Titanic: The Musical Screenplay Adaptation
Martin Gargaro
TITANIC: THE MUSICAL
Written by
Martin Gargaro
Based on the Broadway musical by Maury Yeston and Peter Stone
FADE IN:
EXT. GREENLAND ICE SHELF-DAWN
Darkness. Silence.
Gradually, faint rays of sunlight pierce through, illuminating vast expanses of ice. Gentle music plays in the background.
Suddenly, a loud CRACK. The music gets more intense as chunks of ice splinter, shattering the serenity. Massive ice blocks collapse dramatically into the ocean below.
Camera tracks a particularly imposing iceberg made from the calving, drifting majestically yet ominously into open waters.
The iceberg floats silently into darkness, becoming indistinct.
Camera pans across the vast, empty ocean, growing darker and foreboding as the iceberg fades into shadow.
FADE TO:
EXT. HARLAND & WOLFF SHIPYARD, BELFAST–SUNRISE
Golden light breaks over towering cranes, silhouetted elegantly against a glowing sky tinged with orange and pink hues.
MUSIC transitions into a stirring, triumphant theme.
The movie title appears boldly on screen
FADE TO:
MONTAGE SEQUENCE (OPENING CREDITS)
Historic black-and-white PHOTOGRAPHS capturing the Titanic’s construction, from the laying of its keel to workers laboring proudly on the immense hull. The images move gracefully, fading into each other, highlighting human achievement, determination, and grandeur.
FADE TO:
INT. BELFAST, HARLAND & WOLFF SHIPYARD; ANDREWS’S OFFICE
Ship architect THOMAS ANDREWS (39, Irish) stands behind his desk, examining nautical blueprints. His office, dimly lit, is filled with scale models and images of famous architectural marvels. He pauses, looks up from his work, and directly addresses the audience, breaking the fourth wall.
In every age mankind attempts
To fabricate great works
At once magnificent…and impossible
He moves gently past the models and images, gazing upon them reverently.
On desert sands, from mountains of stone: a pyramid!
From flying buttresses alone, a wall of light!
A chapel ceiling screaming one man’s ecstasy!
One man’s ecstasy…
Miracles them all!
China’s endless wall…
Stonehenge, the Parthenon, the Duomo…
His tone grows more vibrant, fervent.
We did not attempt to make
With mammoth blocks of stone, a giant pyramid.
No, not a pyramid…
Nor gothic walls that radiate with light…
He approaches a mysterious box-like structure draped in a cloth
Our task was to dream upon and then create…
A floating city! (He pulls away the cloth, revealing a pristine scale model of a ship in a display case)
He analyzes the model, still maintaining the audience’s attention.
A human metropolis…
A complete civilization!
Sleek…and fast!
At once a poem
And the perfection of physical engineering…
Camera zooms in on the bow of the scale model, focusing on the name emblazoned in bright yellow letters: TITANIC.
At once a poem
And the perfection of physical engineering…
DISSOLVE TO:
The ship’s name fills the screen. The sun is climbing into the sky. The air is filled with the sound of loading machinery and seagulls crying overhead.
BARRETT’S GIRLFRIEND (off-screen)
How did they build Titanic?
Near a thousand feet in length
Camera pans over to reveal stoker FREDERICK BARRETT (29, burly, British) standing on the dock with his GIRLFRIEND. Both of them are staring at the ship in wonderment.
Huge beyond past endeavor
Strong beyond mortal strength
Forty-six thousand tons of steel
Eleven stories high
BARRETT’S GIRLFRIEND
She’s a great palace, floating
Quiet as a lullaby
(spoken, jealous and on the verge of tears)
Oh, Fred, she’s so wonderful. I wish I was sailing with you.
BARRETT (smiling warmly)
Next time, love. (puts a hand on her face) Dry your eyes. She's only stealing me for a round trip.
BARRETT (to his girlfriend)
Fare-thee-well, my darling!
I’ll be back before a fortnight has passed.
DARLENE exits.
Meanwhile, Lookout FREDERICK FLEET (25, British) bids farewell to his girlfriend and joins BARRETT.
Fare-thee-well, my darling!
I’ll be back before a fortnight has passed.
Radio operators JACK PHILLIPS (25, British) and HAROLD BRIDE (22, British) enter and wave goodbye to their girlfriends, off screen.
BRIDE & PHILLIPS
Fare-thee-well, my darling!
I’ll be back before a fortnight has passed.
All four men join together and look up in awe at the liner, off-screen.
Beautiful, isn’t she?
FLEET
Magnificent!
BARRETT and BRIDE nod in agreement.
Fred Barrett—stoker off the New York.
FLEET (smiling)
That’s my name! Frederick Fleet—lookout off the Oceanic.
FLEET and BARRETT turn to the wireless operators
Harold Bride, junior wireless operator with the Marconi International Marine Signal Communications Company, Limited.
The others give BRIDE a strange look at his over-introduction.
BARRETT, FLEET, BRIDE, & PHILLIPS (Looking up, overwhelmed)
There she is!
Towering high…
Broad and grand…
The camera zooms out and rises, revealing the Titanic in its full splendor and glory. We tour the exterior as the men sing.
Sailing day!
Morning bright…
Take your flight…
Ship of dreams!
BARRETT
She strains at her lines…
FLEET
The smoke from her funnels…
BARRETT & FLEET
Trailing…
BRIDE
Her prow like a knife…
PHILLIPS
She’ll cut through the waves…
BRIDE & PHILLIPS
A gangway, marked "White Star Line" is lowered from the ship. Other crewmen join the four in song.
Underway,
Size and speed unexplored…
And I'll be aboard that ship of dreams!
BARRETT, FLEET, BRIDE, PHILLIPS, & OTHER CREWMEN board the Titanic through the gangway.
The sky gets brighter; the pier becomes increasingly busy. CAPTAIN EDWARD J. SMITH (62, white-bearded, British) greets the other officers and crew as they board, radiating authority and confidence, among them Chief Officer HENRY WILDE (39, British) 1st Officer WILLIAM MURDOCH (39, Scottish), 2nd Officer CHARLES LIGHTOLLER (38, British), 3rd Officer HERBERT PITMAN (34, moustache, British), 4th Officer JOSEPH BOXHALL (28, British), 5th Officer HAROLD LOWE (29, British), 6th Officer JAMES MOODY (25, British), Purser HUGH MCELROY (37, British) and Quartermaster ROBERT HICHENS (29, Cornish). All around, STEVEDORES are loading in the cargo.
STEVEDORE #1
7,000 heads of fresh lettuce, Titanic!
Morning, Mr. Wilde
WILDE
Morning, Mr. Pitman
Morning, Captain Smith…
LIGHTOLLER
Morning, Captain!
