TITANIC
(Part One)
A Four-Hour CBS Miniseries
By
Ross LaManna
===========================================================
"TITANIC"
PART ONE
ACT ONE
FADE IN:
CLOSE
on a draftsman's pad as someone sketches a graceful,
streamlined steamship. She has four smokestacks, an open
boat deck, and a wide promenade. The relative size of the
bridge, railings and gangways suggests enormous scale.
ISMAY (OS)
...My First-Class bookings are
off thirty percent. The only
ship anyone wants to sail anymore
is the damned Lusitania!
INT. DOWNSHIRE HOUSE - LORD PIRRIE'S STUDY - NIGHT
The man doodling on the pad, THOMAS ANDREWS, sits in an
overstuffed leather chair in an impeccable Edwardian study.
He looks up from his drawing.
J. BRUCE ISMAY downs the remainder of his port. He's 48,
dark, unusually tall, with a dapper mustache. Excitability
makes his King's English rapid and clipped. Putting his
snifter on the mantle, he continues to pace nervously.
SUPERIMPOSE: London, 1907.
Imposing, white-haired LORD WILLIAM JAMES PIRRIE sits near
the hearth, puffing on a cigar, watching Ismay pace. All
three men are dressed in formal evening clothes.
LORD PIRRIE
Well, do you want to meet the
challenge, or just wear through
my rug fretting about it?
Andrews stifles a laugh as Ismay, indignant, stops pacing.
Andrews is 38, with a friendly, boyish face and a quiet
confidence. He is a designer of ships, understanding them
the way some men are said to understand horses.
(CONTINUED)
CONTINUED:
ANDREWS
(hands pad to Ismay)
As my Uncle says, we have a way
for the White Star Line to strike
back.
Andrews, like Lord Pirrie, speaks with an Irish brogue.
Ismay impatiently flips through the pad.
ISMAY
A new ship?
ANDREWS
Three, Mr. Ismay. Two sister
ships, with a third to follow. Of
course, we'd need to build a much
larger gantry at the shipyards.
ISMAY
You already have the biggest
gantry in the Empire. What sort
of displacement are you imagining?
LORD PIRRIE
Forty-six thousand tons.
ISMAY
(laughs)
Twice any vessel afloat! Impossible!
ANDREWS
Quite possible, actually.
Cunard's advantage lies in
Lusitania's speed, so your ships
must emphasize luxury, and safety.
LORD PIRRIE
The largest movable, man-made
structures in the world, Bruce.
More luxuriously-appointed than
the finest hotels.
ISMAY
But slower than the competition.
ANDREWS
They'll do twenty-two knots well
enough. Most importantly, with a
series of watertight compartments,
they'll be virtually unsinkable.
Ismay looks at Andrews' renderings of the ships' interior: a
grand, sweeping staircase, formal dining rooms, plush
staterooms, library...
(CONTINUED)
CONTINUED: (2)
ISMAY
What on Earth is this?
ANDREWS
Swimming pool and Turkish bath.
ISMAY
Aboard a ship at sea? You're
daft!
(paces again; to Pirrie)
William, like my father did, I've
always deferred to you shipbuilders
on technical matters, but this --
LORD PIRRIE
-- When I was looking at Thomas's
sketches, I noticed a doodle in a
margin. A phrase in Greek, of
all the damned things...
ANDREWS
(embarrassed)
It's nothing... just a line of
Homer I'd recalled: 'Think
greatly, and nobly dare.'
Ismay caresses the flowing pencil lines of the ship's
profile with his fingers. After a long moment, he looks at
the other men and lets out a gleeful laugh.
DISSOLVE TO:
BEGIN CREDITS
Via MONTAGE of actual STILLS and FILM FOOTAGE, we watch the
creation of the Titanic and Olympic. Ships of dreams, grand
examples of the brash confidence of the Gilded Age -- a time
in which men were absolutely certain their works would bring
the world to parity with Heaven.
A sign identifies the place of their birth: Harland &
Wolff, Shipbuilders, Belfast.
Scores of architects and draftsmen work in one football-
field-sized hall on dozens of immense tables; huge windows
on the barrel ceiling above them let the sun stream in.
Thousands of workers swarm down Queen's Road into the
enormous shipyard.
The keel is laid first for what is to be the Olympic, and
then, alongside her, for the Titanic.
(CONTINUED)
CONTINUED:
Under a thick web of scaffolding twelve stories high, the
two ships take shape.
Workers stand beside propeller blades as big as windmills.
We MOVE IN on one of the almost-completed hulls. On the
black, freshly-painted bow, in white letters: TITANIC.
CUT TO:
INT. ENGLISH MUSIC HALL - NIGHT
We PULL BACK, and realize we've been watching a "flickers"
show in an English music hall. The MONTAGE continues:
A huge gallery of spectators watches as the Titanic is
launched (without being christened), sliding down a huge
cradle greased with 23 tons of tallow and soap.
The Titanic is fitted out, her four signature smokestacks
now in place. Andrews' sketches have become reality.
The montage culminates with footage of test runs of the
Titanic, as she sails for the first time in the open sea.
NEW ANGLE
We FIND two people passionately kissing in the deserted
balcony of the music hall, paying no attention to the show.
They are SUZANNE EVANS, 18, and 20-year-old ALEX O'CONNOR.
END CREDITS
EXT. STREETS OF OXFORD - NIGHT
After the show, Alex and Suzanne hasten through the quiet
town center. Alex wheels a bicycle.
SUPERIMPOSE: Oxford, England. March, 1912.
SUZANNE
Alex, hurry!
ALEX
Get on.
He lifts her sidesaddle onto the bar in front of the seat
and they coast down a hill on the bike. Suzanne shakes out
her hair, letting it blow in the cool night air.
Their accents tell us she's American, he's working-class
English. Despite meager means, Alex is charming and
(CONTINUED)
CONTINUED:
confident. Suzanne has impeccable breeding, which does not
dampen an adventurous spirit.
They stop at the cross street at the bottom of the hill.
Suzanne slips off the bike. Alex notices a Flower Girl
trudging wearily home. He runs over and buys the flowers
left in her basket.
SUZANNE
I don't think there's time --
ALEX
(hurrying back)
-- Okay, okay.
(looks at flowers)
Hardly worth the effort, your
beauty puttin' 'em to shame as it
does.
SUZANNE
Just make that up now, or did you
have to work on it?
ALEX
Ow, but you're brutal.
He grabs for her, but she scoots away.
EXT. ACADEMY GATE
A brass plaque imbedded in the wall reads: Oxford Young
Ladies' Academy.
Alex and Suzanne rush up to the entrance of the Academy just
as a corpulent old Watchman begins to pull the gates closed.
SUZANNE
Why can't his clock ever run slow?
The Watchman gives Suzanne an impatient, not-this-again
glare and makes a show of not waiting for her as he
struggles to push the enormous, wrought-iron gates together.
Suzanne and Alex can't tear themselves away from one
another. The gates keep swinging...
SUZANNE
(continuing; between
kisses)
Tomorrow?
ALEX
I've me career to think of.
(CONTINUED)
CONTINUED:
SUZANNE
Don't make me beg. That's your
job.
ALEX
Bloody curfew.
They finally pry loose from one another and Suzanne jumps
through the gate just as it closes. He pulls an envelope
from his pocket and passes it through the iron bars.
ALEX
(continuing; shyly)
Just a few things that were on my
mind...
She takes the envelope and smiles. Their hands separate,
and they go their way on their respective side of the wall.
INT. OXFORD ACADEMY - SUZANNE'S ROOMS - NIGHT
Suzanne slips into the dark bedroom, glancing furtively at
her roommate's bed. She puts the flowers on her dresser,
next to a packet of envelopes, identical to the one Alex
just gave her, tied in ribbon. She goes to the window,
opens the envelope and reads Alex's letter by moonlight.
ALEX (VO)
...I went aloft with one of the
pilots today. Every time, I feel
I could burst from the thrill of
it -- all of what binds us to our
bit of the world don't matter for
a time...
Suddenly, the light comes on. Suzanne's Roommate (also an
American) sits up in bed, frowning.
ROOMMATE
Suzanne, do you realize what time --
SUZANNE
-- In case you've forgotten, I
already have a mother. Good night.
Suzanne goes in the other room. Her Roommate sits and stews.
DISSOLVE TO:
EXT. CAIRO, EGYPT - DAY
STOCK establishing -- the city bakes under a scalding sun.
SUPERIMPOSE: Cairo, Egypt.
INT. EL QAHIRA HOTEL - FIRST CLASS ROOM
JOHN JACOB ASTOR IV, (48), dressed in a khaki vest and
sportsmen's pants, lies napping on the bed, under the
mosquito netting. A door opens OS; Astor stirs but doesn't
awaken. After a beat, a terrier gets under the netting and
licks Astor on the mouth. Astor awakens with a start.
NEW ANGLE
MADELEINE FORCE ASTOR, (19), pulls the terrier's leash.
MADELEINE
Enough, Kitty, he's awake.
She smiles down at her husband. A fashionable hat and
ringlet curls frame her round, youthful face. Her steady
cheerfulness is a contrast -- and a reaction to -- his quiet
melancholy. He yawns.
ASTOR
My God, I was dead to the world.
Astor stands and stretches. He's tall, with a thick
mustache and dark, haunted eyes. He has an air of rumpled
elegance, an offhand casualness about great wealth. Both he
and Madeleine have distinct, East-Coast-Society accents.
Madeleine tries to smooth the wrinkles out of his shirt.
MADELEINE
Oh, Mr. Astor. If people only
knew: your clothes look like you've
slept in them because you have.
ASTOR
I was having a most peculiar dream.
It was the age of the Pharaohs. We
were sailing up the Nile.
MADELEINE
Sounds lovely.
ASTOR
At first, yes. We were on our
way to inspect the progress of a
new pyramid. They were in the
greatest hurry to complete it.
(beat)
It was my tomb.
Madeleine can tell the dream bothered him. She smiles.
MADELEINE
You see? What they say about too
much sun is true.
(CONTINUED)
CONTINUED:
Her smile fades as she turns and looks out the window.
MADELEINE
(continuing)
It's springtime back home...
ASTOR
(sighs)
Madeleine, please.
MADELEINE
Don't, Jack. Let me have my say.
ASTOR
Traveling no longer pleases you?
MADELEINE
Be honest -- you're weary of it
more than I. Our honeymoon's
been wonderful, but it's been six
months now.
