Written and Directed by: 


JAMES CAMERON 


1 BLACKNESS 


Then two faint lights appear, close together... growing brighter. They resolve 
into two DEEP SUBMERSIBLES, free-falling toward us like express elevators. 


One is ahead of the other, and passes close enough to FILL FRAME, looking like a 
spacecraft blazing with lights, bristling with insectile manipulators. 


TILTING DOWN to follow it as it descends away into the limitless blackness 
below. Soon they are fireflies, then stars. Then gone. 


CUT TO: 


2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP 


PUSHING IN on one of the falling submersibles, called MIR ONE, right up to its 
circular viewport to see the occupants. 


INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLY 
MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing softly 
in Russian. 


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 OPERATED VEHICLE) 
pilot and is the resident Titanic expert. 


Anatoly glances at the bottom sonar and makes a ballast adjustment. 


CUT TO: 


3 EXT. THE BOTTOM OF THE SEA 


A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR ONE 
enters FRAME and drops to the seafloor in a downblast from its thrusters. It 
hits bottom after its two hour free-fall with a loud BONK. 


CUT TO: 


4 INT. MIR ONE 


Lovett and Bodine jerk awake at the landing. 


ANATOLY 
(heavy Russian accent) 
We are here. 


EXT. / INT. MIR ONE AND TWO 


5 MINUTES LATER: THE TWO SUBS skim over the seafloor to the sound of sidescan 
sonar and the THRUM of big thrusters. 


6 The featureless gray clay of the bottom unrols in the lights of the subs. 
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 pressed 
to the center port. 


BODINE 
Come left a little. She's right in front of us, eighteen meters. Fifteen. 
Thirteen... you should see it. 


ANATOLY 
Do you see it? I don't see it... there! 


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 just as it landed 84 
years ago. 


THE TITANIC. Or what is left of her. Mir One goes up and over the bow railing, 
intact except for an overgrowth of "rusticles" draping it like mutated Spanish 
moss. 


TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face fills 
the BLACK AND WHITE FRAME. 


LOVETT 
It still gets me every time. 


The image pans to the front viewport, looking over Anatoly's shoulder, to the 
bow railing visible in the lights beyond. Anatoly turns. 


ANATOLY 
Is just your guilt because of estealing from the dead. 


CUT WIDER, to show that Brock is operating the camera himself, turning it in his 
hand so it points at his own face. 


LOVETT 
Thanks, Tolya. Work with me, here. 


Brock resumes his serious, pensive gaze out the front port, with the camera 
aimed at himself at arm's length. 


LOVETT 
It still gets me every time... to see the sad ruin of the great ship sitting 
here, where she landed at 2:30 in the morning, April 15, 1912, after her long 
fall from the world above. 


Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watches the 
sonar. 


BODINE 
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 gleaming. The 
22 foot long subs are like white bugs next to the enormous wreck. 


LOVETT (V.O.) 
Dive nine. Here we are again on the deck of Titanic... two and a half miles 
down. The pressure is three tons per square inch, enough to crush us like a 
freight train going over an ant if our hull fails. These windows are nine 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 Quarters. 
Mir One lands on the roof of the deck hous nearby. 


LOVETT 
Right. Let's go to work. 


Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick 
controls of the ROV. 


9 OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP DOG, 
lifts from its cradle and flies forward. 


BODINE (V.O.) 
Walkin' the dog. 


SNOOP DOG drives itself away from the sub, paying out its umbilical behind it 
like a robot yo-yo. Its twin stereo-video cameras swivel like insect eyes. The 
ROV descends through an open shaft that once was the beautiful First Class Grand 
Staircase. 


Snoop Dog goes down several decks, then moves laterally into the First Class 
Reception Room. 




SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of the 
ornate handcarved woodwork which gave the ship its elegance move through the 
floodlights, the lines blurred by slow dissolution and descending rusticle 
formations. Stalactites of rust hang down so that at times it looks like a 
natural grotto, then the scene shifts and the lines of a ghostly undersea 
mansion can be seen again. 


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 wall. 
The keys gleam black and white in the lights. 


11 A chandelier, still hanging from the ceiling by its wire... glinting as Snoop 
moves around it. 


12 Its lights play across the floor, revealing a champagne bottle, then some 
WHITE STAR LINE china... a woman's high-top "granny shoe". Then something eerie: 
what looks like a child's skull resolves into the porcelain head of a doll. 


Snoop enters a corridor which is much better preserved. Here and there a door 
still hangs on its rusted hinges. An ornate piece of molding, a wall sconce... 
hint at the grandeur of the past. 


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 on 
Titanic. 


BODINE 
I'm in the sitting room. Heading for bedroom B-54. 


LOVETT 
Stay off the floor. Don't stir it up like you did yesterday. 


BODINE 
I'm tryin' boss. 


Glinting in the lights are the brass fixtures of the near-perfectly preserved 
fireplace. An albino Galathea crab crawls over it. Nearby are the remains of a 
divan and a writing desk. The Dog crosses the ruins of the once elegant room 
toward another DOOR. It squeezes through the doorframe, scraping rust and wood 
chunks loose on both sides. It moves out of a cloud of rust and keeps on going. 


BODINE 
I'm crossing the bedroom. 


The remains of a pillared canopy bed. Broken chairs, a dresser. Through the 
collapsed wall of the bathroom, the porcelain commode and bathtub took almost 
new, gleaming in the dark. 


LOVETT 
Okay, I want to see what's under that wardrobe door. 


SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and starts moving debris 
aside. A lamp is lifted, its ceramic colors as bright as they were in 1912. 


LOVETT 
Easy, Lewis. Take it slow. 


Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it with 
Snoop's gripper. It moves reluctantly in a cloud of silt. Under it is a dark 
object. The silt clears and Snoop's cameras show them what was under the door... 



BODINE 
Ooohh daddy-oh, are you seein' what I'm seein'? 


CLOSE ON LOVETT, watching his moniteors. By his expression it is like he is 
seeing the Holy Grail. 


LOVETT 
Oh baby baby baby. 
(grabs the mike) 
It's payday, boys. 


ON THE SCREEN, in the glare of the lights, is the object of their quest: a small 
STEEL COMBINATION SAFE. 


CUT TO: 


14 EXT. STERN OF DECK OF KEDYSH - DAY 


THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of a ship 
by a winch cable. 


We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowd has 
gathered, including most of the crew of KELDYSH, the sub crews, and a 
hand-wringing money guy named BOBBY BUELL who represents the limited partners. 
There is also a documentary video crew, hired by Lovett to cover his moment of 
glory. 


Everyone crowds around the safe. In the background Mir Two is being lowered into 
its cradle on deck by a massive hydraulic arm. Mir One is already recovered with 
Lewis Bodine following Brock Lovett as he bounds over to the safe like a kid on 
Christman morning. 


BODINE 
Who's the best? Say it. 


LOVETT 
You are, Lewis. 
(to the video crew) 
You rolling? 


CAMERAMAN 
Rolling. 


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 fill the 
time. 


LOVETT 
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 come out here to 
the middle of the North Atlantic... were worth it. If what we think is in that 
same... is in that safe... it will be. 


Lovett grins wolfishly in anticipation of his greatest find yet. The door is 
pried loose. It clangs onto the deck. Lovett moves closer, peering into the 
safe's wet interior. A long moment then... his face says it all. 


LOVETT 
Shit. 


BODINE 
You know, boss, this happened to Geraldo and his career never recovered. 






LOVETT 
(to the video cameraman) 
Get that outta my face. 


CUT TO: 


15 INT. LAB DECK, PRESERVATION ROOM - DAY 


Technicians are carefully removing some papers from the safe and placing them in 
a tray of water to separate them safely. Nearby, other artifacts from the 
stateroom are being washed and preserved. 


Buell is on the satellite phone with the INVESTORS. Lovett is yelling at the 
video crew. 


LOVETT 
You send out what I tell you when I tell you. I'm signing your paychecks, not 60 
minutes. Now get set up for the uplink. 


Buell covers the phone and turns to Lovett. 


BUELL 
The partners want to know how it's going? 


LOVETT 
How it's going? It's going like a first date in prison, whattaya think?! 


Lovett grabs the phone from Buell and goes instantly smooth. 


LOVETT 
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 the suite, 
in the mother's room, in the purser's safe on C deck... 
(seeing something) 
Hang on a second. 


A tech coaxes some letters in the water tray to one side with a tong... 
revealing a pencil (conte crayon) drawing of a woman. 


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 light that seems 
to radiate outward from her eyes. Scrawled in the lower right corner is the 
date: April 14 1912. And the initials JD. 


The girl is not entirely nude. At her throat is a diamond necklace with one 
large stone hanging in the center. 


Lovett grabs a reference photo from the clutter on the lab table. It is a period 
black-and-white photo of a diamond necklace on a black velvet jeller's display 
stand. He holds it next to the drawing. It is clearly the same piece... a 
complex setting with a massive central stone which is almost heart-shaped. 


LOVETT 
I'll be God damned. 


CUT TO: 


16 INSERT 


A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh, intercut 
with the CNN studio. 


ANNOUNCER 
Treasure hunter Brock Lovett is best known for finding Spanish gold in sunken 
galleons in the Caribbean. Now he is using deep submergence technology to work 
two and a half miles down at another famous wreck... the Titanic. He is with us 
live via satellite from a Russian research ship in the middle of the Atlantic... 
hello Brock? 


LOVETT 
Yes, hi, Tracy. You know, Titanic is not just A shipwrick, Titanic is THE 
shipwreck. It's the Mount Everest of shipwrecks. 


CUT TO: 


17 INT. HOUSE / CERAMICS STUDIO 


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 over a 
lifetime. 


PANNING to show a glassed-in studio attached to the house. Outside it is a quiet 
morning in Ojai, California. In the studio, amid incredible clutter, an ANCIENT 
WOMAN is throwing a pot on a potter's wheel. The liquid red clay covers her 
hands... hands that are gnarled and age-spotted, but still surprisingly strong 
and supple. A woman in her early forties assists her. 


LOVETT (V.O.) 
I've planned this expedition for three years, and we're out here recovering some 
amazing things... things that will have enormous historical and educational 
value. 


CNN REPORTER (V.O.) 
But it's no secret that education is not your main purpose. You're a treasure 
hunter. So what is the treasure you're hunting? 


LOVETT (V.O.) 
I'd rather show you than tell you, and we think we're very close to doing just 
that. 


The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body 
shapeless and shrunken under a one-piece African-print dress. 


But her eyes are just as bright and alive as those of a young girl. 


Rose gets up and walks into the living room, wiping pottery clay from her hands 
with a rag. A Pomeranian dog gets up and comes in with her. 


The younger soman, LIZZY CALVERT, rushes to help her. 


ROSE 
Turn that up please, dear. 


REPORTER (V.O.) 
Your expedition is at the center of a storm of controversy over salvage rights 
and even ethics. Many are calling you a grave robber. 


TIGHT ON THE SCREEN. 


LOVETT 
Nobody called the recovery of the artifacts from King Tut's tomb grave robbing. 
I have museum-trained experts here, making sure this stuff is preserved and 
catalogued properly. Look at this drawing, which was found today... 


The video camera pans off Brock to the drawing, in a tray of water. The image of 
the woman with the necklace FILLS FRAME. 


LOVETT 
...a piece of paper that's been underwater for 84 years... and my team are able 
to preserve it intanct. Should this have remained unseen at the bottom of the 
ocean for eternity, when we can see it and enjoy it now...? 


ROSE is galvanized by this image. Her mouth hangs open in amazement. 


ROSE 
I'll be God damned. 


CUT TO: 
18 EXT. KELDYSH DECK - NIGHT 


CUT TO KELDYSH. The Mir subs are being launched. Mir Two is already in the 
water, and Lovett is getting ready to climb into Mir One when Bobby Buell runs 
up to him. 


BUELL 
There's a satellite call for you. 






LOVETT 
Bobby, we're launching. See these submersibles here, going in the water? Take a 
message. 


BUELL 
No, trust me, you want to take this call. 


CUT TO: 


19 INT. LAB DECK / KELDYSH - NIGHT 


Beull hands Lovett the phone, pushing down the blinking line. The call is from 
Rose and we see both ends of the conversation. She is in her kitchen with a 
mystified Lizzy. 


LOVETT 
This is Brock Lovett. What can I do for you, Mrs... ? 


BUELL 
Rose Calvert. 


LOVETT 
... Mrs. Calvert? 


ROSE 
I was just wondering if you had found the "Heart of the Ocean" yet, Mr. Lovett. 


Brock almost drops the phone. Bobby sees his shocked expression... 


BUELL 
I told you you wanted to take this call. 


LOVETT 
(to Rose) 
Alright. You have my attention, Rose. Can you tell me who the woman in the 
picture is? 


ROSE 
Oh yes. The woman in the picture is me. 


CUT TO: 


20 EXT. OCEAN - DAY 


SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the ocean. 
PAN 180 degrees as it roars past. There is no land at either horizon. The 
Keldysh is visible in the distance. 


CLOSE ON A WINDOW of the monster helicopter. Rose's face is visible, looking out 
calmly. 


CUT TO: 


21 EXT. KELDYSH - DAY 






Brock and Bodine are watching Mir 2 being sweng over the side to start a dive. 


BODINE 
She's a goddamned liar! A nutcase. Like that... what's her name? That Anastasia 
babe. 


BUELL 
They're inbound. 


Brock nods and the three of them head forward to meet the approaching helo. 


BODINE 
She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the 
Titanic. At the age of 17. If she'd've lived, she'd be over a hundred now. 


LOVETT 
A hundred and one next month. 


BODINE 
Okay, so she's a very old goddamned liar. I traced her as far back as the 
20's... she was working as an actress in L.A. An actress. Her name was Rose 
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 dead. 


The Sea Stallion approaches the ship, BG, forcing Brock to yell over the rotors. 



LOVETT 
And everyobody who knows about the diamond is supposed to be dead... or on this 
ship. But she knows about it. And I want to hear what she has to say. Got it? 


CUT TO: 


22 EXT. KELDYSH HELIPAD 


IN A THUNDERING DOWNBLAST the helicopter's wheels bounce down on the helipad. 


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 crewmember a 
goldfish bowl with several fish in it. Rose does not travel light. 


HOLD ON the incongruous image of this little old lady, looking impossibly 
fragile amongst all the high tech gear, grungy deck crew and gigantic equipment. 



BODINE 
S'cuse me, I have to go check our supply of Depends. 


CUT TO: 


23 INT. ROSE'S STATEROOM / KELDYSH - DAY 


Lizzy is unpacking Rose's things in the small utilitarian room. Rose is placing 
a number of FRAMED PHOTOS on the bureau, arranging them carefully next to the 
fishbowl. Brock and Bodine are in the doorway. 


LOVETT 
Is your stateroom alright? 


ROSE 
Yes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me. 


LIZZY 
Yes. We met just a few minutes ago, grandma. Remember, up on deck? 


ROSE 
Oh, yes. 


Brock glances at Bodine... oh oh. Bodine rolls his eyes. Rose finishes arranging 
her photographs. We get a general glimpse of them: the usual snapshots... 
children and grandchildren, her late husband. 


ROSE 
There, that's nice. I have to have my pictures when I travel. And Freddy of 
course. 
(to the Pomeranian) 
Isn't that right, sweetie. 


LOVETT 
Would you like anything? 


ROSE 
I should like to see my drawing. 


CUT TO: 


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 shoulder 
and the shape of her hair with two efficient lines. 


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 direct. 


28 Rose smiles, remembering. Brock has the reference photo of the necklace in 
his hand. 


LOVETT 
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 the neck 
up. The theory goes that the crown diamond was chopped too... recut into a 
heart-like shape... and it became Le Coeur de la Mer. The Heart of the Ocean. 
Today it would be worth more than the Hope Diamond. 


ROSE 
It was a dreadful, heavy thing. 
(she points at the drawing) 
I only wore it this once. 




LIZZY 
You actually believe this is you, grandma? 


ROSE 
It is me, dear. Wasn't I a hot number? 




LOVETT 
I tracked it down through insurance records... and old claim that was settled 
under terms of absolute secrecy. Do you know who the claiment was, Rost? 


ROSE 
Someone named Hockley, I should imagine. 


LOVETT 
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his son 
Caledon Hockley bought in France for his fiancee... you... a week before he 
sailed on Titanic. And the claim was filed right after the sinking. So the 
diamond had to've gone down with the ship. 
(to Lizzy) 
See the date? 


LIZZY 
April 14, 1912. 


LOVETT 
If your grandma is who she says she is, she was wearing the diamond the day 
Titanic sank. 
(MORE) 
LOVETT (CONT'D) 
(to Rose) 
And that makes you my new best friend. I will happily compensate you for 
anything you can tell us that will lead to its recovery. 


ROSE 
I don't want your money, Mr. Lovett. I know how hard it is for people who care 
greatly for money to give some away. 


BODINE 
(skeptical) 
You don't want anything? 


ROSE 
(indicating the drawing) 
You may give me this, if anything I tell you is of value. 


LOVETT 
Deal. 
(crossing the room) 
Over here are a few things we've recovered from your staterooms. 


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 of pearl. She 
caresses it wonderingly. 


ROSE 
This was mine. How extraordinary! It looks the same as the last time I saw it. 


She turns the mirror over and looks at her ancient face in the cracked glass. 


ROSE 
The reflection has changed a bit. 


She spies something else, a silver and moonstone art-nouveau brooch. 


ROSE 
My mother's brooch. She wanted to go back for it. Caused quite a fuss. 


Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes flight on 
the ebony handle of the comb. She turns it slowly, remembering. We can see that 
Rose is experiencing a rush of images and emotions that have lain dormant for 
eight decades as she handles the butterfly comb. 


LOVETT 
Are you ready to go back to Titanic? 


CUT TO: 


29 INT. IMAGING SHACK / KELDYSH 


It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the 
screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN. 


BODINE 
Live from 12,000 feet. 


ROSE stares raptly at the screens. She is enthraled by one in particular, an 
image of the bow railing. It obviously means something to her. Brock is studying 
her reactions carefully. 


BODINE 
The bow's struck in the bottom like an axe, from the impact. Here... I can run a 
simulation we worked up on this monitor over here. 


Lizzy turns the chair so Rose can see the screen of Bodine's computer. As he is 
calling up the file, he keeps talking. 


BODINE 
We've put together the world's largest database on the Titanic. Okay, here... 


LOVETT 
Rose might not want to see this, Lewis. 


ROSE 
No, no. It's fine. I'm curious. 


Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels his 
rapid-fire narration. 


BODINE 
She hits the berg on the starboard side and it sort of bumps along... punching 
holes like a morse code... dit dit dit, down the side. Now she's flooding in the 



BODINE (cont'd) 
forward compartments... and the water spills over the tops of the bulkheads, 
going aft. As her bow is going down, her stern is coming up... slow at first... 
and then faster and faster until it's lifting all that weight, maybe 20 or 30 
thousand tons... out of the water and the hull can't deal... so SKRTTT!! 
(making a sound in time with the animation) 
... it splits! Right down to the keel, which acts like a big hinge. Now the bow 
swings down and the stern falls back level... but the weight of the bow 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 a.m. Two 
hours and forty minutes after the collision. 


The animation then follows the bow section as it sinks. Rose watches this 
clinical dissection of the disaster without emotion. 


BODINE 
The bow pulls out of its dive and planes away, almost a half a mile, before it 
hits the bottom going maybe 12 miles an hour. KABOOM! 


The bow impacts, digging deeply into the bottom, the animation now follows the 
stern. 


BODINE 
The stern implodes as it sinks, from the pressure, and rips apart from the force 
of the current as it falls, landing like a big pile of junk. 
(indicating the simulation) 
Cool huh? 


ROSE 
Thank you for that fine forensic analysis, Mr. Bodine. Of course the experience 
of it was somewhat less clinical. 


LOVETT 
Will you share it with us? 


Her eyes go back to the screens, showing the sad ruins far below them. 


A VIEW from one of the subs TRACKING SLOWLY over the boat deck. Rose 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". 


30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and terror. 
People crying, praying, kneeling on the deck. Just impressions... flashes in the 
dark. 


31 Rose Looks at another monitor. SNOOP DOG moving down a rusted, debris-filled 
corridor. Rose watches the endless row of doorways sliding past, like dark 
mouths. 


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. 


33 Rose is shaken by the flood of memories and emotions. Her eyes well up and 
she puts her head down, sobbing quietly. 


LIZZY 
(taking the wheelchair) 
I'm taking her to rest. 


ROSE 
No! 


Her voice is surprisingly strong. The sweet little old lady is gone, replaced by 
a woman with eyes of steel. Lovett signals everyone to stay quiet. 


LOVETT 
Tell us, Rose. 


She looks from screen to screen, the images of the ruined ship. 


ROSE 
It's been 84 years... 


LOVETT 
Just tell us what you can-- 


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: 


36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY 


A VIEW OF TITANIC from several blocks away, towering above the terminal 
buildings like the skyline of a city. The steamer's whistle echoes across 
Southampton. 


PULL BACK, revealing that we were looking through a window, and back further to 
show the smoky inside of a pub. It is crowded with dockworkers and ship;s crew. 


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 adopted the bohemian 
style of art scene in Paris. He is also very self-possessed and sure-footed for 
20, having lived on his own since 15. 


The TWO SWEDES continue their sullen argument, in Swedish. 


OLAF 
(subtitled) 
You stupid fishhead. I can't believe you bet our tickets. 


SVEN 
(subtitled) 
You lost our money. I'm just trying to get it back. Now shutup and take a card. 


JACK 
(jaunty) 
Hit me again, Sven. 


Jack takes the card and slips it into his hand. 


ECU JACK'S EYES. They betray nothing. 


CLOSE ON FABRIZIO licking his lips nervously as he refuses a card. 


ECU STACK in the middle of the table. Bills and coins from four counrties. This 
has been going on for a while. Sitting on top of the money are two 3RD CLASS 
TICKETS for RMS TITANIC. 


The Titanic's whistle blows again. Final warning. 


JACK 
The moment of truth boys. Somebody's life's about to change. 


Fabrizio puts his cards down. So do the Swedes. Jack holds his close. 




JACK 
Let's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh... two 
pair... mmm. 
(turns to his friend) 
Sorry Fabrizio. 


FABRIZIO 
What sorry? What you got? You lose my money?? Ma va fa'n culo testa di cazzo-- 


JACK 
Sorry, you're not gonna see your mama again for a long time... 


He slaps a full house down on the table. 


JACK 
(grinning) 
'Cause you're goin' to America!! Full house boys! 


FABRIZIO 
Porca Madonna!! YEEAAAAA!!! 


The table explodes into shouting in several languages. Jack rakes in the money 
and the tickets. 


JACK 
(to the Swedes) 
Sorry boys. Three of a kind and a pair. I'm high and you're dry and... 
(to Fabrizio) 
... we're going to-- 


FABRIZIO/JACK 
L'AMERICA!!! 


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 the 
pub. It's like they won the lottery. 


JACK 
Goin' home... to the land o' the free and the home of the real hot-dogs! On the 
TITANIC!! We're ridin' in high style now! We're practically goddamned royalty, 
ragazzo mio!! 


