By Edward H. Peple.
Scenario by B. P. Schulberg.
(Produced by The Famous Players' Film Co.)
Bruce Morson, a young American, returning from travels
in Egypt is robbed of some valuable jewels in a London
hotel, and chases the thieves to the yacht, "Spitfire," at
Calais, which the crooks have boarded and taken command
of under forged orders from its owner, Marcus Girard, who
is in London. The yacht is just about to sail out of port,
but by a ruse, Morson manages to get aboard, and promptly
falls in love with Valda, Girard's pretty daughter, who is
also a "spitfire." The crooks tell Valda her father is a
smuggler, show her the jewels they have stolen, and convince
her they are guarding them for her father, and that
Morson is a customs officer, spying upon her in order to
trap Girard. Valda indignantly turns upon the helpless
Morson, orders him into seaman's costume, and compels
him to work his passage to New York. On the homeward
voyage, Morson undergoes many ordeals, both humorous
and dramatic, and is even finally accused of the theft of
his own property, before the final denouement, which shows
the burning of the yacht and the heroic rescue of Valda by
Morson, who is at last able to right himself, before the
thieves, and win the woman he loves.
LEADER. BRUCE MORSON, AN AMERICAN ENGINEER,
TRAVELS THROUGH EYGPT.
Scene 1. EXTERIOR--DESERT ATMOSPHERE.
Sandy road. Morson and two Egyptian
servants riding along on horseback. Morson
dressed for desert travel, helmet, khaki suit,
etc., studying guidebook, surveys scenery, etc.
Scene 2. EXTERIOR--DESERT.
Tent in background. Little Oriental child in
foreground, evidently wandered from tent.
Small band of marauders (6) rush into scene,
snatch child off. Sudden commotion at door of
tent. Men and women run from tent, and from
behind tent, old Sheik snatches rifle, mounts
horse, rides off hastily, few servants following.
Scene 3. EXTERIOR--STRETCH OF SANDY ROAD
(SIMILAR TO SCENE 1).
Morson registers he has seen theft of child.
Tells servants, urges horse forward, looks again,
snatches rifle, aims carefully--shoots (quick
action in all this)--cut.
Scene 4. EXTERIOR--DESERT.
Distant view of man with child (dummy) on
horseback in lead--man rolls from horse.
Scene 5. EXTERIOR.
Morson and followers riding swiftly to rescue.
Scene 6. EXTERIOR--DESERT.
Sheik and followers ride into scene, beating
down marauders. Child rises unhurt. Sheik
leaps from horse to child. Morson and servants
join Sheik in finally routing brigands. Sheik
with son in arms, thanks Morson gratefully.
LEADER. NEXT DAY THE SHIEK SENDS MORSON INVALUABLE
JEWELS AS A REWARD.
Scene 7. EXTERIOR--DESERT.
Hastily-erected travelers' tent. Morson sitting
in front of it. He is making notes, eating food
servants hand him. Messenger brings him
packet from Sheik, which proves to be valuable
Scene 8. CLOSE UP OF OPENING OF PACKET AND JEWELS.
Scene 9. INTERIOR--GIRARD'S WALL STREET OFFICE IN N. Y.
Typical broker's office, handsomely furnished.
Girard, prosperous, gray-haired, big gruff man,
busy at desk. Clerks come and go. Activity in
office. Enter Valda, his daughter, pushing past
clerks, who timorously indicate her father has
said no one must enter. She approaches desk,
he turns with a scowl, until he sees it is his
daughter, smiles grimly in spite of himself,
then motions her off--too busy for her. She
stamps foot--wants him to come with her--he
can't, it is out of the question--she picks up hat
from rack, she indicates clock, puts hat on his
head, tries to drag him off, he resists.
CUT-IN. "Your mother was the only woman who could
Back to scene. Valda registers little tempest of
rage at being crossed--pounds his desk with
her fist--he does the same, both angry, she
"chip off the old block"--at last she turns and
flounces, almost in tears--he still angry, then
chuckles slowly after door closes, shakes head,
rises, puts on coat and hat, follows her rapidly
--he turns at door and gives awful look to
grinning clerks, which stiffens them into
LEADER. THAT EVENING.
Scene 10. INTERIOR--TYPICAL NEW YORK CLUB ROOM.
Girard sitting, smoking, reading--waiter
deferentially lights his cigar--two men walk in,
one of them Ormond, conspicuous for elegance
and suavity. Ormond is introduced to Girard
by the other--the three sit and talk--Girard
orders drinks. Girard seems impressed and
interested by Ormond during conversation.
Girard and Ormond exchange cards--Girard
examines Ormond's card. Flash card.
INSERT. (Card): JAMES ORMOND
Pres. International Touring Company,
Offices: London, Paris and Berlin.
Back to scene. Girard registers interest.
Ormond shows by sinister flickering of eyelids
his triumph in getting personal attention of
the rich man. After a little talk, they rise
and go out together.
Scene 11. INTERIOR--ORMOND'S HOTEL ROOM.
Ormond, Beasley, Trainor and Tracey on--by
contrast, Ormond and Beasley are gentlemanly
in every attitude, while Trainor and Tracey
are "rough-necks"--they are seated, grouped
closely together about little center table,
talking very earnestly--register caution when one
raises voice too loud, evidently conspiring--
sinister---evidently band of crooks--Ormond
takes Girard's card, passes it to the others--
CUT-IN. "A wealthy capitalist--worth following!"
Back to scene. Others interested--talk
animatedly--Tracey over-serious, takes himself
and his business and the world very seriously,
chews cigar solemnly, is rough and positive in
movements, pounds fist on table once, others
silence him--Ormond directs conversation to
Beasley, they agree to something--Beasley
agrees, nods head in reply to Ormond's
Scene 12. EXTERIOR--ON PIER.
Girard and Valda, accompanied by Ormond,
come into scene. Girard points to trim yacht
in the distance, pointing out its various points.
Ormond again impresses the old man with his
knowledge of yachts and admiration of this
particular one--into launch and off.
Scene 13. CLOSE UP OF LAUNCH.
Valda, Girard and Ormond talking. Girard
with mischievous sly look at his daughter,
CUT-IN. "I have named the yacht after my daughter!"
Scene 14. FULL VIEW OF LAUNCH AND YACHT--
With name of "SPITFIRE" plainly printed on
bow of yacht.
Valda registers petulant indignation. Girard
turns to Ormond with "I told you so"
Scene 15. DECK OF YACHT NEAR LANDING STAIRWAY.
Girard, Valda and Ormond coming over stairway
to deck. Capt. Larris greets party, speaks
to Girard, in reply to Girard's question as to
how things are going, tells Girard they need
new first mate. Register Ormond's opportunity,
as Girard seems perplexed, speaks:
CUT-IN. "If you need a first mate, I know just the man."
Girard shakes Ormond's hand. Glad. Speaks
to Larris. Larris nods briefly. Register that
Larris does not appreciate butting-in of Ormond.
They stroll out of scene.
Scene 16. EXTERIOR--A TENT.
Desert exterior. Morson issued from tent,
he and servants finishing loading pack-horse,
and he bids good-bye to servants, gives them
coins which they receive gratefully. He
mounts horse, servant leads the other horse
by bridle, other servants all salaam--he and
servant wave farewell salute, he with his hat,
servant with hand--he is leaving the desert,
his face set toward "home."
Scene 17. INTERlOR--OFFICE OF GIRARD.
Girard and Ormond chatting, office empty,
clock points to 5:30. Enter Valda, very much
upset--has little weekly paper in her hand--
nods curtly to Ormond as she remembers to
greet him. Turns to her father angrily.
Begins to speak, glancing rather nervously at
Ormond, who takes cue and strolls to window
standing with hands behind back--pretends
not to hear, although listening. Valda shows
father clipping. Flash clipping.
INSERT. "TOWN ITEMS."
It has just transpired that a certain New
York capitalist and yachtsman on his return
from Europe found himself in serious
trouble with the customs officers, who
had discovered in his luggage some valuable
jewels, which he said he had "forgotten"
to declare, and which probably were
intended to deck his beautiful daughter,
a popular debutante of the season.
