brought to you by The Val Lewton Screenplay Collection
"THE GHOST SHIP"
AN RKO RADIO PICTURE
Production #431
Negative shipped Nov. 5, 1943
No. of Reels 7
Footage 6239
Running Time 69 Min. 19 1/3 Sec.
Music by ROY WEBB
Musical Director BAKALEINIKOPP
Director of Photography NICHOLAS MUSURACA, A.S.C.
Special Effects by VERNON L. WALKER, A.S.C.
Art Directors ALBERT S. D'AGOSTINO and
WALTER E. KELLER
Set Decorations DARRELL SILVERA and
CLAUDE CARPENTER
Gowns by EDWARD STEVENSON
Recorded by FRANCIS M. SARVER
Edited by JOHN LOCKERT
Asst. Director RUBY ROSENBERG
Certificate No. 9567
Produced by VAL LEWTON
Screenplay by DONALD HENDERSON CLARKE
Story by LEO MITTLER
Directed by MARK ROBSON
CAST OF CHARACTERS
Captain..................RICHARD DIX
Tom.....................RUSSELL WADE
Ellen..................EDITH BARRETT
Bowns...................... .BEN BARD
Sparks.................EDMUND GLOVER
Finn..................SKELTON KNAGGS
Benson....................TOM BURTON
Ausman.................STEVE WINSTON
Raphael..................ROBERT BICE
Louie...............LAWRENCE TIERNEY
Boats.................DEWEY ROBINSON
Jim.....................CHARLES LUNG
John...............GEORGE DE NORMAND
Peter....................PAUL MARION
Billy...................SIR LANCELOT
Roberts...................BOYD DAVIS
SMALL BITS AND PARTS
McCall....................HARRY CLAY
Crew Member.............RUSSELL OWEN
Crew Member.............JOHN BURPORD
Crew Member.............EDDIE BORDEN
Crew Member...............MIKE LALLY
Crew Member............CHARLES REGAN
Stenographer.............NOLAN LEARY
Chief Engineer........HERBERT VIGRAN
Silhouette Girl.......SHIRLEY 0 'HARA
Blind Beggar..............ALEC CRAIG
German Sailor Bit......BOB STEVENSON
German Sailor Bit.....CHARLES NORTON Carriage
Driver.........NORMAN MAYES
SONGS
"BLOW THE MAN DOWN" - Sung by the Blind Man - Sung by Billy
Radd
"HOME DEARIE HOME" - Sung by Billy Radd "COME TO SAN
SEBASTIAN" - Sung by Billy Radd
"I'M BILLY RADD PROM LA TRINIDAD" - Sung and whistled by
Billy Radd
THE GHOST SHIP
The MAIN and CREDIT TITLES are SUPERIMPOSED on a STUCK SHOT
of a freighter steaming slowly through wraith-like mists and
over glassy water.
EXT. DISPLAY WINDOW - SAN PEDRO STREET - NIGHT
A display of pocket knives arranged on a board in the center
of a window. The light glistens and reflects from the opened
blades. Over this scene we hear a merry voice singing, "Blow
the Man Down."
VOICE
(o.s.,singing)
Come all ye young fellows who
follow the sea...
CAMERA BEGINS TO MOVE BACK to show the display window of
Rubin's Seamen's Outfitting Co. The display consists of
cheap blue sweaters, stiff-looking civilian hats, watch
caps, oilskins, and the other simple paraphernalia of a
sailor's life. In one corner is an enormously enlarged
photo of Rubin himself, in his prime, fighting Joe
Jeffries. Across the face of the window, in reflection, can
be seen figures typical of a San Pedro street;
sailors, merchant jacks, and one rolling drunk. The rhythm
of their walk seems to have the lilt of the song being
sung.
At the left-hand corner of the window can be seen the
reflection of a Negro singer, a blind man, with a zither
suspended from a strap around his neck. On the face of this
instrument is a placard reading, "I am Blind." A cup is
suspended underneath it. As the CAMERA. MOVES STILL FURTHER
BACK, the actual figure of the blind beggar-is disclosed.
It is he whose merry voice is singing "Blow the Man Down."
BLIND BEGGAR
(singing)
It's starboard and larboard we
jump to the call When kicking
Jack Roberts commands the Black
Bull.
Oh, give me some time to blow the
man down.
CLOSEUP. A man's hand and arm come into the scene, and a
coin spins from the hand and falls with the clink of silver
into the blind man's cup.
TOM'S VOICE
For luck.
BLIND BEGGAR
(breaking off his song)
Thank you, sir. Being a sailor,
you'll need luck.
MED. SHOT - Blind Beggar and Tom Merriam. Tom Merriam, a
young man dressed in a very obviously new blue suit and
carrying a new suitcase, is arrested by the lest phrase, and
turns to look again at the Beggar. The Beggar, almost sensing
his movement of halting and looking, smiles.
BLIND BEGGAR (cont'd)
And you're a young sailor, too,
sir. Don't need eyes to tell me
that. Young seamen all want luck
when they're outward bound. Only
the old ones know there's nothing
but bed luck and bad blows at sea.
Tom puts down his suitcase. The Beggar grins at Ma.
BLIND BEGGAR (cont'd)
You're an officer, too —
TOM
How do you know?
BLIND BEGGAR
I heard your suitcase go down. A
seaman would be having a soft bag.
Tom smiles and begins to search his pocket for another coin.
BLIND BEGGAR (cont'd)
(even before getting the
money)
Thank you, thank you. If it's the
Altair you're boarding, it's a
bad ship.
Tom puts the coin in his hand.
TOM
You've got a blind man's tricks for
telling what men are like — but
ships -- you can't tell about
ships.
He picks up his suitcase and starts off.
REVERSE SHOT - Tom crossing the street toward where the
Altair lies against the bulkhead. In the f.g., the Blind
Beggar resumes his playing and singing.
EXT. GANGWAY - NIGHT
Tom comes walking onto the gangway and begins to climb. At
the head of the gangway can be seen the hunched figure of a
little man seated at the conjuncture of gangway rail end deck
rail. This is the Finn. He is an odd, gnome-like little man,
direct and quick of movement. He wears his watch cap in a
peculiar fashion so that it has the appearance of a Phrygian
bonnet, adding to the gnome-like quality of his appearance.
As Tom ascends the gangway, the Finn looks up with bright,
direct eyes. He never ceases whetting his long-bladed shive
on a whetstone which he holds in his lap.
TWO SHOT - Tom and Finn. Tom comes up to the head of the
gangway. The Finn looks at him and continues sharpening his
knife, not missing a stroke on the stone.
TOM
I'm the Third Officer. Where can I
find the Captain?
Without saying a word, the Finn gestures with his knife blade
to the forward portion of the vessel. Tom looks at him
somewhat questioningly, end the Finn again makes the gesture
with his knife. Tom starts off.
CL0SE SHOT - the Finn. He looks after Tom and, as he looks,
his voice can be heard, in narration.
FINN
(narration)
Another man I cannot talk to — that
I can never know and who can never
know me — because I am a mute and
cannot speck. I am walled about
with silence, cut off from other
men, but I can see things they
cannot see. I see the white steel
thirsting for blood and the blood
running to meet it.
(he brings his knife up
to eye level to look at
it)
I am a Finn, and my soul is in my
hand here, white and cold, and
knowing all things.
EXT. BOAT DECK - NIGHT
Tom comes up the ladder from the main deck and goes toward
the door of the Captain's cabin. The noise of loading from
the well dock attracts his attention end he looks off.
EXT. WELL DECK - NIGHT
LONG SHOT of the forward well deck with Tom in the f .g. The
hatch is open and light streams from it. A gang of men are
working around the hatch, fitting the main hatch cover.
EXT. BOAT DECK - NIGHT
Tom turns back toward the door of the Captain's cabin. He
sets down his suitcase, drapes his overcoat over it, shrugs
his shoulders into his jacket, straightens his tie, and
knocks on the door. It is slightly ajar and swings open a few
more inches under Tom's knuckles. Tom looks through the
opening of the door into the Captain's office, and waits a
few seconds. Then he knocks a second time, and the door
swings easily open. He goes in.
INT. CAPTAIN'S OFFICE - MIGHT
The desk, with neatly piled papers, is in the left b.g. A
swivel chair is before the desk, an upholstered chair on the
right. In back of the desk is a stair which leads up to the
bridge. Books fill bookcases set alongside the bulkheads. Tom
looks over the office, which is that of a man of unusually
good taste, education and culture. A Hogarth print catches
his eye. This is "The Gin Drinker," a picture full of the
cruelty and the madness sometimes so apparent in Hogarth's
works. Tom glances at the bookcase, and then looks closer.
The books are beautifully bound and unusual, to say the
least, in a freighter Captain's quarters. Footsteps are heard
from Tom's left, as he stoops to look at the book titles. Tom
straightens and turns.
REVERSE SHOT. An officer is descending the staircase leading
down from the bridge. This is the Captain of the Altair, a
man of vigorous middle age, with e sailorly neatness in his
dress and an air of quiet and competent authority. Halfway
down the stairs he speaks.
CAPTAIN
Mr. Merriam?
TOM
(drawing himself up a little)
Yes, sir.
The Captain crosses to him, extending his hand. Tom moves
forward to shake hands.
MED. CLOSE TWO SHOT. Between the two men a wooden placard can
be seen on the cabin bulkhead. Carved into it are the words:
WHO DOES NOT HEED THE RUDDER SHALL MEET THE ROCK
CAPTAIN
(taking Tom's hand)
I am Captain Stone.
MED. SHOT - Captain and Tom. The two men look at each other
for a brief moment. There is appraisal in the Captain's
glance; some uncertainty and nervousness in Tom's. Finally
the Captain smiles.
CAPTAIN (cont'd)
I chose you, Merriaim. I don't
regret my choice.
TOM
(politely)
Thank you, sir.
CAPTAIN
(as if he had not even
heard Torn)
I looked, up the records of all the
training-ship graduates. You seemed
the most likely man for me. Do you
know why?
Tom shakes his head.
CAPTAIN (cont'd)
(smiling)
Your history could have been my
own at your ago -- an orphan,
serious, hard-working, anxious to
get somewhere. We'll get on, you
and I.
The boy smiles; very pleased.
CAPTAIN (cont'd)
I like a good ship, a clean ship,
an obedient ship. As third Officer,
you have a certain authority. Use
it well and the Altair will bo that
kind of ship.
TOM
(eagerly)
I'll do everything I can.
CAPTAIN
Good.
(letting his hand drop
from the boy's
shoulder)
And now you'd better go to your
quarters — get yourself ready for
work.
Tom moves toward the door. The Captain accompanies him. Near
the door an electric light Is burning in a fixture set into
the bulkhead. A covey of moths flutter and dodge around the
light, Tom, almost automatically, lifts both his hands to
catch and kill one. The Captain catch hold of his sleeve,
restraining him.
CAPTAIN (cont'd)
Don't.
Torn turns to look at him.
CAPTAIN (cont'd)
You haven't the right to kill that
moth. Its safety doesn't depend on
you. No right.
TOM
(interrupting; puzzled)
I'm sorry. I don't understand.
CAPTAIN
(smiling)
Never mind. I'll explain some time.
We've a long voyage ahead of us.
That's the nice thing about long
voyages —- time for talk -- time
for friendship —-
(he pauses)
You'll find your cabin on the main
deck.
Tom steps out onto the boot deck.
THE BOAT DECK - NIGHT
Tom comes out of the Captain's office, closes the door behind
him and starts down the ladder to the main deck.
THE MAIN DECK - NIGHT
Tom descends the ladders and starts down the deck in search
of his cabin. Raphael, the steward, is coming in the opposite
direction, a pile of linen In his arms,
TOM
Steward?
RAPHAEL
Yes, sir.
TOM
My nene is Merriam. I'm the new
Third.
RAPHAEL
Your quarters are right over here.
Mister Merriam.
He indicates a door to the left, and Tom crosses over and
opens the door.
INT. TOM'S CABIN - NIGHT
SHOOTING THROUGH the doorway, between the two men, the CAMERA
SHOWS Tom's cabin. The berth is unmade, blankets and sheets
in great disorder. Tom turns to Raphael.
TOM
The berth isn't made up.
Raphael stands staring at the berth, as if perhaps he did not
like to look at it, or as if the berth had some hidden
significance. With his deadpan, which never relaxes into a
smile just as it never contracts into a frown, he answers,
smoothly and politely:
RAPHAEL
Sorry, sir. I haven't ha a chance
since Mr. Lingard. died. He was the
last Third Officer.
Tom looks at the berth and then at Raphael.
TOM
He died in this berth?
RAPHAEL
That's right, sir. He had such
convulsions, he would have died on
the floor if he hadn't been held on
the berth.
Tom is silent. He goes into the room. The steward follows
him.
RAPHAEL (cont'd)
It seemed more proper for him to
die there than on the floor, sir.
TOM
(exclaiming, his voice subdued)
What was the matter with him?
RAPHAEL
I don't know, sir. But he didn't
want to die. He was always telling
funny stories.
Tom shrugs.
TOM
(points to the berth)
Well --- make it up. Can you change
the blankets as well as the sheets?
Raphael nods.
TOM (cont'd)
And open the porthole. As soon as
we're under way we'll get some air
in here.
RAPHAEL
Yes, sir. We'll be pushing off in
an hour, sir.
Tom glances at the berth as he starts undoing his coat
buttons.
DISSOLVE
EXT. FORECASTLE HATCH - NIGHT
A CLOSEUP of Boats, the bo'sun's face, underlit by the light
coming up from the forecastle, as he brings two fingers up to
mouth, blows and emits a piercing whistle,
EXT. BOATS AT FORECASTLE HATCH - NIGHT
MED. SHOT. He leans down to peer into the forecastle. From
below comes the sound of a strange melody being played on a
bagpipe.
BOATS
(bellowing)
On deck you guys! The Captain
wants a look at you.
(in a sing-song tone)
Rise and shine for the Dunham Line.
I don't mean one, I don't mean two.
I mean the whole sweet bellboy
crew.
There is a shout of laughter from below and the men begin
coming up by ones and twos, dark hulking silhouettes coming
up out of the light. Talking and laughing they go past the
boatswain. The last of the men seems to have come up on deck,
but still the music of the bagpipes continues. The bo'sun
looks down the hatch,
BOATS (cont'd)
Hey, you ,Scotty, can that music.
On deck.
A curly-haived seaman, with a swarthy complexion, comes up
the companionway and stands for a moment in the light. This
is Peter. The bagpipes are still under his left arm. He
flashes white tooth in a broad grin.
BOATS (cont'd)
(starting aft)
Come on, Scotty.
PETER
(falling into stop with him)
I ain't Scotch, Boats. I'm Greek.
(holding up the bagpipe)
It's only the Greeks can play those
things good. In the home country,
we play them to the sheeps.
The CAMERA BEGINS TO PAN WITH as they start aft toward the
break of the well deck.
BOATS
(as they walk)
Sheeps! You'll get all the sheeps
you want. We're going to
Patagonia for a full sheep cargo
—- sheep hides, mutton, tallow —
(making a grimace and
holding his nose)
-- we even bring back the smell
of the sheep.
They have come up to where the other men are standing near
the main hatch in an irregular semi-circle. The dock is
illuminated by a hanging light near the starboard ladder
leading to the boat deck. Boats looks up.
