189
INT. MASTER AT ARMS OFFICE

Rose stops trashing the room, and stands there, breathing hard.

JACK
You have to go for help.

ROSE
(nodding)
I�ll be right back.

JACK
I�ll wait here.


She runs out, looking back at him once from the doorway, then splashes away. Jack looks down at the swirling water.

CUT TO:


190
INT. STAIRWELL AND CORRIDORS

Rose splashes down the hall to a stairwell going up to the next deck. She climbs the stairs, her long skirt leaving a trail like a giant snail. The weight of it is really slowing her down. She rips at the buttons and shimmies quickly out of the thing. She bounds up the stairs in her stockings and knee-length slip, to find herself in--
191
A LONG CORRIDOR... part of the labyrinth of steerage hallways forward. She is alone here. A long groan of stresses metal echoes along the hall, unimpeded now.

ROSE
Hello? Sombody?!

She runs a corner and runs along another corridor in a daze. The hall slopes down into water which, shimmers, reflecting the lights. The margin of the water creeps toward her. A young man appears, running through the water, sending up geysers of spray. He pelts past her without slowing, his eyes crazed...

ROSE
Help! We need help!

He doesn�t look back. It is like a bad dream. The hull gongs with terrifying sounds.

The lights flicker and go out, leaving her in utter darkness. A beat. Then they come back on. She finds herself hyperventilating. That one moment of blackness was the most terrifying of her life.

A steward runs around the nearest corner, his arms full of lifebelts. He is upset to see someone still in his section. He grabs her forcefully by the arm, pulling her with him like a wayward child.

STEWARD
Come on, then, let�s get you topside, miss, that�s right.

ROSE
Wait. Wait! I need your help! There�s-

STEWARD
No need to panic, miss. Come along!

ROSE
No, let me go! You�re going the wrong way!


He�s not listening. And he won�t let her go.

She SHOUTS in his ear, and when he turns, she punches him squarely in the nose. Shocked, he lets her go and staggers back.

STEWARD
To Hell with you!

ROSE
See you there, buster!


The steward rushes off, holding his bloody nose. She pits after him. Just the way Jack taught her.

She turns around, SEES: a glass case with a fire-axe in it. She breaks the glass with a battered suitcase which is lying discarded nearby, and seizes the axe, running back the way she came.

192
AT THE STAIRWELL she looks down and gasps. The water has flooded the bottom five steps. She goes down and has to crouch to look along the corridor to the room where Jack is trapped.

Rose plunges into the water, which is up to her waist... and powers forward, holding the axe above her head in two hands. She grimaces at the pain from the literally freezing water.

CUT TO:


193
INT. MASTER AT ARMS OFFICE

Jack has climbed up on the bench, and is hugging the waterpipe. Rose wades in, holding the axe above her head.

ROSE
Will this work?

JACK
We�ll find out.


They are both terrified, but trying to keep panic at bay. He positions the chain connecting the two cuff, stretching it taut across the steel pipe. The chain is of course very short, and his exposed wrists are on either side of it.

JACK
Try a couple practice swings.

Rose hefts the axe and thunks it into a wooden cabinet.

JACK
Now try and hit the same mark again.

She swings hard and the blade thunks in four inches from the mark.

JACK
Okay, that�s enough practice.

He winces, bracing himself as she raises the axe. She has to hit a target about an inch wide with all the force she can muster, with his hands on either side.

JACK
(sounding calm)
You can do it, Rose. Hit it as hard as you can, I trust you.

Jack closes his eyes. So does she.

The axe comes down . K-WHANG! Rose gingerly opens her eyes and looks... Jack is grinning with two separated cuffs.

Rose drops the, all the strength going out of her.

JACK
Nice work, there, Paul Bunyan.

He climbs down into the water next to her. He can�t breath for a second.

JACK
Shit! Excuse my French. Ow ow ow, that is cold!
Come on, lets go.

They wade out into the hall. Rose starts toward the stairs going up, but Jack stops her. There is only about a foot of the stairwell opening visible.

JACK
Too deep. We gotta find another way out.

CUT TO:


194
EXT. BOAT 6 AND TITANIC

TITANIC ON THE LETTERS TITANIC painted two feet high on the bow of the doomed steamer. Once 50 feet above the waterline, they now quietly slip below the surface. We see them, gold on black, rippling and dimming to a pale green as they go deeper.

