by

Todd Robinson

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