PIERRE and the AMBIGUITIES – A Filmscript - 9. Part 9 – Dangerous Man & Part 10 – Finale

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[Part 9 – Dangerous Man – I: Revealing]

 

INSERT ROLLING SHOTS OF ‘BAD PRESS’ ABOUT ”MOBY-DICK”:

 

■ Winthrop’s Fish Tale a Wicked Book!”

■ ”Lost his MIND!”

■ Filthy!”

■ ”Morally Bankrupt!”

■ ”Guy Winthrop Disgraces Himself with

Whale of a bad book”

 

END ROLLING SHOTS OF ‘BAD PRESS’ ABOUT "MOBY-DICK".

 

INT. REDBURN’S COUNTRY HOME, PARLOR – DAY

REDBURN paces nervously. SARA and EMILY sit in the bay window trading pages of the ”Pierre” manuscript. They look horrified.

 

EMILY

You can’t publish this. It’s too…too, revealing!

 

SARA

What are you trying to say to the world?

 

EMILY

Already Moby-Dick is making people question if you are in your right mind.

 

REDBURN

(angry)

I will – I must write the truth!

 

SARA

My father is a dangerous man—

 

REDBURN

So?! I am too – all men scorned, belittled, dismissed summarily for a basic aspect of themselves that is noble and pure are indigent of an ignorant society that scoffs at and suppresses them for it.

 

The women slowly exchange a look at says clear as day: they are more concerned than ever.

 

[Part 9 – II: Lucy at Work]

INT. PIERRE’S KITCHEN – MORNING

PIERRE and ISABELLE sit on one side of the table, while LUCY, with a large coffee cup, sits on the other. She cradles the coffee to her lips and tries not to be too obvious as she inspects the couple.

 

LUCY

Superior coffee, as always, Isabelle.

 

ISABELLE

Thank you.

 

PIERRE

(to Lucy)

What will you do today?

 

LUCY

Paint. Do you think I can get ten dollars for my paintings?

 

Isabelle and Pierre share a near-laughing moment.

 

ISABELLE

No one around here has a spare ten dollars.

 

PIERRE

I suspect a fair price for your art is about three dollars, that’s what other artist who live in ‘The Apostles’ can generally get, and now you are one of us.

 

For some reason this innocent remark appears to make Isabelle stiffen with jealousy.

 

PIERRE (CONT’D)

You haven’t eaten, Lucy.

 

He pushes his plate, with a half-consumed slice of toast on it, towards Lucy.

 

LUCY

Oh, I eat ever so much. When I am selling my work, I will contribute to our table, and not only take from it.

 

Lucy rises; places her cup in the side table.

 

LUCY (CONT’D)

Thank you again, Isabelle.

 

Isabelle nods. Lucy goes to her room, which is a new fourth room, right off the kitchen. Isabelle acts odd. Her hand lingers at her breast, and her eyes lock on Pierre.

 

PIERRE

(half jokes – gesturing to her bosom)

Something deadly there concealed?

 

ISABELLE

I will get money as well. I will sell my hair, or take in sewing – anything to help you too, Pierre.

 

Isabelle reaches out with both hands to grab his fingers. Pierre shushes her, casts a nervous glance at Lucy’s open door, and pulls his hands away. Isabelle rises indignantly. She yells nearing Lucy’s door.

 

ISABELLE (CONT’D)

Look here, Lucy! Here is the strangest of husbands – one fearful of being seen touching his wife!

 

From Isabelle’s POV, Lucy is sitting at her easel, the back of which is facing us. She is already working. Pierre rises and gently tugs Isabelle from the doorway, then closes the door, but it does not latch.

 

PIERRE

(holding her)

What ails you, dear Isabelle?

 

ISABELLE

Wife.

 

PIERRE

Dear wife.

 

ISABELLE

Such sweet syllables drop warmly from thy lips, yet fall through an interceding zone where they freeze on the way…

(she pushes back on him)

…And land like ice pellets on my heart.

 

PIERRE

You have no reason to be jealous of Lucy.

 

ISABELLE

I know who she is to you.

 

PIERRE

Do you?

 

Pierre is overcome with lust, and grabs onto her face. He kisses her with unbridled passion. Isabelle maneuvers him backwards to Lucy’s door. As Pierre carnality grows hotter and hotter, Isabelle pushes open the door, and turns her head to see Lucy watching them. From Isabelle’s POV – Lucy is stricken, but remains seated and observing calmly. She lifts her brush and begins to paint what she sees.

