WHITE-JACKET – A Man at War – A Filmscript - 3. Part 3 – Tough Times Around the Cape

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[Part 3 – Tough Times Around the Cape – I: Pomp and Punishment]

EXT. HULL OF THE NEVERSINK – MORNING

The ship sails south through increasingly cold waters. Gray clouds are southwest off her port side. Hoarfrost glazes her riggings, shrouds and spars. Her decks gleam like frozen lakes.

 

EXT. MAIN DECK

The FIFE AND DRUM CORPS appear and get into position below the quarterdeck. They stretch, yawn and slap cold hands against their upper arms. REDBURN and LEMSFORD rise from a hatch and go to stand by a cannon, which is centered on the port side, across from the mainmast. Lemsford wears a dark grego, and Redburn’s white jacket looks a little dirtier than before, and notably puffed up about the chest. Lemsford yawns elaborately, with arms in the air, notices the lumps in the jacket and pokes at them on the way down. In a moment, he makes a ‘pee-yew’ scowl.

 

REDBURN

I’ve quilted it with old socks.

 

LEMSFORD

Yes, I can smell that part of it.

 

Some other members of the CREW – sailors, marines, officers, down-below men – drift on deck and stand by various cannon at their battle stations. TAWNEY, polishing rag in hand, comes and takes command of Redburn and Lemsford’s cannon. They are quickly joined by JACK CHASE, who stands at the adjacent gun next to Redburn with a nod and a smile. The six MIDSHIPMEN come and stand on the starboard side of the mainmast. As SHENLEY walks past, MONTGOMERY holds out a hand. PERT listens to the exchange with dismayed disapproval.

   

MONTGOMERY

Crewmember Shenley, how goes your rheumatism?

 

SHENLEY

(salutes)

God bless, Mr. Montgomery. My constitution is firm, thank ye.

(salutes again)

Ah, good luck to you, sir. You have yet a soul in ye to be saved, sir! God bless.

 

As Shenley departs, Pert casts dubious glances, and makes Montgomery cross.

 

PERT

Too familiar, Monty, with the sailors! You need to be rougher with these rough-and-tumble cases. The lash is the only thing they understand; not pleasantries.

 

The FIFE AND DRUM CORPS are set and at attention. Next to them stand the Marines’ band. RING; RING – the ship’s bell slowly tolls eight times. The fife and drum play the command ”To General Quarters” for three minutes.

 

 

BEGIN ‘BEATS TO QUARTERS’ MONTAGE:

■ Members of the crew run to-and-fro. Low angles show legs running up ladders; low angles show legs running down other ladders.

■ Sailors rush to stand at attention by cannon on the gun deck. Impatient Lieutenants press scabbards by the sides of their legs and pace.

■ The same action repeats on the main deck.

■ Captain Claret paces the poop deck with hands locked behind his back, and in full regalia and plumed hat.

■ Wardroom officers and the Chaplain leisurely gather by the mainmast.

■ Bridewell comes front and center to the quarterdeck guardrail. He extracts his sword.

■ By the last crescendo beat of the fife and drum, every sailor is standing at attention by their guns.

■ There is an eerie silence as only the creak of the ship, and the rap of the wind in the sails breaks over the scene like cracking ice.

END ‘BEATS TO QUARTERS’ MONTAGE.

       

 

Bridewell switches the sword to his left hand and turns the point under his left arm. He holds it like that, and assumes a wide stance at the railing. From Redburn’s point of view, MAD JACK emerges from the fore hatch. He too has drawn his sword, and marches to a position below the quarterdeck with it pressed to his thigh. There is profound silence and suspense as this man snaps to attention, salutes and bows to Bridewell. In silence, the First Lieutenant returns the salute, and Mad Jack goes to stand near the mainmast. The Third Lieutenant appears from another hatch and marches up to Bridewell. This is repeated three more times, and they stand in a line by the mainmast.

 

ON THE QUARTERDECK

From Bridewell’s point of view, the last of the lieutenants, the Marines officer, approaches on the main deck below. He salutes, and Bridewell returns it and then turns with pomp. He marches to a position below the poop deck. The COMMODORE comes wandering out of his cabin with WULU.

