Here's chapter two of my story! Thank you for the kind reviews so far, I was very surprised to get them so shortly after posting the first chapter! :)
- 87GN: I've never really thought about using the old movie as a basis to show the events to be honest. It's a nice idea though. Unfortunately, I have already finished the first couple of chapters. I know that the 1997 movie is not 100% historically correct, but since I'm using the characters of this film, I've decided that - here - things happened the way Cameron displayed them. Luckily, it's only fiction, so we don't have to be historically correct. ;)
- Queenoffangirls18: Thanks a lot! Here's to hoping I can meet your expectations. :)
- Magic Maryse: My thoughts exactly when I started writing this piece of fiction. Love the idea of a survivor re-telling the story from their point of view.
That said, I'd like to add a few things:
I use the 1997 movie script in my story which I found online on a website. Everything taken from the script will be marked in old letters, I only corrected small typos that I could find and worked on the layout a little bit so it'll be easier to read. I did not edit the script so it would fit 100% with the movie!
Disclaimer: I do not own the movie or the characters in it, they sadly belong to James Cameron. My OCs are mine though. ;)
Enjoy!
1 BLACKNESS
Then two faint lights appear, close together... growing brighter. They resolve into two DEEP SUBMERSIBLES, free-falling toward us like express elevators.
One is ahead of the other, and passes close enough to FILL FRAME, looking like a spacecraft blazing with lights, bristling with insectile manipulators.
TILTING DOWN to follow it as it descends away into the limitless blackness below. Soon they are fireflies, then stars. Then gone.
CUT TO:
2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP
PUSHING IN on one of the falling submersibles, called MIR ONE, right up to its circular viewport to see the occupants.
INSIDE, it is a cramped seven-foot sphere, crammed with equipment. ANATOLY MIKAILAVICH, the sub's pilot, sits hunched over his controls... singing softly in Russian.
Next to him on one side is BROCK LOVETT. He's in his late forties, deeply tanned, and likes to wear his Nomex suit unzipped to show the gold from famous shipwrecks covering his gray chest hair. He is a wily, fast-talking treasure hunter, a salvage superstar who is part historian, part adventurer and part vacuum cleaner salesman. Right now, he is propped against the CO2 scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-body named LEWIS BODINE, he is also asleep. Lewis is an R.O.V. (REMOTELY OPERATED VEHICLE) pilot and is the resident Titanic expert.
Anatoly glances at the bottom sonar and makes a ballast adjustment.
CUT TO:
3 EXT. THE BOTTOM OF THE SEA
A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR ONE enters FRAME and drops to the seafloor in a downblast from its thrusters. It hits bottom after its two-hour free-fall with a loud BONK.
CUT TO:
4 INT. MIR ONE
Lovett and Bodine jerk awake at the landing.
ANATOLY(heavy Russian accent): We are here.
EXT. / INT. MIR ONE AND TWO
5 MINUTES LATER: THE TWO SUBS skim over the seafloor to the sound of side scan sonar and the THRUM of big thrusters.
6 The featureless gray clay of the bottom unrolls in the lights of the subs. Bodine is watching the side scan sonar display, where the outline of a huge pointed object is visible. Anatoly lies prone, driving the sub, his face pressed to the center port.
BODINE: Come left a little. She's right in front of us, eighteen meters. Fifteen. Thirteen... you should see it.
ANATOLY: Do you see it? I don't see it... there!
Out of the darkness, like a ghostly apparition, the bow of the ship appears. Its knife-edge prow is coming straight at us, seeming to plow the bottom sediment like ocean waves. It towers above the seafloor, standing just as it landed 84 years ago.
THE TITANIC. Or what is left of her. Mir One goes up and over the bow railing, intact except for an overgrowth of "rusticles" draping it like mutated Spanish moss.
"Is that…?" Mr. Ismay asked in disbelief.
"The Titanic, yes," Sam replied.
"Impossible!" he exclaimed. "This ship is unsinkable! God himself couldn't sink her!"
"She's made of iron, Mr. Ismay," Cat said absentmindedly, her eyes fixed on the screen. "She can."
TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face fills the BLACK AND WHITE FRAME.
LOVETT: It still gets me every time.
The image pans to the front viewport, looking over Anatoly's shoulder, to the bow railing visible in the lights beyond. Anatoly turns.
ANATOLY: Is just your guilt because of estealing from the dead.