 

[Part 9 – III: Family Intervention]

INT. REDBURN PARLOR – DAY

The usual soft seating has been cleared away. Instead, a circle of wooden chairs rounds the room. At the head, in the bay window, sits REVEREND GORANSON. Next to him on his right are SARA and EMILY; Redburn’s MOTHER sits to his left. The rest of the circle is filled with older relatives of Sara and Redburn. REDBURN, alone, stands in the circle’s center. He rotates within it and feels waves of pity and disgust coming off of the old people.

 

REDBURN

What is going on? Sara? Emily!

 

SARA

I….

 

REV. GORANSON

We are here to help you. You are treading on dangerous ground, and perhaps – just perhaps – you do so unawares.

 

REDBURN

I do not understand.

 

REV. GORANSON

Perhaps – now that you have a wife – it is time to put away childish things, and spake like a man. This writing of yours—

 

SARA

Father, do not dismiss—

 

REV. GORANSON

I am speaking, daughter. You will have the chance to agree or not at an appropriate time.

(to Redburn)

This Moby-Dick is a repulsive book, what with the unseemly mixing of the races, and what’s more, I have it on the best of authority that the themes of your current book are too horrible to mention.

 

Redburn passes a withering look between Sara and Emily. While doing so, his eye catches sight of his father’s gaze from the portrait above the fireplace.

 

REV. GORANSON (CONT’D)

Well, what do you have to say?

 

REDBURN

My work speaks for itself.

 

REV. GORANSON

Yes. That is the issue – it speaks vile things that even madmen deem best kept in the recesses of a darkened closet.

 

REDBURN

With all due respect, Father-in-law, you do not know what it is to go to sea – the freedom, the camaraderie, and, yes – the love – that too. What is wrong with writing about the truth?

 

REV. GORANSON

Writing about men holding hands in buckets of sperm?!

 

The ladies gasp.

 

REV. GORANSON (CONT’D)

Is that ‘the truth’ you speak of!

 

REDBURN

Reverend, it is not my place to call you a crude man; it is not my duty to point out that there is much you do not understand; or to wish that you would allow empathy to enter you, but I can tell you this: Moby-Dick is about humanity. It is about our deepest hope and love for one another.

 

While Redburn quotes, flashbacks roll from his picnic with Lepine, their kiss; their meeting in Akker’s parlor; their kiss; and then the sad rejection by both Lepine and Toby at the “Astor’s Gentlemen Restaurant.”

 

REDBURN (CONT’D)

(QUOTES from memory)

”The hour where the first help of humanity fails him, is hard for a man – when he, learning that mankind holds his obscurity and indigence as a sign that he is no better than a dog. That is a hard hour, but not the hardest. Worse is the quiet hour of the morning where Nature in all Her heartless glory peers in on his abject littleness, and laughs. The worst hour is when a man learns that the gods likewise despise him.”

 

Redburn snaps out of it – realizing he has been looking at his father’s portrait. He refocuses on his father-in-law, and the other members of the intervention as well.

 

REDBURN (CONT’D)

In my book, Ahab’s humanity is drawn out of him, and he refuses every lifeline tossed to him by Pip and Starbuck – thus he dooms them all. The white whale shadows forth the complete lack of love that Nature has to Man’s existence. Only our love for one another stalls her drive for our annihilation. So, the poor man realizes these two realities in two separate moments; he feels his cruel stepmother let loose of his soul – with tottering hands – and so fall he must.

           

REV. GORANSON

The consensus of this family circle is that you must give up writing.

 

There is disquiet – obviously not all agree.

 

REV. GORANSON (CONT’D)

We will use our connections with The Administration to get you a consular appointment, somewhere in Europe, until this mess of yours is forgotten.

 

REDBURN

(soft)

No.

 

The reverend rises, and with slow-motion menace, approaches Redburn.

 

REV. GORANSON

Forget you ever wrote such trash as Moby-Dick.

 

REDBURN

I will not.

 

The reverend raises his voice; circling the crowd with finger-pointing at Redburn.

 

REV. GORANSON

People are calling him a sodomite! You don’t want that in the family! Who in the middle of the 19th Century writes that one man can form a bond with another man that equals marriage? No one, because it’s preposterous!

 

He stalks up and stops with his mouth close to Redburn’s ear.

 

REV. GORANSON (CONT’D)

You are diseased – you need medical attention, and it will be easy to put you away.

 

Unseen by the two men, Sara rises in slow grandeur.

