What makes a good script? Separation of dialog and direction? Diversity of dialog? Number of characters? Length of movie? -- topic modeling -- sentiment/emotion modeling? Length of dialog? LINES of dialog? Scenes? -- how to determine scene Word diversity?
Tokenizer --
file = open('titanic_clean.txt').readlines()
all_text = ""
for line in file:
all_text += line
all_text = all_text.replace("@", ". ")
all_text = all_text.replace(".", ". ")
all_text = all_text.replace("\'", "")
import re
# all_text = re.sub(r'[0-9]', '', all_text)
# chapters = all_text.split('CHAPTER ')
ch1 = all_text
import nltk
sentence_list = nltk.sent_tokenize(ch1)
sentence_list[:10]
['THIS SCRIPT IS FOR\nEDUCATIONAL PURPOSES ONLY\n"Titanic" a screenplay by James Cameron\nCast:\nKATE WINSLET.', '.', '.', 'Rose DeWitt Bukater LEONARDO DICAPRIO.', '.', '.', 'Jack\nDawson KATHY BATES.', '.', '.', 'The Unsinkable Molly Brown BILLY\nZANE.']
new_text = all_text.split('\n')
from collections import Counter
new_text_count = Counter(new_text)
sorted_sentences = sorted(new_text_count.items(), key=lambda kv: kv[1], reverse=True)
sorted_sentences
[('ROSE', 204),
('CUT TO:', 185),
('JACK', 182),
('(CONTINUED)', 159),
('CAL', 87),
('LOVETT', 37),
('RUTH', 29),
('MOLLY', 28),
('SMITH', 27),
('ANDREWS', 25),
('BODINE', 22),
('LOVEJOY', 18),
('LIGHTOLLER', 17),
('FABRIZIO', 15),
('ISMAY', 14),
('OLD ROSE (V. O. )', 13),
('(MORE)', 12),
('STEWARD', 12),
('MURDOCH', 12),
('CONTINUED:', 11),
('LIZZY', 11),
('TOMMY', 11),
('LOVETT (CONTD)', 9),
('FLEET', 9),
('ROSE *', 9),
('BUELL', 8),
('BROCK', 8),
('LOVETT *', 8),
('GRACIE', 7),
('LOWE', 7),
('water. ', 6),
('MAN', 6),
('OLD ROSE', 6),
('ROSE (CONTD)', 5),
('MOODY', 5),
('WOMAN', 5),
('(to Jack)', 5),
('DISSOLVE TO:', 5),
('BRIDE', 5),
('STEWARD #2', 5),
('HITCHINS', 5),
('MASTER AT ARMS', 4),
('(low)', 4),
('(laughing)', 4),
('STEWARD BARNES', 4),
('ANATOLY', 3),
('LOVETT (V. O. )', 3),
('CONTINUED: (2)', 3),
('BODINE (CONTD)', 3),
('ship. ', 3),
('ROWE', 3),
('FIRST OFFICER MURDOCH', 3),
('down. ', 3),
('COLONEL GRACIE', 3),
('out. ', 3),
('them. ', 3),
('PHILLIPS', 3),
('LEE', 3),
('HARTLEY', 3),
('FATHER BYLES', 3),
('CAL *', 3),
('BODINE *', 3),
('CONTINUED: (3)', 2),
('Shit. ', 2),
('LOVETT (contd)', 2),
('Ill be God damned. ', 2),
('call. ', 2),
('(to Rose)', 2),
('(to Lizzy)', 2),
('PORTER', 2),
('CAL (CONTD)', 2),
('(subtitled)', 2),
('(grinning)', 2),
('PUBKEEPER', 2),
('TRUDY', 2),
('already. ', 2),
('(to the waiter)', 2),
('Excuse me. ', 2),
('CAL (contd)', 2),
('horse. ', 2),
('(to Cal)', 2),
('Titanic?', 2),
('they are. ', 2),
('years. ', 2),
('Jack. ', 2),
('Well, they didnt think too much of em', 2),
('in Paree. ', 2),
('(smiling)', 2),
('MARVIN', 2),
('Entrance. ', 2),
('SIR COSMO', 2),
('GUGGENHEIM', 2),
('world. ', 2),
('her. ', 2),
('TRANSITION:', 2),
('EVANS', 2),
('Iceberg right ahead!', 2),
('BELL', 2),
('BARRETT', 2),
('HUTCHINSON', 2),
('Right. ', 2),
('stairs. ', 2),
('My God. ', 2),
('(to himself)', 2),
('the crowd. ', 2),
('Lower away!!', 2),
('back. ', 2),
('Come on. ', 2),
('him. ', 2),
('HUSBAND', 2),
('tables. ', 2),
('Lets go. ', 2),
('JOUGHIN', 2),
('soon. ', 2),
('screaming. ', 2),
('mind. ', 2),
('LIZZY *', 2),
('THIS SCRIPT IS FOR', 1),
('EDUCATIONAL PURPOSES ONLY', 1),
('"Titanic" a screenplay by James Cameron', 1),
('Cast:', 1),
('KATE WINSLET. . . Rose DeWitt Bukater LEONARDO DICAPRIO. . . Jack', 1),
('Dawson KATHY BATES. . . The Unsinkable Molly Brown BILLY', 1),
('ZANE. . . Caledon Hockley BILL PAXTON. . . Brock Lovett', 1),
('Written and Directed by:', 1),
('JAMES CAMERON', 1),
('1 BLACKNESS 1', 1),
('Then two faint lights appear, close together. . . growing', 1),
('brighter. They resolve into two DEEP SUBMERSIBLES, freefalling toward us like express elevators. ',
1),
('One is ahead of the other, and passes close enough to FILL', 1),
('FRAME, looking like a spacecraft blazing with lights,', 1),
('bristling with insectile manipulators. ', 1),
('TILTING DOWN to follow it as it descends away into the', 1),
('limitless blackness below. Soon they are fireflies, then', 1),
('stars. Then gone. ', 1),
('2 EXT. / INT. MIR ONE / NORTH ATLANTIC DEEP 2', 1),
('PUSHING IN on one of the falling submersibles, called MIR', 1),
('ONE, right up to its circular viewport to see the occupants. ', 1),
('INSIDE, it is a cramped seven foot sphere, crammed with', 1),
('equipment. ANATOLY MIKAILAVICH, the subs pilot, sits', 1),
('hunched over his controls. . . singing softly in Russian. ', 1),
('Next to him on one side is BROCK LOVETT. Hes in his late', 1),
('forties, deeply tanned, and likes to wear his Nomex suit', 1),
('unzipped to show the gold from famous shipwrecks covering', 1),
('his gray chest hair. He is a wiley, fast-talking treasure', 1),
('hunter, a salvage superstar who is part historian, part', 1),
('adventurer and part vacuum cleaner salesman. Right now, he', 1),
('is propped against the CO2 scrubber, fast asleep and', 1),
('snoring. ', 1),
('On the other side, crammed into the remaining space is a', 1),
('bearded wide-body named LEWIS BODINE, sho is also asleep. ', 1),
('Lewis is an R. O. V. (REMOTELY OPERATED VEHICLE) pilot and is', 1),
('the resident Titanic expert. ', 1),
('Anatoly glances at the bottom sonar and makes a ballast', 1),
('adjustment. ', 1),
('3 EXT. THE BOTTOM OF THE SEA 3', 1),
('A pale, dead-flat lunar landscape. It gets brighter, lit', 1),
('from above, as MIR ONE enters FRAME and drops to the', 1),
('seafloor in a downblast from its thrusters. It hits bottom', 1),
('after its two hour free-fall with a loud BONK. ', 1),
