# data[].attributes.body
To pass with all would like to graduate with a gpa higher than 3.7.

# data[].attributes.body
My goal for quarter one is to keep a positive state mind and keep my grades up by working hard and applying myself to every class I have.

# data[].attributes.body
Enter SAMPSON and GREGORY of the house of Capulet, with swords and bucklers

SAMPSON

Gregory, on my word, we’ll not carry coals.

GREGORY

No, for then we should be colliers.

SAMPSON

I mean, an we be in choler, we’ll draw.

GREGORY

Ay, while you live, draw your neck out of collar.

SAMPSON

5

I strike quickly, being moved.

GREGORY

But thou art not quickly moved to strike.

SAMPSON

A dog of the house of Montague moves me.

GREGORY

To move is to stir, and to be valiant is to stand.

Therefore if thou art moved thou runn’st away.

SAMPSON

10

A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s.

SAMPSON and GREGORY, servants of the Capulet family, enter carrying swords and small shields.

SAMPSON

Gregory, I swear, we can’t let them humiliate us. We won’t take their garbage.

GREGORY

(teasing SAMPSON) No, because then we’d be garbagemen.

SAMPSON

What I mean is, if they make us angry we’ll pull out our swords.

GREGORY

Maybe you should focus on pulling yourself out of trouble, Sampson.

SAMPSON

I hit hard when I’m angry.

GREGORY

But it’s hard to make you angry.

SAMPSON

One of those dogs from the Montague house can make me angry.

GREGORY

That shows thee a weak slave, for the weakest goes to the wall.

SAMPSON

'Tis true, and therefore women, being the weaker vessels, are ever thrust to the wall. Therefore I will push Montague’s men from the wall, and thrust his maids to the wall.

GREGORY

The quarrel is between our masters and us their men.

SAMPSON

'Tis all one. I will show myself a tyrant. When I have fought with the men, I will be civil with the maids. I will cut off their heads.

GREGORY

The heads of the maids?

SAMPSON

Ay, the heads of the maids, or their maidenheads.

Take it in what sense thou wilt.

GREGORY

25

They must take it in sense that feel it.

SAMPSON

Me they shall feel while I am able to stand, and

’tis known I am a pretty piece of flesh.

GREGORY

'Tis well thou art not fish. If thou hadst, thou hadst been poor-john.

Enter ABRAM and anotherSERVINGMAN

Draw thy tool! Here comes of the house of Montagues.

SAMPSON

30

My naked weapon is out. Quarrel! I will back thee.

GREGORY

That means you’re the weak one, because weaklings get pushed up against the wall.

SAMPSON

You’re right. That’s why girls get pushed up against walls—they’re weak. So what I’ll do is push the Montague men into the street and the Montague women up against the wall.

GREGORY

The fight is between our masters, and we men who work for them.

SAMPSON

It’s all the same. I’ll be a harsh master to them. After I fight the men, I’ll be nice to the women—I’ll cut off their heads.

GREGORY

Cut off their heads? You mean their maidenheads?

SAMPSON

Cut off their heads, take their maidenheads—whatever. Take my remark in whichever sense you like.

GREGORY

The women you rape are the ones who’ll have to “sense” it.

SAMPSON

They’ll feel me as long as I can keep an erection. Everybody knows I’m a nice piece of flesh.

GREGORY

It’s a good thing you’re not a piece of fish. You’re dried and shriveled like salted fish.

ABRAM and another servant of the Montagues enter.

Pull out your tool now. These guys are from the house of Montague.

SAMPSON

I have my naked sword out. Fight, I’ll back you up.GREGORY

How? Turn thy back and run?

SAMPSON

Fear me not.

GREGORY

No, marry. I fear thee.

SAMPSON

Let us take the law of our sides. Let them begin.

GREGORY

35

I will frown as I pass by, and let them take it as they list.

SAMPSON

Nay, as they dare. I will bite my thumb at them, which is a disgrace to them, if they bear it.(bites his thumb)

ABRAM

Do you bite your thumb at us, sir?

SAMPSON

I do bite my thumb, sir.

ABRAM

Do you bite your thumb at us, sir?

SAMPSON

40

(aside to GREGORY)

Is the law of our side if I say “ay”?

GREGORY

(aside to SAMPSON)

No.

SAMPSON

No, sir. I do not bite my thumb at you, sir, but I bite my thumb, sir.

GREGORY

45

Do you quarrel, sir?

ABRAM

Quarrel, sir? No, sir.

GREGORY

How will you back me up—by turning your back and running away?

SAMPSON

Don’t worry about me.

GREGORY

No, really. I am worried about you!

SAMPSON

Let’s not break the law by starting a fight. Let them start something.

GREGORY

I’ll frown at them as they pass by, and they can react however they want.

SAMPSON

You mean however they dare. I’ll bite my thumb at them. That’s an insult, and if they let me get away with it they’ll be dishonored. (SAMPSONbites his thumb)

ABRAM

Hey, are you biting your thumb at us?

SAMPSON

I’m biting my thumb.

ABRAM

Are you biting your thumb at us?

SAMPSON

(aside to GREGORY) Is the law on our side if I say yes?

GREGORY

(aside to SAMPSON) No.

SAMPSON

(to ABRAM) No, sir, I’m not biting my thumb at you, but I am biting my thumb.

GREGORY

Are you trying to start a fight?

ABRAM

Start a fight? No, sir.

# data[].attributes.body
My goal for the first eight weeks of school is to keep at least Cs

# data[].attributes.body
Enter SAMPSON and GREGORY of the house of Capulet, with swords and bucklers

SAMPSON

Gregory, on my word, we’ll not carry coals.

GREGORY

No, for then we should be colliers.

SAMPSON

I mean, an we be in choler, we’ll draw.

GREGORY

Ay, while you live, draw your neck out of collar.

SAMPSON

5

I strike quickly, being moved.

GREGORY

But thou art not quickly moved to strike.

SAMPSON

A dog of the house of Montague moves me.

GREGORY

To move is to stir, and to be valiant is to stand.

Therefore if thou art moved thou runn’st away.

SAMPSON

10

A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s.

SAMPSON and GREGORY, servants of the Capulet family, enter carrying swords and small shields.

SAMPSON

Gregory, I swear, we can’t let them humiliate us. We won’t take their garbage.

GREGORY

(teasing SAMPSON) No, because then we’d be garbagemen.

SAMPSON

What I mean is, if they make us angry we’ll pull out our swords.

GREGORY

Maybe you should focus on pulling yourself out of trouble, Sampson.

SAMPSON

I hit hard when I’m angry.

GREGORY

But it’s hard to make you angry.

SAMPSON

One of those dogs from the Montague house can make me angry.

# data[].attributes.body
For the first quarter, I want to kill it in swimming and in all my classes. I want to get accepted to a college by the end of the year.

# data[].attributes.body
My goal for Q1 is to get mostly A`s.My goal for the year is to be able to move.

# data[].attributes.body
A goal for this year that a have is to a C or higher every quarter and graduate with my class

# data[].attributes.body
My goal for Q1 is to get A in most of my classes
My goal for this school year is to get good grades.

# data[].attributes.body
My goal for Q1 is understand the content

# data[].attributes.body
My goal for

# data[].attributes.body
Just me and my car and a few trips with the wife

# data[].attributes.body
My goal for the Q1 is to maintain an A+ grade in all my classes.

# data[].attributes.body
My goal for quarter one is to maintain As in all my classes
My goal for the school year would be to not stress about things school related too much and have a good year

# data[].attributes.body
Pass my classes and finish the year strong academically and mentally

# data[].attributes.body
For quarter 1 my goal is to have all As in much classes

My goal for the school year is to have As in all my classes and try to stay connected with much friends

# data[].attributes.body
My goal for the first eight weeks of school is to keep my grades above Cs

# data[].attributes.body
My Q1 goal is to get A’s and graduate with a 3.0 GPA or higher

# data[].attributes.body
My year long goal is to raise up my goal.
My quarter goal is to turn in all my assignments

# data[].attributes.body
My Q1 goals to achieve include, passing all classes with A’s and having a positive attitude throughout the year.

# data[].attributes.body
My goal for the quarter is to get at least a B and my year long goal is to get an A

# data[].attributes.body
Summer picture is when I saw Nothing More and Bad Wolves in concert.

Goals
Q1: Get back into the grind of working out and training

Semester: Make great progress in powerlifting and physically so I’m prepared for The Marine Corps Infantry

# data[].attributes.body
My goal is to get all a's this semester

# data[].attributes.headline
My goal for Q1 Is to get  mostly A`s. my goal for the year is to 

# data[].attributes.subject
My goal for Q1 Is to get  mostly A`s. my goal for the year is to 

# data[].attributes.body
My goal for Q1 is to stay with an A and my goal for the end of the year is to finish with all A’s.

# data[].attributes.body
My goal for Q1 is to get all A’s all year and graduate at the end of the school year

# data[].attributes.body
My Q1 goal is to maintain a B and my goal for the year is to pay attention and learn more.

# data[].attributes.body
Screenplays for You - free movie scripts and screenplays

About

Links

Screenplays, movie scripts and transcripts organized alphabetically:

#

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z

PDF

ALL

Titanic (1997)

by James Cameron.

More info about this movie on IMDb.com

FOR EDUCATIONAL PURPOSES ONLY

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.

		BODINE

S'cuse me, I have to go check our supply of Depends.

							CUT TO:

23 INT. ROSE'S STATEROOM / KELDYSH - DAY

Lizzy is unpacking Rose's things in the small utilitarian room. Rose is
placing a number of FRAMED PHOTOS on the bureau, arranging them carefully
next to the fishbowl. Brock and Bodine are in the doorway.

		LOVETT

Is your stateroom alright?

		 ROSE

Yes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me.

		 LIZZY

Yes. We met just a few minutes ago, grandma. Remember, up on deck?

		 ROSE

Oh, yes.

Brock glances at Bodine... oh oh. Bodine rolls his eyes. Rose finishes
arranging her photographs. We get a general glimpse of them: the usual
snapshots... children and grandchildren, her late husband.

		 ROSE

There, that's nice. I have to have my pictures when I travel. And Freddy of
course.

		(to the Pomeranian)

Isn't that right, sweetie.

		LOVETT

Would you like anything?

		 ROSE

I should like to see my drawing.

							CUT TO:

24 INT. LAB DECK, PRESERVATION AREA

Rose looks at the drawing in its tray of water, confronting herself across
a span of 84 years. Until they can figure out the best way to preserve it,
they have to keep it immersed. It sways and ripples, almost as if alive.

TIGHT ON Rose's ancient eyes, gazing at the drawing.

25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a
shoulder and the shape of her hair with two efficient lines.

26 THE WOMAN'S FACE IN THE DRAWING, dancing under the water.

27 A FLASHCUT of a man's eyes, just visible over the top of a sketching
pad. They look up suddenly right into the LENS. Soft eyes, but fearlessly
direct.

28 Rose smiles, remembering. Brock has the reference photo of the necklace
in his hand.

		LOVETT

Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the
Crown, which disappeared in 1792, about the time Louis lost everything from
the neck up. The theory goes that the crown diamond was chopped too...
recut into a heart-like shape... and it became Le Coeur de la Mer. The
Heart of the Ocean. Today it would be worth more than the Hope Diamond.

		 ROSE

It was a dreadful, heavy thing.

                        (she points at the drawing)

I only wore it this once.

		 LIZZY

You actually believe this is you, grandma?

		 ROSE

It is me, dear. Wasn't I a hot number?

