Pirate Gold
[Shooting script for the initial episode of the 1920 Pathé serial:]
1st Episode
"PIRATE GOLD"
Chapter One: In Which Hoey Buys a Map.
501--Subtitle ....
Treasure.
Scene 1. (A tropical beach location studded with a few palms.)
Open diaphragm on a foreground of a pirates' treasure chest
setting on the sands. It is hump-backed, iron-strapped and aged.
Dissolve into:
Scene 2. (A hole in the sands.)
Sixty dirty picturesque pirates at work eye-deep excavating with
picks and shovels. As they work two of them look up obliquely and
mutter timid curses as at someone above.
Scene 3. (Outside hole on sand.)
As close as possible a shot of the full figure of devilish pirate
chief watching men work. A sinister figure and set expressionless
stare.
Scene 4. Wide view: If possible get something of the sea into this
picture. The six men are coming up out of the hole with their
tools of excavation. When they get up, the chief orders them,
with a word and a gesture, to throw their tools down, and to take
up chest. They answer with sullen alacrity by going toward chest.
The chief watches.
Scene 5. Foreground hiding place nearby, probably a large boulder. Hoey's
face gazes off at action out of scene from behind boulder. Get
the proper expression of excited awe.
Scene 6. Close foreground by treasure chest as the middle parts of men's
bodies and their hands come into picture and lay hold of handles.
They try to lift it. It is so heavy they can just budge it.
Scene 7. Head and shoulders foreground of Hoey who swallows hard at the
proximity of treasure so heavy that six men can just about manage
it.
Scene 8. As close a foreground as possible showing the figures of the six
men lugging chest laboriously out of foreground.
Scene 9. Foreground of pirate chief. He just watches, hard faced.
Scene 10. As close as possible a shot showing edge of hole in ground and
chief in picture. The six pirates slowly lug the chest in. One or
two of them glance fearfully over his or their shoulders at the
sinister motionless figure of the chief.
Scene 11. Foreground Hoey gazing from behind hiding place, eyes popping.
Scene 12. Shot taking in the hole, the chief, pirates and chest. The men
lug the chest to the edge of the hole and then look to the chief
for an order. He orders three down. They leap into the hole. At
another order, the three on top start easing chest over edge of
hole to three below.
Scene 13. Shot into hole, showing the three men easing chest down from
above.
Scene 14. Foreground chief. He gives an order to men out of picture.
Scene 15. Foreground by hole. The three men have lowered the chest so that
just one edge of it is up in picture. At chief's order, they leap
down into hole.
Scene 16. Shot into hole showing the three men from above leaping in, and
helping the other three to ease it down.
Scene 17. Foreground chief whose eyes flash a sinister gleam as he draws
two large guns from his waist and steps out of foreground.
Scene 18. Medium foreground by hole. Chief comes in stealthily, looks down
into hole and shoots twice, once with each gun.
Scene 19. Shot into hole. Two pirates drop dead. Others cringe back, then
start up out of hole in panic.
Scene 20. Foreground by hole. The pirate chief draws his cutlass. As the
first man comes up, he swings cutlass, cuts off the man's head
and man and head fall back into hole.
Scene 21. Shot into hole. Do not show the body of man whose head is cut
off. Just show a foreground of the remaining pirate taken from
the rear as he starts to scramble madly up opposite side of hole.
Scene 22. Top of hole -- Pirate chief with cutlass leaps down into hole.
Scene 23. Foreground of Hoey pop-eyed.
Scene 24. Medium foreground by hole as pirate chief comes up out of hole,
breathing hard. He stands at rest and wipes his cutlass on the
sash of his waist.
Scene 25. Foreground Hoey whose dress we now see entirely for the first
time. He carries a short midshipman's sword. For exact
description of his dress see Mr. Smith. Unable any longer to
contain himself, he rushes madly from behind boulder, his sword
tightly gripped.
Scene 26. A shot with chief in foreground and showing Hoey rushing from his
hiding place at him. When Hoey is within a few yards of the
chief, the latter turns quickly meets his rush and a furious duel
sets in.
Scenes 27-28-29-30.
Four scenes of the duel with camera placements at director's
discretion. If the thought that Hoey's sword might be broken and
that he might pick up one of the dead pirate's tools as a weapon
should appeal to the director, he may use it. At any rate, Hoey
finally kills the chief in foreground.
Scene 31. Wide view: showing chief falling and Hoey staggering back. He's
pretty well blowed, but not all in from his exertions. He
staggers forward again in offensive and looks at the chief as if
expecting a ruse. He might spare himself a step, however, for the
chief is dead. Hoey turns now and goes to the treasure hole and
leaps in, first throwing his sword on the sand.
Scene 32. A masked shot into hole showing Hoey leaping in at side of
treasure chest. The shot is masked to keep objectionable view of
dead bodies out of picture. Just the leg of one dead pirate is in
scene. Hoey lays hold of chest and tries to lift it. He can't do
it. Again he lays hold of chest. This time with a mighty effort
he manages to lift it with both hands and hoists it up out of
picture.
Scene 33. Top of hole -- chest is shoved into picture and Hoey comes up
after it. He is rather exhausted with exertion but stoops
nevertheless and picks up his broken or unbroken midshipman's
sword. Now he glares around truculently as one who would have the
world come on if it's coming. It would seem, however, that the
world declines, for Hoey sinks down by the side of the chest,
resting his sword elbow on it and rests quite tired and breathing
hard. Hold this a moment and then
Dissolve into:
Scene 34. (Tuttle Pharmacy.)
A foreground by cash register on counter. Hoey in the garb of a
small city suburb's young man, stands asleep leaning one elbow on
the cash register and holding a large pair of scissors in his
hand in the identical pose of the midshipman with his sword and
the treasure chest. For description of this pair of scissors see
Mr. Millhauser. There is a 'No Sale' tab up on the cash register.
Hold this scene long enough for the symbolism etc. to get over.
Then the fingers holding the scissors relax and the scissors
falls with a clatter to the counter. The noise of this awakens
Hoey whose eyes open but who nevertheless is in that state
between dreaming and waking, wherein the dream is still a
reality. There is treasure in his eyes. Slowly and subtly the
vision fades and Hoey becomes aware -- sorrowfully aware -- of
his surroundings. He becomes conscious of his conventional
citrate of magnesia personality and the embarrassment of a
possible audience causes him to slowly turn and look around.
Scene 35. A wide view of Tuttle's Pharmacy showing Hoey looking cautiously
around. Never mind, Hoey, the store is empty. Hoey's eyes travel
back to the cash register before him. He glares at it as though
it were a living thing and the frustrator of his life.
Scene 36. A foreground shot sidewise behind the counter to register the
following: Hoey is glaring at the cash register as though it were
his nemesis. His anger mounts. He hauls off and hits the keys a
wallop. As he does so, the drawer flies out and socks him in the
stomach and ten cents rings up. Hoey is foolishly mad, and his
expression shows how futile he knows his anger to be. He [is]
still looking at the cash register.