EXT. FORWARD AND AFT MAIN DECK -- NIGHT
The Captain, and Mr. Bowns, the First Officer, are standing
at the head of the ladder. Bowns, an ordinary-looking man,
perhaps a little more serious than most, is dressed in a
dingy serge uniform without either collar or tie. Tom has
changed to his working clothes, dark trousers, dark sweater
and an officer's cap.
CAPTAIN
(to Tom)
You and Mr. Bowns had better have
a look at the crew.
Bowns has already started for the ladder.
BOWNS
(turning back to Tom)
Come on, Merriam.
Tom starts after him.
EXT. WELL DECK - NIGHT
Bowns, followed by Tom, descends the ladder to the well deck.
Boats, with his men before him, stands on the hatch cover,
pulling a folded bit of paper from his trouser pocket. Bowns
goes all the way down the ladder and stands beside it. Tom
stops about three steps up the ladder. Bowns nods to the
boatswain.
BOWNS
Go ahead, Boats.
The boatswain begins reading the roll from the bit of paper
in his hand. The reading of the roll goes quickly.
BOATS
Ausman, Jack.
AUSMAN
Here.
BOATS
Benson, William.
BENSON
Here.
BOATS
Burch, Harry
BURCH
Yo!
BOATS
Carter, Claude
CARTER
Present.
Louie whistles at the name, "Claude." The men laugh.
BOATS
Pipe down, there... Corbin, John -
JOHN
Here.
BOWNS
(interrupting the roll
call to call up to the
Captain)
I've shipped with this man
before. He's a good seaman, sir.
JOHN
Thank you, Mister.
BOATS
Farnham, Ed -
FARNHAM
Here.
During the roll-call, Louie continues to pantomime his
reaction to the name, "Claude." The men around him are
amused, but under the eyes of the officers, are somewhat
embarrassed.
BOATS
Hauser, Frank -
HAUSER
Here.
BOATS
Lindstrom, Pavlo -
The Finn raises his hand, but the bos'n, intent on the paper,
does not see it.
BOATS (cont'd)
Pavlo Lindstrom -
Louie indicates the Finn's upraised hand.
LOUIE
He ain't askin' any questions,
teacher. The guy's a dummy.
The bos'n jerks his head up and is about to retort, but Bowns
comes in first.
BOWNS
A Finn! Watch the man, Boats. I
don't want any trouble on this
ship.
The Finn is motionless. After a quick glance, the bos'n
continues.
BOATS
McCall, Tom -
MCCALL
Yo!
BOATS
O'Connor, Jack -
O'CONNOR
Present.
The bos'n looks at Louie.
BOATS
Parker, Louis -
LOUIE
Here, teacher.
Boats gives him a hard look, but goes on.
BOATS
Radd, William -
Billy Radd, a Negro, raises his hand.
BILLY
(singing)
I'm Billy Radd From Trinidad.
BOATS
(interrupting)
Pipe down, you!
(resuming the roll call)
Jensen, George.
There is a short silence.
BOATS (cont'd)
George Jennsen -
(tries another
pronunciation)
Yannsen!
Still no answer.
BOATS (cont'd)
Vaughn, Jack -
VAUGHN
Here.
BOATS
Waite, Leonard -
WAITE
Here.
The bos'n puts the list back in his pocket, and turns t o B
owns.
BOATS
Everybody here, sir, - except
Jennsen.
He looks toward the forecastle.
BOWNS
Maybe in the foc'sle.
JOHN
(to Bowns)
George was right next me when we
came out the foc'sle.
Bowns cups his hands before his mouth and bellows.
BOWNS
Jennsen! George Jennsen!
There is no answer. In the silence that follows the echo of
the mate's shout, Tom reaches up and takes hold of the lamp
just above his head. He swings it forward to extend the
periphery of the light. The pool of lamplight oscillates,
extends in a long sweep, then comes swinging back. As the
lamp itself comes swinging back to him, Tom grabs it and
gives it another and a stronger heave. The light races
forward again, goes on past the limits of its last sweep, and
illuminates for a brief moment the figure of a man prone on
the deck. Then the lamp comes swinging back. The men,
exclaiming in hushed tones, start forward.
EXT. WELL DECK - NIGHT
The body of George Jennsen as the men gather around. One of
them has a small flashlight and the wavering beam of this
light illuminates the scene. Bowns, with Tom at his heels,
comes through the men and kneels to examine the fallen man.
With the aid of John, he turns the body over, examines the
eyes, feels the pulse. The men watch him intently. Finally he
straightens up and looks off toward where the Captain stands
on the main deck,
BOWNS
Captain, I don't get any pulse. I'm
afraid the man's dead.
EXT. MAIN DECK - NIGHT
Captain Stone, standing at the head of the ladder, looks down
to where Bowns and the others are grouped about the dead man.
CAPTAIN
Most likely heart failure, Mr.
Bowns. He was an old man.
He turns away.
EXT. WELL DECK - NIGHT
CLOSE SHOT OF THE FINN -
He stands looking down at the body before him. Tom Merriam
stands quite near him. He too is looking at the body. The
CAMERA shoots past Tom's profile to take in the Finn's
CLOSEUP.
FINN
(narration)
The man is dead. The waters of the
sea are open to us. With his blood
we have bought passage. There will
be the agony of dying and another
death before we come to land again.
Men's lives are the red coin thrown
into the sea so that we may come
and go across the waters.
As his thoughts find expression on the SOUND TRACK, the
Finn's eyes go to Tom's earnest young face. Tom continues to
look down at the dead man.
FADE OUT
FADE IN
STOCK SHOT - a bow view of a freighter steaming through fog
(the same STOCK SHOT as was used behind the Main Title).
QUICK DISSOLVE
A freighter's bow going through wraithlike fog.
THE TAFFRAIL - DAY - (FOG).
On the taffrail, preparing, to stream the log, are John, the
Finn and Ausman. Tom, his watch in his hand, is supervising
the operation. The line runs off the reel at a quickening
pace. The red tab which marks the end of the stray line
passes over the taffrail.
JOHN
Mark. Stray line out.
Tom looks at his watch with the air of one making a mental
note, lie turns to go.
TAFFRAIL - DAY - (FOG)
ANOTHER ANGLE -
Transparency background. The new angle reveals the fact that
Captain Stone has been watching this operation, and also
shows that the boat is steaming slowly past the lighthouse at
the end of the San Pedro breakwater. The lighthouse, and the
sea wall are lightly veiled with fog. The Captain falls unto
step beside Tom. CAMERA DOLLIES with them as they walk toward
the ladder leading to the after well deck.
TOM
We streamed the log at exactly
9.18.23.
CAPTAIN Fine.
TOM (cont'd)
It seems good to get going. I heard
one of the men putting it another
way -- I heard him say, "The ship
comes to life at sea."
CAPTAIN
I suppose that's the way all
sailors feel. It's good to go to
sea for a sailor — and even better
for an officer.
They have reached the ladder, and the Captain pauses for a
moment before beginning the descent. He breathes deeply.
CAPTAIN (cont'd)
It's a good feeling. In San Pedro
I was just another captain -- at
sea, I am the Captain.
He looks off for a moment and then begins climbing down the
ladder. Tom follows.
AFTER WELL DECK - DAY
MED. SHOT - Louie and Jim. Jim is helping Louie coil down a
large cable.
LOUIE
It has to be coiled with the sun.
It's a law of the sea.
JIM
What difference does it make which
way the rope is coiled, huh?
How can they have a law about it —
there ain't no cops.
Louie looks at him with an air which displays disgust,
amusement and the most snobbish sort of superiority.
LOUIE
You say you used to be a veterinary
— is there two ways to milk a cow?
Jim shakes his head.
LOUIE (cont'd)
Well, there's only one way to coil
a rope. It's a law.
JIM
That ain't law. If you break a law,
you get arrested. If you milk a cow
the wrong way, she kicks. If you
coil a rope the wrong way, it can't
kick. I believe in logic.
LOUIE
Aboard ship you'd better believe in
the Captain and forget logic. You
coil a rope the wrong way once —
and you'll find out. The Captain
has more law at sea than any guy on
land has got — even the King of —
of Siam — or the President of the
United States. A Captain can marry
you---
JIM
Not me. I had a wife.
While these men have been talking and working, the Captain
and Tom have passed by in the near background and started up
the ladder leading to the main deck.
EXT. MAIN DECK - DAY - (FOG)
DOLLY SHOT of the Captain and Tom as they walk forward on the
starboard main deck.
TOM
(continuing conversation)
...No, sir, I don't feel any
different. When I was on the
training ship, I was a cadet. Now
I'm an officer. But somehow I don't
feel different.
CAPTAIN
(smiling)
You should.
It's all the difference between
being a boy and being a man. It's
more than that. It's the difference
between being a man and being an
officer.
TOM
I know, but somehow I can't believe
yet that I'm an officer - I passed
my examinations, I'm qualified, but
still I haven't that feeling you
speak about — the feeling of
authority.
CAPTAIN
You'll learn it — you'll even learn
to take great joy in it.
This conversation has brought the two men as far as the
ladder leading to the boat deck. At the foot of the boat
deck, Billy and Peter are lashing the gangway to the rail.
When the officers have passed them, Peter stops work and
holds his hand to the right side of his abdomen. Bill looks
up, grinning.
BILLY
You sea sick?
PETER
I've never been sea sick — the
Poppa rocked me in his arms when I
was baptized. That's the way you
keep a good Greek kid from getting
sick at sea.
BILLY
What's the matter with your belly,
then?
PETER
It hurts.
EXT. BRIDGE - DAY - (FOG). - (PROCESS)
The Captain and the boy come up the ladder and stand in the
open wing of the bridge. Forward they have a beautiful view
of the ship's bow as it rises and falls over the long
oncoming swells. The horizon is limited by the light fog.
TOM
She's a beautiful ship, Captain — a
beautiful ship for a first berth.
CAPTAIN
She's a beautiful ship to command.
The Captain turns and goes into the wheelhouse. Tom follows
him in.
EXT. AFTER WELL DECK - DAY - (FOG)
Louie and Jim have finished coiling down, but they have not
finished their argument about law. Louie makes his final
point.
LOUIE
By the time we get to the three
mile limit, there ain't no other
law but the Captain.
Jim looks off, presumably in the direction of the breakwater
astern.
JIM
We should be out about that far
now.
Louie nods•
EXT. BOAT DECK - DAY - (FOG)
Tom comes down the ladder from the bridge and begins walking
aft in a most businesslike way. As he passes the open door of
the radio shack, a voice calls out to him.
SPARKS' VOICE
Hi, Tertius.
Tom stops and turns as Sparks, a young good-looking fellow
some years older than the Third Officer, comes to the
doorway of the radio shack.
SPARKS
I 'm Sparks.
TOM
What'd you call me?
SPARKS
Tertius.
TOM
What's that mean?
SPARKS
You share Bill Shakespeare's lack
of knowledge -- no Latin and less
Greek. Tertius, my ignorant friend,
means third, and you're the Third
Officer.
Tom grins.
TOM
I suppose it would be a big help to
give deck orders in Latin.
Sparks grins.
SPARKS
It isn't much use on the radio
either. Come on in.
Tom accepts his invitation and turns into the radio shack.
INT. RADIO SHACK - DAY
Sparks seats himself on the edge of the desk containing the
keyboard and other apparatus, and motions to Tom to take the
chair. Tom sits down. Sparks passes him a crumpled package of
cigarettes. Tom takes one. As they go through the business of
lighting up, they talk.
TOM
(settling himself in the
chair)
It's a relief to find someone
aboard I can talk to. I've been
doing nothing but saying 'yes
sir' all morning.
SPARKS
The Captain?
Tom nods.
SPARKS (cont'd)
Me — I take the Captain cum
granus salus.
TOM
Remember, I'm like Shakespeare —
SPARKS
(explaining, off-handedly)
With a grain of salt.
TOM
I like the Old Man. He seems a good
skipper.
SPARKS
I've sailed with him before.
TOM
No, I mean it. I like the way he
talks — the things he has to say.
SPARKS
I don't know — I just stick to my
job here. I don't mix with the
officers.
(breaking the
conversation)
But I'll be glad to teach you Latin
— or take some money away from you
at cards.
TOM
(getting up)
I'll look in on you after my watch.
He starts for the door.
EXT. FORWARD WELL DECK - DAY (FOG)
The cargo boom has been, cocked up, and from it hangs a heavy
steel cable, with an enormous hook at the end. Under the
direction of Boats, two members of the crew have begun
painting this hook with aluminum paint. Tom, on his way
forward, stops for a moment to watch the work.
BOATS
The Captain thought it might be a
good idea to paint this while we've
a flat sea.
Tom nods, looks at the hook and looks aloft, then walks
forward.
BOATS (cont'd)
Come on, boys, slap it on -— and no
holidays.
The men begin painting with a will.
DISSOLVE
STOCK SHOT - the ALTAIR sailing over a flat sea - DAY.
INT. WHEELHOUSE - DAY
Tom is standing his watch. The Finn tends the wheel. The
ship's clock sounds eight times. The Finn reaches up and
rings the ship's bell eight times, almost in echo. Ausman
comes onto the bridge. The Finn points out the course on the
binnacle compass.
AUSMAN
(slapping the Finn's back)
Okay, I gotcha. Sou'west by south,
half-south.
The Finn nods. The Captain goes onto the bridge. Tom nods to
him.
CAPTAIN
Everything gone well on your watch,
Mr. Merriam?
TOM
Everything's fine.
Tom looks forward and down, then turns to the Captain.
TOM (CONT'D) (cont'd)
But I think I'll have that cargo
hook secured before I go below. We
might run into a sea.
EXT. WELL DECK - DAY
As seen from the bridge, SHOOTING between Tom and the
Captain.
CAPTAIN
That's fresh paint, Mr. Merriam. A
rope will mar it. I like a neat
ship.
TOM
Yes, sir.
MED. CLOSE SHOT - Tom and the Captain. The Captain turns to
look ab the binnacle, and Tom goes out onto the bridge. He
starts down the ladder.
EXT. WELL DECK - DAY
Two men, under Boats' direction, are picking up their paint
pots and brushes and generally tidying up before quitting
work. The huge cargo hook gleams whitely silver in the later
afternoon sunlight, swinging very gently at the end of the
long cable, only an inch or two each way. Tom comes into the
scene, walks up to inspect the hook. It sways gently toward
him.
BOATS
Watch out for the paint, mister.
Tom steps back half a step.
BOATS (cont'd)
You want that hook stoppered,
mister? It might be hard to do in
a sea way.
TOM
(frowns)
No, Boats, not yet. Paint's too
wet.
Boats looks at him quizzically.
BOATS
(shrugging his
shoulders)
Okay.
Tom turns and starts aft for the bridge. The boatswain
continues to look at the hook, glances aloft, then down
again, and shakes his head,
EXT. MAIN DECK - DAY
The Captain is slowly pacing astern. Tom comes up from the
ladder and quickens his step to overtake him.
TOM
Excuse me, sir.
The Captain turns, smiling.
CAPTAIN
It's about the hook, I presume.
Tom is taken a little bit aback. He nods.
CAPTAIN (cont'd)
The paint's still wet, isn't it?
Tom nods again.
CAPTAIN (cont'd)
I told you I like a neat ship.
It's ray watch, and if there's
any danger, Mr. Merriam, I'll
make certain the hook is secured.
He turns and walks aft, leaving Tom staring after him.
DISSOLVE OUT
DISSOLVE IN
INT. WHEELHOUSE - NIGHT
A seaman is at t;he wheel and the Captain stands behind him.