ASTOR
At my age, half a year doesn't
seem so very long.
He sits on the window seat next to her.
ASTOR
(continuing)
We could very well return to find
nothing has changed.
MADELEINE
I've said it all along: I don't
care. You don't need to protect
me from them.
She takes Astor's hand and rests it on her stomach.
MADELEINE
(continuing)
Don't you want him born in his
own home?
Melting, he wraps his arms around her waist and presses his
face against her.
CUT TO:
EXT. PARIS - NIGHT
STOCK establishing.
INT. THEATRE DRESSING ROOM
We can hear the show OS -- an upbeat, French musical revue.
In her private room, an impossibly beautiful, blonde French
woman, MADAME AUBERT, sits in a silk robe, removing her
stage make-up at a dressing table. She is something less
than 30... or so she looks. A small smile plays upon her
lips, as if she's enjoying some private joke.
She crosses to change behind a curtain. Just as she tosses
her robe up over the curtain, there is a knock at the door.
MME. AUBERT (OS)
Yes?
The door opens and a Stagehand sticks his head in.
STAGEHAND
(French accent)
Madame Aubert, there is a
Monsieur Guggenheim to see you.
Dressed in white tie and tails, youthful-looking American
mining millionaire BENJAMIN GUGGENHEIM (47) enters and
closes the door behind him.
MME. AUBERT (OS)
(French accent)
Well, Monsieur, if you have come
to see me...
She steps from behind the curtain.
MME. AUBERT
(continuing)
...Your timing is impeccable.
She crosses to him... naked. He cannot help but admire her
for a moment before kissing her. She smiles and leans
against the dressing table, enjoying her effect on him.
GUGGENHEIM
You sang quite well tonight.
MME. AUBERT
I saw you in the audience.
GUGGENHEIM
(after a long beat)
Look... I have to be in New York
for a while.
Mme. Aubert is stunned. Turning away from Guggenheim so he
cannot see the sadness on her face, she grabs her robe from
atop the curtain and pulls it on.
(CONTINUED)
CONTINUED:
MME. AUBERT
I am relieved, actually. Paris
will go back to being perfectly
dull.
He takes an envelope from his waistcoat pocket, opens it and
places its contents on the table:
Two steamship tickets with the White Star logo on them.
After a long moment, she picks them up.
GUGGENHEIM
I booked a stateroom right across
from mine.
MME. AUBERT
After a visit to France, most men
are content with a tiny Eiffel
Tower as a souvenir.
GUGGENHEIM
Most men have no imagination.
MME. AUBERT
I have a vivid imagination. I am
envisioning what your wife would
say if we arrived together.
GUGGENHEIM
She has no interest in meeting my
boat -- or my acquaintances,
believe me.
Mme. Aubert looks again at the tickets.
MME. AUBERT
This ticket is one way.
GUGGENHEIM
I figure when you get bored,
you'll let me know.
MME. AUBERT
I trust you will do me the same
courtesy.
GUGGENHEIM
Deal.
He turns her to face him and her robe falls to the floor...
EXT. WHITE STAR PIER - TITANIC (ACTUAL FOOTAGE) - DAY
The ship, five city blocks in length, sits berthed at Dock
44. A thin stream of smoke rises from one smokestack.
SUPERIMPOSE: Southampton, England. Monday, April 8.
INT. FIRST CLASS DINING ROOM, TITANIC
Workmen are everywhere, putting the final touches on the ship.
In a frenzied rush they apply paint; position furniture; hang
draperies, paintings, mirrors, fixtures; distribute linens;
uncrate cutlery, tableware, dishes, glassware.
Andrews is in the middle of it all. He cannot resist
encouraging the men, placing a table or a chair, or just
confirming that everything is right. Ismay runs back and
forth, trying to keep up with him.
ISMAY
What's this I hear about you
coming on the voyage with us?
ANDREWS
I'm going in my Uncle William's
stead. He has influenza.
ISMAY
J. P. Morgan's down with it, too;
he's also missing the voyage.
(watches Andrews work)
It'll be good for you, going in
Lord Pirrie's place. More time
for you to tinker with an already-
perfect vessel.
Andrews stops racing around.
ANDREWS
She could've been perfect, Bruce.
You know that better than anyone.
ISMAY
What are you yammering about?
She is.
ANDREWS
No... too many times my original
plans were modified: I didn't
want to cut stewards' doors in
the watertight bulkheads, but you
insisted that passengers demand
immediate attention. The grand
staircase we added is beautiful,
-more-
(CONTINUED)
CONTINUED:
ANDREWS (Cont'd)
but it means a huge opening at
every level, so we could no
longer have a watertight deck.
ISMAY
Those sorts of amenities attract
the wealthy traveler --
A commotion (OS) gets their attention.
ISMAY
(continuing; excited)
The newsmen are here!
WIDER
Ismay hurries over to meet First Officer WILL MURDOCH, (39),
as he escorts some Reporters into the room. Englishman
Murdoch is very proper and aloof, making him the perfect
showpiece officer for Ismay's public relations efforts.
ISMAY
Good day, everyone, good day!
Everything's proceeding right on
schedule! Come, Mr. Murdoch, it's
a Bedlam in here. Let's show the
gentlemen our swimming pool.
Impressed, the men from the press note this detail.
ISMAY
(continuing; as they go)
The first details I thought of
when conceiving of this ship were
the swimming pool and Turkish
Bath...
Andrews sighs as he watches them leave -- typical Ismay.
EXT. HANGAR & AIRFIELD - DUSK
Alex, dressed in greasy overalls, leans inside the engine
cowling on the side of a wood-and-canvas biplane. Its well-
dressed Owner stands behind him, watching without a clue as
Alex tinkers with the engine.
After a moment, Alex closes the cowling.
ALEX
That oughta do it.
(CONTINUED)
CONTINUED:
AIRPLANE OWNER
Jolly good; thanks, Alex.
He slips Alex a pound note. Alex takes it and nods to him.
NEW ANGLE
A yellow biplane lands on the grass airfield and taxis to a
stop next to the small wooden hangar.
Suzanne takes off her goggles and gets out of the front seat
of the plane. She waves to her Flight Instructor, who
climbs out of the back seat.
As she crosses to Alex, several young, cocky aviators standing
by the hangar stare at her and mutter among themselves.
Alex, washing his hands with a hose, looks up at her and
smiles.
ALEX
How'd it go?
SUZANNE
Great.
(frowning; re Aviators)
But not everyone approves of the
little lady taking flying lessons.
ALEX
Give it time; you'll show 'em.
I'm sure they wonder whether
flying's just a rich girl's
passin' fancy for you.
SUZANNE
The way it's a passing fancy for
most of them?
ALEX
You got it.
(beat)
I'm sure they wonder about us,
too. We're not exactly the most
likely couple.
SUZANNE
Let them wonder. I hate being
predictable.
Alex unzips his overalls; underneath he's wearing his
regular clothes. He and Suzanne walk together, hand in
hand, on the now-quiet, grassy field.
(CONTINUED)
CONTINUED:
SUZANNE
(continuing)
I can get away for a few hours
this weekend.
ALEX
Let's come back here. One of the
blokes is flyin' a de Havilland --
the design like my models.
SUZANNE
I heard someone just flew across
the U.S. in one, and it only took
eighty-six hours.
ALEX
I tell you, it's the new gold
rush. I'm just dyin' to stake my
claim in it.
SUZANNE
I'm not too worried about you
getting everything you want.
He wipes a smudge of grease off his arm, and glances over at
the Aviators.
ALEX
First thing I want -- after I get
my own aeroplane -- is someone
else to work on it while I stand
around in a nice new suit.
SUZANNE
(laughs)
You'd never let anyone near it.
ALEX
No, but I can dream.
Suzanne stops walking and sits on the grass to watch the
sunset. After a moment, she turns to Alex.
SUZANNE
It bothers you... our not being a
'likely couple.'
ALEX
I suppose. Sometimes. Mostly I
worry there's no future in it.
SUZANNE
Bite your tongue... Or better
yet, let me do it.
(CONTINUED)
CONTINUED: (2)
She pulls him close and nibbles at him. Alex laughs and
shakes his head.
ALEX
You're a tough one to have a
serious conversation with.
SUZANNE
Skill and practice, my dear.
(beat; smiles)
Tomorrow, I promise. Right now
we have a sunset to watch...
INT. OXFORD ACADEMY - SUZANNE'S ROOMS - NIGHT
The mantle clock chimes midnight as Suzanne lets herself in.
She stops dead when she sees a fire in the hearth and a huge
pile of matching luggage stacked up in the parlor.
RUTH (OS)
Good morning.
The voice comes from behind the high-backed chintz chair
facing the fireplace.
SUZANNE
Mother?!
RUTH EVANS stands, causally, as though they'd just seen each
other for tea that afternoon. She's 52, solidly-built; it
is not surprising that she gets what she wants. But under
her formidable exterior is a deep well of vulnerability. As
the saying goes, she can dish it out but she can't take it.
Suzanne is stunned to see her. Realizing, Suzanne shoots a
look at her Roommate, who had been sitting with Ruth. Her
Roommate quickly and guiltily retreats into the other room.
RUTH
Congratulate me. Eugene finally
got up the nerve and proposed.
She looks at herself in the mirror over the mantle and frowns.
RUTH
(continuing)
Though Lord knows I'll resemble
no bride in any magazine.
(turns to Suzanne)
I want you to give me away.
SUZANNE
You came all the way from New York --
(CONTINUED)
CONTINUED:
RUTH
-- Oh, sailing is such a holiday
for me. Captain Smith is taking
a new ship on her maiden voyage;
you and I will be aboard her.
SUZANNE
If you're taking about the
Titanic, she sails on Wednesday.
RUTH
Everyone who's anyone is going.
SUZANNE
It's the middle of the term.
Besides, why must you have your
wedding so suddenly?
RUTH
Who said suddenly? It isn't for
two months.
SUZANNE
I'm not going anywhere.
Suzanne glares at Ruth, waiting for her reaction. But Ruth's
smile doesn't fade as she nonchalantly walks around the room.
RUTH
Given your disinterest in your
schooling, I have to wonder what
would keep you here. It couldn't
be love. I just can't see you in
love with an English barber.
SUZANNE
Nice to see you managed to get
the facts all wrong, as usual.
He's an aeroplane designer.
