TITANIC Script 4

Jack holds her hand with all his strength, bracing himself on the railing with his other hand. Rose tries to get some kind of foothold on the smooth hull. Jack tries to lift her bodily over the railing. She can't get any footing in her dress and evening shoes, and she slips back. Rose SCREAMS again.

Jack, awkwardly clutching Rose by whatever he can get a grip on as she flails, get her over the railing. They fall together onto the deck in a tangled heap, spinning in such a way that Jack winds up slightly on top of her.

Rowe slides down the ladder from the docking bridge like it's a fire drill and sprints across the fantail.

ROWE
Here, what is all this?!
Rowe runs up and pulls Jack off of Rose, revealing her disheveled and sobbing on the deck. Her dress is torn, and the hem is pushed up above her knees, showing one ripped stocking. He looks at Jack, the shaggy steerage man with his jacket off, and the first class lady clearly in distress, and starts drawing conclusions. Two seamen chug across the deck to join them.

ROWE
(to Jack)
Here you, stand back! Don't move an inch!
(to the seamen)
Fetch the Master at Arms.

CUT TO:

66
EXT. POOP DECK - NIGHT

A few minutes later. Jack is being detained by the burly MASTER AT ARMS, the closest thing to a cop on board. He is handcuffing Jack. Cal is right in front of Jack, and furious. He has obviously just rushed out here with Lovejoy and another man, and none of them have coats over their black tie evening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioed blowhard who still has his brandy snifter. He offers it to Rose, who is hunched over crying on a bench nearby, but she waves it away Cal is more concerned with Jack. He grabs him by the lapels.

CAL
What made you think you could put your hands on my
fiancee?! Look at me, you filth! What did you think
you were doing?!

ROSE
Cal, stop! It was an accident.

CAL
Accident?!

ROSE
It was... stupid really. I was leaning over and
I slipped.

Rose looks at Jack, getting eye contact.

ROSE
I was leaning way over, to see the... ah... propellers.
And I slipped and I would have gone overboard... and
Mr. Dawson here saved me and he almost went over
himself.

CAL
You wanted to see the propellers?

GRACIE
(shaking his head)
Women and machinery do not mix.

MASTER AT ARMS
(to Jack)
Was that the way of it?

Rose is begging him with her eyes not to say what really happened.

JACK
Uh huh. That was pretty much it.
He looks at Rose a moment longer. Now they have a secret together.

COLONEL GRACIE
Well! The boy's a hero then. Good for you son, well
done!
(to Cal)
So it's all's well and back to our brandy, eh?
Jack is uncuffed. Cal gets Rose to her feet and moving.

CAL
Let's get you in. You're freezing.
Cal is leaving without a second thought for Jack.

GRACIE
(low)
Ah.. perhaps a little something for the boy?

CAL
Oh, right. Mr. Lovejoy, A twenty should do it.

ROSE
Is that the going rate for saving the woman you love?

CAL
Rose is displeased. Mmm... what to do?

Cal turns back to Jack. He appraises him condescendingly.. a steerage ruffian, unwashed and ill-mannered.

CAL
I know.
(to Jack)
Perhaps you could join us for dinner tomorrow, to
regale our group with your heroic tale?

JACK
(looking straight at Rose)
Sure. Count me in.

CAL
Good. Settled then.

Cal turns to go, putting a protective arm around Rose. He leans close to Gracie as they walk away.

CAL
This should be amusing.

JACK
(as Lovejoy passes)
Can I bum a cigarette?

Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it open. Jack takes a cigarette, then another, popping it behind his ear for later. Lovejoy lights Jack's cigarette.

LOVEJOY
You'll want to tie those.
(Jack looks at his shoes)
Interesting that the young lady slipped so mighty all of
a sudden and you still had time to take off your jacket
and shoes. Mmmm?
Lovejoy's expression is bland, but the eyes are cold. He turns away to join his group.

CUT TO:

67
INT. ROSE'S BEDROOM - NIGHT

As she undresses for bed Rose sees Cal standing in her doorway, reflected in the cracked mirror of her vanity. He comes towards her.

CAL
I know you've been melancholy, and I don't pretend
to know why.
From behind his back he hands her a large black velvet jewel case. She takes it, numbly.

