WHITE SQUALL
by
Todd Robinson
Revised First Draft
October 31, 1994
FADE IN:
SUPER: A TRUE STORY - MYSTIC HARBOR CONNECTICUT 1994
CREDITS OVER
Wind on the water. Soaring gulls and sand pipers glide
over the pilings and sagging bulkheads.
OLDER CHUCK (V.O.)
Though I hadn't seen or spoken to
Sheldrake in over thirty years, it
seemed impossible that his heart was
the thing that had finally failed
him...
INT. LATE MODEL CAR - SAME
CHUCK GIEG, 49, thin, windswept and handsome, is behind
the wheel. He pulls down a narrow cobble stone street
that leads to the wharf.
OLDER CHUCK (V.O.)
I never got close to him, nobody
did. But by the time we made Tampa,
I was sure I knew who he was, that I
understood what he saw, what
nourished his soul and tested his
faith...
EXT. WHARF - DAY
Chuck stares out across the harbor. In the distance, the
echoes of singing masts. Shrouds and canvas softly ping.
The small boats of Mystic tug restlessly at their
moorings.
OLDER CHUCK (V.O.)
He had taken us to worship, where,
what was for him, the holiest of
holies. And, for us too by the
end...
EXT. DOCTORS OFFICE - LATER
Chuck stands silently on the periphery of a gathering of
people. They surround a small building, a neighborhood
clinic. A worn gray stone, long in the earth, dedicates
the structure.
IN MEMORY OF NATALIE "ALICE" SHELDRAKE M.D.,
CAPTAIN'S WIFE AND SHIP'S SURGEON OF THE
BRIGANTINE ALBATROSS - MAY 2, 1961
Next to the stone a funeral urn. A YOUNG MINISTER gropes
for meaning.
MINISTER
I didn't know Richard Sheldrake
personally, but his many friends who
knew and worked with him, wanted to
make sure that he was returned home,
here, to be remembered with his
beloved wife...
Chuck gazes out at the sleepy harbor, the minister's voice
fading away. The afternoon wind is coming up with the
tide. He quietly heads towards the water. Drifting,
drawn, lost.
OLDER CHUCK (V.O.)
Though he had moved on with his
life, now even for the years, to
hear him eulogized by strangers,
seemed strange. He had been a
hewner of stones, a pilot by the
silent stars. Like me, alone among
many. But most of all for us, the
crew of the brigantine Albatross, he
was always and would forever be...
our Skipper.
A SHIP'S BELL turns him around. Ding ding. Ding ding. A
beautiful three masted schooner steady on the water slips
into port. A picture out of another time, another place.
It takes him away...
DISSOLVE TO:
EXT. FOREST - WATER TOWER - DAY
A towering monolith, surrounded by tall oaks and
sycamores. The tower is immense. A single ladder runs up
to the top.
AT THE TOP
Just above the tree tops, the view is spectacular. CHUCK
GIEG, 16, sits thin and unsteady. Chuck's gaze is drawn
upward -- to the building spring cumulus clouds. Chuck's
older brother WILL, 18, stout, self assured, pulls himself
to the top.
WILL
You gonna jump? Or are you just
having a last look?
CHUCK
I was just thinking that I never had
a new pair of shoes till I was
twelve.
WILL
It's no my fault I was born first.
Besides, nobody ever sent me on an
eight month vacation, so ease up on
the sad sack stuff.
CHUCK
It's not a vacation, it's private
school.
WILL
I thought this was your dream come
true.
CHUCK
That's not why he's sending me.
WILL
Why then.
CHUCK
Because it looks good.
Chuck looks out, yearning. Will considers him, troubled.
CHUCK
I'm just not like you. Ya know?
I'm never going to go to Yale. I'm
never going to be "William".
WILL
Nobody says you have to be like me.
CHUCK
He does.
WILL
You don't give him enough credit
Chas.
Chuck takes a last look at the building clouds. The sky
rumbles. Distant thunder.
WILL
We better go.
EXT. GIEG HOUSE - DAY
Maple street, USA, tree lined and quaint. The Gieg home
is a modest two story house with a covered porch. The
family station wagon is poised for departure. CHARLES,
45, a generally serious man broods as MIDDY, their mother,
40, soft and thoughtful, exits the house. Chuck and Will
appear from the woods.
CHARLES
(ticked)
You plan on making this plane or
not?
WILL
Don't take any wooden nickels
Kemosabe.
CHUCK
I won't.
Will shoves out a hand at Chuck.
WILL
And lighten up will ya.
Chuck hugs him anyway and walks to the passenger side.
Charles tosses him the keys, like he's doing him a big
favor.
INT. CAR - DAY
Chuck sits in the drivers seat. Middy is in the back.
Charles slams the trunk and gets in. Before Chuck turns
the ignition...
CHARLES
Now just take it easy. We're not
going to a fire.
Chuck reacts.
OUTSIDE
Will watches as the car pulls away.
CAR - MOVING
The Giegs drive in silence. Middy reads from a brochure.
MIDDY
Honey, did you know that the
Albatross was captured by the
Germans during World War II?
CHUCK
No, I didn't.
MIDDY
It says she was originally Schooner
rigged, but Captain Sheldrake turned
her into a brigantine. I think
square rigs look so much more
romantic.
CHUCK
Me too.
CHARLES
Appearances aren't everything. Keep
your mind on the road.
Chuck pulls over to the side of the road.
CHARLES
What are you doing?
Chuck hands him the keys.
CHUCK
I don't feel like driving. Okay?
Charles regards him oddly.
EXT. AIRPORT GATE - DAY
The National Airlines Boeing 707 is bigger than anything
Chuck has ever seen. Passengers begin boarding. Charles
stands away, detached.
MIDDY
Do you have your ticket?
CHUCK
Yes.
MIDDY
Passport?
CHUCK
Look, I just better go.
Middy hugs her son.
CHUCK
Goodbye Mom. I'll be okay.
MIDDY
I know you will.
Chuck faces his dad.
CHARLES
Make us proud.
CHUCK
Yes sir.
Charles extends his hand. They shake. Then Chuck hurries
away into the crowd. Charles and Middy watch until he is
out of sight.
INT. PLANE - DAY
Chuck settles into his seat next to the window. He
watches as the world slips away beneath the wings of the
707.
EXT. AIRPORT CUSTOMS - BERMUDA - DAY
Another world. Chuck stands in line at the customs booth.
He cranes his neck to see the brilliant blue water and
coral reefs beyond the runway.
Three other boys are ahead of him in line. The CUSTOMS
AGENTS go through every piece of luggage. TOD JOHNSTONE,
16, thin and blonde, is in a heated argument with one of
the agents about his spear gun.
RICK MARCH, 17, wise-cracking and confident, shakes his
head, smiling. He spots Chuck, moves through the line and
shoves out a hand.
RICK
Albatross?
CHUCK
Yeah.
RICK
Rick March. Who the hell are you?
CHUCK
Gieg, Chuck.
RICK
Look, meet us out front when you're
through. If they try to take
anything away from you like Johnny
Quest up there, just make a list and
we'll have 'em send it down to the
boat.
CHUCK
Whatever.
One of the agent starts pulling things out of Rick's
duffel bag. He finds a dive knife.
RICK
Hey, hey!! That's my stuff!!
EXT. AUSTIN CAB - MOVING - DAY
The car whizzes through the narrow streets of Bermuda.
CALYPSO MUSIC sings from the radio. The streets are lined
with small coral houses and exotic palms.
INT. CAR - SAME
The boys are jammed inside with their things. In addition
to Chuck, Rick and Tod, is CHARLIE STRATTON, also sixteen.
TOD
Well Ricky boy, spear gun or no,
it's sweet to be back in the world
of rum and honey.
RICK
I gotta admit I never thought you'd
be back after the great "Bowsprit
Affair".
TOD
Me and Skipper had a meeting of the
minds.
CHARLIE
How's that?
TOD
I begged.
CHUCK
(warming a little)
What the "Bowsprit Affair"?
RICK
Well, Romeo here was on harbor watch
and managed to sweet talk one of the
local girls to have a go in the
bowsprit.
TOD
Not just any 'local' girl.
RICK
The 'local' mayor's 'local'
daughter.
Tod smiles, reminiscing.
CHARLIE
Thing is, the net in the basket
isn't very comfortable, so Tod-o
wraps them up in the jib. After the
deed was done...
RICK
He says they did the deed...
TOD
Trust me, we did the deed.
CHARLIE
After the "alleged" deed was done,
they fell asleep. Big Daddy Lawford
comes on deck at four bells and
hears Casanova sawing logs.
TOD
Believe me, I needed the rest...
CHARLIE
He gets the whole crew on deck, gets
us on the halyard, and orders the
old "heave ho...".
RICK
Up goes the jib and out roll Tod-o
and the mayor's daughter, naked as
pilot whales...
CHARLIE
(to Tod)
I don't know who was more surprised,
you or Big Daddy.
TOD
To tell you the truth, I think it
was her father.
At the top of a hill, the harbor comes into view.
RICK
Well gentlemen, there she is.
The cab stops. Besides many colorful fishing boats, is
the ALBATROSS. At ninety-two feet, she dwarfs everything
in the harbor. Her white hull glows like ivory and her
twin masts and yard arms tower above her deck.
Breathtaking.
CHARLIE
Home sweet hell on the water.
EXT. DOCK - DAY
The boys pile out of the taxi. What seemed like a
pristine ship from the hill looks like a rust bucket up
close. The white paint is streaked and barnacles cover
the hull. Looks of disappointment.
CHUCK
What happened to it?
A voice from behind turns Chuck.
BILL
She cleans up. We'll have her ship
shape before we shove off.
This is BILL BUTLER, 15, removed, the youngest of the crew
and... first mate. Bill gives Chuck a friendly slap on
the back and climbs aboard. He is greeted by a Viking
giant of a man, LAWFORD, 37, and bearded, the ship's
English professor.
Puffing on a huge Havana cigar, he stares coolly down at
Tod and the others. He speaks with the voice of Moses.
LAWFORD
"That this same child of honor and
renown, This gallant Hotspur, this
all praised knight, And your
unthought-of Harry chance to meet.
For every honor sitting on his helm,
Would they were multitudes, and on
my head. My shames redoubled! For
the time will come...
Chuck feels something and looks up where he meets the
intense stare of a man standing between the deck cabins.
Their eyes lock.
LAWFORD
... That I shall make this northern
youth exchange, his glorious deeds
for my indignities."
Then, the man is gone. Haunting. Only Chuck has seen
him. Tod smiles back at Lawford impishly.
TOD
Would you be addressing me, sir?
LAWFORD
I would.
RICK
What's that supposed to mean?
LAWFORD
(beat)
Henry the IV part I Act I Scene ii.
I suggest you read it.
Lawford sneers and walks away. It's all a show.
CHARLIE
It means Shakespeare. B-o-r-i-n-g.
BILL
It means if he catches anybody
basket-napping on watch this
passage, he's gonna use their lizard
for 'cuda' bait.
RICK
(lightly)
Well that's a hell of a how-do-you-
do.
BILL
Drop your gear, go below and pick
yourself some bunks.
Chuck and the others climb aboard.
INT. MAIN CABIN - DAY
Chuck makes his way down the companionway into the main
cabin. Other crew members are already unpacking.
The sleeping arrangement is Pullman-style with two rows of
bunks on each side of the cabin. In the middle of the
room is a gimbaled table. This is where the crew will eat
and study.
RICK
Listen up. This is Chuck Gieg.
Among the crew -- feature ROBIN WEATHERS, 16, a cherub
with soft puffy cheeks and TERRY LAPCHICK, 17, skinny and
rodent-like.
Robin approaches with a hand extended. He carries a 8x10
photo of a young man in a football uniform.
ROBIN
I'm Robin.
Chuck regards the photo.
ROBIN
(flat)
That's my brother. He's dead.
Apprehensively Chuck shakes and retreats to a lower bunk.
Robin tacks up the picture above his bunk. Terry unpacks
in front of one of the lower berths.
A loud "THUD!" turns everyone around. A duffel bag lies
at the bottom of the companionway. A large imposing
figure climbs into the cabin.
This is JOHN GOODALL, 17, over six feet, big and broad.
His hair is slicked back "Dean" style and wears a full
day's growth of bread on his face. Compared to the
others, he looks all man. Everybody clears from his path.
He stops in front of the lower, center bunk (Terry's bunk)
and drops his bag.
JOHN
I'll take this one.
TERRY
You probably didn't notice, but this
bunk has been taken.
John just glares at him, then dumps all of Terry's things
onto the blanket on the bunk, gathers it up and tosses it
into the remaining upper berth. Terry watches,
intimidated.
JOHN
Anybody gotta problem with that?
RICK
(beat)
Absolutely not.
John climbs into his bunk and closes his eyes. Bill
enters, followed by several adults.
DR. ALICE SHELDRAKE, 30, smart, attractive and tough, is
ship's surgeon and Skipper's wife. Lawford appears with
GEORGE PASCAL, 30's from Brazil, dark, and fit.
BILL
Alright, listen up. This is Dr.
Alice Sheldrake.
The guys stumble over only half listening.
ALICE
I'm ship's surgeon. I'm in charge
of aches, pains, biology, math and
science.
BILL
George Pascal here is ship's cook.
GEORGE
If you want to keep all your
fingers, stay the hell out of my
galley unless you're invited.
BILL
Some of you already know Mr.
Lawford.
LAWFORD
I have been charged with the dubious
task of insuring your literary
education.
Lawford puts a hand on Bill's shoulder.
LAWFORD
Bill Butler is your first mate. But
don't let his size fool you.
Bill gives a half reluctant wave.
MIKE
So when the hell do we get to meet
El Capitan?
Snickering.
TERRY
(aside)
Maybe he's getting his wooden leg
waxed.
Laughter. A sound stops the laughter. Almost on cue, the
sound of slow methodical footsteps, pace the deck above
them. Then a shadow falls across the skylight, blocking
the light. Ominous. They all notice and look up.
LAWFORD
(mysterious)
You'll meet him. Soon enough.
INT. MAIN CABIN - SUNRISE
Dawn glows orange in the skylights above the cabin. The
only sound is the heavy, even breathing of slumber.
Suddenly, a booming voice rumbles down the companionway.
LAWFORD (O.S.)
Arise, Arise, Arise...
Chuck wakes, disoriented. Terry bolts upright and hits
his head on the low ceiling. Ouch.
Tod, Rick and Charlie are up instantly. Lawford's voice
echoes through the ship.
LAWFORD (O.S.)
Exultation is the going/ Of an
inland soul to sea/ Past the houses/
Past the headlands/ Into deep
Eternity/ Bred as we, among the
mountains/ Can the sailor
understand/ the divine intoxication/
of the first league out from land?
(pause)
But I suppose we'll answer that
question soon enough gentlemen.
Soon enough.
TERRY
What question?
Chuck tries to assimilate Lawford's words. Robin swings
his feet over the side of his bunk with a tortured look.
John rolls over and pulls his pillow over his head.
ROBIN
(foggy)
What the hell is going on?
CHUCK
Maybe it's an air raid.
In crisply pressed shorts and shirt, Bill Butler steps
through the aft bulkhead. He raises a bowswain's whistle
and blows. OOOWWWEEEEOOO!!!! Chuck and Robin grab their
ears. It's a nightmare. Terry jumps and hits his head
again.
BILL
Roll out sailors! All hands on
deck! Sixty seconds. Sixty
seconds.
He blows the whistle again. This time it brings even John
to his feet, staring down at Bill in a blind rage. Bill
looks up and casually notices him.
BILL
You gotta problem Goodall?
JOHN
You blow that thing again I'll shove
it so far up your ass, you're gonna
need dental floss to get it out.
BILL
Just get on deck.
Bill turns and disappears topside.
EXT. DECK - DAWN
The sun has barely cracked the horizon as the crew
staggers onto the deck, shirtless and shivering.
BILL
Line up! Single file. Single file.
The crew lines up. John is the last one through the hatch
and he lets us know his boundaries are being pressed.
BILL
Everybody swims.
The boys are aghast.
LAWFORD
Don't think people, just go! Go,
Go, Go, Go, Go!!! Swim you win,
stay you pay!!
Rick is the first one through the gunnel door, followed by
Tod and Charlie. They howl and scream as they hit the
water. The rest follow like lemmings. But John stands
defiantly with his arms folded.
BILL
Now what's the problem, Goodall?
Everybody swims.
The crew are piling back on deck. George stands in the
open galley door. The smell of fresh bacon is
intoxicating.
JOHN
I don't.
LAWFORD
You will if you wanna eat. Right
George?
George nods, wielding a butchers knife. The crew stand
shivering, waiting on John.
JOHN
(to Bill)
You gonna swim for your breakfast?
Bill gives John a long look then strips to his shorts,
swings into the rigging and climbs up to the first yard
arm. He looks down at the water some twenty-five feet
below. It's a long way. Robin turns away.
Lawford booms in a voice that echoes across the harbor.
LAWFORD
"Down, down beneath the deep, That
oft in triumph bore him, He sleeps a
sound and peaceful sleep, With the
salt waves dashing over him." --
Lord Byron gentlemen.
With that Bill leaps and hits the water with a huge
KERSPLASH! He swims to the boarding ladder, pulls himself
up and gets in John's face.
BILL
Everybody swims. Now, I've been in
twice. So I guess I'll be eating
your breakfast too.
John considers him, then strips off his shirt. But
instead of walking over to the gunnel door, he jumps into
the ratlines, climbs to the foretop and looks down.
He manages a thin smile then climbs to the second set of
ratlines past the third yard and continues to the top yard
arm -- the topgallant. It's a pissing contest and
everybody knows it.
MIKE
I got five bucks says he doesn't.
CHRIS
I got five that says he doesn't
live.
TOD
I'll take a dollar of that.
ROBIN
This is crazy!
Robin refuses to watch. The others share a look.
John makes his way along the foot ropes and stands at the
end of the yard. He tosses a look towards Bill but with
no way to back down, he launches into the air. Everyone
gasps as he thunders through the air in a broad swan dive.
Falling, falling, falling...
CHUCK
Jesus.
ROBIN
I can't watch this.
John hits the water like a bullet. The crew run to the
side waiting for him to come up. Nothing. Finally, he
breaks the surface. Easy. He climbs up waiting, somehow,
to claim victory.
Suddenly, they all feel it. A presence. He has appeared
silently on top of the Chart House, like a phantom gazing
down at them, back lit by the sun the boys must squint to
see him.
RICHARD SHELDRAKE, (SKIPPER), ageless and windswept,
casually reaches up to a block and tackle with one arm and
glides to the deck. He is powerfully built and bronzed
from the sea and sun. He carriers the burden of command
like a cross. Soft-spoken and remote, he is a man to be
reckoned with. The crew know they are in the presence of
someone larger than life.
BILL
Skipper on deck!
The crew line up clumsily. Skipper has a gaze that blazes
right through them.
He looks out to sea. Searching, ominous. He waits until
the silence is filled with everyone's attention.
SKIPPER
You know what's out there? Wind and
wave and rain. Endless glassy pools
that'll hold a sailing ship for
weeks and then spit her out into the
eye of the kind of hurricane. A
blow that could knock the bridge off
a battleship. Reefs and rocks and
sandbars that'll tear the belly from
her and enough fog and night to hide
it all.
He spits into the water. The crew sheepishly throw
glances to the horizon.
SKIPPER
So look out there... and explain to
me why any man in possession of any
sense at all, would take on the sea
with sail?
Skipper turns his gaze back to the boys. There is a fire
in his eyes. Nobody dare answers.
SKIPPER
Because there's something else out
there. It beckons in the wind and
sings in the shrouds. Voices.
Whispering...