Scene 37. Closeup top of cash register showing a ten cent tab up.
Scene 38. Foreground as per 36. Only shot from the other side. Hoey
sorrowfully notes the ten cent tab and takes a dime out of his
pocket, looks at it and puts it into the drawer which he closes.
Austin Tuttle appears for a moment and looks out from behind
prescription department, and then disappears again.
502--Subtitle ....
What a dream for a dime!
Yet Ivanhoe Greenwood Tuttle
-- Hoey for short -- scorned
dreams even as barbers scorn
safety razors ... What merit
the close shave without the
risk of a cut?
Scene 39. Another foreground of Hoey as he leans discouraged on counter.
503--Subtitle ....
It was always that way with
Hoey. Had he not enlisted in
the army to fight?; and had
they not set him to filling
capsules and inspecting hot
water bags? They had.
Scene 40. A wide view showing Hoey leaning discouraged on counter as
before. A customer comes in and Hoey has to wait on him.
504--Subtitle ....
The Senior Tuttle ...
Austin Tuttle.
Scene 41. (Prescription compounding department with counter behind store.)
Austin Tuttle works intently cooking something in a retort and
consulting a large book nearby. (Foreground)
Scene 42. A wider view: Austin goes on with his work as Hoey appears, a cap
in his hand. Austin guiltily closes and stands before book,
still, however, retaining parental dignity. It seems as though
Hoey and his cap are going out for a walk. Hoey's father nods and
Hoey exits. He opens book and continues his work. He seems a bit
excited as he takes a certain bottle and adds a drop to the
retort. The result pleases him for he takes another bottle and
adds another drop. Immediately there is an explosion which singes
his eye-brows. When it is over, he looks at the mess sorrowfully
and then his hand goes to his eye-brows and feels the singed
part. He turns and goes to a small mirror to look at his eyes.
Scene 43. Closeup the open book lying bespattered on counter. The prominent
title line at the top of the page reads:
DEXTER'S THEORY FOR EXTRACTING
GOLD FROM SEAWATER.
(Hold it long enough to get it over.)
505--Subtitle ....
All of which makes Mrs. Tuttle's
remark about her two men
understandable ... "Two boys"
she always said, "only Hoey is
a little more grown up."
Scene 44. Wide view: Austin Tuttle before the mirror as before has a little
box of salve in his hand which he applies to his eyebrows. He
sighs and turns back to clean up the mess.
Scene 45. (A suburban street lined with trees which cast black shadows on
the ground. Moonlight effect.)
Hoey comes walking on toward the camera from mid-distance, his
head high in the manner of an energetic dreamer.
506--Subtitle ....
Imagination, with Hoey, was
a serious affair... He took it
out for a walk every night as
the city man takes out his dog;
and once free from possible
objectors, he let it run wild...
Scene 46. (Another suburban street location lined with trees as before.
Moonlight.)
Shot about a quarter of a block away from corner around which
Hoey comes, his head high as before. And now around corner that
Hoey came, come the wraith figures of two yelling Indians riding
bareback. At an interval there follow, riding booted and spurred
and masked, the wraith figures of three western bandits. A
Spanish Cavalier wearing a plumed hat, high boots, a cape, and a
very long thin sword trailing at his side steps out from the
shadows and walks beside Hoey, as the riders pass and come toward
camera. A knight in full armor riding a heavy palfrey and with
pennant-tipped lance set ready for the joust comes from behind
camera and rides away toward corner. As this happens, a half
dozen black barbarous South Sea Islanders with rings through
their noses, fuzzy hair, huge shields and lances come in from all
sides, and Lief Ericson, huge and thick, wing-helmeted, strap-
saddled, and carrying a battle axe, strides mightily around the
corner where Hoey came. All these, of course, are wraith figures
and Hoey's imagination peoples the street with them. They come
and go while Hoey is still walking toward the camera, and none
notes him. Even Hoey sees nothing so palpable as a wraith figure.
They are in his mind. As Hoey passes the camera, the figure
disappears and we
Fade out:
Scene 47. (Tuttle pharmacy as per 34.)
Wide view: Mrs. Tuttle carrying a plate covered with a napkin
comes into store and advances to cash register. She sets plate
down and starts to lift up the little brass plate at side of
register which shows the amount of the day's sales.
Scene 48. Foreground by cash register showing Mrs. Tuttle lifting up the
brass plate to add the amount of the day's sales. She takes up
plate and exits foreground.
Scene 49. (Prescription department as per 41.)
Austin at work rolling pills. Mrs. Tuttle enters with plate and
is delighted to see her. He comes forward and looks at the plate,
smiling and happy-eyed. "You don't mean to say," he says, "you've
brought me something to eat!" She just smiles at him. He bends
to take the plate. She shakes her head no. "Guess what it is,"
she says. He makes a guess. No. He leans down and smells
through the napkin, then he raises his head and says, "I know!
Liver and onions!" She shakes her head no. This sets him back a
moment, then he looks shrewdly at her, then at the plate. Then he
says "I know, a chop!" She shakes her head no. Now he runs his
fingers over the top of the napkin as if feeling the contour of
the stuff underneath. Now he has her -- "Sausages!" No. "Meat
balls, then!" "Yes!" "Hurray!" And he does a little jig and
kisses her. She tells him to stop his nonsense and sets the plate
down which he uncovers and draws a chair up to as we
Fade out.
Fade up.
Scene 50. (A dock or pier on the ocean. Ocean meets horizon. Moonlight
effect.)
A shot taken from behind Hoey, whose arched back as he sits on a
spile, rises black against the ocean and sky. We are shooting
into the sun. We see the figure express a sigh. The sheer beauty
of this scene and the poignant quality of the lonely figure in it
are its only reason for being.
507--Subtitle ....
Out there, somewhere --
somewhere -- lay Romance,
and Life, and Love ...
Scene 51. Foreground Hoey seated on spile as before and gazing past camera.
He thinks -- but does not speak -- the following:
508--Spoken title ...
"Guess I'll get out of all
this and go away ..."
Continuing foreground, Hoey thinks on:
509--Spoken title...
"Guess I'll go to Persia and
dig rubies ..."
Continuing foreground, Hoey thinks on:
510--Spoken title ...
"Guess I'll go to Africa and
hunt tusks ..."
Continuing foreground, Hoey thinks on:
511--Spoken title ...
"Guess I'll go to Burma and
mine sapphires ..."
Continuing foreground, Hoey thinks on.
Scene 52. Shot of a church steeple against moon cloudy sky. The clock
registers ten, and the bell tolls.
Scene 53. (Dock as per 50. Moonlight effect.)
Foreground Hoey as per 51. He turns his head slightly over his
shoulder as in recognition of that bell which is his present
moment cash register, and says:
512--Spoken title ...