CUT WIDER, to show that Brock is operating the camera himself, turning it in his hand so it points at his own face.
LOVETT: Thanks, Tolya. Work with me, here.
Brock resumes his serious, pensive gaze out the front port, with the camera aimed at himself at arm's length.
LOVETT: It still gets me every time... to see the sad ruin of the great ship sitting here, where she landed at 2:30 in the morning, April 15, 1912, after her long fall from the world above.
"April 15?" Murdoch asked. "That's in less than a day, Sir!"
Captain Smith nodded. He was reluctant to believe the story these four young people had so bluntly thrown at them. Yet, there she was, the wreck of the Titanic looming eerily in the darkness of the ocean.
"How?" Was all he asked but Cat shook her head.
"You will have to be patient, Captain Smith," she said. "You're all going to benefit from seeing this though. I promise that you'll get your answers soon."
She just hoped that Ruth would also truly see how unhappy her daughter was. It was still a long way until they'd reach the significant scenes in the movie, so they all had to be patient.
Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watches
the sonar.
BODINE: You are so full of shit, boss.
7 Mir Two drives aft down the starboard side, past the huge anchor while Mir One passes over the seemingly endless forecastle deck, with its massive anchor chains still laid out in two neat rows, its bronze windlass caps gleaming. The 22 foot long subs are like white bugs next to the enormous wreck.
LOVETT (V.O.): Dive nine. Here we are again on the deck of Titanic... two and a half miles down. The pressure is three tons per square inch, enough to crush us like a freight train going over an ant if our hull fails. These windows are nine inches thick and if they go, it's sayonara in two microseconds.
"The ship is still surprisingly well intact," Matt said, watching the underwater footage. "I mean, for having been down there for a hundred years."
8 Mir Two lands on the boat deck, next to the ruins of the Officer's Quarters. Mir One lands on the roof of the deck house nearby.
LOVETT: Right. Let's go to work.
"What exactly are these men trying to achieve?" Ruth asked in her ever-so disapproving voice. "Stealing whatever treasures are left?"
"Not entirely," Rosalie replied with a knowing smile. "He's looking for something in particular, a diamond called the Heart of the Ocean. Cameron's main aim was to tell the story of the people who lost their lives when the ship sank and those who survived."
"Couldn't have put it in finer words, Rosie," Matt said with a grin.
Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick controls of the ROV.
9 OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP DOG, lifts from its cradle and flies forward.
BODINE (V.O.): Walkin' the dog.
"What does he mean by that?" Rose asked.
She seemed to have relaxed somewhat since there was now some distance between her and Cal.
"He's referring to the robot," Cat explained. "He'll be using him to take a look around the deck. The subs are too big to go in, so they had to use smaller machines to get to the cabins."
Rose nodded.
SNOOP DOG drives itself away from the sub, paying out its umbilical behind it like a robot yo-yo. Its twin stereo-video cameras swivel like insect eyes. The ROV descends through an open shaft that once was the beautiful First Class Grand Staircase.
Snoop Dog goes down several decks, then moves laterally into the First Class Reception Room.
SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of the ornate hand carved woodwork which gave the ship its elegance move through the floodlights, the lines blurred by slow dissolution and descending rusticle formations. Stalactites of rust hang down so that at times it looks like a natural grotto, then the scene shifts and the lines of a ghostly undersea mansion can be seen again.
"Unbelievable," Mr. Andrews mutters. "Hardly recognizable anymore."
MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence:
10 A grand piano in amazingly good shape, crashed on its side against a wall. The keys gleam black and white in the lights.
11 A chandelier, still hanging from the ceiling by its wire... glinting as Snoop moves around it.
12 Its lights play across the floor, revealing a champagne bottle, then some WHITE STAR LINE china... a woman's high-top "granny shoe". Then something eerie: what looks like a child's skull resolves into the porcelain head of a doll.
Next to Cat, Rose gasps at the sight.
"They didn't even pack their belongings?" she whispered.
"They didn't have time to," Cat replied with a sad look in her eyes. "And there was not nearly enough space in the life boats."
Rose turned to look at her.
"The life boats," she said slowly as realization hit her. "There aren't nearly enough life boats for everyone onboard… My god… How- how many-?"
"A little over 1500," Rosalie said. "Most of them steerage passengers."
Rose glanced worriedly at Jack, a gesture that didn't go unnoticed by her mother.
"Rose!", she hissed. "Do you not remember what I have told you?"
