MOBY-DICK – Revenge and Redemption – A Filmscript - 2. Part 2 – Coffin and Cross & Part 3 – Ink on His Face

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[Part 2 – Coffin and Cross – I: First Universal Church]

EXT. DOCKS AT VALPARAISO, BELOW THE PEQUOD – NOON

QUEEQUEG carries his harpoon with a coil of line wrapped over his shoulder. His top hat is in place. As he and REDBURN approach the gangplank, FLASK hovers above them on the deck. As they mount it, Flask’s wry smile lights up to see them.

 

EXT. MAIN DECK OF THE PEQUOD

FLASK stands akimbo near the gangplank. QUEEQUEG and REDBURN stop. DAGGOO and TASHEGO are caulking a loose whale tooth on the gunwales. Both are in their mid-twenties: Daggoo a tall Black man with an impressive build, ^[10] and Tashego is a strikingly handsome Native American ^[11] – both have the junior-officer rank of Harpooner. Meanwhile, STUBBS and STARBUCK are conferring by the teepee within sight.

 

FLASK

And where do you think you’re going, matey?

 

Redburn looks to Queequeg, and both smile to recognize a fellow “Spouter Inn” lodger.

 

REDBURN

Flask, isn’t it?

 

FLASK

(puffs up)

You mean, officer, Mr. Flask, Third Mate of

the Pequod of Nantucket.

 

Redburn and Queequeg try to move towards the teepee. Flask jocularly blocks them, knowing Stubbs and Starbuck can hear. Daggoo and Tashego stop and come close to watch.

 

FLASK (CONT’D)

Be advised, if ye think to ship with us, we let no ‘heathens’ on board this craft.

 

Redburn goes up close to him, then turns Flask by the shoulders to face Daggoo and Tashego.

 

REDBURN

Oh, really?!

 

Daggoo and Tashego laugh.

 

FLASK

Not until they’ve produced their papers.

 

There is something about Flask’s brusque humor that is stroking Queequeg the wrong way.

 

FLASK (CONT’D)

I’m surprised at you…

(winks at Queequeg)

…That you’d willingly associate with a known cannibal.

 

REDBURN

His diet around here, or indeed aboard ship, is the same as yours, I presume.

 

Flask eyes Stubbs and Starbuck coming to them with

broad grins.

 

FLASK

Pshaw! Says you! A very devil of a thing…

 

Flask strides akimbo around Queequeg; his eyes lingering on his backside.

 

FLASK (CONT’D)

…I need to know if he can produce ‘papers,’ showing that he’s been converted.

 

QUEEQUEG

(annoyed – in POLYNESIAN, with subtitles)

What does he want?

 

REDBURN

(in POLYNESIAN, with subtitles)

Bullshit is what he wants. He’s playing.

(to Flask – in ENGLISH)

He’s a true and verified member of the First Universalist Church.

 

FLASK

First ‘universal….’ What! There was never such a thing. Pogue, you are skylarking me.

 

REDBURN

(flashing eyebrows)

Mr. Flask, sir, he belongs to the same ancient congregation to which Stubbs and Starbuck…

(points to Daggoo and Tashego)

…And those fine gentlemen, and Queequeg and I here, and even a king-post little Flask like you belongs – The Great and Everlasting First Universal Church of the Whole Worshipful World. We all belong to that.

(puts his hand on Queequeg’s shoulder)

But, some of us are still closer to the original catechism than others – yet in the grand belief, we all must join hands!

 

STUBBS

(pulls rank)

All right, Flask, true enough, but outlandish a form as any person’s religion may take, as long as it does not insult, rob, jail, torment or kill just because the other won’t believe it too, it’s all right. What is not all right is when it becomes a positive torment to the believer, and makes the world an uncomfortable place for his fellow men to lay their heads.

 

Everyone laughs, but Flask feels Stubbs has missed the joking nature of Flask’s comments. Starbuck comes forward to shut the whole thing down.

 

STARBUCK

(chuckling)

Yes, Stubbs, I think you’d better ship as chaplain instead Second Mate; I never heard a better sermon! And Flask, I say blast your ‘papers.’ Let Quohog, here – or whatever name he has – step forward and test his mettle as the man he is; among equals!

 

FLASK

(not letting it go)

Mr. Starbuck! Don’t you ever think about the End? We have seen precarious times together; the fear of death as brothers. Tell me, when this same Pequod had her masts sheared in that typhoon off Japan last voyage, did I not – did not Stubbs, did not Ahab – aye, and did not you, think of death and judgment then?

 

Starbuck tries to laugh it off, but then grows unaccountably angry.

 

STARBUCK

Hear him. Hear him, now! When every moment we thought the ship would sink – ‘Death and Judgment?’ No – you are mistaken, perhaps in your sin-addled brain; but life, that is what Captain Ahab, and Stubbs and I were thinking of. How to jury-rig masts; how to get into the nearest port; how to save all hands; that is what we were thinking.

 

Starbuck turns, sighs, and motions for Queequeg to come to him.

 

STARBUCK (CONT’D)

Blast the ‘papers.’ I say, Bullfrog, did ye ever stand in the head of a whaleboat? Did you ever strike a fish?

 

Without saying a word, Queequeg calmly takes off his hat and plops it on Redburn’s head. Then he runs like a gazelle and uses a crate on deck to leap into one of the port side whaleboats hanging by its davits. He shrugs the coil of rope off his shoulder, raises his harpoon, and with his free hand points to something off the starboard side.

 

QUEEQUEG

You see that floating weed. If that’s a whale eye, I’ll kill it!

 

Before anyone can turn to look, Queequeg hurls his harpoon like a searing missile, straight across deck – expertly between the rigging – right over Flask’s head, and into the water. As a stunned Daggoo, Tashego, Stubbs and Starbuck lean over the port side bulwarks, Queequeg hauls in the line. A soaked and green chip of wood is impaled on his harpoon.

 

STARBUCK

(slow-animated amazement)

Quick, Stubbs; quick, I say. You, Stubbs! Go get the ship’s papers.

 

As Stubbs jogs off to the teepee, Starbuck goes up to stand by Flask. Flask has taken down his hat to find a slit down the center of it. He’s checking his scalp for the same.

 

STARBUCK (CONT’D)

First Universalist indeed!

(waves for Queequeg to come down)

We must have Hedgehog here for one of

our boats.

 

Queequeg leaps to the deck and Starbuck puts his arm around his shoulder. He walks him back to Redburn.

