WHITE-JACKET – A Man at War – A Filmscript - 6. Part 8 – Finale Ultimo

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[Part 8 – Finale Ultimo – I: Even Virtue Must Bend]

EXT. THE NEVERSINK AT SEA – TWILIGHT

An ascending shot shows the ship sailing merrily over placid waters. Her wake is wide and growing in the mellow light of a fading sun off to her port side.

 

EXT. MAIN DECK OF THE NEVERSINK

The members of mess number one, including REDBURN, JACK CHASE, TAWNEY, NORD, and SHENLEY, are finishing up their supper. The light cuts sideways across the deck, and Jack thinks Shenley looks very sick indeed.

 

TAWNEY

(gestures to port)

Off the coast of America, boys. Think of it, after thousands of leagues of travel, that coast, just ten miles off, is Florida.

 

REDBURN

How much longer before New York?

 

TAWNEY

About two weeks, I reckon.

 

JACK CHASE

If youth be giddy – old age is staid.

 

NORD

(chucks; reclines on his elbows)

What’s that rattling in Jack’s brain cage?

 

JACK CHASE

I was thinking about those middies we have. A mixed lot. Boisterous with each other, but maybe years from now, one will be as old and still as our Commodore.

 

REDBURN

Young striplings bend, eh? Old trunks

never do.

 

JACK CHASE

Think of it. The way our Commodore sets himself as Virtue on the poop deck, to domineer over Vice through compulsion and mandate, but even Virtue must bend to save. To work good in the world, we all must come down…

(his gaze wavers over Shenley)

…As our Redeemer did, to pity our entire man-of-war world. We have to mix, high and low – aloft with below-decks – as sailors, as sinners, and as angels, but always as a fundamental matrix of equals. All must be equalized through love, or inequity will continue to run bedlam, as she always has.

(low)

Tawney, go get Shenley’s mate, will you? Bring him here.

 

All the men notice Shenley’s state. Tawney gets up and exits wordlessly.

 

SHENLEY

What do ye want Parrie for?

 

JACK CHASE

I don’t want him, per se – but, I think it’s high time you see Pelican, or the surgeon.

 

SHENLEY

What?!

 

He attempts to stand, and teeters. Redburn jumps up and catches him. Tawney returns with PARRIE.

 

JACK CHASE

(to Parrie)

Matey, your partner here is looking whiter than White-Jacket’s breast pocket.

 

Parrie inspects his belovèd at close range.

 

PARRIE

Shen, old boy, you don’t look so good.

 

TAWNEY

(tenderly)

It’s time to get your sorry ass to the sickbay.

 

SHENLEY

(to Parrie)

I think I better.

 

[Part 8 – II: Weaker by the Beat]

INT. SICKBAY OF THE NEVERSINK – NIGHT

REDBURN and JACK CHASE stand at the door. They watch PELICAN take SHENLEY’s pulse. The man is on a cot, and PARRIE sits on a stool at his side. Pelican puts Shenley’s arm down; says a few unheard words and comes to the doorway.

 

PELICAN

He’s bad. He has a weak heart, and it grows weaker by the beat. I’m sorry.

 

Pelican goes and sits at his desk. On it is a lit lamp. He begins to make notes. Redburn and Jack watch as Parrie takes hold of his partner’s hand.

 

[Part 8 – III: The Flag]

INT. BERTH DECK OF THE NEVERSINK – 2 AM

REDBURN sleeps fitfully in his hammock. He opens his eyes with a gasp. TAWNEY is shaking him.

 

TAWNEY

(whispers)

It’s your shift to sit up with Shen.

 

INT. SICKBAY

TAWNEY passes on instructions to REDBURN at the door. A lamp burns on Pelican’s desk.

 

TAWNEY

Jack will relieve you in two hours. He’s

much worse.

 

They go to SHENLEY’s side. He seems to be sleeping, but his eyes are partially open. His breathing is slow, and frothy spittle docks the corners of his mouth.