Roe turned to her mother and regarded her with a cold stare. "Have you no heart, mother? Over half of the people onboard died!"
"Not, the better half," came Cal's bittersweet reply that rattled Cat to the bone. "Money always wins, sweetpea. You'd be wise to remember that when I marry you."
Snoop enters a corridor which is much better preserved. Here and there a door still hangs on its rusted hinges. An ornate piece of molding, a wall sconce... hint at the grandeur of the past.
13 THE ROV turns and goes through a black doorway, entering room B-52, the sitting room of a "promenade suite", one of the most luxurious staterooms on Titanic.
BODINE: I'm in the sitting room. Heading for bedroom B-54.
LOVETT: Stay off the floor. Don't stir it up like you did yesterday.
BODINE: I'm tryin' boss.
Glinting in the lights are the brass fixtures of the near-perfectly preserved fireplace. An albino Galathea crab crawls over it. Nearby are the remains of a divan and a writing desk. The Dog crosses the ruins of the once elegant room toward another DOOR. It squeezes through the doorframe, scraping rust and wood chunks loose on both sides. It moves out of a cloud of rust and keeps on going.
BODINE: I'm crossing the bedroom.
The remains of a pillared canopy bed. Broken chairs, a dresser. Through the collapsed wall of the bathroom, the porcelain commode and bathtub took almost new, gleaming in the dark.
LOVETT: Okay, I want to see what's under that wardrobe door.
SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and starts moving debris aside. A lamp is lifted, its ceramic colors as bright as they were in 1912.
LOVETT: Easy, Lewis. Take it slow.
Lewis grips a wardrobe door, lying at an angle in a corner, and pulls it with Snoop's gripper. It moves reluctantly in a cloud of silt. Under it is a dark object. The silt clears and Snoop's cameras show them what was under the door...
BODINE: Ooohh daddy-oh, are you seein' what I'm seein'?
CLOSE ON LOVETT, watching his monitors. By his expression it is like he is seeing the Holy Grail.
LOVETT: Oh baby baby baby. (grabs the mike) It's payday, boys.
ON THE SCREEN, in the glare of the lights, is the object of their quest: a small STEEL COMBINATION SAFE.
"That's my safe," Cal says matter-of-factly. "If he really is after the diamond, he won't find in there."
"And why is that, Mr. Hockley?", Murdoch asked.
"I'd never leave a possession of this value locked away in a safe to go down with the ship, Mr. Murdoch" he replied with a smug smile.
CUT TO:
14 EXT. STERN OF DECK OF KEDYSH - DAY
THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of a ship by a winch cable.
We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowd has gathered, including most of the crew of KELDYSH, the sub crews, and a hand-wringing money guy named BOBBY BUELL who represents the limited partners. There is also a documentary video crew, hired by Lovett to cover his moment of glory.
Everyone crowds around the safe. In the background Mir Two is being lowered into its cradle on deck by a massive hydraulic arm. Mir One is already recovered with Lewis Bodine following Brock Lovett as he bounds over to the safe like a kid on Christmas morning.
BODINE: Who's the best? Say it.
LOVETT: You are, Lewis. (to the video crew) You rolling?
CAMERAMAN: Rolling.
Brock nods to his technicians, and they set about drilling the safe's hinges. During this operation, Brock amps the suspense, working the lens to fill the time.
LOVETT: Well, here it is, the moment of truth. Here's where we find out if the time, the sweat, the money spent to charter this ship and these subs, to come out here to the middle of the North Atlantic... were worth it. If what we think is in that same... is in that safe... it will be.
Lovett grins wolfishly in anticipation of his greatest find yet. The door is pried loose. It clangs onto the deck. Lovett moves closer, peering into the safe's wet interior. A long moment then... his face says it all.
LOVETT: Shit.
"See? I could have told the fool of a man that his search would be in vain," Cal said smugly, leaning back on the sofa.
BODINE: You know, boss, this happened to Geraldo and his career never recovered.
LOVETT (to the video cameraman): Get that outta my face.
CUT TO:
15 INT. LAB DECK, PRESERVATION ROOM - DAY
Technicians are carefully removing some papers from the safe and placing them in a tray of water to separate them safely. Nearby, other artifacts from the stateroom are being washed and preserved.
Buell is on the satellite phone with the INVESTORS. Lovett is yelling at the video crew.