 

ON THE POOP DECK

Captain Claret paces before the railing. He can see Bridewell down below, but he stalls. At last he goes to the rail. Bridewell salutes him with a resolute and annoyed snap. The Captain returns it with a halfhearted sigh.

 

ON THE QUARTERDECK

Captain Claret descends the ladder and goes to the Commodore. He salutes that man’s braids, and the dignitary casually gestures that the Captain may proceed. There is a procession down the ladder to the main deck: the Captain first, then the Commodore, followed by Bridewell, and Wulu last.

 

EXT. MAIN DECK

The men take up positions at the mainmast; the Captain stands next to the Chaplain. Claret signals the BAND LEADER. They strike up ”Hail Columbia.” ^[7] Three beats after the end of the song, all the enlisted men whip off their hats in stunning unison, and bow heads. The officers, including Captain and Commodore, take off their headgear in a more leisurely fashion. The Captain nods at the Chaplain, who steps forward with folded hands.

 

CHAPLAIN

(PRAYS)

”O THAT men would praise the Lord for his

goodness.

They that go down to the sea in ships, and

occupy their business in great waters;

These men see the works of the Lord, and

his wonders in the deep.

For at His word the stormy wind arises and

lifts the waves.

They reel to-and-fro, and stagger like

drunken men, and

These men cry unto the Lord in their

trouble, and He delivers them.

For He makes the storm to cease, and the

waves calm.

They are then glad, because they are at

rest; and

These men He brings unto Him in heaven.

 

They are carried upwards, and down again

to the very depths;

These their souls never melt away because

of their troubles.

O THAT men would praise the Lord for his

goodness.

 

Exalt Him here in the Congregation of His

people:

Glory be to the Father, the Son, and Holy

Ghost;

As it was in the beginning, is now, and

ever shall be, world without end.

Amen.” ^[8]

 

ALL ASSEMBLED

Amen.

 

Hats return, and the Captain nods to the BOATSWAIN.

 

BOATSWAIN

All hands witness punishment, ahoy!

 

Captain Claret steps forward, extracting a report from his pocket. Bridewell and the Chaplain step up and wait besides him.

 

CAPTAIN CLARET

Master-at-Arms, bring up the prisoners.

 

COLBROOK, with a rifle on his shoulder, and assisted by LEGS and POUNCE haul up a non-resisting LANDLESS and NORD to the mast. Redburn is shocked to see Lemsford’s mate in this situation. He wants to comfort the poet, but Lemsford only keeps his eyes forward and appears to be in misery.

 

CAPTAIN CLARET (CONT’D)

The Daily Report of Offences says we have two matters today. You, Landless, were yesterday found drunk in the berth deck. Have you anything to say.

 

LANDLESS

Nothing, Captain, sir – I know you officers don’t like us men acting like sea lawyers.

 

There is a twittering of laughter and some ”Ain’t that the truth!” among the Crew. The Captain glares at the men until silence returns.

 

CAPTAIN CLARET

No matter. I allow no man here onboard to drink until drunk. You admit the charge; you know the penalty. Strip! Quartermaster, are the gratings ready?

 

