Genres: Drama, Adventure, Thriller, Mystery, Romance, Action, Comedy, Historical, Fiction, Disaster

Summary "Titanic" is a romantic drama movie that tells the story of the tragic sinking of the Titanic ship. It follows the love affair between Jack, a poor artist, and Rose, a wealthy socialite, amidst the chaos of the sinking ship. The movie showcases the luxury of the first-class passengers and the struggles of the steerage passengers, highlighting the tragic end of the Titanic. In the present day, an elderly Rose tells her story of surviving the sinking to a group of salvage crew members who found a valuable pencil drawing of her stateroom. After the expedition is completed, Rose drops the Heart of the Ocean necklace into the ocean, reflecting on her life and finding Jack waiting for her at the bottom of the grand staircase in a dreamlike state.

Summary of Scene Level Analysis

Scene Strengths Overall strengths: The film effectively contrasts the opulence of first-class passengers with the struggles of those in steerage, portrays class differences and societal norms of the time, and creates urgency and tension. The chemistry between the lead characters is palpable, and the imagery and music strongly convey emotions. Notable historical figures add depth, while the themes of love, loss, and nostalgia are beautifully depicted through the wreckage. The film features intense action, strong character development, impactful moments, and a visually stunning portrayal of the historical event.
Scene Weaknesses Overall weaknesses of the movie include limited or cliched dialogue, lack of significant plot development, slow-paced scenes, weak or underdeveloped characters, and inconsistent historical accuracy. Some scenes rely too heavily on exposition or romantic cliches, while others may feel gratuitous or disconnected from the main conflict. The movie also faces criticism for contrived moments and strained believability in certain actions or plot points. Many viewers find the dialogue to be lacking in impact or nuance, and some scenes may come across as melodramatic or drawn out. The portrayal of certain characters can feel one-dimensional or unlikable, and some scenes lack significant action or conflict.

Note: This is the synthesis. See scene by scene analysis here

How scenes compare to the Scripts in our Library

Note: The ratings are the averages of all the scenes.
Percentile Before After
Emotional Impact 9.0  99 Birdman: 8.7 Titanic: 9.0
Overall 8.6  90 Birdman: 8.5 Titanic: 8.6
Characters 8.6  88 Everything Everywhere All at Once: 8.5 Titanic: 8.6
Plot 8.3  71 Mr Robot: 8.2 Inception: 8.3
Concept 7.9  61 The usual suspects: 7.8 Titanic: 7.9
Conflict Level 7.6  51 The Shawshank Redemption: 7.5 Get Out: 7.6
Dialogue 7.6  47 Shaun of the Dead: 7.5 get out: 7.6

See the full analysis by clicking the title.