FABRIZIO 
You see? Is my destinio!! Like I told you. I go to l'America!! To be a 
millionaire!! 
(MORE) 
FABRIZIO (CONT'D) 
(to pubkeeper) 
Capito?? I go to America!! 


PUBKEEPER 
No, mate. Titanic go to America. In five minutes. 


JACK 
Shit!! Come on, Fabri! 
(grabbing their stuff) 
Come on!! 
(to all, grinning) 
It's been grand. 


They run for the door. 


PUBKEEPER 
'Course I'm sure if they knew it was you lot comin', they'd be pleased to wait! 


CUT TO: 


37 OMITTED 


38 EXT. TERMINAL - TITANIC 


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 crowds next 
to the terminal. Shouts go up behind them as they jostle slow-moving gentlemen. 
They dodge piles of luggage, and weave through groups of people. They burst out 
onto the pier and Jack comes to a dead stop... staring at the cast wall of the 
ship's hull, towering seven stories above the wharf and over an eighth of a mile 
long. The Titanic is monstrous. 


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 OFFICER 
MOODY detaches it at the top. It starts to swing down from the gangway doors. 


JACK 
Wait!! We're passengers! 


Flushed and panting, he waves the tickets. 


MOODY 
Have you been through the inspection queue? 


JACK 
(lying cheerfully) 
Of course! Anyway, we don't have lice, we're Americans. 
(glances at Fabrizio) 
Both of us. 






MOODY 
(testy) 
Right, come aboard. 


Moody has QUARTERMASTER ROWE reattach the gangway. Jack and Fabrizio come 
aboard. Moody glances at the tickets, then passes Jack and Fabrizio through to 
Rowe. Rowe looks at the names on the tickets to enter them in the passenger 
list. 


ROWE 
Gundersen. And... 
(reading Fabrizio's) 
Gundersen. 


He hands the tickets back, eyeing Fabrizio's Mediterranean looks suspiciously. 


JACK 
(grabbing Fabrizio's arm) 
Come on, Sven. 


Jack and Fabrizio whoop with victory as they run down the white-painted 
corridero... grinning from ear to ear. 


JACK 
We are the luckiest sons of bitches in the world! 


CUT TO: 


39 OMITTED 


40 EXT. TITANIC AND DOCK - DAY 


The mooring lines, as big around as a man's arm, are dropped into the water. A 
cheer goes up on the pier as SEVEN TUGS pull the Titanic away from the quay. 


CUT TO: 


41 EXT. AFT WELL DECK / POOP DECK - DAY 


JACK AND FABRIZIO burst through a door onto the aft well deck. TRACKING WITH 
THEM as they run across the deck and up the steel stairs to the poop deck. They 
get to the rail and Jack starts to yell and wave to the crowd on the dock. 


FABRIZIO 
You know somebody? 


JACK 
Of course not. That's not the point. 
(to the crowd) 
Goodbye! Goodbye!! I'll miss you! 


Grinning, Fabrixio joins in, adding his voice to the swell of voices, feeling 
the exhilaration of the moment. 




FABRIZIO 
Goodbye! I will never forget you!! 


CUT TO: 


42 OMITTED 


EXT. SOUTHAMPTON DOCK - DAY 


The crowd of cheering well-wishers waves heartily as a black wall of metal moves 
past them. Impossibly tiny figues wave back from the ship's rails. Titanic 
gathers speed. 


CUT TO: 


44 EXT. RIVER TEST - DAY 


IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead tug, which 
is dwarfed. The bow wave spreads before the mighty plow of the liner's hull as 
it moves down the River Test toward the English Channel. 


CUT TO: 


45 INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY 


Jack and Fabrizio walk down a narrow corridor with doors lining both sides like 
a college dorm. Total confusion as people argue over luggage in several 
languages, or wander in confusion in the labyrinth. They pass emigrants studying 
the signs over the doors, and looking up the words in phrase books. 


They find their berth. It is a modest cubicle, painted enamel white, with four 
bunks. Exposed pipes overhead. The other two guys are already there. OLAUS and 
BJORN GUNDERSEN. 


Jack throws his kit on one open bunk, while Fabrizio takes the other. 


BJORN 
(in Swedish/ subtitled) 
Where is Sven? 


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. 


CUT TO: 


48 EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK 


Titanic stands silhouetted against a purple post-sunset sky. She is lit up like 
a floating palace, and her thousand portholes reflect in the calm harbor waters. 
The 150 foot tender Nomadic lies-to alongside, looking like a rowboat. The 
lights of a Cherbourg harbor complete the postcard image. 


CUT TO: 


49 INT. FIRST CLASS RECEPTION/ D-DECK 


Entering the first class reception room from the tender are a number of 
prominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered hat 
comes up the gangway, carrying a suitcase in each hand, a spindly porter running 
to catch up with her to take the bags. 


WOMAN 
Well, I wasn't about to wait all day for you, sonny. Take 'em the rest of the 
way if you think you can manage. 


OLD ROSE (V.O.) 
At Cherbourg a woman came aboard named Margaret Brown, but we all called her 
Molly. History would call her the Unsinkable Molly Brown. Her husband had struck 
gold someplace out west, and she was what mother called "new money". 


At 45, MOLLY BROWN is a tough talking straightshooter who dresses in the finery 
of her genteel peers but will never be one of them. 


OLD ROSE (V.O.) 
By the next afternoon we had made our final stop and we were steaming west from 
the coast of Ireland, with nothing out ahead of us but ocean... 


CUT TO: 


50 OMITTED 


51 EXT. BOW - DAY 


The ship glows with the warm creamy light of late afternoon. Jack and Fabrizio 
stand right at the bow gripping the curving railing so familiar 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 water. 


CUT TO: 


52 INT. / EXT. TITANIC - SERIES OF SCENES - DAY 


ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER WILLIAM 
MURDOCH. 


CAPTAIN SMITH 
Take her to sea Mister Murdoch. Let's stretch her legs. 


Murdoch moves the engine telegraph lever to ALL AHEAD FULL. 


53 NOW BEGINS a kind of musical/visual setpiece... an ode to the great ship. The 
music is rhythmic, surging forward, with a soaring melody that addresses the 
majesty and optimism of the ship of dreams. 


IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full". 


CHIEF ENGINEER BELL 
All ahead full! 


On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully as the 
engineers and greasers scramble to adjust valves. Towering above them are the 
twin RECIPROCATING engines, four stories tall, their ten-foot-long connecting 
rods surging up and down with the turning of the massive crankshafts. The 
engines thunder like the footfalls of marching giants. 


54 IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into the 
roaring furnaces. The "black gang" are covered with sweat and coal dust, their 
muscles working like part of the machinery as they toil in the hellish glow. 


55 UNDERWATER the enormous bronze screws chop through the water, hurling the 
steamer forward and churning up a vortex of foam that lingers for miles behind 
the juggernaut ship. Smoke pours from the funnels as-- 


56 The riven water flares higher at the bow as the ship's speeds builds. THE 
CAMERA SWEEPS UP the prow to find Jack, the wind streaming through his hair 
and-- 


57 Captain Smith steps out of the enclosed bridge onto the wing. He stands with 
his hands on the rail, looking every bit the storybook picture of a Captain... a 
great patriarch of the sea. 


FIRST OFFICER MURDOCH 
Twenty one knots, sir! 


SMITH 
She's got a bone in her teeth now, eh, Mr. Murdoch. 


Smith accepts a cup of tea from FIFTH OFFICER LOWE. He contentedly watches the 
white V of water hurled outward from the bows like an expression of his 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 just 
in front of the steel blade of the prow. They do it for the sheer joy 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. 


FABRIZIO looks forward across the Atlantic, staring into the sunsparkles. 






FABRIZIO 
I can see the Statue of Liberty already. 
(grinning at Jack) 
Very small... of course. 


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, along the 
boat deck until her funnels come INTO FRAME besides us and march 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 standing at the rail 
become antlike. 


And still we pull back until the great lady is seen whole in a gorgeous aerial 
portrait, black and severe in her majesty. 


ISMAY (V.O.) 
She is the largest moving object ever made by the hand of man in all history... 


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: 


60 EXT. POOP DECK / AFTER DECKS - DAY 


Jack sits on a bench in the sun. Titanic's wake spreads out behind him to 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 his 3 year old daughter 
CORA standing on the lower rung of the rail. She is 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 the 
moment. Jack is good. Really good. Fabrizio looks over Jack's shoulder. He nods 
appreciatively. 


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 BULLDOG, 
is among the ugliest creatures on the planet. 


TOMMY 
That's typical. First class dogs come down here to take a shit. 


Jack looks up from his sketch. 


JACK 
That's so we know where we rank in the scheme of things. 


TOMMY 
Like we could forget. 


Jack glances across the well deck. At the aft railing of B deck promenade 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 the water. 


He watches her unpin her elaborate hat and take it off. She looks at the 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 isolated. 


Fabrizio taps Tommy and they both look at Jack gazin at Rose. Fabrizio and Tommy 
grin at each other. 


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. 


Jack sees a man (Cal) come up behind her and take her arm. She jerks her arm 
away. They argue in pantomime. She storms away, and he goes after her, 
disappearing along the A-deck promenade. Jack stares after her. 


TOMMY 
Forget it, boyo. You'd as like have angels fly out o' yer arse as get next to 
the likes o' her. 


CUT TO: 


61 INT. FIRST CLASS DINING SALOON - NIGHT 


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 LADY DUFF-GORDON is 
holding forth animatedly. We don't hear what they are saying. Rose is staring at 
her plate, barely listening to the inconsequential babble around her. 


OLD ROSE (V.O.) 
I saw my whole life as if I'd already lived it... an endless parade of 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 noticed. 


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 until 
it draws blood. 


CUT TO: 


62 INT. CORRIDOR / B DECK - NIGHT 


Rose walks along the corridor. A steward coming the other way greets her, and 
she nods with a slight smile. She is perfectly composed. 


CUT TO: 


63 INT. ROSE'S BEDROOM - NIGHT 


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 the 
dresser and it flies clattering against the wall. She hurls a handmirror against 
the vanity, cracking it. 


CUT TO: 


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, desperation. A strolling 
couple watch her pass. Shocked at the emotional display in public. 


CUT TO: 


65 EXT. POOP DECK - NIGHT 


Jack is kicked back on one of the benches gazing at the stars blazing gloriously 
overhead. Thinking artist thoughts and smoking a cigarette. 


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, twenty feet 
above them on the docking bridge catwalk. She doesn't see Jack in the shadows, 
and runs right past him. 


TRACKING WITH ROSE as she runs across the deserted fantail. Her breath 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 black water. 


Then starts to climb over the railing. She has to hitch her long dress way 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 horizon. 


IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below her are 
the huge letters of the name "TITANIC". 


She leans out, her arms straightening... looking down hypnotized, into the 
vortex below her. Her dress and hair are lifted by the wind of the ship's 
movement. The only sound, above the rush of water below, is the flutter and snap 
of the big Union Jack right above her. 


JACK 
Don't do it. 


She whips her head around at the sound of his voice. It takes a second for her 
eyes to focus. 


ROSE 
Stay back! Don't come any closer! 


Jack sees the tear tracks on her cheeks in the faint glow from the stern running 
lights. 


JACK 
Take my hand. I'll pull you back in. 


ROSE 
No! Stay where you are. I mean it. I'll let go. 


JACK 
No you won't. 


ROSE 
What do you mean no I won't? Don't presume to tell me what I will and will not 
do. You don't know me. 


JACK 
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 
wipes them with one hand, almost losing her balance. 


ROSE 
You're distracting me. Go away. 


JACK 
I can't. I'm involved now. If you let go I have to jump in after you. 


ROSE 
Don't be absurd. You'll be killed. 


He takes off his jacket. 


JACK 
I'm a good swimmer. 


He starts unlacing his left shoe. 


ROSE 
The fall alone would kill you. 


JACK 
It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more concerned 
about the water being so cold. 


She looks down. The reality factor of what she is doing is sinking in. 


ROSE 
How cold? 


JACK 
(taking off his left shoe) 
Freezing. Maybe a couple degrees over. 


He starts unlacing his right shoe. 


JACK 
Ever been to Wisconsin? 


ROSE 
(perplexed) 
No. 


JACK 
Well they have some of the coldest winters around, and I grew up there, near 
Chippewa Falls. Once when I was a kid me and my father were ice-fishing out on 
Lake Wissota... ice-fishing's where you chop a hole in the-- 


ROSE 
I know what ice fishing is! 


JACK 
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 there... it 
hits you like a thousand knives all over your body. You can't breath, you can't 
think... least not about anything but the pain. 
(takes off his other shoe) 
Which is why I'm not looking forward to jumping in after you. But like I said, I 
don't see a choice. I guess I'm kinda hoping you'll come back over the rail and 
get me off the hook here. 


ROSE 
You're crazy. 


JACK 
That's what everybody says. But with all due respect, I'm not the one hanging 
off the back of a ship. 


He slides one step closer, like moving up on a spooked horse. 


JACK 
Come on. You don't want to do this. Give me your hand. 


Rose stares at this madman for a long time. She looks at his eyes and they 
somehow suddenly seem to fill her universe. 


ROSE 
Alright. 


She unfastens one hand from the rail and reaches it around toward him. He 
reaches out to take it, firmly. 


JACK 
I'm Jack Dawson. 


ROSE 
(voice quavering) 
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 one foot slips off the 
edge of the deck. 


She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is jerked 
toward the rail. Rose barely grabs a lower rail with her free hand. 


QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads for the 
ladder. 


ROSE 
HELP! HELP!! 


JACK 
I've got you. I won't let go. 


Jack holds her hand with all his strength, bracing himself on the railing with 
his other hand. Rose tries to get some kind of foothold on the smooth hull. Jack 
tries to lift her bodily over the railing. She can't get any footing in her 
dress and evening shoes, and she slips back. Rose SCREAMS again. 


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 her. 


Rowe slides down the ladder from the docking bridge like it's a fire drill and 
sprints across the fantail. 


ROWE 
Here, what's all this?! 


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 starts drawing 
conclusions. Two seamen chug across the deck to join them. 


ROWE 
(to Jack) 
Here you, stand back! Don't move an inch! 
(to the seamen) 
Fetch the Master at Arms. 


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: 


69 EXT. LAUNCH AREA/KELDYSH DECK - DAY 


As the big hydraulic jib swings one of the Mir subs out over the water. Lovett 
walks as he talks with Bobby Buell, the partners' rep. They weave among deck 
cranes, launch crew, sub maintenance guys. 


BUELL 
The partners are pissed. 


BROCK 
Bobby, buy me time. I need time. 


BUELL 
We're running thirty thousand a day, and we're six days over. I'm telling you 
what they're telling me. The hand is on the plug. It's starting to pull. 


BROCK 
Well you tell the hand I need another two days! Bobby, Bobby, Bobby... we're 
close! I smell it. I smell ice. She had the diamond on... now we just have to 
find out where it wound up. I just gotta work her a bit more. Okay? 


Brock turns and sees Lizy standing behind him. She has overheard the past part 
of his dialogue with Buell. He goes to her and hustles her away from Buell, 
toward a quite spot on the deck. 


BROCK 
Hey, Lizzy. I need to talk to you for a second. 


LIZZY 
Don't you mean work me? 


BROCK 
Look, I'm running out of time. I need your help. 


LIZZY 
I'm not going to help you browbeat my hundred and 
(MORE) 
LIZZY (CONT'D) 
one year old grandmother. I came down here to tell you to back off. 


BROCK 
(with undisguised desperation) 
Lizzy... you gotta understand something. I've bet it all to find the Heart of 
the Ocean. I've got all my dough tied up in this thing. My wife even divorced me 
over this hunt. I need what's locked inside your grandma's memory. 
(he holds out his hand) 
You see this? Right here? 


She looks at his hand, palm up. Empty. Cupped, as if around an imaginary shape. 


LIZZY 
What? 


BROCK 
That's the shape my hand's gonna be when I hold that thing. You understand? I'm 
not leaving here without it. 


LIZZY 
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 are. 


LOVETT 
Maybe she wants to make peace with the past. 


LIZZY 
What past? She has never once, not once, ever said a word about being on the 
Titanic until two days ago. 


LOVETT 
Then we're all meeting your grandmother for the first time. 


LIZZY 
(looks at him hard) 
You think she was really there? 


LOVETT 
Oh, yeah. Yeah, I'm a believer. She was there. 


CUT TO: 


70 INT. IMAGING SHACK 


Bodine starts the tape recorder. Rose is gazing at the screen seeing THE LIVE 
FEED FROM THE WRECK--SNOOP DOG is moving along the starboard side of the hull, 
heading aft. The rectangular windows of A deck (forward) march past on the 
right. 


ROSE 
The next day, Saturday, I remember thinking how the sunlight felt. 


DISSOLVE TO: 


71 EXT. B DECK TITANIC - DAY 


MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912, 
passing the end of the enclosed promenade just as Rose walks into the sunlight 
right in front of us. She is stunningly dressed and walking with purpose. 


OLD ROSE (V.O.) 
As if I hadn't felt the sun in years. 


IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down into third 
class. The steerage men on the deck stop what they're doing and stare at her. 


CUT TO: 


72 INT. THIRD CLASS GENERAL ROOM 


The social center of steerage life. It is stark by comparison to the 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 upright piano and Tommy 
Ryan is noodling around it. 


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 together in his 
sketchbook. 


Fabrizio is struggling to get a conversation going with an attractive Norwegian 
girl, HELGA DAHL, sitting with her family at a table across the room. 


FABRIZIO 
No Italian? Some little English? 


HELGA 
No, no. Norwegian. Only. 


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. Rose 
feels suddenly self-conscious as the steerage passengers stare openly 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, smiling. 


ROSE 
Hello Jack. 


Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella. 


JACK 
Hello again. 


ROSE 
Could I speak to you in private? 


JACK 
Uh, yes. Of course. After you. 


He motions her ahead and follows. Jack glances over his shoulder, one eyebrow 
raised, as he walks out with her leaving a stunned silence. 


CUT TO: 


73 EXT. BOAT DECK - DAY 


Jack and Rose walk side by side. They pass people reading and talking in 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 different reasons. 


JACK 
So, you got a name by the way? 


ROSE 
Rose. Rose DeWitt Bukater. 


JACK 
That's quite a moniker. I may hafta get you to write that down. 


There is an awkward pause. 


ROSE 
Mr. Dawson, I-- 


JACK 
Jack. 


ROSE 
Jack... I feel like such an idiot. It took me all morning to get up the nerve to 
face you. 


JACK 
Well, here you are. 


ROSE 
Here I am. I... I want to thank you for what you did. Not just for... for 
pulling me back. But for your discretion. 


JACK 
You're welcome. Rose. 


ROSE 
Look, I know what you must be thinking! Poor little rich girl. What does she 
know about misery? 


JACK 
That's not what I was thinking. What I was thinking was... what could have 
happened to hurt this girl so much she though she had no way out. 


ROSE 
I don't... it wasn't just one thing. It was everything. It was them, it was 
their whole world. And I was trapped in it, like an insect in amber. 
(in a rush) 
I just had to get away... just run and run and run... and then I was at the back 
rail and there was no more ship... even the Titanic wasn't big enough. Not 
enough to get away from them. And before I'd really though about it, I was over 
the rail. I was so furious. I'll show them. They'll be sorry! 


JACK 
Uh huh. They'll be sorry. 'Course you'll be dead. 


ROSE 
(she lowers her head) 
Oh God, I am such an utter fool. 


JACK 
That penguin last night, is he one of them? 


ROSE 
Penguin? Oh, Cal! He is them. 


JACK 
Is he your boyfriend? 


ROSE 
Worse I'm afraid. 


She shows him her engagement ring. A sizable diamond. 


JACK 
Gawd look at that thing! You would have gone straight to the bottom. 


They laugh together. A passing steward scowls at Jack, who is clearly not a 
first class passenger, but Rose just glares at him away. 


JACK 
So you feel like you're stuck on a train you can't get off 'cause you're 
marryin' this fella. 




ROSE 
Yes, exactly! 


JACK 
So don't marry him. 


ROSE 
If only it were that simple. 


JACK 
It is that simple. 


ROSE 
Oh, Jack... please don't judge me until you've seen my world. 


JACK 
Well, I guess I will tonight. 


Looking for another topic, any other topic, she indicates his sketchbook. 


ROSE 
What's this? 


JACK 
Just some sketches. 


ROSE 
May I? 


The question is rhetorical because she has already grabbed the book. She sits on 
a deck chair and opens the sketchbook. ON JACK'S sketches... each 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. His book is a 
celebration of the human condition. 


ROSE 
Jack, these are quite good! Really, they are. 


JACK 
Well, they didn't think too much of 'em in Paree. 


Some loose sketches fall out and are taken by the wind. Jack scrambles after 
them... catching two, but the rest are gone, over the rail. 


ROSE 
Oh no! Oh, I'm so sorry. Truly! 


JACK 
Well, they didn't think too much of 'em in Paree. 


He snaps his wrist, shaking his drawing hand in a flourish. 






JACK 
I just seem to spew 'em out. Besides, they're not worth a damn anyway. 


For emphasis he throws away the two he caught. They sail off. 


ROSE 
(laughing) 
You're deranged! 


She goes back to the book, turning a page. 


ROSE 
Well, well... 


She has come upon a series of nudes. Rose is transfixed by the languid beauty he 
has created. His nudes are soulful, real, with expressive hands and eyes. They 
feel more like portraits than studies of the human form... almost uncomfortably 
intimate. Rose blushes, raising the book as some strollers go by. 


ROSE 
(trying to be very adult) 
And these were drawn from life? 


JACK 
Yup. That's one of the great things about Paris. Lots of girls willing take 
their clothes off. 


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 of Georgia 
O'Keefe. 


ROSE 
You liked this woman. You used her several times. 


JACK 
She had beautiful hands. 


ROSE 
(smiling) 
I think you must have had a love affair with her... 


JACK 
(laughing) 
No, no! Just with her hands. 


ROSE 
(looking up from the drawings) 
You have a gift, Jack. You do. You see people. 


JACK 
I see you. 


There it is. That piercing gaze again. 


ROSE 
And...? 


JACK 
You wouldn'ta jumped. 


CUT TO: 


74 INT. RECEPTION ROOM / D-DECK - DAY 


Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF ROTHES, 
a 35ish English blue-blood with patirician features. Ruth sees someone coming 
across the room and lowers her voice. 


RUTH 
Oh no, that vulgar Brown woman is coming this way. Get up, quickly before she 
sits with us. 


Molly Brown walks up, greeting them cheerfully as they are rising. 


MOLLY 
Hello girls, I was hoping I'd catch you at tea. 


RUTH 
We're awfully sorry you missed it. The Countess and I are just off to take the 
air on the boat deck. 


MOLLY 
That sounds great. Let's go. I need to catch up on the gossip. 


Ruth grits her teeth as the three of them head for the Grand Staircase to go up. 
TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to Bruce Ismay 
and Captain Smith at another table. 


ISMAY 
So you've not lit the last four boilers then? 


SMITH 
No, but we're making excellent time. 