CAL
I intended to save this till the engagement gala next
week. But I thought tonight, perhaps a reminder of
my feeling for you...
Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN" in all its glory. It is huge... a malevolent blue stone glittering with an infinity of scalpel-like inner reflections.

ROSE
My God... Cal. Is it a--

CAL
Diamond. Yes it is. 56 carats.

HE takes the necklace and during the following places it around her throat. He turns to the mirror, standing behind her.

CAL
It was once worn by Louis the Sixteenth. They call it
Le Coeur de la Mer, the--

ROSE
The Heart of the Ocean. Cal, it's... it's
overwhelming.

He gazes at the image of the two of them in the mirror.

CAL
It's for royalty. And we are royalty.
His fingers caress her neck and throat. He seems himself to be disarmed by Rose's elegance and beauty. His emotion is, for the first time, unguarded.

CAL
There's nothing I couldn't give you. There's nothing
I'd deny you if you would not deny me. Open your
heart to me, Rose.
CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:

OLD ROSE (V.O.)
Of course his gift was only to reflect light back onto
himself, to illuminate the greatness that was Caledon
Hockey. It was a cold stone... a heart of ice.
Finally, when Rose's eyes FILL FRAME, we MORPH SLOWLY to her eyes as they are now... transforming through 84 years of life...

TRANSITION

68
INT. KELDYSH IMAGING SHACK

Without a cut the wrinkled, weathered landscape of age has appeared around her eyes. But the eyes themselves are the same.

OLD ROSE
After all these years, I can still feel it closing around
my throat like a dog collar.
THE CAMERA PULLS BACK to show her whole face.

ROSE
I can still feel it's weight. If you could have felt it, not
just seen it...

LOVETT
Well, that's the general idea, my dear.

BODINE
So let me get this right. You were gonna kill yourself
by jumping off the Titanic?
(he guffaws)
That's great!

LOVETT
(warningly)
Lewis...

But Rose laughs with Bodine.

BODINE
(still laughing)
All you had to do was wait two days!
Lovett, standing out of Rose's sightline, checks his watch. Hours have passed. This process is taking too long.

LOVETT
Rose, tell us more about the diamond. What did
Hockley do with it after that?

ROSE
I'm afraid I'm feeling a little tired, Mr. Lovett.

Lizzy picks up the cue and starts to wheel her out.

LOVETT
Wait! Can you give us something to go on, here.
Like who had access to the safe. What about this
Lovejoy guy? The valet. Did he have the
Combination?

LIZZY
That's enough.

Lizzy takes her out. Roses old hand reappears at the doorway in a frail wave goodbye.

CUT TO:

69
EXT. LAUNCH AREA/KELDYSH DECK - NIGHT

As the big hydraulic jib swing one of the Mir subs out over the water. Lovett walks as he talks with Bobby Buell, the partner's rep. They weave among deck cranes, launch crew, sub maintenance guys.

BUELL
The partners are pissed.

BROCK
Bobby, buy me time. I need time.

BUELL
We're running thirty thousand a day, and we're six
days over. I'm telling you what they're telling me.
The hand is on the plug. It's starting to pull.

BROCK
Well you tell the hand I need another two days!
Bobby, Bobby, Bobby... we're close! I smell it. I
smell ice. She had the diamond on... now we just
have to find out where it wound up. I just gotta work
her a bit more. Okay?

Brock turns and sees Lizzy standing behind him. She has overheard the last part of his dialogue with Buell. He goes to her and hustles her away from Buell, toward a quiet spot on the deck.

BROCK
Hey, Lizzy. I need to talk to you for a second.

LIZZY
Don't you mean work me?

BROCK
Look, I'm running out of time. I need your help.

LIZZY
I'm not going to help you browbeat my hundred and
one year old grandmother. I came down here to tell
you to back off.

BROCK
(with undisguised desperation)
Lizzy... you gotta understand something. I've bet it
all to find the Heart of the Ocean. I've got all my
dough tied up in this thing. My wife even divorced me
over this hunt. I need what's locked inside your
grandma's memory.
(he holds out his hand)
You see this? Right here?