PITMAN
Morning, Captain!
STEVEDORE #2
36,000 oranges, Titanic!
WILDE
Morning, Mr. Hichens
HICHENS
Morning, Mr. Wilde
WILDE
Morning, Mr. Boxhall
MURDOCH
Morning, Mr. Wilde!
WILDE
Morning, Mr. Lowe
LOWE
A fine day, Mr. Wilde!
WILDE
Morning, Mr. Moody
MOODY
Good Morning, Mr. Wilde!
HICHENS
Morning, Captain Smith
WILDE
Morning, Mr. McElroy.
MCELROY
Morning, Mr. Wilde
Morning, Captain Smith
CAPT. SMITH
Morning, McElroy
Morning, Murdoch
MURDOCH
Morning, Captain
The officers stand alongside their captain at firm attention, as if like soldiers to their general
CAPT. SMITH
Lightoller
Please complete the loading of the freight
And prepare for the boarding of
The serving staff and crew
LIGHTOLLER
Now members of the ship's crew—engineers, stokers, carpenters, etc.—and the service personnel—stewards and stewardesses, maids, chefs, etc.—enter, along with young bellboys who greet them all by name)
There she is!
Towering high…
Broad and grand…
Ship of dreams!
BELLBOYS
Morning, Mr. Etches
Morning, Mr. Andrews
Hello, Mr. Ismay
Morning, Mr. Pitman
Morning, Mr. Whitely
STEVEDORE #3
42,000 fresh eggs, Titanic!
Sailing day!
Morning bright…
Take your flight…
Ship of dreams!
Morning, Mrs. Crawford
Hello, Ms. Hutchinson
Morning, Ms. Robinson
Hello, Mrs. Beecham
Morning, Ms. Jessop!
The pans around the busy dock, allowing us to observe the loading of the food and utensils.
122,000 pounds of meat, poultry and fish, Titanic!
STEVEDORE #4
40 tons of potatoes, 1,100 pounds of marmalade, 37,000 bottles of wine, beer and spirits, Titanic!
LIGHTOLLER
55,000 China dishes and 20,000 crystal drinking glasses, Titanic!
A Renault town carriage motorcar is loaded into the forward cargo hold by the loading crane. A STEVEDORE, precariously balanced on its running board, comically holds onto the vehicle.
STEVEDORE #5
One Renault town carriage motorcar, Titanic!
Soon to be…
Underway,
Size and speed
Unexplored…
BELLBOYS
Morning, Mr. Widgery
Hello, Mr. Oliver
Morning, Mr. Hartley
Hello, Mr. Joughin
Cheers! Mr. Weikman
And I'll be aboard that ship of dreams!
EXT. TITANIC’S BRIDGE-MOMENTS LATER
CAPT. SMITH and ANDREWS, wearing a derby, stand outside the bridge, a pleased expression on their face. J. BRUCE ISMAY (49, British, dark hair and moustache), Chairman of the White Star Line, enters. He is fastidiously dressed, holding a cane and smoking a cigar.
Never quite like this one, sir!
Mr. Andrews, has the line ever had
A faster ship for the mail?
Never quite like this one, sir!
CAPT. SMITH & ANDREWS
ALL THREE
Dominion over the sea!
CAPT. SMITH & ANDREWS
It brings great honor to me
INT. TITANIC’S BRIDGE-LATE AFTERNOON-APRIL 11, 1912
Present are CAPTAIN SMITH, Officers MURDOCH, PITMAN, and Quartermaster HICHENS. Four bells sound.
Nothing but the open ocean from here on out.
West by north, 2-8-1 degrees, sir.
CAPT. SMITH
Steady as she goes, Quartermaster.
HICHENS
Aye, Captain
CAPT. SMITH
Mr. Pitman, what’s our present speed?
CAPT. SMITH
Maintain 19 knots, Mr. Murdoch.
MURDOCH
Aye, aye, sir. (goes to the telephone) Boiler rooms 1 through 6—maintain 68 revolutions of the wing propellers.
ISMAY barges in, followed by 1st-Class Steward HENRY ETCHES (44, British) who carries a bottle of champagne and glasses.
E. J.! Now that we’re officially underway, I thought a little celebration might be in order.
I’m sorry, Mr. Ismay, I don’t allow alcohol on my bridge. You know that, Mr. Etches.
ETCHES (examining the bottle, now open)
I’m terribly sorry, sir—I’m afraid this bottle has gone completely flat. Would you like me to fetch another, Mr. Ismay?
Oh, never mind, let it go.
ETCHES exits
Yes, well—with or without champagne, I want to toast our ship: the Royal Mail Steamer Titanic—the greatest vessel ever to cross the Atlantic since the Nina, the Pinta, and the Santa Maria.
As ISMAY raises his empty glass, ANDREWS enters with his blueprints.
ISMAY (CONT’D)
Ah, Andrews, I’m glad you’re here. I was just congratulating the three of us on our magnificent contribution to the 20th century. (Again raising his empty glass) Progress, gentlemen! I give you progress.
I trust you’ll excuse us, Mr. Ismay. We have our duties.
Really, I would have expected us to be going faster now that we’ve cleared land.
CAPT. SMITH
I’d say she’s performing quite admirably.
ISMAY
With all due respect, Cunard is on our heels. You know that last week, the Mauretania made the crossing in just five days. (with more emphasis) Five, and the press is still talking about her. We have the largest ship in the world and Cunard still has us in their wake.
ANDREWS
Mr. Ismay, Titanic was never meant to be a racehorse. She was meant to be spacious and luxurious.
ISMAY
(sharply) Luxury alone does not earn headlines, Mr. Andrews. Think of it. The maiden voyage of the biggest ocean liner in the world —this is our chance to show everyone that the White Star Line is not only a worthy adversary to Cunard, but a superior alternative.
We haven’t fully tested her at higher speeds for sustained runs. The hull’s unseasoned, and the ice fields are still reported north of our path.
CAPT. SMITH (reserved)
ISMAY (softly but firmly)
Of course not, Captain. You’re one of the best we have in our fleet. I’ve always trusted you to make good judgment. But let us not squander an opportunity for greatness. For the sake of White Star… and for Britain.
CAPT. SMITH (after a long pause)
I’ll consider your request, Mr. Ismay.
ISMAY (Smiling)
ISMAY is about to exit, but then looks back at CAPT. SMITH
ISMAY (CONT’D)
By the way. I understand that this will be your last voyage before you retire.
CAPT. SMITH
ISMAY exits. SMITH ponders his words, his face shrouded in conflict.
ANDREWS (Sighing)
Aye. But in this world, it often charts the course. (Turns to MURDOCH) Mr. Murdoch, Signal the engine room. Increase to 22 knots…gradually.
