In five minutes.
-
-
-
-
-
-
Flushed and panting, he waves the tickets.
-
Of course! Anyway, we don't have lice, we're Americans.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
trellises, talking through the doorway to Rose in the sitting room.
-
-
-
-
puts his hands on her shoulders. An act of possession, not intimacy.
-
Rose's expression shows how bleak a prospect this is for her, now.
-
-
-
-
-
from the coast of Ireland, with nothing out ahead of us but ocean...
-
-
-
-
-
-
FABRIZIO looks forward across the Atlantic, staring into the sunsparkles.
-
-
aerial portrait, black and severe in her majesty.
-
-
CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line.
-
-
-
-
-
You know I don't like that, Rose.
-
We'll both have the lamb. Rare, with a little mint sauce.
(to Rose, after the waiter moves away)
Molly is watching the dynamic between Rose, Cal and Ruth.
-
So, you gonna cut her meat for her too there, Cal?
-
Hey, who came up with the name Titanic? You, Bruce?
-
-
Andrews chockes on his breadstick, suppressing laughter.
-
My God, Rose, what's gotten into--
-
-
Well, I may have to start minding what she reads from now on.
-
BULLDOG, is among the ugliest creatures on the planet.
-
-
-
-
-
-
-
-
handmirror against the vanity, cracking it.
-
-
-
-
-
-
-
-
-
wipes them with one hand, almost losing her balance.
-
-
-
-
-
-
-
-
-
-
-
breath, you can't think... least not about anything but the pain.
-
-
-
He slides one step closer, like moving up on a spooked horse.
-
-
reaches out to take it, firmly.
-
-
-
-
Here you, stand back! Don't move an inch!
-
-
-
-
Cal, stop! It was an accident.
-
-
Rose looks at Jack, getting eye contact.
-
-
-
-
Well! The boy's a hero then. Good for you son, well done!
-
-
Oh, right. Mr. Lovejoy. A twenty should do it.
-
-
ruffian, unwashed and ill-mannered.
-
-
-
-
-
-
-
-
-
-
He turns her to the mirror, staring behind her.
-
-
-
Rose's elegance and beauty. His emotion is, for the first time, unguarded.
-
CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:
-
-
-
-
I can still feel its weight. If you could have felt it, not just seen it...
-
Well, that's the general idea, my dear.
-
-
-
-
-
-
-
among deck cranes, launch crew, sub maintenance guys.
-
-
Bobby, buy me time. I need time.
-
-
Buell, toward a quite spot on the deck.
-
Hey, Lizzy. I need to talk to you for a second.
-
-
Look, I'm running out of time. I need your help.
-
-
-
-
-
-
-
-
-
Oh, yeah. Yeah, I'm a believer. She was there.
-
-
The next day, Saturday, I remember thinking how the sunlight felt.
-
-
-
-
-
-
-
-
-
eyebrow raised, as he walks out with her leaving a stunned silence.
-
-
So, you got a name by the way?
-
-
-
-
-
-
-
-
-
-
-
their whole world. And I was trapped in it, like an insect in amber.
-
-
Oh God, I am such an utter fool.
-
That penguin last night, is he one of them?
-
Penguin? Oh, Cal! He is them.
-
-
-
first class passenger, but Rose just glares at him away.
-
-
-
-
-
-
Oh, Jack... please don't judge me until you've seen my world.
-
Looking for another topic, any other topic, she indicates his sketchbook.
-
-
-
-
Jack, these are quite good! Really, they are.
-
after them... catching two, but the rest are gone, over the rail.
-
Oh no! Oh, I'm so sorry. Truly!
-
He snaps his wrist, shaking his drawing hand in a flourish.
-
She goes back to the book, turning a page.
-
-
-
-
You have a gift, Jack. You do. You see people.
-
-
-
-
-
Molly Brown walks up, greeting them cheerfully as they are rising.
-
Hello girls, I was hoping I'd catch you at tea.