195
IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight of the dying liner. The bowsprit is now barely above the waterline. Another of Boxhall�s rockets EXPLODES overhead. K-BOOM! It lights up the whole area, and we see half a dozen boats in the water , spreading out from the ship.

MOLLY
Now there�s something you don�t see every day.

CUT TO:


196
INT. SCOTLAND ROAD / E-DECK

The widest passageway in the ship, it is used by crew and steerage alike, and runs almost the length of the ship. Right now steerage passengers move along it like refugees, heading aft.

CRASH! A wooden doorframe splinters and the door bursts open under the force of Jacks shoulder. Jack and Rose stumble through, into the corridor. A STEWARD, who was nearby herding people along, marches over.

STEWARD
Here you! You'll have to pay for that, you know.
That's White Star Line property--

JACK AND ROSE
(turning together)
Shutup!


Jack leads her past the dumbfounded steward. They join the steerage stragglers going aft. In places the corridor is almost completely blocked by large families carrying all their luggage.

AN IRISH WOMAN gives Rose a blanket, more for modesty than because she is blue-lipped and shivering.

IRISHWOMAN
Here, lass, cover yourself.

Jack rubs her arms and tries to warm her up as they walk along. The woman's husband offers them a flask of whiskey.

IRISHMAN
This'll take the chill off.

Rose takes a mighty belt and hands it to Jack. He grins and follows suit. Jack tries a number of DOORS and IRON GATES along the way, finding them all locked.

CUT TO:


197
EXT. BOAT DECK

ON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9, 11, 13, and 15 on the starboard side, and 10, 12, 14 and 16 on the port side. The pace of work is more frantic. You see crew and officers running now to work the davits, their previous complacency gone.

CAL pushes through the crowd, scanning for Rose. Around him is chaos and confusion. A woman is calling for a child who has become separated in the crowd. A man is shouting over people's heads. A woman takes hold of Second Officer Lightoller's arm as he is about to launch Boat 10.

WOMAN
Will you hold the boat a moment? I just have to run
back to my room for something--

Lightoller grabs her and shoves her bodily into the boat. Thomas Andrews rushes up to him just then.

ANDREWS
Why are the boats being launched half full?!

Lightoller steps past him, helping a seaman clear a snarled fall.

LIGHTOLLER
Not now, Mr. Andrews.

ANDREWS
(pointing down at the water)
There, look... twenty or so in a boat built for sixty five.
And I saw one boat with only twelve. Twelve!

LIGHTOLLER
Well... we were not sure of the weight--

ANDREWS
Rubbish! They were tested in Belfast with the weight
of 70 men. Now fill these boats, Mr. Lightoller. For
God's sake, man!


The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through the aisle connecting the port and starboard sides of the boat deck.

LOVEJOY
She's not on the starboard side either.

CAL
We're running out of time. And this strutting
martinet...
(indicating Lightoller)
... isn't letting any men in at all.

LOVEJOY
The one on the other side is letting men in.

CAL
Then that's out play. But we're still going to need
some insurance.
(he starts off forward)
Come on.


Cal charges off, heading forward, followed by Lovejoy. The SHOT HANDS OFF to a finely dressed elderly couple, IDA and ISADOR STRAUS.

ISADOR
Please, Ida, get into the boat.

IDA
No. We've been together for forty years, and where
you go I go. Don't argue with me, Isador, you know
it does no good.


He looks at her with sadness and great love. They embrace gently.

LIGHTOLLER
Lower away!!

CUT TO:


198
EXT. BRIDGE/FORWARD WELL DECK/ FOC'SLE

AT THE BOW... the place where Jack and Rose first kissed... the bow railing goes under water. Water swirls around the capstans and windlasses on the foc'sel deck.

Smith strides to the bridge rail and looks down at the well deck. Water is shipping over the sides and the well deck is awash. Two men run across the deck, their feet sending up spray. Behind Smith, Boxhall fires another rocket. WHOOSH!

CUT TO:


199
OMITTED

20
OMITTED

201
INT. E-DECK CORRIDORS AND STAIRWELL

Fabrizio, standing with Helga Dahl and her family, hears Jack's voice.