INT. ENGINE ROOM–MOMENTS LATER
The sound of pistons and rotating crankshafts fill the air, the ship’s heartbeat.
ENGINEERS in oil-streaked coveralls monitor gauges and pressure valves. CHIEF ENGINEER JOSEPH BELL (51, moustache, British) stands beside another ENGINEER (30s, British), reviewing the incoming data on a telegraph panel.
The engine order telegraph CLANGS, shifting from “Maintain” to “Increase to 75 RPM.”
BELL (studies the dial, nods)
BELL puts on his cap, wipes his hands on a rag, and makes his way toward the lower stairwell.
INT. BOILER ROOM 6–MOMENTS LATER
Shirtless stokers, slick with sweat and blackened with soot, shovel coal into the glowing mouths of the boilers. The light flickers orange across steel walls and blackened skin.
From the stairwell, BELL descends briskly, boots echoing on the metal steps.
He turns and bellows to the men nearby:
With renewed energy, the stokers double their pace. The clank of shovels hitting the coal piles and the roar of the flames grows louder.
STOKER #1 (grumbling)
STOKER #2 (wiping his face)
BARRETT
Don’t hold your breath. We’ll be pushing twenty-two knots before long. (short pause) Bloody hell, they want to fly this ship like she’s got wings.
STOKER #3
I signed on to stoke a liner, not race a bloody comet!
The men chuckle, half-heartedly.
BARRETT (with a smirk)
Don’t get used to the easy shifts, boys. The gents upstairs want to be kings of the Atlantic. We’re the ones breaking our backs to make it happen.
STOKER #4
They’ll be sipping champagne while we’re breathing smoke.
Aye. Look at her… gleaming brass, fresh paint, spotless floors.
We are underwater and see the gigantic propellors churning, driving the great liner through the Atlantic. We surface as if coming up from a dive and see the ship in its full majesty steaming into a golden sunset. We follow the ship as the camera performs a panoramic view along its length. We take notice of two crewmen, lookouts FLEET and REGINALD LEE (40, British) strolling along the boat deck and zoom in on them.
EXT. BOAT DECK-EARLY EVENING-APRIL 11, 1912
FLEET and LEE enter the bridge, ready to fulfill lookout duties. Officers WILDE, LIGHTOLLER are on watch, as PITMAN analyzes charts and reports.
We’re here to get our binoculars.
PITMAN (looking up from his charts)
Were you not handed them beforehand?
FLEET
No sir. They are supposed to be in a locker someplace, but we don’t have the key.
WILDE and LIGHTOLLER exchange a look of concern
That is Blair’s locker, isn’t it?
LIGHTOLLER (his voice uneasy)
Correct, and some of the officers had to be reassigned because of the shake-up. That included me and Officer Blair. (a short pause) When he left the ship, I think he forgot to hand over the key.
FLEET and LEE glance at each other in concern
Are you sure you don’t have any spares?
I’m afraid not. If we had, we would have given them to you.
FLEET (nodding in defeat)
In the meantime, we will file a report. We’ll see if we can get the locker forced or find another pair somewhere. Maybe a passenger has some they can spare.
In the meantime, just do your best and keep a sharp eye.
LEE
The two lookouts leave the bridge and make their way down the forward well deck, towards the forward mast. Their faces are etched with frustration and concern
LEE (to FLEET)
Imagine that. We're on the biggest ship in the world and it doesn't even have any bloody glasses!
FLEET (to LEE, his voice uneasy)
Hopefully we won’t need them.
The lookout reach the mast and start climbing the indoor ladder up to the crow’s nest. The camera pans back across the ship and zooms in on:
INT. D DECK 2ND CLASS PROMENADE-MOMENTS LATER
EDGAR & ALICE BEANE enter. She is reading a guide of the ship as she stops to look through one of the portholes.
ALICE BEANE
EDGAR BEANE (breaks his gaze)
Come on, Alice, they want us to get the hell to our own saloon. (pulls ALICE along with him)
Language, Edgar. Did you get a good look at John Jacob Astor? He looks exactly like his picture!
EDGAR BEANE (slightly impatient)
Oh Edgar, this is so exciting! Almost every famous millionaire in the whole world is on this ship! And to think we’ll actually be rubbing elbows with them!
(beat)
ALICE BEANE (CONT’D)
(playfully) Think how impressed they’ll all be when you tell them all you know about hardware!
Yeah, well, I wouldn’t exactly count on “rubbing elbows” with them, Alice. They won’t allow us peasants in 2nd class to go anywhere near those people in there.
What’s the point of being on the same boat if we can’t hobnob with them?! It’s bad enough that we have to make do with that dinky cabin they gave us with those two silly little bunk beds.
ALICE rolls her eyes.
ALICE BEANE
Calm down, Edgar. I’m telling you right now— I’m going in there. If it’s the last thing I do, I’m going in there.
They don’t want us in there. They want us right here, where we are. That’s all we paid for and that’s all we get.
As EDGAR & ALICE BEANE continue strolling along the deck CHARLES BENNETT & CAROLINE NEVILLE enter. She, too, cannot resist looking through the porthole.
Of course they’re rich, darling; they’re Americans. Can’t you just imagine what they’ll all be jabbering about? All those things my father lives for: international banking, venture capital, cornering the market. That sort of thing.
How would I know “that sort of thing”, Caroline? My father never had a corner on the market. All he ever had was a market on the corner. I warned you running away with me would be educational.
Aren’t you thrilled? Now you’ll finally see what second class looks like!
Oh, Charles, I love it when you’re sarcastic. It makes me feel like we’re a real married couple.
Why not? That’s what we would be if your snob of a father had permitted it. And that is exactly what we will be the minute we arrive in America.
Darling, considering our living arrangements, everyone on board thinks we’re already married.
You know perfectly well we would have separate cabins if I could have afforded them.
Yes, well, we had to make do with what we had, didn’t we?
They resume strolling down the promenade.
BENNETT (CONT’D)
You don’t suppose we’ll burn in hell for it, do you?
They laugh and he kisses her lightly as they walk off-screen. The camera zooms into the porthole, bringing us into the 1st-class dining saloon. Music starts playing a bright, upbeat number.
INT. 1ST-CLASS DINING SALOON-MOMENTS LATER
The saloon gleams like a palace at sea—an ornate, luxurious space trimmed with polished wood, gilded molding, and crystal chandeliers. Uniformed STEWARDS and STEWARDESSES bustle throughout, setting out fine China, polishing silverware, and adjusting spotless linens.
At the center of the room stands the “CAPTAIN’S TABLE”—bigger, grander, and more finely set than the others. It commands attention like a throne in a royal court.
