CUT TO: 75 EXT. A DECK PROMENADE – DAY Rose and Jack stroll aft, past people lounging on deck chairs in the slanting late-afternoon light. Stewards scurry to serve tea or hot cocoa. ROSE (girlish and excited) You know, my dream has always been to just chuck it all and become an artist… living in a garret, poor but free! JACK (laughing) You wouldn’t last two days. There’s no hot water, and hardly ever any caviar. ROSE (angry in a flash) Listen, buster… I hate caviar! And I’m tired of people dismissing my dreams with a chuckle and a pat on the head. JACK I’m sorry. Really… I am. ROSE Well, alright. There’s something in me, Jack. I feel it. I don’t know what it is, whether I should be an artist, or, I don’t know… a dancer. Like Isadora Duncan…. a wild pagan spirit… She leaps forward, lands deftly and whirls like a dervish. Then she sees something ahead and her face lights up. ROSE …or a moving picture actress! She takes his hand and runs, pulling him along the deck toward– DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as she poses stiffly at the rail. MARVIN You’re sad. Sad, sad, sad. You’ve left your lover on the shore. You may never see him agian. Try to be sadder, darling. SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the rail next to Mary. Mary bursts out laughing. Rose pulls Jack into the picture and makes him pose. Marvin grins and starts yelling and gesturing. We see this in CUTS, with music and no dialogue. SERIES OF CUTS: Rose posing tragically at the rail, the back of her hand to her forehead. Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming fanning him like slave girls. Jack, on his knees, pleading with his hands clasped while Rose, standing, turns her head in bored disdain. Rose cranking the camera, while Daniel and Jack have a western shoot-out. Jack wins and leers into the lens, twirling an air mustache like Snidely Whiplash. CUT TO: 76 EXT. A DECK PROMENADE / AFT – SUNSET Painted with orange light, Jack and Rose lean on the A-deck rail aft, shoulder to shoulder. The ship’s lights come on. It is a magical moment… perfect. ROSE So then what, Mr. Wandering Jack? JACK Well, then logging got to be too much like work, so I went down to Los Angelas to the pier in Santa Monica. That’s a swell place, they even have a rollercoaster. I sketched portraits there for ten cents a piece. ROSE A whole ten cents?! JACK (not getting it) Yeah; it was great money… I could make a dollar a day, sometimes. But only in summer. When it got cold, I decided to go to Paris and see what the real artists were doing. ROSE (looks at the dusk sky) Why can’t I be like you Jack? Just head out for the horizon whenever I feel like it. (turning to him) Say we’ll go there, sometime… to that pier… even if we only ever just talk about it. JACK Alright, we’re going. We’ll drink cheap beer and go on the rollercoaster until we throw up and we’ll ride horses on the beach… right in the surf… but you have to ride like a cowboy, none of that side-saddle stuff. ROSE You mean one leg on each side? Scandalous! Can you show me? JACK Sure. If you like. ROSE (smiling at him) I think I would. (she looks at the horizon) And teach me to spit too. Like a man. Why should only men be able to spit. It’s unfair. JACK They didn’t teach you that in finishing school? Here, it’s easy. Watch closely. He spits. It arcs out over the water. JACK Your turn. Rose screws up her mouth and spits. A pathetic little bit of foamy spittle which mostly runs down her chin before falling off into the water. JACK Nope, that was pitiful. Here, like this… you hawk it down… HHHNNNK!… then roll it on your tongue, up to the front, like thith, then a big breath and PLOOOW!! You see the range on that thing? She goes through the steps. Hawks it down, etc. He coaches her through it (ad lib) while doing the steps himself. She lets fly. So does he. Two comets of gob fly out over the water. JACK That was great! Rose turns to him, her face alight. Suddenly she blanches. He sees her expression and turns. RUTH, the Countess of Rothes, and Molly Brown have been watching them hawking lugees. Rose becomes instantly composed. ROSE Mother, may I introduce Jack Dawson. RUTH Charmed, I’m sure. Jack has a little spit running down his chin. He doesn’t know it. Molly Brown is grinning. As Rose proceeds with the introductions, we hear… OLD ROSE (V.O.) The others were gracious and curious about the man who’d saved my life. But my mother looked at him like an insect. A dangerous insect which must be squashed quickly. MOLLY Well, Jack, it sounds like you’re a good man to have around in a sticky