The QUARTERMASTER’S MATES lift one of the grate covers from the hatchway, and position it leaning on the mainmast. The MASTER-AT-ARMS helps Landless remove his jacket, then his shirt. The Master-at-Arms holds the jacket then drapes the shirt loosely on Landless’ shoulders. Landless kicks off his shoes, and the Master-at-Arms takes him to the gratings. The QUARTERMASTER roughly shoves Landless against the mast and kicks the man’s legs apart. He stoops and lashes leather straps around Landless’ ankles and through the bars. He ties straps on each of Landless’ wrists, and the Quartermaster’s Mates hoist them up so Landless must lift his arms fully above his head. They secure them tight. The Quartermaster steps back and salutes the Captain. The Captain nods to the Boatswain. The Boatswain has a green bag. He pulls out a virginal cat-o-nine-tails. One of the BOATSWAIN’S MATES, a strapping fellow, takes off his jacket and rolls up his sleeves. He takes the scourge, and cockily strides up to Landless combing the whip with his fingers. The Captain signals the Master-at-Arms. He steps up and removes Landless’ shirt. Now we can see his back is raw from recent beatings. Under the newly formed scabs are deeper ones that are cracked and almost black. Below them show healed gashes to prove he has been beaten for years of loyal service in the U.S. Navy. All eyes go to the Captain. He lifts a finger. The Boatswain’s Mate pulls back like a spring, so that lash handle hovers above his shoulder; he spreads his feet wide apart. The Captain lets his finger fall, and the Boatswain’s Mate lashes out with all his might. Time after time – through intervals of maddening silence – broken air thunders as leather bites into skin, and the delayed whip-snaps sound as sharp as cracking ice. At every blow, higher and higher rise the long purple bars on Landless’ back. But the man only bows his head and stands still. One dozen lashes, and the Boatswain’s Mate stops in a violent sweat. He folds the bloody lash in his hands and steps aside.

 

JACK CHASE

(low – to Redburn)

Damn brave man.

 

REDBURN

(low)

Brave or not, I’d sooner pull the plug on this tub than face that type of degradation.

 

The Quartermaster and his Mates let Landless loose. The Master-at-Arms helps him put on his shirt, and hands him his jacket. Landless goes to his friends, who hug his head and jostle his shoulders.

 

LANDLESS

(low)

I could use a drink.

 

CAPTAIN CLARET

You, Nord…

(snaps his fingers at Legs, who hands over a ledger)

…Are in violation of the clause in The Articles of War which forbids any person if the Navy from ridiculing any other person in the Navy.

 

The Captain fans the leaves of the ledger before Nord. Redburn can see it is full of beautiful watercolors of the ship and her crew.

 

CAPTAIN CLARET (CONT’D)

Is this your ‘journal?’

 

NORD

Aye, Captain.

 

CAPTAIN CLARET

It is hereby confiscated for destruction. Your punishment – to avoid the scourge – is to be the instrument of that destruction. Quartermaster! A pair of nails and a hammer.

 

The functionary addressed drops these at Nord’s feet. The Captain flings Nord’s journal at the artist’s face; Nord catches it.

 

CAPTAIN CLARET (CONT’D)

Nail it shut. Use one iron through each cover.

 

Humiliated, Nord genuflects, wipes his eyes and does it. Afterwards, Nord stands with the hobbled book cradled in his open palms.

 

CAPTAIN CLARET (CONT’D)

Now, over the side with it.

 

Nord again wipes his face, but his eyes reappear from the wiping darker and more withdrawn than ever. He steps to the bulwarks, and after a lingering pause, hurls the book out to sea with all his might.

 

UNDER THE WATER

The journal sinks and spins slowly amid a fine foam of bubbles.

 

BACK ON DECK

The fife and drum sound.

 

BOATSWAIN

All hands, dismissed!

 

As they relax their stance, Lemsford turns angry eyes on Redburn and Jack Chase.

 

LEMSFORD

This ship may fly America’s flag, but she does not stand for our Constitution.

 

The two men watch Lemsford go to Nord, and put his arm around the man who is still gazing out to the spot his journal sank.

       

[Part 3 – II: Fireside Oratory]

INT. REDBURN’S COUNTRY HOME, PARLOR – DAY

A cozy fire burns. REDBURN sits with his back to it on a footstool. He is animated in storytelling to his delighted MOTHER and EMILY sitting before him. PETER stands with folded arms, and leans in the doorway.

 

REDBURN

Males outnumber females in Polynesia; girls are first wooed and won by a young stripling, then once love has settled firmly upon them, a second suitor of graver years carries away both boy and girl to his own habitation.

