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 the 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 it 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 the conversation. She has the art-nouveau comb with
the jade butterfly on the handle in her hands, turning it slowly. She is
watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until
the image fills frame.
[TRANSITION]
103
[INT. ROSE'S SUITE]
... 1912. Like in a dream the beautiful woodwork and satin upholstery
emerge from the rusted ruin. Jack is overwhelmed by the opulence of the
room. He sets his sketchbook and drawing materials on the marble table.
ROSE :Will this light do? Don't artists need good light?
JACK :(bad French accent) Zat is true, I am not used to working in such
'orreeble conditions. (seeing the paintings) Hey... Monet!
He crouches next to the paintings stacked against the wall.
JACK :Isn't he great... the use of color? I saw him once... through a hole
in his garden fence in Givereny.
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 insists on lugging 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 and we CUT TO:
104
ROSE'S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair.
She shakes her head and her hair falls free around her shoulders.
105
IN THE SITTING ROOM Jack is laying out his pencils like surgical
tools. His sketchbook is open and ready. He looks up as she comes into
the room, wearing a silk kimono.
ROSE :The last thing I need is another picture of me looking like a
china doll. As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue
stone lies on her creamy breast. Her heart is pounding as she slowly
lowers the robe.
Jack looks so stricken, it is almost comical. The kimono drops to
the floor (this is all in cuts, lyrical).
ROSE :Tell me when it looks right to you.
She poses on the divan, settling like a cat into the position we
remember from the drawing... almost.
JACK :Uh... just bend your left leg a little and... and lower your head.
Eyes on 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 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 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 is says. She accepts the drawing
from him, and crosses to the safe in the wardrobe.
She puts the diamond back in the safe, placing the drawing and the
note on top of it. Closes the door with a CLUNK!
[CUT TO]
108
[INT. FIRST CLASS SMOKING ROOM - NIGHT]
Lovejoy enters from the Palm Court through the revolving door and
crosses the room toward Hockley. A fire is blazing in the marble
fireplace, and the usual fatcats are playing cards, drinking and
talking. Cal sees Lovejoy and detaches from his group, coming to him.
LOVEJOY :None of the stewards have seen her.
CAL :(low but forceful) This is ridiculous, Lovejoy. Find her.
[CUT TO]
109
[EXT. ATLANTIC - NIGHT]
TITANIC glides across an unnatural sea, black and calm as a pool
of oil. The ships lights are mirrored almost perfectly in the black
water. The sky is brilliant with stars. A meteor traces a bright line
across the heavens.
110
ON THE BRIDGE, Captain Smith peers out at the blackness ahead of
the ship. QUARTERMASTER HICHENS brings him a cup of hot tea with lemon.
It steams in the bitter cold of the open bridge. Second Officer
Lightoller is next to him, staring out at the sheet of black glass the
Atlantic has become.
LIGHTOLLER :I don't think I've ever seen such a flat calm, in 24 years
at sea.
SMITH :Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER :It'll make the bergs harder to see, with no breaking water
at the base.
SMITH :Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.
LIGHTOLLER :Yes sir.
SMITH :And wake me, of course, if anything becomes in the slightest
degree doubtful.
[CUT TO]
111
[INT. ROSE AND CAL'S SUITE]
Rose, fully dressed now, returns to the sitting room. They hear
a key in the lock. Rose takes Jacks hand and leads him silently through
the bedrooms. Lovejoy enters by the sitting room door.
LOVEJOY :Miss Rose? Hello?
He hears a door opening and goes through Cal's room toward hers.
[CUT TO]
112
[INT. CORRIDOR OUTSIDE SUITE]
Rose and Jack come out of her stateroom, closing the door. She
leads him quickly along the corridor toward the B deck foyer. They
are halfway across the open space when the sitting room door opens
in the corridor and Lovejoy comes out. The valet sees Jack with Rose
and hustles after them.
ROSE :Come on!
She and Jack break into a run, surprising the few ladies and
gentlemen about. Rose leads him past the stairs to the bank of
elevators. They run into one shocking the hell out of the OPERATOR.