ISMAY 
(impatiently) 
Captain, the press knows the size of Titanic, let them marvel at her speed too. 
We must give them something new to print. And the maiden voyage of Titnaic must 
make headlines! 


SMITH 
I prefer not to push the engines until they've been properly run in. 




ISMAY 
Of course I leave it to your good offices to decide what's best, but what a 
glorious end to your last crossing if we get into New York Tuesday night and 
surprise them all. 
(Ismay slaps his hand on the table) 
Retire with a bang, eh, E.J? 


A beat. Then Smith nods, stiffy. 


CUT TO: 


75 EXT. A DECK PROMENADE - DAY 


Rose and Jack stroll aft, past people lounging on deck chairs in the slanting 
late-afternoon light. Stewards scurry to serve tea or hot cocoa. 


ROSE 
(girlish and excited) 
You know, my dream has always been to just chuck it all and become an artist... 
living in a garret, poor but free! 


JACK 
(laughing) 
You wouldn't last two days. There's no hot water, and hardly ever any caviar. 


ROSE 
(angry in a flash) 
Listen, buster... I hate caviar! And I'm tired of people dismissing my dreams 
with a chuckle and a pat on the head. 


JACK 
I'm sorry. Really... I am. 


ROSE 
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 Isadora 
Duncan.... a wild pagan spirit... 


She leaps forward, lands deftly and whirls like a dervish. Then she sees 
something ahead and her face lights up. 


ROSE 
...or a moving picture actress! 


She takes his hand and runs, pulling him along the deck toward-- 


DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as she 
poses stiffly at the rail. 


MARVIN 
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. 


SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the rail 
next to Mary. Mary bursts out laughing. Rose pulls Jack into the picture and 
makes him pose. 


Marvin grins and starts yelling and gesturing. We see this in CUTS, with music 
and no dialogue. 


SERIES OF CUTS: 


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 
fanning him like slave girls. 


Jack, on his knees, pleading with his hands clasped while Rose, standing, turns 
her head in bored disdain. 


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 Whiplash. 


CUT TO: 


76 EXT. A DECK PROMENADE / AFT - SUNSET 


Painted with orange light, Jack and Rose lean on the A-deck rail aft, shoulder 
to shoulder. The ship's lights come on. 


It is a magical moment... perfect. 


ROSE 
So then what, Mr. Wandering Jack? 


JACK 
Well, then logging got to be too much like work, so I went down to Los Angelas 
to the pier in Santa Monica. That's a swell place, they even have a 
rollercoaster. I sketched portraits there for ten cents a piece. 


ROSE 
A whole ten cents?! 


JACK 
(not getting it) 
Yeah; it was great money... I could make a dollar a day, sometimes. But only in 
summer. When it got cold, I decided to go to Paris and see what the real artists 
were doing. 






ROSE 
(looks at the dusk sky) 
Why can't I be like you Jack? Just head out for the horizon whenever I feel like 
it. 
(turning to him) 
Say we'll go there, sometime... to that pier... even if we only ever just talk 
about it. 


JACK 
Alright, we're going. We'll drink cheap beer and go on the rollercoaster until 
we throw up and we'll ride horses on the beach... right in the surf... but you 
have to ride like a cowboy, none of that side-saddle stuff. 


ROSE 
You mean one leg on each side? Scandalous! Can you show me? 


JACK 
Sure. If you like. 


ROSE 
(smiling at him) 
I think I would. 
(she looks at the horizon) 
And teach me to spit too. Like a man. Why should only men be able to spit. It's 
unfair. 


JACK 
They didn't teach you that in finishing school? Here, it's easy. Watch closely. 


He spits. It arcs out over the water. 


JACK 
Your turn. 


Rose screws up her mouth and spits. A pathetic little bit of foamy spittle which 
mostly runs down her chin before falling off into the water. 


JACK 
Nope, that was pitiful. Here, like this... you hawk it down... HHHNNNK!... then 
roll it on your tongue, up to the front, like thith, then a big breath and 
PLOOOW!! You see the range on that thing? 


She goes through the steps. Hawks it down, etc. He coaches her through it (ad 
lib) while doing the steps himself. She lets fly. So does he. Two comets of gob 
fly out over the water. 


JACK 
That was great! 


Rose turns to him, her face alight. Suddenly she blanches. He sees her 
expression and turns. 


RUTH, the Countess of Rothes, and Molly Brown have been watching them hawking 
lugees. Rose becomes instantly composed. 


ROSE 
Mother, may I introduce Jack Dawson. 


RUTH 
Charmed, I'm sure. 


Jack has a little spit running down his chin. He doesn't know it. Molly Brown is 
grinning. As Rose proceeds with the introductions, we hear... 


OLD ROSE (V.O.) 
The others were gracious and curious about the man who'd saved my life. But my 
mother looked at him like an insect. A dangerous insect which must be squashed 
quickly. 


MOLLY 
Well, Jack, it sounds like you're a good man to have around in a sticky spot-- 


They all jump as a BUGLER sounds the meal call right behind them. 


MOLLY 
Why do they insist on always announcing dinner like a damn cavalry charge? 


ROSE 
Shall we go dress, mother? 
(over her shoulder) 
See you at dinner, Jack. 


RUTH 
(as they walk away) 
Rose, look at you... out in the sun with no hat. Honestly! 


The Countess exits with Ruth and Rose, leaving Jack and Molly alone on deck. 


MOLLY 
Son, do you have the slightest comprehension of what you're doing? 


JACK 
Not really. 


MOLLY 
Well, you're about to go into the snakepit. I hope you're ready. What are you 
planning to wear? 


Jack looks down at his clothes. Back up at her. He hadn't thought about that. 


MOLLY 
I figured. 


CUT TO: 


77 INT. MOLLY BROWN'S STATEROOM 


Men's suits and jackets and formal wear are strewn all over the place. Molly is 
having a fine time. Jack is dressed, except for his jacket, and Molly is tying 
his bow tie. 


MOLLY 
Don't feel bad about it. My husband still can't tie one of these damn things 
after 20 years. There you go. 


She picks up a jacket off the bed and hands it to him. Jack goes into the 
bathroom to put it on. Molly starts picking up the stuff off the bed. 


MOLLY 
I gotta buy everything in three sizes 'cause I never know how much he's been 
eating while I'm away. 


She turns and sees him, though we don't. 


MOLLY 
My, my, my... you shine up like a new penny. 


CUT TO: 


78 EXT. BOAT DECK / FIRST CLAsS ENTRANCE - DUSK 


A purple sky, shot with orange, in the west. Drifting strains of classic music. 
We TRACK WITH JACK along the deck. By Edwardian standards he looks badass. 
Dashing in his borrowed white-tie outfit, right down to his pearl studs. 


A steward bows and smartly opens the door to the First Class Entrance. 


STEWARD 
Good evening, sir. 


Jack plays the role smoothly. Nods with just the right degree of disdain. 


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: 


84 INT. A-DECK FOYER-NIGHT 


Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead is 
the crystal dome. Jack has his back to her, studying the ornate clock with its 
carved figures of Honor and Glory. It softly strikes the hour. 


MOVING WITH ROSE as she goes up the sweeping staircase toward him. He turns, 
sees her... smiles. 


JACK 
Want to go to a real party? 


CUT TO: 


85 INT. THIRD CLASS GENERAL ROOM 


Crow led and alive with music, laughter and raucous carrying on. An ad hoc band 
is gathered near the upright piano, honking out lively stomping music on fiddle, 
accoridon and tambourine. People of all ages are dancing, drinking beer and 
wine, smoking, laughing, even brawling. 


Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile dances with 5 
year old Cora Cartmell, or tries to, with her standing on his feet. As the tune 
ends, Rose leans down to the little girl. 


ROSE 
May I cut in, miss? 


JACK 
You're still my best girl, Cora. 


Cora scampers off. Rose and Jack face each other. She is trembling as he takes 
her right hand in his left. His other hand slides to the small of her back. It 
is an electrifying moment. 


ROSE 
I don't know the steps. 


JACK 
Just move with me. Don't think. 


The music starts and they are off. A little awkward at first, she starts to get 
into it. She grins at Jack as she starts to get the rhythm of the steops. 


ROSE 
Wait... stop! 


She bends down, pulling off her high heeled shoes, and flings them to Tommy. 
Then she grabs Jack and they plunge back into the fray, dancing faster as the 
music speeds up. 


CUT TO: 


86 OMITTED 


87 INT. THIRD CLASS GENERAL ROOM 


The scene is rowdy and rollicking. A table gets knocked over as a drunk crashes 
into it. And in the middle of it... Rose dancing with Jack in her stocking feet. 
The steps are fast and she shines with sweat. A space opens around them, and 
people watch them, clapping as the band plays faster and faster. 


FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He 
whirls her, then she responds by whirling him... Fabrizio's eyes go wide when he 
realizes she's stronger than he is. 


The tune ends in a mad rush. Jack steps away from Rose with a flourish, allowing 
her to take a bow. Exhilarated and slightly tipsy, she does a graceful ballet 
ployer, feet turned out perfectly. Everyone laughs and applauds. Rose is a hit 
with the steerage folks, who've never had a lady party with them. 


They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigarette and 
takes a big drag. She's feeling cocky. Fabrizio is grinning, holding hands with 
Helga. 


JACK 
How you two doin'? 


FABRIZIO 
I don't know hwat she's say, she don't know what I say, so we get along fine. 


Tommy walks up with a pint for each of them. Rose chugs hers, showing off. 


ROSE 
You think a first class girl can't drink? 


Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy, who 
sloshes his beer over Rose's dress. She laughs, not caring. But Tommy lunges, 
grabbing Bjorn and wheeling him around. 


TOMMY 
You stupid bastard!! 


Bjorn comes around, his fists coming up... and Jack leaps into the middle of it, 
pushing them apart. 


JACK 
Boys, boys! Did I ever tell you the one about the Swede and the Irishman goin' 
to the whorehouse? 


Tommy stands there, all piss and vinegar, chest puffed up. Then he grins and 
claps Bjorn on the shoulder. 


ROSE 
So, you think you're big tough men? Let's see you do this. 


In her stocking feet she assumes a ballet stance, arms raised, and goes up on 
point, taking her entire weight on the tips of her toes. The guys gape at her 
incredible muscle control. She comes back down, then her face screws up in pain. 
She grabs one foot, hopping around. 


ROSE 
Oooowww! I haven't done that in years. 


Jack catches her as she loses her balance, and everyone cracks up. 


THE DOOR to the well deck is open a few inches as Lovejoy watches through the 
gap. He sees Jack holding Rose, both of them laughing. 


LOVEJOY closes the door. 


CUT TO: 


88 EXT. BOAT DECK - NIGHT 


The stars blaze overhead, so bright and clear you can see the Milky Way. Rose 
and Jack walk along the row of lifeboats. Still giddy from the party, they are 
singing a popular song "Come Josephine in My Flying Machine". 


JACK/ROSE 
Come Josephine in my flying machine 
And it's up she goes! Up she goes! 
In the air she goes. Where? There she goes! 


They fumble the words and break down laughing. They have reached the First Class 
Entrance, but don't go straight in, not wanting the evening to end. Through the 
doors the sound of the ship's orchestra wafts gently. Rose grabs a davit and 
leans back, staring at the cosmos. 


ROSE 
Isn't it magnificent? So grand and endless. 


She goes to the rail and leans on it. 


ROSE 
They're such small people, Jack... my crowd. They think they're giants on the 
earth, but they're not even dust in God's eye. They live inside this little tiny 
champagne bubble... and someday the bubble's going to burst. 


He leans at the rail next to her, his hand just touching hers. It is the 
slightest contact imaginable, and all either one of them can feel is that square 
inch of skin where their hands are touching. 


JACK 
You're not one of them. There's been a mistake. 


ROSE 
A mistake? 


JACK 
Uh huh. You got mailed to the wrong address. 


ROSE 
(laughing) 
I did, didn't I? 
(MORE) 
ROSE (CONT'D) 
(pointing suddenly) 
Look! A shooting star. 


JACK 
That was a long one. My father used to say that whenever you saw one, it was a 
soul going to heaven. 


ROSE 
I like that. Aren't we supposed to wish on it? 


Jack looks at her, and finds that they are suddenly very close together. It 
would be so easy to move another couple of inches, to kiss her. Rose seems to be 
thinking the same thing. 


JACK 
What would you wish for? 


After a beat, Rose pulls back. 


ROSE 
Something I can't have. 
(she smiles sadly) 
Goodnight, Jack. And thank you. 


She leaves the rail and hurries through the First Class Entrance. 


JACK 
Rose!! 


But the door bangs shut, and she is gone. Back to her world. 


CUT TO: 


89 INT. 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: 


90 INT. RUTH'S SUITE - DAY 


Rose is dressed for the day, and is in the middle of helping Ruth with her 
corset. The tight bindings do not inhibit Ruth's fury at all. 


RUTH 
You are not to see that boy again, do you understand me Rose? I forbid it! 


Rose has her knee at the base of her mother's back and is pulling the corset 
strings with both hands. 


ROSE 
Oh, stop it, Mother. You'll give yourself a nosebleed. 


Ruth pulls away from her, and crosses to the door, locking it. CLACK! 


RUTH 
(wheeling on her) 
Rose, this is not a game! Our situation is precarious. You know the money's 
gone! 


ROSE 
Of course I know it's gone. You remind me every day! 






RUTH 
Your father left us nothing but a legacy of bad debts hidden by a good name. And 
that name is the only card we have to play. 


Rose turns her around and grabs the corset strings again. Ruth sucks in her 
waist and Rose pulls. 


RUTH 
I don't understand you. It is a fine match with Hockley, and it will insure our 
survival. 


ROSE 
(hurt and lost) 
How can you put this on my shoulders? 


Rose turns to her, and we see what Rose sees-- the naked fear in her mother's 
eyes. 


RUTH 
Do you want to se me working as a seamstress? Is that what you want? Do you want 
to see our fine things sold at an auction, our memories scattered to the winds? 
My God, Rose, how can you be so selfish? 


ROSE 
It's so unfair. 


RUTH 
Of course it's unfair! We're women. Our choices are never easy. 


Rose pulls the corset tighter. 


CUT TO: 


91 INT. FIRST CLASS DINING SALOON 


At the divine service, Captain Smith is leading a group in the hymn "Almighty 
Father Strong To Save." Rose and Ruth sing in the middle of the group. 


Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the 
entry doors. Jack has been halted there by two stewards. He is dressed in his 
third class clothes, and stands there, hat in hand, looking out of place. 


STEWARD 
Look, you, you're not supposed to be in here. 


JACK 
I was just here last night... don't you remember? 
(seeing Lovejoy coming toward him) 
He'll tell you. 






LOVEJOY 
Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your 
assistance. They asked me to give you this in gratitude-- 


He holds out two twenty dollar bills, which Jack refuses to take. 


JACK 
I don't want money, I-- 


LOVEJOY 
--and also to remind you that you hold a third class ticket and your presence 
here is no longer appropriate. 


Jack spots Rose but she doesn't see him. 


JACK 
I just need to talk to Rose for a-- 


LOVEJOY 
Gentlemen, please see that Mr. Dawson gets back where he belongs. 
(giving the twenties to the stewards) 
And that he stays there. 


STEWARD 
Yes sir! 
(to Jack) 
Come along you. 


END ON ROSE, not seeing Jack hustled out. 


ROSE 
(singing) 
O hear us when we cry to thee for those in peril on the sea. 


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: 


93 EXT. AFT WELL DECK, B-DECK AND A-DECK - DAY 


Jack, walking with determination, is followed closely by Tommy and Fabrizio. He 
quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 
2nd class. 


TOMMY 
She's a goddess amongst mortal men, there's no denyin'. But she's in another 
world, Jackie, forget her. She's closed the door. 


Jack moves furtively to the wall below the A-Deck promenade, aft. 


JACK 
It was them, not her. 
(glancing around the deck) 
Ready... go. 


Tommy shakes his head resignedly and puts his hands together, crouching down. 
Jack steps into Tommy's hands and gets boosted up to the next deck, where he 
scrambles nimbly over the railing, onto the First Class deck. 


TOMMY 
He's not bein' logical, I tell ya. 


FABRIZIO 
Amore is'a not logical. 


CUT TO: 


94 EXT. A-DECK / AFT - DAY 


A man is playing with his son, who is spinning a top with a string. The man's 
overcoat and hat are sitting on a deck chair nearby. Jack emerges from behind 
one of the huge deck cranes and calmly picks up the coat and bowler hat. He 
walks away, slipping into the coat, and slicks his hair back with spit. Then 
puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen. 


CUT TO: 


95 INT. BRIDGE / CHARTROOM - DAY 


HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and skirts 
around Andrews' tour group to hand a Marconigram to Captain Smith. 


BRIDE 
Another ice warning, sir. This one from the "Baltic". 


SMITH 
Thankyou, Sparks. 


Smith glances at the message then nonchalantly puts it in his pocket. He nods 
reassuringly to Rose and the group. 


SMITH 
Not to worry, it's quite normal for this time of year. In fact, we're speeding 
up. I've just ordered the last boilers lit. 


Andrews scowls slightly before motioning the group toward the door. They exit 
just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, 
stopping next to First Officer Murdoch. 


LIGHTOLLER 
Did we ever find those binoculars for the lookouts? 


FIRST OFFICER MURDOCH 
Haven't seen them since Southampton. 


CUT TO: 


96 EXT. BOAT DECK / STARBOARD SIDE - DAY 


Andrews leads the group back from the bridge along the boat deck. 


ROSE 
Mr. Andrews, I did the sum in my head, and with the number of lifeboats times 
the capacity you mentioned... forgive me, but it seems that there are not enough 
for everyone aboard. 


ANDREWS 
About half, actually. Rose, you miss nothing, do you? In fact, I put in these 
new type davits, which can take an extra row of boats here. 
(he gestures along the eck) 
But it was thought... by some... that the deck would look too cluttered. So I 
was over-ruled. 


CAL 
(slapping the side of a boat) 
Waste of deck space as it is, on an unsinkable ship! 


ANDREWS 
Sleep soundly, young Rose. I have built you a good ship, strong and true. She's 
all the lifeboat you need. 


As they are passing Boat 7, a gentlemen turns from the rail and walks up behind 
the group. It is Jack. He taps Rose on the arm and she turns, gasping. He 
motions and she cuts away from the group toward a door which Jack holds open. 
They duck into the-- 


CUT TO: 


97 INT. GYMNASIUM - DAY 


Jack closes the door behind her, and glances out through the ripple-glass window 
to the starboard rail, where the gym instructor is chatting up the woman who was 
riding the bike. Rose and Jack are alone in the room. 


ROSE 
Jack, this is impossible. I can't see you. 


He takes her by the shoulders. 


JACK 
Rose, you're no picnic... you're a spoiled little brat even, but under that 
you're a strong, pure heart, and you're the most amazingly astounding girl I've 
ever known and-- 


ROSE 
Jack, I-- 


JACK 
No wait. Let me try to get this out. You're amazing... and I know I have nothing 
to offer you, Rose. I know that. But I'm involved now. You jump, I jump, 
remember? I can't turn away without knowin' that you're goin' to be alright. 


Rose feels the tears coming to her eyes. Jack is so open and real... not like 
anyone she has ever known. 


ROSE 
You're making this very hard. I'll be fine. Really. 


JACK 
I don't think so. They've got you in a glass jar like some butterfly, and you're 
goin' to die if you don't break out. Maybe not right away, 'cause you're strong. 
But sooner or later the fire in you is goin' to go out. 


ROSE 
It's not up to you to save me, Jack. 


JACK 
You're right. Only you can do that. 


ROSE 
I have to get back, they'll miss me. Please, Jack, for both our sakes, leave me 
alone. 


CUT TO: 


98 INT. FIRST CLASS LOUNG - DAY 


The most elegant room on the ship, done in Louis Quinze Versaille style. Rose 
sits on a divan, with a group of other women arrayed around her. Ruth, the 
Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as 
a porcelain figurine as the conversation washes around her. 


RUTH 
Of course the invitations had to be sent back to the printers twice. And the 
bridesmaids dresses! Let me tell you what an odyssey that has been... 


TRACKING SLOWLY IN on Rose as Ruth goes on. 


REVERSE, ROSE'S POV: A tabeau of MOTHER and DAUGHTER having tea. The four year 
old girl, wearing white gloves, daintily picking up a cookie. The mother 
correcting her on her posture, and the way she holds the teacup. The little girl 
is trying so hard to please, her expression serious. A glimpse of Rose at that 
age, and we see the relentless conditioning... the pain to becoming an Edwardian 
geisha. 


ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all 
over her dress. 


ROSE 
Oh, look what I've done. 


CUT TO: 


99 EXT. TITANIC - DAY 


TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a giant 
fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is there, 
right at the apex of the bow railing, his favorite spot. He closes his eyes, 
letting the chill wind clear his head. 


Jack hears her voice, behind him... 


ROSE 
Hello, Jack. 


He turns and she is standing there. 


ROSE 
I changed my mind. 


He smiles at her, his eyes drinking her in. Her cheeks are red with the chill 
wind, and her eyes sparkle. Her hair blows wildly about her face. 


ROSE 
Fabrizio said you might be up-- 


JACK 
Sssshh. Come here. 


He puts his hands on her waist. As if he is going to kiss her. 


JACK 
Close your eyes. 


She does, and he turns her to face forward, the way the ship is going. He 
presses her gently to the rail, standing right behind her. Then he takes her two 
hands and raises them until she is standing with her arms outstetched on each 
side. Rose is going along with him. When he lowers his hands, her arms stay 
up... like wings. 


JACK 
Okay. Open them. 


Rose gasps. There is nothing in her field of vision but water. It's like there 
is no ship under them at all, just the two of them soaring. The Atlantic unrolls 
toward her, a hammered copper shield under a dusk sky. There is only the wind, 
and the hiss of the water 50 feel below. 


ROSE 
I'm flying! 


She leans forward, arching her back. He puts his hands on her waist to steady 
her. 


JACK 
(singing softly) 
Come Josephine in my flying machine... 


Rose cleses her eyes, feeling herself floating weightless far above the sea. She 
smiles dreamily, then leans back, gently pressing her back against his chest. He 
pushes forward slightly against her. 


Slowly he raises his hands, arms outstretched, and they meet hers... fingertips 
gently touching. Then their fingers intertwine. Moving slowly, their fingers 
caress through and around each other like the bodies of two lovers. 


Jack tips his face forward into her blowing hair, letting the scent of her wash 
over him, until his cheek is agianst her ear. 


Rose turns her head until her lips are near his. She lowers her arms, turning 
further, until she finds his mouth with hers. He wraps his arms around her from 
behind, and they kiss like this with her head turned and tilted back, 
surrendering to him, to the emotion, to the inevitable. They kiss, slowly and 
tremulously, and then with building passion. 


Jack and the ship seem to merge into one force of power and optimism, lifting 
her, buoying her forward on a magical journey, soaring onward into a night 
without fear. 


100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET 
nudges his mate, REGINALD LEE, pointing down at the figures in the bow. 


FLEET 
Wish I had those bleedin' binoculars. 


101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the 
ruined bow of the WRECK-- 


CUT TO: 


102 INT. KELDYSH IMAGING SHACK 


OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the 
screen, the sad ghost ship deep in the abyss. 


