Nothing will go wrong,

For sure.

ANYPOV. (User must be apart of the pumpkin species.)

SCENARIO: Storytime with Uncle Matt.

NOTES: Limited since {{user}} is written to be a young pumpkin.

CREATORS TALK > filler bot, though I am still on a break. Also I've been getting weird dreams about not making,. Hopefully this gets rid of them. Also I wont be making a comic of these series because I'm really unmotivated. Also, the ddlc ost is just for experimentation. And for fun.

WARNINGS: None. Although in the future there may be...and alot of tags. Again.

Tags(ignore): Matt Dusekkar, Series, A Tale To Be Told, a tale to be told, Pumpkin, Peak trust, Storytime, Bedtime, Bullshit, Cheese, Trisha Dusekkar, Robloxia, Roblox, Robloxia, GAMEGAMEGAMEGAMEGAME, Roblocks, Tree, Heart, Stem, Seesay, S.N.A.P. , KooKoo, John Grace, Sinner, Dozer, Sebastian Solace, Pressure, Regretevator, Forsaken, 007n7, Guest 1337, Veeronica, Jane Doe, John Doe, 1x1x1x1, C00lkidd, Noob, Chance, Two Time, Azure, Nosferatu, Noli, Jason, Slasher, Angler, , Flowerbed, Flowerhead, Flowerheads, Ire, Dozer, Rue, Litany, The Guilles, Shedletsky, Elliot, Misinformation, Deceit, Deceitful, Liar, Lie, Lies, Dusekkae, Builderman, Taph, Matt Kaufman, No Mercy, Oxi, Toi Toi, Cupid, Shadow, Doppel, Punching Bag, Punching Man, One Piece, Monkey D. Luffy, Bad Things, Andrew, Ivan, Fire Ring, Let Him Go, LHG, ^_^, Broken Spawn, Lime Girl, Periastrion, Barry, Fetish, Stupid Thing, Why Is This So Long, Zombie, Eye, Juggernaut, Militant, Medic, Doctor, Technician, Ninja, Target Master, Cause America Forgot Him! We? We fought with him. Me? I died for him. me? I trusted him! Me? I loved him! And Me.. I was the dang fool who shot him! , Epic The Musical, Hamilton, Dearest Two-time, I'd love to inform you that you are BANNED from my formal gatherings, FOR YOUR OBNOXIOUS BEHAVIOR AND STABBING IS JUST REALLY ANNOYING, I HATE YOU!! , Noobador, Block Tales, Blocktales, BlockTales, Player, Griefer, Finn McCool, Cruel King, Mayor Thaniyel, Captain I Forgot, Calypso, Kyoko, Dracula, Count Dracula, Roar, Dinosaur, Alien, Technology, Watering Can, Black, White, Grey, Gray, U.S.A. , United States of America, Country, Hetalia, Europe, Asia, Brutus, ITrapped, May Madness 2012, YAOI, yaoi, Yaoi, Ellernate, Isaac, Nate, Caleb, LonelyTree, idk what it's called, Wendigo, Dandy's World, Dandy, Pebble, Caretaker, Vee, Shelly, Goob, Astro, Scraps, Sprout, Cosmo, Fruitcake, Soulvester, Connie, Die Of Death, DoD, Artful, Harken, Pursuer, MLM, WLW, Yuri, Men, Women, Man, Woman, Killdroid, Killware (?) , Badware, Liveware, Lance, Don Sonnelino, Mafioso, Mafiaso, Eunoia, Nastasha, Girl, Boy, Gender Equal, Equality,Titanic" a screenplay by James Cameron

1 BLACKNESS 1

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.

CUT TO:

2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP 2

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

snoring.

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.

TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock

Lovett's face fills the BLACK AND WHITE FRAME.

LOVETT

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.

ANATOLY

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

face.

LOVETT

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.

LOVETT (CONT'D)

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.

BODINE

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.

LOVETT (V.O.)

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.

These windows are nine thick and

if they go, it's sayonara in two

microseconds.

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.

LOVETT (CONT'D)

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.

BODINE (V.O.)

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

lights.

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.

BODINE (CONT'D)

I'm in the sitting room. Heading for

bedroom B-54.

LOVETT

Stay off the floor. Don't stir it up

like you did yesterday.

BODINE

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.

BODINE (CONT'D)

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.

LOVETT

Okay, I want to see what's under

that wardrobe door.

SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and

starts moving debris aside. A lamp is lifted, its ceramic

colors as bright as they were in 1912.

LOVETT (CONT'D)

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

door...

BODINE

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

seein'?

CLOSE ON LOVETT, watching his moniteors. By his expression

it is like he is seeing the Holy Grail.

LOVETT

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.

CUT TO:

14 EXT. STERN OF DECK OF KEDYSH - DAY 14

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.

