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.
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
Laxus LOVETT. He's in his late forties, deeply tanned, and likes to wear his Nomex suit unzipped to show the gold from famous shipwrecks covering his gray chest hair. He is a wiley, fast-talking treasure hunter, a salvage superstar who is part historian, part adventurer and part vacuum cleaner salesman. Right now, he is propped against the CO2 scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-body named Nab Bodine , sho is also asleep. Lewis is an R.O.V. (REMOTELY OPERATED VEHICLE) pilot and is the resident Titanic expert.
Anatoly glances at the bottom sonar and makes a ballast adjustment.
CUT TO:
3 EXT. THE BOTTOM OF THE SEA
A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIR ONE enters FRAME and drops to the seafloor in a downblast from its thrusters. It hits bottom after its two hour free-fall with a loud BONK.
MIR ONE
Lovett and Bodine jerk awake at the landing.
ANATOLY
(heavy Russian accent)
We are here.
EXT. / INT. MIR ONE AND TWO
5 MINUTES LATER: THE TWO SUBS skim over the seafloor to the sound of sidescan sonar and the THRUM of big thrusters.
6 The featureless gray clay of the bottom unrols in the lights of the subs. Bodine is watching the sidescan sonar display, where the outline of a huge pointed object is visible. Anatoly lies prone, driving the sub, his face pressed to the center port.
NAB
Come left a little. She's right in front of us, eighteen meters. Fifteen. Thirteen... you should see it.
ANATOLY
Do you see it? I don't see it... there!
Out of the darkness, like a ghostly apparition, the bow of the ship appears. Its knife-edge prow is coming straight at us, seeming to plow the bottom sediment like ocean waves. It towers above the seafloor, standing just as it landed 84 years ago.
THE TITANIC. Or what is left of her. Mir One goes up and over the bow railing, intact except for an overgrowth of "rusticles" draping it like mutated Spanish moss.
TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's face fills the BLACK AND WHITE FRAME.
LAXUS
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 Laxus is operating the camera himself, turning it in his hand so it points at his own face.
LAXUS
Thanks, Tolya. Work with me, here.
Laxus resumes his serious, pensive gaze out the front port, with the camera aimed at himself at arm's length.
LAXUS
It still gets me every time... to see the sad ruin of the great ship sitting here, where she landed at 2:30 in the morning, April 15, 1912, after her long fall from the world above.
Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watches the sonar.
NAB
You are so full of shit, boss.
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.
LAXUS
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 micLucyconds.
Two lands on the boat deck, next to the ruins of the Officer's Quarters. Mir One lands on the roof of the deck hous nearby.
LAXUS
Right. Let's go to work.
Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick controls of the ROV.
OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOP DOG, lifts from its cradle and flies forward.
NAB
Walkin' the dog.
SNOOP DOG drives itself away from the sub, paying out its umbilical behind it like a robot yo-yo. Its twin stereo-video cameras swivel like insect eyes. The ROV descends through an open shaft that once was the beautiful First Class Grand Staircase.
Snoop Dog goes down several decks, then moves laterally into the First Class Reception Room.
SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of the ornate handcarved woodwork which gave the ship its elegance move through the floodlights, the lines blurred by slow dissolution and descending rusticle formations. Stalactites of rust hang down so that at times it looks like a natural grotto, then the scene shifts and the lines of a ghostly undersea mansion can be seen again.
MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence:
A grand piano in amazingly good shape, crashed on its side against a wall. The keys gleam black and white in the lights.
A chandelier, still hanging from the ceiling by its wire... glinting as Snoop moves around it.Its lights play across the floor, revealing a champagne bottle, then some WHITE STAR LINE china... a woman's high-top "granny shoe". Then something eerie: what looks like a child's skull resolves into the porcelain head of a doll.
Snoop enters a corridor which is much better preserved. Here and there a door still hangs on its rusted hinges. An ornate piece of molding, a wall sconce... hint at the grandeur of the past.
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.
NAB
I'm in the sitting room. Heading for bedroom B-54.
LAXUS
Stay off the floor. Don't stir it up like you did yesterday.
NAB
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.
NAB
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.
LAXUS
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.
NAB
Easy, Nab. Take it slow.
Nab 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...
NAB
Ooohh daddy-oh, are you seein' what I'm seein'?
CLOSE ON Laxus , watching his moniteors. By his expression it is like he is seeing the Holy Grail.
LAXUS
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.
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 WARREN 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 Nab Bodine following Laxus Lovett as he bounds over to the safe like a kid on Christman morning.
NAB
Who's the best? Say it.
LAXUS
You are, NAB.
(to the video crew)
You rolling?
CAMERAMAN
Rolling.
LAXUS nods to his technicians, and they set about drilling the safe's hinges. During this operation, Laxus amps the suspense, working the lens to fill the time.
LAXUS
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.
Laxus 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.
LAXUS
Shit.
NAB
You know, boss, this happened to Geraldo and his career never recovered.
LAXUS
(to the video cameraman)
Get that outta my face.
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. Laxus is yelling at the video crew.
LAXUS
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.
Warren covers the phone and turns to Lovett.
WARREN
The partners want to know how it's going?
LAXUS
How it's going? It's going like a first date in prison, whattaya think?!
LAXUS grabs the phone from Warren and goes instantly smooth.
LAXUS
Hi, NAB ? Warren? 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.
LAXUS looks closely at the drawing, which is in excellent shape, though its edges have partially disintegrated. The woman is beautiful, and beautifully rendered. In her late teens or early twenties, she is nude, though posed with a kind of casual modesty. She is on an Empire divan, in a pool of light that seems to radiate outward from her eyes. Scrawled in the lower right corner is the date: April 14 1912. And the initials JD.
The girl is not entirely nude. At her throat is a diamond necklace with one large stone hanging in the center.
Laxus grabs a reference photo from the clutter on the lab table. It is a period black-and-white photo of a diamond necklace on a black velvet jeller's display stand. He holds it next to the drawing. It is clearly the same piece... a complex setting with a massive central stone which is almost heart-shaped.
LAXUS
I'll be God damned.
A CNN NEWS STORY: a live satellite feed from the deck of the Keldysh, intercut with the CNN studio.
ANNOUNCER
Treasure hunter LAXUS 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 Laxus?
LAXUS
Yes, hi, Tracy. You know, Titanic is not just A shipwrick, Titanic is THE shipwreck. It's the Mount Everest of shipwrecks.
HOUSE OF 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.
LAXUS (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?
LAXUS (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 LUCY 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.
Lucy gets up and walks into the living room, wiping pottery clay from her hands with a rag. A Pomeranian dog gets up and comes in with her.
The younger soman, Lyra Eucliffe Calvert, rushes to help her.
LUCY
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.
LAXUS
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 Laxus to the drawing, in a tray of water. The image of the woman with the necklace FILLS FRAME.
LAXUS
...a piece of paper that's been underwater for 84 years... and my team are able to preserve it intanct. Should this have remained unseen at the bottom of the ocean for eternity, when we can see it and enjoy it now...?
LUCY is galvanized by this image. Her mouth hangs open in amazement.
LUCY
I'll be God damned.
FAIRYTAIL KELDYSH DECK - NIGHT
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 Warren runs up to him.
WARREN
There's a satellite call for you.
LAXUS
Bobby, we're launching. See these submersibles here, going in the water? Take a message.
WARREN
No, trust me, you want to take this call.
LAB DECK / KELDYSH - NIGHT
Warren hands Laxus the phone, pushing down the blinking line. The call is from Lucy and we see both ends of the conversation. She is in her kitchen with a mystified Li.
LAXUS
This is Laxus Lovett. What can I do for you, Mrs... ?
WARREN
Lucy Eucliffe Calvert.
LAXUS
... Mrs. Eucliffe Calvert?
LUCY
I was just wondering if you had found the "Heart of the Ocean" yet, Mr. Laxus.
Laxus almost drops the phone. Nab sees his shocked expression...
WARREN
I told you you wanted to take this call.
LAXUS
(to Lucy)
Alright. You have my attention, Lucy. Can you tell me who the woman in the picture is?
LUCY
Oh yes. The woman in the picture is me.
OCEAN - DAY
SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the ocean. PAN 180 degrees as it roars past. There is no land at either horizon. The Keldysh is visible in the distance.
CLOSE ON A WINDOW of the monster helicopter. Lucy's face is visible, looking out calmly.
KELDYSH - DAY
Laxus and Nab are watching Mir 2 being sweng over the side to start a dive.
NAB
She's a goddamned liar! A nutcase. Like that... what's her name? That Anastasia babe.
WARREN
They're inbound.
Laxus nods and the three of them head forward to meet the approaching helo.
Nab
She says she's Lucy HeartWitt Bukater, right? Lucy HeartWitt Bukater died on the Titanic. At the age of 17. If she'd've lived, she'd be over a hundred now.
LAXUS
A hundred and one next month.
NAB
Okay, so she's a very old goddamned liar. I traced her as far back as the 20's... she was working as an actress in L.A. An actress. Her name was Lucy Leoson. Then she married a guy named Sting Eucliffe Calvert, moved to Cedar Rapids, had two kids. Now Eucliffe Calvert's dead, and from what I've heard Cedar Rapids is dead.
The Sea Stallion approaches the ship, BG, forcing Brock to yell over the rotors.
LAXUS
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?
KELDYSH HELIPAD
IN A THUNDERING DOWNBLAST the helicopter's wheels bounce down on the helipad.
Laxus, Warren and Nab watch as the HELICOPTER CREW CHIEF hands out about ten suitcases, and then Lucy is lowered to the deck in a wheelchair by Keldysh crewmen. Lyra , 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. Lucy 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.
NAB
Excuse me, I have to go check our supply of Depends.
LUCY'S STATEROOM / KELDYSH - DAY
Lyra is unpacking Lucy's things in the small utilitarian room. Lucy is placing a number of FRAMED PHOTOS on the bureau, arranging them carefully next to the fishbowl. Laxus and Nab are in the doorway.
LAXUS
Is your stateroom alright?
LUCY
Yes. Very nice. Have you met my granddaughter, Lyra? She takes care of me.
Lyra
Yes. We met just a few minutes ago, grandma. Remember, up on deck?
LUCY
Oh, yes.
Laxus glances at Nab... oh oh. Nab rolls his eyes. Lucy finishes arranging her photographs. We get a general glimpse of them: the usual snapshots... children and grandchildren, her late husband.
LUCY
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.
LAXUS
Would you like anything?
LUCY
I should like to see my drawing.
LAB DECK, PRESERVATION AREA
Lucy 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 Lucy's ancient eyes, gazing at the drawing.
She gets a FLASHCUT of a man's beautiful hazel green eyes and fine 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.
A FLASHCUT of a man's beautiful green eyes, just visible over the top of a sketching pad. They look up suddenly right into the LENS. Soft eyes, but fearlessly direct.
Lucy smiles, remembering. Laxus has the reference photo of the necklace in his hand.
LAXUS
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.
LUCY
It was a dreadful, heavy thing.
(she points at the drawing)
I only wore it this once.
LYRA
You actually believe this is you, grandma?
LUCY
It is me, dear. Wasn't I a hot number?
LAXUS
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?
LUCY
Someone named Fullbuster Hockley, I should imagine.
LAXUS
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his son Gray 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 Lyra)
See the date?
LYRA
April 14, 1912.
LAXUS
If your grandma is who she says she is, she was wearing the diamond the day Titanic sank.
LAXUS
(to LUCY)
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.
LUCY
I don't want your money, Mr. Laxus. I know how hard it is for people who care greatly for money to give some away.
NAB
(skeptical)
You don't want anything?
LUCY
(indicating the drawing)
You may give me this, if anything I tell you is of value.
LAXUS
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. Lucy, 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.
LUCY
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.
LUCY
The reflection has changed a bit.
She spies something else, a silver and moonstone art-nouveau brooch.
LUCY
My mother's brooch. She wanted to go back for it. Caused quite a fuss.
Lucy 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 Lucy is experiencing a rush of images and emotions that have lain dormant for eight decades as she handles the butterfly comb.
LAXUS
Are you ready to go back to Titanic?
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.
NAB
Live from 12,000 feet.
Lucy stares raptly at the screens. She is enthraled by one in particular, an image of the bow railing. It obviously means something to her. Laxus 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.
Lyra turns the chair so lucy can see the screen of Nab computer. As he is calling up the file, he keeps talking.
NAB
We've put together the world's largest database on the Titanic. Okay, here...
LAXUS
LUCY
might not want to see this, NAB.
LUCY
No, no. It's fine. I'm curious.
Nab starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels his rapid-fire narration.
NAB
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
NAB
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. Lucy watches this clinical dissection of the disaster without emotion.
LAXUS
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.
NAB
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?
LUCY
Thank you for that fine forensic analysis, Mr. NAB . Of course the experience of it was somewhat less clinical.
LAXUS
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. Lucy 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.
Lucy Looks at another monitor. SNOOP DOG moving down a rusted, debris-filled corridor. Lucy 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.
Lucy is shaken by the flood of memories and emotions. Her eyes well up and she puts her head down, sobbing quietly.
LYRA
(taking the wheelchair)
I'm taking her to rest.
LUCY
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.
LAXUS
Tell us, Lucy.
She looks from screen to screen, the images of the ruined ship.
LUCY
It's been 84 years...
LAXUS ( sighing )
Just tell us what you can--
LUCY
(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.
LUCY
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
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.
Magnolia, England, April 10, 1912. It is almost nnon on ailing day. A crowd of hundreds blackens the pier next to Titanic like ants on a jelly sandwich.
IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging from a loading crane. It is lowered toward HATCH .
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. Lucy . She looks up at the ship, taking it in with cool appraisal.
LUCY
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 GRAY FULLBUSTER HOCKLEY, the 30 year old heir to the elder Fullbuster Hockley's fortune. "Gray" is handsome, arrogant and rich beyond meaning.
GRAY
You can be blase about some things, Lucy, 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.
Gray turns and fives his hand to Lucy's mother, ERZA HEARTWITT BUKATER, who descends from the touring car being him. Erza is a 40ish society empress, from one of the most prominent Philadelphia families. She is a widow, and rules her household with iron will.
GRAY
Your daughter is much too hard to impress, Erza.
(indicating a puddle)
Mind your step.
ERZA
(gazing at the leviathan)
So this is the ship they say is unsinkable.
GRAY
It is unsinkable. God himself couldn't sink this ship.
Gray 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. GRAY's VALET, SPICER GAJEEL LOVEJOY, is a tall and impassive, dour as an undertaker. Behind him emerge TWO MAIDS, personal servants to Erza and Lucy .
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--
Gray nonchalantly hands the man a fiver. The porter's eyes dilate. Five pounds was a monster tip in those days.
GRAY
I put my faith in you, good sir.
(MORE)
GRAY
(curtly, indicating Gajeel Lovejoy)
See my man.
Jet
Yes, sir. My pleasure, sir.
Gray never tires of the effect of money on the unwashed masses.
GAJEEL 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.
Gray breezes on, leaving the minions to scramble. He quickly checks his pocket watch.
GRAY
We'd better hurry. This way, ladies.
He indicates the way toward the first class gangway. They move into the crowd. Mira BOLT, Lucy's maid, hustles behind them, laden with bags of her mistress's most recent purchases... things too delicate for the baggage handlers.
Gray 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. Max 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.
MAX
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.
Rex Marvin, without an acting fiber in her body, does a bad Clara Bow pantomime of awe, hands raised.
Gray is jostled by two yelling steerage boys who shove past him. And he is bumped again a second later by the boys' father.
GRAY
Steady!!
MAN
Sorry squire!
The Cockney father pushes on, after his kids, shouting.
GRAY
Steerage swine. Apparently missed his annual bath.
ERZA
Honestly, Gray , 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.
GRAY
All part of my charm, Erza. At any rate, it was my darling fiancee's beauty rituals which made us late.
LUCY
You told me to change.
GRAY
I couldn't let you wear black on sailing day, sweetpea. It's bad luck.
LUCY
I felt like black.
Gray 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.
GRAY
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.
Lucy looks up as the hull of Titanic looms over them...a great iron wall, Bible black and sever. Gray motions her forward, and she enters the gangway to the D Deck doors with a sense of overwhelming dread.
OLD LUCY (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 GRAY'S HAND IN SLOW-MOTION as it closes possessively over Lucy's arm. He escorts her up the gangway and the black hull of Titanic swallows them.
OLD LUCY(V.O.)
Outwardly I was everything a well brought up girl should be. Inside, I was screaming.
a SCREAMING BLAST from the mighty triple steam horns on Titanic's funnels, bellowing their departure warning.
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.
LOKE LEOSON and NATSU Por FIORE, both about 20, exchange a glance as the other two players argue in Swedish. LOKE is American, a lanky drifter with his orange blond 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.
JOY SVEN
You stupid fishhead. I can't believe you bet our tickets.
JOY SVEN
You lost our money. I'm just trying to get it back. Now shutup and take a card.
LOKE
(jaunty)
Hit me again, Joy .
Loke takes the card and slips it into his hand.
LOKE'S EYES MISS NOTHING. They betray nothing.
CLOSE ON Natsu licking his lips nervously as he refuses a card while having a fearful look .
ECU STACK in the middle of the table. Bills and coins from four counrties. This has been going on for a while. Sitting on top of the money are two 3RD CLASS TICKETS for RMS TITANIC.
The Titanic's whistle blows again. Final warning.
LOKE
The moment of truth boys. Somebody's life's about to change.
Natsu puts his cards down. So do the Swedes. Loke holds his close.
LOKE
Let's see... Natsu's got niente. Vijette, you've got squat. , uh oh... two pair... mmm.
(turns to his friend)
Sorry Natsu.
NATSU
What sorry? What you got? You lose my money?? Ma va fa'n culo testa di cazzo--
LOKE
Sorry, you're not gonna see your mama again for a long time...
He slaps a full house down on the table.
LOKE
(grinning)
'Cause you're goin' to America!! Full house boys!
NATSU
Porca Madonna!! YEEAAAAA!!!
The table explodes into shouting in several languages. Loke rakes in the money and the tickets.
LOKE
(to the Swedes)
Sorry boys. Three of a kind and a pair. I'm high and you're dry and...
(to Natsu)
... we're going to--
Both shouts in overjoy
L'AMERICA!!!
Vijette balls up one huge farmer's fist. We think he's going to clobber Loke, but he swings round and punches Joy Sven, who flops backward onto the floor and sits there, looking depressed. Vijette forgets about Loke and his friend Natsu , who are dancing around, hugging and goes into a rapid harangue of his stupid cousin.
Loke kisses the tickets, then jumps on Natsu's back and rides him around the pub. It's like they won the lottery.
LOKE
Goin' home... to the land o' the free and the home of the real hot-dogs! On the TITANIC!! We're ridin' in high style now! We're practically goddamned royalty, ragazzo mio!!
NATSU
You see? Is my destinio!! Like I told you. I go to l'America!! To be a millionaire!!
NATSU
(to pubkeeper)
Capito?? I go to America!!
PUBKEEPER
No, my friend. Titanic go to America. In five minutes.
LOKE
Shit!! Come on, Nats!
(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!
TERMINAL - TITANIC
Loke and his friend Natsu , 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 Loke comes to a 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.
Natsu runs and grabs onto Loke, and they sprint toward the third class gangway aft while screaming in happiness, 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.
LOKE
Wait!! We're passengers!
Flushed and panting, he waves the tickets.
TONO
Have you been through the inspection queue?
LOKE
(lying cheerfully)
Of course! Anyway, we don't have lice, we're Americans.
(glances at Natsu)
Both of us.
TONO
(testy)
Right, come aboard.
TONO has QUARTERMASTER Mikuni reattach the gangway. Loke and his friend Natsu come aboard. TONO glances at the tickets, then passes at them through to Mikuni . Mikuni looks at the names on the tickets to enter them in the passenger list.
MIKUNI
Gundersen. And...
(reading natsu's)
Gundersen.
He hands the tickets back, eyeing Natsu's Mediterranean looks suspiciously.
LOKE
(grabbing Natsu's arm)
Come on, Joy Sven.
Loke and his friend Natsu whoop with victory as they run down the white-painted corridero... grinning from ear to ear.
LOKE
We are the luckiest sons of bitches in the world!
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.
WELL DECK / POOP DECK - DAY
Loke AND his friend 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 Loke starts to yell and wave to the crowd on the dock.
NATSU
You know somebody?
LOKE
Of course not. That's not the point.
(to the crowd)
Goodbye! Goodbye!! I'll miss you!
Grinning, Natsu joins in, adding his voice to the swell of voices, feeling the exhilaration of the moment.
Natsu
Goodbye! I will never forget you!!
SOUTHAMPTON DOCK - DAY
The crowd of cheering well-wishers waves heartily as a black wall of metal moves past them. Impossibly tiny figues wave back from the ship's rails. Titanic gathers speed.
RIVER TEST - DAY
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.
THIRD CLASS BERTHING / G-DECK FORWARD - DAY
Loke and his friend Natsu 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. Taurus and Wong GUNDERSEN.
Loke throws his kit on one open bunk, while Natsu takes the other.
Wong
(in Swedish)
Where is Joy Sven?
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 Lucy. 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.
Gray is out on the covered deck, which has potted trees and vines on trellises, talking through the doorway to Lucy in the sitting room.
GRAY
Those mud puddles were certainly a waste of money.
LUCY
(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.
GRAY
(coming into the sitting room)
He'll never amount to a thing, trust me. At least they were cheap.
A porter wheels Gray's private safe (which we recognize) into the room on a handtruck.
GRAY
Put that in the wardrobe.
IN THE BEDROOM Lucy 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 Lucy's clothes.
MIRA
It smells so brand new. Like they built it all just for us. I mean... just to think that tonight, when I crawl between the sheets, Iill be the first--
Grey appears in the doorway of the bedroom.
GRAY
(looking at Lucy)
And when I crawl between the sheets tonight, I'll still be the first.
MIRA
(blushing at the innuendo)
S'cuse me, Miss.
She edges around Gray and makes a quick exit. Gray comes up behind Lucy and puts his hands on her shoulders. An act of possession, not intimacy.
GRAY
The first and only. Forever.
Lucy's expression shows how bleak a prospect this is for her, now. But she kisses Gray on the cheek while being rather uncomfortable.
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.
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 LUCY(V.O.)
At Cherbourg a woman came aboard named Aquarious Brown, but we all called her Aqua . History would call her the Unsinkable Aquarius Brown. Her husband had struck gold someplace out west, and she was what mother called "new money".
At 45 AQUARIUS BROWN is a tough talking straightshooter who dresses in the finery of her genteel peers but will never be one of them.
OLD LUCY (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...
