41
[EXT. AFT WELL DECK / POOP DECK - DAY]
JACK AND FABRIZIO burst through a door onto the aft well deck.
TRACKING WITH THEM as they run across the deck and up the steel stairs
to the poop deck. They get to the rail and Jack starts to yell and wave
to the crowd on the dock.
FABRIZIO :You know somebody?
JACK :Of course not. That's not the point. (to the crowd) Goodbye!
Goodbye!! I'll miss you!!
Grinning, Fabrizio joins in, adding his voice to the swell of
voices, feeling the exhilaration of the moment.
FABRIZIO :Goodbye! I will never forget you!!
[CUT TO]
42
[OMITTED]
43
[EXT. SOUTHAMPTON DOCK - DAY]
The crowd of cheering well-wishers waves heartily as a black wall
of metal moves past them. Impossibly tiny figures wave back from the
ship's rails. Titanic gathers speed.
[CUT TO]
44
[EXT. RIVER TEST -DAY]
IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead
tug, which is dwarfed. The bow wave spreads before the mighty plow of
the liners hull as it moves down the River Test toward the English Channel.
[CUT TO]
45
[INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY]
Jack and Fabrizio walk down a narrow corridor with doors lining both
sides like a college dorm. Total confusion as people argue over luggage
in several languages, or wander in confusion in the labyrinth. They pass
emigrants studying the signs over the doors, and looking up the words in
phrase books.
They find their berth. It is a modest cubical, painted enamel white,
with four bunks. Exposed pipes overhead. The other two guys are already
there. OLAUS and BJORN GUNDERSEN.
Jack throws his kit on one open bunk, while Fabrizio takes the other.
BJORN :(in Swedish/subtitled) Where is Sven?
[CUT TO]
46
[INT. SUITE B-52-56- DAY]
By contrast, the so-called illionaire Suite?is in the Empire style,
and comprises two bedrooms, a bath, WC, wardrobe room, and a large
sitting room. In addition there is a private 50 foot promenade deck outside.
A room service waiter pours champagne into a tulip glass of orange
juice and hands the Bucks Fizz to Rose. She is looking through her new
paintings. There is a Monet of water lilies, a Degas of dancers, and a
few abstract works. They are all unknown paintings... lost works.
Cal is out on the covered deck, which has potted trees and vines on
trellises, talking through the doorway to Rose in the sitting room.
CAL :Those mud puddles were certainly a waste of money.
ROSE :(looking at a cubist portrait) You're wrong. They're fascinating.
Like in a dream... there's truth without logic. What's his name
again... ? (reading off the canvas) Picasso.
CAL :(coming into the sitting room) He'll never amount to a thing, trust me.
At least they were cheap.
A porter wheels Cal's private safe (which we recognize) into the room
on a handtruck.
CAL :Put that in the wardrobe.
47
IN THE BEDROOM Rose enters with the large Degas of the dancers. She
sets it on the dresser, near the canopy bed. Trudy is already in there,
hanging up some of Rose's clothes.
TRUDY :It smells so brand new. Like they built it all just for us. I
mean... just to think that tonight, when I crawl between the
sheets, I'll be the first --
Cal appears in the doorway of the bedroom.
CAL :(looking at Rose) And when I crawl between the sheets tonight,
I'll still be the first.
TRUDY :(blushing at the innuendo) S'cuse me, Miss.
She edges around Cal and makes a quick exit. Cal comes up behind
Rose and puts his hands on her shoulders. An act of possession, not
intimacy.
CAL :The first and only. Forever.
Rose's expression shows how bleak a prospect this is for her, now.
[CUT TO]
48
[EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK]
Titanic stands silhouetted against a purple post-sunset sky. She is
lit up like a floating palace, and her thousand portholes reflect in the
calm harbor waters. The 150 foot tender Nomadic lies-to alongside, looking
like a rowboat. The lights of Cherbourg harbor complete the postcard image.
[CUT TO]
49
[INT. FIRST CLASS RECEPTION / D-DECK]
Entering the first class reception room from the tender are a number
of prominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered
hat comes up the gangway, carrying a suitcase in each hand, a spindly
porter running to catch up with her to take her bags.