Both their faces are lit from the binnacle light of the
ship's clock. It strikes four bells and the helmsman repeats
the strokes on the bell. From the fo'c1slehead, four bells re
echo as the lookout sounds them. Then his voice can be heard.
LOOKOUT'S VOICE
Four bells -- and lights are
bright.
EXT. STARBOARD SIDE - FORWARD WELL DECK - NIGHT
Tom and Sparks are leaning against the bulwark looking out to
sea. As the last note of the lookout's shout fades away, both
toss their glowing cigarette ends into the sea.
SPARKS
Better turn in, Tom, and get some
sleep before your watch.
TOM
Okay.
They both turn toward the midship section and start walking.
There is a gentle movement of the ocean and the boat is
rolling slightly. Suddenly, white and spectral, the painted
cargo hook comes swinging out of the darkness. Sparks steps
quickly to avoid it. He looks at it as it swings back into
the midship darkness.
SPARKS
Don't you deck officers have any
regard for life and limb?
TOM
That's all right.
SPARKS
All right? You fellows could kill a
guy with that. Better tie it off.
EXT. MAIN DECK - NIGHT
The Captain is standing at the starboard ladder looking down
into the well deck. It is obvious he can hear the
conversation of the two men.
TOM'S VOICE
It's freshly painted — We don't
want to mar the paint.
The Captain smlies.
EXT. WELL DECK - NIGHT
DOLLY SHOT of Tom and Sparks as they come up to the foot of
the ladder.
SPARKS
You'll mar somebody's skull unless
you do something about it.
TOM
I'll speak to the Captain.
(starts up the ladder)
EXT. MAIN DECK - NIGHT
Tom climbing the ladder gets to a point where his head has
reached the deck level. He sees the Captain standing some few
feet aft.
TOM
Excuse me, sir.
CAPTAIN (TURNING)
If you're going to discuss the
cargo hook with me, Merriam, I have
already given you my considered
opinion as t o the danger involved.
He turns on his heel. Tom climbs the rest of the way to the
main deck.
DISSOLVE
EXT. FO'C'SLE HEAD - NIGHT
The lookout, bundled in pea-jacket and watch cap, is huddled
up in the bow, looking forward. A wind is blowing. As he
stands, a sea splashes against the plates of the bow and
blows a white shower of foam past him.
Behind him there is the resounding ring of metal as some
heavy object strikes the steel sides of the bulwarks. He
turns and starts walking aft on the fo'c'sle head, pulling an
electric torch from his pocket.
EXT. WHEEL DECK AFT FO'C'SLE HEAD - NIGHT
SHOOTING FORWARD PAST the swinging hook, the lookout's figure
is outlined against the night sky on the fo'c'sle head. The
beam of his searchlight plays on the hook.
LOOKOUT
Ahoy — the bridge,
THE BRIDGE - NIGHT
REVERSE SHOT. A window in the wheelhouse is thrown open. The
helmsman leans out.
EXT. WELL DECK AND FO'C'SLE DECK - NIGHT
The lookout shouts again.
LOOKOUT
The hook —
He turns on a flashlight and with its beam points out the
swinging hook.
INT. TOM'S STATEROOM - NIGHT
Tom is sleeping. There is very little light in the room. The
radium-treated dial of his watch hung up on a hook beside his
berth can be seen plainly, faintly glowing. The wind puffing
through the open porthole blows the short curtain stiffly
Into the room. Tom stirs restlessly. Finally, he awakens. He
gropes for a match box, strikes a match, holds it up to
illuminate the telltale compass and list indicator over his
berth. The list indicator is swinging violently from side to
side. Tom blows out the match and listens. Faintly, he can
hear above him the sound of shouting and the running back and
forth of men's boots on a steel deck. He jumps out of bed.
EXT. WELL DECK - NIGHT
A LONG SHOT taken from the bridge. A floodlight has been
turned on. The well deck is brilliantly lit. Through the
broad bar of light, the hook swings violently. Men can be
seen running about trying to pass a rope around it.
CLOSER SHOT. Two of the men, each holding an end of a line,
attempt to pass the bight of the rope around the hook by
circling it in opposite directions. John, crouched by the
bulwark, watches closely.
JOHN
(warning)
Look out! Heads!
The hook swings toward one of the two men. He promptly falls
to his face on the deck and the hook goes over his body. The
other man scuttles to safety.
MED. LONG SHOT. The men retreat to a position outside the
range of the hook. John runs across the deck to join them.
They stand talking excitedly. From above, a voice bellows.
CAPTAIN'S VOICE
John! John!
The men turn and look up.
THE BRIDGE - NIGHT
MED. CLOSE SHOT. The Captain on the wing of the bridge with a
speaking trumpet in his hands. He shouts through it.
CAPTAIN
You men, there — get in and get
that hook!
EXT. WELL DECK - NIGHT
MED. CLOSE SHOT - the three seamen.
JOHN
(to the other two sailors)
Make fast this line here. I'll pass
it around the hook.
The two men take one end of the line. John takes the other
end and starts running off with it.
SHOT of John running toward the hook.
SHOT of the hook knocking the ship's boat to flinders.
SHOT of John throwing himself on the deck as the hook swings
over hia head and knocks away a section of the rail.
SHOT of John leaping on the plunging rail, as a dollop of
water sweeps over the rail -- crest of a giant wave -- as the
hook describes an arc, sweeping close to him.
SHOT of Raphael and Cook staring from galley entrance.
SHOT of crew members looking. Tom comes to the edge of the
main deck and looks down. He has hastily thrown on a sweater,
trousers and sneakers. John, crouched, waits for the hook to
reach the extreme limit of its swing. As it pauses in mid
air, he reaches forward and passes the rope in such a way
that when the hook falls back, it falls back against the
bight of the rope.
CLOSE SHOT of John bracing himself against the weight of the
hook. It pulls him across the deck. As he reaches the hatch
cover, he is forced to let go of the rope end. It sweeps
away.
EFFECT SHOT as the hook swings toward the two other sailors.
They leap out of its way.
SHOT of the hook as it swings out again toward John. It
strikes the mast, deflects and almost hits him. John,
crawling along the deck to pick up the rope end again,
crouches waiting for the hook to reach the extremity of its
range. This time, he runs forward before the hook can begin
its return swing and manages to throw a loop around the hook
end itself. Again he braces himself, holding hard.
SHOT of Tom running down the ladder.
John still straining against the pull of the hook, looks off
momentarily, shouts a warning.
JOHN (cont'd)
Look out, Mister! Look out!
LONGER SHOT of Tom running in front of the hook in order to
reach John. The hook barely misses him.
CLOSE SHOT of John an Tom runs in and tails on to the rope.
The two men pull it across the deck - there is a violent jerk
as the hook begins to swing the other way. Before it can
gather new momentum, they snub the rope around the corner of
the hatch. The hook is under control. The two men stand
shaking, exhausted.
EXT. BRIDGE DECK - NIGHT
FULL SHOT of the Captain as he looks down at Tom and John and
calmly gives his order.
CAPTAIN
Put a stopper on that hook, Mr.
Merriam!
DISSOLVE
INT. OFFICERS' DINING SALON - MORNING
The engineer and deck officers, with the exception of Bowns,
who is on watch, are finishing breakfast. As the scene opens,
the chief engineer pushes his chair back from the table,
stretches, says:
CHIEF ENGINEER
Well, boys — back to the black hole
of Calcutta.
The other engineer officers got to their feet amid a great
scraping of chair legs and shuffling of feet. One or two
hastily gulp the remains of their coffee as they are getting
up. Finally, all of them have filed out of the dining salon,
leaving the Captain and Tom. The Captain is at the head of
the table; Tom is seated near the foot of the table. He goes
on quietly drinking his coffee, avoiding the Captain's gaze.
The Captain lights a cigar, takes a few contemplative puffs,
leans his elbow on the table and addresses Tom.
CAPTAIN
What are you thinking about, Mr.
Merriam?
Tom turns toward him and seems to grope for words.
CAPTAIN (cont'd)
I think I can toll you. You're
thinking about the hook. You've
made up your mind I was
negligent. That's about it --
isn't it?
TOM
(facing him)
Yea, sir. I was thinking that.
CAPTAIN (PLEASANTLY)
You have no right to think that,
you know. The responsibility is
yours,
TOM
(growing a little
heated)
I don't see that, sir. I warned
you about the hook. I told you
twice about it.
CAPTAIN
(still pleasantly)
Exactly. That's what I referred to.
You almost forced me into a
position where I had to show my
authority even though it put me in
the wrong.
TOM
(after a moment)
I'm sorry -- I didn't see it that
way. But granted that I was wrong,
sir, I don't see how you dared to
risk the lives of John -- the other
men.
The Captain looks at him, takes a long drag on his cigar and
calmly blows out the smoke before replying.
CAPTAIN
The lives of the crew? I have
rights over their lives, Mr.
Merriam.
(pauses to sip his coffee)
You'll recall when you first came
to my office -- you wanted to kill
a moth and I stopped you. You
remember what I said?
TOM
Only vaguely. I didn't understand.
CAPTAIN
I'll explain now. I told you you
had no right to kill the moth. That
its safety did not depend on you.
But I have the right to do what I
want with the men because their
safety does depend on me.
I stand ready any hour of the day
or night to give my life for their
safety and the safety of this
vessel -- because I do, I have
certain rights of risk over them.
Do you understand?
TOM
Yes -- I think I understand.
CAPTAIN
It's the first thing you must learn
about authority.
Tom nods thoughtfully.
FADE OUT
FADE IN
EXT. FO'C'SLE HEAD - DAY
SHOT of Peter and Jim, Peter, nude to the waist, is lying a
little on his right side on the deck, and Jim is rubbing the
left side. Jim is sweating and acts tired. He picks up a big
bottle and pours liniment on his hand and resumes rubbing.
JIM
(grunts)
This liniment shoulda penetrated by
this time, Peter. It always worked
like magic on cows and horses, and
it was the only stuff that ever
cured my old man's lumbago.
There is a pause while Jim rubs, but slower.
JIM (cont'd)
Of course, it's the liniment plus a
kinda hypnotism or something I got
in my hands.
Jim stops rubbing, sweating and exhausted. Peter lies with
his eyes closed.
JIM (CONT'D) (cont'd)
How is that? You feel okay now,
don't you?
Peter opens his eyes and speaks quite calmly,
PETER
It's the other side, where the pain
is, Jim.
Jim's mouth opens as he stiffens in surprise and disgust.
JIM
You mean to tell me you've just
been laying there letting me work
on this side, when it was over
here? You --
As he speaks, Jim pokes a forefinger not too gently into the
right side of Peter's abdomen. Peter reacts with a groaning
shriek of agony, a violent convulsive movement, stiffens, and
relaxes in a faint, Jim stare a down at Peter's face, shakes
him, and Peter's head rolls like a rag doll's. Jim looks
around scared. He sees Tom come up the ladder to the fo'c'sle
head. He calls out to him.
JIM (cont'd)
Mr. Merriam!
Tom saunters over.
JIM (cont'd)
I was working on him — I touched
him here —
(points to the place)
— and he passed right on out.
TOM
(kneels down)
Has he complained of pain here?
(touching the spot
Jim nods. Tom looks thoughtfully at Peter's abdomen —
shakes his head.
DISSOLVE
INT. RADIO SHACK - DAY
CLOSEUP of ether cone. Under this shot, comes the sound of a
voice speaking on the radio -- harsh, rasping, businesslike.
VOICE
Panama calling Altair--
Is the patient under anesthetic?
SPARKS' VOICE
Altair calling Panama. Patient
asleep, breathing very heavily.
With the sound of Sparks' voice, the CAMERA begins to DRAW
BACK in order to reveal the radio room, with the Captain, Tom
and Sparks, and Peter lying on a table with his abdomen
exposed. The Captain stands at the right side of the table,
with a scalpel in his right hand. There is a cone over his
face, and Tom stands in back of him dripping ether from a can
into the cone. Sparks is at his radio apparatus.
The two amateur operators have their heads swathed in towels,
their mouths muffled in towels, and wear cooks' aprons
borrowed from the cook. They wear rubber gloves. They are
tense and nervous as the Voice continues.
VOICE
If the patient is completely
anesthetized, you may proceed. Are
you ready?
Sparks looks over at the Captain. The Captain nods.
SPARKS
Altair to Panama -- we are ready.
Tension grips the three men. The Captain stands immobile.
Sparks fusses with his apparatus. Tom continues to slowly
pour the ether over the cone. The patient breathes
stentoriously.
VOICE
Panama to Altair -- Captain Stone
will bring his right hand to the
point which we have already
established as the region of the
appendix. Place the point of the
scalpel exactly on this spot --
CLOSE SHOT of hand and scalpel moving into position.
VOICE (cont'd)
-- make the incision -- incise to a
depth of one quarter inch -
continue with the incision
vertically -- four inches.
The hand and the scalpel do not move.
MED. CLOSE SHOT of Captain Stone as he stands motionless
looking down at the patient.
VOICE (cont'd)
Have you made the incision?
MED. FULL SHOT showing the four men in the cabin. Sparks and
Tom are looking at the Captain. He does not move. The radio
continues.
VOICE (cont'd)
Panama to Altair -- have you made
the incision? Have you made the
incision?
CLOSE SHOT of the Captain, His face is strained, perspiration
beads his brow. He stands as if paralyzed.
VOICE (cont'd)
Altair -- Altair -- have you made
the incision?
GROUP SHOT. Sparks looks at the Captain, looks at Tom, and
then turns back to his instrument.
SPARKS
Altair to Panama -- wait a minute --
we're not ready yet.
TWO SHOT - Captain and Tom. Tom leaves the patient's head,
comes up and stands beside the Captain. Almost
simultaneously, his hand moves to take the scalpel and the
Captain's hand moves up to offer it to him. Obviously
relieved, the Captain steps back, slumps down on a bench next
to the bulkhead. Tom takes his place. He nods to Sparks.
MED. FULL SHOT - the Captain. Sparks is turning to his
instruments.
SPARKS (cont'd)
Altair to Panama --we are ready --
please repeat.
CLOSE SHOT of Tom's face and shoulders.
VOICE
Make an incision a quarter of an
inch deep -- four inches on the
vertical line already described.
We see Tom's face and the hunch of his shoulders react to the
orders.
CLOSE SHOT.
SPARKS
Altair to Panama- the incision has
been made.
VOICE
Tie off the severed blood vessels
as previously directed -- the
acting nurse will keep the area
clean --
EXT. WELL DECK - DAY
The men are seated on and around the hatch. Louie has Peter's
bagpipe under his arm and is vainly trying to play it. John
speaks to him.
JOHN
You're not doing so good with that.
The Greek says you gotta be a Greek
to play on it.
LOUIE
How do I know I aint?
JIM
(indicating the bagpipes)
How do you know you ain't gonna
catch appendicitis from it.
Louie hastily removes the mouthpiece from the instrument,
LOUIE
Huh?
JIM
I heard it's catching,
LOUIE
Aw --
JOHN
(with a glance toward the radio
shack)
I wonder how they're getting on.
JIM
Me, I got magnetic hands -- healin'
hands -- and still, I wouldn't want
bo be in the Captain's shoes,
JOHN
(still looking aft)
It ain't easy.
Louie moves nervously,
INT. RADIO ROOM - DAY
Sparks, Tom, the Captain, and the unconscious patient lying
on the table. Sparks is talking into the instrument. He has
his earphones on. The Captain is standing somberly by.
