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CUT TO:

67 INT. ROSE'S BEDROOM - NIGHT

As she undresses for bed Rose sees Cal standing in her doorway, reflected in the cracked mirror of her vanity. He comes toward her.

CAL

(unexpectedly tender)

I know you've been melancholy, and I don't pretend to know why.

From behind his back he hands her a large black velvet jewel case. She takes it, numbly.

CAL

I intended to save this till the engagement gals next week. But I thought tonight, perhaps a reminder of my feeling for you...

Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN" in all its glory. It is huge... a malevolent blue stone glittering with an infinity of scalpel-like inner reflections.

ROSE

My God... Cal. Is it a--

CAL

Diamond. Yes it is. 56 carats.

He takes the necklace and during the following places it around her throat. He turns her to the mirror, staring behind her.

CAL

It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer, the--

ROSE

The Heart of the Ocean. Cal, it's... it's overwhelming.

He gazes at the image of the two of them in the mirror.

CAL

It's for royalty. And we are royalty.

His fingers caress her neck and throat. He seems himself to be disarmed by Rose's elegance and beauty. His emotion is, for the first time, unguarded.

CAL

There's nothing I couldn't give you. There's nothing I'd deny you if you would deny me. Open your heart to me, Rose.

CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:

OLD ROSE (V.O.)

Of course his gift was only to reflect light back onto himself, to illuminate the greatness that was Caledon Hockley. It was a cold stone... a heart of ice.

Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the are now... transforming through 84 years of life...

TRANSITION

68 INT. KELDYSH IMAGING SHACK

Without a cut the wrinkled, weathered landscape of age has appeared around her eyes. But the eyes themselves are the same.

OLD ROSE

After all these years, feel it closing around my throat like a dog collar.

THE CAMERA PULLS BACK to show her whole face.

ROSE

I can still feel its weight. If you could have felt it, not just seen it...

LOVETT

Well, that's the general idea, my dear.

BODINE

So let me get this right. You were gonna kill yourself by jumping off the Titanic?

(he guffaws)

That's great!

LOVETT

(warningly)

Lewis...

But Rose laughs with Bodine.

BODINE

(still laughing)

All you had to do was wait two days!

Lovett, standing out of Rose's sight line, checks his watch. Hours have passed. This process is taking too long.

LOVETT

Rose, tell us more about the diamond. What did Hockley do with it after that?

ROSE

I'm afraid I'm feeling a little tired, Mr. Lovett.

Lizzy picks up the cue and starts to wheel her out.

LOVETT

Wait! Can you give us something go on, here. Like who had access to the safe. What about this Lovejoy guy? The valet. Did he have the combination?

LIZZY

That's enough.

Lizzy takes her out. Rose's old hand reappears at the doorway in a frail wave goodbye.

CUT TO:

69 EXT. LAUNCH AREA/KELDYSH DECK - DAY

As the big hydraulic jib swings one of the Mir subs out over the water. Lovett walks as he talks with Bobby Buell, the partners' rep. They weave among deck cranes, launch crew, sub maintenance guys.

BUELL

The partners are pissed.

BROCK

Bobby, buy me time. I need time.

BUELL

We're running thirty thousand a day, and we're six days over. I'm telling you what they're telling me. The hand is on the plug. It's starting to pull.

BROCK

Well you tell the hand I need another two days! Bobby, Bobby, Bobby... we're close! I smell it. I smell ice. She had the diamond on... now we just have to find out where it wound up. I just gotta work her a bit more. Okay?

Brock turns and sees Lizzy standing behind him. She has overheard the past part of his dialogue with Buell. He goes to her and hustles her away from Buell, toward a quite spot on the deck.

BROCK

Hey, Lizzy. I need to talk to you for a second.

LIZZY

Don't you mean work me?

BROCK

Look, I'm running out of time. I need your help.

LIZZY

I'm not going to help you browbeat my hundred and one year old grandmother. I came down here to tell you to back off.

BROCK

(with undisguised desperation)

Lizzy... you gotta understand something. I've bet it all to find the Heart of the Ocean. I've got all my dough tied up in this thing. My wife even divorced me over this hunt. I need what's locked inside your grandma's memory.

(he holds out his hand)

You see this? Right here?

She looks at his hand, palm up. Empty. Cupped, as if around an imaginary shape.

LIZZY

What?

BROCK

That's the shape my hand's gonna be when I hold that thing. You understand? I'm not leaving here without it.

 

LIZZY

Look, Brock, she's going to do this her way, in her own time. Don't forget, she contacted you. She's out here for her own reasons, God knows what they are.

LOVETT

Maybe she wants to make peace with the past.

LIZZY

What past? She has never once, not once, ever said a word about being on the Titanic until two days ago.

LOVETT

Then we're all meeting your grandmother for the first time.

LIZZY

(looks at him hard)

You think she was really there?

LOVETT

Oh, yeah. Yeah, I'm a believer. She was there.

CUT TO:

70 INT. IMAGING SHACK

Bodine starts the tape recorder. Rose is gazing at the screen seeing THE LIVE FEED FROM THE WRECK--SNOOP DOG is moving along the starboard side of the hull, heading aft. The rectangular windows of A deck (forward) march past on the right.

ROSE

The next day, Saturday, I remember thinking how the sunlight felt.

DISSOLVE TO:

71 EXT. B DECK TITANIC - DAY

MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912, passing the end of the enclosed promenade just as Rose walks into the sunlight right in front of us. She is stunningly dressed and walking with purpose.

OLD ROSE (V.O.)

As if I hadn't felt the sun in years.

IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down into third class. The steerage men on the deck stop what they're doing and stare at her.

