![Find Titanic on Amazon](https://www.scripts.com/images/script/134_titanic.png)
Titanic
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:
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.
5 MINUTES LATER:
THE TWO SUBS skim over the seafloor to the sound ofsidescan 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:
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 sh*t, 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
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
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 theporcelain 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.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Titanic" Scripts.com. STANDS4 LLC, 2024. Web. 6 Sep. 2024. <https://www.scripts.com/script/titanic_134>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In