Titanic Page #21

(she smiles at him)

Wearing only this.

He looks up at her, surprised, 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.

Jakc 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 to

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 of him 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 and 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 it says. She accepts the drawing from him,

and crosses to the safe in the wardrobe.

She puts the diamond back in the safe, placing hte 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, blakc 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 HITCHINS 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's 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 Jack's 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:

Rate this script:3.6 / 34 votes