TITANIC

A screenplay by James Cameron

Cast:

KATE WINSLET... Rose DeWitt Bukater

LEONARDO DiCAPRIO... Jack Dawson

KATHY BATES... The Unsinkable Molly Brown

BILLY ZANE... Caledon Hockley

BILL PAXTON... Brock Lovett

Written and Directed by:

JAMES CAMERON

1 BLACKNESS

Then two faint lights appear, close together... growing brighter. They

resolve into two DEEP SUBMERSIBLES, free-falling toward us like express

elevators.

One is ahead of the other, and passes close enough to FILL FRAME, looking

like a spacecraft blazing with lights, bristling with insectile

manipulators.

TILTING DOWN to follow it as it descends away into the limitless blackness

below. Soon they are fireflies, then stars. Then gone.

                                                                    CUT TO:

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

PUSHING IN on one of the falling submersibles, called MIR ONE, right up to

its circular viewport to see the occupants.

INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLY

MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing

softly in Russian.

Next to him on one side is BROCK LOVETT. He's in his late forties, deeply

tanned, and likes to wear his Nomex suit unzipped to show the gold from

famous shipwrecks covering his gray chest hair. He is a wiley, fast-talking

treasure hunter, a salvage superstar who is part historian, part adventurer

and part vacuum cleaner salesman. Right now, he is propped against the CO2

scrubber, fast asleep and snoring.

On the other side, crammed into the remaining space is a bearded wide-body

named LEWIS BODINE, who is also asleep. Lewis is an R.O.V. (REMOTELY

OPERATED VEHICLE) pilot and is the resident Titanic expert.

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

                                                                    CUT TO:

3 EXT. THE BOTTOM OF THE SEA

A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR

ONE enters FRAME and drops to the seafloor in a downblast from its

thrusters. It hits bottom after its two hour free-fall with a loud BONK.

                                                                    CUT TO:

4 INT. MIR ONE

Lovett and Bodine jerk awake at the landing.

                                  ANATOLY

                           (heavy Russian accent)

We are here.

EXT. / INT. MIR ONE AND TWO

5 MINUTES LATER: THE TWO SUBS skim over the seafloor to the sound of

sidescan sonar and the THRUM of big thrusters.

6 The featureless gray clay of the bottom unrolls in the lights of the subs.

Bodine is watching the sidescan sonar display, where the outline of a huge

pointed object is visible. Anatoly lies prone, driving the sub, his face

pressed to the center port.

                                   BODINE

Come left a little. She's right in front of us, eighteen meters. Fifteen.

Thirteen... you should see it.

                                  ANATOLY

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

Out of the darkness, like a ghostly apparition, the bow of the ship appears.

Its knife-edge prow is coming straight at us, seeming to plow the bottom

sediment like ocean waves. It towers above the seafloor, standing just as it

landed 84 years ago.

THE TITANIC. Or what is left of her. Mir One goes up and over the bow

railing, intact except for an overgrowth of 'rusticles' draping it like

mutated Spanish moss.

TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face

fills the BLACK AND WHITE FRAME.

                                   LOVETT

It still gets me every time.

The image pans to the front viewport, looking over Anatoly's shoulder, to

the bow railing visible in the lights beyond. Anatoly turns.

                                  ANATOLY

Is just your guilt because of stealing from the dead.

CUT WIDER, to show that Brock is operating the camera himself, turning it in

his hand so it points at his own face.

                                   LOVETT

Thanks, Tolya. Work with me, here.

Brock resumes his serious, pensive gaze out the front port, with the camera

aimed at himself at arm's length.

                                   LOVETT

It still gets me every time... to see the sad ruin of the great ship sitting

here, where she landed at 2:30 in the morning, April 15, 1912, after her

long fall from the world above.

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

the sonar.

                                   BODINE

You are so full of shit, boss.

7 Mir Two drives aft down the starboard side, past the huge anchor while Mir

One passes over the seemingly endless forecastle deck, with its massive

anchor chains still laid out in two neat rows, its bronze windlass caps

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

wreck.

                               LOVETT (V.O.)

Dive nine. Here we are again on the deck of Titanic... two and a half miles

down. The pressure is three tons per square inch, enough to crush us like a

freight train going over an ant if our hull fails. These windows are nine

inches thick and if they go, it's sayonara in two microseconds.