		LOVETT

I tracked it down through insurance records... and old claim that was
settled under terms of absolute secrecy. Do you know who the claiment was,
Rost?

		 ROSE

Someone named Hockley, I should imagine.

		LOVETT

Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his
son Caledon Hockley bought in France for his fiancee... you... a week
before he sailed on Titanic. And the claim was filed right after the
sinking. So the diamond had to've gone down with the ship.

		(to Lizzy)

See the date?

		 LIZZY

April 14, 1912.

		LOVETT

If your grandma is who she says she is, she was wearing the diamond the day
Titanic sank.

		(MORE)

		  LOVETT (CONT'D)

		 (to Rose)

And that makes you my new best friend. I will happily compensate you for
anything you can tell us that will lead to its recovery.

		 ROSE

I don't want your money, Mr. Lovett. I know how hard it is for people who
care greatly for money to give some away.

		BODINE

		(skeptical)

You don't want anything?

		 ROSE

		(indicating the drawing)

You may give me this, if anything I tell you is of value.

		LOVETT

Deal.

		(crossing the room)

Over here are a few things we've recovered from your staterooms.

Laid out on a worktable are fifty or so objects, from mundane to valuable.
Rose, shrunken in her chair, can barely see over the table top. With a
trembling hand she lifts a tortoise shell hand mirror, inlaid with mother
of pearl. She caresses it wonderingly.

		 ROSE

This was mine. How extraordinary! It looks the same as the last time I saw
it.

She turns the mirror over and looks at her ancient face in the cracked
glass.

		 ROSE

The reflection has changed a bit.

She spies something else, a silver and moonstone art-nouveau brooch.

		 ROSE

My mother's brooch. She wanted to go back for it. Caused quite a fuss.

Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes
flight on the ebony handle of the comb. She turns it slowly, remembering.
We can see that Rose is experiencing a rush of images and emotions that
have lain dormant for eight decades as she handles the butterfly comb.

		LOVETT

Are you ready to go back to Titanic?

							CUT TO:

29 INT. IMAGING SHACK / KELDYSH

It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the
screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN.

		BODINE

Live from 12,000 feet.

ROSE stares raptly at the screens. She is enthraled by one in particular,
an image of the bow railing. It obviously means something to her. Brock is
studying her reactions carefully.

		BODINE

The bow's struck in the bottom like an axe, from the impact. Here... I can
run a simulation we worked up on this monitor over here.

Lizzy turns the chair so Rose can see the screen of Bodine's computer. As
he is calling up the file, he keeps talking.

		BODINE

We've put together the world's largest database on the Titanic. Okay,
here...

		LOVETT

Rose might not want to see this, Lewis.

		 ROSE

No, no. It's fine. I'm curious.

Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels
his rapid-fire narration.

		BODINE

She hits the berg on the starboard side and it sort of bumps along...
punching holes like a morse code... dit dit dit, down the side. Now she's
flooding in the

		  BODINE (cont'd)

forward compartments... and the water spills over the tops of the
bulkheads, going aft. As her bow is going down, her stern is coming up...
slow at first... and then faster and faster until it's lifting all that
weight, maybe 20 or 30 thousand tons... out of the water and the hull can't
deal... so SKRTTT!!

                (making a sound in time with the animation)

... it splits! Right down to the keel, which acts like a big hinge. Now the
bow swings down and the stern falls back level... but the weight of the bow
pulls the stern up vertical, and then the bow section detaches, heading for
the bottom. The stern bobs like a cork, floods and goes under about 2:20
a.m. Two hours and forty minutes after the collision.

The animation then follows the bow section as it sinks. Rose watches this
clinical dissection of the disaster without emotion.

		BODINE

The bow pulls out of its dive and planes away, almost a half a mile, before
it hits the bottom going maybe 12 miles an hour. KABOOM!

The bow impacts, digging deeply into the bottom, the animation now follows
the stern.

		BODINE

The stern implodes as it sinks, from the pressure, and rips apart from the
force of the current as it falls, landing like a big pile of junk.

                        (indicating the simulation)

Cool huh?

		 ROSE

Thank you for that fine forensic analysis, Mr. Bodine. Of course the
experience of it was somewhat less clinical.

		LOVETT

Will you share it with us?

Her eyes go back to the screens, showing the sad ruins far below them.

A VIEW from one of the subs TRACKING SLOWLY over the boat deck. Rose
recognizes one of the Wellin davits, still in place. She hears ghostly
waltz music. The faint and echoing sound of an officer's voice, English
accented, calling "Women and children only".

30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and
terror. People crying, praying, kneeling on the deck. Just impressions...
flashes in the dark.

31 Rose Looks at another monitor. SNOOP DOG moving down a rusted,
debris-filled corridor. Rose watches the endless row of doorways sliding
past, like dark mouths.

32 IMAGE OF A CHILD, three years old, standing ankle deep in water in the
middle of an endless corridor. The child is lost alone, crying.

33 Rose is shaken by the flood of memories and emotions. Her eyes well up
and she puts her head down, sobbing quietly.

		 LIZZY

		(taking the wheelchair)

I'm taking her to rest.

		 ROSE

No!

Her voice is surprisingly strong. The sweet little old lady is gone,
replaced by a woman with eyes of steel. Lovett signals everyone to stay
quiet.

		LOVETT

Tell us, Rose.

She looks from screen to screen, the images of the ruined ship.

		 ROSE

It's been 84 years...

		LOVETT

Just tell us what you can--

		 ROSE

                      (holds up her hand for silence)

It's been 84 years... and I can still smell the fresh paint. The china had
never been used. The sheets had never been slept in.

He switches on the minirecorder and sets it near her.

		 ROSE

Titanic was called the Ship of Dreams. And it was. It really was...

As the underwater camera rises past the rusted bow rail, WE DISSOLVE /
MATCH MOVE to that same railing in 1912...

				MATCH DISSOLVE:

34 EXT. SOUTHAMPTON DOCK - DAY

SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure of
Titanic rises mountainously beyond the rail, and above that the
buff-colored funnels stand against the sky like the pillars of a great
temple. Crewmen move across the deck, dwarfed by the awesome scale of the
steamer.

Southanmpton, England, April 10, 1912. It is almost nnon on ailing day. A
crowd of hundreds blackens the pier next to Titanic like ants on a jelly
sandwich.

IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging
from a loading crane. It is lowered toward HATCH #2.

On the pier horsedrawn vehicles, motorcars and lorries move slowly through
the dense throng. The atmosphere is one of excitement and general
giddiness. People embrace in tearful farewells, or wave and shout bon
voyage wishes to friends and relatives on the decks above.

A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the
crowd leaving a wake in the press of people. Around the handsome cars
people are streaming to board the ship, jostling with hustling seamen and
stokers, porters, and barking WHITE STAR LINE officials.

The Renault stops and the LIVERIED DRIVER scurries to open the door for a
YOUNG WOMAN dressed in a stunning white and purple outfit, with an enormous
feathered hat. She is 17 years old and beautiful, regal of bearing, with
piercing eyes.

It is the girl in the drawing. ROSE. She looks up at the ship, taking it in
with cool appraisal.

		 ROSE

I don't see what all the fuss is about. It doesn't look any bigger than the
Mauretania.

A PERSONAL VALET opens the door on the other side of the car for CALEDON
HOCKLEY, the 30 year old heir to the elder Hockley's fortune. "Cal" is
handsome, arrogant and rich beyond meaning.

		CAL

You can be blase about some things, Rose, but not about Titanic. It's over
a hundred feet longer than Mauretania, and far more luxurious. It has
squash courts, a Parisian cafe... even Turkish baths.

Cal turns and fives his hand to Rose's mother, RUTH DEWITT BUKATER, who
descends from the touring car being him. Ruth is a 40ish society empress,
from one of the most prominent Philadelphia families. She is a widow, and
rules her household with iron will.

		CAL

Your daughter is much too hard to impress, Ruth.

		 (indicating a puddle)

Mind your step.

		 RUTH

		(gazing at the leviathan)

So this is the ship they say is unsinkable.

		CAL

It is unsinkable. God himself couldn't sink this ship.

Cal speaks with the pride of a host providing a special experience.

This entire entourage of rich Americans is impeccably turned out, a
quintessential example of the Edwardian upper class, complete with
servants. Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an
undertaker. Behind him emerge TWO MAIDS, personal servants to Ruth and
Rose.

A WHITE STAR LINE PORTER scurries toward them, harried by last minute
loading.

		PORTER

Sir, you'll have to check your baggage through the main terminal, round
that way--

Cal nonchalantly hands the man a fiver. The porter's eyes dilate. Five
pounds was a monster tip in those days.

		CAL

I put my faith in you, good sir.

		(MORE)

		   CAL (CONT'D)

                       (curtly, indicating Lovejoy)

See my man.

		PORTER

Yes, sir. My pleasure, sir.

Cal never tires of the effect of money on the unwashed masses.

		LOVEJOY

		  (to the porter)

These trunks here, and 12 more in the Daimler. We'll have all this lot up
in the rooms.

The White Star man looks stricken when he sees the enormous pile of steamer
trunks and suitcases loading down the second car, including wooden crates
and steel safe. He whistles frantically for some cargo-handlers nearby who
come running.

Cal breezes on, leaving the minions to scramble. He quickly checks his
pocket watch.

		CAL

We'd better hurry. This way, ladies.

He indicates the way toward the first class gangway. They move into the
crowd. TRUDY BOLT, Rose's maid, hustles behind them, laden with bags of her
mistress's most recent purchases... things too delicate for the baggage
handlers.

Cal leads, weaving between vehicles and handcarts, hurrying passengers
(mostly second class and steerage) and well-wishers. Most of the first
class passengers are avoiding the smelly press of the dockside crowd by
using an elevated boarding bridge, twenty feet above.

They pass a line of steerage passengers in their coarse wool and tweeds,
queued up inside movable barriers like cattle in a chute. A HEALTH OFFICER
examines their heads one by one, checking scalp and eyelashes for lice.

They pass a well-dressed young man cranking the handle of a wooden Biograph
"cinematograph" camera mounted on a tripod. NANIEL MARVIN (whose father
founded the Biograph Film Studio) is filming his young bride in front of
the Titanic. MARY MARVIN stands stiffly and smiles, self conscious.

		DANIEL

Look up at the ship, darling, that's it. You're amazed! You can't believe
how big it is! Like a mountain. That's great.

Mary Marvin, without an acting fiber in her body, does a bad Clara Bow
pantomime of awe, hands raised.

Cal is jostled by two yelling steerage boys who shove past him. And he is
bumped again a second later by the boys' father.

		CAL

Steady!!

		MAN

Sorry squire!

The Cockney father pushes on, after his kids, shouting.

		CAL

Steerage swine. Apparently missed his annual bath.

		 RUTH

Honestly, Cal, if you weren't forever booking everything at the last
instant, we could have gone through the terminal instead of running along
the dock like some squalid immigrant family.

		CAL

All part of my charm, Ruth. At any rate, it was my darling fiancee's beauty
rituals which made us late.

		 ROSE

You told me to change.

		CAL

I couldn't let you wear black on sailing day, sweetpea. It's bad luck.

		 ROSE

I felt like black.

Cal guides them out of the path of a horse-drawn wagon loaded down with two
tons of OXFORD MARMALADE, in wooden cases, for Titanic's Victualling
Department.

		CAL

Here I've pulled every string I could to book us on the grandest ship in
history, in her most luxurious suites... and you act as if you're going to
your execution.

Rose looks up as the hull of Titanic looms over them...a great iron wall,
Bible black and sever. Cal motions her forward, and she enters the gangway
to the D Deck doors with a sense of overwhelming dread.