She looks at his hand, palm up. Empty. Cupped, as if around an imaginary shape.

LIZZY
What?

BROCK
That's the shape hand's gonna be when I hold that
thing. You understand? I'm not leaving here without it.

LIZZY
Look, Brock, she's going to this her way, in her
own time. Don't forget, she contacted you. She's out
here for her own reasons, God knows what they are.

LOVETT
Maybe she wants to make peace with the past.

LIZZY
What past? She has never once, ever said a
word about being on the Titanic until two days ago.

LOVETT
Then we're all meeting your grandmother for the
first time.

LIZZY
(looks at him hard)
You think she was really there?

LOVETT
Oh, yeah. Yeah, I'm a believer. She was there.

CUT TO:

70
INT. IMAGING SHACK

Bodine starts the tape recorder. Rose is gazing at the screen, seeing THE LIVE FEED FROM THE WRECK -- SNOOP DOG is moving along the starboard side of the hull, heading aft. The rectangular windows of A deck (forward) march past on the right.

ROSE
The next day, Saturday, I remember thinking how the
sunlight felt.

DISOLVE TO:

71
EXT. B DECK TITANIC - DAY
MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912, passing the end of the enclosed promenade just as Rose walks into the sunlight right in front of us. She is stunningly dressed and walking with purpose.

OLD ROSE (V.O.)
As if I hadn't felt the sun in years.
IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate going down into third class. The steerage men on the deck stop what they're doing and stare at her.

CUT TO:

72
INT. THIRD CLASS GENERAL ROOM
The social center of life. It is stark by comparison to the opulence of first class, but is a loud, boisterous place. There are mothers with babies, kids running between the benches yelling, men playing chess, girls doing needlepoint and reading dime novels. There is even an upright piano and Tommy Ryan is noodling around on it.

Three boys, shrieking and shouting, are scrambling around chasing a rat under the benches, trying to whomp it with a shoe and causing general havoc. Jack is playing with 5 year old CORA CARTMELL, drawing funny faces together in his sketchbook.

Fabrizio is struggling to get a conversation going with an attractive Norwegian girl, HELGA DAHL, sitting with her family at a table across the room.

FABRIZIO
No Italian? Some little English?

HELGA
No, no. Norwegian. On ly.

Helga's eye is caught by something. Fabrizio looks, does a take... and Jack, curious, follows their gaze to see...

Rose, coming toward them. The activity in the room stops... a hush falls. Rose feels suddenly self-conscious as the steerage passengers stare openly at this princess, some with resentment, others with awe. She spots Jack and gives a little smile, walking straight to him. He rises to meet her, smiling.

ROSE
Hello Jack
Fabrizio and Tommy are floored. It's like the slipper fitting Cinderella.

JACK
Hello again.

ROSE
Could I speak to you in private?

JACK
Uh, yes. Of course. After you.

He motions her ahead and follows. Jack glances over his shoulder, one eyebrow raised, as he walks out with her leaving a stunned silence.

CUT TO:

73
EXT. BOAT DECK -DAY

Jack and Rose walk side by side. They pass people reading or talking in steamer chairs, some of whom glance curiously at the mismatched couple. He feels out of place in his rough clothes. The are both awkward, for different reasons.

JACK
So, you got a name by the way?

ROSE
Rose. Rose DeWitt Bukater.

JACK
That's quite a moniker. I may hafta get you to write
that down.

There is an awkward pause.

ROSE
Mr. Dawson, I --

JACK
Jack.

ROSE
Jack... I feel like such an idiot. It took me all morning
to get up the nerve to face you.

JACK
Well, here you are.

ROSE
Here I am. I... I want to thank you for what you did.
Not just for... for pulling me back. But for your
discretion.

JACK
You're welcome. Rose.

ROSE
Look, I know what you must be thinking! Poor little
rich girl. What does she know about misery?

JACK
That's not what I was thinking. What I was thinking
was... what could have happened to hurt this girl so
much she thought she had no way out.