BOW - DAY
The ship glows with the warm creamy light of late afternoon. Loke and his bud Natsu stand right at the bow gripping the curving railing so familiar from images of the wreck. Loke leans over, looking down fifty feet to where the prow cuts the surface like a knife, sending up two glassy sheets of water.
TITANIC - SERIES OF SCENES - DAY
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER WILLIAM MURDOCH.
CAPTAIN MAKAROV
Take her to sea Mister WAKABA. Let's stretch her legs.
WAKABA moves the engine telegraph lever to ALL AHEAD FULL.
a kind of musical/visual setpiece... an ode to the great ship. The music is rhythmic, surging forward, with a soaring melody that addresses the majesty and optimism of the ship of dreams.
IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".
CHIEF ENGINEER BELL
All ahead full!
On the catwall room , ROUGE 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.
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.
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 the ship sails .
The riven water flares higher at the bow as the ship's speeds builds. THE CAMERA SWEEPS UP the prow to find Loke , the wind streaming through his hair and--
Captain Makarov 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!
MAKAROV
She's got a bone in her teeth now, eh, Mr. Wakaba.
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.
AT THE BOW Loke and friend Natsu 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. Loke watches the dolphins swimming and grins. They breach, jumping clear of the water and then dive back, crisscrossing in front of the bow, dancing ahead of the juggernaut.
Natsu looks forward across the Atlantic, though his motion sickness began to hit him like he's about to faint but he somehow managed to keep staring into the sunsparkles.
NATSU
Look , I can see the Statue of Liberty already.
Very small... of course.
(grinning at Loke)
Loke agreed with him as if he also could see while starting ahead where sky meets the ocean .
Both pals enjoys the breeze as the ship start's to sail off. And that's when Loke lifts himself a little up on the rail while holding the strong wire of the ship to stand still , his hands spread out and then he roars like a Lion .
LOKE
I AM THE KING OF THE WORLD!
WOOOAAAH!!
Still roaring outloud
As around them, until they are framed against the sea.
Now as we pull back across the forecastle deck. Rising, as we continue back, and the ships rolls endlessly forward underneath. Over the bridge wing, along the boat deck until her funnels come INTO FRAME besides us and march past like the pillars of heaven, one by one. We pull back and up, until we are looking down the funnels, and the people strolling on the decks and standing at the rail become antlike.
And still we pull back until the great lady is seen whole in a gorgeous aerial portrait, black and severe in her majesty.
GILDARTS (V.O.)
She is the largest moving object ever made by the hand of man in all history...
PALM COURT RESTAURANT - DAY
CLOSE ON J. BRUCE GILDARTS, Managing Director of White Star Line.
GILDARTS
...and our master shipbuilder, Mr. Rouge here, designed her from the keel plates up.
He indicates a handsome 39 year old Irish gentlemen to his right, ROUGE ANDREWS, of Harland and Wolf Shipbuilders.
WIDER, showing the group assembled for lunch the next day. Gildarts seated with Gray, Lucy, Erza ,Aquarius Brown and Rouge Andrews in the Palm Court, a beautiful sunny spot enclosed by high arched windows.
ROUGE
(disliking the attention)
Well, I may have knocked her together, but the idea was Mr. Gildart'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.
AQUARIUS
Why're ships always bein' called "she"? Is it because men think half the women around have big sterns and should be weighed in tonnage?
(they all laugh)
Just another example of the men settin' the rules their way.
The waiter arrives to take orders. Lucy lights a cigarette.
ERZA
You know I don't like that, Lucy .
Lucy just smokes off to Erza .
GRAY
She knows.
Gray takes the cigarette from her and stubs it out.
GRAY
(to the waiter)
We'll both have the lamb. Rare, with a little mint sauce.
(to Lucy, after the waiter moves away)
You like lamb, don't you sweetpea?
Lucy just gave a forced smile to Gray.
Aquarius is watching the dynamic between Lucy, Gray and Erza .
AQUARIUS
So, you gonna cut her meat for her too there, Gray?
(turning to Gildarts)
Hey, who came up with the name Titanic? You, Bruce Gildarts?
GILDARTS
Yes, actually. I wanted to convey sheer size. And size means stability, luxury... and safety--
LUCY
Do you know of Dr. Freud? His ideas about the male preoccupation with size might be of particular interest to you, Mr. Gildarts
Rouge chokes on his breadstick, suppressing laughter.
ERZA
My God, Lucy, what's gotten into--
LUCY
Excuse me.
She stalks away.
ERZA
(mortified)
I do apologize.
AQUARIUS
She's a pistol, Gray. You sure you can handle her?
GRAY
(tense but feigning unconcern)
Well, I may have to start minding what she reads from now on.
POOP DECK / AFTER DECKS - DAY
Loke sits on a bench in the sun. Titanic's wake spreads out behind him to the horizon. He has his knees pulled up, supporting a leather bound sketching pad, his only valuable possession. With conte crayon he draws rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has his 5 to year old daughter Chelia standing on the lower rung of the rail. She is leaned back against his beer barrel of a stomach, watching the seagulls.
THE SKETCH captures them perfectly, with a great sense of the humanity of the moment. Loke is good. Really good. Natsu looks over Loke's shoulder. He nods appreciatively.
Scorpio Ryon , a scowling young Irish emigrant, watches as a crewmember comes by, walking three small dogs around the deck. One of them, a BLACK FRENCH BULLDOG, is among the ugliest creatures on the planet.
FREED
That's typical. First class dogs come down here to take a shit.
LOKE looks up from his sketch.
LOKE
That's so we know where we rank in the scheme of things.
FREED
Like we could forget.
Loke glances across the well deck. At the aft railing of B deck promenade stands Lucy, in a long yellow dress and white gloves.
CLOSE ON LOKE, unable to take his eyes off of her. They are across from each other, about 60 feet apart, with the well deck like a valley between them. She on her promontory, he on his much lower one. She stares down at the water.
He watches her unpin her elaborate hat and take it off. She looks at the frilly absurd thing, then tosses it over the rail. It sails far down to the water and is carried away, astern. A spot of yellow in the vast ocean. He is riveted by her. She looks like a figure in a romantic novel, sad and isolated.
Natsu taps Freed and they both look as Loke gazing at Lucy . Freed and Natsu grin at each other.
Lucy turns suddenly and looks right at Loke. He is caught staring, but he doesn't look away. She does, but then looks back. Their eyes meet across the space of the well deck, across the gulf between worlds.
Loke sees a man (Gray) come up behind her and take her arm. She jerks her arm away. They argue in pantomime. She storms away, and he goes after her, disappearing along the A-deck promenade. Loke stares after her.
FREED
Forget it, boyo. You'd as like have angels fly out o' yer arse as get next to the likes o' her.
FIRST CLASS DINING SALOON - NIGHT
SLOWLY PUSHING IN ON LUCY as she sits, flanked by people in heated conversation. Gray and Erza are laughing together, while on the other side LADY DUFF-GORDON is holding forth animatedly. We don't hear what they are saying. Lucy is staring at her plate, barely listening to the inconsequential babble around her.
OLD LUCY (V.O.)
I saw my whole life as if I'd already lived it... an endless parade of parties and cotillions, yachts and polo matches... always the same narrow people, the same mindless chatter. I felt like I was standing at a great precipice, with no one to pull me back, no one who cared... or even noticed.
ANGLE BENEATH TABLE showing Lucy's hand, holding a tiny fork from her crab salad. She pokes the crab-fork into the skin of her arm, harder and harder until it draws blood.
CORRIDOR / B DECK - NIGHT
LUCY walks along the corridor. A steward coming the other way greets her, and she nods with a slight smile. She is perfectly composed.
LUCY'S BEDROOM - NIGHT
She enters the room. Stands in the middle, staring at her reflection in the large vanity mirror. Just stands there, then--
LUCY
Mira
( In frustration)
Mira
Mira
Frustration was choking her as she was unable to get off her luxurious tight dress .With a primal, anguished cry she claws at her throat, ripping off her pearl necklace, which explodes across the room. In a frenzy she tears at herself, her clothes, her hair... then attacks the room. She flings everything off the dresser and it flies clattering against the wall. She hurls a handmirror against the vanity, cracking it.
She looks at her disheveled self, unable to lead a doll stay in house life , she runs off forward where her eye's can go .
DECK PROMENADE, AFT - NIGHT
Lucy runs along the B deck promenade. She is dishevelled, her hair flying. She is crying, her cheeks streaked with tears. But also angry, furious! Shaking with emotions she doesn't understand... hatred, self-hatred, desperation. A strolling couple watch her pass. Shocked at the emotional display in public.
POOP DECK - NIGHT
Loke is kicked back on one of the benches gazing at the stars , blazing gloriously overhead like he's watching the celestial heaven. Thinking like artist thoughts and smoking a cigarette.
Hearing something, he turns to see blond woman as she runs up the stairs from the well deck. They are the only two on the stern deck, except for QUARTERMASTER Mikuni, twenty feet above them on the docking bridge catwalk. She doesn't see Loke in the shadows, and runs right past him.
TRACKING WITH LUCY as she runs across the deserted fantail. Her breath hitches in an occasional sob, which she suppresses. Lucy slams against the base of the stern flagpole and clings there, panting. She stares out at the black water.
Then starts to climb over the railing. She has to hitch her long dress way up, and climbing is clumsy. Moving methodically she turns her body and gets her heels on the white-painted gunwale, her back to the railing, facing out toward blackness. 60 feet below her, the massive propellers are churning the atlantin into white foam, and a ghostly wake trails off toward the horizon.
IN A LOW ANGLE, she is standing like a figurehead in reverse. Below her are the huge letters of the name "TITANIC".
She leans out, her arms straightening... looking down hypnotized, into the vortex below her. Her dress and hair are lifted by the wind of the ship's movement. The only sound, above the rush of water below, is the flutter and snap of the big Union Loke right above her.
LOKE
Don't do it.
She whips her head around at the sound of his voice. It takes a second for her eyes to focus.An orange blond haired man shows a hand in gesture to stop her .
LUCY
Stay back! Don't come any closer!
Loke sees the tear tracks on her cheeks in the faint glow from the stern running lights.
LOKE
Take my hand. I'll pull you back in.
LUCY
No! Stay where you are. I mean it. I'll let go.
(Loke comes closer)
LOKE
No you won't.
LUCY
What do you mean no I won't? Don't presume to tell me what I will and will not do. You don't know me.
LOKE
You would have done it already. Now come on, take my hand.
Lucy is confused now. She can't see him very well through the tears, so she wipes them with one hand, almost losing her balance.
LUCY
You're distracting me. Go away.
LOKE
I can't. I'm involved now. If you let go I have to jump in after you.
LUCY
Don't be absurd. You'll be killed.
(He takes off his jacket.)
LOKE
I'm a good swimmer.
He starts unlacing his left shoe.
LUCY
The fall alone would kill you.
LOKE
It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more concerned about the water being so cold.
She looks down. The reality factor of what she is doing is sinking in.
LUCY
How cold?
LOKE
(taking off his left shoe)
Freezing. Maybe a couple degrees over.
He starts unlacing his right shoe.
LOKE
Ever been to Wisconsin?
LUCY
(perplexed)
What?
No.
LOKE
Well they have some of the coldest winters around, and I grew up there, near Chippewa Falls. Once when I was a kid me and my father were ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole in the--
LUCY
I know what ice fishing is!
LOKE
Sorry. Just... you look like kind of an indoor girl. Anyway, I went through some thin ice and I'm tellin' ya, water that cold... like that right down there... it hits you like a thousand knives all over your body. You can't breath, you can't think... least not about anything but the pain.
(takes off his other shoe)
Which is why I'm not looking forward to jumping in after you. But like I said, I don't see a choice. I guess I'm kinda hoping you'll come back over the rail and get me off the hook here.
LUCY
You're crazy.
LOKE
That's what everybody says. But with all due respect, I'm not the one hanging off the back of a ship.
He slides one step closer, like moving up on a spooked horse.
LOKE
Come on. You don't want to do this. Give me your hand.
Lucy stares at this concerned man for a long time. She looks at his eyes and they somehow suddenly seem to fill her universe.
LUCY
Alright.
She unfastens one hand from the rail and reaches it around toward him. He reaches out to take it, firmly.
LOKE
I'm Loke , Loke Leoson.
LUCY
(voice quavering)
LOKE
So, you got a name by the way?
LUCY
Lucy. Lucy HeartWitt Bukater.
LOKE
That's quite a moniker. I may hafta get you to write that down.
( Lucy and Loke laughs in relief)
LUCY
Pleased to meet you, Mr. Leoson.
Lucy starts to turn. Now that she has decided to live, the height is terrifying. She is overcome by vertigo as she shifts her footing, turning to face the ship. As she starts to climb, her dress gets in the way, and one foot slips off the edge of the deck.
She plunges, letting out a piercing SHRIEK. Loke, gripping her hand, is jerked toward the rail. Lucy barely grabs a lower rail with her free hand.
QUARTERMASTER MIKUNI, up on the docking bridge hears the scream and heads for the ladder.
LUCY
HELP! HELP!!
LOKE
I've got you. I won't let go.
Loke holds her hand with all his strength, bracing himself on the railing with his other hand. Lucy tries to get some kind of foothold on the smooth hull. Loke tries to lift her bodily over the railing. She can't get any footing in her dress and evening shoes, and she slips back. Lucy SCREAMS again.
Loke , awkwardly clutching Lucy by whatever he can get a grip on as she flails, gets her over the railing. They fall together onto the deck in a tangled heap, spinning in such a way that Loke winds up slightly on top of her.
Mikuni slides down the ladder from the docking bridge like it's a fire drill and sprints across the fantail.
MIKUNI
Here, what's all this?!
Mikuni runs up and pulls Loke off of Lucy, revealing her dishevelled and sobbing on the deck. Her dress is torn, and the hem is pushing up above her knees, showing one ripped stocking. He looks at Loke, the shaggy steerage man with his Lokeet off, and the first class lady clearly in distress, and starts drawing conclusions. Two seamen chug across the deck to join them.
MIKUNI
(to Loke )
Here you, stand back! Don't move an inch!
(to the seamen)
Fetch the Master at Arms.
POOP DECK - NIGHT
A few minutes later. Loke is being detained by the burly MASTER AT ARMS, the closest thing to a cop on board. He is handcuffing Loke. Gray is right in front of Lucy, and furious. He has obviously just rushed out here with Gajeel Lovejoy and another man, and none of them have coats over their black tie evening dress. The other man is COLONEL ARCHIBALD MACAO, a mustachioed blowhard who still has his brandy snifter. He offers it to Lucy , who is hunched over crying on a bench nearby, but she waves it away. Gray is more concerned with Loke . He grabs him by the lapels.
GRAY
What made you think you could put your hands on my fiancee?! Look at me, you filth! What did you think you were doing?!
LUCY
Gray ,stop! It was an accident.
GRAY
An accident?!
LUCY
It was... stupid really. I was leaning over and I slipped.
Lucy looks at Loke , getting eye contact.
LUCY
I was leaning way over, to see the... ah... propellers. And I slipped and I would have gone overboard... and Mr. Leoson here saved me and he almost went over himself.
GRAY
You wanted to see the propellers?
MACAO
(shaking his head)
Women and machinery do not mix.
MASTER AT ARMS
(to Loke)
Was that the way of it?
Lucy is begging him with her eyes not to say what really happened.
LOKE
Uh huh. That was pretty much it.
He looks at Lucy a moment longer. Now they have a secret together.
COLONEL MACAO
Well! The boy's a hero then. Good for you son, well done!
(to Gray )
So it's all's well and back to our brandy, eh?
Loke is uncuffed. Gray gets Lucy to her feet and moving.
GRAY
(rubbing her arms)
Let's get you in. You're freezing.
Gray is leaving without a second thought for Loke.
MACAO
(low)
Ah... perhaps a little something for the boy?
GRAY
Oh, right. Mr. Gajeel Lovejoy. A twenty should do it.
LUCY
Is that the going rate for saving the woman you love?
GRAY
LUCY is displeased. Mmm... what to do?
Gray turns back to Loke . He appraises him condescendingly... a steerage ruffian, unwashed and ill-mannered.
Gray
I know.
(to Loke)
Perhaps you could join us for dinner tomorrow, to regale our group with your heroic tale?
LOKE
(looking straight at LUCY)
Sure. Count me in.
GRAY
Good. Settled then.
GRAY turns to go, putting a protective arm around Lucy. he leans close to Macao as they walk away.
GRAY
This should be amusing.
LOKE
(as Gajeel Lovejoy passes)
Can I bum a cigarette?
Gajeel Lovejoy smoothly draws a silver cigarette case from his Lokeet and snaps it open. Loke takes a cigarette, then another, popping it behind his ear for later. Lovejoy lights Lokes's cigarette.
GAJEEL LOVEJOY
You'll want to tie those.
(Loke looks at his shoes)
GAJEEL LOVEJOY
Interesting that the young lady slipped so mighty all of a sudden and you still had time to take of your Lokeet and shoes. Mmmm?
Lovejoy's expression is bland, but the eyes are cold. He turns away to join his group.
LUCY 'S BEDROOM - NIGHT
As she undresses for bed Lucy sees Gray standing in her doorway, reflected in the cracked mirror of her vanity. He comes toward her.
GRAY
(unexpectedly tender)
I know you've been melancholy, and I don't pretent to know why.
From behind his back he hands her a large black velvet jewel case. She takes it, numbly.
GRAY
I intended to save this till the engagement gals next week. But I thought tonight, perhaps a reminder of my feeling for you...
Gray slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN" in all its glory. It is huge... a malevolent blue stone glittering with an infinity of scalpel-like inner reflections.
LUCY
My God... Gray. Is it a--
GRAY
Diamond. Yes it is. 56 carats.
He takes the necklace and during the following places it around her throat. He turns her to the mirror, staring behind her.
GRAY
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer, the--
LUCY
The Heart of the Ocean.
GRAY
How does it feel
LUCY
it's... it's overwhelming.
He gazes at the image of the two of them in the mirror.
GRAY
It's for royalty. And we are royalty.
His fingers caress her neck and throat. He seems himself to be disarmed by Lucy's elegance and beauty. His emotion is, for the first time, unguarded.
GRAY
There's nothing I couldn't give you. There's nothing I'd deny you if you would deny me. Open your heart to me, lucy.
Lucy gazes at the mirror . Closer and closer, during the following:
OLD LUCY (V.O.)
Of course his gift was only to reflect light back onto himself, to illuminate the greatness that was Gray Fullbuster Hockley. It was a cold stone... a heart of ice.
Finally, when lucys's eyes FILL FRAM, we MORPH SLOWLY to her eyes as the are now... transforming through 84 years of life...
Fairytail KELDYSH IMAGING SHACK
Without a cut the wrinkled, weathered landscape of age has appeared around her eyes. But the eyes themselves are the same.
OLD LUCY
After all these years, it felt closing around my throat like a dog collar.
She stares to them
LUCY
I can still feel its weight. If you could have felt it, not just seen it...
LAXUS
Well, that's the general idea, my dear.
NAB
So let me get this right. You were gonna kill yourself by jumping off the Titanic?
(he guffaws)
That's great!
LAXUS
(warningly)
Nab...
But Lucy laughs with Nab.
NAB
(still laughing)
All you had to do was wait two days!
Laxus, standing out of Lucy's sightline, checks his watch. Hours have passed. This process is taking too long.
LAXUS
Lucy, tell us more about the diamond. What did Gray Fullbuster Hockley do with it after that?
LUCY
Im afraid I'm feeling a little tired, Mr. Laxus.
Lyra picks up the cue and starts to wheel her out.
LAXUS
Wait! Can you give us something go on, here. Like who had access to the safe. What about this Gajeel Lovejoy guy? The valet. Did he have the combination?
LYRA
That's enough.
Lya takes her out. Lucy's old hand reapears at the doorway in a frail wave goodbye.
Flashback
LAUNCH AREA/KELDYSH DECK - DAY
As the big hydraulic jib swings one of the Mir subs out over the water. Laxus walks as he talks with Bobby Buell, the partners' rep. They weave among deck cranes, launch crew, sub maintenance guys.
WARREN
The partners are pissed.
LAXUS
Warren, buy me time. I need time.
WARREN
Laxus
Warren, buy me time. I need time.
WARREN
We're running thirty thousand a day, and we're six days over. I'm telling you what they're telling me. The hand is on the plug. It's starting to pull.
LAXUS
Well you tell the hand I need another two days! Warren, Warren Warren... we're close! I smell it. I smell ice. She had the diamond on... now we just have to find out where it wound up. I just gotta work her a bit more. Okay?
Laxus turns and sees Lyra standing behind him. She has overheard the past part of his dialogue with Buell. He goes to her and hustles her away from Buell, toward a quite spot on the deck.
LAXUS
Hey, Lyra. I need to talk to you for a second.
LYRA
Don't you mean work me?
LAXUS
Look, I'm running out of time. I need your help.
LYRA
I'm not going to help you browbeat my hundred and
(MORE)
LYRA(CONT'D)
one year old grandmother. I came down here to tell you to back off.
LAXUS
(with undisguised desperation)
Lyra... you gotta understand something. I've bet it all to find the Heart of the Ocean. I've got all my dough tied up in this thing. My wife even divorced me over this hunt. I need what's locked inside your grandma's memory.
(he holds out his hand)
You see this? Right here?
She looks at his hand, palm up. Empty. Cupped, as if around an imaginary shape.
LYRA
What?
LAXUS
That's the shape my hand's gonna be when I hold that thing. You understand? I'm not leaving here without it.
LYRA
Look, Laxus, she's going to do this her way, in her own time. Don't forget, she contacted you. She's out here for her own reasons, God knows what they are.
Laxus LOVETT
Maybe she wants to make peace with the past.
LYRA
What past? She has never once, not once, ever said a word about being on the Titanic until two days ago.
Laxus LOVETT
Then we're all meeting your grandmother for the first time.
LYRA
(looks at him hard)
You think she was really there?
Laxus LOVETT
Oh, yeah. Yeah, I'm a believer. She was there.
IMAGING SHACK
Warren starts the tape recorder. Lucy is gazing at the screen seeing THE LIVE FEED FROM THE WRECK--SNOOP DOG is moving along the starboard side of the hull, heading aft. The rectangular windows of A deck (forward) march past on the right.
LUCY
The next day, Saturday, I remember thinking how the sunlight felt.
DISSOLVE
DECK TITANIC - DAY
MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912, passing the end of the enclosed promenade just as Lucy walks into the sunlight right in front of us. She is stunningly dressed and walking with purpose.
OLD LUCY (V.O.)
As if I hadn't felt the sun in years.
IT IS SATURDAY APRIL 13, 1912. Lucy unlatches the gate to go down into third class. The steerage men on the deck stop what they're doing and stare at her.