SPARKS
Hello, Panama. Hello. Government
Hospital, Panama. Dr. Ostglow.
Steamship Altair. Radio Operator
speaking. Hello, Doctor. Patient is
breathing normally. Heartbeat good.
Thank you Dr. Ostglow. We will
continue to follow instructions.
The compliments of Captain Stone,
and thank you again. Altair signing
off.
At the end of this speech, Captain Stone quietly exits,
leaving Tom, Sparks, and the patient.
SPARKS (cont'd)
Tertius — well done -- You're a
gent -- and you'll be a scholar if
you hang around me,
TOM
Give me a cigarette.
Sparks gives him a cigarette, a light, and goes over and
looks down Into Peter's face. Now that the ether cone has
been removed, the patient is breathing more quietly,
SPARKS
(quite reverently)
He'll live -- God willing --
(he pauses)
-- and no thanks to the Captain.
TOM
Sparks --
Sparks looks at him.
TOM (cont'd)
Let's not say anything about this.
SPARKS
What do you mean?
TOM
I mean -- let's not tell anyone
the Captain didn't do the
operation.
SPARKS
You're crazy!
TOM
But, you know how it is. Some guys
don't like the sight of blood --
and things like that.
SPARKS
Okay --If you want it that way. But
me, I'd like to hear the next
conversation you have with the
Captain -- one of those talks he
gives on authority.
DISSOLVE OUT
DISSOLVE IN
EXT. BRIDGE - DAY
It is noon. The Captain is shooting the sun. Tom stands
beside him, his watch in one hand, and a small pad and pencil
in the other. The Captain moves the sextant arm until he has
the sun on the horizon.
CAPTAIN
Hark!
(pause)
Time.
Tom returns his watch to his pocket and makes a notation on
his pad. The two men turn and walk silently into the
wheelhouse.
INT. WHEELHOUSE - DAY
Tom and the Captain walk through on their way to the
chartroom.
INT. CHARTROOM - DAY
The Captain seats hi:n.3elf at the little desk and proceeds
to arrange paper and pencils to suit his taste. Tom gets down
a big book of logarithms and brings it to the Captain. The
Captain begins to figure. Tom stands silently watching him.
After a moment, the Captain lays down his pencil and swings
around in his chair to face Tom.
CAPTAIN
Mr. Merriam, I'd like to thank you
for yesterday.
TOM
That's all right, sir.
CAPTAIN
I'd like to thank you --- and I'd
like to explain.
TOM
A lot of people are squeamish about
blood --
Captain silences him with an upraised hand.
CAPTAIN
(interrupting)
I am not squeamish, Mr. Merriam,
and I am not afraid of anything but
failure.
He stands up in order to face Tom more squarely.
CAPTAIN (cont'd)
That is why I did not go through
with the operation. I am a sea
captain. I know my profession. I am
not a doctor, and I could have
failed. You see that, don't you,
Tom?
The Captain reaches out and puts his hand on Tom's shoulder
in a friendly way. This, and the use of Tom's Christian name
for the first time, bring a false sense of intimacy into the
scene. Tom slowly nods in response to the Captain's question.
The Captain smiles.
CAPTAIN (CONT'D) (cont'd)
I knew you would see it. I knew
you'd see it, just as I knew that
first day that you were the man for
me — a man who'd think as I think.
I have not been disappointed,
INT. RADIO SHACK - DAY
Raphael is serving lunch to Sparks. Sparks is eating, reading
a magazine and listening to the radio through his head
phones. Raphael takes away a plate of soup which Sparks has
just finished, puts it down, and replaces it with a plate of
steak and potatoes. Still reading and listening, Sparks cuts
a piece of meat and starts to chew. It proves tough. By dint
of great molar exertion, he finally gets it down. Picking up
the rest of the meat on his fork, he holds it aloft and
addresses it solemnly.
SPARKS
Old horse, what do you here, from
Barnagat to Portland Pier?
(then in a whinnying falsetto
voice)
I was killed by work and sore
abuse / And Baited up for sailors
use.
At the conclusion, he flips the meat out of the porthole.
RAPHAEL
(protesting)
After I go to all the trouble of
bringing it to you, Mr. Sparks.
SPARKS
If you want to know how the Red
Rover makes out in the next
installment-—
(indicating head phones)
---you'd better feed me good.
(he passes the plate to
Raphael)
Get me Something --
Raphael shrugs, takes up the plate and exits. In the doorway,
he almost collides with Torn as Tom is coming in.
SPARKS (cont'd)
(removing his ear phones)
Hello, Tertius.
Tom settles himself on the bench.
TOM
You haven't said anything, Sparks --
about my having performed the
operation?
Sparks shakes his head.
TOM (cont'd)
I just thought I'd remind you.
SPARKS
Been talking with the Captain?
TOM
Yes.
SPARKS
He's been talking about authority
again?
TOM
That's right and he made a lot of
sense. There's something in what he
says.
SPARKS
There wasn't much sense in what he
did yesterday, was there?
TOM
(eagerly)
He explained that.
SPARKS
I bet he did. He's a smooth man
with the words, the Captain.
He looks at Tom intently and then speaks very deliberately.
TOM
Wait a minute, Sparks. You've got
him all wrong. He's the first older
man who has treated me like a
friend. That means something.
SPARKS
Yeah, I know -- I can see your way
of thinking. You had a tough life
as a kid -- not much friendliness.
But, Tom, there's a friendliness
that tries to get you to thinking
wrong.
(putting back his ear
phones)
But that's got nothing to do with
me. We're bound south -- it's a
long voyage and I've a radio to
tend.
FADE OUT
FADE IN
STOCK SHOT - Freighter steaming south - DAY
Over this scone, we hear the music playing "Blow The Man
Down."
THE FORECASTLE HEAD. DAY.
Billy, on watch is amusing himself by singing, "Blow The Man
Down."
CLOSEUP of a chart. A course protractor swings into position
along the coast of Mexico and a pencil draws a line south.
DISSOLVE
INT. CHARTROOM - DAY
The Captain, Bowns and Tom are figuring the position of the
ship with a book of logarithms open on the chartroom table.
Bowns finishes first.
B0W1JS
I get latitude (so-and-so)
longitude (so-and-so)
TOM
I get so-and-so, (different from
Bowns.)
Tom and Bowns look at the Captain, who smiles at Tom.
CAPTAIN
(to Bowns)
You might, figure it again, Mr.
Bowns, and see, if you don't come
closer to Mr. Merriam's
reckoning.
Bowns shoots a glance -- not of love and admiration -- at
Tom. He walks back to the bridge.
DISSOLVE IN
EXT. FO'C'SLE HEAD - GRAY DAWN
Louie is standing lookout. He looks off to port. He leans
forward and peers. He turns to face aft, and cups his hands
to his mouth.
LOUIE
(top of his lungs)
Land off the port bow.
The CAMERA DRAWS BACK to show John, who has been sleeping on
the forecastle head, suddenly awakened, and not happy about
it.
JOHN
That's the Galapagos Islands,
Fathead. And nothing to yell about.
LOUIE
Have they got women there?
Louie stares wistfully at the Galapagos Islands.
JOHN
No, but you can see the kind of
lizards they raise just by staying
drunk for a week.
STOCK SHOT of a ship sailing steaming south.
DISSOLVE
EXT. GALLEY DOOR -- DAY
Men are grouped around the galley door and the cook is
handing out mugs of coffee. Bowns walks into the scene and
addresses Boats.
BOWNS
The Captain's been complaining
about the way the deck's being
kept.
BOATS
I know, Mister. It ain't as spic
and span as I'd like it. We're
short-handed with Jenneson dead and
the Greek in his berth.
LOUIE
The boy's been taking turns
standing double watches.
BOWNS
(turning away)
I can't help that. The Captain
wants a clean ship.
DISSOLVE
CLOSEUP of men on a chess board. The CAMERA PULLS BACK to
show the Captain and Tom playing chess. The Captain slowly
takes a pawn away.
CAPTAIN
Never trust the pawns.
DISSOLVE
EXT. SEA - NIGHT
NIGHT SHOT of freighter under way.
DISSOLVE
EXT. FO'C'SLE HEAD - TWILIGHT
The Finn stands on lookout. From the bridge, the bell sounds
six bells. He turns, looks at the port light, then the
starboard light and waves his hand aloft to indicate that all
is well. Turning, he resumes his brooding look out at the
bow. Behind him, great cloud shapes, lit and darkened at the
same time by the setting sun, roll majestically into an
already darkened sky.
FINN
(narration)
All's well! I signal it with my
hand because I cannot shout it
with my lips. That is all that I
can tell them -- all's well. The
sea is empty and clear and safe
before them; I can tell them that
with a wave of my hand - I cannot
tell them of the dark clouds, the
storms rising in men's hearts -
breeding the lightning strokes of
anger and of death --
FADE OUT
FADE IN
EXT. FO'C'SLE HATCH - DAY
The watch, off duty, is taking its ease on the fo'c'sle head.
Billy, Louie, Jim, John and the Finn are lounging about in
the warm sunlight. Peter, convalescent, lies on a mattress
with his beloved doodle-sack under his arm, and he attempts
to play it. The Finn is carving a bit of bone with his knife.
Louie is washing out a suit of long underwear in a bucket of
fresh water.
JOHN
(calmly, to Louie)
You're crazy! Who ever heard of a
Captain puttin' into port just
because one man's dead and one
man's off duty. I've been to sea
since I've been a boy and I've
never heard of anything like
that.
LOUIE
That's 'cause most sailors don't
know the law. With the Greek sick,
the Captain oughta put into the
nearest port to fill up the crew.
JIM
You told me yourself the Captain is
the law at sea.
Louie is taken aback and gives this some thought.
LOUIE
That's the way it used to be. Now
they got new laws, and the new laws
say the Captain's got to put into
port to fill up his crew on a
coastwise trip.
JOHN
Never heard of it.
BILLY
Why don't you tell all that to the
Captain, Louie?
John looks at Louie and grins. Louie jumps up from his
bucket, holding up a long-legged pair of woolen drawers
aloft.
LOUIE
Who wants to bet I don't dare.
BILLY
I'll bet you a thousand bucks you
don't.
LOUIE
You fourflushers wouldn't dare to
bet ten real cents.
John fishes a dime from his pocket and throws it to the deck.
JOHN
Put up or shut up.
The rest laugh at Louie. Peter gives several discordant
squawks of derision on his doodle-sack.
DISSOLVE
INT. CAPTAIN'S OFFICE - DAY
The Captain is seated at ease in one of the leather chairs, a
cigar poised between his fingers, while Louie, very humble
and uncomfortable, stands before him kneading his cap in his
hands. Tom stands behind the Captain watching.
LOUIE
... so I felt it only proper to
bring this just complaint of the
men to you in person, Captain.
The Captain looks at him coldly and smiles without mirth.
CAPTAIN(SOFTLY)
You know there are Captains who
might hold this against you, Louie.
Louie squirms and touches his forehead in a half salute.
DISSOLVE
EXT. FO'C'SLE HEAD - DAY
The Finn, Jim, Billy and Ausman are tapping the anchor chain,
which is flaked out in U-shaped curves on the deck. Tom is
standing at the port rail, matching the work. Jim, nearest
the chain pipe, puts his head down to the opening.
JIM
(call in)
Hey, in there! Have you nearly
finished?
VOICE FROM CHAIN LOCKER
(muffled and indistinct)
In -- minutes.
INT. CHAIN LOCKER
Louie is scrubbing the sides of the locker with a coir brush.
He dips this brush in a pail of water standing beside him on
the floor of the locker and scrubs swiftly, finishing the
last foot or so of the locker nearest the manhole. He stops,
wipes the perspiration from his forehead with his fingers,
straightens up wearily, and looks around the locker. He sees
a holiday, steps to it and brushes it. He looks around again,
examining the locker, then steps to the manhole, pushes open
the heavy steel door, and puts the bucket and brush outside.
There is no handle on the inside of the door, which is as
smooth as the wall, so that when he draws the door as if to
shut it, it remains ajar. He goes from the door to the chain
pipe and yells up.
LOUIE
HEY! OKAY! Let her come.
EXT. FO'C'SLE HEAD - DAY
We see the men start the chain down the pipe. They are using
crowbars in order to keep the great curves of links in order.
A rattle arises as the chain pays out link by link at first.
INT. CHAIN LOOKER
103 Louie is guiding down the first links of the chain. The
manhole door is partly ajar.
THE ALLEY OUTSIDE THE CHAIN LOCKER
The Captain is descending a companionway. He walks with
deliberation to the chain locker, stretches out his right
hand, grasps the handle of the manhole door, closes the door
and locks it with a heavy dog. The Captain stands there. The
noise of the chain now makes a terrific rattling roar.
EXT. FO'C'SLE HEAD - DAY
Where the men now are working hard controlling the chain,
which is roaring into the locker with increasing momentum and
din.
INT. CHAIN LOCKER
Where the chain has risen to Louie's knees. He is having
difficulty now avoiding it. He turns and starts toward the
manhole. He sees that door is closed. He leaps to the manhole
and pushes against the door. It won't budge. He heaves his
shoulder against it, desperately. He opens his mouth. He is
yelling, but all that can be heard is the roar and rattle of
the chain now pouring into the locker.
EXT. FO'C'SLE HEAD -- DAY
Where the men are guiding the chain, which now is rushing
into the locker, a Niagara of steel.
SHOT of the Captain walking down the passage, seemingly
preoccupied.
INT. CHAIN LOCKER - DAY
The chain is up to Louie's waist. He is trying to fight it
off with feeble efforts of his hands. We stay with him while
the chain rises to his chest. He has stopped screaming now.
His face, horror and terror stricken, becomes composed. He
grins at the last instant when a tier of chain engulfs him.
EXT. FO'C'SLE HEAD - DAY
The last of the chain is rattling into the locker through the
pipe. The deafening din ceases. There is a dead silence,
which Tom breaks. Tom speaks to men resting on their
crowbars.
TOM
Start washing down. I'll take a
look at the locker.
Tom starts away from the fo'c'sle head.
INT. ALLEY OUTSIDE THE CHAIN LOCKER - DAY
Tom walks in the alley-way outside the chain locker. He comes
up to the chain locker, swings open the manhole cover and
looks in. What he sees causes him to stiffen. He steps back,
closing the door gently. It is at this moment that the
Captain comes back along the corridor. He looks at Tom and at
the partially closed manhole.
CAPTAIN
What's wrong?
At the same time he asks the question, he opens the door
and looks in. He peers in for a moment and then turns to
Tom, leaving the door wide open as he does so.
CAPTAIN (cont'd)
Better get a couple of men down
here and got that cleaned up.
TOM
(shocked)
Louie!
CAPTAIN
He was a trouble-maker.
Tom looks at him.
TOM
But he was a nice guy — always
kidding —
CAPTAIN (MUSINGLY)
You're impressed — death is so
absolute. You looked into the
chain, locker —
He makes a gesture with his hand,
CAPTAIN (cont'd)
-- and no more Louie -- no more
insolent remarks — no more danger
to the discipline of the ship,
Tom stares at him for a long
moment.
TOM
You didn't like him.
CAPTAIN
Of course I didn't like him. He was
a sea lawyer — full of windy
complaints, seasoned with bad
comedy.
TOM
So you shut the hatch.
