"LITTLE MERMAID 3:
ARIEL'S MELODY"
An animated
script submission from
PATRIC CONROY
@2001 PATRIC CONROY
Third draft 10-18-01
<![CDATA[
FADE IN:
EXT: DAY, OCEAN
A corvette is cutting through the water. It is a choppy day
at sea and the sails billow frantically. The main sail has a
giant stylized eye on it. Behind the ship, near the horizon,
a major storm is brewing. The ship shudders and pitches, as
it is getting difficult to maneuver it properly.
CUT TO:
On the bridge, the CAPTAIN is trying to pilot the ship, but
she's fighting back. He is an old salt of the sea, with a
full, gray beard, but portly from his years on the briny. As
he wrestles with the wheel, another man comes up to him,
pitched around by the waves. This is MEPHISTO.
He is wearing a long topcoat that nearly covers his feet.
Rather slender and tall, he sports a pencil-thin mustache,
and looks like the magician David Copperfield. The collar of
the topcoat is turned up, but is flapping in the wind.
CAPTAIN:
Things are getting rough.
The ship is hit with an oblique wave and Mephisto is sent
sliding across the wet deck. He grabs onto the rope attached
to the clapper of the ship's bell. The bell clangs loudly,
far too close to his ear. He is momentarily dazed.
As he staggers to his feet, he is hurled towards the side
railing on the bridge. As he gets there, a giant wave sends
up a fountain of water. Just as he looks out, he comes face
to face with a fish that was caught in the wave. They hold
for a moment, and then scream in terror.
Mephisto has just had it and throws a major tantrum. He
storms over to the Captain, using the slippery deck and
tilting ship to get there quickly. As he talks, he,
unsuccessfully, squeegees water out of his hair.
MEPHISTO:
You said the waters this time of
year is calm. Well, if this is
calm, I'd just love to see what
a hurricane looks like!
Mephisto burrows right into the Captain's face, which
remains unmoved. A drop of water hangs off of Mephisto's
nose. The Captain jerks his thumb over his shoulder.
Mephisto turns.
CAPTAIN:
You'll get your wish soon
enough.
Mephisto heads to the aft portion of the bridge to see one
major storm scooting up. He turns to the Captain.
MEPHISTO:
You were hired for your sailing
knowledge, but I could pilot this
barge better than you!
Another crashing wave hits the ship. Mephisto gets drenched.
Looking dour, he doesn't even try to dry off. Why bother?
CAPTAIN:
The rate that storm is gaining,
we'll never make it to Boldoni.
The Captain grabs Mephisto and has him steer the ship.
Mephisto is horrified as the wheel slams him about.
The Captain pulls out a telescope and scans the far horizon.
CAPTAIN:
Blast this weather. Makes it
hard to see if.
The Captain stops as he focuses the telescope. Mephisto
looks on with interest. The Captain lowers the telescope.
MEPHISTO:
Well?
The wheel spins maniacally as Mephisto leaves it and he
approaches the Captain, who hands him the telescope.
CAPTAIN:
See for yourself.
The Captain returns to the wheel, which is rotating with
great speed. The Captain puts out his hands to catch it. He
grabs the wheel and it stops dead. The ship is righted.
Mephisto puts the glass up to his eye, trying to focus it.
MEPHISTO:
I know there's a trick to make
this work.
CUT TO:
MEPHISTO'S POV THROUGH TELESCOPE
There's something hazy in the distance, but we just can't
make it out as we slide in and out of focus.
CUT TO:
EXT: SHIP, DAY
As Mephisto tries to work the telescope, another wave
crashes into the ship. A finger of water smacks the end of
the telescope, collapsing it into Mephisto's face.
From Mephisto's POV through the telescope is a crisp and
clear picture. It is of Eric's castle, still bathed in
sunshine, although the weather is turning foul there as
well. A couple of terns wheel in the sky.
CAPTAIN:
That should fit your needs.
Any port in a storm, eh?
Mephisto removes the telescope with a noisy "ploip" and
hands it back to the Captain. Adjusting himself, trying for
some degree of dignity, he gets ready to leave.
MEPHISTO:
Yes. Fine. Good.
As Mephisto heads down the stairs, the Captain starts
barking out orders to the crew, who scramble about the deck.
Mephisto adroitly avoids them as he makes his way below.
MEPHISTO:
I don't care where we go,
just as long as it's dry.
A massive wave crashes into the ship, sending a cataract of
water across the deck. Mephisto is not only soaked, kelp
fronds hang from him and fishes flop about at his feet. He
says nothing; his expression is enough. He goes below.
Zooming back, away and up from the ship, our attention turns
to the castle. Orchestration swells and the OPENING CREDITS
begin.
The background fills with views of the sea as we soar above
it like a bird. Sea life is leaping out of the water and the
waves heading towards the beach. We tilt up and slow down as
Eric's castle closes in. A small shaft of sunlight hits the
beach, but it is slowly swallowed up by the storm clouds.
The TITLES end and the ORCHESTRATION finish with a grand
flourish as we settle at Mermaid Rock, just as a wave
crashes against it. Ejected by the spray we see FLOUNDER and
SEBASTIAN, as they are propelled high into the air, then
splash back under.
EXT: DAY, OCEAN
Under the sea, Flounder regains his bearings and hunts for
Sebastian, who is buried head first into the ocean floor.
Horrified, Flounder swims over and grabs hold of Sebastian's
legs and pulls him free. Sebastian shakes his head with that
`ayeayeaye' sound and knocks some mud from his ears.
SEBASTIAN:
I tell you, mon, dis is
gettin' to be a real chore.
FLOUNDER:
But the King is counting on us.
SEBASTIAN:
(Resolved)
I know. I just wish he'd
count on someone else.
Sebastian clamps on to Flounder's back fin and they continue
to the beach.
EXT: DAY: BEACH
It is a view of the sea from the beach. It is not a typical
tropical day. The storm clouds are gathering and the ocean
is frothing up. There is still some sunlight, but it is
rapidly retreating. There is still enough light, however.
Whitecaps crash angrily on the shore.
In silhouette, someone is walking across. They are bundled
up against the howling wind. As they look out to sea,
Sebastian and Flounder break the surface. The hood comes
off. Close-up of the person reveals it to be Ariel.
She is wearing a hooded cape with slits for her arms instead
of sleeves. It is not a heavyweight garment, more designed
for protection against the wind. Ariel goes to the water's
edge as she sees her friends.
ARIEL:
Flounder! Sebastian!
FLOUNDER:
Ariel! Ariel!
Ariel gets down on all fours as the two come up to her. She
is elated at their visit.
ARIEL:
Awwww! You know you don't have
to do this.
FLOUNDER:
But we want to.
SEBASTIAN:
Besides, your faddah told us
to do so.
Ariel giggles.
ARIEL:
I can just hear him now.
`Ariel needs constant supervision'.
FLOUNDER:
`And you're just the crab to do it.'
All laugh. Ariel looks at her friends with longing and
homesickness.
ARIEL:
I'm a big girl now.
SEBASTIAN:
But you'll always be his little
mermaid.
ARIEL:
I know. He does this because he
loves me and misses me.
FLOUNDER:
We all do, Ariel.
Ariel stands up. A huge wave slams into Flounder and
Sebastian, driving them onto the beach. ARIEL recoils from
the strength of the wave, then hurries to get both of them
back into the water.
ARIEL:
(To Flounder)
You'd better get back to
Atlantica. It looks like
bad weather.
SEBASTIAN:
We'll let your faddah know
everyt'ing's all right.
FLOUNDER:
Good bye, Ariel.
Ariel waves good-bye as they disappear under the surface.
She continues waving long after they are gone. She puts her
hood up and walks along the beach.
Suddenly, a vicious gust scoops off the hood. Her long red
hair starts to flail about in the breeze. She does not put
the hood up; rather, she turns into the wind and gets
pummeled by the building fury of the on-coming storm.
She is barefoot and she wades just into the edge of the
waves. Her feet and the hem of the cape get soaked, but she
smiles a happy, distant smile. The more ferocious the storm
gets, the happier she seems to be.
Sea spray coats her and the ocean becomes an almost constant
roar. The breakers smash onto the beach, demonstrating the
fury of Nature's power.
Continuing to blithely walk along the shore, she begins to
sing, her dulcet tones drowning out the noise:
ARIEL:
How long has it been since I left?
Have I spent that much time on the land?
I've been in a completely different world
Which, at times, I can't understand.
To know about fire and footwear,
The wind and the rain and the sun,
Though difficult and enjoyable,
Both a challenge and also quite fun.
For no matter where I may go,
My heart belongs to the sea
But now, I live upon the land
And this is the place for me.
I love my Eric completely
The kindest man I have known
He's been by me through the tears and the joy
And the compassion that he's shown
Ariel holds at the water's edge, as froth and foam cascade
about. As she wades back in, she looks down at her feet for
a moment, then out to the gathering storm.
But there are times I wish I could be
A mermaid again for a while
Then I look about at what I have
And I give myself a great smile
I do miss my father and sisters
I'd just enjoy hearing their voice
But this is the life I have chosen
And I know this is the right choice
For no matter where I may go,
My heart belongs to the sea
But now, I live upon the land
And this is the place for me.
On land is where I will be.
Ariel watches as a wave crashes over Mermaid Rock. She
smiles wistfully, but her reverie is interrupted by..
ERIC (VO):
(From a distance)
Ariel! Ariel!
Ariel turns to see Eric running down the beach. He is
wearing his blue pants and a long-sleeve shirt, buttoned up
to the neck against the wind. He catches up with Ariel, but
cannot speak, as he is panting. Ariel watches with love as
Eric makes the long run.
ERIC:
No one saw you leave
and we were worried.
ARIEL:
(Pre-occupied)
I just needed to take
a walk. Get some air.
ERIC:
We were concerned about
you. Both of you.
Eric kneels down in front of Ariel and parts her cape to
reveal that she is incredibly pregnant. Ariel, almost
beatific in her radiance, smiles as Eric gingerly puts his
head to her tummy. He smiles with pride as he listens.
Suddenly, his head makes a shudder. Eric grins even wider.
ERIC:
He kicked me. My son kicked me.
Eric jumps up and begins to dance a jig around Ariel,
singing "He kicked me" over and over. Ariel laughs. Eric
stops and holds Ariel close and very passionately.
ERIC:
I love you so very much.
They start to kiss, but an immense gust kicks up and blows
them aside. Eric catches Ariel and he looks out to sea.
ERIC:
We'd better get back inside.
It's going to be a howling
storm.
Cradling Ariel protectively, they make their way back to the
castle, Ariel putting her hood on. As they leave, on the
horizon is the shadow of Mephisto's ship heading into port.
CUT TO:
INT: CASTLE, NIGHT
Eric struggles to close and lock a window against the
vicious wind. Just as he does it and turns away, SCUTTLE is
slammed against the window. Scuttle holds for a moment and
quickly slides away. Eric turns to see nothing. He shrugs,
thinking it's just the wind.
They are in the nursery, a massive, almost cavernous, room
filled with stacks of shelves and cabinets. Ariel is sitting
on a fainting couch or some kind of lounge, feet up, swathed
in pillows. A roaring fire casts the room in a warm glow.
Around her are CARLOTTA, GRIMSBY and four other people off
to one side. On a table in front of her are yards of fabric,
wallpaper, paint swatches and other plans. We hear Grimsby
nattering on, standing near a covered something.
GRIMSBY:
This is the bassinet. Made
by one of the finest companies
in Europe. Real French Oak.
Grimsby pulls the sheet off and shows it to Ariel. It is
immense. It looks less like a cradle and more like a ship.
Ariel is feeling out of sorts. It is nice that this is
happening, but it's a bit more than she wanted.
ARIEL:
I..don't know what to
say.
Eric walks over and looks at the cradle, then shows it to
MAX, his dog. Both of them think it's great. Max is sniffing
the legs deviously.
ERIC:
This will be fine, Grim.
As they examine the riotous wallpaper strips, a beautiful
sea-green background with a pattern that looks like a fish
stops Ariel. It shimmers in the firelight. She picks it up
and gazes at it. As she does, she sees images of her family
and her life beneath the sea. She smiles blissfully at it,
half-lidded eyes misting over. Then..
ERIC:
Then it's settled. This one.
Ariel is shaken back to reality as Eric makes the final
decision on the wallpaper, a boldly masculine gold-and-
maroon design with a lighter red pattern that we can't
identify.
Before Ariel can say a word, the sample is whisked away. The
four people off to one side are the wallpaperers, who begin
work on the room immediately, covering up the furniture and
laying out the drop cloths. Ariel tries to get up but is
gently restrained.
CARLOTTA:
Now, now, your Highness, you
shouldn't get up. You need to
save your strength.
All around her plans and activities are being planned for
the birth of her child, but Ariel is excluded. To add to the
insult, Ariel is draped with a drop cloth and left behind by
the guys. Grimsby launches into song that is in stark
contrast to the wretched weather assaulting outside.
GRIMSBY:
(Rex Harrison-sings)
Come along people, no time to tarry,
Tide and time wait for no one
We must get ourselves fully prepared
Prince Eric is having a son.
Eric and Grimsby appear outside the room to hordes of
servants, eager to do anything. The entire castle is so
behind the birth of this child, the excitement is palpable.
This is the third-most exciting thing to happen at the
castle (the other two being the wedding and the discovery of
Ariel's motherhood.) There hasn't been a baby in the castle
for years (Eric's birth) and everyone wants to be part of
it.
Back in the nursery, Ariel manages to disentangle herself
from the drop cloth. The workmen are shocked that they
covered her. Ariel scampers after Eric, but trailing him.
GRIMSBY:
It's a most joyous time in the castle
Activity is at fever pace
As we must have everything ready
And everything in its place
Even at this hour, the castle is a hive of activity. The
castle is being cleaned and polished up with a joyful
franticness bordering on zealotry. Something is cleaned up
and, moments later, it is cleaned up again. The palace is
alive with lively colors, brightening up the dull walls of
the palace.
CHORUS:
The Kingdom is getting a child
An heir to the royal throne
And we will make this place perfect
For his highness' brand new home
Ariel pursues, dodging the craftsmen and servants dancing
and wheeling about. Going high, going low, she can't get a
clear pathway to Eric and Grimsby, who are seemingly
oblivious to the action about them and to Ariel's plight.
As the servants and help sing the song, Ariel tries to move
about. Every time she gets up and makes a little progress,
she is quickly placed into another seat. It takes her some
time to cross the room. Into a seat, onto a couch, plunked
upon a tray cart as it rolls along. Hard seat, cushioned
seat, she even lands on a stool.