THIRD CLASS GENERAL ROOM
The social center of steerage life. It is stark by comparison to the opulence of first class, but is a loud, boisterous place. There are mothers with babies, kids running between the benches yelling in several languages and being scolded in several more. There are old women yelling, men playing chess, girls doing needlepoint and reading dime novels. There is even an upright piano and Freed Ryan is noodling around it.
Three boys, shrieking and shouting, are scrambling around chasing a rat under the benches, trying to whomp it with a shoe and causing general havoc. Loke is playing with 5 year old Chelia CARTMeLL, drawing funny faces together in his sketchbook.
Natsu is struggling to get a conversation going with an attractive Norwegian girl, Lisanna Dahl, sitting with her family at a table across the room.
NATSU
No Italian? Some little English?
LISANNA
No, no. Norwegian. Only.
Lisanna's eye is caught by something. Natsu does take a look and Loke, curious, follows their gaze to see...
Lucy, coming toward them. The activity in the room stops... a hush falls. Lucy feels suddenly self-conscious as the steerage passengers stare openly at this princess, some with resentment, others with awe. She spots lucy and gives a little smile, walking straight to him. He rises to meet her, smiling.
LUCY
Hello Loke .
Freed and Natsu are floored. From their perspective to Loke , Its like the slipper fitting Cinderella.
LOKE
Hello again.
LUCY
Could I speak to you in private?
LOKE
Uh, yes. Of course. After you.
He motions her ahead and follows. Lucy glances over his shoulder, one eyebrow raised, as he walks out with her leaving a stunned silence. The boys grin at them and passengers stare them
BOAT DECK - DAY
LOKE and LUCY walk side by side. They pass people reading and talking in steamer chairs, some of whom glance curiously at the mismatched couple. He feels out of place in his rough clothes. They are both awkward, for different reasons.
There is an awkward pause.
LUCY
Mr. Leoson, I--
LOKE and LUCY Stares at each other for a few seconds.
LOKE
Hmm
LUCY
Loke ... I feel like such an idiot. It took me all morning to get up the nerve to face you.
LOKR
Well, here you are.
LUCY
Here I am. I... I want to thank you for what you did. Not just for... for pulling me back. But for your discretion.
LOKE
You're welcome. Lucy.
LUCY
Look, I know what you must be thinking! Poor little rich girl. What does she know about misery?
LOKE
That's not what I was thinking. What I was thinking was... what could have happened to hurt this girl so much she though she had no way out.
LUCY
I don't... it wasn't just one thing. It was everything. It was them, it was their whole world. And I was trapped in it, like an insect in amber.
(in a rush)
I just had to get away... just run and run and run... and then I was at the back rail and there was no more ship... even the Titanic wasn't big enough. Not enough to get away from them. And before I'd really though about it, I was over the rail. I was so furious. I'll show them. They'll be sorry!
LOKE
Uh huh. They'll be sorry. 'Course you'll be dead.
LUCY
(she lowers her head)
Oh God, I am such an utter fool.
LOKE
That penguin guy last night, is he one of them?
LUCY
Penguin guy ? Oh, Gray ! He is one of them.
LOKE
Is he escorting you ?
LUCY
Worse I'm afraid.
She shows him her engagement ring. A sizable diamond.
LOKE
Gawd look at that thing! You would have gone straight to the bottom.
They laugh together. A passing elfman scowls at Loke, who is clearly not a first class passenger, but Lucy just glares at him away.
LOKE
So you feel like you're stuck on a train you can't get off 'cause you're marryin' this fella.
LUCY
Yes, exactly!
LOKE
So don't marry him.
LUCY
If only it were that simple.
LUCY
Oh, Loke... please don't judge me until you've seen my world.
LOKE
Well, I guess I will tonight.
LOKE
Do you love him(Gray)?
LUCY
I'm sorry .
LOKE
It is a simple question. Do you love the guy(Gray) or not?
LUCY
Ahh h
This is absurd .
You don't know me,I don't know you . And we're not supposed to have such conversation at all.
Your rude , pervert and artistic.
I've thanked you and thank you.
I'm leaving now
Lucy shakes her hand with Loke's and continues to shake his hand.
LOKE
Well you just appreciated and humiliated me
LOKE
I thought you were leaving
LUCY
I AM
Ohh
LUCY
Your so annoying
Loke just chuckles.
She passes from him little and the turns around while pointing at him.
LUCY
Oh why should I leave? You leave , this is first class deck.
LOKE
Oh ho ho, look who's rude now?
Lucy gasps and then snatches his sketch book
What's that thing you carry on?
Looking for another topic, any other topic, just to spend time with him , she indicates his sketchbook.
LUCY
What's this?
LOKE
Just some sketches.
LUCY
May I?
She studies one drawing in particular, the girl posed half in sunlight, half in shadow. Her hands lie at her chin, one furled and one open like a flower, languid and graceful. The drawing is like an Alfred Steiglitz print of Georgia O'Keefe.
LUCY
You liked this woman. You used her several times.
LOKE
She had beautiful hands.
LUCY
(smiling)
I think you must have had a love affair with her...
LOKE
(laughing)
No, no! Just with her hands.
LUCY
(looking up from the drawings)
LOKE
Oh and this a woman's half sketched body as she crippled and has one leg.
LUCY
Oh
LUCY
And this ?
She marvels at his sketch
LOKE
This is about an old widowed lady who wears her ragged silk dress with jewels on her , only to wait for her beloved to come back sooner . She waits everyday at the restaurant just to get a glimpse of him. So I sketched her strength and passion in my art book.
LUCY
( As she marvels on his sketch)
You have a gift, LOKE. You do. You see people.
LOKE
I see you.
There it is. That piercing gaze again.
LUCY
And...?
LOKE
You wouldn'ta jumped.
Lucy glances at Loke intensely for a moment
RECEPTION ROOM / D-DECK - DAY
Erza is having tea with NOEL Evergreen MARTHA DYER-EDWARDES, the COUNTESS OF ROTHES, a 35ish English blue-blood with patirician features. Erza sees someone coming across the room and lowers her voice.
ERZA
Oh no, that vulgar Aqua woman is coming this way. Get up, quickly before she sits with us.
Aquarius Brown walks up, greeting them cheerfully as they are rising.
AQUARIUS
Hello girls, I was hoping I'd catch you at tea.
ERZA
We're awfully sorry you missed it. The Countess and I are just off to take the air on the boat deck.
AQUARIUS
That sounds great. Let's go. I need to catch up on the gossip.
Erza grits her teeth as the three of them head for the Grand Staircase to go up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to Bruce Gildarts and Captain Makarov at another table.
GILDARTS
So you've not lit the last four boilers then?
No, but we're making excellent time.
GILDARTS
(impatiently)
Captain, the press knows the size of Titanic, let them marvel at her speed too. We must give them something new to print. And the maiden voyage of Titnaic must make headlines!
MAKAROV
I prefer not to push the engines until they've been properly run in.
GILDARTS
Of course I leave it to your good offices to decide what's best, but what a glorious end to your last crossing if we get into New York Tuesday night and surprise them all.
(Gildarts slaps his hand on the table)
Retire with a bang, eh, E.J?
A beat. Then Makarov nods, stiffy.
A DECK PROMENADE - DAY
Lucy and Loke stroll after, past people lounging on deck chairs in the slanting late-afternoon light. Stewards scurry to serve tea or hot cocoa.
Lucy
(girlish and excited)
You know, my dream has always been to just chuck it all and become an artist... living in a garret, poor but free!
LOKE
(laughing)
You wouldn't last two days. There's no hot water, and hardly ever any caviar.
LUCY
(angry in a flash)
Listen, mister... I hate caviar! And I'm tired of people dismissing my dreams telling me what dreams I should and shouldn't have .
(with a chuckle and a pat on the head.)
LOKE
I'm sorry. Really... I am.
LUCY
Well, alright
LUCY
I'm not a girl to dress up and sit around. You see this hands are made for work
A waiter comes along the way
WAITER
Would you like a cup of tea ma'am
LUCY
Noo
Loke laughs off the situation
LUCY
There's something in me, Loke . I feel it. I don't know what it is, whether I should be an artist, or, I don't know... a dancer. Like Isadora Duncan... a wild pagan spirit...
She leaps forward, lands deftly and whirls like a dervish. Then she sees something ahead and her face lights up.
LOKE
...or a moving picture actress!
She takes his hand and runs, pulling him along the deck toward--
DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as she poses stiffly at the rail.
MARVIN
You're sad. Sad, sad, sad. You've left your lover on the shore. You may never see him agian. Try to be sadder, darling.
SUDDENLY Lucy shoots into the shot and strikes a theatrical pose at the rail next to Mary. Mary bursts out laughing. Lucy pulls loke into the picture and makes him pose.
Marvin grins and starts yelling and gesturing. seeing this in CUTS, with music and no dialogue.
Lucy posing tragically at the rail, the back of her hand to her forehead.
Loke on a deck chair, pretending to be a Pasha, the two girls pantomiming fanning him like slave girls.
Loke, on his knees, pleading with his hands clasped while Lucy, standing, turns her head in bored disdain.
Lucy cranking the camera, while Daniel Reedus and Loke have a western shoot-out. Lucy wins and leers into the lens, twirling an air mustache like Snidely Whiplash.
A DECK PROMENADE / AFT - SUNSET
Painted with orange light, Loke and Lucy lean on the A-deck rail aft, shoulder to shoulder. The ship's lights come on.
It is a magical moment... perfect.
LUCY
So then what, Mr. Wandering Loke?
LUCY
Well, then logging got to be too much like work, so I went down to Los Angelas to the pier in Santa Monica. That's a swell place, they even have a rollercoaster. I sketched portraits there for ten cents a piece.
LOKE
A whole ten cents?!
LUCY
(not getting it)
Yeah; it was great money... I could make a dollar a day, sometimes. But only in summer. When it got cold, I decided to go to Paris and see what the real artists were doing.
LOKE
(looks at the dusk sky)
Why can't I be like you Loke? Just head out for the horizon whenever I feel like it.
(turning to him)
LOKE
Say we'll go there, sometime... to that pier... even if we only ever just talk about it.
LUCY
Teach me how to ride like a man.
LOKE
And chew tobacco like a man
LUCY
And spit like a man
LOKE
Alright, we're going. We'll drink cheap beer and go on the rollercoaster until we throw up and we'll ride horses on the beach... right in the surf... but you have to ride like a cowboy, none of that side-saddle stuff.
LUCY
You mean one leg on each side? Scandalous! Can you show me?
LOKE
Sure. If you like.
LUCY
(smiling at him)
I think I would.
(she looks at the horizon)
And teach me to spit too. Like a man. Why should only men be able to spit. It's unfair.
LOKE
They didn't teach you that in finishing school? Here, it's easy. Watch closely.
He spits. It arcs out over the water.
LOKE
Your turn.
Lucy screws up her mouth and spits. A pathetic little bit of foamy spittle which mostly runs down her chin before falling off into the water.
LOKE
Nope, that was pitiful. Here, like this... you hawk it down... HHHNNNK!... then roll it on your tongue, up to the front, like thith, then a big breath and PLOOOW!! You see the range on that thing?
She goes through the steps. Hawks it down, etc. He coaches her through it (ad lib) while doing the steps himself. She lets fly. So does he. Two comets of gob fly out over the water.
LOKE
That was great!
Lucy turns to him, her face alight. Suddenly she blanches. He sees her expression and turns.
ERZA , the Countess of Rothes,Kagura and Aquarius Brown have been watching them hawking lugees. Lucy becomes instantly composed.
LUCY
Mother, may I introduce
Loke Leoson.
Erza
Charmed, I'm sure.
Loke has a little spit running down his chin. He doesn't know it. Aquarius Brown is grinning. As Lucy proceeds with the introductions, we hear...
OLD LUCY (V.O.)
The others were gracious and curious about the man who'd saved my life. But my mother looked at him like an insect. A dangerous insect which must be squashed quickly.
AQUARIUS
Well, Loke, it sounds like you're a good man to have around in a sticky spot--
They all jump as a BUGLER sounds the meal call right behind them.
AQUARIUS
Why do they insist on always announcing dinner like a damn cavalry charge?
LUCY
Shall we go dress, mother?
(over her shoulder)
See you at dinner, Loke.
ERZA
(as they walk away)
Lucy, look at you... out in the sun with no hat. Honestly!
The Countess exits with Erza and lucy , leaving Loke and Aquarious behind on deck.
AQUARIUS
Son, do you have the slightest comprehension of what you're doing?
LOKE
Not really.
AQUARIUS
Well, you're about to go into the snakepit. I hope you're ready. What are you planning to wear?
She looks down at his clothes. Back up at her words , He hadn't thought about that.
AQUARIUS
I e on boy .
AQUARIUS BROWN'S STATEROOM
Men's suits and Lokeets and formal wear are strewn all over the place. Aquarius is having a fine time. Loke is dressed, except for his Lokeet, and Aquarius is tying his bow tie.
AQUARIUS
Don't feel bad about it. My husband still can't tie one of these damn things after 20 years. There you go.
She picks up a Lokeet off the bed and hands it to him. Loke goes into the bathroom to put it on. Aquarius starts picking up the stuff off the bed.
AQUARIUS
I gotta buy everything in three sizes 'cause I never know how much he's been eating while I'm away.
She turns and sees him, though we don't.
AQUARIUS
My, my, my... you shine up like a new penny.
BOAT DECK / FIRST CLAsS ENTRANCE - DUSK
A purple sky, shot with orange, in the west. Drifting strains of classic music. We TRACK WITH Loke along the deck. By Edwardian standards he looks badass. Dashing in his borrowed white-tie outfit, right down to his pearl studs.
Elfman bows and smartly opens the door to the First Class Entrance.
ELFMAN
Good evening, sir.
Loke plays the role smoothly. Nods with just the right degree of disdain.
UPPER LANDING / GRAND STAIRCASE AND A-DECK
Loke steps in and his breath is taken away by the splendor spread out before him. Overhead is the enormous glass dome, with a crystal chandelier at its center. Sweeping down six stories is the First Class Grand Staircase, the epitome of the opulent naval architecture of the time.
And the people: the women in their floor length dresses, elaborate hairstyles and abundant jewelry... the gentlemen in evening dress, standing with one hand at the small of the back, talking quietly.
Loke descends to A deck. Several men nod a perfunctory greeting. He nods back, keeping it simple. He feels like a spy.
Gray comes down the stairs, with on Erza his arm, covered in jewelry. They both walk right past Loke , neither one recognizing him. Gray nods at him, one gent to another. But Loke barely has time to be amused. Because just behind Gray and Erza on the stairs is Lucy, a vision in red and black with glitters like star's all over her dress , her low-cut dress showing off her neck and shoulders, her arms seathed in white gloves that come well above above the elbow. Loke is hypnotized by her beauty.
CLOSE ON LUCY as she approaches LOKE. He imitates the gentlemen's stance, hand behind his back. She extends her gloved hand and he takes it, kissing the back of her fingers. Lucy flushes, beaming noticeably. She can't take her eyes off him.
LOKE
I saw that in a nickelodean once, and I always wanted to do it.
LUCY
(Laugh's in awe while looking at LOKE)
She put her arm around the gentleman but flirty Loke whos trying to act in a proud face only to make her laugh.
LUCY
Gray, surely you remember Mr. Leoson.
GRAY
(caught off guard)
Oh
Leoson! I didn't recognize you.
(studies him)
Amazing! You could almost pass for a gentlemen.
LOKE
Almost
GRAY
How Amazing
D-DECK RECEPTION ROOM
CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They encounter Aqurious Brown, looking good in a beaded dress, in her own busty broad-shouldered way.
AQUARIUS
Care to escort a lady for dinner
LOKE
YES ma'am
Aquarius grins when she sees Loke. As they are going into the dining saloon she walks next to him, speaking low:
AQUARIUS
Ain't nothin' to it, is there, Loke?
LOKE
Yeah, you just dress like a pallbearer and keep your nose up.
AQUARIUS
Remember, the only thing, they love money, so just act like you've got a lot of it and you're in the club.
As they enter the swirling throng, Lucy leans close to him, pointing out several notables.
LUCY
There's the Countess Cans. And that's John Jacob Simon... the richest man on the ship. His little wifey there,Madeline Milianna, is my age and in a delicate condition. See how she's trying to hide it. Quite the scandal.
(nodding toward a couple)
And over there, that's Sir Cosmo Myst and Ultear , the Lady Duff-Gordon. She designs naughty lingerie, among her many talents. Very popular with the royals.
Gray becomes engrossed in a conversations with Cosmo Sabor, Ultear Duff-Gordon and Colonel Macao , while Erza , the Countess Evergreen and Cana discuss fashion. Lucy picots Loke smoothly, to show him another couple, dressed impeccably.
LUCY
And that's Benjamin Bacchus Guggenheim and his mistress, Madame Minerva Aubert. Mrs. Guggenheim is at home with the children, of course.
Gray meanwhile, is accepting the praise of his male counterparts, who are looking at Lucy like a prize show horse.
SIR COSMO Sabor
Congratulations Gray , she is splendid.
GRAY
Well Thank you.
MACAO
Gray's a lucky man. I know him well, and it can only be luck.
Erza steps over, hearing the last. She takes Gray's arm, somewhat coquettishly.
ERZA
How can you say that Colonel? Caledon Gray Fullbuster Hockley is a great catch.
The entourage strolls toward the dining saloon, where they run into the Astor's going through the ornate double doors.
LUCY
J.J.Simon, Madeleine Milliana, I'd like you to meet Loke Leoson.
SIMON ASTOR
(shaking his hand)
Good to meet you Loke . Are you of the Boston Leosons?
LOKE
No, the Chippewa StarFalls Leosons, actually.
J.J. Simon nods as if he's heard of them, then looks puzzled. Madeleine Milliana Astor appraises Loke and whispers girlishly to Lucy:
MADELEINE MILIANNA
It's a pity we're both spoken for, isn't it?
DINING SALOON
Like a ballroom at the palace, alive and lit by a constellation of chandeliers, full of elegantly dressed people and beautiful music from BANDLEADER WALLACE HARTLEY'S small orchestra. As Lucy and Loke enter and move across the room to their table, Gray and Erza beside them, we hear...
OLD LUCY (V.O.)
He must have been nervous but he never faltered. He had his charm and gentleman ways . They assumed he was one of them... a young captain of industry perhaps... new money, obviously, but still a memeber of the club. Mother of course, could always be counted upon...
DINING SALOON
CLOSE ON ERZA.
ERZA
Tell us of the accommodations in steerage, Mr. Leoson. I hear they're quite good on this ship.
LOKE
The best I've seen ma'am hardly any rats
The people around laughs in amusement of their young guest
THE TABLE. Loke is seated opposite Lucy, who is flanked by Gray and Rouge Andrews. Also at the table are Aquarius Brown, Gildarts , Colonel Macao , the Countess Cana , Madame Otiella, and the Peaguses.
Loke stares at the different spoons and decoratives , not sure to show off his gentleman etiquette or ask .
Lucy motions surreptitiously for Loke to take his napkin off his plate.
GRAY
Mr. Leoson is joining us from third class. He was of some assistance to my fiancee last night.
(to Loke, as if to a child)
LUCY
It's seems Mr . Leoson is quite a fine artist. He was kind enough to show me some of his work.
As she defends loke.
GRAY
Lucy and I have different taste , not to mention your's either on that .
Loke nods to reassure.
SAGITTARIUS
This is foie gras. It's goose liver.
We see whispers exchanged. Loke becomesthe subject of furtive glances. Now they're all feeling terribly liberal and dangerous.
CANA
(low to Madame Otiella)
What is Gray Fullbuster Hockly hoping to prove, bringing this... bohemian... up here?
SAGITTARIUS
(to Loke)
How do you take your caviar, sir?
GRAY
(answering for him)
Just a soupcon of lemon...
(to Loke, smiling)
...it improves the flavor with champagne.
LOKE
(to the waiter)
No caviar for me, thanks.
(to Gray)
Never did like it much.
He looks at Lucy, pokerfaced, and she smiles.
ERZA
And where exactly do you live, Mr. Leoson?
LOKE
Well, right now my address is the RMS Titanic. After that, I'm on God's good humor.
Salad is served. Loke reaches for the fish fork. Lucy gives him a look and picks up the salad fork, prompting him with her eyes. He changes forks.
LOKE
Are these all for me?
AQUARIUS
Just start like you know how to act here
Erza, annoyed that Loke has scored a point, presses him further.
ERZA
How is it you have the means to travel, Mr. Leoson?
LOKE
I work my way from place to place. Tramp steamers and such. I won my ticket on Titanic here in a lucky hand at a lucky handed poker.
(he glances at Lucy )
A very lucky hand.
MACAO
All life is a game of luck.
GRAY
A real man makes his own luck, right , Leoson?
Loke nods to agree with Gray .
ERZA
You find that sort of rootless existence appealing, do you?
LOKE
Well... Yes ma'am I do.
I mean I've got everything I need right here with me . Got air in my lungs and few blanks sheets. May I love waking up in the morning not knowing what's gonna happen or who I'm gonna meet .
Or where I'm gonna wind up .
Just back then I was sleeping under a bridge, now here I am on the grandest ship of the world having champagne with you fine people.
I'll take some of that
(Sagittarius put in some champagne on Loke's brandy glass.)
it's a big world, and I want to see it all before I go. My father was always talkin' about goin' to see the ocean. He died in the town he was born in, and never did see it. You can't wait around, because you never know what hand you're going to get dealt next. See, my folks died in a fire when I was fifteen, and I've been on the road since. I've worked through my way and I've figured life's a gift. Somethin' like that teaches you to take life as it comes at you.
Oh here you go Gray
(Loke throws a lighter at Gray swiftly and gray catches it)
To make each day count
Aquarius Brown with a proud face raises her glass in a salute.
AQUARIUS
Well said, Loke.
COLONEL MACAO
(raising his glass)
Yeah
Here, here.
Lucy raises her glass, looking at Loke .
LUCY
To making it count.
Everyone in the table
To make it count
(Loke raises his glass along with them before drinking up the champagne.)
Lucy notices that Rouge Andrews, sitting next to her, is writing in his notebook, completely ignoring the conversation.
LUCY
Mr. Rouge , what are you doing? I see you everywhere writing in this little book.
(grabs it and reads)
Increase number of screws in hat hooks from 2 to 3. You build the biggest ship in the world and this preoccupies you?!
Rouge smiles sheepishly.
GILDARTS
He knows every rivet in her, don't you Rouge?
ROUGE
All three million of them.
GILDARTS
His blood and soul are in the ship. She may be mine on paper, but in the eyes of God she belongs to Rouge Andrews.
LUCY
Your ship is a wonder, Mr. Rouge . Truly.
ROUGE
Thankyou, Lucy.