-
-
-
-
-
-
-
A beat. Then Smith nods, stiffy.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Then two faint lights appear, close together... growing brighter. They
resolve into two DEEP SUBMERSIBLES, free-falling toward us like express
-
One is ahead of the other, and passes close enough to FILL FRAME, looking
like a spacecraft blazing with lights, bristling with insectile
-
-
-
PUSHING IN on one of the falling submersibles, called MIR ONE, right up to
-
INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLY
MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing
-
Next to him on one side is BROCK LOVETT. He's in his late forties, deeply
tanned, and likes to wear his Nomex suit unzipped to show the gold from
famous shipwrecks covering his gray chest hair. He is a wiley, fast-talking
treasure hunter, a salvage superstar who is part historian, part adventurer
and part vacuum cleaner salesman. Right now, he is propped against the CO2
scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-body
named LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. (REMOTELY
-
-
A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR
-
-
-
-
-
-
-
Bodine is watching the sidescan sonar display, where the outline of a huge
pointed object is visible. Anatoly lies prone, driving the sub, his face
Come left a little. She's right in front of us, eighteen meters. Fifteen.
-
Out of the darkness, like a ghostly apparition, the bow of the ship
appears. Its knife-edge prow is coming straight at us, seeming to plow the
bottom sediment like ocean waves. It towers above the seafloor, standing
-
-
railing, intact except for an overgrowth of "rusticles" draping it like
-
-
-
The image pans to the front viewport, looking over Anatoly's shoulder, to
-
CUT WIDER, to show that Brock is operating the camera himself, turning it
Thanks, Tolya. Work with me, here.
Brock resumes his serious, pensive gaze out the front port, with the camera
-
sitting here, where she landed at 2:30 in the morning, April 15, 1912,
-
-
You are so full of shit, boss.
7 Mir Two drives aft down the starboard side, past the huge anchor while
Mir One passes over the seemingly endless forecastle deck, with its massive
anchor chains still laid out in two neat rows, its bronze windlass caps
-
-
down. The pressure is three tons per square inch, enough to crush us like a
-
inches thick and if they go, it's sayonara in two microseconds.
8 Mir Two lands on the boat deck, next to the ruins of the Officer's
-
Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick
-
9 OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP
-
SNOOP DOG drives itself away from the sub, paying out its umbilical behind
-
-
-
Snoop Dog goes down several decks, then moves laterally into the First
-
SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of
-
through the floodlights, the lines blurred by slow dissolution and
-
times it looks like a natural grotto, then the scene shifts and the lines
-
MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence:
10 A grand piano in amazingly good shape, crashed on its side against a
-
11 A chandelier, still hanging from the ceiling by its wire... glinting as
-
12 Its lights play across the floor, revealing a champagne bottle, then
-
-
-
-
door still hangs on its rusted hinges. An ornate piece of molding, a wall
-
13 THE ROV turns and goes through a black doorway, entering room B-52, the
sitting room of a "promenade suite", one of the most luxurious staterooms
-
-
-
-
once elegant room toward another DOOR. It squeezes through the doorframe,
-
-
The remains of a pillared canopy bed. Broken chairs, a dresser. Through the
collapsed wall of the bathroom, the porcelain commode and bathtub took
Okay, I want to see what's under that wardrobe door.
-
debris aside. A lamp is lifted, its ceramic colors as bright as they were
Easy, Lewis. Take it slow.
Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it
-
-
Ooohh daddy-oh, are you seein' what I'm seein'?
CLOSE ON LOVETT, watching his moniteors. By his expression it is like he is
-
ON THE SCREEN, in the glare of the lights, is the object of their quest: a
-
THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of a
-
-
has gathered, including most of the crew of KELDYSH, the sub crews, and a
-
partners. There is also a documentary video crew, hired by Lovett to cover
-
-
-
-
-
Brock nods to his technicians, and they set about drilling the safe's
hinges. During this operation, Brock amps the suspense, working the lens to
Well, here it is, the moment of truth. Here's where we find out if the
time, the sweat, the money spent to charter this ship and these subs, to
-
-
-
is pried loose. It clangs onto the deck. Lovett moves closer, peering into
15 INT. LAB DECK, PRESERVATION ROOM - DAY
-
them in a tray of water to separate them safely. Nearby, other artifacts
-
-
You send out what I tell you when I tell you. I'm signing your paychecks,
-
How it's going? It's going like a first date in prison, whattaya think?!