('4 INT. MIR ONE 4', 1),
('Lovett and Bodine jerk awake at the landing. ', 1),
('(heavy Russian accent)', 1),
('We are here. ', 1),
('EXT. / INT. MIR ONE AND TWO', 1),
('5 MINUTES LATER: THE TWO SUBS skim over the seafloor to', 1),
('the sound of sidescan sonar and the THRUM of big thrusters. ', 1),
('6 The featureless gray clay of the bottom unrols in the', 1),
('lights of the subs. Bodine is watching the sidescan sonar', 1),
('display, where the outline of a huge pointed object is', 1),
('visible. Anatoly lies prone, driving the sub, his face', 1),
('pressed to the center port. ', 1),
('Come left a little. Shes right in', 1),
('front of us, eighteen meters. ', 1),
('Fifteen. Thirteen. . . you should see it. ', 1),
('Do you see it? I dont see it. . . ', 1),
('there!', 1),
('Out of the darkness, like a ghostly apparition, the bow of', 1),
('the ship appears. Its knife-edge prow is coming straight at', 1),
('us, seeming to plow the bottom sediment like ocean waves. ', 1),
('It towers above the seafloor, standing just as it landed 84', 1),
('years ago. ', 1),
('THE TITANIC. Or what is left of her. Mir One goes up and', 1),
('over the bow railing, intact except for an overgrowth of', 1),
('"rusticles" draping it like mutated Spanish moss. ', 1),
('2. ', 1),
('2 CONTINUED: 2', 1),
('TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock', 1),
('Lovetts face fills the BLACK AND WHITE FRAME. ', 1),
('It still gets me every time. ', 1),
('The image pans to the front viewport, looking over Anatolys', 1),
('shoulder, to the bow railing visible in the lights beyond. ', 1),
('Anatoly turns. ', 1),
('Is just your guilt because of', 1),
('estealing from the dead. ', 1),
('CUT WIDER, to show that Brock is operating the camera', 1),
('himself, turning it in his hand so it points at his own', 1),
('face. ', 1),
('Thanks, Tolya. Work with me, here. ', 1),
('Brock resumes his serious, pensive gaze out the front port,', 1),
('with the camera aimed at himself at arms length. ', 1),
('It still gets me every time. . . to see', 1),
('the sad ruin of the great ship sitting', 1),
('here, where she landed at 2:30 in the', 1),
('morning, April 15, 1912, after her long', 1),
('fall from the world above. ', 1),
('Anatoly rolls his eyes and mutters in Russian. Bodine', 1),
('chuckles and watches the sonar. ', 1),
('You are so full of shit, boss. ', 1),
('7 Mir Two drives aft down the starboard side, past the huge', 1),
('anchor while Mir One passes over the seemingly endless', 1),
('forecastle deck, with its massive anchor chains still laid', 1),
('out in two neat rows, its bronze windlass caps gleaming. ', 1),
('The 22 foot long subs are like white bugs next to the', 1),
('enormous wreck. ', 1),
('Dive nine. Here we are again on the', 1),
('deck of Titanic. . . two and a half', 1),
('miles down. The pressure is three', 1),
('tons per square inch, enough to', 1),
('crush us like a freight train going', 1),
('over an ant if our hull fails. ', 1),
('3. ', 1),
('These windows are nine inches thick and', 1),
('if they go, its sayonara in two', 1),
('microseconds. ', 1),
('8 Mir Two lands on the boat deck, next to the ruins of the', 1),
('Officers Quarters. Mir One lands on the roof of the deck', 1),
('hous nearby. ', 1),
('Right. Lets go to work. ', 1),
('Bodine slips on a pair of 3-D electronic goggles, and grabs', 1),
('the joystick controls of the ROV. ', 1),
('9 OUTSIDE THE SUB, the ROV, a small orange and black robot', 1),
('called SNOOP DOG, lifts from its cradle and flies forward. ', 1),
('BODINE (V. O. )', 1),
('Walkin the dog. ', 1),
('SNOOP DOG drives itself away from the sub, paying out its', 1),
('umbilical behind it like a robot yo-yo. Its twin stereovideo cameras swivel like insect eyes. The ROV descends',
1),
('through an open shaft that once was the beautiful First', 1),
('Class Grand Staircase. ', 1),
('Snoop Dog goes down several decks, then moves laterally into', 1),
('the First Class Reception Room. ', 1),
('SNOOPS VIDEO POV, moving through the cavernous interior. ', 1),
('The remains of the ornate handcarved woodwork which gave the', 1),
('ship its elegance move through the floodlights, the lines', 1),
('blurred by slow dissolution and descending rusticle', 1),
('formations. Stalactites of rust hang down so that at times', 1),
('it looks like a natural grotto, then the scene shifts and', 1),
('the lines of a ghostly undersea mansion can be seen again. ', 1),
('MONTAGE STYLE, as Snoop passes the ghostly images of', 1),
('Titanics opulence:', 1),
('10 A grand piano in amazingly good shape, crashed on its', 1),
('side against a wall. The keys gleam black and white in the', 1),
('lights. ', 1),
('11 A chandelier, still hanging from the ceiling by its', 1),
('wire. . . glinting as Snoop moves around it. ', 1),
('12 Its lights play across the floor, revealing a champagne', 1),
('bottle, then some WHITE STAR LINE china. . . a womans hightop "granny shoe". Then something eerie: what looks like a',
1),
('childs skull resolves into the porcelain head of a doll. ', 1),
('Snoop enters a corridor which is much better preserved. ', 1),
('Here and there a door still hangs on its rusted hinges. ', 1),
('4. ', 1),
('LOVETT (V. O. ) (contd)', 1),
('An ornate piece of molding, a wall sconce. . . hint at', 1),
('the grandeur of the past. ', 1),
('13 THE ROV turns and goes through a black doorway, entering', 1),
('room B-52, the sitting room of a "promenade suite", one of', 1),
('the most luxurious staterooms on Titanic. ', 1),
('Im in the sitting room. Heading for', 1),
('bedroom B-54. ', 1),
('Stay off the floor. Dont stir it up', 1),