 

SARA

That’s enough! Guy is not diseased; he is not ill; he is awake and healthier than most. He needs no ‘medicine,’ needs no cure. And you, Father, shall not say that he does, for if you do in public or in private ever again, I will renounce you, name your ‘unfortunate,’ and bring shame on your name.

 

The Reverend instantly deflates; he goes ashen.

 

SARA (CONT’D)

Do not think I’ll hesitate to do it either. As for my fidelity, have no doubt that it lies rock-solid with Guy over your cold, little heart, Father.

 

She strides up to Redburn and takes him by the wrist. She pulls him towards the door. Everyone stands in awe-struck quiet.

 

SARA (CONT’D)

Come, Guy; let’s go. Their plans for you are not near as important as your plans for you.

 

She parts the circle, and moves towards the hall and open front door. Emily quickly trails after them as they exit the house.

 

REV. GORANSON

(contrite and scared)

Sara, don’t go, please….

 

EXT. FRONT LAWN

REDBURN, SARA and EMILY meet up and celebrate with a hug. They form a slow-moving circle of admiration that mirrors the opening shot on Slide Mountain. The motion ceases; Redburn admires the love he sees, and resolves to make them happy. He slowly places his hands on Sara’s belly. Sara does not get it, but Emily smiles and hugs her brother through her newborn tears.

 

[Part 10 – Finale – I: Pierre Climax]

INT. PIERRE’S ROOM – DAY

PIERRE sits slouched on his chair. His elbow is on the desk; his hand is at his forehead as if in pain. ISABELLE sits on the cot nearby. She has a clipboard and pen; stacks of proof sheets are by her side. She is making dictated corrections. As Isabelle reads, Pierre notices the flute player is in the belfry. Soon MUSIC fills the background. It’s the original Bach melody, only this time it’s led by a mystical FLUTE which does not fight the guitar. ^[13]

 

ISABELLE

(READS)

‘As he feels his humanity’—

 

PIERRE

‘Felt.’

 

ISABELLE

(writes and repeats)

‘As he felt his humanity let go of his hand, he clung to his book as if a grasp on the divine. But, as days, weeks and months went by, he perceived that too was a falsehood.’

 

PIERRE

Change ‘a falsehood’ to ‘fallacy.’

 

She writes, and in the pause, Pierre is affected by the flute melody. He then notices PLONTINUS PLINLIMMON watches Pierre with cold disdain from his apartment window.

 

PIERRE (CONT’D)

(despondent)

Oh, Isabelle, I despair that the book

is a failure.

 

She lays a hand on his arm, which jolts him.

 

ISABELLE

Dear one, then set it aside! Open that trunk of yours and publish your old work. We need money!

 

Pierre rises from his chair in a slow-growing, slack-jawed rage.

 

PIERRE

What?!

 

ISABELLE

Give up on this foolishness—

 

Pierre violently yanks Isabelle to her feet, causing the board, paper and pen to crash to the floor. He forcefully yells in her face, and shakes her by the arms.

 

PIERRE

I demand to know if you have lost faith

in me!

 

ISABELLE

(cries)

Pierre, stop. Please, don’t do this.

 

PIERRE

Just tell me if you’ve turned Judas to me!

 

ISABELLE

Pierre! I am pregnant.

 

Instantly, Pierre lets go. He stumbles back away from her, half tripping on his chair.

 

ISABELLE (CONT’D)

(through sobs)

What will we do?

 

In Pierre’s shock and horror, he thinks he hears Plontinus CACKLE, which bleeds into the FLUTE. Isabelle crumples to the floor. LUCY comes rushing in and kneels to scoop the other woman’s head into her lap. Pierre ignores the scene, rushes to and rips open his door to the loggia. He leaves the women without a word.

 

EXT. LOGGIA

PIERRE stalks towards the belfry with menacing purpose; he keeps his eye on PLONTINUS PLINLIMMON at his window. As he passes the stairs coming up from below, CHARLIE bounds up them. Pierre does not acknowledge him.

 

CHARLIE

(calls out)

Old Boy, just who I need to see….

 

Pierre gets to the tower door and enters.

 

INT. TOWER STAIRWELL

PIERRE gets up to Plontinus’ door; he kicks it in.

 

INT. PLONTINUS PLINLIMMON’S APARTMENT

PLONTINUS PLINLIMMON, still at his window, only pauses with a shit-eating grin as PIERRE rushes up and pins the man against the wall.

 

PIERRE

(spits with rage)

What?! What do you see when you look

at me?