CAPTAIN
(genuinely surprised)
Shut the hatch? What do you mean,
Mr. Merriam?
TOM
The hatch was shut --
(a little hesitantly, trying to
remember)
— and I think it was locked,
CAPTAIN
And you accuse me of doing this out
of spite because the man was
insubordinate.
TOM
(with a glance at the
chain locker)
This is what you meant when you
said you had rights over the
lives of the crew. You murdered
him.
CAPTAIN
(controlling his anger)
You're a little hasty, Mr.
Merriam.
TOM
(Heatedly)
You can't expect me to just stand
by and watch you kill a man.
A gleam of anger comes into the Captain's eyes. His face
hardens, but he still speaks softly.
CAPTAIN
(Sarcastic)
What do you propose to do? Denounce
me?
The two men stand facing each other.
DISSOLVE
INT. CHART ROOM - NIGHT
Tom enters the chart room, where Bowns, his back turned to
Tom, is making an entry in the log. Tom hesitates. Bowns
keeps writing slowly.
TOM
May I speak to you a moment, Mr.
Bowns -- on, a matter of great
importance?
Bowns keeps on writing and does not turn around, but he
replies,
BOWNS
What is it?
TOM
What's the law about an imcompetent
Captain, Mr. Bowns?
Bowns turns around, pen in hand, and glares at Tom.
BOWNS
Why interrupt me, when I'm working,
with a question like that? You know
yourself. The First Officer would
take over.
TOM
I think the Captain's
incompetent.
Bowns looks at him scornfully, incredulous.
TOM (cont'd)
Louie getting killed in the chain
locker -- that wasn't an accident.
The Captain did it purposely.
Bowns looks at Tom intently.
BOWNS
I don't know what you're trying to
pull, fella, but my advice is to
pull in your ears before you get
into a jam you won't like. How get
away from me, I'm busy.
Bowns turns back to his work.
TOM
But, Mr. Bowns, I'm not joking.
Downs turns around again to face him.
BOWNS
You heard me — and I'm the First
Officer.
Tom nods and leaves.
DISSOLVE
INT. SHIP'S RADIO OFFICE - NIGHT .
Sparks has on a set of ear phones and is dancing to music
which is not recorded by the sound track. The moment he sees
Tom, Sparks removes the ear phones and lays them on the shelf
of the radio apparatus, or on a table, and faint dance music
can be heard coming from them during the rest of the scene.
Sparks looks at Tom's face.
SPARKS
What's wrong, Kid?
TOM
(blurts)
The Captain's crazy, Sparks.
Sparks stares at Tom as soon as he begins to speak, and
interrupts him at this point.
SPARKS
Sure he's crazy. Any guy who'd ride
one hobby horse so hard is bound to
be bugs — and what a hobby to pick
- authority.
TOM
(relieved)
Well, I'm glad you believe me.
Bowns practically threw me off the
bridge.
SPARKS
(lightly)
Sure, the Captain is a little
teched.
Ha puts back his earphones and starts his dancing step again.
Tom is appalled. He grabs Sparks' arm and stops him. Sparks
reluctantly removes the earphones.
TOM
This isn't a gag — I mean it. He's
really crazy — insane.
SPARKS
I know. Most people are.
TOM
But he killed Louie. That wasn't an
accident in the chain locker. That
was murder.
SPARKS
You might be a little excited
yourself, you know.
TOM
Let me tell you from the
beginning.
SPARKS
Not me. Don't tell me. I like my
job and I want to keep it.
TOM
When we get to port, I'm going to
tell the company agent.
Sparks shakes his head.
SPARKS
You'll lose a good job. Even if I
believed you, I'd advise you not to
do it.
TOM
But you can't mean that, Sparks.
SPARKS
I believe in keeping my nose clean
-really clean -- and out of other
people's business. That's the only
way to got on.
TOM
Not me. When something is wrong,
I've got to do something about it.
I'm reporting this ashore.
DISSOLVE
INT. WHEELHOUSE - NIGHT
Tom is standing on the enclosed bridge forward and to the
starboard of John. In front of John is the compass with the
binnacle lighting illuminating it. In front of John, over the
compass, is the ship's chronometer. Tom is standing as if
thinking. The ship is moving smoothly, with only the sound of
the engine. Otherwise, there is silence.
SHOT of Finn, a lonesome, brooding figure, standing lookout
on the fo'c'slehead. Finn is looking off to starboard. He
swings his gaze dead ahead, and then turns to port. He leans
forward slightly and raises his hand to shade his eyes. He
steps back to the big ship's bell and rings it.
SHOT of Tom in the wheelhouse, as the bell forward sounds:
BONG! BONG! At the first BONG, Tom straightens and stands
listening. At the second BONG, he steps to a tray over the
binnacle, lifts a pair of binoculars, steps to the port side
of the bridge and points the binoculars. Ausman stands near
him..
Light can be seen from shipboard. Tom replaces the
binoculars, picks up a flashlight from the tray, holds it
over the bridge faced forward, and in the gloom which reigns
over the ship, points it toward the fo'c'slehead and flickers
the light.
TOM
(to Ausman)
Tell the Captain we've picked up
San Sebastian lighthouse, two
points off the port bow.
Ausman turns to go.
SHOT of Finn on the fo'c'slehead, watching the flickering
light in the darkness.
DISSOLVE OUT
DISSOLVE IN
THE PIER AT SAN SEBASTIAN - DAY
Through the arches of the pier the Altair can be seen
alongside the quay, Jim, John, Ausman, Benson and the Finn
are letting down the gangplank. Several men are waiting on
the landing; chief among them is a tall middle-aged American,
Mr. Roberts, the agent for the Dunham Line. No sooner has the
gangplank rattled into place than he starts up.
EXT. MAIN DECK -DAY
Roberts comes up the gangway and is met on deck by Captain
Stone. Behind the Captain stand Bowns and Tom. Tom is dressed
in his shore-going clothes.
ROBERTS
(as he shakes the
Captain's hand)
Hello, Will. It's good to see
you.
CAPTAIN
It's always good to see you,
Charlie.
(half turning)
I'd like you to know my First
Officer, Mr. Bowns, and the Third,
Mr. Merriam -- Mr. Roberts, our
agent here.
There is general handshaking and how-do-you-dos.
ROBERTS
This your first voyage to this
port, Mr. Merriam?
TOM
Yes, in fact it's my first.
ROBERTS
If you'll drop into the office
I'll see you have a guide.
TOM
Thank you,sir.
CAPTAIN
Be sure to take him up on it,
Tom. The Dunham Line may be
strict aboard ship but you'll
find it friendly ashore.
The Captain turns toward the ladder to the boat deck. Roberts
follows him. He half turns to speak to Tom.
ROBERTS
Be sure to drop by the office.
When the two men have exited, Tom starts down the gangway.
EXT. STREET - SAN SEBASTIAN - DAY
Tom is coming out of the warehouse which is attached to the
end of the pier. He steps out into the full hard light of the
street and looks around him at this strange new world. The
street with its bleak, dull houses is uninteresting, but the
people of the city passing along the streets and the road are
new and colorful to Tom. He sees the ponchoed Incans with
their hard hats, the squaws marching aside of their menfolk,
smoking red clay pipes. A small herd of sheep, tended by a
shepherd mounted on an ass, goes baaing past. There is a
strange combination of the modern and antiquated. A shiny
automobile goes past a mule-drawn barouche. A truck and a
wooden ox cart are parked side by side at the curb. Tom
starts walking down the street looking into the shop windows,
pausing to gaze after an attractive girl. He crosses the
street, looks off and starts down another street.
DISSOLVE
Mr. Roberts comes walking, around the same corner Tom had
phased some time earlier and goes down the street in the
same direction as Tom.
EXT. SHIPPING OFFICE - DAY
On the window is printed, "DURNHAM SHIPPING LINE," and in
smaller type, "Charles S Roberts, Steamship agent." Roberts
comes up the street, flicks away a cigarette and turns into
the building with the accustomed air of one who goes in and
out of this door a dozen times a day.
INT. ROBERTS' OFFICE - DAY
Roberts comes in and finds Tom waiting for him. The clerk is
fussing about, handing Tom an ashtray, etc.
ROBERTS
I'm glad you accepted my invitation
so promptly, Mr. Merriam.
TOM
(getting to his feet)
Actually, I'd like to have a few
words with you, Mr. Roberts, on a
matter of great importance.
Roberts goes around the desk and seats himself.
ROBERTS
Of course. Please sit down. Make
yourself comfortable.
(to the clerk)
All right, Jose. You can go.
Jose departs. When he is gone, Roberts turns to Tom.
ROBERTS (cont'd)
Now, Mr. Merriam, what is this
matter of importance?
TOM
(nervously)
It's about Captain Stone.
ROBERTS
An old friend -- a great friend of
mine, Mr. Merriam.
TOM
That makes it all the more
difficult. What I have to tell you
is extremely unpleasant.
DISSOLVE OUT
DISSOLVE IN
INT. AGENT'S OFFICE - DAY
At the left, middle, Roberts is sitting behind his desk. At
his right, Captain Stone is sitting, serene and self
contained. Bowns, with Sparks slightly behind him, is sitting
behind the Captain. To the Captain's left, Tom is sitting,
taut and nervous. At the left of the desk, in front of it, is
sitting a male stenographer, bent over notes which he is
making most laboriously. It is apparent from the number of
pages that the hearing has been in progress some time. In the
rear of the room, sitting and standing, are members of the
crew -- John, Jim, Finn, Billy and Peter, Also the cook,
Raphael and two maintenance men. Boats is standing in front
of the desk, testifying. They all have on shore clothes.
BOATS
— not the Captain. It was Mr.
Merriam himself gave the order not
to stopper the hook.
(shakes his head)
To my mind, sir, Mr. Merriam has
been working too hard or
something. This is my first
voyage with Contain Stone, as it
is the first for all the crew
except Mr. Bowns, the radio
operator, and the steward, and
the men are all agreed that a
fairer and abler Captain....
ROBERTS
That will do, Boats. Thank you.
Boats, embarrassed, wipes his face with his handkerchief and
backs into a chair. Roberts consults a list before him.
ROBERTS (cont'd)
(calling out)
Billy.
Billy, smiling, comes forward.
ROBERTS (cont'd)
Well, Billy, I'd like to hear
what you have to say about the
Captain. I'd like to know whether
you think him competent --whether
you think he had anything to do
with the death of Louie Carter.
BILLY
No, sir. It's just like the others
said. We just can't understand it.
The Captain is a good Captain --
what you call a kind man -- and a
gentleman. And Mr. Merriam who was
always a fine gentleman too. We all
liked Mr. Merriam. too.
ROBERTS
That'll do now. Thank you.
Peter gets up.
PETER
If I could have your permission, I
would like to mention just one
thing, Mr. Roberts, sir. The
Captain here, hasn't only given us
the best food and looked after the
ship his ownself at all times, but
he saved my life by that operation
at sea. And I never in my life can
forget that.
Tom opens his mouth, glances at Sparks, who looks at the
floor. Tom sinks slightly in his chair. The Captain smiles
pleasantly. The crew nod accord. Peter sits down.
ROBERTS (TO TOM)
Should I call in any more
witnesses, Mr. Merriam?
Tom shakes his head.
ROBERTS (cont'd)
(addressing all the men)
You men may be a little puzzled by
what 's been going on here.
Mr. Merriam has made certain
statements and I called this
informal hearing to prove to him
how unfounded they were. I felt it
was my duty as the company agent to
prevent public investigation of a
baseless charge. Thank you all for
cooperating so splendidly —
The men start to get up, snuffling and moving awkwardly,
ROBERTS (cont'd)
(as they start filing
out the door)
— and have a good time.
The men nod and grin in response as they are crowding out the
door. When they have gone, leaving only Tom, the Captain and
Mr. Roberts, the Captain slowly gets up and crosses over to
Tom.
CAPTAIN
I'm sorry this had to happen,
Tom.
Tom looks at him, then without, a word, picks up his hat and
starts, out of the door. The Captain and Roberts watch him as
he leaves. Roberts picks up his hat and a light coat.
ROBERTS
Ellen will be wanting to see you,
I'm sure she's been waiting ever
since she saw the Altair come into
the harbor last night.
CAPTAIN
Ellen.
(he smiles)
Does she watch for my ship?
Roberts gives him a quick look as they start for the door,
ROBERTS
She always watches for your ship.
She's down there now, waiting for
you. She's got good news.
EXT. STREET SAN SEBASTIAN - DAY
The two men, Roberts and the Captain, come out of the office
and walk up the street. They are deep in conversation and
pause occasionally to talk more easily. The CAMERA DOLLIES
WITH them, pausing as they pause. At the end of the
collonade, they stop beside Robert's car.
CAPTAIN
Charlie, I think it might be a good
idea if you would take the lad off
the Altair and get me another third
officer.
Roberts looks at him a little puzzled,
ROBERTS
Will, this isn't like you. I've
never known you to hold grudges.
CAPTAIN
It's not a grudge. I like the boy.
I see so much of myself in him. I'm
talking like a father about a son
for whom he has a deep affection,
and Charlie, I have.
ROBERTS
Then why don't you give him another
chance? He seems a fine honest
chap.
CAPTAIN
I don't want him on my ship.
Roberts looks inquiringly at the Captain.
CAPTAIN (cont'd)
I like him too well to hurt him.
ROBERTS
That's a strange remark, Will.
CAPTAIN
I've not been myself lately. My nerves are on edge. I lose my
temper. Things aren't right with me. I don't sleep, ringing
in my ears. There's something's wrong.
ROBERTS (LAUGHING)
You've worked too hard too long,
Will. When you get back to the
States, have a thorough medical
checkup-- get your basal metabolism
tested. And then take a rest.
CAPTAIN
It isn't my metabolism I'm worried
about-—it's my mind. I've lived
a lonely life -- a hard life. You
and Ellen are the only friends
I've had. That's not right. It's
not natural. Maybe it's been
wrong for me. I don't know.
I've been badly worried about it,
Charlie. My mind is what I take
pride in -- what I most treasure.
ROBERTS
Your mind's all right. You just see
a good doctor as I said. Meanwhile,
I'll remove young Merriam and get
you a good man to take his place.
All you need are some new
interests.
They have reached his car and he turns aside to open the car
door. The Captain stands still, looking straight ahead of
him.
CAPTAIN
There are no new interests -- just
authority -- authority.
DISSOLVE OUT
DISSOLVE IN
EXT. STREET SAN SEBASTIAN - DAY
CLOSE SHOT. An obviously foreign sailor with blond, close-cut
hair is seated on a rickety chair set out on the sidewalk
before a Cantina. He wears a jersey on which is written S.S.
Kronprinz Wil—-; the rest of the name cannot be
distinguished. On his knee sits a pretty brunette girl in a
fanciful national costume. The sailor is trying to kiss her
and she is demurely attempting to avoid his caress. Over the
scene we hear a weakly protesting male voice.
JOE SNITZ
Please, mister, hold the pose -
just the pose, please.
The CAMERA PULLS BACK to reveal the fact that the sailor and
the girl are merely subjects for a street photographer. He
has his camera set up, and by the tripod stand various boxes
and pieces of equipment. One of the boxes has printed on it
in large letters the following words:
PARISIENE PHOTOGRAPHER Photos With Native Model -- 10 pesos
Joe Snitz -- Paris, 111.