('like you did yesterday. ', 1),
('Im tryin boss. ', 1),
('Glinting in the lights are the brass fixtures of the nearperfectly preserved fireplace. An albino Galathea crab',
1),
('crawls over it. Nearby are the remains of a divan and a', 1),
('writing desk. The Dog crosses the ruins of the once elegant', 1),
('room toward another DOOR. It squeezes through the', 1),
('doorframe, scraping rust and wood chunks loose on both', 1),
('sides. It moves out of a cloud of rust and keeps on going. ', 1),
('Im crossing the bedroom. ', 1),
('The remains of a pillared canopy bed. Broken chairs, a', 1),
('dresser. Through the collapsed wall of the bathroom, the', 1),
('porcelain commode and bathtub took almost new, gleaming in', 1),
('the dark. ', 1),
('Okay, I want to see whats under', 1),
('that wardrobe door. ', 1),
('SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and', 1),
('starts moving debris aside. A lamp is lifted, its ceramic', 1),
('colors as bright as they were in 1912. ', 1),
('Easy, Lewis. Take it slow. ', 1),
('Lewis grips a wardrobe door, lying at an angle in a corner,', 1),
('and pulls it with Snoops gripper. It moves reluctantly in', 1),
('a cloud of silt. Under it is a dark object. The silt', 1),
('clears and Snoops cameras show them what was under the', 1),
('door. . . ', 1),
('Ooohh daddy-oh, are you seein what Im', 1),
('seein?', 1),
('5. ', 1),
('CLOSE ON LOVETT, watching his moniteors. By his expression', 1),
('it is like he is seeing the Holy Grail. ', 1),
('Oh baby baby baby. ', 1),
('(grabs the mike)', 1),
('Its payday, boys. ', 1),
('ON THE SCREEN, in the glare of the lights, is the object of', 1),
('their quest: a small STEEL COMBINATION SAFE. ', 1),
('14 EXT. STERN OF DECK OF KEDYSH - DAY 14', 1),
('THE SAFE, dripping wet in the afternoon sun, is lowered onto', 1),
('the deck of a ship by a winch cable. ', 1),
('We are on the Russian research vessel AKADEMIK MISTISLAV', 1),
('KELDYSH. A crowd has gathered, including most of the crew', 1),
('of KELDYSH, the sub crews, and a hand-wringing money guy', 1),
('named BOBBY BUELL who represents the limited partners. ', 1),
('There is also a documentary video crew, hired by Lovett to', 1),
('cover his moment of glory. ', 1),
('Everyone crowds around the safe. In the background Mir Two', 1),
('is being lowered into its cradle on deck by a massive', 1),
('hydraulic arm. Mir One is already recovered with Lewis', 1),
('Bodine following Brock Lovett as he bounds over to the safe', 1),
('like a kid on Christman morning. ', 1),
('Whos the best? Say it. ', 1),
('You are, Lewis. ', 1),
('(to the video crew)', 1),
('You rolling?', 1),
('CAMERAMAN', 1),
('Rolling. ', 1),
('Brock nods to his technicians, and they set about drilling', 1),
('the safes hinges. During this operation, Brock amps the', 1),
('suspense, working the lens to fill the time. ', 1),
('Well, here it is, the moment of', 1),
('truth. Heres where we find out if the', 1),
('time, the sweat, the money spent to', 1),
('charter this ship and these subs, to', 1),
('come out here to the middle of the', 1),
('North Atlantic. . . were worth it. ', 1),
('6. ', 1),
('CONTINUED: (4)', 1),
('If what we think is in that same. . . is', 1),
('in that safe. . . it will be. ', 1),
('Lovett grins wolfishly in anticipation of his greatest find', 1),
('yet. The door is pried loose. It clangs onto the deck. ', 1),
('Lovett moves closer, peering into the safes wet interior. ', 1),
('A long moment then. . . his face says it all. ', 1),
('You know, boss, this happened to', 1),
('Geraldo and his career never', 1),
('recovered. ', 1),
('(to the video cameraman)', 1),
('Get that outta my face. ', 1),
('15 INT. LAB DECK, PRESERVATION ROOM - DAY 15', 1),
('Technicians are carefully removing some papers from the safe', 1),
('and placing them in a tray of water to separate them safely. ', 1),
('Nearby, other artifacts from the stateroom are being washed', 1),
('and preserved. ', 1),
('Buell is on the satellite phone with the INVESTORS. Lovett', 1),
('is yelling at the video crew. ', 1),
('You send out what I tell you when I', 1),
('tell you. Im signing your', 1),
('paychecks, not 60 minutes. Now get set', 1),
('up for the uplink. ', 1),
('Buell covers the phone and turns to Lovett. ', 1),
('The partners want to know how its', 1),
('going?', 1),
('How its going? Its going like a', 1),
('first date in prison, whattaya', 1),
('think?!', 1),
('Lovett grabs the phone from Buell and goes instantly smooth. ', 1),
('Hi, Dave? Barry? Look, it wasnt in', 1),
('the safe. . . ', 1),
('7. ', 1),
('14 CONTINUED: 14', 1),
('no, look, dont worry about it,', 1),
('therere still plenty of places it', 1),
('could be. . . in the floor debris in the', 1),
('suite, in the mothers room, in the', 1),
('pursers safe on C deck. . . ', 1),
('(seeing something)', 1),
('Hang on a second. ', 1),
('A tech coaxes some letters in the water tray to one side', 1),
('with a tong. . . revealing a pencil (conte crayon) drawing of', 1),
('a woman. ', 1),
('Brock looks closely at the drawing, which is in excellent', 1),
('shape, though its edges have partially disintegrated. The', 1),
('woman is beautiful, and beautifully rendered. In her late', 1),
('teens or early twenties, she is nude, though posed with a', 1),
('kind of casual modesty. She is on an Empire divan, in a', 1),
('pool of light that seems to radiate outward from her eyes. ', 1),
('Scrawled in the lower right corner is the date: April 14', 1),
('1912. And the initials JD. ', 1),
('The girl is not entirely nude. At her throat is a diamond', 1),