CUT TO:

72 INT. THIRD CLASS GENERAL ROOM

The social center of steerage life. It is stark by comparison to the opulence of first class, but is a loud, boisterous place. There are mothers with babies, kids running between the benches yelling in several languages and being scolded in several more. There are old women yelling, men playing chess, girls doing needlepoint and reading dime novels. There is even an upright piano and Tommy Ryan is noodling around it.

Three boys, shrieking and shouting, are scrambling around chasing a rat under the benches, trying to whomp it with a shoe and causing general havoc. Jack is playing with 5 year old CORA CARTMELL, drawing funny faces together in his sketchbook.

Fabrizio is struggling to get a conversation going with an attractive Norwegian girl, HELGA DAHL, sitting with her family at a table across the room.

FABRIZIO

No Italian? Some little English?

HELGA

No, no. Norwegian. Only.

Helga's eye is caught by something. Fabrizio looks, does a take... and Jack, curious, follows their gaze to see...

Rose, coming toward them. The activity in the room stops... a hush falls. Rose feels suddenly self-conscious as the steerage passengers stare openly at this princess, some with resentment, others with awe. She spots Jack and gives a little smile, walking straight to him. He rises to meet her, smiling.

ROSE

Hello Jack.

Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella.

JACK

Hello again.

ROSE

Could I speak to you in private?

JACK

Uh, yes. Of course. After you.

He motions her ahead and follows. Jack glances over his shoulder, one eyebrow raised, as he walks out with her leaving a stunned silence.

CUT TO:

73 EXT. BOAT DECK - DAY

Jack and Rose walk side by side. They pass people reading and talking in steamer chairs, some of whom glance curiously at the mismatched couple. He feels out of place in his rough clothes. They are both awkward, for different reasons.

JACK

So, you got a name by the way?

ROSE

Rose. Rose DeWitt Bukater.

JACK

That's quite a moniker. I may hafta get you to write that down.

There is an awkward pause.

ROSE

Mr. Dawson, I--

JACK

Jack.

ROSE

Jack... I feel like such an idiot. It took me all morning to get up the nerve to face you.

JACK

Well, here you are.

ROSE

Here I am. I... I want to thank you for what you did. Not just for... for pulling me back. But for your discretion.

JACK

You're welcome. Rose.

ROSE

Look, I know what you must be thinking! Poor little rich girl. What does she know about misery?

JACK

That's not what I was thinking. What I was thinking was... what could have happened to hurt this girl so much she though she had no way out.

ROSE

I don't... it wasn't just one thing. It was everything. It was them, it was their whole world. And I was trapped in it, like an insect in amber.

(in a rush)

I just had to get away... just run and run and run... and then I was at the back rail and there was no more ship... even the Titanic wasn't big enough. Not enough to get away from them. And before I'd really though about it, I was over the rail. I was so furious. I'll show them. They'll be sorry!

JACK

Uh huh. They'll be sorry. 'Course you'll be dead.

ROSE

(she lowers her head)

Oh God, I am such an utter fool.

JACK

That penguin last night, is he one of them?

ROSE

Penguin? Oh, Cal! He is them.

JACK

Is he your boyfriend?

ROSE

Worse I'm afraid.

She shows him her engagement ring. A sizable diamond.

JACK

Gawd look at that thing! You would have gone straight to the bottom.

They laugh together. A passing steward scowls at Jack, who is clearly not a first class passenger, but Rose just glares at him away.

JACK

So you feel like you're stuck on a train you can't get off 'cause you're marryin' this fella.

 

ROSE

Yes, exactly!

JACK

So don't marry him.

ROSE

If only it were that simple.

JACK

It is that simple.

ROSE

Oh, Jack... please don't judge me until you've seen my world.

JACK

Well, I guess I will tonight.

Looking for another topic, any other topic, she indicates his sketchbook.

ROSE

What's this?

JACK

Just some sketches.

ROSE

May I?

The question is rhetorical because she has already grabbed the book. She sits on a deck chair and opens the sketchbook. ON JACK'S sketches... each one an expressive little bit of humanity: an old woman's hands, a sleeping man, a father and daughter at the rail. The faces are luminous and alive. His book is a celebration of the human condition.

ROSE

Jack, these are quite good! Really, they are.

JACK

Well, they didn't think too much of 'em in Paree.

Some loose sketches fall out and are taken by the wind. Jack scrambles after them... catching two, but the rest are gone, over the rail.

ROSE

Oh no! Oh, I'm so sorry. Truly!

JACK

Well, they didn't think too much of 'em in Paree.

He snaps his wrist, shaking his drawing hand in a flourish.

JACK

I just seem to spew 'em out. Besides, they're not worth a damn anyway.

For emphasis he throws away the two he caught. They sail off.

ROSE

(laughing)

You're deranged!

She goes back to the book, turning a page.

ROSE

Well, well...

She has come upon a series of nudes. Rose is transfixed by the languid beauty he has created. His nudes are soulful, real, with expressive hands and eyes. They feel more like portraits than studies of the human form... almost uncomfortably intimate. Rose blushes, raising the book as some strollers go by.

ROSE

(trying to be very adult)

And these were drawn from life?

JACK

Yup. That's one of the great things about Paris. Lots of girls willing take their clothes off.

She studies one drawing in particular, the girl posed half in sunlight, half in shadow. Her hands lie at her chin, one furled and one open like a flower, languid and graceful. The drawing is like an Alfred Steiglitz print of Georgia O'Keefe.

ROSE

You liked this woman. You used her several times.

JACK

She had beautiful hands.

ROSE

(smiling)

I think you must have had a love affair with her...

JACK

(laughing)

No, no! Just with her hands.

ROSE

(looking up from the drawings)

You have a gift, Jack. You do. You see people.

JACK

I see you.

There it is. That piercing gaze again.

ROSE

And...?

JACK