 

STARBUCK (CONT’D)

Look, ye, Bluffdog, or whatever they call ye, we’ll set you down for the ninetieth lay, and never a harpooner out of Nantucket was granted more. What say ye?

 

Stubbs, with the ship’s ledger, Redburn with Queequeg’s hat, and Flask with his ruined headgear gather to hear the answer. Queequeg coolly resets his top hat, and looks to Redburn for counsel. Redburn purses his lips; and gives a cockeyed nod.

 

QUEEQUEG

We bunk together,

(indicates Redburn)

understand?

 

STARBUCK

(a bit taken back)

I understand that you’re mates—

 

QUEEQUEG

Partners.

 

STARBUCK

Partners, and that’s not mine, or anyone’s business, but harpooners are junior officers. You and Daggoo and Tashego there have quarters next to the cabin; eat in the cabin – sailors,

(points to Redburn)

sleep in the forecastle.

 

QUEEQUEG

Where I bunk, he bunks. Sabe?

 

STARBUCK

I sabe, but it’s not up to me. It’s up to them. What say ye?

 

Starbuck looks to Daggoo and Tashego, who smile and nod at each other.

 

TASHEGO

Well, I suppose there can be no objection if young….

 

REDBURN

Ishmael.

 

TASHEGO

…If young Ishmael here is a ‘harpooner-in-training.’

(flicks at Redburn’s lapel)

 

DAGGOO

That’s right.

(winks at Flask)

 

QUEEQUEG

Oh, I’m training him on how to handle my harpoon; have no doubt about that.

 

Queequeg draws his mate close to him by the waist, causing Redburn to blush.

 

STARBUCK

It’s settled then.

 

Stubbs opens the book; writes.

 

STUBBS

One Queequeg of Valparaiso – ninetieth lay.

(looks up to Redburn)

I guess he don’t know how to sign, does he?

 

REDBURN

(in POLYNESIAN, with subtitles)

Make your mark.

 

Queequeg takes the pen, and in a moment or two, executes a stunning tribal mark that matches his tattoos.

 

REDBURN (CONT’D)

Oh, yes, he does!

             

[Part 2 – II: Just Like Us]

EXT. DOCKS AT VALPARAISO, BELOW THE PEQUOD – TWILIGHT – LATER

REDBURN and QUEEQUEG walk away from the ship. Redburn can feel his partner’s ”Ramadan” bleakness has returned on him (see page 267 below). Redburn tries to smile; rides his arm around Queequeg’s waist as they walk.

 

REDBURN

Do you think this ship meets with Yojo’s approval?

 

QUEEQUEG

It is as it was meant to be – just like us.

 

[Part 2 – III: Counterpane]

INT. “THE SPOUTER INN”, QUEEQUEG’S ROOM – MORNING

As in the same view out the window as last night, sparkling sunlight shows gaily colored buildings marching down to an azure sea. Pulling back into the room, all is as it was at night, but when the close-up of the bed gets to him, REDBURN is seen sleeping peacefully on his left side with QUEEQUEG’s exposed arm thrown over his body. Queequeg’s lower body and legs are tightly pressed against his bedmate under the covers. The counterpane, or bedspread, is a dark red woven coverlet in a geometric pattern. There is a passing likeness between the spread’s patterning and the tattoos on Queequeg’s bronzed arm and shoulder. ^[12] Redburn slowly and blissfully flutters his eyes. His left hand comes out from under the sheets and dreamily caresses the hand embracing him.

 

REDBURN

(sleepily)

…Toby….

 

Redburn’s hand drifts over the roughness and brawn of Queequeg’s forearm, and Redburn rouses more. He rotates his head and sees who his bedfellow is. He draws in a reviving breath of air.

 

REDBURN

Queequeg – wake up.

 

Queequeg grunts and snores with lip-smacks. Redburn turns farther and his cheek hits something cold and sharp. He forces his torso to rotate under the weight of Queequeg’s arm, and his left hand pulls up the tomahawk resting on the pillow between their heads.

 

REDBURN (CONT’D)

(to himself)

Saints alive, a bridegroom clasp, and a hatchet-face baby to boot.

(loud)

Queequeg!

 

Queequeg’s hug tightens – his lower body presses harder and Redburn’s face grows round.

 

REDBURN (CONT’D)

Oh, no. Now I see I’m in bed with a ‘pair’

of tomahawks.

(loud with wriggling)

Queequeg! Awake.

 

Queequeg grunts, then slowly lifts his arm and rolls over onto his back. As he sits up in bed, a hand goes up to scratch his chest, then up to do the same with his topknot. His eyes open and blink unintelligibly towards Redburn. Redburn also sits up, leans back, and the two eye one another a moment. Queequeg seems like he can’t quite remember who he slept with last night, and shakes like a poodle dog to clear his mind. Redburn cracks a lopsided grin.

 

REDBURN (CONT’D)

(in POLYNESIAN, with subtitles)

Good morning.

 

QUEEQUEG

(grunts)

You?

 

REDBURN

(self-conscious)

Yes, me.

 

Queequeg grunts again, then pulls back his half of the covers. He gets up, and now Redburn nearly gasps at the full-light splendor of Queequeg’s naked body, particularly the tattoo-accented muscles of his back, backside and thighs. Queequeg walks to the dresser, scratching here and there, and is completely unconcerned with his lack of attire. He pops his top hat on, and turns to face Redburn akimbo.

 

QUEEQUEG

I’ll get ready first.

 

Redburn nods, unsuccessfully trying not to eye Queequeg’s goodies. Queequeg steps over to his clothes and pulls on his drawers. Meanwhile, Redburn throws back the sheets and sits on the edge of the bed stretching, scratching, and yawning. Queequeg goes to the dresser. He pours water in the wash bowl, wets a cloth and lathers it up.

 

QUEEQUEG (CONT’D)

(in POLYNESIAN, with subtitles)

Sleep well?

 

REDBURN

(amazed – in POLYNESIAN, with subtitles)

Never slept better in my life – or, at least not for a long time.

 

Queequeg bends down to scrub his legs. His eyes turn up into Redburn with frankness.

 

QUEEQUEG

Who’s ‘Toby?’

 

REDBURN

(slack jaw – in POLYNESIAN, with subtitles)

You heard me?

 

QUEEQUEG

You said his name several times in your sleep. What do they call you?

 

REDBURN

You can call me Tommo, but to the others, I’m Ishmael.

 

Queequeg turns, continues to watch Redburn in the mirror, but now scrubs his arms, armpits and chest. His eyes fall on Toby’s picture. He bends down, still washing, to examine it closely.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

Who’s that?