Girard reads, laughs, shrugs shoulders. Valda
takes it more seriously. She stamps foot,
tears necklace from neck, throws it on desk
before him. Girard gets furious, throws papers
on floor, pounds desk. Valda up to door,
angry, in tears. Girard follows her. Scene
at door, during which Ormond slyly picks up
paper, reads, tears out article, slips it in
pocket, throws paper back under desk. Girard
back to deck after Valda leaves, tries to appear
Scene 18. INTERIOR---ORMOND'S ROOM IN HOTEL.
Beasley and Ormond on, talking. Both in
evening dress. Ormond draws out clipping he
tore from paper, talks about it. Beasley
CUT-IN. "You are to be first mate on the 'Spitfire.'
We may need that yacht in our business."
Ormond shows Beasley theater tickets (don't
flash). Beasley smiles broadly. Both talk,
Beasley agreeing with Ormond. Ormond and
Beasley go out of room.
Scene 19. INTERIOR--RECEPTION PARLOR--SMALL BUT
Girard, in smoking jacket and slippers, comes
in with Ormond, evidently just from outdoors.
Father sends maid for Valda, and calls
servant, who takes Ormond's stick, hat and
gloves. Father is genial in manner toward
Ormond, who talks pleasantly. Enter Valda,
who greets Ormond politely, but not effusively.
He draws theater tickets from pocket and
invites her to theater. She pleads headache.
Father looks at her sternly. She flashes back
at him behind Ormond's back. Ormond taken
aback and baffled, but smoothly conceals
feelings. Returns tickets to pocket, sits, talks
entertainingly to Valda, who is bored, but too
polite to show it. Ormond politely draws
Girard into conversation. Valda takes chance to
plead headache and withdraw, to the chagrin
of both Ormond and her father, though she
does it pleasantly. Cut.
Scene 20. DECK OF THE YACHT.
Preparing to leave--crew active. Beasley now
first mate in uniform of "Spitfire," much in
evidence. Register Larris' dislike for the
Scene 21. INTERIOR--VALDA'S ROOM.
Valda, father and maid packing; steamer
trunks with traveling clothes, frocks, etc.
Girard fussily superintending with outburst from
Valda now and then. Valet assisting
and being regularly scolded. Enter her Aunt
Mary and Cousin Polly, who are greeted with
enthusiasm by Valda. Father and Aunt Mary
register mutual lack of sympathy. Girard,
scowling, leaves. Polly wild with excitement
and curiosity about Valda's prospective trip
to Europe. She exclaims in envy and Valda,
suddenly getting mischievous idea, turns to
her, asking if they want to go, too. Polly,
after a moment of silent surprise, turns to
Aunt Mary, begs her. Aunt Mary finally consents.
Polly dances about in joy, hugs aunt
and Valda. Valda laughs to herself as aunt
and Polly leave in excitement.
Scene 22. INTERIOR---CLUBROOM (AS IN SCENE 10).
Ormond and friend who previously introduced
him, there with others. Girard comes in, tells
of his coming trip, bids all good-bye, asks
Ormond if he would like to go. Ormond hesitates,
narrows eyes, as though he thinks better
of it (as though plotting) then refuses
politely. All then crowd around Girard, Ormond
leading in good-bye toasts.
Scene 23. DECK OF YACHT.
Everything in readiness. Capt. Larris makes
last tour of inspection. Girard comes aboard
with luggage carried by valet--very fussy and
very cross--stewards assist him.
Scene 24. ORMOND'S ROOM AT HOTEL.
Trainor, Tracey and Ormond at door of room.
Ormond giving men final instructions. Gives
each his steamer ticket folded, which they
unfold and examine--nod--he directs them to
meet him later, pointing off--they nod--all
Scene 25. DECK OF YACHT.
Girard waiting for Valda. "Late as usual." He
says same to Capt. Larris, who agrees with
him. "Women are all alike." Girard paces
deck impatiently, looks at watch, stamps and
swears. Suddenly he turns and sees Valda
coming up landing stairway followed by Ormond.
Girard registers relief. She runs to him
and when he reprimands her for her tardiness,
smiles sweetly at him and stepping aside,
CUT-IN. "I forgot to tell you, I've invited Aunt Mary
and Cousin Polly to go to Europe with us!"
She steps aside and discloses Aunt Mary puffing
up the stairway followed by the gleeful
and excited Polly. Girard takes one look. An
expression of horror comes over his face and
he nearly collapses. Capt. Larris supports him
and sees the humor of it, aside. Aunt Mary
looks sternly at the hapless Girard. During
this business Ormond walks out. Cut.
Scene 26. ANOTHER SECTION OF BOW AROUND BOAT.
Out of sight of others, Beasley on, giving
instructions to sailors. Ormond comes on, talks
to Beasley hurriedly and earnestly. Beasley
registers he understands. Ormond returns to
Scene 27. SAME AS SCENE 25 (DECK OF YACHT).
Bids all good-bye and hastily off.
Scene 28. BOW OF DECK.
Final casting off, and raising of anchor.
Scene 29. INTERIOR--CORNER OF SMOKING ROOM ON YACHT.
Near buffet. Girard with look of despair,
takes huge drink of whisky, downs it at one
Scene 30. EXTERIOR--PIER.
Ormond waiting, looking toward yacht--sees
it steam off, looks a moment, hastily turns,
Scene 31. EXTERIOR--STREET NEAR PIER.
Ormond hails taxi--jumps in after giving
direction to chauffeur. Off.
Scene 32. EXTERIOR--GANGPLANK OF OCEAN LINER.
Ormond runs hastily up, the grinning faces of
Trainor and Tracey peering at him over the
LEADER. MORSON ARRIVES IN LONDON.
Scene 33. EXTERIOR--LONDON HOTEL.
Bruce Morson arrives at entrance with luggage
--looks around with pleased expression.
Glad to be back in civilization. Uniformed
attendant comes forward for luggage. He goes
Scene 34. EXTERIOR--STRETCH OF OCEAN.
The yacht and ocean liner, liner in lead, both
moving in same direction.
End of reel one.
Scene 35. EXTERIOR. CAFE.
Ormond and Tracey at side table, and few
others in groups at tables. Morson and friend
come in, sit at table, order drinks. Morson
peels bill from large roll, pays for drinks.
Ormond gets glimpse of bills. Tracey, seeing,
tugs at Ormond's sleeve, with bulging eyes.
Ormond, always the controlled master crook,
calms him sternly, but moves his chair back
a little to hear Morson talk. Ormond's back
is toward Morson, in response to friend's
questions Morson tells of his experience with the
Sheik in Egypt. As he talks fade out into
Scene 36. SAME AS SCENE 3.
Scene 37. SAME AS SCENE 4.
Scene 38. SAME AS SCENE 6.
Scene 39. SAME AS SCENES 7 AND 8.
Fade out into
Scene 40. SAME AS SCENE 36.
At finish of the narrative, Morson half pulls
out jewel case from pocket with:
CUT-IN. "And so he gave me these jewels."
Morson, with half look around, suddenly
remembers he is in a public place and puts back
jewels. Ormond indicates intense interest, but
has to quiet Tracey, who is now nearly crazy
with covetous greed. Morson and friend rise
and go out. Ormond and Tracey rise, Tracey
rising so quickly that he knocks over
chair, nearly ready to run after Morson.
Ormond pulls Tracey back sternly. They go out,
affecting casual indifference.
Scene 41. SAME AS SCENE 33, EXTERIOR. MORSON'S HOTEL.
Morson arrives and goes in. Ormond and
Tracey follow cautiously, as though they have
been shadowing at a distance.
LEADER. "714, PLEASE."
Scene 42. INTERIOR, HOTEL LOBBY.
Morson comes into scene, goes to desk and
gets key. Tracey walks casually past desk in
time to catch number, turns and walks out,
as Morson walks toward elevator. Cut.
Scene 43. EXTERIOR, HOTEL (SAME AS SCENE 41).
Tracey out, rejoins Ormond, tells number;
both off; Tracey excited.
Scene 44. EXTERIOR, HARBOR.
Spitfire steaming into harbor, city in distance.
Scene 45. EXTERIOR, UPPER DECK OF SPITFIRE.
Valda, Aunt Mary and Polly looking over rail
toward city. Valda explaining to the excited
party, marine glasses in use, etc.