ALL:
We will polish the windows
Until they glisten and shine
GRIMSBY:
But please, you all have to hurry
There just isn't very much time
A sea of people needing his direction surrounds Eric.
ERIC:
Decisions, decisions,
Hundreds have to be made.
What kind of clothes will he wear?
Where will his head be laid?
Eric makes these decisions, much to Ariel's horror. She
reaches out to Eric, but is swirled away by another phalanx
of helpers.
Ariel gives up trying to get to Eric and decides to wait for
him to get back in her direction. The way she's getting spun
about, she knows it's just going to be a while until they
met up. The action is now swirling about the Grand Foyer of
the castle. CHEF LOUIS shows Ariel his ideas.
CHEF LOUIS:
This child will get to enjoy
The finest food anywhere
A palatial meal for him every night
A marvelous bill of fare
Ariel is horrified to see such adult meals like escargot,
veal, goose liver, items more for a four-star restaurant
than a baby's simple tastes. Before Ariel can say a word,
it's whisked away and she spins off in another direction.
Every time Ariel tries to eat something, it is taken from
her as not being good for her. A basket of fruit is whisked
away and a piece of bread is left in its place. Before she
can get to the bread, it, too, is removed and a glass of
water sits in its place.
She has little time to react, as the water departs and a
hunk of cheese bounces into view. Ariel views that with
alarm, owing to the way it bounced. That, too, is removed,
replaced with the bowl of fruit at the beginning. Ariel is
getting angry. She quickly snatches an orange, but it's
taken from her and she gets a potato. We see the frustration
starting to build as the music increases in tempo, getting
faster and faster as everyone moves faster and faster.
CARLOTTA:
What about diapers?
What about diapers?
Are we all set when I ask
What about diapers?
Behind her, an army of servants with piles and piles of
fluffy white diapers are at the ready. Carlotta signals them
and they follow her. Ariel reaches out to Carlotta, but she
mistakes it for a greeting and waves at her, passing her by.
Too many do-gooders are over-attending Ariel, who feels
trapped and suffocated.
Grimsby and Eric are directing traffic as forests of flowers
appear out of nowhere and are plunked down. Ariel finds
herself in a jungle, trying to stem the tide of rising
hysteria.
GRIMSBY:
Get it all ready
ERIC:
Make it all nice
GRIMSBY:
Be sure it's all pretty
ERIC:
Check it all twice
GRIMSBY:
No detail will be overlooked
ERIC:
Nothing is left to chance
GRIMSBY & ERIC:
It's all so wonderfully beautiful
The baby will be entranced.
Ariel extracts herself from the foliage and is nearly
bundled up by the bunting people, as festoons of ribbon
bedeck the walls and halls. Ariel is treated more like a
piece of furniture, moved about and out of the way. The
colors are getting to the point of garishness in their
brightness. Ariel is steered farther and farther away from
the center of action.
Ariel ends up in a seat, near an easel. The COURT PAINTER is
trying to capture the flavor of the event and when he sees
Ariel, starts to put her in the painting, capturing in a few
brush strokes her anguish and spiritual exhaustion. She
pauses for a moment, and then steels herself. She will
accomplish her task.
Samples are showcased of everything, whether or not it is
even practical. A virtual parade of items passes in review
in front of Eric and Grimsby.
ERIC:
He'll only be bathed in the softest soaps
For washing the royal hair,
GRIMSBY:
The fluffiest towels to cuddle and dry him
To show him that we all care.
An explosive fury of music and dance detonates as it all
races along out of control.
CHORUS:
The Kingdom is getting a child
An heir to the royal throne
And we will make this place quite perfect
For his Highness' brand new home
Do we have enough?
And is it all here?
These last two lines are repeated again and again, like a
mantra, picking up speed and deliberation. Ariel is like a
trout, fighting against the tide of people.
As the song nears the end, Ariel pushes her way through the
crowd and finally screams in frustration.
ARIEL:
(Booming)
STOP!
Everyone stops dead, and the song ends. All eyes are riveted
on Ariel. She is so very angry and hurt. Eric steps forward,
genuinely unaware of what the problem is.
ERIC:
Ariel, is there something wrong?
That was the completely wrong thing to say. Ariel's eyes
widen in rage as the servants all take several steps back,
leaving Eric in a no-person zone, alone, to face Ariel's
wrath, who has no idea what's been happening.
ARIEL:
Wrong? Wrong? How could
anything be wrong?
You're having a child
and the whole kingdom is
in celebration of this.
We can't wait for this
child to get here. This
child will have everything.
This child will be perfect.
This child is going to
be the best. Well..
what about me, the mother?!
Remember me, the other half
of this?
What do I get? Aren't I
part of this, too? Am I
part of it?
I can't choose my child's
wallpaper, or crib or even the
name. I assume that's been
taken care of as well!
Ariel leans into Eric, snarling fury and resentment. Eric
gulps. One servant with a poufy hat quietly closes a book
and puts away his quill, tucking it into the hat. We know
what that's all about.
Another servant gets Ariel's chair and slowly pushes it
towards her, scraping it horridly across the floor. The
noise causes everyone to react, as it's like fingernails on
a blackboard. Only Ariel is unmoved by the din.
ARIEL:
I am part of this and I will be
involved in this! In all of it!
Ariel kicks over the chair, stamping her foot hard. The
sound echoes throughout the castle. No one in the kingdom
has ever see Ariel this furious. She is at her wits' end.
ARIEL:
I am tired of being told
what to eat and when to
rest and what to do! I.
Ariel goes silent as her face has a look of total confusion
and uncertainty, experiencing something completely alien. We
see her whole body shudder. The room is deathly quiet; no
one is certain what to do. All we hear is the howling storm
and the thunder cracks. Ariel puts a hand to her stomach and
her mouth drops open.
ARIEL:
(Done very quietly)
Ow.
Ariel looks very scared. Eric leaps into action, going to
Ariel and placing his hand on hers.
ERIC:
(Yelling)
Get the doctor!
CUT TO:
INT: CASTLE, NIGHT
In the hallway just outside of the guest bedroom, Grimsby
sits on a chair while Eric paces frantically. The flashes of
lightening occasionally light the room. We hear the booming
thunder. The wind howls and rain pelts against the window.
The room is sedate, with only a couple of hall candle
sconces lighting them.
ERIC:
I should be in there with her.
Eric starts to go, but is restrained by Grimsby, who speaks
in reassuring tones.
GRIMSBY:
If the doctor needs you, he
knows where to find you.
Eric stares at the massive wooden doors. He wants to go in
so much, but hold back. Grimsby senses his feelings of loss
and confusion and counsels him.
GRIMSBY:
Things like this have
been going on since..
well forever. They
know what to do.
ERIC:
But this is the first time
for me and for Ariel. I
want to do what's best.
GRIMSBY:
And what's best is to let
those who know what to
do take care of things.
Grimsby leads Eric from the door. Eric walks to the edge of
the hall and stands by the window, a massive, cathedral-
like, floor-to-ceiling structure. Staring into the storm.
Eric looks very small, as he is lost within his thoughts.
Grimsby tries to occupy Eric's mind.
GRIMSBY:
As the Royal Consort
to the child, we need
to address some issues.
Eric waves him off.
ERIC:
That can wait. A few days
won't matter for my son.
Eric has a pregnant pause, mulling over what he has said.
ERIC:
My son. My son.
Eric begins to experiment with the way he says that.
ERIC:
My son. MY son.
I'm going to have a son.
Grimsby nods appreciatively. Eric starts to sing.
ERIC:
I've had this dream all my life,
I suppose every father does,
Of having a child of your very own,
We have these hopes all because
It's just part of being human
The best that could ever be done
The feeling of wonderment total
The joy of having a son
A son who one day will be
The ruler of all he surveys
A bright shining beacon of courage and hope
That follows throughout all his days
I will show my son the path
To be a person, a monarch, a man,
And with compassion and strength and heart
To give to him all that I can
We go into a fantasy sequence, where Eric is playing with a
child, but we never see the child's face. More of a silhou-
ette as he does all these activities with him.
My son whom I can teach
How to play and read and learn
The proper approach that a prince should take
And the proper direction to turn
To have care and concern for those
He governs and leads and rules
To be able to understand people
Seeking wisdom, avoiding fools
He'll carry the name that we give him
Holding it high and with great pride
To understand fully his place in the world
And never be haughty or snide.
To be the kind of person
Projecting dignity and respect
To know when to follow a cause
And when it's time to forget
I will show my son the path
To be a person, a monarch, a man,
And with compassion and strength and heart
To give to him all that I can
A son who will always remember
That once he was..my son.
As Eric sings, he goes through the motions, acting out his
nobility. While Eric sings, he is filled with awe on the
mystery of life and how both wonderful and scary it is.
Just as he finishes, a tremendous crash of thunder shakes
the castle and gives up a magnificent flash of lightening.
The door opens and the DOCTOR comes out. He is a man who has
delivered hundreds of babies, and is tired from the
exertion. Eric accosts him.
DOCTOR:
They are both doing fine.
However, she needs her rest.
You can have a few minutes
with them, but speak in
quiet tones. But.
Before the doctor can finish, Eric scampers into the room.
Grimsby follows behind, but at a distance, remaining near
the door. He talks to the doctor.
CUT TO:
INT: BEDROOM: NIGHT
We see Ariel in bed, rather bedraggled from giving birth to
her child. Despite her exhaustion, she still looks radiant.
The room has many candles about and it far warmer and
friendlier than the hallway. Ariel smiles at Eric, but it is
a lack-of-energy smile.
Holding a bundle, it is their child, swaddled fully. Eric
comes over to her and gingerly sits on the side of the bed,
looking at the child. Carlotta is folding up some towels
rapidly and looks concerned, but forces a smile. Everything
is done quietly.
ERIC:
How are you?
Eric holds one of her hands and brushes some wisps of hair
from her face.
ARIEL:
I'm feeling fine.
She says it weakly, but he senses a great relief. Ariel
cradles up the bundle and unfolds the top. Eric is bursting
with anticipation, but keeps his movements small and slow.
ARIEL:
Here is your child.
Eric stares into the bundle. A shock of black hair adorns
the head of the now-sleeping baby.
ERIC:
My son.
ARIEL:
Our daughter.
Eric freezes for a moment, as he feels let down. Carlotta
reacts and she feels Eric is depressed over the sudden
change of events. He wanted a son; he REALLY wanted a son.
Then, Eric shrugs and smiles. It's OK he has a daughter. It
really wasn't all that important. He plays with her.
ERIC:
My daughter.
ARIEL:
Our daughter Melody.
Eric mulls over the name. He wasn't expecting a girl, so he
has no name of his own. He still smiles.
ERIC:
My daughter.Melody.
Ariel smiles, as Eric has accepted the name and their child.
He begins to look at her.
ERIC:
My daughter Melody, with
her ten little fingers.
ERIC takes one of his fingers, which looks huge against the
tiny baby hands.
ERIC:
.and her ten little toes.
Eric removes the baby from Ariel. Ariel tries to react.
ARIEL:
Eric, there's something
you need to know before.
Too late, Eric holds up Melody and the bunting falls off.
Eric is now confronted with an orange fin flapping up and
down. Eric is pole-axed. His eyes follow the movement of the
fin, up and down, back and forth.
ERIC:
My daughter Melody.
He is in shock as he carefully hands Melody back to Ariel
and turns towards Carlotta. He makes a goofy grin.
ERIC:
My daughter Melody
the mermaid!
He turns to leave and passes out, crashing to the floor.
Grimsby rushes over to Eric, the doctor following. Ariel and
Carlotta stare at each other. Carlotta doesn't know what to
do with her hands, so she wrings them over and over.
CARLOTTA:
(Forced gaiety)
Well, that went well.
FADE OUT, HOLD BLACK FOR A MOMENT
CUT TO:
EXT: DAY: CASTLE
It is a blazingly magnificent day. The storm has passed and
everything looks marvelous. With a bird's eye view of the
castle, the terns wheel about, gracefully soaring on the
thermals.
Another bird rockets into view. It has to be Scuttle, as he
flies so badly. Chasing the other birds away, he loops and
dips, finally crashing into a window of the castle.
SCUTTLE:
I have to do something
about that.
Scuttle slides down, squeaking against the window.
CUT TO:
INT: CASTLE: DAY
The other side of the window Scuttle has slammed into is
Eric's room. In bed, he turns fitfully, then bolts awake.
Eric sees he is in his own bed. Feeling assured, he sighs in
relief. He pulls a cord by his bed and rises to get dressed.
He crosses over to the balcony window and opens it. The door
squashes Scuttle. Moments later, Grimsby arrives and Eric
reenters the room. Scuttle rights himself and begins to
listen.
GRIMSBY:
Your majesty..
Eric goes over to the wardrobe and begins to dress for the
day, putting on a shirt.
ERIC:
I guess Ariel got up early.
That's good, because
I cannot begin to
tell you the horrible
dream I had last night.
Grimsby looks at Eric with apprehension. What could have
been worse than last night? Eric is working with one sock on
and the other in his hand.
ERIC:
I got Ariel really
mad at me and she
let me have it. And with
the entire castle staff
watching on. Then,
she had the baby, but
it wasn't a baby baby,
but a mermaid baby.
Can you imagine anything
so ridiculous..in..all..
your..life..
As Eric relates the tale, Grimsby looks more and more dour.
At one point, Grimsby shakes his head `no' slowly as Eric
slows his story. Eric dejectedly flumps himself into a
nearby chair, as reality sinks in.
ERIC:
It's all true.
GRIMSBY:
(Nods agreement)
Every single word of it.
Eric is crestfallen and emotionally bereft.
ERIC:
I have a daughter who's
a mermaid.
GRIMSBY:
Your wife is a mermaid.
Eric quickly corrects Grimsby.
ERIC:
WAS a mermaid.
Grimsby realizes Eric's vulnerable state, but he must remain
true to the facts.
GRIMSBY:
You may take the mermaid
out of the water, but
you can't the water from
the mermaid. She is what
she is.
Carlotta comes in, bringing fresh clothes. Scuttle takes
advantage of this diversion to sneak into the room to get an
earful of this news.
CARLOTTA:
And what a wonderful day it is.
Carlotta heads over to the window to take in the breeze,
done more for Eric's benefit. She obviously takes in a huge
amount of air, holds it for a moment and lets it out.
Scuttle goes under Carlotta's dress to gains access and hear
everything, but gets enmeshed between some petticoat layers.
CARLOTTA:
How is the brand-new father?