 

REDBURN

My partner, Toby.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

And where is he?

 

REDBURN

Lost, somewhere in the South Pacific. That’s why I’m in Valparaiso. To find a ship restocking, and going back out to the whaling grounds.

 

Queequeg starts to dry himself.

 

QUEEQUEG

Not going home?

 

REDBURN

Not yet.

(in POLYNESIAN, with subtitles)

Your home?

 

QUEEQUEG

Kokovoko – an island near New Zealand.

 

Now Queequeg lathers up his hands and spreads it on his face stubble. He goes to his harpoon and detaches the blade. He returns to the mirror and confidently shaves himself.

 

QUEEQUEG (CONT’D)

(in POLYNESIAN, with subtitles)

And where did you learn to speak my language? You have an accent.

 

REDBURN

(in POLYNESIAN, with subtitles)

In the Marquesas – in the valley of the Typee, on Nukahiva.

 

Queequeg nods.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

Your Toby is handsome.

 

REDBURN

(swallows hard)

Yes. We were together in Typee.

 

Queequeg towels the extra lather off his face – he stops and stares frankly at Redburn in the mirror.

 

QUEEQUEG

And you love him?

 

REDBURN

(after a pause)

More than life itself.

 

Queequeg nods, finishes and goes to his duffle bag. He slips on a red shirt, then white duck trousers. He sits on the bed next to Redburn and begins to pull on his boots; he seems to be addressing them.

 

QUEEQUEG

Men on fool-hardy missions – like the captains that restock here – always look for what they cannot find. Death itself may be the only thing to quiet such a task.

 

Queequeg rises and goes to the door. He opens it, turns and tips his hat to this bedfellow.

 

QUEEQUEG (CONT’D)

Tommo, my friend, feel free to use my ‘razor,’ if you like, and hurry down to breakfast. Sunday mornings, Sal always has beefsteak.

 

Queequeg closes the door behind him. The quiet overtakes Redburn. He tries to focus on Toby’s picture, but is distracted by the sacred statuette standing on the platform of the mirror. He rises and walks to it. He picks it up. It is dense, black, and worn smooth by many generations of hands. ^[13] The features are angular like Queequeg’s tattoos. He sets it down where it was, picks up the harpoon and flicks the honed edge. It is sharper than any razor.

 

INT. “THE SPOUTER INN”, TAPROOM – MORNING – LATER

The tables have been pushed together to form a line down the center of the room. Various SAILORS and FLASK sit and fidget; impatient eyes waft towards QUEEQUEG at the head of the table. He is closest to the bar. REDBURN bounds in, still slipping into his indigo jersey, but once pulled over his head, he pauses to see the sedate scene. All eyes turn to him, and he searches for a vacant chair. Queequeg glances at the man sitting on his right. This man rises and calls Redburn to take his place. The man, who is hungry, goes to the vacant chair, while Redburn slides into the seat at the right hand of his bedfellow.

 

QUEEQUEG

(calling out)

Sal, we’re ready.

 

SAL appears from the kitchen door with two platters of steaming beefsteaks, followed by PETER with bowls of home-fried potatoes and rolls. They set the food down, and stand back. Again all eyes train themselves on Queequeg. He grabs a fork; half stands, and spears two succulent steaks. One he drops on Redburn’s plate, the other, on his own. He nods and sits. The others laugh and dig in. Sal and Peter exchange a knowing grin.

 

[Part 2 – IV: A Day in Town]

EXT. STREETS OF VALPARAISO – DAY – LATER ^[14]

As the title song “Loomings” plays, the sun is shining; the sea is crystal blue. Perfect clouds seem to follow REDBURN and QUEEQUEG as they idle away their Sunday. They pass by brightly painted houses with open doors and playing CHILDREN. Various affluent PEOPLE stroll and stand to chat in Spanish. Many pause and eye so singular a pair; but as the men near the wharf, English and French is heard, and the population turns decidedly SEAMEN. Now sundry ethnicities are seen: Asians, Africans, Lascars, etc. The two frown passing drunk men being pulled into whorehouses.

 

”Memory looms larger with time

What was on the verge, now is seen

More than a rhyme, higher to climb

On the horizon, still and serene.

 

In the loomings are latent dreams

The love in us being made clear

As things to represent the scenes

Of the still light hidden so near.”

    

EXT. STREETS OF VALPARAISO – TWILIGHT – LATER

A tired REDBURN and QUEEQUEG retrace their way through the ‘decent’ part of town. Queequeg gestures to a crucifix on a building’s wall.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

What does that mean again?

 

REDBURN

(in POLYNESIAN, with subtitles)

It means…it is the symbol for a man who sacrificed himself for others.

 

QUEEQUEG

Why?

 

REDBURN

For love.

 

QUEEQUEG

For the one he loved?

 

REDBURN

No, love for mankind; one redemptive act for all of us.

 

They walk on in silence. Soon they pass a casket maker who has his wares displayed leaning upright on the walls outside his shop. Some are fancy; painted black with fabric linings; some are plain, all have a crucifix in the “face” position.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

And these? I’ve heard that people on land want to die in boxes.

 

REDBURN

(in POLYNESIAN, with subtitles)

Coffins – not die in them, but after they are dead, they go into the ground with them.

 

QUEEQUEG

(laughs)

Peter ‘Coffin?’

 

REDBURN

Same name.

 

QUEEQUEG

But why go in the ground in a box?

 

REDBURN

(thinks about it)

People want to believe they will need their bodies when the man of the cross returns.

 

QUEEQUEG

And the sailors buried at sea? Don’t

they need ‘coffins?’

 

REDBURN

Sailors can be redeemed anywhere,

(laughs)

even from between sharks’ teeth!

 

They walk on.

 

[Part 2 – V: Supper and Smoke; The Thawing]

INT. “THE SPOUTER INN”, TAPROOM – NIGHT – LATER

During the following voiceover, there are shots of REDBURN and QUEEQUEG supping together at a private table by the fire – SAL brings out bowls of chowder and bread. Then follow shots of Redburn and Queequeg smoking together – looking into the fire, the noise of the taproom seems to fade into the background, and Redburn allows himself to be more and more drawn in by Queequeg’s magnetism.

 

REDBURN (V.O.)

Polynesians to us may seem strange beings – their physical markings, which to many repel, to me attract – but upon second contemplation, Queequeg’s calm self-collectedness was sublime. For here he was, never consorting, never making friendly advances with the other seamen, yet somehow kindly predisposed to me, in this odd inn, ten-thousand miles as the sail flies from his home, among beings more strange to him than he to us, and yet Queequeg was entirely at his ease; content as none of us are with his own companionship, because unlike any of us, he was always equal company to himself.

