WHITE-JACKET – A Man at War – A Filmscript - 5. Part 6 – Theatricals & Part 7 – Before the Mast

.

[Part 6 – Theatricals – I: The Playbill]

EXT. SURFACE OF WATER – MORNING

The Neversink sails on the open ocean again. Tropical sun glints off of the water she smoothly plows under. The sun is on her starboard side.

 

EXT. MAIN DECK OF THE NEVERSINK

LEMSFORD comes whistling along. Under his one arm he has a few large sheets of paper, in the crook of his other arm is a hammer. His melody temporarily shuts down as he sees a bruise-faced BLAND walking towards him. After he passes, Lemsford whistles again and heads for the mainmast. He sees SHENLEY and PARRIE; Shenley looks worse than ever. When the sick man speaks, his voice is like a hollow wind in a vast desert.

 

LEMSFORD

Good morning!

 

PARRIE

Top of the morning to you. It’s good to be out of Rio. Next port of call – home!

 

SHENLEY

Aye. New York, here we come.

 

Lemsford touches the brim of his cap and turns about his business. He walks up to the mast as if it were a wall. He gets some tacks out of his pocket and puts them in his mouth. He positions one of the papers and begins to tack it in place. Satisfied when done, and showing an akimbo smile bright as the blue sky behind him, he moves on. The shot pivots and pulls into the playbill. The shot cuts to a line-by-line panning close-up.

 

INSERT – PLAYBILL

 

 

HOMEWARD-BOUND THEATRE

--------------

Proudly Presents

 

A Grand Celebration of the Fourth of July, 1845

--------------

AN UNCOMMON ATTRACTION.

ONE-DAY PERFORMANCE ONLY.

 

OLD IRONSIDES PAID OFF!

--------------

by

Lemsford of the After-Guard

--------------    

Admission: Free! – Long Live

The Commodore and Captain!

 

 

There follows a full cast list, and other information, that we do not have a chance to read.

 

FADE FROM INSERT – PLAYBILL.

 

[Part 6 – II: Patriots’ Blood]

EXT. MAIN DECK OF THE NEVERSINK – MORNING

It is a beautiful day. High above the ship sailing at sea, the bowl of the sky is crystal blue. Up here breezes contort full clouds into dragon and jackrabbit forms; it is a day begging for daydreams. TAWNEY and REDBURN work with studied ease to polish Black Bess.

 

REDBURN

These guns must glisten like pearly teeth on this special day.

 

TAWNEY

No, lad – not pearly whites, but like black fangs to fright our foe, and bite them when necessary.

 

Tawney stands and wipes his brow with a bandanna. As he tells his story, Redburn rises to his feet, and his vision shifts: the setting is the same, but time blends back to the battle being described.

 

TAWNEY (CONT’D)

Independence Day – I was here you know, thirty-three years ago; summer of eighteen-twelve. That was the day this ship fought for her country’s second independence. I know every dent and divot in her hull made on that day. Were the secret history of sea-fights made plain, the supposed laurels of sea officers would turn ashen on their face.

 

Tawney moves to stand on his cannon. He helps Redburn do the same. He gestures out to the water.

 

 

BEGIN ‘BATTLE’ FLASHBACK:

During the following voiceover, a phantom British frigate arises upon the empty sea. As she pulls along, and begins to turn, it is clear she is substantially bigger than the Neversink. All her gun ports are rising, and her battle ensign is in place. The frenzied noises from her deck drift across the water: battle station FIFE and DRUM, men SHOUTING, officers with speaking trumpets barking ORDERS. She opens fire. The Neversink is hit and reels. The main deck officer gives the order, and a young Tawney fires Black Bess. Smoke and confusion reign. Soon sailors carry the dead and injured away from the battle stations and pile them around the masts.

 

TAWNEY (V.O.)

The British frigate Macedonian had us out-gunned. Our dead and dying piled up just there, at the mainmast. The clamor and carnage was horrific – that phrase, ‘Decks washed in patriots’ blood,’ is not an exaggeration. But no one speaks about patriots’ bile and brains, for those too were everywhere.