 

TAWNEY (CONT’D)

(whispers)

Fan him, and keep his forehead wet with a sponge. And wash the foam from his mouth; nothing more can be done for him. If he…goes…before your watch is out, wake up Pelican…

(points to a hammock in one corner)

…And then, get Parrie.

 

Tawney genuflects by Shenley’s side. He gently strokes the man’s forehead.

 

TAWNEY (CONT’D)

Goodbye. Goodbye, old messmate.

 

Tawney leaves. Redburn goes to the stool. As he sits, he finds the basin with a sponge and Shenley’s drool cloth next to it. He squeezes out the sponge and dabs the dying man’s forehead and cheeks, then wipes the drool with the cloth. He looks for and finds the sheet of paper ribbed and folded into a fan. In long, slow strokes, he tries to cool Shenley. Shenley stops breathing. Redburn holds the fan still; listens. His ear slowly descends to the other man’s nostrils. He rises to his feet. He closes the dead man’s eyes.

 

 

BEGIN ‘OBSEQUIES’ SERIES OF SHOTS:

A) EXT. HULL OF THE SHIP

In the gloom, a bucket on a rope splashes into the sea. It rises dripping and in slow rotations along the side of the vessel.

INT. SICKBAY

The same bucket is set by Shenley’s head. He is naked with hands crossed over his privates, and laid out on the floor before Pelican’s desk. The lamp on it casts moody shadows as Tawney, Redburn and Jack Chase wash the body. Pelican sits at his desk and does paperwork. Fade and cut to:

C) INT. SICKBAY – LATER

Shenley is now dressed. Parrie dotes over tying an elaborate bow with the dead man’s best scarf. Jack, Tawney, Redburn and Pelican stand by with hands clasped before them. Parrie finishes and leaves a lingering stroke in Shenley’s cheek.

D) BERTH DECK

Tawney and Redburn maneuver through the hammocks of sleeping men. They carry Shenley under his arms and at the knees. They bump some men, who reply with quiet chiding: ”Hey,” and “Watch it.”

E) MAIN DECK

The moon has risen, and the sea glistens like a mass of glowworms. Jack gets the ”deathboard,” a particular piece of planking only used for this purpose. He sets it astride two cannon, and as the three men place Shenley on it, a sleepy Quartermaster arrives. Jack and he unfold a Stars and Stripes, and drape it head-to-foot over the deceased. The Quartermaster and Tawney exit.

END ‘OBSEQUIES’ SERIES OF SHOTS.

 

EXT. MAIN DECK OF THE NEVERSINK – NIGHT

JACK CHASE and REDBURN are alone with the body, and the gloriously beautiful and calm night.

 

JACK CHASE

I’ll sit up with him till morning.

 

Jack pats Redburn’s shoulder.

 

REDBURN

No, it’s all right. You get some sleep;

attend to Parrie.

 

Jack nods and leaves. Redburn sits on the gun by Shenley’s head. The ship’s bell slowly RINGS eight times. The MUSIC of Toby and Redburn’s love theme slowly returns. ^[12]

 

REDBURN (CONT’D)

Four AM, and a dreamless sleeper by my side – no more do you have to worry about springing-to for changes of the watch. The Neversink chimes your death knell, but you are becalmed in the last and greatest stillness of all.

 

Redburn raises his right foot up to the gun, and pulls his knees to his chest. He folds his hands on his kneecap. TOBY stands behind him, and slowly places his hand on Redburn’s right shoulder. Redburn rests his ear on that hand, and addresses him.

 

REDBURN (CONT’D)

Are you gone too? I looked for you as

best I could.

 

Redburn goes to place his hand on Toby’s, but in the next shot, Redburn is alone. The MUSIC stops abruptly.

 

INT. PETER’S ROOM IN REDBURN’S HOME – NIGHT

Dim lamplight casts shadows over PETER’s dead body. From Peter’s point of view, his MOTHER, EMILY and REDBURN lean in closer, and look down upon him.

