Portrait of Life

But I Digress...
November 1, 1991

And now, another gripping installment of:

USELESS STORIES

Yes, it’s that irregular feature wherein I tell a story that, for any one of a number of reasons, is not going to see print anywhere but I like it enough to want to share it with an audience anyway (on the concept that a story isn’t a story unless it’s told).

The origin of this particular entry into “Useless Stories” is as follows: I decided that, for the fourth (and, in all likelihood, last, thanks to the Disney cutbacks) issue of “The Little Mermaid,” I wanted to take a stab at writing a story that would flesh out one of the biggest question marks regarding the past of our heroine, namely whatever happened to her mother.

I ran the notion past my editor, and he warned me right up front that the chances were extremely slim that Disney higher-ups would want or allow such a story to see print. But I convinced him to let me at least write a proposal for the story so that I could at least feel I had tried. Who knew? Maybe a miracle would occur. With the understanding that I was doing this purely on spec, and I wouldn’t rant and rave and throw hissy fits if the story was bounced, I wrote the proposal and set it in. My editor approved it and sent it on to his bosses.

And he was right. It got bounced.

I don’t know what the reasons are. But I wish to make it clear here that I’m not attempting in any way to villify Disney heirarchy for rejecting the story. Ariel, Sebastian, et al are their characters, which means Disney has final say and I knew that going in.

For that matter, they may have had perfectly valid concerns: For example, they may have felt the subject matter was too depressing for what they wanted to see print in a Disney comic. Or they may have wanted to reserve the right to explore that subject in next year’s “Little Mermaid” animated TV series (don’t be fooled by local listings for “The Adventures of The Little Mermaid” currently airing around the country. A cheapjack, badly animated, and boring series). Or they may have wanted to reserve the right not to explore it. Or maybe they just didn’t like the story.

Whatever. No sour grapes here. Writers write stories that get rejected all the time. I’ve had stories bounced by other companies for far more capricious (and downright nasty) reasons than Disney’s not allowing this story to be done.

So no harm done. I had an alternate story planned (involving an inventor who wants to sell Prince Eric on the concept that his new invention called a submarine really works, and so he takes it on an exploratory underwater mission looking for proof that he can bring back, and guess who he stumbles over under da sea) and that one looks to go through with no problem.

But I really liked what I came up with for my version of whatever happened to Ariel’s mother. And since it was done on spec, which means I got no money for it, I figure it’s mine to do with as I please. So herewith my own personal, totally unofficial, nonbinding account of whatever happened to Ariel’s mother–told in succinct, proposal form–which I call:

“Portrait of Life”

One of Flounder’s friends finds that everyone in the MerCity is being very quiet and sad–even Flounder. Everyone seems to be hanging around outside the entryway doors to the great hall of King Triton, but no one is going in or saying anything. The fish demands in a loud voice to know what’s going on. Flounder starts to chew him out for being disrespectful, and the friend doesn’t know what he’s talking about. But Ariel–who is also quite sad, but patient nevertheless, takes the friend aside and explains to him the significance of this day.

And we flash back to a number of years ago, with a young Ariel–about six years of age–and memories of her with her mother, Atlanta. Her mother is young, vibrant and inquisitive–many of the qualities that Ariel possesses. She even bears something of a resemblance to Ariel. Her hair, however, is not red–it is brown. The red hair belongs to her husband, Triton–long, flowing red hair, thick red beard–and he absolutely adores his wife. He dotes on her and the children she’s given him.

And what is Atlanta’s greatest interest? The surface world. And then, one day, Atlanta is basking on some rocks, enjoying the sun. The rocks are at the edge of a cove that is surrounded by large outcroppings of rocks, forming a virtually private beach.

Unnoticed to Atlanta, there is a young man named Duncan, who has seen her and is sketching furiously on a large pad. Then Atlanta spots him and demands to know what he’s doing. Nervously, Duncan shows what he’s drawing, and Atlanta is struck by the beauty of it. Duncan would love to do more detailed paintings of her, and Atlanta goes to Triton and asks his permission (since Merpeople tend to steer clear of humans, just as a matter of caution.) Triton is a little skittish about it, but Atlanta sweet talks him into it.