 

[Part 2 – VI: Bedtime; Warm and Cold]

INT. “THE SPOUTER INN”, QUEEQUEG’S ROOM – NIGHT – LATER

REDBURN and QUEEQUEG sit up in bed. Both are shirtless. A lamp burns on the candlestand. Queequeg’s tomahawk and tobacco pouch lay on the counterpane between them.

 

REDBURN

Maybe we should put on our monkey jackets – we might get cold.

 

QUEEQUEG

My legs are warm.

 

REDBURN

(shrugs)

Well, what about the rest of us?

 

QUEEQUEG

(frankly holds his gaze)

To enjoy warmth, some small part of you must be cold.

 

Queequeg fingers his tobacco pouch.

 

REDBURN

Peter Coffin said we should take the ferry to Concón tomorrow. Have any other plans?

 

Queequeg shrugs; flicks the honed edge of his tomahawk.

 

QUEEQUEG

Where do you come from?

 

REDBURN

New York state; from a small town on the Hudson. And you? Kokovoko – what of your story? – so far away from home.

 

QUEEQUEG

(thinks about it)

Probably same as yours….

 

Redburn puzzles; tries to draw him out.

 

REDBURN

But, what led you to this spot – this bed, these pair of cold shoulders?

 

QUEEQUEG

I’m the son of a king back home, you probably didn’t know that. About ten years ago – when I was a boy of eighteen – I saw my second whaler touch Kokovoko. A boat out of Sag Harbor, New York. They stayed a week; repairing; restocking. I told my father I wanted to ship, and he said yes, but the Captain said no. But Queequeg had vowed a vow to himself, and to him, vows are life-long commitments. Alone in a canoe I paddled to a strait where the ship must pass. I leapt on the chains, sinking my canoe, and reported on deck for duty. The Captain threatened to toss me over, but I told him that Yojo…

(gestures to his votive figure)

…Had said my destiny was on this ship, even if it only meant to die along its sides. I learned a lot, loved my fellow sailors, but when, after eighteen months we stepped upon Pagan-Christian ground on Long Island, I was horrified to see the loving seamen turn from each other and waste themselves in angry taverns and red-light whores. Since then, I’ve preferred most of my time spent at sea, shipping one passage at a time; looking, finding – but never settling. And your family?

 

REDBURN

Nothing heroic. My father is dead, since I was ten. My older brother raised me as a son. I have a sister; a mother.

 

QUEEQUEG

And Toby. Where did you meet?

 

REDBURN

In New York. He was in a tavern. I was shipping for the first time, at nineteen, and was with my brother. I spoke to him; he told me his name –

(completely serious)

Do you believe in love at first sight?

 

Redburn expects Queequeg to make an advance on his vulnerability. Queequeg only looks sad.

 

QUEEQUEG

And you miss him?

 

REDBURN

As I said, more than anything.

 

Queequeg inhales, and begins to fill his pipe, to Redburn’s consternation.

 

QUEEQUEG

It’s like us, here, now. One part of us warm; one part cold. You can only know one by the contrast of the other: to enjoy warmth, one part of you must be cold. So it is with the heart.

 

Queequeg reaches for the lamp, and Redburn grows pettish.

 

REDBURN

I don’t care for you smoking in bed. You could burn us up! Think of the landlord’s policy of insurance – you could wreck Coffin and Sal.

 

Queequeg inhales deeply, eyes his strange bedfellow and slowly exhales to the rafters. Redburn purses his lips, turns his shoulders, scrunches under the covers and sounds hurt.

 

REDBURN (CONT’D)

Good night.

 

Queequeg’s placid calm is profoundly shaken as he scans the back of Redburn’s head. He sets his pipe on the candlestand. His eyes alight on Yojo a moment, then on Toby’s picture.

 

QUEEQUEG

(quietly, to the flame)

Yes. I do believe in it. I do.

(he blows it out)

 

[Part 2 – VII: Phantom Shove Off]

EXT. DOCKS AT VALPARAISO, BELOW THE PEQUOD – DAWN

A foggy morning pall hangs over the ship on the morning of her departure. REDBURN and QUEEQUEG come trudging into view through the thick air. They wear their coats, and have their bags over their shoulders. From Redburn’s perspective, he sees several shadowy figures start up the Pequod’s gangplank. He stops Queequeg and points.

 

REDBURN

It can’t be, those shadows….

 

QUEEQUEG

What?

 

REDBURN

Didn’t you see them?

 

QUEEQUEG

(peers; annoyed)

No – who; what?

 

REDBURN

(starts to jog)

Come on. She must be breaking away sooner than we thought!

 

INT. FORECASTLE OF THE PEQUOD

A lamp burns overhead. REDBURN and QUEEQUEG survey the space. All the bunks are empty – only ARCHY, a thin and fair mid-forties sailor, is asleep there, stretched flat, face-down across the length of two sea chests butted together. He cradles his head on top of his hands, and snores with soothing regularity.

 

REDBURN

Those sailors we saw – where did they go?

 

QUEEQUEG

Mate, I didn’t see anybody.

 

Redburn gestures down at Archy.

 

REDBURN

Well, we might as well sit up with ‘the body.’

 

Redburn turns to bring the lamp down with him. When he looks back, he sees Queequeg kneading Archy’s backside. Before he can say anything, Queequeg sits on it.

 

REDBURN

Good gracious man, don’t sit there.

 

QUEEQUEG

Why not? It is our country’s custom – makes a pretty good seat.

 

REDBURN

But you might hurt him….

 

QUEEQUEG

Won’t hurt his face a bit.

 

REDBURN

Is that what you call it? His ‘face’?

 

Redburn lifts him up, sits him by Archy’s head.

 

REDBURN (CONT’D)

Let’s smoke.

 

Queequeg gets his pipe out; fills it, and Redburn passes the lamp. Queequeg inhales and passes the pipe back. In a moment, Archy’s snores stop. He smacks his mouth, and sniffs. In another moment, he sits up and turns groggy eyes on his new mates.

 

ARCHY

Ho, who might ye smokers be?

 

REDBURN

(laughs; hands Archy the pipe)

Shipped men – when does she sail?

 

ARCHY

Aye –

(looks more pertly at Queequeg’s bulk)

– Aye – ye sail in her, do ye? She sails today. The Captain came aboard last night.

 

REDBURN

Captain…Ahab?

 

ARCHY

Who else, but him?