8 Mir Two lands on the boat deck, next to the ruins of the Officer's

Quarters. Mir One lands on the roof of the deck house nearby.

                                   LOVETT

Right. Let's go to work.

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

controls of the ROV.

9 OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP DOG,

lifts from its cradle and flies forward.

                               BODINE (V.O.)

Walkin' the dog.

SNOOP DOG drives itself away from the sub, paying out its umbilical behind

it like a robot yo-yo. Its twin stereo-video cameras swivel like insect

eyes. The ROV descends through an open shaft that once was the beautiful

First Class Grand Staircase.

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

Reception Room.

SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of the

ornate handcarved woodwork which gave the ship its elegance move through the

floodlights, the lines blurred by slow dissolution and descending rusticle

formations. Stalactites of rust hang down so that at times it looks like a

natural grotto, then the scene shifts and the lines of a ghostly undersea

mansion can be seen again.

MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence:

10 A grand piano in amazingly good shape, crashed on its side against a

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

11 A chandelier, still hanging from the ceiling by its wire... glinting as

Snoop moves around it.

12 Its lights play across the floor, revealing a champagne bottle, then some

WHITE STAR LINE china... a woman's high-top 'granny shoe'. Then something

eerie: what looks like a child's skull resolves into the porcelain head of a

doll.

Snoop enters a corridor which is much better preserved. Here and there a

door still hangs on its rusted hinges. An ornate piece of moulding, a wall

sconce... hint at the grandeur of the past.

13 THE ROV turns and goes through a black doorway, entering room B-52, the

sitting room of a 'promenade suite', one of the most luxurious staterooms on

Titanic.

                                   BODINE

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

                                   LOVETT

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

                                   BODINE

I'm tryin' boss.

Glinting in the lights are the brass fixtures of the near-perfectly

preserved fireplace. An albino Galathea crab crawls over it. Nearby are the

remains of a divan and a writing desk. The Dog crosses the ruins of the once

elegant room toward another DOOR. It squeezes through the doorframe,

scraping rust and wood chunks loose on both sides. It moves out of a cloud

of rust and keeps on going.

                                   BODINE

I'm crossing the bedroom.

The remains of a pillared canopy bed. Broken chairs, a dresser. Through the

collapsed wall of the bathroom, the porcelain commode and bathtub took

almost new, gleaming in the dark.

                                   LOVETT

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

SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and starts moving

debris aside. A lamp is lifted, its ceramic colors as bright as they were in

1912.

                                   LOVETT

Easy, Lewis. Take it slow.

Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it

with Snoop's gripper. It moves reluctantly in a cloud of silt. Under it is a

dark object. The silt clears and Snoop's cameras show them what was under

the door...

                                   BODINE

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

CLOSE ON LOVETT, watching his monitors. By his expression it is like he is

seeing the Holy Grail.

                                   LOVETT

Oh baby baby baby.

                              (grabs the mike)

It's payday, boys.

ON THE SCREEN, in the glare of the lights, is the object of their quest: a

small STEEL COMBINATION SAFE.

                                                                    CUT TO:

14 EXT. STERN OF DECK OF KEDYSH - DAY

THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of a

ship by a winch cable.

We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowd

has gathered, including most of the crew of KELDYSH, the sub crews, and a

hand-wringing money guy named BOBBY BUELL who represents the limited

partners. There is also a documentary video crew, hired by Lovett to cover

his moment of glory.

Everyone crowds around the safe. In the background Mir Two is being lowered

into its cradle on deck by a massive hydraulic arm. Mir One is already

recovered with Lewis Bodine following Brock Lovett as he bounds over to the

safe like a kid on Christmas morning.

                                   BODINE

Who's the best? Say it.

                                   LOVETT

You are, Lewis.

                            (to the video crew)

You rolling?

                                 CAMERAMAN

Rolling.

Brock nods to his technicians, and they set about drilling the safe's

hinges. During this operation, Brock amps the suspense, working the lens to

fill the time.

                                   LOVETT

Well, here it is, the moment of truth. Here's where we find out if the time,

the sweat, the money spent to charter this ship and these subs, to come out

here to the middle of the North Atlantic... were worth it. If what we think

is in that same... is in that safe... it will be.

Lovett grins wolfishly in anticipation of his greatest find yet. The door is

pried loose. It clangs onto the deck. Lovett moves closer, peering into the

safe's wet interior. A long moment then... his face says it all.

