Since childhood, people often have dreams of doing things that seem mundane, impossible, or filled with ideals. These aspirations appear difficult to parents or elders, who uand the challenges of sudeavors and the plexities tied to bureaucracy, education, effort, luck, and the randomness of fleeting sparks.
-Give me some of that coffee. - Kate said, pletely mesmerized, grabbing the cup from Billy's hand and taking a sip of the bck coffee as she examihe drawings. The details were magnifit, each line capturing a brilliance rarely seen. It was "real" in the sense of being the pinnaeri ics, alongside works like Sm Dunk, which Real had eclipsed. Everything about it felt like an excuse to embrace the medium's unique, wonderful, aiful aspects.
She said, utterly entranced by the way she observed the ics. It was as though the magnifit details, brimming with allegories and intricate designs, could captivate people even before the creative process was plete.
It felt like being behind the ses of a great masterpiece—either disappointing or rewarding. In this case, it was undoubtedly the tter. There was a distinct admiration for Billy's ability to create elements from nothing, imbuing his work with a sense of knowledge and authority that was rare to enter.
-Oh, I feel annoyed, but I ’t stop looking at these drawings. I’ll buy all your work. - Kate fessed, finding Billy’s art remarkably innovative. His skill level mirrored the quality seen in manga or ics of 2020, far surpassing the petition. Billy truly embodied the prodigy who infused each of his pieces with exceptional brilliance.
-It’s all about the image. You have to think of an image, much like in ag. People focus on a character they’re portraying—imagining their walk, speech, reas, and perspectives. That’s how you develop an idea of who you want to be. Drawing works the same way, except theoretically, it requires more knowledge than ag. You o uand three-dimensional spaces, proximity, perspective, and style. It’s perhaps too broad for a short versation. But essentially, you must form images in your mind and sequehem, like in a video. Frames created by your imagination—like wanting someoo run, then imagining them moving down a street, surrounded by people. The detail lies iion, the anatomy, the space, and the teique. - Billy expined, pig up a pencil and sketg slowly. He began with a rough outline, a colge of geometric shapes.
After a quick sketch, he erased the shapes and refihe drawing with greater detail, demonstrating the progression from a fast sketeticulous one.
-Learn to skip steps that overplicate the image... I think I’ll settle for just seeing the final product. People often uimate how hard it is. I step bad watch, but it seems easier at first gnce. - Kate remarked, the intricate process. She was wrong, though; the real challenge was rooted in genius. The work was accessible only to a rare talent, less than 1% globally. What seemed difficult to outsiders was impossible for many professionals, whose critical eyes studied every image and page, ter using them as educational tools—a value often overlooked by others.
-You truly have no idea how hard this is. - Billy said, a smile that subtly questioned Kate’s words, emphasizing her misuanding.
The cutting bell rang, and everyouro their pces. Filming resumed, demanding perfe from everyone involved.
Cameras were everywhere. They asded the stage—a bare ship deck that transformed into an eborate set. Everyone moved to their designated spots as the anization unfolded.
-Does everyone know their positions? - Cameron called out, standing beside his assistant director.
Usually, the director of photography dictated some of the positioning, alongside Russell Carpenter. Occasionally, even John Ladou would lend a hand.
Se 23, Take 6.
EXTERIOR. HATCH DECK – NIGHT
Jack is lying on one of the benches, gazing at the brilliantly shining stars overhead, lost in artistic thoughts and smoking a cigarette.
Hearing something, he turns as Rose runs up the stairs from the well deck. They are the only two o deck, except for BOATSWAIN ROWE, who is six meters above them on the dog bridge walkway. She doesn’t see Ja the shadows and runs past him.
FOLLOWING ROSE as she races across the deserted fantail.
EXT. AFT PROMENADE DECK – NIGHT
Her breathing is ragged, occasionally breaking into a sob that she suppresses. Rose sms against the base of the aft fgpole and gs to it, panting, staring at the bck water.
She climbs over the railing, awkwardly lifting her long dress to maneuver. Slowly, she turns her body, pg her heels on the painted white ledge, her back to the railing, fag the darkness. Sixty feet below, the massive propellers the Atntito white foam, leaving a ghostly wake stretg into the horizon.
From a low angle, we see Rose standing like an ied figurehead. Below her, the enormous letters spelling "TITANI. She leans forward, stretg out her arms, hypnotized by the vortex beh her. Her dress and hair flutter in the ship’s movement-induced wind.
Billy watched, a mix of ay and indiffereched on his face. They repeated each take. He finally rexed, letting his body flow with his mind, fog solely on what y ahead, shifting with every thought.
ROSE-Don’t you dare tell me what I will or won’t do. You don’t know me.-
She removed her coat, catg her breath as she noticed the girl who was the light of his eyes. fidend flickered in his posture, but he reposed himself briefly. Yet he was utterly lost, though he pyed along, creating a warm ambiance.
JACK-Don’t e any closer!-
JACK-Take my hand. I’ll pull you back over.-
He extended his hand, taking a step forward. But she refused. After a brief hesitation, he persisted, though she remained fearful.
JACK-I’m a good swimmer.-
Jack saw the tear streaks on her cheeks uhe faint glow of the stern lights.
ROSE-You’d already be dead. e on, take my hand.-
Rose was now fused. She couldn’t see him clearly through her tears, so she wiped them away with one hand, nearly losing her bance.
ROSE-No! Stay where you are. I mean it.-
ROSE-You’re distrag me. Go away.-
JACK-I ’t. I’m involved now. If you let go, I’ll have to jump in after you.-
The only sound above the roar of the water below was the fluttering and snapping of the giant Union Jack above her.
-I’ll let go.-
She began to undo her left shoe.
JAo, you won’t.-
JACK
-Don’t do it.