WOMAN :Well, I wasn't about to wait around all day for you, sonny.
Take 'em the rest of the way if you think you can manage.
OLD ROSE (V.O.) :At Cherbourg a woman came aboard named Margaret Brown,
but we all called her Molly. History would call her
the Unsinkable Molly Brown. Her husband had struck
gold someplace out west, and she was what mother
called "new money".
At 45, MOLLY BROWN is a tough talking straightshooter who dresses
in the finery of her genteel peers but will never be one of them.
OLD ROSE (V.O.) :By the next afternoon we had made our final stop and
we were steaming west from the coast of Ireland, with
nothing out ahead of us but ocean...
[CUT TO]
50
[OMITTED]
51
[EXT. BOW - DAY]
The ship glows with the warm creamy light of late afternoon. Jack
and Fabrizio stand right at the bow gripping the curved railing so
familiar from images of the wreck. Jack leans over, looking down fifty
feet to where the prow cuts the surface like a knife, sending up two
glassy sheets of water.
[CUT TO]
52
[INT. / EXT. TITANIC - SERIES OF SCENES - DAY]
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST
OFFICER WILLIAM MURDOCH.
CAPTAIN SMITH :Take her to sea Mister Murdoch. Let's stretch her legs.
Murdoch moves the engine telegraph lever to ALL AHEAD FULL.
55
NOW BEGINS a kind of musical/visual setpiece... an ode to the great
ship. The music is rhythmatic, surging forward with a soaring melody
that addresses the majesty and optimism of the ship of dreams.
IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".
CHIEF ENGINEER BELL :All ahead full!
On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully
as the engineers and greasers scramble to adjust valves. Towering above
them are twin RECIPROCATING engines, four stories tall, their ten-foot-long
connecting rods surging up and down with the running of the massive
crankshafts. The engines thunder like the footfalls of marching giants.
54
IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into
the roaring furnaces. The "black gang" are covered with sweat and coal
dust, their muscles working like part of the machinery as they toil in
the hellish glow.
55
UNDERWATER the enormous bronze screws chop through the water, hurling
the steamer forward and churning up a vortex of foam that lingers for
miles behind the juggernaut ship. Smoke pours from the funnels as --
56
The riven water flares higher at the bow as the ship speed builds.
THE CAMERA SWEEPS UP the prow to find Jack, the wind streaming through
his hair and --
57
Captain Smith steps out of the enclosed bridge onto the wing. He
stands with his hands on the rail, looking every bit the storybook
picture of a Captain... a great patriarch of the sea.
FIRST OFFICER MURDOCH :twenty one knots, sir!
SMITH :She've got a bone in her teeth now, eh, Mr. Murdoch.
Smith accepts a cup of tea from FIFTH OFFICER LOWE. He contentedly
watches the white V of water hurled outward from the bows like an
expression of his own personal power. They are invulnerable, towering
over the sea.
58
AT THE BOW Jack and Fabrizio lean far over, looking down.
In the glassy bow-wave two dolphins appear, under the water, running
fast just in front of the steel blade of the prow. They do it for the
sheer joy and exultation of motion. Jack watches the dolphins and grins.
They break, jumping clear of the water and then dive back, crisscrossing
in front of the bow, dancing ahead of the juggernaut.
FABRIZIO looks forward across the Atlantic, staring into the sunsparkles.
FABRIZIO :I see the Statue of Liberty already.
(grinning at Jack) Very small... of course.
THE CAMERA ARCS around them, until they are framed against the sea.
NOW WE PULL BACK, across the forecastle deck. Rising as we continue
back, and the ship rolls endlessly forward underneath. Over the bridge
wing, along the boat deck until her funnels come INTO FRAME beside us and
march past like the pillars of heaven, one by one. We pull back, until we
are looking down the funnels, and the people strolling on the decks and
standing at the rail become antlike.
And still we pull back until the great lady is seen whole, in a
gorgeous aerial portrait, black and severe in her majesty.