JACK
Fabrizio! Fabri!

Fabrizio turns and sees Jack and Rose pushing through the crowd. He and Jack hug like brothers.

FABRIZIO
The boats are all going.

JACK
We gotta get up there or we're gonna be gargling
saltwater. Where's Tommy?


Fabrizio points over the heads of the solidly packed crowd to the stairwell.

TOMMY has his hands on the bars of the steel gate which blocks the head of the stairwell. The crew open the gate a foot or so and a few women are squeezing through.

STEWARD #2
Women only. No men. No men!!

But some terrified men, not understanding English, try to rush through the gap, forcing the gate open. The crewmen and stewards push them back, shoving and punching them.

STEWARD #2
Get back! Get back you lot!
(to the crewmen)
Lock it!!

They struggle to get the gate closed again, while Steward #2 brandishes a small revolver. Another holds a fire axe. They lock the gate, and a cry goes up among the crowd, who surge forward, pounding against the steel and shouting in several languages.

TOMMY
For the love of God, man, there are women and children down
here! Let us up, so we can have a chance!

But the crewmen are scared now. They have let the situation get out of hand, and now they have a mob. Tommy gives up and pushes his way back through the crowd, going down the stairs. He rejoins Jack, Rose and Fabrizio.

TOMMY
It's hopeless that way.

JACK
Well, whatever we're goin' to do, we better do it fast.


Fabrizio turns to Helga, praying he can make himself understood.

FABRIZIO
(with alot of hand gestures)
Everyone... all of you... come with me now. We go
to boats. We go to boats. Capito? Come now!

They can't understand what he's saying. They can see his urgency, but OLUF DAHL, the patriarch of the family, shakes his head. He will not panic, and will not let his family go with this boy. Fabrizio turns to Helga.

FABRIZIO
Helga... per favore... come with me, I am
luck. Is my destiny to go to America.

She kisses him, then steps back to be with her family. Jack lays a hand on his shoulder, his eyes saying "let's go".

FABRIZIO
I will never forget you.

He turns to Jack, who leads the way out of the crowd. Looking back Fabrizio sees her face disappear into the crowd.

CUT TO:


202
OMITTED

203
OMITTED

204
INT. CAL AND ROSE'S SUITE

CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pulls out two stacks of bills, still banded by bank wrappers. Then he takes out the "Heart of the Sea", putting it in the left pocket of his overcoat, and locks the safe.

CAL
(holding up the stack of bills)
I make my own luck.

LOVEJOY
(patting the .45 in his waistband)
So do I.


Cal grins, putting the money in his pocket as they go out.

CUT TO:


205
INT. STEERAGE, AFT

Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They push past confused passengers... past a mother changing her baby�s diaper on top of an upturned steamer trunk... past a woman arguing heatedly with a man in Serbo-Croatian, a wailing child next to them... past a man kneeling to console a woman who is just sitting on the floor, sobbing... and past another man with an English/ Arabic dictionary, trying to figure out what the signs mean, while his wife and children wait patiently.

Jack et al come upon a narrow stairwell and they go up two decks before they are stopped by a small group pressed up against a steel gate. The steerage men are yelling at a scared STEWARD.

STEWARD
Go to the main stairwell, with everyone else. It'll all
get sorted out there.

Jack takes one look at this scene and finally just loses it.

JACK
God damn it to Hell son of a bitch!!

He grabs one end of a bench bolted on the floor of the landing. He starts pulling on it, and Tommy and Fabrizio pitch in until the bolts shear and it breaks free. Rose figures out what they are doing and clears a path up the stairs between the waiting people.

ROSE
Move aside! Quickly, move aside!

Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE with all their strength. It rips loose from it's track and falls outward, narrowly missing the steward. Led by Jack, the crowd surges through. Rose steps up to the cowering steward and says in her most imperious tone:

ROSE
If you have any intention of keeping your pathetic job
with the White Star Line, I suggest you escort these
good people to the boat deck... now.

Class wins out. He nods dumbly and motions for them to follow.

CUT TO:


206
EXT. BOAT 6/ TITANIC - NIGHT

Ruth rows with Molly Brown, two other women and the incompetent sailors. She rests on her oars, exhausted, and looks back at the ship.