(Mother whoops; Emily grows quizzical and comes to the edge of her seat)

In Typee, all three henceforth live together as harmoniously as so many turtles, and infidelity is rare – a man has one husband and one wife; and a wife has two adoring spouses; it is a partnership of a more enduring nature than among many of our own…

 

DISSOLVE TO:

PASSAGE OF TIME:

 

Redburn’s voice trails off. A time-lapse series of shots convey the passage of an afternoon; the fire grows low in a time-lapse sequence. Eventually, the author’s voice returns to normal volume.

 

 

REDBURN (CONT’D)

…One adventurous little fellow – Too Too, was the rascal’s name – built himself a sort of aerial baby-house in the top of a coconut three. He used to spend hours there, sounding down delightful greetings, and whenever I heard Too Too’s musical voice of innocence, I recalled Dibdin’s sweet lines:

 

‘Little cherub, a tree sits aloft;

Singing bright from his entire toft.’

 

His mother and sister clap and rise to their feet. Peter is amazed at how his brother’s talent has blossomed.

 

MOTHER

So delightful! Just marvelous. Now, Emily, dear, let’s get our boys some tea, shall we?

 

Emily kisses Redburn’s cheek, and the ladies leave. Redburn goes to Peter.

 

PETER

Write this Typee. You are ready, and I will pull some strings to get to before publishers.

 

Redburn goes slack-jawed, but in another moment, he hugs his brother tight and rocks him. Slowly, Peter’s hands come down to pat Redburn’s back.

 

[Part 3 – III: Gun Polishing]

EXT. MAIN DECK OF THE NEVERSINK – DAY

Still wearing winter gear, TAWNEY and REDBURN have applied blackening, and are now using rags to rub it into Gun No. 5. LEMSFORD has a small pail of brick dust and a wet cloth. He polishes a brass ringbolt on the gun.

 

REDBURN

She’s a beaut, Tawney. You really take

care of her.

 

TAWNEY

Aye, I know the history of each and every divot and dimple on my gun. I call her Black Bess, and iffin you’re respectful, you may call her that too.

 

LEMSFORD

You were here, on this ship, in the War of ‘12, weren’t you?

 

TAWNEY

Aye, well – during the war, I wound up here. It’s a long story.

 

Lemsford stands and goes to the end of the gun carriage. Still working, Tawney and Redburn watch him, for NORD is coming their way. The moody artist stops a brief moment, locks hands with Lemsford, and, before moving on, shoots a rather hostile glare Redburn’s way. After Lemsford comes back and resumes polishing, Tawney and Redburn exchange a ‘such a cute couple’ grin.

 

TAWNEY (CONT’D)

Polish good, Lemmy – every piece of brass of this ship stands for a sacrifice.

 

Lemsford works, but makes an affected shiver.

 

TAWNEY (CONT’D)

Lucky you’ve got brick dust. Shit, one time none was to hand anywhere onboard, so I ended up using my own supply of tooth powder to keep Bess shiny. I made the threads of my carronage-screw grin like the false teeth of a starved heiress hunter!

 

LEMSFORD

It’s so cold. I can’t wait to be around

Cape Horn.

 

REDBURN

Tawney, you’ve been around Cape Horn many times, do you think we’ll have an easy go of it?

 

TAWNEY

Hard to say. Weather is good now, but the Cape is still a week away, and Lemmy, old chum, it’s gonna get a lot colder before then. Closer we get to rounding it, the more sudden a Cape gale can come up out of nowhere.

 

LEMSFORD

I hate the cold. Say, do you fellas wanna hear something I composed at this morning’s muster?

 

REDBURN

(laughs)

Nope.

 

TAWNEY

Go ahead! He’s joking.

 

Lemsford stands and holds his hands like an opera singer.

 

LEMSFORD

(RECITES)

”The wind blows hoarsely in the carronage,

The sea breaks heavily against the bow –

The sky is like a cold blue cymbal above us –

And her men, in their agony,

Hear the lash cut down her men.”

 

The mood changes; the men exchange uncomfortable glances, and Lemsford returns to his task.

 

REDBURN

Your mate, Nord, does not seem to like me.

 

LEMSFORD

He’s been through a lot at sea; he’s lost a lot. He doesn’t mean to be so cold to new people, but he has a large heart he needs to protect.