 

PLINLIMMON

(slow-motion chuckle)

I see, nothing. Nothing at all but an

ordinary man.

 

Pierre draws back his fist to punch, but CHARLIE grabs it, and pulls Pierre off of the other man. Pierre spins around for a second to attack Charlie, but then realizes who it is.

 

CHARLIE

(soft)

It’s enough. Let’s go.

 

Pierre turns and walks vigorously out of the room.

 

EXT. LOGGIA

PIERRE is walking back to his apartment, still fuming. He ignores the calls from CHARLIE who is behind him trying to catch up.

 

CHARLIE

Wait! I have to tell you something. Wait!

 

Charlie runs up uses his full forearm to pin Pierre against the wall. Pierre acts like he is surprised and still in a dream. As he speaks, Charlie slowly begins to cry. He grabs Pierre’s chin and forces him to hold his gaze.

 

CHARLIE (CONT’D)

I have been a bad friend to you; I have let you slip too far, but it is time you wake up! I was tipped off by a friend at the police station: Glen is coming with a posse to forcibly take Lucy back. He talks about exposing ‘your crime.’ You must take the girls and flee.

 

He loosens his hold, stands back and digs out a roll of cash. He places this in Pierre’s pocket.

 

CHARLIE (CONT’D)

I will forward your things later. Just go now.

 

Pierre’s hand slowly goes to Charlie’s cheek.

 

PIERRE

Your love, Charlie, is better than mine. The God who made you was better and more compassionate than the God who made the rest of us.

 

He wipes Charlie’s tears with his thumbs, then draws him in for a tender kiss.

 

CHARLIE

My old companion – my schoolmate, then playmate, and finally, my soul mate – our sweet boy-walks in the woods seem a lifetime ago. If I could have redeemed you, dear friend, I would have warned you of your too moody ways.

 

Charlie chuckles.

 

CHARLIE (CONT’D)

But, you never would have listened. Yet, what innocence still rests upon your lips, my companion. Flee; it is not too late.

 

Pierre kisses him one last time, thanking him wordlessly.

 

EXT. DOOR TO KITCHEN

From PIERRE’s POV, he enters the kitchen.

 

INT. LUCY’S ROOM

As seen through the open door to the kitchen, PIERRE pauses. Then he slowly enters and walks behind the easel. The work on it is covered with a cloth, which is nothing more than a thin veil. He sees an odd form under it. Slowly, he draws down the fabric and is confronted with a ghastly portrait of himself. Loud, discordant MUSIC sounds. ^[14] The painting is like Lucy’s earlier one of Pierre in angle, pose, lighting, etc. But now Pierre is a shadow of himself – gaunt, ghost-like with hollow eyes. The young man is horrified, backs away with open mouth, for he is seeing the portrait of a corpse. ^[15]

 

[Part 10 – II: Toby’s Second Letter]

INT. REDBURN’S COUNTRY HOME, BEDROOM – DAY

REDBURN sits at his desk frantically writing “Pierre.” Suddenly, SARA is there. She stands by his side with a brown-paper-wrapped box about the size of a letter and tied with jute. An envelope is tucked under the twine on top. Redburn looks up from the package to her.

 

SARA

This just arrived for you, dear.

 

Redburn takes it, and Sara kisses his forehead. She exits, and Redburn stands, pulling out the letter. He reads the name from the back and sighs. He moves to the window where he can read it in better light. The MUSIC of the Renslow and Redburn love theme slowly returns while he reads. ^[16]

 

TOBY (V.O.)

My dearest Redburn, My wife was delivered of a healthy baby boy – our first – and because she knows of my deep feelings for you, we have decided to name my son ‘Guy Winthrop Browne.’ So now a skeptical world will always know and be forced to remember our love was real.

 

Redburn can hardly continue as his tears flow freely.

 

TOBY (CONT’D – V.O.)

And, I offer a second proof of that love, Tommo. I hope you will accept it. It is in the attached package. Yours, forever, Toby.

 

Redburn opens the box, and nestled amongst the excelsior is a photograph case. Redburn pulls it out, and opens it. It is a formal portrait of Toby sitting in a chair. Redburn closes the case and brings it up slowly to his lips. With new energy, he sets the open photo on his desk, sits and picks up his pen. Over his shoulder, we watch him write.

 

INSERT – “PIERRE” QUOTE:

 

"Pierre went to the door and told the women to pack."

 

FADE FROM INSERT – “PIERRE” QUOTE.

