tilted back, surrendering to him, to the emotion, to the inevitable. They
kiss, slowly and tremulously, and then with building passion.
Jack and the ship seem to merge into one force of power and optimism,
lifting her, buoying her forward on a magical journey, soaring onward into a
night without fear.
100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET
nudges his mate, REGINALD LEE, pointing down at the figures in the bow.
FLEET
Wish I had those bleedin' binoculars.
101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving
the ruined bow of the WRECK--
CUT TO:
102 INT. KELDYSH IMAGING SHACK
OLD ROSE blinks, seeming to come back to the present. She sees the wreck on
the screen, the sad ghost ship deep in the abyss.
ROSE
That was the last time Titanic ever saw daylight.
Brock Lovett changes the tape in the mini cassette recorder.
BROCK
So we're up to dusk on the night of the sinking. Six hours to go.
BODINE
Don't you love it? There's Smith, he's standing there with the iceberg
warning in his fucking hand...
(remembering Rose)
... excuse me... in his hand, and he's ordering more speed.
BROCK
26 years of experience working against him. He figures anything big enough
to sink the ship they're going to see in time to turn. But the ship's too
big, with too small a rudder... it can't corner worth shit. Everything he
knows is wrong.
ROSE is ignoring this conversation. She has the art-nouveau comb with the
jade butterfly on the handle in her hands, turning it slowly. She is
watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until
the image fills frame.
TRANSITION:
103 INT. ROSE'S SUITE
... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge
from the rusted ruin. Jack is overwhelmed by the opulence of the room. He
sets his sketchbook and drawing materials on the marble table.
ROSE
Will this light do? Don't artists need good light?
JACK
(bad French accent)
Zat is true, I am not used to working in such 'orreeble conditions.
(seeing the paintings)
Hey... Monet!
He crouches next to the paintings stacked against the wall.
JACK
Isn't he great... the use of color? I saw him once... through a hole in this
garden fence in Giverny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to the
safe and start working the combination. He's fascinated.
ROSE
Cal insist on luggin this thing everywhere.
JACK
Should I be expecting him anytime soon?
ROSE
Not as long as the cigars and brandy hold out.
CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror
behind the safe. She opens it and removes the necklace, then holds it out to
Jack who takes it nervously.
JACK
What is it? A sapphire?
ROSE
A diamond. A very rare diamond, called the Heart of the Ocean.
Jack gazes at wealth beyond his comprehension.
ROSE
I want you to draw me like your French girl. Wearing this.
(she smiles at him)
Wearing only this.
He looks up at her, surprised, and we CUT TO:
104 ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair.
She shakes her head and her hair falls free around her shoulders.
105 IN THE SITTING ROOM Jack is laying out his pencils like surgical tools.
His sketchbook is open and ready. He looks up as she comes into the room,
wearing a silk kimono.
ROSE
The last thing I need is another picture of me looking like a china doll. As
a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stone lies
on her creamy breast. Her heart is pounding as she slowly lowers the robe.
Jack looks so stricken, it is almost comical. The kimono drops to the floor
(this is all in cuts, lyrical).
ROSE
Tell me when it looks right to you.
She poses on the divan, settling like a cat into the position we remember
from the drawing... almost.
JACK
Uh... just bend your left leg a little and... and lower your head. Eyes to
me. That's it.
Jack starts to sketch. He drops his pencil and she stifles a laugh.
ROSE
I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet
blushing.
JACK
(sweating)
He does landscapes.
TIGHT ON JACK as his eyes come up to look at her over the top edge of his
sketchpad. We have seen this image of him before, in her memory. It is an
image she will carry the rest of her life.
Despite his nervousness, he draws with sure strokes, and what emerges is the
best thing he has ever done. Her pose is languid, her hands beautiful, and
her eyes radiate her energy.
PUSH SLOWLY IN ON ROSE'S FACE...
TRANSITION:
106 INT. KELDYSH / IMAGING SHACK
MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same.
OLD ROSE
My heart was pounding the whole time. It was the most erotic moment of my
life... up till then at least.
CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence.
The story of Jack and Rose has finally and completely grabbed them.
BODINE
What, uh... happened next?
OLD ROSE
(smiling)
You mean, did we "do it"?
CUT TO:
107 INT. ROSE AND CAL'S SUITE - NIGHT
BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again,
is leaning on his shoulder, watching.
OLD ROSE (V.O.)
Sorry to disappoint you Mr. Bodine.
Rose gazes at the drawing. He has X-rayed her soul.
ROSE
Date it, Jack. I want to always remember this night.
He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic
stationary. We don't see what it says. She accepts the drawing from him, and
crosses to the safe in the wardrobe.
She puts the diamond back in the safe, placing the drawing and the note on
top of it. Closes the door with a CLUNK!
CUT TO:
108 INT. FIRST CLASS SMOKING ROOM - NIGHT
Lovejoy enters from the Palm Court through the revolving door and crosses
the room toward Hockley. A fire is blazing in the marble fireplace, and the
usual fatcats are playing cards, drinking and talking. Cal sees Lovejoy and
detaches from his group, coming to him.
