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Niki Wurster Visit our Movie Scripts Page screenplay 451: http://www.geocities.com/~screenplay451/ Mao Guangqin 5 7 2000-01-23T13:27:00Z 2000-01-24T14:23:00Z 4 34888 198862 Pumpkin Software 1657 397 244216 9.2504 75 7.8 磅 0 0
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:
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.
S'cuse
me, I have to go check our supply of Depends.
CUT
TO:
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.
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:
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.
FLASHCUT of a man's hand, holding a conte crayon deftly
creating a shoulder and the shape of her hair with two efficient lines.
THE WOMAN'S
FACE IN THE DRAWING
Dancing under the water.
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.
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.
(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.
Are
you ready to go back to Titanic?
CUT
TO:
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.
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.
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.
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
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".
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.
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.
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.
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:
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 FOREGROUND 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.
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.
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.
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.
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.
(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.