ROSE 
That was the last time Titanic ever saw daylight. 


Brock Lovett changes the tape in the minicassette recorder. 


BROCK 
So we're up to dusk on the night of the sinking. Six hours to go. 


BODINE 
Don't you love it? There's Smith, he's standing there with the iceberg warning 
in his fucking hand... 
(remembering Rose) 
... excuse me... in his hand, and he's ordering more speed. 


BROCK 
26 years of experience working against him. He figures anything big enough to 
sink the ship they're going to see in time to turn. But the ship's too big, with 
too small a rudder... it can't corner worth shit. Everything he knows is wrong. 


ROSE is ignoring this conversation. She has the art-nouveau comb with the jade 
butterfly on the handle in her hands, turning it slowly. She is watching a 
monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills 
frame. 


TRANSITION: 


103 INT. ROSE'S SUITE 


... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge 
from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets 
his sketchbood and drawing materials on the marble table. 


ROSE 
Will this light do? Don't artists need good light? 


JACK 
(bad French accent) 
Zat is true, I am not used to working in such 'orreeble conditions. 
(seeing the paintings) 
Hey... Monet! 


He crouches next to the paintings stacked against the wall. 


JACK 
Isn't he great... the use of color? I saw him once... through a hole in this 
garden fence in Giverny. 


She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe 
and start working the combination. He's fascinated. 


ROSE 
Cal insist on luggin this thing everywhere. 


JACK 
Should I be expecting him anytime soon? 


ROSE 
Not as long as the cigars and brandy hold out. 


CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror 
behind the safe. She opens it and removes the necklace, then holds it out to 
Jack who takes it nervously. 


JACK 
What is it? A sapphire? 


ROSE 
A diamond. A very rare diamond, called the Heart of the Ocean. 


Jack gazes at wealth beyond his comprehension. 


ROSE 
I want you to draw me like your French girl. Wearing this. 
(she smiles at him) 
Wearing only this. 


He looks up at her, surprised, and we CUT TO: 


104 ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair. She 
shakes her head and her hair falls free around her shoulders. 


105 IN THE SITTING ROOM Jack is laying out his pencils like surgical tools. His 
sketchbook is open and ready. He looks up as she comes into the room, wearing a 
silk kimono. 




ROSE 
The last thing I need is another picture of me looking like a china doll. As a 
paying customer, I expect to get what I want. 


She hands him a dime and steps back, parting the kimono. The blue stone lies on 
her creamy breast. Her heart is pounding as she slowly lowers the robe. 


Jakc looks so stricken, it is almost comical. The kimono drops to the floor 
(this is all in cuts, lyrical). 


ROSE 
Tell me when it looks right to you. 


She poses on the divan, settling like a cat into the position we remember from 
the drawing... almost. 


JACK 
Uh... just bend your left leg a little and... and lower your head. Eyes to me. 
That's it. 


Jack starts to sketch. He drops his pencil and she stifles a laugh. 


ROSE 
I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet 
blushing. 


JACK 
(sweating) 
He does landscapes. 


TIGHT ON JACK as his eyes come up to look at her over the top edge of his 
sketchpad. We have seen this image of him before, in her memory. It is an image 
she will carry the rest of her life. 


Despite his nervousness, he draws with sure strokes, and what emerges is the 
best thing he has ever done. Her pose is languid, her hands beautiful, and her 
eyes radiate her energy. 


PUSH SLOWLY IN ON ROSE'S FACE... 


TRANSITION: 


106 INT. KELDYSH / IMAGING SHACK 


MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same. 


OLD ROSE 
My heart was pounding the whole time. It was the most erotic moment of my 
life... up till then at least. 


CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence. The 
story of Jack and Rose has finally and completely grabbed them. 




BODINE 
What, uh... happened next? 


OLD ROSE 
(smiling) 
You mean, did we "do it"? 


CUT TO: 


107 INT. ROSE AND CAL'S SUITE - NIGHT 


BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again, is 
leaning on his shoulder, watching. 


OLD ROSE (V.O.) 
Sorry to disappoint you Mr. Bodine. 


Rose gazes at the drawing. He has X-rayed her soul. 


ROSE 
Date it, Jack. I want to always remember this night. 


He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic 
stationary. We don't see what it says. She accepts the drawing from him, and 
crosses to the safe in the wardrobe. 


She puts the diamond back in the safe, placing hte drawing and the note on top 
of it. Closes the door with a CLUNK! 


CUT TO: 


108 INT. FIRST CLASS SMOKING ROOM - NIGHT 


Lovejoy enters from the Palm Court through the revolving door and crosses the 
room toward Hockley. A fire is blazing in the marble fireplace, and the usual 
fatcats are playing cards, drinking and talking. Cal sees Lovejoy and detaches 
from his group, coming to him. 


LOVEJOY 
None of the stewards have seen her. 


CAL 
(low but forceful) 
This is ridiculous, Lovejoy. Find her. 


CUT TO: 


109 EXT. ATLANTIC - NIGHT 


TITANIC glides across an unnatural sea, blakc and calm as a pool of oil. The 
ships lights are mirrored almost perfectly in the black water. The sky is 
brilliant with stars. A meteor traces a bright line across the heavens. 


110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the ship. 
QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It steams in the 
bitter cold of the open bridge. Second Officer Lightoller is next to him, 
staring out at the sheet of black glass the Atlantic has become. 


LIGHTOLLER 
I don't think I've ever seen such a flat calm, in 24 years at sea. 


SMITH 
Yes, like a mill pond. Not a breath of wind. 


LIGHTOLLER 
It's make the bergs harder to see, with no breaking water at the base. 


SMITH 
Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller. 


LIGHTOLLER 
Yes sir. 


SMITH 
And wake me, of course, if anything becomes in the slightest degree doubtful. 


CUT TO: 


111 INT. ROSE AND CAL'S SUITE 


Rose, fully dressed now, returns to the sitting room. They hear a key in the 
lock. Rose takes Jack's hand and leads him silently through the bedrooms. 
Lovejoy enters by the sitting room door. 


LOVEJOY 
Miss Rose? Hello? 


He hears a door opening and goes through Cal's room toward hers. 


CUT TO: 


112 INT. CORRIDOR OUTSIDE SUITE 


Rose and Jack come out of her stateroom, closing the door. She leads him quickly 
along the corridor toward the B deck foyer. They are halfway across the open 
space when the sitting room door opens in the corridor and Lovejoy comes out. 
The valet sees Jack with Rose and hustles after them. 


ROSE 
Come on! 


She and Jack break into a run, surprising the few ladies and gentlemen about. 
Rose leads him past the stairs to the bank of elevators. They run into one, 
shocking the hell out of the OPERATOR. 


ROSE 
Take us down. Quickly, quickly! 


The Operator scrambles to comply. Jack even helps him close the steel gate. 
Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of 
the gate. Rose makes a very rude and unladylike gesture, and laughs as Lovejoy 
disappears above. The Operator gapes at her. 


CUT TO: 


113 INT. E-DECK FOYER / ELEVATORS 


Lovejoy emerges from another lift and runs to the one Jack and Rose were in. The 
Operator is just closing the gate to go back up. Lovejoy runs around the bank of 
elevators and scans the foyer... no Jack and Rose. He tries the stairs going 
down to F-Deck. 


CUT TO: 


114 INT. F-DECK CORRIDORS / FAN ROOM 


A functional space, with access to a number of machine spaces (fan rooms, boiler 
uptakes). Jack and Rose are leaning against a wall, laughing. 


JACK 
Pretty tough for a valet, this fella. 


ROSE 
He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble... to 
make sure he always got back to the hotel with his wallet and watch, after some 
crawl through the less reputable parts of town... 


JACK 
Kinda like we're doin' right now-- uh oh! 


Lovejoy has spotted them from a cross-corridor nearby. He charges toward them. 
Jack and Rose run around a corner into a blind alley. There is one door, marked 
CREW ONLY, and Jack flings it open. 


115 They enter a roaring RAN ROOM, with no way out but a ladder going down. Jack 
latches the deadbolt on the door, and Lovejoy slams against it a moment later. 
Jack grins at Rose, pointing to the ladder. 


JACK 
After you, m'lady. 


CUT TO: 


116 INT. BOILER ROOM FIVE AND SIX 


Jack and Rose come down the escape ladder and look around in amazement. It is 
like a vision of hell itself, with the roaring furnaces and black figures moving 
in the smoky glow. They run the length of the boiler room, dodging amazed 
stokers, and trimmers with their wheelbarrows of coal. 


JACK 
(shouting over the din) 
Carry on! Don't mind us! 


They run through the open watertight door into BOILER ROOM SIX. Jack pulls her 
through the fiercely hot alley between two boilers and they wind up in the dark, 
out of sight of the working crew. Watching from the shadows, they see the 
stokers working in the hellish glow, shovelling coal into the insatiable maws of 
the furnaces. The whole place thunders with the roar of the fires. 


CUT TO: 


117 INT. FIRST CLASS SMOKING ROOM 


Amid unparalled luxury, Cal sits at a card game, sipping brandy. 


COLONEL GRACIE 
We're going like hell I tel you. I have fifty dollars that says we make it into 
New York Tuesday night! 


Cal looks at his gold pocket watch, and scowls, not listening. 


CUT TO: 


118 OMITTED 


119 INT. BOILER ROOM SIX 


The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose's face, 
tasting the sweat trickling down from her forehead. They kiss passionately in 
the steamy, pounding darkness. 


CUT TO: 


120 INT. HOLD #2 


Jack and Rose enter and run laughing between the rows of stacked cargo. She hugs 
herself against the cold, after the dripping heat of the boiler room. 


They come upon William Carter's brand new RENAULT touring car, lashing down to a 
pallet. It looks like a royal coach from a fairy tale, its brass trim and 
headlamps nicely set off by its deep burgundy color. 


Rose climbs into the plushly upholstered back seat, acting very royal. There are 
cut crystals bud vases on the walls back there, each containing a rose. Jack 
jumps into the driver's seat, enjoying hte feel of the leather and wood. 


JACK 
Where to, Miss? 


ROSE 
To the stars. 


ON JACK as her hands come out of the shadows and pull him over the seat into the 
back. He lands next to her, and his breath seems loud in the quiet darkness. He 
looks at her and she is smiling. It is the moment of truth. 


JACK 
Are you nervous? 


ROSE 
Au contraire, mon cher. 


He strokes her face, cherishing her. She kisses his artist's fingers. 


ROSE 
Put your hands on me Jack. 


He kisses her, and she slides down in the seat under his welcome weight. 


CUT TO: 


121 INT. WIRELESS ROOM 


A BRILLIANT ARC OF ELECTRICITY fills frame-- the sparks gap of the Marconi 
instrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS (24) rapidly keys out a 
message. Junior Operator Bride looks through the huge stack of outgoing messages 
swamping them. 


BRIDE 
Look at this one, he wants his private train to meet him. La dee da. 
(slaps them down) 
We'll be up all bloody night on this lot. 


Phillips start to receive an incoming message from a nearby ship, the Leyland 
frieghter CALIFORNIAN, which jams his outgoing signal. At such close range, the 
beeps are deafening. 


PHILLIPS 
Christ! It's that idiot on the Californian. 


Cursing, Phillips furiously keys a rebuke. 


CUT TO: 


122 INT. / EXT. WIRELESS SHAK / FREIGHTER CALIFORNIAN 


Wireless Operater CYRIL EVANS pulls his earphone off his ear as the Titanic's 
spark deafens him. he translates the message for THIRD OFFICER GROVES. 






EVANS 
Stupid bastard. I try to warn him about the ice, and he says "Keep out. Shut up. 
I'm working Cape Race." 


GROVES 
Now what's he sending? 


EVANS 
"No seasickness. Poker business good. Al". Well that's it for me. I'm shutting 
down. 


As Evans wearily switches off his generator, Groves goes out on deck. PAN oFF 
Him to reveal the ship is stopped fifty yards from the edge of a field of pack 
ice and icebergs stretching as far as the eye can see. 


CUT TO: 


123 EXT. OCEAN / TITANIC 


ON TITANIC, steaming hellbent through the darkness, hurling up white water at 
the bows. The bow comes straight at us, until the bow wave WIPES THE FRAME-- 


CUT TO: 


124 INT. HOLD #2 


PUSHING IN on the rear window of the Renault, which is completely fogged up. 
Rose's hand comes up and slams against the glass for a moment, making a 
handprint in the veil of condensation. 


INSIDE THE CAR, Jack's overcoat is liek a blanket over them. It stirs and Rose 
pulls it down. They are huddled under it, intertwined, still mostly clothed. 
Their faces are flushed and they look at each other wonderingly. She puts her 
hand on his face, as if making sure he is real. 


ROSE 
You're trembling. 


JACK 
It's okay. I'm alright. 


He lays his cheek against her chest. 


JACK 
I can feel your heart beating. 


She hugs his head to her chest, and just holds on for dear life. 


OLD ROSE (V.O.) 
Well, I wasn't the first teenage girl to get seduced in the backseat of a car, 
and certainly not the last, by several million. He had such fine hands, artists' 
hands, but strong too... roughened by work. I remember their touch even now. 


CUT TO: 


125 EXT. ATLANTIC / TITANIC - NIGHT 


The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and the tiny 
half-cylinder of the crow's nest, which grows as we push in on lookouts Fleet 
and Lee. They are stamping their feet and swinging their arms, trying to keep 
warm in the 22 knot freezing wind, which whips capor of their breath away 
behind. 


FLEET 
You can smell ice, you know, when it's near. 


LEE 
Bollocks. 


FLEET 
Well I can. 


CUT TO: 


126 INT. BOILER ROOM SIX 


Without hearing hte words over the roar of the furnaces, we see stokers telling 
TWO STEWARDS which way Rose and Jack went. The stewards move off toward the 
forward holds. 


CUT TO: 


127 INT. CAL AND ROSE'S SUITE 


Cal stands at the open safe. He stares at the drawing of Rose and his face 
clenches with fury. He reads the not again: "DARLING, NOW YOU CAN KEEP US BOTH 
LOCKED IN YOUR SAFE, ROSE". 


Lovejoy, standing behind him, looks over his shoulder at the drawing. Cal 
crumples Rose's not, then takes the drawing in both hands as if to rip it in 
half. He tenses to do it, then stops himself. 


CAL 
I have a better idea. 


CUT TO: 


128 INT. HOLD #2 - NIGHT 


The two stewards enter. They have electric torches and play the beams around the 
hold. They spot the Renault with its fogged up rear window and approach it 
slowly. 


FROM INSIDE we see the torch light up Rose's passionate handprint, still there 
on the fogged up glass. One steward whips open the door. 


STEWARD 
Got yer! 


REVERSE: the back seat is empty. 


CUT TO: 


129 EXT. FORWARD WELL DECK AND CROW'S NEST - NIGHT 


Rose and Jack, fully dressed, come through a crew door onto the deck. They can 
barely stand, they are laughing so hard. 


UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the disturbance below and 
looks around and back down to the well deck, where he can see two figures 
embracing. 


Jack and Rose stand in each others arms. Their breath clouds around them in the 
now freezing air, but they don't even feel the cold. 


ROSE 
When this ship docks, I'm getting off with you. 


JACK 
This is crazy. 


ROSE 
I know. It doesn't make any sense. That's why I trust it. 


Jack pulls her to him and kisses her fiercely. 


130 IN THE CROW'S NEST Fleet nudges Lee. 


FLEET 
Cor... look at that, would ya. 


LEE 
They're a bloody sight warmer than we are. 


FLEET 
Well if that's what it takes for us two to get warm, I'd rather not, if it's all 
the same. 


They both have a good laugh at that one. It is Fleet whose expression falls 
first. Glancing forward again, he does a double take. The color drains out of 
his face. 


FLEET'S POV: a massive iceberg right in their path, 500 yards out. 


FLEET 
Bugger me!! 


Fleet reaches past Lee and rings the lookout bell three times, then grabs the 
telephone, calling the bridge. He waits precious seconds for it to be picket up, 
never taking his eyes off the black mass ahead. 




FLEET 
Pick up, ya bastard. 


CUT TO: 


131 INT. / EXT. BRIDGE 


Inside the enclosed wheelhous, SIXTH OFFICER MOODY walks unhurriedly to the 
telephone, picking it up. 


FLEET (V.O.) 
Is someone there? 


MOODY 
Yes. What do you see? 


FLEET 
Iceberg right ahead! 


MOODY 
Thankyou. 
(hangs up, calls to Murdoch) 
Iceberg right ahead! 


Murdoch sees it and rushes to the engine room telegraph. While signaling "FULL 
SPEED ASTERN" he yells to Quartermaster Hitchins, who is at the wheel. 


MURDOCH 
Hard a' starboard. 


MOODY 
(standing behind Hitchins) 
Hard'a starboard. The helm is hard over, sir. 


CRASH SEQUENCE / SERIES OF CUTS: 


132 CHIEF ENGINEER BELL is just checking the soup he has warming on a steam 
manifold when the engine telegraph clangs, then goes... incredibly... to FULL 
SPEED ASTERN. He and the other ENGINEERS just stare at it a second, unbelieving. 
Then Bell reacts. 


BELL 
Full astern! FULL ASTERN!! 


The engineers and greasers like madmen to close steam valves and start braking 
the mighty propeller shafts, big as Sequias, to a stop. 


133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with 2nd 
Engineer JAMES HESKETH when the red warning light and "STOP" indicator come on. 


BARRETT 
Shut all dampers! Shut 'em!! 


134 FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. The bow 
finally starts to come left (since the ship turns the reverse of the helm 
setting). 


MURDOCH'S jaw clenches as the bow turns with agonizing slowness. He holds his 
breath as the horrible physics play out. 


135 IN THE CROW'S NEST Frederick Fleet braces himself. 


136 THE BOW OF THE SHIP thunders right at CAMERA and-- 


KRUUUNCH!! The ship hits the berg on its starboard bow. 


137 UNDERWATER we see the ice smashing in the steel hull plates. The iceberg 
bumps and scrapes along the side of the ship. Rivets pop as the steel plate of 
the hull flexes under the load. 


138 IN #2 HOLD the two stewards stagger as the hull buckles in four feet with a 
sound like THUNDER. Like a sledgehammer beating along outside the ship, the berg 
splits the hull plates and the sea pour in, sweeping them off their feert. The 
icy water swirls around the Renault as the men scramble for the stairs. 


139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. He hears a 
sound like the greatly amplified squeal of a skate on ice. 


140 IN BOILER ROOM SIX Barret and Hesketh stagger as they hear the ROLLING 
THUNDER of the collision. They see the starboard side of the ship buckle in 
toward them and are almost swept off their feet by a rush of water coming in 
about two feet above the floor. 


141 ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up in 
astonishment as the berg sails past, blocking out the sky like a mountain. 
Fragments break off it and crash down onto the deck, and they have to jump back 
to avoid flying chunks of ice. 


142 ON THE BRIDGE Murdoch rings the watertight door alarm. He quicky throws the 
switch that closes them. 


MURDOCH 
Hard a 'port! 


Judging the berg to be amidships, he is trying to clear the stern. 


143 BARRETT AND HESKETH hear the DOOR ALARM and scramble through the swirling 
water to the watertight door between Boiler Rooms 6 and 5. The room is full of 
water vapor as the cold sea strikes the red hot furnaces. Barrett yells to the 
stokers scrambling through the door as it comes down like a slow guillotine. 


BARRETT 
Go Lads! Go! Go! 


He dives through into Boiler Room 5 just before the door rumbles down with a 
CLANG. 


144 JACK AND ROSE rush to the starboard rail in time to see the berg moving aft 
down the side of the ship. 


145 In his stateroom, surrounded by piles of plans while making notes in his 
ever-present book, Andrews looks up at the sound of a cut-crystal light fixture 
tinkling like a windchime. 


He feels the shudder run through the ship. And we see it in his face. Too much 
of his soul is in this great ship for him not to feel its mortal wound. 


146 IN THE FIRST CLASS SMOKING ROOM Gracie watches his highball vibrating on the 
table. 


147 IN THE PALM COURT, with its high arched windows, Molly Brown holds up her 
drink to a passing waiter. 


MOLLY 
Hey, can I get some ice here, please? 


Silently, a moving wall of ice fills the window behind her. She doesn't see it. 
It disappears astern. 


148 OMITTED 


149 IN THE CROW'S NEST Fleet turns to his Lee... 


FLEET 
Oy, mate... that was a close shave. 


LEE 
Smell ice, can you? Bleedin' Christ! 


CUT TO: 


150 INT. / EXT. BRIDGE 


CLOSE ON MURDOCH. The alarm bells still clatter mindlessly, seeming to reflect 
his inner state. He is in shock, unable to get a grip on what just happened. He 
just ran the biggest ship in history into an iceberg on its maiden voyage. 


MURDOCH 
(stiffly, to Moody) 
Note the time. Enter it in the log. 


Captain Smith rushes out of his cabin onto the bridge, tucking in his shirt. 


SMITH 
What was that, Mr. Murdoch? 


MURDOCH 
An iceberg, sir. I put her hard a' starboard and run the engines full astern, 
but it was too close. I tried to port around it, but she hi... and I-- 


SMITH 
Close the emergency doors. 


MURDOCH 
The doors are closed. 


Together they rush out onto the starboard wing, and Murdoch points. Smith looks 
into the darkness aft, then wheels around to FOURTH OFFICER BOHALL. 


SMITH 
Find the Carpenter and get him to sound the ship. 


CUT TO: 


151 INT. G-DECK FORWARD 


In steerage, Fabrizio comes out into the hall to see what's going on. He sees 
dozens of rats running toward him in the corridor, fleeing the flooding bow. 
Fabrizio jumps aside as the rats run by. 


FABRIZIO 
Ma-- che cazzo! 


152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and drops down 
to the floor. SPLASH!! 


TOMMMY 
Cor!! What in hell--?! 


He naps on the light. The floor is covered with 3 inches of freezing water, and 
more coming in. He pulls the door open, and steps out into the corridor, which 
is flooded. Fabrizio is running toward him, yelling something in Italian. Tommy 
and Fabrizio start pounding on doors, getting everybody up and out. The alarm 
spreads in several languages. 


CUT TO: 


153 INT. FIRST CLASS CORRIDOR / A-DECK 


A couple of people have come out into the corridor in robes and slippers. A 
STeWARD hurries along, reassuring them. 


WOMAN 
Why have the engines stopped? I felt a shudder? 


STEWARD #1 
I shouldn't worry, m'am. We've likely thrown a propeller blade, that's the 
shudder you felt. May I bring you anything? 


THOMAS ANDREWS brushes past them, walking fast and carrying an armload of rolled 
up ship's plans. 


CUT TO: 


154 EXT. FORWARD WELL DECK 


Jack and Rose are leaning over the starboard rail, looking at the hull of the 
ship. 


JACK 
Looks okay. I don't see anything. 


ROSE 
Could it have damaged the ship? 


JACK 
It didn't seem like much of a bump. I'm sure we're okay. 


Behind them a couple of steerage guys are kicking the ice around the deck, 
laughing. 