Scene 46. INTERIOR, SMOKING ROOM.
Beasley cautiously writing, occasionally
looking over shoulder. Flash telegram:
Arrived at Calais, dropped Girard and
valet at Liverpool; old man will be tied
up with business deal in London for ten
days and is stopping at Hotel Ritz.
Await further instructions from you.
Finishes writing, folds paper, puts in pocket.
Scene 47. INTERIOR, ENGLISH HOTEL ROOM
Girard fuming, as usual, valet unpacking and
Scene 48. EXTERIOR, PIER--SUPPOSEDLY AT CALAIS.
Launch lands, Aunt Mary, Polly and Valda
exit from launch and scene, with individual
business. Aunt Mary nervous.
Scene 49. INTERIOR. ORMOND'S ROOM IN LONDON
HOTEL--RATHER WELL-FITTED ROOM.
Discovered Ormond, smoking and planning,
narrowed eyes, uniformed boy brings telegram
on tray. Ormond takes message, tips boy,
reads, nods, dismisses boy, then studies
telegram. Flash (London receiving blank).
INSERT. WIRE WRITTEN BY BEASLEY IN SCENE 46.
Ormond registers approval, knock on door.
Trainor and Tracey arrive. Ormond instinctively
conceals wire until he sees who they are.
Three talk and plan. Trainor is crook of lowest
type. Tracey "rough-neck" sport, still
chewing cigar. Tracey and Trainor lounge
about in characteristic attitudes. When Ormond
shows wire they become keen and alert
and businesslike. All heads together. Ormond
CUT-IN. "When the job is done, make for Calais and
meet me on the 'Spitfire.'"
Tracey and Trainor excited and eager. All
Scene 50. EXTERIOR, STREET--TINT NIGHT.
Ormond, Tracey and Trainor come on. Ormond
gives last direction and leaves, Ormond
going in opposite direction from others.
Scene 51. INTERIOR, GIRARD'S ROOM HOTEL--
LIGHTS--NIGHT (SAME AS SCENE 47).
Girard, changing shoes, excited. Valet becomes
nervous. As valet hands Girard shoe he drops
it on his stockinged foot. Girard in rage and
pain, picks up shoe and hurls it at valet,
evidently striking him in the face; valet puts
hand to face. Girard commands him to bring
the shoe. Valet brings shoe with one hand,
guarding his face with the other. Girard
snatches shoe, puts it on, slaps on hat and goes
out of room with a final impression. Valet
shakes fist toward closed door, really dares to
be a man in Girard's absence.
Scene 52. EXTERIOR, HOTEL (IMPOSING)--ENTRANCE
AS ENGLISH AS POSSIBLE.
Girard comes out. Ormond, who has been
cautiously watching in background, hat pulled
over eyes, now comes forward and goes, into
Scene 53. INTERIOR, LOBBY IN MORSON'S HOTEL
(SAME AS SCENE 42).
Tracey and Trainor in--up to desk--speaks
CUT-IN. "We are friends of Mr. Morson's and would
like the room next to his."
Clerk looks at his list of vacant rooms, nods,
calls front, gives key, they register, and off.
Scene 54. INTERIOR, CORRIDOR IN HOTEL--TWO
DOORS SHOWING IN ROW--714 AND 716.
Bellboy, Trainor and Tracey come to room
716--bellboy inserts key in lock. Cut.
Scene 55. INTERIOR, HOTEL ROOM OF GIRARD
(SAME AS SCENE 51).
Ormond enters and is greeted with pleased
surprise by valet. Ormond asks valet about black
eye. Valet explains, tells his troubles. Ormond
sympathizing. Ormond gives valet cigar,
sits, motions valet to sit; valet shows he is
pleased and flattered by Ormond's condescension.
Sits awkwardly. Ormond begins to talk
Scene 56. INTERIOR, MORSON'S ROOM IN HOTEL.
Morson prepares to retire, opens window
wider, takes jewels out of belt case, putting them
under pillow (they are in soft chamois bag).
Morson starts undressing, takes off collar.
Scene 57. INTERIOR, GIRARD'S ROOM IN HOTEL.
Continuation of conversation between Ormond
and valet. Valet now on Ormond's side, listening
eagerly. Ormond gives valet bills, which
valet takes gloatingly. Ormond rises:
CUT-IN. "Remember, if any telegrams arrive from
Calais for Mr. Girard, you are to read and
answer them as I have instructed."
Valet nods with many assurances that he will
do as told. Ormond smiles, pats bim on back.
A monogramed cigar case of Girard's is on
dresser--as he turns, Ormond sees it--thinks--
he decides to ask for it--valet at first
hesitates, then gives it to him--he goes out,
smiling in sinister fashion--valet gloats over
Scene 58. INTERIOR--MORSON'S ROOM (AS IN SCENE 56).
Morson, in pajamas, puts hand up to turn out
light. Cut to
Scene 59. INTERIOR--CORRIDOR OUTSIDE ROOMS
714 AND 716 (AS IN SCENE 54)
No light in 716, door slightly ajar, hall dimly
lighted. Tracey's face in door of 716, peering
cautiously out toward 714. The light that
shows over transom of 714 suddenly goes out.
Look of satisfaction on Tracey's face as he
disappears into darkened room 716 again.
Scene 60. EXTERIOR--R. R. STATION--NIGHT.
Ormond pacing platform impatiently waiting
for Dover train (suggestion, sign in vicinity
of platform, "Train for Dover--time, etc.").
Scene 61. EXTERIOR--SHOWING WINDOW--MOONLIGHT
--SHOWING WINDOW LEDGES ADJOINING,
SO THAT ONE WINDOW CAN BE REACHED
FROM THE OTHER--DEEP LEDGES, ETC.
The figure of Trainor, with dark lantern,
mask, revolver, etc., from his window L. to
R. window, makes journey with difficulty,
registering peril, caution and fear; he
reaches the other window, begins to enter,
Tracey follows, starting from L. window in same
Scene 62. INTERIOR--MORSON'S ROOM (AS IN
SCENE 56) ROOM ALMOST IN TOTAL
DARKNESS--ONLY WEAK SHAFT OF
LIGHT IN TRANSOM, COMING FROM
LIGHT IN CORRIDOR.
Trainor comes through window with lantern,
flashes light about room, throws it on Morson's
sleeping face, quickly off again, his shadowy
form approaches bed, seen in light which he
has placed on table. He takes bottle from
pocket, saturates handkerchief, puts over
Morson's face--at this point Tracey comes through
window--light now increased by two lanterns.
Morson stirs. Tracey quickly searching for
jewels, feels under pillow, flashing light on it,
pulls out jewel bag--registers triumph--Morson
rouses in spite of chloroform, jumps up
while he is struggling with Trainor, Tracey
runs with jewels to window and clambers out.
Trainor hits Morson over head with revolver.
Morson staggers back against the bed an instant,
but recovers, dashes blood from eyes and
rushes after Trainor as he reaches window,
pulling him back into room by leg--desperate
struggle with intermittent darkness and
gleams from the lantern. Cut.
Scene 63. EXTERIOR--NIGHT--IN FRONT OF MORSON'S HOTEL.
Tracey out, fearfully and quickly hurries out
Scene 64. INTERIOR--MORSON'S ROOM.
Morson tying Trainor in chair. Morson turns
up light and reveals Trainor trussed in chair
and looking as though he had had far the
worst of the combat. Morson eyes Trainor
contemptuously and then wipes away blood
from his own forehead, goes to bed, searches
for jewels, goes to Trainor, searches him, asks
where they are. Trainor doggedly refuses
to tell. Morson sees the other lantern, points
to it, and to window, asks him where his partner
is--again Trainor sullenly shakes his head
won't talk. Trainor registers he is uncomfortable,
wants to be unbound. Morson refuses.
Trainor must stay as he is tell he decides
to tell. Trainor writhes in discomfort,
but Morson sits calmly on bed, lights cigarette
nonchalantly and waits.
Scene 65. EXTERIOR--PIER AT CALAIS (SAME AS
SCENE 48)--"SPITFIRE" LITTLE OFF IN
Ormond arrives at pier, registers recognition
of the yacht, and success--gets into launch at
pier, tells man in charge to make for yacht in
LEADER. TRAINOR TALKS.