His ear to the wind.
SKIPPER
They're voices of men. Calling. Men
you don't even know. Men you can't
even imagine. It's a seed, a wish,
that part of you and I that aches to
be alive, that was banished by
everything we've ever been taught or
told. It's a part of us that can
only be found on mountain tops and
deserts, in the deepest caverns,
smoking battle fields and... across
oceans.
He turns back to the sea, dark.
SKIPPER
Out there, is where it all waits.
OLDER CHUCK (V.O.)
He was everything I had expected,
part Ahab part Queeg and even Bligh.
He spoke in whispers and answered
all queries with efficiency and
directness. He had gone to sea for
the first time at fifteen, the same
age as Bill Butler. And as he
looked upon us that first day it
must have been as though he were
staring into a mirror.
Skipper manages a sobering look and climbs on top of the
chart house. He pats a small brass sign that is welded to
the main mast and reads the inscription.
SKIPPER
(reading)
"Where we go one, we go all."
With that, he disappears below. Nobody moves. This is
exactly the kind of man you want around when the shit hits
the fan.
TERRY
This -- is gonna be a long eight
months.
INT. MAIN CABIN - DAY
The boys devour a hearty breakfast. Tod is the 'galley
slave' and fills glasses with orange juice.
TOD
Chow down boys. The milk and eggs
are the first things to go once we
put out.
John enters balancing two plates heaped with food.
RICK
You know we gotta dumbwaiter for
that.
John looks over to the dumbwaiter mounted in the wall.
RICK
Not that one. Tod-o here.
The guys groan.
TOD
Har, har, har...
John approaches the full table, glaring down at Terry who
doesn't notice him. Finally he looks up, startled.
TERRY
I'm done. I'm finished...
He scrambles to get up and clear his plate. John sits
down without a word. The others notice the two plates of
food.
RICK
Hungry, Goodall?
He just grunts and starts eating. Robin watches him.
JOHN
What's your problem?
ROBIN
Why'd you jump?
JOHN
Because I felt like it.
(sharp)
What do you care?
ROBIN
(aside)
I couldn't do it.
JOHN
Well, as soon as you grow some
balls, let me know.
Robin bristles.
ROBIN
Screw you!
CHARLIE
He's right. It was a stupid stunt.
JOHN
Excuse me?
CHARLIE
You heard me.
John grabs Charlie by his private parts and hoists him
into the air. Charlie gasps, the air sucked from his
lungs.
JOHN
Don't ever call me stupid.
ROBIN
Come on, he didn't mean anything.
John shoves Robin to the floor with his free arm.
JOHN
Let me tell you girls something. I
do what I wanna do. When I wanna do
it. And I don't give a shit what
old Ahab up there thinks either.
Any questions?
John releases Charlie who crumples to the floor. John
resumes eating.
Bill enters and reads the duty roster.
BILL
Okay, here's the duty. Gieg,
Weathers, Lapchick, Schucart:
scrape and paint. Corry and
Stricklin have the brass. Robinson,
you're the Galley slave. March
you're on chain gang with Barnes.
Johnston, solo on bilge detail.
TOD
Butler, what'd I ever do to you?
BILL
You came back, Tod. You came back.
John continues to eat. When he realizes his name hasn't
been called, he looks up to meet Bill's eyes.
INT. HEAD
Pissed, John tries to figure out the head. Pumps going
in, pumps going out.
OLDER CHUCK (V.O.)
We were all thirteen individuals.
We'd arrived the sum total of our
limited experiences and the result
of our parents' best, if not narrow,
expectations...
John pulls back on the lever, belching "water de le
toilet" all over him.
EXT. SHIP - DAY
Chuck sits in a bowswain's chair over the side, with a
paint roller in his hand. The rust-streaked hull is being
transformed.
OLDER CHUCK (V.O.)
... Some of us were there for
discipline, some for escape. But I
could see a small piece of myself in
all of them and though I fought the
notion, for me, I knew now, this
would be home.
A RADIO crackles in the b.g.
ANNOUNCER
"President Eisenhower today
acknowledged that a secret American
spy plane was in fact shot down over
the Soviet Union. The pilot has
been confirmed as Francis Gary
Powers..."
Robin, Terry and Mike, are on the deck within earshot of
Chuck with chisels and wire brushes chipping away at the
rust.
TERRY
Why couldn't it have been a wooden
boat?
MIKE
Steel boats don't leak.
Mike lights up a cigarette. Robin notices. Marlboro's.
ROBIN
Hey, can I have one?
Mike sizes up Robin for a moment then tosses him the pack.
ROBIN
Thanks daddy-o.
Robin lights up, grimacing with the first drag.
TERRY
Well, don't brush too hard. Looks
to me like the only thing holding
this bucket together is the rust.
A voice booms up from the dock.
FRANCIS (O.S.)
Ahoy there.
They turn. Standing on the dock is FRANCIS BOUTILLIER,
self important and overbearing, with his son, PHILIP, who
looks as if this whole ordeal is some kind of punishment.
Skipper appears.
SKIPPER
Good afternoon.
Francis boards without being invited. Philip follows in
his shadow. He scrutinizes the condition of the boat.
FRANCIS
Albatross? Doesn't inspire a lot of
confidence.
SKIPPER
Oh, on the contrary, the Albatross
is considered a very good omen. It
is said they embody the spirits of
sailors passed on. It's very bad
luck if you kill one. And dolphins
too.
The boys chuckle.
FRANCIS
I'm Francis Boutillier. This is my
son, Philip.
SKIPPER
I know.
Francis looks the Skipper over, reading him, smiling.
SKIPPER
You're a day late. We keep a
schedule aboard ship. Lives depend
on it.
(to Philip)
Hello, Philip.
PHIL
Sir.
Skipper's directness bugs Francis.
FRANCIS
Your cable said you wouldn't be
putting out until mid-October.
SKIPPER
As you can see, there's a lot to do.
FRANCIS
Indentured servitude is not what my
son had in mind.
SKIPPER
This is a working ship. Promptness
is not a luxury, it's a necessity,
as is the work to maintain her. Had
we been ready, I can assure you we
would have sailed.
Something in this exchange turns the tone of conversation.
FRANCIS
And I would have expected
compensation for my time and expense
coming all the way down here.
SKIPPER
Happily, it all worked out... This
time.
(to Bill)
Bill, take Philip below and help him
find a bunk.
Phil follows Bill down the companionway.
FRANCIS
I'll be frank with you. This was
his mother's idea. A romp through
the Caribbean on a sailboat sounds
more like a vacation than an
education if you ask me.
SKIPPER
It will be more than that, I can
promise you.
FRANCIS
(cool)
Take good care of my son.
There is threat in his tone.
SKIPPER
We'll do our best. You're welcome
to say goodbye.
FRANCIS
He's a big boy.
Francis leaves the boat. Skipper and the crew watch as he
climbs into his waiting embassy limousine and drives off.
LAWFORD
Well, that was neighborly.
SKIPPER
He didn't get to be Under Secretary
of the Air Force by being
neighborly.
Lawford shakes his head. Bill comes up through the
companionway.
SKIPPER
Everyone aboard young Bill?
BILL
Yes, Sir.
SKIPPER
Good.
(beat)
Let's go sailing.
EXT. ALBATROSS - OPEN WATER - DAY
The Albatross is under full power. There is a sense of
excitement and anticipation. Charlie, Rick, Robin, and
Lawford are on the halyard for the mainsail. Skipper is
at the helm with Alice and Bill nearby. Skipper calls
over to Chuck who stands alone at the rail.
SKIPPER
Come over here and take the wheel.
Chuck's eyes light up as he walks over and takes the
wheel.
SKIPPER
Hold her steady into the wind.
Southwest by west.
CHUCK
Yes sir.
SKIPPER
(to all)
Gentleman, when you hear an order,
sing out. I want to know that
you've heard and understand.
(quietly to Bill)
Raise the mainsail.
BILL
(calling out)
Raise the main!
Lawford and his group bellow out.
TOGETHER
Raise the main!!
Lawford coaches the boys, sending two scurrying on top the
chart house to loosen the stops which hold the heavy
furled canvas to the main boom. He guides another to the
midships pinrail where the main halyard, which raises the
huge sail, is made fast to a belaying pin. He loosens the
halyard and hands it to Robin.
SKIPPER
Take a turn under the pin and lead
it out to the others. You guys in
the rear take up the slack. Heave
together now...
In a beautiful tenor voice, Bill begins to croon a sea
chanty, an old whaling song with an Irish lilt.
BILL
(singing)
"When the sun came up there was
whisky in the cup..."
The more experienced boys echo the line and pull to the
beat.
BOYS
"When the sun came up there was
whisky in the cup..."
LAWFORD
Come on the rest of you, sing! Belt
it out like men!!
The newer guys like Chuck, John, Robin and Terry look at
each other like this is the queerest thing they have ever
heard of.
BILL
(singing)
"Not one of us was a sober..."
The boys return the verse half heartedly. Lawford ties
off his line and stares them down. Skipper notices that
the work has stopped.
SKIPPER
What's wrong Mr. Lawford.
LAWFORD
It seems we're short on singers.
Skipper walks amid ship and addresses the crew.
SKIPPER
Everyone sings aboard a wind jammer
gentlemen. It lets everyone know
you're in sync. It shows unity,
that all thoughts are one. A crew
that sings together stays together.
Besides, I like it. So, pipe up and
be sailors.
JOHN
(in a whisper)
Everybody swims, everybody sings...
What's next? Tap dancing?
Lawford and Rick leap up onto the line pulling it down
with their body weight. They sing out the chorus. The
crew returns the song, somewhat reluctantly as the great
mainsail starts to rise.
LAWFORD
Tie it off!!
SKIPPER
(to Bill)
Outer.
BILL
Outer Jib!
CHARLIE
(confused)
Outta what?
Coached by Tod, another group in the bow, awkwardly hoist
the jib.
SKIPPER
(to Bill)
We'll bear off to port and run down
wind.
BILL
Mr. Lawford, stand by to ease the
mainsheet. Rick, get on the jib
sheet. George, John, Philip, Tim
and Dick go aloft to unstop the
forecourse. George will show you
what to do. Tod, show your men the
forward pinrail and stand ready on
the buntlines and clewlines.
Forecourse first... work upward.
The newcomers watch Bill with new-found respect. George,
John and the others climb to the forecourse, and out onto
the footropes. It's unsteady work and there's confusion
everywhere. But through it all, they continue to sing.
Lawford moves to the mainsheet on the port side while the
others move into their positions. When Bill sees the
yardarm crew is in place...
BILL
Unstop the squares!
YARDARM CREW
Unstop the squares!!
SKIPPER
(to Chuck)
Fall off to port. Ease her around
to a heading of northeast. Sing out
when you're there.
As the tops are released, the giant forecourse drapes into
a scalloped pattern. As the bow falls off the wind the
snapping main and jib billow. Stiffening to the wind, the
ship heels and surges forward.
Before her awakening power, everyone changes their stance
and grabs for a handhold. Lawford slowly pays out the
mainsheet while the forecourse crew move up the ratlines
releasing the stops on the other squaresails.
CHUCK
(in a whisper)
Ah... Northeast... sir.
SKIPPER
(barking)
Speak up boy!
Chuck jumps, startled. He self-consciously calls out.
CHUCK
Northeast sir!
SKIPPER
Unfurl the squares!
Tod's group first uncleats the clewlines and buntlines and
the great squaresail drops and billows to fullness sending
a shudder through the rig. The bow's wake sizzles with
the added surge. As each of the squares fall, Alice and
Lawford move to their sheets, setting each sail's
position.
Chuck looks up, amazed at the sheer magnitude and beauty
of the canvas that the Albatross carries.
BILL
Raise the inner jib! Raise the
forestaysail!
SKIPPER
Watch the tell-tales Chuck. If we
jibe now we'll have a lot of people
in the water.
CHUCK
Yes, sir.
SKIPPER
All stop on the engine.
BILL
All stop on the engine!
Bill rotates the telegraph handle back and forth and moves
it to the stop position.
SKIPPER
Behold gentlemen. The power of the
wind!
As the sails billow the Albatross seems transformed.
Everyone stops and looks up. The vessel heels and with a
powerful surge, launches into the waves. White foam
splashes over the bowsprit as the hull thunders through
the water. Chuck's face is full of wonder. It is a
magical moment. Then the crew begins to cheer.
SKIPPER
Did we lose anybody?
ALICE
Not yet.
LONG SHOT
The Albatross under full sail is the handsome, powerful
image of another time. And yet, here she is.
ON DECK
Each of the boys is awed by the majesty of this moment.
Music builds.
SKIPPER
Chart us a course for the windward
side.
Alice considers his request.
ALICE
That low passed through last night.
May be a little bumpy out there.
SKIPPER
It's time these boys saw some real
blue water.
EXT. THE OPEN SEA - LATER
The bow of the Albatross explodes through the top of a
fifteen foot swell. The sky is clear but the wind is
fierce. In spite of the seas the ship is trimmed and
sailing well.
The crew has never seen mountains of water like this.
Disaster seems imminent. Bill has assembled them in front
of the wheel house. They are all holding on for dear
life. Even John seems shaken. Skipper magically stands
effortlessly before them on the rolling deck. He remains
perfectly dry.
SKIPPER
Well... now that I have your
undivided attention... I'd like to
take this opportunity to make a few
points...
TERRY
(aside)
This guy is certifiable...
PHIL
Suicidal...
SKIPPER
The first thing is I don't like
people talking when I'm talking so
the two of you, shut up.
Caught, Terry and Phil button up.
SKIPPER
Second, the next one of you who
doesn't jump like a bunny when Mr.
Butler gives an order is gonna spend
the rest of this trip scrubbing
bilges. He's a better sailor today
than any ten of you will be when
this is all over.
Skipper directs the next comment directly at John.
SKIPPER
And if I catch anybody, ever,
jumping off a yard arm again I will
personally break what bones are left
and send you home in a wheel chair.
A wave explodes over the bow. A wall of water crashes
over the deck knocking down several of the boys. Terry
can't take it anymore and explodes.
TERRY
We're gonna die!!! We're all gonna
die!
He lunges at Skipper but Lawford one arms him.
SKIPPER
Excellent point. As you might have
noticed, being out here pretty much
puts you in the moment. If you
panic, if you lose your head, you
die. Maybe you take your mates with
you. How'd you like to have to bet
on Terry here getting us home today?
Each one of you is responsible for
the rest. "Where we go one, we go
all". If your buddy is asleep at
the switch we're all fish food.
He's making his point which is lost on no one.
SKIPPER
The ship beneath you is not a toy
and sailing is not a game. The
Albatross will take us far
gentlemen, but she demands constant
attention. Respect her, and we'll
do fine. Oh, and one more thing.
There is nothing that goes on, on
this boat that I don't know about.
She speaks to me in the night. So
don't test me. Not even a little.
Skipper walks over and puts an arm around Terry who is
fighting sobs.
SKIPPER
Nothing like experience to put
things in perspective. Huh son?
(to Bill)
Alright. Let's go home.
INT. CHART HOUSE - DAY
Lawford addresses some of the crew. Chuck, Robin and John
are among them. John glares at Lawford. The guys giggle.
LAWFORD
That's not a satisfactory answer.
JOHN
Look, save it for somebody else will
ya. This ancient shit doesn't have
anything to do with me.
Lawford pauses for a moment and then explodes
theatrically.
LAWFORD
Shit?!!!
He slams a text book into John's hands.
LAWFORD
Read for me please the words of Mr.
Keats at the bottom of the page.
John stares back, simmering. Robin interrupts the
potential confrontation and reaches for the book.
ROBIN
I'll read it. I mean I don't mind.
JOHN
Shut up donut.
John pushes Robin's hands away and studies the page for a
moment. He begins reading but struggles with the cadence.
JOHN
(reading)
Much have I traveled in realms of
gold/ And many goodly states and
kingdoms seen/ Round many western
islands have I been/ Which bards in
fealty to Apollo hold/ Oft of one
wide expanse had I been told/ That
deep-browed Homer ruled as his
demesne.
LAWFORD
You know what he is talking about
here?
Blank faces.
LAWFORD
(ranting)
Awe. Humility. He's telling you
that he has traveled the seas as
Homer did. As Ulysses had before
him as he tried to find his way home
to Ithaca after the Trojan Wars.
"That deep browed Homer"...
He points to his head.
LAWFORD
Brilliant, seasoned, wise, of the
mind; "... ruled as his demesne."
He commands the voyage of the
imagination, like a god.
(pause)
That is what one of the greatest
literary minds of modern times, Mr.
Boutillier, has to say about Homer.
He snatches the book back.
LAWFORD
You think the Odyssey is dull? I'll
tell you something, it's about each
one of you -- right now. Doubt and
expectation. Friendship, community,
self sacrifice and accountability.
He holds up the text.
LAWFORD
This isn't just a story!! It's
history made allegory. It is a
philosophical handbook for life! It
holds the secret of this very
voyage.
JOHN
What is it... the secret?
Lawford breaks into a huge belly laugh.
JOHN
(confused)
What?
LAWFORD
If it were only that simple, my
young friend. Read on, gentlemen.
Read on.
EXT. ALBATROSS - ESTABLISHING - DAY
Aerial shot. The Albatross is under full sail leaving
Bermuda for the last time.
OLDER CHUCK (V.O.)
And so it was the Albatross that
took to the open sea with the wind
in her snapping canvas and a bone of
white foam in her teeth... In each
of us were feelings of anticipation
and hesitation for the man at the
wheel and of the unfamiliar world he
was leading us into.
She crashes through the surf -- driving, majestic music,
building.
DECK - DAY
The crew hauls in the line, raising the mainsail. Chuck
struggles to coil the rope as fast as it is coming in.
ALOFT
The crew take turns racing up the ratlines into the
rigging.
BOWSPRIT NET
The crew pull down the jib trying to furl it. Most of the
sail ends up dragging in the water.
ABOVE
The squaresails are dropped simultaneously.
WIDE
White foam boils from the bow of the Albatross as she
crashes through the waves.
AT THE WHEEL
Alice smiles and puts her arms around Skipper's waist.
It's coming together.
FORETOP - SAME
Skipper stands at the rail, looking out. The seas are up
and the masts are pitching widely from side to side.
Chuck is high above the deck in the footropes, wrestling
with one of the squaresails. The pitching mast catches
him by surprise and he slips. He tumbles down, tangled in
the lines. A rope wraps around his neck, choking him.
Robin looks up and sees him hanging helplessly.
ROBIN
Bill!! Skipper!!
Robin freezes. Skipper leaps into the rigging like a
spider and, in a few seconds, wrestles Chuck free and
carries him down to the deck. Chuck coughs, catching his
breath. The color is gone from Skipper's face. This was
a close call.
SKIPPER
You all right?
CHUCK
It was my fault. I slipped.
Alice examines Chuck, making sure he's okay. Skipper
turns to Robin, who is shaken. He never raises his voice.
SKIPPER
Why didn't you go up there?
Robin stands silently.
SKIPPER
Speak up.
Still nothing from Robin.
CHARLIE
He's afraid to climb.
SKIPPER
What?
(to Robin)
Is that true?
Robin looks away.
SKIPPER
Why wasn't I made aware of this
Bill?
BILL
I didn't know sir.
SKIPPER
It's your job to know. If something
goes wrong up there, the other
eighteen people aboard can't be
wondering if he's gonna do his job
or not.
Skipper returns his gaze to Robin, measuring him.
Finally.
SKIPPER
Swing up, son.
ROBIN
(trembling)
What?
SKIPPER
Up you go. Right now.
Robin reluctantly pulls himself up onto the first rung,
then the second. He stops and steals a peek up. The mast
is swaying. He freezes, his lip starts to tremble. All
eyes are on him. Phil chuckles.