LOVETT: You send out what I tell you when I tell you. I'm signing your paychecks, not 60 minutes. Now get set up for the uplink.
Buell covers the phone and turns to Lovett.
BUELL: The partners want to know how it's going?
LOVETT: How it's going? It's going like a first date in prison, whattaya think?!
Lovett grabs the phone from Buell and goes instantly smooth.
LOVETT: Hi, Dave? Barry? Look, it wasn't in the safe... no, look, don't worry about it, there're still plenty of places it could be... in the floor debris in the suite, in the mother's room, in the purser's safe on C deck... (seeing something) Hang on a second.
A tech coaxes some letters in the water tray to one side with a tong... revealing a pencil (conte crayon) drawing of a woman.
There was an audible gasp from everyone in the room as they recognize who the woman is.
"Rose!", Ruth exclaims, her eyes wide with shock as she looks at the nude drawing of her daughter. "Where- when-? Have you no decency at all?"
"I don't know how that drawing came to be in my safe, Rose," Cal said, a dangerous glint in his dark eyes. "And I can only guess who its artist is, but now that I know that the ship is going to sink, maybe we should keep it. What do you think, sweetpea? After all, it'll be worth a lot more after such a tragic event."
Rose stared at him, too shocked and disgusted to even think of a worthy reply. How could her mother not see the monster Caledon Hockley truly was? Was she so blinded by money and power not to realize how unhappy her daughter was?
Brock looks closely at the drawing, which is in excellent shape, though its edges have partially disintegrated. The woman is beautiful, and beautifully rendered. In her late teens or early twenties, she is nude, though posed with a kind of casual modesty. She is on an Empire divan, in a pool of light that seems to radiate outward from her eyes. Scrawled in the lower right corner is the date: April 14 1912. And the initials JD.
Cat's gaze flickered over to where Molly Brown sat in her arm chair. The woman hadn't said a word so far, merely observing the scene unfolding before her eyes. Right now, the knowing smile on her friendly face told Cat that the woman took in more of her surrounding than others gave her credit for.
She caught Cat's gaze and winked at her. Returning the gesture, Catherine smiled back and turned her head back to the TV screen.
The girl is not entirely nude. At her throat is a diamond necklace with one large stone hanging in the center.
Lovett grabs a reference photo from the clutter on the lab table. It is a period black-and-white photo of a diamond necklace on a black velvet seller's display stand. He holds it next to the drawing. It is clearly the same piece... a complex setting with a massive central stone which is almost heart-shaped.
LOVETT: I'll be God damned.
CUT TO:
16 INSERT
A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh,
intercut with the CNN studio.
ANNOUNCER: Treasure hunter Brock Lovett is best known for finding Spanish gold in sunken galleons in the Caribbean. Now he is using deep submergence technology to work two and a half miles down at another famous wreck... the Titanic. He is with us live via satellite from a Russian research ship in the middle of the Atlantic... hello Brock?
LOVETT: Yes, hi, Tracy. You know, Titanic is not just a shipwreck, Titanic is THE shipwreck. It's the Mount Everest of shipwrecks.
CUT TO:
17 INT. HOUSE / CERAMICS STUDIO
PULL BACK from the screen, showing the CNN report playing on a TV set in the living room of a small rustic house. It is full of ceramics, figurines, folk art, the walls crammed with drawings and paintings... things collected over a lifetime.
PANNING to show a glassed-in studio attached to the house. Outside it is a quiet morning in Ojai, California. In the studio, amid incredible clutter, an ANCIENT WOMAN is throwing a pot on a potter's wheel. The liquid red clay covers her hands... hands that are gnarled and age-spotted, but still surprisingly strong and supple. A woman in her early forties assists her.
LOVETT (V.O.): I've planned this expedition for three years, and we're out here recovering some amazing things... things that will have enormous historical and educational value.
CNN REPORTER (V.O.): But it's no secret that education is not your main purpose. You're a treasure hunter. So what is the treasure you're hunting?
LOVETT (V.O.): I'd rather show you than tell you, and we think we're very close to doing just that.
The old woman's name is ROSE CALVERT. Her face is a wrinkled mass, her body shapeless and shrunken under a one-piece African-print dress.
But her eyes are just as bright and alive as those of a young girl.
Rose gets up and walks into the living room, wiping pottery clay from her hands with a rag. A Pomeranian dog gets up and comes in with her.
The younger woman, LIZZY CALVERT, rushes to help her.