 

INT. GUN DECK OF THE NEVERSINK

The firing cannon kick back violently on their tracks with thick tufts of smoke and loud booms. The action continues as described below.

 

TAWNEY (CONT’D – V.O.)

Down below, the gun deck was a choked den of sulfur and white smoke. Suddenly, a shot entered one of the gun ports, and dashed dead two-thirds of the gun’s crew. The Captain of the next gun dropped his lock string, which he had just pulled, turned over the heap of bodies to see who they were. When he perceived his mate – his boy – he burst into tears, and took the corpse into his arms.

 

SAILOR

No – oh, God. Tom, no….

 

LIEUTENANT

Damn your prayers over him! Back to your duty and save as many of the rest of us as you can! Take his remains, and give them to the sea.

 

The sailor struggles to his feet with his dead lover in his arms. Tears stream the soot on his face, but he makes his way to the gaping hole in the hull and pauses. He kisses the boy’s lips, then lets him fall into the sea.

 

TAWNEY (CONT’D – V.O.)

The hard order was obeyed, because it was the correct one. And so, the heart-stricken sailor returned to his post to save the rest of us.

 

The scene fades back to Tawney and Redburn now standing on the main deck; the smoke, sights, noises and sights of the battle evaporate before their eyes.

 

END ‘BATTLE’ FLASHBACK.

 

     

TAWNEY

Ashes. But, we do what we do, because we must. And that day, Providence saw us take the aggressors’ ship and she now sails this Fourth of July under the banner of freedom. The USS Macedonian.

 

Redburn gives Tawney a hearty shoulder hug.

 

REDBURN

Your experiences sound sharp as a sword slapped in its scabbard. You know, the English have always been brutal – hundreds of French sailors were burned up by British arson, which is not fighting but murder – and yet Nelson was entombed in a coffin carved out of the mainmast of one such ship, and all in the name of ‘Glory!’ But, peace be unto him, where he lay, cooped up in that moldering and haunted mast.

(inhales deeply and throws his arms out)

Bury me in the green trunk of some living tree! Thus, even in death – like Osiris—

 

Redburn pauses; has a brief flashback of Queequeg in his coffin; shivers.

 

REDBURN (CONT’D)

I can have vital sap circulating about me; giving my body to the living growth that can shade my quiet tomb.

 

MAD JACK comes up to them. He is all cockeyed grins and jocular, party-mood mannerisms.

 

MAD JACK

Put down your shoe polish, boys! Clear the deck, and help set up for the theatre.

 

[Part 6 – III: The Play]

EXT. HALF DECK OF THE NEVERSINK – AFTERNOON

Two bells STRIKE. The CARPENTER and his MATES finish putting planks on a two-foot-high stage. In the shrouds above, SAILORS draw out lines of rope strung with semaphore flags. Another line in the back of the stage is hung with a large ”Naval Jack.” ^[10] The front is fitted with the ship’s extra-large battle ensign. ^[11] It is on rollers so it can be opened. The sides of the stage (the bulwarks) are all draped with flags of various nations. LEMSFORD directs the stage decoration. He holds a crumpled script in his hands.

 

EXT. MAIN DECK

TAWNEY and REDBURN help other SAILORS arrange shot boxes at lengths to support capstan bars, which are around five feet long. Three bars are centered to make a seat. The whole deck is arranged in pews, except for a spot centered with the stage at the foremast. Here two lines have been strung, and a Stars and Stripes draped as an awning. Under the shade, about a dozen campstools are set out. Slowly, sailors and OFFICERS drift on deck. They stand in small groups and chat. The stage curtain is closed.

 

EXT. RIGGING

The SAILORS who are on duty go out onto the yards. Here they lean on elbows, and chat. They have a great view of the stage, and can see LEMSFORD fussing over the ACTORS in costumes behind the curtain; NORD is among them.

 

EXT. MAIN DECK

More and more men arrive, including MARINES and DOWN-BELOW MEN. There is a holiday mood. REDBURN leans on a bulwark and sees SHENLEY being escorted by the elbow by PARRIE. They stop with him a moment.