SKIPPER
Do you have something to say?
PHIL
(smug)
No.
SKIPPER
Then keep your mouth shut.
Phil backs off, stunned. Robin can't move.
SKIPPER
(to Robin)
What's it going to be?
ROBIN
I'm sorry...
SKIPPER
Sorry won't cut it.
Robin holds on frozen. Skipper turns to the crew.
SKIPPER
Survival means discipline and
assimilation. There are no special
cases here.
(to Robin)
Now, get going. Get up there.
Humiliated, a tear slips down his face. Excruciating.
SKIPPER
What are you blubbering about?
ROBIN
I don't know...
Skipper jumps onto the backside of the ratlines. His face
is but inches from Robin's.
SKIPPER
One hand in front of the other son.
We'll do it together.
Robin reaches for the next rung. He looks down. Skipper
growls at him.
SKIPPER
Don't look down. Look in my eyes!
Climb! We'll do it together.
ROBIN
(sobbing)
I can't.
SKIPPER
You climb damn it, or so help me
I'll haul you to the foretop by your
diaper and leave you there!
ROBIN
Aaauuuhhh!!!
Skipper gets right in his face and snarls.
SKIPPER
Are you hating this?! Are you!
ROBIN
I hate you, you son of a bitch!!!
SKIPPER
No. Hate the fear inside of you!
Climb like a man mister! Hate it!
Hate it away. Hate your way up one
more rung!! Do it right now!!
With every ounce of strength, Robin reaches for one more
rung screaming as he reaches. Skipper climbs and screams
with him.
TOGETHER
Auuuggghhh!!!!
Robin clutches the rung with a death grip. Then, he looks
down. His bladder releases. Hot urine runs down his legs
and splashes, steaming, onto the deck. The crew is
horrified. Robin weeps.
ROBIN
Oh, god...
Skipper backs off.
SKIPPER
Don't hate yourself. Hate your
weakness. All right. Get down.
Robin climbs to the deck and falls in with the others,
mortified.
SKIPPER
I'm only gonna say this one time.
I'm not here to wipe noses and
asses. I'm not your mother. Trust
funds and blue blazers don't get you
a thing out here. You wanna act
like babies, then get off my boat.
Stunned, the crew is speechless. Chuck instinctively goes
to help Robin. Skipper snaps like a turtle.
SKIPPER
(to Chuck)
He can take care of himself.
(to others)
Any other 'phobias' I need to know
about?
Skipper fires a look towards Phil.
PHIL
No, sir.
SKIPPER
Excellent. Bill, find Mr. Weathers
a position to suit his condition.
Skipper turns and then stops.
SKIPPER
Remember something, sooner or
later... we all have to face it.
CHUCK
(aside)
Face what?
The question hangs in the air like a cloud.
INT. CHART HOUSE - DUSK
The chart house is the communication and navigation center
for the boat. It also serves as the officers dining room.
Skipper, Alice, Lawford, George, and Bill Butler sit
around the small table sipping coffee.
SKIPPER
We're awfully quiet tonight.
The group remains silent. Lawford and George exchange a
glance. Skipper catches it.
SKIPPER
Something on your mind, George?
George looks up and wipes his mouth with a napkin.
GEORGE
I think you were too hard on
Weathers.
SKIPPER
You do?
GEORGE
Yes. I do.
Skipper nods.
SKIPPER
I need to know what I'm working
with; what their boundaries are.
Their lives depend on it, and for
that matter so does yours. We've
got to bring them together. Make
them a crew. We're as strong as our
weakest link and I don't want to
find that out the hard way. So, I
will challenge them and they will
come together.
GEORGE
(sarcastic)
Yes sir.
SKIPPER
You know the best thing about being
a Skipper is the worst thing. It's
all my responsibility. So I'll tell
you what George, you stay off of my
bridge, and I'll stay out of your
galley. We'll get along that way.
Everyone's quiet, but clear. Skipper and Alice exit.
GEORGE
Fucking bastard.
Lawford lets out a belly laugh.
LAWFORD
I've seen him snatch the tail of the
tempest and stuff it, screaming,
into a bottle. The bilges are full
of them.
GEORGE
What do you mean?
LAWFORD
He's been beyond the reach. To the
edge of the abyss and back. He'll
do well by us all George. He's a
real salt. There's no malice in him
and there's nothing more dear to him
than his boys. So sleep well my
friend.
Lawford seductively produces a pair of Havana cigars,
passes one to George and winks.
INT. GALLEY - DUSK
Robin leans over the sink elbow deep in dishwater watching
through the cabin window, as the sun slips below the
horizon. Chuck stands in the doorway with a plate of
food.
CHUCK
How ya doing?
ROBIN
(without turning)
Fine.
CHUCK
Good.
ROBIN
Look, I appreciate, you know, the
concern and all, but like he said, I
can take care of myself.
CHUCK
I just brought you something to eat.
Robin turns and notices the plate of food and nods. They
stand silently. It's awkward.
CHUCK
I feel like I got you into this.
ROBIN
Forget it.
CHUCK
I'm used to spending a lot of time
alone. I guess that's what I
thought it would be out here. But,
it's not is it?
ROBIN
(beat)
I'm sorry I left you hanging up
there.
CHUCK
It doesn't matter. Really. I'm
just sorry you got chewed out.
Robin nods. They both stare out at the rising moon.
ROBIN
My brother and I used to climb to
the top of this old beech tree in
the back yard and watch the moon
come up just like this. My parents
would fight all the time so we'd
sneak out there where we couldn't
hear 'em and recite scenes from our
favorite movies.
Robin grows quiet.
ROBIN
Would you believe I miss it? The
middle of paradise and I'm homesick.
Chuck smiles and puts a hand on his back.
CHUCK
(ironic)
Well, I wouldn't worry. It'll all
be there when we get back.
EXT. DECK - DAY
The sky is dark and a storm is building and the boat rolls
and pitches. Chuck sees Terry heaving over the side.
John and Tod hear the sound and turn.
JOHN
(disgusted)
Come on man. Show a little
backbone!
(to Tod)
You believe that?!
Tod is fixated on Terry. Suddenly, without warning, he
breaks for the rail and lets fly.
Phil and Charlie are next. Chris climbs through the
companionway but doesn't make it to the side. Spontaneous
regurgitation. Bill and Lawford jump up onto the wheel
housing to avoid being sprayed. Suddenly everyone is
heaving.
CHRIS
Sorry.
LAWFORD
(to Bill)
We're gonna have nobody left up here
to crew. Better let Skipper know.
Bill nods and disappears. John joins Chuck watching the
events around him.
JOHN
Well Gieg, I'm glad to see I'm not
the only guy on this boat that can
take a little rock'n roll. Bunch of
wusses, I swear...!
Chuck watches each of his shipmates. Then, suddenly, out
of nowhere -- Projectile vomit all over John. He looks at
Chuck, horrified, then he too, cuts loose over the rail.
JOHN
Son of a bitch!!
Chuck looks at John, furious with himself, and begins to
laugh. But after a moment he starts to laugh too. It's
infectious, they crack each other up. Then, in the middle
of belly laughing, they simultaneously retch again over
the side.
INT. SKIPPER'S CABIN - DAY
Skipper sits at his desk with some charts spread out in
front of him. There's a knock on the door.
SKIPPER
Come in.
BILL
Skipper, uh, the crew is pretty much
doing group boot over the side.
SKIPPER
Well, that's all part of it.
BILL
We've got weather moving in from the
west.
Skipper looks up.
SKIPPER
That's part of it, too.
EXT. DECK - DUSK
Skipper stands at the wheelhouse with Lawford, George and
Bill, studying the horizon through binoculars. Dark
clouds. Chuck watches Skipper. Everyone, looking for a
cue.
CHUCK
That a... storm, Skipper?
Skipper stays glued to the binoculars.
SKIPPER
Uh, huh.
CHUCK
Would you, um, say it's a big storm?
SKIPPER
Sometimes it gets exciting out here.
LAWFORD
What do you think?
SKIPPER
Barometer's dropping. The first
blow'll come from the south. Might
get interesting.
CHUCK
Shouldn't we turn away?
SKIPPER
You can't run from the wind son.
You trim your sails, face the music
and let the chips fall. Bill, let's
close her up, dog, tight.
Close on hatches and skylights slamming closed and cinched
tight.
BELOW DECKS
Bulkhead doors are closed and cranked down tightly.
IN THE GALLEY
Pots and pans crash around.
IN THE MAIN CABIN
The cabin doors on the bookcase swing open and dump books
on top of Alice. She turns and looks at the mess,
annoyed.
EXT. DECK - SAME
SKIPPER
Furl the squares, reef the main, and
bend on the storm jib, but keep it
furled. Drop everything but the
inner jib. I want everybody down
before we get any lightning.
Bill bolts forward with Lawford barking orders. Most of
the crew are still ill, but climb into the rigging and
begin dropping sail.
GEORGE
Why's it always happen at night?
Skipper regards George, annoyed.
SKIPPER
George... I want hot food in
everybody. Get to it.
George returns to the galley. Alice joins Skipper at the
wheelhouse handing him foul-weather gear.
ALICE
Looks like weather.
SKIPPER
Yep.
He slips on a yellow slicker.
SKIPPER
Do me a favor and tell Bill once
she's dogged down I want everyone to
break out their slickers and make
sure their gear is stowed or we'll
spend the next week sorting
underwear.
(to the others)
Lawford, Bill, Mike, John, and Phil
will stand the watch. Everyone else
hit the racks.
PHIL
(impulsively)
I'm not staying out here.
Skipper fires off a look that frightens even Phil.
SKIPPER
No. That's for sure. Charlie, take
his place.
Phil goes below, a little ashamed. The crew scatters.
Chuck, still at the wheel, pipes up.
CHUCK
If it's all the same, I'd like to
stay on deck.
Skipper regards Chuck, who looks back with both fear and
eagerness. Suddenly he sees something in this kid. Maybe
himself. He almost smiles. Almost.
SKIPPER
Take the wheel.
EXT. FORETOP - SAME
Dark clouds blot out the sky and stars. Thunder rumbles
far away. The seas have built but there's no wind... yet.
With no steerage, the ship is tossed.
Tod hangs high above the heaving deck continuing to furl.
The mast swings from side to side, but the air has gone
dead calm. Skipper looks up, anticipating.
SKIPPER
Everyone out of the rigging NOW!
BILL
Everybody down! ON THE DOUBLE!!
TOD
(shouting)
HERE IT COMES!!
ON THE DECK
The crew in the rigging scamper down to the safety of the
deck.
SKIPPER
Bill, on the wheel with Chuck.
Bill joins Chuck and takes hold of the wheel. Then it
hits.
A wall of torrential rain drums the deck amid a tympany of
thunder and flashing lightning. The bow explodes through
twelve foot swells. This is what the Albatross was born
to do.
INT. MAIN CABIN - SAME
It's all the crew can do to stay in their bunks. Pots
crash, books and personals go flying. The guys are
scared.
ON DECK
The main and jib sheets tighten. Skipper looks at Chuck
and Bill. It all comes down to moments like these and he
loves it.
Suddenly, there is a loud CRACK! A violent flapping
noise. Skipper leaps to the port and looks forward. Tod
comes running back.
TOD
We blew the inner!
ALICE
I'll go.
SKIPPER
Bring it down and run up the storm
jib. We'll fix it later. Stay out
of reach of the blocks!
Tod and Alice disappear.
SKIPPER
(with a twinkle)
Well, we're in it now.
Chuck studies him, frightened, but reassured.
EXT. BOW - SAME
The shredded jib and rigging whip violently in the wind.
The block smashes into the gunnel rail, shattering it. No
one dares go near it. For a moment, it seems to hang
there seductively. John, naive of its power, leaps for
the rail and grabs it.
ALICE
NOOO!!!
Suddenly, the wind cracks the sail instantly hurling John
high off the deck and over the side. He holds on for dear
life, screaming.
AT THE WHEEL
SKIPPER
(to Chuck)
Hold her steady.
Skipper bolts forward.
AT THE BOW
Alice uncleats the jib halyard, leaving one turn on the
pin and shoves it into Tod's hands.
ALICE
Release this when I tell you!!
Skipper joins Tod as Alice scrambles along the deck and
pulls herself into the bowsprit netting. When the block
and jib swing inboard, she grabs for the leach of the sail
yelling...
ALICE
NOW!!!
As John is snapped inboard Alice leaps up, grabbing the
sail, leaning out over the open water. Waves explode
through the netting. As Tod releases the halyard, John
falls to the deck, bruised, humbled, but alive. Lawford
and Skipper pull Alice from the bowsprit.
Skipper looks her over. Relieved. No broken bones. Good
work. But then this is what he expects. He respects her
and now, everyone can see why. He looks at John sprawled
on the deck.
SKIPPER
Be careful will ya?
JOHN
What ever you say Cap...
SKIPPER
Let's get that storm jib up.
Skipper gives Alice a private look, then returns to the
stern where Chuck holds tightly onto the wheel.
OLDER CHUCK (V.O.)
The storm lasted sixteen hours and
it set us all on equal footing. It
was the first time that we shared an
episode on an even plane. As we
stood our watches we were equally
out of control of our situation,
regardless of our physical abilities
or social backgrounds. And though
our real feelings lay hidden beneath
bravado and defiance, we were no
longer strangers.
EXT. DECK - DAY
The crew is cleaning up. Alice supervises repairs to the
jib while others stow line, scrub the deck and chip paint.
Lawford paces.
LAWFORD
You know what they say in the Navy
don't you?
RICK
What's that, Big Daddy?
The more experienced crew members have heard this all
before.
LAWFORD
"If it moves, salute it. If it
doesn't move, pick it up. If it's
too big to pick up, paint it!"
The boys mockingly salute Lawford as he walks by. John
stands before a porthole combing his Brylcreem hair into a
"D.A."
Mike and Chris climb on deck with several large boxes.
MIKE
Ladies, gentlemen and
hermaphrodites, Mr. Corry and I are
happy to announce the grand opening
of Trans-Border Enterprises.
They start opening the boxes. One is a case of Coca Cola,
another is full of cigarettes and candy.
CHRIS
All of the creature comforts and
vices you could possibly want, at
home or abroad, available twenty-
four hours a day.
MIKE
For a price, of course.
ROBIN
If you've got "a broad" available
I'll take her.
JOHN
Like you'd know what to do with one.
The crew shakes their heads, mutter and check out the
goods.
TERRY
You got Marlboro's?
CHRIS
Absa-fuckin-lutely.
CHUCK
Toss me a Cola.
CHRIS
Fifty cents.
CHUCK
What?!!
MIKE
Contraband's hard to come by out
here son.
John is still grooming at the window.
PHIL
Hey Goodall, you got a date or
something?
John continues to comb.
JOHN
Yeah. With your mom.
EVERYBODY
Oooooooo.
Phil slinks away.
CHRIS
We also have a few rental items...
Chris displays a Playboy magazine. Everybody clamors to
get a look.
MIKE
There's a penalty for any material
returned to the Trans-Border Library
with sticky pages.
John walks by, snatches the magazine and heads for his
bunk flipping through the pages.
MIKE
Hey, you can't do that!!
(to Chris)
He can't do that!!
John flops in a deck chair. Chris shakes his head and
starts closing up the boxes.
CHRIS
Sure he can.
EXT. STERN - LATER
Chuck sits alone, away from the others, reading. On cue,
half of the crew descend, dragging him kicking and
screaming into the bowswain's chair, and over the side.
The guys cheer.
CHUCK
Come on you guys, this isn't funny!
The seat spins, twists and swings from behind the boat.
CHARLIE
Come on Chucky. Show us a little
grit.
They lower the chair so it glides just above the surface.
When the boat noses into a swell Chuck gets quite a ride.
Once he has the hang of it, fear turns to elation.
CHUCK
YEEE HAAAA!!!!!
CHARLIE
Okay, who's next?
PHIL
You gotta be kidding? He's a human
chum line!
RICK
No self respecting shark is gonna
take a bite out of you.
Chuck's hauled back in and Terry pushes his way to the
front of the line.
TERRY
I'm next!
Terry goes over the side. Once he gets the hang of it, he
gets into it. He maneuvers the chair like a plane,
forcing himself deep into the waves and then blasting back
to the surface.
OFF THE PORT SIDE
Robin is trolling. The line takes a tremendous hit and
Robin's reel screams. Tod is at the wheel and turns.
TOD
There she blows!!
Two hundred feet out something large and pissed has taken
the bait. The crew turn and look. Skipper looks out at
Terry still in the bowswain's chair.
SKIPPER
Get him in.
Bill waves at Terry to come on in.
BILL
Come on in!!!
Terry waves him off and disappears back under the waves.
They can't pull him up while he's going under the water.
SKIPPER
Do it now Bill.
Terry pops up, pissed that they're reeling him back in.
Suddenly the animal on the other end of Robin's line
explodes out of the sea. It's a six foot Thresher shark.
Terry sees it too and freaks, suddenly thrashing and
screaming.
TERRY
Get me out!!! Get me out!!!
MIKE
Oh my god!! It's a...
SKIPPER
(calmly)
Shark.
(to Robin)
Don't lose it son.
George grabs a gaffing hook while Robin fights the rod,
trying to bring in the big fish.
GEORGE
Keep it coming.
Robin battles the fish. George clumsily tries to help.
The crew make their way to the rear to watch.
CHARLIE
Whoops.
Charlie and Rick and the others heave to get Terry up.
Finally he makes it. Sprawling onto the deck.
TERRY
Oh Jesus! Oh Jesus Christ!!
The crew turn and cheer Robin on as he brings the shark
alongside.
GEORGE
He must be two hundred pounds!
Bring him in close and try to hold
him steady.
George leans out over the rail, trying to get the hook
into a gill. Several of the boys hold onto him as the
fish flops around violently.
GEORGE
Got him!
Skipper comes down to inspect the catch. The shark is
longer than Terry is tall and thrashes in the the water,
snapping and twisting. Terry stands shaking, freaked.
All of them are.
RICK
Damn Terr, you're whiter than Sister
Mary Anne's butt.
The guys laugh nervously. Terry just stares at the man
eater, but it's infectious. After a moment he's laughing
too. Skipper slaps him on the back with a wry smile.
SKIPPER
Well, now you have something to
write home about.
More laughter. Suddenly, Tom, who is lookout on the
foretop, cries out.
TOM
Land ho!!! Land ho!!!
Everyone turns around to look. The guys at the stern let
go of George and he nearly tumbles overboard. In that
instant, the shark slips off of the gaff, and disappears
back into the sea. Robin and George share a stunned look.
GEORGE
Shit.
ROBIN
There's more where that came from.
Skipper returns to the wheelhouse with Alice. Together
they scan the horizon. Clouds build over the land ahead.
ALICE
Cheated death again.
He slips an arm around her.
SKIPPER
Yep.
EXT. ANTIGUA - HARBOR - DAY
A group of islanders have assembled to watch the crew
approach in the long boats.
INT. LONG BOAT - SAME
Chuck gazes across the strange landscape. As the boats
dock, the crew pile out and scatter. Local children
follow them wherever they go. Chuck, Robin and John find
themselves alone. Most of the buildings are primitive.
They wander over to a shop.
ROBIN
What do you say? Cokes? I'm
buying.
CHUCK & JOHN
Sure.
EXT. SHOP
Chuck and Robin reappear, sipping cold Cokes. Mike and
Chris walk by across the street. Robin speaks up loud
enough for them to hear.
ROBIN
You're right Chuck. There's nothing
quite as refreshing as a cold ten
cent Coke that only costs ten cents!
The three clink their bottles. Mike and Chris slink away.