SENIOR 1ST STEWARD ANDREW LATIMER enters, trailed by 1ST-CLASS STEWARD ETCHES, notepad in hand. Both men scan the saloon with the precision of generals preparing for battle.
My dear Mr. Etches!
Prepare to greet our clientele
Our meeting is imminent
Our having just rung the dinner bell
It won't be a novelty
We mostly have seen them all before…
Prepare for the usual
You should be aware of what's in store.
We've served them on the Baltic
Olympic and Majestic
And today's the same
There's nothing changed.
ETCHES pulls out a notepad and pen and jots down the orders of his superior.
(speaking in rhythm)
Most emphatically not.
(singing)
Mr. Astor takes his toast dry
Mrs. Straus likes the grouse
With the sauce on the side (LATIMER nods)
And the Wideners love kidney pie
Bring it hot, if it's not
They'll be fit to be tied
They're accustomed to the best
Of all that money buys
The world of free enterprise
Has given this privilege to the rich.
When they're idle
They're entitled to the luxury
Which we provide
That's forever the source of our pride…
Which is why we're always there
With our especial form of care
For every hungry millionaire
As the music swells, the camera cuts to two STEWARDS as they open up the grand doors. The 1st-class passengers, all lavishly dressed in their finest clothes flood into the restaurant. Among them are the ASTORS, GUGGENHEIM & AUBART, the THAYERS, the WIDENERS, the STRAUSES, the CARDEZAs, GRACIE, BROWN, EDITH CORSE EVANS (36, American), ISMAY and others.
1ST-CLASS PASSENGERS
We’re sailing aboard the greatest ship
That ever sailed the seas
The hull and the keel imperviously
Parquet in all the floors
(Split chorus; alternating)
Remarkable ship
Remarkable keel
Remarkable steel
Oh, what a ship!
Oh, what a keel!
Oh, what a ship!
If it could be put in a phrase… It’s
"What a remarkable age this is!"
A fellow’s invented see-through film
He calls it “cellophane”!
Another has built a parachute
For jumping out of an airplane!
Remarkable things flow endlessly
From out the human brain!
Indeed, and what a remarkable age this is!
LATIMER (addressing his staff)
Here we seat the elite whom we happily serve
Here they dine on fine French cuisine
It’s the crème de la crème’s exclusive preserve!
INTERCUT — VARIOUS PASSENGERS
ISIDOR and IDA STRAUS share a private chuckle as she adjusts his napkin with practiced care.
A STEWARDESS approaches the ASTORS and offers champagne, J.J. accepts, but MADELEINE declines, pointing out her pregnancy. Instead, she’s given ice water with lemon.
GUGGENHEIM, flicks a lighter for no reason other than to admire the flame. AUBART is unfazed; she’s seen it all before.
It’s the pleasure of the leisure class’s greatest wits
To be where the Captain sits
When taking their dinner on the sea
Giving deference to their preferences is OUR chief art!
We play a part
In a perfectly working machine
You should ever be aware
This is a privilege great and rare
A special burden that we bear
In our respective lives!
Is splitting shares at five to four!
Monopoly makes the industry
Far better than before!
Attending the coronation of
King George the Fifth was grand
(Split chorus; alternating)
Remarkable talk
Remarkable times
Oh, what a talk!
Oh, what a time!
Oh, what a world!
So much to surprise and amaze…
What a remarkable time
What a remarkable world
What a remarkable age…
SERVING STAFF
The hull and the keel impervious
Magnificent crystal
Chandeliers
A fellow's invented see-through film
And what a remark-able age…
The camera slowly spins above the dining saloon as the song crescendos, lifting us with the grandeur of the age.
They all raise their glasses. A BELLBOY enters the room, standing at attention like a soldier. He rings a triangle in his hand.
BELLBOY #1
Ladies and gentlemen, the dinner seating for Thursday, April 11th, is now being served in the First Class Dining Saloon. Please welcome our distinguished guest—Captain Edward J. Smith.
As CAPT. SMITH arrives, an eight-piece string ensemble led by WALLACE HARTLEY (33), all wearing black jackets, begins playing "Palm Court" music. SMITH sits at one end of the table, while ISMAY sits at the opposite. GRACIE sits dead center. Next to him is EDITH CORSE EVANS. Also seated at the captain’s table are the ASTORS, THAYERS, WIDENERS, GUGGENHEIM and AUBART.
Other diners, including the STRAUSES and the CARDEZAS have gone to the smaller tables.
Let me tell you, this reminds me of my father's tales from Chickamauga in ‘63—outnumbered, ammunition nearly spent, and suddenly facing thousands of rebels charging like wild bulls. He'd always pause right there, of course, to refill his bourbon—
ISMAY (interrupting)
E.J.! Have you ever had so many distinguished Americans in your charge at one time? You know most of them, I’m sure. And, of course, everyone knows Mr. Gracie—
GRACIE nods in acknowledgement
CAPT. SMITH
Of course. Welcome aboard, Mr. Guggenheim, you’re becoming quite a regular on the Atlantic run.
E.J.! You haven’t told us how many miles we covered yesterday.
484, Mr. Ismay. (smiling) It’s better than I expected for our first day.
ISMAY (pleased)
MURDOCH has entered and now approaches CAPT. SMITH
Increase speed, Mr. Murdoch, to 21 knots and tell Mr. Hichens to set course at west, northwest, 2-9-2 degrees.
MURDOCH (concerned)
A pause. He shifts slightly, waiting for the captain to reconsider.
CAPT. SMITH
I’m well aware of that, Mr. Murdoch. (glancing at ISMAY) It will save us both coal and time. At least three hours.
ISMAY (amazed)
Three hours! Oh, well done, E.J.! (raising a glass) A toast to our captain!
DINERS (raising glasses)
Hear! Hear!
ISMAY (acknowledging GRACIE)
(In gratitude) Moving on…After Chickamauga, my father marched six hundred miles, dodging rebel patrols and living off hardtack that was likely older than him. Claimed he lost twenty pounds, though my mother insisted he gained thirty back the moment he returned home.
As the diners either talk amongst themselves or listen to Gracie’s story, BRIDE enters and approaches CAPT. SMITH. He appears nervous to be before the master of the ship himself.
BRIDE (nervously)
Second Wireless Operator Bride, sir. With the Marconi International Marine Radio-telegraphy and Signal Communications Company, Limited?
CAPT. SMITH (giving a reassuring smile)
Message, sir, from the Furness Liner Rappahannock four days out of Halifax. (he hands SMITH a telegram) She reports an iceberg…
He awkwardly leaves.
At another table, BROWN regales her marriage story to a BRITISH COUPLE.