 

REDBURN

Quite a turnout, huh?

 

PARRIE

You know what they say, give the workingman a holiday, and he can out-lord even a Commodore!

 

Shenley looks very weak. Redburn watches as concerned sailors help the couple to the front row, then browbeat others to give over their seats. As the chummies sit, one sailor of the escort plops his own panama hat on Shenley’s head before he goes. Now Redburn notices COLBROOK hanging around the awning. The brass band assembles stage right. Some others push a gun carriage over for the LEADER to stand on. The crowd grows noisy and impatient. LEGS, POUNCE and one other MAN patrol like cops with cudgels slapping their own open palms. Three bells STRIKE. The men shush one another and sit. The Leader raises his hand, and the band strikes up ”Hail Columbia.” The men beat time boisterously by slapping thighs and stomping feet. LEMSFORD comes out and stands before the curtain. The music continues more softly while the poet speaks.

 

LEMSFORD

In honor of the valiant fallen, who fought for our right to celebrate, the Captain and the Commodore proudly present this tribute to our Independence Day.

 

Cheers from the crowd; Lemsford raises his hands

 

LEMSFORD (CONT’D)

Homeward-Bound Theatre is pleased to offer for you pleasure, ‘Old Ironsides Paid Off!’

 

He steps aside, amide a riot of hoots and foot-stomps. He draws the curtain open with him as he goes.

 

 

BEGIN ‘IRONSIDES’ SERIES OF SHOTS:

A) Four drunk men dressed as Maltese sailors stagger on stage. The crowd cheers. A mustachioed man in wig and stuffed dress poses before them.

 

MAN

(falsetto)

Wither to, boys? Let ‘Gin and Sugar Sal’ entertain you.

 

He hoists his bosom, and the crowd goes “Oh” and stomp feet in approval. Fade and cut to:

  Nord, in oversized civilian clothes, gives his fake mustache a dastardly twist. After having been used up by Gin and Sugar Sal, the four sailors are in the gutter.

 

NORD

As mayor of Seamenville, I presume that our

constable should…

(enter PATRICK as a beautiful girl)

…Why, Miss Lovelorn….

 

The crowd whoops, rises to its feet, and whistles. Patrick goes to the front of the stage, turns in profile to the audience, picks up the corners of his skirt, and bends his knees in a sort of curtsy. The crowd eats it up, so Patrick blows kisses and waves to a few friends.

C) The men in the rigging applaud and whistle too.

D) As the crowd begins to forcefully shush itself, and action resumes on stage, Redburn glances to the awning. He loses his smile to see Colbrook is not there, but then, as his glance scans the distance from there to his own position, he spies the handsome Corporal is standing only about two sailors away from him.

E) Nord and Patrick continue with their lines. Lemsford follows along from the side of the stage with his script. He looks up, and gives a quick signal to the Band Leader. The Leader raises his hand, and the band strikes up ”My Country Tis of Thee.” JACK CHASE bounds onto stage, and the crowd jumps to its feet. Their thunderous cheering spontaneously resolves into three ”Hip, hip, hurrah!” Jack is wearing dark blue trousers and an indigo and white jumper that is beautifully embroidered with eagles and flags. The crowd only gets more boisterous as Jack takes five or six curtain calls, and sailors toss posies onto the stage. These are lengths of rope, bound, and untwisted at the top to form ‘bouquets.’ Jack jogs around collecting these and blowing kisses. He presents them all to Patrick, who lavishes thanks Jack with a curtsy, and then turns to the audience and offers several more. As the cheers go on, Jack holds up his hands for silence. Men in the crowd start shushing, then some shout “Stop hollering!”; “Quiet!”; “You louts!” etc. They settle down and sit once Jack pretends to be delivering lines that no one can hear. Now a pregnant silence is as tense as a cocked-back trigger. Patrick steps up to Jack, lays a single hand on his chest, and delivers his line with dripping Southern overtones.

 

PATRICK

(thrusts hips)

Why, if it isn’t, Percy Royal-Mast!