EXT. COLONIAL FORT - DAY
A crumbling fort overlooks the harbor. Below, the
Albatross floats like a pearl on the azure blue water.
Large bronze muzzle-loading cannons still lie in their
gunports, aimed at the sea, waiting for pirate ships that
will never come.
Each of the guys are sprawled on a cannon, taking in the
Caribbean view.
ROBIN
You think Skipper and Alice do it?
CHUCK
Do what?
ROBIN
Ya know... "It".
CHUCK
That's like wondering if your mom
and dad do it. Who wants to know?
JOHN
She isn't that old.
CHUCK
What do you mean?
JOHN
I mean she looks pretty damn good in
her all-together for being thirty.
ROBIN
How would you know?
JOHN
Trust me donut. I know.
ROBIN
What? Come on...
JOHN
On the dog watch, night after the
storm, I look down into the skylight
above Skipper's cabin and there she
was, peelin' down.
CHUCK
No way!
ROBIN
Come on man, what'd they look like?
JOHN
Damn, Porkchop, you sound just like
a guy who ain't never seen a pair.
ROBIN
I've seen 'em. I've seen 'em.
They crack up.
CHUCK
I walked in on my parents one time.
It was only like eight o'clock and
they were in bed and I thought that
was kinda weird so I just walked in.
JOHN
That's what they get for not locking
the door.
CHUCK
So I'm standing there and you could
hear a pin drop. No breathing or
snoring... Suddenly it hits me that
somethin' was goin' on that just
stopped, really fast, like people
are holding their breath.
ROBIN
So... What happened?
CHUCK
My mother says in this really low,
but very awake kind of voice "What?"
John and Robin crack up.
ROBIN
What'd you do?
CHUCK
I said "Sorry, wrong room" and
walked away.
JOHN
Did you shut the door at least?
They bust up again. Chuck glares back.
CHUCK
I don't remember.
Robin sits up on his cannon and looks out, suddenly
melancholy.
ROBIN
My parents don't do it anymore.
CHUCK
How do you know? They might.
ROBIN
'Cause they're getting a divorce.
(beat)
That's why they sent me here. My
sister's at Tabor. They just wanted
us out of the house so they could
get down to business.
JOHN
They tell you that?
ROBIN
I figured it out.
CHUCK
Yeah.
JOHN
My old man split along time ago. It
doesn't mean anything. You just
take care of number one that's all
that matters.
ROBIN
It matters to me.
JOHN
(kindly)
Okay donut. Whatever you say.
CHUCK
We better get back.
Robin looks up to John.
ROBIN
Did you really see 'em.
EXT. ALBATROSS - HARBOR - NIGHT
The boat moves off leaving the lights of Antigua behind.
Chuck watches as the island disappears below the horizon.
EXT. DECK - DAY
The wind is up and the seas are high. The ship is under
full sail driving at top speed. Foam sprays from the bow
as it slices through the water -- what she was born to do.
The crew line the starboard rail, thrilled to be part of
the performance.
Tod is at the wheel with Chris nearby. The sails tower
above him like a mountain of silk. He wrestles the wheel,
careful to hold his course against the powerful trade
winds.
Skipper, making his rounds inspects the heading on the
compass and nods.
SKIPPER
It's a good sail boys.
Tod and Chris beam. Compliments are rare from this man.
TOD
Thank you, sir. Shall we trim the
main Skipper? I think we could get
another knot or two.
Skipper turns and looks at Tod, a twinkle in his eye.
SKIPPER
As you like.
Gravy. The two gloat as they lighten the mainsheet
tackle. Phil joins them.
PHIL
What do you say I have a crack at
the wheel?
TOD
I'd say, fuck off junior.
They laugh. Phil slinks behind the chart house, hurt, and
angry. He spots a spear gun stowed against the chart
house.
As Tod and Chris pull in the main, it strains and
stretches against the powerful wind.
Phil aims the spear gun at the mainsail from behind the
chart house and silently fires. There is a wicked POP as
the spear punctures the sail, passing through it, followed
by a loud shredding as the huge sail splits.
TOD
Jesus Christ!! Let it out. Let it
out!!
The sound brings Skipper onto the deck like a shot.
SKIPPER
Hard to port! Hard to port!!
Calamity, as Tod cranks the ship into the wind. The
canvas goes limp as the ship hauls to a dead stop. People
dive everywhere to drop sail.
SKIPPER
Start the engine. All ahead full!!
Scallop the Square and drop the
rest!!
He shoots a glare at Tod and Chris.
TOD
(bewildered)
I don't know what happened Skipper.
It just blew out.
Skipper turns to the task at hand without a word. What
had been praise is now reduced to embarrassment and
confusion.
Phil, still hidden behind the chart house returns the
spear gun and smiles to himself at Tod's arrogance turned
humility.
EXT. DECK - TOBAGO CAYS - DAY
The Albatross has dropped anchor along a remote group of
flat, lush atolls. Tall palm trees grow almost to the
waters edge. The crew have the mainsail down and Alice
supervises the repair of the sail. Phil sits above it all
sunning himself in the bowswain's chair.
ROBIN
Where are you from any way?
CHUCK
Depths of hell... Ohio. How 'bout
you?
ROBIN
Kennet Square, PA. 'Mushroom
capital of the world'.
TOD
Sorry to here it.
CHUCK
Well, and it's pretty cool too, ya
know? Bein' here together an all...
Phil reels himself down.
PHIL
Christ, I'm gonna choke on 'feel
good'...
Robin looks up, taken back.
TOD
Why are you such a penis Phil. Do
you do it on purpose or can't you
help it.
PHIL
Tug my chain Johnstone.
Skipper comes on deck. Robin and Chuck flip Phil and
Terry the finger.
SKIPPER
After midterms we'll finish our run
down to Curacao.
The crew reacts, grumbling.
SKIPPER
I have arranged to host a good will
cruise for the Dutch students of the
local school there.
PHIL
(to Terry)
Joy, rapture...
SKIPPER
Each one of you will be responsible
for one student. I'll expect you to
be courteous. You represent this
school and your country. We'll sail
in the morning.
George appears from the galley and rings the ships bell.
GEORGE
That's chow.
The crew drop what they're doing and stampede down into
the cabin.
INT. CABIN - NIGHT
Robin thrashes in his bunk calling out. Sweat glistens on
his face. Chuck stumbles out to his bunk with Rick and
some of the others.
RICK
Hey man, wake up. Wake up!
They shake him. Robin wakes, disoriented, eyes filled
with tears.
ROBIN
I was falling...
Phil grumbles from his bunk.
PHIL
Hey, shut up will ya?
CHUCK
It was a bad dream...
ROBIN
It was so real...
CHUCK
Here's the thing; whenever you're
having a nightmare, all you have to
do is say 1-2-3 wake up! You'll be
out of it. You'll wake up.
Phil rolls over in his bunk trying to go back to sleep.
ROBIN
Who told you that?
CHUCK
My dad.
ROBIN
It works?
CHUCK
Swear to God. Only good advice he
ever gave me. Now, go back to
sleep.
He pats Robin on the leg. The guys return to their bunks.
Favor Phil, listening.
CHUCK
(lingering)
You okay now?
Robin stares at the photo of his brother.
ROBIN
That's how he died you know.
CHUCK
Who?
ROBIN
My brother. He fell out of the old
beech tree. Broke his neck. I was
on a camp out. They started going
at it, throwin' things, a real knock
down...
(beat)
They didn't find him 'till the next
morning. They didn't even know why
he was up there.
CHUCK
Jesus, you never told them?
ROBIN
I couldn't.
Phil stares at the ceiling, affected by what he has
overheard. Someone creeps down the companionway and
whispers.
MIKE
(hushed)
Hey you guys, come on!
Shuffling in the darkness. Phil suddenly realizes, he's
alone.
EXT. DECK - NIGHT
The dory hangs from her gallows. Some of the guys slowly
lower her to the water.
INT. GALLEY - SAME
George is asleep with a book in his lap. Mike and Chris
slip inside. The door squeaks, George stirs. Mike opens
a cabinet and removes a fifth of rum.
Silently, Mike passes the bottle to Chris who passes it to
Tod who passes it to Charlie who drops it down to Robin
who stands in the lowered dory with Chuck.
PHIL (O.S.)
What do you think you're doing?
Startled, Mike and Rick share a look. Busted. Phil turns
and runs into John, wearing a broad smile, who shakes his
head. No way.
PHIL
Forget it. Count me out!
The crew descend and drag Phil, struggling, into the dory.
They raise a crude sailing rig and silently move off.
A figure stands on top of the chart house, back lit by the
moon. It's Skipper. Watching it all. Letting it unfold.
INT. GALLEY - NIGHT
Skipper hovers over George, sawing logs. He tosses a pot
on the floor.
GEORGE
(bolting up)
What?! What's happening?!!
SKIPPER
You're officer of the watch, George.
GEORGE
I'm sorry, Skip. It's this damned
book. Lawford gave it to me.
The book is "Kafka". Skipper motions to the empty
cabinet.
GEORGE
Son-of-a-bitch.
SKIPPER
We're short one long boat too. Come
on.
EXT. CAMPFIRE - NIGHT
The boys sit in a circle around a small fire passing the
bottle. Rick strums his guitar and sings while the rest
join in.
RICK
Oh I was walkin' down Lime street
one day...
ALL
Hey! Weigh! Blow the man down...
RICK
A pretty young maiden she happened
my way...
ALL
Give me some time to blow the man
down...
Skipper and George crawl to the top of a sand dune and
watch the boys. George starts to stand but Skipper puts a
hand on his shoulder.
SKIPPER
I guess we know what the next
acquisition for the galley is going
to be...
GEORGE
What's that?
SKIPPER
A padlock.
On the boys. Phil is drunkest of them all and does a wild
jig as the rest of them sing.
RICK
So to all you sailors who've fought
wind and whale...
ALL
Weight! Hey! Blow the man down...
RICK
She said "None the better, you all
go to hell..."
ALL
Give me some time to Blow the man
down!
They all crack up.
CHRIS
I only have one question.
JOHN
What's that, Canuck?
CHRIS
If we're not on the boat, how come
the ground is moving?
CHUCK
You think George'll miss the bottle?
TERRY
We'll blame it on Big Daddy. He's a
lush.
MIKE
All I know is if that Viking son of
a bitch puts me on smegma duty one
more time I'm gonna have to run him
through.
TERRY
(mimicking)
The "Old Man" likes a tight ship!
CHARLIE
"If it moves, shoot it..."
The rest join in.
CHUCK
"If it doesn't move, throw it
overboard. If it's too big to throw
overboard, screw it!"
More laughing.
RICK
You think Old Thunder Nuts will
figure out that we're A.W.O.L.
Bill drunkenly imitates the Skipper.
PHIL
"There is nothing that goes on, on
this boat that I don't know about.
She speaks to me in the night. So
don't test me. Not even a
little..."
The boys laugh. On the dune, George shakes his head.
GEORGE
Immortality.
SKIPPER
Spirits have a way of bringing that
out.
GEORGE
And being sixteen.
SKIPPER
They're in a hurry to grow up. They
don't know about consequences or
responsibility. That's being
sixteen too.
(beat)
I promise you one thing...
GEORGE
What's that?
SKIPPER
They'll know about it in the
morning.
Skipper smiles.
EXT. BEACH - NIGHT
The drunken crew stumble out of the woods onto the beach.
As they ready the boat for the trip back Robin looks out
to sea...
ROBIN
(alarmed)
Jesus H. Christ.
Tod looks up.
TERRY
What now pork chop?
ROBIN
Look!
The guys turn their gaze to the ocean. The Albatross...
is gone!
TERRY
Holy shit! Where'd she go?
The crew is suddenly stone sober. Stunned.
CHARLIE
What the hell is going on?
MIKE
She's gone! The boat's gone!!
Phil breaks into sort of a blind panic.
PHIL
Oh Jesus, oh Jesus. Man I knew we
shouldn't have gone. I tried to
tell you. I tried to tell you. You
guys made me come! You made me
come!!
JOHN
Will you shut up? You sound like my
fucking sister.
CHUCK
Alright. Everybody just stay cool.
We'll figure this out.
MIKE
Who the hell checked the mooring?
ROBIN
I did. Why?
CHARLIE
Maybe she pulled free...
MIKE
What if they don't know. If she's
adrift, if they're asleep, she could
run aground. She could break up on
the reef.
PHIL
(to Robin)
Maybe you didn't check it good
enough.
ROBIN
(defensive,
frightened)
I did. I swear.
Oddly, it's Phil who stands up for Robin.
PHIL
Yeah, well you're really gonna have
some bad dreams if we find out you
didn't.
JOHN
That's enough.
PHIL
How the hell are we gonna get outta
here?
JOHN
We'll think of something.
PHIL
Oh, praise the lord.
(announcing)
Relax everybody. Everything is
under control. The jug head's going
to think of something.
Without warning. John lunges at Phil. Phil screams,
trying to defend himself. The guys all dive in. Suddenly
it's an all out brawl.
John out of control pounding Phil's head against the seat
of the boat.
Suddenly, from behind, comes a blistering "THWACK!!" as
Chuck breaks an oar over the back of John's head.
Stunned, John lets go of Phil and turns, blood dripping
from the back of his head.
JOHN
Nobody calls me an idiot.
He weaves, then passes out, falling face down in the sand.
The guys stagger to their feet, trying to recover.
PHIL
God damn it man. I think he broke
my nose!
CHUCK
Shut up, Phil.
Chuck tosses the broken oar handle, kneels over and
vomits.
TERRY
Well that's just great. Now what
are we supposed to do?
Chuck and Robin hoist John up and drag him under a palm
tree, propping him up. The others huddle to stay warm.
EXT. BEACH - MORNING
The crew's asleep in the tropical heat of day. Bloodied
and sun burned. A fly buzzes around Rick's face, waking
him. He sits up sunburned and sore trying to focus. He
gazes across the water, stupefied.
RICK
Oh-my-god...
The others stir and follow his gaze. The Albatross sits
in exactly the spot where they left her.
ROBIN
I'm not sure if this is really good
or really bad.
EXT. ALBATROSS - DAY
The sound of a rod and reel spinning wildly. George tries
to maintain control as the rod nearly jumps out of his
hands.
GEORGE
I got a live one!
Skipper, Alice and Bill watch the shoreline as the boys
launch the long boat into the surf. George is struggling.
A beautiful tarpon leaps out of the water, but Skipper
never takes his eyes off of his boys.
SKIPPER
The thing about fishing George, is
you need to let 'em run some. Give
'em just enough slack so they don't
break the line. But at the same
time you've gotta keep enough
tension to wear 'em down, bring 'em
in slowly so they don't really know
they're hooked.
Suddenly George's line goes slack. He nearly falls over
backwards.
GEORGE
I'll try and remember that.
EXT. DECK - DAY
Hound dog and hung over, bloodied and burned, the boys
stand before Skipper and the others. Skipper looks dark
and angry.
SKIPPER
You know what a loose cannon is?
'Bout the worst thing that could
happen to a wooden ship. All it
took was one, crashing around the
deck in a storm... It'd smash
everything in its way, maybe take
out a mast or punch a hole right
through the hull. Think about it,
just one cannon not tied down, not
anchored, could take a whole 'Man of
War' straight to the bottom.
MIKE
(aside)
But we don't have any cannons?
Chris jabs him in the ribs.
CHRIS
(hushed)
Shut up!
Skipper turns and faces them.
SKIPPER
Now, if the Skipper were smart, if
he could see a storm building, why
he'd cut loose every gun on his
boat. Even though it would leave
him at a disadvantage in battle,
he'd push 'em into the sea. Better
chance running for port than risk
the entire ship, his crew.
He takes a pause making sure he has their attention for
this part.
SKIPPER
People are like that sometimes.
They cut loose and before you know
it, they're knocking holes in
everything. So you gotta ask
yourself if it might not be better
to just put 'em off before they sink
the whole thing. I mean after all,
you can always get new cannons.
He walks back to his place at the rail.
SKIPPER
(beat)
I want a tight ship, everybody
shaved and in clean clothes when we
make Curacao. If it goes well, if
your mid terms are acceptable, I may
reconsider my decision about the
rest of the trip. That's all.
Dejected, the crew goes below.
EXT. DECK - DAY
Under sail. Skipper stands at the wheel overseeing the
crew taking exams. Each writes furiously as Alice
scribbles problems on the blackboard which hangs from the
chart house door.
As the boys scratch out the problems, John seems
paralyzed. He looks over at Phil and copies down his
answer. He checks crib notes hidden in his shorts. Chuck
and Robin both see this and exchange looks.
INT. AFT CABIN - DAY
John makes his way down the narrow corridor towards the
head. Robin follows. Chuck drops down the aft
companionway, intercepting John.
CHUCK
Where you going?
JOHN
To take a piss.
ROBIN
Really?
John turns around, surprised, sandwiched.
JOHN
Yeah, that's right. You wanna come
in and shake it for me?
CHUCK
If you're gonna cheat, you might as
well copy off somebody who's gonna
get the answer right.
JOHN
You've gotta be kidding. Get the
fuck outta my way!
Chuck throws open the Engine Room door and they shove John
inside.
JOHN
What the hell!!!
Chuck manages to pin John. Robin checks his pockets and
comes up with the crib notes. Chuck lets go. John
snatches them, ashamed.
CHUCK
Takin' a piss?
John turns away.
ROBIN
Why, man?
JOHN
I don't have to listen to this.
CHUCK
Yes you do, stupid. Because if you
don't, I'm gonna go right up there
and have a heart to heart with
Skipper and you'll be on the first
plane back to idiotville.
John lunges at Chuck, sending them both sprawling. Robin
leaps on top of John.
ROBIN
Cut it out man!! Stop it!!! What's
the matter with you? If Phil had
caught you he'd have ratted you out
in a second. You get caught
cheating, you'll get kicked off the
boat.
John explodes, tears flowing.
JOHN
I cheated to get on the boat!!! All
right?!
CHUCK
What?
He lets go of Chuck and stands up trying to hide his
emotions.
JOHN
I doctored my grades so I'd make the
cut. I'm a moron, okay? You
satisfied?!
CHUCK
You're not a moron.
JOHN
Wanna bet? Takes me half a day to
get through one chapter of Lawford
and I still don't have any idea what
the hell he's talkin' about. You
know why it takes me so long to
write papers? because I can't
spell. While everybody else is
sleeping, I'm in the rack with a
flashlight and a dictionary.
John chokes back a sob.
JOHN
Hell, they even kicked me outa vo-
tech 'cause I couldn't read a slide
rule.
PHIL
I can show you how to use a slide
rule.
The three turn around, startled.
ROBIN
How long you been standing there?
PHIL
Long enough.
John looks down, resigned.
JOHN
They were gonna put me into special-
ed this year. I stole a copy of my
transcript, changed all the grades.
Shit, who am I kidding. I'll never
pass the boards.
CHUCK
Listen, you don't cheat, and we'll
make sure you get the grades. We'll
start a private study group. Nobody
knows. You'll ace that test.
ROBIN
I'm in.
They turn and look to Phil, who still shows the tell-tail
signs of their fight.
PHIL
Me, too.
JOHN
Why would you do that?
CHUCK
Because we believe in you.
(beat)
Because we're your friends.
EXT. CURACAO - HARBOR - DUSK
As a blazing sun sizzles into the western sea, the
Albatross rounds a point and heads towards the docks
several hundred yards away. On the dock, the students of
the school wait. As soon as the ship is in view, they
start to cheer. Chuck squints.
CHUCK
What are they doing?
ROBIN
I can't make it out?
Robin calls up to Phil, who is at the wheelhouse.
ROBIN
Hey, Phil... Swing up the 'binocs'
and tell us what you see.