Hi, Dave? Barry? Look, it wasn't in the safe... no, look, don't worry about
it, there're still plenty of places it could be... in the floor debris in
-
-
-
Brock looks closely at the drawing, which is in excellent shape, though its
edges have partially disintegrated. The woman is beautiful, and beautifully
rendered. In her late teens or early twenties, she is nude, though posed
with a kind of casual modesty. She is on an Empire divan, in a pool of
-
-
-
-
-
-
-
-
-
A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh,
-
-
-
-
Yes, hi, Tracy. You know, Titanic is not just A shipwrick, Titanic is THE
-
PULL BACK from the screen, showing the CNN report playing on a TV set in
the living room of a small rustic house. It is full of ceramics, figurines,
folk art, the walls crammed with drawings and paintings... things collected
-
-
quiet morning in Ojai, California. In the studio, amid incredible clutter,
-
covers her hands... hands that are gnarled and age-spotted, but still
I've planned this expedition for three years, and we're out here recovering
-
-
I'd rather show you than tell you, and we think we're very close to doing
-
The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body
-
-
Rose gets up and walks into the living room, wiping pottery clay from her
-
-
-
-
robbing. I have museum-trained experts here, making sure this stuff is
preserved and catalogued properly. Look at this drawing, which was found
-
The video camera pans off Brock to the drawing, in a tray of water. The
-
-
of the ocean for eternity, when we can see it and enjoy it now...?
-
-
water, and Lovett is getting ready to climb into Mir One when Bobby Buell
Bobby, we're launching. See these submersibles here, going in the water?
-
Beull hands Lovett the phone, pushing down the blinking line. The call is
-
I was just wondering if you had found the "Heart of the Ocean" yet, Mr.
-
Alright. You have my attention, Rose. Can you tell me who the woman in the
-
-
-
-
CLOSE ON A WINDOW of the monster helicopter. Rose's face is visible,
-
-
-
-
She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the
Okay, so she's a very old goddamned liar. I traced her as far back as the
-
Dawson. Then she married a guy named Calvert, moved to Cedar Rapids, had
two kids. Now Calvert's dead, and from what I've heard Cedar Rapids is
-
The Sea Stallion approaches the ship, BG, forcing Brock to yell over the
-
-
-
-
-
Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF hands out about
ten suitcases, and then Rose is lowered to the deck in a wheelchair by
Keldysh crewmen. Lizzy, ducking unnecessarily under the rotor, follows her
out, carrying FREDDY the Pomeranian. The crew chief hands a puzzled Keldysh
-
-
HOLD ON the incongruous image of this little old lady, looking impossibly
fragile amongst all the high tech gear, grungy deck crew and gigantic
-
-
placing a number of FRAMED PHOTOS on the bureau, arranging them carefully
-
-
-
There, that's nice. I have to have my pictures when I travel. And Freddy of
24 INT. LAB DECK, PRESERVATION AREA
Rose looks at the drawing in its tray of water, confronting herself across
a span of 84 years. Until they can figure out the best way to preserve it,
they have to keep it immersed. It sways and ripples, almost as if alive.
TIGHT ON Rose's ancient eyes, gazing at the drawing.