"Guess I'll go home and help
Pa close up the pill palace."
Scene 54. Wide view shooting toward land as Hoey slumps off spile and
wearily, heavy-footed, hands in pockets, starts up the dock or
pier back to camera.
Fade out.
Fade in:
Scene 55. (Suburban street location as per 46. Moonlight effect.)
Hoey comes on toward camera in the manner of Scene 54.
Scene 56. (Street corner of street as per 46 and 55. Moonlight effect.)
Tanner comes around corner. After he has walked a few paces
toward camera, Kaidy, a black chunk of swift body, comes sailing
out of shadows and attacks him.
Scene 57. (Location as per 55. Moonlight effect.)
Hoey comes into foreground, sees something off, and stops,
startled.
Scene 58. (Location as per 56. Moonlight effect.)
A long shot from where Hoey stands of the two struggling figures.
Faces don't matter in this.
Scene 59. (Location as per 46. Moonlight effect.)
Foreground Hoey gazing all a tremble. Short scene.
Scene 60. (Location as per 56. Moonlight effect.)
Long shot as per 58. In this shot we see Tanner fall as result of
blow with blackjack or some other instrument and Kaidy bending
over him.
Scene 61. (Location as per 46. Moonlight effect.)
Hoey shouts and runs past camera, toward figures.
Scene 62. (Location as per 58, Moonlight effect.)
A long shot taken from behind Hoey showing him racing toward the
two figures. When he gets half way to them, Kaidy, who is bending
over Tanner, turns, sees him and, rising quickly, exits around
corner. Hoey reaches Tanner and starts to bend down over him.
Scene 63. Foreground by prostrate Tanner as Hoey bends over him. Tanner is
not "out" but seems in a bad way. Hoey runs his fingers over
Tanner's head feeling for fracture, and then with hands under
Tanner's arm-pits drags him against wall or other prop in a
sitting position. This shot is so close that if Hoey stands up
his head will be out of picture. He does stand up.
Scene 64. Foreground Hoey as he rises, puts two fingers in his mouth and
whistles shrilly for police.
Scene 65. Close foreground Tanner who seems able to register alarm at this
action of Hoey's, for he says hoarsely:
513--Spoken title ...
"No cops! ... D'ye want me
pinched? Here, givus a hand."
Scene 66. Foreground taking in the two, as Tanner speaks the above and Hoey
turns in alarm. Tanner speaks some more to him and Hoey leans
down and helps him up. Tanner it seems can stand. Hoey puts his
arm in his as though to help him away. As he does so
Fade out.
Scene 67. (Tanner's room in cheap sailors' lodging house. Moonlight through
window.)
Fade up wide view: The door opens and Hoey supports Tanner in and
over to bed on which Tanner sits weakly. He motions Hoey to close
the door. Hoey obeys. Then Hoey takes out a match and strikes a
light. In a moment, with a hoarse cry, Tanner leaps at him and
reaches him.
Scene 68. A closeup of Hoey's hands with lighted match in them as Tanner's
head comes swiftly into picture and Tanner blows out the match in
Hoey's hand. (Note: Match-light effect, and then moonlight effect
on Tanner's face and Hoey's hand.)
Scene 69. Closeup Hoey's face registering surprise. Slowly his head turns
and his eyes look down at his shoulder out of picture.
Scene 70. Closeup Hoey's shoulder showing Tanner's arm ending in a steel
hook which is caught in Hoey's sleeve cloth. (Note: This is the
first time that Hoey or we have seen this hook. Make it clear and
hold it long enough to put it over.)
Scene 71. Closeup Hoey's face as it turns away from looking at shoulder out
of picture full of wonder. He looks at Tanner out of picture.
Scene 72. Closeup Tanner's face gazing tense and expressionless at Hoey's
face out of picture.
Scene 73. Wide view: The two stand gazing at one another as before, then
Tanner, again registering a little weakness on his legs,
disengages the hook from Hoey's shoulder sleeve and goes with
unsteady craft toward the window. He gazes cagedly out of window
and pulls down the blind. Nothing now but silhouette figures in
the room. One of them moves to the door.
Scene 74. Foreground by door, Tanner's silhouette in, opens door, looks
out, closes it, locks it with key, turns out of foreground.
Scene 75. Wide view: Hoey's silhouette still in room, that is no movement.
Tanner's silhouette over to wall where it stops. He strikes a
match. (Light effect) He lights a little brass gas jet on the
wall and turns the light low. (More light effect) Then he
staggers over to the bed as though all this exertion were too
much for him, catches bed-post with his hook, and with his hand
tears the scarf from his neck and pulls out the map. This he
clutches tightly in his hand which he holds out in the air, as he
says, dramatically:
514--Spoken title ...
"Help me, boy, help me! ...
He must never get it!"
Continuing scene, he speaks out above and sinks back on bed
clutching map. All this time Hoey has stood dumb with amazement,
the very essence of romance crisping his nerves and holding him a
statue. Now, as Tanner sinks back on the bed Hoey makes a few
steps toward him and we
Close diaphragm quickly.
514A--Subtitle ....
The story of the map.
Scene 76. (Tanner's room as per 67.)
Open diaphragm on a large closeup of Tanner's tattooed fist round
the rolled map. There is movement of the hand with the map in it,
as though the owner of the hand were talking and making slight
gestures.
Scene 77. Large closeup of Hoey in his best attitude of listening wonder
and awe.
Scene 78. Large foreground of Tanner propped up against pillows at head of
bed and speaking to Hoey out of picture. Hold it a while to get
over that he is in the midst of a story. He says:
515--Spoken title ...
"--and five of us, that had
snug little bunks a day before,
an' all we wanted t'eat -- an'
you can say what you like, the
vittles was tasty--"
Continuing foreground, Tanner speaks the above.
Scene 79. Foreground of the engrossed Hoey assenting as though he had
tasted those vittles himself.
Scene 80. Foreground Tanner. He says:
516--Spoken title....
"We found ourself now with
nothin' t'eat an' lessen a
belly full o' water between
us --"
Fade title into:
Scene 81. (The open sea. Rolling swells. Daytime.)
A wide shot of an open boat with five men in it. It is not
necessary in this shot to distinguish particular persons. We're
coming to that later. This is just a vivid impression of a small
boat on a large sea.
Fade into:
Scene 82. (Tanner's room as per 67.)
Foreground Hoey and Tanner. Hoey all ears. Tanner goes on: "Well,
the next night old Sloman gives up and we has to ---"
Fade into:
Scene 83. (Open sea. Moonlight.)
A long shot as before showing the four men easing one dead
sailor, feet first, over the side of the boat and into the sea.
(The writer believes that the best effect will be gained by
shooting against the sun, as the silhouettes will be easily
registered and the water very beautiful.)
Fade into:
Scene 84. (Tanner's room as per 67.)