RUTH
Sure. One of those rustic chaps,
using phrases like: 'Soon as I'm
able to stake my claim...' That
means 'I need money,' doesn't it?
She's quoting from one of Alex's ribbon-tied letters, which
are spread out on the table in front of Ruth's chair.
SUZANNE
How dare you!
Furious, she gathers up the letters.
(CONTINUED)
CONTINUED: (2)
SUZANNE
(continuing)
You have no idea how laughable it
is, the notion of Alex asking for
money.
RUTH
I'm delighted you've found
something laughable here. Remind
me about it if my fiancι should
withdraw.
The thought of it makes her eyes well up with tears. She
sits on the sofa, seeming, for a moment, helpless and afraid.
RUTH
(continuing)
And he could, you know! He'd be
completely entitled, even with a
breath of scandal hanging over
our family.
SUZANNE
(sighs)
I'm sure he would be.
RUTH
Suzanne, I was young once... or so I
remember. I know how thrilling it
is to be impetuous. Believe me, I
wish Eugene were a little more
impetuous. I wouldn't have been on
tenterhooks all these months,
waiting for him to make up his mind.
(beat)
Just consider one thing: If you
truly believe there's something...
real with this person, then coming
home for a few months will mean
nothing to you.
Suzanne stares at Ruth for a moment, then sags. Ruth's gotten
to her. Seeing she's gotten her way, Ruth perks up again.
RUTH
(continuing)
Besides, there's nothing like a
peaceful trip across the Atlantic
to clear one's mind.
CUT TO:
EXT. ALEX'S FAMILY'S FLAT - DAY
Suzanne steps out of a hansom cab in front of a barber shop
in a working-class neighborhood. She gets some stares from
passers-by; she and the cab (which waits for her) are
clearly out of place here.
She looks up at the flat above the shop. All the lights are
off. A bike chain and lock hangs from the stair railing --
Alex's bike is not there. Suzanne almost climbs the stairs;
instead, frustrated, she writes a note and pins it to the
postbox. She gets back into the cab and it drives off.
CUT TO:
INT. ALEX'S FAMILY'S FLAT - ALEX'S ROOM - NIGHT
Meticulous home-made airplane models line the shelves. Alex
stands hurriedly packing books into a box. At his feet are
several other boxes already full of books. Alex's MUM and
FATHER (50's) come into his room.
ALEX
Pawnbroker's waitin' up for me.
Gonna sell my books.
MUM
You got us intrigued.
ALEX
Mum, how long have I talked of
makin' something of my life?
MUM
Not near as long as your Father's
flapped about improving his self.
FATHER
Mind your mouth, woman.
ALEX
I'm goin' to America.
MUM
And now you'll say this has
nothing to do with the chippie
leavin' letters on the postbox.
(off Alex's look)
We saw her; came in a bloomin'
coach, she did. Alex! Get your
head out of the clouds... girl
like that.
(to Father)
You, make yourself useful -- talk
some sense to the lad.
(CONTINUED)
CONTINUED:
Under Mum's glare, Father puts his hand on Alex's shoulder.
FATHER
I were you, I'd bloody well swim
to America.
MUM
Just lovely!
(to Alex)
You'll pay the rent with your
looks? Escort your fine lady to
the soup kitchen every night?
ALEX
I'll do what I have to.
MUM
You're dreamin'... as usual.
FATHER
(to Mum)
Better that than wonderin' what
woulda been for the rest of his
life.
Father crosses to the kitchen and reaches under the sink.
He pulls out a folded wad of bills hidden behind the drain.
MUM
You're doing him no favor. After
that's gone, then what?
Father offers the money to Alex. Alex shakes his head.
ALEX
I'll work as a mechanic; show the
builders my aeroplane designs. I
do have a skill or two.
MUM
They got aeroplanes right here in
England, Alex. No girl's worth
turnin' your life on its ear.
ALEX
This one is.
Mum glares at Alex for a long moment, then grabs the money
from Father and stuffs it in Alex's hand.
(CONTINUED)
CONTINUED: (2)
MUM
Take it, you fool; it means that
much longer 'til you starve.
ALEX
Nice to be off with a vote of
confidence ringin' in my ears.
DISSOLVE TO:
EXT. WHITE STAR PIER - (INCLUDE ACTUAL FOOTAGE) - DAY
Crewmembers, sea bags slung over their shoulders, come
aboard an aft gangplank with boisterous camaraderie. They
look up at their new ship, awestruck and excited.
SUPERIMPOSE: Wednesday, April 10. Departure day.
NEW ANGLE - (INCLUDE ACTUAL FOOTAGE)
Far above the crewmen, on the platform beside the First
Class rail depot, the wealthy and famous passengers are
equally excited as they come aboard.
All along the pier, townspeople, reporters, onlookers and
loved ones crowd every available space. Everyone wants to
be a part of this momentous occasion.
INT. BRIDGE / CHARTROOM, TITANIC
The Bridge hums with activity: Crewmen, White Star
officials, workers, all rushing to complete their final
duties at port.
The Bridge is state-of-the-art for 1912. There are
telephone connections to the rest of the ship, an electric
telemotor on the pilot's wheel, and electronic switches to
automatically control many of the ship's functions.
In the adjoining chartroom, small, dapper Fourth Officer
JOSEPH BOXHALL uses a straight-edge to mark the Titanic's
course across a four-foot-wide map of the North Atlantic on
a lighted, inclined table.
A Yeoman in a crisp uniform blows a small whistle.
YEOMAN
Captain on the Bridge!
Everyone freezes and comes to attention.
CAPTAIN EDWARD J. SMITH strides onto the Bridge, and there
is no doubt who is in command here.
(CONTINUED)
CONTINUED:
CAPTAIN SMITH
As you were.
Immediately, everywhere he turns people thrust clipboards at
him for his signature, and he works quickly through the
thousand details of preparing a ship for departure. He's a
big man, 62, British throughout, with a gray beard and
barrel chest. He has the autocratic look of an officer who
thunders orders from the Bridge. Actually, he rarely raises
his voice and smiles easily.
Fifth Officer HAROLD LOWE (28, Welshman) approaches. Lowe is
smart, aggressive, an up-and-comer. But the very traits that
make him a natural leader make him a difficult officer: he
hates following rules, he's short-fused, and he's outspoken.
CAPTAIN SMITH
(continuing; to Lowe)
Yes, what is it, Mister....
name's Lowe, isn't it?
LOWE
Aye, Captain. Chief Bell thought
you should know there's a small
fire in the number six coal bin,
but he says it's one hundred
percent under control.
CAPTAIN SMITH
Very well. Tell me, Lowe, I've
heard talk of some difficulties:
New manner of ship; confusion with
the men... Speak freely, son.
LOWE
Crew's a fine bunch, sir. I know
quite a few of them -- most come from
the same neighborhood here in
Southampton. But they're nine-
hundred men never sailed all together
as a crew before, so there's bound to
be some confusion. Still, all in
all, they're as proud a group as I've
ever seen.
CAPTAIN SMITH
Indeed, to serve aboard this vessel.
LOWE
And also... Captain... well, also
to serve under you.
(embarrassed)
You asked that I speak openly...
(CONTINUED)
CONTINUED: (2)
Captain Smith turns toward the window so Lowe doesn't see
him smile.
CAPTAIN SMITH
Back to it, Mr. Lowe. If we
depart one second later than noon
sharp it'll be your hide.
EXT. WHITE STAR PIER - TITANIC - DAY
The excited steerage crowd shoves toward the gangplanks.
Ticket in hand, Alex stops, awestruck, when he sees the
Titanic looming up before him.
British working-class FREDERICK and AUGUSTA GOODWIN and
their family stand next to Alex with the same dazzled look
on their faces. They look at him and cannot help but laugh.
They continue up the gangplank, their six children walking
in single file, linked together like pieces of a charm
bracelet on a long piece of yarn with handholds looped along
its length. Alex follows after them.
INT. TITANIC - FIRST CLASS CORRIDORS
Here above it is quieter and more orderly, but everyone is
just as excited as below. Avuncular British Steward HENRY
ETCHES (50) shows Mme. Aubert to her stateroom nearby. Good-
natured Etches has been serving the same clientele for
years, and he feels genuine affection for them.
ETCHES
...I'm told we'll have crisp
nights, but clear skies straight
across.
(turns, smiles warmly)
Why, Mr. Guggenheim!
WIDER
Another Steward is escorting Guggenheim and his VALET to his
stateroom, which is right across the corridor.
GUGGENHEIM
Good to see you, Henry.
ETCHES
Oh, likewise I'm sure, sir. I
knew you wouldn't be missing our
maiden voyage. Many of the
regulars have joined us.
(CONTINUED)
CONTINUED:
Guggenheim tips his hat to Mme. Aubert as his Steward lets
him into his stateroom. She makes a slight acknowledgment.
GUGGENHEIM
We think and act alike. Too much
effort to be original.
Guggenheim goes into his stateroom.
ETCHES
(to Mme. Aubert)
That was Mr. Benjamin Guggenheim.
Lovely, wonderful gentleman, Mr.
Guggenheim is.
Mme. Aubert just smiles.
INT. THIRD CLASS CORRIDORS
There is a rush of steerage passengers, most of whom do not
speak English. Alex wanders through a madhouse of Stewards'
gesturings and urgings; pauses, questions; cries of children,
angry misunderstandings of adults; confused murmurs,
directions, redirections; baggage, bundles and babies.
Alex steps aside as a dark-haired man with a huge, upturned
mustache, MR. NAVRATIL, pushes through the crowd with
singular determination, as if someone is chasing on his
heels. He carries a small boy under each arm. Something
about him gives Alex the creeps.
Cheerful, 20-year-old British Steward JOHN HART notices Alex
trying to get his bearings.
HART
Forward berth, I'd wager, not
that I'm a gamblin' man. Single
men are quartered up front.
ALEX
How far up front?
HART
You'll be in New York an hour
before this part of the ship.
The Goodwins move past Alex and Hart. Fred, (40), carries
the bulk of the family's twine-secured baggage; Augusta,
(43), rides herd on the kids. Fred has a wide, honest face,
dark hair; he seems overwhelmed by the surroundings. Augusta
is far more enthusiastic about this adventure.
(CONTINUED)
CONTINUED:
FRED
...Company, left face, forward,
tighten ranks back there, fellas.
Heads up... Charles, William,
mind the youngsters now...