 

[Part 8 – IV: Gone Aloft]

EXT. MAIN DECK OF THE NEVERSINK – MORNING

It is a normal day at sea. SAILORS go about their duty; they pass each other with head-nods and friendly greetings; set out their checker cloths and sit to play. REDBURN looks unslept. He sits by Shenley’s flag-draped body, which had been stitched up in his hammock overnight. The BOATSWAIN goes to stand before the quarterdeck. At attention, he blows his whistle, then gives the order:

 

BOATSWAIN

All hands, bury the dead!

 

The BOATSWAIN’S MATES repeat and echo it throughout the ship. The sound fades into the following montage.

 

 

BEGIN ‘SWEEP THE CHECKERBOARD CLEAN’ MONTAGE:

■ The SOUND of the orders being repeated in all corners of the ship segues into Patrick singing ”Tom Bowling.” Only obbligato clarinets from the Marines Band provide musical support. ^[13] This song accompanies all the following action, and eventually synchronizes with a flashback sequence of the young man performing it on stage, at the closing to the Fourth of July festivities.

 

PATRICK

(SINGS)

”Here, sheer hulk, lies poor Tom Bowling

The darling of our crew;

No more he’ll hear the tempest howling

For death has broached him to.

His form was of the manliest beauty,

His heart was kind and soft;

Faithful below, Tom did his duty

And now he’s gone aloft –

And now he’s gone aloft.

 

Tom never from his word departed,

His virtues were so rare;

His friends were many and true-hearted,

His poll was kind and fair. ^[14]

And then he’d sing so blithe and jolly

Ah, many’s the time and oft;

But mirth is turned to melancholy

For Tom is gone aloft –

For Tom is gone aloft

 

Yet shall poor Tom find pleasant weather

When He who all commands

Shall give to call life’s crew together,

The word to pipe all hands.

Thus Death, who kings and tars dispatches

In vain Tom’s life hath doffed

For though his body’s under hatches

His soul is gone aloft –

His soul is gone aloft.”

 

■ Shenley’s body is on the gangway; the canton of the flag points towards the assembled men. On one side of the body stand Redburn, Jack Chase, Tawney and Parrie. On the other, the Commodore, the Captain, and the Quartermaster. At the head, the Chaplain reads the rites for the dead.

■ On the gun deck, two old sailors continue to play checkers, pretending the procedure above their heads means nothing to them.

■ Rolling flashback, shot of the remainder of the playbill on the mast, below the cast list.

 

INSERT – PLAYBILL

  

To conclude with the much-admired song

by Charles Dibdin

 

– TOM BOWLING –

 

Sung by The True Yankee Sailor

(in Costume)

 

Patrick Flannigan

 

FADE FROM INSERT – PLAYBILL

 

■ Rolling flashback, shot of the men in the rigging. They watch Patrick on stage.

■ Rolling flashback, shot across the stage from a low angle: Patrick now wears the embroidered jersey, and Jack Chase, Nord and the other cast members stand off to one side – Jack is down to his t-shirt.

■ The Chaplain has finished. Redburn and the Quartermaster step up to grip the head-end of the deathboard.

■ The old men playing checkers on the gun deck become more agitated; they try harder to ignore the funeral.

■ Rolling flashback, close-up shots of Patrick’s face as he sings, and the faces of the audience, who are all near tears.

■ Redburn catches Parrie’s eye. He looks like he is going to go down with his mate.

■ Shot of Peter’s coffin going into the ground. A minister, Redburn, his Mother, and Emily stand by and mourn.

■ Redburn and the Quartermaster use thumbs to pinch one end of the flag tight against the wood. Then, they slowly raise up the head-end of the board. Shenley’s body begins to slide. It slips off entirely, deflating the flag with a wisp of air.

■ At the waterline, the body hits like a slow-motion torpedo. The surface foams, and Shenley bobs up a moment, before settling and beginning to sink.