Large foreground Tanner with tears coursing down his cheeks. He
says "He was a good pal of mine, was Sloman, and I knew I would
miss him dreadful. Well, the next day was clear an' hot an' --"
Fade into:
Scene 85. (Open sea. Daytime.)
As close a shot as possible to register all of the occupants of
the boat. Tanner and Kaidy very much exhausted and pretty weak
propped up, one in the stern and one in the bow of the open boat.
The third sailor sits gripping his oar with both hands and
huddled over it asleep. The fourth sailor lies seemingly asleep
at the bottom of the boat.
Scene 86. Large closeup of water butt on which is stenciled in black
letters:
Nancy Bowker
Water
(Note: This little barrel sets on two semi-circular wooden
shoulders. For exact description see Mr. Millhauser.)
Scene 87. A large foreground in the same place showing the head and
shoulders of the sailor who was seemingly asleep at the bottom of
the boat, stealthily working his way toward water barrel, which
is in picture. His eyes are wide and cunning, and his parched
tongue lops half way out of his mouth. A desperate man. His arms
go out toward water barrel.
Scene 88. Close foreground Tanner propped against stern of boat. Out of the
pocket of his coat sticks telescope -- the upper breast pocket.
His eyes are half closed but he stealthily watches action of
foregoing scene.
Scene 89. Close foreground Kaidy in bow of boat. He, also, with half closed
eyes, watches action of man and barrel. His face expresses
physical weakness and burning hate for the water thief out of
picture.
Scene 90. Close foreground of sailor stealthily, shakily raising small
water barrel to take out plug from bung hole, preparatory to
drinking.
Scene 91. Foreground Kaidy who weakly draws a gun and shoots.
Scene 92. Foreground of man with barrel as in Scene 90. The bullet goes
through the barrel and through him. He falls backward over boat
into water, and the barrel falls into the boat.
Scene 93. Closeup of barrel at bottom of boat with water pouring out of
large bullet hole.
Scene 94. Foreground Tanner who sees the foregoing and takes hold of the
thwart with his hook weakly and tries to pull himself up to
salvage the escaping water out of picture. It is too much of an
effort, however, and he just sinks back. No facial contortions,
just lack of strength.
Scene 95. Closeup of barrel out of which the last bit of water runs.
Scene 96. Close foreground Kaidy in the bow watching the last of the water
disappear. His face distorted into a slight and horrible smile,
as he works his dry tongue longingly around his baked lips. He,
also, is too weak to salvage what few drops of water remain.
Fade into:
Scene 97. (Tanner's room as per 67.)
Foreground Tanner and Hoey. Tanner speaking on in his story. Hoey
listening, his eyes, ears, heart and soul all open. As Tanner
speaks, he shakes the fist with the map and says:
517--spoken title...
"That was Kaidy that done the
shootin'... Him that's after
the map."
Continuing foreground, Tanner speaks the above and goes on
working himself into a paroxysm of rage as he shakes the map and
says "But he'll never get it, understand? -- Never!" Hoey is
right with him. Now Tanner continues his narrative. He says:
518--Spoken title...
"We had rain that night which
meant drink, which meant life.
An' when it came mornin'
again --"
Fade title into:
Scene 98. (Open sea. Bright sunlight.)
As close a shot as possible showing just two men in the boat. In
the bow, Kaidy seemingly asleep. In the stern, Tanner, seated up
and facing another terrible scorching day.
Scene 99. Closeup Tanner's hook resting on the thwart and alongside it the
old shark skin covered telescope previously registered in his
pocket. (Very bright sunlight on this scene.) As a result of the
terrific heat, the shark skin on the telescope cracks and opens
up a seam.
Scene 100. Closeup Tanner's head and shoulders. He looks down for the
cracking of the shark skin attracts his attention. Not a quick
look, but a slow, lethargic, laboured look.
Scene 101. Closeup of the telescope on thwart. The skin cracks further
revealing parchment underneath.
Scene 102. Close foreground Tanner as he reaches his fist down out of
picture. The fist comes back with the telescope. He examines it
closely, tears off the shark skin cover and pulls out the map,
which curls up. He opens it with hook and fist and registers as
much surprise as his weakness allows as we
Fade into:
Scene 103. (Tanner's room as per 67.)
Foreground Tanner and Hoey, as Tanner says:
519--Spoken title...
"Three hundred years old...
No lenses in it...I just
carried it as a keepsake ...
Got it offen a water-clerk
for a ship chandler in the
Chiny Sea... Name o'
Dowson ...."
Continuing foreground, Tanner speaks out the above, as he holds
the map in his lap with one hand and uses the hook to straighten
it out, and let it go again so it curls up. He does this all the
time as he speaks and Hoey is fascinated by the map and would
like to get a look at it. As he goes on speaking
Fade into:
Scene 104. (Open sea. Moonlight.)
Foreground Tanner in stern of boat seemingly asleep. Into this
foreground, crawls Kaidy, who filches the telescope from Tanner's
pocket. Kaidy softly withdraws from the picture and as he does
so, we see Tanner's eyes open and we know that he has been
conscious of the theft.
Scene 105. Foreground prow of boat. Kaidy comes in with telescope. He
stealthily removes map which Tanner has rolled up and put inside
telescope, and flings the telescope overboard. Then he uncurls
map and his eyes eat it up. Then he rolls it up and sticks it
into his outside coat pocket as we
Fade into:
Scene 106. (Tanner's room as per 67.)
Foreground Tanner. He says:
520--Spoken title ...
"I didn't want no trouble with
him, then ... But the next
day he sights a steamer an' --"
Fade title into:
Scene 107. (Open sea.)
Foreground Kaidy in prow. He is gazing off, very weak, but
excited, and fumbling in his pocket pulls out a binocular, which
he gazes through. Now he lowers the glasses and calls out of
picture to Tanner, then he turns and again lifts the glasses. As
this transpires, Tanner comes rather weakly into picture from
other end of boat and also looks off. Although weak, these two
men show an activity that is born of crazy excitement, now. Kaidy
hands him the glasses. He gazes through them. Kaidy is eager to
have them back again. He lets Kaidy have them. As Kaidy again
adjusts glasses and uses both hands to hold them, Tanner, with a
cunning smile, dips his one good hand into Kaidy's pocket -- the
pocket the map is in.
Scene 108. Closeup Kaidy's coat showing Tanner's tattooed hand removing the
map.
Close diaphragm and fade into:
521--Spoken title ...
"That was four years ago. He
ain't never laid hands on me
until tonight ... He'd 'a'
murdered me if you hadn' a'
come along!"
Scene 109. (Tanner's room as per 67.)
Foreground Tanner and Hoey as Tanner speaks the above and Hoey
nods a modest assent. Tanner stops and looks down at the map
which he rolls and unrolls. Hoey asks whether he may see the map.
Tanner hands it to him. Hoey takes it and spreads it on the bed.