Eric looks down. Carlotta will not stand for this.
CARLOTTA:
Hmmph! You should be happy.
You have a wonderful baby
daughter.
Eric does nervous work with his hands, cleaning under the
nails and picking at them. He is very dejected.
ERIC:
I have a..a fish.
Carlotta is horrified at such a callous response and lights
into Eric. He doesn't even acknowledge the tongue-lashing
he's receiving.
CARLOTTA:
You have a daughter, Melody!
I have known you since you
were born. I've seen hundreds
of princesses, tsarinas,
duchesses, earlesses and
all other kinds of royalty.
Ariel was, and is, the best
you ever saw. And now, when
she needs you the most, you
just..just..just do nothing!
While Carlotta is lambasting Eric, Scuttle raises the hem of
the dress to get more of the details. This is just too
incredible to believe. Carlotta wheels about to get to Eric
and Scuttle is sent skittering across the floor and out to
the balcony.
Carlotta grasps Eric's arm and tries to pull him out of the
chair. He is inert. Carlotta, fuming, goes behind the chair.
Grasping the bottom, she hoists it up and tumbles Eric to
the floor. Eric and Grimsby are shocked. Towering over Eric,
her arm is pointing towards the door.
CARLOTTA:
You get out there right
now and go see your wife
and child! They are waiting
in the nursery!
Carlotta goes over to the wardrobe and begins to fling
clothes out. Grimsby fumes.
GRIMSBY:
Really, Carlotta, I don't
think that this kind of
behavior is appropriate.
Grimsby gets a faceful of trousers. He pulls it off to
confront Carlotta, who is still flinging clothes.
CARLOTTA:
And which kind of behavior
IS appropriate?
Grimsby is caught. He realizes that Eric is not acting like
he should. He also is not going to cross Carlotta right now.
Scuttle looks around the edge on the door as some clothes
are picked up and Eric does his best to put himself
together.
Scuttle tears off from the balcony. Flying his ungainly
flight, he scans the waters and sees two recognizable
figures. He dive-bombs them. From his perspective, we see
Flounder and Sebastian appear closer and closer.
CUT TO:
EXT: DAY: BEACH
We see a two-shot of Flounder and Sebastian. They are
waiting for Ariel, but just sit. Flounder becomes intent.
FLOUNDER:
Do you hear something?
Sebastian cranes his neck to hear better, then sees a shadow
growing larger and larger around him. This is odd to him so
he looks up to see Scuttle crashing down upon him. Sebastian
screams in fear and tries to escape.
Flounder reacts and dives under the water. Sebastian manages
to elude Scuttle, just as he pile-drives into the water. The
resulting wave lands Sebastian on the beach. He is furious
as Flounder resurfaces.
Scuttle is in a pile, as sand and mud hang off his beak.
Sebastian angrily scurries up to him.
SEBASTIAN:
No doubt about it, you
have got to do somet'ing
about your flying!
Scuttle rights himself and sneezes out some sand.
SCUTTLE:
I'm working on that. Now,
what was I going to say?
I knew it just before I
got here..
Scuttle fumbles about and Sebastian is not impressed.
Flounder hangs at the ready.
SCUTTLE:
It has something to do
with someone and..
Flounder tries to help.
FLOUNDER:
Is it about Ariel?
The light bulb turns on.
SCUTTLE:
Yeah, that's it. Ariel.
Ariel and her baby Melody..
Both are stunned. News this important and Scuttle can't
remember? Sebastian is flustered as Flounder does cartwheels
and loops out of the water.
FLOUNDER:
Yippie! Hooray!
SEBASTIAN:
What! How! When? Who?
Scuttle frees himself from the muck and bends down to
Sebastian.
SCUTTLE:
And not only that..
Scuttle whispers to Sebastian, whose expression goes from
anger to total incredulity to complete rejection of it. This
is Scuttle we're talking about. Meanwhile, Flounder wants to
know what's happening.
FLOUNDER:
What? What? Tell me! I'm
her friend, too.
Sebastian shakes his head in disbelief.
SEBASTIAN:
Are you sure on this?
SCUTTLE:
I'll show you.
Before Sebastian can react, Scuttle takes to the air,
grabbing Sebastian. Scuttle dips and weaves while Sebastian,
who howls, is nearly crab-caked by the misses.
SCUTTLE:
Say, you wouldn't know where
the nursery is, do you?
Now Sebastian is in abject fear. As Scuttle gets really
close to a balcony, he puts out his feet to land. Sebastian
soars through the air and smacks against a window while
Scuttle lands perfectly.
CUT TO:
INT: CASTLE: DAY
Sebastian is squashed up against a window. As he opens his
eyes, he is shocked to see a tiny baby with an orange fin
splashing about in a glass bowl, being watched over by
Ariel. Sebastian smiles as he sees Ariel so happy and full
of life, being with her daughter.
As he continues to watch, he sees Eric enter very slowly.
Ariel picks up Melody. We do not hear their conversation
clearly, just muffled talk and no really distinct words.
However, the actions reveal that Eric is reticent to embrace
Melody or Ariel. His hands tremble with uncertainty.
There is much pleading and cajoling from Ariel, but Eric
backs out of the room. Ariel is heartbroken as she settles
herself onto the bed quite depressed. Sebastian is so very
sad. He is but a crab; what can he do?
SEBASTIAN:
I've seen enough. Take
me back, please.
Scuttle salutes Sebastian, completely unaware as to the
events that have just occurred.
SCUTTLE:
Aye aye, Captain.
Scuttle grabs Sebastian. The ride down is more frightening
than the ride up, but Sebastian is so lost in thought that
he doesn't even realize that Scuttle is spiraling out of
control until they both slam into the water. Both resurface.
SEBASTIAN:
Scuttle, we're depending on
you to keep up informed. We
want to know every detail.
What ever happens at any time
of the day or night, we want to know.
Scuttle is still in the water, gurgling away.
SCUTTLE:
You can rely on me.
Sebastian motions for Flounder to come over. He puts on his
best face. No need for others to know about the unhappy
parts of this.
SEBASTIAN:
Let's get back to the King
and tell him the good news.
Sebastian clamps onto Flounder's tail and they sail off. We
hear their voices fading.
FLOUNDER:
So, you can tell me.
What was it all about?
SEBASTIAN:
I don't know. You can be
such a big mouth bass.
FLOUNDER:
You can tell me, really you can.
This is the last line we hear distinctly. They fade from
view but we hold for a moment. Then, clear as a bell and
just as loud.
FLOUNDER:
Ariel had a merbaby!?
SEBASTIAN:
Shhhhhhhhh!
CUT TO:
EXT: DAY: OCEAN CASTLE
The shining spires of Atlantica's Coral Castle glisten as
the sun filters through the azure waters. In the lower
corner of the screen, Flounder and Sebastian come into view
and disappear into the great folds of the castle.
CUT TO:
INT: THRONE ROOM: DAY
KING TRITON is at his throne, working on some important
papers. Two of his daughters, AQUATA and ARISTA, are there,
watching intently as Triton explains what he does as King.
AQUATA:
Why aren't you signing this
paper?
ARISTA:
You said it was important.
TRITON:
It is. But I want to make sure
there's enough money in the
Royal Treasury to be able to
do this right and..
SEBASTIAN(OS):
Your majesty.
All three look up to see Flounder exhausted and Sebastian
hanging on for dear life. Flounder crashes to the floor, as
Sebastian sidles up to the King. Triton bores in on him.
TRITON:
Well, what news from Ariel?
Sebastian thinks for a moment on how to give the really
important news.
SEBASTIAN:
She's a you..I mean you have
an Ariel, who's you and..that
is, I mean to say that the news
I have is news and..
Triton looks on bored as Sebastian fumbles about. The two
daughters giggle as they go to help Flounder. They grab him
and he whispers the news. Meanwhile Sebastian fumbles on.
SEBASTIAN:
..it involves Ariel, to whom
the news is about, which is..
Suddenly, the two daughters squeal in glee as they swing
Flounder about in joyful exhilaration. Flounder cries out as
he is spun about mercilessly.
FLOUNDER:
Hellllllllllpppppppppp!
Triton turns to the still-bumbling Sebastian.
TRITON:
May I assume by their reaction
that I'm a grandfather?
Sebastian looks on in total dismay, then sheepishly.
SEBASTIAN:
Didn't I say that?
The noise from the throne room has the rest of the daughters
come in. Once they hear the wonderful news, Flounder is
bounced about as if it were a game of Sponge Ball. After
numerous bounces, he lands into Triton's arms.
FLOUNDER:
Yeargh!
He peels out, only to crash into Sebastian.
TRITON:
Let a proclamation go out
that on this day, we have
a new Atlantican, my grandchild..
my grandchild..
Triton pauses. It seems he never got a name.
TRITON:
Sebastian!
Sebastian nervously approaches Triton, who glowers at him.
Sebastian speaks in a tiny squeak.
SEBASTIAN:
Yes? (AHEM!) Yes, your majesty?
TRITON:
I assume my grandchild has a name..
SEBASTIAN:
(Laughs nervously)
Oh, ho, ho, ho. Her name is
Melody.
Triton continues his royal edict.
TRITON:
Let is go out to all parts
of the Kingdom to celebrate
my first granddaughter,
Melody.
The throne room erupts in celebration. Triton sees the
exaltation of his family, and then beckons Sebastian to him.
Sebastian slowly nears.
TRITON:
I have a very special job
for you, Sebastian. I need to
to be the liaison between us
and Ariel. To arrange a time
that I can see my new grand-
daughter. Say, next week.
Sebastian squeaks. This is not what he wanted. However,
Arista somehow hears this and quickly swims to Triton.
ARISTA:
Oh, Daddy, please let me make
the arrangements. I want to
be the liaison.
Upon hearing this, the other daughters come over and argue
about who gets to go to the castle. Triton comes up with a
solution. He gets his trident and holds it pointy side down.
TRITON:
Whoever gets last grab on the
staff may be the Official Liaison.
Triton holds it outwards and the hands start to grab it,
going higher and higher. It is so quick that it's over
hardly after it began. The winner is Arista.
Arista swims around in circles, as she's so glad to have
won. The other sisters are envious, but not resentful.
Triton gestures Arista over.
TRITON:
You are to make arrangements
so we can all see the new child.
I will come next week, as I want
to give the parents a chance to
settle in and for Ariel to
recover.
ARISTA:
I'm on my way.
TRITON:
Take Sebastian with you, as
he knows how to get there.
Arista looks anxiously at Sebastian. He clamps onto Arista's
tail and off they go. Arista moves far too fast for
Sebastian's liking and he lets her know.
SEBASTIAN:
Noooooooo! You're going too
fastttttttttttt!
Sebastian's voice fades into the waters as Arista speeds out
of sight. Triton sits in his throne and mulls over the
prospect of being a grandfather.
FADE OUT/CUT TO:
EXT: ERIC'S CASTLE: DAY
It is later in the morning or early afternoon. We see a
bird's eye view of the pier that is attached to the castle.
We hear a bell ringing and move closer.
The pier has a board stretching out from one of the
supports. This is the way that the merfolk can contact the
castle. There is a ladder that reaches from the pier to a
low dock near the water's edge.
Arista is ringing the bell, but nothing is happening. She is
getting perturbed.
ARISTA:
How long do I have to ring this?
Maybe it's better if I just drag
myself up the steps?
SEBASTIAN:
Oh, well, you know humans. They
probably can't hear us.
We hear footsteps on the pier. Arista looks up.
CUT TO:
ARISTA'S PERSPECTIVE
Peering over the pier is Grimsby, who is a little shocked to
see a mermaid. We reverse to show Arista waving at him.
GRIMSBY:
(To himself) Oh, just marvelous.
(To Arista) I'll be right down,
my dear.
Grimsby starts the climb down the ladder to the pier. He is
muttering, but we cannot hear it fully. Arista watches him
with great fascination. She turns to Sebastian.
ARISTA:
How do they make those things
work? I'd much rather have fins.
Arista starts to preen and pretty herself.
SEBASTIAN:
I'm sure you get used to it.
They look at each other and laugh. What a silly idea!
Grimsby negotiates the pier, as the last rung is a bit
higher than the bottom of the pier, so there is a tendency
to fall a bit. His foot wavers about, trying to find the
floor. It takes a few tries, but he does it.
GRIMSBY:
Yes, my dear, what can I do
for you?
ARISTA:
Good day. I am Princess Arista.
As the official liaison
for King Triton, I
have been asked to set up a
royal appointment for the
King to see his new grand-
daughter next week.
Grimsby is shocked. How could they have known so quickly? He
tries to stall out.
GRIMSBY:
Well, (AHEM) the Princess
is still recovering and I'm
not certain if a week will
be enough time.
Arista is not going to be put off by this.
ARISTA:
If you let Ariel know, I'm sure
she'd be very anxious to see
her father, the King, and her
sisters, the princesses, and
let us see her new baby daughter,
Melody.
Grimsby sees that he is not going to win this discussion.
GRIMSBY:
We can work on this. Next week
at this time?
ARISTA:
That will be fine. And we'll have
it over in the cove on the other side
of the castle. It is secluded enough
from prying eyes and Ariel can easily
get to it. We'll be here at 9 in the
morning, as Ariel will be rested.
Grimsby is surprised at her acumen. He feels all mermaids
are kind of spaced out and is surprised when they aren't.
GRIMSBY:
I will pass this information
on to the Highnesses.
ARISTA:
I have an idea. If you will leave
a basket or bottle here, with
the information in it, we can
communicate better.
GRIMSBY is taken aback. That is a great idea, and he doesn't
have to actively monitor the pier. He could also send down
one of the young bucks to deposit the bottle or basket.
GRIMSBY:
That is a wonderful idea.
I will leave a note here
tomorrow for you.
ARISTA:
Thank you. So until then,
good day.
Arista waves good-bye and splashes off, her flukes
shimmering in the sun. Grimsby gets a bit of spray from her
push off. This is just grand! What more could happen? He
makes his way up the ladder.
CUT TO:
INT: DAY: CASTLE
Grimsby comes into Ariel's room, where she is holding Melody
and singing a fragment of "Part of Your World" to her. Ariel
is seating in a rocking chair. She has recovered from the
morning, but is still depressed. She is positioned so if
Eric should return, she can get him quickly.
ARIEL:
I heard the bell, Grimsby.
Who was it?
Grimsby cannot stand these mermaids, as they are so aware of
their environment, he couldn't sneak anything past them.
GRIMSBY:
It was one of your sisters,
uh, Ariadne, Amelia, Alicia,
Amanda, Agamemnon.
