Сценарий титаник 1997

1. Мрак.

Мрак. Затем появляются два тусклых приближающихся источника света… они становятся все ярче и превращаются в две глубоководных субмарины, спускающиеся к нам словно специальные грузоподъемники.

Одна из субмарин похожа на сияющий огнями космический корабль с острыми манипуляторами, она опережает другую и продолжает приближаться, пока не заполняет кадр.

Наклоняясь, мы следим, как они опускаются всё ниже и ниже в беспредельный мрак, становясь сначала светлячками, потом звездами. Затем они исчезают.

2. Экстерьер – интерьер. «Мир-1». В глубинах северной Атлантики.

Въезд: мы в одной из опускающихся субмарин под названием «Мир-1».

Развернуть по окружности камеру: видны хозяева субмарины.

Внутри — тесная семифутовая сфера, заполненная оборудованием. Младший лоцман Анатолий Михайлович сидит, согнувшись над панелью управления… и ненавязчиво напевает что-то на русском.

Рядом с ним – Брок Лавит. Это сильно загорелый мужчина, ему больше сорока. Брок любит носить свой Номекс-костюм расстегнутым и демонстрировать седовласую грудь, покрытую золотом, добытым с легендарного затонувшего корабля. Он — ловец, морской охотник за сокровищами, ас по подъему затонувших судов, частично историк, частично искатель приключений, а также добытчик-комиссионер. В данный момент он поворачивается лицом к поглотителю СО2, быстро засыпает и храпит.

С другой стороны, заполнив остальное пространство, расположился бородатый толстяк по имени Льюис Бодин, который тоже спит. Льюис работает с пультом управления и является авторитетным экспертом «Титаника».

Анатолий бросает взгляд в нижний гидролокатор и делает корректировку балласта.

3. Экстерьер. Морское дно.

Плоский, мертвенно-бледный пейзаж становится более различим в свете, падающем сверху, когда «Мир-1» входит в кадр и опускается на морское дно, взбаламутив его поверхность движением двигателей. После двухчасового свободного падения «Мир-1» с громким стуком ударяется о дно.

4. Интерьер. «Мир-1».

При посадке Лавит и Бодин судорожно просыпаются.

АНАТОЛИЙ (с сильным русским акцентом):
— Прибыли.

5. Экстерьер – интерьер. «Мир-1» и «Мир-2».

Несколько минут спустя две подводные машины просматривают морское дно с помощью звукового гидролокатора и других приборов.

6.

В свете субмарин становится различим невыразительный серый ил, покрывающий дно. Бодин смотрит на дисплей гидролокатора, где видны очертания огромного объекта. Анатолий управляет субмариной, лежа ничком. Его лицо прижато к центральному порту.

БОДИН:
— Немного левее. Он прямо напротив нас, в 18 метрах. 15. 13… сейчас ты его увидишь.

АНАТОЛИЙ:
— Ты его видишь? Я не вижу… а, вот!

Из темноты подобно призрачному видению появляется нос корабля. Его острие надвигается прямо на нас; кажется, он, как и дно, изборожден осадочной породой. Корабль возвышается над морским дном, сохранившись точно в таком положении, как опустился 84 года назад. «Титаник». Или то, что от него осталось. «Мир-1» поднимается и проплывает над перилами носа, невредимыми за исключением каменных наростов, задрапировавших их подобно смутировавшему испанскому лишайнику.

Ужать: изображение на мониторе портативной видеокамеры. Лицо Брока Лавита заполняет черно-белый экран.

ЛАВИТ:
— Это каждый раз поражает меня.

За плечом Анатолия становится заметным и выходит на передний план изображение: освещенные вдали перила бака. Анатолий поворачивается.

АНАТОЛИЙ:
— Сам виноват, потому что обворовываешь мертвецов.

Расширить, показывая, как Брок поворачивает камеру на себя, перемещая ее в руке так, что она оказывается направленной на его лицо.

ЛАВИТ:
— Спасибо, Толя. Ты работаешь тут со мной.

Брок снова серьезно, задумчиво и пристально смотрит на передний план, держа камеру на вытянутых руках обращенной на себя.