BROWN (in Western twang)
They called him Leadville Johnny. Best gold miner in all of Colorado. I was fifteen when I married him.
BRITISH GENTLEMAN
He didn’t have a cent to his name. Three months later, he strikes it rich. Next thing I know, I’m living in a house with silver dollars cemented right into the floor.
BRITISH LADY (horrified but polite)
BROWN (giggling)
DISSOLVE TO:
INT. 1ST-CLASS DINING SALOON-EVENING-APRIL 12, 1912
Another BELLBOY rings his triangle. This one is exhausted, clearly running around all day.
BELLBOY #2
Ladies and gentlemen, the dinner seating for Friday, April 12th, is now being served in the First Class Dining Saloon!
Yet, above all, the proudest moment in my family’s history was at Chickamauga. My father told of standing firm amidst a Confederate tide—bullets whizzing, cannons roaring, and his commander calmly saying, “Steady, boys, they can't shoot straight anyway!”
Laughter from the table.
Seated nearby, EDITH CORSE EVANS listens to the story, deep in thought.
EDITH CORSE EVANS
You Gracies have certainly faced your share of dangers, Colonel.
Indeed, we have. And unfortunately, my father would not live through the rest of the war. He was killed at Petersburg the following year.
JACK THAYER
My condolences.
Thank you, young man.
EDITH CORSE EVANS
What is odd is how when you're in war, you always know that danger is right around the corner. And yet…in peacetime, danger can hide quietly in places we least expect.
GRACIE (amused)
Miss Evans, surely you’re spirits have not been dampened after my tale?
EDITH CORSE EVANS (softly, hesitant)
The term I’d use is reflective. While I was in London, I visited one of those fortune tellers. And she warned me rather ominously to “beware of water.” It felt rather odd at the time, but now aboard this great ship, I find I cannot stop thinking about her.
A brief silence falls upon those within earshot. GRACIE, sensing her unease, speaks gently.
Miss Evans, rest assured, there's nowhere safer at sea than aboard Titanic. And if danger should arise, I'll see to it personally that you're kept dry.
She smiles gratefully, but her eyes remain haunted.
ELEANOR WIDENER (desperate to break the tension)
J. J. ASTOR
Thank goodness I didn’t have to. (she grips her husband’s arm) Jake knew right where it was.
LIGHTOLLER enters and approaches CAPT. SMITH
Have you any instructions, sir, concerning our present speed?
21 knots. Yes, sir.
LIGHTOLLER exits
21 knots? E. J., I’ve already assured our passengers that we’ll arrive before nightfall Tuesday. I’d hate to have the White Star Line fall short of its promises—and expectations. Especially with our finest ship.
CAPT. SMITH (Annoyed)
I’m afraid it’s too soon for either of us to say, Mr. Ismay.
(He rises from the table)
I trust you’ll forgive me. Please continue with your meal.
Unfortunately, Mrs. Thayer, my duties on the bridge, though not nearly so pleasant as sitting here with you attractive ladies, require my attention. Please excuse me.
(He goes)
GRACIE & MALE DINERS
Remarkable man our Capt. Smith!
Remarkable man our Capt. Smith!
Remarkable man our Capt. Smith!
Remarkable!
Remark…
Remarkable
Remarkable talk
Remarkable times
SERVING STAFF
Remarkable man
Remarkable
…Markable
Markable man!
Oh, what a talk!
Oh, what a time!
Oh, what a world!
MILLIONAIRES & WIVES
What a remarkable time
What a remarkable world
What a remarkable age…
DISSOLVE TO:
INT. 1ST-CLASS DINING SALOON-MOMENTS LATER
The meal has ended. A few loosen their collars or dab at their mouths with fine linen napkins. Others are still finishing the last bits.
JOHN THAYER (leaning back, groaning slightly)
If I eat another bite, I may need to be rolled back to my stateroom.
GEORGE WIDENER (chuckling, loosening his belt)
ELEANOR WIDENER (teasingly)
After this, I think I’ll just go back to reading in my cabin.
MADELEINE ASTOR
Honestly, I could go for seconds.
The others look at her in amazement.
HARRY WIDENER
Really? You ate just as much as the rest of us.
MADELEINE ASTOR (acknowledging her pregnancy)
J.J. ASTOR and others burst out laughing
Another BELLBOY enters the room. He is cheerful and upbeat, clearly proud of his role. He rings his triangle in ecstasy.
BELLBOY #3 (with enthusiasm)
Ladies and gentlemen, sweets and after-dinner liqueurs are now being served in the Café Parisien!
Guests exchange looks. Some perk up at the news
MADELEINE ASTOR
Oh, I have been waiting for the éclairs.
J.J. ASTOR (teasingly)
You mean he’s been waiting for the éclairs.
MADELEINE ASTOR (teasing him back)
Everyone laughs
MARION THAYER (to GRACIE)
Are you sure you’re able to take it, Colonel?
GRACIE (rising)
Nonsense, Mrs. Thayer. A soldier never retreats in the face of battle…especially a sweet one.
The others laugh
GUGGENHEIM (standing)
Well, I suppose I could inspect the dessert trolley…for quality assurance, of course. (turning to AUBART) Allez (Come on), Ninette.
AUBART grabs his arm as they rise, a smile beaming from her face
AUBART (playfully, in French; subtitled)
Et moi? Je croyais être ton plus doux péché.
(And I thought I was your sweetest indul-gence.)
GUGGENHEIM (in French; subtitled)
Tu l’es. Mais il faut bien sauver les apparences.
(You are. But I still have to keep up appearances.)
At another table, the CARDEZAS rise up to join the others for dessert.
CHARLOTTE CARDEZA
It's funny how when you're so full, you can't think about food. But once they call out the desserts, you make room.
They make their way to the door.
The passengers exit as the serving staff clean the dining area. Camera focuses on GUGGENHEIM and AUBART as she leans into him slightly.
AUBART (in French; subtitled)
Tu crois toujours que tu es invincible.
(You always think you’re invincible.)
GUGGENHEIM (with a laugh; in French; subtitled)
Je suis riche. C’est la même chose.
(I’m rich. It’s the same thing.)
The serving staff close the doors as the guests leave, bringing an end to the lavish sequence.
INT. TITANIC’S BRIDGE–EARLY AFTERNOON–APRIL 13, 1912
MURDOCH is in command while officers LOWE and BOXHALL fulfill duties. CAPT. SMITH enters.
CAPT. SMITH
And the sea temperature?
BOXHALL (Handing him a message)
Plot the position with the other reports we’ve received. (He returns the message)
Not to worry. We’ll keep a sharp eye, eh?