Phil picks up the binoculars and focuses.
PHIL
(puzzled)
They're waving... handkerchiefs or
something.
RICK
What?
CHARLIE
Maybe they're surrendering.
PHIL
Wait a second...
Phil lowers the binoculars and turns to Skipper.
PHIL
They're girls! They're all girls!
Skipper shares a knowing look with Alice.
TOD
Gimme those.
Tod snatches the binoculars.
TOD
WHHOOOOAAAAA!!!!!! WOMEN!!!
Everyone on board rushes to the port side. Every single
person on the dock is a young girl waving a white
handkerchief. Spontaneous cheers from the boys.
As the 'Big A' pulls to the dock, John and Tod run for the
gunnel door and swing it open. The girls flood the deck.
BILL
Good morning, ladies.
They chatter in Dutch and hurry aboard. Like wall
flowers, Robin, Phil and Chuck stand on top of the chart
house watching utopia unfold before them.
ROBIN
What are we supposed to talk about?
PHIL
You've gotta be kidding?
ROBIN
But, they don't speak English.
PHIL
There are some things that everybody
does in the same language.
CHUCK
Yeah, but how are you supposed to
make the first move?
PHIL
Like this!
Phil reaches up for a free line. With a running start he
swings out over the water...
PHIL
Yeeee Haaaaa!!
He careens back onto the deck and lands in front of two
startled, but impressed girls. Robin and Chuck applaud.
Phil takes a bow. All hell is breaking loose.
Skipper and Alice welcome aboard the headmaster, MS.
BOYDE, 50's, dumpy but tough.
SKIPPER
A very enthusiastic welcome.
MS. BOYDE
We don't often have guests. Our
girls have been looking forward to
your visit for some time. Welcome
to Curacao.
SKIPPER
Thank you. You're all ready to sail
then?
MS. BOYDE
I should think so.
ALICE
I'm sure they won't be disappointed.
A man's voice bellows up from the dock.
FRANCIS (O.S.)
Ahoy there!!
Everyone stops and freezes. Phil turns, disbelieving.
It's his parents, Francis and PEGGY BOUTILLIER, standing
next to a limousine dressed in brightly colored tourist
garb.
PEGGY
Surprise!
FRANCIS
Well, well. What do we have here?
A floating brothel?
ALICE
(cool)
Hardly.
Francis comes aboard uninvited as usual.
FRANCIS
Well, we thought we'd drop in and
see if you were all still in one
piece.
SKIPPER
(pointed)
And, of course, we are.
FRANCIS
Well, you never can tell these days,
can you?
Skipper shoots a look over at Phil who is staring a hole
in the deck.
SKIPPER
What is it we can do for you today?
FRANCIS
Well, we've come to give our boy a
little break from the monotony.
PHIL
It's not monotonous.
Francis flushes red.
FRANCIS
Never the less...
He turns and joins Peggy on the dock. Phil is suddenly
full of rage. This is an invasion of his privacy.
Everyone feels it.
FRANCIS
Hop to boy. We haven't got all day.
Phil's anger turns to resigned humiliation. He stops,
staring down at his parents. Skipper puts a hand on his
shoulder.
SKIPPER
I didn't know, Phil.
Phil nods, head down and walks down the ramp. All watch
him go, feeling for him.
EXT. OPEN WATER - DAY
The sails begin to rise but unlike earlier, the guys SING
out like the Vienna Boys Choir and it's having the desired
impressive effect on the women.
CREW TOGETHER
When the sun came up there was
whisky in the cup/ and not one of us
was sober/ Kerry thought she saw a
picture, but it really was the sun/
then we knew the party was over...
The weather was perfect, brisk and steady under the trade
wind swells. The voices trail away as the ship moves off.
OLDER CHUCK (V.O.)
Curacao seemed out of a dream,
somehow make-believe. But, as Ohio
drew further and further away, it
was home that began to seem unreal,
drifting somewhere in the foggy
reaches of our memories. And I knew
that each of us was falling in love.
But not only with these wonderful
women or the swaying palms and
porcelain beaches... We were falling
in love with the experience we were
sharing, and with who we were
becoming.
INT. MAIN CABIN - NIGHT
The crew is getting ready for a farewell party. Each
member is primping.
CHUCK
Bregitta. Do you believe it?
JOHN
Believe what?
CHUCK
Her name.
(savoring the sound)
Bregitta. It's poetry.
TERRY
Soon as we ship it'll be "forgetta".
TOD
Don't mind him, Chucky. You're
talking to a guy whose idea of big
romance is a palm full of Vaseline.
TERRY
Screw you, Valentino. I haven't
seen you swapping spit with anybody.
Tod smiles as he slowly pulls something from his pocket.
It's a pair of girls' cotton underwear.
TOD
That's because I'm discrete, moron.
The guys try to wrestle the underwear away from him. Just
then Skipper descends the companionway.
SKIPPER
Alright, gentlemen, we sail with the
tide. Twenty-three hundred. Sharp.
I'm not waiting. Have a good time
tonight but be back on time.
The crew cheer. This means the trip goes on.
EXT. SCHOOL - GARDENS - NIGHT
Decorated with colored paper lanterns and streamers, a
STEEL DRUM BAND softly plays in the b.g. The crew slow-
dance with their girls, dressed in cotton that seems to
glow against their dark skin.
Ms. Boyde is scrutinizing the body contact between Chuck
and BREGITTA. Their lips appear pasted together and she
doesn't like it. Lawford sees what is about to happen and
hands his slimy cigar to George who reacts.
LAWFORD
Hold this, will ya?
Lawford intercepts Ms. Boyde.
LAWFORD
Madam, I would consider it a
privilege if you would allow me to
take you on a tour of the dance
floor.
Ms. Boyde is so flattered, it is all she can do to extend
her hand. Lawford leads her away and glares at Rick.
LAWFORD
You're very light on your feet Ms.
Boyde. Was it you who taught all of
these young ladies the art of the
dance?
Ms. Boyde giggles like a school girl.
EXT. RESTAURANT - NIGHT
Phil and his parents sit outside at a ritzy restaurant.
Phil stares towards the harbor.
FRANCIS
What's wrong, you don't like steak?
PHIL
I should be eating with the crew.
FRANCIS
Humor me. Eat it anyway.
PHIL
Why are you here?
PEGGY
We missed you. We wanted to check
on you.
PHIL
I don't need you spying on me.
FRANCIS
Spying?!
PHIL
I can take care of myself.
FRANCIS
(sarcastic)
Oh, really?
PHIL
Look, you put me on this boat in the
first place. I didn't want to come
but I did. Why do you have to
embarrass me. Why can't you just
leave me alone?
Francis slaps Phil across the face nearly knocking him out
of his chair. Everyone and everything. It's humiliating.
PEGGY
Francis!!
She cradles Phil's red face. He fights the tears.
FRANCIS
Listen to me, you thankless little
prick. We're your parents, so don't
you dare talk to me disrespectfully.
What the hell is it, this captain?
Because I'll see him in a rowboat...
PHIL
It has nothing to do with him.
FRANCIS
Well, what does it have to do with?
Us?
PHIL
No. Look, it's me okay? Can't it
just be about me? For once?
Phil pulls free and exits. He can feel eyes all over him.
EXT. SCHOOL - GARDENS - NIGHT
Alice watches, swept up in the nostalgic romance of it
all. Skipper joins her.
SKIPPER
He would have loved this.
ALICE
Your father?
SKIPPER
All his years at sea, he never
stopped talking about these islands.
ALICE
You miss him.
Skipper manages a sad smile.
SKIPPER
Every hour. Every minute.
(pause)
I wish he was here. I wish he could
have sailed our girl. Seen these
boys...
She smiles warmly.
SKIPPER
I'd have liked to have said goodbye.
ALICE
He knows.
SKIPPER
You sound so sure.
ALICE
I am about this.
Skipper turns and stares at her deeply.
ALICE
What?
SKIPPER
He never would have believed a woman
like you existed.
Alice smiles and turns back to the dancers.
ALICE
Do you remember the last time you
and I danced under the stars?
SKIPPER
Guilty.
ALICE
On the deck of the Yankee, the night
you asked me to marry you. We
weren't much older than they are.
The music changes to a calypso waltz. Skipper takes Alice
by the hand.
SKIPPER
Would you allow me?
She's sixteen again. There's something about him that
still makes her blush.
Skipper leads her to the dance floor. He hesitates,
looking deeply into her eyes. As they begin to dance, the
boys notice and exchange looks.
Lawford and George sit across the quad, sipping punch and
smoking cigars.
GEORGE
If I didn't know better I'd say the
old man was acting almost halfway
human.
LAWFORD
He is halfway human.
One by one the couples clear for the Skipper and his
bride. They glide, lost in each others arms. They dance
a dance for the ages. As if it might be for the last
time. The music swells.
EXT. PIER - NIGHT
Chuck and Bregitta, are at the end of the pier, a full
moon hangs above the horizon. Bregitta doesn't understand
what Chuck is saying, but it's clear she's enjoying him.
CHUCK
I can't remember feeling like this
about myself, a place, someone like
you. We've come such a long way,
seen so much. But nothing like this.
Bregitta smiles and takes Chuck's hand. He's nervous.
CHUCK
I'm not the best at expressing
myself. Maybe the only reason I can
now is because I know you don't
understand me.
(beat)
I like you so much. Too much. But
how could I? I mean, if we can't
even communicate, how could I know
you? It's confusing. We sail in an
hour and I'll never see you again.
Bregitta takes Chuck's face gently and kisses him
tenderly. Then, in perfect English...
BREGITTA
I like you, too.
Chuck's eyes widen, astonished. Bregitta smiles, takes
Chuck by the hand, and leads him to a small covered boat
moored to the pier.
BREGITTA
Come on. We don't have much time.
Blushing deeply, Chuck follows her into the boat.
EXT. STREET - SAME
Robin walks down the street hand in hand with one of the
girls. A long string of colored lights illuminate the
length of the street. Robin clumsily tries to kiss the
girl. She laughs.
ROBIN
(defensive)
What?
Suddenly there's a flash and the sound of breaking glass.
Robin looks up to see Phil staggering, down the street,
smashing each of the colored light bulbs with a stick. He
showers himself with broken glass and sparks.
ROBIN
(to girl)
Wait for me okay. I'll be right
back. I swear.
She smiles sadly and nods. Robin sprints down the pier
and catches up with Phil. His feet are bleeding. He is
completely smashed.
ROBIN
Phil. What are you doing?
PHIL
Fandango, Junior.
(he holds up his
stick)
I'm gonna do some limbo baby!!
ROBIN
No way Phil. Not like this.
PHIL
Roger Meris, steps up, it's a corker
down the pipe...
THWACK! He scores another bulb. Robin jumps out of the
way.
PHIL
It's outta here!
ROBIN
Come on man. Let's just talk about
it.
The music drifts from the gardens ahead. Phil bolts.
Robin chases after him.
ROBIN
Phil! Wait man... Come on...
EXT. SCHOOL - GARDENS - NIGHT
John shares a joke with Lawford and George. The calypso
is cranking, but only John hears Phil and Robin crash into
the refreshment table. Robin struggles to stop Phil.
JOHN
(to Lawford)
Be right back.
Lawford nods, oblivious.
ON THE GUYS
John tries to help Robin with Phil.
JOHN
Jesus! What the hell happened to
him.
PHIL
Lemme go! Lemme go!!
ROBIN
I don't know. We gotta get 'im
outta here before Skipper sees him
like this.
PHIL
Son of a bitch!!
Phil kicks and struggles.
JOHN
Phil, if you don't calm down, I'm
gonna hurt you. Got it?
They drag him into the darkness. From near the bandstand
however, Skipper has seen it all.
EXT. ALBATROSS - NIGHT
The crew lean along the rail waving goodbye to the girls
who wave back with their white handkerchiefs.
INT. MAIN CABIN - SAME
Chuck and John hold Phil still as Robin picks shards of
glass out of his feet. Phil clenches his jaw, but his
eyes are dry.
EXT. ALBATROSS - DAY
The ship is under full-sail driving before a brisk
following wind. It takes two on the helm to keep her
safely on course. Those not on watch are sprawled about
the boat, scraping and 'red-leading' or reading. Chuck
and Robin sit forward with John, studying. Lawford paces
the deck, chiding the crew.
LAWFORD
The rust won't wait for you to read
Conrad, Goodall.
JOHN
Then he shouldn't have written such
a long poem, Mr. Lawford.
LAWFORD
Read on, young John. Read on.
College boards are coming.
John looks down, dejected. Suddenly Tod cries from the
foretop.
TOD
There they blow!! There they blow!!
Dolphins off the bow!!!
Everyone rushes to see. Dolphins leaping out of the
water. It's a magnificent game they play with ships. The
crew cheers as each one explodes out of the sea, close
enough to touch.
Isolated, Phil watches. Angry, cut off. Chuck eyes him,
worried.
Bill and Charlie rig the bowswain's chair and lower Rick
into the water. Suddenly, the dolphins are everywhere.
Rick pets them as they swim back and forth. Shear joy.
Phil reaches for the spear gun. Nobody notices as he
loads and takes aim.
Suddenly... with a crack, everyone spins around. A large
female dolphin leaps out of the water, bloody foam
spraying from her blow hole. She lets out an agonizing
scream. Phil holds her fast.
CHRIS
Jesus Christ!
The crew can only watch, stunned. Phil is suddenly,
defensive as if waking from a dream.
PHIL
Fuck off man. It's just a fish.
RICK
No, Phil. It's a mammal.
Skipper steps on deck, sees the dolphin and Phil with the
spear gun.
SKIPPER
(quietly)
Bill, lower a long boat. We'll
bring her up with the davit.
A dory is lowered with John and Bill inside. Once near
the water they maneuver the struggling dolphin into a
canvas harness. The crew hoist her with the davit tackle,
swing her inboard, and gently lower her to the deck.
They gather around the gasping animal. Alice checks the
wound. Skipper kneels beside her.
SKIPPER
What do you think?
Alice shakes her head and gently strokes the dolphin.
ALICE
It's through her lung.
Skipper turns to Phil.
SKIPPER
(to Phil)
Nice shot.
Phil looks up at the crew but one by one they look away.
Chuck finds this confusing and inexcusable but is the last
to look away. Skipper grimly walks over to one of the
deck lockers and pulls out a large wooden mallet and holds
it out to Phil.
SKIPPER
Finish it.
Phil looks at the mallet, horrified.
PHIL
(stammering)
I'm not gonna kill it.
SKIPPER
You already have. Now go on. Do
it.
Phil backs away. Skipper stares at him for a moment, then
walks over to the dolphin. Robin looks away. The
sickening sound of the mallet crushing the skull of the
animal seems to silence the world. There are one of two
thumps of her tail and, it's over.
Skipper tosses the bloody mallet into the locker and
approaches Phil, his face flushed with anger. He grabs
the spear gun, and snaps it across his knee and throws the
pieces into the sea.
SKIPPER
What the hell is wrong with you?!
Phil begins to shake with rage.
SKIPPER
Come on. You got so much fight in
you; you wanna kill something? Take
your best shot. The first one's
free.
Robin holds his ears as if he can make it all go away.
For a brief moment Phil looks as if he might take Skipper
up on the challenge. Then the impulse passes.
SKIPPER
That's what I thought.
(beat)
You're done. You're going home.
Skipper turns. The humiliation is more than Phil can
take. He lunges after Skipper. Lawford grabs him. Phil
swings wildly.
PHIL
You mean-assed bastard!! You son of
a bitch!! You can't do this!!! You
can't do this!!! God damn you!!
God damn you!!
Lawford leads Phil, struggling, below. The crew surround
the dead dolphin, stunned.
EXT. ARUBA - ESTABLISHING - DAY
The Albatross is at anchor in the center of the harbor.
EXT. DECK - SAME
Phil comes on deck from below with his duffel bag.
Everyone feels bad but no one knows what to say. Phil
turns to get a second load.
CHUCK
Why'd you do it?
PHIL
(regretting it)
What's the difference?
CHUCK
You only hurt yourself you know?
PHIL
Like you really care. Like any of
you give a shit what happens to me.
RICK
You're the one who doesn't care,
Phil.
PHIL
It hurts too much to care.
RICK
About yourself?
PHIL
About anything.
Phil turns and disappears down the companionway.
ROBIN
We shouldn't be putting him off the
boat.
CHRIS
The guy's out of control.
ROBIN
Everybody's been outta control on
this trip.
(beat)
Are we a crew or not? I mean, isn't
that what this is supposed to be all
about?
MIKE
You're the last person who should be
whining about being a "crew".
ROBIN
How do you figure that?
MIKE
Well, I'd sure like to go into the
subject of vertigo and all, but I
wouldn't want you to piss yourself.
Robin flushes bright red. John fires a look at Mike.
JOHN
You're a regular prick you know
that?
MIKE
Tell it to the dolphin, Goodall.
JOHN
Everybody deserves a second chance,
ya know? We'd do the same for you
Mike.
ROBIN
It's about family isn't it? I mean
are we together on this or not?
There is a long pause. Mike and Chris cave.
MIKE
Hell, do what ever you want. It
won't change anything anyway.
Robin exchanges a glance with Chuck and together, they
climb up the companionway.
EXT. CHART HOUSE - SAME
Chuck and Robin stand before the door.
ROBIN
I can't go in there.
CHUCK
What are you talking about.
Robin turns away, ashamed.
ROBIN
The guys were right. It'll mean
nothing coming from me. He'll
listen to you Chuck. Everybody
does.
INT. CHART HOUSE - SAME
Skipper and Alice have paperwork spread out in front of
them. A knock.
SKIPPER
Come.
Chuck enters, awkward.
SKIPPER
What's on your mind?
CHUCK
I'm here on behalf of the crew, sir.
Skipper looks up.
SKIPPER
Well, spit it out.
CHUCK
The fact is... We'd like you to give
Phil another chance.
Alice raises her eyebrows, surprised.
SKIPPER
Can't do it.
CHUCK
Sir...?
SKIPPER
Close the door. Sit down.
Chuck does as he is told.
SKIPPER
Why do you think I'm sending him
home?
CHUCK
He killed the dolphin.
Skipper looks at Chuck for a moment.
SKIPPER
The Dolphin was a symptom.
CHUCK
Of what?
SKIPPER
Of a fight he can't win out here.
CHUCK
It's his father sir. He's
suffocating him. We've all seen
it...
Suddenly it's as if Chuck is talking about his own life.
CHUCK
I mean he has all these expectations
and he doesn't even know who his own
kid is. What right did then have to
show up here?
SKIPPER
They have every right Chuck.
CHUCK
They send us because they want us to
change, or grow up or something and
then they try to keep us the same.
Skipper sits up and studies Chuck for a moment.
SKIPPER
Let me tell you something about
Phil's father, and your's too. How
do you think you got here? You
think this is all free, that they
owe you something? You think they
enjoy riding subways and commuter
trains, driving buses or pulling
lobster traps? Work fifty weeks a
year to keep you in tennis shoes and
private school? Look around at how
the rest of the world lives Chuck.
We're the luckiest people alive,
every one of us. They gave it up
for you and Phil, and me too my
friend.
Chuck chews on it.
SKIPPER
There are ground rules in families
just like on this boat. If you and
Phil don't like it, I'm sorry.
Someday you'll understand that, and
if you're lucky, you'll come home
and find your best friend has been
there all along waiting for you to
forgive him for being a father.
It'll be the way it used to be,
when you were ten and your dad was a
giant.
Now it's Skipper who is talking about himself.
SKIPPER
Does Phil know how you guys feel?
CHUCK
I don't know.
SKIPPER
You should tell him. That's
something he can take with him.
Chuck nods and leaves.