spot– They all jump as a BUGLER sounds the meal call right behind them. MOLLY Why do they insist on always announcing dinner like a damn cavalry charge? ROSE Shall we go dress, mother? (over her shoulder) See you at dinner, Jack. RUTH (as they walk away) Rose, look at you… out in the sun with no hat. Honestly! The Countess exits with Ruth and Rose, leaving Jack and Molly alone on deck. MOLLY Son, do you have the slightest comprehension of what you’re doing? JACK Not really. MOLLY Well, you’re about to go into the snakepit. I hope you’re ready. What are you planning to wear? Jack looks down at his clothes. Back up at her. He hadn’t thought about that. MOLLY I figured. CUT TO: 77 INT. MOLLY BROWN’S STATEROOM Men’s suits and jackets and formal wear are strewn all over the place. Molly is having a fine time. Jack is dressed, except for his jacket, and Molly is tying his bow tie. MOLLY Don’t feel bad about it. My husband still can’t tie one of these damn things after 20 years. There you go. She picks up a jacket off the bed and hands it to him. Jack goes into the bathroom to put it on. Molly starts picking up the stuff off the bed. MOLLY I gotta buy everything in three sizes ’cause I never know how much he’s been eating while I’m away. She turns and sees him, though we don’t. MOLLY My, my, my… you shine up like a new penny. CUT TO: 78 EXT. BOAT DECK / FIRST CLAsS ENTRANCE – DUSK A purple sky, shot with orange, in the west. Drifting strains of classic music. We TRACK WITH JACK along the deck. By Edwardian standards he looks badass. Dashing in his borrowed white-tie outfit, right down to his pearl studs. A steward bows and smartly opens the door to the First Class Entrance. STEWARD Good evening, sir. Jack plays the role smoothly. Nods with just the right degree of disdain. CUT TO: 79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK Jack steps in and his breath is taken away by the splendor spread out before him. Overhead is the enormous glass dome, with a crystal chandelier at its center. Sweeping down six stories is the First Class Grand Staircase, the epitome of the opulent naval architecture of the time. And the people: the women in their floor length dresses, elaborate hairstyles and abundant jewelry… the gentlemen in evening dress, standing with one hand at the small of the back, talking quietly. Jack descends to A deck. Several men nod a perfunctory greeting. He nods back, keeping it simple. He feels like a spy. Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They both walk right past Jack, neither one gecognizeing him. Cal nods at him, one gent to another. But Jack barely has time to be amused. Because just behind Cal and Ruth on the stairs is Rose, a vision in red and black, her low-cut dress showing off her neck and shoulders, her arms seathed in white gloves that come well above above the elbow. Jack is hypnotized by her beauty. CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen’s stance, hand behind his back. She extends her gloved hand and he takes it, kissing the back of her fingers. Rose flushes, beaming noticeably. She can’t take her eyes off him. JACK I saw that in a nickelodean once, and I always wanted to do it. ROSE Cal, surely you remember Mr. Dawson. CAL (caught off guard) Dawson! I didn’t recognize you. (studies him) Amazing! You could almost pass for a gentlemen. CUT TO: 80 INT. D-DECK RECEPTION ROOM CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They encounter Molly Brown, looking good in a beaded dress, in her own busty broad-shouldered way. Molly grins when she sees Jack. As they are going into the dining saloon she walks next to him, speaking low: MOLLY Ain’t nothin’ to it, is there, Jack? JACK Yeah, you just dress like a pallbearer and keep your nose up. MOLLY Remember, the only thing they respect is money, so just act like you’ve got a lot of it and you’re in the club. As they enter the swirling throng, Rose leans close to him, pointing out several notables. ROSE There’s the Countess Rothes. And that’s John Jacob Astor… the richest man on the ship. His little wifey there, Madeleine, is my age and in a delicate condition. See how she’s trying to hide it. Quite the scandal. (nodding toward a couple) And over there, that’s Sir Cosmo and Lucile, Lady Duff-Gordon. She designs naughty lingerie, among her many talents. Very popular with the royals. Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel Gracie, while Ruth, the Countess and Lucille discuss fashion. Rose picots Jack smoothly, to show him another couple, dressed impeccably. ROSE And that’s Benjamin Guggenheim and his mistress, Madame Aubert. Mrs. Guggenheim is at home with the children, of course. Cal, meanwhile, is accepting the praise of his male counterparts, who are looking at Rose like a prize show horse. SIR COSMO Hockley, she is splendid. CAL Thank you. GRACIE Cal’s a lucky man. I know him well, and it can only be luck. Ruth steps over, hearing the last. She takes Cal’s arm, somewhat coquettishly. RUTH How can you say that Colonel? Caledon Hockley is a great catch. The entourage strolls toward the dining saloon, where they run into the Astor’s going through the ornate double doors. ROSE J.J., Madeleine, I’d like you to meet Jack Dawson. ASTOR (shaking his hand) Good to meet you Jack. Are you of the Boston Dawsons? JACK No, the Chippewa Falls Dawsons, actually. J.J. nods as if he’s heard of them, then looks puzzled. Madeleine Astor appraises Jack and whispers girlishly to Rose: MADELEINE It’s a pity we’re both spoken for, isn’t it? CUT TO: 81 INT. DINING SALOON Like a ballroom at the palace, alive and lit by a constellation of chandeliers, full of elegantly dressed people and beautiful music from BANDLEADER WALLACE HARTLEY’S small orchestra. As Rose and Jack enter and move across the room to their table, Cal and Ruth beside them, we hear… OLD ROSE (V.O.) He must have been nervous but he never faltered. They assumed he was one of them… a young captain of industry perhaps… new money, obviously, but still a memeber of the club. Mother of course, could always be counted upon… CUT TO: 82 INT. DINING SALOON CLOSE ON RUTH. RUTH Tell us of the accommodations in steerage, Mr. Dawson. I hear they’re quite good on this ship. WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie, the Countess, Guggenheim, Madame Aubert, and the Astors. JACK The best I’ve seen, m’am. Hardly any rats. Rose motions surreptitiously for Jack to take his napkin off his plate. CAL Mr. Dawson is joining us from third class. He was of some assistance to my fiancee last night. (to Jack, as if to a child) This is foie gras. It’s goose liver. We see whispers exchanged. Jack becomesthe subject of furtive glances. Now they’re all feeling terribly liberal and dangerous. GUGGENHEIM (low to Madame Aubert) What is Hockly hoping to prove, bringing this… bohemian… up here? WAITER (to Jack) How do you take your caviar, sir? CAL (answering for him) Just a soupcon of lemon… (to Jack, smiling) …it improves the flavor with champagne. JACK (to the waiter) No caviar for me, thanks. (to Cal) Never did like it much. He looks at Rose, pokerfaced, and she smiles. RUTH And where exactly do you live, Mr. Dawson? JACK Well, right now my address is the RMS Titanic. After that, I’m on God’s good humor. Salad is served. Jack reaches for the fish fork. Rose gives him a look and picks up the salad fork, prompting him with her eyes. He changes forks. RUTH You find that sort of rootless existence appealing, do you? JACK Well… it’s a big world, and I want to see it all before I go. My father was always talkin’ about goin’ to see the ocean. He died in the town he was born in, and never did see it. You can’t wait around, because you never know what hand you’re going to get dealt next. See, my folks died in a fire when I was fifteen, and I’ve been on the road since. Somethin’ like that teaches you to take life as it comes at you. To make each day count. Molly Brown raises her glass in a salute. MOLLY Well said, Jack. COLONEL GRACIE (raising his glass) Here, here. Rose raises her glass, looking at Jack. ROSE To making it count. Ruth, annoyed that Jack has scored a point, presses him further. RUTH How is it you have the means to travel, Mr. Dawson? JACK I work my way from place to place. Tramp steamers and such. I won my ticket on Titanic here in a lucky hand at poker. (he glances at Rose) A very lucky hand. GRACIE All life is a game of luck. CAL A real man makes his own luck, Archie. Rose notices that Thomas Andrews, sitting next to her, is writing in his notebook, completely ignoring the conversation. ROSE Mr. Andrews, what are you doing? I see you everywhere writing in this little book. (grabs it and reads) Increase number of screws in hat hooks from 2 to 3. You build the biggest ship in the world and this preoccupies you?! Andrews smiles sheepishly. ISMAY He knows every rivet in her, don’t you Thomas? ANDREWS All three million of them. ISMAY His blood and soul are in the ship. She may be mine on paper, but in the eyes of God she belongs to Thomas Andrews. ROSE Your ship is a wonder, Mr. Andrews. Truly. ANDREWS Thankyou, Rose. We see that Andrews has come under Rose’s spell. 