Quite the serious little man, CHARLES (14) takes the lead on
their yarn line. Right behind him is WILLIAM (11). He does
not like being Number Two Son, and he chafes at his
secondary position along the line.
HAROLD (9) and SIDNEY (6) are in the middle of the line.
LILLIAN (17) and JESSIE (10) hold hands and stand at the
rear, as far apart from the boys as the tether allows. The
girls wear simple clothes and matching bows in their hair,
which is parted down the middle. Lily has noticed Alex, and
she smiles shyly at him.
Hart crouches down next to the boys.
HART
How would you blokes like to be
ship's crewmen?
They look at each other, and then at him, nodding. He digs
two White Star lapel pins out of his pocket and attaches
them to the boys' jackets. Hart stands and salutes.
HART
(continuing)
Carry on, mates.
FRED
(to Hart)
Thanks.
Hart nods to Fred and continues moving through the crowd.
Alex smiles at the boys admiring their pins.
ALEX
Big day today, huh, men?
FRED
(to Alex)
Had a bit a luck. We were booked
on the Oceanic, but she's not
sailin' this week, so they bumped
us to the Titanic.
AUGUSTA
(looks at Fred)
I call it a good omen, I do. Off
to a fine start to our new life.
(CONTINUED)
CONTINUED: (2)
FRED
(shakes hands with Alex)
Fred Goodwin.
ALEX
Alex O'Connor. Have you noticed
any way up to the top decks?
FRED
Don't know if you can get to 'em
from here.
ALEX
(grins)
Well, I got quite a surprise for
someone up above --
CUTAWAY
The Titanic's whistle (the largest ever built) thunderously
splits the air.
BACK TO SCENE
Everyone clamors to get to a porthole to watch the
departure. Alex waves to the Goodwins and runs off. Fred
hoists his boys up to peer through a porthole.
EXT. FIRST CLASS PROMENADE - (INCLUDE ACTUAL FOOTAGE)
Excited First Class passengers on the glass-enclosed
Promenade wave emotionally to loved ones on the dock far
below. We notice Andrews among them, waving to his family.
Everywhere Suzanne looks she sees lovers hugging and
kissing, which doesn't exactly brighten her mood.
INT. BRIDGE
Captain Smith nods to Quartermaster ROBERT HITCHENS, who
pulls the lanyard and blows the whistle for a second time.
INT. SECOND CLASS CORRIDORS / THIRD CLASS CORRIDORS
The whistle blows (OS) for the third time. Fifth Officer
Lowe, running through the Second Class corridors below,
checks his watch. It's 11:59.
ALEX
is in the Third Class corridors, on the other side of a
metal gate, above which is a sign: "To Upper Decks." He
sees Lowe rushing by on the other side.
ALEX
Hey! This gate is locked!
LOWE
(stops)
That's the idea. Steerage can't
mingle among the other passengers.
ALEX
Why in the bloody hell not?
LOWE
Yank immigration laws, on account
of infectious diseases.
ALEX
I'm not askin' you to kiss me,
just let me through.
LOWE
Look, I'm not about to lose my
stripes the first day out. Even
if it would break my record of
losing 'em the second day.
ALEX
I got to see someone in First
Class.
LOWE
Sorry, mate. Third Class stays
below.
As Lowe hurries off, Alex stands behind the gate and fumes.
EXT. FIRST CLASS PROMENADE
Within the enthusiastic crowd above, Suzanne feels terribly
alone. Ruth glances over at her and frowns.
INT. / EXT. TITANIC - DEPARTURE
NOTE: In recreating the following near-collision, we will
make it appear as though it is all actual footage.
EXT. BOAT DECK, FORWARD
Second Officer HERBERT LIGHTOLLER relays messages over the
telephone handset to the Bridge.
LIGHTOLLER
(into phone handset)
Tugs all fast.
INT. BRIDGE
Fourth Officer Boxhall, on the phone, nods to Captain Smith.
Captain Smith stands next to the Harbor Pilot. Ismay stands
nearby, puffed up with pride.
CAPTAIN SMITH
Take her out, George.
Lowe hurries onto the bridge and takes his post.
EXT. PIER - (ACTUAL FOOTAGE)
Along the mighty ship hawsers splash into the water; the
pierhead gang draw them ashore.
The huge crowd of people on the pier cheer as the ship
begins to move.
INT. THIRD CLASS CORRIDORS
Alex peers through a porthole, excited about his adventure
despite his frustration at being stuck below.
INT. FIRST CLASS PROMENADE
First Class passengers on the glass-enclosed Promenade wave
emotionally to loved ones on the dock far below.
EXT. WHITE STAR PIER
The tugs ease the Titanic away from the dock. Her props
create a bubbling wake behind her.
She proceeds along the narrow waterway between other ships
moored at the dock, and the jetty separating the harbor from
the open sea.
INT. BRIDGE
Captain Smith peers down through the windows. Something
doesn't feel right to him.
(CONTINUED)
CONTINUED:
CAPTAIN SMITH
What is our clearance?
HITCHENS
Eighty feet, Captain.
INT. FIRST CLASS PROMENADE
Suzanne looks down and gasps.
SUZANNE
That ship -- it's moving!
Andrews and others have also seen the movement.
POV FROM PROMENADE
We see a 200-foot-long steamer, the New York, being pulled
from her moorings by the suction of the Titanic passing by.
One by one, the steel cables holding her alongside the dock
stretch and snap.
VOICE #1 (OS) VOICE #2 (OS)
The lines snapped! Watch out!
INT. BRIDGE
Frightened, Ismay cranes to see through the window. Captain
Smith takes the phone from Boxhall.
CAPTAIN SMITH
(into phone)
Lightoller, what's happening
there?
EXT. BOAT DECK, FORWARD
Lightoller peers over the railing.
LIGHTOLLER
(into phone)
The New York broke from her
moorings! Our wake's sucking her
into us!
INT. THIRD CLASS CORRIDORS - INCLUDE POV THRU PORTHOLE
Fred Goodwin picks Jessie up to let her look through the
porthole. He seems perplexed, then frightened, as the huge
gray side of the New York looms up on them.
INT. FIRST CLASS PROMENADE
Everyone is silent, tense, waiting for the collision.
Andrews grips the railing.
ANDREWS
(sotto)
Dear God... It's going to hit us.
POV FROM PROMENADE
As some tugs move toward the New York, her stern continues
to swing toward the Titanic.
INT. THIRD CLASS CORRIDORS
Alex runs to another porthole, then another, to get a better
look at the approaching ship.
INT. BRIDGE
The Harbor Pilot is paralyzed with fear. So is Ismay.
Captain Smith calmly turns to Lowe.
CAPTAIN SMITH
Reverse all engines.
LOWE
Reverse engines!
Hitchens pulls the engine telegraph handles.
CAPTAIN SMITH
Port engine only... ahead one
quarter...
Hitchens doesn't get it but he follows orders, pushing the
left telegraph handle forward...
CAPTAIN SMITH
(continuing)
Reverse port again on my order...
(three-second pause)
...Now.
(on phone)
Mr. Lightoller?
EXT. BOAT DECK FORWARD
Lightoller peers below through the smoke from the tugs.
(CONTINUED)
CONTINUED:
LIGHTOLLER
(on phone)
A wash... there was a wash,
Captain, it nudged her back!
Couldn't've missed us by more
than four feet!
INT. BRIDGE
Ismay, Hitchens and Boxhall breathe a sigh of relief. Lowe
looks at Captain Smith, awestruck.
CAPTAIN SMITH
All stop.
(calmly)
Inform Cherbourg we'll be running
a bit late. I want a full
inspection before we proceed.
INT. FIRST CLASS PROMENADE
Reaction shots: Suzanne, Ruth, and Andrews are too stunned
for words by this amazingly close call.
INT. THIRD CLASS CORRIDORS
Alex sighs with relief. He wanders back to the main
corridor, catching sight of the Goodwins. Fred holds a
shaken Augusta in his arms. He looks over at Alex, relieved
but still frightened.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN:
EXT. OCEAN - TITANIC - DUSK
She's a glorious sight, steaming across the English Channel
at 18 knots.
INT. FIRST CLASS DINING ROOM - EVENING
In the huge, beautifully-appointed dining room, stewards lay
out linen and place settings. There is a steady stream of
curious passengers walking through to marvel at the place.
The 7-man orchestra set up their instruments. The Cellist
is trying to button the too-tight top button of his green
orchestra uniform. The Pianist laughs at his struggles.
Orchestra leader WALLACE HARTLEY helps the Cellist fasten
the button.
HARTLEY
Blimey, Jock, don't rip your
monkey suit. They're on loan
from the Black Brothers.
CELLIST
Black Hearted Brothers, you mean.
PIANIST
There's a mouthful. Miserable,
tightfisted booking company.
NEW ANGLE
The bandmembers notice several Crewmembers huddled around
Quartermaster Hitchens near the entrance to the room.
Hartley quiets his men so they can listen in.
HITCHENS
(sotto)
...No surprise we almost collided.
It's the jinx upon her, mark my
words. I got mates, work at the
shipyards. They told me: listen
at night for tapping. A man's
trapped alive, sealed within the
double bottom. And there's her
hull number: 390904.
-more-
(CONTINUED)
CONTINUED:
HITCHENS (Cont'd)
(pauses for effect)
Hold it to a mirror. It says "No
Pope" -- sign of the Antichrist.
The crewmen snicker, but uneasily. A sudden burst of spooky
violin music startles them.
It's Hartley.
HARTLEY
Jumpy, lads?
The musicians laugh, as do the crewman -- except Hitchens.
ANGLE NEAR WINDOWS
Pausing from a stroll around the ship, Suzanne stands near
the wall of windows, staring out at the ocean. She doesn't
notice two people stopping next to her.
MRS. STRAUS
A wedding in the family, and she
looks like it's a funeral.
Startled, Suzanne turns to a couple in their sixties, IDA and
ISIDOR STRAUS. Mr. Straus is balding, with chin whiskers,
gold-framed pince-nez and mustache. Mrs. Straus wears her
graying hair piled on her head in the fashion of the day.
SUZANNE
Mrs. Straus... I guess my mind
was elsewhere...
MRS. STRAUS
So I see. And since you're
facing where we've been, and not
where we're going, elsewhere's
back in England?
MR. STRAUS
(to Mrs. Straus)
Ida, it's none of our business.
MRS. STRAUS
That's for her to say.
MR. STRAUS
She's going to tell you?