ROSE :Take us down. Quickly, quickly!
The Operator scrambles to comply. Jack even helps him close the
steel gate. Lovejoy runs up as the lift starts to descend. He slams
one hand on the bars of the gate. Rose makes a very rude and
unladylike gesture, and laughs as Lovejoy disappears above. The
Operator gapes at her.
[CUT TO]
113
[INT. E-DECK FOYER/ELEVATORS]
Lovejoy emerges from another lift and runs to the one Jack and
Rose were in. The Operator is just closing the gate to go back up.
Lovejoy runs around the bank of elevators and scans the foyer...
no Jack and Rose. He tries the stairs going down to F-Deck.
[CUT TO]
114
[INT. F-DECK CORRIDORS/ FAN ROOM]
A functional space, with access to a number of machine spaces
(fan rooms, boiler uptakes). Jack and Rose are leaning against the
wall, laughing.
JACK :Pretty tough for a valet, this fella.
ROSE :He's an ex-Pinkerton. Cal's father hired him to keep Cal
out of trouble... to make sure he always got back to the hotel
with his wallet and watch, after some crawl through the less
reputable parts of town...
JACK :Kinda like what we're doin' right now-- uh oh!
Lovejoy has spotted them from a cross-corridor nearby. He
charges toward them. Jack and Rose run around a corner into a blind
alley. There is one door, marked CREW ONLY, and Jack flings it open.
115
They enter a roaring FAN ROOM, with no way out but a ladder
going down. Jack latches the deadbolt on the door, and Lovejoy slams
against it a moment later. Jack grins at Rose, pointing to the ladder.
JACK :After you, m'lady.
[CUT TO]
116
[INT. BOILER ROOM FIVE AND SIX]
Jack and Rose come down the escape ladder and look around in amazement,
It is like a vision of hell itself, with the roaring furnaces and black
figures moving in the smoking glow. They run the length of the boiler room,
dodging amazed stokers, and trimmers with their wheelbarrows of coal.
JACK :(shouting over the din) Carry on! Don't mind us!
They run through the open watertight door into BOILER ROOM SIX. Jack
pulls her through the fiercely hot alley between two boilers and they
wind up in the dark, out of sight of the working crew. Watching from the
shadows, they see the stokers working in the hellish glow, shoveling coal
into the insatiable maws of the furnaces. The whole place thunders with
the roar of the fires.
[CUT TO]
117
[INT. FIRST CLASS SMOKING ROOM]
Amid unparalleled luxury, Cal sits at a card game, sipping brandy.
COLONEL GRACIE :We're going like hell I tell you. I have fifty dollars
that says we make it into New York Tuesday night!
Cal looks at his gold pocket watch, and scowls, not listening.
[CUT TO]
118
[OMITTED]
119
[NT. BOILER ROOM SIX]
furnaces roar, silhouetting the glistening stokers. JACK kisses
Rose's face, tasting the sweat trickling down from her forehead. They
kiss passionately in the steamy, pounding darkness.
[CUT TO]
120
[INT. HOLD #2]
Jack and Rose enter and run laughing between the rows of stacked
cargo. She hugs herself against the cold, after the dripping heat of
the boiler room.
They come upon William Carter's brand new RENAULT touring car,
lashed down to a pallet. It looks like a royal coach from a fairy tale,
it's brass trim and headlamps nicely set off by it's deep burgundy color.
Rose climbs into the plushly upholstered back seat, acting very
royal. There are cut crystal bud vases on the walls back there, each
containing a rose. Jack jumps into the driver's seat, enjoying the
feel of the leather and wood.
JACK :Where to, Miss?
ROSE :To the stars.
ON JACK as her hands come out of the shadows and pull him over the
seat into the back. He lands next to her, and his breath seems loud in
the quiet darkness. He looks at her and she is smiling. It is the
moment of truth.
JACK :Are you nervous?
ROSE :Au contraire, mon cher.
He strokes her face, cherishing her. She kisses his artist's fingers.
ROSE :Put your hands on me Jack.
He kisses her, and she slides down the seat under his welcome weight.
[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)