ЛАВИТ:
— Это поражает меня каждый раз… видеть печальные руины великого корабля, сидя здесь, где он затонул в 2:30 утра 15 апреля 1912 года, после долгого погружения с поверхности.

Анатолий вертит глазами и бормочет на русском. Бодин хихикает и смотрит в гидролокатор.

БОДИН:
— Вы переполнены дерьмом, босс.

7.

«Мир-2» опускается вниз, к правому борту кормовой части мимо огромного якоря, в то время как «Мир-1» проходит к как будто бесконечной палубе бака с массивными якорными цепями и блестящими бронзовыми брашпилями, все еще лежащими в два ровных ряда. Подводные машины в 22 фута длиной похожи на белых жуков, ползающих по гигантским обломкам корабля.

ЛАВИТ (за кадром):
— Девятое погружение. Мы вновь на палубе «Титаника»… глубина две с половиной мили. Давление три тонны на квадратный дюйм, и если покрытие не выдержит, этого достаточно для того, чтобы нас раздавить как муравья, на которого находит товарный поезд. И если иллюминаторы толщиной в девять дюймов треснут, то это будет Сайонара в две микросекунды.

8.

«Мир-2» садится на шлюпочную палубу и следует по руинам офицерских отсеков. «Мир-1» приземляется неподалеку на крышу палубной надстройки.

ЛАВИТ:
— Ладно. За работу.

Бодин мягко передвигается к паре трехмерных электронных линз и захватывает пульт управления робота.

Сценарий фильма «Титаник» на русском языке

Сценарий «Титаника» («Titanic», 1997) был написан режиссером Джеймсом Кэмероном в первой

половине 90-х, фильм «Титаник» вышел на экраны в 1997 году. От вышедшего фильма сценарий

отличается наличием сцен, которые были вырезаны или сокращены при монтировании

окончательной версии.

Значительное число эпизодов, не вошедших в фильм, объясняет некоторые нестыковки в

смонтированных сценах. Вошедшие сцены старались не переснимать в последний момент перед

выходом фильма. Например, вырезанная сцена с Роуз, разбушевавшейся в своей спальне,

объясняет, почему плачущая бегущая по палубе девушка была так растрепана, хотя за столом мы

видим ее аккуратно одетой и причесанной. Отдельные моменты упущены при монтаже — например,

сцена с Бейкером Джоухином на корме корабля. До разлома корпуса пьяный Джоухин находится

уже по внешнюю сторону перил кормы — он никак не мог удержаться там даже будучи трезвым, если

корма весом в тысячи тонн упала из вертикального положения в горизонтальное.

Если бы все запланированные в сценарии сцены вошли в «Титаник», то он бы растянулся не на три,

а примерно на четыре с половиной часа. Но стремление режиссера не делить фильм на серии

вполне объяснимо — история распалась бы на куски и перестала быть более цельной. К тому же,

разбивать фильм пришлось бы в самый неподходящий момент — на середину фильма приходится

сцена столкновения корабля с айсбергом. Весь накал напряжения, которого так стремился достичь

Кэмерон, был бы испорчен этим делением. Поэтому режиссер избавился от всего, от чего только

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.

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.

Титаник

Сценарий фильма «Титаник» на русском языке

Сценарий «Титаника» («Titanic», 1997) был написан режиссером Джеймсом Кэмероном в первой

половине 90-х, фильм «Титаник» вышел на экраны в 1997 году. От вышедшего фильма сценарий

отличается наличием сцен, которые были вырезаны или сокращены при монтировании

окончательной версии.

Значительное число эпизодов, не вошедших в фильм, объясняет некоторые нестыковки в

смонтированных сценах. Вошедшие сцены старались не переснимать в последний момент перед

выходом фильма. Например, вырезанная сцена с Роуз, разбушевавшейся в своей спальне,

объясняет, почему плачущая бегущая по палубе девушка была так растрепана, хотя за столом мы

видим ее аккуратно одетой и причесанной. Отдельные моменты упущены при монтаже — например,

сцена с Бейкером Джоухином на корме корабля. До разлома корпуса пьяный Джоухин находится

уже по внешнюю сторону перил кормы — он никак не мог удержаться там даже будучи трезвым, если

корма весом в тысячи тонн упала из вертикального положения в горизонтальное.