Ariel starts to giggle. It can't be all that hard to
remember those names. Grimsby gives up.
GRIMBSY:
In any case, she is setting
up a royal appointment for
her and your father the King
to see Melody.
ARIEL brightens up immediately. This is the best news ever.
ARIEL:
When? Where? For how long?
This is great! Maybe I can
get Daddy to make Melody human.
The barrage of questions from Ariel overwhelms Grimsby. It
sounds like a dull roar. Then he realizes it IS a dull roar.
Ariel hears it, too. They both go to the balcony.
Grimsby is surprised to see a knot of people yelling and
cheering their congratulations. Ariel smiles as she holds
Melody up. Grimsby is beside himself.
GRIMSBY:
I guess everyone knows by now.
Delightful.
CUT TO:
EXT: DAY: STREET
Mephisto is striding through the streets of the kingdom,
seemingly oblivious to the celebrations around him. He is a
man with a purpose. He heads without error to the ship,
moored at dockside, and strides up the gangplank.
CUT TO:
INT: SHIP: DAY
In the galley of the ship, we see a variety of people
eating. But what a variety of people! They are human
oddities.
A beautiful bearded lady; a man shooting out a stream of
fire at a glass, then eating it; another with skin like a
snake; a trio of midgets; and a couple of other people. One
is wearing a turban and a loincloth, the other dressed in
regular clothes, but wearing gloves. From our location, we
can hear hundreds of people speaking at the same time.
Mephisto sits at the table, but does not eat. FELICITY, the
bearded lady, speaks first.
FELICITY:
What's going on out there?
She motions outside. Before Mephisto can answer, the
turbaned man grabs his own ear and stretches it to make a
megaphone. We have met HAMMAL, the Rubber Man.
HAMMAL:
It appears to be a celebration
for the birth of the Royal Princess.
Mephisto, again, tries to speak, but is overridden by a
hulking, Amazonian woman, the Strongest Woman Alive, SAMPO.
SAMPO:
A baby? A baby girl?
Sampo immediately grabs a length of thick metal and shapes
it into a heart very quickly. The others applaud. Mephisto
again tries to speak, but the MIDGETS stand one atop the
other and speak in unison.
TOM, DICK & HARRIET:
You know what that means?
We could get a chance to
perform in town!
They proceed to do some tumbling. Tom is flipped too hard
and heads towards a porthole, which he could easily pass
through. Abruptly, a hand lands on his head and he is
stopped cold. A little bit of slimy ooze dribbles down his
head. On the other end is GREG, the Human Fly.
GREG:
You have got to be more careful.
It just wouldn't be right to
have the act be a duet.
TOM:
My head is all sticky! It'll
take forever to clean this up.
GREG:
Would you prefer the alternative?
Greg thrusts his arm out the porthole. Tom hangs
precariously over the ocean and is screaming frantically.
Greg holds for a moment, and then pulls him in. Saying
nothing, Greg rolls his hand off of Tom.
TOM:
You weirdo.
Greg is not offended by the line and smiles broadly.
GREG:
I prefer to think of myself
as a human superlative.
Everyone is nattering and commenting between themselves.
Mephisto attempts to restore some order.
MEPHISTO:
Oh, people. Fellow actors.
You guys.QUIET!
As Mephisto yells, everyone stops and turns to him. Preening
himself, he speaks.
MEPHISTO:
Yes, it is true. The Prince
and Princess have had a new
baby daughter. And if we play
our cards right, we could get
to perform at the palace!
There are various stages of shock and delight around the
table. What an opportunity.
MEPHISTO:
I go to make the arrangements.
This will be our greatest
performance ever!
Mephisto leaves while everyone talks on. A few of them get
up and head to their rooms. Mephisto goes to his room.
CUT TO:
INT: DAY, MEPHISTO'S ROOM
Mephisto is making himself presentable when we hear a rap on
the door. It is a special rap. We hear the creak of the
door. Mephisto doesn't turn around; he knows who it is.
MEPHISTO:
Yes, I heard those stories,
too, about the baby. And if
they are true, even the
tiniest bit, we'll have
a new member in our family.
Mephisto gives a small, sinister laugh.
CUT TO:
EXT: NIGHT: CASTLE
A few days have passed. The castle is ablaze with lights and
banners. The celebration continues. A fireworks show is
proceeding above the castle.
CUT TO:
INT: NIGHT: CASTLE
The Grand Ballroom is crowded with people. A giant curtain
is across a portion of the room to mask the performers. Eric
and Ariel are there, and Melody in her crib. She is heavily
swaddled, so no one sees the fin portion.
From behind the curtain Mephisto gazes at the crowd. He is
not nervous at all. The others are restless, except Greg,
who sits, reading a book, although the pages stick together.
Mephisto turns to them.
MEPHISTO:
This is just like any other
show.
SAMPO:
Except for the diversion.
Mephisto blanches for a moment.
MEPHISTO:
What diversion?
SAMPO
Playing before the Prince
and Princess.
Mephisto relaxes; his plan is safe.
MEPHISTO:
They're like other people,
so, play your parts well!
I want a good show from you.
Mephisto leans into the last line. We hear a drum roll.
Mephisto holds for a moment, and then bursts from the
curtains.
CUT TO:
ARIEL'S PRESPECTIVE
Mephisto looks stunningly magnificent as he acknowledges the
applause of the crowd. Arms stretched upwards, he does a
small turn to the crowd. As the applause dies down, he
speaks.
MEPHISTO:
Ladies and gentlemen, dignitaries,
Royal personages. Welcome to this
Command Performance of Mephisto's
Amazing Circus of Human Oddities.
GREG (VO):
Human Superlatives!
Crowd laughs. Mephisto fumes, but can do nothing about it.
He continues.
MEPHISTO:
What you will see may shock
or surprise or even amaze you.
But you will never forget what
goes on here tonight.
The crowd is sufficiently awed. Ariel is very intent,
although she keeps an eye on Melody. Eric is rather bored;
he's seen things like this before. Ariel never has.
MEPHISTO:
How do you define strength?
How do you define beauty?
Can the two exist together?
You tell me, as we present
Sampo!
From behind the curtain steps Sampo. She is dressed in a
very feminine outfit and acts demurely. This does not
disguise the fact that she is huge in stature. She does some
ballet moves and is very graceful. As she twirls about, she
stops. A table is blocking her way.
She grasps the table. In doing so, the dress is shredded off
as she flexes her muscles. People gasp as her rippling
shoulder and back muscles burst through the dress, revealing
an outfit better suited for weight lifting.
Holding the table firmly, she lifts it up and easily
transports it over several feet from where it was, and then
gently places it back down. Mephisto brings out a chair.
MEPHISTO:
We see here an ordinary chair.
He approaches Eric and proffers the chair.
MEPHISTO:
Your majesty, I would like you
to examine this chair. Please
note that it is a solid chair,
and that it has not been weakened
or tampered with in any way.
Eric checks the rungs and the seat back, then knocks on the
seat portion itself. He is satisfied it is the genuine
article. Mephisto give it back to Sampo, who proceeds to
juggle it about.
MEPHISTO:
If I could have a volunteer
from the audience.
Out of nowhere, Grimsby is pushed into the area. He tries to
escape, but Mephisto is all over him.
MEPHISTO:
You're a very brave man to
do this. She might even get
it right this time.
Grimsby looks horrified and protests, to no avail.
GRIMSBY:
Now, see here, my good man,
I haven't got time for
something this silly and..
Grimsby is plunked into the chair. Sampo comes from behind,
grasps one of the rungs with her teeth and hoists the chair,
and Grimsby, into the air. Grimsby is terrified as what is
going on. Once the chair is as high as it can go, Sampo then
balances it in her hands, but on two legs. She makes it
wobble and teeter, as if it's going to fall, but doesn't.
She then starts to twirl it about, faster and faster.
Grimsby holds on for dear life. Suddenly, it's flung into
the air and Grimsby is ejected. Sampo grabs both Grimsby and
the chair. As the crowd applauds, Sampo proceeds to crush
the chair with her other arm. She puts Grimsby down and he
scampers back into the crowd.
As Sampo takes a bow, a black man with a broom comes out to
clean up the mess. He proceeds to sit down and eat the
chair. This is IRONGUT. He pulls out a pair of swabs and
lights one, then proceeds to spit fire at the chair to char
it a bit before he dines some more.
Backstage, Mephisto speaks to a shadowy figure.
MEPHISTO:
You know what to do.
All we see is a pair of eyes, white against the dark. The
shadow steals away as Mephisto goes out to introduce the
next act, shooing away Irongut.
MEPHISTO:
Now we move from the massive to
the minute. A trio of personages
no bigger than your thumb, but
full of vim and vigor. Here are
Tom, Dick and Harriet!
The three tumblers roll out and perform a series of back
flips and pyramids and hurl themselves through the air and
at each other. Everyone is so taken by the action, no one
notices a figure stealthily snaking its way behind the
crowd.
It arrives behind the thrones, near the cradle. As it nears
the crib, one of the tumblers spin in the air for an
abnormally long stretch of time. People are so taken by
this, all eyes are riveted on them.
CUT TO:
CLOSE-UP OF MELODY IN CRIB
We see Melody wriggling about and a gloved hand come in and
rapidly unwrap the bunting. When the tail flukes appear, the
child is merely covered over and the hand leaves.
CUT TO:
Backstage, Mephisto looks out at the tumblers, then turns as
he hears a sound. We hear the whispered information. Even in
his half-face position, we see his evil smile. It's all
true! The act comes to a close to riotous applause.
CUT TO:
Ariel is applauding madly, and then turns to Melody to see
her fluke is exposed. Because of the position and angle of
the bassinet, no one can see in. Ariel quickly re-bundles
the baby, but looks around apprehensively.
Then comes a montage of acts. Felicity is an adept knife
thrower and lock picker; Hammal ties his body into
impossible configurations; Lizard Lad slithers through a 90-
degree pipe with ease; Greg scales the walls of the
ballroom.
Finally, Mephisto comes out.
MEPHISTO:
What you have seen is amazing,
but ask yourself, was it real?
Did I actually see what I think
I saw?
Mephisto pulls out a large, seemingly solid, ring and hold
it up. He shakes it and another ring appears, hanging from
the first. He spins the second ring and a third appears.
A series of rings are produced and he constructs fabulous
sculptures with the rings. Suddenly, he shakes the rings
violently and we are back to one ring again. The crowd goes
nuts. Mephisto puts the ring away.
MEPHISTO:
You have been mesmerized by
what we have done. But you
haven't seen real Mesmerization!
I need a volunteer from the
audience.
Mephisto strides up to Eric.
MEPHISTO:
Perhaps his Royal Highness would
care to be a volunteer?
Eric is hesitant at first, but heads down. The crowd claps
as a chair is placed on the floor. Before Eric sits on it,
he checks it out, as it's identical to the one Sampo
destroyed. The crowd laughs. Eric sits.
MEPHISTO:
Prince, look into my eyes.
Mephisto does over-exaggerated motions, making it look like
he is a really bad hypnotist. Eric is not fazed. He crosses
his arms, bored.
ERIC:
I'm not easily hypnotized.
MEPHISTO:
What about when you met the
Princess for the first time?
The crowd roars with delight. Ariel blushes. Eric smiles.
MEPHISTO:
And you also remember the first
time you fell ASLEEP NOW!
Instantaneously, Eric falls asleep, slightly sprawled in the
chair. The crowd goes "ooooo", as it happened so fast.
Mephisto calms the crowd.
MEPHISTO:
The prince is all right. He is
just in a deep slumber. (To ERIC)
You hear only the sound of my
voice and you will do as I ask.
Sleep deeper.
Mephisto places him palm of Eric's forehead and he sleeps
deeper. Mephisto turns to the audience.
MEPHISTO:
I cannot make the Prince do
anything against his will,
or that may hurt or injure
himself, but we can
do other things. (To ERIC)
Prince, you will not be
able to remember your name.
At any time, when I say,
"One, two, three, awake!"
and snap my fingers, you
will come out of your trance.
(Puts hand on forehead).
Prince, you are alert.
Eric comes around, but is still hypnotized.
MEPHISTO:
Your Highness, how do you feel?
ERIC:
I feel fine.
MEPHISTO:
Are you Mesmerized?
ERIC:
I said I wasn't easily
Mesmerized.
MEPHISTO:
So you did. (Points to
ARIEL). And who is that
radiant vision on the
throne?
ERIC:
That is my wonderful wife,
Ariel.
MEPHISTO:
I see. And that gentleman
over there? (Points to GRIMSBY)
ERIC:
The Royal Advisor Grimsby.
MEPHISTO:
And that one?
ERIC:
That is Padraic, the Court
Painter.
MEPHISTO:
And you are?
ERIC:
I am..I am.I..
A look of consternation crosses Eric's face as he struggles
to recall. The crowd titters, then laugh as ERIC cannot
recall who he is. When the crowd laughter reaches its peak,
Mephisto places his hand on Eric's forehead.
MEPHISTO:
Sleep.
Eric goes under. The crowd applauds wildly. Mephisto bends
down to Eric and whispers quickly.
MEPHISTO:
Regardless of your deep love for
your wife and child, every time I
say the word `baby', you will get
more and more angry. When I say it
a fourth time, you will explode
into a tirade, full of hatred and
disgust. You will remember nothing
of this, but you will continue to
get angry when you hear `baby'.
Mephisto comes up slowly and faces the crowd.
MEPHISTO:
We can also examine the very core
of what a person feels and believes.
Mephisto turns to Eric.
MEPHISTO:
Prince, awake. How do you feel?
ERIC:
I feel fine.
MEPHISTO:
I understand that there is
cause for celebration. True?
ERIC:
Very true.
MEPHISTO:
(Ponders for a moment) It's
a new child!
ERIC:
Yes that's right.
MEPHISTO:
What kind of baby?
ERIC:
(Snarls)
It was a girl.
Some people titter uncomfortably. This isn't like the ERIC
they know
MEPHISTO:
A baby girl.
ERIC:
Yes. Didn't you hear what I
said?
Ariel winces. The rest of the acting troupe is getting
concerned as well. The tension grows.
MEPHISTO:
Does your baby have a name?
ERIC:
(Mockingly)
Her mother calls her Melody.
Ariel pants and wheezes, as the embarrassment is getting too
much for her. Mephisto plays his part with mock chagrin, as
he "realizes" he's going too far.
MEPHISTO:
Well, we'll talk about other
things.
ERIC:
That would be nice!
MEPHISTO:
I shan't talk further about
the baby.