We see that Rouge has thanking to come under Lucy's spell.
Dessert has been served and a waiter arrives with cigars in a humidor on a wheeled cart. The men start clipping ends and lighting.
LUCY
(lows her face to Loke)
Next it'll be brandies in the Smoking Room.
MACAO
(rising)
Well, join me for a brandy, gentlemen?
LUCY
(lows her face)
Now they retreat into a cloud of smoke and congratulate each other on being masters of the universe.
MACAO
Joining us, Leoson? You don't want to stay out here with the women, do you?
Actually he does, but...
LOKE
No thanks. I'm heading back.
MACAO
Ahh it's alright
GRAY
Probably best. It'll be all business and politics, that sort of thing. Wouldn't interest you. Good of you to come.
Gray and the other gentlemen exit.
LUCY
Loke, must you go?
LOKE
Time for my coach to turn back into a pumpkin.
He leans over to take her hand.
As she see him slip a tiny folded not into her palm.
Erza scowling, watches him walk away across the enormous room. Lucy surreptitiously opens the note below table level. It reads: "Make it count. Meet me at the clock".
DECK FOYER-NIGHT
Lucy crosses the A-Deck foyer, sighting Loke at the landing above. Overhead is the crystal dome. Loke has his back to her, studying the ornate clock with its carved figures of Honor and Glory. It softly strikes the hour.
MOVING WITH Lucy as she goes up the sweeping staircase toward him. He turns, sees her... smiles.
LOKE
So you Want to go to a real party?
THIRD CLASS GENERAL ROOM
Crow led and alive with music, laughter and raucous carrying on. An ad hoc band is gathered near the upright piano, honking out lively stomping music on fiddle, accoridon and tambourine. People of all ages are dancing, drinking beer and wine, smoking, laughing, even brawling.
Freed hands Lucy a pint of stout and she hoists it. Loke meanwhile dances with 5 year old Chelia Cartmell, or tries to, with her standing on his feet. As the tune ends, Loke leans down to the little girl and points his hand to Lucy.
LOKE
I'm gonna dance with her now , alright?
LOKE
C'mon
LUCY
What
LOKE
C'mon.Take my hand
Loke takes his hand with Lucy
LUCY
Loke, I can't do this dance.
LOKE
We're gonna have to get a little bit closer like this
Loke puts his hand on Lucy's waist. Lucy gasps as she gets closer to Loke.
Chelia was bit angry at Loke.
Loke turns to her .
LOKE
You're still my best girl, Chelia .
Char scampers off.Lucy and Loke face each other. She is trembling as he takes her right hand in his left. His other hand slides to the small of her back. It is an electrifying moment.
LUCY
I don't know the steps.
LOKE
Neither do I . Just move with me. Don't think.
The music starts and they are off. A little awkward at first, she starts to get into it. She giggles and grins at Loke as she starts to get the rhythm of the steps with him .
LUCY
Loke...Wait... !
She says while giggling.
She bends down, pulling off her high heeled shoes, and flings them to Freed. Then she grabs Loke and they plunge back into the fray, dancing faster as the music speeds up.
THIRD CLASS GENERAL ROOM
The scene is rowdy and rollicking. A table gets knocked over as a drunk crashes into it. And in the middle of it... Lucy dancing with in her stocking feet. The steps are fast and she shines with sweat. A space opens around them as they hold hands while twirling together
LUCY
Loke, noo
LOKE
(laughing and the roaring)
WAAAHH
LUCY
(Giggling)
Waahhh
and people watch them, clapping as the band plays faster and faster.
Natsu and Lisanna dancing has obviated the need for a common language. He whirls her, then she responds by whirling him. Natsu's eyes go wide when he realizes Lisanna's stronger than he is.
Everyone was laughing singing dancing and drinking. It was so much fun .
The tune ends in a mad rush. Loke steps away from Lucy with a flourish, allowing her to take a bow. Exhilarated and slightly tipsy, she does a graceful ballet play, feet turned out perfectly. Everyone laughs and applauds. Lucy is a hit with the steerage folks, who've never had a lady party with them.
LOKE
Hey watch it
You alright
Lucy just giggles at him.
They move to a table, flushed and sweaty. Lucy grabs Freed's cigarette and takes a big drag. She's feeling cocky and confident with Loke and other passengers in third class deck . Natsu is grinning, holding hands with Lisanna .
FREED
How you two doin'?
NATSU
I don't know hwat she's say, she don't know what I say, so we get along fine.
Freed then walks up to Loke and Lucy with a pint for each of them.
FREED
Here take some drink.
LOKE
Here you go
As he begans drinking slowly , Lucy chugs her drink , showing off Loke .
Loke stares at her bold action.
LUCY
You think a first class girl can't drink?
Everybody else is dancing again, and Wong Gundersen crashes into Freed, who sloshes his beer over Lucy's dress. She laughs, not caring. But Freed lunges, grabbing Wong and wheeling him around.
FREED
You stupid bastard!!
Wong comes around, his fists coming up on Freed and Loke leaps into the middle of it, pushing them apart.
Loke
Boys, boys! Did I ever tell you the one about the Swede and the Irishman goin' to the whorehouse?
Freed stands there, all piss and vinegar, chest puffed up. Then he grins and claps Bjorn on the shoulder.
LUCY
So, you think you're big tough men? Let's see you do this.
In her stocking feet she assumes a ballet stance, arms raised, and goes up on point, taking her entire weight on the tips of her toes. The guys gape at her incredible muscle control. She comes back down, then her face screws up in pain. She grabs one foot, hopping around.
LUCY
Oooowww! I haven't done that in years.
Loke catches her as she loses her balance, and everyone cracks up.
THE DOOR to the well deck is open a few inches as Gajeel Lovejoy watches through the gap. He sees Loke holding Lucy, both of them laughing.He analyzed everything with his eyes narrowed and fixed on them.
Gajeel Lovejoy closes the door.
NIGHT
The stars blaze overhead in a celestial beauty, so bright and clear you can see the Milky Way. Lucy and Loke walk along the row of lifeboats. Still giddy from the party, they are singing a popular song "Come Josephine in My Flying Machine".
LOKELUCY
Come Josephine in my flying machine
And it's up she goes! Up she goes!
In the air she goes. Where? There she goes!
They fumble the words and break down laughing.
Up Up
A little bit higher
The moon is on...
They have reached the First Class Entrance, but don't go straight in, not wanting the evening to end.
Lucy gives back Loke's fine coat
LOKE
I don't want you to go
LUCY
I don't want to go back
LUCY
Look, the stars...
Through the doors the sound of the ship's orchestra wafts gently. Lucy grabs a davit and leans back, staring at the cosmos.
LUCY
Isn't it magnificent? So grand and endless.
Loke walks along with her as she goes to the rail and leans on it.
LUCY
They're such small people, Loke... my crowd. They think they're giants on the earth, but they're not even dust in God's eye. They live inside this little tiny champagne bubble... and someday the bubble's going to burst.
He leans at the rail next to her, his hand just touching hers. It is the slightest contact imaginable, and all either one of them can feel is that square inch of skin where their hands are touching.
LOKE
You're not one of them. There's been a mistake.
LUCY
A mistake?
LOKE
Uh huh. You got mailed to the wrong address.
LUCY
(laughing)
I did, didn't I?
LUCY
(pointing suddenly)
Look! A shooting star.
LOKE
Oh
That was a long one. My father used to say that whenever you saw one , it was a soul going to heaven.
LUCY
I like that. Aren't we supposed to wish on it?
Loke looks at her, and finds that they are suddenly very close together. It would be so easy to move another couple of inches, to kiss her. But he's a gentleman to ask or a woman's permission besides flirtiness in suave . Lucy seems to be thinking the same thing.
LOKE
Why ? What would you wish for?
After a beat, Lucy pulls back while gazing at him.
LUCY
Something I can't have.
(she smiles sadly)
Goodnight, Loke. And thank you.
She leaves the rail and hurries through the First Class Entrance.
LOKE
Lucy!!
But the door bangs shut, and she is gone. Back to her world.
ORSE AND GRAY'S SUITE / PRIVATE PROMENADE - DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the promenade. Lucy and Gray are having breakfast in silence. The tension is palpable. Mira Bolt, in her maid's uniform, pours the coffee and goes inside.
GRAY
I had hoped you would come to me last night.
LUCY
I was tired.
GRAY
Yes. Your exertions below decks were no doubt exausting.
LUCY
(stiffening)
I see you had that undertaker of a manservant follow me.
GRAY
You will never behave like that again! Do you understand?
LUCY
I'm not some foreman in your mills than you can command! I am your fiancee--
Gray explodes, sweeping the breakfast china off the table with a crash. He moves to her in one shocking moment, glowering over her and gripping the sides of her chair, so she is trapped between his arms.
GRAY
Yes! You are! And my wife... in practice, if not yet by law. So you will honor me, as a wife is required to honor her husband! I will not be made out a fool! Is this in any way unclear?
Lucy shrinks into the chair. She sees Mira , frozen, partway through the door bringing the orange juice. Gray follows Lucy's glance in a cold eye and straightens up. He stalks past the maid, entering the stateroom.
LUCY
We... had a little accident. I'm sorry, Mira.
ERZA SUITE - DAY
Lucy is dressed for the day, and is in the middle of helping.Erza with her corset. The tight bindings do not inhibit Erzas fury at all.
ERZA
You are not to see that boy again, do you understand me Lucy? I forbid it!
Lucy has her knee at the base of her mother's back and is pulling the corset strings with both hands.
LUCY
Oh, stop it, Mother. You'll give yourself a nosebleed.
Erza pulls away from her, and crosses to the door, locking it. CLACK!
ERZA
(wheeling on her)
Lucy, this is not a game! Our situation is precarious. You know the money's gone!
LUCY
Of course I know it's gone. You remind me every day!
ERZA
Your father left us nothing but a legacy of bad debts hidden by a good name. And that name is the only card we have to play.
Lucy turns her around and grabs the corset strings again. Erza sucks the clothing in her waist and Lucy pulls.
ERZA
I don't understand you. It is a fine match with Gray Hockley, and it will insure our survival.
LUCY
(hurt and lost)
How can you put this on my shoulders?
Lucy turns to her, and we see what Lucy sees-- the naked fear in her mother's eyes.
ERZA
Do you want to se me working as a seamstress? Is that what you want? Do you want to see our fine things sold at an auction, our memories scattered to the winds? My God, Lucy, how can you be so selfish?
LUCY
It's so unfair.
ERZA
Of course it's unfair! We're women. Our choices are never easy.
Erza is pulls the corset tighter.
FIRST CLASS DINING SALOON
At the divine service, Captain Makarov is leading a group in the hymn "Almighty Father Strong To Save." Lucy and Erza sing in the middle of the group.
Loke enters the first class stair hall and greets rouge
LOKE
Good morning Mr.Rouge.
ROUGE
Good morning,Loke.
Lovejoy stands well back, keeping an eye on Lucy. He notices a commotion at the entry doors. Loke has been halted there by two elfmans. He is dressed in his third class clothes, and stands there, hat in hand, looking out of place.
ELFMAN
Look, you, you're not supposed to be in here.
LOKE
I was just here last night... don't you remember?
(seeing Gajeel Lovejoy coming toward him)
He'll tell you.
GAJEEL LOVEJOY
Mr. Gray Full Hockley and Mrs. HeartWitt Bukater continue to be most appreciative of your assistance. They asked me to give you this in gratitude--
He holds out two twenty dollar bills, which Loke refuses to take.
LOKE
I don't want money, I--
GAJEEL LOVEJOY
--and also to remind you that you hold a third class ticket and your presence here is no longer appropriate.
Loke spots Lucy but she doesn't see him.
LOKE
I just need to talk to Lucy for a--
GAJEEL LOVEJOY
Gentlemen, please see that Mr. Leoson gets back where he belongs.
(giving the twenties to the Elfman)
And that he stays there.
ELFMAN
Yes sir!
(to Loke)
Come along you.
END ON LUCY, not seeing Loke hustled out.
LUCY
(singing)
O hear us when we cry to thee for those in peril on the sea.
Gray was inspecting everything as Gajeel works along with his plan.
GYMNASIUM - DAY
An Edwardian nautilus room. There are machines we recognize, and some don't. A woman pedals a stationary bicycle in a long dress, looking ridiculous. Rouge Andrews is leading a small tour group, including Lucy, Erza and Gray . Gray is wroking the oars of a stationary rowing machine with a well trained stroke.
GRAY
Reminds me of my Harvard days.
T.W. McCAULEY, the gym instructor, is a bouncy little man in white flannels, eager to show off his modern equipment, like his present-day counterpart on an "Abflex" infomercial. He hits a switch and a machine with a saddle on it starts to undulate. Lucy puts her hand on it, curious.
MACAO
The electric horse is very popular. We even have an electric camel.
(to Erza)
Care to try your hand at the rowing, m'am?
ERZA
Don't be absurd. I can't think of a skill I should likely need less.
ROUGE
The next stop on our tour will be bridge. This way, please.
WELL DECK, B-DECK AND A-DECK - DAY
Loke walking with determination, is followed closely by Freed and Natsu .
He quickly climbs the steps to B-Deck and steps over the gate separating 3rd from 2nd class.
FREED
She's a goddess amongst mortal men, there's no denyin'. But she's in another world, Loke , forget her. She's closed the door.
LOKE moves furtively to the wall below the A-Deck promenade, aft.
LOKE
It was them, not her.
(glancing around the deck)
Ready... go.
Freed shakes his head resignedly and puts his hands together, crouching down. Loke steps into Freed's hands and gets boosted up to the next deck, where he scrambles nimbly over the railing, onto the First Class deck.
FREED
He's not bein' logical, I tell ya.
NATSU
Amore is'a not logical.
A-DECK / AFT - DAY
A man is playing with his son, who is spinning a top with a string. The man's overcoat and hat are sitting on a deck chair nearby. Loke emerges from behind one of the huge deck cranes and calmly picks up the coat and bowler hat. He walks away, slipping into the coat, and slicks his hair back with spit. Then puts the hat on at a jaunty angle. At a distance he could pass for a gentlemen.
BRIDGE / CHARTROOM - DAY
HAROLD LYON , the 21 year old Junior Wireless Operator, hustles in and skirts around Andrews' tour group to hand a Marconigram to Captain Smith.
LYON
Another ice warning, sir. This one from the "Baltic".
MAKAROV
Thankyou, Sparks.
MAKAROV glances at the message then nonchalantly puts it in his pocket. He nods reassuringly to Lucy and the group.
MAKAROV
Not to worry, it's quite normal for this time of year. In fact, we're speeding up. I've just ordered the last boilers lit.
Rouge scowls slightly before motioning the group toward the door. They exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the chartroom, stopping next to First Officer Murdoch.
LIGHTOLLER
Did we ever find those binoculars for the lookouts?
FIRST OFFICER MURDOCH WAKABA
Haven't seen them since Southampton.
BOAT DECK / STARBOARD SIDE - DAY
Andrews leads the group back from the bridge along the boat deck.
LUCY
Mr. Rouge , I did the sum in my head, and with the number of lifeboats times the capacity you mentioned... forgive me, but it seems that there are not enough for everyone aboard.
ROUGE
About half, actually. Lucy you miss nothing, do you? In fact, I put in these new type davits, which can take an extra row of boats here.
(he gestures along the eck)
But it was thought... by some... that the deck would look too cluttered. So I was over-ruled.
GRAY
(slapping the side of a boat)
Waste of deck space as it is, on an unsinkable ship!
Rouge
Sleep soundly, young Lucy. I have built you a good ship, strong and true. She's all the lifeboat you need.
As they are passing Boat 7, a gentlemen turns from the rail and walks up behind the group. It is Loke . He taps Lucy on the arm and she turns, gasping. He motions and she cuts away from the group toward a door which Loke holds open. They duck into the gymnasium.
GYMNASIUM - DAY
Loke closes the door behind her, and glances out through the ripple-glass window to the starboard rail, where the gym instructor is chatting up the woman who was riding the bike. Lucy and Loke are alone in the room.
LUCY
Loke, this is impossible. I can't see you.
He takes her by the shoulders.
LOKE
Lucy, you're no picnic... you're a spoiled little brat even, but under that you're a strong, pure heart, and you're the most amazingly astounding girl I've ever known and--
LUCY
Loke, I--
LOKE
No wait. Let me try to get this out. You're amazing... and I know I have nothing to offer you, Lucy. I know that. But I'm involved now. You jump, I jump, remember? I can't turn away without knowin' that you're goin' to be alright.
Lucy feels the tears coming to her eyes. Loke is so open and real... not like anyone she has ever known.
LUCY
You're making this very hard. I'll be fine. Really.
LOKE
I don't think so. They've got you trapped Lucy as if in a glass jar of a butterfly trying to fly , and you're goin' to die if you don't break free . Maybe not right away, 'cause you're strong. But sooner or later the fire I love about you , is goin' to go out.
LUCY
It's not up to you to save me, Loke.
LOKE
You're right. Only you can do that.
LUCY
I have to get back, they'll miss me. Please, Loke , for both our sakes, leave me alone.
Loke just gazes at her as she leaves.
FIRST CLASS LOUNG - DAY
The most elegant room on the ship, done in Louis Quinze Versaille style. Lucy sits on a divan, with a group of other women arrayed around her. Erza, the Countess Evergreen and Lady Yukino are taking tea. Lucy is silent and still as a porcelain figurine as the conversation washes around her.
ERZA
Of course the invitations had to be sent back to the printers twice. And the bridesmaids dresses! Let me tell you what an odyssey that has been...
TRACKING SLOWLY IN one Lucy as Erza goes on.
REVERSE, ERZA'S POV: A tabeau of MOTHER and DAUGHTER having tea. The four year old girl, wearing white gloves, daintily picking up a cookie. The mother correcting her on her posture, and the way she holds the teacup. The little girl is trying so hard to please, her expression serious. A glimpse of lucy at that age, and we see the relentless conditioning... the pain to becoming an Edwardian geisha.
As for Lucy . She calmly and deliberately turns her teacup over, spilling tea all over her dress.
LUCY
Oh, look what I've done.
TITANIC - DAY
TITANIC STEAMS TOWARD US , in the dusk light, as if lit by the embers of a giant fire. As the ship looms, FILLING FRAME, a push in on the bow. Loke is there, right at the apex of the bow railing, his favorite spot. He closes his eyes, letting the chill wind clear his head.
Loke hears her voice, behind him was Lucy.
LUCY
Hello, Loke.
He turns and she is standing there.
LUCY
I changed my mind.
He smiles at her, his hazel eyes glowing and drinking her image in. Her cheeks are red with the chill wind, and her eyes sparkle. Her hair blows wildly about her face.
Lucy
They said you might be up--
LOKE
Sssshh. Come here.
He gives his hand to her
He puts his hands on her waist. As if he is going to kiss her.
LOKE
Close your eyes.
She does, and he turns her to face forward, the way the ship is going. He presses her gently to the rail, standing right behind her.
LOKE
Now hold on to the railings
Hold up , hold on , keep your eyes close , Don't peak.
LUCY
I'm not ( giggling with eyes closed )
LOKE
You trust me
LUCY
I trust you
Then he takes her two hands and raises them until she is standing with her arms outstretched on each side. Lucy is going along with him. When he lowers his hands, her arms stay up... like wings.
LOKE
Alright. Now open your eyes .
Lucy opens her eyes and gasps. There is nothing in her field of vision but water and sky . It's like there is no ship under them at all, just the two of them soaring. The Atlantic unrolls toward her, a hammered copper shield under a half Starry night, orange and purple dusk sky. There is only the wind, the sunset , the flow of sea and the hiss of the water 50 feel below.
LUCY
I'm flying,Loke!
She leans forward, arching her back. He puts his hands on her waist to steady her.
His fingers intertwining with her . She inhales the moment in pleasure.
LOKE
(singing softly)
Come Josephine in my flying machine up she goes, up she goes...
Lucy stares at the sunset along with Loke while smiling with amusement.
Lucy closes her eyes, feeling herself floating weightless far above the sea. As she opens her eye, she smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her.
Slowly he raises his hands, arms outstretched, and they meet hers... fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers.
Loke tips his face forward into her face as her hair was flowing through the breeze, letting the scent of her wash over him, until his cheek is against her ear.
Lucy turns her head until her lips are near Loke's. She lowers her arms, turning further, until she finds his mouth with hers. He wraps his arms around her from behind, and they kiss soft and smooth like this with her head turned and tilted back, surrendering to him, to the emotion, to the inevitable. They kiss, slowly and tremendously, and then with building passion.
Loke and Lucy kiss continue as the ship seem to merge into one force of power and optimism, lifting her, buoying her forward on a magical journey, soaring onward into a night without fear.
IN THE CROW'S NEST, high above and behind them, lookout FREDERICK GEMI nudges his mate, REGINALD MINI, pointing down at the figures in the bow.
GEMI
Wish I had those bleedin' binoculars.
LOKE and LUCY, embracing and kissing at the bow rail.
The flashback dissolve slowly away, leaving the ruined bow of the WRECK--
Fairytail KELDYSH IMAGING SHACK
OLD LUCY blinks, seeming to come back to the present. She sees the wreck on the screen, the sad ghost ship deep in the abyss.
LUCY
That was the last time Titanic ever saw daylight.
Laxus Lovett changes the tape in the minicassette recorder.
LAXUS
So we're up to dusk on the night of the sinking. Six hours to go.
NAB
Don't you love it? There's Makarov, he's standing there with the iceberg warning in his fucking hand...
(remembering lucy )
... excuse me... in his hand, and he's ordering more speed.
LYRA
years of experience working against him. He figures anything big enough to sink the ship they're going to see in time to turn. But the ship's too big, with too small a rudder... it can't corner worth shit. Everything he knows is wrong.
LUCY is ignoring this conversation. She has the art-nouveau comb with the jade butterfly on the handle in her hands, turning it slowly. She is watching a monitor, which shows the ruins of Suite B-52/56. PUSH IN until the image fills frame.
LUCY'S SUITE
... 1912. Like in a dream the beautiful woodwork and satin upholstery emerge from the rusted ruin. Loke is overwhelmed by the opulence of the room. He sets his sketchbood and drawing materials on the marble table.
LUCY
Will this light do? Don't artists need good light?
LOKE
(bad French accent)
Zat is true, I am not used to working in such 'orreeble conditions.
(seeing the paintings)
Hey... Monet!
He crouches next to the paintings stacked against the wall.
LOKE
Isn't he great... the use of color? I saw him once... through a hole in this garden fence in Giverny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to the safe and start working the combination. He's fascinated.
LUCY
Gray insist on luggin this thing everywhere.
LOKE
Should I be expecting him anytime soon?
LUCY
Not as long as the cigars and brandy hold out.
CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirror behind the safe. She opens it and removes the necklace, then holds it out to Loke who takes it nervously.
LOKE
What is it? A sapphire?
LUCY
A diamond. A very rare diamond, called the Heart of the Ocean.
Loke gazes at wealth beyond his comprehension.
LUCY
Loke ,I want you to draw me like your one of you French girls. Wearing this.
(she smiles at him)
Only Wearing this.
He looks up at her, surprised, and looking at each other .
Lucy'S BEDROOM. ON THE BUTTERFLY COMB as Lucy draws it out of her hair. She shakes her head and her hair falls free around her shoulders.
IN THE SITTING ROOM Loke is laying out his pencils like surgical tools. His sketchbook is open and ready. He looks up as she comes into the room, wearing a silk kimono.
LUCY
The last thing I need is another picture of me looking like a china doll. As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stone lies on her creamy breast. Her heart is pounding as she slowly lowers the robe.
LOKE looks so stricken, it is almost comical. The kimono drops to the floor . He gawks at her naked self with her open hair and wearing her necklace.
LOKE
Umm l-lay on the sofa.. uh .. the couch
He tries to keep his flirty suave way, but stutters .
She goes to lay down on the couch.
LUCY
Tell me when it looks right to you.
She poses on the divan, settling like a cat into the position we remember from the drawing... almost.
LOKE
Uh... just bend your left leg a little and... and lower your head. Eyes to me. That's it.( With a hand gesture)
Loke starts to sketch. He drops his pencil and she stifles a laugh.
LUCY
I believe you are blushing, Mr. Big Artiste. I can't imagine Monsieur Monet blushing.
LOKE
(sweating)
He does landscapes.
TIGHT ON LOKE as his Hazel green eyes come up to look at her over the top edge of his sketchpad. We have seen this image of him before, in her memory. It is an image she will carry the rest of her life.
With LOKE it was the most bewildering and erotic moment of her life with passion in her eyes .
Despite his nervousness, he draws with sure strokes, and what emerges is the best thing he has ever done. Her pose is languid, her hands beautiful, and her eyes radiate her energy.
PUSH SLOWLY IN ON LUCY'S FACE...
KELDYSH / IMAGING SHACK
MATCH DISSOLVE/MORPH to Lucy, 101 years old. Only her eyes are the same.
OLD LUCY
My heart was pounding the whole time. It was the most erotic moment of my life... up till then at least.
A semicircle of listeners staring in rapt, frozen silence. The story of Loke and Lucy has finally and completely grabbed them.
NAB
What, uh... happened next?
OLD LUCY
(smiling)
You mean, did we "do it"?
The crew smirks in awe as Laxus Lovett rubs the nape of his neck .
Everyone getting curious.
. GRAY AND LUCY'S SUITE - NIGHT
BACK TO 1912. Loke is signing the drawing. Lucy , wearing her kimono again, is leaning on his shoulder, watching.
OLD LUCY (V.O.)
Sorry to disappoint you Mr. NAB.
Lucy gazes at the drawing. Loke has deepens his hazel eyes with hers that thrills her soul in excitement.
LUCY
Date it, Loke. I want to always remember this night.
Lucy meanwhile scribbles a note on a piece of Titanic stationary. We don't see what it says. She accepts the drawing from him, and crosses to the safe in the wardrobe.
She puts the diamond back in the safe, placing hte drawing and the note on top of it. Closes the door with a CLUNK!
FIRST CLASS SMOKING ROOM - NIGHT
Gajeel Lovejoy enters from the Palm Court through the revolving door and crosses the room toward Fullbuster Hockley. A fire is blazing in the marble fireplace, and the usual fatcats are playing cards, drinking and talking. Gray sees Gajeel Lovejoy and detaches from his group, coming to him.
GAJEEL LOVEJOY
None of the elfmans have seen her.
GRAY
(low but forceful)
This is ridiculous, Gajeel Lovejoy. Find her.
ATLANTIC - NIGHT
TITANIC glides across an unnatural sea, blakc and calm as a pool of oil. The ships lights are mirrored almost perfectly in the black water. The sky is brilliant with stars. A meteor traces a bright line across the heavens.
ON THE BRIDGE, Captain Makarov peers out at the blackness ahead of the ship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. It steams in the bitter cold of the open bridge. Second Officer Rome Lightoller is next to him, staring out at the sheet of black glass the Atlantic has become.
LIGHTOLLER
I don't think I've ever seen such a flat calm, in 24 years at sea.
MAKAROV
Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER
It's make the bergs harder to see, with no breaking water at the base.
MAKAROV
Mmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.
LIGHTOLLER
Yes sir.
MAKAROV
And wake me, of course, if anything becomes in the slightest degree doubtful.
GRAY ANA LUCY'S SUITE
Lucy , fully dressed now, returns to the sitting room. They hear a key in the lock. Lucy takes Loke's hand and leads him silently through the bedrooms. Lovejoy enters by the sitting room door.
GAJEEL LOVEJOY
Miss Lucy ? Hello?
He hears a door opening and goes through Gray's room toward hers.
CORRIDOR OUTSIDE SUITE
Lucy and Loke come out of her stateroom, closing the door. She leads him quickly along the corridor toward the B deck foyer. They are halfway across the open space when the sitting room door opens in the corridor and Gajeel Lovejoy comes out. The valet sees Loke with Lucy and hustles after them.
LUCY
Come on!
Lucy and Loke break into a run, surprising the few ladies and gentlemen about. Lucy leads him past the stairs to the bank of elevators. They run into one, shocking the hell out of the OPERATOR.
LUCY
Take us down. Quickly, quickly!
The Operator scrambles to comply. Loke even helps him close the steel gate. Gajeel Lovejoy runs up as the lift starts to descend. He slams one hand on the bars of the gate. Lucy puts her middle finger to him and makes a very rude and unladylike gesture and Loke laughs at her funny gesture as Gajeel Lovejoy disappears above. The Operator gapes at her.
E-DECK FOYER / ELEVATORS
Gajeel Lovejoy emerges from another lift and runs to the one Loke and Lucy were in. The Operator is just closing the gate to go back up. Gajeel Lovejoy runs around the bank of elevators and scans the foyer... no Loke and Lucy . He tries the stairs going down to F-Deck.
F-DECK CORRIDORS / FAN ROOM
A functional space, with access to a number of machine spaces (fan rooms, boiler uptakes). Loke and Lucy are leaning against a wall, laughing.
LOKE
Pretty tough for a valet, this fella.
Seems like a cop.
LUCY
I think he was.
He's an ex-Pinkerton. Gray's father hired him to keep Gray out of trouble... to make sure he always got back to the hotel with his wallet and watch, after some crawl through the less reputable parts of town...
LOKE
Kinda like we're doin' right now-- uh oh!
Gajeel Lovejoy has spotted them from a cross-corridor nearby. He charges toward them.
LOKE
Holy shit
LUCY
Gooooo
Loke and Lucy run around a corner into a blind alley. There is one door, marked CREW ONLY, and Loke flings it open.
LOKE
This way
LUCY
Runn
They enter a roaring RAN ROOM, with no way out but a ladder going down.
Lucy and Loke closed their ears to avoid ear damage while yelling at each other to listen
LUCY
Now what?
LOKE
What?
Loke latches the deadbolt on the door, and Gajeel Lovejoy slams against it a moment later. Loke grins at Lucy, pointing to the ladder.
LOKE
After you, m'lady.
BOILER ROOM FIVE AND SIX
Loke and Lucy come down the escape ladder and look around in amazement. It is like a vision of hell itself, with the roaring furnaces and black figures moving in the smoky glow. They run the length of the boiler room, dodging amazed stokers, and trimmers with their wheelbarrows of coal.
LOKE
(shouting over the din)
Carry on! Don't mind us!
Your doing a great job .
Loke and Lucy runs straight forward while giggling together.
They run through the open watertight door into BOILER ROOM SIX. Loke pulls her through the fiercely hot alley between two boilers and they wind up in the dark, out of sight of the working crew. Watching from the shadows, they see the stokers working in the hellish glow, shovelling coal into the insatiable maws of the furnaces. The whole place thunders with the roar of the fires.
FIRST CLASS SMOKING ROOM
Amid unparalled luxury, Gray sits at a card game, sipping brandy.
COLONEL WAKABA
We're going like hell I tel you. I have fifty dollars that says we make it into New York Tuesday night!
Gray looks at his gold pocket watch, and scowls, not listening.
BOILER ROOM
The furnaces roar, silhouetting the glistening stokers.
Loke pulls Lucy towards him.
Put your hands on me,Loke.
Loke kisses her face, tasting the sweat trickling down from her forehead and neck . Then descends his lips on hers . They kiss passionately in the steamy, pounding darkness.Lucy moans as Loke's open mouth kiss goes from her lips to her neck .
A few moments later
Loke and Lucy enter and run laughing between the rows of stacked cargo. She hugs herself against the cold, after the dripping heat of the boiler room.
They come upon Jason Cartersbrand new RENAULT touring car, lashing down to a pallet. It looks like a royal coach from a fairy tale, its brass trim and headlamps nicely set off by its deep burgundy color.
Lucy climbs into the plushly upholstered back seat, acting very royal. There are cut crystals bud vases on the walls back there, each containing a Lucy. Loke jumps into the driver's seat, enjoying hte feel of the leather and wood.
LOKE
Where to, Miss?
LUCY
To the stars.
ON LOKE as her hands come out of the shadows and pull him over the seat into the back. He lands next to her, and his breath seems loud in the quiet darkness. He looks at her and she is smiling. It is the moment of truth.
LOKE
Are you nervous?
LUCY
No
They gazed at each other .
He strokes her face, cherishing her. She kisses his artist's fingers one by one.Then she looks at him in a daze and eyes building with passion.
LUCY
Put your hands on me Loke.
She puts his right hand on her chest where he could hear her heart beating through her ribcage.
Loke leans in and puts his lips on her .
Loke kisses her while groping her chest and she slides down while holding his orange hair on the seat under his welcome weight.
They make out with fierce passion while undressing each other.
WIRELESS ROOM
A BRILLIANT ARC OF ELECTRICITY fills frame-- the sparks gap of the Marconi instrument as SENIOR WIRELESS OPERATOR Loke PHILLIPS (24) rapidly keys out a message. Junior Operator Bride looks through the huge stack of outgoing messages swamping them.
LYON
Look at this one, he wants his private train to meet him. La dee da.
(slaps them down)
We'll be up all bloody night on this lot.
Phillips start to receive an incoming message from a nearby ship, the Leyland frieghter CALIFORNIAN, which jams his outgoing signal. At such close range, the beeps are deafening.
PHILLIPS
Christ! It's that idiot on the Californian.
Cursing, Phillips furiously keys a rebuke.
WIRELESS SHAK / FREIGHTER CALIFORNIAN
Wireless Operater CYRIL EVANS pulls his earphone off his ear as the Titanic's spark deafens him. he translates the message for THIRD OFFICER GROVES.
Stupid bastard. I try to warn him about the ice, and he says "Keep out. Shut up. I'm working Cape Race."
GROVES
Now what's he sending?
EVANS
"No seasickness. Poker business good. Al". Well that's it for me. I'm shutting down.
As Evans wearily switches off his generator, Groves goes out on deck. PAN oFF Him to reveal the ship is stopped fifty yards from the edge of a field of pack ice and icebergs stretching as far as the eye can see.
OCEAN / TITANIC
ON TITANIC, steaming hellbent through the darkness, hurling up white water at the bows. The bow comes straight at us, until the bow wave WIPES THE FRAME--
PUSHING IN on the rear window of the Renault, which is completely fogged up. Lucy's hand comes up and slams against the glass for a moment, making a handprint in the veil of condensation.
INSIDE THE CAR,Loke puts his coat on Lucy's naked body like a blanket over them. It stirs and Lucy pulls it down. They are huddled under it, intertwined, still mostly clothed. Their faces are flushed and they look at each other wonderingly. She puts her hand on his face, as if making sure he is real.
Loke and Lucy made love passionately in the carriage.
All could be echoed was pleasure of moans and panting.
LUCY
You're trembling.
LOKE
It's okay. I'm alright.
He lays his cheek against her chest.
LOKE
I can feel your heart beating.
She hugs his head to her chest, rubbing his orange blonde hair and just holds on for dear life.
OLD LUCY (V.O.)
Well, I wasn't the first teenage girl to get seduced in the backseat of a car, and certainly not the last, by several million. He had such fine hands, artists' hands, but strong too... roughened by work. I remember their touch even now.
CUT TO:
ATLANTIC / TITANIC - NIGHT
The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and the tiny half-cylinder of the crow's nest, which grows as we push in on lookouts Fleet and Lee. They are stamping their feet and swinging their arms, trying to keep warm in the 22 knot freezing wind, which whips capor of their breath away behind.
Gemi
You can smell ice, you know, when it's near.
Mini
Bollocks.
Gemi
Well I can.
BOILER ROOM SIX
Without hearing hte words over the roar of the furnaces, we see stokers telling TWO ELFMANS which way Lucy and Loke went. The elfmans move off toward the forward holds.
GRAY AND LUCY'S SUITE
Gray stands at the open safe. He stares at the drawing of Lucy and his face clenches with fury. He reads the not again: "DARLING, NOW YOU CAN KEEP US BOTH LOCKED IN YOUR SAFE, LUCY".
Gajeel Lovejoy, standing behind him, looks over his shoulder at the drawing. Gray crumples Lucy's not, then takes the drawing in both hands as if to rip it in half. He tenses to do it, then stops himself.
GRAY
I have a better idea.
- NIGHT
The two ELFMANs enter. They have electric torches and play the beams around the hold. They spot the Renault with its fogged up rear window and approach it slowly.
FROM INSIDE they see the torch light up Lucy's passionate handprint, still there on the fogged up glass. One steward whips open the door.
ELFMAN
Got her!
REVERSE: the back seat is empty.
FORWARD WELL DECK AND CROW'S NEST - NIGHT
Lucy and Loke, fully dressed, come through a crew door onto the deck. They can barely stand, they are laughing so hard.
UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the disturbance below and looks around and back down to the well deck, where he can see two figures embracing.
Loke and Lucy stand in each others arms. Their breath clouds around them in the now freezing air, but they don't even feel the Laughing as they escaped from the people who were tracking her and making hilarious comment until they stare at each other again with passion.
LUCY
When this ship docks, I'm getting off with you.
LOKE
This is crazy.
LUCY
I know. It doesn't make any sense. That's why I trust it.
Loke pulls her to him and kisses her fiercely.
IN THE CROW'S NEST Gemi nudges Mini .
Gemi
Mi... look at that, would ya.
Mini
They're a bloody sight warmer than we are.
Gemi
Well if that's what it takes for us two to get warm, I'd rather not, if it's all the same.
They both have a good laugh at that one. It is Gemi whose expression falls first. Glancing forward again, he does a double take. The color drains out of his face.
GEMIS POV: a massive iceberg right in their path, 500 yards out.
GEMI
Bugger me!!
Gemi reaches past Mini and rings the lookout bell three times, then grabs the telephone, calling the bridge. He waits precious seconds for it to be picket up, never taking his eyes off the black mass ahead.
GEMI
Pick up, ya bastard.
Inside the enclosed wheelhous, SIXTH OFFICER MOODY walks unhurriedly to the telephone, picking it up.
GEMI (V.O.)
Is someone there?
TONO
Yes. What do you see?
GEMI
Iceberg right ahead!
TONO
Thankyou.
(hangs up, calls to WAKABA )
Iceberg right ahead!
Wakaba sees it and rushes to the engine room telegraph. While signaling "FULL SPEED ASTERN" he yells to Quartermaster Hitchins, who is at the wheel.
WAKABA
Hard a' starboard.
TONO
(standing behind Hitchins)
Hard'a starboard. The helm is hard over, sir.
CRASH SEQUENCE / SERIES OF CUTS:
CHIEF ENGINEER BELL is just checking the soup he has warming on a steam manifold when the engine telegraph clangs, then goes... incredibly... to FULL SPEED ASTERN. He and the other ENGINEERS just stare at it a second, unbelieving. Then Bell reacts.
BELL
Full astern! FULL ASTERN!!
The engineers and greasers like madmen to close steam valves and start braking the mighty propeller shafts, big as Sequias, to a stop.
IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with 2nd Engineer JAMES HESKETH when the red warning light and "STOP" indicator come on.
Chico
Shut all dampers! Shut 'em!!
FROM THE BRIDGE Murdoch watches the burg growing... straight ahead. The bow finally starts to come left (since the ship turns the reverse of the helm setting).
WAKABA jaw clenches as the bow turns with agonizing slowness. He holds his breath as the horrible physics play out.
IN THE CROW'S NEST Frederick Fleet braces himself.
THE BOW OF THE SHIP thunders right at...
KRUUUNCH!! The ship hits the berg on its starboard bow.
UNDERWATER the ice smashing in the steel hull plates. The iceberg bumps and scrapes along the side of the ship. Rivets pop as the steel plate of the hull flexes under the load.
HOLD the two stewards stagger as the hull buckles in four feet with a sound like THUNDER. Like a sledgehammer beating along outside the ship, the berg splits the hull plates and the sea pour in, sweeping them off their feet. The icy water swirls around the Renault as the men scramble for the stairs.
ON G-DECK forward Natsu is tossed in his bunk by the impact. He hears a sound like the greatly amplified squeal of a skate on ice.
IN BOILER ROOM SIX Barret and Hesketh stagger as they hear the ROLLING THUNDER of the collision. They see the starboard side of the ship buckle in toward them and are almost swept off their feet by a rush of water coming in about two feet above the floor.
ON THE FORWARD WELL DECK Loke and Lucy break their kiss unintentionally and look up in astonishment as the berg sails past, blocking out the sky like a mountain. Fragments break off it and crash down onto the deck, and they have to jump back to avoid flying chunks of ice.
ON THE BRIDGE Wakaba rings the watertight door alarm. He quicky throws the switch that closes them.
WAKABA
Hard a 'port!
Judging the berg to be amidships, he is trying to clear the stern.
BARRETT AND HESKETH hear the DOOR ALARM and scramble through the swirling water to the watertight door between Boiler Rooms 6 and 5. The room is full of water vapor as the cold sea strikes the red hot furnaces. Barrett yells to the stokers scrambling through the door as it comes down like a slow guillotine.
BARRETT
Go Lads! Go! Go!
He dives through into Boiler Room 5 just before the door rumbles down with a CLANG.
LOKE AND LUCY rush to the starboard rail in time to see the berg moving aft down the side of the ship.
In his stateroom, surrounded by piles of plans while making notes in his ever-present book, Rouge looks up at the sound of a cut-crystal light fixture tinkling like a windchime.
He feels the shudder run through the ship. And we see it in his face. Too much of his soul is in this great ship for him not to feel its mortal wound.
IN THE FIRST CLASS SMOKING ROOM Macao watches his highball vibrating on the table.
IN THE PALM COURT, with its high arched windows, Molly Brown holds up her drink to a passing waiter.
AQUARIUS
Hey, can I get some ice here, please?
Silently, a moving wall of ice fills the window behind her. She doesn't see it. It disappears astern.
IN THE CROW'S NEST Gemi turns to his Mini...
GEMI
Oy, mate... that was a close shave.
MINI
Smell ice, can you? Bleedin' Christ!
LYON
CLOSE ON WAKABA. The alarm bells still clatter mindlessly, seeming to reflect his inner state. He is in shock, unable to get a grip on what just happened. He just ran the biggest ship in history into an iceberg on its maiden voyage.
WAKABA
(stiffly, to TONO)
Note the time. Enter it in the log.
Captain Makarov rushes out of his cabin onto the bridge, tucking in his shirt.
MAKAROV
What was that, Mr. Wakaba?
WAKABA
An iceberg, sir. I put her hard a' starboard and run the engines full astern, but it was too close. I tried to port around it, but she hi... and I--
MAKAROV
Close the emergency doors.
WAKABA
The doors are closed.
Together they rush out onto the starboard wing, and Wakaba points. Smith looks into the darkness aft, then wheels around to FOURTH OFFICER BOHALL.
MAKAROV
Find the Carpenter and get him to sound the ship.
G-DECK FORWARD
In steerage, Natsu comes out into the hall to see what's going on. He sees dozens of rats running toward him in the corridor, fleeing the flooding bow. Natsu jumps aside as the rats run by.
NATSU
Ma-- che cazzo!
IN HIS STATEROOM Freed gets out of his top bunk in the dark and drops down to the floor. SPLASH!
FREED
Cor!! What in hell--?!
He naps on the light. The floor is covered with 3 inches of freezing water, and more coming in. He pulls the door open, and steps out into the corridor, which is flooded. Natsu is running toward him, yelling something in Italian.
Freed and Natsu start pounding on doors, getting everybody up and out. The alarm spreads in several languages.
FIRST CLASS CORRIDOR / A-DECK
A couple of people have come out into the corridor in robes and slippers. Elfman hurries along, reassuring them.
WOMAN
Why have the engines stopped? I felt a shudder?
ELFMAN 1
I shouldn't worry, m'am. We've likely thrown a propeller blade, that's the shudder you felt. May I bring you anything?
ROUGE ANDREWS brushes past them, walking fast and carrying an armload of rolled up ship's plans.
FORWARD WELL DECK
Loke and Lucy are leaning over the starboard rail, looking at the hull of the ship.
LOKE
Looks okay. I don't see anything.
LUCY
Could it have damaged the ship?
LOKE
It didn't seem like much of a bump. I'm sure we're okay.
Behind them a couple of steerage guys are kicking the ice around the deck, laughing.
STEERAGE FORWARD
Natsu and Freed are in a crowd of steerage men clogging the corridors, heading aft away from the flooding. Many of them have grabbed suitcases and duffel bags, some of which are soaked.
FREED
If this is the direction the rats were runnin', it's good enough for me.
CORRIDOR ON B DECK
Bruce Gildarts, dressed in pajamas under the topcoat, hurries down the corridor, headed for the bridge. An officious Elfman named BARNES comes along the other direction, getting the few concerned passengers back into their rooms.
ELFMAN BARNES
There's no cause for alarm. Please, go back to your rooms.
He is stopped in his tracks by Gray and Gajeel Lovejoy.
ELFMAN BARNES
Please, sir. There's no emergency--
GRAY
Yes there is, I have been robbed. Now get the Master at Arms. Now you moron!
BRIDGE / CHARTROOM
C.U. CAPTAIN MAKAROV studying the commutator.
He turns to Rouge, standing behind him.
MAKAROV
A five degree list in less than ten minutes.
SHIP'S CARPENTER JOHN YAJIMA enters behind him, out of breath and clearly unnerved.
YAJIMA
She's making water fast... in the forepeak tank and the forward holds, in boiler room six.