ROSE: Turn that up please, dear.
REPORTER (V.O.): Your expedition is at the center of a storm of controversy over salvage rights and even ethics. Many are calling you a grave robber.
TIGHT ON THE SCREEN.
LOVETT: Nobody called the recovery of the artifacts from King Tut's tomb grave robbing. I have museum-trained experts here, making sure this stuff is preserved and catalogued properly. Look at this drawing, which was found
today...
The video camera pans off Brock to the drawing, in a tray of water. The image of the woman with the necklace FILLS FRAME.
LOVETT: ...a piece of paper that's been underwater for 84 years... and my team are able to preserve it intact. Should this have remained unseen at the bottom of the ocean for eternity, when we can see it and enjoy it now...?
ROSE is galvanized by this image. Her mouth hangs open in amazement.
ROSE: I'll be God damned.
Ruth looked at the old woman on the screen. An actress, she told herself, yet the eyes were a spitting image of her daughter's.
"Do people in your time usually speak in such a crude and vulgar manner, Miss Graham?", she asked coolly, turning to face the dark-haired girl whose green eyes looked over to meet hers.
"If the occasion calls for it, yes," Catherine replied.
"I see," she retorted with a snort.
Clearly, the world's manners and traditions had lowered in their standards. She would see to it that Rose's behavior would remain intact and that of a proper lady. God knew, the girl had taken a turn for the worst ever since boarding that ship in Belfast. Despite having been in an arranged marriage herself, Ruth simply couldn't understand her daughter's demise. They'd have everything their hearts desired; money, the finest clothes and jewelry, elegant parties and all the luxury they could wish for.
As women, they'd always have to make sacrifices. The world was a hard and unforgiving place and all Ruth wanted was her daughter to live a life without having to worry about finances or food. Why did Rose have to be so selfish and stubborn not to see that?
CUT TO:
18 EXT. KELDYSH DECK - NIGHT
CUT TO KELDYSH. The Mir subs are being launched. Mir Two is already in the
water, and Lovett is getting ready to climb into Mir One when Bobby Buell
runs up to him.
BUELL: There's a satellite call for you.
LOVETT: Bobby, we're launching. See these submersibles here, going in the water? Take a message.
BUELL: No, trust me, you want to take this call.
CUT TO:
19 INT. LAB DECK / KELDYSH - NIGHT
Beull hands Lovett the phone, pushing down the blinking line. The call is from Rose and we see both ends of the conversation. She is in her kitchen with a mystified Lizzy.
LOVETT: This is Brock Lovett. What can I do for you, Mrs... ?
BUELL: Rose Calvert.
"Calvert?" Rose asks bewildered.
"See," Cal intervened happily. "I told you that this… movie is nothing but pure fiction, sweetpea."
"I can assure you, Mr. Hockley," Matt replied. "That this movie as real as you and me together in this living room."
"My dear man," Mr. Ismay decided to cut in. "Clearly, Miss Dewitt Bukater is to marry the fine Mr. Hockley here, as you have undoubtedly noticed. There is no – "
"Oh, I know, Mr. Ismay," Matt interrupted him. "But just because something is, doesn't mean it's going to stay that way."
"This is getting ridiculous!" Ismay exclaimed.
LOVETT: ... Mrs. Calvert?
ROSE: I was just wondering if you had found the "Heart of the Ocean" yet, Mr. Lovett.
Brock almost drops the phone. Bobby sees his shocked expression...
BUELL: I told you, you wanted to take this call.
LOVETT (to Rose): Alright. You have my attention, Rose. Can you tell me who the woman in the picture is?
ROSE: Oh yes. The woman in the picture is me.
Jack leaned back in his arm chair. None of the others had paid much attention to him which had given him the chance to observe them. He was more than relieved to see that the people who'd somehow brought them to wherever this place was had taken Rose away from the man who'd been trapping her in this blasted engagement she wanted no part of.
He had no reason to trust these strangers but something in Catherine Graham's eyes had told him that they were telling the truth. If this old woman they were seeing on the screen really was his Rose, even if she didn't carry his name, she must have survived whatever happened that fateful night in the middle of the North Atlantic. He didn't care whether he had made it or not, she was more important to him than anyone he'd ever met and the day he'd won the tickets to board Titanic had been the luckiest day in his life.
As before, I hope that you liked what I did here. Feel free to leave behind a review to tell me what your thoughts are!