When he lets go of it it rolls up. He picks it up again, and,
holding the two ends, searches it avidly.
Scene 110. Foreground of map in Hoey's hands. (Note: A very special job must
be done with this map. It should be well copied on old parchment
from a photograph of an aged map in some old book, Mr. Smith and
Mr. Grot should confer on this for it is important.)
Scene 111. Closeup Hoey's wonder-ridden face as he gazes down at map.
Scene 112. Foreground Tanner who is looking at Hoey and saying:
522--Spoken title ....
"It ain't much t'look at,
hey ... Well, it's a check
for over a million in gold!"
Scene 113. Close foreground Hoey as these words fall on his credulous
senses, and he looks a little bit away from map, breathing easily
through the mouth.
Scene 114. Foreground Tanner who says:
523--Spoken title ....
"But it's only a piece o'
paper to me. I'm gettin' old
and tired, I'm lonesome. I
don't want money ... I want
friends . .."
Scene 115. Foreground of the two as Tanner speaks the above. His voice sort
of breaks, and he would be the object of sympathy for a heart
much harder and less impressionable than Hoey's. Hoey registers a
quick response, for he goes impulsively toward Tanner and lays
his hand affectionately on Tanner's arm, as who would say, "It's
all right, old man. I'll be your friend." Tanner, not to be
outdone, comes to bat with his hand over the back of Hoey's,
which he squeezes. A strong man's deep and quiet emotion. Hoey is
almost in tears. Finally Tanner looks up and says:
524--Spoken title....
"You know, Boy, if I had
about five hundred dollars
what I'd do? I'd go to a
sailors' home and lay up my
old bones ..."
Continuing foreground, Tanner wistfully speaks out the above, and
goes on:
525--Spoken title....
"And I'd make a present of
this little fortune to the
first jack I took a fancy to!"
Continuing foreground, he speaks the above, and reaching up his
hand, casually takes the map from Hoey's, and sort of taps it
with his hook. Hoey makes an unconscious, half motion with his
hand to recover it, but drops his arm. The pulse in his temple
thumps like a pile-driver. Finally, he says with timid eagerness,
as one who is going to ask something which he hopes, but doubts,
will be answered "Yes": "If I gave you five hundred dollars,
would you let me have the map?" Tanner looks at him rather
surprised and says, "You?" Then he thinks a moment, as though
making an important decision in his mind, and finally says,
"Ye-e-ess." Hoey can't believe his senses. "It's a go? You'll
sell it to me" Tanner nods. "I won't be gone ten minutes," says
Hoey, excitedly, as Tanner smiles sympathetically and Hoey dashes
out of foreground and we
Fade out.
Fade up:
Scene 116. (Tuttle's Pharmacy as per 34.)
Foreground by cash register as Austin Tuttle has finished
checking up the day's receipts, and with money in two little
sacks is about to start for the safe. Before he goes he looks up
to see the time.
Scene 117. Closeup clock on wall. It registers a quarter to eleven.
Scene 118. Medium wide view: Austin, a little bit worried that Hoey is not
in as yet, goes over to safe with sacks and starts to unlock
safe.
Scene 119. (Suburban street location. Moonlight.)
A long shot down center of the street as Hoey comes racing toward
camera and past.
Scene 120. (Tuttle's Pharmacy as per 34.)
Wide view: Austin Tuttle with safe open as Hoey comes dashing in,
breathing hard, and almost unintelligibly excited. Austin turns
in surprise, and asks what's up. Hoey paws him in his urgent
desire to transmit to his father in a moment what it has taken
him over half an hour to learn. Austin looks at him curiously, as
Hoey starts to tell the story of the attack, the rescue, and the
wreck, Tanner, Kaidy and the map.
Close diaphragm on them.
Scene 121. Open diaphragm on closeup of the clock which registers eleven
o'clock.
Scene 122. Foreground by sales counter on which stands a couple of rolls of
paper -- one fat roll, and one skinny roll almost to the end.
Hoey and his father in picture. Hoey still speaking excitedly to
father who listens gravely. Hoey is saying:
526--Spoken title ....
"Tanner -- that's the bird
with the hook -- says it's
mostly old Spanish gold. And
the map shows it's buried not
eighty miles from here --
Over a million!"
Continuing foreground, he speaks the above. As he says 'over a
million' he thumps the counter with his fist and looks down at
it. He is not looking at Austin and that gives us an opportunity
to show Austin's quick, eager look at the mention of a million in
gold. It is a look of interested abstraction, for now Hoey turns
his gaze to him and talks on. He is ardent, vigorous, eloquent,
urgent in his argument. Austin listens. Finally, as a clincher to
his argument, Hoey has an inspiration, for he pulls a piece of
pill box wrapping paper about the size of the map -- and lays it
down. He shows Austin how the map curls up... very old ...
Scene 123. Closeup piece of paper on counter curling up, after Hoey has
straightened it out with his hand.
Scene 124. Closeup Austin's rapt expression as he gazes down at paper out of
picture, and licks his lips.
Scene 125. Foreground of the two. Hoey finishes with his paper and turns to
Austin, as the lawyer who has summed up with a clincher turns to
his jury. Finally, Austin looks down rather stealthily and says:
527--Spoken title ....
"Promise not to tell Ma?"
Continuing foreground, he speaks the above very seriously. Hoey
says "Yes." It's too good to be true. He goes on, kindly pointing
out to his father the wisdom of such a decision, but Austin turns
from him and exits foreground. Hoey watches. Hold it for a
little. The expression on Hoey's face should make it worth while.
Scene 126. Foreground Austin stooped before open safe and taking five old
one hundred dollar bills from a battered old tin box that has a
key and latch on it.
Scene 127. Wide view: Austin rises after closing safe and advances to Hoey
with the money. He gives it to Hoey who can't say thanks but says
and expresses his jumbled excitement, as he turns and runs toward
the door and out. Austin stands a moment as though he had changed
his mind and then going to door calls Hoey back. He leans to
Hoey's ear and says:
528--Spoken title....
"Be sure you get the latitude
and longitude on the map!"
Continuing scene, Austin speaks the above, as Hoey at the door
nods yes and exits. Austin watches him gravely. He stands a
moment lost in thought and then goes over to the counter and
picks up the curled up piece of paper -- the map to him. His face
is that of a boy who fingers his first rifle -- one that really
shoots. A boy who contemplates the wild beasts that will fall
before his unerring aim. As Austin plays with this paper we can
see that the map is his rifle, and buried treasure his game. This
is very good business and should be handled by the director with
a delicate appreciation of Austin's feelings. If necessary, do
this action in a foreground.
Fade out.
Scene 128. (Tanner's room as per 67.)