83 TIME TRANSITION: Dessert has been served and a waiter arrives with cigars in a humidor on a wheeled cart. The men start clipping ends and lighting. ROSE (low, to Jack) Nest it’ll be brandies in the Smoking Room. GRACIE (rising) Well, join me for a brandy, gentlemen? ROSE (low) Now they retreat into a cloud of smoke and congratulate each other on being masters of the universe. GRACIE Joining us, Dawson? You don’t want to stay out here with the women, do you? Actually he does, but… JACK No thanks. I’m heading back. CAL Probably best. It’ll be all business and politics, that sort of thing. Wouldn’t interest you. Good of you to come. Cal and te other gentlemen exit. ROSE Jack, must you go? JACK Time for my coach to turn back into a pumpkin. He leans over to take her hand. INSERT: We see him slip a tiny folded not into her palm. Ruth, scowling, watches him walk away across the enormous room. Rose surreptitiously opens the note below table level. It reads: “Make it count. Meet me at the clock”. CUT TO: 84 INT. A-DECK FOYER-NIGHT Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead is the crystal dome. Jack has his back to her, studying the ornate clock with its carved figures of Honor and Glory. It softly strikes the hour. MOVING WITH ROSE as she goes up the sweeping staircase toward him. He turns, sees her… smiles. JACK Want to go to a real party? CUT TO: 85 INT. THIRD CLASS GENERAL ROOM Crow led and alive with music, laughter and raucous carrying on. An ad hoc band is gathered near the upright piano, honking out lively stomping music on fiddle, accoridon and tambourine. People of all ages are dancing, drinking beer and wine, smoking, laughing, even brawling. Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile dances with 5 year old Cora Cartmell, or tries to, with her standing on his feet. As the tune ends, Rose leans down to the little girl. ROSE May I cut in, miss? JACK You’re still my best girl, Cora. Cora scampers off. Rose and Jack face each other. She is trembling as he takes her right hand in his left. His other hand slides to the small of her back. It is an electrifying moment. ROSE I don’t know the steps. JACK Just move with me. Don’t think. The music starts and they are off. A little awkward at first, she starts to get into it. She grins at Jack as she starts to get the rhythm of the steops. ROSE Wait… stop! She bends down, pulling off her high heeled shoes, and flings them to Tommy. Then she grabs Jack and they plunge back into the fray, dancing faster as the music speeds up. CUT TO: 86 OMITTED 87 INT. THIRD CLASS GENERAL ROOM The scene is rowdy and rollicking. A table gets knocked over as a drunk crashes into it. And in the middle of it… Rose dancing with Jack in her stocking feet. The steps are fast and she shines with sweat. A space opens around them, and people watch them, clapping as the band plays faster and faster. FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He whirls her, then she responds by whirling him… Fabrizio’s eyes go wide when he realizes she’s stronger than he is. The tune ends in a mad rush. Jack steps away from Rose with a flourish, allowing her to take a bow. Exhilarated and slightly tipsy, she does a graceful ballet ployer, feet turned out perfectly. Everyone laughs and applauds. Rose is a hit with the steerage folks, who’ve never had a lady party with them. They move to a table, flushed and sweaty. Rose grabs Fabrizio’s cigarette and takes a big drag. She’s feeling cocky. Fabrizio is grinning, holding hands with Helga. JACK How you two doin’? FABRIZIO I don’t know hwat she’s say, she don’t know what I say, so we get along fine. Tommy walks up with a pint for each of them. Rose chugs hers, showing off. ROSE You think a first class girl can’t drink? Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy, who sloshes his beer over Rose’s dress. She laughs, not caring. But Tommy lunges, grabbing Bjorn and wheeling him around. TOMMY You stupid bastard!! Bjorn comes around, his fists coming up… and Jack leaps into the middle of it, pushing them apart. JACK Boys, boys! Did I ever tell you the one about the Swede and the Irishman goin’ to the whorehouse? Tommy stands there, all piss and vinegar, chest puffed up. Then he grins and claps Bjorn on the shoulder. ROSE So, you think you’re big tough men? Let’s see you do this. In her stocking feet she assumes a ballet stance, arms raised, and goes up on point, taking her entire weight on the tips of her toes. The guys gape at her incredible muscle control. She comes back down, then her face screws up in pain. She grabs one foot, hopping around. ROSE