ISMAY (V.O.) :She is the largest moving object ever made by the hand of
man in all history...
[CUT TO]
59
[INT. PALM COURT RESTAURANT - DAY]
CLOSE ON J. BRUCE ISMAY, managing director of the White Star Line.
ISMAY :...and our master shipbuilder, Mr. Thomas Andrews here, designed
her from the keel up.
He indicates a handsome 39 year old Irish gentleman to his right,
THOMAS ANDREWS, of Harland and Wolff Shipbuilders.
WIDER, showing the group assembled for lunch the next day. Ismay
seated with Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm
Court, a beautiful sunny spot enclosed by high arched windows.
ANDREWS :(disliking the attention) Well, I may have knocked her
together, but the ideawas Mr. Ismay. He envisioned a steamer
so grand in scale, and so luxurious in it旧 appointments,
that its supremacy would never be challenged. And here she is...
(he slaps the table) ...willed into solid reality.
MOLLY :Why're ships always being called she? Is it because men think half
the women around have big sterns and should be weighed in tonnage?
(they all laugh) Just another example of the men settin?the rules
their way.
The waiter arrives to take orders. Rose lights a cigarette.
RUTH :You know I don't like that, Rose.
CAL :She knows.
Cal takes the cigarette from her and stubs it out.
CAL :(to the waiter) We'll both have the lamb. Rare, with a little mint
sauce.(to Rose, after the waiter moves on) You like lamb, don't you,
sweetpea?
Molly is watching the dynamic between Rose, Cal and Ruth.
MOLLY :So, you gonna cut her meat for her too, there, Cal?
(turning to Ismay) Hey, who came up with the name Titanic? You Bruce?
ISMAY :Yes, actually. I wanted to convey sheer size. And size means stability,
luxury... and safety --
ROSE :Do you know of Dr. Freud? His ideas about the male preoccupation with
size might be of particular interest to you, Mr. Ismay.
Andrews chokes on his breadstick, suppressing laughter.
RUTH :My god, Rose, what gotten into --
ROSE :Excuse me.
She stalks away.
RUTH :(mortified) I do apologize.
MOLLY :She's a pistol, Cal. You sure you can handle her?
CAL :(tense but feigning unconcern) Well, I may have to start minding what
she reads from now on.
[CUT TO]
60
[EXT. POOP DECK / AFTER DECKS - DAY]
Jack sits on a bench in the sun. Titanic wake spreads out behind him
to the horizon. He has his knees pulled up, supporting a leather bound
sketching pad, his only valuable possession. With conte crayon he draws
rapidly, using sure strokes. An emigrant from Manchester named CARTMELL
has his 3 year old daughter CORA standing on the lower rung of the rail.
She is leaning back against his beer barrel of a stomach, watching the
seagulls.
THE SKETCH captures them perfectly, with a great sense of the
humanity of the moment. Jack is good. Really good. Fabrizio looks over
Jacks shoulder. He nods appreciatively.
TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember
comes by, walking three small dogs around the deck. One of them, a BLACK
FRENCH BULLDOG, is among the ugliest creatures on the planet.
TOMMY :That's typical. First class dogs come down here to take a shit.
Jack looks up from his sketch.
JACK :That's so we know where we rank in the scheme of things.
TOMMY :Like we could forget.
Jack glances across the well deck. At the aft railing of B deck
promenade stands ROSE, in a long yellow dress and white gloves.
CLOSE ON JACK, unable to take his eyes off of her. They are across
from each other, about 60 feet apart, with the well deck like a valley
between them. She on her promontory, he on his much lower one. She
stares down at the water.
He watches her unpin her elaborate hat and take it off. She looks
at the frilly absurd thing, then tosses it over the rail. It sails far
down to the water and is carried away, astern. A spot of yellow in the
vast ocean. He is riveted by her. She looks like a figure in a romantic
novel, sad and isolated.
Fabrizio taps Tommy and they both look at Jack gazing at Rose.
Fabrizio and Tommy grin at each other.