ROSE
I don't... it wasn't just one thing. It was everything.
It was them, it was their whole world. And I was
trapped in it, like an insect in amber.
(in a rush)
I just had to get away... just run and run and run...
and then I was at the back rail and there was no more
ship... even the Titanic wasn't big enough. Not
enough to get away from them. And before I'd really
thought about it, I was over the rail. I was so furious.
I'll show them. They'll sure be sorry!

JACK
Uh huh. They'll be sorry. 'Course you'll be dead.

ROSE
(she lowers her head)
Oh God, I am such an utter fool.

JACK
That penguin last night, is he one of them?

ROSE
Penguin? Oh, Cal! He is them.

JACK
Is he your boyfriend?

ROSE
Worse I'm afraid.

She shows him her engagement ring. A sizable diamond.

JACK
Gawd look at that thing! You would've gone
straight to the bottom.
They laugh together. A passing steward scowls at Jack, who is clearly not a first class passenger, but Rose just glares him away.

JACK
So you feel like you're stuck on a train you can't get
off 'cause you're marryin' this fella.

ROSE
Yes, exactly!

JACK
So don't marry him.

ROSE
If only it were that simple.

JACK
It is that simple.

ROSE
Oh, Jack... please don't judge me until you've seen
my world.

JACK
Well, I guess I will tonight.

Looking for another topic, any other topic, she indicates his sketchbook.

ROSE
What's this?

JACK
Just some sketches.

ROSE
May I?

The question is rhetorical because she has already grabbed the book. She sits on a deck chair and opens the sketchbook. ON JACK'S sketches... each one an expressive little bit of humanity: an old woman's hands, a sleeping man, a father and daughter at the rail. The faces are luminous and alive. His book is a celebration of the human condition.

ROSE
Jack, these are quite good! Really, they are.

JACK
Well, they didn't think too much of 'em in Paree.

Some loose sketches fall out and are taken away by the wind. Jack scrambles after them... catching two, but the rest are gone, over the rail.

ROSE
Oh no! Oh, I'm so sorry. Truly!

JACK
Don't worry about it. Plenty more where they came
from.

He snaps his wrist, shaking his drawing hand in a flourish.

JACK
I just seem to spew 'em out. Besides, they're not
worth a damn anyway.
For emphasis he throws away the two he caught. They sail off.

ROSE
(laughing)
You're deranged!
She goes back to the book, turning a page.

ROSE
Well, well...
She has come upon a series of nudes. Rose is transfixed by the languid beauty he has created. His nudes are soulful, real, with expressive hands and eyes. They feel more like portraits than studies of the human form... almost uncomfortably intimate. Rose blushes, raising the book as more strollers go by.

ROSE
(trying to be very adult)
And these were drawn from life?

JACK
Yup. That's one of the great things about Paris. Lots
of girls willing to take their clothes off.

She studies one drawing in particular, the girl posed half in sunlight, half in shadow. Her hands lie at her chin, one furled and one open like a flower, languid and graceful. The drawing is like an Alfred Steiglitz print of Georgia O'Keef.

ROSE
You liked this woman. You used her several times.

JACK
She had beautiful hands.

ROSE
(smiling)
I thing you must have had a love affair with her...

JACK
(laughing)
No, no! Just with her hands.

ROSE
(looking up from the drawings)
You have a gift, Jack. You do. You see people.

JACK
I see you.

There it is. That piercing gaze again.

ROSE
And...?

JACK
You wouldn'ta jumped.

CUT TO:

74
INT. RECEPTION ROOM / D-DECK - DAY

Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF ROTHES, a 35ish English blue blood with patrician features. Ruth sees someone coming across the room and lowers her voice.

RUTH
Oh no, that vulgar Brown woman is coming this way
Get up, quickly, before she sits with us.
Molly Brown walks up, greeting them cheerfully as they are rising.

MOLLY
Hello girls, I was hoping I'd catch you at tea.

RUTH
We're awfully sorry you missed it. The Countess and
I are just off to take the air on the boat deck.

MOLLY
That sounds great. Let's go. I need to catch up on the
gossip.

Ruth grits her teeth as the three of them head for the Grand Staircase to go up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to Bruce Ismay and Captain Smith at another table.

ISMAY
So you've not lit the last four boilers then?

SMITH
No, but we're making excellent time.