While the sailor continues his playful efforts to kiss the
girl, the CAMERA PULLS STILL FURTHER BACK to reveal Jim,
John, Ausman and Benson standing in a semicircle watching the
photographer and his two subjects. The foreign sailor finally
manages to implant a kiss on the girl's lips. The
photographer comes out from under his black cloth and
advances protestingly.
JOE SNITZ (cont'd)
Mister, you can't do that --
she's my wife.
The crew from the Altair laughs uproariously when the German
sailor gives Snitz a playful shove that sends him sprawling.
The girl tries to break away from the sailor.
GIRL
(in a tough voice that has
oft been used to cheer
the Dodgers)
You let me go. Ain't you got no
sense of decency? Let me go.
John suddenly grins.
JOHN
Say, that girl's from Brooklyn --
that's my home town.
He stops forward and pulls her away from the German.
JOHN (cont'd)
You leave her alone.
The German makes a pass at him and misses, end John lets him
have one in the breadbasket. The German doubles up in pain,
but the blow seems to have loosed a hornet's nest. The door
of the Cantina flies open and an overwhelming number of the
German's fellow crew members come flooding out of the
Cantina.
JIM
Cheese it
JOHN
Too many of them. Get going.
The Altair men take to their heels, pursued down the street
by the Gorman seamen.
THE PIER - DAY
The Altair can be seen framed in the arches of the pier
structure. The CAMERA IS SHOOTING PAST the outlined figure
of a woman who stands watching the gangway. This is Ellen
Roberts, a lovely woman, smartly yet appropriate dressed in
a simple suit. She has an air of aloof charm and casual
elegance that would distinguish her in any company.
The Finn in seated at the head of the gangway, whetting his
knife. Tom walks down the dock and begins the descent of
the gangway. He has his bags in his hand. In this LONG
SHOT, his words of casual farewell to the Finn cannot be
heard. As Tom steps down onto the pier and starts across,
Ellen steps forward.
ELLEN
Is Captain Stone aboard?
Tom puts down his bag in order to remove his hat.
TOM
No, ma'am. He'll be back in an
hour or so. He's with Mr.
Roberts.
ELLEN
You're the new Third Officer,
aren't you?
Tom looks at her in puzzlement. She smiles at his perplexity.
TOM
I was -- but how did you know?
ELLEN
Captain Stone wrote me about you
— a long letter -- even before he
met you. He was so enthusiastic
about your training ship record.
TOM
(embarrassed)
I know.
ELLEN
I'm Ellen Roberts -- an old
friend of the Captain's. Because
of his letters, I feel almost as
if I knew you too, Tom Merriam.
She puts out her hand. Tom takes it. She notices the bags at
his feet,
ELLEN (cont'd)
Where in the world are you going
with you bags? Doesn't the Altair
sail tomorrow night?
TOM
(rather reluctantly)
She sails without me, Miss
Roberts.
Ellen looks at him for a moment — studies his seriousness and
his air of youthful tragedy.
ELLEN
That sounds serious. While I'm
waiting, why don't you let me give
you a lift? You could tell me all
about it,
TOM
No, thank you,
ELLEN
Those bags'll get awfully heavy
before you get to the hotel.
Tom stands hesitantly for a moment, Ellen takes his arm.
ELLEN (cont'd)
Come along.
He picks up his bags and follows,
EXT. WAREHOUSE ENTRANCE - DAY
Ellen followed by Tom comes out across the sidewalk to where
a mule-drawn barouche with a driver stands waiting. Tom hands
Ellen into the carriage, places his bags in the coachman's
compartment and climbs in beside her. They start off down the
street.
DISSOLVE
INT. BAROUCHE - DAY- (PROCESS). - STREET BACKGROUND
Ellen and Tom who have evidently been talking. She looks at
him with sympathy and understanding.
ELLEN
...and so you're dreadfully
disappointed and dreadfully hurt.
The whole world seems to have
turned against you — just because
you made a mistake,
TOM
(bitterly)
I didn't make a mistake,
Ellen smiles,
ELLEN
It's almost the Captain's voice,
Tom, I didn't make a mistake --I
couldn't make a mistake — I'm
authority — I'm the Third Officer —
I'm the Captain.
(pauses)
I've heard it all so often and
it's all so wrong.
TOM
It's what I was taught. It's what
the Captain thinks.
ELLEN
Exactly. You're just like the
Captain. Lonely, austere, bitter —
without friends or family,
condemning yourself to the heights
— heights which you call authority.
TOM
I don't know any other way of
life.
ELLEN
(gently)
How long do you think I've known
the Captain, Tom?
Tom shakes his head.
ELLEN (CONT'D) (cont'd)
I've known him fifteen years. For
fifteen years I've tried to give
him love instead of loneliness —
but always that austerity — that
singleness of purpose. He has
become a changed man and an unhappy
man, and all the while I was
helpless. I couldn't do anything
about it. You mustn't be like him.
You've got to embrace warmth and
life — a good joke — a pretty girl.
TOM
I don't know any girls.
ELLEN
(smiling)
That's clear enough. But you will.
I have a younger sister in San
Pedro. She's a secretary for the
Dunham Line. She'll meet you on
your next trip north. I'll see to
that. If you don't like her, she
will introduce you to other girls
and other young men — young men who
don't even know what the word
authority means,
(almost gaily)
I'll see that you don't become
another Captain Stone -- I'm
going to change him too. I can
now. I have the right.
DISSOLVE OUT
DISSOLVE IN
EXT. CANTINA - DAY
The place is quiet again. Ellen's carriage drives up and Tom
gets out. She extends her hand to say good-bye.
ELLEN
We must be good friends, Tom.
Knowing the Captain, I feel I
know you. I wish you'd come to
dinner tomorrow night. I want to
do everything I can to make your
life a happy one — please let me.
TOM
(very simply)
I would like to be friends.
ELLEN
Good. I'll see you tomorrow then.
You mustn't forget.
TOM
I won't.
She waves to him as the carriage drives away. Ho stands on
the sidewalk, starring aft or her.
DISSOLVE
The Finn sits in his accustomed place on the rail. He has
his knife in his right hand and the whetstone in the left,
but he is not using these implements. His hands hang down
listlessly between his knees and he is off into the
darkness.
EXT. FORWARD PORTION OF THE MAIN DECK - NIGHT .
Ellen stands near the rail, looking forward, the wind lightly
blowing her hair. Behind her in the darkness of the alleyway,
the Captain stands leaning against the deckhouse, smoking a
cigar and watching her.
ELLEN
(quietly)
I have something to tell you,
CAPTAIN
That's what Charlie said.
ELLEN
I wanted it to be hear -- aboard of
the Altair — when I told you.
She turns to him, smiling.
ELLEN
I want my rival to hear and feel
my triumph.
The Captain smiles at her,
CAPTAIN
I've always loved your fancies,
Ellen.
ELLEN
This isn't a fancy, I want the old
Altair to know I'm a free woman —
that I can take you from her, and
keep you from her.
CAPTAIN
You won your case?
ELLEN
He finally gave in. The final
papers came through last week, I'm
a free woman.
She turns to him. He takes a draft on the cigar, inhaling the
smoke and blowing it out again as if solely engrossed in this
habitual act. She watches him in expectant silence. It is a
silence he does not break.
ELLEN (cont'd)
(disappointedly)
I had expected a different
response, Will,
The Captain still remains silent and again draws on the
cigar.
ELLEN (cont'd)
I thought race were both waiting
for this.
The Captain moves uneasily, then speaks precisely choosing
his words and avoiding her eyes, holding his cigar between
them almost as a barrier,
CAPTAIN
I had waited — I had wanted this,
now there is little I can do or
say.
(almost whispering)
I'm afraid.
ELLEN
(with a laugh, half hysteria and
half forced amusement)
Afraid of me, Will?
CAPTAIN
Of my mind, Ellen. I don't trust It
any more.
ELLEN
(quick anxiety, stepping
forward)
Your mind?
CAPTAIN
Don't come close to me. Stand
there.
ELLEN
But, Will —
CAPTAIN
I remember Captain Blaker of the
Ajax — she was my first ship — I
was the mess boy. I watched him
lose his mind — little by little
— and he knew it and could do
nothing about it. It was awful,
Ellen. I've never forgotten it.
He takes another drag from the cigar and speaks more calmly.
CAPTAIN (cont'd)
We were run down in a fog off the
coast of the Mersey. The Ajax
sank like a rock. Blaker went
down with her. He was lucky.
Ellen takes the step forward that he had forbidden. She
reaches out her hands and takes one of his hands between her
palms.
ELLEN
It's only a memory that frightens
you.
The Captain shakes his head.
CAPTAIN
It's more than that, Ellen. I've
felt strange. I've done things I
couldn't remember doing. I've had
moments when I've felt myself on
the verge of losing control — of
doing terrible, stupid, ugly
things. This morning when the boy
testified against me, I could
barely keep my seat --
He lapses into silence as if the memory of his thoughts were
too awful to mention. They stand looking at each other.
CAPTAIN
Give me a little time to got over
this — this feeling that I don't
know myself--- that I don't
control my thoughts — my actions.
ELLEN
You can have all the time in the
world.
(forcing a smile)
I'll be waiting here for the Altair
on her next voyage.
DISSOLVE OUT
DISSOLVE IN
EXT.. CANTINA -NIGHT
The German sailors off the Cecilie Herzogin are milling about
the door of the Cantina. Somehow they have caught and made a
captive of Billy. They have the little colored man backed up
against the wall. The leader of the gang is evidently trying
to force him to sing,
GERMAN SAILOR
(translate to German)
Go ahead and sing, or we'll break
your neck.
BILLY
I'm a British subject, I am, and
I'll not sing for you or any other
Heinie.
The German sailor shoves him roughly against the wall. Billy
hits at him, ineffectually, and is given a harder shove for
his pains.
It is at this moment that Tom, neatly dressed in his shore
clothes, comes out of the Cantina, evidently on his way to
keep his appointment with Ellen,
BILLY
Mr. Merriam.
Tom stops in the doorway.
TOM
What are you men up to? What goes
on here ?
He steps forward, obviously intent on intervening. One of the
German seamen punches him, Tom lays one on his chin and
knocks him down. From behind him,as Tom turns to deal with
another man, a third sailor hits him over the head with a
club.
He goes down, Billy, who has been trying to get to Tom's side
to help him, is shoved roughly aside, falls sprawling. The
German sailors take to their heels. Billy gets unsteadily to
his feet, goes over to Tom, kneels down beside him and tries
to take care of him. A few people have been attracted by the
altercation and have formed a ring around the fallen man.
BILLY
(supporting Tom's head)
You all right, Mr, Merriam?
Tom makes no answer. One of the bystanders, a kindly man,
kneels down beside Tom.
BILLY (cont'd)
(to the man)
This man here is my officer from
the Altair. He's been hurt.- I got
to get him back aboard.
DISSOLVE
STOCK SHOT - DAY - FREIGHTER STEAMING NORTH
INT. TOM'S CABIN - DAWN
Tom is lying asleep in his bed. His mouth moves as if his
lips are dry. He opens his eyes, befuddled for a moment. Gray
dawn is coming dimly through the porthole over his bed.
Gradually he realizes that he is back aboard the Altair, in
his old cabin. He sits up suddenly in bed. The movement
causes him to put his hand to his head, which is aching. He
groans as he looks around the familiar room. He gets up
slowly, in his pyjamas, and goes to the wash basin, which
might be of the collapsible variety, draws and drinks a glass
of water. He moves to a full-length mirror and examines his
reflection.
As he stands in front of the mirror, he is making up his mind
what to do. He suddenly comes to a decision, goes to his
closet, opens it, and takes out a suit of clothes. He starts
to unbutton his pyjama jacket.
DISSOLVE
INT. CAPTAIN'S CABIN - DAY
The Captain is breakfasting from a tray on his desk. He eats
with inimitable neatness, precisely bringing each forkful to
his mouth, taking exactly two sips from the coffee cup each
time he brings it to his lips. There is something deadly and
menacing in this over-dainty feeding. Tom, who has quite
evidently just entered, stands before him.
TOM
— and so I thought I'd best report
to you at once.
The Captain takes a a forkful of ham, chews, swallows, and
lifts the coffee cup to his lips,
TOM (cont'd)
Naturally, had I had anything to
say about I wouldn't be here,
Evidently Billy had the policeman
bring me abroad.
The Captain carefully spears another forkful of ham and
brings it to his mouth, his eyes still on Tom's face. Tom is
embarrassed now. He is almost blurting his words as he talks.
TOM (cont'd)
Of course, Sir, I know that I have
no right whatsoever to be aboard
the Altair. I'll be glad to make
arrangements to pay my passage when
we reach San Pedro.
The Captain has reached the coffee stage of his eating
routine. Tom keeps silent while he sips, waiting for him to
make some sort of answer. The Captain picks up his fork
again, and it is obvious that there will be no word from him.
TOM
(rather heatedly; out of
patience)
I don't want to be aboard any more
than you want me here, but there's
nothing I can do about it. You
can't expect m to swim---
CAPTAIN (INTERRUPTING)
That's quite the wrong tone,
Merriam. I was just about to say
that you would be my guest on the
trip North. You'll have no duties.
We'll try to make it as pleasant a
voyage as possible.
TOM
Thank you.
The Captain waves his thanks away with a gesture of his
hand.
CAPTAIN
In fact, Merriam, I'm rather glad
to have you aboard. There are some
theories of mine I'd like to prove
to you.
In fact, it should prove a very
interesting and instructive voyage.
There are many things you can learn
from me.
TOM
(just for politeness sake, but
somewhat alarmed)
I've never doubted that, sir.
CAPTAIN
I'm sure you never doubted it when
you told Mr. Roberts I was a
murderer and incompetent.
Tom is about to say something. The Captain silences him with
a gesture.
CAPTAIN
But we'll forget all that, Mr.
Merriam.
TOM
(slower and a little dubiously)
Thank you. Captain.
He turns to go. At the door, the Captain's voice stops him.
CAPTAIN
Mr. Merriam. You know, there are
some Captains who would hold this
against you.
He smiles. Tom goes out.
EXT. BOAT DECK - DAY
Tom has just closed the door of the Captain's office. The
ship's horn sounds, a mournful note. The sound of the radio
comes from Sparks' office. Tom listens to this and walks down
the corridor. He meets Raphael, who appears from the opposite
direction.
TOM
I was wondering if you got me to
bed last night. I don't remember---
Raphael does not even stop, but looks Tom in the eyes and
passes him along the corridor. Tom turns and looks after
Raphael. He hesitates, then steps to the radio room.
Tom standing in the doorway to the radio room. Sparks is
sitting at the radio. Sparks looks up as -
TOM (cont'd)
Hi, Sparks. I seem to have gotten
myself-——
SPARKS (GRINNING)
Don't come in hare, fella. I don't
want to get mixed up in any funny
business with you,
Tom goes into the radio shack.
INT. RADIO SHACK - DAY
Tom and Sparks.
TOM
Look, Sparks, we're friends. I've
got to have your help. Stop kidding
and listen to rue, will you?
SPARKS
I'll stop kidding -- but as to
listening, I'm dead serious when
I tell you I don't want to hear a
word you have to say.
TOM
The Captain's going to kill me,
Sparks. I can see it in his face.
Sparks makes a gesture of deep and significant disgust.
TOM (cont'd)
I'm not too dumb a guy, Sparks,
I'm not yellow -- I'm not
hysterical -- and I'm telling you
he's going to kill me and I need
your help.
SPARKS
(with finality)
That is hogwash.