Если бы все запланированные в сценарии сцены вошли в «Титаник», то он бы растянулся не на три,

а примерно на четыре с половиной часа. Но стремление режиссера не делить фильм на серии

вполне объяснимо — история распалась бы на куски и перестала быть более цельной. К тому же,

разбивать фильм пришлось бы в самый неподходящий момент — на середину фильма приходится

сцена столкновения корабля с айсбергом. Весь накал напряжения, которого так стремился достичь

Кэмерон, был бы испорчен этим делением. Поэтому режиссер избавился от всего, от чего только

мог, как от лишнего балласта, чтобы сократить фильм и не потопить основную сюжетную фабулу.

В окончательной версии фильма некоторые реплики Кэмерон передает другим персонажам, многие

мелкие сцены затопления корабля перемешаны и раздроблены для достижения той же цели —

большей напряженности и динамичности целого.

В сценарии герои «Титаника» обрисованы более детально, в чем-то даже более реалистично. Мы

узнаем, что первоначально Кэмерон создал образ Джека Доусона менее идеализированным, что

более похоже на бродягу-сироту из 3-го класса; образ Роуз оказывается более импульсивным, что

больше соответствует ее 17-летнему возрасту. Мы наблюдаем, что история любви Джека и Роуз

развивалась более последовательно.

Cтановится более очевиден и мотив подводных работ Брока Лавита, и сам образ Лавита и его

помощников. А в заключении мы узнаем, что старушка бросает в воду «Сердце океана» не одна, а

при свидетелях, которые хотели завладеть сокровищем. А также понимаем, что Роуз делает это не

только по причине старческого чудачества, но и ради того, чтобы благополучно сложилась еще одна

любовная история.

Текст сценария «Титаник» позволяет познать, насколько глубок был замысел Кэмерона, и насколько

конечный фильм соответствует и не соответствует этому замыслу. Кэмерон здесь еще проходит

становление как драматург-архитектор, в «Титанике» проявляется еще много его слабых сторон. Но

при этом история, созданная режиссером-сценаристом, необычайно захватывает, вовлекает нас в

Титаник

Сценарий фильма «Титаник» на русском языке

Сценарий «Титаника» («Titanic», 1997) был написан режиссером Джеймсом Кэмероном в первой

половине 90-х, фильм «Титаник» вышел на экраны в 1997 году. От вышедшего фильма сценарий

отличается наличием сцен, которые были вырезаны или сокращены при монтировании

окончательной версии.

Значительное число эпизодов, не вошедших в фильм, объясняет некоторые нестыковки в

смонтированных сценах. Вошедшие сцены старались не переснимать в последний момент перед

выходом фильма. Например, вырезанная сцена с Роуз, разбушевавшейся в своей спальне,

объясняет, почему плачущая бегущая по палубе девушка была так растрепана, хотя за столом мы

видим ее аккуратно одетой и причесанной. Отдельные моменты упущены при монтаже — например,

сцена с Бейкером Джоухином на корме корабля. До разлома корпуса пьяный Джоухин находится

уже по внешнюю сторону перил кормы — он никак не мог удержаться там даже будучи трезвым, если

корма весом в тысячи тонн упала из вертикального положения в горизонтальное.

Если бы все запланированные в сценарии сцены вошли в «Титаник», то он бы растянулся не на три,

а примерно на четыре с половиной часа. Но стремление режиссера не делить фильм на серии

вполне объяснимо — история распалась бы на куски и перестала быть более цельной. К тому же,

разбивать фильм пришлось бы в самый неподходящий момент — на середину фильма приходится

сцена столкновения корабля с айсбергом. Весь накал напряжения, которого так стремился достичь

Кэмерон, был бы испорчен этим делением. Поэтому режиссер избавился от всего, от чего только

мог, как от лишнего балласта, чтобы сократить фильм и не потопить основную сюжетную фабулу.

В окончательной версии фильма некоторые реплики Кэмерон передает другим персонажам, многие

мелкие сцены затопления корабля перемешаны и раздроблены для достижения той же цели —

большей напряженности и динамичности целого.