(CONTINUED)
CONTINUED:
MRS. STRAUS
(smiles at Suzanne)
If she's her mother's daughter
she will.
(to Suzanne)
You be sure, let Ruth know how
much we've missed her while we've
been away. We look forward to
seeing her in New York.
SUZANNE
She's aboard. She locked herself
in our stateroom all afternoon,
deciding what to wear for her
grand entrance tonight.
MRS. STRAUS
(surprised)
I heard she was in New York, just
last week.
SUZANNE
She went rushing to England to
drag me home.
(beat)
And I'm here because I followed,
without a whimper.
Mr. Straus looks at his wife -- enough with the prying.
MRS. STRAUS
Maybe it's none of our business...
SUZANNE
Whatever anyone in society does is
everyone's business. That's the
way of our world. And I doubt the
world's about to change.
(looks out over ocean)
All you can hope for is someone
who makes you forget about the
world for a while.
DISSOLVE TO:
EXT. FIRST CLASS DINING ROOM - NIGHT
The room is full of people now. The diners are in their
finest -- ladies in exquisite gowns, men in white tie and
tails. The mood is festive.
Wallace Hartley's Orchestra, now and throughout, plays a
lively selection of popular music of the day: "The
QuakerGirl," "The Chocolate Soldier," "The Merry Widow,"
"Mikado," "Pirates of Penzance," "Iolanthe," Strauss
(CONTINUED)
CONTINUED:
Waltzes, "Oh, You Beautiful Doll," "Alexander's Ragtime
Band," etc.
Andrews sits by himself, scribbling notations in a notebook.
ANGLE NEAR DINING ROOM ENTRANCE
Astor and Madeleine peer into the room. Madeleine looks at
him encouragingly and they walk in, hand in hand. Several
passengers turn and gawk at them.
Sitting with their husbands, two society matrons, Mrs.
Widener and Mrs. Thayer, smirk and whisper to each other:
MRS. WIDENER
It's Jack Astor!
MRS. THAYER
You'd think they'd have the
decency to slink back into the
country less obtrusively.
MRS. WIDENER
I can't imagine decency being a
concern for Mr. and the second
Mrs. Astor.
Madeleine smiles at Astor, trying not to show she's stung.
MADELEINE
(to Astor)
Makes me homesick for the farm,
all the hens clucking around here.
Astor turns, his dark eyes burning, and levels a disdainful
gaze at the women. Mortified, they look away. He turns
back to Madeleine.
ASTOR
We should've stayed in Egypt.
MADELEINE
And give them the satisfaction of
keeping us away?
Suddenly, the formidable MOLLY BROWN approaches, arms opened
wide. Molly's large, almost fifty, with flaming red hair,
red dress and fox furs.
MOLLY
I never thought I'd live to see
it -- Jack Astor, you have a tan!
She kisses Astor on both cheeks.
(CONTINUED)
CONTINUED:
ASTOR
Molly!
MOLLY
I don't care what your plans are,
you're sitting at my table.
MADELEINE
We don't really have any plans,
we're just touring the ship.
Molly notices Astor's discomfort at people staring at them.
MOLLY
(sotto)
Hell with 'em. The day you let
this bunch tell you how to live
you're deader than one of those
mummies you're so fascinated with.
ASTOR
I thought we'd finish seeing the
ship, then have a bite in our
stateroom, if you'd care to join
us.
MOLLY
I would not. You go tour this
floating Taj Mahal on your own if
you have to. Madeleine and I are
staying right here.
Madeleine looks at Astor, and he nods his approval. Before
letting go of her hand, he holds it to his lips. The
murmurs increase as he strides out the door.
ANGLE ON CAPTAIN'S TABLE
With a sour look on her face, Ruth watches Astor leave. She
is dressed in a lavish blue gown, which she keeps adjusting
and smoothing down.
Suzanne, her back to the entrance, misses the drama
surrounding the Astors. She and several other passengers,
including two poster boys for the idle rich, WOOLNER and
STEFFANSON, are watching Ismay. He stands next to the
table, stacking champagne glasses into a pyramid.
STEFFANSON
So, what is our speed? Woolner
and I have wagered on it -- I say
we're traveling in excess of
twenty knots.
(CONTINUED)
CONTINUED:
ISMAY
Mr. Woolner owes you some money.
Everyone in the room breaks into applause and watches with
awe as Captain Smith crosses to the table and sits.
CAPTAIN SMITH
Good evening. Please forgive my
tardiness.
Captain Smith looks askance at Ismay's stack of glasses.
WOOLNER
Mr. Ismay has been demonstrating
the steadiness of the ship to us.
CAPTAIN SMITH
So I see.
Embarrassed, Ismay unstacks the glasses.
RUTH
(to Ismay)
I'm loath to date myself by
mentioning this, but when I was a
child we sailed on one of your
father's first clippers. Just
imagine what his reaction to the
Titanic would've been.
ISMAY
(laughs humorlessly)
Astonishment, madam; jaw-dropping
astonishment. He was more than
content keeping the same vessels
he'd had when he founded this
shipping line. It fell to me to
create a ship for the Twentieth
Century.
Ismay's awkward boast makes Captain Smith and the others
uncomfortable. Ismay nervously twists the small ring on his
pinkie while he scans the dining room.
ISMAY
(continuing)
Ah, there's Mr. Straus.
Everything that man touches...
gold. Excuse me.
ISMAY
walks over to schmooze with Ida and Isidor Straus. Seeing
him approaching, they look pained.
SUZANNE
turns to Captain Smith.
SUZANNE
I believe we'll soon be flying
across the Atlantic.
CAPTAIN SMITH
That would not surprise me in the
least.
RUTH
Aeroplanes. The pastime of
lunatics and daredevils.
SUZANNE
I'm so sorry my interests don't
meet with your approval.
RUTH
More than likely that's why
they're your interests.
SUZANNE
(to Woolner)
Does your mother presume your
every action is done only to
contradict and irritate her?
WOOLNER
Of course. Doesn't everyone's?
Everybody at the table laughs, except Ruth.
INT. GUGGENHEIM'S STATEROOM - NIGHT
The stateroom is actually an enormous suite, as elegant and
well-appointed as rooms in an English manor.
Guggenheim, his jacket off, looks up as someone knocks
softly on the door. After a beat it swings open, and Mme.
Aubert comes in. He turns back to the papers he's working
on. She puts her hands on his shoulders and massages them.
MME. AUBERT
Bad news?
(CONTINUED)
CONTINUED:
GUGGENHEIM
The reason I needed to get to New
York hasn't waited for me to get
there.
She notices a small gold frame containing three pictures of
little girls practically hidden in the back of the desk.
Guggenheim sees she's spotted it.
GUGGENHEIM
(continuing)
My girls -- Peggy, Benita, and
Barbara.
MME. AUBERT
It is sad I will never meet them.
GUGGENHEIM
They're real pistols.
(beat)
How's your suite?
MME. AUBERT
Quite comfortable.
GUGGENHEIM
(frowns)
The gilded cage. I would've
preferred skipping the pretense.
MME. AUBERT
This is a ship full of Englishmen
and Americans. If they were
French, you could drink champagne
from my slipper at the Captain's
table without raising a single
eyebrow.
GUGGENHEIM
Is that a dare?
MME. AUBERT
(laughs)
I know better.
GUGGENHEIM
All this talk of champagne; I'm
thirsty.
MME. AUBERT
I have already asked they send
some down.
Pleased, Guggenheim undoes his collar and tie.
INT. THIRD CLASS CORRIDORS - NIGHT
The corridor ends at a locked bulkhead door. A sign above
the door reads To First Class - Crew Only. Alex opens a
Firemen's trap door on the floor nearby and climbs down a
metal ladder.
INT. FIREMAN'S TUNNEL
The ladder brings him to a six-foot-wide tunnel running
under and past the locked door on the deck above. The
tunnel, which runs above the huge reciprocating engines, is
full of pipes and machinery, illuminated by dim utility
lights. Alex hurries along, turns a corner and runs right
into someone...
It's Astor, intently watching the workings of the machinery
below. Astor looks up at him.
ASTOR
I'm relieved you're not a crewman.
They always feel obliged to tell
me all the insurance regulations
prohibiting passengers from being
here.
(beat)
Bored up top, or hopelessly
curious?
ALEX
Both.
They look down, watching the machinery.
ASTOR
Those engines send fifty thousand
horsepower to the propellers.
(beat)
We're surely living in an amazing
age.
ALEX
Isn't that a Chinese curse? 'May
you live in interesting times.'
ASTOR
(smiles)
Indeed. Are you heading back to
First Class?
ALEX
Uh... sure. After you.
EXT. FIRST CLASS CORRIDORS - NIGHT
The elevator doors open. Waving to Astor, who stays in the
elevator, Alex steps out onto the First Class Promenade. He
finds himself surrounded by elegant, fairy-tale people.
They're talking, laughing, moving with a grace and ease he'd
not thought possible.
He walks among them, unnoticed, dazzled by his surroundings.
He bumps into a group of well-dressed people and, as if they
sense he is not one of them, they brush by without
acknowledging him.
Rattled, Alex follows some young people's voices up the
stairs to the Boat Deck.
EXT. BOAT DECK, PORT
It's dark on most of the Boat Deck. Just outside the
brightly-lit gymnasium, Alex pauses.
INT. GYMNASIUM
The Gym Instructor is demonstrating the exercise equipment
to some passengers.
Alex looks for Suzanne, but doesn't see her. Increasingly
self-conscious, he slips back out onto the Boat Deck.
INT. BRIDGE
The bridge, illuminated only by the light of compass in the
wheelhouse, is a chilly contrast to the brightness and
warmth of the dining room.
Fourth Officer Boxhall is peering off the port side. He
takes a pair of binoculars from below a console to get a
better look. First Officer Murdoch, the Officer on Duty,
crosses over from the wheelhouse.
MURDOCH
Who do we have there, Mr.
Boxhall? Looks like a freighter.
BOXHALL
Yes, sir. The Rappahannock, on
the opposite course. She's
Morsing us.
(looks through glasses)
She's warning us of icebergs, and
heavy pack ice ahead...
MURDOCH
Where are the other binoculars?
(CONTINUED)
CONTINUED:
BOXHALL
They only gave us one pair for
the Bridge.
Boxhall hands the binoculars to Murdoch.
CLOSER
Boxhall marks the coordinates of the ice warning on the chart
in the chartroom. Its location is almost across the Atlantic.