ERIC detonates and launches into a screed.
ERIC:
And a good thing, too. I am
sick to death about people
going on about the baby this
and the baby that and how's
the new mother. Well, I can't
stand either of them. I hate
them both!
The words sting and cut deeply. Ariel is pole-axed and
doesn't know what to do. Mephisto holds for a beat, then..
MEPHISTO:
One, two, three, awake!
Mephisto snaps his fingers and Eric comes around, completely
unaware of what has just transpired. Mephisto looks on
sadly, pretending to be remorseful for uncovering this side
of Eric. Eric looks to Ariel, tears pouring down her face.
She grabs Melody and flees the ballroom.
As Eric looks about, the faces of his servants and friends
are in shock, or anger or disgust, and the crowd breaks up.
Mephisto disappears into the screened-off area. Eric is at a
complete loss; but no one will talk to him.
Backstage, Mephisto makes a few gestures and the troupe
immediately start to assemble their things and prepare to
go. We hear the murmuring of the crowd, transfixed at the
events that have occurred.
Grimsby takes Eric and moves him off to a part of the room,
away from everyone. We cannot hear what they say, but it is
an animated discussion.
CUT TO:
EXT: PALACE: NIGHT
We see a wagon being loaded up and the last of the troupe
get on. Mephisto helps them on.
GREG:
(Grimacing)
How wonderfully pleasant.
SAMPO:
Who'd have thought it?
LIZARD LAD:
That's royalty for you.
MEPHISTO:
Head back to the ship. I want
to express my condolences for
the incident.
HAMMAL:
How will you get back?
MEPHISTO:
Don't worry about that. Just go.
The wagon lurches out. Mephisto heads back to the castle.
CUT TO:
INT: CASTLE: NIGHT
We are in the darkened nursery and we hear Ariel sobbing. A
gently tapping comes at her door.
ARIEL:
Please go away.
CARLOTTA:
It's just for a moment.
It's the Mesmerizer.
ARIEL:
I don't want to see anyone!
MEPHISTO:
It will take only a moment.
Please, your Royal Highness.
Wiping the tears away, cuddling Melody, Ariel goes to the
door and opens it, we see a shaft of light pierce the gloom
and the silhouettes of Carlotta and Mephisto.
MEPHISTO:
Thank you, Carlotta.
Carlotta remains. Mephisto holds for a moment, and then
pleads his case.
MEPHISTO:
I wish to offer my most sincere
and abject apology for what
happened. I try to bring joy
and entertainment to all whom
I meet, not this. Had I but
known, I.
Mephisto holds, then lets his words fail him, bowing his
head in despair.
ARIEL:
Had we all known..
Ariel takes Melody over to the crib. Mephisto grabs a candle
to give Ariel light. Ariel settles Melody in the crib, still
tightly swaddled. Mephisto holds the candle high to give
better light. As she tucks Melody in, Mephisto puts the
candle down on a table, then turns to the window.
MEPHISTO:
Would you like the drapes drawn,
your Highness?
Ariel nods agreement, and Mephisto pulls them shut. However,
he unlatches the catch so entry could be gained from the
balcony.
MEPHISTO:
I realize I cannot undo what
has happened. I am just so
sorry that it did.
Mephisto, looking sufficiently saddened, leaves the castle.
CUT TO:
EXT: CASTLE: NIGHT
We see the nursery window in the background. Mephisto comes
into frame, gives an evil smile, and leaves as a shadowy
figure lurks around the room from the outside.
CUT TO:
INT: CASTLE: NIGHT
The clock in the darkened room ticks away, showing a late
hour. The drapes unfurl momentarily and the figure ducks in.
Moving with precision and grace, it looks over at a sleeping
Ariel. Heading to the crib, it discovers Melody is gone!
It looks about and sees Melody in bed with Ariel. After
examining the situation, the figure extracts Melody with a
fluid movement. Picking up Melody, the figure looks at her.
Then Melody makes a cooing sound.
Ariel bolts upright and sees Melody floating. Before she can
react, the figure mutes Ariel's mouth and hoists her over
his shoulder, then bolts, moving so quickly that they are
away from the castle within a few moments. We see a wagon
nearby and the figure jumps on.
In the wagon, Ariel is shocked to see Mephisto, who glowers
at the figure. The figure shrugs, then proceeds to tie up
and gag Ariel better. They gallop off into the night.
FADE OUT/FADE IN
EXT: CASTLE: DAY
It is the following morning. The day is bright, but not as
bright as yesterday. But there is a palpable sadness in the
day.
CUT TO:
INT: CASTLE: DAY
In the dining area, Eric is alone at an enormous table.
Although there are three places set up, only he dines. He
looks terrible. Grimsby comes in, looking sallow. ERIC
stares off.
ERIC:
No answer, eh?
GRIMSBY:
She won't reply.
ERIC:
Look, I don't recall anything
I say last night.
GRIMSBY:
To add to matters, her father,
King Triton, is due to show up
to see his granddaughter.
Eric rises from the table.
ERIC:
I will prepare myself.
GRIMSBY:
I will see if I can get the
Princess and the baby.
ERIC:
Who cares? Who really cares!?
Shocked at his outburst and feelings, he quickly leaves the
room. Carlotta comes out to clear the table.
CARLOTTA:
Who would have thought it?
CUT TO:
EXT: BEACH: DAY
Eric is standing on the beach in the cove, dressed regally
in a white outfit with the gold epaulets. He paces
nervously, awaiting the arrival of the King. Max is at the
ready, bounding wildly up and down. He wants to play, but
Eric is absorbed in thought.
He looks up to see a disturbance in the water as it boils
and churns. Arising from the depths, trident held high, is
the Triton, surrounded by his six daughters. Eric freezes at
attention until he comes to the beach, borne on a crest of
water. Also along are Flounder and Sebastian.
Triton looks about, but sees no Ariel.
TRITON:
I don't see Ariel or Melody.
Eric smiles weakly.
ERIC:
Well, you know how she is.
She wants everything to be
perfect for you..and her
sisters.
The daughters titter as Triton looks regal.
SEBASTIAN:
(To FLOUNDER)
Dat's just like her. She's
never on time.
FLOUNDER:
Except she's has a great
excuse this time.
Then..
GRIMSBY (VO):
Your majesty.
Both Eric and Triton turn to see Grimsby fast-walking up the
beach. They both wait for him to arrive, which he does,
panting and gasping.
GRIMSBY:
It's her Royal Highness..
ERIC:
Does she need a few more minutes?
GRIMSBY:
Well, uh, she's gone.
ERIC:
She's gone for a walk?
GRIMSBY:
She's missing. Her and the baby.
Upon hearing `baby', ERIC detonates.
ERIC:
Well, that's just fine with
me. The both of them can just
go. I'm sick of both of them!
Triton recoils. The daughters look on with horror and fear.
Alana breaks into tears at such ugly words.
TRITON:
What kind of father are you
to abandon your wife and baby?
ERIC:
One who is fed up with them both.
And how people fall all over them-
selves for them. I never wanted a
mermaid for a wife. Or a daughter!
Triton is stunned by the words.
TRITON:
Melody is a merbaby?
ERIC:
Are all you undersea types
hard of hearing? Of course
she is and I hate it. Hate it!
Hate it! And you, too!
Triton is so angered by this tirade he raises his trident to
zap Eric, but is restrained by both Andrina and Arista. He
thunders on to all around.
TRITON:
This is why I wanted no contact
with the human world. I will
find my daughter and her baby
and take them home with me. I
will deal with you later.
ERIC:
Good! Find `em and take `em.
They're not wanted around here!
Grimsby is shocked at the overwhelming vitriol Eric is
sputtering. He tries to calm him, but that only raises his
ire. Triton turns and leaves, taking everyone with him.
GRIMSBY:
Eric! Your wife! Your baby!
ERIC:
Don't you start with me either!
I can't stand the whole lot of
you! Any of you! Who needs you?
Go ahead, run and hide!
Eric shrieks after Triton, who is barely able to contain
himself. As Eric turns to leave for the castle, he stumbles
over Max and slams his head hard into the beach, knocking
himself unconscious.
CUT TO:
An overhead view of the cove shows Eric is splayed out, Max
is running and barking frantically and Triton is heading out
to sea, leaving a great wake. Scuttle flies into view.
SCUTTLE:
Hmmmmm. I wonder what's going on.
FADE OUT/CUT TO
INT: CASTLE: DAY
In the library, Eric is stretched out on a lounge, head
swathed in bandages. He comes to with a start, reacting to
his injury. He struggles to sit up, but is very unsteady.
Grimsby enters, but he is rather frosty.
GRIMBSY:
How are you, your Royal Majesty?
Eric is taken aback; Grimsby rarely calls him that.
ERIC:
My head hurts and I feel badly,
but other than that..Wait! What
about the arrival of King Triton?
Grimsby stares at Eric. His young charge must be insane.
GRIMSBY:
He came and went, especially
after you told him that you
hated Ariel and baby Melody
and wish they were gone.
Eric looks completely lost.
ERIC:
I said that? Why would I
say that? I admit I was a
bit shocked at my daughter,
but I have come to accept
her. She is my child. My baby.
Eric gets up and goes over to the fireplace. He stares at an
enormous portrait of a king, a man full of regal bearing and
stature, what a king should look like. Eric looks very small
compared to the portrait. Grimsby comes up behind him.
ERIC:
He was a great man, wasn't he?
GRIMSBY:
Yes, he was. I miss him. We
all miss him.
ERIC:
I never really knew my father.
GRIMSBY:
He knew about people. But no
matter who or what they were,
he accepted them.
Eric turns away from the portrait to see one of him and
Ariel on their wedding day. She looks radiant. Eric stares
at the portrait.
ERIC:
I've been such a thoughtless
beast. I have to make it up to
both of them, if they'll let me.
GRIMSBY:
So, why did you say those
things about your baby?
ERIC:
What things did I say?!
No one will tell me!
Eric stares at Grimsby with incredulity, then looks forlorn.
He speaks in measured tones.
ERIC:
What did I say?
Grimsby shakes his head ruefully.
GRIMSBY:
You don't want to know. You
never want to know. What do
you really recall?
ERIC strains to think.
ERIC:
Nothing. It's like a haze.
Eric rubs his head as Carlotta enters with a tray.
CARLOTTA:
Here is some lunch for you.
Carlotta is equally distant as she clunks it down.
CARLOTTA:
Even strangers are nicer to
your wife and daughter than you are!
ERIC:
What do you mean?
CARLOTTA:
That elegant Mephisto came
by to apologize for his
actions. You never did!
GRIMSBY:
He came by? When?
CARLOTTA:
Just as Ariel was going sleep,
Mephisto came by to help put
them to bed.
Grimsby puts it together, then steels himself.
GRIMBSY:
Baby.
No reaction from Eric. Grimsby continues.
GRIMBSY:
Baby. Baby, baby, baby, baby,
baby, baby, baby, baby, baby.
Eric's faces screws up; he's angry.
ERIC:
Stop that! (Pause) You're
giving me a headache and I
hurt enough as it is.
Grimsby turns to Carlotta.
GRIMSBY:
When did you last see the Princess
and her child?
Carlotta ponders the question.
CARLOTTA:
Actually, I can't recall seeing
her at all since last night.
ERIC:
She always says `good morning'
to everyone, every day.
GRIMBSY:
Eric, I think Ariel and Melody
have been kidnapped!
Carlotta gasps in shock.
ERIC:
Kidnapped? What? By who?
GRIMSBY:
Mephisto. He did something to
you so that every time someone
said the word `baby', you got angry.
Eric heads over to the window, flings apart the curtains and
opens the panes. He sticks his head out.
ERIC:
Captain Prescott! Captain
Prescott!
PRESCOTT (VO):
Aye, Prince Eric?
ERIC:
How long will it take to
prepare the ships for sailing?
PRESCOTT:
About an hour.
ERIC:
You've got 30 minutes!
Eric shuts the window smartly, and then proceeds to his
room. Grimsby follows him through the castle.
GRIMBSY:
What are you going to do?
ERIC:
What I should have done in the
first place. What I hope I can
do now. We are going to find
Ariel and Melody.
Eric launches into song while he prepares for his voyage.
ERIC:
I made a mistake
I shouldn't have done it
My faith in myself has been shaken
I'm not sure what happened
Now I look like a fool
I really got myself taken
I won't ever let that happen again
But the damage I've done is severe
All that I've worked for so hard is now gone
Poof! It just disappeared.
Now the time has come
To do the right thing
That thing which should have been done
I'll not make excuses
I know I was wrong
This task is one I won't shun.
CUT TO:
EXT: DAY: THRONE ROOM
In Triton's throne room, he slams his fist onto the table.
Music goes into a vamp in the background. Around him are
soldiers, his daughters and other Atlanticans.
TRITON:
This is what I should have done
in the first place. What I hope
I can do now. We are going to
find Ariel and Melody.
Triton goes into his song, handing out orders while he
prepares for his journey.
TRITON:
I made a mistake
I shouldn't have done it
My faith in myself has been shaken
I'm not sure what happened
Now I look like a fool
I really got myself taken
I won't ever let that happen again
But the damage I've done is severe
All that I've worked for so hard is now gone
Poof! It just disappeared.
Now the time has come
To do the right thing
That thing which should have been done
I'll not make excuses
I know I was wrong
This task is one I won't shun.
We intercut between the palaces. They are doing the same
thing at the same time. Eric's tone is remorseful for his
actions. Triton is angry with the humans and will do what it
takes to wrest Ariel and Melody from their grasp.
ERIC:
I must make a brand new beginning
This time, I'm doing it smart
TRITON:
I've learned a hard lesson from all of this
I now must be strong of heart.
ERIC:
I won't be deterred from what I must do
Nothing will stand in my way.
TRITON:
I'll do what it takes to accomplish this deed
Should it take me the rest of my days.
We have a non-duet duet, where each sings but not with each
other.
ERIC & TRITON:
I thought I was smarter than that
And now I am paying the price
I let people down with my failures
That certainly will not happen twice
What lies before me is such a tall order
I must make amends for my deed
If I even hope to correct all my errors
My only chance is to succeed
Now the time has come
To do the right thing
That thing which should have been done
I'll not make excuses
I know I was wrong
This task is one I won't shun
I just hope it's not too late
I just hope I'm not too late
As the music builds, we see both parties heading out to find
and rescue Ariel and Melody; Triton in his conch shell
chariot, pulled by three dolphins, Eric piloting his ship.
EXT: DAY: OCEAN.
Mephisto's ship is cutting through the water.