Rose turns suddenly and looks right at Jack. He is caught staring,
but he doesn急 look away. She does, but then looks back. Their eyes meet
across the space of the well deck, across the gulf between worlds.
Jack sees a man (Cal) come up behind her and take her arm. She jerks
her arm away. They argue in pantomime. She storms away, and he goes after
her, disappearing along the A-deck promenade. Jack stares after her.
TOMMY :Forget it, boyo. You as like have angels fly out over arse as get
next to the likes to her.
[CUT TO]
61
[INT. FIRST CLASS DINING SALOON - NIGHT]
SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated
conversation. Cal and Ruth are laughing together, while on the other side
LADY DUFF-GORDON is holding forth animatedly. We don't hear what they are
saying. Rose is staring at her plate, barely listening to the inconsequential
babble around her.
OLD ROSE :I saw my whole life as if I already lived it... an endless parade
of parties and cotillions, yachts and polo matches... always the
same narrow people, the same mindless chatter. I felt like I was
standing at a great precipice, with no one to pull me back, no
one who cared... or even noticed.
ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her
crab salad. She pokes the crab-fork into the skin of her arm, harder and
harder until it draws blood.
[CUT TO]
62
[INT. CORRIDOR/ B DECK - NIGHT]
Rose walks along the corridor. A steward coming the other way greets
her, and she nods with a slight smile. She is perfectly composed.
[CUT TO]
63
[INT. ROSE BEDROOM - NIGHT]
She enters the room. Stands in the middle, staring at her reflection
in the large vanity mirror. Just stands there, then --
With a primal, anguished cry she claws at her throat, ripping off her
pearl necklace, which explodes across the room. In a frenzy she tears at
herself, her clothes, her hair... then attacks the room. She flings
everything off the dresser and it flies clattering against the wall. She
hurls the handmirror against the vanity, cracking it.
[CUT TO]
64
[EXT. A DECK PROMENADE, AFT - NIGHT]
Rose runs along the B deck promenade. She is disheveled, her hair
flying. She is crying, her cheeks streaked with tears. But also angry,
furious! Shaking with emotions she doesn't understand... hatred, self-hatred,
desperation. A strolling couple watch her pass. Shocked at the emotional
display in public.
[CUT TO]
65
[EXT. POOP DECK - NIGHT]
Jack is kicked back on one of the benches gazing at the stars blazing
gloriously overhead. Thinking artist thoughts and smoking a cigarette.
Hearing something, he turns as Rose runs up the stairs from the well
deck. They are the only two on the stern deck, except for QUARTERMASTER
ROWE, twenty feet above them on the docking bridge catwalk. She doesn't
see Jack in the shadows, and runs right past him.
TRACKING WITH ROSE as she runs across the deserted fantail. Her breath
hitches in an occasional sob, which she suppresses. Rose slams against the
stern flagpole and clings there, panting. She stares out at the black water.
Then starts to climb over the railing. She has to hitch her long dress
way up, and climbing is clumsy. Moving methodically she turns her body and
gets her heels on the white painted gunwale, her back to the railing,
facing out toward blackness. 60 feet below her, the massive propellers are
churning the Atlantic into white foam, and a ghostly wake trails off
toward the horizon.
IN A LOW ANGLE, we see Rose standing like a figurehead in reverse.
Below her are the huge letters of the name "TITANIC".
She leans out, her arms straightening... looking down hypnotized, into
the vortex below her. Her dress and hair are lifted by the wind of the
ship's movement. The only sound, above the rush of water below, is the
flutter and snap of the big Union Jack right above her.
JACK :Don't do it.
She whips her head around at the sound of his voice. It takes a second
for her eyes to focus.
ROSE :Stay back! Don't any closer!
Jack sees the tear tracks on her cheeks in the faint glow from the
stern running lights.
JACK :Take my hand. I'll pull you back in.
ROSE :No! Stay where you are. I mean it. I'll let go.
JACK :No you won't.
ROSE :What do you mean no I won't? Don't presume to tell me what I will
and will not do. You don't know me.
JACK :You would have done it already. Now come on, take my hand.