 

TAWNEY

Lemsford here is this ship’s poet-laureate. Did you know he wrote a play for us to do onboard? First, Captain says yes, then Commodore says it will excite the men too much. Shit….

 

LEMSFORD

(thinking to himself)

You know, I better write that down.

 

REDBURN

(to Tawney)

‘Shit’…?

 

Lemsford is oblivious to the question hanging in the air. He gets on his knees and roots under Black Bess, finally pulling up a flat tin container with a lock. He unfastens it and we can see it’s his stationary box.

 

LEMSFORD

(to Redburn)

Here, you block me from view.

 

They change places. Lemsford pulls out and looks for a blank spot on scribbled sheets of paper. He finds one and writes with a pencil as he speaks.

 

LEMSFORD (CONT’D)

Tawney here is good enough to let me hide my writings in the carronage of his Black Bess, but if the Gunner’s Mate finds it, he’ll ram it down Bess’ throat and make me fire her off myself.

 

He finishes, closes up the box, and holds Redburn’s eye.

 

LEMSFORD (CONT’D)

I do not want to lose my poetry like Nord lost his paintings. It is too sad a thought to bear.

 

REDBURN

I can imagine. Say, Lemmy, be a mate, and put in a good word for me with your chummie. I think Nord and I are more alike than either of us know.

     

[Part 3 – IV: How to Explain]

INT. REDBURN’S COUNTRY HOME, BEDROOM – AFTERNOON

REDBURN is alone. He sits at his desk writing.

 

REDBURN (V.O.)

But, with the inconstancy of a desponding mind that speculates in the dark as to the causes that have produced the misery under which it languishes, I would often experience the most bitter remorse. After indulging in these reflections, and again and again, pondering why, I would seek to pierce the mystery that hung over the sudden disappearance of my companion.

 

Redburn is about to cry. He stops writing, leans back on his seat, and stares at his ink-stained fingers.

 

REDBURN (CONT’D)

(to himself)

…Walking dead….

 

He shivers, glares up at his father’s portrait, then rises and goes to his vanity mirror. As he holds his and his father’s image in one sight, and has a vision of the past.

 

 

BEGIN ‘SPERM OF HUMAN KINDNESS’ FLASHBACK:

■ Queequeg tips his hat at Redburn their first morning at “The Spouter Inn.”

■ Queequeg takes his hand in the taproom. He asks if Redburn is ready for him. Redburn nods.

■ Queequeg is attached to Redburn via a rope. The Polynesian is treading on a whale lashed to the side of the Pequod, and lifts the back skirt of his kilt to moon his lover for a moment. Redburn laughs.

■ Queequeg and Redburn sit blissfully on the deck of the Pequod. Their hands are in a tub of spermaceti, and under the liquid, they quietly link fingers.

END ‘SPERM OF HUMAN KINDNESS’ FLASHBACK.

 

 

Redburn smiles to himself at the memory of his dead husband. EMILY lightly raps on the doorframe. She comes in and takes Redburn to his bed. They sit together.

 

EMILY

You have changed a great deal, but you are still the brother I have always loved. I can see…

(takes his hand)

…That you have gone through a lot; I suspect you have lost loved ones along your way back to us – but, how to explain – that, I too love unconventionally.

 

Redburn’s face is puzzled.

 

[Part 3 – V: Like an Angel]

INT. GUN DECK OF THE NEVERSINK – EVENING

The weather is colder than ever. On the port side, BARBERS are set up near the hull between the cannon carriages. Members of the CREW sit for shaves and haircuts. Small lines form the length of the various cannon, and SAILOR couples promenade as before. Heavy coats and jackets prevail, and the couples cuddle close for extra warmth. Breath can be seen. REDBURN and NORD walk quietly together, close but not as close as the others. They are chatting, but we cannot hear them. On the port side, COLBROOK strolls alone. As he passes Redburn, he sighs, and when Redburn offers him a smile, the Corporal begins to hum ”The One I Left Behind.” After they move out of his hearing, Nord speaks up.