1 The Descent into the Depths 8 8 7 9 03004 6
2 The Titanic Wreckage 9 9 9 8 06008 8
3 The safe is opened 7 6 7 6 05005 6
4 Discovery and Controversy 8 8 8 7 06007 7
5 Arrival of Rose Calvert 8 7 8 8 06006 8
6 Reunited with the Past 8 8 8 9 05009 7
7 Revealing the Past 8.5 7 8 8 06009 8
8 Boarding the Titanic 8.2 8 7 9 06009 7
9 The Poker Game 8 7 8 9 05007 7
10 Boarding the Titanic 8 7 7 8 04006 7
11 Luxury and Struggle on the Titanic 8 7 8 9 05007 7
12 Setting Sail on the Titanic 9 8 7 6 04007 4
13 Lunch with the Elites and a Brief Encounter 8 9 7 8 06007 9
14 Rose breaks down 9 8 9 9 0100011 8
15 The Titanic's Stern Deck Drama 8.5 8 8 9 090010 8
16 Saving Rose 8 7 8 9 090010 8
17 The Necklace 8 7 8 9 09009 8
18 Rose's Suicide Attempt and Jack's Intervention 9 8 9 9 090010 9
19 Contrasts in Steerage 8 8 7 9 08009 7
20 Sketching on the Deck 9 8 9 9 070010 9
21 Tea Time and Artistic Dreams 8 8 7 9 06006 8
22 Spitting Lesson 8 8 7 9 05007 9
23 Molly Brown Ties a Bow Tie and Jack Goes to First Class 7 7 6 8 04006 7
24 First-Class Dinner 8.5 8 8 9 06007 8
25 First-Class Dinner 9 9 8 9 07008 9
26 Steerage Dancing 8.5 8 8 9 07009 7
27 A Moment in the Stars 9 8 8 9 090010 9
28 Mother-Daughter Conflict 8 7 8 9 09008 8
29 Jack's Determination 7.5 7 7 8 06008 7
30 A Moment Alone 9.2 9 10 9 080010 10
31 Flying on the Titanic 9 8 8 10 060010 7
32 The Drawing 9 8 8 10 060010 9
33 Escape and Connection 8.5 8 8 9 07009 8
34 Intimacy in the Hold 9 8 7 9 030010 8
35 A Moment of Intimacy 8 7 8 9 04009 8
36 The Collision 9 8 9 8 0110011 8
37 Collision and Panic 9 8 9 8 010009 7
38 The Ship Collides with an Iceberg 9 8 9 9 0100011 8
39 The Betrayal and the Sinking 9.5 9 10 9 090010 8
40 The Ship is Doomed 8.5 8 8 7 09009 8
41 Chaos and Confusion as Titanic Sinks 10 10 10 9 0100011 8
42 Chaos and Calm as the Titanic Sinks 9 7 9 8 080010 6
43 Jack is Betrayed and Left to Drown 8 7 8 9 090010 7
44 Chaos and Heartbreak 9.2 9 8 9 090010 8
45 Desperate Measures 8.5 8 9 8 090010 8
46 Desperation and Determination 8 7 8 8 09009 7
47 Rose saves Jack 9.2 9 9 10 0100010 9
48 Desperation and Chaos on the Boat Deck 9 8 9 9 0110011 8
49 Escape from Steerage 8.5 8 9 8 090010 7
50 Titanic sinking 9 8 9 9 0100010 7
51 Escape from Chaos 7 6 7 8 08007 6
52 The Ultimate Sacrifice 10 9 10 9 0100011 8
53 Escape and Showdown in the Titanic's Dining Saloon 9 8 9 9 010009 8
54 Escape from the Flooded Corridor 9 8 9 9 090010 7
55 The Sinking of the Titanic 9 9 10 8 0100011 7
56 Desperate escape from the Titanic 10 9 10 9 0100011 8
57 Desperate Escape 9 8 9 8 0100011 7
58 The Sinking of the Titanic 9 8 10 9 0100011 7
59 Desperate Struggle for Survival 9 8 9 9 0100011 8
60 The Sinking of the Titanic 9 8 9 10 0100011 8
61 Escape and Desperation on the Sinking Titanic 9.5 9 10 9 0100011 8
62 Surviving the Sinking of the Titanic 9 8 9 9 090010 8
63 Surviving and Moving On 8 7 8 9 06009 8
64 The Heart of the Ocean 8 8 8 9 06009 7
65 Rose's Life and Dream Sequence of Titanic 8 8 8 7 02008 7

Scene 1 - The Descent into the Depths


"Titanic" a screenplay by James Cameron


Dawson KATHY BATES... The Unsinkable Molly Brown BILLY
ZANE... Caledon Hockley BILL PAXTON... Brock Lovett

Written and Directed by:



Then two faint lights appear, close together... growing
brighter. They resolve into two DEEP SUBMERSIBLES, free-
falling toward us like express elevators.

One is ahead of the other, and passes close enough to FILL
FRAME, looking like a spacecraft blazing with lights,
bristling with insectile manipulators.

TILTING DOWN to follow it as it descends away into the
limitless blackness below. Soon they are fireflies, then
stars. Then gone.



PUSHING IN on one of the falling submersibles, called MIR
ONE, right up to its circular viewport to see the occupants.

