Deck Poop Deck Day Jack And Fabrizio example essay topic

... ly 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 claim ent 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 Ross, Snoop Dog and DUNCAN. BODINE Live from 12,000 feet. ROSE stares raptly at the screens.

She is enthralled 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 SKR !! (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 Well in 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 mini recorder 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 FLORIO US REVEAL as the gleaming white superstructure of Titanic rises mountainous ly 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. Southampton, England, April 10, 1912. It is almost non 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 horse drawn 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 BUK ATER, who descends from the touring car being him.

Ruth is a 40 ish 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. NANI EL 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, sweet pea. 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 fish head. I can't believe you bet our tickets.

SVEN (subtitled) You lost our money. I'm just trying to get it back. Now shut up 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 counties. This has been going on for a while.

Sitting on top of the money are two 3 RD 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. Olaf, you " ve got squat. Sven, uh oh... two pair... (turns to his friend) Sorry Fabrizio.

FABRIZIO What sorry? What you got? You lose my money?? Ma va fa'n cult testa di -- 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 go in' to America!!

Full house boys! FABRIZIO Porca Madonna!! YEE ! 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 rid in' in high style now! We " re practically goddamned royalty, ragazzi mio!!

FABRIZIO You see? Is my!! Like I told you. I go to l'America!! To be a millionaire!! (MORE) FABRIZIO (CONT'D) (to pub keeper) Capi to??

I go to America!! PUBKEEPER No, mate. Titanic go to America. In five minutes. JACK Shit!!

Come on, Fabric! (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... 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, Fabrizio 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 figures 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. OLA US 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 hand truck. 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, Will 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'case 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 straight shooter 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 set piece... 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 sun sparkles. 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 ant like. 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 be in' 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 sett in' the rules their way.

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