CUT TO:
INT: SHIP: DAY
In the ship's brig, Ariel is at the door, nervously trying
to pick the lock, holding Melody. We hear the outer door
click. Ariel retreats as Mephisto comes in, smiling broadly.
He has two burly sailors with him. The brig has a "visitors"
area and the bars are set back to allow opening of the cell
door.
MEPHISTO:
And how are my guests?
Ariel grabs a stool and throws it one-handed against the
bars. It smacks hard. The sailors recoil. Mephisto grins.
ARIEL:
How dare you! I demand that
you release us immediately!
MEPHISTO:
Fine. Go.
Mephisto points towards the porthole. Ariel looks out to see
a vast expanse of empty sea.
MEPHISTO:
Provided you know the way home.
Ariel turns back, seething with outrage and anger.
ARIEL:
When my Eric gets to you...
MEPHISTO:
Oh, the Prince. Is this the
same Prince who declared his
complete hatred of you and your
child? Where is he? If he doesn't
come after you soon, he never
will. And even if he did, he
couldn't find us. Besides, I
have plans for you and yours.
Mephisto glares menacingly.
ARIEL:
What did you do to him?
MEPHISTO:
Just let him express his true
feelings. But enough of him. On to us.
As you know, most people consider
mermaids a figment of their
imagination. What if I was able
to give them a mother and child
combination? The money, the fame.
Mephisto goes into the hall and returns with the worst-
looking mermaid costume. The tail is ratty and shabby and it
looks like a costume (and it's also in Ariel's colors).
MEPHISTO:
We used to have a fake one.
You will wear this and your
baby.your baby will be the
real one!
One sailor opens the door, the other hurls the costume in.
It lands with an unpleasant thud. Ariel shields Melody.
Ariel is scared but defiant.
ARIEL:
And if I refuse?
MEPHISTO:
Well, you're not all that
necessary to the plan. It
would make it work better,
but should you have an, oh,
"accident", either way works
for me.
Mephisto smiles wickedly, then turns to go. Suddenly, a
piece of hardtack sticks hard in the wall and close to
Mephisto's head. Mephisto is impressed as he turns back to
Ariel. He smiles grandly, turning to one of the sailors.
MEPHISTO:
Cut her rations.
Mephisto troops out, the sailors following. Ariel ponders
her situation.
ARIEL:
Eric. Oh, Eric.
Ariel moves to the porthole to get some air.
ARIEL:
If it was just I, I would
Dive right it. But I have
you to think about, my
precious Melody.
As she looks at the sea, a bird swoops down at her. She
backs up as the bird crashes into the porthole. His upper
body squeezes in and he's trapped. It's Scuttle, with loose
feathers fluttering about.
SCUTTLE:
How ya doin', sweetie?
Scuttle notices the rather seedy nature of the room and
Ariel's bedraggled condition.
SCUTTLE:
Traveling light?
Ariel is relieved to see a familiar face, even if it is
Scuttle. She moves closer and speaks in hushed tones.
ARIEL:
Scuttle, I've been taken
against my will! Me and
Melody! Help us!
Even Scuttle understands that.
SCUTTLE:
Right! (Holds for a moment)
What do you want me to do?
ARIEL:
Find Daddy or Sebastian. Tell
them where we are so they can
rescue us.
SCUTTLE:
What about the Prince?
Ariel looks downcast; Scuttle doesn't know.
ARIEL:
I..I can't rely on him anymore.
The words are so painful to say, they come out slowly as
Ariel understands their import.
SCUTTLE:
I'll get right on it!
Scuttle struggles against the porthole, wriggling about.
ARIEL:
How will you find us?
SCUTTLE:
As a bird, I have an uncanny
sense of direction and location.
Seeing Scuttle in trouble, Ariel pushes on his head and
forces Scuttle out with a "ploip" sound. Scuttle splashes
into the water, and then rights himself. Scuttle looks up at
Ariel as she peers through the porthole.
SCUTTLE:
Don't worry, sweetie! I have
everything under control.
Scuttle takes off, but makes a series of loops, uncertain of
his bearings. Ariel sighs; she hopes her plan works, but
goes back to work on the lock just in case.
CUT TO:
INT: DAY: SHIP
Mephisto strides into the galley to see the troupe in a
circle. They are not happy as they approach Mephisto
menacingly. Mephisto senses their discomfort.
MEPHISTO:
Yessssssssss?
SAMPO:
Is it true? You kidnapped the
Princess and her baby?
MEPHISTO:
That baby is a real mermaid!
GREG:
Her mother is a real princess!
HAMMAL:
If they catch us..
Hammal puts one arm under his neck and proceeds to "hang"
himself.
MEPHISTO:
They aren't going to catch us.
IRONGUT:
The Prince isn't going to stand
idly by.
MEPHISTO:
They aren't going to catch us.
TOM, DICK & HARRIET:
He'll hear stories if we try to
let her perform.
MEPHISTO:
THEY AREN'T GOING TO CATCH US!
FELICITY:
He won't give up.
MEPHISTO:
THEY AREN'T GOING TO CATCH US!
Mephisto is seething in rage. They don't have his vision.
SAMPO:
Well, I'm not going to wait for
that to happen. We're turning this
ship around.
As Sampo charges Mephisto, he dodges her lunge and touches a
spot on her back. Sampo goes down in great pain. Mephisto is
raging.
MEPHISTO:
This is the thanks I get? Let
us not forget the miserable lives
I saved you all from. Slaving
away in mines, working in stables,
languishing in jail? I was the one,
the only one, who saw your greater
potential. I had the vision and
foresight. So, If this isn't what
you want, then YOU leave. As for me..
As Mephisto sings, the other members of the troupe try to
incapacitate him, but he eludes their clutches with ease and
aplomb, as if they weren't there.
MEPHISTO:
Everything I've ever wanted
I had to fight to obtain
I had to be quick with my feet and my fists
And equally quick with my brain.
Felicity throws knives at Mephisto to pin him down, but he
deftly moves just ahead of them. Felicity sends a barrage,
but he positions his body so they stick in the hull and not
to him. He then leaps out of the way to reveal the outline.
MEPHISTO:
I have a great nose for talent
And seeing the weakness in Man
When all of it coalesces and mixes
I'm close to achieving my plan of
Greg and Hammal try to catch Mephisto in a pincher movement,
but he disappears at the last moment, leaving them stuck
together and enmeshed.
MEPHISTO:
Mastery
Mastery
King of all I survey
No one can touch me
No one comes near
It's best to get out of my way.
Lizard Lad tries to slither about his ankles, but another
series of swift movements keep Mephisto ahead of him.
MEPHISTO:
I'm tired of being a doormat
Getting trampled and pushed to the side
Don't I have feelings of anguish?
My courage and daring and pride?
Sampo tries to wrestle him to the ground. Mephisto not only
eludes her grasp, he cuffs her into arm bracelets. The
design prevents her from breaking free using her strength.
MEPHISTO:
But now I have fate when I want it
I can feel in within my grip
I won't be deterred from obtaining my goal
From my fingers will not be ripped my
Irongut tries to blow flames at Mephisto, but he clamps down
on his mouth and the flames shoot out of his ears, singeing
the others. Mephisto pushes them all aside as Irongut sticks
his head in a bucket of water.
MEPHISTO:
Mastery
Mastery
The power of hope and gloom
My list is checked twice
So you'd better be nice
Or else you'll find yourself doomed
Mephisto looks into a hand-held mirror, preening with pride.
The troupe tries to sneak up on him, but he reflects a shaft
of sunlight, blinding them.
MEPHISTO:
Don't try to fool me with flattery
Or cajole me with platitudes weak
The Road to Success goes straight up a hill
And I'm finally reaching my peak
Tom, Dick and Harriet launch themselves at Mephisto like
human cannonballs, but he swats them away like mosquitoes.
MEPHISTO:
There's nothing that I will not do
For my ends justify my means
If you found you were I, wouldn't you do the same?
You'd want to achieve your dreams of
Mastery
Mastery
There's nothing else that fits the bill
Beauty and grace
I guess have a place
But so does my might and will
And it's all because I possess
Mastery
The troupe gangs up on Mephisto and seemingly smothers him
under a massive dog pile. They learn that he has escaped
them again and he hurls a fishing net atop them, adding to
the confusion.
MEPHISTO:
Any more questions?
He overlooks his troupe, which are unable to defy or
overpower him, struggling to free themselves from the net.
Mephisto leaves, his coat swirling about him.
MEPHISTO:
On to Boldoni!
CUT TO:
EXT: DAY: SHIP
Establishing shot of Eric's ship as it cuts through a sunset
sea, reflecting oranges and reds off the surface. We see a
second ship, behind and farther back.
CUT TO:
INT: DAY: SHIP
In the Captain's Quarters of Eric's ship is Eric, Captain
Prescott, Grimsby and another sailor, who pour over a map of
the region.
ERIC:
Where could he go?
PRESCOTT:
The nearest port is Boldoni,
but they could push on to
Port Mahi, another half-day's
sailing, depending on the weather.
Eric mulls for a moment, contemplating the map.
ERIC:
If I was he, I'd be feeling
very sure of myself, having
set up a situation where any
pursuit might be delayed. Enough
of a delay for him to get to
the nearest port. Captain.
Prescott snaps to attention.
ERIC:
Signal the other ship to head
to Port Mahi, then come back
to Boldoni to meet us. We're
going to Boldoni.
CUT TO:
EXT: NIGHT: PORT
The city of Boldoni is a typical seaport town, filled with
raucous people and the standard unpleasant mixture of
cutpurses, inebriates and other dangerous types. Despite the
hour, there is still a bustle. Mephisto's ship is moored.
CUT TO:
INT: NIGHT: SHIP
The troupe is doing much grumbling, owing to the nature of
their cargo.
FELICITY:
This is madness. We have to do
something, or we're doomed.
SAMPO:
We have got to get her free, here
in Boldoni. There must be someplace
or someone to turn to.
GREG:
All we would have to do is get her
out of the ship or the building. I'm
sure she could make her way to
the police or..
LIZARD LAD:
But would they believe she's
a princess? With a merbaby?
HAMMAL:
Something's better than nothing.
IRONGUT:
I have an idea. During my fire
eating act, I could catch something
on fire. In the confusion, say,
Felicity and Sampo could get the
Princesses out of here.
The troupe looks at each other. It's a terrible plan.
Irongut senses this and is irked. No one else is trying.
IRONGUT:
Well, you come up with something.
But it better be soon.
CUT TO:
Ariel, in the brig, has struggled to put on the costume. It
is ugly and bulky and looks very bad. She is sitting on a
stool, looking at Melody, sleeping away in a wicker basket.
Mephisto enters, grinning, as two burly sailors accompany
him. MEPHISTO unlocks the brig and enters.
MEPHISTO:
It is good you've come to your
senses. Things will work out for
the best.
ARIEL:
What stops me from calling for help?
Mephisto reveals a horrible mouth gag (like in "Silence of
the Lambs"). Before Ariel can react, one sailor has the gag
about her head and locks it tight. The other grabs her lower
fins. Ariel struggles against it, but cannot get it off. She
can only make sounds.
Ariel then pushes against the sailor on her feet, shoving
him against the wall. He was unprepared for this repulse and
goes reeling. The sudden shift in weight pulls down the
first sailor as Ariel crashes to the floor. Both sailors
conk their heads and fall back and away.
Ariel heads to the bars as the sailors get to their feet.
Seeing her against the bars, they charge her, one high, one
low. Ariel hoists herself high and the both miss her, their
burly arms getting stuck between the bars.
Ariel sees Mephisto cradling Melody. Ariel tries to totter
over, but she can't balance on the fin and crashes to the
floor in front of Mephisto. Quickly, Mephisto puts wrist
cuffs on her. Ariel is crestfallen.
MEPHISTO:
No one will question me!
(To the sailors) Bring her.
CUT TO:
From the perspective of the troupe, they see Ariel manacled
and taken from the brig. Ariel struggles as Mephisto follows
behind. The troupe retreats.
GREG:
We have got to do something!
FELICITY:
Then let's go with Irongut's
plan. Sampo and I will be
backstage at that point. We
can do it.
LIZARD LAD:
You have to. You'll know what
Mephisto will do once he finds
out. If we don't succeed together,
we'll all swing together!
SAMPO:
I can handle him!
Sampo grabs a solid chunk of wood and proceeds to crush it
to pulp between her hands, leaving a pile of dust. Sampo
wipes her hands.
CROSSFADE
Shot of hands clapping, we are in a performance hall.
Mephisto is on stage, greeting everyone. The audience looks
rather rough and surly.
MEPHISTO:
Welcome one and all to the
Circus of the Great Mephisto,
presenting people and acts
you have never seen before!
The curtains part to reveal Felicity. The audience recoils
in shock at her beard. Sampo comes on, flexing her muscles.
Then, brought in by Irongut, Hammal and Lizard Lad is Ariel.
She is on a sedan chair and is brought regally. What the
audience can't see is that she is chained to the chair to
prevent any escape. The chair is put down. The audience
gasps as Ariel waves her fake flukes and cradles Melody.
Then, from the audience.
SOMEONE:
Fake!
The crowd gasps. Mephisto is unmoved.
MEPHISTO:
Ah, a doubter. One who feels
we deal in chicanery and bluff.
One who does not trust his eyes!
Suddenly, Mephisto wrenches Melody from Ariel's arms and
presents her to the audience. Ariel lunges, but is
restrained by the chains. They rattle noisily as Mephisto
showcases Melody, her fin flapping away.
MEPHISTO:
Then explain this! Her mother
and she were captured off the
Azores. Do not let her appearance
fool you! She is gagged for your
safety. Once she sings her siren
song, we would all be doomed! I
did what brave Odysseus did and
poured wax in my ears to resist
her evil charms and spells.
Melody is returned to Ariel, who clutches her tightly.
Felicity and Sampo go off stage, but Ariel remains. Irongut
crosses over and sits in a chair.
MEPHISTO:
And she must be constantly guarded
against any escape!
While Irongut sits, Greg comes out and places a small table
in front of Irongut. Greg then proceeds to set a table for
Irongut, with a checkered cloth, a set of dishes, utensils,
a couple of glasses, a candleholder with lit candle and a
small vase with a rose in it.
As Irongut remains transfixed on Ariel, he proceeds to
devour the tableware. Ariel cannot avoid the gaze of the
audience as they are uncertain whom to look at. Melody's
tale is flapping about and she coos, which is drowned out by
Irongut's noisy eating.
Backstage, Sampo and Felicity stand at the ready to put the
plan into action, Felicity fingering her lock pick.