Gildarts enters, his movements quick with anger and frustration. Smith glances at him with annoyance.
GILDARTS
Why have we stopped?
MAKAROV
We've struck ice.
GILDARTS
Well, do you think the ship is seriously damaged?
MAKAROV
(glaring)
Excuse me.
Makarov pushes past him, with Andrews and Hutchinson in tow.
BOILER ROOM 6
Strokers and firemen are struggling to draw the fires. They are working in waist deep water churning around as it flows into the boiler room, ice cold and swirling with grease from the machinery. Chief Engineer Bell comes partway down the ladder and shouts.
BELL
That's it, lads. Get the hell up!
They scramble up the escape ladders.
B-DECK FORWARD / WELL DECK
The gentlemen, now joined by another man, leans on the forward rail watching the steerage men playing soccer with chunks of ice.
GENTLEMAN
I guess it's nothing too serious. I'm going back to my cabin to read.
A 20ish Hibiki MAN pops through the door wearing a topcoat over pajamas.
HIBIKI
Say, did I miss the fun?
Lucy and Loke come up the steps from the well deck, which are right next to the three men. They stare as the couple climbs over the locked gate.
A moment later Captain Makarov rounds the corner, followed by Rouge and Carpenter Yajima They have come down from the bridge by the outside stairs. The three men, their faces grim, crush right past Loke and Lucy. Rouge barely glances at her.
MAKAROV
Can you shore up?
YAJIMA
Not unless the pumps get ahead.
The inspection party goes down the stairs to the well deck.
LOKE
(lows face to her)
It's bad.
LUCY
We have to tell Mother and Gray.
LOKE
Now it's worse.
LUCY
Come with me, Loke. I jump, you jump... Right?
LOKE
Right.
Loke follows Lucy through the door inside the ship.
B-DECK FOYER / CORRIDOR
Loke and Lucy cross the foyer, entering the corridor. Gajeel Lovejoy is waiting for them in the hall as they approach the room.
GAJEEL LOVEJOY
We've been looking for you miss.
Gajeel Lovejoy follows and, unseen, moves close behind Loke and smoothly slips the diamond necklace into the pocket of his oversuit .
LUCY AND GRAY'S SUITE
Gray and Erza wait in the sitting room, along with the Master at Arms and two elfmans (elfman 1 and Barnes). Silence as Lucy and Loke enter. Erza closes her robe at her throat when she sees Loke.
Something serious has happened.
GRAY
That's right. Two things dear to me have disappeared this evening. Now that one is back...
(he looks from Lucy to Loke)
... I have a pretty good idea where to fine the other.
(to Master at Arms)
Search him.
The Master at Arms steps up to Loke.
MASTER AT ARMS
Coat off, mate.
Gajeel Lovejoy pulls at Loke's coat and Loke shakes his head in dismay, shrugging out of it. The Master at Arms pats him down.
LUCY
Gray, you can't be serious! We're in the middle of an emergency and you--
pulls the Heart of the Ocean out of the pocket of Loke's coat.
LOKE
This is horseshit.
ELFMAN BARNES
Is this it?
Lucy is stunned. Needless to say, so is Loke.
GRAY
That's it.
MASTER AT ARMS
Right then. Now don't make a fuss.
He starts to handcuff Loke.
LOKE
Don't you believe it, Lucy. Don't!
LUCY
(uncertain)
He couldn't have.
GRAY
Of course he could. Easy enough for a professional. He memorized the combination when you opend the safe.
FLASHBACK: Lucy at the safe, looking in the mirror and meeting Loke's eyes as he stands behind her, watching.
LUCY
But I was with him the whole time.
GRAY
(just to her, low and cold)
Maybe he did it while you were putting your clothes back on.
LOKE
They put it in my pocket!
GAJEEL LOVEJOY
(holding Loke's coat)
It's not even your pocket, son.
(reading)
"Property of A. L. Ryerson".
Gajeel Lovejoy shows the coat to the Master at Arms. There is a label inside the collar with the owner's name.
MASTER AT ARMS
That was reported stolen today.
LOKE
I was going to return it! Lucy--
Lucy feels utterly betrayed, hurt and confused. She shrinks away from him. He starts shouting to her as Gajeel Lovejoy and the Master at Arms drag him out into the hall. She can't look him in the eye.
LOKE
Lucy, don't listen to them... I didn't do this! You know I didn't! You know it!
She is devastated. Her mother lays a comforting hand on her shoulder as te tears well up.
ERZA
Why do women believe men?
MAIL SORTING ROOM / HOLD
Makarov and Rouge come down the steps to the Mail Sorting Room and finds the clerks scrambling to pull mail from the racks. They are furiously hauling wet sacks of mail up from the hold below.
Rouge climbs partway down the stairs to the hold, which is almost full. Sacks of mail float everywhere. The lights are still on below the surface, casting an eerie glow. The Renault is visible under the water, the brass glinting cheerfully. Andrews looks down as the water covers his shoe, and scrambles back up the stairs.
LYON / CHARTROOM
Rouge unrolls a big drawing of the ship across the chartroom table. It is a side elevation, showing all the watertight bulkheads. His hands are shaking. Wakaba and Glidarts hover behind Andrews and the Captain.
GILDARTS
When can we get underway, do you think?
MAKAROV glares at him and turns his attention to Andrews' drawing. The builder points to it for emphasis as he talks.
ROUGE
Water 14 feet above the keel in ten minutes... in the forepeak... in all three holds... and in boiler room six.
MAKAROV
That's right.
ROUGE
Five compartments. She can stay afloat with the first four compartments breached. But not five. Not five. As she goes down by the head the water will spill over the tops of the bulkheads... at E Deck... from one to the next... back and back. There's no stopping it.
MAKAROV
The pumps--
ROUGE
The pumps buy you time... but minutes only. From this moment, no matter what we do, Titanic will founder.
GILDARTS
But this ship can't sink!
ROUGE
She is made of iron, sir. I assure you, she can. And she will. It is a mathematical certainty.
Makarov looks like he has been gutpunched.
MAKAROV
How much time?
ROUGE
An hour, two at most.
Gildarts reels as his dream turns into his worst nightmare.
Makarov
And how many aboard, Mr. Wakaba?
WAKABA
Two thousand two hundred souls aboard, sir.
A long beat. Makarov turns to his employer.
MAKAROV
I believe you may get your headlines, Mr. Gildarts .
BOAT DECK
Andrews is striding along the boat deck, as seamen and officers scurry to uncover the boats. Steam is venting from pipes on the funnes overhead, and the din is horrendous. Speech is difficult adding to the crew's level of disorganization. Andrews sees some men fumbling with the mechanism of one of the Wellin davits and yells to them over the roar of steam.
ROUGE
Turn to the right! Pull the falls taut before you unchock. Have you never had a boat drill?
SEAMAN
No sir! Not with these new davits, sir.
He looks around, disguisted as the crew fumble with the davits, and the tackle for the "falls"... the ropes which are used to lower the boats. A few passengers are coming out on deck, hesitantly in the noise and bitter cold.
LUCY AND GRAY'S SUITE
From inside the sitting room they can hear knocking and voices in the corridor.
ERZA
I had better go dress.
Erza exits and Gray crosses to Lucy . He regards her coldly for a moment, then SLAPS her across the face.
GRAY
It is a little slut, isn't it?
To Lucy the blow is inconsequential compared to the blow her heart has been given. Gray grabs her shoulders roughly.
GRAY
Look at me, you little--
There is a loud knock on the door and an urgent voice. The door opens and their steward puts his head in.
ELFMAN BARNES
Sir, I've been told to ask you to please put on your lifebelt, and come up to the boat deck.
GRAY
Get out. We're busy.
The steward persists, coming in to get the lifebelts down from the top of a dresser.
ELFMAN
I'm sorry about the inconvenience, Mr. Gray Hockley, but it's Captain's orders. Please dress warmly, it's quite cold tonight.
(he hands a lifebelt to Lucy)
Not to worry, miss, I'm sure it's just a precaution.
GRAY
This is ridiculous.
In the corridor outside the stewards are being so polite and obsequious they are conveying no sense of danger whatsoever. However, it's another story in...
STEERAGE BERTHING AFT
BLACKNESS. Then BANG! The door is thrown open and the lights snapped on by a steward. The Cartmell family rouses from a sound sleep.
ELFMAN
Everybody up. Let's go. Put your lifebelts on.
IN THE CORRIDOR outside, another steward is going from door to door along the hall, pouncing and yelling.
ELFMAN
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on...
People come out of the doors behind the steward, perplexed. In the foreground a SYRIAN WOMAN asks her husband what was said. He shrugs.
INT. WIRELESS ROOM
ON PHILLIPS, looking shocked.
PHILLIPS
CQD, sir?
MAKAROV
That's right. The distress call. CQD. Tell whoever responds that we are going down by the head and need immediate assistance.
MAKAROV hurries out.
PHILLIPS
Blimey.
LYON
Maybe you ought to try that new distress call... S.O.S.
(grinning)
It may be our only chance to use it.
Phillips laughs in spite of himself and starts sending history's first S.O.S. Dit dit dit, da da da, dit dit dit... over and over.
BOAT DECK
ROUGE Andrews looks around in amazement. The deck is empty except for the crew fumbling with the davits. He yells over the roar of the steam to First Officer Murdoch.
ROGUE
Where are all the passengers?
WAKABA
They've all gone back inside. Too damn cold and noisy for them.
Rouge Andrews feels like he is in a bad dream. He looks at his pocketwatch and heads for the foyer entrance.
A-DECK FOYER
A large number of First Class passengers have gathered near the staircase. They are getting indignant about the confusion. Molly Brown snags a passing YOUNG STEWARD.
AQUARIUS
What's doing, sonny? You've got us all trussed up and now we're cooling our heels.
The young steward backs away, actually stumbling on the stairs.
YOUNG ELFMAN
Sorry, mum. Let me go and find out.
The jumpy piano rhythm of "Alexander's Ragtime Band" comes out of the first class lounge a few yards away. Band leader WALLACE HARTLEY has assembled some of his men on Captain's orders, to allay panic.
Gray Hockley's entourage comes up to the A-deck foyer. Gray is carrying the lifebelts, almost as an afterthought. Lucy is like a sleepwalker.
GRAY
It's just the God damned English doing everything by the book.
ERZA
There's no need for language, Mr. Gray Hockley.
(to Lyra)
Go back and turn the heater on in my room, so it won't be too cold when we get back.
Rouge Andrews enters, looking around the magnificent room, which he knows is doomed. Lucy, standing nearby, sees his heartbroken expression. She walks over to him and Cal goes after her.
LUCY
I saw the iceberg, Mr. Rouge Andrews. And I see it in your eyes. Please tell me the truth.
ROUGE
The ship will sink.
LUCY
You're certain?
ROUGE
Yes. In an hour or so... all this... will be at the bottom of the Atlantic.
GRAY
My God.
Now it is Gray's turn to look stunned. The Titanic? Sinking?
ROGUE
Please tell only who you must, I don't want to be responsible for a panic. And get to a boat quickly. Don't wait. You remember what I told you about the boats?
LUCY
Yes, I understand. Thankyou.
Andrews goes off, moving among the passengers and urging them to put on their lifebelts and get to the boats.
MASTER AT ARMS OFFICE
Gajeel Lovejoy and the Master at Arms are handcuffing Loke to a 4" WATER PIPE as a crewman rushes in anxiously and almost blurts to the Master at Arms--
CREWMAN
You're wanted by the Purser, sir. Urgently.
GAJEEL LOVEJOY
Go on. I'll keep an eye on him.
Lovejoy pulls a pearl handled Colt .45 automatic from under his coat. The Master at Arms nods and tosses the handcuff key to Lovejoy, then exits with the crewman. Gajeel Lovejoy flips the key in the air. Catches it.
BRIDGE
Junior Wireless Operator Lyon is relaying a message to Captain Makarov from the CUNARD LINER CARPATHIA.
LYON
Carpathia says they're making 17 knots, full steam for them, sir.
MAKAROV
And she's the only one who's responding?
LYON
The only one close, sir. She says they can be here in four hours.
MAKAROV
Four hours!
The enormity of it hits Smith like a sledgehammer blow.
MAKAROV
Thank you, Bride.
He turns as Bride exits, and looks out onto the blackness.
MAKAROV
(to himself)
My God.
BOAT DECK - NIGHT
Lightoller has his boats swung out. He is standing amidst a crowd of uncertain passengers in all states of dress and undress. One first class woman is barefoot. Others are in stockings. The maitre of the restaurant is in top hat and overcoat. Others are still in evening dress, while some are in bathrobes and kimonos. Women are wearing lifebelts over velvet gowns, then topping it with sble stoles. Some brought jewels, others books, even small dogs.
Lightoller sees Makarov walking stiffly toward him and quickly goes to him. He yells into the Captain's ear, through cupped hands, over the roar of the steam...
LIGHTOLLER
Hadn't we better get the women and children into the boats, sir?
Smith just nods, a bit abstractly. The fire has gone out of him. Lightoller sees the awesome truth in Smith's face.
LIGHTOLLER
(to the men)
Right! Start the loading. Women and children!
The appalling din of escaping steam abruptly cuts off, leaving a sudden unearthly silence in which Lightoller's voice echoes.
ON WALLACE HARTLEY raising his violin to play.
HARTLEY
Number 26. Ready and--
The band has reassembled just outside the First Class Entrance, port side, near where Lightoller is calling for the boats to be loaded. They strike up a waltz, lively and elegant. The music wafts all over the ship.
LIGHTOLLER
Ladies, please. Step into the boat.
Finally one soman steps across the gap, into the boat, terrified of the drop to the water far below.
WOMAN IN CROWD
You watch. They'll put us off in these silly little boats to freeze, and we'll all be back on board by breakfast.
Gray Lucy and Erza come out of the doors near the band.
ERZA
My brooch, I left my brooch. I must have it!
She turns back to go to her room but Gray takes her by the arm, refusing to let her go. The firmness of his hold surprises her.
GRAY
Stay here, Erza.
Erza sees his expression, and knows fear for the first time.
STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL
It is chaos, with stewards pushing their way through narrow corridors clogged with peopel carrying suitcases, duffel bags, children. Some have lifebelts on, others don't.
ELFMAN
(to Elfman 2 )
I told the stupid sods no luggage. Aw, bloody hell!
He throws up his hand at the sight of a family, loaded down with cases and bags, completely blocking the corridor.
Natsu and Freed push past the stewards, going the other way. They rech a huge crowd gathered at the bottom of the MAIN 3RD CLASS STAIRWELL. Natsu spots Lisanna with the rest of the Dragon family, standing patiently with suitcases in hand. He reaches her and she grins, hugging him.
Freed pushes to where he can see what's holding up the group. There is a steel gate across the top of the stairs, with several stewards and seamen on the other side.
ELFMAN
Stay calm, please. It's not time to go up to the boats yet.
Near Freed, an IRISHWOMAN stands stoically with two small children and their battered luggage.
LITTLE BOY
What are we doing, mummy?
WOMAN
We're just waiting, dear. When they fiish putting First Class people in the boats, they'll be startin' with us, and we'll want to be all ready, won't we?
STARBOARD SIDE
Boat 7 is less than half full, with 28 aboard a boat made for 65.
FIRST OFFICER MURDOCH
Lower away! By the left and right together, stady lads!
The boat lurches as the falls start to pay out through the pulley blocks. The women gasp. The boat descends, swaying and jerking, toward the water 60 feet below. The passengers are terrified.
TITANIC HULL AND MASTER AT ARMS OFFICE
TRACKING along the rows of portholes angling down into the water. Under the surface, they glow green. PUSHING IN on one porthole which is have submerged. Inside we see Loke, looking apprehensively at the water rising up the glass.
INSIDE THE MASTER AT ARMS' OFFICE Loke sits chained to the waterpipe, next to the porthole. Gajeel Lovejoy sits on the edge of a desk. He puts a .45 bullet on the desk and watches it roll across and fall off. He picks up the bullet.
GAJEEL LOVEJOY
You know... I believe this ship may sink.
(crosses to Loke )
I've been asked to give you this small token of our appreciation...
He punches Gajeel hard in the stomach, knocking the wind out of him.
GAJEEL LOVEJOY
Compliments of Mr. Gray Fullbuster Hockley.
Gajeel Lovejoy flips the handcuff key in the air, catches it and puts it in his pocket. He exits. Loke is left gasping, handcuffed to the pipe.
BOAT DECK / STARBOARD SIDE, FORWARD
At the stairwell rail on the bridge wing, Fourth Officer Boxhall and Quartermaster Rowe light the first distress rocket. It shoots into the sky and EXPLODES with a thunderclap over the ship, sending out white starbursts which light up the entire deck as they fall.
WHIP PAN off the starbursts to Ismay. The Managing Director of White Star Line is cracking. Already at the breaking point from his immense guilt, the rocket panics him. He starts shouting at the officers struggling with the falls of BOAT 5.
GILDARTS
There is no time to waste!
(yelling and waving his arms)
Lower away! Lower away! Lower away!
FIFTH OFFICER LOWE, a baby-faced 28, and the youngest officer, looks up from the tangled falls at the madman.
PANTHER
Get out of the way, you fool!
GILDARTS
Do you know who I am?
Capricorn, not having a clue nor caring, squares up to Ismay.
CAPRICORN
You're a passenger. And I'm a ship's bloody officer. Now do what you're told!
(MORE)
Capricorn
(turning away)
Steady men! Stand by the falls!
GILDARTS
(numbly, backing away)
Yes, quite right. Sorry.
BOAT DECK / PORT SIDE
SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Lucy... Boat 6.
LIGHTOLLER
Women and children only! Sorry sir, no men yet.
Another rocket bursts overhead, lighting the crowd. Startled faces turn upward. Fear now in the eyes.
DANIEL MARVIN has his Biograph camera set up, cranking away... hoping to get an exposure off the rocket's light. he has Mary posed in front of the scene at the boats.
MARVIN
You're afraid, darling. Scared to death. That's it!
Either she suddenly learned to act or she is petrified.
LUCY watches the farewells taking pace right in front of her as they step closer to the boat. Husbands saying goodbye to wives and children. Lovers and friends parted. Nearby AQUARIUS is getting a reluctant woman to board the boat.
AQUARIUS
Come on, you heard the man. Get in the boat, sister.
ERZA
Will the lifeboats be seated according to class? I hope they're not too crowded--
LUCY
Oh, Mother shut up!
(Erza freezes, mouth open)
Don't you understand? The water is freezing and there aren't enough boats... not enough by half. Half the people on this ship are going to die.
GRAY
Not the better half.
PUSH IN ON 'S FACE as it hits her like a thunderbolt. Loke is in third class deck . He doesn't stand a chance against Gray who holds first class. Another rocket bursts overhead, bathing her face in white light.
LUCY
You unimaginable bastard.
AQUARIUS
Come on, Erza, get in the boat. These are the first class seats right up here. That's it.
Aquarius practically hands her over to Lightoller, then looks around for some other women who might need a push.
AQUARIUS
Come on, Lucy .You're next, darlin'.
Lucy steps back, shaking her head.
ERZA
Lucy, get in the boat!
LUCY
Goodbye, mother.
Erza , standing in the tippy lifeboat, can do nothing. Gray grabs Lucy's arm but she pulls free and walks away through the crowd. Gray catches up to Lucy and grabs her again, roughly.
GRAY
Where are you going? To him? Is that it? To be a whore to that gutter rat?
LUCY
I'd rather be his whore than your wife.
He clenches his jaw and squeezes her arm viciously, pulling her back toward the lifeboat. Lucy pulls out a hairpin and jabs him with it. he lets go with a curse and she runs into the crowd.
LIGHTOLLER
Lower away!!
ERZA
Lucy! LUCY!!
AQUARIUS
Stuff a sock in it, would ya, Ruth. She'll be along.
The boat lurches downward as the falls are paid out.
TRACKING WITH Lucy , as she runs through the clusters of people. She looks back and a furious Gray is coming after her. She runs breathlessly up to two proper looking men.
LUCY
That man tried to take advantage of me in the crowd!
Appalled, they turn to see Gray running toward them. Lucy runs on as the two men grab Gray restraining him. She runs throught the First Class entrance.
Gray breaks free and runs after her. He reaches the entrance, but runs into a knot of people coming out. He pushes rudely through them...
BOAT DECK FOYER / STAIRCASE / A-DECK FOYER
Gray runs in, and down to the landing, pushing past the gentlemen and ladies who are filling up the stairs. He scans the A-deck foyer. Lucy is gone.
:
OCEAN / TITANIC / BOAT 6
The hull of Titanic looms over Boat 6 like a cliff. Its enormous mass is suddenly threatening to those in the tiny boat. Quartermaster Hitchins, at the tiller, wants nothing but to get away from the ship. Unfortunately his two seamen can't row. They flail like a duck with a broken wing.
CAPRICORN
Keep pulling... away from the ship. Pull.
AQUARIUS
Ain't you boys ever rowed before? Here, gimme those oars. I'll show ya how it's done.
She climbs over Ruth to get at the oars, stepping on her feet.
Around them the evacuation is in full swing, with boats in the water, others being lowered.
MASTER AT ARMS OFFICE / CORRIDOR
Loke pulls on the pipe with all his strength. It's not budging. He hears gurgling sound. Water pours under the door, spreading rapidly across the floor.
LOKE
Shit.
He tries to pull one hand out of the cuffs, working until the skin is raw... no good.
LOKE
Help!! Somebody!! Can anybody hear me?!
(to himself)
This could be bad.
THE CORRIDOR outside is deserted. Flooded a couple of inches deep. Loke's voice comes faintly through the door, but there is no one to hear it.
INT. FIRST CLASS CORRIDOR
Rogue Andrews is opening stateroom doors, checking that people are out.
ROUGE
Anyone in here?
Lucy runs up to him, breathless.
LUCY
Mr. Andrews, thank God! Where would the Master at Arms take someone under arrest?!
ROGUE
What? You have to get to a boat right away!
LUCY
No! I'll do this with or without your help, sir. But without will take longer.
ROGUE
(beat)
Take the elevator to the very bottom, go left, down the crewman's passage, then make a right.
LUCY
Bottom, left, right. I have it.
ROUGE
Hurry, Lucy.
FOYER / ELEVATORS
Lucy runs up as the last Elecator Operator is closing up his lift to leave.
OPERATOR
Sorry, miss, lifts are closed--
Without thinking she grabs him and shoves him back into the line of elevator.
LUCY
I'm through with being polite, goddamnit!! I may never be polite the rest of my life! Now take me down!!
The operator fumbles to close the gate and start the lift.
OCEAN / BOAT 6
AQUARIUS and the two seamen are rowing, and they've made it a hundret feet or so. Enough to see that the ship is angled down into the water, with the bow rail less than ten feet above the surface.