 

There are heavy FOOTFALLS on deck.

 

STARBUCK (O.S.)

Where the devil is that Archy?

 

ARCHY

(stands; stretches)

Ho, Starbuck’s astir. He’s a lively chief mate, that. Good man, honest – but all alive now. I must turn to.

 

They all stand, Archy returning the pipe to Queequeg.

 

EXT. MAIN DECK OF THE PEQUOD

As ARCHY, REDBURN and QUEEQUEG appear and move aft, the sky is clearing – sunlight comes through to touch the rigging. STEVEDORES now move about the deck. There is a feeling of anticipatory excitement that Redburn and Queequeg silently share. Archy runs to stand by STARBUCK’s side, but Starbuck, seeing Queequeg, is distracted from what he originally wanted.

 

STARBUCK

Archy, see that our new harpooner and his mate get settled in the harpooners’ cabin.

 

ARCHY

(a light comes on in his head)

Aye, aye.

 

[Part 3 – Ink on His Face – I: The Picnic Basket]

INT. “THE SPOUTER INN”, TAPROOM – MORNING

There’s a repeat of last Sunday morning’s breakfast, only now REDBURN and QUEEQUEG laugh with each other and with the various other SAILORS. SAL and PETER bring out the steaks, etc., and the men eat with relish. Later, Sal brings out a picnic basket covered with a red gingham towel. He fusses over explaining the contents to a befuddled Queequeg, and the Sailors laugh to see such a big man in charge of such delicacies.

 

[Part 3 – II: The Ferry Ride]

EXT. FERRY DOCKS AT VALPARAISO, BELOW EL MUSGO – MORNING

Well-dressed CROWDS mill about waiting to board the ferry. Among the picnickers – families; lovers – a group of rowdy teenage PUNKS generally annoy the rest. Their LEADER is a pimply and jocular youth of about seventeen. REDBURN and QUEEQUEG stand and people-watch, but as more attention is drawn to the picnic basket, Queequeg roughly shoves it into Redburn’s chest.

 

EXT. BOW SECTION OF EL MUSGO – NOON

REDBURN and QUEEQUEG form a jolly pair as the two-mast ferry sails through waters off a lovely coastline. They are leaning on the bulwarks and chatting lowly. Suddenly Redburn is distracted by effeminate “Oohs” and “Ahs” (in SPANISH) coming from behind them. He glances and sees the pack of PUNKS mimicking them behind their backs.

 

REDBURN

(in POLYNESIAN, with subtitles)

Landsmen – As if we two shouldn’t be friends.

 

The LEADER steps close behind Queequeg.

 

LEADER

(in SPANISH, with subtitles)

Look at him! An oaf with ink on his face – But, maybe it’s shit. Maybe it’s from his negro-lover’s ass.

 

The Punks laugh. The CAPTAIN is glad-handing passengers nearby.

 

REDBURN

Don’t let those bumpkins—

 

Redburn has to stop. Queequeg has an intense “let me handle this” look on him. Queequeg stands, stretches and seems totally unconcerned. He begins to stride aft, with Redburn picking up the basket and following. It looks like Queequeg is about to pass the flank of the sneering Leader, but just as he half passes the boy, Queequeg deftly grabs the punk by both arms, somersaults him into the air, and smacks his rump hard in mid-spin, which makes the boy land again on both feet. In doing so, the air bursts from his lungs. Queequeg and Redburn continue aft unconcerned.

 

CAPTAIN

Hello, you! What do you think you are doing? You might have killed him.

 

Nearing the foremast, Redburn and Queequeg turn puzzled eyes on the Captain and the half-laughing crowd.

 

CUT TO:

FORESAIL WEATHER SHEET:

 

The strain on the sail against the full force of the wind is fraying a weak spot on the line holding the boom in place.

 

Queequeg looks dumbfounded to the Captain, then to Redburn. A quick passes between the two.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

What does he say?

 

REDBURN

(smiles – in POLYNESIAN, with subtitles)

He says you are one handsome fellow.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

Tell him to go fuck himself.

 

REDBURN

He says he wants to know if you think your shade of tan is anymore dignified than his deeper hue?

 

The Crowd laughs.

 

CAPTAIN

We were speaking of your…

 

CUT TO:

FORESAIL WEATHER SHEET:

 

The fraying rope spins, splinters; it is ready to break.

 

CAPTAIN (CONT’D)

…Companion’s delinquent behavior.

 

Redburn angrily goes up to the Captain.

 

REDBURN

Delinquent?! That racist punk and his hyena cronies are the delinquents here.

 

There is a terrible SNAP. As if in slow motion, Redburn looks to see the foreboom flying through the air at his and the Captain’s head. He grabs the man and falls to the deck. From here he watches the broom catch the Leader at the waist and sweep him off his feet and over the side. As he stands, Queequeg has already lassoed the end of the spar, and SAILORS rush in to secure it. In a flash Queequeg, whips off his top hat and sails it over frisbee-style to Redburn, whose hands come up to grip it instinctively even though he’s still sitting on the deck. In another flash, Queequeg removes jersey and tee-shirt together and tosses them aside as he leaps on the bulwarks. Redburn scrambles to his feet.

 

REDBURN

No!

 

Queequeg jumps in. As Redburn gets there, he looks down into the waves. Now the ”Turn About!” order (in SPANISH) is given, but Redburn cannot see anyone in the water.

 

EXT. SURFACE OF WATER

The hull of el Musgo moves like a stopping shadow in the background. A moment later, QUEEQUEG’s head bobs up, and then as if lifting a puppy dog, the LEADER’s head is yanked up by the scruff of his neck.

  

[Part 3 – III: The Melting]

 

BEGIN ‘REDBURN’S MELTING’ SERIES OF SHOTS:

 

A) EXT. BOW SECTION OF EL MUSGO – LATE AFTERNOON

 

Under the following voiceover are shots of Queequeg and the Leader wrapped in blankets and leaning against the bulwarks with steaming mugs of tea. Apart from them, Redburn watches as the Leader holds out his hand, and Queequeg takes it heartily.

 

REDBURN (V.O.)

The poor bumpkin was restored, redeemed no doubt, to those on land who loved him. The Captain begged his pardon; and crew and travelers all, said Queequeg trumped the noblest men they had ever heard of. And I – beginning at that moment – I began to want to cling to Queequeg like a common barnacle to the world’s stoutest hulls, or to ‘lean my back against a young oak,’ as the old song has it, like a sailor against a mast.