		  OLD ROSE (V.O.)

It was the ship of dreams... to everyone else. To me it was a slave ship,
taking me back to America in chains.

CLOSE ON CAL'S HAND IN SLOW-MOTION as it closes possessively over Rose's
arm. He escorts her up the gangway and the black hull of Titanic swallows
them.

		  OLD ROSE (V.O.)

Outwardly I was everything a well brought up girl should be. Inside, I was
screaming.

35 CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic's
funnels, bellowing their departure warning.

							CUT TO:

36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY

A VIEW OF TITANIC from several blocks away, towering above the terminal
buildings like the skyline of a city. The steamer's whistle echoes across
Southampton.

PULL BACK, revealing that we were looking through a window, and back
further to show the smoky inside of a pub. It is crowded with dockworkers
and ship;s crew.

Just inside the window, a poker game is in progress. FOUR MEN, in working
class clothes, play a very serious hand.

JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as the
other two players argue in Swedish. Jack is American, a lanky drifter with
his hair a little long for the standards of the times. He is also unshaven,
and his clothes are rumpled from sleeping in them. He is an artist, and has
adopted the bohemian style of art scene in Paris. He is also very
self-possessed and sure-footed for 20, having lived on his own since 15.

The TWO SWEDES continue their sullen argument, in Swedish.

		 OLAF

		(subtitled)

You stupid fishhead. I can't believe you bet our tickets.

		 SVEN

		(subtitled)

You lost our money. I'm just trying to get it back. Now shutup and take a
card.

		 JACK

		 (jaunty)

Hit me again, Sven.

Jack takes the card and slips it into his hand.

ECU JACK'S EYES. They betray nothing.

CLOSE ON FABRIZIO licking his lips nervously as he refuses a card.

ECU STACK in the middle of the table. Bills and coins from four counrties.
This has been going on for a while. Sitting on top of the money are two 3RD
CLASS TICKETS for RMS TITANIC.

The Titanic's whistle blows again. Final warning.

		 JACK

The moment of truth boys. Somebody's life's about to change.

Fabrizio puts his cards down. So do the Swedes. Jack holds his close.

		 JACK

Let's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh...
two pair... mmm.

		 (turns to his friend)

Sorry Fabrizio.

		 FABRIZIO

What sorry? What you got? You lose my money?? Ma va fa'n culo testa di
cazzo--

		 JACK

Sorry, you're not gonna see your mama again for a long time...

He slaps a full house down on the table.

		 JACK

		(grinning)

'Cause you're goin' to America!! Full house boys!

		 FABRIZIO

Porca Madonna!! YEEAAAAA!!!

The table explodes into shouting in several languages. Jack rakes in the
money and the tickets.

		 JACK

		  (to the Swedes)

Sorry boys. Three of a kind and a pair. I'm high and you're dry and...

		   (to Fabrizio)

... we're going to--

		   FABRIZIO/JACK

L'AMERICA!!!

Olaf balls up one huge farmer's fist. We think he's going to clobber Jack,
but he swings round and punches Sven, who flops backward onto the floor and
sits there, looking depressed. Olaf forgets about Jack and Fabrizio, who
are dancing around, and goes into a rapid harangue of his stupid cousin.

Jack kisses the tickets, then jumps on Fabrizio's back and rides him around
the pub. It's like they won the lottery.

		 JACK

Goin' home... to the land o' the free and the home of the real hot-dogs! On
the TITANIC!! We're ridin' in high style now! We're practically goddamned
royalty, ragazzo mio!!

		 FABRIZIO

You see? Is my destinio!! Like I told you. I go to l'America!! To be a
millionaire!!

		(MORE)

		 FABRIZIO (CONT'D)

		  (to pubkeeper)

Capito?? I go to America!!

		 PUBKEEPER

No, mate. Titanic go to America. In five minutes.

		 JACK

Shit!! Come on, Fabri!

		(grabbing their stuff)

Come on!!

		(to all, grinning)

It's been grand.

They run for the door.

		 PUBKEEPER

'Course I'm sure if they knew it was you lot comin', they'd be pleased to
wait!

							CUT TO:

37 OMITTED

38 EXT. TERMINAL - TITANIC

Jack and Fabrizio, carrying everything they own in the world in the kit
bags on their shoulders, sprint toward the pier. They tear through milling
crowds next to the terminal. Shouts go up behind them as they jostle
slow-moving gentlemen. They dodge piles of luggage, and weave through
groups of people. They burst out onto the pier and Jack comes to a dead
stop... staring at the cast wall of the ship's hull, towering seven stories
above the wharf and over an eighth of a mile long. The Titanic is
monstrous.

Fabrizio runs back and grabs Jack, and they sprint toward the third class
gangway aft, at E deck. They reach the bottom of the ramp just as SIXTH
OFFICER MOODY detaches it at the top. It starts to swing down from the
gangway doors.

		 JACK

Wait!! We're passengers!

Flushed and panting, he waves the tickets.

		 MOODY

Have you been through the inspection queue?

		 JACK

		(lying cheerfully)

Of course! Anyway, we don't have lice, we're Americans.

		 (glances at Fabrizio)

Both of us.

		 MOODY

		(testy)

Right, come aboard.

Moody has QUARTERMASTER ROWE reattach the gangway. Jack and Fabrizio come
aboard. Moody glances at the tickets, then passes Jack and Fabrizio through
to Rowe. Rowe looks at the names on the tickets to enter them in the
passenger list.

		 ROWE

Gundersen. And...

		 (reading Fabrizio's)

Gundersen.

He hands the tickets back, eyeing Fabrizio's Mediterranean looks
suspiciously.

		 JACK

		(grabbing Fabrizio's arm)

Come on, Sven.

Jack and Fabrizio whoop with victory as they run down the white-painted
corridero... grinning from ear to ear.

		 JACK

We are the luckiest sons of bitches in the world!

							CUT TO:

39 OMITTED

40 EXT. TITANIC AND DOCK - DAY

The mooring lines, as big around as a man's arm, are dropped into the
water. A cheer goes up on the pier as SEVEN TUGS pull the Titanic away from
the quay.

							CUT TO:

41 EXT. AFT WELL DECK / POOP DECK - DAY

JACK AND FABRIZIO burst through a door onto the aft well deck. TRACKING
WITH THEM as they run across the deck and up the steel stairs to the poop
deck. They get to the rail and Jack starts to yell and wave to the crowd on
the dock.

		 FABRIZIO

You know somebody?

		 JACK

Of course not. That's not the point.

		  (to the crowd)

Goodbye! Goodbye!! I'll miss you!

Grinning, Fabrixio joins in, adding his voice to the swell of voices,
feeling the exhilaration of the moment.

		 FABRIZIO

Goodbye! I will never forget you!!

							CUT TO:

42 OMITTED

EXT. SOUTHAMPTON DOCK - DAY

The crowd of cheering well-wishers waves heartily as a black wall of metal
moves past them. Impossibly tiny figues wave back from the ship's rails.
Titanic gathers speed.

							CUT TO:

44 EXT. RIVER TEST - DAY

IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead tug,
which is dwarfed. The bow wave spreads before the mighty plow of the
liner's hull as it moves down the River Test toward the English Channel.

							CUT TO:

45 INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY

Jack and Fabrizio walk down a narrow corridor with doors lining both sides
like a college dorm. Total confusion as people argue over luggage in
several languages, or wander in confusion in the labyrinth. They pass
emigrants studying the signs over the doors, and looking up the words in
phrase books.

They find their berth. It is a modest cubicle, painted enamel white, with
four bunks. Exposed pipes overhead. The other two guys are already there.
OLAUS and BJORN GUNDERSEN.

Jack throws his kit on one open bunk, while Fabrizio takes the other.

		 BJORN

		(in Swedish/ subtitled)

Where is Sven?

							CUT TO:

46 INT. SUITE B-52-56 - DAY

By contrast, the so-called "Millionaire Suite" is in the Empire style, and
comprises two bedrooms, a bath, WC, wardrobe room, and a large sitting
room. In addition there is a private 50 foot promenade deck outside.

A room service waiter pours champagne into a tulip glass of orange juice
and hands the Bucks Fizz to Rose. She is looking through her new paintings.
There is a Monet of water lilies, a Degas of dancers, and a few abstract
works. They are all unknown paintings... lost works.

Cal is out on the covered deck, which has potted trees and vines on
trellises, talking through the doorway to Rose in the sitting room.

		CAL

Those mud puddles were certainly a waste of money.

		 ROSE

                      (looking at a cubist portrait)

You're wrong. They're fascinating. Like in a dream... there's truth without
logic. What's his name again... ?

		(reading off the canvas)

Picasso.

		CAL

                      (coming into the sitting room)

He'll never amount to a thing, trust me. At least they were cheap.

A porter wheels Cal's private safe (which we recognize) into the room on a
handtruck.

		CAL

Put that in the wardrobe.

47 IN THE BEDROOM Rose enters with the large Degas of the dancers. She sets
it on the dresser, near the canopy bed. Trudy is already in there, hanging
up some of Rose's clothes.

		 TRUDY

It smells so brand new. Like they built it all just for us. I mean... just
to think that tonight, when I crawl between the sheets, Iill be the first--

Cal appears in the doorway of the bedroom.

		CAL

		 (looking at Rose)

And when I crawl between the sheets tonight, I'll still be the first.

		 TRUDY

                        (blushing at the innuendo)

S'cuse me, Miss.

She edges around Cal and makes a quick exit. Cal comes up behind Rose and
puts his hands on her shoulders. An act of possession, not intimacy.

		CAL

The first and only. Forever.

Rose's expression shows how bleak a prospect this is for her, now.

							CUT TO:

48 EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK

Titanic stands silhouetted against a purple post-sunset sky. She is lit up
like a floating palace, and her thousand portholes reflect in the calm
harbor waters. The 150 foot tender Nomadic lies-to alongside, looking like
a rowboat. The lights of a Cherbourg harbor complete the postcard image.

							CUT TO:

49 INT. FIRST CLASS RECEPTION/ D-DECK

Entering the first class reception room from the tender are a number of
prominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered hat
comes up the gangway, carrying a suitcase in each hand, a spindly porter
running to catch up with her to take the bags.

		 WOMAN

Well, I wasn't about to wait all day for you, sonny. Take 'em the rest of
the way if you think you can manage.

		  OLD ROSE (V.O.)

At Cherbourg a woman came aboard named Margaret Brown, but we all called
her Molly. History would call her the Unsinkable Molly Brown. Her husband
had struck gold someplace out west, and she was what mother called "new
money".

At 45, MOLLY BROWN is a tough talking straightshooter who dresses in the
finery of her genteel peers but will never be one of them.

		  OLD ROSE (V.O.)

By the next afternoon we had made our final stop and we were steaming west
from the coast of Ireland, with nothing out ahead of us but ocean...

							CUT TO:

50 OMITTED

51 EXT. BOW - DAY

The ship glows with the warm creamy light of late afternoon. Jack and
Fabrizio stand right at the bow gripping the curving railing so familiar
from images of the wreck. Jack leans over, looking down fifty feet to where
the prow cuts the surface like a knife, sending up two glassy sheets of
water.

							CUT TO:

52 INT. / EXT. TITANIC - SERIES OF SCENES - DAY

ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER
WILLIAM MURDOCH.

		   CAPTAIN SMITH

Take her to sea Mister Murdoch. Let's stretch her legs.

Murdoch moves the engine telegraph lever to ALL AHEAD FULL.