MURDOCH
I can't have my officers passing
one bloody pair of glasses back
and forth. Blasted requisition
department. Take the binoculars
from the Crow's Nest.
BOXHALL
Lookouts will be hoppin' mad...
MURDOCH
The Lookouts will get along fine
'til we reach New York.
INT. FIRST CLASS DINING ROOM / PROMENADE - NIGHT
Alex comes in, pausing at a credenza just inside. Spotting a
stack of fold-out brochures about the ship, he pockets one.
The sumptuousness of the dining room amazes him. Thick
carpet, Jacobean alcoves, leaded windows, the finest linen
and china, armies of attentive servants.
He notices someone glaring at him -- Lowe. Lowe angrily
pulls him outside onto the promenade.
LOWE
I thought my eyes were playin'
tricks on me.
ALEX
Who's to know? I'm wearin' my
Sunday finery.
Lowe looks Alex over, spotting a frayed cuff on his
inexpensive suit. Alex pulls his sleeve down to hide it.
Then, Lowe stiffens as Second Officer HERBERT LIGHTOLLER
walks by. Lightoller has the demeanor of an impatient
school principal. All other crewmen in his path snap to
attention and salute. Lightoller stops, eyeballs Alex
suspiciously and then looks at Lowe.
(CONTINUED)
CONTINUED:
LOWE
Mr. Lightoller, sir.
Lowe realizes what Lightoller is waiting for and gives him a
sloppy salute. Lightoller frowns, responds with a crisp one
and stalks off.
Lowe turns back to Alex. Alex looks over Lowe's shoulder at
something that makes him grin...
ALEX'S POV - THROUGH DINING ROOM DOORWAY
He's spotted Suzanne sitting at the Captain's table.
LOWE
immediately understands the situation. He sighs.
LOWE
Just don't go pushing your luck.
ALEX
Me? Never.
Alex enters the dining room and looks past the other diners
at Suzanne, on the far side of the room.
Waiters are serving after-dinner drinks. Captain Smith and
Ruth are gone now; Suzanne is surrounded by wealthy,
adoring, good-looking young men, all showing off for her.
The scene stops Alex dead. He looks at Suzanne and feels
almost as if he doesn't recognize her. It is the final
straw -- it's become painfully obvious to him that this is a
place where Suzanne belongs, and he does not.
He cannot approach her. His usual brash confidence has
completely deserted him. He quietly turns and leaves.
NEW ANGLE
After Alex goes, the men all laugh at a joke. Suzanne tries
to smile, but she is unimpressed and lost in her own thoughts.
EXT. TITANIC - NIGHT
Lights ablaze, she sails into the night, toward her destiny.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN:
EXT. QUEENSTOWN BAY - TITANIC - DAY
Another dazzling, sunny day. The Titanic has dropped anchor
two miles off the lush, green Irish coast. The tenders
America and Ireland sit beside her.
SUPERIMPOSE: Thursday, April 11. Queenstown, Ireland.
CLOSER
A dozen passengers, Queenstown their final destination,
reluctantly disembark. One, a 32-year-old Priest named
FRANCIS M. BROWNE, keeps the others in his party waiting as
he takes some last pictures of the Titanic with a box
camera.
SERIES OF SHOTS - (ACTUAL STILLS)
We SEE his pictures as he takes them: A young boy (also
holding a camera) on a short set of stairs on deck; the same
boy with a lady in a hat and two bearded men; a dramatic
view of the two aft funnels; a view of the Boat Deck from
the promenade just below it.
The leader of his group, MR. ODELL, calls out to him:
MR. ODELL
Francis, hurry! They'll be
leaving for shore without you!
BROWNE
Ah, Mr. Odell, if only I should
be so fortunate.
EXT. FIRST CLASS PROMENADE
Meanwhile, several "Bumboat Men" -- merchants selling
linens, laces and souvenirs -- exhibit their wares on deck.
First Class passengers walk around the impromptu market.
EXT. WELL DECK (THIRD CLASS RECREATION AREA)
In the well deck, fifty feet below the promenade, Alex and
other Third Class passengers view the activities from afar.
(CONTINUED)
CONTINUED:
Lily Goodwin minds her younger siblings as they mingle with
some of the other immigrant children, including a 6-year-old
Italian Boy.
Steward John Hart crosses to the Goodwin kids. With a tip
of the hat to Lily, he watches as they and the others group
together for a game of marbles.
HART
(to Lily)
I got a couple just their age,
home with the Missus.
The Italian boy is shy; his doting Father encourages him to
join in. Despite the language barrier, they soon have a
boisterous game going.
Nearby, the two Navratil children quietly play by themselves
under their father's nervous, protective gaze. They want
to join the game, but their father keeps them close to him.
In the b.g. we NOTICE a curious 10-year-old BLOND GIRL
leaning precariously over the railing to look at the ocean
below. Her Scandinavian parents run over and pull her down.
Alex sees Fred and Augusta Goodwin. They're squinting up at
the wares on deck above them.
FRED
Maybe on the next trip, eh?
ALEX
You bet.
AUGUSTA
We're soon to have our turn.
(to Alex)
Fred's to be an engineer for the
new power plant at Niagara Falls.
FRED
Augusta, not everyone finds me as
enthrallin' as you do.
ALEX
I read about that plant --
biggest turbines in the world.
AUGUSTA
That's what Fred's brother said!
He's already there. It's a grand
opportunity.
(CONTINUED)
CONTINUED: (2)
FRED
So we're hopin'... draggin' six
kids across the sea.
AUGUSTA
You were the one needed draggin',
Frederick.
FRED
(to Alex)
Deliver your surprise to the
upper decks?
ALEX
(sighs)
Not quite.
INT. WIRELESS ROOM - DAY
The tiny wireless room is crowded with equipment. Senior
Operator JACK PHILLIPS (25) and Junior HAROLD BRIDE (21) are
Cockneys; happy-go-lucky despite 18-hour shifts.
Phillips, wearing a headset, leans over the transmitter,
carefully adjusting the spark.
While Phillips tinkers, Bride glances over at a world map
Phillips has hung up on the wall. There are numerous push-
pins in it -- some yellow, some green.
BRIDE
So which is which?
PHILLIPS
Green's where I've been, yellow's
where I want to go.
Bride picks up one of several cheap tour books about New
York City that sit on the table under the map.
BRIDE
You're the only bloke actually
took the ad seriously: 'Join the
Marconi Company, See the World.'
PHILLIPS
Well, here we are.
BRIDE
Stuck in a bloody broom closet.
(reads one of the messages)
'Dad: Legions of gaudy American
women aboard. The scourge of any
-more-
(CONTINUED)
CONTINUED:
BRIDE (Cont'd)
place they infest, carrying tiny
dogs and leading husbands around
like pet lambs.'
He howls with laughter, then stops when he sees Phillips'
expression become suddenly businesslike.
GUGGENHEIM
stands at the message desk behind Bride.
GUGGENHEIM
I'm expecting a Marconigram.
Guggenheim.
PHILLIPS
Yes, sir, Mr. Guggenheim, right
here.
Phillips digs a yellow message paper from the stuffed OUT
box and Guggenheim takes it from him.
GUGGENHEIM
I expect several others
throughout the trip. I'll want
them delivered immediately.
PHILLIPS
Absolutely, Mr. Guggenheim.
He turns to go, then picks up the message Bride was reading
out loud when he came in.
GUGGENHEIM
This note about American women
wouldn't be so funny if you were
married to one. Believe me.
Guggenheim flips a coin to Bride and walks out. Bride opens
his hand and stares at it, amazed.
BRIDE
A double eagle! Twenty dollars!
INT. FIRST CLASS CORRIDORS - NEAR WIRELESS ROOM
Guggenheim reads his wireless and his face darkens. He
crumples it and walks on.
EXT. FIRST CLASS PROMENADE
The other passengers cannot help but stare and murmur as
Astor and Madeleine appear. Astor avoids eye contact with
them as he and Madeleine examine the merchandise. He stops
at a Lacemaker's table while Madeleine moves on.
Suzanne sees Madeleine and separates from Ruth.
SUZANNE
Madeleine!
MADELEINE
Suzanne?
(they hug)
I thought you were at the
Academy.
SUZANNE
I was. I wish I still were.
Madeleine sees that Suzanne is unhappy.
MADELEINE
Is it something you want to talk
about?
SUZANNE
It's more like something I want
to scream about. You and Jack
had the right idea: put ten
thousand miles between you and
the rest of society --
Suddenly, Ruth sweeps toward them.
RUTH
Here you are! You know what I
fool I am for Waterford; come and
help me choose a few pieces.
Ruth speaks directly to Suzanne, conspicuously ignoring
Madeleine's presence.
SUZANNE
Mother --
RUTH
(pulls Suzanne away)
-- Quickly, quickly, before
everything's been sold!
SUZANNE
Excuse me, I'm sorry,
Madeleine... we'll talk later.
(CONTINUED)
CONTINUED:
Madeleine finds herself standing alone on deck.
Astor, having seen Ruth's maneuver, hurries back to his
wife. He shoots an irritated glance at Ruth and takes
Madeleine's hand.
ASTOR
I've found something rather
pretty.
He brings her to the Lacemaker's table. Astor picks up a
long, ivory-colored shawl and holds it next to Madeleine.
LACEMAKER
Finest Carrickmacross, milord.
One of a kind, priced a hundred
sixty-five pounds.
CUTAWAY
Steward Henry Etches, standing nearby, leans close to
Stewardess MARY SLOAN (40, Irish):
ETCHES
Blimey! Two years' salary!
BACK TO SCENE
Astor takes out his billfold and pays for the shawl with
cash. He drapes the shawl over Madeleine's shoulders and
she cannot help but smile.
MADELEINE
Thank you; it's beautiful.
ASTOR
It's the least I can do, considering
how many clothes I've been buying
for someone else lately.
Madeleine realizes the Lacemaker has been adding up Astor's
purchase of a big pile of baby clothes. She picks up one of
the tiny outfits and smiles lovingly at Astor.
RUTH AND SUZANNE
stand near the crystal display. Ruth has forgotten her
great excitement over it. Suzanne glares at her.
SUZANNE
Did you enjoy hurting Mrs.
Astor's feelings like that?
(CONTINUED)
CONTINUED:
RUTH
Mrs. Astor?! There is only one
Mrs. Astor, my dear; Mrs. Ava
Astor, and I lunched with her
last month in Newport.