EXT. CHART HOUSE - SAME
As Chuck exits he meets Robin's eyes. He shakes his head.
INT. CHART HOUSE - SAME
Skipper returns to his paperwork but can feel Alice
watching him. He senses it.
SKIPPER
I'm all ears.
Alice smiles.
ALICE
You may not like what you hear.
SKIPPER
I can take it.
ALICE
They've become what you wanted.
They're a crew. That's why he came.
Skipper puts a loving hand on Alice's shoulder.
SKIPPER
Why did we begin this?
ALICE
We were idealists.
SKIPPER
Because we believed we could make an
impact out here. Self reliance and
community through the disciplines of
sailing.
ALICE
I haven't forgotten.
SKIPPER
Phil, he's not looking inside. He's
just striking out at the world.
ALICE
He has a lot of hurt inside him.
SKIPPER
Well, he better learn to own it.
Actions have consequences.
(beat)
It's not what happens here Alice,
it's what they take away with them.
Alice runs her hands across his face.
ALICE
You're still an idealist.
Skipper turns and slips into her arms.
SKIPPER
Oh hell...
EXT. DECK - DAY
Phil is in the long boat with Skipper, ready to shove off.
Tension is high. It's as though they're all waiting for
Skipper to give Phil a reprieve. But, it's not coming.
They mumble goodbyes. Terry and Rick pass down Phil's
bags.
RICK
Good luck.
Phil nods and turns to Skipper.
PHIL
I'm ready.
Skipper starts to pull the oars to make the crossing to
the dock as the crew watches them go. Robin turns,
staring at the ships bell.
EXT. DOCK - SAME
Skipper ties off the boat and Phil hands up his bags. A
black limousine waits, brooding. Phil climbs up with
Skipper and stands, stares at it. The back door opens,
but nobody gets out.
EXT. ALBATROSS - SAME
The crew stand, watching.
CHARLIE
His ol' man's gonna eat him for
lunch.
JOHN
I know what that's like.
RICK
Yeah.
Then, suddenly...
CHUCK
My god...
All stares aloft. In the rigging, climbing up the mast,
is Robin. With the ships bell in his teeth, he is
sweating every rung. Perspiration glistens on his brow.
The crew watches, transfixed as he fights his way towards
the foretop.
EXT. DOCK - SAME
Phil turns to Skipper. Working up some courage to say
something, anything. But all that comes out is...
PHIL
I'm sorry.
A pause between them.
SKIPPER
I know, Phil.
Skipper extends a hand and they shake. Phil is about to
turn, when a familiar sound draws their attention.
EXT. FORETOP - SAME
Robin, holding on for dear life at the top of the mast,
rings the ships bell triumphantly over his head, waving to
Phil. Victorious. Ding ding! Ding ding! Ding ding!
The crew begin to cheer.
EXT. DOCK - SAME
Phil stares back, fighting his emotions. Slowly he raises
his hand in a single wave of acknowledgement. The ringing
stops as his eyes meet Robin's. Waves back. Skipper
turns.
SKIPPER
They never gave up on you, you know.
Phil chews on it. Then...
PHIL
Tell 'em I said... thanks.
(beat)
Goodbye Skipper.
ROBIN'S POV
Robin watches as the limo pulls away. He rings the bell
wildly. The crew below wave in a show of silent protest.
OLDER CHUCK (V.O.)
As Robin rang him out, we waved in
silent protest against Skipper's
decision. And in the days that
followed the low morale was matched
only by a sense of arrogance that
perhaps the master should step down
and let his students take over.
AERIAL SHOT
Robin, the Albatross and the drama unfolding below spin
slowly away as we climb, turning, higher and higher.
EXT. ALBATROSS - ESTABLISHING - DAY
Foam sprays from her bow as the Albatross slices through
the swells.
INT. CABIN - SAME
Tod exits the head with a worried look on his face. He
grabs Chuck by the arm and pulls him aside. Morale is
extremely low.
TOD
Listen man, I think I have a
problem.
CHUCK
We all have problems.
TOD
I'm pissin' fire man.
Chuck reacts.
INT. SKIPPER'S CABIN - DAY
Tight on Alice. Pull back to reveal Tod standing in front
of her with his shorts down around his ankles. Mortified.
ALICE
Have a nice time in Curacao, did you
Tod?
Alice gets up and moves to her medicine chest. Tod starts
to pull up his shorts.
ALICE
Not so fast.
She pulls out a menacingly large looking hypodermic
needle. Tod's embarrassment turns to alarm.
EXT. DECK - LATER
The crew stand in line, pissed. Lawford and George man
the deck with Skipper and exchange amused looks. The door
opens and Chris exits, red faced, rubbing his backside.
He glares at Tod who sits on the paint locker.
CHRIS
Way-ta-go Valentino. I never even
copped a feel in Curacao.
TOD
Yeah well, your sexual orientation
is not my problem.
RICK
Man, is there a social disease you
haven't had?
CHARLIE
So much for vestal virgins.
Lawford swings up a pair of binoculars. A vessel under
power is coming up fast behind them. He holds the binocs
out to Skipper.
LAWFORD
What do you make of that?
Skipper turns and looks.
SKIPPER
I don't know.
The ship pulls along the port side, keeping a couple
hundred yards between them. The boys move to the rail.
George sees them first.
GEORGE
Jesus. She's got guns.
SKIPPER
She's Cuban.
Everyone becomes alarmed. Even Alice looks concerned.
Suddenly a puff of smoke discharges from the gun boat.
SKIPPER
(shouting)
GET DOWN! EVERYBODY DOWN!!
The entire crew hit the deck as a shell rockets across the
bow exploding in the water.
SKIPPER
Jesus, we're Americans!!! We're
Americans!!!
Skipper grabs the American flag and starts waving it.
TERRY
Jesus, they're gonna sink us!!
SKIPPER
Bill drop everything. Do it now!
The crew scrambles for the rigging, frantically dropping
sail.
SKIPPER
(hitting each word)
Who the hell do they think they are?
As the sail comes down, the Albatross slows to a stop.
The Cubans inch closer and begin speaking over a loud
speaker in Spanish. The seas are high and the two ships
rise and fall with the large swells between them.
GEORGE
They want us to identify ourselves.
Chuck returns with a bull horn.
SKIPPER
Tell them we're the American School
Ship, Albatross.
George replies in Spanish over the bull horn. The Cubans
answer.
GEORGE
They think we're carrying Cuban
refugees.
(beat)
Skipper, they mean to board us.
SKIPPER
Not a chance. Remind them that
according to the Geneva Convention,
firing on a civilian vessel on the
high sea is an act of war.
Another exchange between George and the Cubans. The crew
lay flat on the deck, terrified.
GEORGE
They say they are acting on the
direct authority of Fidel Castro.
Skipper defiantly swings up onto the gunnel rail. The
Cuban Captain gives an order and one of his sailors jumps
into the turret of the anti aircraft guns and swivels
around pointing both barrels at the Albatross. Skipper
stands firm, between the shrouds. Silence. A standoff.
SKIPPER
Tell 'em to come aboard.
George sends the return message. There is a pause, then
the murmurs of the relieved crew. Skipper swings down but
never takes his eyes off the gunboat.
SKIPPER
(to crew)
We've come a long way gentlemen.
But this is no time for heroes. I
know you're much more, but I need you
to be boys right now. That's an
order. Now scatter and find your
passports.
INT. CABIN - DAY
Laundry, books and mementos go flying as each boy
scrambles to dig up his passport. Terry sits among his
things, dazed. Bill notices.
BILL
What's wrong?
EXT. DECK - DAY
A small launch filled with Cuban soldiers approaches the
Albatross. The crew climb on deck and line up along the
Chart House with their passports. Lawford walks up to
Skipper.
LAWFORD
We've got a problem.
SKIPPER
What's that?
LAWFORD
Terry left his passport in Curacao.
We could hide him...
SKIPPER
No. Bring him on deck with the
others.
The Cubans cast their lines up and climb aboard carrying
side arms. Terry reluctantly joins his crew mates. The
COMMANDING OFFICER faces Skipper as his men go down the
line checking the passports. Others search the ship.
COMMANDER
Chicken is a fool's game captain.
SKIPPER
So is violating international law.
COMMANDER
But you invited is aboard.
SKIPPER
Your cannons made a compelling
argument.
One of the Cubans pulls Terry out of line and brings him
forward. He alerts the Commander in Spanish.
COMMANDER
Stow away?
SKIPPER
He left his passport in Curacao.
It's being mailed to Panama.
COMMANDER
That is unfortunate. We'll have to
take him with us.
Terry is petrified.
LAWFORD
If he's a Cuban, Castro wears a
dress.
SKIPPER
Nobody aboard my ship is going
anywhere.
Skipper stares him down. The Commander signals to one of
his men who disappears into the Chart House.
COMMANDER
Perhaps in appreciation for our
country's pursuit of peace, you
might offer us some, token of
gratitude.
Skipper doesn't really have a choice.
SKIPPER
What do you want?
The Cuban returns from the Chart House with the Ships
sextant and hands it to the Commander.
COMMANDER
This. And...
Pointing to the ships compass.
COMMANDER
... and that.
GEORGE
You've got to be kidding!!
SKIPPER
(cold)
Take it.
Without hesitation the Cubans pull the large brass compass
from its base.
SKIPPER
Now, get the hell off my ship.
As they leave the ship, they pause. The Commander looks
back at the Skipper, then deliberately drops both sextant
and compass into the sea.
COMMANDER
You'll really have something to
teach your students now.
Skipper stands towering above them. The Cuban captain
smiles up at him. Amazingly, Skipper addresses him in
perfect Spanish.
SKIPPER
Las estrellas es lo unico, que un
marinero verdadero se mesesita para
encontrarse. Verdade Patron?
The Cubans stare back, frowning, amazed as they motor
away.
The crew are stunned by what they have just witnessed.
Skipper turns and meets the eyes of admiration, humility
and complete respect. He joins Alice at the helm. They
linger for a moment.
CHUCK
What'd he say?
George smiles, impressed as well.
GEORGE
He told them real sailors need only
the stars.
With a new attitude, they turn to Skipper.
SKIPPER
Alright then, let's get outta here.
The crew bolt to there positions.
OLDER CHUCK (V.O.)
With staff and string he showed us
how to build a sextant. As we rode
the trades, he shared the ancient
secrets of how to read the waves and
follow stars. And some mornings
later, bathed in the orange glow of
a sunrise, Panama rose from the sea
like a phoenix.
EXT. ALBATROSS - PANAMA CANAL - DAY
Panama appears on the horizon. The Albatross is dwarfed
by the huge freighters moored around her, as she moves
through the locks. The crew stand on deck in quiet
reverence.
INT. MAIN CABIN - NIGHT
The sounds of slumber fill the cabin. All seems well with
the world. Suddenly, silhouettes in the darkness. A huge
bearded figure stands in the center of the cabin with a
trident in his hand.
Chuck wakes with a start. He bolts upright to see the
horrible figure of NEPTUNE himself (Lawford) towering
before him. He tries to scream, but hands cover his
mouth. He is dragged, struggling, up the companionway.
EXT. DECK - NIGHT
The Albatross has been transformed into a ghost ship.
Where the sails once were, only shredded fabric. All of
the crew have been brought on deck. Powdered faces glow,
surreal.
John's head has been shaved into a mohawk. Robin, Rick
and Chris have been reduced to crew cuts. The shears
start over Chuck's head. Neptune and his sidekick, DAVEY
JONES (George) and two MERMAIDS (Bill and Alice) emerge
with the rest of the crew.
NEPTUNE
Hold fast that polliwog and make him
presentable.
Chuck struggles as his hair is shaved away and face
powdered.
NEPTUNE
Let it be known that on this day in
the year nineteen hundred and sixty-
one there appeared within the limits
of my royal kingdom, the sailing
ship brigantine Albatross, bound for
Galapagos. All vessels that sail my
domain shall be subject to the
scrutiny of the underworld...
Terry is brought topside kicking and screaming.
NEPTUNE
Silence!!!
Terry shuts up and succumbs to the same fate as the rest.
NEPTUNE
Tonight you shall all enter the
Order of the Shellbacks. Only when
you have been duly initiated shall
you enjoy the mysteries and
protection of the trident. So, let
the festivities begin...
EXT. HELM - NIGHT
Neptune and his court sit smoking Havana cigars as each
member of the crew present themselves. Robin dressed like
a pig and crawls around snorting.
John's an Indian brave, whooping and hollering as he does
a rain dance. Chuck, with flippers on his hands and feet,
hops around like a frog. Rick is in 'drag' as Neptune's
girlfriend and must sing everything he says. Charlie is
dressed like a sloth and slithers along the deck.
Frenetic chaos.
EXT. DECK - LATER
Neptune and his court lead a procession around the
perimeter of the deck. The crew follows. They stamp
their feet and chant.
ALL
Hell is to drift, heaven to steer!
Hell is to drift, heaven to steer!!
Hell is to drift, heaven to steer!!
They move faster and faster around the boat. They shout
louder and louder, faster and faster until they have all
worked themselves into a frenzy.
EXT. BOW - DAWN
Davey Jones, holds a large turtle shell over the crews
heads. As each one passes before him he pours blood from
the turtle shell onto their heads. It runs down,
streaking their floured faces and necks. As the ritual
progresses, Neptune speaks.
NEPTUNE
By virtue of the power inherited by
me, I do hereby command all of my
subjects, such as mermaids, sea
serpents, dolphins, whales, sharks
and turtles, from eating, playing
with, or otherwise molesting this
vessel or her crew. Let it be
remembered that on this, my
Equatorial Domain on Longitude 88'
20' 13" on this 532nd in the year of
the dolphin, you entered the Order
of the Shellbacks!!
The crew cheer and embrace. Skipper calls from the wheel.
SKIPPER
Land ho!
EXT. GALAPAGOS ISLANDS - DAY
The crew stop their celebrating and gather at the port
bow. Ahead, glowing orange with the dawn, the islands of
Galapagos. It's desolate landscape of silent volcanoes
and ancient lava flows that spill into the sea.
The faces of the boys, still streaked with the indignities
of the night's ordeal, stand silently before their final
destination.
OLDER CHUCK (V.O.)
We had journeyed over six thousand
miles to the very edge of the earth.
Like Darwin before us, we would
witness the bliss of nature in the
absence of man. And it was as if
the Albatross had forded time,
leaving it behind. In the heat of
those equatorial days, on the virgin
onyx beaches and shifting coral
dunes, one could expect to find
sunning iguanas, nesting frigates
and perchance... the footprints of
God.
EXT. BEACH - SHIPWRECK BAY - DAY
The Albatross rests at anchor. On the beach, the crew
watch a huge group of penguins dive and frolic from the
ancient guano cliffs. So unaccustomed are these creatures
to man, that they have no fear.
EXT. LAGOON - DAY
Chuck, John and Rick snorkel among the playful SEA LIONS.
They dart and swim like otters among their new human
friends.
EXT. LAVA OUTCROPPING - DAY
Terry, Chris, Chuck and Mike stand taking notes on exotic
birds. Frigates, hawks, flamingos, pelicans, boobies, and
of course... albatrosses.
EXT. ALBATROSS - DAY
The crew are sprawled across the deck taking final exams.
Alice walks among them. Chuck throws an anxious look
towards John who is buried in his test.
EXT. GRASSY LOWLANDS - DAY
Boobies nest in the grass. Thousands of them and
amazingly, the crew can walk among them without them
batting an eye. Chuck and Robin watch as the iguanas
sneak into unattended nests and steal eggs.
EXT. DUNES - DAY
Chuck is alone gazing over the shoreline. A huge flock of
finches darken the sky, circling the black sand beach.
Pure magic.
EXT. BEACH - DAY
Beyond, the anchored Albatross rocks and bounces in a
blue-sky gale. Chuck, John, Robin, Rick, Chris and Tod
stand by a dory watching the sea build. They wear only
tattered shorts, their hair sun bleached and their skin
dark.
RICK
We're here for the night.
TOD
Yeah.
EXT. ROCKS - SAME
Tight. The eyes of predators. Sharp, cunning, hungry.
EXT. BLACK SAND BEACH - DAY
A lone wild goat grazes on the beach. It looks up,
sensing something, unfamiliar, then, returns to it's
grazing.
Tight. Thundering bare feet on the black sand.
The goat looks up again, this time it sees five
Homosapiens bearing down on him. They come naked,
swinging their shredded clothing above their heads like
lassos. Shouting, whooping, primal. The goat bolts for
its life.
Pounding through the waterline like the wild horses of
Sable, the hunters charge after the hunted, closing. The
goat's eyes are full of a terror it has never known.
The beach is broad and long with no cover. The hunters
are gaining on the goat. Splashing feet pound closer...
Suddenly they are upon the goat. But, instead of
attacking it, they just run through it, passing it. The
goat pulls up and stops, breathless, watching the naked
humans run.
Close on the faces of brothers, matching each other, step
for step. The music builds as we...
FREEZE FRAME
EXT. BEACH - NIGHT
Wild eyes behind the charcoal painted masks of primal man.
The rhythmic beat of sticks clacking and voices chanting.
The heaping of driftwood into piles. Taught and powerful,
the glistening bodies of young men.
Blue sparks leap from striking flint against stone. A
flame is born. Voices howl in guttural triumph.
As the flames leap and singe the darkness, silhouettes of
men pound the sand and cry out in a ritualistic dance.
The goat watches from the shadows, bemused, as the dance
builds to a frenzy. The night sky is filled with the
building sound of raging fire, pounding surf and chanting
voices.
EXT. ALBATROSS - SAME
The wind carries the sounds of ceremony across the water.
The flames from the beach reflect off of the water turning
the white hull of the ship, a deep flickering orange. The
word A-L-B-A-T-R-O-S-S has been spelled in huge flaming
letters. Alice joins Skipper at his place by the rail
watching.
ALICE
What are they doing?
SKIPPER
Claiming their place in the world.
EXT. SHORELINE - DAWN
The white surf hisses as it washes among the cinders of
the evenings ritual. The Galapagos have been returned,
for now, to the frigates and the iguanas.
Across the water against the rising sun, the Albatross,
under full sail, is bound for home.
EXT. DECK - SAME
The crew stand at their posts. The yards and foretop are
trimmed with sailors, their faces taught and their bodies
hard. No one looks back.
EXT. DECK - PANAMA CANAL - DAY
Alice steps onto the deck from the chart house with papers
in her hands.
ALICE
Well gentlemen, I have the results
of your college board scores. I
think most of you will be pleased.
The crew members collect their exams. Chuck notices John
at the bow, alone, lost.
CHUCK
You okay?
JOHN
Yeah. How'd you do.
Chuck looks down at his exam apprehensively.
CHUCK
Ninety-six.
JOHN
Congratulations.
CHUCK
What about you?
John slowly passes his test to Chuck.
CHUCK
It's a ninety-one! It's an 'A'!
JOHN
I know.
CHUCK
(excited)
You know? Then why are you up here
looking like you're about to jump
overboard?!
JOHN
I just can't believe it.
CHUCK
This is your moment, don't you see?
The instant when you know that your
life is never going to be the same
again. When you stand up and are
counted.
John tries to choke back his emotions.
JOHN
I couldn't have done it without you.
CHUCK
Yes you could. You did.
(holding up the
exam)
This is all you. Nobody else.
John looks out.
JOHN
Thank you.
Chuck smiles and joins John's gaze over the water.
CHUCK
Feels different doesn't it?
JOHN
What?
CHUCK
That we're going back. I don't want
it to end. I don't want to be what
I was when I left.
JOHN
What was that?
CHUCK
Anonymous.
Chuck looks at his test grimacing.
CHUCK
I've been getting ninety-sixes my
whole life. It's what they expect.