('necklace with one large stone hanging in the center. ', 1),
('Lovett grabs a reference photo from the clutter on the lab', 1),
('table. It is a period black-and-white photo of a diamond', 1),
('necklace on a black velvet jellers display stand. He holds', 1),
('it next to the drawing. It is clearly the same piece. . . a', 1),
('complex setting with a massive central stone which is almost', 1),
('heart-shaped. ', 1),
('16 INSERT 16', 1),
('A CNN NEWS STORY: a live satellite feed from the deck of', 1),
('the Keldysh, intercut with the CNN studio. ', 1),
('ANNOUNCER', 1),
('Treasure hunter Brock Lovett is best', 1),
('known for finding Spanish gold in', 1),
('sunken galleons in the Caribbean. Now', 1),
('he is using deep submergence', 1),
('technology to work two and a half', 1),
('miles down at another famous', 1),
('wreck. . . the Titanic. He is with us', 1),
('live via satellite from a Russian', 1),
('research ship in the middle of the', 1),
('Atlantic. . . hello Brock?', 1),
('8. ', 1),
('15 CONTINUED: 15', 1),
('Yes, hi, Tracy. You know, Titanic is', 1),
('not just A shipwrick, Titanic is THE', 1),
('shipwreck. Its the Mount Everest', 1),
('of shipwrecks. ', 1),
('17 INT. HOUSE / CERAMICS STUDIO 17', 1),
('PULL BACK from the screen, showing the CNN report playing on', 1),
('a TV set in the living room of a small rustic house. It is', 1),
('full of ceramics, figurines, folk art, the walls crammed', 1),
('with drawings and paintings. . . things collected over a', 1),
('lifetime. ', 1),
('PANNING to show a glassed-in studio attached to the house. ', 1),
('Outside it is a quiet morning in Ojai, California. In the', 1),
('studio, amid incredible clutter, an ANCIENT WOMAN is', 1),
('throwing a pot on a potters wheel. The liquid red clay', 1),
('covers her hands. . . hands that are gnarled and age-spotted,', 1),
('but still surprisingly strong and supple. A woman in her', 1),
('early forties assists her. ', 1),
('Ive planned this expedition for', 1),
('three years, and were out here', 1),
('recovering some amazing things. . . ', 1),
('things that will have enormous', 1),
('historical and educational value. ', 1),
('CNN REPORTER (V. O. )', 1),
('But its no secret that education is not', 1),
('your main purpose. Youre a treasure', 1),
('hunter. So what is the treasure', 1),
('youre hunting?', 1),
('Id rather show you than tell you, and', 1),
('we think were very close to doing', 1),
('just that. ', 1),
('The old womans name is ROSE CALVERT. Her face is a', 1),
('wrinkled mass, her body shapeless and shrunken under a onepiece African-print dress. ',
1),
('But her eyes are just as bright and alive as those of a', 1),
('young girl. ', 1),
('Rose gets up and walks into the living room, wiping pottery', 1),
('clay from her hands with a rag. A Pomeranian dog gets up', 1),
('and comes in with her. ', 1),
('9. ', 1),
('16 CONTINUED: 16', 1),
('The younger soman, LIZZY CALVERT, rushes to help her. ', 1),
('Turn that up please, dear. ', 1),
('REPORTER (V. O. )', 1),
('Your expedition is at the center of a', 1),
('storm of controversy over salvage rights', 1),
('and even ethics. Many are calling you', 1),
('a grave robber. ', 1),
('TIGHT ON THE SCREEN. ', 1),
('Nobody called the recovery of the', 1),
('artifacts from King Tuts tomb grave', 1),
('robbing. I have museum-trained', 1),
('experts here, making sure this stuff is', 1),
('preserved and catalogued properly. ', 1),
('Look at this drawing, which was found', 1),
('today. . . ', 1),
('The video camera pans off Brock to the drawing, in a tray of', 1),
('water. The image of the woman with the necklace FILLS', 1),
('FRAME. ', 1),
('. . . a piece of paper thats been', 1),
('underwater for 84 years. . . and my', 1),
('team are able to preserve it', 1),
('intanct. Should this have remained', 1),
('unseen at the bottom of the ocean for', 1),
('eternity, when we can see it and enjoy it', 1),
('now. . . ?', 1),
('ROSE is galvanized by this image. Her mouth hangs open in', 1),
('amazement. ', 1),
('18 EXT. KELDYSH DECK - NIGHT 18', 1),
('CUT TO KELDYSH. The Mir subs are being launched. Mir Two', 1),
('is already in the water, and Lovett is getting ready to', 1),
('climb into Mir One when Bobby Buell runs up to him. ', 1),
('Theres a satellite call for you. ', 1),
('10. ', 1),
('17 CONTINUED: 17', 1),
('Bobby, were launching. See these', 1),
('submersibles here, going in the', 1),
('water? Take a message. ', 1),
('No, trust me, you want to take this', 1),
('19 INT. LAB DECK / KELDYSH - NIGHT 19', 1),
('Beull hands Lovett the phone, pushing down the blinking', 1),
('line. The call is from Rose and we see both ends of the', 1),
('conversation. She is in her kitchen with a mystified Lizzy. ', 1),
('This is Brock Lovett. What can I do for', 1),
('you, Mrs. . . ?', 1),
('Rose Calvert. ', 1),
('. . . Mrs. Calvert?', 1),
('I was just wondering if you had', 1),
('found the "Heart of the Ocean" yet, Mr. ', 1),
('Lovett. ', 1),
('Brock almost drops the phone. Bobby sees his shocked', 1),
('expression. . . ', 1),
('I told you you wanted to take this', 1),
('Alright. You have my attention,', 1),
('Rose. Can you tell me who the woman in', 1),
('the picture is?', 1),
('Oh yes. The woman in the picture is me. ', 1),
('11. ', 1),
('18 CONTINUED: 18', 1),
('20 EXT. OCEAN - DAY 20', 1),
('SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering', 1),
('across the ocean. PAN 180 degrees as it roars past. There', 1),
('is no land at either horizon. The Keldysh is visible in the', 1),
('distance. ', 1),
('CLOSE ON A WINDOW of the monster helicopter. Roses face is', 1),