 

NORD

That Colbrook reminds me of an English fancy boy I once shipped with. Harry could sing like an angel—

 

Redburn stops cold.

 

REDBURN

Harry? Harry Bolton...?

 

NORD

How would you know? Yes – Harry Bolton.

 

REDBURN

He, well, we shipped together across the Atlantic when I was nineteen. What more can you tell me of him?

 

NORD

White-Jacket, man, I’m sorry to have to tell you, but he’s dead. He was crushed cutting into a whale; got caught between the beast and the ship.

 

REDBURN

When?

 

NORD

About a year ago.

 

 

BEGIN ‘HARRY’S GREENWOOD’ FLASHBACK:

■ Harry and Redburn lying beneath a tree in the English countryside. Harry sings the “Greenwood” song; the boys slowly sit up and kiss.

■ Harry and Redburn part in New York; Harry pulls his hand out of Redburn’s.

END ‘HARRY’S GREENWOOD’ FLASHBACK.

 

 

Redburn swallows. He is in abject misery.

 

[Part 3 – VI: Storm]

INT. BERTH DECK OF THE NEVERSINK – NIGHT

SAILORS sleep in their hammocks. Their snores rise and fall like dragon breath in the frosty light. There is the sound of some whipping WIND, and the ship CREAKING, but all seems calm. REDBURN sleeps fitfully; his eyes move rapidly as he dreams.

 

 

BEGIN ‘JARL’S BLOOD’ DREAM SEQUENCE:

■ Yillah touches Jarl’s anchor crucifix tattoo on the longboat.

■ Jarl draws back his fist to punch Redburn on the longboat.

■ Jarl and Redburn lie under the awning on the longboat and slowly come together to kiss.

■ Jarl and Redburn stand on the prow of the Parki quietly enjoying the first sighting of Mardi.

■ Rising slowly, calmly, faintly through his dream is the SOUND of a ship’s bell.

END ‘JARL’S BLOOD’ DREAM SEQUENCE.

 

 

A shrill WHISTLE sounds from the top of the hatch.

 

BOATSWAIN (O.S.)

All hands take in sail! Jump to, and

save ship!

 

Redburn opens his eyes. The ship’s bell is not melodious; its ragged RINGS instill panic. Redburn grabs his jacket, which was his blanket, and attempts to turn out of his hammock. But, to his horror, he finds the deck under him is severely canting to port. Other SAILORS are less heedful, jump out, and go careening into a sliding pile. Redburn swings out, holding onto his hammock, and is able to get a secure footing on the deck with his bare foot. Using the hammock posts for grips, he’s able to make his way towards the hatch and slip on his coat too.

 

EXT. MAIN DECK

The bell SOUNDS now with the swells. Her alarmed rhythm fades from a manmade beat to a natural frenzy. A wild tempest is blowing all around; freezing rain begins to coat everything in translucent layers of ice. REDBURN clings to the railing near the hatch. The ship practically sails on her port side. Seawater runs in at the gun ports with milk-white billows of foam. The disturbed water burns blue in a phosphorescent display, which lights up the iced deck like moonlight on snow. The bow rises and crashes through great cataracts of spray. SAILORS on the foremast yards are soaked. Redburn sees most of the crew is clinging to the starboard side bulwarks for dear life. The light from the ”yeasting sea” casts a glare on their faces like crowds trying to escape a city fire.

 

EXT. QUARTERDECK

MAD JACK is the deck officer in charge. He has a speaking trumpet, which he mainly pounds in his hand or on the railing. The ship’s bell continues to SOUND the measure of the storm. He looks up appalled to see all the sails are still set and under enough strain to snap every one of the three masts. At the ship’s double wheel, two QUARTERMASTER’S MATES and three older SAILORS of the forecastle strain to keep the ship steady. The pull of the storm on her rudder is enough to lift the old men off of their feet; SLIM and BROWN rush to lend their youthful muscle. The door from the Captain’s cabin slams open in the wind. CAPTAIN CLARET, wearing only his nightshirt, braces himself in the doorjamb. He shouts towards the wheel.

 

CAPTAIN CLARET

Hard up the helm!