Scene 66. INTERIOR--MORSON'S ROOM.
Continuation of scene 64. Morson now clad
in shirt and trousers, sits on edge of bed, still
smoking calmly. Trainor, head drooped,
exhausted from the all-night confinement in his
bonds to chair, all in. Morson asks him if he's
ready to talk. Trainor hesitates, then nods
emphatically--he is. He talks rapidly. Morson
now interested and alert, leans forward,
listens, rings bell, into hat and coat, opens
door, bellboy in-doorway. Morson quickly
speaks to him, pointing to trussed figure of
Trainor in chair. Bellboy is left standing in
open-mouthed astonishment as Morson rushes
past him and out.
End of reel two.
Scene 67. EXTERIOR--DECK OF YACHT--DAWN TINT.
Beasley and Larris on deck--register attempt
at conversation by Beasley--discouraged by
Larris, who is gruff. Larris walks away, reads
telegram with worried expression. Flash
(telegram from Girard to Larris):
INSERT Capt. Larris,
Mr. James Ormond to take full charge
--reach New York by twentieth. Fly
private signals and cruise off Sandy
Hook till further orders. Drive her
as hard as hell will let you.
Beasley looks over rail, sees Ormond approaching
in launch, speaks to Larris after indicating
interest and delight. Indicates to Larris
that Ormond is intending to board yacht.
Scene 68. EXTERIOR--LAUNCH ON WATER APPROACHING YACHT.
Ormond signals Beasley. Launch reaches
yacht, Ormond climbs up stairway.
Scene 69. INTERIOR--VALDA'S CABIN.
Valda sleepy, in kimona, sitting at dressing-
table combing hair. Polly runs in in negligee,
wide awake, chattering. Valda answers her.
Polly admires Valda's hair, takes comb, starts
to comb. Valda smiles, suddenly Polly comes
to a snarl, pulls hair accidentally. Valda
jumps up in rage, takes comb away, makes
face of pain. Polly overcome by Valda's scolding
and remorse at hurting her cries babishly.
Valda immediately becomes good natured and
Scene 70. DECK OF YACHT.
Ormond on board, greeted by Beasley and Larris.
Larris polite, but not deferential, rather
puzzled by Ormond's presence. Ormond produces
telegram. Larris reads. Flash telegram:
INSERT. James Ormond,
"Spitfire" in port, just off mole--clears
this afternoon. Tracey will meet you in
time. Go on board and take full charge
of sailing directions and anchorage.
Larris looks angry and puzzled. Returns
telegram to Ormond, looks as though he places
little credence in its authenticity. Larris paces
deck, hands in pockets or behind back, lost in
thought, undecided, wondering. Ormond waits,
anxious, but affecting calm, and retaining self-
possession. Larris gets idea. Sends steward
down to call Valda. Cut.
Scene 71. INTERIOR VALDA'S ROOM.
She and Polly chatting, as in scene 69--
steward knocks, is told to come in--stands in
doorway and gives message to Valda--captain
wants her on deck. Valda rises, wondering.
Polly very much excited. Valda calms her
with little shake. Valda hastily gets into long
steamer coat, throws cape to Polly. Girls out.
Scene 72. EXTERIOR--DECK OF YACHT.
Larris and Ormond still discussing wire.
Ormond calm and imperturbable. Larris angry
and disturbed, arguing. Beasley watching
with a smile. Valda comes on quickly,
followed by Polly. Stops short when she sees
and recognizes Ormond. Girls embarrassed,
quickly pull long coats around them to hide
negligee. Aunt Mary enters and witnesses
scene. Larris explains situation to Valda.
She looks puzzled and Ormond politely hands
her the telegram. She glances at it, looks
puzzled again. Ormond steps forward--speaks:
CUT-IN. "I am acting as your father's agent on a
private business matter."
Valda accepts the explanation as sufficient--
pouts a little--turns to captain, questions him.
Reluctantly the captain pulls out his own wire,
shown in previous scene (67). Aunt Mary
shocked at father's profane wire. Valda
laughs, recognizes father's profanity. She is
then completely convinced. Valda introduces
aunt and Polly. They are rather stiff. Valda
and the captain are at one side talking, Valda
telling Larris she knows Ormond socially,
vouching for him. Polly watches them open-
eyed, the scene is altogether too exciting and
puzzling for her. Beasley and Ormond are off
to one side, exchange quick word or two and
meaning glances. Captain nods to Valda,
walks away, slowly and thoughtfully. Valda
and Polly excuse themselves, go down to dress.
Scene 73. FLASH OF BRIDGE.
The captain stands at bridge undecided, makes
up his mind, stands a moment undecided then
makes resolve. Walks away quickly.
Scene 74. INTERIOR--WIRELESS ROOM IN THE YACHT.
Operator at table, apparatus, etc. Larris
comes in, gives instructions, operator nods,
busies himself in sending messages.
Scene 75. EXTERIOR--DECK OF YACHT.
Tracey climbs on yacht by landing stairway.
Ormond greets him. Introduces him to
captain. Tracey's jovial, over-friendly manner
disgusts the dignified Captain Larris, who
repels his advances coldly, looks meaningly at
the two and turns his back--walks off.
Scene 76. INTERIOR--GIRARD'S ROOM IN HOTEL SAVOY.
Boy brings in captain's wire to Girard, valet
signs, pays, smiles, indicates this is one he
is to handle. When boy goes he opens and
reads. Flash wire.
INSERT. TRANSCRIPT OF WIRELESS.
Are James Ormond's orders from you to
take full charge of "Spitfire" and sail at
once to New York authentic?
Valet reads, grins, then starts to write with
glee, followed by fear and trembling, as he
thinks what might happen if caught. Cut.
Scene 77. EXTERIOR--DECK OF YACHT.
Larris, Beasley, Ormond, Tracey, Valda, Polly
and aunt, in two or three groups about deck.
Ormond and Tracey stroll away from scene into
Scene 78. INTERIOR--SMOKING ROOM.
Ormond glances round, makes sure of privacy,
quickly questions Tracey--Tracey nods with
importance, hand goes to pocket, draws out
chamois bag of Morson's jewels--at this moment
door opens--both men start--it is Beasley,
who smiles at their nervousness--Tracey,
when door is closed, again takes jewels from
pocket--Beasley's eyes light up, involuntarily
puts out hand. Ormond calmly waves him off
takes the jewels from Tracey himself, who is
reluctant to part with them. Ormond asks
for Trainor, Tracey makes gesture, "all in,"
describes flight and capture. Ormond
thoughtful, registers worry--Ormond draws out
Girard's cigarette case from pocket, puts jewels
in it--men admire case.
Scene 79. CLOSE UP OF CASE, FINGER POINTING MONOGRAM.
Scene 80. WIRELESS ROOM, AS IN SCENE 74.
Captain Larris standing by operator--then
paces floor, waiting answer to his message--
light flickers, operator gets message, writes it
out, smiles as he gets it--hands it to Larris,
who reads. Flash message:
INSERT. Capt. Larris,
Mind your own business, or you'll have
no business to mind!
Larris finishes reading--crumples wire--
exclamation of profane disgust, but convinced
of its authenticity--operator chuckles. Larris
Scene 81. EXTERIOR--DECK OF YACHT.
Captain Larris appears and tells Valda of wire
from father--pulls out message and shows it
to Valda, who laughs heartily. Aunt Mary
registers cold disapproval of it all. Larris
very much annoyed, as Ormond registers calm
triumph--others walk away, leaving Larris
scratching chin thoughtfully.
CUT-IN. "I wish I could wake up and find I was drunk."
Shoves hands in pockets, hunches shoulders,
strides moodily down deck.
Scene 82. EXTERIOR--ANOTHER PORTION OF DECK
Larris and Beasley on, giving hurried directions
to sailors to cast off. Great activity.
Scene 83. EXTERIOR--PIER AT CALAIS.
Morson quickly on, breathlessly, sees yacht in
distance--questions man in uniform, man nods
--Morson registers delight--it is the "Spitfire,"
the yacht of which Trainor has told him--he
wipes his forehead, pushes hat back--shows
Scene 84. EXTERIOR--CLOSE UP QUICK PLASH OF
PULLING UP "SPITFIRE'S" ANCHOR.