('visible, looking out calmly. ', 1),
('21 EXT. KELDYSH - DAY 21', 1),
('Brock and Bodine are watching Mir 2 being sweng over the', 1),
('side to start a dive. ', 1),
('Shes a goddamned liar! A nutcase. ', 1),
('Like that. . . whats her name? That', 1),
('Anastasia babe. ', 1),
('Theyre inbound. ', 1),
('Brock nods and the three of them head forward to meet the', 1),
('approaching helo. ', 1),
('She says shes Rose DeWitt Bukater,', 1),
('right? Rose DeWitt Bukater died on the', 1),
('Titanic. At the age of 17. If shedve', 1),
('lived, shed be over a hundred now. ', 1),
('A hundred and one next month. ', 1),
('Okay, so shes a very old goddamned', 1),
('liar. I traced her as far back as the', 1),
('20s. . . she was working as an actress', 1),
('in L. A. An actress. Her name was', 1),
('Rose Dawson. Then she married a', 1),
('guy named Calvert, moved to Cedar', 1),
('Rapids, had two kids. Now Calverts', 1),
('dead, and from what Ive heard Cedar', 1),
('Rapids is dead. ', 1),
('The Sea Stallion approaches the ship, BG, forcing Brock to', 1),
('yell over the rotors. ', 1),
('12. ', 1),
('And everyobody who knows about the', 1),
('diamond is supposed to be dead. . . or on', 1),
('this ship. But she knows about it. ', 1),
('And I want to hear what she has to say. ', 1),
('Got it?', 1),
('22 EXT. KELDYSH HELIPAD 22', 1),
('IN A THUNDERING DOWNBLAST the helicopters wheels bounce', 1),
('down on the helipad. ', 1),
('Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF', 1),
('hands out about ten suitcases, and then Rose is lowered to', 1),
('the deck in a wheelchair by Keldysh crewmen. Lizzy, ducking', 1),
('unnecessarily under the rotor, follows her out, carrying', 1),
('FREDDY the Pomeranian. The crew chief hands a puzzled', 1),
('Keldysh crewmember a goldfish bowl with several fish in it. ', 1),
('Rose does not travel light. ', 1),
('HOLD ON the incongruous image of this little old lady,', 1),
('looking impossibly fragile amongst all the high tech gear,', 1),
('grungy deck crew and gigantic equipment. ', 1),
('Scuse me, I have to go check our', 1),
('supply of Depends. ', 1),
('23 INT. ROSES STATEROOM / KELDYSH - DAY 23', 1),
('Lizzy is unpacking Roses things in the small utilitarian', 1),
('room. Rose is placing a number of FRAMED PHOTOS on the', 1),
('bureau, arranging them carefully next to the fishbowl. ', 1),
('Brock and Bodine are in the doorway. ', 1),
('Is your stateroom alright?', 1),
('Yes. Very nice. Have you met my', 1),
('granddaughter, Lizzy? She takes', 1),
('care of me. ', 1),
('Yes. We met just a few minutes ago,', 1),
('grandma. Remember, up on deck?', 1),
('Oh, yes. ', 1),
('13. ', 1),
('21 CONTINUED: 21', 1),
('Brock glances at Bodine. . . oh oh. Bodine rolls his eyes. ', 1),
('Rose finishes arranging her photographs. We get a general', 1),
('glimpse of them: the usual snapshots. . . children and', 1),
('grandchildren, her late husband. ', 1),
('There, thats nice. I have to have my', 1),
('pictures when I travel. And Freddy', 1),
('of course. ', 1),
('(to the Pomeranian)', 1),
('Isnt that right, sweetie. ', 1),
('Would you like anything?', 1),
('I should like to see my drawing. ', 1),
('24 INT. LAB DECK, PRESERVATION AREA 24', 1),
('Rose looks at the drawing in its tray of water, confronting', 1),
('herself across a span of 84 years. Until they can figure', 1),
('out the best way to preserve it, they have to keep it', 1),
('immersed. It sways and ripples, almost as if alive. ', 1),
('TIGHT ON Roses ancient eyes, gazing at the drawing. ', 1),
('25 FLASHCUT of a mans hand, holding a conte crayon deftly', 1),
('creating a shoulder and the shape of her hair with two', 1),
('efficient lines. ', 1),
('26 THE WOMANS FACE IN THE DRAWING, dancing under the', 1),
('27 A FLASHCUT of a mans eyes, just visible over the top of', 1),
('a sketching pad. They look up suddenly right into the LENS. ', 1),
('Soft eyes, but fearlessly direct. ', 1),
('28 Rose smiles, remembering. Brock has the reference photo', 1),
('of the necklace in his hand. ', 1),
('Louis the Sixteenth wore a fabulous', 1),
('stone, called the Blue Diamond of the', 1),
('Crown, which disappeared in 1792,', 1),
('about the time Louis lost everything', 1),
('from the neck up. The theory goes', 1),
('that the crown diamond was chopped', 1),
('too. . . recut into a heart-like', 1),
('shape. . . and it became Le Coeur de la', 1),
('Mer. The Heart of the Ocean. ', 1),
('14. ', 1),
('23 CONTINUED: 23', 1),
('Today it would be worth more than the', 1),
('Hope Diamond. ', 1),
('It was a dreadful, heavy thing. ', 1),
('(she points at the drawing)', 1),
('I only wore it this once. ', 1),
('You actually believe this is you,', 1),
('grandma?', 1),
('It is me, dear. Wasnt I a hot', 1),
('number?', 1),
('I tracked it down through insurance', 1),
('records. . . and old claim that was', 1),
('settled under terms of absolute', 1),
('secrecy. Do you know who the', 1),
('claiment was, Rost?', 1),
('Someone named Hockley, I should', 1),
('imagine. ', 1),
('Nathan Hockley, right. Pittsburgh', 1),
('steel tycoon. For a diamond', 1),
('necklace his son Caledon Hockley', 1),
('bought in France for his fiancee. . . ', 1),
('you. . . a week before he sailed on', 1),
('Titanic. And the claim was filed', 1),
('right after the sinking. So the', 1),
('diamond had tove gone down with the', 1),
('See the date?', 1),
('April 14, 1912. ', 1),
('If your grandma is who she says she is,', 1),
('she was wearing the diamond the day', 1),
('Titanic sank. ', 1),
('And that makes you my new best', 1),
('friend. I will happily compensate you', 1),