25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a
-
26 THE WOMAN'S FACE IN THE DRAWING, dancing under the water.
27 A FLASHCUT of a man's eyes, just visible over the top of a sketching
pad. They look up suddenly right into the LENS. Soft eyes, but fearlessly
-
28 Rose smiles, remembering. Brock has the reference photo of the necklace
Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the
Crown, which disappeared in 1792, about the time Louis lost everything from
-
-
-
settled under terms of absolute secrecy. Do you know who the claiment was,
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his
-
-
If your grandma is who she says she is, she was wearing the diamond the day
-
I don't want your money, Mr. Lovett. I know how hard it is for people who
-
Laid out on a worktable are fifty or so objects, from mundane to valuable.
Rose, shrunken in her chair, can barely see over the table top. With a
trembling hand she lifts a tortoise shell hand mirror, inlaid with mother
-
-
-
-
-
-
flight on the ebony handle of the comb. She turns it slowly, remembering.
-
-
-
-
ROSE stares raptly at the screens. She is enthraled by one in particular,
-
The bow's struck in the bottom like an axe, from the impact. Here... I can
-
-
We've put together the world's largest database on the Titanic. Okay,
No, no. It's fine. I'm curious.
Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels
-
punching holes like a morse code... dit dit dit, down the side. Now she's
-
bulkheads, going aft. As her bow is going down, her stern is coming up...
-
weight, maybe 20 or 30 thousand tons... out of the water and the hull can't
... it splits! Right down to the keel, which acts like a big hinge. Now the
-
pulls the stern up vertical, and then the bow section detaches, heading for
the bottom. The stern bobs like a cork, floods and goes under about 2:20
-
-
The bow pulls out of its dive and planes away, almost a half a mile, before
-
The bow impacts, digging deeply into the bottom, the animation now follows
The stern implodes as it sinks, from the pressure, and rips apart from the
Thank you for that fine forensic analysis, Mr. Bodine. Of course the
-
Her eyes go back to the screens, showing the sad ruins far below them.
-
recognizes one of the Wellin davits, still in place. She hears ghostly
waltz music. The faint and echoing sound of an officer's voice, English
accented, calling "Women and children only".
-
terror. People crying, praying, kneeling on the deck. Just impressions...
-
31 Rose Looks at another monitor. SNOOP DOG moving down a rusted,
-
-
32 IMAGE OF A CHILD, three years old, standing ankle deep in water in the
middle of an endless corridor. The child is lost alone, crying.
-
-
Her voice is surprisingly strong. The sweet little old lady is gone,
-
-
-
-
-
As the underwater camera rises past the rusted bow rail, WE DISSOLVE /
-
-
Titanic rises mountainously beyond the rail, and above that the
-
temple. Crewmen move across the deck, dwarfed by the awesome scale of the
-
Southanmpton, England, April 10, 1912. It is almost nnon on ailing day. A
-
-
IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging
-
On the pier horsedrawn vehicles, motorcars and lorries move slowly through
-
giddiness. People embrace in tearful farewells, or wave and shout bon
-
A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the
-
people are streaming to board the ship, jostling with hustling seamen and
stokers, porters, and barking WHITE STAR LINE officials.
-
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
-
It is the girl in the drawing. ROSE. She looks up at the ship, taking it in
-
-
-
HOCKLEY, the 30 year old heir to the elder Hockley's fortune. "Cal" is
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
-
-
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
-
A WHITE STAR LINE PORTER scurries toward them, harried by last minute
Sir, you'll have to check your baggage through the main terminal, round
-
-
Yes, sir. My pleasure, sir.
These trunks here, and 12 more in the Daimler. We'll have all this lot up
-
-
trunks and suitcases loading down the second car, including wooden crates
-
-
Cal breezes on, leaving the minions to scramble. He quickly checks his
We'd better hurry. This way, ladies.
-
crowd. TRUDY BOLT, Rose's maid, hustles behind them, laden with bags of her
-
-
Cal leads, weaving between vehicles and handcarts, hurrying passengers
-
-
using an elevated boarding bridge, twenty feet above.
They pass a line of steerage passengers in their coarse wool and tweeds,
-
examines their heads one by one, checking scalp and eyelashes for lice.