INSIDE, it is a cramped seven foot sphere, crammed with
equipment. ANATOLY MIKAILAVICH, the sub's pilot, sits
hunched over his controls... singing softly in Russian.

Next to him on one side is BROCK LOVETT. He's in his late
forties, deeply tanned, and likes to wear his Nomex suit
unzipped to show the gold from famous shipwrecks covering
his gray chest hair. He is a wiley, fast-talking treasure
hunter, a salvage superstar who is part historian, part
adventurer and part vacuum cleaner salesman. Right now, he
is propped against the CO2 scrubber, fast asleep and

On the other side, crammed into the remaining space is a
bearded wide-body named LEWIS BODINE, sho is also asleep.
Lewis is an R.O.V. (REMOTELY OPERATED VEHICLE) pilot and is
the resident Titanic expert.


Anatoly glances at the bottom sonar and makes a ballast



A pale, dead-flat lunar landscape. It gets brighter, lit
from above, as MIR ONE enters FRAME and drops to the
seafloor in a downblast from its thrusters. It hits bottom
after its two hour free-fall with a loud BONK.



Lovett and Bodine jerk awake at the landing.

(heavy Russian accent)
We are here.
Genres: ["Drama","Adventure"]

Summary The crew of the submersible MIR ONE enter the vast darkness of the North Atlantic deep, as they prepare to search for the wreckage of Titanic. The treasure hunter, Brock Lovett, and Titanic expert, Lewis Bodine, are both asleep while the Russian pilot Anatoly Mikailavich keeps a watchful eye.
Strengths "The scene sets the tone for the vastness of the ocean and the danger of the mission ahead. The distinct personalities of the characters are introduced through their actions, particularly Brock Lovett's flashy appearance and snoring."
Weaknesses "The dialogue is minimal and only in Russian, making it difficult for non-Russian speaking audience members to understand. There is also little action happening in this scene."


Overall: 8

Story Content

Concept: 8

Plot: 7

Originality: 0

Character Development

Characters: 9

Character Changes: 0

Internal Goal: 0

External Goal: 0

Scene Elements

Conflict Level: 3

Opposition: 0

High Stakes: 0

Story Forward: 0

Unpredictability: 0

Philosophical Conflict: 0

Audience Engagement

Emotional Impact: 4

Dialogue: 6

Engagement: 0

Pacing: 0

Technical Aspect

Formatting: 0

Structure: 0

Critique Overall, the scene provides a clear introduction to the setting and characters, as well as establishes the tone for the film. However, there are a few areas for improvement:

1. The description of the submersibles descending into the depths of the ocean is somewhat repetitive and could be streamlined for more impact.
2. Some of the character descriptions feel unnecessary and could be shown through action instead.
3. The dialogue from Anatoly could be improved by adding a bit more personality to his delivery, to make him stand out more as a character.

A potential rewrite could look like:


Two lights appear, rapidly growing brighter, before resolving into the shapes of two DEEP SUBMERSIBLES. They fall towards the camera, a blur of light and insectile manipulators.

We follow one of the subs, MIR ONE, as it descends further into the blackness. It shrinks to a spark, then vanishes entirely.


A pale, dead-flat lunar landscape comes into view, illuminated by the bright beams of MIR ONE's thrusters. It hits the seafloor with a loud BONK.


Brock Lovett, a deep-sea treasure hunter, snores against the CO2 scrubber. Beside him, Lewis Bodine, the resident Titanic expert, sleeps. Anatoly Mikailavich, the sub's pilot, adjusts the ballast and glances at the bottom sonar.

We are here.

There is a heavy silence, until Bodine stirs.

Now the adventure begins.

Anatoly chuckles.

Easy for you to say. You're not the one piloting this tin can.

The banter continues as the three men prepare for their dive into the depths.