Fade up wide view: Tanner propped up in bed as before. He
registers a knock on the door and his hand flies under the pillow
and pulls out a huge gun which he levels at the door as he calls
"Come in." Hoey enters all a tremble. He is taken aback by the
gun which Tanner quickly lowers and places beneath his pillow as
he smiles a welcome. As he does so, he tells Hoey to close the
door. Then Hoey comes to him and quickly takes out the money. He
hopes Tanner hasn't changed his mind. He wants to change this
measly five hundred dollars for that beautiful map. Shakes hands
with Tanner and starts out. He is at the door again when he
remembers about the latitude and longitude. Again he consults the
map. The he goes back to Tanner and tells him that the latitude
and longitude are not marked on the map. Tanner laughs as he
says:
529--Spoken title ....
"That's right. I had forgot.
I rubbed them latitude and
longitude figures off, case
o' accident; but I know 'em
by heart."
Scene 129. Foreground of the two. Tanner speaks the above and asks Hoey for
the map. Hoey gives it to him and also gives him a pencil. Tanner
thinks a moment, and then writes the numbers on the map. Hoey
thanks him. Again takes map, shakes hands, and exits foreground.
Scene 130. Wide view: Hoey exits with a last goodbye at the door which he
closes behind him. Tanner yawns, and gets up from the bed. He's
awfully steady on his feet now.
Scene 130A. (Outside sailors' rooming house. A dingy, sinister waterfront
location. Moonlight.)
Hoey exits house past camera.
Scene 130B. (Tanner's room as per 67.)
Wide view: Tanner standing up. The door opens and Kaidy comes in,
eagerly to Tanner in foreground. Tanner shows no surprise at
seeing him. Kaidy says, excitedly:
530--Spoken title ....
"How much did y'get for it?"
Scene 131. Close foreground Kaidy as he speaks the above eagerly.
Scene 132. Close foreground Tanner as he raises his five fingers of his good
hand.
Scene 133. Foreground two. Kaidy whistles in glad surprise. Then Tanner
tells him to give him a hand and help him take off his ear-rings.
Kaidy takes off Tanner's ear-rings, and then unfastens the hook
from Tanner's hand. Tanner's arm and hand come out after the hook
and he rubs and flexes this member which has been cramped for a
couple of hours. Then Tanner raises his other hand near his mouth
and spits on the back of it on the tattoo marks. He uses a finger
to rub the marks off.
Scene 134. Closeup back of Tanner's fist showing the marks being obliterated
by finger plus spit. Then the back of the hand is rubbed clean
and dry on his clothes.
Scene 135. (Suburban street location. Moonlight.)
Hoey comes trotting toward camera, out of breath, and holding his
hand tightly over the pocket in which he has the map.
Scene 136. (Tanner's room as per 67.)
Wide view: The men are seated smoking and talking. Tanner says:
531--Spoken title ....
"I was in good voice tonight
... Added lots o' things that
wasn't in the story before.
He seemed to want it!"
Continuing scene, Tanner speaks the above and Kaidy and he both
laugh. Tanner, proud of himself, goes on:
532--Spoken title ....
"I even give him latitude and
longitude. Made 'em up out of
my own head!"
Scene 137. Close foreground Kaidy as he hears this and a quizzical look
comes over his face and he eyes Tanner suspiciously. He knows
that Tanner is a boob and for a certain reason he mistrusts this
extemporaneous stuff. He says, very clearly, "What did you tell
him?"
Scene 138. Foreground Tanner. He closes his eyes a moment, thinks, and then
says:
533--Spoken title ....
(Insert here a latitude and
longitude quotation. The
writer is not familiar with
them)
Scene 139. Wide view: As Tanner speaks the above, Kaidy jumps up, whips
cigarette from his lips, bounds over to Tanner and shrieks:
534--Spoken title ....
"You fool! You idiot! You
bone-head!"
Scene 140. Foreground of the two as Kaidy speaks out the above and Tanner
registers simply, "Why, what's the matter with them figures?
They don't mean nothing." And then, angrily, "What's the matter
with you, you damn fool? What's biting you" Kaidy throws up his
hands to his head in utter disgust, and turns out of foreground.
Scene 141. Wide view with Kaidy stumping around the room and Tanner
watching. A couple of times Kaidy comes up to him and gestures
and mumbles, but gives it up and goes on walking. The third time
he comes up to him, he calms himself, and says:
535--Spoken title ....
"Imaginary, hell! You heard
the Boss and me talking about
the position of the big stuff
-- and real stuff that we had
to sell this fake map in order
to get at -- and the figures
stayed in your mind!"
Scene 142. Foreground of the two as Kaidy finishes the above, explaining
with insulting precision and simplicity. Tanner is childishly
penitent and rather frightened. He says "Maybe the kid won't go
there, etc. etc." Lots of maybes. Kaidy registers that he thinks
it is awful. He finally turns on Tanner and says:
538--Spoken title....
"We've got to keep this from
the Boss, or he'll skin us
both alive! And you've got to
lay for that kid and get him
away if he shows up!"
Continuing foreground. Kaidy speaks the above as Tanner, who is
so frightened of the boss that he will agree to anything, agrees
to this with alacrity and goes on agreeing to everything that
Kaidy says:
Scene 143. (Tuttle's pharmacy as per 34.)
Wide view: Old man Tuttle pacing up and down and looking at the
clock. Hoey enters and runs to him. Hoey quickly dives into his
pocket and pulls out the map. Instantly, Austin pulls it away
from him, shoves it into his pocket, looks wildly around as for a
possible eavesdropper, and then registering a very earnest and
theatrical "Sh" with his finger over his lips, looks outside,
closes the door, pulls down the shades, switches off the electric
lights, which leaves the place in darkness except for the light
of the large apothecary's bottle of green water in the window,
then he motions Hoey over to the window and the lighted bottle.
Both advance. Austin takes the map out of his pocket, unrolls it
and holds it as he and Hoey look at it with backs hunched. (Note
Their backs in this scene are toward camera)
Scene 144. Foreground Hoey and Austin, both holding the map and gazing at
it, the green light on their faces, their backs hunched, the hot
blood round their eyes and icicles pricking their spines.
Fade out and close diaphragm.
537--Subtitle ....
In which two romantic young
men part company.
Scene 145. (Platform of station in Hoey's town.)
Open diaphragm on foreground Hoey and Austin. Austin is giving
fatherly instructions to Hoey. Hoey is dressed in a changeable
overcoat and a soft hat. He carries a duffle bag. He listens
attentively to his senior.
Scene 146. (Tuttle Pharmacy as per 34.)
Mrs. Tuttle and two men engaged talking. The two men stand with
their backs to the camera in this side shot. One of them is seen
to ask a definite question.
Scene 147. Foreground of the three. The two men are Tanner and Kaidy. It is
Kaidy who is finishing asking the definite question. Mrs. Tuttle
replies:
538--Spoken title ....
"Oh, no. Mr. Tuttle is down
to the station seeing off my
son, Ivanhoe, who is going to
the Coast for a vacation."