-
-
-
Look up at the ship, darling, that's it. You're amazed! You can't believe
-
Mary Marvin, without an acting fiber in her body, does a bad Clara Bow
pantomime of awe, hands raised.
-
-
Honestly, Cal, if you weren't forever booking everything at the last
instant, we could have gone through the terminal instead of running along
All part of my charm, Ruth. At any rate, it was my darling fiancee's beauty
-
-
tons of OXFORD MARMALADE, in wooden cases, for Titanic's Victualling
-
history, in her most luxurious suites... and you act as if you're going to
-
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
It was the ship of dreams... to everyone else. To me it was a slave ship,
-
-
-
Outwardly I was everything a well brought up girl should be. Inside, I was
-
-
-
A VIEW OF TITANIC from several blocks away, towering above the terminal
-
-
PULL BACK, revealing that we were looking through a window, and back
-
-
Just inside the window, a poker game is in progress. FOUR MEN, in working
class clothes, play a very serious hand.
JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as the
other two players argue in Swedish. Jack is American, a lanky drifter with
his hair a little long for the standards of the times. He is also unshaven,
and his clothes are rumpled from sleeping in them. He is an artist, and has
-
self-possessed and sure-footed for 20, having lived on his own since 15.
-
-
-
-
-
-
-
-
-
Let's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh...
-
Sorry, you're not gonna see your mama again for a long time...
-
-
-
Olaf balls up one huge farmer's fist. We think he's going to clobber Jack,
but he swings round and punches Sven, who flops backward onto the floor and
sits there, looking depressed. Olaf forgets about Jack and Fabrizio, who
are dancing around, and goes into a rapid harangue of his stupid cousin.
Jack kisses the tickets, then jumps on Fabrizio's back and rides him around
-
-
-
-
'Course I'm sure if they knew it was you lot comin', they'd be pleased to
-
-
Jack and Fabrizio, carrying everything they own in the world in the kit
bags on their shoulders, sprint toward the pier. They tear through milling
-
slow-moving gentlemen. They dodge piles of luggage, and weave through
-
stop... staring at the cast wall of the ship's hull, towering seven stories
-
-
Fabrizio runs back and grabs Jack, and they sprint toward the third class
gangway aft, at E deck. They reach the bottom of the ramp just as SIXTH
-
-
-
-
aboard. Moody glances at the tickets, then passes Jack and Fabrizio through
-
-
He hands the tickets back, eyeing Fabrizio's Mediterranean looks
-
-
-
-
The mooring lines, as big around as a man's arm, are dropped into the
-
-
-
-
-
-
Grinning, Fabrixio joins in, adding his voice to the swell of voices,
-
-
-
-
-
IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead tug,
-
-
-
-
several languages, or wander in confusion in the labyrinth. They pass
emigrants studying the signs over the doors, and looking up the words in
-
They find their berth. It is a modest cubicle, painted enamel white, with
-
-
-
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
-
-
-
There is a Monet of water lilies, a Degas of dancers, and a few abstract
-
Cal is out on the covered deck, which has potted trees and vines on
-
He'll never amount to a thing, trust me. At least they were cheap.
-
-
-
it on the dresser, near the canopy bed. Trudy is already in there, hanging
-
to think that tonight, when I crawl between the sheets, Iill be the first--
-
-
-
48 EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK
-
like a floating palace, and her thousand portholes reflect in the calm
harbor waters. The 150 foot tender Nomadic lies-to alongside, looking like
-
-
-
comes up the gangway, carrying a suitcase in each hand, a spindly porter
Well, I wasn't about to wait all day for you, sonny. Take 'em the rest of
At Cherbourg a woman came aboard named Margaret Brown, but we all called
-
had struck gold someplace out west, and she was what mother called "new
-
At 45, MOLLY BROWN is a tough talking straightshooter who dresses in the
-
-
-
-
-
from images of the wreck. Jack leans over, looking down fifty feet to where
the prow cuts the surface like a knife, sending up two glassy sheets of
-
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER
-
-
-
ship. The music is rhythmic, surging forward, with a soaring melody that
-
-
On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully as the
-
the twin RECIPROCATING engines, four stories tall, their ten-foot-long
-
-
-
roaring furnaces. The "black gang" are covered with sweat and coal dust,
-
-
55 UNDERWATER the enormous bronze screws chop through the water, hurling
-
-
-
THE CAMERA SWEEPS UP the prow to find Jack, the wind streaming through his
-
-
with his hands on the rail, looking every bit the storybook picture of a
She's got a bone in her teeth now, eh, Mr. Murdoch.