LOVEJOY
None of the stewards have seen her.
CAL
(low but forceful)
This is ridiculous, Lovejoy. Find her.
CUT TO:
109 EXT. ATLANTIC - NIGHT
TITANIC glides across an unnatural sea, black and calm as a pool of oil. The
ships lights are mirrored almost perfectly in the black water. The sky is
brilliant with stars. A meteor traces a bright line across the heavens.
110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of the
ship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It
steams in the bitter cold of the open bridge. Second Officer Lightoller is
next to him, staring out at the sheet of black glass the Atlantic has
become.
LIGHTOLLER
I don't think I've ever seen such a flat calm, in 24 years at sea.
SMITH
Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER
It's make the bergs harder to see, with no breaking water at the base.
SMITH
Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.
LIGHTOLLER
Yes sir.
SMITH
And wake me, of course, if anything becomes in the slightest degree
doubtful.
CUT TO:
111 INT. ROSE AND CAL'S SUITE
Rose, fully dressed now, returns to the sitting room. They hear a key in the
lock. Rose takes Jack's hand and leads him silently through the bedrooms.
Lovejoy enters by the sitting room door.
LOVEJOY
Miss Rose? Hello?
He hears a door opening and goes through Cal's room toward hers.
CUT TO:
112 INT. CORRIDOR OUTSIDE SUITE
Rose and Jack come out of her stateroom, closing the door. She leads him
quickly along the corridor toward the B deck foyer. They are halfway across
the open space when the sitting room door opens in the corridor and Lovejoy
comes out. The valet sees Jack with Rose and hustles after them.
ROSE
Come on!
She and Jack break into a run, surprising the few ladies and gentlemen
about. Rose leads him past the stairs to the bank of elevators. They run
into one, shocking the hell out of the OPERATOR.
ROSE
Take us down. Quickly, quickly!
The Operator scrambles to comply. Jack even helps him close the steel gate.
Lovejoy runs up as the lift starts to descend. He slams one hand on the bars
of the gate. Rose makes a very rude and unladylike gesture, and laughs as
Lovejoy disappears above. The Operator gapes at her.
CUT TO:
113 INT. E-DECK FOYER / ELEVATORS
Lovejoy emerges from another lift and runs to the one Jack and Rose were in.
The Operator is just closing the gate to go back up. Lovejoy runs around the
bank of elevators and scans the foyer... no Jack and Rose. He tries the
stairs going down to F-Deck.
CUT TO:
114 INT. F-DECK CORRIDORS / FAN ROOM
A functional space, with access to a number of machine spaces (fan rooms,
boiler uptakes). Jack and Rose are leaning against a wall, laughing.
JACK
Pretty tough for a valet, this fella.
ROSE
He's an ex-Pinkerton. Cal's father hired him to keep Cal out of trouble...
to make sure he always got back to the hotel with his wallet and watch,
after some crawl through the less reputable parts of town...
JACK
Kinda like we're doin' right now-- uh oh!
Lovejoy has spotted them from a cross-corridor nearby. He charges toward
them. Jack and Rose run around a corner into a blind alley. There is one
door, marked CREW ONLY, and Jack flings it open.
115 They enter a roaring RAN ROOM, with no way out but a ladder going down.
Jack latches the deadbolt on the door, and Lovejoy slams against it a moment
later. Jack grins at Rose, pointing to the ladder.
JACK
After you, m'lady.
CUT TO:
116 INT. BOILER ROOM FIVE AND SIX
Jack and Rose come down the escape ladder and look around in amazement. It
is like a vision of hell itself, with the roaring furnaces and black figures
moving in the smoky glow. They run the length of the boiler room, dodging
amazed stokers, and trimmers with their wheelbarrows of coal.
JACK
(shouting over the din)
Carry on! Don't mind us!
They run through the open watertight door into BOILER ROOM SIX. Jack pulls
her through the fiercely hot alley between two boilers and they wind up in
the dark, out of sight of the working crew. Watching from the shadows, they
see the stokers working in the hellish glow, shovelling coal into the
insatiable maws of the furnaces. The whole place thunders with the roar of
the fires.
CUT TO:
117 INT. FIRST CLASS SMOKING ROOM
Amid unparalleled luxury, Cal sits at a card game, sipping brandy.
COLONEL GRACIE
We're going like hell I tell you. I have fifty dollars that says we make it
into New York Tuesday night!
Cal looks at his gold pocket watch, and scowls, not listening.
CUT TO:
118 OMITTED
119 INT. BOILER ROOM SIX
The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose's
face, tasting the sweat trickling down from her forehead. They kiss
passionately in the steamy, pounding darkness.
CUT TO:
120 INT. HOLD #2
Jack and Rose enter and run laughing between the rows of stacked cargo. She
hugs herself against the cold, after the dripping heat of the boiler room.
They come upon William Carter's brand new RENAULT touring car, lashing down
to a pallet. It looks like a royal coach from a fairy tale, its brass trim
and headlamps nicely set off by its deep burgundy color.
Rose climbs into the plushly upholstered back seat, acting very royal. There