CUT TO: 


155 INT. STEERAGE FORWARD 


Fabrizio and Tommy are in a crowd of steerage men clogging the corridors, 
heading aft away from the flooding. Many of them have grabbed suitcases and 
duffel bags, some of which are soaked. 


TOMMY 
If this is the direction the rats were runnin', it's good enough for me. 


CUT TO: 


156 INT. CORRIDOR ON B DECK 


Bruce Ismay, dressed in pajamas under the topcoat, hurries down the corridor, 
headed for the bridge. An officious steward named BARNES comes along the other 
direction, getting the few concerned passengers back into their rooms. 


STEWARD BARNES 
There's no cause for alarm. Please, go back to your rooms. 


He is stopped in his tracks by Cal and Lovejoy. 


STEWARD BARNES 
Please, sir. There's no emergency-- 


CAL 
Yes there is, I have been robbed. Now get the Master at Arms. Now you moron! 


CUT TO: 


157 INT. BRIDGE / CHARTROOM 


C.U. CAPTAIN SMITH studying the commutator. 


He turns to Andrews, standing behind him. 


SMITH 
A five degree list in less than ten minutes. 


SHIP'S CARPENTER JOHN HUTCHINSON enters behind him, out of breath and clearly 
unnerved. 


HUTCHINSON 
She's making water fast... in the forepeak tank and the forward holds, in boiler 
room six. 


ISMAY enters, his movements quick with anger and frustration. Smith glances at 
him with annoyance. 


ISMAY 
Why have we stopped? 


SMITH 
We've struck ice. 


ISMAY 
Well, do you think the ship is seriously damaged? 


SMITH 
(glaring) 
Excuse me. 


Smith pushes past him, with Andrews and Hutchinson in tow. 


CUT TO: 


158 INT. BOILER ROOM 6 


Strokers and firemen are struggling to draw the fires. They are working in waist 
deep water churning around as it flows into the boiler room, ice cold and 
swirling with grease from the machinery. Chief Engineer Bell comes partway down 
the ladder and shouts. 


BELL 
That's it, lads. Get the hell up! 


They scramble up the escape ladders. 


CUT TO: 


159 EXT. B-DECK FORWARD / WELL DECK 


The gentlemen, now joined by another man, leans on the forward rail watching the 
steerage men playing soccer with chunks of ice. 


GENTLEMAN 
I guess it's nothing too serious. I'm going back to my cabin to read. 


A 20ish YALE MAN pops through the door wearing a topcoat over pajamas. 


YALEY 
Say, did I miss the fun? 


Rose and Jack come up the steps from the well deck, which are right next to the 
three men. They stare as the couple climbs over the locked gate. 


A moment later Captain Smith rounds the corner, followed by Andrews and 
Carpenter Hutchinson. They have come down from the bridge by the outside stairs. 
The three men, their faces grim, crush right past Jack and Rose. Andrews barely 
glances at her. 


SMITH 
Can you shore up? 


HUTCHINSON 
Not unless the pumps get ahead. 


The inspection party goes down the stairs to the well deck. 


JACK 
(low, to her) 
It's bad. 


ROSE 
We have to tell Mother and Cal. 


JACK 
Now it's worse. 


ROSE 
Come with me, Jack. I jump, you jump... Right? 


JACK 
Right. 


Jack follows Rose through the door inside the ship. 


CUT TO: 


160 INT. B-DECK FOYER / CORRIDOR 


Jack and Rose cross the foyer, entering the corridor. Lovejoy is waiting for 
them in the hall as they approach the room. 


LOVEJOY 
We've been looking for you miss. 


Lovejoy follows and, unseen, moves close behind Jack and smoothly slips the 
diamond necklace into the pocket of his overcoat. 


CUT TO: 


161 INT. ROSE AND CAL'S SUITE 


Cal and Ruth wait in the sitting room, along with the Master at Arms and two 
stewards (Steward #1 and Barnes). Silence as Rose and Jack enter. Ruth closes 
her robe at her throat when she sees Jack. 


ROSE 
Something serious has happened. 


CAL 
That's right. Two things dear to me have disappeared this evening. Now that one 
is back... 
(he looks from Rose to Jack) 
... I have a pretty good idea where to fine the other. 
(to Master at Arms) 
Search him. 


The Master at Arms steps up to Jack. 


MASTER AT ARMS 
Coat off, mate. 


Lovejoy pulls at Jack's coat and Jack shakes his head in dismay, shrugging out 
of it. The Master at Arms pats him down. 


JACK 
This is horseshit. 


ROSE 
Cal, you can't be serious! We're in the middle of an emergency and you-- 


Steward Barnes pulls the Heart of the Ocean out of the pocket of Jack's coat. 


STEWARD BARNES 
Is this it? 


Rose is stunned. Needless to say, so is Jack. 


CAL 
That's it. 


MASTER AT ARMS 
Right then. Now don't make a fuss. 


He starts to handcuff Jack. 


JACK 
Don't you believe it, Rose. Don't! 


ROSE 
(uncertain) 
He couldn't have. 




CAL 
Of course he could. Easy enough for a professional. He memorized the combination 
when you 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: 


162 INT. MAIL SORTING ROOM / HOLD 


Smith and Andrews come down the steps to the Mail Sorting Room and finds the 
clerks scrambling to pull mail from the racks. They are furiously hauling wet 
sacks of mail up from the hold below. 


Andrews climbs partway down the stairs to the hold, which is almost full. Sacks 
of mail float everywhere. The lights are still on below the surface, casting an 
eerie glow. The Renault is visible under the water, the brass glinting 
cheerfully. Andrews looks down as the water covers his shoe, and scrambles back 
up the stairs. 


CUT TO: 


163 INT. BRIDE / CHARTROOM 


Andrews unrolls a big drawing of the ship across the chartroom table. It is a 
side elevation, showing all the watertight bulkheads. His hands are shaking. 
Murdoch and Ismay hover behind Andrews and the Captain. 


ISMAY 
When can we get underway, do you think? 


Smith glares at him and turns his attention to Andrews' drawing. The builder 
points to it for emphasis as he talks. 


ANDREWS 
Water 14 feet above the keel in ten minutes... in the forepeak... in all three 
holds... and in boiler room six. 


SMITH 
That's right. 


ANDREWS 
Five compartments. She can stay afloat with the first four compartments 
breached. But not five. Not five. As she goes down by the head the water will 
spill over the tops of the bulkheads... at E Deck... from one to the next... 
back and back. There's no stopping it. 


SMITH 
The pumps-- 


ANDREWS 
The pumps buy you time... but minutes only. From this moment, no matter what we 
do, Titanic will founder. 


ISMAY 
But this ship can't sink! 


ANDREWS 
She is made of iron, sir. I assure you, she can. And she will. It is a 
mathematical certainty. 


Smith looks like he has been gutpunched. 


SMITH 
How much time? 


ANDREWS 
An hour, two at most. 


Ismay reels as his dream turns into his worst nightmare. 


SMITH 
And how many aboard, Mr. Murdoch? 


MURDOCH 
Two thousand two hundred souls aboard, sir. 


A long beat. Smith turns to his employer. 


SMITH 
I believe you may get your headlines, Mr. Ismay. 


CUT TO: 


164 EXT. BOAT DECK 


Andrews is striding along the boat deck, as seamen and officers scurry to 
uncover the boats. Steam is venting from pipes on the funnes overhead, and the 
din is horrendous. Speech is difficult adding to the crew's level of 
disorganization. Andrews sees some men fumbling with the mechanism of one of the 
Wellin davits and yells to them over the roar of steam. 


ANDREWS 
Turn to the right! Pull the falls taut before you unchock. Have you never had a 
boat drill? 


SEAMAN 
No sir! Not with these new davits, sir. 


He looks around, disguisted as the crew fumble with the davits, and the tackle 
for the "falls"... the ropes which are used to lower the boats. A few passengers 
are coming out on deck, hesitantly in the noise and bitter cold. 


CUT TO: 


165 INT. ROSE AND CAL'S SUITE 


From inside the sitting room they can hear knocking and voices in the corridor. 


RUTH 
I had better go dress. 


Ruth exits and Hockley crosses to Rose. He regards her coldly for a moment, then 
SLAPS her across the face. 


CAL 
It is a little slut, isn't it? 


To Rose the blow is inconsequential compared to the blow her heart has been 
given. Cal grabs her shoulders roughly. 


CAL 
Look at me, you little-- 


There is a loud knock on the door and an urgent voice. The door opens and their 
steward puts his head in. 


STEWARD BARNES 
Sir, I've been told to ask you to please put on your lifebelt, and come up to 
the boat deck. 


CAL 
Get out. We're busy. 


The steward persists, coming in to get the lifebelts down from the top of a 
dresser. 


STEWARD 
I'm sorry about the inconvenience, Mr. Hockley, but it's Captain's orders. 
Please dress warmly, it's quite cold tonight. 
(he hands a lifebelt to Rose) 
Not to worry, miss, I'm sure it's just a precaution. 


CAL 
This is ridiculous. 


In the corridor outside the stewards are being so polite and obsequious they are 
conveying no sense of danger whatsoever. However, it's another story in... 


CUT TO: 


166 INT. STEERAGE BERTHING AFT 


BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by a 
steward. The Cartmell family rouses from a sound sleep. 


STEWARD #2 
Everybody up. Let's go. Put your lifebelts on. 


IN THE CORRIDOR outside, another steward is going from door to door along the 
hall, pouncing and yelling. 


STEWARD #2 
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on... 


People come out of the doors behind the steward, perplexed. In the foreground a 
SYRIAN WOMAN asks her husband what was said. He shrugs. 


CUT TO: 


167 INT. WIRELESS ROOM 


ON PHILLIPS, looking shocked. 


PHILLIPS 
CQD, sir? 


SMITH 
That's right. The distress call. CQD. Tell whoever responds that we are going 
down by the head and need immediate assistance. 


Smith hurries out. 


PHILLIPS 
Blimey. 


BRIDE 
Maybe you ought to try that new distress call... S.O.S. 
(grinning) 
It may be our only chance to use it. 


Phillips laughs in spite of himself and starts sending history's first S.O.S. 
Dit dit dit, da da da, dit dit dit... over and over. 


CUT TO: 


168 EXT. BOAT DECK 


Thomas Andrews looks around in amazement. The deck is empty except for the crew 
fumbling with the davits. He yells over the roar of the steam to First Officer 
Murdoch. 


ANDREWS 
Where are all the passengers? 


MURDOCH 
They've all gone back inside. Too damn cold and noisy for them. 


Andrews feels like he is in a bad dream. He looks at his pocketwatch and heads 
for the foyer entrance. 


CUT TO: 


169 INT. A-DECK FOYER 


A large number of First Class passengers have gathered near the staircase. They 
are getting indignant about the confusion. Molly Brown snags a passing YOUNG 
STEWARD. 


MOLLY 
What's doing, sonny? You've got us all trussed up and now we're cooling our 
heels. 


The young steward backs away, actually stumbling on the stairs. 


YOUNG STEWARD 
Sorry, mum. Let me go and find out. 


The jumpy piano rhythm of "Alexander's Ragtime Band" comes out of the first 
class lounge a few yards away. Band leader WALLACE HARTLEY has assembled some of 
his men on Captain's orders, to allay panic. 


Hockley's entourage comes up to the A-deck foyer. Cal is carrying the lifebelts, 
almost as an afterthought. Rose is like a sleepwalker. 


CAL 
It's just the God damned English doing everything by the book. 


RUTH 
There's no need for language, Mr. Hockley. 
(to Trudy) 
Go back and turn the heater on in my room, so it won't be too cold when we get 
back. 


Thomas Andrews enters, looking around the magnificent room, which he knows is 
doomed. Rose, standing nearby, sees his heartbroken expression. She walks over 
to him and Cal goes after her. 


ROSE 
I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell me the 
truth. 


ANDREWS 
The ship will sink. 


ROSE 
You're certain? 


ANDREWS 
Yes. In an hour or so... all this... will be at the bottom of the Atlantic. 


CAL 
My God. 


Now it is Cal's turn to look stunned. The Titanic? Sinking? 


ANDREWS 
Please tell only who you must, I don't want to be responsible for a panic. And 
get to a boat quickly. Don't wait. You remember what I told you about the boats? 



ROSE 
Yes, I understand. 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: 


171 INT. BRIDGE 


Junior Wireless Operator Bride is relaying a message to Captain Smith from the 
CUNARD LINER CARPATHIA. 


BRIDE 
Carpathia says they're making 17 knots, full steam for them, sir. 


SMITH 
And she's the only one who's responding? 


BRIDE 
The only one close, sir. She says they can be here in four hours. 


SMITH 
Four hours! 


The enormity of it hits Smith like a sledgehammer blow. 


SMITH 
Thank you, Bride. 


He turns as Bride exits, and looks out onto the blackness. 


SMITH 
(to himself) 
My God. 


CUT TO: 


172 EXT. BOAT DECK - NIGHT 


Lightoller has his boats swung out. He is standing amidst a crowd of uncertain 
passengers in all states of dress and undress. One first class woman is 
barefoot. Others are in stockings. The maitre of the restaurant is in top hat 
and overcoat. Others are still in evening dress, while some are in bathrobes and 
kimonos. Women are wearing lifebelts over velvet gowns, then topping it with 
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: 


173 INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL 


It is chaos, with stewards pushing their way through narrow corridors clogged 
with peopel carrying suitcases, duffel bags, children. Some have lifebelts on, 
others don't. 


STEWARD #2 
(to Steward #3) 
I told the stupid sods no luggage. Aw, bloody hell! 


He throws up his hand at the sight of a family, loaded down with cases and bags, 
completely blocking the corridor. 


Fabrizio and Tommy push past the stewards, going the other way. They rech a huge 
crowd gathered at the bottom of the MAIN 3RD CLASS STAIRWELL. Fabrizio spots 
Helga with the rest of the Dahl family, standing patiently with suitcases in 
hand. He reaches her and she grins, hugging him. 


Tommy pushes to where he can see what's holding up the group. There is a steel 
gate across the top of the stairs, with several stewards and seamen on the other 
side. 


STEWARD 
Stay calm, please. It's not time to go up to the boats yet. 


Near Tommy, an IRISHWOMAN stands stoically with two small children and their 
battered luggage. 


LITTLE BOY 
What are we doing, mummy? 


WOMAN 
We're just waiting, dear. When they fiish putting First Class people in the 
boats, they'll be startin' with us, and we'll want to be all ready, won't we? 


CUT TO: 


174 EXT. STARBOARD SIDE 


Boat 7 is less than half full, with 28 aboard a boat made for 65. 


FIRST OFFICER MURDOCH 
Lower away! By the left and right together, stady lads! 


The boat lurches as the falls start to pay out through the pulley blocks. The 
women gasp. The boat descends, swaying and jerking, toward the water 60 feet 
below. The passengers are terrified. 


CUT TO: 


175 EXT. / INT. TITANIC HULL AND MASTER AT ARMS OFFICE 


TRACKING along the rows of portholes angling down into the water. Under the 
surface, they glow green. PUSHING IN on one porthole which is have submerged. 
Inside we see Jack, looking apprehensively at the water rising up the glass. 


INSIDE THE MASTER AT ARMS' OFFICE Jack sits chained to the waterpipe, next to 
the porthole. Lovejoy sits on the edge of a desk. He puts a .45 bullet on the 
desk and watches it roll across and fall off. He picks up the bullet. 


LOVEJOY 
You know... I believe this ship may sink. 
(crosses to Jack) 
I've been asked to give you this small token of our appreciation... 


He punches Jack hard in the stomach, knocking the wind out of him. 


LOVEJOY 
Compliments of Mr. Caledon Hockley. 


Lovejoy flips the handcuff key in the air, catches it and puts it in his pocket. 
He exits. Jack is left gasping, handcuffed to the pipe. 


CUT TO: 


176 EXT. BOAT DECK / STARBOARD SIDE, FORWARD 


At the stairwell rail on the bridge wing, Fourth Officer Boxhall and 
Quartermaster Rowe light the first distress rocket. It shoots into the sky and 
EXPLODES with a thunderclap over the ship, sending out white starbursts which 
light up the entire deck as they fall. 


WHIP PAN off the starbursts to Ismay. The Managing Director of White Star Line 
is cracking. Already at the breaking point from his immense guilt, the rocket 
panics him. He starts shouting at the officers struggling with the falls of BOAT 
5. 


ISMAY 
There is no time to waste! 
(yelling and waving his arms) 
Lower away! Lower away! Lower away! 


FIFTH OFFICER LOWE, a baby-faced 28, and the youngest officer, looks up from the 
tangled falls at the madman. 


LOWE 
Get out of the way, you fool! 


ISMAY 
Do you know who I am? 


Lowe, not having a clue nor caring, squares up to Ismay. 


LOWE 
You're a passenger. And I'm a ship's bloody officer. Now do what you're told! 
(MORE) 
LOWE (CONT'D) 
(turning away) 
Steady men! Stand by the falls! 


ISMAY 
(numbly, backing away) 
Yes, quite right. Sorry. 


CUT TO: 


177 EXT. BOAT DECK / PORT SIDE 


SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose... Boat 6. 


LIGHTOLLER 
Women and children only! Sorry sir, no men yet. 


Another rocket bursts overhead, lighting the crowd. Startled faces turn upward. 
Fear now in the eyes. 


DANIEL MARVIN has his Biograph camera set up, cranking away... hoping to get an 
exposure off the rocket's light. he has Mary posed in front of the scene at the 
boats. 


MARVIN 
You're afraid, darling. Scared to death. That's it! 


Either she suddenly learned to act or she is petrified. 


ROSE watches the farewells taking pace right in front of her as they step closer 
to the boat. Husbands saying goodbye to wives and children. Lovers and friends 
parted. Nearby MOLLY is getting a reluctant woman to board the boat. 


MOLLY 
Come on, you heard the man. Get in the boat, sister. 


RUTH 
Will the lifeboats be seated according to class? I hope they're not too 
crowded-- 


ROSE 
Oh, Mother shut up! 
(Ruth freezes, mouth open) 
Don't you understand? The water is freezing and there aren't enough boats... not 
enough by half. Half the people on this ship are going to die. 


CAL 
Not the better half. 


PUSH IN ON ROSE'S FACE as it hits her like a thunderbolt. Jack is third class. 
He doesn't stand a chance. Another rocket bursts overhead, bathing her face in 
white light. 


ROSE 
You unimaginable bastard. 


MOLLY 
Come on, Ruth, get in the boat. These are the first class seats right up here. 
That's it. 


Molly practically hands her over to Lightoller, then looks around for some other 
women who might need a push. 


MOLLY 
Come on, Rose. You're next, darlin'. 


Rose steps back, shaking her head. 


RUTH 
Rose, get in the boat! 


ROSE 
Goodbye, mother. 


Ruth, standing in the tippy lifeboat, can do nothing. Cal grabs Rose's arm but 
she pulls free and walks away through the crowd. Cal catches up to Rose and 
grabs her again, roughly. 


CAL 
Where are you going? To him? Is that it? To be a whore to that gutter rat? 


ROSE 
I'd rather be his whore than your wife. 


He clenches his jaw and squeezes her arm viciously, pulling her back toward the 
lifeboat. Rose pulls out a hairpin and jabs him with it. he lets go with a curse 
and she runs into the crowd. 


LIGHTOLLER 
Lower away!! 


RUTH 
Rose! ROSE!! 


MOLLY 
Stuff a sock in it, would ya, Ruth. She'll be along. 


The boat lurches downward as the falls are paid out. 


TRACKING WITH ROSE, as she runs through the clusters of people. She looks back 
and a furious Cal is coming after her. She runs breathlessly up to two proper 
looking men. 


ROSE 
That man tried to take advantage of me in the crowd! 


Appalled, they turn to see Cal running toward them. Rose runs on as the two men 
grab Cal, restraining him. She runs 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: 


178 INT. BOAT DECK FOYER / STAIRCASE / A-DECK FOYER 


Cal runs in, and down to the landing, pushing past the gentlemen and ladies who 
are filling up the stairs. He scans the A-deck foyer. Rose is gone. 


CUT TO: 


179 EXT. OCEAN / TITANIC / BOAT 6 


The hull of Titanic looms over Boat 6 like a cliff. Its enormous mass is 
suddenly threatening to those in the tiny boat. Quartermaster Hitchins, at the 
tiller, wants nothing but to get away from the ship. Unfortunately his two 
seamen can't row. They flail like a duck with a broken wing. 


HITCHINS 
Keep pulling... away from the ship. Pull. 


MOLLY 
Ain't you boys ever rowed before? Here, gimme those oars. I'll show ya how it's 
done. 


She climbs over Ruth to get at the oars, stepping on her feet. 


Around them the evacuation is in full swing, with boats in the water, others 
being lowered. 


CUT TO: 


180 INT. MASTER AT ARMS OFFICE / CORRIDOR 


Jack pulls on the pipe with all his strength. It's not budging. He hears 
gurgling sound. Water pours under the door, spreading rapidly across the floor. 


JACK 
Shit. 


He tries to pull one hand out of the cuffs, working until the skin is raw... no 
good. 


JACK 
Help!! Somebody!! Can anybody hear me?! 
(to himself) 
This could be bad. 


181 THE CORRIDOR outside is deserted. Flooded a couple of inches deep. Jack's 
voice comes faintly through the door, but there is no one to hear it. 


CUT TO: 


182 INT. FIRST CLASS CORRIDOR 


Thomas Andrews is opening stateroom doors, checking that people are out. 


ANDREWS 
Anyone in here? 


Rose runs up to him, breathless. 


ROSE 
Mr. Andrews, thank God! Where would the Master at Arms take someone under 
arrest?! 


ANDREWS 
What? You have to get to a boat right away! 


ROSE 
No! I'll do this with or without your help, sir. But without will take longer. 


ANDREWS 
(beat) 
Take the elevator to the very bottom, go left, down the crewman's passage, then 
make a right. 


ROSE 
Bottom, left, right. I have it. 


ANDREWS 
Hurry, Rose. 


CUT TO: 


183 INT. FOYER / ELEVATORS 


Rose runs up as the last Elecator Operator is closing up his lift to leave. 


OPERATOR 
Sorry, miss, lifts are closed-- 


Without thinking she grabs him and shoves him back into the lift. 


ROSE 
I'm through with being polite, goddamnit!! I may never be polite the rest of my 
life! Now take me down!! 


The operator fumbles to close the gate and start the lift. 


CUT TO: 


184 EXT. OCEAN / BOAT 6 


Molly and the two seamen are rowing, and they've made it a hundret feet or so. 
Enough to see that the ship is angled down into the water, with the bow rail 
less than ten feet above the surface. 


MOLLY 
Come on girls, join in, it'll keep ya warm. Let's go Ruth. Grab an oar! 


Ruth just stares at the spectacle of the great liner, its rows of lights 
blazing, slanting down into the sullen black mirror of the Atlanic. 


CUT TO: 


185 INT. FIRST CLASS ELEVATOR / CORRIDORS 


Through the wrought iron door of the elevator car Rose can see the decks going 
past. The lift slows. Suddenly ICE WATER is swirling around her legs. She 
SCREAMS in surprise. So does the operator. 