-
-
own personal power. They are invulnerable, towering over the sea.
58 AT THE BOW Jack and Fabrizio lean far over, looking down.
In the glassy bow-wave two dolphins appear, under the water, running fast
-
and exultation of motion. Jack watches the dolphins and grins. They breach,
jumping clear of the water and then dive back, crisscrossing in front of
the bow, dancing ahead of the juggernaut.
-
THE CAMERA ARCS around them, until they are framed against the sea.
NOW WE PULL BACK, across the forecastle deck. Rising, as we continue back,
and the ships rolls endlessly forward underneath. Over the bridge wing,
-
past like the pillars of heaven, one by one. We pull back and up, until we
are looking down the funnels, and the people strolling on the decks and
-
-
-
-
...and our master shipbuilder, Mr. Andrews here, designed her from the keel
-
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
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
-
-
-
You like lamb, don't you sweetpea?
Yes, actually. I wanted to convey sheer size. And size means stability,
-
might be of particular interest to you, Mr. Ismay.
-
-
-
the horizon. He has his knees pulled up, supporting a leather bound
sketching pad, his only valuable possession. With conte crayon he draws
rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has
-
leaned back against his beer barrel of a stomach, watching the seagulls.
THE SKETCH captures them perfectly, with a great sense of the humanity of
-
-
TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember comes
by, walking three small dogs around the deck. One of them, a BLACK FRENCH
-
-
-
stands ROSE, in a long yellow dress and white gloves.
CLOSE ON JACK, unable to take his eyes off of her. They are across from
each other, about 60 feet apart, with the well deck like a valley between
them. She on her promontory, he on his much lower one. She stares down at
-
-
frilly absurd thing, then tosses it over the rail. It sails far down to the
water and is carried away, astern. A spot of yellow in the vast ocean. He
is riveted by her. She looks like a figure in a romantic novel, sad and
-
-
-
Rose turns suddenly and looks right at Jack. He is caught staring, but he
doesn't look away. She does, but then looks back. Their eyes meet across
the space of the well deck, across the gulf between worlds.
-
arm away. They argue in pantomime. She storms away, and he goes after her,
Forget it, boyo. You'd as like have angels fly out o' yer arse as get next
-
SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated
conversation. Cal and Ruth are laughing together, while on the other side
-
saying. Rose is staring at her plate, barely listening to the
-
parties and cotillions, yachts and polo matches... always the same narrow
people, the same mindless chatter. I felt like I was standing at a great
precipice, with no one to pull me back, no one who cared... or even
-
ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her crab
salad. She pokes the crab-fork into the skin of her arm, harder and harder
-
Rose walks along the corridor. A steward coming the other way greets her,
-
She enters the room. Stands in the middle, staring at her reflection in the
large vanity mirror. Just stands there, then--
With a primal, anguished cry she claws at her throat, ripping off her pearl
necklace, which explodes across the room. In a frenzy she tears at herself,
her clothes, her hair... then attacks the room. She flings everything off
-
64 EXT. A DECK PROMENADE, AFT - NIGHT
Rose runs along the B deck promenade. She is dishevelled, her hair flying.
She is crying, her cheeks streaked with tears. But also angry, furious!
Shaking with emotions she doesn't understand... hatred, self-hatred,
-
-
-
-
Hearing something, he turns as Rose runs up the stairs from the well deck.