BODINE

Who's the best? Say it.

LOVETT

You are, Lewis.

(to the video crew)

You rolling?

CAMERAMAN

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.

LOVETT

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.

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.

LOVETT (CONT'D)

Shit.

BODINE

You know, boss, this happened to

Geraldo and his career never

recovered.

LOVETT

(to the video cameraman)

Get that outta my face.

CUT TO:

15 INT. LAB DECK, PRESERVATION ROOM - DAY 15

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.

LOVETT

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.

BUELL

The partners want to know how it's

going?

LOVETT

How it's going? It's going like a

first date in prison, whattaya

think?!

Lovett grabs the phone from Buell and goes instantly smooth.

LOVETT (CONT'D)

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

heart-shaped.

LOVETT (CONT'D)

I'll be God damned.

CUT TO:

16 INSERT 16

A CNN NEWS STORY: a live satellite feed from the deck of

the Keldysh, intercut with the CNN studio.

ANNOUNCER

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?

LOVETT

Yes, hi, Tracy. You know, Titanic is

not just A shipwrick, Titanic is THE

shipwreck. It's the Mount Everest

of shipwrecks.

CUT TO:

17 INT. HOUSE / CERAMICS STUDIO 17

PULL BACK from the screen, showing the CNN report playing on

a TV set in the living room of a small rustic house. It is

full of ceramics, figurines, folk art, the walls crammed

with drawings and paintings... things collected over a

lifetime.

PANNING to show a glassed-in studio attached to the house.

Outside it is a quiet morning in Ojai, California. In the

studio, amid incredible clutter, an ANCIENT WOMAN is

throwing a pot on a potter's wheel. The liquid red clay

covers her hands... hands that are gnarled and age-spotted,

but still surprisingly strong and supple. A woman in her

early forties assists her.

LOVETT (V.O.)

I've planned this expedition for

three years, and we're out here

recovering some amazing things...

things that will have enormous

historical and educational value.

CNN REPORTER (V.O.)

But it's no secret that education is not

your main purpose. You're a treasure

hunter. So what is the treasure

you're hunting?

LOVETT (V.O.)

I'd rather show you than tell you, and

we think we're very close to doing

just that.

The old woman's name is ROSE CALVERT. Her face is a

wrinkled mass, her body shapeless and shrunken under a one-

piece African-print dress.

But her eyes are just as bright and alive as those of a

young girl.

Rose gets up and walks into the living room, wiping pottery

clay from her hands with a rag. A Pomeranian dog gets up

and comes in with her.

The younger soman, LIZZY CALVERT, rushes to help her.

ROSE

Turn that up please, dear.

REPORTER (V.O.)

Your expedition is at the center of a

storm of controversy over salvage rights

and even ethics. Many are calling you

a grave robber.

TIGHT ON THE SCREEN.

LOVETT

Nobody called the recovery of the

artifacts from King Tut's tomb grave

robbing. I have museum-trained

experts here, making sure this stuff is

preserved and catalogued properly.

Look at this drawing, which was found

today...

The video camera pans off Brock to the drawing, in a tray of

water. The image of the woman with the necklace FILLS

FRAME.

LOVETT (CONT'D)

...a piece of paper that's been

underwater for 84 years... and my

team are able to preserve it

intanct. Should this have remained

unseen at the bottom of the ocean for

eternity, when we can see it and enjoy it

now...?

ROSE is galvanized by this image. Her mouth hangs open in

amazement.

ROSE

I'll be God damned.

CUT TO:

18 EXT. KELDYSH DECK - NIGHT 18

CUT TO KELDYSH. The Mir subs are being launched. Mir Two

is already in the water, and Lovett is getting ready to

climb into Mir One when Bobby Buell runs up to him.

BUELL

There's a satellite call for you.

LOVETT

Bobby, we're launching. See these

submersibles here, going in the

water? Take a message.

BUELL

No, trust me, you want to take this

call.

CUT TO:

19 INT. LAB DECK / KELDYSH - NIGHT 19

Beull hands Lovett the phone, pushing down the blinking

line. The call is from Rose and we see both ends of the

conversation. She is in her kitchen with a mystified Lizzy.

LOVETT

This is Brock Lovett. What can I do for

you, Mrs... ?

BUELL

Rose Calvert.

LOVETT

... Mrs. Calvert?

ROSE

I was just wondering if you had

found the "Heart of the Ocean" yet, Mr.

Lovett.

Brock almost drops the phone. Bobby sees his shocked

expression...

BUELL

I told you you wanted to take this

call.

LOVETT

(to Rose)

Alright. You have my attention,

Rose. Can you tell me who the woman in

the picture is?

ROSE

Oh yes. The woman in the picture is me.