53 NOW BEGINS a kind of musical/visual setpiece... an ode to the great
ship. The music is rhythmic, surging forward, with a soaring melody that
addresses the majesty and optimism of the ship of dreams.

IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".

		CHIEF ENGINEER BELL

All ahead full!

On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully as the
engineers and greasers scramble to adjust valves. Towering above them are
the twin RECIPROCATING engines, four stories tall, their ten-foot-long
connecting rods surging up and down with the turning of the massive
crankshafts. The engines thunder like the footfalls of marching giants.

54 IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into the
roaring furnaces. The "black gang" are covered with sweat and coal dust,
their muscles working like part of the machinery as they toil in the
hellish glow.

55 UNDERWATER the enormous bronze screws chop through the water, hurling
the steamer forward and churning up a vortex of foam that lingers for miles
behind the juggernaut ship. Smoke pours from the funnels as--

56 The riven water flares higher at the bow as the ship's speeds builds.
THE CAMERA SWEEPS UP the prow to find Jack, the wind streaming through his
hair and--

57 Captain Smith steps out of the enclosed bridge onto the wing. He stands
with his hands on the rail, looking every bit the storybook picture of a
Captain... a great patriarch of the sea.

		 FIRST OFFICER MURDOCH

Twenty one knots, sir!

		 SMITH

She's got a bone in her teeth now, eh, Mr. Murdoch.

Smith accepts a cup of tea from FIFTH OFFICER LOWE. He contentedly watches
the white V of water hurled outward from the bows like an expression of his
own personal power. They are invulnerable, towering over the sea.

58 AT THE BOW Jack and Fabrizio lean far over, looking down.

In the glassy bow-wave two dolphins appear, under the water, running fast
just in front of the steel blade of the prow. They do it for the sheer joy
and exultation of motion. Jack watches the dolphins and grins. They breach,
jumping clear of the water and then dive back, crisscrossing in front of
the bow, dancing ahead of the juggernaut.

FABRIZIO looks forward across the Atlantic, staring into the sunsparkles.

		 FABRIZIO

I can see the Statue of Liberty already.

		(grinning at Jack)

Very small... of course.

THE CAMERA ARCS around them, until they are framed against the sea.

NOW WE PULL BACK, across the forecastle deck. Rising, as we continue back,
and the ships rolls endlessly forward underneath. Over the bridge wing,
along the boat deck until her funnels come INTO FRAME besides us and march
past like the pillars of heaven, one by one. We pull back and up, until we
are looking down the funnels, and the people strolling on the decks and
standing at the rail become antlike.

And still we pull back until the great lady is seen whole in a gorgeous
aerial portrait, black and severe in her majesty.

		   ISMAY (V.O.)

She is the largest moving object ever made by the hand of man in all
history...

							CUT TO:

59 INT. PALM COURT RESTAURANT - DAY

CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line.

		 ISMAY

...and our master shipbuilder, Mr. Andrews here, designed her from the keel
plates up.

He indicates a handsome 39 year old Irish gentlemen to his right, THOMAS
ANDREWS, of Harland and Wolf Shipbuilders.

WIDER, showing the group assembled for lunch the next day. Ismay seated
with Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm Court, a
beautiful sunny spot enclosed by high arched windows.

		ANDREWS

		(disliking the attention)

Well, I may have knocked her together, but the idea was Mr. Ismay's. He
envisioned a steamer so grand in scale, and so luxurious in its
appointments, that its supremacy would never be challenged. And here she
is...

		 (he slaps the table)

...willed into solid reality.

		 MOLLY

Why're ships always bein' called "she"? Is it because men think half the
women around have big sterns and should be weighed in tonnage?

		 (they all laugh)

Just another example of the men settin' the rules their way.

The waiter arrives to take orders. Rose lights a cigarette.

		 RUTH

You know I don't like that, Rose.

		CAL

She knows.

Cal takes the cigarette from her and stubs it out.

		CAL

		  (to the waiter)

We'll both have the lamb. Rare, with a little mint sauce.

                  (to Rose, after the waiter moves away)

You like lamb, don't you sweetpea?

Molly is watching the dynamic between Rose, Cal and Ruth.

		 MOLLY

So, you gonna cut her meat for her too there, Cal?

		(turning to Ismay)

Hey, who came up with the name Titanic? You, Bruce?

		 ISMAY

Yes, actually. I wanted to convey sheer size. And size means stability,
luxury... and safety--

		 ROSE

Do you know of Dr. Freud? His ideas about the male preoccupation with size
might be of particular interest to you, Mr. Ismay.

Andrews chockes on his breadstick, suppressing laughter.

		 RUTH

My God, Rose, what's gotten into--

		 ROSE

Excuse me.

She stalks away.

		 RUTH

		(mortified)

I do apologize.

		 MOLLY

She's a pistol, Cal. You sure you can handle her?

		CAL

                      (tense but feigning unconcern)

Well, I may have to start minding what she reads from now on.

							CUT TO:

60 EXT. POOP DECK / AFTER DECKS - DAY

Jack sits on a bench in the sun. Titanic's wake spreads out behind him to
the horizon. He has his knees pulled up, supporting a leather bound
sketching pad, his only valuable possession. With conte crayon he draws
rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has
his 3 year old daughter CORA standing on the lower rung of the rail. She is
leaned back against his beer barrel of a stomach, watching the seagulls.

THE SKETCH captures them perfectly, with a great sense of the humanity of
the moment. Jack is good. Really good. Fabrizio looks over Jack's shoulder.
He nods appreciatively.

TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember comes
by, walking three small dogs around the deck. One of them, a BLACK FRENCH
BULLDOG, is among the ugliest creatures on the planet.

		 TOMMY

That's typical. First class dogs come down here to take a shit.

Jack looks up from his sketch.

		 JACK

That's so we know where we rank in the scheme of things.

		 TOMMY

Like we could forget.

Jack glances across the well deck. At the aft railing of B deck promenade
stands ROSE, in a long yellow dress and white gloves.

CLOSE ON JACK, unable to take his eyes off of her. They are across from
each other, about 60 feet apart, with the well deck like a valley between
them. She on her promontory, he on his much lower one. She stares down at
the water.

He watches her unpin her elaborate hat and take it off. She looks at the
frilly absurd thing, then tosses it over the rail. It sails far down to the
water and is carried away, astern. A spot of yellow in the vast ocean. He
is riveted by her. She looks like a figure in a romantic novel, sad and
isolated.

Fabrizio taps Tommy and they both look at Jack gazin at Rose. Fabrizio and
Tommy grin at each other.

Rose turns suddenly and looks right at Jack. He is caught staring, but he
doesn't look away. She does, but then looks back. Their eyes meet across
the space of the well deck, across the gulf between worlds.

Jack sees a man (Cal) come up behind her and take her arm. She jerks her
arm away. They argue in pantomime. She storms away, and he goes after her,
disappearing along the A-deck promenade. Jack stares after her.

		 TOMMY

Forget it, boyo. You'd as like have angels fly out o' yer arse as get next
to the likes o' her.

							CUT TO:

61 INT. FIRST CLASS DINING SALOON - NIGHT

SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated
conversation. Cal and Ruth are laughing together, while on the other side
LADY DUFF-GORDON is holding forth animatedly. We don't hear what they are
saying. Rose is staring at her plate, barely listening to the
inconsequential babble around her.

		  OLD ROSE (V.O.)

I saw my whole life as if I'd already lived it... an endless parade of
parties and cotillions, yachts and polo matches... always the same narrow
people, the same mindless chatter. I felt like I was standing at a great
precipice, with no one to pull me back, no one who cared... or even
noticed.

ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her crab
salad. She pokes the crab-fork into the skin of her arm, harder and harder
until it draws blood.

							CUT TO:

62 INT. CORRIDOR / B DECK - NIGHT

Rose walks along the corridor. A steward coming the other way greets her,
and she nods with a slight smile. She is perfectly composed.

							CUT TO:

63 INT. ROSE'S BEDROOM - NIGHT

She enters the room. Stands in the middle, staring at her reflection in the
large vanity mirror. Just stands there, then--

With a primal, anguished cry she claws at her throat, ripping off her pearl
necklace, which explodes across the room. In a frenzy she tears at herself,
her clothes, her hair... then attacks the room. She flings everything off
the dresser and it flies clattering against the wall. She hurls a
handmirror against the vanity, cracking it.

							CUT TO:

64 EXT. A DECK PROMENADE, AFT - NIGHT

Rose runs along the B deck promenade. She is dishevelled, her hair flying.
She is crying, her cheeks streaked with tears. But also angry, furious!
Shaking with emotions she doesn't understand... hatred, self-hatred,
desperation. A strolling couple watch her pass. Shocked at the emotional
display in public.

							CUT TO:

65 EXT. POOP DECK - NIGHT

Jack is kicked back on one of the benches gazing at the stars blazing
gloriously overhead. Thinking artist thoughts and smoking a cigarette.

Hearing something, he turns as Rose runs up the stairs from the well deck.
They are the only two on the stern deck, except for QUARTERMASTER ROWE,
twenty feet above them on the docking bridge catwalk. She doesn't see Jack
in the shadows, and runs right past him.

TRACKING WITH ROSE as she runs across the deserted fantail. Her breath
hitches in an occasional sob, which she suppresses. Rose slams against the
base of the stern flagpole and clings there, panting. She stares out at the
black water.

Then starts to climb over the railing. She has to hitch her long dress way
up, and climbing is clumsy. Moving methodically she turns her body and gets
her heels on the white-painted gunwale, her back to the railing, facing out
toward blackness. 60 feet below her, the massive propellers are churning
the atlantin into white foam, and a ghostly wake trails off toward the
horizon.

IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below
her are the huge letters of the name "TITANIC".

She leans out, her arms straightening... looking down hypnotized, into the
vortex below her. Her dress and hair are lifted by the wind of the ship's
movement. The only sound, above the rush of water below, is the flutter and
snap of the big Union Jack right above her.

		 JACK

Don't do it.

She whips her head around at the sound of his voice. It takes a second for
her eyes to focus.

		 ROSE

Stay back! Don't come any closer!

Jack sees the tear tracks on her cheeks in the faint glow from the stern
running lights.

		 JACK

Take my hand. I'll pull you back in.

		 ROSE

No! Stay where you are. I mean it. I'll let go.

		 JACK

No you won't.

		 ROSE

What do you mean no I won't? Don't presume to tell me what I will and will
not do. You don't know me.

		 JACK

You would have done it already. Now come on, take my hand.

Rose is confused now. She can't see him very well through the tears, so she
wipes them with one hand, almost losing her balance.

		 ROSE

You're distracting me. Go away.

		 JACK

I can't. I'm involved now. If you let go I have to jump in after you.

		 ROSE

Don't be absurd. You'll be killed.

He takes off his jacket.

		 JACK

I'm a good swimmer.

He starts unlacing his left shoe.

		 ROSE

The fall alone would kill you.

		 JACK

It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more
concerned about the water being so cold.

She looks down. The reality factor of what she is doing is sinking in.

		 ROSE

How cold?

		 JACK

                        (taking off his left shoe)

Freezing. Maybe a couple degrees over.

He starts unlacing his right shoe.

		 JACK

Ever been to Wisconsin?

		 ROSE

		(perplexed)

No.

		 JACK

Well they have some of the coldest winters around, and I grew up there,
near Chippewa Falls. Once when I was a kid me and my father were
ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole in
the--

		 ROSE

I know what ice fishing is!

		 JACK

Sorry. Just... you look like kind of an indoor girl. Anyway, I went through
some thin ice and I'm tellin' ya, water that cold... like that right down
there... it hits you like a thousand knives all over your body. You can't
breath, you can't think... least not about anything but the pain.