They are the only two on the stern deck, except for QUARTERMASTER ROWE,
-
in the shadows, and runs right past him.
-
hitches in an occasional sob, which she suppresses. Rose slams against the
base of the stern flagpole and clings there, panting. She stares out at the
-
-
up, and climbing is clumsy. Moving methodically she turns her body and gets
her heels on the white-painted gunwale, her back to the railing, facing out
toward blackness. 60 feet below her, the massive propellers are churning
the atlantin into white foam, and a ghostly wake trails off toward the
-
IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below
-
She leans out, her arms straightening... looking down hypnotized, into the
-
movement. The only sound, above the rush of water below, is the flutter and
-
-
-
-
-
You would have done it already. Now come on, take my hand.
Rose is confused now. She can't see him very well through the tears, so she
-
-
-
-
-
Well they have some of the coldest winters around, and I grew up there,
-
-
Sorry. Just... you look like kind of an indoor girl. Anyway, I went through
some thin ice and I'm tellin' ya, water that cold... like that right down
-
-
said, I don't see a choice. I guess I'm kinda hoping you'll come back over
That's what everybody says. But with all due respect, I'm not the one
-
-
-
-
-
Pleased to meet you, Mr. Dawson.
Rose starts to turn. Now that she has decided to live, the height is
terrifying. She is overcome by vertigo as she shifts her footing, turning
to face the ship. As she starts to climb, her dress gets in the way, and
-
She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is
-
QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads for
-
Jack holds her hand with all his strength, bracing himself on the railing
-
-
footing in her dress and evening shoes, and she slips back. Rose SCREAMS
-
Jack, awkwardly clutching Rose by whatever he can get a grip on as she
flails, gets her over the railing. They fall together onto the deck in a
tangled heap, spinning in such a way that Jack winds up slightly on top of
-
-
-
Rowe runs up and pulls Jack off of Rose, revealing her dishevelled and
sobbing on the deck. Her dress is torn, and the hem is pushing up above her
knees, showing one ripped stocking. He looks at Jack, the shaggy steerage
man with his jacket off, and the first class lady clearly in distress, and
-
A few minutes later. Jack is being detained by the burly MASTER AT ARMS,
-
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
What made you think you could put your hands on my fiancee?! Look at me,
-
I was leaning way over, to see the... ah... propellers. And I slipped and I
-
-
-
So it's all's well and back to our brandy, eh?
-
-
-
Perhaps you could join us for dinner tomorrow, to regale our group with
-
Cal turns to go, putting a protective arm around Rose. he leans close to
-
-
open. Jack takes a cigarette, then another, popping it behind his ear for
-
-
Lovejoy's expression is bland, but the eyes are cold. He turns away to join
-
As she undresses for bed Rose sees Cal standing in her doorway, reflected
I know you've een melancholy, and I don't pretent to know why.
-
-
tonight, perhaps a reminder of my feeling for you...
-
-
-
-
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer,
The Heart of the Ocean. Cal, it's... it's overwhelming.
-
-
-
would deny me. Open your heart to me, Rose.
Of course his gift was only to reflect light back onto himself, to
-
-
Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the are
-
Without a cut the wrinkled, weathered landscape of age has appeared around
After all these years, feel it closing around my throat like a dog collar.
-
-
-
Lovett, standing out of Rose's sightline, checks his watch. Hours have
Rose, tell us more about the diamond. What did Hockley do with it after
Im afraid I'm feeling a little tired, Mr. Lovett.
Wait! Can you give us something go on, here. Like who had access to the
-
-
-
-
Lovett walks as he talks with Bobby Buell, the partners' rep. They weave
We're running thirty thousand a day, and we're six days over. I'm telling
-
Well you tell the hand I need another two days! Bobby, Bobby, Bobby...