Before Suzanne can respond, Ruth's eyes mist up with tears.
RUTH
(continuing)
Please, Suzanne, let's not quarrel.
I wanted this to be a chance to be
together, you and I, before the
family isn't just the two of us any
more.
Suzanne just looks at her and sighs.
EXT. IRISH COAST - (STOCK SHOT) - DUSK
The coastline rounds away to the northwest and the Irish
mountains become faint shapes in the distance.
EXT. WELL DECK (THIRD CLASS RECREATION AREA)
A Third Class passenger salutes the disappearing land with
the mournful "Erin's Lament" on his bagpipes. The
emigrants, Alex and the Goodwins among them, clamor at the
rail for their last sight of Europe. Augusta holds Fred and
weeps as she watches the land fade from view. He puts his
arm around her and blinks away his own tears.
INT. GUGGENHEIM'S STATEROOM - CLOSE - NIGHT
Guggenheim stands at the mirror, dressing. He reaches for
his dinner jacket on the clothes horse, but it is not there.
He turns, impatient, and holds out his hand for it.
MADAME AUBERT
stands looking out at the dark ocean. She's wearing the
jacket. She slips it off and hands it to him. She's not
wearing anything under it. Guggenheim puts it on without
comment. His mood is withdrawn, preoccupied.
MME. AUBERT
I get the sense you're ignoring
me.
GUGGENHEIM
Is that what you call our
activities for the last hour?
(CONTINUED)
CONTINUED:
MME. AUBERT
Perhaps, as you have made me so
accustomed to two hours.
No reaction.
MME. AUBERT
(continuing)
You should stay above after you
eat. Play some cards.
GUGGENHEIM
While I can still afford to lose.
MME. AUBERT
What does that mean?
GUGGENHEIM
Huh? Nothing. I'm being a
grouch.
MME. AUBERT
Yes. Ever since you got that
wireless.
GUGGENHEIM
Business.
MME. AUBERT
Is that a forbidden subject with
me?
GUGGENHEIM
I've never known a woman to have
an interest in it.
MME. AUBERT
How unfortunate for you -- given
that you are a businessman.
Guggenheim says nothing as he finishes dressing. Mme.
Aubert turns back to look out the large window.
MME. AUBERT
(continuing)
It's like India ink outside.
GUGGENHEIM
New moon. But you'd be surprised
how much light comes from the
stars. They were so bright at
our mining camp in Colorado I
could read a map by them.
(CONTINUED)
CONTINUED: (2)
MME. AUBERT
Map reading is the very last
thing I would want to do by
starlight.
Guggenheim looks her over. He pushes her hair back from her
face. She kisses him hungrily and they fall onto the bed...
EXT. FIRST CLASS DINING ROOM - LATER THAT NIGHT
The Strauses sit at table for two. Ismay comes up, looks
around conspiratorially, and takes several glass-encased
cigars from his jacket pocket.
ISMAY
I haven't forgotten your fondness
for --
MRS. STRAUS
(to Mr. Straus)
-- Tell him, dear.
Mr. Straus is eyeing the cigars longingly. He snaps out of
it, looks at Ismay and sadly shakes his head.
MR. STRAUS
Doctor's orders.
Deflated, Ismay puts the cigars back in his pocket.
ISMAY
My condolences.
Mrs. Straus hands her husband a celery stick. He takes it
and munches it forlornly.
CAPTAIN SMITH
comes into the room. Just as he does, Boxhall runs up,
hands him a yellow wireless message. Captain Smith reads it
and nods to him. Boxhall salutes, and runs off.
Captain Smith spots Ismay and crosses to him.
CAPTAIN SMITH
Mr. Ismay...
They move away from the diners. Ismay runs his finger along
the top of a credenza to check for dust, frowns, then turns
to Captain Smith. He notices the wireless in Smith's hand.
ISMAY
What's that?
(CONTINUED)
CONTINUED:
CAPTAIN SMITH
A message regarding ice
conditions, from the Baltic.
Ismay takes the message from Captain Smith, reads it, and
then folds it up and puts it in his jacket pocket.
CAPTAIN SMITH
(continuing)
I'm told you've been discussing
the operation of the ship with my
crew.
ISMAY
Yes, in reference to our speed.
Certainly within my prerogative as
Chairman. Things are working
smoothly, the machinery is bearing
the test, the boilers are working
well. We've power to spare. We
can beat Olympic's record and get
to New York on Tuesday!
CAPTAIN SMITH
I see absolutely no purpose in
arriving a day early.
ISMAY
I see no purpose in meandering,
keeping to a schedule devised for
inferior vessels.
CAPTAIN SMITH
There are basic safety procedures
nonetheless --
ISMAY
I want this ship to perform to
its full potential!
CAPTAIN SMITH
Well, in future, all aspects of her
operation must be discussed with me.
This may be my last crossing, but
I'm still Captain.
ISMAY
Of course; whatever.
DISSOLVE TO:
EXT. OCEAN - TITANIC - DAY
The ship is bathed with golden light from the morning sun,
still low in the sky. The sky is a crisp, cloudless blue.
SUPERIMPOSE: Sunday, April 14, 7 AM.
INT. BOILER ROOMS
Grizzled Engineering Chief JOSEPH BELL, (51), clutches a mug
of coffee and a clipboard, making his rounds. Andrews
accompanies him. They check on the equipment and monitor
and adjust the pressure in the boilers.
CHIEF BELL
She's a thoroughbred, Mr.
Andrews.
ANDREWS
An honor to hear you say so, my
friend.
Fireman Fred Barrett, just ending his shift, wipes his neck
with a wet rag and walks up to Bell.
FIREMAN BARRETT
Hey, Chief -- is there or ain't
there a boat drill this morning?
CHIEF BELL
If I know the Captain, we'll skip
it. Some fool scheduled the
drill for the same time as Sunday
service. Captain surely won't
miss sayin' devotions.
ISMAY (OS)
Chief Bell!
They turn as Ismay gingerly climbs down a metal ladder.
CHIEF BELL
(not pleased to see him)
Here, Mr. Chairman.
Ismay wipes his hands and nods to Andrews.
ISMAY
Thomas.
(to Bell)
Tell me, how many boilers are
currently lit?
CHIEF BELL
(after a beat)
Twenty-four of the twenty-nine
are in service.
(CONTINUED)
CONTINUED:
ISMAY
What is that... eighty percent?
CHIEF BELL
Eighty-four. The propellers are
at seventy-five revolutions per
minute.
ISMAY
And our speed?
CHIEF BELL
Twenty-one and a half knots.
ISMAY
Have the men light two additional
boilers.
CHIEF BELL
I got no orders from Captain --
ISMAY
-- You have my orders, Chief. I
want us at twenty-two and a half
knots by noon. Carry on.
INT. BRIDGE
Concerned, Bride comes in with a wireless.
BRIDE
Another ice warning...
Captain Smith, in his dress whites, hurries through. He
sees the wireless in Bride's hand.
CAPTAIN SMITH
Anything important?
BOXHALL
No sir, just an ice advisory.
Boxhall holds his hand out to take the wireless from Bride,
but Bride gives it instead to Captain Smith.
BRIDE
Sir, it's from the Caronia.
She's spotted pack ice, growlers
and bergs ahead...
Captain Smith smiles to Boxhall at Bride's eagerness and
anxiety.
(CONTINUED)
CONTINUED:
CAPTAIN SMITH
No need for undue concern, son.
Ice only poses a serious threat if
you cannot see it in enough time
to maneuver around it. Which is
hardly the case if conditions stay
as clear as they have been.
(hands wireless to Boxhall)
Post the coordinates. I'll be in
the First Class dining saloon,
conducting services.
Captain Smith leaves, as does Bride.
Boxhall marks the coordinates on the chart. There are now
four notations of ice warnings, all in one particular area
-- directly on the red line that indicates their course.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN:
EXT. TITANIC - DAY
She races through the water, faster than ever.
CAPTAIN SMITH (VO)
'...They that go down to the sea in
ships, that do business in great
waters...
INT. FIRST CLASS DINING ROOM
Many in First Class attend, including Suzanne and Ruth, and
Molly, Astor and Madeleine. They sit in chairs arranged in
rows. Captain Smith stands at a podium, conducting a Church
of England Service. His appearance and bearing would make
the Archbishop of Canterbury look undistinguished.
Alex pauses at the entrance of the room, then steps in. He
looks around, and his heart races as he spots Suzanne.
Suzanne opens her eyes. She can sense something...
She slowly turns around... their eyes meet...
CAPTAIN SMITH (VO)
'They cry unto the Lord in their
trouble, and he bringeth them out
of their distresses...
Suzanne puts her hand over her mouth to stifle a gasp.
Alex smiles at her... hesitantly... fearing her reaction.
Suzanne smiles back, the sweetest smile in the world, her
eyes glistening...
Ruth's eyes are closed, her lips moving along with Captain
Smith's words; she sees none of this.
But Astor has noticed Alex and Suzanne, and sees the
connection between them. He takes Madeleine's hand in his.
(CONTINUED)
CONTINUED:
CAPTAIN SMITH (VO)
(continuing)
He maketh the storm a calm, so
that the waves thereof are
still... Amen.
ALL
Amen.
The orchestra begins to play "O God Our Help in Ages Past."
People stand and shuffle out onto the Promenade. Suzanne
pushes through the crowd, craning to find Alex, but he has
disappeared from sight.
EXT. FIRST CLASS PROMENADE
Right behind Andrews, a Crewman unlocks a gate to let
Stewardess Sloan up onto the First Class Deck.
ANDREWS
Below for Father Byles' Mass?
SLOAN
Wouldn't miss it for the world.
ANDREWS
You're lucky.
(smiles; sotto)
I had to stay up top with the
Tories and Protestants.
NEW ANGLE
Suzanne looks frantically around for Alex -- was it a dream?
ALEX (OS)
Sweetheart...
Beaming, she turns as he comes up behind her. Breathless,
grinning, Alex looks her over, taking her in.
ALEX
(continuing)
You're lookin' so beautiful.
SUZANNE
You're not too hard on the eyes
yourself.
ALEX
Suzanne... I been out of my head
from missin' you.
(CONTINUED)
CONTINUED:
SUZANNE
Oh, Alex, I know... I can't
believe you're here. I've never
had a prayer answered before.