 

[Part 10 – III: Ship Scene with Final Voiceover]

EXT. SIDE OF SHIP – DAY

The MUSIC from the previous scene blends with SOUNDS of the sea: anchors being hoisted, seagulls, the voices of sailors. From the outside of the railings, a moving shot comes in to rest on PIERRE standing between LUCY and ISABELLE. Taking in the fresh air, their spirits all seem to be lifting.

 

EXT. OVERHEAD SHOT

The ship sails towards the exit of New York harbor, and the freedom of the open ocean beyond.

 

EXT. DECK OF SHIP

During the following voiceover, the three grow closer and seem content. Shots of the natural world, cut with images of full sails, sunshine in the rigging, and happy, barefoot young sailors complete the liberating sense the three feel. At last, PIERRE puts his hand on ISABELLE’S belly.

 

REDBURN (V.O.)

Doubts come running up like clasping waves upon the strand; upon the seashore of the most latent secrets and ambiguities of a person’s soul, for when the substance is gone, men cling to the retreating riptide of shadows. Yet, knowing about his condition does not allow one to change it. For in our tremendous exertions, human souls are like drowning men – well enough they know they are in peril; well enough they know the reason for that danger – but the sea is the sea, and drowning men must drown. But there is reprieve. There is escape. I have sat on the land’s saddle until I am weary. We should be ready to vault to the saddle of the sea, and race it around the globe to try and catch the sun. When one is too sick and dizzy of the land, and the oppressive world of it, go ye down to the wharf, and take a ship to your freedom. For on the sea is escape, and in escape, is happiness.

 

[Part 10 – IV: Denouement; Handholding]

EXT. BULWARKS OF A SHIP – DAY

The MUSIC from the previous scene tails off into silence. The day is different from the last one – now there are cotton-candy clouds in a blue sky. The ship looks cleaner and better maintained. Only the SOUNDS of happy sailors and the whitecaps washing along the bows come up. REDBURN stands between EMILY and SARA. They are in traveling clothes.

 

EXT. DECK OF SHIP

They turn, and SARA has a prominent baby-bump. REDBURN lovingly places his hand on it; Sara smiles. Some SAILORS pass, and one catches Redburn’s eye with a rakish wink. Redburn takes EMILY’S hand and places it in Sara’s. The women move closer together in contentedness and rest their heads together. Redburn strolls a few paces along the deck near the railing, and watches the Sailors gather in a small group up ahead; one of whom pulls out a squeezebox. Redburn unaccountably, but smoothly, glides into wordless position next to a well-dressed man leaning on the railing. He bumps shoulders with him, an untamed smile coming to his face, and RENSLOW LEPINE turns to him with a matchingly contented grin of his own. The Sailors begin to clap a beat, and the musician plays the same Bach gigue as Dutchie played in the first screenplay of the series. ^[17] Redburn and Lepine watch for a bit, then Lepine takes Redburn’s hand and holds it. In another moment, Lepine has his hand on Redburn’s cheek and is drawing him into a kiss, one that is tender and beautifully passionate.

 

LEPINE

To the sea, brother. To the sea!

 

A PANNING SHOT

From the exterior of the railings, shows Redburn and Lepine leaning over it and holding hands. The shot draws back to show Emily and Sara doing the same next to them. A bit farther still, sailors are dancing. Then up and back to a flying shot of the ship sailing towards the Narrows and the exit of New York harbor. Sparkling seas and freedom lie on the other side.

 

DISSOLVE TO:

CLOSING CARD:

 

“THE END”

 

[Part 10 – V: End Credits]

The JIG plays out to its happy and raucous conclusion, and then, while the credits fade in, darkness appears and the concluding SONG “In Joy and Pain Alike” is performed.

 

“The vehicle chosen for every

Ambiguity’s a smile;

It is through love or hate a decree,

Artifice meant to beguile.

This deceiving expression appears

When hatching some nicety,

Only just gratifying our fears

That we mask our gravity.

 

See sights unfold before the wary

As a little figure meant to show

Atop a rotating platform

First this limb, then one below,

Each side moved in sunlight most warm,

So do pivoted souls rotate

Under emotional variance

For when turned by the hand of fate,

No truth finds it ever must convince,

And lies alone never vary.

 

So when we are cracking from heartbreak,

Despite any pose you strike,

The pretense tried to hide inborne ache

And breaks in joy and pain alike.

The vehicle chosen for every

Ambiguity’s a smile;

It is through love or hate a decree,

Artifice meant to beguile.”

_