So Atlanta goes to pose for Duncan, and at one point we see Triton watching from a distance. He sees how much Atlanta is enjoying posing for the young artist, and even decides that maybe the stories told by Triton’s father about how humans were monsters might have been exaggerations. Even so, Triton still keeps a considerable distance from the cove, and out of sight.

Duncan’s paintings become tremendous hits, drawing attention away from another artist, an embittered man named Kole. He is jealous of Duncan’s skill, and thinks that Duncan is overrated. He probes Duncan about this beautiful model he must be using, but Duncan is tight-lipped, as per his promise to Atlanta that he not spread word of her presence.

Atlanta, while posing for Duncan, asks him about the surface world, but more often than not Duncan doesn’t even hear what she’s saying, since he is concentrating so completely on his work. When Atlanta returns to the MerCity, Ariel and the other sisters ask if they can come along and be painted as well, but Triton absolutely forbids this. But Atlanta says to Triton, “Look, come and see how the latest painting he’s working on–it promises to be the most beautiful of all. If you see that, and see the quality of what he can do–perhaps you won’t be so nervous about it. And you’ll let him paint portraits of the girls.” Triton says he’ll think about it.

It is the next day. Kole sees his paintings sitting and collecting dust, while Duncan’s are commanding large amounts of money. He’s driven into a jealous rage, and this time follows Duncan when Duncan heads off to paint. He spies on him from the cliffsides overhead and is stunned when he sees that Duncan has a real life mermaid posing for him.

Cut to the ocean where Triton decides he’s going to do what his wife suggested–he’s actually going to go up, see the human’s work close-up, maybe even talk to him. Perhaps a new age of merpeople/human collaboration is dawning.

Cut to Kole, situated on a ledge overlooking Duncan, who is totally involved in his painting. There are a number of large rocks situated on the ledge as well. He resolves to get rid of his rival once and for all and, putting all his strength into it, shoves at the rocks and unbalances them.

Atlanta sees, from the rock she’s perched on, what’s about to happen, and shouts a warning. But Duncan doesn’t hear her, because he’s concentrating so fully on the painting. The rocks come tumbling down, and a desperate Atlanta launches herself through the air, startling Duncan as she knocks him out of the way. But now, on the ground, she can’t maneuver fast enough, and the rocks fall on her.

Triton, a distance away, emerges from the water, and sees what’s happened. He screams in horror.

Duncan has pulled Atlanta from the rubble and is crouched over her. From overhead, Kole is shouting furiously that Duncan is next, and he’s pushing at other rocks.

And suddenly the sky blackens, lightning cracks across the sky, the sea roils, and Triton looms out of the water, twenty stories tall, thundering, “WHAT HAVE YOU DONE TO MY WIFE!!! Kole, freaking out, runs like mad, trips, falls, and plummets to his death. Good riddance.

Triton now towers over Duncan, taking Atlanta’s body in his hands. Furious he bellows at Duncan, “This is your fault! If you hadn’t started with this obsession, she’d still be alive!”

“Don’t you think I know that?!” shouts Duncan. “It’s all my fault! Do what you will!” He bows his head, the unfinished painting of Atlanta next to him on the sand.

And Triton draws his trident back to strike, and suddenly the clouds in front of Triton seems to form into an image of Atlanta as she whispers, “My love…don’t let your fury consume you. Don’t let it do this to you. Please…please don’t let this be the way that I remember you…but instead as the kind, gentle husband I loved.”

We angle on Duncan, head bowed, waiting for the end. And then suddenly, the clouds part. He looks up. Triton is gone. So is Atlanta. And so is the painting.

There is great sadness in the MerCity when Triton returns with the body of his wife. He locks himself into his study. And there he stays for a week. Not seeing anyone. Not speaking to anyone. Finally it is the six-year-old Ariel, pleading at the door to his chamber, telling him that losing one parent is bad enough–she can’t stand losing both of them–that gets him to open it. And when he does, to the shock and horror of everyone, his hair and beard are now dead white–the white that we’ve come to know. Without a word he embraces his children.

We cut to Ariel finishing the telling of the story, and the young fish now says that he understands. Today is the anniversary of the Queen’s death, isn’t it. Yes, says Ariel.