('for anything you can tell us that', 1),
('will lead to its recovery. ', 1),
('15. ', 1),
('24 CONTINUED: 24', 1),
('I dont want your money, Mr. Lovett. I', 1),
('know how hard it is for people who care', 1),
('greatly for money to give some away. ', 1),
('(skeptical)', 1),
('You dont want anything?', 1),
('(indicating the drawing)', 1),
('You may give me this, if anything I', 1),
('tell you is of value. ', 1),
('Deal. ', 1),
('(crossing the room)', 1),
('Over here are a few things weve', 1),
('recovered from your staterooms. ', 1),
('Laid out on a worktable are fifty or so objects, from', 1),
('mundane to valuable. Rose, shrunken in her chair, can', 1),
('barely see over the table top. With a trembling hand she', 1),
('lifts a tortoise shell hand mirror, inlaid with mother of', 1),
('pearl. She caresses it wonderingly. ', 1),
('This was mine. How extraordinary! It', 1),
('looks the same as the last time I saw', 1),
('it. ', 1),
('She turns the mirror over and looks at her ancient face in', 1),
('the cracked glass. ', 1),
('The reflection has changed a bit. ', 1),
('She spies something else, a silver and moonstone art-nouveau', 1),
('brooch. ', 1),
('My mothers brooch. She wanted to go', 1),
('back for it. Caused quite a fuss. ', 1),
('Rose picks up an ornate art-nouveau HAIR COMB. A jade', 1),
('butterfly takes flight on the ebony handle of the comb. She', 1),
('turns it slowly, remembering. We can see that Rose is', 1),
('experiencing a rush of images and emotions that have lain', 1),
('dormant for eight decades as she handles the butterfly comb. ', 1),
('16. ', 1),
('24 CONTINUED: (2) 24', 1),
('Are you ready to go back to Titanic?', 1),
('29 INT. IMAGING SHACK / KELDYSH 29', 1),
('It is a darkened room lined with TV monitors. IMAGES OF THE', 1),
('WRECK fill the screens, fed from Mir One and Two, and the', 1),
('two ROVs, Snoop Dog and DUNCAN. ', 1),
('Live from 12,000 feet. ', 1),
('ROSE stares raptly at the screens. She is enthraled by one', 1),
('in particular, an image of the bow railing. It obviously', 1),
('means something to her. Brock is studying her reactions', 1),
('carefully. ', 1),
('The bows struck in the bottom like an', 1),
('axe, from the impact. Here. . . I can run', 1),
('a simulation we worked up on this', 1),
('monitor over here. ', 1),
('Lizzy turns the chair so Rose can see the screen of Bodines', 1),
('computer. As he is calling up the file, he keeps talking. ', 1),
('Weve put together the worlds', 1),
('largest database on the Titanic. ', 1),
('Okay, here. . . ', 1),
('Rose might not want to see this,', 1),
('Lewis. ', 1),
('No, no. Its fine. Im curious. ', 1),
('Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen,', 1),
('which parallels his rapid-fire narration. ', 1),
('She hits the berg on the starboard', 1),
('side and it sort of bumps along. . . ', 1),
('punching holes like a morse code. . . dit', 1),
('dit dit, down the side. Now shes', 1),
('flooding in the', 1),
('17. ', 1),
('24 CONTINUED: (3) 24', 1),
('forward compartments. . . and the', 1),
('water spills over the tops of the', 1),
('bulkheads, going aft. As her bow is', 1),
('going down, her stern is coming', 1),
('up. . . slow at first. . . and then', 1),
('faster and faster until its lifting all', 1),
('that weight, maybe 20 or 30 thousand', 1),
('tons. . . out of the water and the', 1),
('hull cant deal. . . so', 1),
('SKRTTT!!', 1),
('(making a sound in time with the animation) . . . it splits!', 1),
('Right down to the keel, which acts like a big hinge. Now', 1),
('the bow swings down and the stern falls back level. . . ', 1),
('but the weight of the bow pulls the stern up vertical, and', 1),
('then the bow section detaches, heading for the bottom. ', 1),
('The stern bobs like a cork, floods and goes under about', 1),
('2:20 a. m. Two hours and forty minutes after the', 1),
('collision. ', 1),
('The animation then follows the bow section as it sinks. ', 1),
('Rose watches this clinical dissection of the disaster', 1),
('without emotion. ', 1),
('The bow pulls out of its dive and', 1),
('planes away, almost a half a mile,', 1),
('before it hits the bottom going', 1),
('maybe 12 miles an hour. KABOOM!', 1),
('The bow impacts, digging deeply into the bottom, the', 1),
('animation now follows the stern. ', 1),
('The stern implodes as it sinks, from the', 1),
('pressure, and rips apart from the', 1),
('force of the current as it falls,', 1),
('landing like a big pile of junk. ', 1),
('(indicating the simulation)', 1),
('Cool huh?', 1),
('Thank you for that fine forensic', 1),
('analysis, Mr. Bodine. Of course the', 1),
('experience of it was somewhat less', 1),
('clinical. ', 1),
('Will you share it with us?', 1),
('18. ', 1),
('29 CONTINUED: 29', 1),
('Her eyes go back to the screens, showing the sad ruins far', 1),
('below them. ', 1),
('A VIEW from one of the subs TRACKING SLOWLY over the boat', 1),
('deck. Rose recognizes one of the Wellin davits, still in', 1),
('place. She hears ghostly waltz music. The faint and', 1),
('echoing sound of an officers voice, English accented,', 1),
('calling "Women and children only". ', 1),
('30 FLASH CUTS of screaming faces in a running crowd. ', 1),
('Pandemonium and terror. People crying, praying, kneeling on', 1),
('the deck. Just impressions. . . flashes in the dark. ', 1),
('31 Rose Looks at another monitor. SNOOP DOG moving down a', 1),
('rusted, debris-filled corridor. Rose watches the endless', 1),
('row of doorways sliding past, like dark mouths. ', 1),
('32 IMAGE OF A CHILD, three years old, standing ankle deep', 1),