                        (takes off his other shoe)

Which is why I'm not looking forward to jumping in after you. But like I
said, I don't see a choice. I guess I'm kinda hoping you'll come back over
the rail and get me off the hook here.

		 ROSE

You're crazy.

		 JACK

That's what everybody says. But with all due respect, I'm not the one
hanging off the back of a ship.

He slides one step closer, like moving up on a spooked horse.

		 JACK

Come on. You don't want to do this. Give me your hand.

Rose stares at this madman for a long time. She looks at his eyes and they
somehow suddenly seem to fill her universe.

		 ROSE

Alright.

She unfastens one hand from the rail and reaches it around toward him. He
reaches out to take it, firmly.

		 JACK

I'm Jack Dawson.

		 ROSE

		 (voice quavering)

Pleased to meet you, Mr. Dawson.

Rose starts to turn. Now that she has decided to live, the height is
terrifying. She is overcome by vertigo as she shifts her footing, turning
to face the ship. As she starts to climb, her dress gets in the way, and
one foot slips off the edge of the deck.

She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is
jerked toward the rail. Rose barely grabs a lower rail with her free hand.

QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads for
the ladder.

		 ROSE

HELP! HELP!!

		 JACK

I've got you. I won't let go.

Jack holds her hand with all his strength, bracing himself on the railing
with his other hand. Rose tries to get some kind of foothold on the smooth
hull. Jack tries to lift her bodily over the railing. She can't get any
footing in her dress and evening shoes, and she slips back. Rose SCREAMS
again.

Jack, awkwardly clutching Rose by whatever he can get a grip on as she
flails, gets her over the railing. They fall together onto the deck in a
tangled heap, spinning in such a way that Jack winds up slightly on top of
her.

Rowe slides down the ladder from the docking bridge like it's a fire drill
and sprints across the fantail.

		 ROWE

Here, what's all this?!

Rowe runs up and pulls Jack off of Rose, revealing her dishevelled and
sobbing on the deck. Her dress is torn, and the hem is pushing up above her
knees, showing one ripped stocking. He looks at Jack, the shaggy steerage
man with his jacket off, and the first class lady clearly in distress, and
starts drawing conclusions. Two seamen chug across the deck to join them.

		 ROWE

		 (to Jack)

Here you, stand back! Don't move an inch!

		  (to the seamen)

Fetch the Master at Arms.

							CUT TO:

66 EXT. POOP DECK - NIGHT

A few minutes later. Jack is being detained by the burly MASTER AT ARMS,
the closest thing to a cop on board. He is handcuffing Jack. Cal is right
in front of Jack, and furious. He has obviously just rushed out here with
Lovejoy and another man, and none of them have coats over their black tie
evening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioed
blowhard who still has his brandy snifter. He offers it to Rose, who is
hunched over crying on a bench nearby, but she waves it away. Cal is more
concerned with Jack. He grabs him by the lapels.

		CAL

What made you think you could put your hands on my fiancee?! Look at me,
you filth! What did you think you were doing?!

		 ROSE

Cal, stop! It was an accident.

		CAL

An accident?!

		 ROSE

It was... stupid really. I was leaning over and I slipped.

Rose looks at Jack, getting eye contact.

		 ROSE

I was leaning way over, to see the... ah... propellers. And I slipped and I
would have gone overboard... and Mr. Dawson here saved me and he almost
went over himself.

		CAL

You wanted to see the propellers?

		GRACIE

		(shaking his head)

Women and machinery do not mix.

		  MASTER AT ARMS

		 (to Jack)

Was that the way of it?

Rose is begging him with her eyes not to say what really happened.

		 JACK

Uh huh. That was pretty much it.

He looks at Rose a moment longer. Now they have a secret together.

		  COLONEL GRACIE

Well! The boy's a hero then. Good for you son, well done!

		 (to Cal)

So it's all's well and back to our brandy, eh?

Jack is uncuffed. Cal gets Rose to her feet and moving.

		CAL

		(rubbing her arms)

Let's get you in. You're freezing.

Cal is leaving without a second thought for Jack.

		GRACIE

		 (low)

Ah... perhaps a little something for the boy?

		CAL

Oh, right. Mr. Lovejoy. A twenty should do it.

		 ROSE

Is that the going rate for saving the woman you love?

		CAL

Rose is displeased. Mmm... what to do?

Cal turns back to Jack. He appraises him condescendingly... a steerage
ruffian, unwashed and ill-mannered.

		CAL

I know.

		 (to Jack)

Perhaps you could join us for dinner tomorrow, to regale our group with
your heroic tale?

		 JACK

                        (looking straight at Rose)

Sure. Count me in.

		CAL

Good. Settled then.

Cal turns to go, putting a protective arm around Rose. he leans close to
Gracie as they walk away.

		CAL

This should be amusing.

		 JACK

		(as Lovejoy passes)

Can I bum a cigarette?

Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it
open. Jack takes a cigarette, then another, popping it behind his ear for
later. Lovejoy lights Jack's cigarette.

		LOVEJOY

You'll want to tie those.

		(Jack looks at his shoes)

Interesting that the young lady slipped so mighty all of a sudden and you
still had time to take of your jacket and shoes. Mmmm?

Lovejoy's expression is bland, but the eyes are cold. He turns away to join
his group.

							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 een melancholy, and I don't pretent 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

Daimond. 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 sightline, 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

Im 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 reapears 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 Lizy 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

		(MORE)

		  LIZZY (CONT'D)

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

You wouldn'ta jumped.

							CUT TO:

74 INT. RECEPTION ROOM / D-DECK - DAY

Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF
ROTHES, a 35ish English blue-blood with patirician features. Ruth sees
someone coming across the room and lowers her voice.

		 RUTH

Oh no, that vulgar Brown woman is coming this way. Get up, quickly before
she sits with us.

Molly Brown walks up, greeting them cheerfully as they are rising.

		 MOLLY

Hello girls, I was hoping I'd catch you at tea.

		 RUTH

We're awfully sorry you missed it. The Countess and I are just off to take
the air on the boat deck.

		 MOLLY

That sounds great. Let's go. I need to catch up on the gossip.

Ruth grits her teeth as the three of them head for the Grand Staircase to
go up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to
Bruce Ismay and Captain Smith at another table.

		 ISMAY

So you've not lit the last four boilers then?

		 SMITH

No, but we're making excellent time.

		 ISMAY

		   (impatiently)

Captain, the press knows the size of Titanic, let them marvel at her speed
too. We must give them something new to print. And the maiden voyage of
Titnaic must make headlines!

		 SMITH

I prefer not to push the engines until they've been properly run in.

		 ISMAY

Of course I leave it to your good offices to decide what's best, but what a
glorious end to your last crossing if we get into New York Tuesday night
and surprise them all.

                    (Ismay slaps his hand on the table)

Retire with a bang, eh, E.J?

A beat. Then Smith nods, stiffy.

							CUT TO:

75 EXT. A DECK PROMENADE - DAY

Rose and Jack stroll aft, past people lounging on deck chairs in the
slanting late-afternoon light. Stewards scurry to serve tea or hot cocoa.

		 ROSE

		 (girlish and excited)

You know, my dream has always been to just chuck it all and become an
artist... living in a garret, poor but free!

		 JACK

		(laughing)

You wouldn't last two days. There's no hot water, and hardly ever any
caviar.

		 ROSE

		(angry in a flash)

Listen, buster... I hate caviar! And I'm tired of people dismissing my
dreams with a chuckle and a pat on the head.

		 JACK

I'm sorry. Really... I am.

		 ROSE

Well, alright. There's something in me, Jack. I feel it. I don't know what
it is, whether I should be an artist, or, I don't know... a dancer. Like
Isadora Duncan.... a wild pagan spirit...

She leaps forward, lands deftly and whirls like a dervish. Then she sees
something ahead and her face lights up.

		 ROSE

...or a moving picture actress!

She takes his hand and runs, pulling him along the deck toward--

DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as
she poses stiffly at the rail.

		MARVIN

You're sad. Sad, sad, sad. You've left your lover on the shore. You may
never see him agian. Try to be sadder, darling.

SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the
rail next to Mary. Mary bursts out laughing. Rose pulls Jack into the
picture and makes him pose.

Marvin grins and starts yelling and gesturing. We see this in CUTS, with
music and no dialogue.

SERIES OF CUTS:

Rose posing tragically at the rail, the back of her hand to her forehead.

Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming
fanning him like slave girls.

Jack, on his knees, pleading with his hands clasped while Rose, standing,
turns her head in bored disdain.

Rose cranking the camera, while Daniel and Jack have a western shoot-out.
Jack wins and leers into the lens, twirling an air mustache like Snidely
Whiplash.

							CUT TO:

76 EXT. A DECK PROMENADE / AFT - SUNSET

Painted with orange light, Jack and Rose lean on the A-deck rail aft,
shoulder to shoulder. The ship's lights come on.

It is a magical moment... perfect.

		 ROSE

So then what, Mr. Wandering Jack?

		 JACK

Well, then logging got to be too much like work, so I went down to Los
Angelas to the pier in Santa Monica. That's a swell place, they even have a
rollercoaster. I sketched portraits there for ten cents a piece.

		 ROSE

A whole ten cents?!

		 JACK

		 (not getting it)

Yeah; it was great money... I could make a dollar a day, sometimes. But
only in summer. When it got cold, I decided to go to Paris and see what the
real artists were doing.

		 ROSE

		(looks at the dusk sky)

Why can't I be like you Jack? Just head out for the horizon whenever I feel
like it.

		 (turning to him)

Say we'll go there, sometime... to that pier... even if we only ever just
talk about it.

		 JACK

Alright, we're going. We'll drink cheap beer and go on the rollercoaster
until we throw up and we'll ride horses on the beach... right in the
surf... but you have to ride like a cowboy, none of that side-saddle stuff.

		 ROSE

You mean one leg on each side? Scandalous! Can you show me?

		 JACK

Sure. If you like.

		 ROSE

		 (smiling at him)

I think I would.

                        (she looks at the horizon)

And teach me to spit too. Like a man. Why should only men be able to spit.
It's unfair.

		 JACK

They didn't teach you that in finishing school? Here, it's easy. Watch
closely.

He spits. It arcs out over the water.

		 JACK

Your turn.

Rose screws up her mouth and spits. A pathetic little bit of foamy spittle
which mostly runs down her chin before falling off into the water.

		 JACK

Nope, that was pitiful. Here, like this... you hawk it down... HHHNNNK!...
then roll it on your tongue, up to the front, like thith, then a big breath
and PLOOOW!! You see the range on that thing?

She goes through the steps. Hawks it down, etc. He coaches her through it
(ad lib) while doing the steps himself. She lets fly. So does he. Two
comets of gob fly out over the water.

		 JACK

That was great!

Rose turns to him, her face alight. Suddenly she blanches. He sees her
expression and turns.

RUTH, the Countess of Rothes, and Molly Brown have been watching them
hawking lugees. Rose becomes instantly composed.

		 ROSE

Mother, may I introduce Jack Dawson.

		 RUTH

Charmed, I'm sure.

Jack has a little spit running down his chin. He doesn't know it. Molly
Brown is grinning. As Rose proceeds with the introductions, we hear...

		  OLD ROSE (V.O.)

The others were gracious and curious about the man who'd saved my life. But
my mother looked at him like an insect. A dangerous insect which must be
squashed quickly.

		 MOLLY

Well, Jack, it sounds like you're a good man to have around in a sticky
spot--

They all jump as a BUGLER sounds the meal call right behind them.