Onstage, Irongut has devoured everything and pretends to
have indigestion. He pulls out a pair of wands and sets one
aflame, then begins to eat fire.
FELICITY:
Get ready. This is it!
Before Irongut can set the curtains aflame, a MAN leaps from
the audience, wrenches Melody from Ariel and then heads to
the door.
Distracted, Irongut sends a sheet of flame at the Man,
scorching his rear. The Man reacts, but still heads to the
door. Felicity comes onto the stage and flings knives to cut
the Man's suspenders, causing his pants to fall to his
ankles. Just as he nears the door, he sees Greg hanging
upside down from the catwalk above the door. The Man stops,
holding a happy Melody. Greg smiles.
GREG:
I'll take that!
He grabs Melody and retreats. We hear a deep-throated AHEM!
The Man turns to see Sampo. Actually, Sampo's fist as it
zooms into the camera. We hear a tremendous thud.
CUT TO:
EXT: STREET: NIGHT
We see the man go flying out the doors as if he were rocket
propelled. The doors go flying off their hinges as well.
CUT TO:
INT: THEATRE: NIGHT
There is a healthy circle of distance around Sampo. Roaring
in anger, the theatre clears out, people crashing through
doors and windows. Greg tries to hand Melody back to Ariel,
but Mephisto appears and takes Melody. As the last straggler
flees, the local police come in.
OFFICER:
All right, what's..this..?
The Officer sees the hulking presence of Sampo and is
stunned. He walks around her and goes to Mephisto.
OFFICER:
You. Out. Now.
CUT TO:
EXT: SHIP: NIGHT
A partial moonlit night shows Mephisto's ship cutting
through the still waters.
INT: SHIP: NIGHT
The troupe is sitting around a table, commiserating.
GREG:
What went wrong?
HAMMAL:
Nothing. It was just an
unforeseen event.
IRONGUT:
It was all so perfect!
FELICITY:
We were all set and ready to go.
Sampo slams her fist onto the table. Everything jumps.
SAMPO:
Blast the luck!
TOM, DICK & HARRIET:
We'll have to do better next time.
MEPHISTO:
Oh, there won't be a next time!
All turn to see Mephisto, holding Melody as if it were his
own daughter.
MEPHISTO:
I knew of the plan to free the
Princess and her child. That
guy was a plant to make certain
Irongut didn't set the place
afire to let Felicity and Sampo
rescue everyone.
Mephisto walks among them, Melody giggling in a playful
manner, to contrast his stark evil. The troupe is shocked at
his knowledge of events. He stops at Sampo.
MEPHISTO:
And no one is going to grind my
head into sawdust, either. It now
doesn't matter what happens. We all
succeed together or we all swing
together. I suggest you opt for the
former!
Mephisto heads out. Everyone is sufficiently revolted and
stunned at the bizarre turn of events.
CUT TO:
INT: SHIP'S BRIG: NIGHT
The door slams. Ariel sits in the brig, cradling Melody, who
coos and makes bubbles. She has absolutely no idea of what
is happening in her life. Ariel takes solace in the fact
that she still has Melody, but her eyes brim with tears over
her current plight, seemingly insoluble.
She begins to sing. It is a slower, more melancholy version
of the song she sang at the beginning of the picture. As she
sings, some members of the troupe sit outside the door,
listening in and are moved by her situation.
ARIEL:
How long have I been in this place?
It seems like I'll never be free
I'm now in a totally strange world
But at least I have you with me.
I don't know what lies before us,
And I'm staying right, near your heart
You'll not be abandoned or left alone,
We've got each other, and we'll never part.
For no matter where I may go,
My heart belongs to the sea
But now, I'm trapped upon this ship
And this is where we must be.
Ariel breaks into heart-wrenching sobs. Outside the door,
the troupe is also teary. Sampo stands up.
SAMPO:
That's it. I don't care what
it takes, but we're getting
them off this ship.
FELICITY:
But how can we do this? Our
last plan went wrong?
HAMMAL:
We need one that's foolproof.
GREG:
I hate to say this, but there's
a traitor in our midst.
TOM, DICK & HARRIET:
How can you say such a thing?
LIZARD LAD:
Did you hear what Mephisto said?
He knew too much for it to be mere
happenstance. He was informed!
HAMMAL:
But that means we can't make any
plan, as Mephisto would know.
FELICITY:
I want to know how the Princess and
the baby were taken in the first place!
HAMMAL:
If they had to scale a wall..
Hammal turns to Greg and says nothing more. Greg gets it.
GREG:
Oh, I see, blame it on the Fly Guy.
Well, Felicity could have driven
knives into the wall and Tom, Dick
and Harriet could have clambered
up to drop a rope so Hammal could
have captured them!
TOM, DICK & HARRIET:
Lizard Lad could have slithered
through a small open window!
The accusations start to fly hot and heavy as everyone
challenges everyone else. Sampo has had it.
SAMPO:
(YELLING) Enough!
Everyone stops and faces her.
SAMPO:
The last thing we need is
disharmony now. We have to
come up with a plan.
GREG:
Wrong! We can't make a plan.
Greg views everyone uncertain. Felicity then clicks.
FELICITY:
But we could make several plans.
Sampo gets it.
SAMPO:
That way, if one is detected,
we have another one to go to.
TOM DICK & HARRIET:
And permit one of them to succeed.
HAMMAL:
But what if we happen to try all of
them at once? This would look bad.
IRONGUT:
Anything's better than waiting for
the consequences.
LIZARD LAD:
Let's break into smaller groups.
Keep it to two or three people.
GREG:
We strike tomorrow! Just, who will
be the one to strike? I know nothing.
CUT TO:
EXT: DAY: SHIP
Eric's ship is anchored outside the Boldoni harbor. Between
the ship and the shore, a launch is being rowed furiously.
Eric stands up and waves at the ship, yelling at them.
ERIC:
Get ready to make sail!
Get ready to make sail!
CUT TO:
Eric clambering on board as the longboat is hauled up on the
davits and the other sailors come up. Eric heads to Captain
Prescott.
ERIC:
They were here yesterday
and set sail on the midnight
tide.
PRESCOTT:
Their next stop is Port Mahi.
They're not that far ahead of us.
Prescott barks out orders as the ship makes sail, then turns
to console Eric.
PRESCOTT:
We'll get Princess Ariel
and Melody. Don't worry.
Eric heads to the prow of the ship, and stands looking out
at the vast reaches of the sea.
ERIC:
I'm coming, Ariel.
A long shot shows Eric and the figurehead of his ship, which
looks remarkably like Ariel. A slow crossfade has it morph
into Ariel, still trapped in the brig with Melody.
We hear a "hsst". Ariel looks about, trying to find the
source of the sound. We hear it again. As she turns, she
sees a note dangling from the porthole. She slowly moves
towards it, then takes it. She opens it and reads.
ARIEL:
We are getting you off the
ship. Be ready.
As she reads, a menacing shadow on the wall crosses over
ARIEL. She turns in shock and horror. Before she can react,
the scene is swallowed up in black.
CUT TO:
INT: SHIP: DAY
Greg is dealing with a longboat and speaks in hushed tones.
GREG:
We'll have to make certain
they have enough water and
food. It will take some time
to get to the nearest port.
From underneath the cover, Lizard Lad pokes out his head.
LIZARD LAD:
We may be expecting too much
to have the princess row. She
could head farther out to sea.
We hear the click of rifle hammers. Greg and Lizard Lad turn
to see a phalanx of sailors brandishing rifles with bayonets
at them. One motions for both of them to come along.
CUT TO:
In the galley, Tom, Dick & Harriet are scuttling about the
lower shelves, looking for items.
TOM:
Here's some lovely grease.
DICK:
I don't think they'll miss
this bucket.
HARRIET:
I've got a sack full of
provisions for them.
Suddenly, a bayonet appears and stabs the floor in front of
Harriet. All three turn to see more sailors with rifles.
They begin to scamper under their legs and create confusion.
However, they are captured when a stew pot falls atop them.
CUT TO:
Felicity and Irongut are poking around the armory, Felicity
picking the lock.
IRONGUT:
I could have chewed through
that easily.
FELICITY:
We need to be subtle and not
draw attention to ourselves.
We hear a satisfying "click" as the lock is breached.
Felicity smiles and opens the door only to see a bristle of
guns and bayonets. Irongut tries to shut the door on them.
Felicity turns to see more sailors in the hallway. She is
chagrined.
IRONGUT:
Run! Run! I can hold.
Irongut looks up to see the fruitlessness of the situation.
He releases his pressure on the door. Those troops tumble
out.
CUT TO:
Hammal and Sampo are skulking through the ship, drawing
attention to themselves in an attempt not to draw attention
to themselves. Sampo is constantly looking about.
HAMMAL:
Isn't it a bit early to be
breaking them out of the brig?
SAMPO:
The more confusion, the better.
It works in our behalf. Besides..
As Sampo's hand pushes along the wall, it touches a coat.
MEPHISTO:
Besides, it won't work anyway.
Sampo turns to see Mephisto. Sailors come out of nowhere,
ready to fight. Sampo gives them what for as sailors fly
everywhere. As she turns her back to fight more, Mephisto
touches the spot. Sampo crashes to the floor in pain.
Trussed up in chains that she cannot break, Sampo is dragged
to the brig.
CUT TO:
The brig is filled with the troupe. Ariel is in the corner,
chained to the hull. The troupe rushes the gate, but are
repelled by the sailors and their weapons. Sampo is thrown
in and the door clangs with a disturbing thud.
GREG:
How could you have found out?
MEPHISTO:
Because I am the Great Mephisto.
You cannot fool me. Besides, the
first rule of performance is
always have a plant. Isn't that
right?
Mephisto looks down the gangway and Hammal enters.
HAMMAL:
That is so right, sir.
The troupe rushes the gate and bash against it uselessly.
HAMMAL:
You see, I saw the opportunity
and knew we had to act on it.
None of you have the vision and
foresight to plan ahead.
Mephisto leans in.
MEPHISTO:
I'll deal with you traitors
later. (To ARIEL) As I said,
you weren't completely necessary
to the plan, so you will join
your compatriots at the last
curtain call! I never liked
any of you FREAKS!
Mephisto starts to laugh. Then, we hear a cannon report.
CAPTAIN:
All hands on deck! All hands
on deck! We're under attack!
The sailors start to scramble, but Mephisto remains calm. He
fairly waltzes out. The brig door slams with finality.
Everyone is crestfallen. Greg looks to Ariel.
GREG:
Some rescuers we turned out to be.
TOM, DICK & HARRIET:
Maybe we can get out through
the porthole.
They form a human tower to get to the porthole. Harriet puts
her head out and we hear a shot. She pulls back in too
quickly and they go tumbling.
TOM:
Are you all right?
Harriet checks herself. She's OK. We hear a voice, calling
from outside.
VOICE:
That was your only warning.
Next time, I won't miss.
LIZARD LAD:
Now what? This is the end.
(To ARIEL) You have to believe us,
we wanted none of this, but we
seem powerless against Mephisto.
FELICITY:
Not completely.
All turn as she pulls a lock pick out of her beard. Felicity
goes to the cell door, where she gets it open in nothing
flat. Going to Sampo, her locks are easily opened. When she
goes to Ariel, a look of consternation crosses her face.
FELICITY:
These are the newer locks. I
don't know if I can get it.
Felicity tries, but the pick breaks off in the lock. Ariel
and Felicity are crestfallen.
SAMPO:
The time for finesse is over.
Sampo grabs the chain by the wall and clenches it tight in
both hands. Sampo strains. The chains hold tight. SAMPO does
not give up as her muscles ripple and wobble.
GREG:
Sampo, it's not working.
It's OK. You did your best.
SAMPO lets out a primal scream building from deep within her
and culminating in a ferocious roar of defiance. One of the
links slowly bends apart, snapping the chain. Ariel is free.
IRONGUT:
Where's your baby?
ARIEL:
Mephisto has Melody in his
quarters.
Greg pulls everyone together.
GREG:
This time, our plan will work.
CUT TO:
INT: SHIP: DAY
There is a guard on the door. Sampo crashing through the
door like a raging bull. The splintering wood knocks the
guard out.
Everyone goes to get their props: Felicity gets her knives,
Irongut his fire tools. Greg removes his gloves and takes
off his shoes. Sampo stands with Ariel, and notices the
chain still dragging off her ankle.
SAMPO:
I could pull that off you.
ARIEL:
Later. I want my Melody.
The troupe meets in the hallway.
IRONGUT:
We'll distract the sailors,
you two get the baby.
CUT TO:
EXT: SHIP: DAY
The Captain pilots as Mephisto holds Melody.
CAPTAIN:
I'll not join this ship in
Davy Jones' Locker.
MEPHISTO:
You won't. None of us will.
Just prime your cannons and
let them get closer. (Towards
Eric's ship) You're stronger
than I imagined, Prince, but
it won't do you any good.
CUT TO:
Eric's ship is closing in on them.
ERIC:
They responded to the warning
shot. They're heaving-to.
PRESCOTT:
But I can bet you they're
getting ready for a volley
against us. I would.
ERIC:
Prime the cannons, but fire
on my command only. I do
not want to risk hurting
Ariel or Melody.
ERIC puts the telescope to his eye.
CUT TO:
ERIC'S POV THROUGH TELESCOPE
Mephisto holds up Melody with one hand and waves pleasantly,
then fake drops Melody. He smiles knowingly.
ERIC:
He may have us over a barrel.
Fire another shot across her
bow.
A cannon responds.
CUT TO:
The splash of the cannon shot comes perilously close to the
bow of the ship.
CAPTAIN:
That was close.
MEPHISTO:
No, it wasn't. FIRE!
Cannons belch out. Two shots hit, one tearing a hole in the
main sail, the other shearing off one of the spars.
MEPHISTO:
(Yelling at ERIC)
Work on that one.
Suddenly, we hear cannon fire and the ship is rocked, but
nothing came from Eric's ship. The Captain and Mephisto turn
to see Eric's other ship, which fired.
CUT TO:
Eric sees what's happening and barks out orders.
ERIC:
Signal the other ship. Tell
them not to fire.
Their shots were more direct, and parts of the ship catch
fire. One penetrates the magazine and the powder is in
danger of exploding. Chaos reigns. In one of the entries,
the troupe stands at the ready.
GREG:
Charge!
They leap out. Felicity sends a barrage of knives, which
pins sailors to masts, hulls and the deck. Tom, Dick and
Harriet become rolling tumblers and trip up everyone. Lizard
Lad flings sailors overboard. Irongut shoots out flames, but
catches a sail on fire.