('in water in the middle of an endless corridor. The child is', 1),
('lost alone, crying. ', 1),
('33 Rose is shaken by the flood of memories and emotions. ', 1),
('Her eyes well up and she puts her head down, sobbing', 1),
('quietly. ', 1),
('(taking the wheelchair)', 1),
('Im taking her to rest. ', 1),
('No!', 1),
('Her voice is surprisingly strong. The sweet little old lady', 1),
('is gone, replaced by a woman with eyes of steel. Lovett', 1),
('signals everyone to stay quiet. ', 1),
('Tell us, Rose. ', 1),
('She looks from screen to screen, the images of the ruined', 1),
('Its been 84 years. . . ', 1),
('Just tell us what you can--', 1),
('(holds up her hand for silence)', 1),
('Its been 84 years. . . and I can', 1),
('still smell the fresh paint. ', 1),
('19. ', 1),
('The china had never been used. The', 1),
('sheets had never been slept in. ', 1),
('He switches on the minirecorder and sets it near her. ', 1),
('Titanic was called the Ship of', 1),
('Dreams. And it was. It really', 1),
('was. . . ', 1),
('As the underwater camera rises past the rusted bow rail, WE', 1),
('DISSOLVE / MATCH MOVE to that same railing in 1912. . . ', 1),
('MATCH DISSOLVE:', 1),
('34 EXT. SOUTHAMPTON DOCK - DAY 34', 1),
('SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white', 1),
('superstructure of Titanic rises mountainously beyond the', 1),
('rail, and above that the buff-colored funnels stand against', 1),
('the sky like the pillars of a great temple. Crewmen move', 1),
('across the deck, dwarfed by the awesome scale of the', 1),
('steamer. ', 1),
('Southanmpton, England, April 10, 1912. It is almost nnon on', 1),
('ailing day. A crowd of hundreds blackens the pier next to', 1),
('Titanic like ants on a jelly sandwich. ', 1),
('IN FG a gorgeous burgundy RENAULT TOURING CAR swings into', 1),
('frame, hanging from a loading crane. It is lowered toward', 1),
('HATCH #2. ', 1),
('On the pier horsedrawn vehicles, motorcars and lorries move', 1),
('slowly through the dense throng. The atmosphere is one of', 1),
('excitement and general giddiness. People embrace in tearful', 1),
('farewells, or wave and shout bon voyage wishes to friends', 1),
('and relatives on the decks above. ', 1),
('A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes', 1),
('through the crowd leaving a wake in the press of people. ', 1),
('Around the handsome cars people are streaming to board the', 1),
('ship, jostling with hustling seamen and stokers, porters,', 1),
('and barking WHITE STAR LINE officials. ', 1),
('The Renault stops and the LIVERIED DRIVER scurries to open', 1),
('the door for a YOUNG WOMAN dressed in a stunning white and', 1),
('purple outfit, with an enormous feathered hat. She is 17', 1),
('years old and beautiful, regal of bearing, with piercing', 1),
('eyes. ', 1),
('It is the girl in the drawing. ROSE. She looks up at the', 1),
('ship, taking it in with cool appraisal. ', 1),
('20. ', 1),
('ROSE (contd)', 1),
('I dont see what all the fuss is', 1),
('about. It doesnt look any bigger', 1),
('than the Mauretania. ', 1),
('A PERSONAL VALET opens the door on the other side of the car', 1),
('for CALEDON HOCKLEY, the 30 year old heir to the elder', 1),
('Hockleys fortune. "Cal" is handsome, arrogant and rich', 1),
('beyond meaning. ', 1),
('You can be blase about some things,', 1),
('Rose, but not about Titanic. Its', 1),
('over a hundred feet longer than', 1),
('Mauretania, and far more luxurious. It', 1),
('has squash courts, a Parisian cafe. . . ', 1),
('even Turkish baths. ', 1),
('Cal turns and fives his hand to Roses mother, RUTH DEWITT', 1),
('BUKATER, who descends from the touring car being him. Ruth', 1),
('is a 40ish society empress, from one of the most prominent', 1),
('Philadelphia families. She is a widow, and rules her', 1),
('household with iron will. ', 1),
('Your daughter is much too hard to', 1),
('impress, Ruth. ', 1),
('(indicating a puddle)', 1),
('Mind your step. ', 1),
('(gazing at the leviathan)', 1),
('So this is the ship they say is', 1),
('unsinkable. ', 1),
('It is unsinkable. God himself', 1),
('couldnt sink this ship. ', 1),
('Cal speaks with the pride of a host providing a special', 1),
('experience. ', 1),
('This entire entourage of rich Americans is impeccably turned', 1),
('out, a quintessential example of the Edwardian upper class,', 1),
('complete with servants. Cals VALET, SPICER LOVEJOY, is a', 1),
('tall and impassive, dour as an undertaker. Behind him', 1),
('emerge TWO MAIDS, personal servants to Ruth and Rose. ', 1),
('A WHITE STAR LINE PORTER scurries toward them, harried by', 1),
('last minute loading. ', 1),
('21. ', 1),
('34 CONTINUED: 34', 1),
('Sir, youll have to check your', 1),
('baggage through the main terminal,', 1),
('round that way--', 1),
('Cal nonchalantly hands the man a fiver. The porters eyes', 1),
('dilate. Five pounds was a monster tip in those days. ', 1),
('I put my faith in you, good sir. ', 1),
('(curtly, indicating Lovejoy)', 1),
('See my man. ', 1),
('Yes, sir. My pleasure, sir. ', 1),
('Cal never tires of the effect of money on the unwashed', 1),
('masses. ', 1),
('(to the porter)', 1),
('These trunks here, and 12 more in the', 1),
('Daimler. Well have all this lot up', 1),
('in the rooms. ', 1),
('The White Star man looks stricken when he sees the enormous', 1),
('pile of steamer trunks and suitcases loading down the second', 1),
('car, including wooden crates and steel safe. He whistles', 1),
('frantically for some cargo-handlers nearby who come running. ', 1),
('Cal breezes on, leaving the minions to scramble. He quickly', 1),
('checks his pocket watch. ', 1),