		 MOLLY

Why do they insist on always announcing dinner like a damn cavalry charge?

		 ROSE

Shall we go dress, mother?

		(over her shoulder)

See you at dinner, Jack.

		 RUTH

		(as they walk away)

Rose, look at you... out in the sun with no hat. Honestly!

The Countess exits with Ruth and Rose, leaving Jack and Molly alone on
deck.

		 MOLLY

Son, do you have the slightest comprehension of what you're doing?

		 JACK

Not really.

		 MOLLY

Well, you're about to go into the snakepit. I hope you're ready. What are
you planning to wear?

Jack looks down at his clothes. Back up at her. He hadn't thought about
that.

		 MOLLY

I figured.

							CUT TO:

77 INT. MOLLY BROWN'S STATEROOM

Men's suits and jackets and formal wear are strewn all over the place.
Molly is having a fine time. Jack is dressed, except for his jacket, and
Molly is tying his bow tie.

		 MOLLY

Don't feel bad about it. My husband still can't tie one of these damn
things after 20 years. There you go.

She picks up a jacket off the bed and hands it to him. Jack goes into the
bathroom to put it on. Molly starts picking up the stuff off the bed.

		 MOLLY

I gotta buy everything in three sizes 'cause I never know how much he's
been eating while I'm away.

She turns and sees him, though we don't.

		 MOLLY

My, my, my... you shine up like a new penny.

							CUT TO:

78 EXT. BOAT DECK / FIRST CLAsS ENTRANCE - DUSK

A purple sky, shot with orange, in the west. Drifting strains of classic
music. We TRACK WITH JACK along the deck. By Edwardian standards he looks
badass. Dashing in his borrowed white-tie outfit, right down to his pearl
studs.

A steward bows and smartly opens the door to the First Class Entrance.

		STEWARD

Good evening, sir.

Jack plays the role smoothly. Nods with just the right degree of disdain.

							CUT TO:

79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK

Jack steps in and his breath is taken away by the splendor spread out
before him. Overhead is the enormous glass dome, with a crystal chandelier
at its center. Sweeping down six stories is the First Class Grand
Staircase, the epitome of the opulent naval architecture of the time.

And the people: the women in their floor length dresses, elaborate
hairstyles and abundant jewelry... the gentlemen in evening dress, standing
with one hand at the small of the back, talking quietly.

Jack descends to A deck. Several men nod a perfunctory greeting. He nods
back, keeping it simple. He feels like a spy.

Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They
both walk right past Jack, neither one gecognizeing him. Cal nods at him,
one gent to another. But Jack barely has time to be amused. Because just
behind Cal and Ruth on the stairs is Rose, a vision in red and black, her
low-cut dress showing off her neck and shoulders, her arms seathed in white
gloves that come well above above the elbow. Jack is hypnotized by her
beauty.

CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen's stance,
hand behind his back. She extends her gloved hand and he takes it, kissing
the back of her fingers. Rose flushes, beaming noticeably. She can't take
her eyes off him.

		 JACK

I saw that in a nickelodean once, and I always wanted to do it.

		 ROSE

Cal, surely you remember Mr. Dawson.

		CAL

		(caught off guard)

Dawson! I didn't recognize you.

		   (studies him)

Amazing! You could almost pass for a gentlemen.

							CUT TO:

80 INT. D-DECK RECEPTION ROOM

CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They
encounter Molly Brown, looking good in a beaded dress, in her own busty
broad-shouldered way. Molly grins when she sees Jack. As they are going
into the dining saloon she walks next to him, speaking low:

		 MOLLY

Ain't nothin' to it, is there, Jack?

		 JACK

Yeah, you just dress like a pallbearer and keep your nose up.

		 MOLLY

Remember, the only thing they respect is money, so just act like you've got
a lot of it and you're in the club.

As they enter the swirling throng, Rose leans close to him, pointing out
several notables.

		 ROSE

There's the Countess Rothes. And that's John Jacob Astor... the richest man
on the ship. His little wifey there, Madeleine, is my age and in a delicate
condition. See how she's trying to hide it. Quite the scandal.

		(nodding toward a couple)

And over there, that's Sir Cosmo and Lucile, Lady Duff-Gordon. She designs
naughty lingerie, among her many talents. Very popular with the royals.

Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel
Gracie, while Ruth, the Countess and Lucille discuss fashion. Rose picots
Jack smoothly, to show him another couple, dressed impeccably.

		 ROSE

And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs.
Guggenheim is at home with the children, of course.

Cal, meanwhile, is accepting the praise of his male counterparts, who are
looking at Rose like a prize show horse.

		 SIR COSMO

Hockley, she is splendid.

		CAL

Thank you.

		GRACIE

Cal's a lucky man. I know him well, and it can only be luck.

Ruth steps over, hearing the last. She takes Cal's arm, somewhat
coquettishly.

		 RUTH

How can you say that Colonel? Caledon Hockley is a great catch.

The entourage strolls toward the dining saloon, where they run into the
Astor's going through the ornate double doors.

		 ROSE

J.J., Madeleine, I'd like you to meet Jack Dawson.

		 ASTOR

		(shaking his hand)

Good to meet you Jack. Are you of the Boston Dawsons?

		 JACK

No, the Chippewa Falls Dawsons, actually.

J.J. nods as if he's heard of them, then looks puzzled. Madeleine Astor
appraises Jack and whispers girlishly to Rose:

		 MADELEINE

It's a pity we're both spoken for, isn't it?

							CUT TO:

81 INT. DINING SALOON

Like a ballroom at the palace, alive and lit by a constellation of
chandeliers, full of elegantly dressed people and beautiful music from
BANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter and
move across the room to their table, Cal and Ruth beside them, we hear...

		  OLD ROSE (V.O.)

He must have been nervous but he never faltered. They assumed he was one of
them... a young captain of industry perhaps... new money, obviously, but
still a memeber of the club. Mother of course, could always be counted
upon...

							CUT TO:

82 INT. DINING SALOON

CLOSE ON RUTH.

		 RUTH

Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quite
good on this ship.

WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and
Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie,
the Countess, Guggenheim, Madame Aubert, and the Astors.

		 JACK

The best I've seen, m'am. Hardly any rats.

Rose motions surreptitiously for Jack to take his napkin off his plate.

		CAL

Mr. Dawson is joining us from third class. He was of some assistance to my
fiancee last night.

                        (to Jack, as if to a child)

This is foie gras. It's goose liver.

We see whispers exchanged. Jack becomesthe subject of furtive glances. Now
they're all feeling terribly liberal and dangerous.

		GUGGENHEIM

		(low to Madame Aubert)

What is Hockly hoping to prove, bringing this... bohemian... up here?

		WAITER

		 (to Jack)

How do you take your caviar, sir?

		CAL

		(answering for him)

Just a soupcon of lemon...

		(to Jack, smiling)

...it improves the flavor with champagne.

		 JACK

		  (to the waiter)

No caviar for me, thanks.

		 (to Cal)

Never did like it much.

He looks at Rose, pokerfaced, and she smiles.

		 RUTH

And where exactly do you live, Mr. Dawson?

		 JACK

Well, right now my address is the RMS Titanic. After that, I'm on God's
good humor.

Salad is served. Jack reaches for the fish fork. Rose gives him a look and
picks up the salad fork, prompting him with her eyes. He changes forks.

		 RUTH

You find that sort of rootless existence appealing, do you?

		 JACK

Well... it's a big world, and I want to see it all before I go. My father
was always talkin' about goin' to see the ocean. He died in the town he was
born in, and never did see it. You can't wait around, because you never
know what hand you're going to get dealt next. See, my folks died in a fire
when I was fifteen, and I've been on the road since. Somethin' like that
teaches you to take life as it comes at you. To make each day count.

Molly Brown raises her glass in a salute.

		 MOLLY

Well said, Jack.

		  COLONEL GRACIE

		(raising his glass)

Here, here.

Rose raises her glass, looking at Jack.

		 ROSE

To making it count.

Ruth, annoyed that Jack has scored a point, presses him further.

		 RUTH

How is it you have the means to travel, Mr. Dawson?

		 JACK

I work my way from place to place. Tramp steamers and such. I won my ticket
on Titanic here in a lucky hand at poker.

		 (he glances at Rose)

A very lucky hand.

		GRACIE

All life is a game of luck.

		CAL

A real man makes his own luck, Archie.

Rose notices that Thomas Andrews, sitting next to her, is writing in his
notebook, completely ignoring the conversation.

		 ROSE

Mr. Andrews, what are you doing? I see you everywhere writing in this
little book.

		 (grabs it and reads)

Increase number of screws in hat hooks from 2 to 3. You build the biggest
ship in the world and this preoccupies you?!

Andrews smiles sheepishly.

		 ISMAY

He knows every rivet in her, don't you Thomas?

		ANDREWS

All three million of them.

		 ISMAY

His blood and soul are in the ship. She may be mine on paper, but in the
eyes of God she belongs to Thomas Andrews.

		 ROSE

Your ship is a wonder, Mr. Andrews. Truly.

		ANDREWS

Thankyou, Rose.

We see that Andrews has come under Rose's spell.

83 TIME TRANSITION: Dessert has been served and a waiter arrives with
cigars in a humidor on a wheeled cart. The men start clipping ends and
lighting.

		 ROSE

		  (low, to Jack)

Nest it'll be brandies in the Smoking Room.

		GRACIE

		 (rising)

Well, join me for a brandy, gentlemen?

		 ROSE

		 (low)

Now they retreat into a cloud of smoke and congratulate each other on being
masters of the universe.

		GRACIE

Joining us, Dawson? You don't want to stay out here with the women, do you?

Actually he does, but...

		 JACK

No thanks. I'm heading back.

		CAL

Probably best. It'll be all business and politics, that sort of thing.
Wouldn't interest you. Good of you to come.

Cal and te other gentlemen exit.

		 ROSE

Jack, must you go?

		 JACK

Time for my coach to turn back into a pumpkin.

He leans over to take her hand.

INSERT: We see him slip a tiny folded not into her palm.

Ruth, scowling, watches him walk away across the enormous room. Rose
surreptitiously opens the note below table level. It reads: "Make it count.
Meet me at the clock".

							CUT TO:

84 INT. A-DECK FOYER-NIGHT

Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead
is the crystal dome. Jack has his back to her, studying the ornate clock
with its carved figures of Honor and Glory. It softly strikes the hour.

MOVING WITH ROSE as she goes up the sweeping staircase toward him. He
turns, sees her... smiles.

		 JACK

Want to go to a real party?

							CUT TO:

85 INT. THIRD CLASS GENERAL ROOM

Crow led and alive with music, laughter and raucous carrying on. An ad hoc
band is gathered near the upright piano, honking out lively stomping music
on fiddle, accoridon and tambourine. People of all ages are dancing,
drinking beer and wine, smoking, laughing, even brawling.

Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile dances
with 5 year old Cora Cartmell, or tries to, with her standing on his feet.
As the tune ends, Rose leans down to the little girl.

		 ROSE

May I cut in, miss?

		 JACK

You're still my best girl, Cora.

Cora scampers off. Rose and Jack face each other. She is trembling as he
takes her right hand in his left. His other hand slides to the small of her
back. It is an electrifying moment.

		 ROSE

I don't know the steps.

		 JACK

Just move with me. Don't think.

The music starts and they are off. A little awkward at first, she starts to
get into it. She grins at Jack as she starts to get the rhythm of the
steops.

		 ROSE

Wait... stop!