ROSE
-Don’t be ridiculous. They’ll kill you. -
She turns her head at the sound of his voice. It takes her a moment to focus.
He shrugs off his jacket.
JACK
-I’m a det swimmer. -
ROSE
-The fall alone would kill you.
She gnces down. The reality of what she’s doing begins to sink in.
JACK
-It’d hurt, I’m not saying it wouldn’t. But holy, what worries me a lot more is how cold the water is.-
ROSE
-How cold is it?-
JACK
-Freezing. Maybe a couple of degrees above.-
Billy starts untying his left shoe, keeping his eyes on the girl.
JACK
-Ever been to Wissin?-
ROSE(perplexed)
(The first time they’re not cut here—it’s a small victory. Enced, they press on, keeping their posure.)
JACK
-Well, they’ve got some of the coldest winters around. I grew up there, near Chippewa Falls. Once, when I was a kid, my dad and I went ice fishing on Lake Wissota... Ice fishing is when you cut a hole in the—
ROSE
-I know what ice fishing is!-
JACK
-Sorry. You... seem like an indirl. Anyway, I went through some thin ice, a me tell you, water that cold—like the water down there—it hits you like a thousand kabbing you all over your body. You ’t breathe, you ’t think—at least not about anything but the pain.-
(He removes his other shoe.)
That’s why I’m not looking forward to jumping in after you. But, like I said, I don’t see a better option. I hope you’ll step back over the railing and save me the trouble.
ROSE
-You’re crazy.-
JACK
-That’s what everybody says. With all due respect, I’m not the one hanging off the back of a ship.-
He smiles.
His smile is charming. She notices it, intrigued despite herself.
JACK
-e on, you don’t want to do this. Please give me your hand.-
Rose stares at this lunatic for a long moment. She looks into his eyes, and suddenly, somehow, they seem to fill her entire universe. They’re the eyes of someone who sees more than just what’s in front of him. It’s almost magical.
ROSE
-Alright.-
She releases one hand from the railing and reaches out to him. He extends his hand, grasping hers firmly.
JACK
-I’m Jack Dawson.-
ROSE(with a trembling voice)
-Pleased to meet you, Mr. Dawson.-
Rose begins to turn, now that she’s decided to live, but the height terrifies her. Vertigo takes over as she shifts position, turning back toward the ship. As she starts to climb, her dress gets in the way, and one foot slips off the edge of the deck. She lets out a sharp scream. Jack, holding onto her hand, is yanked hard against the railing. Rose barely mao grab a lower rail with her free hand.
The Bosun, Rowe, standing on the dog bridge, hears the scream and heads for the stairs.
ROSE
-Help! Help!-
JACK
-I’ve got you. I won’t let go.-
Jack grips her hand tightly while brag himself against the railing with his other hand. Rose tries to find some foothold against the smooth hull. Jack struggles to lift her over the railing. She ’t keep her ban her dress and evening shoes and slips backward. Rose screams again.
Awkwardly grabbing Rose with whatever leverage he manage as she fils, Jack pulls her over the railing. They tumble onto the deck together in a heap, twisting so that Jads up slightly on top of her.
Rowe slides dowairs from the dog bridge like a fire drill and charges through the hatchway.
ROWE
-What’s all this?-
Rowe rushes over, pulling Jack off Rose, revealing her disheveled and sobbing on the deck. Her dress is torn, and the hem is pushed up above her knees, exposing a ripped stog. He looks at Jack—a scruffy third-css passenger without a jacket—and the distraught first-css dy and begins to draw his clusions Two sailors hustle across the deck to join them.
ROWE (to Jack)
-Here, you—stay right where you are! (To the sailet the Master at Arms.-
EXT. HATCH COVER DECK – NIGHT
A few mier, Jack is restrained by the burly MASTER AT ARMS, the closest thing to a police officer on board. He’s handcuffing Jack. Cal stands right in front of him, furious. He’s run out with Lovejoy and another man, none of them dressed for the cold night air over their formal evening wear. The other man is EL ARCHIBALD GRACIE, a mustachioed blowhard still holding his brandy gss. He offers it to Rose, who sits huddled and g on a nearby bench, but she waves it away. Cal, however, is fixated on Jack. He grabs him by the pels.
CAL
-What did you do to her? How dare you y hands on my fiancée? Look at me, you filthy rat! What were you thinking? -
ROSE
-?Cal, stop! It was an act. -
CAL
-An act? -
ROSE
-It was... stupid. I was leaning over, and I slipped. -
Rose g Jack, making eye tact.
ROSE
-I leaned out too far. I was trying to see the... uh... propellers. And I slipped. I would’ve fallen overboard, but Mr. Dawson here saved me. He almost went over himself. -
CAL
-You wao see the propellers?-
GRAbsp;(shaking his head)
-Women and maery don’t mix.-
MASTER AT ARMS (to Jack)
-Is that what happened?-
Rose pleads with her eyes for Jaot to tell the truth.
JACK
-Uh-huh. That’s pretty much it.-
He g Rose one more time. Now they share a secret.
EL GRACIE
-Well! Then the boy’s a hero. Good for you, son! Well doo Cal, g him on the shoulder) So, all’s well. Let’s get back to our brandy, eh?-
Jack’s handcuffs are removed. Cal helps Rose to her feet and ushers her away.
bsp;(rubbing his arms)
-Let’s get you i’s freezing.-
CUT.
The actors sighed, pletely exhausted from the se's raw iy, but the real test was yet to e—watg the nearly seven-miake in one go.
-It was good,- murmured the ematographer.
It was a solid effort,that had truly captured the moment's essence
Kate stood there, uo hide her enormous smile.
-We still have others to shoot; don’t smile so much, - Billy whispered to her.
...