Rose is confused now. She can't see him very well through the tears, so
she wipes them with one hand, almost losing her balance.
ROSE :You're distracting me. Go away.
JACK :I can't. I'm involved now. If you let go I have to jump in after you.
ROSE :Don't be absurd. You'll be killed.
He takes off his jacket.
JACK :I'm a good swimmer.
He starts unlacing his left shoe.
ROSE :The fall alone would kill you.
JACK :It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more
concerned about the water being so cold.
She looks down. The reality factor of what she is doing is sinking in.
ROSE :How cold?
JACK :(taking off his left shoe) Freezing. Maybe a couple degrees over.
He starts unlacing his right shoe.
JACK :Ever been to Wisconsin?
ROSE :(perplexed) No.
JACK :Well they have some of the coldest winters around, and I grew up there,
near Chippewa Falls. Once when I was a kid me and my father were
ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole
in the --
ROSE :I know what ice fishing is!
JACK :Sorry. Just... you look like kind of an indoor girl. Anyway, I went
through some thin ice and I'm tellin' ya, water that cold... like
right down there... it hits you like a thousand knives stabbing all
over your body. You can't breath, you can't think... least not about
anything but the pain. (takes off his other shoe) Which is why I'm not
looking forward to jumping in after you. But like I said, I don't see
a choice. (smiling) I guess I'm kinda hoping you'll come back over
the rail and get me off the hook here.
ROSE :You're crazy.
JACK :That's what everybody says. But with all due respect, I'm not the one
hanging off the back of a ship.
He slides one step closer, like moving up on a spooked horse.
JACK :Come on. You don't want do this. Give me your hand.
Rose stares at this madman for a long time. She looks at his eyes and they
somehow suddenly seem to fill her universe.
ROSE :Alright.
She unfastens one hand from the rail and reaches it around toward him.
He reaches out to take it, firmly.
JACK :I'm Jack Dawson.
ROSE :(voice quavering) Pleased to meet you, Mr. Dawson.
Rose starts to turn. Now that she has decided to live, the height is
terrifying. She is overcome by vertigo as she as she shifts her footing,
turning to face the ship. As she starts to climb, her dress gets in the
way, and one foot slips off the edge of the deck.
She plunges, letting out a piercing SHRIEK. Jack, gripping her hand,
is jerked toward the rail. Rose barely grabs a lower rail with her free
hand.
QUARTERMASTER ROWE, up on the docking bridge hears the scream and
heads for the ladder.
ROSE :HELP! HELP!!
JACK :I've got you. I won't let go.
Jack holds her hand with all his strength, bracing himself on the
railing with his other hand. Rose tries to get some kind of foothold on
the smooth hull. Jack tries to lift her bodily over the railing. She can't
get any footing in her dress and evening shoes, and she slips back. Rose
SCREAMS again.
Jack, awkwardly clutching Rose by whatever he can get a grip on as
she flails, get her over the railing. They fall together onto the deck
in a tangled heap, spinning in such a way that Jack winds up slightly on
top of her.
Rowe slides down the ladder from the docking bridge like it's a fire
drill and sprints across the fantail.
ROWE :Here, what is all this?!
Rowe runs up and pulls Jack off of Rose, revealing her disheveled
and sobbing on the deck. Her dress is torn, and the hem is pushed up
above her knees, showing one ripped stocking. He looks at Jack, the
shaggy steerage man with his jacket off, and the first class lady
clearly in distress, and starts drawing conclusions. Two seamen chug
across the deck to join them.
ROWE :(to Jack) Here you, stand back! Don't move an inch!
(to the seamen) Fetch the Master at Arms.
[CUT TO]
--
『他鄉是一面負向的鏡子。
旅人認出那微小的部份是屬於他的，
卻發現那龐大的部份是他未曾擁有的，
也永遠不會擁有的。』
～『看不見的城市』；伊塔羅‧卡爾維諾
--
★ Origin:
︿︱︿ 小魚的紫色花園
﹀ fpg.m4.ntu.edu.tw (140.112.214.200)