Sampo slams sailors into the water as she and Ariel make
their way to the bridge. Ariel pauses for a moment as she
looks out, then brightens up.
ARIEL:
That's Eric's ship. He's
come for me. Eric! ERIC!
Ariel starts to jump up and down to get Eric's attention.
Sampo comes back to grab Ariel as the flames start to leap
onto the deck and smoke billows. Greg shinnies up a mast to
grab a rope. Swinging out, he heads for Mephisto and Melody.
Hands extended, Greg sails through the smoke and zeroes in
on his target. Mephisto sees him at the last moment and
ducks. Greg careens wildly and, on the return trip, knocks
more sailors into the sea.
The flames are bursting onto the deck in patches. Sampo and
Ariel deftly avoid the flames and the sailors, who are now
being forced off the ship. They both look up to see Mephisto
heading to his quarters. They follow, with Ariel leading.
CUT TO:
On the other ship, that CAPTAIN is looking through a
telescope at Eric's ship.
CAPTAIN:
I just can't seem to make out
the signal flags. All that smoke.
Another SAILOR takes a look.
SAILOR:
I can see the "fire" flag, sir.
CAPTAIN:
He wants us to send forth another
volley. Turn the ship about! We'll
give them what for!
CUT TO:
OVERHEAD SHOT.
Eric's ship is at the upper right-hand corner, Mephisto's
flaming ship is in the middle and Eric's other ship is in
the lower left-hand corner. Scuttle floats into view and
circles. Just off Eric's ship, the water bubbling.
CUT TO:
Triton comes up to see the stern of Eric's ship, unaware of
what the problem is. Eric does not fire as he takes another
fusillade. Triton, disgusted, submerges.
CUT TO:
MEPHISTO'S QUARTERS
Mephisto is scrambling about, while Hammal is holding
Melody, who is shrieking and crying. Hammal has no idea how
to stop her.
HAMMAL:
Perhaps this wasn't a good idea
after all.
Mephisto turns on Hammal.
MEPHISTO:
Perhaps you should shut up.
The door bursts open. They look up.
CUT TO REVERSE:
It is the hulking shadow of Sampo, shattered door in hand,
which she casts off to the side. Ariel squeezes in beside
her.
Mephisto grabs Melody from Hammal and shoves him towards
Sampo. Her fury is unmatched as she pummels Hammal, but he's
the Rubber Man and the punches have no effect. Sampo is
stunned but redoubled her efforts.
Hammal lets Sampo give him a solid hit. He reels back and
bounces off the wall. Curling up, he becomes a ball and
slams hard into Sampo.
Ariel takes on Mephisto, who smiles cruelly. Melody howls as
they circle the desk.
MEPHISTO:
So it gets down to this.
You never were needed.
ARIEL:
Wrong! It was you who were
never needed or wanted.
Ariel starts to leap over the desk. Mephisto runs to his
right. Ariel spins about, leading with her chain leg.
Mephisto reacts too slowly and is caught on the ankles. He
goes down, Melody pitching into the air. Ariel reaches out
and catches Melody. Mephisto struggles to his feet.
MEPHISTO:
Let me have it!
SAMPO:
Then here!
Sampo has tied up Hammal and pitches him at Mephisto. Both
go down.
SAMPO:
(To ARIEL) Get out of here!
CUT TO:
EXT: SHIP: DAY
Triton is at the stern of the other ship, near what would be
Mephisto's quarters. He fires a massive bolt from his
trident. The ship bursts into flame and smoke.
Ariel, Melody and Sampo are blown out of the quarters and
onto the deck. Ariel holds on to Melody as they pitch about.
The ship is a ball of fire. Sampo grabs them both and they
head to the railing.
SAMPO:
You'll have to jump!
ARIEL:
But I can't swim!
Sampo stares at her for a moment.
SAMPO:
You're a mermaid and you
can't swim.
Ariel looks sad.
ARIEL:
I'm not a mermaid anymore.
An explosion lurches the ship. The shudder throws Sampo into
the water. Ariel looks down after her, holds Melody close
and prepares to jump in. She sees Triton come into view.
ARIEL:
Daddy, help us!
Triton raises his trident and envelopes them in a ball of
energy. As he lifts them off the deck, Mephisto appears to
see them rise up. Heading over to the mini-deck cannon, he
primes it to fire at Triton, who cannot see him. Ariel tries
to warn Triton but he cannot hear her.
CUT TO:
Eric, through his telescope, sees the situation. Grabbing a
sailor's rifle, ERIC squeezes off a shot.
ERIC:
Make it count.
Mephisto is wounded, but recovers to aim at Triton. Flames
are licking about him. He is a maniac.
MEPHISTO:
No one shall have her. You
must all die! DIE!
Eric grimaces. He looks about for another rifle.
ERIC:
Give me another rifle! He's
getting ready to fire!
FIRST MATE:
Fire! Fire, fire, fire!
Eric turns in horror. He was misunderstood.
ERIC:
Nooooooooooooooooo!
CUT TO:
The Captain of the other ship.
CAPTAIN:
Fire!
Both ships fire simultaneously. Mephisto's ship explodes,
lifting out of the water and breaking in two. Smoke spreads
outward, enveloping all. The ship sinks rapidly. All we see
is debris, including Mephisto's coat and Hammal's turban.
At Eric's ship, the crew and troupe are brought on board,
wet and grimy. Eric looks out at the smoking wreckage,
stunned at the turn of events.
PRESCOTT:
Eric, I..
ERIC:
What have I done?
Eric turns to the people on his deck. He eyes the troupe
fiercely.
ERIC:
Take them below. I will
deal with them personally!
They are taken below. Eric views the carnage remorsefully
when we hear the water churning and boiling. All rush to the
side to see a bubble rising, phoenix-like, from the water.
Ariel and Melody are inside, safe.
Borne by Triton's trident, the glowing orb alights on the
deck and then disappears to free them. Triton rises up on a
fountain of water to deck level.
Eric runs to embrace both ARIEL and MELODY.
ERIC:
I though I had lost you both.
He then realizes how awkward it all is, considering what he
had done. He backs away and turns to see Triton, looking
most unpleasant.
ERIC:
Your majesty, I..
Before he can continue, Ariel interrupts, stepping in front
of Eric.
ARIEL:
Daddy, here is your grand-
child, Melody.
Triton stares at the merbaby with admiration and respect. He
looks up to see a very sad Ariel.
ARIEL:
Daddy, I need you to make
Melody a human.
Eric steps in.
ERIC:
Stop! Stop now!
Eric stares down Triton. Ariel recoils in confusion.
ERIC:
I will have my say! I have
experienced my first test and
...I have failed. I failed as
a monarch, I failed as a
husband and I failed as a
father. Ariel's happiness
means more to me than anything
else. But she won't find it here.
Feet or fins, it shouldn't make a
difference. But it did.
Eric turns to Ariel.
ERIC:
I am unworthy of your love.
It would be best if you
return to Atlantica, with
Melody. It's not fair to
you, or your father or to
Melody to remain on land.
She needs to be what she is
and what you truly are..
a mermaid.
Eric takes Melody from Ariel and moves to one side. He is
close, but gives the room for Triton to make the change.
Ariel is confused but cannot find the words to say anything.
Triton raises his trident. Ariel steels herself against the
transformation she doesn't want but knows is for the best
interests of Melody. She tries to put on a brave face, but
her trembling chin gives away her true feelings.
We see the trident charge up. We cut between the faces of
the crew and the people, preparing for the event. The energy
bolt glows and shoots from the trident. We hear the blast.
Ariel is aware nothing is happening. She opens her eyes to
see that the bolt has gone to Melody. A ball of white light
bathes Melody, too bright to be looked at. When it
disappears, Melody is a human baby.
Eric looks up, stunned. Ariel, who is relieved that she is
staying with Eric, runs to them both. Triton looks at Eric.
TRITON:
Ariel's happiness means more
to me than anything as well.
Eric faces Triton.
ERIC:
I will never fully comprehend
the level of your sacrifice
that you just made.
Triton puts an arm around Eric.
TRITON:
I believe you have.
He turns to go, then pauses.
TRITON:
But I want a proper presentation
of my granddaughter to me.
ARIEL:
Oh, we will. We most certainly
will, daddy.
Ariel is enraptured at her daughter and that her husband is
back. There are tears in both of their eyes. Triton smiles
to himself as he leaves.
CUT TO:
INT: SHIP: DAY
In the brig of Eric's ship, the troupe is in there, looking
pensive. Greg is pacing about, talking, but no one is
listening to him.
GREG:
We're doomed. There is just
no way around that fact. Plain
and simple. End of story. Doomed.
Doomed, doomed, doomed, doomed,
doomed.
LIZARD LAD:
You know, I'm getting to really,
really hate brigs. I've seen
enough in my life.
GREG:
The way things are going, your
life may not be much longer!
Doomed, I tell you.
The door opens and Eric enters, visible upset. Greg forces a
smile. Eric peers at them with a furious intensity. It's
bad. It's really bad and Greg picks up on this.
GREG:
(Under) We're horribly doomed.
ERIC:
The mark of a good ruler is
how he dispenses justice:
Swift, direct, immediate!
GREG:
(Under) Are we ever doomed.
ERIC:
Crimes against the Crown cannot
go unpunished, as it gives the
improper impression.
GREG:
(Under) We are incredibly,
totally doomed.
ERIC:
A message must be sent!
GREG:
(Under) Doomed beyond belief!
ERIC:
You will be escorted back to
my palace, where you will all
be summarily released.(To a guard)
Unlock the door.
The troupe is amazed as they are set free.
GREG:
We're not doomed?
ERIC:
Justice means nothing if
it's not tempered with
reason and mercy. The
Princess Ariel has inter-
ceded on your behalf,
explaining your valiant
efforts to free her.
Once at the castle,
you may go where you wish,
or stay in the Kingdom.
GREG:
No offense, your Majesty,
but we're not Kingdom folk.
We belong out on the seas,
traveling from town to
town.
LIZARD LAD:
Which we are unable to do, as
our ship is sunk.
The troupe is horrified at the presumptiveness of Lizard Lad
and tries to clam him up. Eric makes a wry smile.
ERIC:
I can do something about that.
ERIC leaves. The troupe relaxes. Sampo passes out.
CUT TO:
EXT: SHIP: NIGHT
We hear in the background a party or celebration of some
sort as the ship sails on.
Ariel is with Melody on the bridge. They are staring off
into the distance as a breeze whips Ariel's hair about. Eric
approaches from the rear, putting his arm around Ariel.
ARIEL:
That was a very brave deed
you did this afternoon.
ERIC:
It..it needed to be done.
ARIEL:
It must have been very
difficult to tell Daddy
that.
ERIC:
Actually, I was afraid that
you wouldn't want to come
back, after what I said. They
were still my words, all of them.
I wasn't going to force you.
Ariel stares into Eric's eyes. She speaks firmly, but
kindly.
ARIEL:
I am your wife, you are my
husband, this is our daughter.
We are a family. For better or
worst, in bad times and good.
ERIC:
Then, would you do me the
honor of marrying me..
again.
Eric kneels before them. Ariel tears up. Melody burbles.
Eric rises and kisses Ariel.
Morphing into the wedding kiss, we hear the cheers of the
assembled multitudes. Triton, who beams on, holds Melody.
Melody sees Sebastian and proceeds to squeeze the
unfortunate crab. But he's slippery and gets squirted out.
Above, Scuttle wheels in the sky, crashing into the mast of
a ship. The troupe is on the deck of their ship, waving
their congratulations. The sail still has the stylized eye
on it, but it now reads LIVING MUSEUM OF HUMAN SUPERLATIVES.
Sampo is bawling like a baby.
The Captain, who originally piloted Mephisto's old ship, is
at the wheel, dressed in a snappy outfit. Greg gives a
salute to Eric and Ariel and his hand sticks to his head.
As to the human participants, Carlotta is a teary mess.
Grimsby is also teary, but he's trying not to show it. Chef
Louis wheels in an enormous cake, but does not see Max.
He runs the trolley over him. Max bounds up and upsets the
trolley. Louis manages to right the trolley and keep it from
tipping, but in doing so, he overcompensates and the cake
falls over onto Louis. He is both livid and embarrassed.
Eric and Ariel come to Triton and collect Melody, who looks
fabulous in a christening gown. Ariel tears up as she hugs
her father, then waves at her sisters. All are happy, except
Arista.
ARISTA:
Hmmph! She gets two weddings
and I haven't had any.
Attina, who is next to Arista, continues to wave at Ariel.
With her free hand, Attina dunks Arista beneath the waves.
Flounder is brought up and waves to Ariel. Melody reaches
out and grabs him, squeezing him like a plush toy. Everyone
giggles.
Triton raises his trident and instead of a rainbow, makes
fireworks that outshine everything.
Back to a three-shot of Eric, Ariel and Melody, the happy
family. We hear Sebastian.
SEBASTIAN:
It's so nice they're together
again.
Sebastian breaks into song. As he sings, we see shots of
both the land people and the merfolk as they react and act
out parts of the song.
SEBASTIAN:
Together again, together again,
We'll stay by our side,
And we can outride,
Whatever they send.
With our love so strong,
We'll never go wrong,
So, things might get stressed,
But we're at our best,
Together again.
When I was but a tiny one
My folks would always say:
"Money come and money go
But friends are there to stay",
So, you had better learn,
The simple truth I sing,
Once you lose all of your friends,
You haven't got a thing.
ERIC:
Together again, together again,
I paid a big cost,
And I nearly lost,
My very best friend.
ARIEL:
If we understand,
It's all in our hands,
We won't go astray,
And always shall stay,
Together again.
SEBASTIAN:
Now, events can get quite stormy,
And you get blown around,
But if you're strong and wise on this,
You know that hope can be found.
Just take a dash of belief,
And faith in what you can be,
Troubles will scatter like sea foam,
You'll be rid of your quandary.
Life, we know, isn't easy, mon,
Good fortune can shift like the tide,
We must be prepared for the changes,
And able to take it in stride.
You can always rise to the challenge,
As long as you are as one,
So, if you're there for each other,
Your love will not be outdone.
ALL:
Together again, together again,
If you speak from your heart,
Then you'll never part,
This I recommend.
Please take the time,
To make love sublime.
You can banish strife,
And have a great life,
Together again.
We all have a choice,
Let's be of one voice,
Together again
Together again.
CUT TO:
Eric and Ariel are kissing. Hold for a moment as the
ORCHESTRATION comes to a close, and then cut to black.
END
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