The pressure is three tons per square inch, enough to crush us like a freight train going over an ant if our hull fails. Bodine slips on a pair of 3-D electronic goggles, and grabs the joystick controls of the ROV. SNOOP DOG drives itself away from the sub, paying out its umbilical behind it like a robot yo-yo. It's going like a first date in prison, whattaya think?! in the floor debris in the suite, in the mother's room, in the purser's safe on C deck... A tech coaxes some letters in the water tray to one side with a tong... Here and there a door still hangs on its rusted hinges. There is also a documentary video crew, hired by Lovett to cover his moment of glory. In the background Mir Two is being lowered into its cradle on deck by a massive hydraulic arm. Rose is placing a number of FRAMED PHOTOS on the bureau, arranging them carefully next to the fishbowl. LOVETT And everyobody who knows about the diamond is supposed to be dead... BODINE S'cuse me, I have to go check our supply of Depends. ROSE'S STATEROOM / KELDYSH - DAY Lizzy is unpacking Rose's things in the small utilitarian room. ROSE I was just wondering if you had found the "Heart of the Ocean" yet, Mr. OCEAN - DAY SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across the ocean. 25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a shoulder and the shape of her hair with two efficient lines. Brock has the reference photo of the necklace in his hand. Today it would be worth more than the Hope Diamond. (she points at the drawing) I only wore it this once. PORTER Sir, you'll have to check your baggage through the main terminal, round that way-- Cal nonchalantly hands the man a fiver. They pass a well-dressed young man cranking the handle of a wooden Biograph "cinematograph" camera mounted on a tripod. And he is bumped again a second later by the boys' father. FOUR MEN, in working class clothes, play a very serious hand.
He is also unshaven, and his clothes are rumpled from sleeping in them.
The Sea Stallion approaches the ship, BG, forcing Brock to yell over the rotors. The crew chief hands a puzzled Keldysh crewmember a goldfish bowl with several fish in it. 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.
Now Calvert's dead, and from what I've heard Cedar Rapids is dead. Lizzy, ducking unnecessarily under the rotor, follows her out, carrying FREDDY the Pomeranian.
T I T A N I C a screenplay by James Cameron 1 BLACKNESS Then two faint lights appear, close together... They resolve into two DEEP SUBMERSIBLES, free-falling toward us like express elevators. MIR ONE / NORTH ATLANTIC DEEP PUSHING IN on one of the falling submersibles, called MIR ONE, right up to its circular viewport to see the occupants. Its knife-edge prow is coming straight at us, seeming to plow the bottom sediment like ocean waves. Mir One goes up and over the bow railing, intact except for an overgrowth of "rusticles" draping it like mutated Spanish moss. 7 Mir Two drives aft down the starboard side, past the huge anchor while Mir One passes over the seemingly endless forecastle deck, with its massive anchor chains still laid out in two neat rows, its bronze windlass caps gleaming. 8 Mir Two lands on the boat deck, next to the ruins of the Officer's Quarters. The ROV descends through an open shaft that once was the beautiful First Class Grand Staircase. LOVETT (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. Brock looks closely at the drawing, which is in excellent shape, though its edges have partially disintegrated. In her late teens or early twenties, she is nude, though posed with a kind of casual modesty.
One is ahead of the other, and passes close enough to FILL FRAME, looking like a spacecraft blazing with lights, bristling with insectile manipulators. INSIDE, it is a cramped seven foot sphere, crammed with equipment. 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. It towers above the seafloor, standing just as it landed 84 years ago. TIGHT ON THE EYEPIECE MONITOR of a video camcorder. The 22 foot long subs are like white bugs next to the enormous wreck. Snoop Dog goes down several decks, then moves laterally into the First Class Reception Room. Lovett moves closer, peering into the safe's wet interior. Nearby, other artifacts from the stateroom are being washed and preserved. She is on an Empire divan, in a pool of light that seems to radiate outward from her eyes. At her throat is a diamond necklace with one large stone hanging in the center. O.) I'd rather show you than tell you, and we think we're very close to doing just that. Her face is a wrinkled mass, her body shapeless and shrunken under a one-piece African-print dress. LOVETT Nobody called the recovery of the artifacts from King Tut's tomb grave robbing.