It slants down into the water, still ablaze with light. Nothing is above water forward of the bridge except the foremast. Another rocket goes off, lighting up the entire area... there are a dozen boats moving outward from the ship.

207
AT THE BOAT DECK RAIL Captain Smith is shouting to Boat 6 through a large metal megaphone.

SMITH
Come back! Come back to the ship!

CHIEF OFFICER WILDE joins him, blowing his silver whistle.

208
FROM BOAT 6 the whistle come shrilly across the water. Quartermaster Hichens grips the rudder in fear.

HICHENS
The suction will pull us right down if we don't keep
going.

MOLLY
We got room for lots more. I say we go back.

HICHENS
No! It's our lives now, not theirs. And I'm in charge
of this boat! Now row!!


209
CAPTAIN SMITH, at the rail of the boat deck, lowers his megaphone slowly.

SMITH
The fools.

CUT TO:


210
INT. A-DECK FOYER

As Cal and Lovejoy cross the foyer they encounter Benjamin Guggenheim and his valet, both are dressed in white tie, tail coats and top hats.

CAL
Ben, what's the occasion?

GUGGENHEIM
We have dressed in our best and are prepared to go
down like gentlemen.

CAL
That's admirable, Ben.
(walking on)
I'll be sure to tell your wife... when I get to
New York.


CUT TO:


211
INT. FIRST CLASS SMOKING ROOM

There are still two cardgames in progress. The room is quiet and civilized. A silver serving cart, holding a large humidor, begins to roll slowly across the room. One of the cardplayers takes a cigar from it as it rolls by.

CARDPLAYER
It sees we've been dealt a bad hand this time.

CUT TO:


212
EXT./ INT. A-DECK PROMENADE

Cal and Lovejoy are walking aft with a purposeful stride. They pass CHIEF BAKER JOUGHIN, who is working up a sweat tossing deck chairs over the rail. After they go by, Joughin takes a break and pulls a bottle of scotch from a pocket, upending it. He drains it, and tosses it over the side too, then stands there a little unsteadily.

CUT TO:


213
EXT. BOAT DECK AND A-DECK, AFT

PANIC IS SETTING IN around the remaining boats aft. The crowd here is now a mix of all three classes. Officers repeatedly warn men back from the boats. The crowd presses in closer.

Seaman SCARROTT brandishes the tiller of boat 14 to discourage a close press of men who look ready to rush the boat. Several men break ranks and rush forward.

Lightoller pulls out his Webley revolver and aims it at them.

LIGHTOLLER
Get back! Keep order!

The men back down. Fifth Office Lowe, standing in the boat, yells to the crew.

LOWE
Lower away left and right!

Lightoller turns away from the crowd and, out of their sight, breaks his pistol open. Letting out a long breath, he starts to LOAD IT.

CUT TO:


214
EXT. BOAT DECK, STARBOARD SIDE, AFT

CAL AND LOVEJOY arrive in time to see Murdoch lowering his last boat.

CAL
We're too late.

LOVEJOY
There are still some boats forward. Stay with this
one... Murdoch. He seems quite... practical.


215
IN THE WATER BELOW there is another panic. Boat 13, already in the water but still attached to it's falls, is pushed aft by the discharge water being pumped out of the ship. It winds up directly under boat 15, which is coming down right on top of it.

The passengers shout in panic to the crew above to stop lowering. They are ignored. Some men put their hands up, trying futiley to keep the 5 tons of boat 15 from crushing them.

Fred Barrett, the stoker, gets out his knife and leaps to the after falls, climbing rudely over people. He cuts the aft falls while another crewman cuts the forward lines. 13 drifts out from beneath 15 just seconds before it touches the water with a slap.


CAL, looking down from the rail hears GUNSHOTS--

CUT TO:


216
EXT. BOAT DECK/ A-DECK, PORT, AFT

Fifth Officer Lowe, in boat 14 is firing his gun as a warning to a bunch of men threatening to jump into the boat as it passes the open promenade on A-Deck.

LOWE
Stay back you lot!

BLAM! BLAM!

CUT TO:


217
EXT. BOAT DECK, STARBOARD, AFT

The shots echo away.

CAL
It's starting to fall apart. We don't have much time.