                                   LOVETT

Shit.

                                   BODINE

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

                                   LOVETT

                          (to the video cameraman)

Get that outta my face.

                                                                    CUT TO:

15 INT. LAB DECK, PRESERVATION ROOM - DAY

Technicians are carefully removing some papers from the safe and placing

them in a tray of water to separate them safely. Nearby, other artifacts

from the stateroom are being washed and preserved.

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

video crew.

                                   LOVETT

You send out what I tell you when I tell you. I'm signing your paychecks,

not 60 minutes. Now get set up for the uplink.

Buell covers the phone and turns to Lovett.

                                   BUELL

The partners want to know how it's going?

                                   LOVETT

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

Lovett grabs the phone from Buell and goes instantly smooth.

                                   LOVETT

Hi, Dave? Barry? Look, it wasn't in the safe... no, look, don't worry about

it, there're still plenty of places it could be... in the floor debris in

the suite, in the mother's room, in the purser's safe on C deck...

                             (seeing something)

Hang on a second.

A tech coaxes some letters in the water tray to one side with a tong...

revealing a pencil (conte crayon) drawing of a woman.

Brock looks closely at the drawing, which is in excellent shape, though its
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edges have partially disintegrated. The woman is beautiful, and beautifully

rendered. In her late teens or early twenties, she is nude, though posed

with a kind of casual modesty. She is on an Empire divan, in a pool of light

that seems to radiate outward from her eyes. Scrawled in the lower right

corner is the date: April 14 1912. And the initials JD.

The girl is not entirely nude. At her throat is a diamond necklace with one

large stone hanging in the center.

Lovett grabs a reference photo from the clutter on the lab table. It is a

period black-and-white photo of a diamond necklace on a black velvet

jeller's display stand. He holds it next to the drawing. It is clearly the

same piece... a complex setting with a massive central stone which is almost

heart-shaped.

                                   LOVETT

I'll be God damned.

                                                                    CUT TO:

16 INSERT

A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh,

intercut with the CNN studio.

                                 ANNOUNCER

Treasure hunter Brock Lovett is best known for finding Spanish gold in

sunken galleons in the Caribbean. Now he is using deep submergence

technology to work two and a half miles down at another famous wreck... the

Titanic. He is with us live via satellite from a Russian research ship in

the middle of the Atlantic... hello Brock?

                                   LOVETT

Yes, hi, Tracy. You know, Titanic is not just A shipwreck, Titanic is THE

shipwreck. It's the Mount Everest of shipwrecks.

                                                                    CUT TO:

17 INT. HOUSE / CERAMICS STUDIO

PULL BACK from the screen, showing the CNN report playing on a TV set in the

living room of a small rustic house. It is full of ceramics, figurines, folk

art, the walls crammed with drawings and paintings... things collected over

a lifetime.

PANNING to show a glassed-in studio attached to the house. Outside it is a

quiet morning in Ojai, California. In the studio, amid incredible clutter,

an ANCIENT WOMAN is throwing a pot on a potter's wheel. The liquid red clay

covers her hands... hands that are gnarled and age-spotted, but still

surprisingly strong and supple. A woman in her early forties assists her.

                               LOVETT (V.O.)

I've planned this expedition for three years, and we're out here recovering

some amazing things... things that will have enormous historical and

educational value.

                            CNN REPORTER (V.O.)

But it's no secret that education is not your main purpose. You're a

treasure hunter. So what is the treasure you're hunting?

                               LOVETT (V.O.)

I'd rather show you than tell you, and we think we're very close to doing

just that.

The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body

shapeless and shrunken under a one-piece African-print dress.

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

Rose gets up and walks into the living room, wiping pottery clay from her

hands with a rag. A Pomeranian dog gets up and comes in with her.

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

                                    ROSE

Turn that up please, dear.

                              REPORTER (V.O.)

Your expedition is at the center of a storm of controversy over salvage

rights and even ethics. Many are calling you a grave robber.

TIGHT ON THE SCREEN.

                                   LOVETT

Nobody called the recovery of the artifacts from King Tut's tomb grave

robbing. I have museum-trained experts here, making sure this stuff is

preserved and catalogued properly. Look at this drawing, which was found

today...

The video camera pans off Brock to the drawing, in a tray of water. The

image of the woman with the necklace FILLS FRAME.