Oooowww! I haven’t done that in years. Jack catches her as she loses her balance, and everyone cracks up. THE DOOR to the well deck is open a few inches as Lovejoy watches through the gap. He sees Jack holding Rose, both of them laughing. LOVEJOY closes the door. CUT TO: 88 EXT. BOAT DECK – NIGHT The stars blaze overhead, so bright and clear you can see the Milky Way. Rose and Jack walk along the row of lifeboats. Still giddy from the party, they are singing a popular song “Come Josephine in My Flying Machine”. JACK/ROSE Come Josephine in my flying machine And it’s up she goes! Up she goes! In the air she goes. Where? There she goes! They fumble the words and break down laughing. They have reached the First Class Entrance, but don’t go straight in, not wanting the evening to end. Through the doors the sound of the ship’s orchestra wafts gently. Rose grabs a davit and leans back, staring at the cosmos. ROSE Isn’t it magnificent? So grand and endless. She goes to the rail and leans on it. ROSE They’re such small people, Jack… my crowd. They think they’re giants on the earth, but they’re not even dust in God’s eye. They live inside this little tiny champagne bubble… and someday the bubble’s going to burst. He leans at the rail next to her, his hand just touching hers. It is the slightest contact imaginable, and all either one of them can feel is that square inch of skin where their hands are touching. JACK You’re not one of them. There’s been a mistake. ROSE A mistake? JACK Uh huh. You got mailed to the wrong address. ROSE (laughing) I did, didn’t I? (MORE) ROSE (CONT’D) (pointing suddenly) Look! A shooting star. JACK That was a long one. My father used to say that whenever you saw one, it was a soul going to heaven. ROSE I like that. Aren’t we supposed to wish on it? Jack looks at her, and finds that they are suddenly very close together. It would be so easy to move another couple of inches, to kiss her. Rose seems to be thinking the same thing. JACK What would you wish for? After a beat, Rose pulls back. ROSE Something I can’t have. (she smiles sadly) Goodnight, Jack. And thank you. She leaves the rail and hurries through the First Class Entrance. JACK Rose!! But the door bangs shut, and she is gone. Back to her world. CUT TO: 89 INT. ORSE AND CAL’S SUITE / PRIVATE PROMENADE – DAY SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Rose and Cal are having breakfast in silence. The tension is palpable. Trudy Bolt, in her maid’s uniform, pours the coffee and goes inside. CAL I had hoped you would come to me last night. ROSE I was tired. CAL Yes. Your exertions below decks were no doubt exausting. ROSE (stiffening) I see you had that undertaker of a manservant follow me. CAL You will never behave like that again! Do you understand? ROSE I’m not some foreman in your mills than you can command! I am your fiancee– Cal explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering over her and gripping the sides of her chair, so she is trapped between his arms. CAL Yes! You are! And my wife… in practice, if not yet by law. So you will honor me, as a wife is required to honor her husband! I will not be made out a fool! Is this in any way unclear? Rose shrinks into the chair. She sees Trudy, frozen, partway through the door bringing the orange juice. Cal follows Rose’s glance and straightens up. He stalks past the maid, entering the stateroom. ROSE We… had a little accident. I’m sorry, Trudy. CUT TO: 90 INT. RUTH’S SUITE – DAY Rose is dressed for the day, and is in the middle of helping Ruth with her corset. The tight bindings do not inhibit Ruth’s fury at all. RUTH You are not to see that boy again, do you understand me Rose? I forbid it! Rose has her knee at the base of her mother’s back and is pulling the corset strings with both hands. ROSE Oh, stop it, Mother. You’ll give yourself a nosebleed. Ruth pulls away from her, and crosses to the door, locking it. CLACK! RUTH (wheeling on her) Rose, this is not a game! Our situation is precarious. You know the money’s gone! ROSE Of course I know it’s gone. You remind me every day! RUTH Your father left us nothing but a legacy of bad debts hidden by a good name. And that name is the only card we have to play. Rose turns her around and grabs the corset strings again. Ruth sucks in her waist and Rose pulls. RUTH I don’t understand you. It is a fine match with Hockley, and it will insure our survival. ROSE (hurt and lost) How can you put this on my shoulders? Rose turns to her, and we see what Rose sees– the naked fear in her mother’s eyes. RUTH Do you want to se me working as a seamstress? Is that what you want? Do you want to see our fine things sold at an auction, our memories scattered to the winds? My God, Rose, how can you be so selfish? ROSE It’s so unfair. RUTH Of course it’s unfair! We’re women. Our choices are never easy. Rose pulls the corset tighter. CUT TO: 91 INT. FIRST CLASS DINING SALOON At the divine service, Captain Smith is leading a group in the hymn “Almighty Father Strong To Save.” Rose and Ruth sing in the middle of the group. Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at the entry doors. Jack has been halted there by two stewards. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place. STEWARD Look, you, you’re not supposed to be in here. JACK I was just here last night… don’t you remember? (seeing Lovejoy coming toward him) He’ll tell you. LOVEJOY Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your assistance. They asked me to give you this in gratitude– He holds out two twenty dollar bills, which Jack refuses to take. JACK I don’t want money, I– LOVEJOY –and also to remind you that you hold a third class ticket and your presence here is no longer appropriate. Jack spots Rose but she doesn’t see him. JACK I just need to talk to Rose for a– LOVEJOY Gentlemen, please see that Mr. Dawson gets back where he belongs. (giving the twenties to the stewards) And that he stays there. STEWARD Yes sir! (to Jack) Come along you. END ON ROSE, not seeing Jack hustled out. ROSE (singing) O hear us when we cry to thee for those in peril on the sea. CUT TO: 92 INT. GYMNASIUM – DAY An Edwardian nautilus room. There are machines we recognize, and some don’t. A woman pedals a stationary bicycle in a long dress, looking rediculous. Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal. Cal is wroking the oars of a stationary rowing machine with a well trained stroke. CAL Reminds me of my Harvard days. T.W. McCAULEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his present-day counterpart on an “Abflex” infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Rose puts her hand on it, curious. MCCAULEY The electric horse is very popular. We even have an electric camel. (to Ruth) Care to try your hand at the rowing, m’am? RUTH Don’t be absurd. I can’t think of a skill I should likely need less. ANDREWS The next stop on our tour will be bridge. This way, please. CUT TO: 93 EXT. AFT WELL DECK, B-DECK AND A-DECK – DAY Jack, walking with determination, is followed closely by Tommy and Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class. TOMMY She’s a goddess amongst mortal men, there’s no denyin’. But she’s in another world, Jackie, forget her. She’s closed the door. Jack moves furtively to the wall below the A-Deck promenade, aft. JACK It was them, not her. (glancing around the deck) Ready… go. Tommy shakes his head resignedly and puts his hands together, crouching down. Jack steps into Tommy’s hands and gets boosted up to the next deck, where he scrambles nimbly over the railing, onto the First Class deck. TOMMY He’s not bein’ logical, I tell ya. FABRIZIO Amore is’a not logical. CUT TO: 94 EXT. A-DECK / AFT – DAY A man is playing with his son, who is spinning a top with a string. The man’s overcoat and hat are sitting on a deck chair nearby. Jack emerges from behind one of the huge deck cranes and calmly picks up the coat and bowler hat. He walks away, slipping into the coat, and slicks his hair back with spit. Then puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen. CUT TO: 95 INT. BRIDGE / CHARTROOM – DAY HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and skirts around Andrews’ tour group to hand a Marconigram to Captain Smith. BRIDE Another ice warning, sir. This one from the “Baltic”. SMITH Thankyou, Sparks. Smith glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Rose and the group. SMITH Not to worry, it’s quite normal for this time of year. In fact, we’re speeding up. I’ve just ordered the last boilers lit. Andrews scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch. LIGHTOLLER Did we ever find those binoculars for the lookouts? FIRST OFFICER MURDOCH Haven’t seen them since Southampton. CUT TO: 96 EXT. BOAT DECK / STARBOARD SIDE – DAY Andrews leads the group back from the bridge along the boat deck. ROSE Mr. Andrews, I did the sum in my head, and with the number of lifeboats times the capacity you mentioned… forgive me, but it seems that there are not enough for everyone aboard. ANDREWS About half, actually. Rose, you miss nothing, do you? In fact, I put in these new type davits, which can take an extra row of boats here. (he gestures