Scene 2 - The Titanic Wreckage

5 MINUTES LATER: THE TWO SUBS skim over the seafloor to
the sound of sidescan sonar and the THRUM of big thrusters.

6 The featureless gray clay of the bottom unrols in the
lights of the subs. Bodine is watching the sidescan sonar
display, where the outline of a huge pointed object is
visible. Anatoly lies prone, driving the sub, his face
pressed to the center port.

Come left a little. She's right in
front of us, eighteen meters.
Fifteen. Thirteen... you should see it.

Do you see it? I don't see it...

Out of the darkness, like a ghostly apparition, the bow of
the ship appears. Its knife-edge prow is coming straight at
us, seeming to plow the bottom sediment like ocean waves.
It towers above the seafloor, standing just as it landed 84
years ago.

THE TITANIC. Or what is left of her. Mir One goes up and
over the bow railing, intact except for an overgrowth of
"rusticles" draping it like mutated Spanish moss.


TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock
Lovett's face fills the BLACK AND WHITE FRAME.

It still gets me every time.

The image pans to the front viewport, looking over Anatoly's
shoulder, to the bow railing visible in the lights beyond.
Anatoly turns.

Is just your guilt because of
estealing from the dead.

CUT WIDER, to show that Brock is operating the camera
himself, turning it in his hand so it points at his own

Thanks, Tolya. Work with me, here.

Brock resumes his serious, pensive gaze out the front port,
with the camera aimed at himself at arm's length.

It still gets me every time... to see
the sad ruin of the great ship sitting
here, where she landed at 2:30 in the
morning, April 15, 1912, after her long
fall from the world above.

Anatoly rolls his eyes and mutters in Russian. Bodine
chuckles and watches the sonar.

You are so full of shit, boss.

7 Mir Two drives aft down the starboard side, past the huge
anchor while Mir One passes over the seemingly endless
forecastle deck, with its massive anchor chains still laid
out in two neat rows, its bronze windlass caps gleaming.
The 22 foot long subs are like white bugs next to the
enormous wreck.

Dive nine. Here we are again on the
deck of Titanic... two and a half
miles down. The pressure is three
tons per square inch, enough to
crush us like a freight train going
over an ant if our hull fails.

LOVETT (V.O.) (cont'd)
These windows are nine inches thick and
if they go, it's sayonara in two

8 Mir Two lands on the boat deck, next to the ruins of the
Officer's Quarters. Mir One lands on the roof of the deck
hous nearby.

Right. Let's go to work.

Bodine slips on a pair of 3-D electronic goggles, and grabs
the joystick controls of the ROV.

9 OUTSIDE THE SUB, the ROV, a small orange and black robot
called SNOOP DOG, lifts from its cradle and flies forward.

Walkin' the dog.

SNOOP DOG drives itself away from the sub, paying out its
umbilical behind it like a robot yo-yo. Its twin stereo-
video cameras swivel like insect eyes. The ROV descends
through an open shaft that once was the beautiful First
Class Grand Staircase.

Snoop Dog goes down several decks, then moves laterally into
the First Class Reception Room.

SNOOP'S VIDEO POV, moving through the cavernous interior.
The remains of the ornate handcarved woodwork which gave the
ship its elegance move through the floodlights, the lines
blurred by slow dissolution and descending rusticle
formations. Stalactites of rust hang down so that at times
it looks like a natural grotto, then the scene shifts and
the lines of a ghostly undersea mansion can be seen again.

MONTAGE STYLE, as Snoop passes the ghostly images of
Titanic's opulence:

10 A grand piano in amazingly good shape, crashed on its
side against a wall. The keys gleam black and white in the

11 A chandelier, still hanging from the ceiling by its
wire... glinting as Snoop moves around it.

12 Its lights play across the floor, revealing a champagne
bottle, then some WHITE STAR LINE china... a woman's high-
top "granny shoe". Then something eerie: what looks like a
child's skull resolves into the porcelain head of a doll.

Snoop enters a corridor which is much better preserved.
Here and there a door still hangs on its rusted hinges.


An ornate piece of molding, a wall sconce... hint at
the grandeur of the past.