AQUARIUS
Come on girls, join in, it'll keep ya warm. Let's go Ruth. Grab an oar!
Erza just stares at the spectacle of the great liner, its rows of lights blazing, slanting down into the sullen black mirror of the Atlanic.
FIRST CLASS ELEVATOR / CORRIDORS
Through the wrought iron door of the elevator car Lucy can see the decks going past. The lift slows. Suddenly ICE WATER is swirling around her legs. She SCREAMS in surprise. So does the operator.
The car has landed in a foot of freezing water, shocking the hell out of her. She claws the door open and splashes out, hiking up her floor-length skirt so she can move. The lift goes back up, behind her, as she looks around.
LOKE
Left, crew passage.
She spots it and slogs down the flooded corridor. The place is understandably deserted. She is on her own.
LUCY
Right, right... right.
She turns into a cross-corridor, splashing down the hall. A row of doors on each side.
LUCY
Loke? Loookkee??
MASTER AT ARMS OFFICE / CORRIDOR
Loke is hopelessly pulling on the pipe again, straining until he turns red. He collapses back on the bench. realizing he's screwed. Then he hears her through the door.
LOKE
LUCY!! In here!
IN THE HALL Lucy hears his voice behind her. She spins and runs back, locating the right door, then pushes it open, creating a small wave.
She splashes over Loke and puts her arms around him.
LUCY
Loke, Loke,Loke... I'm sorry, I'm so sorry.
They are so happy to see each other it's embarrassing.
LOKE
That guy Lovejoy put it in my pocket.
LUCY
I know, I know.
LOKE
See if you can find a key for these. Try those drawers. It's a little brass one.
She kisses his face and hugs him again, then starts to go through the desk.
LOKE
So... how did you find out I didn't do it?
LUCY
I didn't.
(she looks at him)
I just realized I already knew.
They share a look, then she goes back to ransacking the room, searching drawers and cupboards. Loke sees movement out the porthole and looks out.
A LIFEBOAT hits the surface of the water, seen from below.
TITANIC / BOAT ONE
While the seamen detach the falls, Boat One rocks next to the hull. Meredy Lucile and Sir Cosmo Sabor Duff-Gordon sit with ten others in a boat made for four times that many.
MEREDY
I despise small boats. I just know I'm going to be seasick. I always get seasick in small boats. Good Heavens, there's a man down there.
In a lit porthole beneath the surface she sees Loke looking up at her... a face in a bubble of light under the water.
MASTER AT ARMS OFFICE
Lucy stops trashing the room, and stands there, breathing hard.
LUCY
There's no key in here.
They look around at the water, now almost two feet deep. Loke has pulled his feet up onto the bench.
LOKE
You have to go for help.
LUCY
(nodding)
I'll be right back.
LOKE
I'll wait here.
She runs out, looking back at him once from the doorway, then splashes away. Loke looks down at the swirling water.
STAIRWELL AND CORRIDORS
Lucy splashes down the hall to a stairwell going up to the next deck. She climbs the stairs, her long skirt leaving a trail like a giant snail. The weight of it is really slowing her down. She rips at the buttons and shimmies quickly out of the thing. She bounds up the stairs in her stockings and knee-length slip, to find herself in--
A LONG CORRIDOR... part of the labyrinth of steerage hallways forward. She is alone here. A long groan of stressing metal echoes along the hall as the ship continues to settle. She runs down the hall, unimpeded now.
LUCY
Hello? Somebody?!
She turns a corner and runs along another corridor in a daze. The hall slopes down into water which, shimmers, reflecting the light. The margin of the water creeps toward her. A YOUNG MAN appears, running through the water, sending up geysers of spray. He pelts past her without slowing, his eyes crazed...
LUCY
Help me! We need help!
He doesn't look back. It is like a bad dream. The hull gongs with terrifying sounds.
The lights flicker and go out, leaving utter darkness. A beat. Then they come back on. She finds herself hyperventilating. That one moment of blackness was the most terrifying of her life.
ELFMAN runs around the nearest corner, his arms full of lifebelts. He is upset to see someone still in his section. He grabs her forcefully by the arm, pulling her with him like a wayward child.
ELFMAN
Come on, then, let's get you topside, miss, that's right.
LUCY
Wait. Wait! I need your help! There's--
ELFMAN
No need for panic, miss. Come along!
LUCY
No, let me go! You're going the wrong way!
He's not listening. And he won't let her go.
She SHOUTS in his ear, and when he turns, she punches him squarely in the nose. Shocked, he lets her go and staggers back.
ELFMAN
To Hell with you!
LUCY
See you there, buster!
The steward runs off, holding his bloody nose. She spits after him. Just the way Loke taugh: her.
She turns around, SEES: a glass case with a fire-axe in it. She breaks the glass with a battered suitcase which is lying discarded nearby, and seizes the axe, running back the way she came.
AT THE STAIRWELL she looks down and gasps. The water has flooded the bottom five steps. She goes down and has to crouch to look along the corridor to the room where Loke is trapped.
Lucy plunges into the water, which is up to her waist... and powers forward, holding the axe above her head in two hands. She grimaces at the pain from the literally freezing water.
MASTER AT ARMS OFFICE
LOKE has climbed up on the bench, and is hugging the waterpipe. Lucy wades in, holding the axe above her head.
LUCY
Will this work?
LOKE
We'll find out.
They are both terrified, but trying to keep panic at bay. He positions the chain connecting the two cuffs, stretching it taut across the steel pipe. The chain is of course very short, and his exposed wrists are on either side of it.
LOKE
Try a couple practice swings.
Lucy hefts the axe and thunks it into a wooden cabinet.
LOKE
Now try to hit the same mark again.
She swings hard and the blade thunks in four inches from the mark.
LOKE
Okay, that's enough practice.
He winces, bracing himself as she raises the axe. She has to hit a target about an inch wide with all the foce she can muster, with his hands on either side.
LOKE
(sounding calm)
You can do it, Lucy . Hit it as hard as you can, I trust you.
Lucy closes his eyes. So does she.
The axe comes down. K-WHANG! Lucy gingerly opens her eyes looks... Loke is grinning with two separate cuffs.
Lucy drops the axe, all the strength going out of her.
LOKE
Nice work, there, Lily Bunyan.
He climbs down into the water next to her. He can't breathe for a second.
LOKE
Shit! Excuse my French. Ow ow ow, that is cold! Come on, let's go.
They wade out into the hall. Lucy starts toward the stairs going up, but Loke stops her. There is only about a foot of the stairwell opening visible.
LOKE
Too deep. We gotta find another way out.
BOAT 6 AND TITANIC
TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomed steamer. Once 50 feet above the waterline, they now quietly slip below the surface. We see them, gold on black, rippling and dimming to a pale green as they go deeper.
KN BOAT SIX, Erza looks back at the Titanic, transfixed by the sight of the dying liner. The bowsprit is now barely above the waterline. Another of Boxhall's rockets EXPLODES overhead. K-BOOM! It lights up the whole area, and we see half a dozen boats in the water, spreading out from the ship.
AQUARIUS
Now there's somethin' you don't see every day.
SCOTLAND ROAD / E-DECK
The widest passageway in the ship, it is used by crew and steerage alike, and runs almost the length of the ship. Right now steerage passengers move along it like refugees, heading aft.
CRASH! A wooden doorframe splinters and the door bursts open under the force of Loke's shoulder. Loke and Lucy stumble through, into the corridor. A ELFMAN, who was nearby herding people along, marches over.
ELFMAN
Here you! You'll have to pay for that, you know. That's White Star Line property--
LOKE AND LUCY
(turning together)
Shutup!
Loke leads her past the dumbfounded elfman . They join the steerage stragglers going aft. In places the corridor is almost completely blocked by large families carrying all their luggage.
AN IRISH WOMAN gives Lucy a blanket, more for modesty than because she is blue-lipped and shivering.
IRISHWOMAN
Here, lass, cover yerself.
Loke rubs her arms and tries to warm her up as they walk along. The woman's husband offers them a flask of whiskey.
IRISHMAN
This'll take the chill off.
Lucy takes a mighty belt and hands it to Loke. He grins and follows suit. Loke tries a number of DOORS and IRON GATES along the way, finding them all locked.
BOAT DECK
ON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9, 11, 13 and 15 on the starboard side, and 10, 12, 14 and 16 on the port side. The pace of work is more frantic. You see crew and officers running now to work the davits, their previous complacency gone.
GRAY pushes through the crowd, scanning for Lucy . Around him is chaos and confusion. A woman is calling for a child who has become seperated from the crowd. A man is shouting over people's heads. A woman takes hold of Second Officer Lightoller's arm as he is about to launch Boat 10.
WOMAN
Will you hold the boat a moment? I have to run back to my room for something--
Lightoller grabs her and shoves her bodily into the boat. Thomas Andrews rushes up to him just then.
ROUGE
Why are the boats being launched half full?!
Lightoller steps past him, helping a seaman clear a snarled fall.
LIGHTOLLER
Not now, Mr. Andrews.
ROUGE
(pointing down at the water)
There, look... twenty or so in a boat built for sixty five. And I saw one boat with only twelve. Twelve!
LIGHTOLLER
Well... we were not sure of the weight--
ROUGE
Rubbish! They were tested in Belfast with the weight of 70 men. Now fill these boats, Mr. Lightoller. For God's sake, man!
The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through the aisle connecting the port and starboard sides of the boat deck.
GAJEEL LOVEJOY
She's not on the starboard side either.
GRAY
We're running out of time. And this strutting martinet...
(indicating Lightoller)
...isn't letting any men in at all.
GAJEEL LOVEJOY
The one on the other side is letting men in.
GRAY
Then that's our play. But we're still going to need some insurance.
(he starts off forward)
Come on.
Gray charges off, heading forward, followed by Gajeel Lovejoy. The SHOT HANDS OFF to a finely dressed elderly couple, Gildarts and Otiella.
Please, Otiella , get into the boat.
No. We've been together for forty years, and where
you go, I go. Don't argue with me, Gildarts, you know it does no good.
He looks at her with sadness and great love. They embrace gently.
LIGHTOLLER
Lower away!!
BRIDGE / FORWARD WELL DECK / FOC'SLE
AT THE BOW... the place where Loke and Lucy first kissed... the bow railing goes under water water. Water swirls around the captsans and windlasses on the foc'sle deck.
Makarov strides to the bridge rail and looks down at the well deck. Water is shipped over the sides and the well deck is awash. Two men run across the deck, their feet sending up spray. Behind Smith, Boxhall fires another rocket. WHOOSH!
E-DECK CORRIDORS AND STAIRWELL
Natsu, standing with Lisanna and her family, hears Loke's voice.
LOKE
NATSU ! Na..!
Natsu turns to see Loke and Lucy pushing through the crowd. As Loke comes forward,He and Loke hug like brothers.
NATSU
The boats are all going.
LOKE
We gotta get up there or we're gonna be gargling saltwater. Where's Freed?
Natsu points over the heads of the solidly packed crowd to the stairwell.
Freed has his hands on the bars of the steel gate which blocks the head of the stairwell. The crew open the gate a foot or so and a few women are squeezing through.
ELFMAN
Women only. No men. No men!!
But some terrified men, not understanding English, try to rush through the gap, forcing the gate open. The crewmen and stewards push them back, shoving and punching them.
ELFMAN
Get back! Get back you lot!
(to the crewmen)
Lock it!!
They struggle to get the gate closed again, while ELFMAN 2 brandishes a small revolver. Another holds a fire axe. They lock the gate, and a cry goes up among the crowd, who surge forward, pounding against the steel and shouting in several languages.
FREED
For the love of God, man, there are children down here! Let us up, so we can have a chance!
But the crewmen are scared now. They have let the situation get out of hand, and now they have a mob. Freed gives up and pushes his way back through the crowd, going down the stairs. Freed rejoins Lucy,Loke and Natsu.
FREED
It's hopeless that way.
LOKE
Well, whatever we're goin' to do, we better do it fast.
Natsu turns to Lisanna , praying he can make himself understood.
NATSU
(with a lot of hand gestures)
Everyone... all of you... come with me now. We go to the boats. We go to the boats. Capito? Come now!
They can't understand what he's saying. They can see his urgency, but STRAUSS DAHL, the patriarch of the family, shakes his head. He will not panic, and will not let his family go with this boy.
Natsu turns to Lisanna.
NATSU
Lisanna... per favore... please... come with me, I am honored. Is my destiny to go to America.
Lisanna kisses Natsu , then steps back to be with her family. Loke lays a hand on his shoulder, his eyes saying "Let's go".
NATSU
I will never forget you.
He turns to Loke, who leads the way out of the crowd. Looking back Natsu sees her face disappear into the crowd.
GRAY AND LUCY'S SUITE
CLUNK! Gray opens his safe and reaches inside. As Lovejoy watches, he pulls out two stacks of bills, still banded by bank wrappers. Then he takes out "Heart of the Ocean", putting it in the pocket of his overcoat, and locks the safe.
GRAY
(holding up stacks of bills)
I make my own luck.
GAJEEL LOVEJOY
(putting the .45 gun in his waistband pocket)
So do I.
Gray grins, putting the money in his pocket as they go out.
STEERAGE, AFT
Loke , Lucy , Freed and Natsu are lost, searching for a way out. They push past confused passengers... past a mother changing her baby's diaper on top of an upturned steamer trunk... past a woman arguing heatedly with a man in Serbo-Croatian, a wailing child next to them... past a man kneeling to console a woman who is just sitting on the floor, sobbing... and past another man with an English/Arabic dictionary, trying to figure out what the signs mean, while his wife and children wait patiently.
Loke come upon a narrow stairwell and they go up two decks before they are stopped by a small group pressed up against a steel gate. The steerage men are yelling at a scared ELFMAN.
Elfman
Go to the main stairwell, with everyone else. It'll all get sorted out there.
Loke takes one look at this scene and finally just loses it.
LOKE
God damn it to Hell son of a bitch!!
He grabs one end of a bench bolted to the floor on the landing. He starts pulling on it, and Freed and Natsu pitch in until the bolts shear and it breaks free. Lucy figures out what they are doing and clears a path up the stairs between the waiting people.
LUCY
Move aside! Quickly, move aside!
Loke and Freed run up the steps with the bench and RAM IT INTO THE GATE with all their strength. It rips loose from its track and falls outward, narrowly mssing the steward. Led by Loke, the crowd surges though. Lucy steps up to the cowering steward and says in her most imperious tone:
LUCY
If you have any intention of keeping your pathetic job
(MORE)
LUCY (CONT'D)
with the White Star Line, I suggest you escort these good people to the boat deck... now.
Class wins out. He nods dumbly motions form them to follow.
BOAT 6 / TITANIC - NIGHT
Erza rows with Aquarius Brown, two other women and the incompetent sailors. She rests on her oars, exhausted, and looks back at the ship.
It slants down into the water, still ablaze with light. Nothing is above water forward of the bridge except for the foremast. Another rocket goes off, lighting up the entire area... there are a dozen boats moving outward from the ship.
AT THE BOAT DECK RAIL Captain Makarov is shouting to Boat 6 through a large metal megaphone.
MAKAROV
Come back! Come back to the ship!
CHIEF OFFICER WILDE joins him, blowing his silver whistle.
FROM BOAT 6 the whistle comes shrilly across the water. Quartermaster Hitchins grips the rudder in fear.
HITCHINS
The suction will pull us right down if we don't keep going.
AQUARIUS
We got room for lots more. I say we go back.
GEMI
No! It's our lives now, not theirs. And I'm in charge of this boat! Now row!!
CAPTAIN MAKAROV, at the rail of the boat deck, lowers his megaphone slowly
MAKAROV
The fools.
INT. A-DECK FOYER
As Gray and Gajeel Lovejoy cross the foyer encounter Benjamin Guggenheim and his valet, coth dressed in white tie, tail-coats and top hats.
GRAY
Ben, what's the occasion?
GUGGENHEIM
We have dressed in our best and are prepared to go down like gentlemen.
GRAY
That's admirable, Ben.
(walking on)
I'll sure and tell your wife... when I get to New York.
INT. FIRST CLASS SMOKING ROOM
There are still two cardgames in progress. The room is quiet and civilized. A silver serving cart, holding a large humidor, begins to roll slowly across the room. One of the cardplayers takes a cigar from it as it rolls by.
CARDPLAYER
It seems we've been dealt a bad hand this time.
A-DECK PROMENADE
Gray and Gajeel Lovejoy are walking aft with a purposeful stride. They pass CHIEF BAKER JOHGHIN, who is working up a sweat tossing deck chairs over the rail. After they go by, Joughin takes a break and pulls a bottle of scotch from a pocket, opening it. He drains it, and tosses it over the side too, then stands there a little unsteadily.
BOAT DECK AND A-DECK, AFT
PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a mix of all three classes. Officers repeatedly warn men back from the boats. The crowd presses in closer.
Seamen SCAROTT brandishes the tiller of boat 14 to discourage a close press of men who look ready to rush the boat. Several men break ranks and rush forward.
Lightoller pulls out his Webley revolver and aims it at them.
LIGHTOLLER
Get back! Keep order!
The men back down. Fifth Officer Lowe standing in the boat, yells to the crew.
CAPRICORN
CAPRICORN away left and right!
Lightoller turns away from the crowd and, out of their sight, breaks his pistol open. Letting out a long breath, he starts to LOAD IT.
BOAT DECK, STARBOARD SIDE, AFT
Gray and Gajeel Lovejoy arrive in time to see Wendy lowering his last boat.
GRAY
We're too late.
GAJEEL LOVEJOY
There are still some boats forward. Stay with this one... Murdoch. He seems to be quite... practical.
IN THE WATER BELOW there is another panic. Boat 13, already in the water but still attached to its falls, is pushed aft by the discharge water being pumped out of the ship. It winds up directly under boat 15, which is coming downt he right on top of it.
The passengers shout in panic to the crew above to stop lowering. They are ignored. Some men put their hands up, trying futilely to keep the 5 tons of boat 15 from crushing them.
Robin , the stoker, gets out his knife and leaps to the after falls, climbing rudely over people. He cuts the aft falls while another crewman cuts the forward lines. 13 drifts out from beneath 15 just seconds before it touches the water with a slap.
Gray, looking down from the rail hears GUNSHOTS--
BOAT DECK / A-DECK, PORT, AFT
Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch of men threatening to jump into the boat as it passes the open promenade on A-Deck.
CAPRICORN
Stay back you lot!
BLAM! BLAM!
C BOAT DECK, STARBOARD, AFT
The shots echo away.
GRAY
It's starting to fall apart. We don't have much time.
Gray sees three dogs run by, including the black French bulldog. Someone has released the pets from the kennels.
Gray sees Wakaba turn from the davits of boat 15 and start walking toward the bow. He catches up and falls in beside him.
GRAY
Mr. Wakaba , I'm a businessman, as you know, and I have a business proposition for you.
EXT. BOAT DECK, PORT
Loke and Lucy burst out onto the boat deck from the crew stairs just aft of the third funnel. They look at the empty davits.
LUCY
The boats are gone!
She sees Colonel Macao chugging forward along the deck, escorting two first class ladies.
LUCY
Colonel! Are there any boats left?
MACAO
(staring at her bedraggled state)
Yes, miss... there are still a couple of boats all the way forward. This way, I'll lead you!
Loke grabs her hand and they sprint past Mira , with Freed and Natsu close behind.
ANGLE ON THE BAND... incredibly they are still playing. Loke, Lucy and the others run by.
FREED
Music to drown by. Now I know I'm in First Class.
BOAT DECK, STARBOARD, FORWARD
Water pours like a spillway over the forward railing on B-Deck. CAMERA SWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team are loading Collapsible Car the forward-most davits.
There are four so-called collapsibles, or Engelhardts boats, including two which are stored on the roof of the officer's quarters.
The crowd is sparse, with most people still aft. Gray slips his hand out of hte pocket of his overcoat and into the waist pocket of greatcoat, leaving the stacks of bills there.
GRAY
So we have an understanding then?
WAKABA
(nodding curtly)
As you've said.
Gray, satisfied, steps back. He finds himself waiting next to J. Bruce Ismay. Ismay does not meet his eyes, nor anyone's. Lovejoy come sup to Gray at that moment.
GAJEEL LOVEJOY
I've found her. She's just over on the port side. With him.
WAKABA
Women and children? Any more women and children?
(glancing at Gray)
Any one else, then?
Gray looks longingly at his boat... his moment has arrived.
Gray
God damn it to hell! Come on.
He and Gajeel Lovejoy head for the port side, taking a short-cut through the bridge.
Bruce Gildarts , seeing his oppurtunity, steps quickly into Collapsible C. He stares straight ahead, not meeting Wakaba's eyes.
WAKABA
(staring at gildarts)
Take them down.
BOAT DECK / PORT SIDE - NIGHT
ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps his pistol in his hand at this point. Twenty feet below them the sea is pouring into the doors and windows of B deck staterooms. They can hear the roar of water cascading into the ship.
LIGHTOLLER
Women and children, please. Women and children only. Step back, sir.
Lucy looks around the familia area.
Loke this where we first met
She smiles and Loke kisses her forehead as he holds her close
with his's arms wrapped around her, Lucy is shivering in the cold.they were near her an old woman with TWO YOUNG DAUGHTERS looks into the eyes of a HUSBAND she knows she may not see again
HUSBAND
Goodbye for a little while... only for a little while.
(to his two little girls)
Go with mummy.
The woman stumbles to the boat with the children, hiding her tears from them. Beneath the false good cheer, the man is choked with emotion.
HUSBAND
Hold mummy's hand and be a good girl. That's right.
Some of the women are stoic, others are overwhelmed by emotion and have to be helped into the boats. A MAN scribbles a note and hands it to a woman who is about to board.
MAN
Please get this to my wife in DeMoines, Iowa.
Loke looks at Freed and Natsu.
Loke
You better check out the other side.
They nod and run off, searching for a way around the deckhouse.
Gray then comes between them
LUCY
I'm not going without you.
LOKE
Get in the boat, Lucy.
Gray walks up just then.
GRAY
Yes. Get in the boat, Lucy.
She is shocked to see him. She steps instinctively to Loke. Gray looks at her, standing there shivering in her wet slip and stockings, a shocking display in 1912.
My God, look at you.
(taking off his coat)
Here, put this on.
She numbly shrugs into it. He is doing it for modesty, not the cold.
Loke pushes Gray , pulls Lucy towards himself and calms her just for her to get into the boat .
LIGHTOLLER
Quickly, ladies. Step into the boat. Hurry, please!
LOKE
Go on. I'll get the next one.
LUCY
No. Not without you!
She doesn't even care that Gray is standing right there. He sees the emotion between Loke and Lucy and his jaw clenches. But then he leans close to her and says...
