Ghosts of the Abyss Page #3

would be to enter "D" deck.

Roger that.

You getting ready

to go down there?

Do I want to be pointed aft

or what?

Yeah. Okay.

Okay.

Tell him to move ahead slow.

Move ahead slow.

Moving ahead slow.

Tell him to move

real, real, real, real easy.

Move real, real,

real, real easy.

Real easy.

Moving real easy.

Believe we are heading

toward starboard.

We're looking

at a light fixture.

Looks like it had

four or five bulbs on it.

We should come to the right.

Come to the right, Jeff.

And we'll head

for the boiler uptake.

Copy that.

So far, the vehicle

is handling like a champ.

It's performing beautifully.

How much tether do we have out?

Just shy of 200 feet out.

Okay.

[Sagalevitch speaking Russian]

CAMERON:

Move forward to that doorframe.

We are inside the "Titanic. "

- Tell him to slow down.

- I still can't get over it.

CAMERON:

Slow down.

PAXTON:

Copy that.

I still can't believe

that we're actually here.

I keep waiting for somebody

to yell, "Cut,"

and I'm gonna go back

to my trailer.

I don't think I can get out of

this and get back to my trailer.

My trailer!

I need to call my agent.

CAMERON:
It's getting

a little skinny right in here.

Looks like Carlsbad Caverns

in there.

Is he pinned?

Is there no way forward

from there?

Go left.

Go left.

Making the turn.

That's too close to the bottom.

Tell them to come up.

You're too close to the bottom.

PAXTON:

Copy that.

Oh!

Boy, this is nerve-racking.

There's something there.

See what that is?

Windows, windows.

Dining-room windows.

- We're going for the window.

- We're going for the windows.

Look at that.

- Unbelievable.

- That's amazing.

Take it real slow here.

Those are

the lead-glass windows.

Try to get your light up

on those.

- Amazing, huh?

- Yes.

Turn off his spotlight.

Turn off your spotlight.

Make a nice image

of the windows.

Make a nice picture

of the windows in front of you.

PAXTON:
Look at that.

Look at that.

Oh, boy!

Beautiful.

Still intact.

Very much intact.

Looks like the glass,

all the leaded glass,

it's all there.

It's not broken.

MARSCHALL:
The first-class

dining room was beautiful.

Among the passengers who

ate here were John Jacob Astor

and his wife, Madeline,

who were on their honeymoon.

She would be widowed

before the end of the voyage.

We are not in Kansas anymore.

I think you got a friend.

Oh.

There's Sam.

Sam stopped by to say hello.

He's giving us the tour.

"Follow me," he says.

CAMERON:
It's like a fantasy

in here, isn't it?

MARSCHALL:
The craftsmanship.

The delicate beauty.

That human hands created

these windows,

that human eyes looked

at these windows.

And then you realize

that you're 12, 500 feet

beneath the sea.

Oh, look at that woodwork.

That's all wood, Genya.

That's all carved wood.

But these things created by man,

in this dark abyss,

where they just shouldn't be.

They're not supposed to be here.

CAMERON:

Unbelievable.

Who would've thought

that would still be there?

It's the dream come true for me.

LYNCH:
What's significant

about the reception room

is that this is where

Elizabeth Lines

overheard a conversation

between Captain Smith

and Bruce Ismay,

the owner of the "Titanic. "

And she heard Ismay

telling Smith

to have the "Titanic" arrive

in New York a day early.

I think we're going to beat

"Olympic's" time

and arrive in New York

Tuesday night.

PAXTON:
We're holding

at the first-class entrance,

starboard side.

Isn't that beautiful?

Gosh.

It looks like it's just been

made more beautiful by time.

LYNCH:
"Titanic's" main

first-class entrance

was on "D" deck.

And she had

two large gangway doors

on both the port

and the starboard side.

Through the eyes of the R. O.V.,

we could see the wrought-iron

gates just inside the doors,

which were unknown to historians

until this expedition.

We had no idea what was inside,

and now we know.

CAMERON:
This is the way

they boarded the ship.

They came in through that door,

and then this inner door.

MARSCHALL:

And in this entrance vestibule,

there was a large sideboard

against the aft wall

where lots of first-class china

was stored.

ABERNATH Y:
The dish cabinet

had more or less rotted away.

But you could see the teacups

and the little dishes

stacked perfectly there.

I wish I had those dishes,

you know?

Give it up on eBay.

CAMERON:

There's the elevators.

There's...

There's the shaft.

Look at that.

I thought they called them

"lifts," but you know what?

The ship was owned

by an American company.

Hmm.

Like you could

just call them now.

MARSCHALL:
Whenever you're

looking at the elevator grilles,

try to remember to turn

and look forward and see.

There may still be paneling

right amidships,

and there will be

brass letters that say

"A" deck, "B" deck,

"C" deck, or "D" deck.

When you come out

of the elevators.

Most likely that paneling

is down. But you never know.

That would be a classic shot

to have that lettering

still clinging.

Ken loves this stuff.

I feel like I'm making a film

for one person. Ken Marschall.

And there it is.

Bingo, baby.

- Tell him "bingo. "

- LEDDA:
Bingo.

MARSCHALL:
The "A" had recently

fallen from its own weight.

That brass letter was heavier

than the "D," "E," "C," "K."

Okay. I see where we are.

We just peeked into "D" 35.

PAXTON:
We were methodical

exploring the interior.

We had to be because the wreck

can be very disorienting.

It was spooky.

"D" 33 was the cabin

of Henry Sleeper Harper

and his wife.

Sitting on the remains

of the wardrobe cabinet

is Henry Harper's bowler hat.

Just the idea

that we know whose it was.

CAMERON:
Hey, look.

There's some kind of glass.

Maybe a mirror.

Let's see if that's a mirror.

It is.

We're gonna go see ourselves.

PAXTON:
"A" 11 was occupied

by Edith Russell.

Before getting into a lifeboat,

she went back to her cabin

to lock her 19 trunks

because she didn't trust

the stewards onboard.

LYNCH:
Jim was looking

for Molly Brown's stateroom.

We had a good idea

where that stateroom would be.

And he was searching

for a forward-facing window.

The R. O.V. Is narrow enough

to scoot through that.

And I saw there was jagged glass

at the bottom of the windowsill.

That could sever the tether,

commit suicide.

Ken says we can do this.

LEDDA:

It's a gamble.

Don't do it.

Don't do it.

You're gonna be laying your

tether right across the glass.

CAMERON:
There he goes.

He's in there.

That's what I'm talking about.

LYNCH:
Okay, now that you're in,

it's not that bad of an idea.

That's not a brass bed.

That's a wooden bed.

It's kind of creepy.

I don't know.

Molly Brown said

she was in a brass bed.

I don't see a brass bed.

PAXTON:

Molly Brown was a character.

She and her husband had made

their fortune mining out west.

And she was desperate

to be accepted by high society.

The "Titanic" tragedy

made her a legend.

Uh, Genya?

Yes?

Um, I need to pee.

I don't think I can hold it

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