After all this, I still haven't
figured it out.
JOHN
Figured what out?
CHUCK
Who I am, outside of this boat.
What the hell I'm doing here.
JOHN
I'll tell you who you are. You're
the glue. You're the thing that
holds everybody around you together.
You're strong, you listen and you
see things in people the rest of us
can't. It's a gift.
It's Chuck's turn to fight emotion.
CHUCK
You know, I never had friends like
this.
JOHN
Me either.
CHUCK
I feel like... we can do anything.
John smiles, clutching his exam.
JOHN
We can.
OLDER CHUCK (V.O.)
In the fading hours of that Pacific
dusk, with nothing left to confess,
for the first time we felt safe,
capable, sure of who we were and
where we were going.
INT. MAIN CABIN - DAWN
The crew sleep in their bunks. Lawford's voice rumbles
down the companionway.
LAWFORD
A wet sheet and a flowing sea/ A
wind that follows fast, And fills
the white and rushing sail, And
bends the gallant mast/ Arise, arise
you salty dogs. The watch is on.
Chuck, Tom, John, Terry and Tod roll out. The dumb waiter
clatters down from the galley with the morning's
breakfast. Skipper and some of the crew are already
eating.
EXT. DECK - DAY
The Albatross is under full sail trying to take advantage
of what little wind there is. The skies are gray and
dank. Tod and Terry are at the helm. Chuck and John are
amid ship. John relieves Bill on the forward watch.
CHUCK
Looks like we're gonna get wet.
BILL
Well, we need it. I want to take a
nice long bath and catch some water
for my laundry.
JOHN
Save some for me will you?
BILL
You got it. I'm going below.
Suddenly, a huge lightning bolt explodes out of the sky
and strikes the water a hundred feet off of the starboard
beam. Everyone jumps.
TOD
Jesus!!
Skipper bolts onto the deck.
SKIPPER
Everybody okay?
The crew nod sheepishly. A very close call.
SKIPPER
All hands keep out of the rigging
and stay clear of the masts.
The clouds grow dark but no more lighting. Tod laughs
nervously. Everybody joins in. It's contagious. Even
Skipper manages a smile.
SKIPPER
All right gentlemen. Thor's had his
fun. Let's keep a keen eye.
Skipper starts back into the chart house when suddenly, a
powerful gust of wind drives the ship hard to a 45 degree
list to the starboard. Skipper stops and turns.
Instinctively, John and Chuck spring for the rigging to
drop sail.
SKIPPER
(sharply)
No! Stay down!!
Skipper stares at the sky with the intensity of a cobra.
Waiting. The wind eases. It becomes eerily still. The
ship slows and the sails go slack. Silence. Skipper
maintains his vigil.
CLOSE ON WATER
Foam and spray appear off of the tops of the swells like
the invisible footprint of a locomotive. John sees it
first.
JOHN
(shouting)
HERE IT COMES!!!
Everybody turns and looks. Skipper's eyes suddenly widen
as he realizes...
SKIPPER
(in a whisper)
White Squall!
The charging wall of wind slams into the topsails so hard
it send a shudder throughout the ship. The wheel is
nearly ripped out of Tod's hands. Instinctively, he tries
to turn the ship into the wind.
SKIPPER
Hard to starboard!!! Hard to
starboard!!!
Confused, panicked, Tod keeps turning to the left, into
the wind. Skipper struggles to get to the wheel but when
the ship heals so badly he slides sideways across the
deck.
TOD
No, hard to port!
SKIPPER
TURN THE GOD DAMNED WHEEL TO THE
RIGHT!!!
Finally, Tod does as he is told. But as soon as the ship
starts to come about, the vicious wind drives her further
onto her side. As the deck becomes vertical Chuck half
slips, half tumbles down to the starboard gunnel.
INT. MAIN CABIN - SAME
Robin, Chris, Bill, Mike and Rick are seated at the table
finishing breakfast as the ship starts to go. They all
share growing alarm as they watch the table reach it's
maximum angle. Dishes start sliding off.
BILL
Get out!! Everybody out!!
EXT. DECK - SAME
Skipper manages to grab the ax mounted on the chart house
and cuts the mainsheet with a single blow. But it's too
late. The tall masts plunge into the ocean and the sails
scoop tons of sea water, pinning the Albatross on her
side.
INT. SKIPPER'S CABIN - SAME
Alice struggles towards the door. The book case tears out
of the wall and strikes her. She drops to her knees. The
door swings open in front of her. She reels for a moment
and then loses consciousness.
INT. FORWARD COMPARTMENT - SAME
Lawford, Charlie and George are all hurled out of their
bunks. The world is suddenly sideways. Lawford leaps up,
pushing the others towards the companionway ladder.
LAWFORD
GO, GO, GO!!! TOPSIDE!!! Come on
Charlie! George, get them out!!
George disappears into the main cabin. Lawford manages to
get Charlie out. As Lawford reaches the top of the ladder
sea water explodes through the hatch and drives him back
into the bowels of the ship.
INT. MAIN CABIN - SAME
Robin is through the companionway in the chart house with
Mike right behind him. But instead of exiting, he holds
the door open against the sea so that Mike can escape.
Mike gets through the door before the rushing sea slams it
closed, pinning Robin's arm. He struggles to push
through.
EXT. DECK - SAME
John slashes at the lines securing the starboard lifeboat
with his knife and manages to free it before it is dragged
to the bottom. He scrambles through the collapsed rigging
tangled above him for the port lifeboat.
AT THE STERN
The Albatross is going down. Fast. Chuck and Tod stand
on the after skylight. Chuck catches glimpses of the
struggle going on below.
CHUCK
My God, they're drowning!
Skipper catches a glimpse of Alice through the skylight.
Water washes over her but she doesn't move.
SKIPPER
Oh please, no. Not this woman.
INT. SKIPPER'S CABIN - SAME
Skipper's face is pressed hard against the skylight. His
muffled voice penetrates the cabin. Alice stirs. She
looks around, delirious.
SKIPPER
Alice, get up!! Come on girl!!
He pounds uselessly on the teak deck then tears at the
planks, fingers bleeding. Alice looks up confused but
calm and finds Skipper's eyes.
ON THE DECK
Panicked for the first time in his life Slipper swings the
ax wildly at the perpendicular deck sending a shower of
splinters into the water.
SKIPPER
Get out!! Get out!! Jesus Christ,
please God, Alice get out!!!
But after only two swings, the Albatross and Alice, slip
beneath the sea.
INT. MAIN CABIN - SAME
Water thunders in from every possible exit. Chris and
Rick push Bill towards the dumbwaiter.
RICK
Bill, you go. We'll be right behind
you.
Before he can say no, Rick and Chris jam Bill into the
tiny shaft. Suddenly, from below, a tremendous geyser
smashes him to the top, knocking him unconscious. But the
pressure is so great that the water sweeps him through the
galley and out onto the deck.
EXT. DECK - SAME
Skipper struggles to reach John and the second life boat
but sees that it is tangled in the rigging.
SKIPPER
Johnny, it's not good.
John defies him and keeps cutting. The ship is almost
completely submerged.
JOHN
I can get it!
Suddenly one of the deck lockers breaks free and plunges
into the water taking lines and rope with it. John
becomes tangled and is dragged into the water. Only his
superior strength allows him to hold onto the lifeboat and
keep cutting.
The Albatross slips beneath the surface. Instead of
trying to free himself John keeps slashing at the lifeboat
lines as he disappears, swallowed by the sea.
INT. FORWARD COMPARTMENT - SAME
Eerie silence. Lawford is trapped in an tiny air pocket.
Debris float around. He begins to panic as the water
around him rises.
LAWFORD
My God!! Oh God I'm dying!!!
He takes a deep breath and the water consumes him. Then
suddenly, the ceiling above him explodes from the pressure
within.
ON THE SURFACE
Lawford is catapulted from the grip of death, to the
surface.
EXT. SURFACE - SAME
Chuck continues to frantically dive on the chart house
door as the ship takes the 'Deep Six'. Suddenly the ship
rolls 180 degrees, her screws exposed and keel jutting up
like a huge dorsal fin.
EXT. UNDERWATER - SAME
Chuck feels the ship coming down on top of him but still
finds Robin's arm. They clasp tightly, but Chuck just
can't budge the door. Then, strangely, Robin releases
Chuck's arm and pulls it back through the door. Chuck
looks up, startled. The small round window in the door is
illuminated from the cabin lights on the inside.
Through the glass, Chuck meets Robin's frightened eyes.
He fights to stay in a shrinking air pocket. Robin takes
a last gulp of air then, a calm comes over him.
He meets Chuck's eyes again but this time with a strange
acceptance. They both know what's happening. But Robin
has refused to take his friend to the bottom with him. He
presses his hand to the glass. Chuck does the same. Then
with a smile, Robin pushes himself away from the door,
disappearing into the darkness and eternity.
EXT. SURFACE - SAME
Chuck breaks the surface, gasping for air. He looks
around, frantic. He sees nothing but the sea swells and
debris. All that remains is the sound of the wind and
rain on the water.
Suddenly, beneath him, a massive rumbling and explosion of
foam. Then, the tops of twin masts rise out of the water
like shattered lances as the ship rights herself
underwater. She holds herself steady for a moment as if
in a final attempt at resurrection, the Albatross begins
to rise. Faster and faster, until her entire length
explodes out of the water in a mountain of foam and wave.
ON THE DECK
Like Ahab before him, John appears, lashed in a web of
tangled line still slashing to free the remaining long
boat.
And for a moment, it looks as if she might stay there, as
if this were just a final surreal lesson of the sea. Some
of the boys begin to cheer prematurely. But Skipper knows
better. She's filled to the gills with sea water.
She shutters. Then, like a stone, she just drops, sucked
to the center of the earth, John's hands still slashing,
as she finally goes.
PULL BACK TO REVEAL
Survivors hanging onto the debris that floats in the
watery tempest. Strangely, the wind subsides. The sea
becomes calm and a stunned silence falls over those in the
water.
CHUCK
OH GOD!!!!!
His scream echoes, for the grief of all.
ON THE SURFACE
There is an explosion of bubbles, and then she slips
beneath the waves like a stone. The stunned crew can only
watch.
Then, as if by magic, the second life boat erupts to the
surface.
Skipper fights off his emotions. He knows what it means.
John died cutting it free.
Terry and Bill hang onto a life ring. Blood runs from
Bill's head. Charlie, Mike and several others hold onto
the side of the other freed life boat which has been
swamped. Lawford floats on his back, unconscious, but
alive. Several of the boys help pull him towards the
boat.
Skipper swims to the second boat, desperately looking for
those not accounted for. But, they are gone.
Among the wreckage, the roof of the chart house. The only
sound left is the ominous tolling of the ship's bell,
Robin's bell, still secure in it's fitting.
EXT. LIFE BOAT - DAY
The boats have been floated and tied together. Skipper is
in one, Lawford in the other. One of the two boats has
been rigged with sail. Skipper stands in the bow staring
into the ink blue water.
SKIPPER
Raise your sail, Bill. North, north-
east. Keep a sharp look out for
Florida.
Bill studies him for a moment, then...
BILL
Maybe we could wait around a little
longer, sir...
There is a long pause before Skipper answers.
SKIPPER
(quietly)
She's gone... She's gone.
There is something remarkably touching about this young
man trying to take care of him. He puts a hand on
Skipper's shoulder. It almost makes him crack. He pats
Bill's hand gently.
SKIPPER
Carry on.
BILL
Yes sir.
SKIPPER
North, north-east.
(beat)
And Dick, please make a note of our
final position.
Lawford nods sullenly. Chuck looks out at the floating
wreckage around them, silent, lost.
Suddenly, there is a 'thump' on the hull of the boat. The
survivors share a confused look. Then it comes again.
Chuck looks out at the surface of the water. It's
suddenly alive... With sharks.
LAWFORD
Hands and feet inside the boats.
They come by the dozens. Ramming the boats and rummaging
through the debris. They swarm around the boats until it
seems as if the water is boiling. Chuck picks up an oar
and starts beating wildly at the sharks.
CHUCK
AAAAHHHH!!!!
The others take up the cause and in a moment they are all
screaming and cursing the sharks. It's a frenzy of grief
and anger.
OLDER CHUCK (V.O.)
We slashed at the sharks as if
striking out at the finger of God.
And we all begged silently for the
ability to understand what had
happened. But, if there was a God
that day, his answer came only in
the moaning wind and our questions
were left to drift unanswered, in
the titanic ocean of our deepest
grief.
Exhausted, Chuck stops slashing and stares out. lost.
CHUCK
(hushed)
Wake up. Wake up. 1-2-3 wake up.
Like Robin's nightmare of his brother, this is all too
real.
EXT. OCEAN - DAY
The tramp freighter GRAN RIO steams toward the life boats.
The crew stand silently, watching as the ship approaches.
EXT. SHIP - DAY
Chuck stands on the deck of the Gran Rio as the last of
the crew scramble up cargo netting hung over the side.
Chuck stares out numbly watching as the two deserted long
boats drift away.
EXT. DECK - GRAN RIO - DAY
Chuck, now dressed, stands in the same spot at the rail,
staring out. A muffled sound pulls Chuck into the
present. He walks slowly down the after deck to a cabin
door where sobbing escapes from the other side. Chuck
turns the handle and cracks the door.
INT. CABIN - SAME
Curled up on the floor next to his bunk is Skipper. A
look of shock comes over Chuck's face. Skipper has come
completely unglued, sobbing deeply.
CHUCK
(tentative)
Skipper?
Skipper turns slowly, looking up. His eyes are red and
his face streaked with tears. He looks at Chuck almost as
if he doesn't know who he is. Lost.
SKIPPER
I'm sorry. I'm so sorry.
Chuck reels. It sounds more like a confession than an
outpouring of sadness. Chuck closes the door.
EXT. HARBOR - TAMPA FLORIDA - DAY
Skipper, back in control, and the crew, stand along the
port rail of the Gran Rio. A small flotilla of pleasure
boats surround the ship and hundreds of people line the
pier. It's an intimidating sight.
ON THE PIER
Pensive, worried, angry faces of parents and families.
Chaos. Coast Guard Officials try to hold back the mob.
MAN
What about the manifest!! What
about my son!!!
WOMAN
How many made it? Nobody will tell
us anything!!
OFFICER
We don't have a list of survivors
yet. Please stand back. Don't
push!
Angry shouts drown him out.
ON THE DECK
The CAPTAIN of the Gran Rio comes down from the bridge
with some of his officers and stand with Skipper and the
others. Several COAST GUARD OFFICERS join them on the
deck.
Skipper turns to the Captain and extends his hand.
SKIPPER
Thank you.
The Captain nods. Skipper turns to his crew, looking over
them. A smile of deep pride passes his lips. They all
see it. Then, between the Coast Guard Officers, he walks
down the ramp. Lawford and the crew fall in behind.
EXT. PIER - SAME
A shouting mob waits for them. Reporters and spectators
shout and call out questions. It reaches a fever pitch as
the crew descend. Skipper reaches the bottom of the ramp,
his eyes meet a cool, familiar face. Francis Boutillier.
Phil stands next to him, staring at the ground.
FRANCIS
(above the shouting)
Welcome home.
Skipper is shoved forward by the crowd pushing and
shoving. The crew follow but are swept away. Charlie
stops in front of Phil.
CHARLIE
Phil?
Flash bulbs explode. Charlie and the others are descended
upon as reporters bark out questions.
REPORTER #1
(shouting)
What the hell happened out there
captain?
REPORTER #2
How many boys did you lose...? And
how come you didn't go down with
your ship?
Parents begin to realize who has been lost. Agonizing
cries mix with jubilation. It's emotional chaos. The
crew members are driven apart, they call to each other,
suddenly aware of what's happening.
TOD
(panicked)
Charlie!! Bill!!
Terry suddenly finds himself smothered in the arms of his
MOTHER. He strains to see what is happening to his
shipmates.
TERRY'S MOTHER
Oh, sweetheart! Look at you...
TERRY
Skipper!!
Reporters corner them blocking his view. More reporters
clamor after Skipper, who doesn't reply.
REPORTER #3
Captain, is it true that the ship was
hit by a "White Squall"?
REPORTER #2
Is it true the first mate is only
fifteen?
Bill steps in between them.
BILL
It wasn't his fault mister...
REPORTER #4
The National Weather Service says
"White Squalls" are a meteorological
phenomenon of the imagination.
Would you care to comment of that?
Don't you have anything to say to
these parents?!!
The reporter pops a flash picture in Skipper's face.
Skipper flies around and knocks the camera to the ground.
The reporter jumps back, startled.
SKIPPER
Yes I do. And it's private. Very
private.
Skipper is swept away towards the CUSTOMS BOOTH by COAST
GUARD OFFICERS. Skipper surrenders the manifest and it is
stapled to the outside of the door.
INT. CUSTOMS HUT - SAME
Skipper is whisked inside. The Coast Guard Officers lock
the doors behind them.
OFFICER
Sit down Captain. We'll have a car
here in a few minutes. Can I get
you a cup of coffee?
SKIPPER
No, thank you.
Skipper sits. The wails of family members can be heard as
they see the list outside. Flash bulbs and faces press
against the windows shouting questions. He just stares at
the floor.
OUTSIDE
From above we can see the group swarm around the the booth
like angry hornets. The crew are fractured and pulled
apart from each other. Charles, fights his way through
the crowd.
CHARLES
Chuck! Chuck!!!
Chuck tries to get to him.
CHUCK
Dad!
They embrace. Flash bulbs explode all around them.
CHUCK
Where's Mom?
CHARLES
I couldn't bring her down here until
I knew you were safe.
A WOMAN
Stands, staring at the empty ramp. Lost. A man comes up
behind her and leads her away.
A reporter shoves a microphone in Chuck's face.
REPORTER #5
Was it the Skipper's fault? And is
it true drinking was permitted on
board? Why did the ship really go
down?
Charles grabs the guy and shoves him back into the crowd.
Chuck strains to see his crew mates but they have been
swept away.
CHARLES
Come on.
Charles puts his arm around Chuck, still barefoot, and
together, they walk away. Photographers trail after them,
popping off a few last photos. Chuck turns and looks
back.
INT. CAR MOVING - DOWNTOWN - DAY
A ride reminiscent of the one Chuck and his father took
before the journey began. There is a gulf of silence
between them. Charles breaks it.
CHARLES
I thought we'd find a store, get you
fixed up and then get you some
lunch. That sound good?
CHUCK
Yeah, sure.
Chuck stares out the window at the traffic and congestion.
A car in front of them runs a red light. Charles slams on
the brakes. Chuck is shaken up. Charles notices.
CHARLES
I'm sorry, son. Are you okay?
Chuck manages a nod.
INT. DEPARTMENT STORE - DAY
Lavish and conspicuous by Chuck's recent standards, the
store is crowded and jammed with merchandise.
Claustrophobic. Cash registers ring and MUZAK drifts in
from above. Chuck follows as Charles pulls things off of
hangers and piles them into Chuck's arms.
CHARLES
Why don't you go and try some of
that on?
CHUCK
Okay.
EXT. DRESSING ROOM - DAY
Charles peruses the racks. He calls to Chuck.
CHARLES
How're you doing in there?
Chuck calls from a dressing room.
CHUCK (O.S.)
Fine.
CHARLES
All right. I'm gonna wander over
and look at some shoes...
INT. DRESSING ROOM - SAME
Chuck is curled up in the floor of the tiny booth. Still
dressed in the clothes from the Gran Rio, perspiration
beads on his skin.
CHUCK
(calling out)
Okay.