Ormond, Beasley and Tracey register nervous
relief and gladness.
Scene 85. EXTERIOR--PIER AT CALAIS (SAME AS SCENE 84).
Morson, with dismay, sees "Spitfire" steam
slowly off--a moment of indecision and he
rushes to the piermaster and points to yacht,
imperative that he catch it--men hastily hoist
signal flags on pole at end of pier.
Scene 86. EXTERIOR--DECK OF YACHT, SHOWING
PORTION OF BRIDGE.
Captain Larris on bridge, with glasses, registers
he sees signals, runs down ladder--tells
Ormond, points to flags on pole--Ormond
shakes head--pay no attention--Larris registers
they must stop. Tracey shows comic despair.
Ormond indicates his instructions from
Girard, must go. Larris glares at him angrily.
Scene 87. EXTERIOR--PIER.
Morson desperate, yacht further off in the
harbor. Morson suddenly conceives idea, makes
negotiations with tugmaster. Points to yacht.
Talks to tugmaster, rehearses plan, tugmaster
laughs; is tempted by roll of bills Morson
shows, nods, agrees--hastily orders tug out.
Morson aboard. Off.
Scene 88. EXTERIOR--DECK OF YACHT.
All on--girls excited and gleeful. Aunt Mary
struggling with voluminous yells, blown by
the wind. Ormond doing the gallant--talking
to girls. Valda suddenly sees the tug, points,
Polly stares excitedly. Tug can be seen not
far off, men can be seen struggling on the
deck of tug-boat near rail--all run to rail of
yacht, look toward tug, registering excited
Scene 89. CLOSE UP OF TUG.
Tug-boat crew lift the struggling Morson, and
throw him overboard.
Scene 90. EXTERIOR--DECK OF YACHT.
All see Morson thrown overboard. Larris
orders ship to stop and boat to be lowered.
Ormond steps forward and stops him--tells
Larris to go straight ahead--gasp of horror from
all. Larris remonstrates, the man is drowning.
Ormond reminds him forcibly that he is
commanding the yacht. Morson can be seen
struggling in water, evidently drowning--Valda
looks at Ormond in horrified displeasure,
surprised at lack of humanity. She takes
command herself, turns to Captain Larris and
tells him to stop the boat. Larris obeys her
command with alacrity. Ormond, Tracey and
Beasley register chagrin. Captain gives
directions to pilot, boat is lowered--swings off to
rescue Morson. Beasley and four sailors get
into the boat. Valda leaves Ormond with a
frown and goes to bridge, looking on through
glass. Aunt Mary covers her eyes in fear.
Excitement from Polly.
Scene 91. CLOSE UP OF MORSON IN WATER.
Life-boat reaches him, men haul him in.
Scene 92. EXTERIOR--DECK OF YACHT.
All press against rail except Ormond and
Tracey, who register disgust.
Scene 93. CLOSE UP OF DECK.
Lifeboat being hoisted up to rail--crew and
Beasley clamber over rail, bringing with them
the wet and shivering Morson--Valda comes
forward with exclamation of pity. Morson
throws hair back out of eyes, looks admiringly
at Valda, then bows gratefully and gallantly
over her hand. Both register instant admiration
and the romance to come. Polly clasps
hands romantically, and gazes at Morson
adoringly. Tracey, horror-stricken when he
recognizes Morson, excitedly pulls at Ormond's coat,
and tells him Morson is the man they robbed:
CUT-IN. "Trainor has squealed!"
Tracey quickly and excitedly telling Ormond,
who silences Tracey, and is tense in thought,
planning quickly. Valda points to Morson's
clothing, speaks to Beasley, who is watching
Tracey and Ormond in troubled anxiety.
Beasley rouses with start, takes Morson with
him. Morson turns and bows deeply to Valda,
who stands looking after him admiringly.
Polly comes up and tries to get a look at
retiring Morson, dodging from one side of Valda
to the other. Valda turns and catches her.
Gives her blank look. Cut.
Scene 94. INTERIOR--GIRARD'S ROOM AT HOTEL.
Valet, repentant, horrified, abject figure of
woe, hastily packing to make his getaway before
Girard arrives. Worried and frightened,
he grasps valise, shoves hat on head, runs out.
Scene 95. INTERIOR--SMOKING ROOM OF YACHT.
Ormond, Beasley and Tracey conspiring best
way out. Ormond thoughtful, suddenly draws
out clipping of scene 17--flash clipping--
Ormond points to it, says he has way out. Tracey
relieved and interested. Heads close together.
Ormond draws out cigar case of jewels, taps
it, explains his plan--Ormond goes out,
followed by others.
Scene 96. INTERIOR--MAIN SALON.
Valda dreamily thinking of Morson--knock, she
says "Come"--Ormond enters, approaches a
little uncertain of his welcome. Valda turns
and greets him coldly. Picks up magazine,
ignores him. Ormond begins to talk eagerly.
She finally listens, impressed by his earnestness.
While Valda is listening, Tracey enters.
Valda motions Ormond to keep quiet, indicating
Tracey. Ormond says it is all right--goes
CUT-IN. "Your rescued gentleman is a customs officer.
He boarded the yacht by a trick to trap your
father, who has placed some undeclared jewels
in our trust."
Tracey nods corroboratively, and stares at
Ormond in admiration. Valda springs in
astonishment and anger. Ormond slowly draws
clipping of scene 95 from pocket, hands it to
Valda gravely. Valda reads, bites lips, sits,
taps foot--registers dismay and apprehension.
She asks to see jewels. Ormond, prepared,
readily draws out cigar-case, handing it to
her. She recognizes monogram of father,
starts, is becoming convinced, empties jewels,
Scene 97. EXTERIOR--BEASLEY'S CABIN.
Morson comes out. Morson is in first
mate's dress uniform, looking very spick and
span and handsome--lights cigarette,
meditates, saunters away, musing.
Scene 98. INTERIOR--CONTINUATION OF SCENE 96.
Valda is putting jewels back into bag and case.
Morson walks past window outside. They see
him. Valda half rises, looking toward him.
Ormond sees him, indicates--
CUT-IN. "He plays on women's sympathies with a story
of having come from Egypt with a fortune in
jewels, and being robbed in a London hotel by
Valda registers indignation at Morson. She
will be on her guard. She calmly puts jewel
case in her hand-bag, telling Ormond she will
take care of them. Ormond bites his lips, with
frown, Tracey makes a grab, but is restrained
by Ormond, who makes the best of the situation.
Valda rises and goes out, followed by
Tracey and Ormond who exchange meaning
looks, Tracey shaking head in worry.
Scene 99. EXTERIOR--PORTION OF DECK.
Valda walks on thoughtfully, sits in steamer
chair--meditates, Morson in distance sights
her, comes eagerly toward her. She looks up
as he approaches, cool, but can't resist
interest in him. At his stopping by her side, she
casually shifts handbag to opposite side from
him--this business all through scene. He
takes off cap and stands with bared head,
thanking her for her aid in his "accident."
She coolly deprecates his gratitude. He is a
little dashed, but persistent. He asks if he
may sit. She nods. He comes around to her
other side and takes steamer chair. She
shifts bag to the opposite side of chair, a
little fearfully, and clutches it nervously. He
sits and talks. The rug comes loose from
her feet. He stoops gallantly and fixes it
tenderly. She draws the bag up out of his
reach--registers little panic. He talks on,
not noticing her nervousness. Cut.
Scene 100. EXTERIOR--FLASH ANOTHER SECTION OF DECK.
Tracey and Ormond gazing toward Morson and
Valda. Tracey almost wild with anxiety and
suspense. Ormond, by contrast quiet, gazes
quietly, with narrowed eyes. Men smoking.
Scene 101. EXTERIOR--CONTINUATION OF SCENE 99.
Morson talking to Valda. Valda looks at him
a little suspiciously. The bag accidentally
catches on steamer chair--falls. Morson
gallantly leans over to pick it up. Valda quickly
snatches it up and stares defiantly at him,
to his complete amazement. Valda, quickly
changes expression to fixed smile. Tells him
to go on with story. Aunt Mary and Polly
listen interestedly as they come into scene.