along the eck) But it was thought… by some… that the deck would look too cluttered. So I was over-ruled. CAL (slapping the side of a boat) Waste of deck space as it is, on an unsinkable ship! ANDREWS Sleep soundly, young Rose. I have built you a good ship, strong and true. She’s all the lifeboat you need. As they are passing Boat 7, a gentlemen turns from the rail and walks up behind the group. It is Jack. He taps Rose on the arm and she turns, gasping. He motions and she cuts away from the group toward a door which Jack holds open. They duck into the– CUT TO: 97 INT. GYMNASIUM – DAY Jack closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Rose and Jack are alone in the room. ROSE Jack, this is impossible. I can’t see you. He takes her by the shoulders. JACK Rose, you’re no picnic… you’re a spoiled little brat even, but under that you’re a strong, pure heart, and you’re the most amazingly astounding girl I’ve ever known and– ROSE Jack, I– JACK No wait. Let me try to get this out. You’re amazing… and I know I have nothing to offer you, Rose. I know that. But I’m involved now. You jump, I jump, remember? I can’t turn away without knowin’ that you’re goin’ to be alright. Rose feels the tears coming to her eyes. Jack is so open and real… not like anyone she has ever known. ROSE You’re making this very hard. I’ll be fine. Really. JACK I don’t think so. They’ve got you in a glass jar like some butterfly, and you’re goin’ to die if you don’t break out. Maybe not right away, ’cause you’re strong. But sooner or later the fire in you is goin’ to go out. ROSE It’s not up to you to save me, Jack. JACK You’re right. Only you can do that. ROSE I have to get back, they’ll miss me. Please, Jack, for both our sakes, leave me alone. CUT TO: 98 INT. FIRST CLASS LOUNG – DAY The most elegant room on the ship, done in Louis Quinze Versaille style. Rose sits on a divan, with a group of other women arrayed around her. Ruth, the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and still as a porcelain figurine as the conversation washes around her. RUTH Of course the invitations had to be sent back to the printers twice. And the bridesmaids dresses! Let me tell you what an odyssey that has been… TRACKING SLOWLY IN on Rose as Ruth goes on. REVERSE, ROSE’S POV: A tabeau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl is trying so hard to please, her expression serious. A glimpse of Rose at that age, and we see the relentless conditioning… the pain to becoming an Edwardian geisha. ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all over her dress. ROSE Oh, look what I’ve done. CUT TO: 99 EXT. TITANIC – DAY TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head. Jack hears her voice, behind him… ROSE Hello, Jack. He turns and she is standing there. ROSE I changed my mind. He smiles at her, his eyes drinking her in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face. ROSE Fabrizio said you might be up– JACK Sssshh. Come here. He puts his hands on her waist. As if he is going to kiss her. JACK Close your eyes. She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her. Then he takes her two hands and raises them until she is standing with her arms outstetched on each side. Rose is going along with him. When he lowers his hands, her arms stay up… like wings. JACK Okay. Open them. Rose gasps. There is nothing in her field of vision but water. It’s like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a dusk sky. There is only the wind, and the hiss of the water 50 feel below. ROSE I’m flying! She leans forward, arching her back. He puts his hands on her waist to steady her. JACK (singing softly) Come Josephine in my flying machine… Rose cleses her eyes, feeling herself floating weightless far above the sea. She smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her. Slowly he raises his hands, arms outstretched, and they meet hers… fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers. Jack tips his face forward into her blowing hair, letting the scent of her wash over him, until his cheek is agianst her ear. Rose turns her head until her lips are near his. She lowers her arms, turning further, until she finds his mouth with hers. He wraps his arms around her from behind, and they kiss like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, slowly and tremulously, and then with building passion. Jack and the ship seem to merge into one force of power and optimism, lifting her, buoying her forward on a magical journey, soaring onward into a night without fear. 100 IN THE CROW’S NEST, high above and behind them, lookout FREDERICK FLEET nudges his mate, REGINALD LEE, pointing down at the figures in the bow. FLEET Wish I had those bleedin’ binoculars. 