ISMAY
(impatiently)
Captain, the press knows the size of Titanic, let them
marvel at her speed too. We must give them something
new to print. And the maiden voyage of Titanic must
make headlines!

SMITH
I prefer not to push the engines until they've been
properly run in.

ISMAY
Of course I leave it to your good offices to decide
what's best, but what a glorious end to your last
crossing if we get into New York Tuesday night
and surprise them all.
(Ismay slaps his hand on the table)
Retire with a bang, eh, E.J.?

A beat. Then Smith nods, stiffly.

CUT TO:

75
EXT. A DECK PROMENADE - DAY

Rose and Jack stroll aft, past people lounging on deck chairs in the slanting late-afternoon light. Stewards scurry to serve tea or hot coca.

ROSE
(girlish and excited)
You know, my dream has always been to just chuck it
all and become an artist... living in a garret, poor but free!

JACK
(laughing)
You wouldn't last two days. There�s no hot water,
and hardly ever any caviar.

ROSE
(angry in a flash)
Listen, buster... I hate caviar! And I'm tired of people
dismissing my dreams with a chuckle and a pat on the
head.

JACK
I'm sorry. Really... I am.

ROSE
Well, alright. There's something in me, Jack. I feel
it. I don't know what it is, whether I should be an
artist, or, I don't know... a dancer. Like Isadora
Duncan.. a wild pagan spirit...

She leaps forward, lands deftly and whirls like a dervish. Then she sees something ahead and her face lights up.

ROSE
...or a moving picture actress!
She takes him by the hand and runs, pulling him along the deck toward--

DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as she poses stiffly at the rail.

MARVIN
You're sad. Sad, sad, sad. You've left your lover on
the shore. You may never see him again. Try to be
sadder, darling.
SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the rail next to Mary. Mary bursts out laughing. Rose pulls Jack into the picture and makes him pose.

Marvin grins and starts yelling and gesturing. We see this in CUTS, with music and no dialogue.

SERIES OF CUTS:
Rose posing tragically at the rail, the back of her hand to her forehead.

Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming fanning him like slave girls.

Jack, on his knees pleading with his hands clasped while Rose, standing, turns her head in bored disdain.

Rose cranking the camera, while Daniel and Jack have a western shoot-out. Jack wins and leers into the lens, twirling an air mustache like Snidely Whiplash.

CUT TO:

76
EXT. A DECK PROMENADE/ AFT - SUNSET

Painted with orange light, Jack and rose lean on the A-deck rail aft, shoulder to shoulder. The ship's lights come on.

It is a magical moment... perfect.

ROSE
So what then, Mr. Wandering Jack?

JACK
Well, then logging got to be too much like work, so I
went down to Los Angeles to the pier in Santa Monica.
That's a swell place, they even have a rollercoaster. I
sketched portraits there for ten cents a piece.

ROSE
A whole ten cents?!

JACK
(not getting it)
Yeah; it was great money... I could make a dollar a
day, sometimes. But only in summer. When it got
cold, I decided to go to Paris and see what the real
artists were doing

ROSE
(looks at the dusk sky)
Why can't I be like you, Jack> Just head out for the
horizon whenever I like it.
(turning to him)
Say we'll go there, sometime... to that pier... even it
we only ever just talk about it.

JACK
Alright, we're going. We'll drink cheap beer and go
on the rollercoaster until we throw up and we'll ride
horses on the beach... right in the surf... but you have
to ride like a cowboy, none of that side-saddle stuff.

ROSE
You mean one leg on each side? Scanalous! Can you
Show me?

JACK
Sure. If you like.

ROSE
(smiling at him)
I think I would.
(she looks at the horizon)
And teach me to spit too. Like a man. Why should
only men be able to spit. It's unfair.

JACK
They didn't teach you that in finishing school? Here,
it's easy. Watch closely.

He spits. It arcs out over the water.

JACK
Your turn.
Rose screws up her mouth and spits. A pathetic little bit of foamy spittle which mostly runs down her chin before falling off into the water.

JACK
Nope, that was pitiful. Here, like this... you hawk it
down... HHHNNNK!... then roll it on your tongue,
up to the front, like thith, then a bog breath and
PLOOOW!! You see the range on that thing?
She goes through the steps. Hawks it down, etc. He coaches her through it (ad lib) while doing the steps himself. She lets fly. So does he. Two comets of gob fly out over the water.