Continuing foreground, she speaks the above. Tanner and Kaidy
exchange glances. Business of "Oh, I see" from Tanner. They shake
polite farewells and exit foreground.
Scene 148. (Platform as per 145.)
Foreground Hoey and Austin. Austin looks around, secretly, pulls
small leather book from his pocket, and says:
539--Spoken title ....
"Secret code!"
Continuing foreground, Austin speaks the above and slips Hoey
book, which Hoey puts in his pocket.
Scene 149. (Street location in Hoey's town.)
Tanner and Kaidy impetuously enter taxi-cab, giving driver fast
order. Taxi out. Get sense of rush about this scene.
Scene 150. (Platform as per 145.)
Foreground Hoey and Austin talking. Austin is doing the talking.
Hoey stops and says listen. They listen.
Scene 151. (Railroad tracks in country.)
Picturesque shot of train steaming around bend toward camera.
Whistle blowing.
Scene 152. (Platform as per 145.)
Foreground Hoey and father. "That's the train." Again Austin
looks around, puts his hand in his pocket and pulls out a heavy
black mustache. He hands it to Hoey, who is about to take it as
Austin says:
540--Spoken title ....
"Avoid recognition."
Continuing foreground, Austin speaks the above, as Hoey looks at
the mustache a little bit puzzled. Nods his head and puts it in
his pocket.
Scene 153. Shot down tracks showing train coming toward station about a
quarter a mile away, coming toward camera.
Scene 154. (Street in Hoey's town.)
Shot of taxi flying around corner. Lots of speed.
Scene 155. (Platform as per 145.)
Foreground Hoey and Austin. Austin is still giving important
instructions. He says:
541--Spoken title....
"And above all, watch out for
this feller Kaidy. Remember
what your friend Tanner says
... He'd do murder to get
that map."
Continuing foreground, he speaks above and Hoey nods assent.
Scene 156. Wide view showing train pulling into station and Austin and Hoey
shaking hands.
Scene 157. Foreground Austin and Hoey saying a last goodbye, with hands
clasped. Business of sympathetic understanding. Hoey breaks away
and exits foreground.
Scene 158. Foreground of steps of railway car. Hoey comes in, boards steps.
Train starts out. Hoey turns and shakes goodbye.
Scene 159. Medium shot of rather sad figure of Austin shaking goodbye.
Scene 160. Shot down platform showing train out of platform.
Scene 161. Foreground Austin watching, heaving a big sigh.
Scene 162. Shot of train pulling away from platform, about an eighth of a
mile out, going away from camera.
Close diaphragm.
Scene 163. (Inside a car of moving train. It is night now.)
Open diaphragm on length of the car with Hoey seated in
foreground, riding opposite to the way the train is going. The
conductor who has been taking tickets is near Hoey's seat. He
comes to Hoey in foreground, takes Hoey's ticket, punches it and
sticks it in the back of Hoey's seat. Hoey watches him rather
suspiciously, as conductor moves past camera. Then Hoey looks
covertly at his fake mustache, and up again at conductor out of
picture.
Scene 164. Foreground of conductor stopping at seat facing Hoey's. As he
does so, a beautiful white, feminine hand and arm comes up into
picture and hands him ticket.
Scene 165. Foreground Hoey watching conductor up out of picture. He notes
the hand and his eyes travel downward to its owner, out of
picture. And then he looks as though somebody had punched him in
the stomach.
512--Subtitle ....
A pretty girl.
Scene 166. A lovely close foreground of girl seated opposite Hoey, the one
who took the wind out of him. She smiles up at conductor out of
picture as his hand comes in and hands her back her ticket. One
of her nicest smiles. Then she resumes her magazine.
Scene 117. Foreground Hoey gazing in frank and boyish admiration past camera
at girl across from him.
543--Subtitle ....
A very pretty girl.
Scene 168. A lovely close foreground of the girl reading her magazine.
Scene 169. A long shot down train with Hoey in close foreground gazing with
rapt admiration past camera at girl. Kaidy comes down the aisle
behind him, stops behind Hoey's seat, takes Hoey's ticket, looks
at it, sticks it back in seat, turns and goes back the way he
came, as smooth s silk.
544--Subtitle ....
The prettiest girl in the world.
Scene 170. Another foreground of the girl. She feels Hoey's gaze at her and
looks frankly up and across at Hoey out of picture.
Scene 171. Foreground Hoey confused at gaze. He quickly picks up newspaper
and opens it up before him, hiding his face and body.
Scene 172. Foreground of the girl, who raises her eye-brows a bit
interrogatively, as at a curious person, and again, gives her
priceless attention to her magazine.
Scene 173. (Another location in car.)
Foreground seat. Tanner seated smoking cigarette and waiting.
Kaidy comes in and drops into seat beside Tanner. To Tanner's
interrogation, Kaidy answers:
545--Spoken title ....
"I made him. Simple young
party ... Ticket reads
Coldbrook Junction ... The
damn fool is going right
where he can make the most
trouble for us!"
Continuing foreground, he speaks the above and Tanner is
troubled. They start talking together.
Scene 174. (Inside car as per 163.)
Foreground large spread newspaper behind which we know Hoey to
be. A finger comes through newspaper, making an eye hole. It is
withdrawn and comes through again, making another eye-hole, both
these holes represent Hoey's two eyes and are at the height of
his head behind paper.
Scene 175. Closeup of the paper showing Hoey's eyes behind eyeholes.
Scene 176. Close foreground of the object of the subterfuge. You can't blame
Hoey. She is very nice. Also, she is asleep.
Scene 177. Long shot down train with spread paper in foreground. Conductor
comes down train, and again inspects tickets. We comes to Hoey's
place and stops. He takes Hoey's ticket from back of chair.
Immediately the paper starts to come down from before our hero.
Scene 178. Foreground by Hoey's seat. Conductor standing by Hoey's seat as
before. Match up action with paper coming down from before Hoey's
face. We are startled, for our hero has on the black mustache
given him by his father. The conductor looks at him and is
puzzled. He is very puzzled. He can't understand it. He cogitates
a moment and passes on, past camera. Hoey furtively feels his
mustache. Then he looks across at the girl, starts to put up his
paper again, but cannot.
Scene 179. Foreground of the girl asleep.
Scene 180. (Conductor's closet on train.)
Conductor comes in. He wonders about the black mustache, for he
is certain it was not a black mustached man he first took ticket
from. He exits to go back and look again.
Scene 181. (Car as per 163.)
Close foreground Hoey with black mustache on, looking across at
sleeping girl.
Scene 182. Close foreground girl who is uncomfortable with Hoey's gaze fixed
on her. She wakes and looks across. A bit indignant.
Scene 183. Close foreground Hoey. He sneezes mustache off and recovers it
quickly, embarrassed.
Scene 183A. Close foreground girl. She laughs as at a boob.