 

Again the crowd is on its feet with wild approval. The three law-enforcement officers grow uneasy with the state of things. Fade and cut to a later point in the play:

F) The rescue scene: as the band plays some swashbuckling music, with a low-toned and dramatic beat, Jack sword-fights three actors who are dressed unmistakably like Bland, Legs and Pounce. Patrick is tied up and gagged. The crowd is on the edge of its seat.

 

CUT TO:

REDBURN:

 

Is lost in the action too, but feels something on the right side. He glances, and Colbrook is standing right next to him. The Corporal’s handsome features smile at the action on the stage, but his arm makes a subtle move towards Redburn’s.

 

ON STAGE

The villains are routed and fall in hammed-up fashion. Fade and cut to:

G) The kiss scene: a pan of the audience shows it is quiet enough to hear a pin drop. On stage, Jack and Patrick stand holding hands, while the bad guys are in a pile in one corner.

 

MEN IN THE RIGGING

Have a fantastic view. Jack and Patrick draw closer and closer.

 

FACES OF THE CROWD

Grow more and more expectant; breaths are held in anticipation.

 

ON STAGE

Jack puts his arm around Patrick’s waist and pulls him in so that the young man’s arms are locked in an upright position at the elbows.

 

PATRICK

(staccato)

Why, Percy Royal-Mast – you are a true Yankee sailor, a gentleman, and – you – are – my…hero…..

 

They come together for a kiss.

 

Gradually, as the kiss does not come to an end, there is a slow-motion roar that builds from the men; it swells until the Crew is on their feet, cheering and pushing towards the stage.

 

CUT TO:

COLBROOK:

 

Slips his hand into Redburn’s. Redburn turns and locks eyes with him.

 

FROM THE RIGGING

Jack and Patrick are still kissing. The crowd nears the front of the stage.

 

CROWD’S POINT OF VIEW

Legs, Pounce and the other man put themselves between the stage and the crowd, trying to keep anyone from climbing up.

 

ON THE STAGE

Jack and Patrick finally break. At first both seem not to remember where they are. Jack slowly loosens his grip on the young man, and Patrick lowers a couple of inches back onto his feet.

 

CUT TO:

REDBURN:

 

Squeezes the hand holding his with a sadly sweet smile.

 

ON STAGE

All the actors and Lemsford assemble; they form a line, link hands and bow / curtsy. Fireworks suddenly go off. Everybody gazes upwards in amazement. Fade and cut to the next scene.

 

END ‘IRONSIDES’ SERIES OF SHOTS.

 

[Part 6 – IV: Bedside]

INT. REDBURN’S COUNTRY HOME, PETER’S BEDROOM – DUSK

Lace curtains ruffle lightly in the cool breeze of a summer’s evening. Down below, on the front lawn, boys light firecrackers. BOOM, HISS, POP. They giggle, and a passerby calls out to them: ”Happy Fourth of July, boys.” “Same to you,” they say, and ready more firecrackers. The shot pulls back into the room. PETER is lying on his deathbed, and REDBURN sits alone next to him. Peter’s breath is shallow and wheezy; his face is pure pallor. Redburn slowly lifts and holds his dying brother’s hand. POP, HISS, BOOM!

  

[Part 7 – Before the Mast – I: Brown Girl in the Ring]

INT. LEE WAIST – DAY

A raucous sports gathering is in progress. In the ring, two Irish-looking SAILORS box with bare knuckles. They are glowing with sweat and some light blood; they spar naked except for their drawers. The crowd is as before: OFFICERS, a few SAILORS, and CAPTAIN CLARET with BRIDEWELL. SUNSHINE, MAYDAY and ROSEWATER look to be there by compunction. Off to one side, REDBURN, NORD and WULU stand by watching. One boxer takes a hard left hook, and falls to the deck like a pillar of salt. Amid cheers and jeers, some yell, ”Get up, you paddy bastard! Fight!” He does, but the man stands before his opponent with a bloodied face and a growing black eye. ”Uncle” he says, and his rival smiles, grabs his head in the crook of his elbow, draws him in, and kisses the top of his sweaty head. They exit together, while more catcalling echoes, and bets are paid out.