The car has landed in a foot of freezing water, shocking the hell out of her. 
She claws the door open and splashes out, hiking up her floor-length skirt so 
she can move. The lift goes back up, behind her, as she looks around. 


ROSE 
Left, crew passage. 


She spots it and slogs down the flooded corridor. The place is understandably 
deserted. She is on her own. 


ROSE 
Right, right... right. 


She turns into a cross-corridor, splashing down the hall. A row of doors on each 
side. 


ROSE 
Jack? Jaaacckk?? 


CUT TO: 


186 INT. MASTER AT ARMS OFFICE / CORRIDOR 


Jack is hopelessly pulling on the pipe again, straining until he turns red. He 
collapses back on the bench. realizing he's screwed. Then he hears her through 
the door. 


JACK 
ROSE!! In here! 


187 IN THE HALL Rose hears his voice behind her. She spins and runs back, 
locating the right door, then pushes it open, creating a small wave. 


She splashes over Jack and puts her arms around him. 


ROSE 
Jack, Jack, Jack... I'm sorry, I'm so sorry. 


They are so happy to see each other it's embarrassing. 


JACK 
That guy Lovejoy put it in my pocket. 


ROSE 
I know, I know. 


JACK 
See if you can find a key for these. Try those drawers. It's a little brass one. 



She kisses his face and hugs him again, then starts to go through the desk. 


JACK 
So... how did you find out I didn't do it? 


ROSE 
I didn't. 
(she looks at him) 
I just realized I already knew. 


They share a look, then she goes back to ransacking the room, searching drawers 
and cupboards. Jack sees movement out the porthole and looks out. 


A LIFEBOAT hits the surface of the water, seen from below. 


CUT TO: 


188 EXT. TITANIC / BOAT ONE 


While the seamen detach the falls, Boat One rocks next to the hull. Lucile and 
Sir Cosmo Duff-Gordon sit with ten others in a boat made for four times that 
many. 


LUCILE 
I despise small boats. I just know I'm going to be seasick. I always get seasick 
in small boats. Good Heavens, there's a man down there. 


In a lit porthole beneath the surface she sees Jack looking up at her... a face 
in a bubble of light under the water. 


CUT TO: 


189 INT. MASTER AT ARMS OFFICE 


Rose stops trashing the room, and stands there, breathing hard. 


ROSE 
There's no key in here. 


They look around at the water, now almost two feet deep. Jack has pulled his 
feet up onto the bench. 


JACK 
You have to go for help. 


ROSE 
(nodding) 
I'll be right back. 


JACK 
I'll wait here. 


She runs out, looking back at him once from the doorway, then splashes away. 
Jack looks down at the swirling water. 


CUT TO: 


190 INT. STAIRWELL AND CORRIDORS 


Rose splashes down the hall to a stairwell going up to the next deck. She climbs 
the stairs, her long skirt leaving a trail like a giant snail. The weight of it 
is really slowing her down. She rips at the buttons and shimmies quickly out of 
the thing. She bounds up the stairs in her stockings and knee-length slip, to 
find herself in-- 


191 A LONG CORRIDOR... part of the labyrinth of steerage hallways forward. She 
is alone here. A long groan of stressing metal echoes along the hall as the ship 
continues to settle. She runs down the hall, unimpeded now. 


ROSE 
Hello? Somebody?! 


She turns a corner and runs along another corridor in a daze. The hall slopes 
down into water which, shimmers, reflecting the light. The margin of the water 
creeps toward her. A YOUNG MAN appears, running through the water, sending up 
geysers of spray. He pelts past her without slowing, his eyes crazed... 


ROSE 
Help me! We need help! 


He doesn't look back. It is like a bad dream. The hull gongs with terrifying 
sounds. 


The lights flicker and go out, leaving utter darkness. A beat. Then they come 
back on. She finds herself hyperventilating. That one moment of blackness was 
the most terrifying of her life. 


A STEWARD runs around the nearest corner, his arms full of lifebelts. He is 
upset to see someone still in his section. He grabs her forcefully by the arm, 
pulling her with him like a wayward child. 


STEWARD 
Come on, then, let's get you topside, miss, that's right. 


ROSE 
Wait. Wait! I need your help! There's-- 


STEWARD 
No need for panic, miss. Come along! 


ROSE 
No, let me go! You're going the wrong way! 


He's not listening. And he won't let her go. 


She SHOUTS in his ear, and when he turns, she punches him squarely in the nose. 
Shocked, he lets her go and staggers back. 


STEWARD 
To Hell with you! 


ROSE 
See you there, buster! 


The steward runs off, holding his bloody nose. She spits after him. Just the way 
Jack taugh: her. 


She turns around, SEES: a glass case with a fire-axe in it. She breaks the glass 
with a battered suitcase which is lying discarded nearby, and seizes the axe, 
running back the way she came. 


192 AT THE STAIRWELL she looks down and gasps. The water has flooded the bottom 
five steps. She goes down and has to crouch to look along the corridor to the 
room where Jack is trapped. 


Rose plunges into the water, which is up to her waist... and powers forward, 
holding the axe above her head in two hands. She grimaces at the pain from the 
literally freezing water. 


CUT TO: 


193 INT. MASTER AT ARMS OFFICE 


Jack has climbed up on the bench, and is hugging the waterpipe. Rose wades in, 
holding the axe above her head. 


ROSE 
Will this work? 


JACK 
We'll find out. 


They are both terrified, but trying to keep panic at bay. He positions the chain 
connecting the two cuffs, stretching it taut across the steel pipe. The chain is 
of course very short, and his exposed wrists are on either side of it. 


JACK 
Try a couple practice swings. 


Rose hefts the axe and thunks it into a wooden cabinet. 


JACK 
Now try to hit the same mark again. 


She swings hard and the blade thunks in four inches from the mark. 


JACK 
Okay, that's enough practice. 


He winces, bracing himself as she raises the axe. She has to hit a target about 
an inch wide with all the foce she can muster, with his hands on either side. 


JACK 
(sounding calm) 
You can do it, Rose. Hit it as hard as you can, I trust you. 


Jack closes his eyes. So does she. 


The axe comes down. K-WHANG! Rose gingerly opens her eyes looks... Jack is 
grinning with two separate cuffs. 


Rose drops the axe, all the strength going out of her. 


JACK 
Nice work, there, Paul Bunyan. 


He climbs down into the water next to her. He can't breathe for a second. 


JACK 
Shit! Excuse my French. Ow ow ow, that is cold! Come on, let's go. 


They wade out into the hall. Rose starts toward the stiars going up, but Jack 
stops her. There is only about a foot of the stairwell opening visible. 


JACK 
Too deep. We gotta find another way out. 


CUT TO: 


194 EXT. BOAT 6 AND TITANIC 


TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomed 
steamer. Once 50 feet above the waterline, they now quietly slip below the 
surface. We see them, gold on black, rippling and dimming to a pale green as 
they go deeper. 


195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight of the 
dying liner. The bowsprit is now barely above the waterline. Another of 
Boxhall's rockets EXPLODES overhead. K-BOOM! It lights up the whole area, and we 
see half a dozen boats in the water, spreading out from the ship. 


MOLLY 
Now there's somethin' you don't see every day. 


CUT TO: 


196 INT. SCOTLAND ROAD / E-DECK 


The widest passageway in the ship, it is used by crew and steerage alike, and 
runs almost the length of the ship. Right now steerage passengers move along it 
like refugees, heading aft. 


CRASH! A wooden doorframe splinters and the door bursts open under the force of 
Jack's shoulder. Jack and Rose stumble through, into the corridor. A STEWARD, 
who was nearby herding people along, marches over. 


STEWARD 
Here you! You'll have to pay for that, you know. That's White Star Line 
property-- 


JACK AND ROSE 
(turning together) 
Shutup! 


Jack leads her past the dumbfounded steward. They join the steerage stragglers 
going aft. In places the corridor is almost completely blocked by large families 
carrying all their luggage. 


AN IRISH WOMAN gives Rose a blanket, more for modesty than because she is 
blue-lipped and shivering. 


IRISHWOMAN 
Here, lass, cover yerself. 


Jack rubs her arms and tries to warm her up as they walk along. The woman's 
husband offers them a flask of whiskey. 


IRISHMAN 
This'll take the chill off. 


Rose takes a mighty belt and hands it to Jack. He grins and follows suit. Jack 
tries a number of DOORS and IRON GATES along the way, finding them all locked. 


CUT TO: 


197 EXT. BOAT DECK 


ON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9, 11, 
13 and 15 on the starboard side, and 10, 12, 14 and 16 on the port side. The 
pace of work is more frantic. You see crew and officers running now to work the 
davits, their previous complacency gone. 


CAL pushes through the crowd, scanning for Rose. Around him is chaos and 
confusion. A woman is calling for a child who has become 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!! 


CUT TO: 


198 EXT. BRIDGE / FORWARD WELL DECK / FOC'SLE 


AT THE BOW... the place where Jack and Rose first kissed... the bow railing goes 
under water water. Water swirls around the captsans and windlasses on the 
foc'sle deck. 


Smith strides to the bridge rail and looks down at the well deck. Water is 
shipped over the sides and the well deck is awash. Two men run across the deck, 
their feet sending up spray. Behind Smith, Boxhall fires another rocket. WHOOSH! 



CUT TO: 


199 OMITTED 


200 OMITTED 


201 INT. E-DECK CORRIDORS AND STAIRWELL 


Fabrizio, standing with Helga Dahl and her family, hears Jack's voice. 


JACK 
Fabrizio! Fabri! 


Fabrizio turns and sees Jack and Rose pushing through the crowd. He and Jack hug 
like brothers. 


FABRIZIO 
The boats are all going. 


JACK 
We gotta get up there or we're gonna be gargling saltwater. Where's Tommy? 


Fabrizio points over the heads of the solidly packed crowd to the stairwell. 


Tommy has his hands on the bars of the steel gate which blocks the head of the 
stairwell. The crew open the gate a foot or so and a few women are squeezing 
through. 


STEWARD #2 
Women only. No men. No men!! 


But some terrified men, not understanding English, try to rush through the gap, 
forcing the gate open. The crewmen and stewards push them back, shoving and 
punching them. 


STEWARD #2 
Get back! Get back you lot! 
(to the crewmen) 
Lock it!! 


They struggle to get the gate closed again, while Steward #2 brandishes a small 
revolver. Another holds a fire axe. They lock the gate, and a cry goes up among 
the crowd, who surge forward, pounding against the steel and shouting in several 
languages. 


TOMMY 
For the love of God, man, there are children down here! Let us up, so we can 
have a chance! 


But the crewmen are scared now. They have let the situation get out of hand, and 
now they have a mob. Tommy gives up and pushes his way back through the crowd, 
going down the stairs. He rejoins Jack, Rose and Fabrizio. 


TOMMY 
It's hopeless that way. 


JACK 
Well, whatever we're goin' to do, we better do it fast. 


Fabrizio turns to Helga, praying he can make himself understood. 


FABRIZIO 
(with a lot of hand gestures) 
Everyone... all of you... come with me now. We go to the boats. We go to the 
boats. Capito? Come now! 


They can't understand what he's saying. They can see his urgency, but OLUF DAHL, 
the patriarch of the family, shakes his head. He will not panic, and will not 
let his family go with this boy. Fabrizio turns to Helga. 


FABRIZIO 
Helga... per favore... please... come with me, I am lucky. Is my destiny to go 
to America. 


She kisses him, then steps back to be with her family. Jack lays a hand on his 
shoulder, his eyes saying "Let's go". 


FABRIZIO 
I will never forget you. 


He turns to Jack, who leads the way out of the crowd. Looking back Fabrizio sees 
her face disappear into the crowd. 


CUT TO: 


202 OMITTED 


203 OMITTED 


204 INT. CAL AND ROSE'S SUITE 


CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pulls out 
two stacks of bills, still banded by bank wrappers. Then he takes out "Heart of 
the Ocean", putting it in the pocket of his overcoat, and locks the safe. 


CAL 
(holding up stacks of bills) 
I make my own luck. 


LOVEJOY 
(putting the .45 in his waistband) 
So do I. 


Cal grins, putting the money in his pocket as they go out. 


CUT TO: 


205 INT. STEERAGE, AFT 


Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They push past 
confused passengers... past a mother changing her baby's diaper on top of an 
upturned steamer trunk... past a woman arguing heatedly with a man in 
Serbo-Croatian, a wailing child next to them... past a man kneeling to console a 
woman who is just sitting on the floor, sobbing... and past another man with an 
English/Arabic dictionary, trying to figure out what the signs mean, while his 
wife and children wait patiently. 


Jack et al come upon a narrow stairwell and they go up two decks before they are 
stopped by a small group pressed up against a steel gate. The steerage men are 
yelling at a scared STEWARD. 


STEWARD 
Go to the main stairwell, with everyone else. It'll all get sorted out there. 


Jack takes one look at this scene and finally just loses it. 


JACK 
God damn it to Hell son of a bitch!! 


He grabs one end of a bench bolted to the floor on the landing. He starts 
pulling on it, and Tommy and Fabrizio pitch in until the bolts shear and it 
breaks free. Rose figures out what they are doing and clears a path up the 
stairs between the waiting people. 


ROSE 
Move aside! Quickly, move aside! 


Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE with all 
their strength. It rips loose from its track and falls outward, narrowly mssing 
the steward. Led by Jack, the crowd surges though. Rose steps up to the cowering 
steward and says in her most imperious tone: 


ROSE 
If you have any intention of keeping your pathetic job 
(MORE) 
ROSE (CONT'D) 
with the White Star Line, I suggest you escort these good people to the boat 
deck... now. 


Class wins out. He nods dumbly motions form them to follow. 


CUT TO: 


206 EXT. BOAT 6 / TITANIC - NIGHT 


Ruth rows with Molly Brown, two other women and the incompetent sailors. She 
rests on her oars, exhausted, and looks back at the ship. 


It slants down into the water, still ablaze with light. Nothing is above water 
forward of the bridge except for the foremast. Another rocket goes off, lighting 
up the entire area... there are a dozen boats moving outward from the ship. 


207 AT THE BOAT DECK RAIL Captain Smith is shouting to Boat 6 through a large 
metal megaphone. 


SMITH 
Come back! Come back to the ship! 


CHIEF OFFICER WILDE joins him, blowing his silver whistle. 


208 FROM BOAT 6 the whistle comes shrilly across the water. Quartermaster 
Hitchins grips the rudder in fear. 


HITCHINS 
The suction will pull us right down if we don't keep going. 


MOLLY 
We got room for lots more. I say we go back. 


HITCHINS 
No! It's our lives now, not theirs. And I'm in charge of this boat! Now row!! 


209 CAPTAIN SMITH, at the rail of the boat deck, lowers his megaphone slowly 


SMITH 
The fools. 


CUT TO: 


210 INT. A-DECK FOYER 


As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and his valet, 
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: 


213 EXT. BOAT DECK AND A-DECK, AFT 


PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a mix 
of all three classes. Officers repeatedly warn men back from the boats. The 
crowd presses in closer. 


Seamen SCAROTT brandishes the tiller of boat 14 to discourage a close press of 
men who look ready to rush the boat. Several men break ranks and rush forward. 


Lightoller pulls out his Webley revolver and aims it at them. 


LIGHTOLLER 
Get back! Keep order! 


The men back down. Fifth Officer Lowe standing in the boat, yells to the crew. 


LOWE 
Lower away left and right! 


Lightoller turns away from the crowd and, out of their sight, breaks his pistol 
open. Letting out a long breath, he starts to LOAD IT. 


CUT TO: 


214 EXT. BOAT DECK, STARBOARD SIDE, AFT 


Cal and Lovejoy arrive in time to see Murdoch lowering his last boat. 


CAL 
We're too late. 


LOVEJOY 
There are still some boats forward. Stay with this one... Murdoch. He seems to 
be quite... practical. 


215 IN THE WATER BELOW there is another panic. Boat 13, already in the water but 
still attached to its falls, is pushed aft by the discharge water being pumped 
out of the ship. It winds up directly under boat 15, which is coming 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: 


216 EXT. BOAT DECK / A-DECK, PORT, AFT 


Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch of men 
threatening to jump into the boat as it passes the open promenade on A-Deck. 


LOWE 
Stay back you lot! 


BLAM! BLAM! 


CUT TO: 


217 EXT. BOAT DECK, STARBOARD, AFT 


The shots echo away. 


CAL 
It's starting to fall apart. We don't have much time. 


Cal sees three dogs run by, including the black French bulldog. Someone has 
released the pets from the kennels. 


Cal sees Murdoch turn from the davits of boat 15 and start walking toward the 
bow. He catches up and falls in beside him. 




CAL 
Mr. Murdoch, I'm a businessman, as you know, and I have a business proposition 
for you. 


CUT TO: 


218 OMITTED 


219 EXT. BOAT DECK, PORT 


Jack, Rose et al burst out onto the boat deck from the crew stairs just aft of 
the third funnel. They look at the empty davits. 


ROSE 
The boats are gone! 


She sees Colonel Gracie chugging forward along the deck, escorting two first 
class ladies. 


ROSE 
Colonel! Are there any boats left? 


GRACIE 
(staring at her bedraggled state) 
Yes, miss... there are still a couple of boats all the way forward. This way, 
I'll lead you! 


Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizio close 
behind. 


ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and the 
others run by. 


TOMMY 
Music to drown by. Now I know I'm in First Class. 


CUT TO: 


220 EXT. BOAT DECK, STARBOARD, FORWARD 


Water pours like a spillway over the forward railing on B-Deck. CAMERA SWEEPS UP 
past A-Deck to the Boat Deck where Murdoch and his team are loading Collapsible 
Car the forward-most davits. 


NOTE: There are four so-called collapsibles, or Engelhardts boats, including two 
which are stored on the roof of the officer's quarters. 


The crowd is sparse, with most people still aft. Cal slips his hand out of 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: 


225 INT. DINING SALOON 


Lovejoy moves among the tables and ornate columns, searching... listening... his 
eyes tracking rapidly. It is a sea of tables, and they could be anywhere. A 
silver serving tolley rolls downhill, bumping into tables and pillars. 


He glances behind him. The water is following him into the room, advancing in a 
hundred foot wide tide. The reception room is now a roiling lake, and the grand 
staircase is submerged past the first landing. Monstrous groans echo through the 
ship. 


ON JACK AND ROSE, crouched behind a table, somewhere in the middle. They see the 
water advancing toward them, swirling over the floor. They crawl ahead of it to 
the next row of tables. 


JACK 
(whispering) 
Stay here. 


He moves off as-- 


Lovejoy moves over one row and looks along the tables. Nothing. 


The ship GROANS and CREAKS. He moves another row. 


ANGLE ON A METAL CART... five feet tall and full of stacks of china dishes. It 
starts to roll down the aisle between tables. 


ON ROSE as the cart rolls toward her. It hits a table and the stacks of dishes 
topple out, EXPLODING across the floor and showering her. 


She scrambles out of the way and-- 


Lovejoy spins, seeing her. He moves rapidly toward her, keeping the gun aimed-- 


That's when Jack tackles him from the side. They slam together into a table, 
crashing over it, and toppling to the floor. They land in the water which is 
flowing rapidly between the tables. 


Jack and Lovejoy grapple in the icy water. Jack jams his knee down on Lovejoy's 
hand, breaking his grip on the pistol, and kicks it away. Lovejoy scrmbles up 
and lunges at him, but Jack GUTPUCHES him right in the solar plexus, doubling 
him over. 


JACK 
Compliments of the Chippewa Falls Dawsons. 


He grabs Lovejoy and slams him into an ornate columb. Lovejoy drops to the floor 
with a splas, stunned. 


JACK 
Let's go. 


Jack and Rose run aft... uphill... entering the galley. Behind them the tables 
have become islands in a lake... and the far end of the room is flooded up to 
the ceiling. 


Lovejoy gets up and looks around for his gun. He pulls it up out of the water 
and wades after them. 


CUT TO: 


226 INT. GALLEY / STAIRWELL 


They run throught the galley and Rose spots the stairs. She starts up and Jack 
grabs her hand. He leads her DOWN. 


They crouch together on the landing as Lovejoy runs to the stairs. Assuming they 
have gone up (who wouldn't?) he clombs up them two at a time. 


They wait for the footstep to recede. A long CREAKING GROAN. Then they hear 
it... a CRYING CHILD. Below them. They go down a frew steps to looks along the 
next deck. 


CUT TO: 


227 INT. E-DECK CORRIDORS 


The corridor is awash, about a foot deep. Standing against the wall, about 50 
feet away, is a little BOY, aobut 3. The water swirls around his legs and he is 
wailing. 


ROSE 
We can't leave him. 


Jack nods and they leave the promise of escape up the stairwell to run to the 
child. Jack scoops up the kid and they run back to the stairs but-- 


A torrent of water comes pouring down the stairs like rapids. In seconds it is 
too powerful for them to go against. 


JACK 
Come on. 


Charging the other way down the flooding corridor, they blast up spray with each 
footstep. At the end of the hall are heavy double doors. As Jack approaches them 
he sees water spraying through the gap between the doors right up to the 
ceiling. The doors groan and start to crack under the tons of pressure. 


JACK 
Back! Go back!! 


Rose pivots and runs back the way they came, taking a turn into a 
cross-corridor. A MAN is coming the other way. He sees the boy in Jack's arms 
and cries out, grabbing him away from Jack. Starts cursing him in Russian. He 
runs on with the boy-- 


ROSE 
No! Not that way! Come back! 


228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor. The 
father and child DISAPPEAR instantly. 


Jack and Rose run as a wave blasts around the corner, foaming from floor to 
ceiling. It gains on them like a locomotive. They make it to a stairway going 
up. 


CUT TO: 


229 INT. STAIRWELL 


Jack and Rose pound up the steps as white water swirls up behind them. PULL BACK 
to reveal that a steel gate blocks the top of the stairs. Jack SLAMS against the 
fate, gripping the bars. 


A terrified steward standing guard on the landing above turns to run at the 
sight of the water thundering up the stairs. 


JACK 
Wait! Wait! Help us! Unlock the gate. 


The steward runs on. The water wells up around Jack and Rose, pouring through 
the gate and slamming them against it. In seconds it is up to their waist. 


ROSE 
Help us! Please! 


The steward stops and looks back. He sees Jack and Rose at the gate, their arms 
raching through... sees the water POURING through the gate onto the landing. 


STEWARD 
Fucking 'ell! 


He runs back, slogging against the curretn. He pulls a key ring from his belt 
and struggles to unlock the padlock as the water fountains up around them. 


The lights short out and the landing is plunged into darkness. 


The water rises over the lock and he's doing it by feel. 


JACK 
Come on! Come on! 


Jack and Rose are right up against the ceiling... 


Suddenly the gate gives and SWINGS OPEN. They are pushing through by the force 
of the water. They make it to stairs on the other side of the landing and follow 
the steward up to the next deck. 


CUT TO: 


230 EXT. BOAT DECK, STARBOARD SIDE 


Cal comes reeling out of the first class entrance, looking wild-eyed. The 
lurches down the deck toward the bridge. Waltz music wafts over the ship. 
Somewhere the band is still playing. 