('Wed better hurry. This way,', 1),
('ladies. ', 1),
('He indicates the way toward the first class gangway. They', 1),
('move into the crowd. TRUDY BOLT, Roses maid, hustles', 1),
('behind them, laden with bags of her mistresss most recent', 1),
('purchases. . . things too delicate for the baggage handlers. ', 1),
('Cal leads, weaving between vehicles and handcarts, hurrying', 1),
('passengers (mostly second class and steerage) and wellwishers. Most of the first class passengers are avoiding',
1),
('the smelly press of the dockside crowd by using an elevated', 1),
('boarding bridge, twenty feet above. ', 1),
('22. ', 1),
('34 CONTINUED: (2) 34', 1),
('They pass a line of steerage passengers in their coarse wool', 1),
('and tweeds, queued up inside movable barriers like cattle in', 1),
('a chute. A HEALTH OFFICER examines their heads one by one,', 1),
('checking scalp and eyelashes for lice. ', 1),
('They pass a well-dressed young man cranking the handle of a', 1),
('wooden Biograph "cinematograph" camera mounted on a tripod. ', 1),
('NANIEL MARVIN (whose father founded the Biograph Film', 1),
('Studio) is filming his young bride in front of the Titanic. ', 1),
('MARY MARVIN stands stiffly and smiles, self conscious. ', 1),
('DANIEL', 1),
('Look up at the ship, darling, thats it. ', 1),
('Youre amazed! You cant believe', 1),
('how big it is! Like a mountain. ', 1),
('Thats great. ', 1),
('Mary Marvin, without an acting fiber in her body, does a bad', 1),
('Clara Bow pantomime of awe, hands raised. ', 1),
('Cal is jostled by two yelling steerage boys who shove past', 1),
('him. And he is bumped again a second later by the boys', 1),
('father. ', 1),
('Steady!!', 1),
('Sorry squire!', 1),
('The Cockney father pushes on, after his kids, shouting. ', 1),
('Steerage swine. Apparently missed his', 1),
('annual bath. ', 1),
('Honestly, Cal, if you werent', 1),
('forever booking everything at the', 1),
('last instant, we could have gone', 1),
('through the terminal instead of', 1),
('running along the dock like some', 1),
('squalid immigrant family. ', 1),
('All part of my charm, Ruth. At any', 1),
('rate, it was my darling fiancees', 1),
('beauty rituals which made us late. ', 1),
('You told me to change. ', 1),
('23. ', 1),
('34 CONTINUED: (3) 34', 1),
('I couldnt let you wear black on', 1),
('sailing day, sweetpea. Its bad', 1),
('luck. ', 1),
('I felt like black. ', 1),
('Cal guides them out of the path of a horse-drawn wagon', 1),
('loaded down with two tons of OXFORD MARMALADE, in wooden', 1),
('cases, for Titanics Victualling Department. ', 1),
('Here Ive pulled every string I', 1),
('could to book us on the grandest', 1),
('ship in history, in her most', 1),
('luxurious suites. . . and you act as if', 1),
('youre going to your execution. ', 1),
('Rose looks up as the hull of Titanic looms over them. . . a', 1),
('great iron wall, Bible black and sever. Cal motions her', 1),
('forward, and she enters the gangway to the D Deck doors with', 1),
('a sense of overwhelming dread. ', 1),
('It was the ship of dreams. . . to', 1),
('everyone else. To me it was a slave', 1),
('ship, taking me back to America in', 1),
('chains. ', 1),
('CLOSE ON CALS HAND IN SLOW-MOTION as it closes possessively', 1),
('over Roses arm. He escorts her up the gangway and the', 1),
('black hull of Titanic swallows them. ', 1),
('Outwardly I was everything a well', 1),
('brought up girl should be. Inside, I', 1),
('was screaming. ', 1),
('35 CUT TO a SCREAMING BLAST from the mighty triple steam', 1),
('horns on Titanics funnels, bellowing their departure', 1),
('warning. ', 1),
('36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY 36', 1),
('A VIEW OF TITANIC from several blocks away, towering above', 1),
('the terminal buildings like the skyline of a city. The', 1),
('steamers whistle echoes across Southampton. ', 1),
('24. ', 1),
('34 CONTINUED: (4) 34', 1),
('PULL BACK, revealing that we were looking through a window,', 1),
('and back further to show the smoky inside of a pub. It is', 1),
('crowded with dockworkers and ship;s crew. ', 1),
('Just inside the window, a poker game is in progress. FOUR', 1),
('MEN, in working class clothes, play a very serious hand. ', 1),
('JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a', 1),
('glance as the other two players argue in Swedish. Jack is', 1),
('American, a lanky drifter with his hair a little long for', 1),
('the standards of the times. He is also unshaven, and his', 1),
('clothes are rumpled from sleeping in them. He is an artist,', 1),
('and has adopted the bohemian style of art scene in Paris. ', 1),
('He is also very self-possessed and sure-footed for 20,', 1),
('having lived on his own since 15. ', 1),
('The TWO SWEDES continue their sullen argument, in Swedish. ', 1),
('OLAF', 1),
('You stupid fishhead. I cant', 1),
('believe you bet our tickets. ', 1),
('SVEN', 1),
('You lost our money. Im just trying to', 1),
('get it back. Now shutup and take a card. ', 1),
('(jaunty)', 1),
('Hit me again, Sven. ', 1),
('Jack takes the card and slips it into his hand. ', 1),
('ECU JACKS EYES. They betray nothing. ', 1),
('CLOSE ON FABRIZIO licking his lips nervously as he refuses a', 1),
('card. ', 1),
('ECU STACK in the middle of the table. Bills and coins from', 1),
('four counrties. This has been going on for a while. ', 1),
('Sitting on top of the money are two 3RD CLASS TICKETS for', 1),
('RMS TITANIC. ', 1),
('The Titanics whistle blows again. Final warning. ', 1),
('The moment of truth boys. ', 1),
('Somebodys lifes about to change. ', 1),
...]