■ On the gun deck, one of the old men uses his whole arm to sweep the checkerboard clean in a frothing fury.

■ Shenley slowly twists and sinks in the inky blue. A supporting cloud of champagne bubbles surrounds him as he goes deeper and deeper.

■ From within Peter’s grave, a view looks up to see his family lean over, and toss in handfuls of dirt.

■ Redburn and the Quartermaster fold the flag in unison. Tucked into a neat triangle, the Quartermaster takes it, but pauses as Redburn gestures towards Parrie. The Quartermaster gives a quick glance to the Captain, who nods. The Quartermaster strides up to Parrie. He comes to attention, salutes and holds the flag out. Parrie takes it with tearful pride.

■ Rolling flashback, shot of the men in the rigging watching Patrick.

■ Rolling flashback, close-up shot of the men in the audience crying as Patrick nears the end of his song, and of Patrick’s face on the final bar.

 

END ‘SWEEP THE CHECKERBOARD CLEAN’ MONTAGE.

 

[Part 8 – V: The Dove]

INT. GUN DECK OF THE NEVERSINK – DAY

WULU and REDBURN stroll arm-in-arm. They chat peacefully.

 

WULU

I have learned much on this ship, much of your beliefs.

(in POLYNESIAN with subtitles)

Well, White-Jacket, do you know the story of Noah?

 

REDBURN

(in POLYNESIAN with subtitles)

Who among my people doesn’t? But tell me, as a Polynesian, what message do you derive from the plight of Noah on his ship?

 

WULU

‘Ark,’ is it not? A vessel to carry forth the godhead, or to rescue the divine: sometime across waters, sometimes across the heavens. Yes, that man had an ark to carry himself, his family and the purity of the world’s gifts of Nature.

 

REDBURN

So you know the story well, brother.

(chuckles)

But what bearing does it have to the Neversink, and to you and me?

 

WULU

(in POLYNESIAN with subtitles)

Your white jacket speaks of the tale loud

and clear.

 

REDBURN

It does?

 

WULU

I ask you this, as the waters receded, what animal did Noah send forth to see if the world had yet been redeemed?

 

REDBURN

A white dove.

 

WULU

No, sailor, he did not. He sent forth a raven. A black-souled sacrifice to the ravaged plain of God’s revenge, and the bird was taken as a sign that man’s blackness of purpose was cast away from the ark and its purity.

 

REDBURN

Then Noah sent the dove.

 

WULU

The white dove is the symbol of peace, and of the goodness that was saved in mankind upon the ark. And the white bird returned with the olive branch. So too may your white jacket be a sign of God’s forgiveness on the rest of us.

 

[Part 8 – VI: The Narrows]

EXT. MAINMAST TOP OF THE NEVERSINK – TWILIGHT

A high shot shows the ship a mile or so from entering New York Harbor. Seabirds and their happy cries crisscross the green hills of The Narrows. The shot flies in, and settles on JACK CHASE and REDBURN in the top. They stand with hands on the rope ladder that goes farther up the mainmast, and have their eyes glint with the fire of the receding sun in front of them.

 

JACK CHASE

(RECITES)

”Leave the ship still on the sea –

Dip her flukes in the impatient waves –

With home still out of sight;

Leave her brooding on the face of the deep,

For I love an indefinite –

A background as vast and heaving

As a mysterious, and receding past.”

 

REDBURN

I will never forget you, Jack Chase: my matchless Captain of the Top. Someday I will write a book in your honor – you’ll see – hell, maybe I’ll even conjure two books in tribute to you. Please mark my words. ^[15]

 

The men watch New York, and her world of people, sail towards their insular man-of-war.

 

 

BEGIN ‘FINAL SLICE OF LIFE’ SERIES OF SHOTS:

A) As the final voiceover starts, the angle from the mainmast perch descends to wander gently into the private nooks and corners of a ship whose crew is about twelve hours from discharge. There is a feeling of anticipation, and of wistful fear that this might be as good as it gets, and will never be bettered. On the gun deck, lovebirds Lemsford and Nord stroll arm-in-arm. Around them, barbers ply their trades, and as they pass a smiling Colbrook, he doffs his hat in their honor. But, after they have passed, the Corporal looks unspeakably sad and alone.