And we cut to Triton, in his chamber, staring sadly at something, as Ariel explains, “Daddy knew that if he just let his mourning go unchecked, it could have destroyed him. He came back to us. But one day a year, he returns to our mother, and we all mourn her. Because there was so much she could have done, and we mourn our loss…” And we pull back to see that Triton is staring at the unfinished painting of Atlanta as Ariel concludes, “…and the rest of her life that was left unfinished.”

Peter David, writer of stuff, will be continuing with some fishy thoughts next week as he explores scenes we never saw in the movie of “The Little Mermaid” but must have occurred; why he thinks the movie isn’t sexist; and lists the top ten ways to save the “Mermaid” comic book. Oh mon…dat’s enough for any column.

16 comments on “Portrait of Life

  1. Yeah. And it’s not as if there aren’t childrens cartoons with death in them. The Wild Thornberries episode “Elephants Never Forget.”, for example. Ok, it was an elephant that died, but given that the veiwer spends most of the ep getting to know her (along with Eliza) it’s still powerful stuff…

  2. Hey, PAD.

    I have to say that it’s a good story, even though Disney, as a rule, is on my list of All Things Despised. It strikes me as odd that with all of the absent mothers in the bulk of the ‘Classic’ Disney stories that they would decline such an entry into the mix. Hëll, Bambi’s mother was shot. For fun. Your story has a much deeper element of humanity: Jealousy.

    Thanks, Glenn, for posting these BID entries.

    Nonsequitur:

    I was in Wal-mart yesterday (a dreadful place to say the least). I was standing in line with my “Ten Items or Less” when I turned to look at the masses behind me. And there he was… Graying beard, some hair loss, glasses, dressed as though he had given up any and all notions of appearing civilized… and I knew it was him: The Evil Peter David From the Parallel Universe.

    PAD, I think all the Star Trek work has opend a window. And the screen promptly fell out. I had this same experience with and Evil Stephen King at a Denny’s in California. Very weird….

    Keep up the many works. As for me, I’m gonna go close some windows…

    Salutations,

    Mitch

  3. PAD, I think all the Star Trek work has opend a window. And the screen promptly fell out. I had this same experience with and Evil Stephen King at a Denny’s in California. Very weird….,/b>

    I’m convinced that The Empire Carpet Guy is the Evil Stan Lee.

  4. Woah… O.O
    That’s just beautiful…
    -kicks Disney for rejecting it-
    They’ve got something against mothers, I know it…

  5. Posted by: Jess Willey at October 29, 2004 09:40 PM

    I’m convinced that The Empire Carpet Guy is the Evil Stan Lee.

    What do you have against the Empire Carpet Guy? The man has his employees dancing in bunny costumes for the Easter ads! It’s genius, I tell you! Deathly frightening genius!

  6. Dude! That was an awesome story!

    I would never imagine Peter David, writer of stuff, be concerned with the Disney’s Little Mermaid, of all things.

    I used to be able to recite the Little Mermaid from beginning to end after seeing it three times, songs included. Seriously.

    So we can see expect Mermaid stuff in the future? Awesome!

  7. Oh my gods. That’s simply beautiful…and very touching, heartfelt. Sad that Disney didn’t accept it…kinda dumb isn’t it though? I mean eesh, some Disney films have even worse, violent death scenes than that (Maleficent? The Wicked Queen? Mufasa?)…so I don’t see what the big problem was with it. -_-;

  8. I can understand why it was rejected. If I saw a cartoon of this when I was a kid, it would have made me very upset. The ending is just too sad. Other Disney cartoon that have death (like Bambi) ends up having closure and an ending that makes people feel slightly ok about death (Bambi getting to know his dad).

    The story is beautiful, but the audience need to have higher understanding on life than children.

  9. WOW!!! What a beautiful story!!! I wish Disney had put that in the film. It would’ve been a perfect scene for when Triton says “What have I done?” after Ariel goes to Ursula and becomes human to be with Eric. It also explains why Triton hated humans so much. I think I would’ve been able to feel sorry for Triton having seen this scene as a kid rather than think he was a jerk who just didn’t want his daughter to have any fun. Anyway, great story!!!

    -Seaking

  10. I’m a PD fan since Imzadi all those years ago, but I had no idea that you wrote so much stuff. Wow.

    I love TLM, too, so I was really pleased to see your take on the backstory here. Awesome treatment, actually. I think Disney would make a killing off an animated movie for adults to enjoy.

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