101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving the ruined bow of the WRECK– CUT TO: 102 INT. KELDYSH IMAGING SHACK OLD ROSE blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss. ROSE That was the last time Titanic ever saw daylight. Brock Lovett changes the tape in the minicassette recorder. BROCK So we’re up to dusk on the night of the sinking. Six hours to go. BODINE Don’t you love it? There’s Smith, he’s standing there with the iceberg warning in his fucking hand… (remembering Rose) … excuse me… in his hand, and he’s ordering more speed. BROCK 26 years of experience working against him. He figures anything big enough to sink the ship they’re going to see in time to turn. But the ship’s too big, with too small a rudder… it can’t corner worth shit. Everything he knows is wrong. ROSE is ignoring this conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame. TRANSITION: 103 INT. ROSE’S SUITE … 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Jack is overwhelmed by the opulence of the room. He sets his sketchbood and drawing materials on the marble table. ROSE Will this light do? Don’t artists need good light? JACK (bad French accent) Zat is true, I am not used to working in such ‘orreeble conditions. (seeing the paintings) Hey… Monet! He crouches next to the paintings stacked against the wall. JACK Isn’t he great… the use of color? I saw him once… through a hole in this garden fence in Giverny. She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He’s fascinated. ROSE Cal insist on luggin this thing everywhere. JACK Should I be expecting him anytime soon? ROSE Not as long as the cigars and brandy hold out. CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Jack who takes it nervously. JACK What is it? A sapphire? ROSE A diamond. A very rare diamond, called the Heart of the Ocean. Jack gazes at wealth beyond his comprehension. ROSE I want you to draw me like your French girl. Wearing this. (she smiles at him) Wearing only this. He looks up at her, surprised, and we CUT TO: 104 ROSE’S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair. She shakes her head and her hair falls free around her shoulders. 105 IN THE SITTING ROOM Jack is laying out his pencils like surgical tools. His sketchbook is open and ready. He looks up as she comes into the room, wearing a silk kimono. ROSE The last thing I need is another picture of me looking like a china doll. As a paying customer, I expect to get what I want. She hands him a dime and steps back, parting the kimono. The blue stone lies on her creamy breast. Her heart is pounding as she slowly lowers the robe. Jakc looks so stricken, it is almost comical. The kimono drops to the floor (this is all in cuts, lyrical). ROSE Tell me when it looks right to you. She poses on the divan, settling like a cat into the position we remember from the drawing… almost. JACK Uh… just bend your left leg a little and… and lower your head. Eyes to me. That’s it. Jack starts to sketch. He drops his pencil and she stifles a laugh. ROSE I believe you are blushing, Mr. Big Artiste. I can’t imagine Monsieur Monet blushing. JACK (sweating) He does landscapes. TIGHT ON JACK as his eyes come up to look at her over the top edge of his sketchpad. We have seen this image of him before, in her memory. It is an image she will carry the rest of her life. Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy. PUSH SLOWLY IN ON ROSE’S FACE… TRANSITION: 106 INT. KELDYSH / IMAGING SHACK MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same. OLD ROSE My heart was pounding the whole time. It was the most erotic moment of my life… up till then at least. CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence. The story of Jack and Rose has finally and completely grabbed them. BODINE What, uh… happened next? OLD ROSE (smiling) You mean, did we “do it”? CUT TO: 107 INT. ROSE AND CAL’S SUITE – NIGHT BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again, is leaning on his shoulder, watching. OLD ROSE (V.O.) Sorry to disappoint you Mr. Bodine. Rose gazes at the drawing. He has X-rayed her soul. ROSE Date it, Jack. I want to always remember this night. He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanic stationary. We don’t see what it says. She accepts the drawing from him, and crosses to the safe in the wardrobe. She puts the diamond back in the safe, placing hte drawing and the note on top of it. Closes the door with a CLUNK!