 

Mad Jack rages, running up to the wheel.

 

MAD JACK

Damn you! Hard down; hard down, I say! And be damned if ye do otherwise.

 

The Captain disappears back into his cabin, looking rather seasick behind his closing door.

 

CUT TO:

THE HULL AT THE WATERLINE:

 

The ship slowly shifts and creaks noisily into the wind; she begins to right herself a little bit. From here the bell SOUNDS but faintly.

 

BACK ON THE QUARTERDECK

The bell SOUNDS loud again. Mad Jack goes to the railing. Spray washes over the main deck. He must get the mainsails in first.

 

MAD JACK

Clew down! The sails must come down….

(remembers his trumpet)

Clew down!

 

A SAILOR from the mizzenmast shouts down.

 

SAILOR

There’s a rent in the main topsail! Look out!

 

Suddenly this sail rips itself open, sounding like a massive cannon volley. The ship rights herself a little bit more. Mad Jack shields his eyes and sees the fore and main topsails are getting clewed down and reefed. Also, the shredded remains of the main topsail are being pulled in and lashed to the yard. The ship rights herself a little bit more, but the main sails drag her to port side. He can’t stand the bell anymore.

 

MAD JACK

Mr. Brown, go and stop up the ghost’s mouth! Wrench off the clapper, lad, if need be.

 

Brown goes to the bell and secures the clapper with his scarf. He stays there to make sure it remains quiet. Mad Jack goes to the railing with his trumpet.

 

MAD JACK (CONT’D)

Aloft, main-yards men! And all of you main-top men, aloft and furl in the mainsail!

 

ON THE MAIN DECK

REDBURN and his fellow SAILORS spring onto the shrouds and climb. As they get above the protection of the bulwarks, the full force of the icy gale hits them. The wind presses them flat against the Jacob’s ladder running parallel with the mast – reducing to slow motion the lifting of arm and foot. They hear shouting from the quarterdeck.

 

MAD JACK

Up! Get up there, my brave hearties, and save ship!

 

The sailors get up to the main-yard. Redburn is surprised to see JACK CHASE next to him on the yard.

 

JACK CHASE

Hold on! – Every mother’s son of us. See His works! – His wonders of the deep. We may reel to-and-fro like drunks, but We can deliver each other.

 

A SHOT PULLS BACK

To show some fifty men on the yard. The sail flaps wildly, striking some men, who struggle not to be knocked off. All the men bend over the yard and claw with hands and full arms to furl in the sail to their chests. Slowly it rises and they begin to lash it. The ship is still canting.

 

ON THE QUARTERDECK

Mad Jack hurls glares fore and aft; the men on the other mainsail yards cannot furl yet.

 

BACK ON THE MAINSAIL-YARD

Their task done, they try to climb down but the ship’s list makes it impossible to use the shrouds on the port side; the sailors have to climb up the yard like a ladder, so they can get down the port side shrouds. Redburn is far to starboard, and waits patiently for his turn, but the spray and freezing rain are sheeting him in ice; his feet are gray and numb. Ahead of him, Jack Chase encourages the men and lets them edge past him. Redburn can begin to climb, but he is in pain, and has a hard time. Jack comes back for him. Redburn looks up into his buddy’s eyes, and shows him that he wants to give up. He glances at the water, and begins to shiver helplessly.

 

JACK CHASE (CONT’D)

Fight, damn it! Identify with the tempest – do not lose your significance in the riot of the storm! Use Her threat as a fiery universe of fight within you.

 

Jack stretches out his whole arm. His hand is about three feet from Redburn’s face. In a moment of resolve, Redburn takes the offered hand.

 

EXT. MAIN DECK OF THE NEVERSINK – NIGHT – LATER

The ship is upright; the sails furled. The SAILORS cling to one another in a snaking, serpentine line, to get warm. While they stop feet and move forward, each man has his hands locked in the warming armpits of the person in front of him. As they march in deliberate unison, a slow and momentous shout of joy erupts from them as if from one voice.

 

SAILORS

We’ve saved ship!

 

_