 

CAPTAIN CLARET

(calls out)

Where’s my band of mess cooks! Ah, yes. Let’s have some headbutting.

 

Sunshine sees Rosewater is unprepared for this. He steps up.

 

SUNSHINE

Captain, let me and Mayday entertain you.

 

CAPTAIN CLARET

No, Sunshine. Mayday and Rosewater are better mismatched – I like to see a full-blooded buck pound a pouncey lightweight. There is more to amuse.

 

Mayday springs his step. He goes to the center of the ring, claps his hands in time to his chanting taunt, and crouches low so the whites of his eyes show.

 

MAYDAY

(to Rosewater)

(CHANTS / SINGS)

”Little brown girl in

The ring—

Show us your motion—

She looks

Like a sugar plum fairy.

Show us your motion;

Come on, fairy!”

 

Rosewater gets riled, and that is what Mayday wants. He enters the ring with a determined scowl; he crouches down. The crowd places bets and begins a rhythmic stomp. The opponents get a running start. They collide, and Rosewater is hurt. He lands hard on the deck in a fetal position, grabbing the top of his head. He moans loudly and rolls side to side. The crowd jeers, and Mayday grows embarrassed at his fellow Cook’s Mate ’weakness.’ Sunshine goes to the downed man.

 

MAYDAY (CONT’D)

(spitting out)

Little brown girl in the ring,

Falls like a cockeyed pantywaist.

 

The crowd laughs, and Rosewater staggers to his feet in a furious rage. He pushes Sunshine aside.

 

ROSEWATER

Say that to my face.

 

Mayday comes in slow, with chest out and arms back.

 

MAYDAY

Show us your motion.

 

Mayday comes in to bump chests – mostly playful. Rosewater shoves him back in anger.

 

ROSEWATER

Fuckin’ nigga.

 

Rosewater spits on the deck.

 

MAYDAY

Who are you calling...? You think you’re better than me!

 

Now his temper makes him follow a retreating Rosewater; his fists go up. Rosewater turns spitefully on him

 

ROSEWATER

I know I’m better than you! My father’s from one of the best families in Virginia.

 

MAYDAY

Did he ever claim you as a son? No. What ‘gentleman’ would?

 

Rosewater begins to walk away again.

 

MAYDAY (CONT’D)

Better to be a full-blooded something, than a

half-blooded nothing.

 

Rosewater crouches as he turns and latches onto Mayday’s waist. The two stagger back as Rosewater begins to land brutal punches on Mayday’s side. Mayday crashes down a double-fisted punch on the back of Rosewater’s neck, and Rosewater uses his other arm to force Mayday down into a headlock. He begins to pummel Mayday’s face, spitting out a hateful torrent.

 

ROSEWATER

Fucking field hand. Ain’t got no readin’…ain’t got no class…just a God damn tool—

 

The crowd is stunned. Wulu and Sunshine pull Rosewater off, and hold him by the arms. Redburn and Nord restrain Mayday, whose lip is busted. He spits blood on the deck and glares at Rosewater.

 

BRIDEWELL

Unseemly! You do this before the Captain?

 

CAPTAIN CLARET

You boys shock me. Is this the way you repay my kindness? Hmm! I let you play a little, and you resort to animal instincts? You two do disappoint. There will be no fisticuffs onboard any vessel under my command. Mr. Bridewell.

 

BRIDEWELL

Sir.

 

CAPTAIN CLARET

Ready the gratings.

 

[Part 7 – II: Not One God-Damned Tear & Murder/Suicide]

EXT. MAIN DECK OF THE NEVERSINK – DAY – LATER

The assembly from the sporting match watches the gratings be lifted. JACK CHASE, COLBROOK, and other SAILORS swell the ranks.

 

CAPTAIN CLARET

Arrange them upright. Let them be flogged

side-by-side.

 

ROSEWATER

Captain, please – that damn headbutting, it ain’t right – I got agitated.

