Titanic a screenplay by James Cameron Cast: LEONARDO DICAPRIO... Jack Dawson KATE WINSLET... Rose DeWitt Bukater
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, sho 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 unrols 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 estealing 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 hous 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 molding, 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 moniteors. 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
Christman 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 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
shipwrick, 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 soman,
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 intanct. 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 Beull 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 sweng 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
helo. BODINE She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the Titanic. At the age of 17. If
she'd've 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
everyobody 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.
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