TOM
(after a little pause )
At least, do me one favor --
send a wireless to Miss Roberts
in San Sebastian.
Sparks, shaking his head, seats himself, turning his back to
Tom. He busies himself with his apparatus.
SPARKS
I can't do that. The Captain's
forbidden all wireless -- unless he
personally okays it.
TOM
Don't you see? That's part of what
I meant.
SPARKS
(with profound disbelief)
Yeah?
DISSOLVE OUT
INT. TOM'S CABIN - NIGHT
Tom enters, switches on the light, and closes the door, which
does not catch but swings open slightly. He pushes it closed,
and again it fails to stay tightly shut. Tom examines the
door. The lock has been removed. It is impossible for him to
make the door stay closed. He looks around the cabin for some
article with which he can fasten the door. His chair is
fastened to the floor. Nothing movable is available. He takes
a letter, or a piece of paper, from his pocket, folds it, and
inserts it between the door and the jamb. He stands looking
unhappily at this flimsy device.
He removes his jacket, and footsteps, slow and methodical
sound in the corridor. He pauses, with his jacket still in
his hands, listening. The slow footsteps grow louder as they
approach his door, behind which, he is standing. The
footsteps stop outside the door, and there is a silence as
Tom stands, breathlessly, waiting and listening. Then the
footsteps begin again, this time continuing down the corridor
in diminuendo. As they die away, Tom quickly tosses the
jacket aside, removes the paper stopper, opens the door and
looks down, the corridor.
SHOT of a shadow moving on the wall down the corridor and
vanishing, as Tom looks. There is silence.
SHOT of Tom as he moves back into the cabin again, fastens
the door with the paper and, without undressing further and
leaving his lights burning, lies down in trousers and
shirtsleeves on his bed, watching the door,
INT. TOM'S CABIN - NIGHT
SHOT of Tom waiing on the bed. His head nods. He starts
awake, and comes to his feet on the floor, listening.
He goes to the washstand and washes his face with cold water.
He is fighting sleep. He half sits, half lies on the bed,
watching the door. The lights in the room suddenly flicker
and go out. A faint moonlight comes in through the porthole.
As quickly as possible, Tom arises and moves across the
cabin, and stands against the wall of the door, waiting and
listening.
Tom - still standing beside the door. But now, after pressing
his ear against the door panel, he moves back to the bed. His
head nods. He hears the paper he has placed beneath the door
scrape. He starts up. A flashlight blinds him. Tom is staring
into the flashlight, blinded by the sudden brilliance.
From the darkness behind the flashlight Raphael's voice comes
over.
RAPHAEL'S VOICE
I brought you some tea, sir.
Raphael is depositing a teapot and toast on Tom's desk.
RAPHAEL
I have a bulb too, sir. The
Captain's orders.
Raphael goes to the light socket, unscrews the old bulb and
inserts a new one. The light comes on.
TOM
What made the lights go out?
RAPHAEL
I don't know, sir, but I think
there is a short or something here.
The Captain hopes you enjoy your
tea, sir. He told me to say that he
won't forget you.
During and after this speech, Raphael stares at Tom, and then
his eyes go to the tea. Tom looks at the tea also.
RAPHAEL (cont'd)
Pleasant dreams, sir.
Raphael goes out the door, which swings ajar.
Tom, standing by his desk, looking at the door, then at the
teapot. He lifts the teapot and holds it in pouring position
over the teacup. But he does not pour any tea. Instead, he
stands staring at the pot. He moves to the wash basin, and
empties the tea into the basin. His eyes go around the cabin,
and focus on the porthole. He goes to the porthole, which is
over the bed, kneels on the bad, and looks out.
Tom sits down again on the bed, looking at the door.
DISSOLVE
EXT. MAIN DECK -__DAY
Tom is walking along the deck, and meets Bowns, emerging from
a companionway.
TOM
Good morning, Mr. Bowns.
Mr. Bowns merely looks at Tom without replying.
Tom walks to the after wall deck where Chips, the carpenter,
is sawing a board, or planing a new hatch timber. Tom pauses
beside Chips and watches him work a moment,
TOM (cont'd)
There isn't any lock on my cabin
door, Chips. I wonder if you could
put one on.
Chips goes on working without speaking, or even looking up.
Tom stands for a moment, and walks on.
Tom passing the galley, as Alfred emerges from the galley
with a pan of refuse, and steps to the rail. They pass one
another without speaking.
EXT. FORWARD WELL DECK - DAY
A group of the man are working around the forward mast, doing
rope work. Tom comes in, idly watches them. One of them lays
down a large, wooden marlin spike. Tom steps forward.
SHOT of Tom's right hand as it closes over the marlin spike.
As his hand grasps this article, another hand takes hold of
it.
SHOT of the Captain and Tom, both holding the marlin spike.
The Captain smiles.
CAPTAIN
Since you have no earthly need of
this --
Tom holds his grasp for a moment, and tenses. But he looks
past the Captain, and sees, as does the CAMERA, Bowns
watching. Tom releases the marlin spike. He turns away,
without a word.
DISSOLVE
INT. TOM'S CABIN - NIGHT
Tom, fully clothed, is sitting on his bed, listening. He
yawns. He is afraid to go to sleep. He arises and goes to the
door, and stoops to test the paper he has wedged between it
and the sill. He grasps the handle and pulls, and the door
opens. He looks out into the corridor, protruding his head,
comes back and lies down on the bed.
He dozes, suddenly awakens with a start and jumps to his
feet, and listens. Eight bells sounding in various parts of
the ship, as previously described, come over the sound track,
Tom goes to and tests the door again. He stands motionless,
looking around his cabin. He looks at his desk lamp, looks at
a pipe overhead.
He goes to the bed, pulls back the blankets, and yanks off a
sheet. He tears a strip lengthwise from the sheet.
EXT. FO'C'SLE - NIGHT
The lookout strikes a later hour.
INT. TOM'S CABIN - NIGHT
Tom has made a long rope of the strips of sheet. One end is
knotted to the doorknob. He draws the other end over the pipe
which runs across the ceiling. He attaches the free end to
the chain which lights the lamp bulb, and sets the lamp on
the floor, raising the shade so that the lamp will shine on
the door. He tests his device first by drawing on the sheet.
The lamp lights and illuminates the door. He extinguishes the
lamp, and goes to the door and opens it. The lamp shines
brightly on the opened doorway. He closes the door again,
replaces the paper stopper, and lies down, still dressed.
At this moment, there is a crash in the cabin, and Tom leaps
to his feet, looking around in the dim light from the
porthole. He cautiously lights a light, and looks around. He
sees either that the collapsible washstand has fallen, or
that a carafe of water, or a bottle has crashed into the wash
bowl, due to the roll of the ship. He goes back to bed, where
he piles up the pillows, and half sits, half reclines. His
eyes close wearily, then open, then close, and his head nods.
DISSOLVE OUT
EXT. BRIDGE DECK - NIGHT
A seaman Is standing looking off into the darkness. From the
wheelhouse can be heard the striking of still another hour.
INT. TOM'S CABIN - MIGHT
Tom is sleeping. His trick alarm system is all rigged. He
sleeps peacefully. Suddenly the door opens. The light flashes
on. The cans rattle. He wakes up, startled, jumps out of his
berth, stands tensed, waiting. Nothing happens. He goes and
looks out into the corridor.
INT. CORRIDOR - NIGHT
The corridor is dimly lit. There is no sight of anyone. No
sound of movement.
INT. TOM'S CABIN - NIGHT
Tom returns. He looks around, starts to re-rig his apparatus.
The porthole over his berth bangs back and forth with the
roll of the ship. He gets on the berth to close it. The
locking lugs have been taken away. Tom stands watching this
porthole for a few moments. He steps silently to the door,
and listens.
SHOT of Tom as he stands for a moment thinking, and we should
know that he has reached a crisis. He makes up his mind. He
removes his shoes, disconnects his sheet-light alarm, opens
his door with natural precautions, and enters the corridor,
SHOT of Tom walking cautiously, listening at every stop, down
the corridor.
EXT. MAIN DECK - NIGHT
Tom comes out of the deck house and passes along the main
deck to the ladder. He starts up.
EXT. BOAT DECK - NIGHT
Tom comes up to the boat dock, cautiously looks around, sees
no one, and makes his way to the door of the Captain's
office. Very quietly, he opens the door and sneaks Into the
cabin.
INT. CAPTAIN'S CABIN - NIGHT
Tom stands near the arras locker, listening. After a moment,
he takes a step to the door of the arms locker and opens it.
The locker is empty. At this moment the Captain's chuckling
low laughter comes o.s. from behind Tom. Tom wheels around.
Tom faces the Captain at a distance of about eight feet. The
Captain holds a revolver in his right hand. They stand
motionless for a second or two. Tom tenses as if to charge
the Captain, who raises the revolver and points it at Tom's
abdomen.
CAPTAIN Hold it.
Tom stands tensed facing the Captain.
CAPTAIN
(softly, but grimly)
One move, and you'll have a bullet
through your abdomen --not a
pleasant or a quick death. Perhaps
you've never seen a man die that
way.
Tom clears his throat to speak, squares his shoulders.
CAPTAIN (cont'd)
But, I want you to live. I want you
to learn the great lesson I once
thought I had taught you -- that
authority cannot be questioned or
defied,
TOM
(steadily)
That's crazy talk.
The Captain thinks this over a moment, and his face becomes
set and strained.
CAPTAIN
I never felt more sane in my life
than I feel at this moment. Who is
crazy -- you who defied me and are
helpless and discredited, or I who
control my destiny and the destiny
of the Altair and all the lives on
board?
TOM
I wish Bowns, I wish the crew could
see what I see now --could hear you
talk.
CAPTAIN
You think I'm insane?
TOM
Yes. And they would too if they
could see you now -- raving and
ranting.
The Captain makes an almost visible effort to calm himself.
CAPTAIN
I'm the Captain -- so long as I
wear these strips you won't get a
man in the crew to believe you or
to help you. You'll find them too
lazy, too cowardly or too
disinterested, Merriam. That's what
I want you to learn -- men arc
worthless cattle -- and a few men
are given authority to drive them.
TOM
You won't even be able to prove
that to me with a gun, Captain. I
know people aren't that way --
they're usually good and kind --
willing to help other people. It's
only hard to get them to
understand.
CAPTAIN
(laughing)
I'm going to give you a chance to
make them understand. You can go
out of here -- you can go anywhere
you want on the ship -- you can
talk to anyone -- and see who'll
help you -- who'll dare to stand up
with you against authority.
(pauses)
Even your friend, Sparks, he won't
help you.
He makes a motion with his gun.
CAPTAIN (cont'd)
(almost hysterically)
Go ahead! Get out. Try to got help
- against me -- try -- try.
Tom turns and starts out of the cabin. The camera, set up
behind the Captain, shows him as he leaves and disappears
into the darkness, the gun always pointed at his back.
DISSOLVE OUT
DISSOLVE IN
EXT. FO'C'SLE HEAD - DAY
Tom is standing beside Jim, who is polishing the big ship's
bell.
TOM
(low voice)
But Louie was your pal — the best
friend you had on board.
Jim keeps on polishing the bell, apparently oblivious to Tom.
TOM (cont'd)
How do you think your pal was
caught in the chain locker? Do you
think that hatch cover closed
itself?
Jim moistens his rag from a can of polish and without looking
up.
JIM
If you'll take my advice, you'll
stop trying to make trouble around
here.
As Tom listens to this speech with tired despair, Boats comes
into the scene.
TOM
Boats, you're a sensible man.
BOATS
(interrupts)
Listen, kid. Take my advice and
quit trying to stir up the crew
against the Old Man. They don't
like it. They don't like you. And
besides — did you ever hear about
mutiny?
Tom stares at Boats, opens his mouth, but says nothing, and
walks o.s. forward, dejectedly.
EXT. MAIN DECK - DAY
Tom is walking along the deck, and meets Bowns, emerging from
a commonway.
TOM
Good morning, Mr. Bowns.
Mr. Bowns merely looks at Tom without replying.
SHOT of Tom passing the galley, as Alfred emerges from the
galley with a pan of refuse, and stops to the rail. They pass
one another without speaking.
EXT. BOAT DECK - DAY
SHOT of Tom walking through the corridor, past the officers'
quarters. He is walking briskly, as if his mind was made up.
He opens the door of the wireless room and enters.
INT. RADIO ROOM - DAY
Sparks is listening with his earphones on. When he sees Tom
enter and close the door, he removes the earphones and arises
to his feet.
SPARKS
Listen, Tom. You'll only get anyone
you try to talk to in Dutch. Why
don't you be a good guy and —
TOM
Get this. I'm desperate, Sparks.
Why is the lock off my --
SPARKS
I don't know a thing. There's just
one way you can please me -- and
that's by keeping away from me and
not talking to me. It seems to me
the Captain is being pretty decent
after what you —
TOM
(in desperate earnestness)
But it's true. I've got to convince
you -- someone. The Captain is a
homicidal maniac. We've got to do --
Sparks replaces his earphones and tunes up his apparatus so
that he cannot hear Tom. Tom stops talking and turns to
leave, in despair.
DISSOLVE
EXT. FO'C'S'LE HEAD - DAY
Finn is standing watch. Tom comes into the scene and stands
behind Finn. They both stand in this position for a moment.
CLOSE SHOT of Finn.
FINN
(narration)
I know this man -- I know his
trouble -- and I believe him. But I
cannot tell him. I can only watch --
watch and guard him.
TWO SHOT of Tom and Finn standing together. Tom can only see
Finn's sinister face.
INT. WHEELHQUSE - EVENING
The Captain is sitting at the chart table writing in the log
when Sparks comes into the scene and lays a radio message on
the table and stands by. The Captain leisurely reads the
message.
INSERT RADIO MESSAGE
Captain Stone S.S. Altair. Is Thomas Merriam aboard ship.
Please reply immediately as Ellen is worried.
(signed) Charles
The Captain is at the table and Sparks on his feet waiting as
the Captain writes a brief message on a bit of paper. He
hands this message to Sparks.
CAPTAIN
Get this off right away.
Sparks takes the message and reads it with no show of
emotion. He goes out.
EXT. MAIN DECK - NIGHT
Tom walks very dejectedly and turns down the corridor leading
to his cabin.
INT. CORRIDOR - NIGHT
Tom walks through and into his cabin,
FADE OUT
FADE IN
INT. TOM'S CABIN - NIGHT
Tom enters. A small lamp makes a swaying pool of lamplight on
the floor of the cabin. Hunched in the shadows by the berth
is a lean figure that straightens itself up as Tom comes in.
It is Sparks.
SPARKS
Hi, Tertius. Close the door.
Tom closes the door behind him. The two boys stand looking at
each other a moment without a word. Sparks hands over a
wireless blank. Tom turns it toward the lamp to read it, then
faces about and looks at Sparks,
TOM
I don't get this.
(reading)
'Tom Merriam not aboard Altair.
Regards."
(turning back to Sparks)
Why in the world would the
Captain want to send this to Mr.
Roberts?
SPARKS
It's just because I don't know that
I'm beginning to believe your
story, Tom.
Tom studies the wireless form again and shakes his head?
SPARKS (cont'd)
This was sent in reply to a
message from Roberts asking if
you were aboard. The way I figure
it, maybe you're right -- maybe
the Captain does intend to get
rid of you.
TOM
Now you know, are you going to
help me?
Sparks nods.