He tells of--fade out into
Scene 102. SAME AS SCENE 16.
Quick flash--fade out into--
Scene 103. SAME AS SCENE 6.
Quick flash--the fight--fade out into.
Scene 104. CONTINUATION OF SCENE 101.
Morson finishes with last punch that ended
flight and finds her contemplating him icily,
with folded arms and mocking smile.
Suddenly she becomes furious. She springs to
her feet. The astonished Morson rises also.
Valda, in a tempest of rage, denounces him
as an imposter. He stares at her dazed.
Ormond and Tracey, who have come into scene,
register triumph. Aunt Mary in amazement
and rebuke. Polly stares at Valda as though
she thinks her suddenly demented. Valda
CUT-IN. "You are an impostor! The uniform of an
officer doesn't suit you! You shall work your
Morson stares at her in stunned astonishment.
but sees her feeling is genuine. For an
instant he is about to resent Valda's attack,
but suddenly realizes the humor of the
situation and grins. Beasley steps forward to
take charge of him. Morson bows low, sweeping
deck with cap. Beasley takes him by
shoulder. Morson, right-about-face, marches
off. Ormond and Tracey in triumph, Polly
wringing hands in sorrow over her hero's
fate, aunt Mary rebuking. Valda, in rage,
stares after him, and as all turn and leave
her, sinks down in chair sobbing.
End of Reel Three.
Scene 105. INTERIOR--MAIN SALON.
Valda enters, looks about cautiously, goes to
safe, kneels, works at combination. The
sinister face of Ormond is seen at window. He
glances in, sees her at safe, face lights up.
He watches. She opens safe, takes jewel case
from bag, puts it in safe. As she swings
safe door shut, Ormond's face leaves window.
Valda leaves cabin.
Scene 106. EXTERIOR--THE DECK.
Polly, aunt Mary, Tracey on. Valda comes
on and joins party. Morson comes into scene
with tin box of cleaning powder and large
rag in hands. He is dressed as ordinary
seaman, but, most becomingly, wears blue jersey,
duck trousers and canvas shoes, while a sailor
hat is set at a rakish angle. Beasley ushers
him on and points to rail, speaking roughly.
Slight commotion when party recognizes the
transformed Morson. Polly in distress. Aunt
Mary sympathetic, Valda stern with an effort.
Ormond hugely pleased. Morson sees Valda,
frowns humorously; quickly followed by smile.
Following Beasley's orders, Morson rubs rag
in powder and vigorously scrubs rail,
standing back to get artistic result. Ormond is
smiling. Morson works very gaily, whistling
blithely, as though delighted with work.
Valda shows irritation, picks up parasol--
opens it. Morson glances toward parasol--
keeps on whistling. Valda puts down parasol,
moves off with nose in air. Tracey
shakes with satisfied glee, takes cigar out of
mouth to chuckle, laughs, suddenly sees
Morson staring coldly at him with a
vengeful look in his eye, and gasps with
fear, shoving the wrong end of cigar
in mouth, turning cigar about two or
three times nervously before getting the right
end. Morson works on nonchalantly. Others
watch. Tracey walks off in response to
significant glance from Ormond, who precedes.
Scene 107. EXTERIOR--MAIN SALON--NEAR DOOR.
Ormond and Tracey come into scene, look
through window--coast is clear. Ormond
cautiously opens door, indicates safe, which
can be seen through door, to Tracey. Tracey
makes a movement to go in as Ormond
signifies jewels are in it. Ormond holds him
back and they pass on.
Scene 108. EXTERIOR--ANOTHER PORTION OF DECK AT RAIL.
Valda, standing at rail, very angry, foot
tapping impatiently. Morson approaches with
rag and box, sees her, passes on. Suddenly
he turns. She has turned to look at him.
Then, angry at his having seen this, turns
shoulder again, abruptly, and studies ocean.
He hesitates, and then comes to her. He tries
to talk to her, but she refuses to listen. He
CUT-IN "I don't blame you! If somebody told me the
tale I told you, I wouldn't believe it myself.
At the same time, my jewels are on this
yacht, and when we land In New Pork I'll
have the whole crew of you arrested--
EXCEPT AUNT MARY!"
He finishes his speech, audaciously shaking
his finger near her face. She backs away,
perfectly furious--stamps her foot in rage.
He goes away laughing at her discomfiture.
Gradually her face softens into a tender little
smile, and she gives sentimental sigh, looking
dreamily off to sea.
Scene 109. EXTERIOR--ANOTHER PORTION OF DECK.
Polly alone at rail. Morson passes, nods to
Polly, who smiles very sweetly as he lifts his
cap. Encouraged by her friendly manner, he
looks back a little as he passes, smiling. When
he goes, Polly sighs sentimentally and clasps
LEADER. THAT NIGHT.
Scene 110. INTERIOR--GIRARD'S ROOM IN LONDON.
Girard comes in, evidently after a few days'
absence. Mail piled high on desk, unopened.
Girard walks in and storms about for the
valet--gradually works himself into rage--
slams valise down, goes into next room, comes
out storming, muttering imprecations, shoves
hat back on head, goes to desk, prepares to
rummage through mail on desk, finds opened
envelope containing message from Larris (of
scene 76), picks it up, scratches head, pulls
out message, reads--flash message. Girard
stands stunned. Then realizes that some
mischief is intended, shoves hat hastily down on
head, still holding message in hand, grabs up
valise again, rushes out.
Scene 111. EXTERIOR--DECK OF SPITFIRE.--NIGHT TINT.
Polly and Morson sitting in shadow of boat--
mild flirtation--Polly chatting vivaciously,
Scene 112. ANOTHER PORTION OF DECK.
Valda walks down deck in long steamer coat,
suddenly spies Morson and Polly, becomes
extremely jealous, marches toward them
Scene 113. DECK NEAR SMALL BOAT (SAME AS SCENE 111).
Morson is about to playfully take Polly's hand
when Valda appears and speaks sternly to
them. Polly is terrified; Morson amused.
Valda speaks to Morson:
CUT-IN. "You are to have no conversation with my
Morson smiles amusedly, bows gravely to
Polly, ironically to Valda, and walks away.
Polly, in tempest of tears, turns and marches
away. Valda sits in steamer chair, gazes
ahead moodily--hurt. Indicates she is now
deeply in love with Morson.
Scene 114. EXTERIOR -- CALAIS PIER -- DAYLIGHT, FULL.
Girard talks with a yacht captain, climbing
aboard another yacht he has chartered.
(Yacht's name must be plainly seen to avoid
confusion with "Spitfire.")
Scene 115. INTERIOR--WIRELESS ROOM OF YACHT
(OF SCENE 114). (Note--May be same
wireless room used in previous scenes, with
little change and different operator.)
Girard into room, excited; tells the operator.
CUT-IN. "Locate the yacht 'Spitfire,' en route to New
Operator looks up. Girard irritable. Captain
enters, as though accompanying Girard,
explains to operator. Operator nods, begins to
send. Girard angrily and profanely discussing
matter with captain. Cut.
Scene 116. INTERIOR--MAIN SALON OF "SPITFIRE"--CLOSE UP.
Polly on, kneeling on cushioned seat that runs
about port-holes. Morson's grinning face can
be seen through port-hole. Polly has sandwich.
He opens mouth. She puts whole sandwich
in his mouth. Cut.
LEADER: MORSON GETS A HAND-OUT
Scene 117. EXTERIOR--DECK OUTSIDE PORT-HOLE.
Morson withdraws head with sandwich in
mouth, takes sandwich out with one hand,
extends other hand through port-hole for grateful
handshake, just as Valda comes into scene.
Valda stands for an instant. Morson takes
hasty glance at her, withdraws hand quickly,
and walks rapidly away. Polly's hand comes
through port-hole, groping frantically for his.
Valda stares in angry amazement, then she
walks angrily to door of salon and enters.
Scene 118. INTERIOR--MAIN SALON--OTHER SIDE OF PORT-HOLE.
Polly waving hand through port-hole as Valda
enters. She hears Valda, hastily draws out
hand, turns to face the indignant Valda. Polly
goes meekly to Valda, who spurns her.