-
-
-
-
-
-
-
-
She looks at his hand, palm up. Empty. Cupped, as if around an imaginary
-
Look, Brock, she's going to do this her way, in her own time. Don't forget,
she contacted you. She's out here for her own reasons, God knows what they
What past? She has never once, not once, ever said a word about being on
-
-
-
the hull, heading aft. The rectangular windows of A deck (forward) march
-
MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912,
-
-
-
IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down into
-
-
-
opulence of first class, but is a loud, boisterous place. There are mothers
with babies, kids running between the benches yelling in several languages
and being scolded in several more. There are old women yelling, men playing
chess, girls doing needlepoint and reading dime novels. There is even an
-
Three boys, shrieking and shouting, are scrambling around chasing a rat
under the benches, trying to whomp it with a shoe and causing general
havoc. Jack is playing with 5 year old CORA CARTMeLL, drawing funny faces
-
-
Norwegian girl, HELGA DAHL, sitting with her family at a table across the
-
Helga's eye is caught by something. Fabrizio looks, does a take... and
Jack, curious, follows their gaze to see...
Rose, coming toward them. The activity in the room stops... a hush falls.
-
at this princess, some with resentment, others with awe. She spots Jack and
gives a little smile, walking straight to him. He rises to meet her,
-
Uh, yes. Of course. After you.
He motions her ahead and follows. Jack glances over his shoulder, one
-
-
steamer chairs, some of whom glance curiously at the mismatched couple. He
feels out of place in his rough clothes. They are both awkward, for
-
-
-
Look, I know what you must be thinking! Poor little rich girl. What does
-
I don't... it wasn't just one thing. It was everything. It was them, it was
-
-
Not enough to get away from them. And before I'd really though about it, I
-
-
They laugh together. A passing steward scowls at Jack, who is clearly not a
-
Well, I guess I will tonight.
-
-
-
one an expressive little bit of humanity: an old woman's hands, a sleeping
man, a father and daughter at the rail. The faces are luminous and alive.
Well, they didn't think too much of 'em in Paree.
-
Well, they didn't think too much of 'em in Paree.
I just seem to spew 'em out. Besides, they're not worth a damn anyway.
-
-
-
beauty he has created. His nudes are soulful, real, with expressive hands
-
almost uncomfortably intimate. Rose blushes, raising the book as some
-
-
She studies one drawing in particular, the girl posed half in sunlight,
half in shadow. Her hands lie at her chin, one furled and one open like a
flower, languid and graceful. The drawing is like an Alfred Steiglitz print
-
-
Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF
ROTHES, a 35ish English blue-blood with patirician features. Ruth sees
Oh no, that vulgar Brown woman is coming this way. Get up, quickly before
-
-
-
-
go up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to
Captain, the press knows the size of Titanic, let them marvel at her speed
-
Of course I leave it to your good offices to decide what's best, but what a
-
Retire with a bang, eh, E.J?
-
Rose and Jack stroll aft, past people lounging on deck chairs in the
You know, my dream has always been to just chuck it all and become an
You wouldn't last two days. There's no hot water, and hardly ever any
Listen, buster... I hate caviar! And I'm tired of people dismissing my
Well, alright. There's something in me, Jack. I feel it. I don't know what
it is, whether I should be an artist, or, I don't know... a dancer. Like
-
She leaps forward, lands deftly and whirls like a dervish. Then she sees
-
She takes his hand and runs, pulling him along the deck toward--
-
You're sad. Sad, sad, sad. You've left your lover on the shore. You may
never see him agian. Try to be sadder, darling.
-
-
-
Marvin grins and starts yelling and gesturing. We see this in CUTS, with
-
-
Rose posing tragically at the rail, the back of her hand to her forehead.
Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming
-
Jack, on his knees, pleading with his hands clasped while Rose, standing,
-
Rose cranking the camera, while Daniel and Jack have a western shoot-out.
Jack wins and leers into the lens, twirling an air mustache like Snidely
-
-
-
-
-
-
-
Shrek: {laughs} yes, well, actually, that would be a giant. now, ogres-- they're much worse. they'll make a suit from your freshly peeled skin
-