JACK
That was great!
Rose turns to him, her face alight. Suddenly she blanches. He sees her expression and turns.

RUTH, the Countess of Rothes, and Molly Brown have been watching them hawking lugees. Rose becomes instantly composed.

ROSE
Mother, may I introduce Jack Dawson.

RUTH
Charmed, I'm sure.

Jack has a little spit running down his chin. He doesn't know it. Molly Brown is grinning. As Rose proceeds with the introductions, we hear...

OLD ROSE (V.O.)
The others were gracious and curious about the man
who'd saved my life. But my mother looked at him
like an insect. A dangerous insect which must be
squashed quickly.

MOLLY
Well, Jack, it sounds like you're a good man to have
around in a sticky spot--

They all jump as a BUGLER sounds the meal call behind them.

MOLLY
Why do they insist on announcing dinner like a damn
calvary charge?

ROSE
Shall we go dress, mother?
(over her shoulder)
See you at dinner, Jack.

RUTH
(as they walk away)
Rose, look at you... out in the sun with no hat.
Honestly!

The Countess exits with Ruth and Rose, leaving Jack and Molly alone on deck.

MOLLY
Son, do you have the slightest comprehension of what
you're doing?

JACK
Not really,

MOLLY
Well, you're about to go into the sankepit. I hope
you're ready. What are you planning to wear?

Jack looks down at his clothes. Back up at her. He hadn't thought about that.

MOLLY
I figured.

CUT TO:

77
INT. MOLLY BROWN'S STATEROOM

Men's suits and jackets and formal wear are strewn all over the place. Molly is having a fine tine. Jack is dressed, except for his jacket, and Molly is tying his bow tie.

MOLLY
Don't feel bad about it. My husband still can't tie one
of these damn things after 20 years. There you go.
She picks up a jacket off the bed and hands it to him. Jack goes into the bathroom to put it on. Molly starts picking up the stuff off the bed.

MOLLY
I gotta buy everything in three sizes 'cause I never
know how much he's been eating while I'm away.
She turns and sees him, though we don't.

MOLLY
My, my, my... you shine up like a new penny.

CUT TO:

78
EXT. BOAT DECK / FIRST CLASS ENTRANCE - DUSK
A purple sky, shot with orange, in the west. Drifting strains of classical music. We TRACK WITH JACK along the deck. By Edwardian standards he looks badass. Dashing in borrowed white-tie outfit, right down to his pearl studs.

A steward bows and smartly opens the door to the First Class Entrance.

STEWARD
Good evening, sir.
Jack plays the role smoothly. Nods with just the right degree of disdain.

CUT TO:

79
INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK

Jack steps in and his breath is taken away by t he splendor spread out before him. Overhead is the enormous glass dome, with a crystal chandelier at it's center. Sweeping down six stories is the First Class Grand Staircase, the epitome of the opulent naval architecture of the time.

And the people: the women in their floor length dresses, elaborate hairstyles and abundant jewelry... the gentlemen in evening dress, standing with one hand at the small of the back, talking quietly.

Jack descends to A deck. Several men nod a perfunctory greeting. He nods back, keeping it simple. He feels like a spy.

Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They both walk right past Jack, neither one recognizing him. Cal nods at him, one gent to another. But Jack barely has time to be amused. Because just behind Cal and Ruth on the stairs is Rose, a vision in red and black, her low-cut dress showing off her neck and shoulders, her arms sheathed in white gloves that come well above the elbow. Jack is hypnotized by her beauty.

CLOSE ON ROSE, as she approaches Jack. He imitates the gentlemen's stance, hand behind his back. She extends her gloved hand and he takes it, kissing the backs of her fingers. Rose flushes, beaming noticeably. She can't take her eyes off him.

JACK
I saw that in a nickelodeon once, and I always wanted
to do it.

ROSE
Cal, surly you remember Mr. Dawson.

CAL
(caught off guard)
Dawson! I didn�t recognize you.
(studies him)
Amazing! You could almost pass for a gentleman.