Her ardor is immediately chilled as Ruth strolls up.
SUZANNE
(continuing)
Hello, Mother.
Ruth looks Alex over. He tries to be nonchalant, but he
tugs at his sleeve in case his frayed cuff is showing. Ruth
looks to Suzanne for an introduction and Suzanne realizes
Ruth has no idea who Alex is.
SUZANNE
(continuing)
This is Mister --
ALEX
-- Mister, uh... why don't you
just call me Bob.
Alex and Suzanne glance at one other -- not much chance for
a heart-to-heart with Ruth standing there examining him.
After a long beat:
ALEX
(continuing)
Well. I see where Suzanne gets
her fine looks.
(beat)
That's an old line, I guess.
RUTH
One of the oldest.
ALEX
Wasn't meant to be flip.
RUTH
My vanity wouldn't allow me to
think it was.
(beat; to Suzanne)
We're supposed to meet the
Thayers in the Cafe.
SUZANNE
(to Alex)
I would certainly enjoy talking
with you again... This afternoon?
Alex glances at the crowd heading down toward the Cafe.
(CONTINUED)
CONTINUED: (2)
ALEX
Great. Any time.
(beat)
Better hurry, if you want to
stake your claim to a table...
Ruth looks at Suzanne. The suddenly seasick expression on
Suzanne's face tells Alex he's busted.
RUTH
You and the Thayers go on ahead
and 'stake your claim.' I'll
catch up. Excuse us.
SUZANNE
Mother, listen to me --
RUTH
-- I asked you to excuse us.
CUTAWAY
Astor's dog Kitty strains against her leash, dragging
Steward Etches toward Astor and Madeleine. Madeleine
crouches down to pet her, but Astor watches Ruth leading
Alex by the arm across deck.
RUTH AND ALEX
slowly walk together.
RUTH
Barbering must be quite lucrative
these days, to allow First-Class
passage on a luxury steamer.
ALEX
Actually, I'm not a barber. My
father and grandfather are. I
haven't got that far in life yet.
RUTH
But you do have pretensions
toward being a gentleman -- I can
tell by that fine suit of
clothes. Well, it isn't clothes
that make the man, it's respect
for a lady's wishes.
ALEX
If they're Suzanne's wishes.
RUTH
Suzanne is a child.
(CONTINUED)
CONTINUED:
ALEX
Not hardly, Ma'am.
All that this response implies cracks Ruth's polite facade,
and for a moment genuine anger crosses her face. She spots
a Crewman nearby and gestures to him.
RUTH
Please escort this person out of
First Class.
WIDER
Before the Crewman can oblige, Astor steps between them.
ASTOR
The gentleman is with me.
Ruth is stunned. She just gapes as Astor leads Alex away.
Suzanne, watching from the entrance to the Dining Room, has
the same reaction. She and Madeleine catch each other's eye.
Madeleine shrugs -- she has no idea what Astor is up to.
Astor and Alex cross back toward Madeleine and Kitty, which
brings them past Suzanne.
ALEX
(to Suzanne)
Sorry if I --
SUZANNE
(shoots a look at Ruth)
-- You're not the one needing to
apologize. Meet me here, eight
o'clock; Mother will be at dinner.
FOLLOW ALEX AND ASTORS
as they take Kitty for a stroll around the promenade.
ASTOR
(glances back at Ruth)
Now there's a novelty. Mrs. Ruth
Evans is speechless.
MADELEINE
Jack...
ALEX
Guess I should say thanks.
(CONTINUED)
CONTINUED:
ASTOR
The pleasure is entirely mine.
We never made our introductions
the other day. I'm Jack Astor,
this is my wife, Madeleine.
ALEX
Alex O'Connor... So, you're Mr.
Astor...
He looks at Madeleine, trying not to appear fascinated by
meeting the famed newlyweds.
MADELEINE
And the notorious Mrs. Astor.
(off his embarrassed
look)
Don't worry -- I've gotten quite
accustomed to Jack's remarriage
being the most infamous since
Henry the Eighth's.
ASTOR
Infamous? I rather like that.
Alex glances back, worried about Suzanne.
SUZANNE
pushes past Ruth, without a word, and heads below.
ALEX
turns back to the Astors.
ALEX
Our situation, mine and Suzanne's,
Guess you see what the problem
is... Am I foolin' myself?
ASTOR
Only if you don't understand
there's a cost for what you want.
And the price will be a dear one.
ALEX
I don't care about that.
ASTOR
You have less to lose than she
does. Have you considered that
perhaps the kindest thing is to
let her go?
(CONTINUED)
CONTINUED:
ALEX
(bristles)
Excuse me for sayin' so, but you
didn't exactly take that advice.
ASTOR
I was too selfish and weak to give
Madeleine up. And I, too, had
nothing to lose, because she's all
that means anything to me.
There'll be constant pressure from
those who don't want you together.
ALEX
My whole life's been people
tellin' me what I can't do.
ASTOR
And do you listen?
ALEX
Never had the good sense to.
Astor smiles, as does Alex, and they continue walking
together.
INT. GUGGENHEIM'S STATEROOM - LATER THAT DAY
Guggenheim comes in, slamming the door, and throws some
papers on his desk.
MME. AUBERT (OS)
Ben?
Guggenheim follows her voice into the bathroom, where she's
soaking in the tub.
GUGGENHEIM
The blasted wireless is broken!
MME. AUBERT
It's Sunday and you're at sea.
Who could you possibly need to
contact? Your wife, perhaps?
GUGGENHEIM
I wouldn't spoil her weekend.
MME. AUBERT
It must be business. I will
maintain a womanly disinterest in
the subject.
He sighs and sits on the edge of the tub.
(CONTINUED)
CONTINUED:
GUGGENHEIM
Six months ago I became majority
stockholder in the International
Steam Pump Company. Good firm.
Made the lifts for the Eiffel Tower.
Seemed a sterling investment.
MME. AUBERT
Seemed?
GUGGENHEIM
I borrowed heavily to get in.
Now there's a consortium trying
to fold my company into a
competing trust. Best way to do
that is to drive the stock price
down so the company's worth
peanuts. My peanuts.
MME. AUBERT
The nuances escape me...
GUGGENHEIM
They do it and I'm broke, kid.
MME. AUBERT
(stands)
Hand me a towel, please.
(he does)
So why should you care about the
broken Marconi machine? It sounds
as though you've already given up.
She pushes past him and goes into the bedroom. Guggenheim
sits staring at the bath water...
INT. / EXT. TITANIC - VARIOUS ANGLES - DAY
First Class passengers seek refuge from the chilly decks as
the day becomes increasingly colder. The warm dining rooms
and lounges are soothed by the sound of polite conversation,
clinking tea cups and wine glasses.
In the Smoking Room, an oil painting, "Plymouth Harbor,"
hangs over the large marble fireplace, overlooking a
bustling, convivial atmosphere where whist, bridge and poker
games are in full swing.
Below, in Third Class, the Goodwin family stands together on
the otherwise-deserted well deck, bundled up in their warm
clothes, enjoying the view of the late afternoon sun across
the endless ocean.
INT. FIRST CLASS DINING ROOM - NIGHT
Hartley's orchestra is playing a cheerful ragtime number.
Everyone is particularly happy, and full of life... except
for Guggenheim. He sits at a table for one, lost in thought.
NEW ANGLE
Captain Smith sits with Ruth, the Strauses; rich boys
Woolner and Steffanson; and the Wideners.
RUTH
...Eugene responded to my wireless
this afternoon; he's bursting with
envy that I'm here and he's not. Of
course, I'd tried not to let on how
I miss him terribly, but he saw
through that ridiculous ruse.
(to Captain Smith)
If you happen to be in New York in
June, we'd love to have you at our
wedding.
CAPTAIN SMITH
That would indeed be an honor.
But I'll be home, making up for
all the gardening I'd missed for
the last 40 years.
(off everyone's blank look)
Well, I certainly don't want to
make a big to-do of it, but this
will be my last crossing.
RUTH
You're retiring?!
MR. STRAUS
Someone should write your life's
story.
CAPTAIN SMITH
It would be a short book, I fear.
When anyone asks me to describe
my forty years at sea, I can only
say uneventful. Oh, there have
been winter gales, and storms and
fog, but I have never been in any
adventure worth speaking of, much
less recording for posterity.
RUTH
It is to your credit that crossing
the Atlantic is so effortless.
(CONTINUED)
CONTINUED:
CAPTAIN SMITH
When I first went to sea, traveling
by ship was likened to being in
jail with the possibility of
drowning. But now...
He looks around proudly. Then, after a moment, he stands.
CAPTAIN SMITH
(continuing)
If you'll excuse me...
RUTH
Certainly. Duty calls. For
another three days, at least.
CAPTAIN SMITH
(mostly to himself)
Yes. Only three more days.
INT. WIRELESS ROOM
Phillips sits working the key. He stops, listens carefully,
then starts writing down what he hears.
PHILLIPS
I got the Mesaba... she's
reporting heavy pack ice ahead...
large bergs... field ice.
BRIDE
(sighs)
I'll run it to the Bridge.
PHILLIPS
Not now -- let's clear through
some of this backlog first.
Phillips tosses the Mesaba wire into the jammed OUT box.
INT. BRIDGE
Captain Smith crosses to Lightoller, who is buttoning his
jacket.
SUPERIMPOSE: 9:25 PM.
CAPTAIN SMITH
Remarkably cold tonight.
LIGHTOLLER
Yes, it is. I've sent word down
to the carpenter to take care
-more-
(CONTINUED)
CONTINUED:
LIGHTOLLER (Cont'd)
with the fresh water supply.
It'll be below freezing during
the night.
CAPTAIN SMITH
Not much wind.
LIGHTOLLER
A flat calm. In twenty-four years,
I've never seen so calm a sea.
CAPTAIN SMITH
(sotto; to himself)
'Low, low, breathe and blow,
Wind of the western sea.
Over the rolling waters go,
Come from the dying moon, and
blow...'
LIGHTOLLER
Sir?
CAPTAIN SMITH
On my word, I haven't thought of
that verse since I was a cabin
boy.
(beat)
I'm going to rest below. Keep
sharp. Should it become the
slightest bit hazy, we'll need to
slow down.
LIGHTOLLER
Yes, sir.
Lightoller salutes as Captain Smith leaves the Bridge.
INT. RUTH'S AND SUZANNE'S STATEROOM
The door opens, and Suzanne l