 

BRIDEWELL

Silence.

 

Two BOATSWAIN’S MATES take off their jackets and roll up sleeves. Rosewater begins to breathe hard once he sees two green bags be given to the men who will do the flogging.

 

CAPTAIN CLARET

Rosewater and Mayday, you have been found fighting. Have you anything to say?

 

Rosewater opens his mouth, but Mayday holds up his hand and steps forward.

 

MAYDAY

You cheer us for fighting like children, as long as it ‘entertains’ you – but, you will have us flogged because we decide to fight like men? Is that it, Captain?

 

CAPTAIN CLARET

Your attitude is noted – both of you. Curb your tongue, Mayday, or it will be curbed for you. Strip and receive your lashes.

 

Rosewater slowly grows frantic.

 

ROSEWATER

I ain’t never been….

 

The QUARTERMASTER’S MATES roughly pull off Rosewater and Mayday’s jerseys and t-shirts. They toss them to the deck. Redburn goes and picks them up; the Captain notes this with silent hostility.

 

MAYDAY

(to Boatswain’s Mates)

We don’t need to be lashed. We will stand our ground, and take it.

 

The Boatswain’s Mates look to Bridewell, who nods. Rosewater and Mayday step to the gratings. They stretch up arms and spread their feet. They stand with their faces against the gratings and look towards one another.

 

ROSEWATER

(low)

I ain’t been beat with a whip.

 

Mayday sees his buddy is near tears and in a panic.

 

MAYDAY

You lookie here, Rosewater. You watch my eyes, and you do not take your hand off that wood. De’ye hear! You and I, brother, we will help each other, cuz no one else gives a shit.

 

The Boatswain’s Mates comb the cat-o-nine-tails and assume positions; they look for the Captain’s signal.

 

MAYDAY (CONT’D)

You hear me! Not one single God-damned tear for them. Not even one.

 

Rosewater inhales deeply, grits his teeth and nods. The Captain signals, and they receive twelve lashes. Rosewater filches, but he does not let go, he does not close his eyes, and he does not yell out in pain. Mayday is proud of him. From Redburn’s point of view, Rosewater’s back is soon cut open and his welts bleed. Afterwards, the Boatswain’s Mates step back. The men let go of the gratings, and Redburn goes over with their clothes.

 

ROSEWATER

(to Redburn)

Is there blood?

 

Redburn nods. Again, the Captain watches with visible enmity. Mayday gets dressed.

 

ROSEWATER (CONT’D)

I don’t want it on my clothes.

 

REDBURN

But, you’ll catch cold…wait—

 

Redburn shoves Rosewater’s clothes into Mayday’s arms. Redburn rips off his own jersey and t-shirt. He makes Rosewater raise his arms, and then slips his clothes on his body. In a moment, Rosewater and Mayday smile and lock each other in a shoulder hug. Sunshine joins them, and they go off together.

 

CAPTAIN CLARET

(barely suppressed rage)

Mr. Bridewell, is that not the man who was derelict in his duty while tacking-in this morning?

 

BRIDEWELL

Sir?

 

The Captain makes it clear that he expects and ”Aye.” The First Lieutenant grows sick to his stomach.

 

BRIDEWELL (CONT’D)

Why yes, Captain. White-Jacket it was.

 

CAPTAIN CLARET

Why were you not at your station, sir?

 

REDBURN

(defiant)

What station, sir, do you mean?

 

CAPTAIN CLARET

You pretending ignorance will not save you, sir. Mr. Bridewell.

 

Bridewell pulls out his little notebook. He thumbs back.

   

BRIDEWELL

Crewman number four-seventy-eight, mess number one, hammock number two-forty-six, and tacking station A of the starboard main lift.

 

REDBURN

Captain Claret, this is the first time I’ve heard this assignment.

 

CAPTAIN CLARET

How is this possible, Mr. Bridewell?

(to Redburn; angered)

Young man, are you insinuating that the senior first officer of this United States Naval vessel was derelict in the performance of his duty!

 

REDBURN (V.O.)

