National Geographic : 2012 Apr
real action will likely be concentrated in years to come---especially with the new RMST images providing a clearer guide. " e bow's very sexy, but we've been to it hundreds of times," Sauder said. "All this wreckage here to the south is what I'm interested in." In essence Sauder was hunting for anything recognizable, any pattern amid the chaos around the stern. "We like to picture shipwrecks as Greek temples on a hill---you know, very pic- turesque," he told me. "But they're not. ey're ruined industrial sites: piles of plates and rivets and sti eners. If you're going to interpret this stu , you gotta love Picasso." Sauder zoomed in on the image at hand, and within a few minutes had solved at least a small part of the mystery near the stern: Lying atop the wreckage was the crumpled brass frame of a revolving door, probably from a rst-class lounge. It is the kind of painstaking work that only someone who knows every inch of the ship could perform---a tiny part of an enormous Where's Waldo? sleuthing project that could keep Bill Sauder busy for years. I I found myself in Manhattan Beach, California, inside a hangar-size lm studio where James Cameron, surrounded by dazzling props and models from his 1997 movie, Titanic , had assembled a roundtable of some of the world's foremost nautical authorities---quite possibly the most illustrious conclave of Titanic experts ever gathered. Along with Cameron, Bill Sauder, and RMST explorer Paul-Henry Nargeo- let, the roundtable boasted Titanic historian Don Lynch and famed Titanic artist Ken Marschall, along with a naval engineer, a Woods Hole ocean- ographer, and two U.S. Navy architects. Cameron could more than hold his own in this A platinum ring set with diamonds was found in a leather pouch. Women sparkled in such jewels at the ship's fancy social events.