Cal sees three dogs run by, including the black French bulldog. Someone has released the pets from the kennels.

Cal sees Murdoch turn from the davits for boat 15 and start walking toward the bow. He catches up and falls in beside him.

CAL
Mr. Murdoch, I'm a businessman, as you know, and I
have a business proposition for you.

CUT TO:


218
OMITTED

219
EXT. BOAT DECK, PORT

Jack, Rose et al burst out onto the boat deck from the crew stairs just aft of the third funnel. They look at the empty davits.

ROSE
The boats are gone!

She sees Colonel Gracie chugging forward along the deck, escorting two first class ladies.

ROSE
Colonel! Are there any boats left?

GRACIE
(staring at her bedraggled state)
Yes, miss... there are still a couple of boats all the way
forward. This way, I'll lead you!


Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizio close behind.

ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and the others run by.

TOMMY
Music to drown by. Now I know I'm in First Class.

CUT TO:


220
EXT. BOAT DECK, STARBOARD, FORWARD

Water pours like a spillway over the forward railing on B-Deck. CAMERA SWEEPS UP past A-Deck to the boat deck where Murdoch and his team are loading Collapsible C at the forward-most davits.

NOTE: There are four so-called collapsibles, or Engelhardt boats, including two which are stored on the roof of the officers quarters.

The crowd here is sparse, with most people still aft. Cal slips his hand out of the pocket of his overcoat and into the waist pocket of Murdoch's greatcoat, leaving the stacks of bills there.

CAL
So we have an understanding then?

MURDOCH
(nodding curtly)
As you've said.


Cal, satisfied, steps back. He finds himself waiting next to J. Bruce Ismay. Ismay does not meet his eyes, nor anyone's. Lovejoy comes up to Cal at that moment.

LOVEJOY
I've found her. She's just over on the port side. With him.

MURDOCH
Women and children? Any more women and children?
(glancing at Cal)
Any one else, then?


Cal looks longingly at this boat... his moment has arrived.

CAL
Go damn it to hell! Come on.

He and Lovejoy head for the port side, taking a short-cut through the bridge.

Bruce Ismay, seeing his opportunity, steps quickly into Collapsible C. He stares straight ahead, not meeting Murdoch's eyes.

MURDOCH
(staring at Ismay)
Take them down.

CUT TO:


221
EXT. BOAT DECK/ PORT SIDE - NIGHT

ON THE PORT SIDE Lightoller is getting people into boat 2. He keeps his pistol in his hand at this point. Twenty feet below them the sea is pouring into the doors and windows of B deck staterooms. They can hear the roar cascading into the ship.

LIGHTOLLER
Women and children please. Women and children
only. Step back, sir.

Even with Jack's arms wrapped around her, Rose is shivering in the cold. Near her a woman with two young daughters looks into the eyes of a husband she knows she may not see again.

HUSBAND
Goodbye for a little while... only for a little while.
(to his two little girls)
Go with mummy.

The woman stumbles to the boat with the children, hiding her tears from them. Beneath the false good cheer, the man is choked with emotion.

HUSBAND
Hold mummy's hand and be a good girl. That's right.

Some of the women are stoic, others are overwhelmed by emotion and have to be helped into the boats. A man scribbles a note and hands it to a woman who is about to board.

MAN
Please get this to my wife in DeMoines, Iowa.

Jack looks at Tommy and Fabrizio.

JACK
You better check the other side.

They nod and run off, searching for a way around the deckhouse.

ROSE
I'm not going without you.

JACK
Get in the boat, Rose.


Cal walks up just then.

CAL
Yes. Get in the boat, Rose.

She is shocked to see him. She steps instinctively to Jack. Cal looks at her, standing there shivering in her wet slip and stockings, a shocking display in 1912.

CAL
My God, look at you.
(taking off his coat)
Here, put this on.

She numbly shrugs into it. He is doing it for modesty, not the cold.

LIGHTOLLER
Quickly, ladies. Step into the boat. Hurry, please!

JACK
Go on. I'll get the next one.

ROSE
No. Not without you!


She doesn�t even care that Cal is standing right there. He sees the emotion between Jack and Rose and his jaw clenches. But then he leans close to her and says...

CAL
(low)
There are boats on the other side that are allowing men
in. Jack and I can get off safely. Both of us.