CAL'S POV: A little girl, maybe two years old, is crying along in the alcove. 
She looks up at Cal beseechingly. Cal moves on without a glance back... reaching 
a large crowd clustered around COLLAPSIBLE A just aft of the bridge. He sees 
Murdoch and a number of crewmen struggling to drag the boat to the davits, with 
no luck. 


Cal pushes forward, trying to signal Murdoch, but the officer ignores him. 
Nearby Tommy and Fabrizio are being pushed forward by the crowd behind. PURSER 
MCELROY pushes them back, getting a couple of seamen to help him. He brandishes 
his gun, waving it in the air, yelling for the crowd to stay back. 


CUT TO: 


231 EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS' QUARTERS 


Lightoller, with a group of crew and passengers, is trying to get Collapsible B 
down from the roof. They slide it down a pair of oars leaned against the deck 
house. 


LIGHTOLLER 
Hold it! Hold it! 


The weight of the boat snaps the oars and it crashes to the deck, upside down. 
The two Swedish cousins, OLAUS and BJORN GUNERSEN, jump back as the boat nearly 
hits them. 


CUT TO: 


232 OMITTED 


233 INT. STAIRWELL 


Jack and Rose run up seemingly endless stairs as the ship groans and torgues 
around them. 


CUT TO: 


234 EXT. BOAT DECK, STARBOARD SIDE 


Murdoch, at Collapsible A, is no longer in control. The crowd is threatening to 
rush the boat. They push and jostle, yelling and shouting at the officers. The 
pressure from behind pushes them forward, and one guy falls off the edge of the 
deck into the water less than ten feet below. 


TOMMY 
Give us a chance to live, you limey bastards! 


Murdoch fires his Webley twice in the air, then point it at the crowd. 


MURDOCH 
I'll shoot any man who tries to get past me. 


Cal steps up to him. 


CAL 
We had a deal, damn you. 


Murdoch pushes him back, pointing the pistol at Cal. 


MURDOCH 
Get back! 


A man next to Tommy rushes forward, and Tommy is shoved from behind. Murdoch 
SHOOTS the first man, and seeing Tommy coming forward, puts a bullet into his 
chest. 


Tommy collapses, and Fabrizio grabs him, holding him in his arms as his life 
flows out over the deck. 


Murdoch turns to his men and salutes smartly. Then he puts the pistol to his 
temple and... BLAM! He drops like a puppet with the strings cut and topples over 
the edge of the boat deck into the water only a few feet below. 


Cal stares in horror at Murdoch's body bobbing in the black water. The MONEY 
FLOATS out of the pocket of his greatcoat, the bills spreading across the 
surface. 


The crew rush to get the last few women 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. 


CUT TO: 


235 INT. FIRST CLASS SMOKE ROOM 


Thomas Andrews stands in front of the fireplace, staring at the large painting 
above the mantle. The fire is still going in the fireplace. 


The room is empty except for Andrews. An ashtray falls off the table. Behind him 
Jack and Rose run into the room, out of breath and soaked. They run through, 
toward the aft revolving door... then Rose recognizes him. She sees that his 
lifebelt is off, lying on a table. 


ROSE 
Won't you even make a try for it, Mr. Andrews? 


ANDREWS 
(a tear rolls down his cheek) 
I'm sorry that I didn't build you a stronger ship, young Rose. 


JACK 
(to her) 
It's going fast... we've got to keep moving. 


Andrews picks up his lifebelt and hands it to her. 


ANDREWS 
Good luck to you, Rose. 


ROSE 
(hugging him) 
And to you, Mr. Andrews. 


Jack pulls her away and they run through the revolving door. 


CUT TO: 


236 EXT. BOAT DECK AND VARIOUS LOCATIONS 


The band finishes the waltz. Wallace Hartley looks at the orchestra members. 


HARTLEY 
Right, that's it then. 


They leave him, walking forward along the deck. Hartley puts his violin to his 
chin and bows the first notes of "Nearer My God to Thee". One by one the band 
memebers turn, hearing the lonely melody. 


Without a word they walk back and take their places. They join in with Hartley, 
filling out the sound so that it reaches all over the ship on this still night. 
The vocalist begins: "If in my dreams I be, nearer my God to thee..." 


THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE: 


237 A seaman pulls off his lifebelt and catches up to Captain Smith as he walks 
to the bridge. He proffers it, but Smith seems to stare through him. Without a 
word he turns and goes onto the bridge. He enters the enclosed WHEELHOUSE and 
closes the door. He is alone, surrounded by the gleaming brass instruments. He 
seems to inwardly collapse. 


238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pulls out 
his pocketwatch and checks the time. Then he opens the face of the mantle clock 
and adjusts it to the correct time: 2:12 a.m. Everything must be correct. 


239 IN CAL'S PARLOUR SUITE water swirls in from the private promenade deck. 
Rose's paintings are submerged. The Picasso tranforms under the water's surface. 
Degas' colors run. Monet's water lilies come to life. 


240 DOWNANGLE on the two figures lying side by side, fully clothed, on a bed in 
a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at the ceiling, 
holding hands like young lovers. Water pours into the room through a doorway. It 
swirls around the bed, two feet deep rising fast. 


241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the young IRISH 
MOTHER, seen earlier stoically waiting at the stairs, is tucking her two young 
children into bed. She pulls up the covers, making sure they are all warm and 
cozy. She lies down with them on the bed, speaking soothingly and holding them. 


CUT TO: 


EXT. BOAT DECK / BRIDGE 


242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridge house 
sinks into the water. 


243 ON THE PORT SIDE Collapsible B is picked up by water. Working frantically, 
the men try to detach it from the falls so the ship won't drag it under. Colonel 
Gracie hands Lightoller a pocket knife and he saws furiously at the ropes as the 
water swirls around his legs. The boat, still upside down, is swept off the 
ship. Men start diving in, swimming to stay with it. 


244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he has completely 
forgotten. He watches the water rising around the men as they work, scrambling 
to get the ropes cut so the ship won't drag the collapsible under. 


Fabrizio removes the lifebelt from Tommy's body and struggles to put it on as 
the water rises around him. 


245 CAPTAIN SMITH, standing near the wheel, watches the black water climbing the 
windows of the enclosed wheelhouse. He has the stricken expression of a damned 
sould on Judgment Day. The windows burst suddenly and a wall of water edged with 
shards of glass slams into Smith. He disappears in a vortex of foam. 


246 Collapsible A is hit by a wave as the bow plunges suddenly. It partially 
swamps the boat, washing it along the deck. Over a hundred passengers are 
plunged into the freezing water and the area around the boat becomes a frenzy of 
splashing, screaming people. 


As men are trying to climb into the callapsible, Cal grabs an oar and pushes 
them back into the water. 


CAL 
Get back! You'll swamp us! 


Fabrizio, swimming for his life, gets swirled under a davit. The ropes and 
pulleys tangle around him as the davit goes under the water, and he is dragged 
down. Underwater he struggles to free himself, and then kicks back to the 
surface. He surfaces, gasping for air in the freezing water. 


247 WALLACE HARTLEY sees the water rolling rapidly up the deck toward them. He 
holds the last note of the hymn in a sustain, and then lowers his violin. 


HARTLEY 
Gentlemen, it has been a previlege playing with you tonight. 


CUT TO: 


248 EXT. A-DECK AFT, PORT SIDE 


Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes his way 
to the rail and looks at the state of the ship. The bridge is under water and 
tehre is chaos on deck. Jack helps her put her lifebelt on. People stream around 
them, shouting and pushing. 


JACK 
Okay... we keep moving aft. We have to stay on the ship as long as possible. 


They push their way aft through the panicking crowd. 


CUT TO: 


249 EXT. FORWARD FUNNEL 


Collapsible A is whirled like a leaf in the currents around the sining ship. It 
slams against the side of the forward funnel. 


CAL 
(to the crew in the boat) 
Row! Row you bastards!! 


250 NEARBY: Fabrizio is drawn up against the grating of a STOKEHOLD VENT as 
water pours through it. The force of tons of water roaring down the ship traps 
him against it, and he is dragged down under the surface as the ship sinks. He 
struggles to free himself but cannot. 


Suddenly there is a concussion deep in the bowels of the ship as a furnace 
explodes and a blast of hot air belches out of hte ventilator, ejecting 
Fabrizio. He surfaces in a roar of foam and keeps swimming. 


CUT TO: 


251 EXT. A-DECK / B-DECK / WELL DECK, AFT 


Jack and Rose clamber over the A-Deck aft rail. Then, using all his strength, he 
lowers her toward the deck below, holding on with one hand. She dangles, then 
falls. Jack jumps down behind her. 


They join a crush of people literally clawing and scrambling over each other to 
get down the narrow stairs to the well deck... the only way aft. 


Seeing that the stairs are impossible, Jack climbs over the B-Deck railing and 
helps Rose over. He lowers her again, and she falls in a heap. Baker Joughin, 
now three sheets to the wind, happens to be next to her. He hauls Rose to her 
feet. Jack drops down and the three of them push through the crowd across the 
well deck. Near them, at the rail, people are jumping into the water. 


The ship GROANS and SHUDDERS. The man ahead of Jack is walking like a zombie. 


MAN 
Yeah, though I walk through the valley of the shadow of death-- 


JACK 
You wanna walk a little faster through that valley, fella? 


CUT TO: 


252 EXT. FORWARD FUNNEL 


The stay cables along the top of the funnel snap, and they lash like steel whips 
down into the water. Cal watches as the funnel topples from its mounts. Falling 
like a temple pillar twenty eight feet across it whomps into the water with a 
tremendous splash. People swimming underneath it disappear in an instant. 


Fabrizio, a few feet away, is hurled back by a huge wave. He comes up, 
gasping... still swimming. The water pouring into the open end of the funnel 
draws in several swimmers. The funnel sinks, disappearing, but-- 


Hundreds of tons of water pour down through the 30 foot hole where the funnel 
stood, thundering down into the belly of the ship. A whirlpool forms, a hole in 
the ocean, like at enormous toiler-flush. T. W. McCauley, the gym instructor 
swims in a frenzy as the vortex draws him in. He is sucked down like a spider 
going down a drain. 


Fabrizio, nearby, swims like Hell as more people are sucked down behind him. He 
manages to get clear. He's going to live no matter what it takes. 


CUT TO: 


253 INT. BOAT DECK FOYER / GRAND STAIRCASE 


Water raors through the doors and windows, cascading down the stairs like a 
rapids. John Jacob Astor is swept down the marble steps to A-Deck, which is 
already flooded... a roiling vortex. He grabs the headless cherub at the bottom 
of the staircase and wraps his arms around it. 


Astor looks up in time to see the 30 foot glass dome overhead EXPLOSE INWARD 
with the wave of water washing over it. A Niagara of sea water thunders down 
into the room, blasting through the first class opulence. IT is the Armageddon 
of elegance. 


CUT TO: 


254 OMITTED 


255 INT. BELOWDECKS 


The flooding is horrific. Walls and doors are splintered like kindling. Water 
roars down corridors with pile-driver force. 


The CARTMELL FAMILY is at the top of a stairwell, jammed against a locked gate 
like Jack and Rose were. Water boils up the stairwell behind them. Bert Cartmell 
shakes the gate futilely, shouting for help. Little Cora wails as the water 
boils up around them all. 


CUT TO: 


256 EXT. STERN 


Rose and Jack struggle to climb the well deck stairs as the ship tilts. Drunk 
Baker Joughin puts a hand squarely on Rose's butt and shoves her up onto the 
deck. 


JOUGHIN 
Sorry, miss! 


Hundreds of people are already on the poop deck, and more are pouring up every 
second. Jack and Rose cling together as tehy struggle across the tilting deck. 


257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off the 
stern, passengers gape as the giant bronze propellers rise out of the water like 
gods of the deep, FILLING FRAME behind them. 


People are JUMPING from the well deck, the poop deck, the gangway doors. Some 
hit debris in the water and are hurt or killed. 


258 OMITTED 


259 OMITTED 


260 EXT. STERN 


ON THE POOP DECK Jack and Rose struggle aft as the angle increases. Hundreds of 
passengers, clinging to every fixed object on deck, huddle on their knees around 
FATHER BYLES, who has his voice raised in prayer. They are praying, sobbing, or 
just staring at nothing, their minds blank with dread. 


Pulling himself from handhold to handhold, Jack tugs Rose aft along the deck. 


JACK 
Come on, Rose. We can't expect God to do all the work for us. 


They struggle on, pushing through the praying people. A MAN loses his footing 
ahead and slides toward them. Jack helps him. 


261 THE PROPELLERS are twenty feet above the water and rising faster. 


262 JACK AND ROSE make it to the stern rail, right at the base of the flagpole. 
They grip the rai, jammed in between other people. It is the spot where Jack 
pulled her back onto the ship, just two night... and a liftime... ago. 


Above the wailing and sobbing, Father Byles' voice carries, cracking with 
emotion. 


FATHER BYLES 
...and I saw new heavens and a new earth. The former heavens and the former 
earth had passed away and the sea was no longer. 


The lights flicker, threatening to go out. Rose grips Jack as the stern rises 
into a night sky ablaze with stars. 


FATHER BYLES 
I also saw a new Jerusalem, the holy city coming down out of heaven from God, 
beautiful as a bride prepared to meet her husband. I heard a loud voice from the 
throne ring out this is God's dwelling among men. He shall dwell with them and 
they shall be his people and He shall be their God who is alway with them. 


Rose stares about her at the faces of the doomed. Near them are the DAHL FAMILY, 
clinging together stoically. Helga looks at her briefly, and her eyes are 
infinitely sad. 


Rose sees a young mother next to her, clutching her five year old son, who is 
crying in terror. 


MOTHER 
Shhh. Don't cry. It'll be over soon, darling. It'll all be over soon. 


FATHER BYLES 
He shall wipe every tear from their eyes. And there shall be no more death or 
mourning, crying out or pain, for the former world has passed away. 


CUT TO: 


INT. SHIP-- VARIOUS 


As the ship tilts further everything not bolted down inside shifts. 


263 CUPBOARDS burst open in the pantry showering the floor with tons of china. A 
PIANO slides across the floor, crashing into a wall. FURNITURE tumbles across 
the Smoking Room floor. 


264 ON THE A-DECK PROMENADE passengers lose their grip and slide down the wooden 
deck like a bobsled run, hundreds of feet before they hit the water. TRUDY BOLT, 
Rose's maid, slips as she struggles along the railing and slides away screaming. 



265 AT THE STERN the propellers are 100 feet out of the water and rising. 
Panicking people leap from the poop deck rail, fall screaming and hit the water 
like mortar rounds. A man falls from the poop deck, hitting the bronze hub of 
the starboard propeller with a sickening smack. 


266 SWIMMERS LOOK UP and see the stern towering over them like a monolith, the 
propellers rising against the stars. 110 feet. 120. 


267 AT THE STERN RAIL a man jumps. IN HIS POV we fall seemingly forever, right 
past one of the giant screws. The water rushes up-- 


CUT TO: 


EXT. TITANIC / BOAT 6 


268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and the screaming 
people come across the water. 


269 REVERSE / HER POV: IN A WIDE SHOT we see the spectacle of the Titanic, her 
lights blazing, reflecting in the still water. Its stern is high in the air, 
angles up over forty five degrees. The propellers are 150 feet out of the water. 
Over a thousand passengers cling to the decks, looking from a distance like a 
swarm of bees. 


The image is shocking, unbelieveable, unthinkable. Ruth stares at the spectacle, 
unable to frame it or put it into any proportion. 


MOLLY BROWN 
God Almighty. 


The great liner's lights flicker. 


CUT TO: 


270 INT. ENGINE ROOM 


In darkness Chief Engineer Bell hangs onto a pipe at the master braker panel. 
Around him men climb through tilted cyclopean mahcines with electric 
hand-torches. It is a black hell of breaking pipes, spraying water, and groaning 
machinery threatening to tear right out of its bedplates. 


Water sprays down, hitting the breaker panel, but Bell will not leave his post. 
CLUNK. The breakers kick. He slams them in again and-- WHOOM! a blast of light! 
Something melts and arcing fills the engine room with nightmarish light-- 


CUT TO: 


271 EXT. TITANIC 


WIDE SHOT. The lights go out all over the ship. Titanic becomes a vast black 
silhouette against the stars. 


IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, unable to watch the 
great steamer die. He is catatonic with remorse, his mind overloaded. He can 
avert his eyes, but he can't block out the sounds of dying people and machinery. 



A loud CRACKING REPORT comes across the water. 


CUT TO: 


272 EXT. BOAT DECK 


Near the third funnel a man clutches the ship's rail. He stares down as the DECK 
SPLITS right between his feet. A yawning chasm opens with a THUNDER of breaking 
steel 


LOVEJOY is clutching the railing on the roof of the Officers' Mess. He watches 
in horror as the ship's structure RIPS APART right in front of him. He gapes 
down into a widening maw, seeing straight down into the bowels of the ship, amid 
a BOOMING CONCUSSION like the sound of artillery. People falling into the 
widening crevasse look like dolls. 


The stay cables on the funnel part and snap across the decks like whips, ripping 
off davits and ventilators. A man is hit by a whipping cable and snatched OUT OF 
FRAME. Another cable smashes the rail next to Lovejoy and it rips free. He falls 
backward into the pit of jagged metal. 


Fires, explosions and sparks light the yawning chasm as the hull splits down 
through nine decks to the keel. The sea pours into the gaping wound-- 


CUT TO: 


273 INT. ENGINE ROOM 


It is a thundering black hell. Men scream as monstrous machinery comes apart 
around them, steel frames twisting like taffy. Their torches illuminate the 
roaring, foaming demon of water as it races at the through the manchines. Trying 
to climb they are overtaken in seconds. 


CUT TO: 


274 EXT. TITANIC - NIGHT 


The STERN ALF of the ship, almost four hundred feet long, falls back toward the 
water. On the poop deck everyone screams as they feel themselves plummeting. The 
sound goes up like the roar of fans at a baseball stadium when a run is scored. 


Swimming in the water directly under the stern a few unfortunates shriek as they 
see the keel coming down on them like God's bootheel. The massive stern section 
falls back almost level, thundering down into the sea and pushing out a mighty 
wave of displaced water. 


Jack and Rose struggle to hole onto the stern rail. They feel the ship seemingly 
RIGHT ITSELF. Some of those praying think it is salvation. 


SEVERAL PEOPLE 
We're saved! 


Jack looks at Rose and shakes his head, grimly. 


Now the horrible mechanics play out. Pulled down by the awesome weight of the 
flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OF ASCENT as 
the fantail angles up again. Everyone is clinging to benches, railings, 
ventilators... anything to keep from sliding as the stern lifts. 


The stern goes up and up, past 45 degrees, then past sixty. 


People start to fall, sliding and tumbling. They skid down the deck, screaming 
and flailing to grab onto somehting. They wrench other people loose and pull 
them down as well. There is a pile-up of bodies at the forward rail. The DAHL 
FAMILY falls one by one. 


JACK 
We have to move! 


He climbs over the stern rail and reaches back for Rose. She is terrified to 
move. He grabs her hand. 


JACK 
Come on! I've got you! 


Jack pulls her over the rail. It is the same place he pulled her over the rail 
two nights earlier, going the other direction. She gets over just as the railing 
is going HORIZONTAL, and the deck VERITCAL. Jack grips her fiercely. 


The stern is now straight up in the air... a rumbling black monolith standing 
against the stars. It hangs there like that for a long grace note, its buoyancy 
stable. 


Rose lies on the railing, looking down fifteen stories to the boiling sea at the 
base of the stern section. People near them, who didn't climb over, hang from 
the railing, their legs dangling over the long drop. They fall one by one, 
plummeting down the vertical face of the poop deck. Some of them bounce horribly 
off deck benches and ventilators. 


Jack and Rose lie side by side on what was the vertical face of the hull, 
gripping the railing, which is now horizontal. Just beneath their feet are the 
gold letters TITANIC emblazoned across the stern. 


Rose stares down terrified at the black ocean waiting below to claim them. Jack 
looks to his left and sees Baker Joughin, crouching on the hull, holding onto 
the railing. It is a surreal moment. 


JOUGHIN 
(nodding a greeting) 
Helluva night. 


The final relentless plunge begins as the stern section floods. Looking down a 
hundred feet to the water, we drop like an elevator with Jack and Rose. 


JACK 
(talking fast) 
Take a deep breath and hold it right before we go into the water. The ship will 
suck us down. Kick for the surface and keep kicking. Don't let go of my hand. 
We're gonna make it Rose. Trust me. 


She stares at the water coming up at them, and grips his hand harder. 


ROSE 
I trust you. 


Below them the poop deck is disappearing. The plunge gathers speed... the 
boiling surface engulfs the docking bridge and then rushes up the last thirty 
feet. 


278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The name 
TITANIC disappears, and the tiny figures of Jack and Rose vanish under the 
water. 


Where the ship stood, now there is nothing. Only the black ocean. 


CUT TO: 


279 EXT. OCEAN / UNDERWATER AND SURFACE 


Bodies are whirled and spun, some limp as dolls, others struggling 
spasmodically, as the vortex sucks them down and tumbles them. 


280 Jack rises INTO FRAME F.G. kicking hard for the surface... holding tightly 
to Rose, pulling her up. 


281 AT THE SURFACE: a roiling chaos of screaming, thrashing people. Over a 
thousand people are now floating where the ship went down. Some are stunned, 
gasping for breath. Others are crying, praying, moaning, shouting... screaming. 


Jack and Rose surface among them. They barely have time to gasp for air before 
people are clawing at them. People driven insane by the water, 4 degrees below 
freezing, a cold so intense it is indistinguishable form death by fire. 


A man pushes Rose under, trying to climb on top of her... senselessly trying to 
get out of the water, to climb onto anything. Jack PUNCHES him repeatedly, 
pulling her free. 


JACK 
Swim, Rose! SWIM! 


She tries, but her strokes are not as effective as his because of her 
lifejacket. They break out of the clot of people. He has to find some kind of 
flotation, anything to get her out of the freezing water. 


JACK 
Keep swimming. Keep moving. Come one, you can do it. 


All about them there is a tremendous wailing, screaming and moaning... a chorus 
of tormented souls. And beyond that... nothing but black water stretching to the 
horizon. The sense of isolation and hopelessness is overwhelming. 


CUT TO: 


282 OMITTED 


283 EXT. OCEAN 


Jack strokes rhythmically, the effort keeping him from freezing. 


JACK 
Look for something floating. Some debris... wood... anything. 


ROSE 
It's so cold. 


JACK 
I know. I know. Help me, here. Look around. 


His words keep her focused, taking her mind off the wailing around them. Rose 
scans the water, panting, barely able to draw a breath. She turns and... 
SCREAMS. 


A DEVIL is right in from of her face. It is the black FRENCH BULLDOG, swimming 
right at her like a seamonster in the darkness, its coal eyes bugging. It motors 
past her, like it is headed for Newfoundland. 


Beyond it Rose sees somehting in the water. 


ROSE 
What's that? 


Jack sees what she is pointing to, and they make for it together. It is a piece 
of wooden debris, intricately carved. He pushes her up and she slithers onto it 
belly down. 