Scene 183B. A wider shot of Hoey still embarrassed, and showing conductor
approaching. He stops, looks at Hoey, notes his smooth face, is
disturbed, and exits scene the way he came.
Scene 184. (Conductor's closet on train.)
Conductor comes in, looks around him, takes half empty bottle of
whiskey from bunk and, after regarding it for a second, flings it
out of the window, straightens up, composes his face gravely,
buttons his coat and exits. He'll never touch another drop.
Scene 185. (Car as per 173.)
Foreground Kaidy and Tanner. Tanner is getting the little luggage
they have together, preparatory to departure. He says:
547--Spoken title....
"I just can't face the Boss
while that kid has the map
with those figures on it ...
He'd smell there was
something wrong -- and you
know him!"
Continuing foreground, Tanner speaks the above. Kaidy nods
gravely in assent and says:
548--Spoken title ....
"I was thinkin' about it ...
There's a bad stretch of road
between the station and the
hotel ... I'll frighten the
map out of him there."
Continuing foreground, Kaidy speaks the above and Tanner looks
relieved. Suddenly Tanner says:
549--Spoken title ....
"Supposin' he refuses to be
frightened?"
Scene 186. Close foreground Tanner speaks the above to Kaidy out of picture.
Scene 187. Close foreground Kaidy. He smiles sinisterly, takes out a large
clasp knife, opens it, and lets the blade snap back significantly.
Scene 188. Foreground Tanner who nods a slow and expressionless assent.
Scene 189. (Station platform at Coldbrook Junction. Moonlight.)
A wide view of station showing two distinct groups of waiting
people and some stragglers about. In this shot, also show the
train coming in, down the tracks toward camera.
Scene 190. (Inside car as per 164.)
Long shot down train showing people getting ready for exit.
Scene 191. Foreground Hoey as we last saw him. He has his things ready and
is watching girl opposite, out of picture.
Scene 192. Foreground girl. She rises with her packages. The train comes to
a sudden stop and she is thrown back into her seat. Again she
rises and exits.
Scene 193. Foreground Hoey who rises and exits after girl.
Scene 194. (Station as per 189. Moonlight.)
Foreground of one group of waiting people watching eagerly and
anxiously off to recognize an expected arrival.
Scene 195. Foreground steps of car. A few people get off and then comes the
girl.
Scene 196. Foreground group as per 194. Somebody recognizes her. "There she
is!" ... "Yoo-hoo!" And they rush out of picture.
Scene 197. (Another location on platform. Moonlight.)
Girl comes into picture, stops, recognizes folks coming toward
her out of picture, and waves her hand. They come in and crowd
around her.
Scene 198. (Another location on platform. Moonlight.)
Foreground Hoey looking off, watching. He has no makeup on now.
Scene 199. (Platform as per 197. Moonlight.)
Foreground group around girl. One kisses her, then another.
Scene 200. (Platform as per 198. Moonlight.)
Foreground Hoey. He is gazing off, fascinated and now moves
slowly out of foreground.
Scene 201. (Platform as per 197. Moonlight.)
Foreground crowd around girl. She is kissed by two people in
succession. Another person waits for a kiss. Hoey comes into
picture. The person who waits for a kiss gets it, and now Hoey
comes marching up. She knows no distinction in her excitement
and, taking him to be one of her many friends, proffers her cheek
to him, as to the others before. Hoey kisses and passes on.
Scene 202. (Another location on platform. Moonlight.)
Hoey comes in, his feet on the platform, but his head in the
stars.
Scene 203. (Platform as per 197. Moonlight.)
Foreground group. The first group sort of makes way for another
group which comes up and starts greeting and kissing business as
before.
Scene 204. (Platform as per 202. Moonlight.)
Foreground Hoey who watches.
Scene 205. (Platform as per 197. Moonlight.)
Kissing business.
Scene 206. (Platform as per 202. Moonlight.)
Hoey watching comes to sudden decision. Puts on a vandyke beard,
turns his coat inside out, with one thump changes the shape of
his hat, and exits scene.
Scene 207. (Platform as per 197. Moonlight.)
Again there is only one person waiting to be kissed as Hoey comes
into the picture. Hoey's turn comes and stepping up, he throws
his arms about the girl, in a burst of great feeling and kisses
her.
Scene 208. Close foreground of Hoey and girl as he holds her in an
unbrotherly embrace and hangs on to her lips longer than is good
form on station platforms. The girl has to break loose from him.
As she pulls way, she stares at him in amazement. She recognizes
that she does not know him. She tears off his beard.
Scene 209. Foreground group gazing at Hoey in righteous amazement. "Who is
this person?"
Scene 210. Foreground Hoey looking around rather sheepish. He has come down
to earth with a thud. He is in the most embarrassing situation he
could ever find himself. Suddenly, in a hysterical desire to get
away, he stoops to pick up his bag and rising exits picture.
Scene 211. Wide view showing Hoey racing away. Group in side fgd.
Scene 212. Foreground of the group around the girl. She is explaining in a
half crying way that she didn't know the young man. Isn't it
terrible?
Scene 213. (Shot of road leading away from station into woods. Moonlight.)
Hoey runs toward woods, back to camera.
Scene 214. (Location near station. Moonlight.)
Tanner stands gazing off, sinisterly. He pulls his hat down over
his face in a way that makes it difficult for any one to
recognize him and exits picture.
Scene 215. (Woods location -- path. Moonlight.)
Hoey comes on toward camera. Kaidy steps out of shadows and
confronts him. He says:
550--Spoken title ....
"Give me that map!"
Scene 216. Foreground of the two. He speaks the above as he tears Hoey's
coat open and pulls out the map. Quick as lightning Hoey snatches
it back from him, and breaking away exits foreground.
Scene 217. Wide view showing Hoey breaking from Kaidy who springs at him.
They fight. Let them fight for a while, and then Tanner runs up
and jumps Hoey from behind. Hoey throws him off. He sees there's
too much odds to contend against, so he turns and runs. They
follow him out of picture.
Scene 218. (Location in woods with shack in picture. Light coming from
window in shack)
Hoey runs into picture. Tanner catches up with him. Hoey turns,
punches Tanner who falls back and as Kaidy comes up, Hoey again
turns and runs pell-mell into house. The light from within
promises protection. (Note: In these wood scenes get over the
sense of a running fight as in the first episode of "Lightning
Raider" on the beach)
Scene 219. (Inside lighted shack. Stairs with balustrade leading up to
balcony.)
Hoey comes in, looks around, calls help and is about to bolt door
when he thrown back as the door is shoved open by the two men
outside. They enter. From now on there is to be a terrific fight
staged at the director's discretion making use of the staircase
with the balustrade and the balcony. Let the fight be a whopper
and close the diaphragm on a shot of the three men rolling over
in tangled mass on the floor altogether.
END OF EPISODE.
[Sorry. That's all there is!]