Instinct told me, this man had set his heart against my flesh, but I would not be flogged. Who’s to say a knave is not a saint in his way, and that dark thoughts can drive a man to the light. True evil stood before my naked skin and smiled, for the devil is a gentleman, and the highest form of vainly is the use of position to vanquish another; there to toss cold clods on the face upturned to yours, for that is the worst form of contumely, and the only true evil deep-rooted in the heart of Man. Seeing him, my humanity teetered within me.

 

REDBURN (CONT’D)

I did not know my station before this moment.

 

CAPTAIN CLARET

I shall have you flogged for this insubordination.

 

During the following voiceover, there is a slow-motion appraisal of the scene as seen from Redburn’s perspective: the Quartermaster’s Mates at the gratings, readying the straps; the Boatswain’s Mate opening another green bag; Bridewell slipping his notebook back into his breast pocket; a shot of Mayday and Rosewater, still arm-in-arm, descending a hatch; the faces of sailors around him looking shocked; the Boatswain’s Mate combing a cat-o-nine-tails; the Captain’s invidious glare at him; and the by-chance coincidence that the gangway through the bulwarks is open behind the Captain. Then it is that he imagines his murder / suicide: a slow start off into a run; full speed grunts and the impact as his body, crouched down low, slams into the man; a slow-motion fall with them locked together to the edge of the gangway; Bridewell’s reaction to try and stop; a full-speed fall of the Captain and Redburn along the side of the hull and into the water with a deafening splash; and the slow-motion descent of their corpses through champagne bubbles.

 

REDBURN (V.O.)

My blood clotted in my veins; I felt icy cold at the tips of my fingers; a dimness clouded my eyes. Through the dank of this contemplation, the Quartermasters rigged the gratings, the First Lieutenant glowered, men showed themselves coeval with my plight, the Boatswain’s Mate curried his fingers through the lash, and the Captain loomed a giant with the sea behind him in vivid invitation. Wild thoughts enter a desperate man’s heart, and Nature has not implanted any power in Man not intended for use. My will to exercise the power of death – of dying myself, and inflicting it upon another – was not given to me for no purpose. The clear opening of the lee gangway was straight behind him. A sudden rush against him, and I could drag him with me to the depths of the ocean. I could not analyze my heart; no, I felt my man’s manhood so bottomless within me, that no word, no blow, no scourge of captain could cut me deep enough to leave a mark on that, but I swung to an instinct nevertheless beating within me, the same instinct that prompts even a worm to turn under heel; the same instinct diffuse through all animate, and soulful Nature. Locking souls with him, I meant to drag Captain Claret from him sham earthly tribunal to a loftier one. Let God decide between us, for in no other way could I escape the whip.

 

Colbrook pushes through, and is suddenly standing next to Redburn.

 

COLBROOK

Captain Claret, sir. I know this man.

(touches his cap)

And I know that he would not be found absent from his station, if he knew where his true duty lie.

 

Mention of ”duty” pings the Captain. As his mouth opens to chide the Marine, Jack Chase steps up.

 

JACK CHASE

Aye, sir. Tis true. This man has served under me valiantly. I have never found him wanting in executing his duty to this ship, and to her men.

 

The Captain takes this rhetorical slap in the face, and wakes up a little; his temper abates. He slowly assesses all the assembled faces around him, and sees they are against him in this caprice.

 

CAPTAIN CLARET

(to Bridewell)

Get them back to their duties.

 

The Captain turns, and goes.

 

BRIDEWELL

You men, return to your posts. You, four-seventy-eight; you may go.

 

While Colbrook and Jack Chase shake his trembling hand, Redburn stares up at the rigging, to the colors and the piercing light, then down to the rippling blue water.

 

REDBURN (V.O.)

Redeemed, though I know not how, White-Jacket still awaited his sacrifice. I almost burst into tears of thanksgiving for the goodness of the human capacity to sympathize, and our bravery in the face of fear. When others need us to be hero, and save them from themselves, we step up. Yes, I could have cried tears of joy right where I stood on that horrible ship.

 

 

_