                                   LOVETT

...a piece of paper that's been underwater for 84 years... and my team are

able to preserve it intact. Should this have remained unseen at the bottom

of the ocean for eternity, when we can see it and enjoy it now...?

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

                                    ROSE

I'll be God damned.

                                                                    CUT TO:

18 EXT. KELDYSH DECK - NIGHT

CUT TO KELDYSH. The Mir subs are being launched. Mir Two is already in the

water, and Lovett is getting ready to climb into Mir One when Bobby Buell

runs up to him.

                                   BUELL

There's a satellite call for you.

                                   LOVETT

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

Take a message.

                                   BUELL

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

                                                                    CUT TO:

19 INT. LAB DECK / KELDYSH - NIGHT

Buell hands Lovett the phone, pushing down the blinking line. The call is

from Rose and we see both ends of the conversation. She is in her kitchen

with a mystified Lizzy.

                                   LOVETT

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

                                   BUELL

Rose Calvert.

                                   LOVETT

... Mrs. Calvert?

                                    ROSE

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

Lovett.

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

                                   BUELL

I told you you wanted to take this call.

                                   LOVETT

                                 (to Rose)

Alright. You have my attention, Rose. Can you tell me who the woman in the

picture is?

                                    ROSE

Oh yes. The woman in the picture is me.

                                                                    CUT TO:

20 EXT. OCEAN - DAY

SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the

ocean. PAN 180 degrees as it roars past. There is no land at either horizon.

The Keldysh is visible in the distance.

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

out calmly.

                                                                    CUT TO:

21 EXT. KELDYSH - DAY

Brock and Bodine are watching Mir 2 being swung over the side to start a

dive.

                                   BODINE

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

Anastasia babe.

                                   BUELL

They're inbound.

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

                                   BODINE

She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the

Titanic. At the age of 17. If she'd have lived, she'd be over a hundred now.

                                   LOVETT

A hundred and one next month.

                                   BODINE

Okay, so she's a very old goddamned liar. I traced her as far back as the

20's... she was working as an actress in L.A. An actress. Her name was Rose

Dawson. Then she married a guy named Calvert, moved to Cedar Rapids, had two

kids. Now Calvert's dead, and from what I've heard Cedar Rapids is dead.

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

rotors.

                                   LOVETT

And everybody who knows about the diamond is supposed to be dead... or on

this ship. But she knows about it. And I want to hear what she has to say.

Got it?

                                                                    CUT TO:

22 EXT. KELDYSH HELIPAD

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

helipad.

Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF hands out about

ten suitcases, and then Rose is lowered to the deck in a wheelchair by

Keldysh crewmen. Lizzy, ducking unnecessarily under the rotor, follows her

out, carrying FREDDY the Pomeranian. The crew chief hands a puzzled Keldysh

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

light.

HOLD ON the incongruous image of this little old lady, looking impossibly

fragile amongst all the high tech gear, grungy deck crew and gigantic

equipment.

                                   BODINE

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

                                                                    CUT TO:

23 INT. ROSE'S STATEROOM / KELDYSH - DAY

Lizzy is unpacking Rose's things in the small utilitarian room. Rose is

placing a number of FRAMED PHOTOS on the bureau, arranging them carefully

next to the fishbowl. Brock and Bodine are in the doorway.

                                   LOVETT

Is your stateroom alright?

                                    ROSE

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

                                   LIZZY

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

                                    ROSE

Oh, yes.

Brock glances at Bodine... oh oh. Bodine rolls his eyes. Rose finishes

arranging her photographs. We get a general glimpse of them: the usual

snapshots... children and grandchildren, her late husband.

                                    ROSE

There, that's nice. I have to have my pictures when I travel. And Freddy of

course.

                            (to the Pomeranian)

Isn't that right, sweetie.

                                   LOVETT

Would you like anything?

                                    ROSE

I should like to see my drawing.

                                                                    CUT TO:

24 INT. LAB DECK, PRESERVATION AREA

Rose looks at the drawing in its tray of water, confronting herself across a

span of 84 years. Until they can figure out the best way to preserve it,

they have to keep it immersed. It sways and ripples, almost as if alive.

TIGHT ON Rose's ancient eyes, gazing at the drawing.

25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a

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

26 THE WOMAN'S FACE IN THE DRAWING, dancing under the water.

27 A FLASHCUT of a man's eyes, just visible over the top of a sketching pad.

They look up suddenly right into the LENS. Soft eyes, but fearlessly direct.