Scene 119. INTERIOR--WIRELESS ROOM ON OTHER
YACHT--SAME AS SCENE 115.
Girard walks in, inquires of operator if any
news of "Spitfire." Operator shakes head.
Girard registers disapproval of operator and
whole d--- thing, smites fist on table, goes out,
slamming door. Operator leans back, gazing
after him, shrugs shoulders, goes back to work.
Scene 120. EXTERIOR--DECK OF "SPITFIRE."
Morson polishing brasses of yacht with the
cleansing powder. Valda comes into scene,
imperatively beckons him to her with finger, as
to a servant. With a mock sailor-like hitch
of his trousers, Morson, can of powder and
rag in hand, comes to her. She points to rail,
rubs finger across it--"Not clean enough." He
touches cap gravely, polishes it briskly. She
talks to him a little, as though rebuking him
for his carelessness. He listens with perky
look on face, hitches his trousers again as he
listens, gravely rubs rag in cleansing powder
and pretends to polish his nails. Valda,
exasperated by his pretense, stamps foot--
CUT-IN. "I wish you were back in the sea again!"
Morson points gravely to the sea--"Does she
mean it?" She nods vehemently. With a
spring, he is over the side, clinging to a rope
on the side, though she is not aware of rope,
and thinks him overboard. Valda, with wild
cry, rushes toward the pilot house, calling to
Captain Larris to stop the ship. There is
instant excitement of all on board--all rushing
Scene 121. EXTERIOR--VIEW OUTSIDE OF HULL OF YACHT.
Morson clinging to rope hung on davit, out
of view of those on deck, grinning
Scene 122. EXTERIOR OF "SPITFIRE."
People running toward rail. Polly, wringing
hands, grabs boat-hook. Aunt Mary tears off
life preserver from rail, throws it aimlessly,
faints--supported by the excited and delighted
Tracey, who nearly drops her at times in his
wild anxiety to glimpse the drowning figure
of Morson--off. Ormond and Beasley also
register pleased relief, and pretended solicitude.
Valda alone quiet, tense, hands clenched,
repentant and grief-stricken. As Captain
Larris is about to order boat lowered, the
anxious Tracey, holding the fainting Aunt
Mary, presses close to the rail, and looks over
rail. He suddenly sees Morson, safe and
clinging to rope. In his disappointed disgust,
Tracey drops Aunt Mary with a thump, and
she immediately comes to. Tracey points over
shoulder with thumb to rail and walks off.
Others crowd to rail--register relief and
surprise to see Morson safe. Ormond and
Beasley alone disappointed, though pretend
otherwise after a second. Polly clasps hands in
delight. Valda, hand on heart, sways a little
in revulsion of feeling; then her relief is
mastered by indignation and she imperiously
beckons Morson back. He sheepishly clambers
back over rail, with assistance of sailors,
saying apologetically to the angry Valda:
CUT-IN. "I almost got my feet wet!"
Valda stamps foot in anger, turns indignantly
and walks away.
Scene 123. EXTERIOR--ANOTHER PORTION OF DECK.
Valda comes down deck and approaches Beasley,
who is standing morosely against rail.
She points back to Morson, seen in distance,
talking to the excited Polly, and speaks:
CUT-IN. "He hasn't enough to do. Give him some real
Beasley accepts this suggestion, very pleased,
bows--off to Morson.
Scene 124. EXTERIOR--ANOTHER PORTION OF DECK.
Polly comes on, accompanied by Ormond and
Tracey, who are trying to be very gallant.
Polly is annoyed, showing plainly she has
little use for either. She drops her small
mesh-bag. Both men stoop gallantly, Tracey
nearly getting it, but Polly is quicker, and
rescues the purse herself, showing satisfaction
purposely; then, with a meaning look at both
men, turns and leaves them. Ormond shrugs
shoulders, smiles grimly at Tracey's
discomfiture--they walk on.
Scene 125. EXTERIOR--STILL ANOTHER PORTION OF DECK.
Beasley enters, followed by Morson. Morson
carries a bucket of water and a mop with a
long handle, scrubbing brush protrudes from
bucket. Beasley carries holy-stone, concealed
behind his back. Morson looks humbly
resigned, as though going through an ordeal,
Ormond and Tracey pass and register
thorough satisfaction. Morson makes gesture as
though about to throw bucket at them, but
thinks better of it and proceeds on with it.
Beasley stops and shows Morson portion of
deck he is to scrub--Morson sets down bucket
--Beasley slowly produces the holy-stone--
shows it to Morson. Morson pretends to
examine it as through opera glasses. Beasley
frowns, puts stone down on deck. Morson
puts long-handled mop in bucket, starts to
push holy-stone along with it--Beasley
interrupts him--"It isn't done that way"--gets
down on marrowbones and illustrates, with
action, method of holy-stone. With a grimace
at him, Morson reluctantly gets down on
knees as Beasley rises and goes at his work.
Beasley registers satisfaction at the
Scene 126. EXTERIOR--PORTION OF DECK AT DISTANCE.
Camera follows Ormond and Tracey, with
Valda in center, down deck. Polly and Aunt
Mary following. The two men point out distant
view of Morson scrubbing, with satisfaction to
Valda, whose triumph is marred by her own
secret sympathy with Morson. She turns away
Polly and Aunt Mary register disapproval.
With a little sly look of glee toward
Ormond and Tracey, Beasley raises his foot,
and quickly placing it against Morson's
shoulder, pushes him violently, so that Morson
falls flat on his face in the soapy water.
Valda turns just in time to see this cowardly
act. Morson leaps to his feet, is about to
rush toward Beasley, when he catches sight of
Valda. With a great effort he controls
himself, bows to Valda and is about to return to
his work. Beasley laughs and Valda, with an
outburst of fury, turns to Morson and speaks:
CUT-IN. "Mr. Morson, as mistress of this yacht, I give
you full permission to avenge that insult to
the limit of your strength and will."
Morson steps back with wondering unbelief,
while Beasley and others also show their
amazement. Morson thanks Valda and without
more ado, goes for Beasley. (The fight
should be a short, sharp, decisive affair,
with Morson as victor, ending with Beasley
prostrate with Morson standing over him.) The
sailors all cheer. Valda shows quiet delight
in Morson's triumph. Cut.
LEADER. A FEW DAYS LATER--WIRELESS LOCATES "SPITFIRE"
ALMOST WITHIN VISION OF GIRARD'S VESSEL.
Scene 127. INTERIOR--WIRELESS ROOM ON GIRARD'S
CHARTERED YACHT (SAME AS SCENE 119).
Girard on, is told by operator he has located
"Spitfire." Girard joyful, begins to dictate
Scene 128. EXTERIOR--DECK OF YACHT "SPITFIRE."
Ormond and Larris talking, Tracey at hand--
wireless operator comes on deck with message,
looks for Larris--gives him transcript of messages
--Larris reads. Flash message:
INSERT. Capt. Larris,
Take charge of ship immediately. Will
overtake you soon. Reduce speed and
Larris triumphantly shows wire to Ormond,
whose eyelids flicker, but does not otherwise
betray emotion. As a matter of course, and
as though expecting message, he bows, says
a few words to captain, and strolls off easily.
The captain looks after the nonchalant Ormond,
puzzled, shakes head--the situation has
"got him" all right. Tracey joins Ormond,
they walk down deck.
Scene 129. INTERIOR--SMOKING ROOM.
Ormond and Tracey in--they sit with heads
together, worried. Ormond outlines action--
Tracey listening. Beasley comes in, all talk,
finally Ormond, with quick decision, says:
LEADER. WHAT HAPPENED THAT NIGHT.
Scene 130. STRETCH OF SEA--NIGHT TINT.
The "Spitfire" and other yacht, all lighted up,
against solid black night, and stars.
Scene 131. EXTERIOR--DECK OF SPITFIRE--NIGHT.
Ormond and Tracey at rail, look off and see
lights of the other yacht. They prime
themselves for action.
Scene 132. INTERIOR--MAIN SALON.
Valda sitting by table reading by lights--she
hears knock, goes to door, opens it cautiously
--it is Morson, clad in Beasley's long oilcoat--
she starts to close door, mocking him impertinently
--he places foot in door, she can't shut
it--finally she allows him to come in--they
stand a moment, talking, tender little scene--
he takes her hand as he says good night, she
pulls it away gently--she indicates now that
she can no longer conceal her love for him.