JACK
(he smiles reassuringly)
I'll be alright. Hurry up so we can get going... we got
our own boat to catch.

CAL
Get in... hurry up, it's almost full.


Lightoller grabs her arm and pulls her toward the boat. She reaches out for Jack and her fingers brush his for a moment. Then she finds herself stepping down into the boat. It's all a rush and blur.

LIGHTOLLER
Lower away!

The two men watch at the rail as the boat begins to descend.

CAL
(low)
You're a good liar.

JACK
Almost as good as you.

CAL
I always win, Jack. One way or another.
(looks at him, smiling)
Pity I didn't keep that drawing. It's going to be worth
a lot more by morning.


Jack knows he is screwed. He looks down at Rose, not wanting to waste a second of his last view of her.

222
ROSE'S PERCEPTION... IN SLOW MOTION: The ropes going through the pulleys as the seamen start to lower. All sound going away... Lightoller giving orders, his lips moving... but Rose hears only the blood pounding in her ears... this cannot be happening... a rocket bursts above in slow motion, outlining Jack in a halo of light... Rose's hair blowing in slow motion as she gazes up at him, descending away from him... she sees his hand trembling, the tears at the corners of his eyes, and cannot believe the unbearable pain she is feeling..

Rose is still staring up, tears pouring down her face.

SUDDENLY SHE IS MOVING. She lunges across the women next to her. Reaches the gunwale, climbing it...

Hurls herself out of the boat to the rail of the A-Deck promenade, catching it, and scrambling over the rail. The Boat 2 continues down. But Rose is back on Titanic.

JACK
No Rose! NOOOO!!

Jack spins from the rail, running for the nearest way down to A-Deck.

Hockley too has seen her jump. She is willing to die for this man, this gutter scum. He is overwhelmed by a rage so all consuming it eclipses all thought.

CUT TO:


223
INT. GRAND STAIRCASE

TRACKING WITH JACK as he bangs through the doors to the foyer and sprints down the stairs. He sees her come into the A-Deck foyer, running toward him, Cal's long coat flying out behind her as she runs.

They meet at the bottom of the stairs, and collide in an embrace.

JACK
Rose, Rose, you're so stupid, you're such an idiot--

And all the while he's kissing her and holding her as tightly as he can.

ROSE
You jump I jump, right?

JACK
Right.


HOCKLEY comes in and runs to the railing. Looking down he sees them locked in their embrace. Lovejoy comes up behind Cal and puts a restraining HAND on him, but Cal whips around, grabbing the pistol from Lovejoy's waistband in one cobra-fast move.

He RUNS along the rail and down the stairs. As he reaches the landing above them he raises the gun. SCREAMING in rage, he FIRES.

The carved cherub at t he foot of the center railing EXPLODES. Jack pulls Rose toward the stairs going down to the next deck. Cal fires again, running down the steps toward them. A bullet blows a divet out of the oak paneling behind Jack's head as he pulls Rose down the next flight of stairs.

Hockley steps on the skittering head of the cherub statue and goes sprawling. The gun clatters across the marble floor. He gets up, and reeling drunkenly goes over to retrieve it.

CUT TO:


224
INT. D-DECK RECEPTION ROOM

The bottom of the grand staircase is flooded several feet deep. Jack and Rose come down the stairs two at a time and run straight into the water, fording across the room to where the floor slopes up, until they reach dry footing at the entrance to the dining saloon.

STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack and Rose splashing through the water toward the dining saloon. He FIRES twice. Big gouts of spray near them, but he's not a great shot.

The water boils up around his feet and he retreats up the stairs a couple of steps. Around him the woodwork groans and creaks.

CAL
(calling to them)
Enjoy your time together!!

Lovejoy arrives next to him. Cal suddenly remembers something and starts to laugh.

LOVEJOY
What could possibly be funny?

CAL
I put the diamond in my coat pocket.
And I put my coat... on her.


He turns to Lovejoy with a sickly expression, his eyes glittering.

CAL
I give it to you... if you can get it.

He hands Lovejoy the pistol and goes back up the stairs. Lovejoy thinks about it... then slogs into the water. The icewater is up to his waist as he crosses the pool to the dining saloon.

NEXT