GRAY
(low)
There are boats on the other side that are allowing men in. Loke and I can get off safely. Both of us.
LOKE
(he smiles reassuringly)
I'll be alright. Hurry up so we can get going... See got my own boat to catch.
GRAY
Get in... hurry up, it's almost full.
Lightoller grabs her arm and pulls her toward the boat. She reaches out for Loke and her fingers brush his for a moment. Then she finds herself stepping down into the boat. It's all a rush and blur.
LIGHTOLLER
Lower away!
The two men watch at the rail as the boat begins to descend.
GRAY
(low)
You're a good liar.
LOKE
Almost as good as you.
GRAY
Pity I didn't keep that drawing. It's going to be worth a lot more by morning.
Loke glances at gray as he gray gives him a glance in return.
I always win, Loke. One way or another.
(looks at him, smiling)
Loke knows he is screwed. He looks down at Lucy , not wanting to waste a second of his last view of her.
here's no... there's no
arrangement, is there?
No, there is.
Not that you'll benefit much from it.
I always win, Loke .
One way or another.
It's your men
Easy. Even, lads. Keep going, keep going.
Lucy just stares up at Loke while the boat just goes down. Her eyes stuck with his as he gazes down at her , feeling that she's safe. Lucy couldn't keep her eyes off Loke.
And now she jumps off the boat, almost falling but grabbing the area
LOKE ( screaming )
LUCY!
- (Passengers Yelling)
- Stop her! -
LOKE
LUCY, what are you doing? -
GRAY
Stop her! -
LOKE ( as he runs )
No!
Lucy runs ahead only to get to Loke.
They reach the grand stair room . Where both Lucy and Loke collides into an embrace while Loke kissed her face throughout with passion
LOKE
Lucy You're so stupid. Why'd you do that? You're so stupid,
He says while kissing and crying at the same time.
LOKE
Lucy Why did you do that? Why?
LUCY
You jump, I jump, right?
LOKE
Right.
LUCY
Oh, God, I couldn't go. I couldn't go, Loke.
LOKE
It's all right.
We'll think of something else. -
LOKE: At least I'm with you. - We'll think of something.
Gray looks at the blond orange couple his icy stare on them almost mad with jealousy .
Gajeel pulls him to calm him down
Gray takes the gun out of his and pocket and then runs to shoot at them in cold blood
Loke saw Gray about to shoot.
He pulls Lucy away from the target shoot for safety.
GRAY
Come on!
( Gunshot)
Come on, move! -
Come on. - (Gunshot, Lucy Screams)
Move! - ( Gunshot) - ( Screams)
Come on, Come on, Lucy. Come on. -( Gunshot) - Lucy, come on!
- (Gunshot) - Move, Lucy! - ( Gunshot) - Go!
GRAY
( Grunts ln Despair) ( MetaIGroaning) I hope you enjoy your time together.
Gray then turns around as he remembers something
GRAY
( Chuckles)
Gajeel Lovejoy
What could possibly be funny?
GRAY
I put the diamond in the coat.
( Pause)
And I put the coat on her!
Come on. ( Dishes Clinking) ( Child Yelling) ( Screaming) We can't leave him.
All right, come on.
( Wailing) ( ChildScreaming)
Go back! ( Yelling ln Czech ) It's the wrong way! Come back! ( Loke and Lucy Yelling ForMan To Stop )
Go! ( Water Thundering) - Loke! -
Lucy! ( Groaning)
This way. Come on. Give me your hand. Oh, God! Help!
Lucy: Help! Wait, sir, open the gate, please. Please. Please. Help us. Please! Bloody hell. -
Come on, come on! - Come on! - Go, go!
-Jesus. Please. Come on. Hurry! Come on! I'm sorry, I dropped the keys. Wait! Please! Don't leave, please! Get more help! No! I got them. Which one is it, Lucy? The sharp one, try the sharp one. Hurry,
Loke. - Oh, no! -
Lucy Hurry, Loke. - It's stuck. -
Hurry. - It's stuck. -
Hurry,Loke! Hurry! ( Screaming)
LOKE
I got it, I got it! Go! Go, Lucy!
LUCY
Go, go! Loke !
Loke, come on! Move, move! Crewman: Keep on rocking. Oars in place. Get an oar under it.
WAKABA
: Women and children only, damn you. Crewman: Hold it, hold it.
( Men Yelling) Get these davits cranked in. Then get the falls hooked up. WAKABA: Stay back. Child: Help me. ( Crying) Keep going up.
WAKABA: Stop pushing! Stay back!
Will you give us a chance to live, you limey bastard?
I'll shoot any man who tries to get past me. Get back! - bastard! - Get back! We had a deal, damn you. Your money can't save you any more than it can save me. Get back. Crewman: Women and children only! ( Gunshot) ( Gunshot)
Freed was shot at front.( PassengersScreaming)
NATSU
Freed! No, Freed. Bastardo! Oh, no, oh, no. Oh, no. Oh, Freed. - No, Will! -
Freed dies due to being shot.
CREwman
(Gunshot) Stand back, damn you.
Get back, damn you. ( Screaming) -
( Child Crying) - I have a child. - Gray: I have a child. - Clear a path here. Please, I have a child. Please, I'm all she has in the world. Go on. Step back, step back, I say. -
Please. -
Woman: Here, give her to me. Give her here. -
( Child Wailing) - There, there.
Loke and Lucy runs into the first class room.
LUCY
Wait, wait, wait.
Mr. Rouge Andrews.
ROUGE
Oh, Lucy ,Won't you even make a try for it? I'm sorry that I didn't build you a stronger ship,young Lucy. It's going fast. We have to move. Wait. Good luck to you, Lucy and Loke.
They run off leaving rouge alone
. Mr. Guggenheim. These are for you, Mr. Guggenheim. No, thank you. We are dressed in our best and are prepared to go down as gentlemen. But we would like a brandy. Capitan.
Capitan, where should I go? Please.
Crewman: Captain! Captain, sir. ( Orchestra Still Playing) Right, that's it, then.
Many passengers were jumping from the ship and swimming to get to nearest boat they can find.
Some passengers were swimming forward to get any boat in order to survive from .
The large engine tank fall of from the ship and one of them falls on some people who were swimming to get into boats they could find. Among them Natsu was trying to swim and as he turns, he sees a giant engine tank breaking down swiftly right above him and other swimmers , causing his death along with other swimmers around him who were trying to survive for their own life.
Good-bye, Wally, good luck. So long, old chap. ( BeginsPlaying "NearerMy God To Thee") (Joins ln ) ( Orchestra StilIPlaying) And so they lived happily together for 300years in the land ofTir Na Nog the land of eternal youth and beauty. ( Playing "Nearer My God To Thee")
( CrewmenAndPassengers Yelling) There's no time! Cut those falls! Cut them, cut them if you have to!
Crewman: I need a knife. I need a knife.
Crewman: Cut her loose. Cut those bloody falls. ( PlayingLastNotes OfSong) Gentlemen, it has been a privilege playing with you tonight. ( People Screaming) ( Screaming) We have to stay on the ship as long as possible! Come on!
LOKE
This way. Over the rail! Come on.Jump!
Come on!
( People Screaming)
(Gasping)
Loke hold his hand with Lucy tightly
LOKE: I got you.Jump!
( Gasping) I've got you, miss!
LUCY
Loke
Loke:
Come on! I've got you .
As they hold
In the boats
Gray
: Get back! ( CablesSnapping) ( MetaIGroaning) No! You'll swamp us.
( HystericaIShrieking) Yea, though I walk through the valley of the shadow of death... You want to walk a little faster through that valley there?
( Wild Screaming)
Row! Pull together! ( Screams) Priest: Holy Mary, mother ofGod pray for us sinners now and at the hour of our death, amen. Hail Mary, full of grace - the Lord is with thee. - This way.
Loke : Come on. Come on! ( Gasping) I saw a new heaven and a new earth when the first heaven and the first earth had passed away... - ( WomenScreaming) - and there was no more sea. ( Gasping) - Woman: Help me! - It'll be over soon. It'll all be over soon. Priest: And He shall dwell with them and they shall be His people and God Himself shall be with them...
LUCY
Loke this is where we first met.
Loke kisses her forehead while holding her tightly so she doesn't stumble off . His face held on her head.
And God shall wipe away all the tears from their eyes and there shall be no more death. Neither shall there be sorrow or crying. Neither shall there be any more pain for the former world has passed away. ( Shattering) Bloody pull faster, and pull! ( People Screaming) ( Yelling) - Man: Hang on, Miss Mira! - (Shrieking) ( Crashing, Shattering AndRumbling) ( Yells) ( Screams) Man: Help me! Please, save me! - Woman: Help!
Loke: Hold on real tight! ( Shrieking ln Distance) ( WomanSobbing) ( Terrible Screaming And Yelling ln Distance) God Almighty! Crewman: Get those breakers in! Keep them in! ( Crackling) ( Screams) - ( PanickedScreaming) - ( Ship Groaning) ( PlanksSplitting) ( EveryoneScreaming) ( Cries Out) We have to move!
LOKE
Give me your hand, I'll pull you over. - I can't! Come on, give me your hand! I've got you. I won't let go. Come on, I've got you. -
LUCY
What's happening, Loke? -
LOKE
I don't know. I don't know. -
Loke: Hold on!
As they hold on to the railings.
Lucy sees another man beside her who was holding on the railing for his dear life. Some were climbing on the railings so they don't fall down.
Then she sees Lisanna, her glance meets with her , who was holding under the railings when the ship was sinking straight .
Lisanna was struggling to keep her hold until her hands slip and she falls down the ship and hitting the surface
Both Lisanna and Natsu were dead.Freed was dead.
All the friends Loke knew were gone.
People were screaming, crying, falling off the ship , swimming, drowning and begging for help to survive.
Including Loke and Lucy The survivors who were holding the upper railings of the ship were feeling nervous and helpless as they couldn't help the people who were falling off the ship or drowning to the ocean.
The ship was sinking straight and drowning it's last part into the ocean.
LUCY: LOKE!
Lucy holds tight with Loke as he pulls her with him
LOKE
That was close.
Man: Help me, please! Someone help me, please! ( Terrified Screaming, Thudding) ( Man Yells) ( Panting) ( Lets Go And Screams)
Woman: Please help! Help! Help! Help! ( Woman Screaming ForHelp )
LOKE
This is it!
LUCY: Oh, God! Oh, God!
LOKE
Hold on!
LUCY
Oh, God! Oh, God! Oh!
LOKE
The ship is going to suck us down. Take a deep breath when I say. Kick for the surface and keep kicking. Do not let go of my hand. We're going to make it, Lucy. Trust me. I trust you. Ready? Ready? Now! ( Taking Deep Breath )
As the ship sinks down
They splash into the ocean , waves parting them
( People Screaming)
LUCY
Loke ! Loke! Loke ! Loke ! - ( Everyone Screaming)
LUCY
Loke. Loke ! ( Lucy's Call Drowned Out By Deafening Screams)
Lucy
( Gasping) -loke! Loke! No! -
LOKE-
Lucy ! Get off her! Get off her!
He punches the man who was trying to drown Lucy .
LOKE
Lucy
LUCY
Loke
LOKE
Swim, Lucy! I need you to swim! Keep swimming!
LUCY
It's so cold!
LOKE
Swim, Lucy! Come on... here. Keep swimming. Come on. Here, get on it. Get on top.
He gathers a door for her to float on the above the cold water .
LOKE
( Gasping) - Come on, Lucy.
LUCY
( Gasping) Loke
LOKE
(Yells) - Stay on it. Stay on, Lucy. -loke . You'll be all right now. You'll be all right now. ( Whistle Blows)
Crewman: Return the boats! - ( Both Shivering) - ( Whistle Blows) The boats are coming back for us, Lucy .Hold on just a little bit longer.
Crewman: Return the boats! They... had to row away for the suction, but now they'll be coming back.
Woman: Come back! - For God's sake! - Please! - Help us! - Help us! ( Faint Cries ln Distance)
Come back! For God's sake! You don't understand.
GEMI
If we go back, they'll swamp the boat. They'll pull us down, I'm telling you. Knock it off-- You're scaring me. Come on, girls-- Grab an oar, let's go!
Man: Are you out of your mind? We're in the middle of the North Atlantic! Now, do you people want to live or do you want to die? I don't understand a one of you. What's the matter with you? It's your men out there! -
( Crying) - There's plenty of room for more. And there'll be one less on this boat if you don't shut that hole in your face!
Woman ( ln Distance): Come back! ( Whistle Blowing, People Shouting For Help )
Man: Here, take this one.
CAPRICORN : Now bring in your oars over there and tie these two boats together. Now make sure that's tied up nice and tight. Right, listen to me, men, we have to go back. I want to transfer all the women from this boat into that boat right now as quick as you can, please. Let's get some space there. Move forward and aft.
( ScatteredMoaning)
LUCY
( Shivering)
It's getting quiet.
LOKE
( Shivering) It's just going to take them a couple of minutes to get the boats organized. I don't know about you but I intend to write a strongly worded letter to the White Star Line about all this. ( ScatteredMoaning AndPleadingln Distance)
LUCY
I love you, Loke.
LOKE
Don't you do that. Don't you say your good-byes. Not yet. Do you understand me?
LUCY
I'm so cold.
LOKE
Listen, Lucy... you're going to get out of here. You're going to go on and you're going to make lots of babies and you're going to watch them grow. You're going to die an old... an old lady warm in her bed. Not here. Not this night. Not like this. Do you understand me?
LUCY
I can't feel my body.
LOKE
Winning that ticket, Lucy, was the best thing that ever happened to me. It brought me to you... and I'm thankful for that, Lucy. I'm thankful.
LOKE
Then promise me something , Lucy.
Loke holding Lucy's hand while shivering
LOKE
( Crying)
You must-- You must-- You must do me this honor-- You must promise me that you'll survive that you won't give up no matter what happens no matter how hopeless. Promise me now, Lucy and never let go of that promise.
LUCY: I promise,Loke.I promise .
LOKE
Never let go
LUCY
I will never let go,Loke. ( Shivering)
I'll never let go. -
LOKE
( Kisses HerHand) - ( Both Shivering)
CREWMAN
Right ahead, sir.
BOATSMAN: Oars! Do you see any moving?
No, sir. None moving, sir. Check them. Bring that oar up here. Check them, make sure. These are dead, sir. Now give way. Ahead easy. Careful with your oars. Don't hit them.
BOATSMAN
( Shouts): ls there anyone alive out there ?
( FaintAndEchoing):
Can anyone hear me? Is there anyone alive out there?
We waited too long.
Well, keep checking them,
keep looking!
Is there anyone alive out there?
Can anyone hear me?
( Lucy Singing Softly And Haltingly) ( SingingSoftly) "And it's up she goes. " " Up she goes.
" ( ContinuesSinging)
( Lowe's Voice, GarbledAndSlow)
Is there anyone alive out there
Lucy lifts a little as she sees light and finds hope to save both of them . She turns to Loke with her hand holding with his.
LUCY
Loke? Loke. Loke. Loke , there's a boat. Loke .
Loke completely freezed and doesn't respond.
LUCY ( shaking their held hands for him to wake up )
LOKE ? Loke. Loke! Loke.
She gazes at his unresponsive and frozen position as their hands were holding and she keeps shaking his hand just for him to respond.
LUCY
( Faltering): There's a boat, Loke.
Lucy about to breakdown
LUCY
Loke? ( CryingSoftly)
She breakdown as he's gone , alone and shivering.
Lucy gazes at the rowing boat and then lays down her face beside Loke and their held hands.She decides to freeze to death as she couldn't go without him .
But then she remembers her promise to Loke .
Sitting up a bit , she puts up her hand in gesture to call the already far bostsmen.
LUCY
( Weakly): Come back. Come back.
( Voices to the Searchers)
Come back. Come back. Come back.
LUCY
( Louder): Come back, come back.
Hello!
BOATSMAN
Can anyone hear me? There's nothing here, sir.
LUCY
Come back. Come back.
Lucy then looks up at Loke.
She breaks away her hand from his frozen hand
She kisses his cold hand
I'll never let go. I promise. ( Sobbing)
And she let's go of his hand , watching his presence to go blurry in grief as he drowns under the ocean and then he's completely out of her sight and she sees nothing but ocean beneath her .
Lucy then looks ahead and jumps on the ocean swimming towards Rouge Andrews who was already gone.
She takes his whistle to blow it for the bostsmen to hear
( Grunting)
( Blowing Whistle Faintly) ( BlowingStronger)
( Faint Whistling) - ( Louder Whistling) -
BOATSMAN
Come about!
( Blowing Whistle Loudly)
( WhistlingReverberates Faintly)
OLD LUCY
when Titanic sank from under us. There were 20 boats floating nearby and only one came back. One. Six were saved from the water myself included. Six... out of 1 ,500. Afterward, the 700 people in the boats had nothing to do but wait-- wait to die, wait to live... wait for an absolution that would never come. Oh, sir, I don't think you'll find any of your people down here. It's all steerage.
Woman: His hair is brown. brown. brown and a white beard.
Woman: lsn't there another passenger list? - There's no other list. -
Perhaps he's on another ship. -
We're doing all we can, ma'am. -
Gray searches around the rescue deck , looking for any hints of Lucy. Lucy , covered in a large cloth, was sitting on a bench right behind where he was walking .
Gray was giving a cold stare at his surroundings while leaving off from that deck
GRAY
There's got to be another list!
That's the last time l ever saw him. He married, of course, and inherited his millions but the crash of'29 hit his interests hard and he put a pistol in his mouth that year or so I read.
Flashback
Lucy comes to newyork after getting off from a rescue ship.
As she wanders the unknown place , she looks up the statue of liberty and thinking about Loke grateful for giving his life to save hers as he gave her more than love, freedom .
( Rain Drizzling)
NameList writer
Can I take your name please, ma'am?
LUCY
Leoson.
She looks up .
Lucy Leoson.
Thank you, ma'am.
NAB
We never found anything on Loke. There's no record of him at all.
LUCY
No, there wouldn't be, would there? And I've never spoken of him until now. Not to anyone, not even your grandfather Sting . A woman's heart is a deep ocean of secrets. But now you know there was a man named Loke Leoson and that he saved me in every way that a person can be saved. I don't even have a picture of him. He exists now only in my memory.
Man: Fairytail Keldysh, Keldysh, Mir2 on our way to the surface. LAXUS
You know I was saving this for when I found the diamond. ( Man Giving lnstructions OverP.A. ) I'm sorry. Three years I've thought of nothing except Titanic but I never got it. I never let it in.
At a night sky full of stars, old Lucy comes to the edge of the boat, her weak wrinkled legs climbing on railing.
She stares down at the sea and then holds up her closed hand towards the open air where sky and ocean meets. She opens her hand and holds the rare blue diamond.
She looks up at the sky and then throws the cold rare diamond to the ocean.
LUCY
Hah
She gazes at the ocean, watching the diamond given by Gray drown and then become one with the ocean.
After that moment
LUCY'S CABIN / KELDYSH
A GRACEFUL PAN across Lucy's shelf of carefully arranged pictures:
Lucy as a young actress in California, radiant... a theatrically lit studio
publicity shot... Lucy and her husband Sting, with their two children... Lucy
with her son at his college graduation... Lucy with her children and
grandchildren at her 70th birthday. A collage of images of a life lived
well.
THE PAN STOPS on an image filling frame. Lucy, circa 1920. She is at the
beach, sitting on a horse at the surfline. The Santa Monica pier, with its
rollercoaster is behind her. She is grinning, full of life.
PAN OFF the last picture to Lucy herself, warm in her bunk. A profile shot. She is very still. She could be sleeping, or maybe something else.
THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a
kind of moonlight, a light of the mind. Passing over the endless forecastle
deck to the superstructure, moving faster than subs can move... almost like flying.
Old Lucy sleeps in her comfortable bed,warm and peaceful
Her soul departs and goes back to the ship of dreams, Titanic.
The ship itself resolves to it's grand self and Lucy walks towards the familiar place and goes to the first class stair hall room.
INSIDE the echoing sound of distant waltz music is heard. The
rust fades away from the walls of the dark corridor and it is
transformed to it's grand version.And she reaches the first class door.
Elfman opens the door.
EMERGE onto the grand staircase, lit by glowing
chandelier. The music is vibrant now, and the room is populated by men in
tie and tails, women in gowns. It is exquisitely beautiful.
As sweep down the staircase room. The crowd of beautiful gentlemen and ladies turn to her
And she was greeted by everyone, there was no class difference first , second or third.
Everyone was there.
Loke was standing near the clock right above the stairs and his elbow resting on the upper stairs hold.
On the floor ,left side Macao, Wakaba,Simon and other generous people . On the right side Chelia ,Freed,Natsu,Lisanna and other generous passengers greeting her . Makarov and Mira was at the second railing looking her with greetings along with the other passengers.
With everyone greeting her,as she descend toward them to the stairway. She goes forward with Rouge greeting her and walks up to the stairs .
At the clock a man stands with his back to them... he turns and it is Loke.
Moving towards Loke
as he turns around, seeing her, with a smile on his face , he hold a hand out towards her and she hold his hand soon after reaching him.
Loke and Lucy comes closer both smiling at each other
Transformed as a girl of 17 as she was,young and beautiful,
Lucy leans her face to Loke in a delighted smile and he leans his to kiss her . He kisses her lips slowly as her hands goes smoothly on his back and him holding her . Lucy goes into his arms,enjoying the kiss with Loke after their reunion.
The passengers,officers and crew of the RMS Titanic smile and applaud in the utter silence
of the abyss.
Music goes on
Everyone claps their hand to celebrate the reunion of the couple.
Loke and Lucy kisses passionately while holding each other . Loke puts his hand on her silky hair to deepen the kiss as they hold each other and kiss on the moment.
The upper light shining on them as if a star was giving it's light in blessing over the reunited couple.
Loke and Lucy becomes one and stays with each other forever .
" Every night in my dreams " " I see you " " I feel you " "That is how I know " "You go on " " Far across the distance " "And spaces between us " "You have come to show " "You go on " " Near" " Far" "Wherever you are " " I believe that " "The heart does go on " " Once more " "You open the door" "And you're here in my heart " "And my heart will " " Go on and on " " Love can touch just one time " "And last for a lifetime " "And never let go " "Till we're gone " " Love was when I loved you " " One true time I hold to " " ln my life we'll always " " Go on " " Near" " Far" "Wherever you are " " I believe that " "The heart does go on " " Once more " "You open the door" "And you're here in my heart " "And my heart will " " Go on and on " "You're here " "There's nothing I fear" "And I know that " " My heart will go on " "We'll stay" " Forever this way" "You are safe in my heart " "And my heart will " " Go on and on "