Tears stream down his face. He looks up and sees himself
in the mirror. The eyes that look back are eyes of the
ages. Involuntary sobs. He begins to shake. The tiny
booth suddenly like a crypt. Tight, with no air. Chuck
lets out a gasp.
CHUCK
Oh God...
Someone pulls open the curtain. A MAN, from the next
booth, fat and middle aged stands before Chuck in a pair
of pants still sporting the price tags. He looks down.
MAN
You okay, kid?
Chuck is suddenly in the throws of a full-on anxiety
attack. He leaps up and pushes past the man.
EXT. DRESSING ROOM - SAME
Chuck explodes out of the dressing room. Running, almost
blind, he crashes into a rack of clothes. Charles looks
up as he scrambles to his feet and bolts for the doors.
CHARLES
Chuck!!
EXT. STREET - SAME
Charles bursts through the doors, looking up and down the
street, but Chuck is... gone.
EXT. BEACH - SAME
The setting sun paints Chuck's face with golden light. He
stares out across the water. Charles walks up behind him.
CHUCK
When we were growing up I always
felt like you would take care of
things, that everything would be
okay.
(beat)
But you can't make this okay, can
you?
CHARLES
No, I can't.
Charles puts his arm around his son. Together they turn
and walk back towards the boardwalk, and the world.
INT. COAST GUARD HEADQUARTERS - NIGHT
Skipper sits across from a Coast Guard Officer, TYLER, 60.
Tyler pulls out a file and lays it on the table.
TYLER
There are allegations questioning
your competence with regard to the
command of the Albatross. I have
been instructed to convene a formal
tribunal to determine whether or not
negligence played a part in the
sinking.
SKIPPER
I understand.
TYLER
May I ask you something?
Skipper nods.
TYLER
How'd you manage to piss off a guy
as powerful as Francis Boutillier?
SKIPPER
It wasn't hard.
TYLER
I used to helm a school ship. A
long time ago.
SKIPPER
The Coast Guard 'Eagle'. She never
lost a race while you were Skipper.
Tyler is taken aback by Skipper's knowledge.
TYLER
That's right, we didn't. I miss it
sometimes. But, there are other
things a Skipper can do.
Tyler removes his glasses and studies Skipper.
TYLER
The families... want your ticket.
Turn it in, we forget the whole
thing. Everybody goes home.
SKIPPER
... Absolutely not.
TYLER
The papers are going to eat you
alive. Even if you beat it, you'll
never get another commission.
(beat)
They want someone to be accountable.
SKIPPER
I am accountable.
INT. HOTEL ROOM - NIGHT
Standard fare. Two beds and a T.V. Chuck's lacing a new
pair of sneakers. Charles is in the shower. There is a
knock at the door. Chuck cracks the door. It's Charlie.
CHARLIE
We gotta talk.
INT. BOATHOUSE - NIGHT
The crew stand by the bulkhead. Bill tosses down a
newspaper. The headline reads: INVESTIGATION TO PROBE
SCHOOL SHIP TRAGEDY.
BILL
We're all going to have to testify.
They're going to try to take his
license.
TOM
Why?
CHUCK
They need it to be simple. They
need a reason.
TOM
Who?
CHUCK
All of them. Everybody waiting on
that dock.
TIM
So what are we supposed to do?
TOD
Just tell 'em what we know and be
done with it. That's what he'd
want.
TERRY
Easy for you to say.
TOD
What's that supposed to mean?!
TERRY
Everybody knows why she went over
Tod. You jibed the boat.
TOD
I was trying to get her up wind!
That's what you do when you're hit
a-beam. Or maybe you're too stupid
to know that!
TERRY
That's not what Skipper thought. He
was trying to spill air from the
main!
BILL
It was coming four points off the
bow, Terry. He never could have
gotten her around.
TERRY
Were you on deck? I was standing
right there and all I know is, he...
(indicates Tod)
... disobeyed an order, twice, and
the boat went over.
TOD
It didn't go over 'til I turned her
starboard!
BILL
It was an act of God for Christ's
sake.
TERRY
It was an act of stupidity.
Tod lunges at Terry. Bill and Charlie pull them apart.
TOD
(screaming)
Was it my fault we were running all
that sail?! Was it my fault she
wasn't dogged down?!! HUH?!! I
couldn't help that the ballast
shifted...! You son of a bitch!!
It wasn't my fault!! it wasn't.
Tod breaks down, sodding on his knees.
BILL
It's okay, Tod.
Terry drags on a cigarette, then grinds out the butt.
TERRY
Then whose?
Tod looks up along with Bill and Charlie, all confused.
TERRY
After the lightning strike, we tried
to go aloft to drop sail. We'd done
it a thousand times. We didn't have
to wait for an order. But Skipper
called us down.
CHARLIE
If the foremast had taken a strike,
everyone in the rigging would've
been fried. What would you have
done?
TERRY
We would have scalloped the squares
from the deck. Right Bill?
Bill turns and stares into the water, troubled.
TOD
That's right, that's right! Bleed
the sails from the deck and she
could've taken a hurricane!
It's a strong argument. Even Charlie is troubled by the
implication. There is a long moment of silence between
them.
CHUCK
This is crazy. Nothing could have
prevented what happened.
MIKE
You guys are missing the point.
This is all because of Phil. Phil
and his dear old dad.
BILL
What?
MIKE
How do you think they got this
together so fast? He's been laying
for Skipper since the first day.
CHARLIE
Come on. Like he's got a vendetta
or some such shit?
MIKE
You got it.
(to Chuck)
I told you he was a turn coat the
day we kicked him off the boat.
Chuck frowns, troubled.
CHUCK
No. You're wrong.
MIKE
I'm telling you, the only way to
change this is to get Phil to call
off his old man. And that ain't
gonna happen. So the way I see it,
it's Skipper or us.
The guys react. It's a no win situation.
EXT. MOTEL - NIGHT
Chuck knocks quietly on the door. Phil answers the door.
CHUCK
Can we talk?
PHIL
I guess.
FRANCIS (O.S.)
Who is it Philip?
PHIL
It's okay. I'll be in, in a minute.
(to Chuck)
Look, what do you want?
CHUCK
Everybody's saying this whole
tribunal is happening because of
your father. Because of you.
PHIL
Well that's just typical isn't it?
CHUCK
Is it true Phil?
PHIL
I gotta go.
CHUCK
You weren't there, you don't know
what happened.
PHIL
(defensive)
I know enough.
Chuck puts a hand out to stop him.
CHUCK
Phil, please. It won't change
anything. Tell him to call it off.
FRANCIS (O.S.)
Who are you talking to out there
Philip. Come back in here.
Phil meets Chuck's eyes, then looks away.
PHIL
I'm sorry.
He turns again and reaches for the door.
CHUCK
Wait.
Chuck hands him something. Phil looks down, disbelieving.
It's the ship's bell. Robin's bell. Their symbol of
unity, of putting loyalty above fear.
CHUCK
We figured he'd have wanted you to
have it.
(beat)
You do what you've gotta do Phil.
He leaves Phil standing alone on the porch, full of
emotion, trying to grasp it all.
INT. HEARING ROOM - DAY
A small courtroom. The room is filled with the crew
members and their families, including the parents of the
victims, as well as the media. Phil sits with his father
and dodges Chuck's eyes. Coast Guard Officers Tyler,
DOWNING and SANDERS head the proceedings.
TYLER
The United States Coast Guard has
been asked to conduct this maritime
hearing to consider the revocation
of Captain Richard Sheldrake's U.S.
Master Seaman's Certificate.
INT. HEARING ROOM - LATER
Bill sits at the table with his parents as questions are
leveled at him. Chief petty officers Sanders and Downing
ask most of the questions as Tyler oversees the
proceedings.
SANDERS
Why didn't you drop any sail?
BILL
Skipper called us out of the
rigging.
SANDERS
But your instinct was to lose sail?
BILL
My instinct was to not get
electrocuted.
SANDERS
How old are you, son?
BILL
(hesitating)
Fifteen.
SANDERS
Thank you.
LATER
Phil is at the table with Francis. Sanders asks the
questions.
SANDERS
Philip, why were you discharged from
the Albatross?
Phil doesn't look up and speaks in whispers.
PHIL
Skipper thought I was a challenge to
authority.
SANDERS
Were you?
PHIL
I don't know.
LATER
FRANCIS
Captain Sheldrake exhibited an
arrogant, controlling attitude in my
presence on more than one occasion.
I believe he had a personality
conflict with my son from the start.
SANDERS
Well, if you don't mind my asking,
sir, why did you let your son stay?
Francis is stumped for a moment but recovers quickly.
FRANCIS
It was his dream to go. I could
hardly stand in the way of that,
could I?
Phil rubs his temples as if he is going to explode.
INT. HEARING ROOM - LATER
It is Skipper's turn at the table.
SANDERS
Is it true that you forced Robin
Weathers to climb the mast when it
was clear that he was acrophobic.
SKIPPER
He climbed when he was ready.
SANDERS
Were you aware that his brother was
killed in a fall.
Chuck and the others look up astonished. Mike shoots a
look towards Phil.
MIKE
He did it man. He sang like a bird.
Skipper hesitates.
SKIPPER
Yes, I was.
Whispers fill the room.
SANDERS
Sir, were you aware at any time of
the use of alcohol among the crew.
SKIPPER
Yes, I was.
TYLER
And you didn't do anything about it?
SKIPPER
(beat)
No. I didn't.
Again the crew members are struck. Charlie turns to
Chuck.
CHARLIE
They're twisting it all around. Why
doesn't he say something?
SANDERS
Had you ever seen a "White Squall"
before this incident?
SKIPPER
No.
SANDERS
What makes you so sure it was one?
SKIPPER
I can't be sure.
SANDERS
You really felt that your crew were
up for the conditions.
SKIPPER
We'd come twelve thousand miles
together, through every kind of seas
imaginable...
SANDERS
Except, a "White Squall".
(beat)
With all due respect Captain
Sheldrake, they're only boys...
SKIPPER
They are much more than that, sir.
SANDERS
Is it true that the reason you
expelled Philip Boutillier...
SKIPPER
(cutting him off)
For killing a dolphin.
SANDERS
... and that you invited him to
strike you? To fight it out on the
deck of your ship?!
Skipper looks over at Francis. Phil stares at the floor.
Skipper manages an ironic smile.
SKIPPER
Yes, that's true.
SANDERS
Do you think this is funny? Some
kind of joke? You lost six people
out there.
SKIPPER
(white hot)
I don't think one second of this is
funny, sir.
Skipper stares down Sanders. He turns to Tyler.
SANDERS
I have no more questions at this
time.
He turns to sit down, then stops.
SANDERS
Oh, one last thing... Isn't true
that your father was a sea Captain?
Skipper bristles.
SKIPPER
Yes.
SANDERS
Isn't also true that his vessel went
down off of Nantucket? Lost
everyone on board. In fair weather
no less.
Skipper's silence is suddenly filled with rage. Tyler
sees it and tries to intercept.
TYLER
What does this have to do with
anything Mr. Sanders?
SANDERS
(smug)
Oh, nothing. I was just curious.
SKIPPER
My father, was more seaman, more of
a man, than you might ever hope to
be.
Sanders returns to his seat, rattled. Tyler pounds his
gavel.
TYLER
We'll take a brief recess.
EXT. BUILDING - DAY
The crew huddle in the parking lot. Fractured, confused.
Chuck, Tod, Charlie and Bill, stand off by themselves.
TOD
There's still a way.
BILL
What do you mean?
TOD
It's me, don't you see. Terry's
right, I'm the escape hatch. I
disobeyed order.
CHUCK
You taking the order wouldn't have
changed anything.
TOD
They don't know that.
(beat)
We were the only one's on deck.
Look, there's nothing they can do to
me right? I'm a kid.
CHUCK
But that's not the point...
TOD
That is the point... And Skipper'll
slip off the hook.
LATER
Tod is on the stand.
DOWNING
Why didn't you turn hard to port as
the wind hit?
TOD
I thought we'd have a better chance
if I headed into the wind so we
could spill air from our sails.
Tyler removes his glasses.
DOWNING
But the Captain ordered you hard to
starboard.
TOD
Twice.
DOWNING
Is that what you were trained to do?
TOD
No.
DOWNING
Then what do you think he was trying
to do.
TOD
Let the blow drive the boat down
wind. Neutralize our canvas.
Skipper is becoming uneasy. He sees what is coming.
DOWNING
So when the captain gave you an
order contrary to your training, you
thought he was making a mistake?
TOD
No.
TYLER
Then why son, why didn't you follow
his order?
Tod meets Skipper's eyes.
TOD
Because -- I panicked.
The room is suddenly buzzing. Tod's Father stands up.
TOD'S FATHER
That's not true Tod.
TERRY
(to Mike)
What the hell? What is he doing.
MIKE
Son of a gun. He just sent Skipper
a life boat.
Tyler turns to Skipper.
TYLER
If this young man had responded
instantly to your command, do you
believe the ship might have been
spared?
SKIPPER
I don't know that anything could
have prevented what happened.
TYLER
Then what are you trying to say
then?
Skipper stands.
SKIPPER
Maybe you can't see what's happening
here, but it's clear to me.
(to Tod)
I appreciate what you're trying to
do Tod. Maybe you could live with
it, but I couldn't.
(to tribunal)
If you think I'm going to let a
sixteen year old take
responsibility, then you
underestimate me. The Albatross was
my ship. The Ocean Academy was my
school. Her loss is mine and mine
alone.
(to others)
I can't bring your sons back. If
you want my ticket, if that will
ease your loss, it's the least I
can do. This...
Skipper pulls out his wallet and takes out his license.
SKIPPER
This is easy. Living with it,
that'll be hard.
Skipper turns and lays his license down in front of Tyler.
Then he turns and begins walking towards the back of the
room.
The room erupts. Crew members and their families hurl
accusations and blame. Cameras flash. Tyler tries to
regain control. Suddenly Chuck stands, tall.
CHUCK
No!!! Don't you walk away! Not
now. Not after all of this!!!!
Skipper keeps walking. His head slumps. Tyler pounds his
gavel.
TYLER
That enough son!! Order!! Please!!
Tears begin to stream down Chuck's face. His father,
Charles, slowly stands meeting his sons eyes. Go for it.
CHUCK
Tell me Skipper, was it all just a
lie? "Where we go one, we go all".
We listened to you. We believed it.
And we're still here!!
Skipper keeps moving.
CHUCK
Shame on you then Skipper. Shame on
you.
Skipper reaches for the door. Suddenly a sound stops him
cold in his tracks. Phil slowly rises. Tears streaming
down his face. Tightly in his hands he grips the ships
bell. Ding ding. Ding ding. Ding ding. It is the
ringing of the truth. The tolling of their unity.
FRANCIS
Sit down!
Phil ignores him. Skipper slowly walks over, his eyes
never leaving Phil's. He stops, facing him. He gently
takes his hands and silences the bell. Then he smiles and
puts a hand on the back of Phil's head fighting his own
emotions. He turns to Chuck.
CHUCK
Tell them the truth. Make them
understand.
The room grows silent.
SKIPPER
(smiling)
You tell them Chuck.
Chuck suddenly feels the eyes of the room.
CHUCK
It's simple. Bad things happen
sometimes. It wasn't Skipper or
Tod. It was all of us. Everyone in
this room. Because we all knew the
risks.
(to parents)
You sent us... You paid our tuition,
you allowed us to go. So to invent
a reason for why this happened, to
pin it on one person, well that
won't change anything. It'll just
make our experience meaningless.
He turns to the tribunal.
CHUCK
If you want to judge this man, judge
him by his crew. Judge him by Alice
and George. Chris and John and
Robin. In one way or another each
one of them gave their lives saving
one of us. This may sound crazy but
the Albatross wasn't just a ship, or
even a school. It was something
that we made, that's inside us.
That's who Skipper is. That's what
he taught us. I guess what it
really was about was... the
privilege of sacrifice.
Chuck turns to Skipper.
CHUCK
Isn't that right?
Skipper nods.
SKIPPER
That's right.
The room is silent. Then, a voice. A golden tenor
singing like the wind. Everyone turns. It's Bill.
BILL
When the sun came up, there was
whisky in the cup, and not a one of
us was sober...
One by one the crew members stand and begin to sing.
Chuck turns, surprised to see his father rise and stand
with him. Words or not.
CREW TOGETHER
Jenny thought she saw a picture when
it really was the sun, then we knew
the party was over.
They all stand facing Skipper and sing. The voices build,
sweeping over everyone like a wave.
CREW TOGETHER
Oh my heart is sad, for leaving you
today, but I know we'll meet again,
when the moon is in the valley and
the leafs are on the trees, We will
come to clearly in the glen...
Skipper meets Chuck's eyes and those of his mates. Only
now is his job finished. He beams back. The music swells
like an anthem, building, like a swell lifting a small
wooden boat over a jagged reef, until it rests safely in
the calm waters beyond.
The crew come together around Skipper one last time. They
embrace.
EXT. MYSTIC SEAPORT - HARBOR - DAY
Older Chuck has returned to the small building where the
funeral services were held earlier. The people have gone
but the funeral urn remains.
EXT. PIER - DAY
Chuck walks to the dock. He has the funeral urn in his
hands. He steps aboard a small sailboat and begins
untying her. The HARBOR MASTER notices and steps out of
his office.
HARBOR MASTER
What do you think you're doing.
He walks over to the dock.
HARBOR MASTER
All right friend, out of the boat.
He tries to board the boat but Chuck greets him with the
sharp end of a gaffing hook.
OLDER CHUCK
(softly)
Stand away.
He looks into Chuck's eyes and sees that he means
business. He backs off. Chucks pushes away and raises
the sail. The harbor master watches, perplexed as the
small boat moves off for open water.
EXT. OPEN SEA - SUNSET
Bathed in the orange glow of the sun, Chuck stands naked
against the ivory sail.
OLDER CHUCK (V.O.)
They didn't take his ticket that
day. But why he never returned to
the sea, I'd never know. Perhaps he
hadn't been able to free himself
from the anchor of grief that had
driven him to his knees aboard the
Gran Rio, or that he no longer cared
for the solitude and isolation of
command without his Alice. Or maybe
it was just that the waves that had
spoken to him for so long, had grown
silent. Whatever it was, that
thing, it had always troubled me.
Because, fate offers up no reasons.
And maybe that's what I have
traveled these thirty four years to
say. Maybe that is all I really
know... And, that one man cared.
Chuck turns to the sea and speaks.
OLDER CHUCK
Rest easy old salt. For together
again, we'll sail.
With a powerful heave, he hurls the Skipper's remains at
the sinking sun and into the arms of Neptune.
DISSOLVE TO:
EXT. BEACH - SUNSET
The same sunset, but from another time. Four young men
walk along a deserted beach. A small boat has beached and
rocks gently in the shallows. The boys run up and look at
it. On the stern are painted the words: BRIGANTINE
ALBATROSS.
SLOWLY PULL BACK to reveal endless white sand, blue water,
the young men and the boat.
OLDER CHUCK (V.O.)
Some time later we learned that one
of our long boats had been
recovered. Several young men found
it washed up on a nameless beach
somewhere on the island of
Hispaniola. No one seemed to know
who they were or where they came
from, but they seemed to know of the
Albatross.
(pause)
Sometimes in my dreams those
faceless young men reveal themselves
as my lost companions, and on the
twilight coral sands of forever,
between my slumber and conscious
state, we race naked again, so open
and in love with those precious
moments, running, ever laughing,
ever young, ever free.
SLAM CUT TO:
EXT. GALAPAGOS - DUSK
Young again, their hair sun bleached and skins brown,
Chuck, John, Robin, Rick, Chris and Tod, pound through the
surf in a grinning footrace. Brothers all. Music builds.
FREEZE FRAME
FADE OUT.
THE END
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