She bends down, pulling off her high heeled shoes, and flings them to
Tommy. Then she grabs Jack and they plunge back into the fray, dancing
faster as the music speeds up.

							CUT TO:

86 OMITTED

87 INT. THIRD CLASS GENERAL ROOM

The scene is rowdy and rollicking. A table gets knocked over as a drunk
crashes into it. And in the middle of it... Rose dancing with Jack in her
stocking feet. The steps are fast and she shines with sweat. A space opens
around them, and people watch them, clapping as the band plays faster and
faster.

FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He
whirls her, then she responds by whirling him... Fabrizio's eyes go wide
when he realizes she's stronger than he is.

The tune ends in a mad rush. Jack steps away from Rose with a flourish,
allowing her to take a bow. Exhilarated and slightly tipsy, she does a
graceful ballet ployer, feet turned out perfectly. Everyone laughs and
applauds. Rose is a hit with the steerage folks, who've never had a lady
party with them.

They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigarette
and takes a big drag. She's feeling cocky. Fabrizio is grinning, holding
hands with Helga.

		 JACK

How you two doin'?

		 FABRIZIO

I don't know hwat she's say, she don't know what I say, so we get along
fine.

Tommy walks up with a pint for each of them. Rose chugs hers, showing off.

		 ROSE

You think a first class girl can't drink?

Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy,
who sloshes his beer over Rose's dress. She laughs, not caring. But Tommy
lunges, grabbing Bjorn and wheeling him around.

		 TOMMY

You stupid bastard!!

Bjorn comes around, his fists coming up... and Jack leaps into the middle
of it, pushing them apart.

		 JACK

Boys, boys! Did I ever tell you the one about the Swede and the Irishman
goin' to the whorehouse?

Tommy stands there, all piss and vinegar, chest puffed up. Then he grins
and claps Bjorn on the shoulder.

		 ROSE

So, you think you're big tough men? Let's see you do this.

In her stocking feet she assumes a ballet stance, arms raised, and goes up
on point, taking her entire weight on the tips of her toes. The guys gape
at her incredible muscle control. She comes back down, then her face screws
up in pain. She grabs one foot, hopping around.

		 ROSE

Oooowww! I haven't done that in years.

Jack catches her as she loses her balance, and everyone cracks up.

THE DOOR to the well deck is open a few inches as Lovejoy watches through
the gap. He sees Jack holding Rose, both of them laughing.

LOVEJOY closes the door.

							CUT TO:

88 EXT. BOAT DECK - NIGHT

The stars blaze overhead, so bright and clear you can see the Milky Way.
Rose and Jack walk along the row of lifeboats. Still giddy from the party,
they are singing a popular song "Come Josephine in My Flying Machine".

		 JACK/ROSE

Come Josephine in my flying machine

And it's up she goes! Up she goes!

In the air she goes. Where? There she goes!

They fumble the words and break down laughing. They have reached the First
Class Entrance, but don't go straight in, not wanting the evening to end.
Through the doors the sound of the ship's orchestra wafts gently. Rose
grabs a davit and leans back, staring at the cosmos.

		 ROSE

Isn't it magnificent? So grand and endless.

She goes to the rail and leans on it.

		 ROSE

They're such small people, Jack... my crowd. They think they're giants on
the earth, but they're not even dust in God's eye. They live inside this
little tiny champagne bubble... and someday the bubble's going to burst.

He leans at the rail next to her, his hand just touching hers. It is the
slightest contact imaginable, and all either one of them can feel is that
square inch of skin where their hands are touching.

		 JACK

You're not one of them. There's been a mistake.

		 ROSE

A mistake?

		 JACK

Uh huh. You got mailed to the wrong address.

		 ROSE

		(laughing)

I did, didn't I?

		(MORE)

		   ROSE (CONT'D)

		(pointing suddenly)

Look! A shooting star.

		 JACK

That was a long one. My father used to say that whenever you saw one, it
was a soul going to heaven.

		 ROSE

I like that. Aren't we supposed to wish on it?

Jack looks at her, and finds that they are suddenly very close together. It
would be so easy to move another couple of inches, to kiss her. Rose seems
to be thinking the same thing.

		 JACK

What would you wish for?

After a beat, Rose pulls back.

		 ROSE

Something I can't have.

		(she smiles sadly)

Goodnight, Jack. And thank you.

She leaves the rail and hurries through the First Class Entrance.

		 JACK

Rose!!

But the door bangs shut, and she is gone. Back to her world.

							CUT TO:

89 INT. ORSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY

SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the
promenade. Rose and Cal are having breakfast in silence. The tension is
palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes
inside.

		CAL

I had hoped you would come to me last night.

		 ROSE

I was tired.

		CAL

Yes. Your exertions below decks were no doubt exausting.

		 ROSE

		   (stiffening)

I see you had that undertaker of a manservant follow me.

		CAL

You will never behave like that again! Do you understand?

		 ROSE

I'm not some foreman in your mills than you can command! I am your
fiancee--

Cal explodes, sweeping the breakfast china off the table with a crash. He
moves to her in one shocking moment, glowering over her and gripping the
sides of her chair, so she is trapped between his arms.

		CAL

Yes! You are! And my wife... in practice, if not yet by law. So you will
honor me, as a wife is required to honor her husband! I will not be made
out a fool! Is this in any way unclear?

Rose shrinks into the chair. She sees Trudy, frozen, partway through the
door bringing the orange juice. Cal follows Rose's glance and straightens
up. He stalks past the maid, entering the stateroom.

		 ROSE

We... had a little accident. I'm sorry, Trudy.

							CUT TO:

90 INT. RUTH'S SUITE - DAY

Rose is dressed for the day, and is in the middle of helping Ruth with her
corset. The tight bindings do not inhibit Ruth's fury at all.

		 RUTH

You are not to see that boy again, do you understand me Rose? I forbid it!

Rose has her knee at the base of her mother's back and is pulling the
corset strings with both hands.

		 ROSE

Oh, stop it, Mother. You'll give yourself a nosebleed.

Ruth pulls away from her, and crosses to the door, locking it. CLACK!

		 RUTH

		 (wheeling on her)

Rose, this is not a game! Our situation is precarious. You know the money's
gone!

		 ROSE

Of course I know it's gone. You remind me every day!

		 RUTH

Your father left us nothing but a legacy of bad debts hidden by a good
name. And that name is the only card we have to play.

Rose turns her around and grabs the corset strings again. Ruth sucks in her
waist and Rose pulls.

		 RUTH

I don't understand you. It is a fine match with Hockley, and it will insure
our survival.

		 ROSE

		  (hurt and lost)

How can you put this on my shoulders?

Rose turns to her, and we see what Rose sees-- the naked fear in her
mother's eyes.

		 RUTH

Do you want to se me working as a seamstress? Is that what you want? Do you
want to see our fine things sold at an auction, our memories scattered to
the winds? My God, Rose, how can you be so selfish?

		 ROSE

It's so unfair.

		 RUTH

Of course it's unfair! We're women. Our choices are never easy.

Rose pulls the corset tighter.

							CUT TO:

91 INT. FIRST CLASS DINING SALOON

At the divine service, Captain Smith is leading a group in the hymn
"Almighty Father Strong To Save." Rose and Ruth sing in the middle of the
group.

Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at
the entry doors. Jack has been halted there by two stewards. He is dressed
in his third class clothes, and stands there, hat in hand, looking out of
place.

		STEWARD

Look, you, you're not supposed to be in here.

		 JACK

I was just here last night... don't you remember?

                    (seeing Lovejoy coming toward him)

He'll tell you.

		LOVEJOY

Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of
your assistance. They asked me to give you this in gratitude--

He holds out two twenty dollar bills, which Jack refuses to take.

		 JACK

I don't want money, I--

		LOVEJOY

--and also to remind you that you hold a third class ticket and your
presence here is no longer appropriate.

Jack spots Rose but she doesn't see him.

		 JACK

I just need to talk to Rose for a--

		LOVEJOY

Gentlemen, please see that Mr. Dawson gets back where he belongs.

                   (giving the twenties to the stewards)

And that he stays there.

		STEWARD

Yes sir!

		 (to Jack)

Come along you.

END ON ROSE, not seeing Jack hustled out.

		 ROSE

		 (singing)

O hear us when we cry to thee for those in peril on the sea.

							CUT TO:

92 INT. GYMNASIUM - DAY

An Edwardian nautilus room. There are machines we recognize, and some
don't. A woman pedals a stationary bicycle in a long dress, looking
rediculous. Thomas Andrews is leading a small tour group, including Rose,
Ruth and Cal. Cal is wroking the oars of a stationary rowing machine with a
well trained stroke.

		CAL

Reminds me of my Harvard days.

T.W. McCAULEY, the gym instructor, is a bouncy little man in white
flannels, eager to show off his modern equipment, like his present-day
counterpart on an "Abflex" infomercial. He hits a switch and a machine with
a saddle on it starts to undulate. Rose puts her hand on it, curious.

		 MCCAULEY

The electric horse is very popular. We even have an electric camel.

		 (to Ruth)

Care to try your hand at the rowing, m'am?

		 RUTH

Don't be absurd. I can't think of a skill I should likely need less.

		ANDREWS

The next stop on our tour will be bridge. This way, please.

							CUT TO:

93 EXT. AFT WELL DECK, B-DECK AND A-DECK - DAY

Jack, walking with determination, is followed closely by Tommy and
Fabrizio. He quickly climbs the steps to B-Deck and steps over the gate
separating 3rd from 2nd class.

		 TOMMY

She's a goddess amongst mortal men, there's no denyin'. But she's in
another world, Jackie, forget her. She's closed the door.

Jack moves furtively to the wall below the A-Deck promenade, aft.

		 JACK

It was them, not her.

                        (glancing around the deck)

Ready... go.

Tommy shakes his head resignedly and puts his hands together, crouching
down. Jack steps into Tommy's hands and gets boosted up to the next deck,
where he scrambles nimbly over the railing, onto the First Class deck.

		 TOMMY

He's not bein' logical, I tell ya.

		 FABRIZIO

Amore is'a not logical.

							CUT TO:

94 EXT. A-DECK / AFT - DAY

A man is playing with his son, who is spinning a top with a string. The
man's overcoat and hat are sitting on a deck chair nearby. Jack emerges
from behind one of the huge deck cranes and calmly picks up the coat and
bowler hat. He walks away, slipping into the coat, and slicks his hair back
with spit. Then puts the hat on at a jaunty angle. At a distance he could
pass for a gentlemen.

							CUT TO:

95 INT. BRIDGE / CHARTROOM - DAY

HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and
skirts around Andrews' tour group to hand a Marconigram to Captain Smith.

		 BRIDE

Another ice warning, sir. This one from the "Baltic".

		 SMITH

Thankyou, Sparks.

Smith glances at the message then nonchalantly puts it in his pocket. He
nods reassuringly to Rose and the group.

		 SMITH

Not to worry, it's quite normal for this time of year. In fact, we're
speeding up. I've just ordered the last boilers lit.

Andrews scowls slightly before motioning the group toward the door. They
exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the
chartroom, stopping next to First Officer Murdoch.

		LIGHTOLLER

Did we ever find those binoculars for the lookouts?

		 FIRST OFFICER MURDOCH

Haven't seen them since Southampton.

							CUT TO:

96 EXT. BOAT DECK / STARBOARD SIDE - DAY

Andrews leads the group back from the bridge along the boat deck.

		 ROSE

Mr. Andrews, I did the sum in my head, and with the number of lifeboats
times the capacity you mentioned... forgive me, but it seems that there are
not enough for everyone aboard.