13 THE ROV turns and goes through a black doorway, entering
room B-52, the sitting room of a "promenade suite", one of
the most luxurious staterooms on Titanic.

I'm in the sitting room. Heading for
bedroom B-54.

Stay off the floor. Don't stir it up
like you did yesterday.

I'm tryin' boss.

Glinting in the lights are the brass fixtures of the near-
perfectly preserved fireplace. An albino Galathea crab
crawls over it. Nearby are the remains of a divan and a
writing desk. The Dog crosses the ruins of the once elegant
room toward another DOOR. It squeezes through the
doorframe, scraping rust and wood chunks loose on both
sides. It moves out of a cloud of rust and keeps on going.

I'm crossing the bedroom.

The remains of a pillared canopy bed. Broken chairs, a
dresser. Through the collapsed wall of the bathroom, the
porcelain commode and bathtub took almost new, gleaming in
the dark.

Okay, I want to see what's under
that wardrobe door.

starts moving debris aside. A lamp is lifted, its ceramic
colors as bright as they were in 1912.

Easy, Lewis. Take it slow.

Lewis grips a wardrobe door, lying at an angle in a corner,
and pulls it with Snoop's gripper. It moves reluctantly in
a cloud of silt. Under it is a dark object. The silt
clears and Snoop's cameras show them what was under the

Ooohh daddy-oh, are you seein' what I'm


CLOSE ON LOVETT, watching his moniteors. By his expression
it is like he is seeing the Holy Grail.

Oh baby baby baby.
(grabs the mike)
It's payday, boys.

ON THE SCREEN, in the glare of the lights, is the object of
their quest: a small STEEL COMBINATION SAFE.

Genres: ["Adventure","Drama"]

Summary The crew of the submersible MIR ONE finally reaches the wreckage of Titanic. They explore the ship's opulent interior using Snoop Dog, a small orange and black robot. As they uncover new artifacts, they get closer to the safe they have been searching for.
Strengths "The scene creates a sense of wonder and anticipation as the crew finally reaches Titanic's wreckage. The use of Snoop Dog is a unique and interesting way to explore the interior of the ship."
Weaknesses "The dialogue can be a bit cheesy at times, particularly with Lovett's repeated line about the ship's fall from the world above."


Overall: 9

Story Content

Concept: 8.5

Plot: 9

Originality: 0

Character Development

Characters: 8

Character Changes: 0

Internal Goal: 0

External Goal: 0

Scene Elements

Conflict Level: 6

Opposition: 0

High Stakes: 0

Story Forward: 0

Unpredictability: 0

Philosophical Conflict: 0

Audience Engagement

Emotional Impact: 8

Dialogue: 7.5

Engagement: 0

Pacing: 0

Technical Aspect

Formatting: 0

Structure: 0

Critique As a screenwriting expert, I would say that the scene is well-written and engaging. The audience is immediately drawn in by the sense of mystery and excitement surrounding the discovery of the Titanic wreck. The use of technical language, such as "sidescan sonar," "ROV," and "umbilical," adds to the authenticity of the scene and makes it feel more realistic. The dialogue between the characters is also well-crafted, with each one having a distinct voice and personality. The use of humor, such as Bodine's comment about Lovett being "full of shit," helps to lighten the mood and make the scene more relatable. Overall, I would say that the scene is a strong example of effective screenwriting.
Suggestions Overall, the scene is well written and gives a good sense of the setting and the characters' interactions. However, there are a few suggestions to improve it:

1. Add more action/description to the opening shot - instead of just "the two subs skim over the seafloor," describe how they move and what it looks like.

2. Consider breaking up the dialogue between Bodine and Anatoly to add some action/description. For example, you could show Anatoly searching for the object while Bodine gives him directions.

3. Use more active verbs - for example, instead of "the bow of the ship appears," consider "the bow of the ship looms out of the darkness."

4. Try to avoid telling instead of showing - for example, instead of Lovett saying "It still gets me every time," show his emotional reaction to seeing the Titanic wreck.