 

INT. “THE SPOUTER INN”, TAPROOM – NIGHT

 

As the voiceover continues, there is a running series of Redburn and Queequeg at their evening activities: supper at their table (chowder and rolls); quiet glances from Redburn to Queequeg’s hands; a sad look. Queequeg alone at the fireplace, his heels kicked up; he uses his penknife to sharpen some features on Yojo. Redburn at the window watches Queequeg’s face glow in the firelight, and again he lingers on the man’s strong hands.

 

REDBURN (CONT’D – V.O.)

Where we sat together thus closely, but separate, he barely heeded my presence, and I found this waking-hour indifference puzzling – considering how sociably we slept together at night; considering my continual waking to find his affectionate arm thrown over me; his pair of tomahawks speaking top and bottom of his rigid regard for me –

 

Redburn rises and goes as if in a trance to sit next to Queequeg.

 

REDBURN (CONT’D – V.O.)

But now, in this lonely room, the fire burning low, the evening shades gathering in around us to peer at our silent, solitary twain, I began to be sensible of a strange feeling.

 

Queequeg pauses. Without a word, he makes an amused, puzzled question to the pain he sees on Redburn’s face. Slowly, also without a word, Redburn slips his hand into Queequeg’s. Now Queequeg looks sad. He regrips the hand holding his a moment, gently kneading it.

 

QUEEQUEG

Are you ready for me?

 

Redburn nods. Redburn rises and leads Queequeg to stand. The voiceover continues with the following shots:

 

C) INT. “THE SPOUTER INN”, STAIRS

 

REDBURN and QUEEQUEG continue to hold hands as they mount the steps.

 

D) INT. “THE SPOUTER INN”, QUEEQUEG’S ROOM

 

The door opens. Redburn comes in and waits. Queequeg follows and closes the door. Afterwards, he turns his whole body into a passionate kiss, grabbing the back of Redburn’s head and neck. Redburn forces a pause, lovingly removes Queequeg’s top hat, then resumes kissing him as he undresses his lover with eager, roaming hands.

 

REDBURN (CONT’D – V.O.)

I felt a melting in me. No more my splintered heart would madden itself against the wolfish world. This soothing man had redeemed it.

 

Shots of Queequeg being slowly lowered, facedown, onto the top of the counterpane. Redburn’s arm is supporting him around the neck, his hand reaching under and locking on Queequeg’s shoulder from underneath. Redburn’s face lowers behind the back of Queequeg’s head. There is slow thrusting and Queequeg’s features turns rhapsodic; his hand goes up to the side of Redburn’s face.

 

REDBURN (CONT’D – V.O.)

His very stoicism speaks of a pure nature in which no ‘civilized’ hypocrisies lurked, no bland deceits, nor glaring excuses, only heart-felt loves and dislikes, and me he liked, nay – me he loved purely.

 

Shots of the flip-flop: Queequeg supports Redburn’s torso being laid face down on the now rumpled bedspread. Queequeg’s smile lingers behind Redburn as they descend, a kiss leading the way, but Redburn half twists his upper torso and throws his arm around Queequeg’s neck. There is slow thrusting; a pained, then thrilled expression shudders across Redburn’s face. Queequeg kisses that look in passioned ardor.

 

REDBURN (CONT’D – V.O.)

Wild he is – a very sight to see – yet, I began to feel myself mysteriously drawn to him, and those features that would repel ‘decent’ others, were the magnets drawing my soul into his. ‘Yes,’ thought I, ‘since “Christian kindness” had proved but damning self-judgment, I would give myself over to loving “pagan” friendship, for Queequeg is the noblest man I have ever known, and his timbers are my heart of oak.’

 

END ‘REDBURN’S MELTING’ SERIES OF SHOTS.

 

 

[Part 3 – IV: The Mark of Cain]

EXT. FOREDECK OF THE PEQUOD – DAWN

REDBURN, ARCHY and CABAÇO idly coil rope and watch the gray light of dawn come up to the stern of the ship.

     

REDBURN

Our second full day, Cabaço, with the dawn to our aft. It still seems to promise a gloom-filled morning.

 

CABAÇO

With a fair wind, our ship rushes on.

 

Archy exaggerates the ship’s bounce.

 

ARCHY

Aye, with a vindictive sort of melancholy leaping up and down.

 

Redburn stops work; stands akimbo.

 

REDBURN

You know, I still haven’t laid eyes on Ahab.

(Cabaço and Archy exchange nervous glances)

Well, I know about the one leg….

 

ARCHY

And the mark?

 

REDBURN

What mark?

 

ARCHY

(sneers)

A lightning streak – runs from his forehead, and though I’ve not seen it, Dough Boy his Steward assures me, it runs down his flank and off his big toe.

 

Redburn can’t follow.

 

CABAÇO

Sim – a lightning mark. It appeared last voyage when he was in a rage against Starbuck…

 

ARCHY

…Over a trivial matter…

 

CABAÇO

…And it appeared – as some grow white with fright overnight – next day, this mark was upon him.

 

REDBURN

But what manner of man is he?

 

ARCHY

A great Khan of the sea, lad – but one who stands before ye with a crucifix in his face – the overbearing dignity of some deep-seated woe.

 

REDBURN

And Starbuck, beyond what the eyes can tell, what sort of man is he?

 

CABAÇO

He’ll have no man in his boat who is afraid

of a whale!

 

ARCHY

None of them will – Stubbs or Flask would toss ‘em out – but Starbuck there is as careful a man as any in the whale fishery.

(he exchanges a knowing, sexual wink with Cabaço)

And lad – what is it your eyes tell you you see in Starbuck?

 

REDBURN

(thinks)

That deep in his calm gaze yet live all the dangers, privations and perils that he has ever confronted in his life.

 

[Part 3 – V: Matters Deep and Dangerous]

EXT. QUARTERDECK OF THE PEQUOD

FLASK and STUBBS pace and quietly contemplate the rising color of the sun threatening to emerge on the horizon behind the ship. Suddenly both feel an odd apprehension. A THUMP/CRACK sound is approaching: AHAB’s shoe and ivory leg striking the ladder to the quarterdeck. Behind him trail two teenage boys: PIP, holding a large pewter tankard, and DOUGH BOY, holding a mallet and a handful of tacks. The boys wait to the side; Flask and Stubbs hastily pretend to have work to do, and Ahab paces the taffrail – thump / crack, etc. Now those SAILORS on duty on the main deck turn wary eyes to their Captain.

 

AHAB

(to the just emerging disc of sun)

Oh, Ahab – he of a God-forsaken name – what shall be great in thee must needs be plucked from the sky; dived for in the deep; charactered in the unwritten air.