He says good night and closes door. She
stands a moment and goes to port-hole, looks
after him tenderly, shakes head sadly--still
thinks him spy, though she loves him. She
goes to door, right, and hesitates a moment,
then turns out lights. Room in darkness.
LEADER. MORSON REMEMBERS THE DECK HAND'S LAST DUTY
FOR THE NIGHT.
Scene 133. INTERIOR--BEASLEY AND MORSON'S CABIN.
Morson comes on, takes off coat as he goes in
and about to undress, when he remembers he
has forgotten to take in the chairs--leaving
coat he goes out.
Scene 134. EXTERIOR--DECK.
Morson gathering up steamer chairs.
Scene 135. EXTERIOR--BEASLEY AND MORSON'S CABIN.
Ormond and Beasley come on cautiously--
Beasley glances through port-hole or window--
no one there--Beasley opens door, reaches and
gets coat Morson wore and hands to Ormond--
Scene 136. INTERIOR--MAIN SALON (AS IN SCENE 132).
Very dim light--flash at door of burglar's
lantern--figure in long coat of Morson goes
to safe, working away at safe, blows it open,
steals jewels--to door--just as man gets to
door, Valda in doorway of her room, in time
to see figure of man dart from door in
Morson's coat--look of horror, registering she
thinks it Morson, covers face--the room only
lighted by dim rays from port-holes and the
burglar's light left by man in his haste.
Valda takes the burglar's light and goes to
safe--kneels, looks through rifled safe.
Scene 137. EXTERIOR--OUTSIDE MAIN SALON.
Morson rounds the corner gathering steamer
chairs--by this porthole he stops, transfixed
by what he accidentally glimpses through the
port-hole--he steps nearer, and gazes in
horror at Valda in room. He puts down chair, he
walks away dazed and overwhelmed--disappears
around corner. Valda rushes out of
door with wild excitement, but no outcry--
she knocks at various doors, groups come out,
she notifies them. Cut.
LEADER. NEXT MORNING.
Scene 138. INTERIOR--MAIN SALON.
Valda and all on---she shows the captain the
rifled safe, Aunt Mary and Polly register great
excitement. Ormond and Tracey saunter in,
looking cool and interested. Beasley looks at
Ormond and Tracey, but quickly looks away.
Captain begins to question them all--finally
questions Valda. After struggle with herself
she turns, looks toward Morson while speaking,
points to him and safe, indicates she saw
him at safe. Morson staggers back and looks
at her in stunned amazement, indicating that
his feeling for his own position is less than
his loss of faith in her. He passes hand across
his eyes, stares at her, but makes no denial.
CUT-IN. "Do you deny that you were in the main
salon at midnight?"
CUT-IN LEADER. MORSON CANNOT REPLY.
Morson looks long and steadily at Valda,
refuses to answer. Valda's eyes drop and she
registers emotion. Captain Larris gives
orders, they search Morson and bind him
to post. Valda crushed. All register
dismay at Morson's implied guilt. Cut.
Scene 139. INTERIOR--HOLD OF YACHT.
Fire breaks out, sailor discovers, excitedly runs
Scene 140. INTERIOR--MAIN SALON (SAME AS SCENE 138).
Varied business on parts of Polly, Aunt Mary,
Valda, Ormond, Tracey, captain, etc. Morson
still bound to pillar of cabin. Sailor rushes in
to captain, says "Fire!" Others overhear and
register wild panic. Captain Larris, after
momentary shock, rushes out, giving orders--
all rush out in pandemonium, leaving Morson
alone, bound--smoke curls in.
Scene 141. QUICK FLASH OF HOLD (SAME AS SCENE 139).
Flame now big and strong. Captain Larris
and men appear, but are driven back by fire
Scene 142. EXTERIOR--UPPER DECK.
Women all huddled together. Polly weeping,
Aunt Mary praying, Valda tense, suddenly
thinks of Morson, turns, rushes off.
Scene 143. EXTERIOR--DECK OF PURSUING YACHT.
Captain, Girard and others at rail, much
nearer to "Spitfire" now than in night scene--
see smoke of "Spitfire." Girard registers great
fear and anxiety--much excitement--captain
gives quick orders to increase speed.
Scene 144. INTERIOR--MAIN SALON OF "SPITFIRE"
(SAME AS SCENE 140).
Morson alone, bound--smoke volumes increasing
--Valda rushes in--looks about frantically
for some means of releasing him.
Scene 145. EXTERIOR--DECK OF "SPITFIRE."
Lifeboats being lowered--Polly and Aunt Mary
being shoved into boat by captain, Beasley
and others. Ormond and Tracey at rail, register
sudden resolve to finish Morson. Ormond,
gun in hand, followed by Tracey, starts off.
Scene 146. INTERIOR--MAIN SALON (AS IN SCENE 144).
Valda cutting cords with knife she finds in
desk--Ormond and Tracey come in, are
dumbfounded at the sight of Valda--with a spring,
Morson, freed, is upon Ormond, wrests away
gun, holds Ormond and Tracey at bay--then
hands gun to Valda, fights Ormond with bare
hands while Valda holds the terrified Tracey
easily at bay. Smoke rushing on thicker and
thicker--desperate fight between men. Quick,
Tracey, recovering from fright, makes
threatening movement, is knocked out by Morson.
Morson gets mastery over Ormond, knocks him
down, searches pockets, finds dangerous-
looking knife, throws it aside, searches again,
as if for more weapons, finds the morocco
cigar case, starts to throw aside, when Valda
gives cry of astonishment--he looks at her,
opens case, Ands his jewels--he registers
delighted surprise and mental vindication for
Valda (Valda same business for him). Smoke
and flames now appear. Morson thrusts jewels
in belt. Valda overcome. Morson rushes off,
half carrying Valda. Tracey and Ormond
stagger to their feet and follow.
Scene 147. EXTERIOR--DECK OF SPITFIRE.
Flames mounting high, the captain stands on
the bridge watchful and waiting, tense--
commanding, heroic figure. Morson is seen
rushing through the smoke, carrying Valda. For
a moment he bends over her, kisses her, then
on to the rail. Boats seen rowing hastily off
toward other yacht. Flames envelop the
Scene 148. EXTERIOR--EXPANSE OF WATER.
Distant view of the charred hulk of the
"Spitfire" descending into the sea.
Scene 149. EXTERIOR--DECK OF GIRARD'S OTHER YACHT.
Girard, captain and others at rail. Boat
reaches yacht. Girard scans faces in boat in
vain for his daughter. Tears his hair in
anxiety and grief. Levels glasses and scans
Scene 150. EXTERIOR--EXPANSE OF OCEAN.
In foreground, charred spar of ship with Valda
and Morson clinging to it, Morson supporting
Valda. A little bit off, a larger piece of
wreckage to which cling Beasley, Ormond, Tracey
and Captain Larris.
Scene 151. EXTERIOR--DECK OF GIRARD'S OTHER YACHT--
Girard, looking through glasses, spots daughter
on spar. Excitedly tells captain, they
lower boat. Cut.
Scene 152. EXTERIOR--ROCKY BEACH.
Valda and Morson on beach, spar lies near
them. They look off at sea and then tenderly
at each other. Morson draws pouch from belt,
thrusts in hand, takes out some jewels, from
which he selects diamond ring--puts it on
CUT-IN. "You called me a thief--and I am! I'm going
to steal you"
She goes to his arms.
Scene 153. FLASH TO BEACH.
Father lands in boat, gets out with one or two
sailors, runs up beach, stops short in paralyzed
indignation at what he sees.
Scene 154. EXTERIOR--BEACH (AS IN SCENE 152).
Valda still in Morson's arms. Father storms
angrily into scene. Morson looks at him,
annoyed at interruption. Valda sees father, flies
to his arms, and after embrace, and then
turning, points to Morson, says:
CUT-IN. "Father, Mr. Morson, a traveler from Egypt!"
Father angry, eyes Morson, sternly, then grins
slowly, extends his hand. Fade out.
End of "The Spitfire."
Screenplay by B. P. Schulberg