В сценарии герои «Титаника» обрисованы более детально, в чем-то даже более реалистично. Мы

узнаем, что первоначально Кэмерон создал образ Джека Доусона менее идеализированным, что

более похоже на бродягу-сироту из 3-го класса; образ Роуз оказывается более импульсивным, что

больше соответствует ее 17-летнему возрасту. Мы наблюдаем, что история любви Джека и Роуз

развивалась более последовательно.

Cтановится более очевиден и мотив подводных работ Брока Лавита, и сам образ Лавита и его

помощников. А в заключении мы узнаем, что старушка бросает в воду «Сердце океана» не одна, а

при свидетелях, которые хотели завладеть сокровищем. А также понимаем, что Роуз делает это не

только по причине старческого чудачества, но и ради того, чтобы благополучно сложилась еще одна

любовная история.

Текст сценария «Титаник» позволяет познать, насколько глубок был замысел Кэмерона, и насколько

конечный фильм соответствует и не соответствует этому замыслу. Кэмерон здесь еще проходит

становление как драматург-архитектор, в «Титанике» проявляется еще много его слабых сторон. Но

при этом история, созданная режиссером-сценаристом, необычайно захватывает, вовлекает нас в

события отчасти правдивые, отчасти вымышленные. Скорее всего, «Титаник» останется

единственным фильмом Кэмерона, созданным по следам реальных исторических событий.

Сценарий «Титаника» переведен на русский язык в 2004 году.

Автор статьи: Кошечкина Евгения

«ТИТАНИК»

Сценарий Джеймса Кэмерона

1. Мрак.

Мрак. Затем появляются два тусклых приближающихся источника света… они становятся все ярче и

превращаются в две глубоководных субмарины, спускающиеся к нам словно специальные

грузоподъемники.

Одна из субмарин похожа на сияющий огнями космический корабль с острыми манипуляторами, она

опережает другую и продолжает приближаться, пока не заполняет кадр.

Наклоняясь, мы следим, как они опускаются всё ниже и ниже в беспредельный мрак, становясь

сначала светлячками, потом звездами. Затем они исчезают.

2. Экстерьер – интерьер. «Мир-1». В глубинах северной Атлантики.

Въезд: мы в одной из опускающихся субмарин под названием «Мир-1».

Развернуть по окружности камеру: видны хозяева субмарины.

Внутри — тесная семифутовая сфера, заполненная оборудованием. Младший лоцман Анатолий

Михайлович сидит, согнувшись над панелью управления… и ненавязчиво напевает что-то на

русском.

Рядом с ним – Брок Лавит. Это сильно загорелый мужчина, ему больше сорока. Брок любит носить

свой Номекс-костюм расстегнутым и демонстрировать седовласую грудь, покрытую золотом,

добытым с легендарного затонувшего корабля. Он — ловец, морской охотник за сокровищами, ас по

подъему затонувших судов, частично историк, частично искатель приключений, а также добытчик-

комиссионер. В данный момент он поворачивается лицом к поглотителю СО2, быстро засыпает и

храпит.

С другой стороны, заполнив остальное пространство, расположился бородатый толстяк по имени

Льюис Бодин, который тоже спит. Льюис работает с пультом управления и является авторитетным

экспертом «Титаника».

Анатолий бросает взгляд в нижний гидролокатор и делает корректировку балласта.

3. Экстерьер. Морское дно.

Плоский, мертвенно-бледный пейзаж становится более различим в свете, падающем сверху, когда

«Мир-1» входит в кадр и опускается на морское дно, взбаламутив его поверхность движением

двигателей. После двухчасового свободного падения «Мир-1» с громким стуком ударяется о дно.

4. Интерьер. «Мир-1».

При посадке Лавит и Бодин судорожно просыпаются.

АНАТОЛИЙ (с сильным русским акцентом):

— Прибыли.

5. Экстерьер – интерьер. «Мир-1» и «Мир-2».

Несколько минут спустя две подводные машины просматривают морское дно с помощью звукового

гидролокатора и других приборов.

6.

В свете субмарин становится различим невыразительный серый ил, покрывающий дно. Бодин

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