 

After glaring at Flask and Stubbs, he shouts over the rail.

 

AHAB (CONT’D)

Starbuck!

 

STARBUCK appears on the main deck.

 

AHAB (CONT’D)

Send all hands aft!

 

STARBUCK

Sir! Is there an emergency?

 

AHAB

(quiet but firm)

Send all hands aft.

 

STARBUCK

Aye, aye.

(turns, cups hands and shouts)

Assemble all hands, now! Give the order! Mast-heads, come down!

 

As SHOUTS move forward, Ahab resumes pacing, and Stubbs exchanges a confidence with Flask.

 

STUBBS

Hear the beat – peck, crack; peck, crack – the mad little chick within its shell – peck, crack; peck, crack – it soon will be out.

 

EXT. MAIN DECK OF THE PEQUOD

The assembled CREW look up in hushed fear and wonder at AHAB on the quarterdeck. REDBURN goes to stand next to QUEEQUEG. In the silence, the men can hear Ahab humming the melody to “Edge of a Spear” in time to his pacing. It sounds more like the wind in the rigging than a human throat. Suddenly their Captain stops, leaning mightily on the taffrail.

 

AHAB

Do ye know what to do when ye see a whale, men?

 

CABAÇO

Sing out for him!

 

AHAB

Good, Cabaço. And what do ye do next, men?

 

SEVERAL SAILORS

Lower away! After him!

 

AHAB

And what music do you pull to, men?

 

ARCHY

‘A Dead Whale or a Stoved Boat!’

 

Ahab stands upright. The men expect more, but Ahab pulls back his energy to heighten theirs.

 

AHAB

All ye mast-heads have heard me give orders about a white whale.

 

Ahab unpockets a large, sparkling gold coin, which he holds glinting in the newly minted sunshine.

 

AHAB (CONT’D)

Look, ye! Do you see this Spanish ounce of gold? It’s a sixteen-dollar piece, men. Do you

see?

(he moves towards the ladder)

Doughboy, hand me the top-maul.

 

As Ahab comes down the ladder, the crew part ways for him. He goes to the main mast. PIP, DOUGHBOY, STUBBS and FLASK follow. Ahab motions for some tacks. He nails one in the mast above his head, sets the coin in place, then nails two more tacks to secure it.

 

AHAB (CONT’D)

Whosoever of ye raises the white head with a crooked jaw shall have this gold ounce, my boys!

 

The crew cheer; throw hats into the air.

 

AHAB (CONT’D)

It’s a monster: skin your eyes for him, men – if ye but see a spot of white water, sing out for it!

 

The three Harpooners press together and go up to Ahab.

 

TASHEGO

Captain Ahab, that white whale must be the same some call Moby-Dick.

 

AHAB

(shouts for maniacal joy)

Moby-Dick! Do ye know the white whale, Tosh?

 

TASHEGO

Does he fan-tail a little curious, sir, before he goes down?

 

DAGGOO

And he has a strange spout too, very bushy for a sperm whale, and mighty quick.

 

QUEEQUEG

And he has one, two, many irons in his sides, all twisted around….

 

AHAB

Corkscrewed! My, Queequeg, yes! The harpoons lie all twisted and wrenched in him. Aye, Daggoo, his spout is a shaggy one; and Tashego, he fan-tails like a split jib in a squall. Curses and maledictions men, it is Moby-Dick we seek.

 

He pats the shoulders of his harpooners, and another cheer goes up from the crew. Slowly all quiet as Starbuck steps before the mast and glimmering coin.

 

STARBUCK

It is not Moby-Dick we hunt, sir. It is money; it is oil to feed an addicted world of its fuel. With all due respect, sir, why should we hitch our wagon – the Pequod – to the dim Lucifer star of one man’s vendetta.

 

AHAB

Aye, Starbuck, you perceive it; aye! My hearties, all around, it was Moby-Dick that dismasted me, brought me to this dead stump I stand upon now, but Nature cannot distract Man’s will.

 

STARBUCK

Arrogance, sir. We push Nature to its breaking point, then act surprised when She fights back to exterminate us. We blame ‘God’ for upsetting the balance ‘He’ gave us to be a part of. This struggle is the source of our madness. And your vendetta, sir – how much is it worth on the world’s oil markets? No more than any other drop expressed from Nature with callous disregard.

 

AHAB

Aye – money, chief mate – money.

(to the crew)

That gold piece links the spotter of Moby-Dick to Ahab’s vengeance in a real and material way.

(raises his voice to a terrific, animalistic sob)

Aye! It was that accursèd whale that razed me! And I’ll move heaven and sea to root him out.

(more calculating)

It was God, men, who gave us the world and all its resources to use – and use up – if we so decided. An exploitation of Nature, like that damned whale, is a matter for Man’s will, and ours alone.

 

STUBBS

(aside to Flask)

Blasphemy – vengeance is reserved

for another—

 

FLASK

(to Starbuck)

Folly. Nature would shake off mankind as easily as a dog does a flea—

 

AHAB

(shouts)

Pippin! Bring the cup; the rum! You there harpooners, present your spears, my three pagan kinsmen; blood brothers to me.

 

They get their harpoons and unsheathe them. Pip gives the tankard to Ahab and readies a jug of rum.

 

AHAB (CONT’D)

Now cross your swords, as the Horatii did

of old. For you are my most honorable gentle and noble knights, my valiant harpooneers.

 

Ahab directs them to hold the three blades crossed over the tankard. Pip pours rum over them; Ahab catches it in the cup.

 

AHAB (CONT’D)

By the whale gore dried on these swords, by those leviathan who have died in our wake, I summon us to keep a sharp eye for Moby-Dick; a sharper lance blessed in hate for the white whale. Let that mountain of snow be hounded till he spout black blood on his pale skin and roll his underbelly helplessly to the sun.

 

Ahab takes the cup and raises it above his head. From Redburn’s vantage, the three harpoons – hoisted in the air to match the chalice – shadow the three ship masts.

 

AHAB (CONT’D)

I baptize ye in the father, son, and holy ghost of my Hate. Death to Moby-Dick! Death hunt us to a watery grave if we fail to kill him first.

(hands the cup to Tashego)

Drink and pass. All of ye are part of my blood oath. All of ye must swear death on Moby-Dick.

 

The crew pause, then cheer again like cult members. They’re drawn up into the furor and being to sing “Edge of a Spear.” Flask joins in on the verses, and the cup goes around to all members. Ahab glows in his accomplishment, but Starbuck avoids the cup, and the Captain notes it.