SPARKS
Yeh, I'm going to take this to
Bowns in the morning. It'll be
enough to get him to listen to you
anyhow. Meanwhile, you'd better get
some rest.
He starts toward the door. At the door he pauses.
SPARKS (cont'd)
So long, Tertius.
TOM
So long, and thanks.
INT. CORRIDOR - NIGHT
Sparks passes from Tom's door to the door leading on to the
main deck.
PASSAGEWAY - MAIN DECK - NIGHT
Sparks steps out of the corridor doorway and starts along the
passage. From the shadow Captain Stone steps suddenly and
falls into step beside him. They turn, toward the stern as
they reach the main deck.
EXT. MAIN DECK - NIGHT
CAMERA DOLLIES with Sparks and the Captain as they walk
silently along the main deck toward the stern. They pass the
Finn working the big valve. In passing, Sparks taps the Finn
on the arm. The Finn slowly turns to look at him.
The CAMERA HOLDS with the Finn, then PANS TO FOLLOW the two
other men from his viewpoint. Sparks drops a piece of paper
to the deck. The Finn watches until the two men have
disappeared in the gloom aft, then steps forward. He bends
down and retrieves the paper. He opens it and holds it
awkwardly, examining the whole letter than any particular, in
the manner of one who does not know how to read.
INSERT THE WIRELESS BLANK. It reads:
CHARLES S. ROBERTS SAN SEBASTIAN PATAGONIA
TOM MERRIAM NOT ABOARD ALTAIR. REGARDS.
STONE
MASTER - S.S.ALTAIR
It is written in the sharp angular backhand the Captain
employs.
The Finn stares at the paper, then looks off after the two
men.
DISSOLVE
INT. TOM'S CABIN - NIGHT
It is dark in the cabin. The only light comes from the
porthole.
The door opens and a dim light shines In from the hall. The
Captain enters, turns on the bulkhead light. The room blazes
with light. Tom awakens out of a deep sleep, sits up startled
and wide-eyed to find the Captain looking calmly down at him.
CAPTAIN
Do you know how to operate the
wireless, Mr. Merriam?
TOM
Yes, sir.
CAPTAIN
If you don't mind, I'd like you to
get up and send a message for me.
Tom swings his legs out of the bed and sits on the edge of
the berth. He is dressed in plain white pyjamas. He gropes on
the deck for his straw slippers and shoves his feet into
them. By this time enough sleep has cleared from his brain to
allow him to think and question.
TOM
I beg your pardon, sir, but why
can't Sparks send it?
CAPTAIN
The message I'm asking you to send
will answer that question.
He starts for the door and Tom shuffles after him,
EXT. WELLDECK - NIGHT
Near the fo'c'sle hatch the Finn sits holding the message in
front of him, Ausman on his way into the fo'c'sle, stops a
moment and looks down at the paper.
AUSMAN
Can you read, Finn?
The Finn shakes his head.
AUSMAN (cont'd)
What do you want that paper for?
The Finn shrugs.
INT. THE WIRELESS ROOM - NIGHT
The room is empty but lit and alive with the tap-tap of the
receiving instrument. The Captain, followed by Tom comes in.
Tom sits down at the instrument board, puts the head-phones
on and adjusts the instrument. All the while the Captain
watches him.
TOM
Okay, sir. I'm ready.
Smiling, the Captain steps forward and lays a message blank
in front of Tom. Tom reads it in a glance.
INSERT WIRELESS FORM
DUNHAM SKIPPING LINE SAN PEDRO, CALIFORNIA
JACOB WINSLOW RADIO OPERATOR LOST OVERBOARD IN HEAVY SEAS.
STONE, MASTER, S.S.
Tom jumps to his feet, pulling off the ear-phones.
TOM (cont'd)
This is a lie. You killed him. You
knew he was going to help me.
The Captain merely smiles. Enraged, desperate and without
thinking, Tom leaps at him. The Captain grapples with him and
tries to hold him off. They go plunging through the open door
to the deck beyond.
EXT. TOP DECK - NIGHT
Tom and the Captain struggle to find a footing on the deck.
The Captain, exerting superior strength, holds him
immobilized.
TOM
(excited and hysterical)
You killed him. I know you killed
him.
Bowns, followed by Benson, comes running on to the deck. Each
of the men grabs one of Tom's shoulders, pulling him away
from the Captain, Tom struggles to free himself end attack
the Captain again. Two more seamen come clumping up the
ladder and help restrain him. The Captain stands watching the
struggling mass of men, coolly.
TOM (cont'd)
(Shrilly)
He killed Sparks. Let me go. I tell
you he didn't fall overboard.
Captain Stone killed him, — just as
he killed Louie — just as he wants
to kill me. I tell you he's crazy —
can't you understand he's crazy —
crazy --
The Captain stands smiling,
CAPTAIN
Mr. Merriam may be giving us some
clue as to what's wrong with him,
Bowns.
BOWNS
You mean the boy is --
He breaks off and makes a twirling motion near his forehead.
TOM
It's not me -- it's the Captain.
He's mad I tell you.
CAPTAIN
I don't know how you'd describe
conduct such as this, Mr. Bowns.
Tom struggles more violently to get away from the men who are
holding him.
TOM
Let me go — please -- let me go. He
killed my friend. He killed Louie.
The men hold him even more tightly.
CAPTAIN
(to Bowns)
Perhaps we'd better have the boy
restrained —
(he turns to go)
-- so he won't hurt himself.
Tom makes a last desperate effort to break away. The whole
mass of men moves with his effort.
BOWNS
Get a rope, lads. Truss him up end
put him in his berth.
THE WHEELHOUSE - NIGHT
The man at the wheel is alone. The Finn comes in from the
port side and looks about as if looking for someone. He holds
the wireless form in his hand. McCall is on watch.
MCCALL
What's all the excitement?
The Finn mutely shakes his head.
MCCALL (cont'd)
(recollecting;
disappointed)
Aw - you couldn't be telling.
The Finn goes out the starboard side, still behaving as if he
were looking for someone,
INT. TOM'S CABIN - NIGHT
The men have just finished putting Tom into his berth. His
arms have been bound close to his chest with strips of
canvas. There is a gag in his mouth. The Captain, holding a
flat tin box in his hand, is watching them put Tom into the
berth. Bowns is supervising the job.
BOWNS
That's fine, boys. That's enough.
The men trail out, leaving the Captain and Bowns alone with
Tom. Tom fights against the gag and against his bonds. The
Captain watches him, then turns to Bowns.
CAPTAIN
You'd better give him a sedative.
He hands Bowns the flat tin box.
CAPTAIN (cont'd)
There's a needle all made up.
BOWNS
You think he needs that?
CAPTAIN
He looks pretty bad. It might quiet
him.
Bowns nods and takes the hypodermic needle out of the kit.
The Captain watches him do this, than turns and leaves the
cabin. Bowns, with the needle in hand, bends down and starts
to bare Tom's arm. Tom twists and turns and tries vainly to
speak with his eyes to beg Bowns to wait - to give him a
chance. Bowns methodically rolls up Tom's pyjama sleeve, dabs
on alcohol ana gives the injection.
(The actual act of giving the hypodermic should be masked
from the camera.)
Almost immediately, Tom's lids grow heavy; his eyes grow
dull. Bowns gets up, gives Tom a last look of inspection,
turns, goes to the door and exits.
EXT. MAIN DECK - NIGHT
The Finn is standing in the alleyway lounging against the
bulkhead, obviously waiting for Bowns to step out of the
corridor door into the alleyway. Bowns comes out and the Finn
steps toward him, putting his hand on his sleeve to halt him.
BOWNS
What do you want?
The Finn hands him the wireless form. Bowns looks at the Finn
and then at the paper, moves a little to catch a better light
from the corridor, then begins to read.
EXT. MAIN DECK - NIGHT
The Captain is slowly descending the ladder from the boat
deck. He sees something below him, stops and looks toward the
alleyway.
The Finn and Bowns. Bowns has finished reading. He stuffs
the paper into his jacket pocket and proceeds to walk off.
The Finn stops him, points questioningly at his pocket.
Bowns nods, pats the Finn's shoulder in a gesture of
reassurance, and again starts aft. The Finn, still standing
in the alleyway, watches him. When he has gone, the Captain
comes down from the ladder, walks slowly after him, calmly
smoking a cigar,
INT. TOM'S CABIN - NIGHT
CLOSE SHOT of Tom, who is struggling to fight off the effects
of the opiate. His eyes close, and he opens them with an
effort of will and stares rigidly. They begin to close again
and again he forces them open and shakes his head.
EXT. MAIN DECK - NIGHT
The Captain standing outside of the officers' dining saloon
looking through a partially open port. He stands calmly
smoking,
INT. DINING SALOON - NIGHT
The first engineer and second officer are seated with mugs of
coffee before them, Bowns stands across the table from them,
the wireless is on the table between them.
FIRST ENGINEER
That is an odd message surely.
Can't make head nor tell of it.
With the boy here and alive —
BOWNS
Orders is orders, so I had the kid
tied up and gave him a sedative --
but maybe he ain't the crazy one at
that,
FIRST ENGINEER
(following a swig of
coffee)
You deck officers have your
problems.
BOWNS
This is going to be you fellows'
problem as well as mine. After me
you're next in line, and you've got
to back ma up.
The engineer picks up the wireless and studies it again,
BOWNS (cont'd)
If the boy is right.
EXT. MAIN DECK - NIGHT
The Captain is still listening to the conversation in the
officers' dining saloon. Suddenly he seems to make up his
mind about something. He begins walking forward.
Over the sound track can bo heard Down's voice repeating over
and over, "The boy's right. The boy's right."
INT. DINING SALOON - MIGHT
The first engineer, second officer and Bowns.
FIRST ENGINEER
I don't know, It's very puzzlin'. I
hate to cross the Captain.
BOWNS
You don't think I like it, do
you? This is all such n strange
business. I feel we ought to get
to the bottom of it.
FIRST ENGINEER
Now don't go off half-cocked. Let's
consider.
INT. CAPTAIN'S CABIN - NIGHT
The Captain is just coming in. He turns on the light near the
door, takes off his uniform cap and rubs his brow. For a
moment he stands rather indecisive, then he looks off at the
carved motto.
"Who doth not head the rudder must meet the rocks."
He crosses to it and stands staring. In the polished
surface of the wood his face can bo seen as in a glass,
darkly," On the sound track Bowns' voice can still be
hoard, repeating "The boy is right," and now Ellen Robert's
voice chimes in with the same words. The Captain's features
contort. His eyes glow, then with a quick movement, the
Captain reaches up and takes hold of the sign. He digs his
fingernails around the edges. With great strain, he tears
it loose from the wall, holds it a moment, then crashes it
across his knee. It shivers into several pieces.
He turns, takes down the Circassian dagger from the wall,
rips it from its sheath and goes quickly out the door.
INT. DINING SALOON - NIGHT.
The first engineer, second officer and Bowns.
BOWNS
But Mac, we've got to do
something about this. We can't
just let things stand this way.
FIRST ENGINEER
Well, now, I don't know.
EXT. WELL DECK - NIGHT
Several of the crew are clustered about the main hatch. The
Greek is playing his bagpipe and Billy is dancing and singing
to the music.
INT. TOM'S CABIN - NIGHT
The room is lit only by the faint light coming through the
portholes and the movement of the boat causes these shafts of
light to move about the room. In this dim light can be
distinguished the dark figure of the Captain as he stands
over Tom's bunk.
The Captain from Tom's angle. He stands still, almost
brooding, the upraised dagger in his hand.
CLOSE SHOT of Tom. He is still struggling against the effects
of the drug. He keeps his eyes open only by an effort of
will. They are heavy lidded and strained as he gazes upward.
CLOSE SHOT of the Captain. Suddenly in the immobility of his
face there is a flicker of movement; a flash of purpose in
his eyes, he is about to strike.
MED. CLOSE SHOT - the door as it suddenly swings open
revealing the Finn who is pulling his shiv from its sheath.
MED. SHOT - the Captain as he whirls to meet the Finn. He
sees the deadly purpose in the Finn's crouch, and he half
turns in the hope of stabbing Tom before having to fight this
new antagonist.
The Finn moves in quickly. He stabs at the Captain, knocking
him off balance so that he goes reeling across the room,
crashing into the washstand, which splinters with his weight.
The Finn leaps at him, but before he can engage, the Captain
has thrust himself to his feet. He meets the Finn's blow with
a parry of his knife. The two blades shrill with the sound of
steel on steel.
The two men fight in deadly silence, stabbing and hacking at
each other about the room, first one and then another falling
and then regaining his feet and then coming back to fight
once more. Blood drips from them and in the close confines of
the pitching cabin, they pant and gasp for breath. All the
while above them is the faint sound of the bagpipe and the
merry slap of Billy's dancing feet.
The Captain forces the Finn into a corner and moves his knife
into position for the kill. The Finn grasps the blade in his
naked hand. The Captain twists the knife and pulls it from
his clutch, but even this moment of pain has given the Finn
respite enough to leap away, gather himself and charge again.
Again the Captain fights him off, and now the Captain's
superior bulk and strength comes to his aid. The Finn, to
save himself, has grabbed the Captain's knife wrist in his
hand, and the Captain, parrying a low thrust from the Finn,
grabs the Finn's wrist with his left hand. The Captain pushes
with all his strength against the Finn's wounded hand, and
little by little the fingers give way, the knife going down
closer and closer to the Finn's heart. The Finn pushes with
all his might against the Captain's restraining hand and
cannot move his knife forward a single inch, then suddenly he
brings his knee up and kicks the knife blade home into the
Captain's groin. The Captain falls.
The Finn stands over him and from the mute's throat comes a
horrible sound, a dumb man's crow of triumph.
CLOSE SHOT of Tom. He gives up the fight against the drug and
falls asleep.
DISSOLVE
INT. BRIDGE - NIGHT
Tom is on the bridge. The Finn is at the wheel beside him.
The light fro.,i the binnacle is glowing. The chronometer in
front of the Finn rings four bells. He reaches up and pulls
the cord, which rings the bridge bell, four times. From
forward comes the answering four strokes of the big bell on
the forecastle, and the lookout's voice:
LOOKOUT
Lights are burning bright.
DISSOLVE
SIDE OF THE PIER AT SAN PEDRO - DAY
Tom comes down the gangplank, bag in hand. At the foot of the
gangplank stands the blind beggar playing his zither and
still singing:
BLIND BEGGAR
"Oh give me some time to blow the
man down."
To pauses, puts down his bag and fishes in his pocket for a
coin. He drops it into the man's tin cup.
TOM
For luck.
BLIND BEGGAR
Thank you, sir, being a sailor
you'll need luck.
Tom stands grinning at him.
BLIND BEGGAR (cont'd)
Oh, you're a sailor all right, sir.
I don't need eyes to tell me you're
a seaman outward bound.
Tom merely grins and starts to pass on toward the left. From
the right a young girl's voice calls to him.
GIRL'S VOICE
Oh, Mr. Merriam — Mr. Merriam!
Tom turns inquiringly to his right. On the ship's side the
shadow of a fashionable young girl can be seen. He smiles and
begins to step toward her.
GIRL'S VOICE (cont'd)
Mr. Merriam, my sister, Ellen,
told me to meet your ship.
Tom steps out of frame. The old beggar feels in the cup for
the coin Tom had flung him.
On the ship's side the shadow of Tom and the girl can be seen
extending their hands to each other.
FADE OUT
THE END