But when Jack tries to get up onto the thing, it tilts and submerges, almost 
dumping Rose off. It is clearly only big enough to support her. He clings to it, 
close to her, keeping his upper body out of the water as best he can. 


Their breath floats around them in a cloud as they pant from exertion. A MAN 
swims toward them, homing in on the piece of debris. Jack warns him back. 


JACK 
It's just enough for this lady... you'll push it under. 


MAN 
Let me try at least, or I'll die soon. 


JACK 
You'll die quicker if you come any closer. 


MAN 
Yes, I see. Good luck to you then. 
(swimming off) 
God bless. 


CUT TO: 


284 EXT. COLLAPSIBLE A / OCEAN 


The boat is overloaded and half-flooded. Men cling to the sides in the water. 
Others, swimming, are drawn to it as their only hope. Cal, standing in the boat, 
slaps his oar in the water as a warning. 


CAL 
Stay back! Keep off! 


Fabrizio, exhausted and near the limit, makes it almost to the boat. Cal CLUBS 
HIM with the oar, cutting open his scalp. 


FABRIZIO 
You don't... understand... I have... to get... to America. 


CAL 
(pointing with the oar) 
It's that way! 


CLOSE ON FABRIZIO as he floats, panting each breath agony. You see the spirit 
leave him. 


FABRIZIO'S POV: Cal in SLOW MOTION, yelling and wielding the oar. A demon in a 
tuxedo. The image fades to black. 


CUT TO: 


285 EXT. OCEAN 


JACK AND ROSE still float amid a chorus of hte damned. Jack sees the ship's 
officer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously, 
knowing the sound will carry over the water for miles. 


JACK 
The boats will come back for us, Rose. Hold on just a little longer. They had to 
row away for the suction and now they'll be coming back. 


She nods, his words helping her. She is shivering uncontrollably, her lips blue 
and her teeth chattering. 




ROSE 
Thank God for you Jack. 


People are still screaming, calling to the lifeboats. 


WOMAN 
Come back! Please! We know you can hear us. For God's sake! 


MAN 
Please... help us. Save one life! SAVE ON LIFE! 


CUT TO: 


286 EXT. LIFEBOATS / OCEAN 


IN BOAT 6: Ruth has her ears covered against the wailing in the darkness. The 
first class women in the boat sit, stunned, listening to the sounds of hundreds 
screaming. 


HITCHINS 
They'll pull us right down I tell ya! 


MOLLY 
Aw knock it off, yer scarin' me. Come on girls, grab your oars. Let's go. 
(nobody moves) 
Well come on! 


The women won't meet her eyes. They huddle into their ermine wraps. 


MOLLY 
I don't understand a one of you. What's the matter with you? It's your men back 
there! We got plenty a' room for more. 


HITCHINS 
If you don't shut that hole in yer face, there'll be one less in this boat! 


Ruth keeps her ears covered and her eyes closed, shutting it all out. 


287 IN BOAT ONE: Sir Cosmo and Lucile Duff-Gordon sit with ten other people in a 
boat that is two thirds empty. They are two hundred yards from the screaming in 
the darkness. 


FIREMAN HENDRICKSON 
We should do something. 


Lucile squeezes Cosmo's hand and pleads him with her eyes. She is terrified. 


SIR COSMO 
It's out of the question. 


The crewmembers, intimidated by a nobleman, acquiesce. They hunch guiltily, 
hoping the sound will stop soon. 


TWENTY BOATS, most half full, float in the darkness. None of them make a move. 


CUT TO: 


288 EXT. OCEAN 


Jack and Rose drift under the blazing stars. The water is glassy, with only the 
faintest undulating swell. Rose can actually see the stars reflecting on the 
black mirror of the sea. 


Jack squeezes the water out of her long coat, tucking it in tightly around her 
legs. He rubs her arms. His face is chalk with in the darkness. A low MOANING in 
the darknes around them. 


ROSE 
It's getting quiet. 


JACK 
Just a few more minutes. It'll take them a while to get the boats organized... 


Rose is unmoving, just staring into space. She knows the truth. There won't be 
any boats. Behind Jack she sees that Officer Wilde has stopped moving. He is 
slumped in his lifejacket, looking almost asleep. He has died of exposure 
already. 


JACK 
I don't know about you, but I intend to write a strongly worded letter to the 
White Star Line about all this. 


She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyes in the 
dim light. 


ROSE 
I love you Jack. 


He takes her hand. 


JACK 
No... don't say your good-byes, Rose. Don't you give up. Don't do it. 


ROSE 
I'm so cold. 


JACK 
You're going to get out of this... you're going to go on and you're going to 
make babies and watch them grow and you're going to die an old lady, warm in 
your bed. Not here. Not this night. Do you understand me? 


ROSE 
I can't feel my body. 


JACK 
Rose, listen to me. Listen. Winning that ticket was the best thing that ever 
happened to me. 


Jack is having trouble getting the breath to speak. 


JACK 
It brought me to you. And I'm thankful, Rose. I'm thankful. 


His voice is trembling with the cold which is working tis way to his heart. But 
his eyes are unwavering. 


JACK 
You must do me this honor... promise me you will survive... that you will never 
give up... no matter what happens... no matter how hopeless... promise me now, 
and never let go of that promise. 


ROSE 
I promise. 


JACK 
Never let go. 


ROSE 
I promise. I will never let go, Jack. I'll never let go. 


She grips his hand and they lie with their heads together. It is quiet now, 
except for the lapping of the water. 


CUT TO: 


289 EXT. LIFEBOATS / OCEAN - NIGHT 


Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12 and 
Collapsible D together with his own Boat 14. A demon of energy, he's had 
everyone hold the boats together and is transferring passengers from 14 into the 
others, to empty his boat for a rescue attempt. 


As the women step gingerly across the other boats, Lowe sees a shawled figure in 
too much of a hurry. He rips the shawl off, and finds himself staring into the 
face of a man. He angrily shoves the stowaway into another boat and turns to his 
crew of three. 


LOWE 
Right, man the oars. 


CUT TO: 


290 EXT. OCEAN / BOAT 14 


The beam of an electric torch plays across the water like a searchlight as boat 
14 comes toward us. 


ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignant trail 
of flotsam: a violin, a child's wooden soldier, a framed photo of a steerage 
family. Daniel Marvin's wooden Biograph camera. 


Then, their white lifebelts bobbing in the darkness like signoposts, the first 
bodies come into the torch's beam. The people are dead but not drowned, killed 
by the freezing water. Some look like they could be sleeping. Others stare with 
frozen eyes at the stars. 


Soon bodies are so thick the seamen cannot row. They hit the oars on the heads 
of floating men and women... a wooden thunk. One seaman throws up. Lowe sees a 
mother floating with her arms frozen around her lifeless baby. 


LOWE 
(the worst moment of his life) 
We waited too long. 


CUT TO: 


291 EXT. OCEAN 


IN A HOVERING DOWNANGLE we see Jack and Rose floating in the black water. The 
stars reflect in the mill pond surface, and the two of them seem to be floating 
in interstellar space. They are absolutely still. Their hands are locked 
together. Rose is staring upwards at the canopy of stars wheeling above her. The 
music is transparent, floating... as the long sleep steals over Rose, and she 
feels peace. 


CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to be floating 
in a void. Rose is in a semi-hallucinatory state. She knows she is dying. Her 
lips barely move as she sings a scrap of Jack's song: 


ROSE 
"Come Josephine in my flying machine..." 


ROSE'S POV: The stars. Like you've never seen them. The Milky Way a glorious 
band from horizon to horizon. 


A SHOOTING STAR flares... a line of light across the heavens. 


TIGHT ON ROSE again. We see that her hair is dusted with frost crystals. Her 
breathing is so shallow, she is almost motionless. Her eyes track down from the 
stars to the water. 


ROSE'S POV... SLOW MOTION: The silhouetter of a boat crossing the stars. She 
sees men in it, rowing so slowly the oars lift out of the syrupy water, leaving 
weightless pearls floating in the air. The VOICES of the men sound slow and 
DISTORTED. 


Then the lookout flashes his torch toward her and the light flares across the 
water, silouetting the bobbing corpses in between. It flicks past her motionless 
form and moves on. The boat is 50 feet away, and moving past her. The men look 
away. 


Rose lifts her head to turn to Jack. We see that her hair has frozen to the wood 
under her. 


ROSE 
(barely audible) 
Jack. 


She touches his shoulder with her free hand. He doesn't respond. Rose gently 
turns his face toward her. It is rimed with frost. 


He seems to be sleeping peacefully. 


But he is not asleep. 


Rose can only stare at his still face as the realization goes through her. 


ROSE 
Oh, Jack. 


All hope, will and spirit leave her. She looks at the boat. It is further away 
now, the voices fainter. Rose watches them go. 


She closes her eyes. She is so weak, and there just seems to be no reason to 
even try. 


And then... her eyes snap open. 


She raises her head suddenly, cracking the ice as she rips her hair off the 
wood. She calls out, but her voice is so weak they don't hear her. The boat is 
invisible now, the torch light a star impossibly far away. She struggles to draw 
breath, calling again. 


292 IN THE BOAT Lowe hears nothing behind him. He points to something ahead, 
turning the tiller. 


293 ROSE struggles to move. Her hand, she realizes, is actually frozen to 
Jack's. She breaths on it, melting the ice a little, and gently unclasps their 
hands, breaking away a thin tinkling film. 


ROSE 
I won't let go. I promise. 


She releases him and he sinks into the black water. He seems to fade out like a 
spirit returning to some immaterial plane. 


Rose rolls off the floating staircase and plunges into the icy water. She swims 
to Chief Officer Wilde's body and grabs his whistle. She starts to BLOW THE 
WHISTLE with all the strength in her body. Its sound slaps across the still 
water. 


294 IN BOAT 14 Lowe whips around at the sound of the whistle. 


LOWE 
(turning the tiller) 
Row back! That way! Pull! 


Rose keeps blowing as the boat comes to her. She is still blowing when Lowe 
takes the whistle from her mouth as they haul her into the boat. She slips into 
uncosciousness and they scramble to cover her with blankets... 


DISSOLVE TO: 


295 INT. IMAGING SHACK / KELDYSH 


EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day. 


OLD ROSE 
Fifteen hundred people went into the sea when Titanic sank from under us. There 
were twenty boats floating nearby and only one came back. One. Six were saved 
from the water, myself included. Six out of fifteen hundred. 


As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and the salvage 
crew on KELDYSH. Lovett, Bodine, Buell, the others... the reality of what 
happened here 84 years before has hit them like never before. With her story 
Rose has put them on Titanic in its final hours, and or the first time, they do 
feel like graverobbers. 


Lovett, for the first time, has even forgotten to ask about the diamond. 


OLD ROSE 
Afterward, the seven hundred people in the boats had nothing to do but waith... 
wait to die, wait to live, wait for an absolution which would never come. 


DISSOLVE TO: 


296 EXT. LIFEBOATS / OPEN SEA - PRE-DAWN 


MATCHING MOVE as the camera tracks along the faces of the saved. 


DISSOLVE TO: ANOTHER BOAT, and then ANOTHER, seeing faces we know among the 
survivors: Ismay in a trance, just staring and trembling... Cal, sipping from a 
hip flask offered to him by a black-faced stoker... Ruth hugging herself, 
rocking gently. 


IN BOAT 14: CLOSE ON ROSE, lying swaddled. Only her face is visile, white as the 
moon. The man next to her jumps up, pointing and yelling. Soon everyone is 
looking and shouting excitedly. In Rose's POV it is all silent, SLOW MOTION. 


IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it as everyone 
shouts and cheers. Rose doesn't react. She floats beyond all human emotion. 


DISSOLVE TO: 


298 EXT. LIFEBOATS / OPEN SEA - DAWN 


Golden lgiht washes across the white boats, which gloat in a calm sea reflecting 
the rosy sky. All around them, like a flotilla of sailing ships, are icebergs. 
The CARPATHIA sits nearby, as boats row toward her. 


DISSOLVE TO: 


299 EXT. LIFEBOATS / OCEAN / CARPATHIA MONTAGE - DAY 


IMAGES DISSOLVE into one another: a ship's hull looming, with the letters 
CARPATHIA visible on the bow... Rose watching, rocked by the sea, her face 
blank... seamen helping survivors up the rope ladder to the Carpathia's gangway 
doors... two women crying and hugging each other inside the ship... ALL SILENT, 
ALL IN SLOW-MOTION. There is just music, so gentle and sad, part elegy, part 
hymn, part aching song of love lost forever. 


THE IMAGES CONTINUE to music... Rose, outside of time, outside of herself, 
coming into Carpathia, barely able to stand... Rose being draped wtih warm 
blankets and given hot tea... BRUCE ISMAY climbing aboard. He has the face and 
eyes of a damned soul. 


As Ismay walks along the hall, guided by a crewman toward the doctor's cabin, he 
passes rows of seated and standing widows. He must run the gauntlet of their 
accusing gazes. 


CUT TO: 


300 EXT. DECK / CARPATHIA - DAY 


It is the afternoon of the 15th. Cal is searching the faces of the widows lining 
the deck, looking for Rose. The deck of Carpathia is crammed with huddled 
people, and even the recovered lifeboats of Titanic. On a hatch cover sits an 
enormous pile of lifebelts. 


He keeps walking toward the stern. Seeing Cal's tuxedo, a steward approaches 
him. 


CARPATHIA STEWARD 
You won't find any of your people back here, sir. It's all steerage. 


Cal ignores him and goes amongst this wrecked group, looking under shawls and 
blankets at one bleak face after another. 


Rose is sipping hot tea. Her eyes focus on him as he approaches her. He barely 
recognizes her. She looks like a refugee, her matted hair hanging in her eyes. 


ROSE 
Yes, I lived. How awkward for you. 


CAL 
Rose... your mother and I have been looking for you-- 


She holds up her hand, stopping him. 


ROSE 
Please don't. Don't talk. Just listen. We will make a deal, since that is 
something you understand. From this moment you do not exist for me, nor I for 
you. You shall not see me again. And you will not attempt to find me. In return 
I will keep my silence. Your actions last night need never come to light, and 
you will get to keep the honor you have carefully purchased. 


She fixes him with a glare as cold and hard as the ice which changed their 
lives. 


ROSE 
Is this in any way unclear? 




CAL 
(after a long beat) 
What do I tell your mother? 


ROSE 
Tell her that her daughter died with the Titanic. 


She stands, turning to the rail. Dismissing him. We see Cal stricken with 
emotion. 


CAL 
You're precious to me, Rose. 


ROSE 
Jewels are precious. Goodbye, Mr. Hockley. 


We see that in his way, the only way he knows, he does truly love her. 


After a moment, he turns and walks away. 


OLD ROSE (V.O.) 
That was the last time I ever saw him. He married, of course, and inherited his 
millions. The crash of 28 hit his interests hard, and he put a pistol in his 
mouth that year. His children fought over the scraps of his estate like hyenas, 
or so I read. 


301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. She gazes up 
at the Statue of Liberty, looking just as it does today, welcoming her home with 
her glowing torch. It is just as Fabrizio saw it, so clearly, in his mind. 


302 LATER CARPATHIA DISCORGES THE SURVIVORS at the Cunard pier, Pier 54. Over 
30,000 people line the dock and fill the surrounding streets. The magnesium 
flashes of the photographers go off like small bombs, lighting an amazing 
tableau. 


Several hundred police keep the mob back. The dock is packes with friends and 
reletives, officials, ambulances, and the press-- 


Reporters and photographers swarm everywhere... 6 deep at the foot of the 
gangways, lining the tops of cars and trucks... it is the 1912 equicalent of a 
media circus. They jostle to get close to the survivors, tugging on them as they 
pass and shouting over each other to ask them questions. 


Rose is covered with a whoollen shawl and walking with a group of steerage 
passengers. Immigration officers are asking them questions as they come off the 
gangway. 


IMMIGRATION OFFICER 
Name? 


ROSE 
Dawson. Rose Dawson. 


The officer steers her toward a holding area for processing. Rose walks forward 
with the dazed immigrants. The BOOM! of photographer's magnesium flashes cause 
them to flinch, and the glare is blinding. There is a sudden disturbance near 
her as two men burst through the cordon, running to embrace an older woman along 
the survivors, who cries out with joy. The reporters converge on this emotional 
scene, and flashes explode. 


Rose uses this moment to slip away into the crowd. She pushes through the 
jostling people, moving with purpose, and none challenges her in the confusion. 


OLD ROSE (V.O.) 
Can you exchange one life for another? A caterpillar turns into a butterfly. If 
a mindless insect can do it, why couldn't I? Was it any more unimaginable than 
the sinking of the Titanic? 


TRACKING WITH HER as she walks away, further and further until she flashes and 
the roar are far behind her, and shi is till walking, determined. 


CUT TO: 


303 INT. IMAGING SHACK / KELDYSH 


Old Rose sits with the group in the Imaging Shack, lit by the blue glow of the 
screens. She holds the haircomb with the jade butterfly on the handle in her 
gnarled hands. 


BODINE 
We never found anything on Jack. There's no record of him at all. 


OLD ROSE 
No, there wouldn't be, would there? And I've never spoken of him until now, not 
to anyone. 
(to Lizzy) 
Not even your grandfather. A woman's heart is a deep ocean of secrets. But now 
you all know there was a man named Jack Dawson, and that he saved me, in every 
way that a person can be saved. 
(closing her eyes) 
I don't even have a picture of him. He exists now only in my memory. 


CUT TO: 


304 OMITTED 


305 EXT. OCEAN FLOOR / TITANIC WRECK 


The Mir submersibles make their last pass over the ship. We hear Yuri the pilot 
on the UQC: 


YURI 
Mir One returning to surface. 


The sub rises off the deck of the wreck, taking its light with it, leaving the 
Titanic once again it its fine and private darkness. 


CUT TO: 


306 EXT. KELDYSH DECK 


A desultory wrap party for the expedition is in progress. There is music and 
some of the (co-ed) Russian crew are dancing. Bodine is getting drunk in the 
aggressive style of Baker Joughin. 


Lovett stands at the rail, looking down into the black water. Lizzy comes to 
him, offering him a beer. She puts her hand on his arm. 


LIZZY 
I'm sorry. 


LOVETT 
We were pissin' in the wind the whole time. 


Lovett notices a figure move through the lights far down at the stern of the 
ship. 


LOVETT 
Oh shit. 


CUT TO: 


307 EXT. KELDYSH STERN DECK 


Rose walks through the shadows of the deck machinery. Her nightgown blows in the 
wind. Her feet are bare. Her hands are clutched at her chest, almost as if she 
is praying. 


ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass. 


ROSE reaches the sern rail. Her gnarled fingers wrap over the rail. Her ancient 
foot steps up on the gunwale. She pushes herself up, leaning forward. Over her 
shoulder, we see the black water glinting far below. 


LOVETT AND LIZZY run up behind her. 


LIZZY 
Grandma, wait!! Don't-- 


ROSE TURNS her head, looking at them. She turns further, and we see she has 
something in her hand, something she was about to drop overboard. 


It is the "Heart of the Ocean". 


Lovett sees his holy grail in her hand and his eyes go wide. Rose keeps it over 
the railing where she can drop it anytime. 


ROSE 
Don't come any closer. 


LOVETT 
You had it the entire time?! 


FLASH CUT TO: A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. The 
photographers' flashes go off like a battle behind her. She has her hands in her 
pockets. She stops, feeling something, and pulls out the necklace. She stares at 
it in amazement. 


BACK ON KELDYSH, Rose smiles at Brock's incomprehension. 


ROSE 
The hardest part about being so poor, was being so rich. But every time I though 
of selling it, I though of Cal. And somehow I always got by without his help. 


She holds it out over the water. Bodine and a couple of the other guys come up 
behind Lovett, reacting to what is in Rose's hand. 


BODINE 
Holy shit. 


LOVETT 
Don't drop it Rose. 


BODINE 
(a fierce whisper) 
Rush her. 


LOVETT 
(to Bodine) 
It's hers, you schmuck. 
(to her) 
Look, Rose, I... I don't know what to say to a woman who tries to jump off the 
Titanic when it's not sinking, and jumps back onto it when it is... we're not 
dealing with logic here, I know that... but please... think about this a second. 



ROSE 
I have. I came all the way here so this could go back where it belongs. 


The massive diamond glitters. Brock edges closer and holds out his hand... 


LOVETT 
Just let me hold it in my hand, Rose. Please. Just once. 


He comes closer to her. It is reminiscent of Jack slowly moving up to her at the 
stern of Titanic. 


Surprisingly, she calmly places the massice stone in the palm of his hand, while 
still holding onto the necklace. Lovett gazes at the object of his quest. An 
infinity of cold scalpels glint in its blue depths. It is mesmerizing. It fits 
in his hand just like he imagined. 


LOVETT 
My God. 


His grip tightens on the diamond. 


He looks up, meeting her gaze. Her eyes are suddenly infinitely wise and deep. 


ROSE 
You look for treasures in the wrong place, Mr. Lovett. Only life is priceless, 
and making each day count. 


His fingers relax. He opens them slowly. Gently she slips the diamond out of his 
hand. He feels it sliding away. 


Then, with an impish little grin, Rose tosses the necklace over the rail. Lovett 
gives a strangled cry and rushes to the rail in time to see it hit the water and 
disappear forever. 


BODINE 
Aww!! That really sucks, lady! 


Brock Lovett goes through ten changes before he settles on a reaction... HE 
LAUGHS. He laughs until the tears come to his eyes. Then he turns to Lizzy. 


LOVETT 
Would you like to dance? 


Lizzy grins at him and nods. Rose smiles. She looks up at the stars. 


308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end over end, 
into the infinate depths. 


CUT TO: 


309 INT. ROSE'S CABIN / KELDYSH 


A GRACEFUL PAN across Rose's shelf of carefully arranged pictures: 


Rose as a young actress in California, radiant... a theatrically lit studio 
publicity shot... Rose and her husband, with their two children... Rose with her 
son at his college graduation... Rose with her children and grandchildren at her 
70th birthday. A collage of images of a life lived well. 


THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at the beach, 
sitting on a horse at the surfline. The Santa Monica pier, with its 
rollercoaster is behind her. She is grinning, full of life. 


We PAN OFF the last picture to Rose herself, warm in her bunk. A profile shot. 
She is very still. She could be sleeping, or maybe something else. 


CUT TO: 


BLACKNESS 


310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a kind 
of moonlight, a light of the mind. We pass over the endless forecastle deck to 
the superstructure, moving faster than subs can move... almost like we are 
flying. 


WE GO INSIDE, and the echoing sound of distant waltz music is heard. The rust 
fades away from the walls of the dark corridor and it is transformed... WE 
EMERGE onto the grand staircase, lit by glowing chandelier. The music is vibrant 
now, and the room is populated by men in tie and tails, women in gowns. It is 
exquisitely beautiful. 


IN POV we sweep down the staircase. The crowd of beautiful gentlmen and ladies 
turn as we descend toward them. At the bottom a man stands with his back to 
us... he turns and it is Jack. Smiling he holds his hand out toward us. 


IN A SIDE ANGLE Rose goes into his arms, a girl of 17. The passengers, officers 
and crew of the RMS Titanic smile and applaud in the utter silence of the abyss.