5. Consider adding more sensory details - what does it smell like? What does the water feel like? This will make the scene feel more immersive.

Overall, these suggestions are meant to add more depth and detail to the scene, allowing the reader to more fully experience the setting and the characters' emotions.

Scene 3 - The safe is opened

THE SAFE, dripping wet in the afternoon sun, is lowered onto
the deck of a ship by a winch cable.

We are on the Russian research vessel AKADEMIK MISTISLAV
KELDYSH. A crowd has gathered, including most of the crew
of KELDYSH, the sub crews, and a hand-wringing money guy
named BOBBY BUELL who represents the limited partners.
There is also a documentary video crew, hired by Lovett to
cover his moment of glory.

Everyone crowds around the safe. In the background Mir Two
is being lowered into its cradle on deck by a massive
hydraulic arm. Mir One is already recovered with Lewis
Bodine following Brock Lovett as he bounds over to the safe
like a kid on Christman morning.

Who's the best? Say it.

You are, Lewis.
(to the video crew)
You rolling?


Brock nods to his technicians, and they set about drilling
the safe's hinges. During this operation, Brock amps the
suspense, working the lens to fill the time.

Well, here it is, the moment of
truth. Here's where we find out if the
time, the sweat, the money spent to
charter this ship and these subs, to
come out here to the middle of the
North Atlantic... were worth it.
LOVETT (cont'd)
If what we think is in that same... is
in that safe... it will be.

Lovett grins wolfishly in anticipation of his greatest find
yet. The door is pried loose. It clangs onto the deck.
Lovett moves closer, peering into the safe's wet interior.
A long moment then... his face says it all.


You know, boss, this happened to
Geraldo and his career never

(to the video cameraman)
Get that outta my face.



Technicians are carefully removing some papers from the safe
and placing them in a tray of water to separate them safely.
Nearby, other artifacts from the stateroom are being washed
and preserved.

Buell is on the satellite phone with the INVESTORS. Lovett
is yelling at the video crew.

You send out what I tell you when I
tell you. I'm signing your
paychecks, not 60 minutes. Now get set
up for the uplink.

Buell covers the phone and turns to Lovett.

The partners want to know how it's

How it's going? It's going like a
first date in prison, whattaya

Lovett grabs the phone from Buell and goes instantly smooth.

Hi, Dave? Barry? Look, it wasn't in
the safe...
no, look, don't worry about it,
there're still plenty of places it
could be... in the floor debris in the
suite, in the mother's room, in the
purser's safe on C deck...
(seeing something)
Hang on a second.

A tech coaxes some letters in the water tray to one side
with a tong... revealing a pencil (conte crayon) drawing of
a woman.

Brock looks closely at the drawing, which is in excellent
shape, though its edges have partially disintegrated. The
woman is beautiful, and beautifully rendered. In her late
teens or early twenties, she is nude, though posed with a
kind of casual modesty. She is on an Empire divan, in a
pool of light that seems to radiate outward from her eyes.
Scrawled in the lower right corner is the date: April 14
1912. And the initials JD.

The girl is not entirely nude. At her throat is a diamond
necklace with one large stone hanging in the center.

Lovett grabs a reference photo from the clutter on the lab
table. It is a period black-and-white photo of a diamond
necklace on a black velvet jeller's display stand. He holds
it next to the drawing. It is clearly the same piece... a
complex setting with a massive central stone which is almost

I'll be God damned.


16 INSERT 16

A CNN NEWS STORY: a live satellite feed from the deck of
the Keldysh, intercut with the CNN studio.

Treasure hunter Brock Lovett is best
known for finding Spanish gold in
sunken galleons in the Caribbean. Now
he is using deep submergence
technology to work two and a half
miles down at another famous
wreck... the Titanic. He is with us
live via satellite from a Russian
research ship in the middle of the
Atlantic... hello Brock?


Yes, hi, Tracy. You know, Titanic is
not just A shipwrick, Titanic is THE