 

CREW

(SINGS – chorus)

“Upon the edge of a spear,

Stride we avowed unholy

For bloodletting to keen our fear.

Should our pledge dull in battle drear,

Let us three times three die slowly,

Eye to eye with sharks far and near.”

 

FLASK

(SINGS – verses)

“Now he unclasps a secret book

To read our deep-themes discontent,

Where such matters deep-roaring loud

Might brook no sore disappointment.

 

Even in the mind of Exploit

Patience is a vice to beware,

For if we fail, we sink or swim

Better a lion than a hare.

 

To dive to the bottomless depths,

Or pluck bright honor from the moon,

His book says all is one and same

For fathom line to touch too soon.”

 

(recap: “Upon the edge of a spear” etc.)

 

The crew and Flask repeat the chorus, and the cup nears Redburn. As he takes it into his hand from Queequeg, he perceives an odd, hollow LAUGH coming from somewhere. He looks down to the hold gratings they stand on, then up to the eerie way the still breeze sounds in the sails and rigging.

 

REDBURN

(to Queequeg)

Do you hear those sounds? It’s as if Nature Herself responds to Ahab’s curse of her. Oh, Queequeg, I am sorry. I feel I have doomed us.

 

Out of the clouds lingering in the western sky, a sudden lightning bolt strikes the sea about half a mile off. Almost instantly, three large orbs of ball lightning appear like a Pentecostal flame atop each of the Pequod’s masts. As the crew gaze up at these silently, Queequeg gently guides the cup to his mate’s lips. He whispers as Redburn drinks.

 

QUEEQUEG

Not you. Yojo guided our fate; his blessings.

 

Queequeg’s fatalistic gloom has resettled over him.

 

[Part 3 – VI: Their Hearts’ Honeymoon]

INT. “THE SPOUTER INN”, QUEEQUEG’S ROOM – NIGHT

REDBURN and QUEEQUEG sit on the edge of the bed, wearing only their drawers, and smoking from Queequeg’s tomahawk. After Redburn takes in a long draught, he hands the pipe back. As he exhales with a sputtering grin, Queequeg pull him into an embrace so their foreheads touch. They hold each other’s gaze.

 

QUEEQUEG

Tommo, we are married now. I take you, and I hope you take me, forever.

 

Redburn pulls away. He glances at Toby’s picture.

 

REDBURN

I must look for him. And, if we find him...?

 

QUEEQUEG

Then we will decide; when we find him.

 

Redburn hesitates a moment, then his hands go up and he draws Queequeg into a passionate kiss. By the time Queequeg pulls back, Redburn’s face is tear-stained. Redburn nods acceptance of Queequeg’s proposal. Queequeg jumps up. He is pleased as punch. He spins to the dresser, picks up the poncho, unfolds it, and giddily drops it over his partner’s head.

 

QUEEQUEG

Yours.

(goes to his bag; flings clothes all over)

Yours too, if you want.

 

Queequeg fishes deep and pulls out a tortoise shell coin purse that is like a fat cigarette case. ^[15] He goes back to the bed, climbs on at the foot end and sits crossed-legged. Redburn rotates and matches him so their knees touch. Queequeg pours out thirty silver coins on the counterpane and begins to divide them. Redburn is uncomfortable. He rises and slips on his trousers.

 

REDBURN

I don’t want your money. We can share everything else, but what you earned before we met, is yours—

 

QUEEQUEG

Partners. We share what we have.

 

Queequeg stands, roughly grabs Redburn’s waist. He scoops up one pile of coins. He draws open Redburn’s pocket, and pours in a stream of silver. He lovingly pats the new bulge he’s made, and then the old one next to it.

 

QUEEQUEG (CONT’D)

Partners share everything we have, and I will gladly die for you, if need be.

 

REDBURN

(trance-like)

…Naught but death should part us twain….

 

During the following voiceover, Redburn grows feisty: he smiles and strokes the hand that his touching him. He pulls Queequeg’s forehead to his, and they lock eyes. Soon they begin kissing passionately.

 

REDBURN (CONT’D – V.O.)

If in a countryman of mine, this sudden flame of friendship would seem premature – a thing to be mistrusted – with Queequeg I knew he meant what he had just told me. And so would I, die too, if need be to keep him safe.

 

Queequeg goes to the dresser, picks up the holy statue and waves Redburn over to the fireplace. As seen from inside the firebox, the men sit on their haunches and Queequeg sets Yojo facing them in the foreground.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

Holy mana will watch over us – keep us safe in our union. Let us offer lord Yojo our devotion.

 

During the following voiceover, Queequeg rises to fetch an offering of sea biscuit, wood shavings for kindling, and lights the lamp. Redburn watches, then gazes blankly at the statuette. Queequeg returns, and as seen from the firebox, he mounds the kindling, places the biscuit on top and kindles the flames.

 

REDBURN (V.O.)

How could I unite with him in entreating good will from a bit of old wood? But then I thought: ‘What is worship?’ – to do the will of God – that is worship! And what is God’s will...? To do my fellow man what I would my fellow man do to me – and I would wish Queequeg to unite with me in my forms of prayers, so I must with his.

 

QUEEQUEG

(in POLYNESIAN, with subtitles)

May holy mana instill in our hearts;

May it connect our thoughts,

One to one another;

Each, to the all.

 

Queequeg extinguishes the fire. He picks up Yojo and kisses it. He holds it up for Redburn to do the same. Redburn gives it an awkward lip-smack. During the following voiceover, Queequeg extends his hand as he rises and pulls Redburn slowly up. He leads him to the dresser, puts Yojo on the high position, and then takes Toby’s picture and sets it next to the sacred idol. He draws the poncho off of Redburn, and pulls him back to the bed. He sits; brings Redburn’s belly to his cheek for a moment, and Redburn caresses his head. Queequeg pushes back and unbuttons Redburn’s trousers with a mischievous grin. The pants fall to the floor with the weight of the money jangling. Redburn steps out of them, and climbs in bed, on top of his partner. They embrace, then recline arm-in-arm on the counterpane, where they begin to kiss, tickle and laugh.

 

REDBURN (V.O.)

We undressed and went to bed, at peace with our own consciences, and with all the world. But we did not go to sleep for quite a while. We lay chatting; Queequeg throwing his big tattooed leg across mine and drawing mine affectionately to him, for there is no place like bed for confidential disclosures – and spouses they say – there open up the very bottom of their souls to one another. Thus, content in our hearts’ honeymoon, lay Queequeg and I – a cozy, loving pair.

 

_