Yes. Let’s do everything we can to avoid bringing Mr. Ismay to the bridge again. (with a dry edge)
Yes, sir. (Picks up the telephone) Engine room— increase speed to 78 revolutions of the wing propellers.
INT. ENGINE ROOM–MOMENTS LATER
BELL grabs the phone amid the roar of the machinery and steam valves hissing.
Aye sir. (hangs up and turns towards the other engineers) Turn it up to 78!
The ENGINEERS move into action, adjusting valves and gauges. The roar of the engines intensifies. Pistons slam harder. Shafts spin faster. Steam pours in.
At this rate, we could fly to New York.
INT. TITANIC’S BRIDGE–MOMENTS LATER
CAPT. SMITH
If I remember correctly, Mr. Murdoch, you qualified for your master’s papers when you were only 25—youngest man in the Line’s history. But here you are, still without a ship of your own. What are you waiting for, Mr. Murdoch?
MURDOCH (hesitant)
The master of a ship carries a heavy responsibility, Captain.
CAPT. SMITH
Every single minute, Mr. Murdoch.
I’m just not certain I’m up to it, sir.
CAPT. SMITH
A ship’s master must be certain of everything, Mr. Murdoch. Even when he’s not. (a short pause, reflective) I know what it’s like to carry that weight.
You’re going to be retiring as soon as we return to Britain, correct?
CAPT. SMITH (nodding)
After 43 years of service, Titanic's maiden voyage will be my final voyage.
Well, I wish you the best, Captain. If I'm half the leader you are…I’ll consider myself fortunate.
Mr. Murdoch, you were almost the chief officer for this voyage. The only reason you were demoted was because Wilde had to join us—after the Olympic incident. You are more than worthy of captain.
But you were in charge of her during the collision with Hawke, weren’t you?
CAPT. SMITH (nods)
I was. Accidents happen, but they don’t define a man’s leadership; how he responds to them does. (a short pause) Carry on, Mr. Murdoch.
SMITH exits, leaving MURDOCH alone to contemplate. He walks out the pilothouse in the opposite direction and leans against the railing on the bridge wing. He stares out at the ship’s bow, carving through the Atlantic, deep in thought.
[TWO VERSIONS OF THIS SCENE ARE PROVIDED FOR CONSIDERATION.]
[VERSION A] – With Song (“To Be a Captain”)
Thousands on board
Each in his class
You are the master of all that must pass
Yours to set course
Yours to command
You hold their souls in the palm of your hand
You hold their souls in the palm of your hand
[VERSION B] – Spoken Dialogue + Instrumental Underscore
An instrumental version of "To Be a Captain" plays softly in the background, subtle and reflective.
MURDOCH (to himself)
To be in charge of so many people…
He looks back in the pilothouse, observing the other officers at work
A crew to manage, each man fulfilling his duty.
He turns and looks out across the deck. Passengers lounge in chairs, stroll arm in arm, or play with their children. A scene of joy and tranquility—but to him, it’s a constant reminder of the weight he carries.
To ensure their comfort... their satisfaction.
Every decision I make will define their journey—and my command.
He looks at his hands, flexing them slightly
Their lives…their futures…I hold them in the palm of my hand. (pauses) Will I truly live up to the expectations they’ve set?
He remains still, the weight of responsibility etching his face, as the music fades.
[END OF ALTERNATE VERSIONS – CONTINUE WITH MAIN SCRIPT]
EXT.
We see the Titanic steaming away from us. As the ship’s third funnel comes into view, the camera zooms into a porthole, bringing us into the 3rd class dining saloon.
INT. 3RD-CLASS DINING SALOON-EVENING
The dining saloon is stark but spotless—an industrial, utilitarian space of whitewashed steel and bolted beams. The walls are adorned with framed paintings of ships. Tables stretch from wall to wall, covered in clean white cloths. Surrounding every table are spindle-backed wooden chairs.
Pitchers of tea and bowls of fruit rest between plates of bread and butter, all laid out with the same care as a grand hotel. It is far from the opulence of 1st-class, but for those dining, it is the finest room they’ve ever been in.
All around, stewards are serving passengers from all walks of life—different nationalities, skin colors, and languages all grouped together. The hope in their hearts for a new life fills the room.
Among the passengers are KATE MCGOWAN, KATE MULLIN, KATE & MAGGIE MURPHY, and JIM FARRELL, dining together at the same table.
3RD CLASS STEWARD
3rd class passengers are reminded not to take food below to your cabins!
MULLIN (To the steward)
What’s the reason for that, then?
MAGGIE MURPHY (laughing)
Well, long as they paid their fare, I’ve got no complaints.
They’re welcome to have part of my share. Sure and me entire family could live a week off just what I been leavin’ on me plate. And all of it for free!
Free? Are you daft? Then, and why do you suppose they charged us every bit of 60 shillings for our passage? What do I need with all this fine cloth and electric light?
Well, Jim, I’m gonna have fine cloth, electrical light and a whole lot more when I get to America. Indulge me now—a personal bathtub. I’m gonna rise straight to the top, I will, just like cream!
KATE MURPHY (beaming)
Tell them, Katie! And I’ll be learnin’ my letters so I can teach the children of New York!
MAGGIE MURPHY (playfully)
And who’s going to teach you to wake up before noon?
Everyone at the table bursts out laughing.
All I worry about is not having a place that smells like coal smoke. As long as I have some honest work, I'll be completely satisfied.
MULLIN
Come, Maggie, surely you have dreams of your own.
MAGGIE MURPHY
Of course I do, but dreams don’t pay the bills or put food on the table.
McGOWAN
But they can certainly start the whole process.
Let her dream, Maggie. If we don’t dream now, when will we?
MAGGIE MURPHY
She can dream all she likes. If she winds up with your own bathtub with hot running water, I’ll eat my bonnet.
McGOWAN
That’s a fair wager! I’ll send for you both when I’m living in Fifth Avenue, scrubbing pearls for a duchess!
The others laugh. McGowan gazes out of the porthole, her hand drifting to her belly, thoughtful.
The saloon settles down as her voice rises…
I will be a proper person
People will look up to me
What a girl that girl McGowan
Katie Violet Maud Marie
I aspire to heights of glory
In the New World that can be!
In that grandest nation I’ll stand tall
And hear my very highest hopes
Of all…
(spoken)
I’m aimin’ to have a real profession, I am!
MULLIN
Me, too!
KATE MURPHY
Me, three!
MAGGIE MURPHY
Me, four!
DISSOLVE TO:
The following scenes as the women sing about their aspirations-
-McGOWAN as a lady’s maid helping a refined woman into a gown.
-KATE MURPHY teaching children in a classroom.
-MULLIN as a seamstress working at a sewing machine in a brightly lit shop.