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

in his hand.

                                   LOVETT

Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the

Crown, which disappeared in 1792, about the time Louis lost everything from

the neck up. The theory goes that the crown diamond was chopped too... recut

into a heart-like shape... and it became Le Coeur de la Mer. The Heart of

the Ocean. Today it would be worth more than the Hope Diamond.

                                    ROSE
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It was a dreadful, heavy thing.

                        (she points at the drawing)

I only wore it this once.

                                   LIZZY

You actually believe this is you, grandma?

                                    ROSE

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

                                   LOVETT

I tracked it down through insurance records... and old claim that was

settled under terms of absolute secrecy. Do you know who the claiment was,

Rose?

                                    ROSE

Someone named Hockley, I should imagine.

                                   LOVETT

Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his

son Caledon Hockley bought in France for his fiancee... you... a week before

he sailed on Titanic. And the claim was filed right after the sinking. So

the diamond had to've gone down with the ship.

                                 (to Lizzy)

See the date?

                                   LIZZY

April 14, 1912.

                                   LOVETT

If your grandma is who she says she is, she was wearing the diamond the day

Titanic sank.

                                   (MORE)

                              LOVETT (CONT'D)

                                 (to Rose)

And that makes you my new best friend. I will happily compensate you for

anything you can tell us that will lead to its recovery.

                                    ROSE

I don't want your money, Mr. Lovett. I know how hard it is for people who

care greatly for money to give some away.

                                   BODINE

                                (skeptical)

You don't want anything?

                                    ROSE

                          (indicating the drawing)

You may give me this, if anything I tell you is of value.

                                   LOVETT

Deal.

                            (crossing the room)

Over here are a few things we've recovered from your staterooms.

Laid out on a worktable are fifty or so objects, from mundane to valuable.

Rose, shrunken in her chair, can barely see over the table top. With a

trembling hand she lifts a tortoise shell hand mirror, inlaid with mother of

pearl. She caresses it wonderingly.

                                    ROSE

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

it.

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

glass.

                                    ROSE

The reflection has changed a bit.

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

                                    ROSE

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

Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes flight

on the ebony handle of the comb. She turns it slowly, remembering. We can

see that Rose is experiencing a rush of images and emotions that have lain

dormant for eight decades as she handles the butterfly comb.

                                   LOVETT

Are you ready to go back to Titanic?

                                                                    CUT TO:

29 INT. IMAGING SHACK / KELDYSH

It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the

screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN.

                                   BODINE

Live from 12,000 feet.

ROSE stares raptly at the screens. She is enthraled by one in particular, an

image of the bow railing. It obviously means something to her. Brock is

studying her reactions carefully.

                                   BODINE

The bow's struck in the bottom like an axe, from the impact. Here... I can

run a simulation we worked up on this monitor over here.

Lizzy turns the chair so Rose can see the screen of Bodine's computer. As he

is calling up the file, he keeps talking.

                                   BODINE

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

here...

                                   LOVETT

Rose might not want to see this, Lewis.

                                    ROSE

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

Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels his

rapid-fire narration.

                                   BODINE

She hits the berg on the starboard side and it sort of bumps along...

punching holes like a morse code... dit dit dit, down the side. Now she's

flooding in the

                              BODINE (cont'd)

forward compartments... and the water spills over the tops of the bulkheads,

going aft. As her bow is going down, her stern is coming up... slow at

first... and then faster and faster until it's lifting all that weight,

maybe 20 or 30 thousand tons... out of the water and the hull can't deal...

so SKRTTT!!

                (making a sound in time with the animation)

... it splits! Right down to the keel, which acts like a big hinge. Now the

bow swings down and the stern falls back level... but the weight of the bow

pulls the stern up vertical, and then the bow section detaches, heading for

the bottom. The stern bobs like a cork, floods and goes under about 2:20

a.m. Two hours and forty minutes after the collision.

The animation then follows the bow section as it sinks. Rose watches this

clinical dissection of the disaster without emotion.

                                   BODINE

The bow pulls out of its dive and planes away, almost a half a mile, before

it hits the bottom going maybe 12 miles an hour. KABOOM!

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

the stern.

                                   BODINE

The stern implodes as it sinks, from the pressure, and rips apart from the

force of the current as it falls, landing like a big pile of junk.

                        (indicating the simulation)

Cool huh?