		ANDREWS

About half, actually. Rose, you miss nothing, do you? In fact, I put in
these new type davits, which can take an extra row of boats here.

                        (he gestures along the eck)

But it was thought... by some... that the deck would look too cluttered. So
I was over-ruled.

		CAL

                       (slapping the side of a boat)

Waste of deck space as it is, on an unsinkable ship!

		ANDREWS

Sleep soundly, young Rose. I have built you a good ship, strong and true.
She's all the lifeboat you need.

As they are passing Boat 7, a gentlemen turns from the rail and walks up
behind the group. It is Jack. He taps Rose on the arm and she turns,
gasping. He motions and she cuts away from the group toward a door which
Jack holds open. They duck into the--

							CUT TO:

97 INT. GYMNASIUM - DAY

Jack closes the door behind her, and glances out through the ripple-glass
window to the starboard rail, where the gym instructor is chatting up the
woman who was riding the bike. Rose and Jack are alone in the room.

		 ROSE

Jack, this is impossible. I can't see you.

He takes her by the shoulders.

		 JACK

Rose, you're no picnic... you're a spoiled little brat even, but under that
you're a strong, pure heart, and you're the most amazingly astounding girl
I've ever known and--

		 ROSE

Jack, I--

		 JACK

No wait. Let me try to get this out. You're amazing... and I know I have
nothing to offer you, Rose. I know that. But I'm involved now. You jump, I
jump, remember? I can't turn away without knowin' that you're goin' to be
alright.

Rose feels the tears coming to her eyes. Jack is so open and real... not
like anyone she has ever known.

		 ROSE

You're making this very hard. I'll be fine. Really.

		 JACK

I don't think so. They've got you in a glass jar like some butterfly, and
you're goin' to die if you don't break out. Maybe not right away, 'cause
you're strong. But sooner or later the fire in you is goin' to go out.

		 ROSE

It's not up to you to save me, Jack.

		 JACK

You're right. Only you can do that.

		 ROSE

I have to get back, they'll miss me. Please, Jack, for both our sakes,
leave me alone.

							CUT TO:

98 INT. FIRST CLASS LOUNG - DAY

The most elegant room on the ship, done in Louis Quinze Versaille style.
Rose sits on a divan, with a group of other women arrayed around her. Ruth,
the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and
still as a porcelain figurine as the conversation washes around her.

		 RUTH

Of course the invitations had to be sent back to the printers twice. And
the bridesmaids dresses! Let me tell you what an odyssey that has been...

TRACKING SLOWLY IN on Rose as Ruth goes on.

REVERSE, ROSE'S POV: A tabeau of MOTHER and DAUGHTER having tea. The four
year old girl, wearing white gloves, daintily picking up a cookie. The
mother correcting her on her posture, and the way she holds the teacup. The
little girl is trying so hard to please, her expression serious. A glimpse
of Rose at that age, and we see the relentless conditioning... the pain to
becoming an Edwardian geisha.

ON ROSE. She calmly and deliberately turns her teacup over, spilling tea
all over her dress.

		 ROSE

Oh, look what I've done.

							CUT TO:

99 EXT. TITANIC - DAY

TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a
giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack
is there, right at the apex of the bow railing, his favorite spot. He
closes his eyes, letting the chill wind clear his head.

Jack hears her voice, behind him...

		 ROSE

Hello, Jack.

He turns and she is standing there.

		 ROSE

I changed my mind.

He smiles at her, his eyes drinking her in. Her cheeks are red with the
chill wind, and her eyes sparkle. Her hair blows wildly about her face.

		 ROSE

Fabrizio said you might be up--

		 JACK

Sssshh. Come here.

He puts his hands on her waist. As if he is going to kiss her.

		 JACK

Close your eyes.

She does, and he turns her to face forward, the way the ship is going. He
presses her gently to the rail, standing right behind her. Then he takes
her two hands and raises them until she is standing with her arms
outstetched on each side. Rose is going along with him. When he lowers his
hands, her arms stay up... like wings.

		 JACK

Okay. Open them.

Rose gasps. There is nothing in her field of vision but water. It's like
there is no ship under them at all, just the two of them soaring. The
Atlantic unrolls toward her, a hammered copper shield under a dusk sky.
There is only the wind, and the hiss of the water 50 feel below.

		 ROSE

I'm flying!

She leans forward, arching her back. He puts his hands on her waist to
steady her.

		 JACK

		 (singing softly)

Come Josephine in my flying machine...

Rose cleses her eyes, feeling herself floating weightless far above the
sea. She smiles dreamily, then leans back, gently pressing her back against
his chest. He pushes forward slightly against her.

Slowly he raises his hands, arms outstretched, and they meet hers...
fingertips gently touching. Then their fingers intertwine. Moving slowly,
their fingers caress through and around each other like the bodies of two
lovers.

Jack tips his face forward into her blowing hair, letting the scent of her
wash over him, until his cheek is agianst her ear.

Rose turns her head until her lips are near his. She lowers her arms,
turning further, until she finds his mouth with hers. He wraps his arms
around her from behind, and they kiss like this with her head turned and
tilted back, surrendering to him, to the emotion, to the inevitable. They
kiss, slowly and tremulously, and then with building passion.

Jack and the ship seem to merge into one force of power and optimism,
lifting her, buoying her forward on a magical journey, soaring onward into
a night without fear.

100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET
nudges his mate, REGINALD LEE, pointing down at the figures in the bow.

		 FLEET

Wish I had those bleedin' binoculars.

101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving
the ruined bow of the WRECK--

							CUT TO:

102 INT. KELDYSH IMAGING SHACK

OLD ROSE blinks, seeming to come back to the present. She sees the wreck on
the screen, the sad ghost ship deep in the abyss.

		 ROSE

That was the last time Titanic ever saw daylight.

Brock Lovett changes the tape in the minicassette recorder.

		 BROCK

So we're up to dusk on the night of the sinking. Six hours to go.

		BODINE

Don't you love it? There's Smith, he's standing there with the iceberg
warning in his fucking hand...

		(remembering Rose)

... excuse me... in his hand, and he's ordering more speed.

		 BROCK

26 years of experience working against him. He figures anything big enough
to sink the ship they're going to see in time to turn. But the ship's too
big, with too small a rudder... it can't corner worth shit. Everything he
knows is wrong.

ROSE is ignoring this conversation. She has the art-nouveau comb with the
jade butterfly on the handle in her hands, turning it slowly. She is
watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until
the image fills frame.

				 TRANSITION:

103 INT. ROSE'S SUITE

... 1912. Like in a dream the beautiful woodwork and satin upholstery
emerge from the rusted ruin. Jack is overwhelmed by the opulence of the
room. He sets his sketchbood and drawing materials on the marble table.

		 ROSE

Will this light do? Don't artists need good light?

		 JACK

		(bad French accent)

Zat is true, I am not used to working in such 'orreeble conditions.

		(seeing the paintings)

Hey... Monet!

He crouches next to the paintings stacked against the wall.

		 JACK

Isn't he great... the use of color? I saw him once... through a hole in
this garden fence in Giverny.

She goes into the adjoining walk-in wardrobe closet. He sees her go to the
safe and start working the combination. He's fascinated.

		 ROSE

Cal insist on luggin this thing everywhere.

		 JACK

Should I be expecting him anytime soon?

		 ROSE

Not as long as the cigars and brandy hold out.

CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror
behind the safe. She opens it and removes the necklace, then holds it out
to Jack who takes it nervously.

		 JACK

What is it? A sapphire?

		 ROSE

A diamond. A very rare diamond, called the Heart of the Ocean.

Jack gazes at wealth beyond his comprehension.

		 ROSE

I want you to draw me like your French girl. Wearing this.

		(she smiles at him)

Wearing only this.

He looks up at her, surprised, and we CUT TO:

104 ROSE'S BEDROOM. ON

# data[].attributes.body
My goal for the first quarter is to get A’s and B’s so the next quarter is easier and the whole school year I want to focus a little more and not miss alot of school and study more for a cardio vascular surgan

# data[].attributes.body
My goal is to finish the first quarter with at least one B and the rest A’s

# data[].attributes.body
My goal for this quarter is to catch up on credits.
My goal for the year is to raise my GPA.

# data[].attributes.body
My QT 1 goal is to have consistent good grades
My goal for the school year is to graduate with a high GPA

# data[].attributes.body
My goal for Q1 is to get all A’s in all my classes and graduate at the end of the year

# data[].attributes.body
to pass

# data[].attributes.body
My goal is to pass and a life goal is to not be a bum

# data[].attributes.body
My goal for the first quarter is to pass my classes. My goal for the school year is to prepare for college.

# data[].attributes.body
My goal for Q1 is to start the year with straight A’s. My goal for the school year is to graduate.

# data[].attributes.body
my goal for this year is to get a new car

# data[].attributes.body
my quarter one goal is to pass all my classes

# data[].attributes.body
my Q1 goal is get good grades

# data[].attributes.body
My goal is to get a A

# data[].attributes.body
My goal is

# data[].attributes.body
my q1 goal is to get good grades

# data[].attributes.body
my goal is to get an A all year.

# data[].attributes.body
my quarter one goal is to get straight A’s
my school year goal is to graduate

# data[].attributes.body
My quarter one goal is to have less stress then I did las year.

# data[].attributes.body
Get a 3.5 gpa

# data[].attributes.body
My Q1 goal is to get A’s in all my classes. My goal for the year is to graduate with a good gpa

# data[].attributes.body
My Q1 goal is to pass my classes with a B or higher.

# data[].attributes.body
my goal is to finish the first Quarter with at least one b and the rest A's.

# data[].attributes.body
My Q1 goal is to finalize my collage plans and not procrastinate. My school year goal is to maintain good grades.

# data[].attributes.body
My Q1 goal is to maintain a B and my goal for the school year is to pay attention and learn more.

# data[].attributes.body
My quarter goal is to pass all my classes and my school year goal is to get my driver's license

# data[].attributes.body
My Quarter 1 goal is to get the best grades possible for the start of my Senior year. One goal I have for the school year is to get grades B's and higher.

# data[].attributes.headline
my goal is to get through this year with very little stress.

# data[].attributes.subject
my goal is to get through this year with very little stress.

# data[].attributes.body
My goal is to get all A’s and B’s

# data[].attributes.body
My Q1 goal is to graduate with honors.

# data[].attributes.body
To get a 3.5 GPA

# data[].attributes.body
my goal is to work hard , stay busy and keep good grades in Q1 and the rest of the year

# data[].attributes.body
my q1 goal is not to get behind. my school year goal is to pass with nothing below a d.

# data[].attributes.body
My Q1 goal is to pass with a C or higher.
My year goal is to get a C average in all classes.

# data[].attributes.body
My goal for Q1  is to get good grades.  My goal for this school year is to figure out my college plans.

# data[].attributes.body
My goal is to get all A's

# data[].attributes.body
My q1 goal is to get good grades
And my year goal is to graduate

# data[].attributes.body
My Q1 goal is to get straight A's

# data[].attributes.body
my Q1 goal is to  get all b's  and my  goal for this year is to pass so i can go off to the military

# data[].attributes.body
my 1st q goal is to get used to my classes. My goal is to exceed my accomplishment expectations with grades.

# data[].attributes.body
My Q1 goal is to have good attendance , My school year goal is to get honor roll.

# data[].attributes.body
My goal for quarter one is to get good grades, (A's) and my goal for the year is to just have a easy ride through

# data[].attributes.body
My Q1 goal is to memorize the names of all of my students by the end of week two. My goal for the school year is to attend more games and performances. Go Tigers!