 

REDBURN (V.O.)

Leave the ship still on the sea indeed – but, to a quiet, contemplative character, adverse to uproar and useless confusion, nothing can seem more distressing than the proceedings of a man-of-war. Yet we noble watch of the top were brothers, one and all, and we loaned ourselves to each other with all the freedom of the world.

 

Wulu dresses the lonely Commodore.

C) In the Captain’s cabin, Claret hands Bland’s badge back to him. The men hug with the strong emotions of a second chance.

D) In his bedroom at home, Redburn unwraps a brown-paper parcel. Letting the paper fall away from his hands, he holds a book. His fingers trace over embossed gold letters: ”TYPEE.” He goes to his dresser, raises the book to his lips, like he had done countless times with Toby’s picture, and kisses it. He arranges the book to stand before his mirror with The Greenlander’s scarf, and with Queequeg’s Yojo.

 

REDBURN (CONT’D – V.O.)

My detestable white jacket, sewn in acrimonious tears, had served its purpose, and perhaps Wulu was right after all. It absorbed all the hate and malice of a man at war with himself and burdened with a chip on his shoulder. It became soiled with my inner plight, and seemed to grow dim as my own soul could come closer to the light. It demanded to know of me, was I to be the jaded man who cast shadows from his eyes on all he surveyed? I assured it, no.

 

E) Pelican has a handsome young sailor in his office. He closes the door, and pulls the blinds closed with a snap.

F) In the forehold, Mr. Pert is bent over a bale. He grips it in rapture as Shakings pounds him from behind.

 

REDBURN (CONT’D – V.O.)

Yes, we common men of the Neversink held no superstitions, and the dogma of ‘evil’ had not laid its withering touch upon our hearts through uncharitable and unchristian shrinkings. No – expansion was the way forward, for one and all.

 

G) Rosewater, Mayday and Sunshine clean their respective cauldrons with shared smiles, sweat, and song.

H) Tawney polishes Blass Bess. He pauses, looks out over the bulwarks and remembers all those who have perished on this ship.

 

REDBURN (CONT’D – V.O.)

I used to hold myself aloof – my acquaintances few, my intimates, fewer still – yet, to tell the truth, it is quite impossible to live with five hundred men and not feel a common thread binding you to them. We are all under lock and key; all employed at shared tasks; all in common clothes – and all yearning wordlessly as we grasp – so that it was then I felt a fellow-feeling. Affection grounded, I have no doubt, in love.

 

I) In the top, Redburn rips off the white jacket and flings it with all his might away from the ship. It sails through the crimson air like a stricken seagull, and spins a slow rotation down to the water. It settles. The ship sails away, and leaves it bobbing as if only a petal on a lake top.

J) The white jacket sinks in slow motion through a pillow of champagne bubbles.

 

REDBURN (CONT’D – V.O.)

I tossed the jacket; let it sink with all my enmity. I let it die in my place as holy sacrifice to the great gods that I might live spotless again. For as this man-of-war sails through the sea, so this Earth sails through space. We are but one craft in the Milky Way, and the port we set from is ever astern. Our destination is a matter for sealed orders, but our final haven was predestinated ere we slipped the stocks of creation. We are repositors of that select pact. There are no mysteries outside of ourselves; glance fore and aft, our crew musters millions of souls, and from the least ills no being can save another. We must be our own savior, and as for the rest, let us not turn our guns inboard. Though long ages should elapse – with our wrongs unaddressed – shipmates of the world, let us never forget:

 

‘Whoever affronts, whate’er may surround,

Life’s but a voyage, that is homeward bound.’

END ‘FINAL SLICE OF LIFE’ SERIES OF SHOTS.

 

END CREDITS.

 

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