                                    ROSE

Thank you for that fine forensic analysis, Mr. Bodine. Of course the

experience of it was somewhat less clinical.

                                   LOVETT

Will you share it with us?

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

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

recognizes one of the Wellin davits, still in place. She hears ghostly waltz

music. The faint and echoing sound of an officer's voice, English accented,

calling 'Women and children only'.

30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and terror.

People crying, praying, kneeling on the deck. Just impressions... flashes in

the dark.

31 Rose Looks at another monitor. SNOOP DOG moving down a rusted,

debris-filled corridor. Rose watches the endless row of doorways sliding

past, like dark mouths.

32 IMAGE OF A CHILD, three years old, standing ankle deep in water in the

middle of an endless corridor. The child is lost alone, crying.

33 Rose is shaken by the flood of memories and emotions. Her eyes well up

and she puts her head down, sobbing quietly.

                                   LIZZY

                          (taking the wheelchair)

I'm taking her to rest.

                                    ROSE

No!

Her voice is surprisingly strong. The sweet little old lady is gone,

replaced by a woman with eyes of steel. Lovett signals everyone to stay

quiet.

                                   LOVETT

Tell us, Rose.

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

                                    ROSE

It's been 84 years...

                                   LOVETT

Just tell us what you can--

                                    ROSE

                      (holds up her hand for silence)

It's been 84 years... and I can still smell the fresh paint. The china had

never been used. The sheets had never been slept in.

He switches on the minirecorder and sets it near her.

                                    ROSE

Titanic was called the Ship of Dreams. And it was. It really was...

As the underwater camera rises past the rusted bow rail, WE DISSOLVE / MATCH

MOVE to that same railing in 1912...

                                                            MATCH DISSOLVE:

34 EXT. SOUTHAMPTON DOCK - DAY

SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure of

Titanic rises mountainously beyond the rail, and above that the buff-colored

funnels stand against the sky like the pillars of a great temple. Crewmen

move across the deck, dwarfed by the awesome scale of the steamer.

Southampton, England, April 10, 1912. It is almost noon on ailing day. A

crowd of hundreds blackens the pier next to Titanic like ants on a jelly

sandwich.

IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging

from a loading crane. It is lowered toward HATCH #2.

On the pier horse drawn vehicles, motorcars and lorries move slowly through

the dense throng. The atmosphere is one of excitement and general giddiness.

People embrace in tearful farewells, or wave and shout bon voyage wishes to

friends and relatives on the decks above.

A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the

crowd leaving a wake in the press of people. Around the handsome cars people

are streaming to board the ship, jostling with hustling seamen and stokers,

porters, and barking WHITE STAR LINE officials.

The Renault stops and the LIVERIED DRIVER scurries to open the door for a

YOUNG WOMAN dressed in a stunning white and purple outfit, with an enormous

feathered hat. She is 17 years old and beautiful, regal of bearing, with

piercing eyes.

It is the girl in the drawing. ROSE. She looks up at the ship, taking it in

with cool appraisal.

                                    ROSE

I don't see what all the fuss is about. It doesn't look any bigger than the

Mauritania.

A PERSONAL VALET opens the door on the other side of the car for CALEDON

HOCKLEY, the 30 year old heir to the elder Hockley's fortune. 'Cal' is

handsome, arrogant and rich beyond meaning.

                                    CAL

You can be blase about some things, Rose, but not about Titanic. It's over a

hundred feet longer than Mauritania, and far more luxurious. It has squash

courts, a Parisian cafe... even Turkish baths.

Cal turns and fives his hand to Rose's mother, RUTH DEWITT BUKATER, who

descends from the touring car being him. Ruth is a 40ish society empress,

from one of the most prominent Philadelphia families. She is a widow, and

rules her household with iron will.

                                    CAL

Your daughter is much too hard to impress, Ruth.

                           (indicating a puddle)

Mind your step.

                                    RUTH

                         (gazing at the leviathan)

So this is the ship they say is unsinkable.

                                    CAL

It is unsinkable. God himself couldn't sink this ship.

Cal speaks with the pride of a host providing a special experience.

This entire entourage of rich Americans is impeccably turned out, a

quintessential example of the Edwardian upper class, complete with servants.

Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an undertaker.

Behind him emerge TWO MAIDS, personal servants to Ruth and Rose.

A WHITE STAR LINE PORTER scurries toward them, harried by last minute

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