-MAGGIE MURPHY playing piano in a concert hall full of people
I want to be a lady’s maid!
Lady’s maid in America
In America, the streets are paved with gold
KATE MURPHY
Governess in America
In America, it’s better I am told
I want to be a sewing girl
Sewing girl in America
In America, I’ll sew till I am old
MAGGIE MURPHY
I want to be a pianist
Pianist in America
In America, my songs will all take hold
CUT TO:
MAGGIE MURPHY back aboard the ship
There’s a place called Chicago
I’ve seen it on the map
KATE MURPHY
There’s a place called Mary-land
I’ve seen it on the map
There’s a place in America
Called Albuquerque [al-ber-key-kyew]
And I’m hopin’ it’s a bit like Donegal
McGOWAN
Oh, I’m hopin’ that it is…
THREE KATES AND MAGGIE
There I’m hopin’ that it is . . .
Where my dreamin’ and my hopin’ and my schemin’
And my prayin’ and my wishin’ to be happy
Will come true enough
Camera cuts to various other passengers as they stand up during their solos, swapping between them and the KATES & MAGGIE.
I want to be an engineer
An engineer…
McGOWAN
Oh, I will be grand…
A cutscene of the 1ST MAN unfurling a blueprint as he looks up at a high-rise under construction
1ST MAN
In America,
The streets are paved with gold
THE MURPHYS & MULLIN
In America, the streets are paved with gold
CUT TO:
2ND MAN
I want a shop to call my own
To call my own…
KATES & MAGGIE
Oh, I will be grand…
DISSOLVE TO:
A cutscene of the 2ND MAN running his own shop and selling goods to
his customers, his new American brethren
2ND MAN
In America
It’s better I am told
KATE & MAGGIE MURPHY
In America, it’s better I am told…
DISSOLVE TO:
A cutscene of the 2ND MAN running his own shop and selling goods to
his customers, his new American brethren
CUT TO:
Passengers begin to rise from their seats, one by one, drawn by the united energy of their dreams. The camera weaves among, allowing us to witness their ecstasy at all of their desires
Oh, far beyond the Northern Sea
A new life can unfold
And I’m planning that it will
How I’m planning that it will
Where my dreamin’ and my hopin’ and my schemin’
And my prayin’ and my wishin’ to be happy
Will come true enough and…
3RD MAN
I want to be a millionaire!
DISSOLVE TO:
A cutscene of the 3RD MAN riding in an expensive car, dressed in a fine suit and hat
3RD MAN (CONT’D)
Strike it rich and spend the fortune I amass
4TH MAN
I want to be a constable!
DISSOLVE TO:
A cutscene of the 4TH MAN in a policeman’s uniform, standing on a street corner, and tipping his hat to all passersby.
4TH MAN (CONT’D)
CUT TO:
The saloon becomes much livelier as the music builds
Oh, there’s the place your industry and talent can be sold…
McGOWAN
And I’m certain that it will…
KATES & MAGGIE
There I’m certain that it will…
CUT TO:
A GERMAN MAN, dressed in traditional clothing
Ich will ein gutes leben haben…
(I want to have a good life…)
CUT TO:
An ITALIAN COUPLE, also dressed in traditional clothing, holding hands as they look into each other’s eyes with hopeful gaze.
ITALIAN MAN & WOMAN (subtitled)
Una bella vita negli Stati Uniti.
(A good life in the United States)
ALL
Where my dreamin’ and my hopin’ and my schemin’
And my prayin’ and my wishin’ to be happy
Will come true enough and…
ALTOS & BASSES
I want to rise above myself…
TENOR & SOPRANOS
…Oh, I will be grand
TENOR & SOPRANOS
In America, the streets
Are paved with gold
3 KATES, MAGGIE, & FARRELL
In America, the streets
Are paved with gold
ALTOS & BASSES
In America, the streets are paved with gold
KATE McGOWAN
I want to be a lady’s maid…
3RD MAN
Millionaire…
1ST MAN
Engineer…
ALL
In America!
KATE McGOWAN
(To all other passengers)
Better place for me and you…
Better land to start anew…
(To herself, her hands once again drifting to her belly)
Better land for the baby…
That I…
McGOWAN turns her gaze back out the porthole as she sings the final note. Beyond the glass, the vast Atlantic stretches out, sparking in the setting sun. The horizon is endless and full of promise and the final rays of light still shine, like a beacon of hope.
The camera zooms outside and pans to:
EXT. BOAT DECK 2ND CLASS PROMENADE-EVENING
[NOTE: This scene and the following duet, “I Give You My Hand,” was initially cut from the Broadway show, but was then returned to as part of a British touring production. It was put after the conclusion of “Lady’s Maid,” serving as an intimate moment of characterization to Charles Clarke and Caroline Neville. Placement may be adjusted to suit pacing and tone at the director’s discretion.]
CHARLES BENNETT leans back against the railing relaxed. CAROLINE NEVILLE leans forward, staring out at the sunset.
Then you go on, darling. Unless you want me to do it first.
Charles, really. Don't you think we could start changing together? Considering we're already sleeping together-
ROBINSON (O.S.)
First-class stewardess ANNIE ROBINSON (47, British) approaches the couple, reserved.
Mrs. Robinson-what a nice surprise. (she gestures to BENNETT) I'd like you to meet my new husband, Mr. Charles Bennett.
Charles, this is Mrs. Annie Robinson. She served my family aboard another ship last spring.
BENNETT (extending a hand)
ROBINSON (shaking BENNETT’s hand)
My father's quite well, thank you…when I saw him last.
Please give him my regards.
I really can't understand how I've missed seeing you before now, Lady Caroline.
NEVILLE (smiling)
Probably because we are on a much bigger ship. And we are on our honeymoon.
ROBINSON
Well, may it be a smooth voyage…For all of us.
How’s that?
ROBINSON
Umm… a few years ago, I was working aboard another ship, the Lake Champlain, Canadian Pacific. Fog rolled in and we clipped an iceberg. Nothing too serious, although we did have to head to another port for repairs.
BENNETT (smiling)
If there’s one ship that can handle an iceberg, it’s the Titanic. They say she’s unsinkable, after all.
NEVILLE (laughing)
Oh Charles… (turning back to ROBINSON) It was a pleasure bumping into you Mrs. Robinson.
Lovely seeing you, Lady Caroline…or should I say Mrs. Bennett. (smiling) Carry on, you two.
ROBINSON exits.
Smiling, NEVILLE takes BENNETT’S arm. BENNETT looks at her with suspicion
Why? Because all your father ever saw when he looked at me was the son of a greengrocer from Maida Vale who went to the wrong schools and who will never be good enough for his precious daughter even if he won the bloody Nobel Peace Prize?!
No, (smiling assertively) because you're being quite idiotic.
Hurt, BENNETT walks away from NEVILLE.
BENNETT (sourly)
The couple stands apart as music builds.
Charles, you're a silly thing
Making of everything social class
As if that could matter a jot to me!
All that I care for is you!
How to explain to you
All that brings pain to you soon will pass
If only you could comprehend
I want to be yours to the end
You and I now stand
On the brink of our new lifetime
With our future clear and bright
She grabs his hand
I give you my hand
I give you my soul in keeping
All I am is yours tonight
Let the journey start
Where we're from
I'm in love with you
Let the world look on in witness
On this vast and open sea
I have all that I want
When you're standing next to me!
What we may become
Where we're from
Doesn't matter —
What we may become
We'll create together
Where we have come from
Doesn't matter at all
I have all that I want
There could be no finer blessing
For our life
That's yet to be
I have all I have dreamed
When you're standing next to me!
To me!
The two share a kiss
INT. TITANIC’S BRIDGE–EVENING–APRIL 13, 1912
Officers LIGHTOLLER and MURDOCH are present. MURDOCH is at the helm. ANDREWS is inspecting various instruments, taking notes. The sun is starting to set, creating warm colors in the sky, a stark contrast to the cooling temperatures.
ISMAY enters, briskly.
ISMAY
Ah, Andrews. There you are! How is our crossing so far?
Not as well as I’d hoped, Mr. Ismay. We’ve got a few problems. The water pressure on the upper decks is lower than expected. And the kitchen staff report their quarters are overheated.
There’s gratitude for you. In my father’s day, they were lucky to get any heat at all. (pause) Tell me—are you satisfied with our present speed?
Good. That’s better than any White Star ship has managed, isn’t it?
It is. But we’ve never tested Titanic at this speed for such a long stretch.
And yet, Cunard has. The Mauretania did the crossing in five days. We have the largest ship afloat, and we’re still playing catch-up.
White Star’s strength has always been comfort, not speed. Titanic was never meant to outpace Cunard. They might give passengers a faster ride, but we give them a better one.
CAPT. SMITH enters mid-conversation.
CAPT. SMITH
It must be certain. A delay pushes our whole schedule back. The world’s watching, and this ship must earn its place as a six-day ship. White Star’s future depends on it.
ISMAY (smiling)
EDWARD THE BELLBOY, about 14 years of age, enters the pilothouse, holding a hot cup of tea for ANDREWS.
EDWARD THE BELLBOY
ANDREWS (smiling)
The BELLBOY notices CAPT. SMITH standing next in the room.
EDWARD THE BELLBOY
I am.
EDWARD THE BELLBOY
If it's not improper, do you mind if I ask a question? (Turning to ANDREWS) You as well?
EDWARD THE BELLBOY (gesturing outside)
Mind if I show you? I think it would be easier.
CAPT. SMITH
Yes young man. (Turning to the other officers) Excuse us for a moment.
ISMAY (to himself)
Might as well come along.
ANDREWS, CAPT. SMITH, and ISMAY follow the BELLBOY out of the pilothouse and onto the boat deck.
ISMAY
What do you need to know, young man?
EDWARD THE BELLBOY
I was walking around the boat deck, and I was counting the lifeboats we had. (he points to the deck) Forgive me, but I think there are more people aboard than can fit in them.
ISMAY & ANDREWS exchange a heavy look
CAPT. SMITH
So, you're suggesting we don't have enough boats?
EDWARD THE BELLBOY (sheepishly)
Uh…yes, sir.
What’s your name, lad?
EDWARD THE BELLBOY
Edward.
CAPT. SMITH (smiling)
ANDREWS kneels down and puts a hand on the BELLBOY’s cheek
You’ve got a sharp eye, Edward. You’re correct, we could actually carry 48 lifeboats instead of just the 16 we have, plus the four collapsibles. (A short pause) Unfortunately, the way I designed the davits, some of the higher-ups felt that it would have crammed the deck space and made less room to walk around.
ANDREWS glances at ISMAY. ISMAY holds the look.
ISMAY (reflective)
Technically, according to the Board of Trade, we have more than enough lifeboats that are required.
CAPT. SMITH
But the regulations haven’t been updated in years. Ships have gotten bigger and now carry more people.
EDWARD THE BELLBOY
What if something happens? How are we going to get everyone off the ship if we only have half the boats?
ISMAY (calmly, his tone assuaging the BELLBOY)
There’s no need to worry, Edward. Titanic is of the highest standards of the White Star Line. (acknowledging both ANDREWS and SMITH) You’re looking at the finest minds in shipbuilding and seamanship. (a short pause) I can promise you, she’s in good hands.
EDWARD THE BELLBOY
Yes Mr. Ismay.
CAPT. SMITH
EDWARD THE BELLBOY exits. CAPT. SMITH & ANDREWS return to the bridge. ISMAY lingers and scan his eyes the lifeboats. His expression is uneasy, as if this young boy saw something he hadn’t.
EXT.
The Titanic continues steaming across the screen as the camera pans out, the finer details disappearing into the distance.
DISSOLVE TO:
A smaller, single-funneled vessel steams towards us at an angle. It looms close enough for us read the name painted on the bow: CALIFORNIAN.
EXT.
CALIFORNIAN’S BRIDGE–EVENING–APRIL 13, 1912
STANLEY LORD (35, British), her tall, thin-framed captain, stands amidst his officers, sipping coffee as his ship cuts through the Atlantic. Wireless operator CYRIL EVANS (20, glasses, BRITISH) approaches with a telegram.
CYRIL EVANS
Captain, more ice warnings from steamers ahead. These are from the Baltic and the America.
CAPT. LORD takes the telegraphs and reads them.
CAPT. LORD
CAPT. LORD leaves the bridge, following EVANS to:
INT. CALIFORNIAN’S WIRELESS ROOM-MOMENTS LATER
CYRIL EVANS
This is just south of Cape Race. Does pack ice come that far south?
CAPT. LORD
It’s been a mild winter up in the Arctic
CAPT. LORD and EVANS look over a set of charts
CAPT. LORD (CONT’D)
It’s probably drifting down on the Labrador Current. (pause) We’ll have to go further south. Luckily our passengers aren’t in a rush.
They would be on another ship if they were.
Suddenly, a series of faint transmissions buzzing through the wireless headphones
CYRIL EVANS (CONT’D)
CAPT. LORD exits. EVANS returns to his desk and puts on his headphones. He writes down the messages as quickly as possible.
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Posted Dec 16, 2025
A screenplay adaptation of 'Titanic: The Musical' based on the Broadway production. Work in progress
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