Film: 10620

Feature Comedy | 1920 | Silent | B/W


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Comedy with Buster Keaton at sea.

Intertitle: 'Our story deals with one of those queer tricks that fate sometimes plays.'
Intertitle: 'Nobody would believe, for instance, that the entire lives of a peaceful American boy and girl could be changed by a funny little war between two small countries far across the sea.'
Intertitle: 'And yet it came to pass. The spies of the two little nations were at a Pacific seaport, each trying to prevent the other getting ships and supplies.'
A luxurious room lit by French windows at rear; five men seated in upholstered chairs around a table on which are books and a globe; a sixth man, standing facing us, speaks and gesticulates; he turns to the seated man at the head of the table.
Closer shot of the latter - a man with a moustache, in suit, tie and wing collar, who rises and speaks and gesticulates; the globe is at R of screen.
Intertitle: '"Gentlemen, the enemy have just purchased the steamship Navigator."'
The speaker continues, one hand gesturing towards the French window behind him. The men stand and go over to the French window. The man throws open the French window, disclosing a wrought iron balcony, and beyond that a steamship at sea; he points to it, talking.
Intertitle: '"There she lies now, and it is our patriotic duty to destroy that ship."'
He continues talking as the men listen and respond.
Intertitle: '"We will send her adrift in the fog tonight before the new crew goes aboard. The wind - the tide - and the rocks will do the rest."'
He continues talking, with some passion, then closes the double doors.
Intertitle: 'The wealthy ship owner who has just sold the Navigator . . . Fredrick Vroom.' . . . 'And his daughter . . . Kathryn Maguire.'
Posh domestic interior, respectable white-haired man at L holding piece of paper, large fireplace at rear; young woman in light skirt and jacket, the latter with a dark trim to lapels and pockets, and a single button, walks towards us and speaks to her father, who looks at the paper and talks to her, wagging his finger.
Intertitle: 'Rollo Treadway - Heir to the Treadway fortune - a living proof that every family tree must have its sap. . . . Buster Keaton.'
Large domestic interior, framed by heavy drapes; a couple of light armchairs and a chaise longue; at mid range a secretaire, and a man standing, talking to a seated man in a dressing gown; he wheels off a tea trolley, and the man rises and walks to R, then turns to look out the window - Rollo (Keaton); the butler walks back in from L.
Medium close left profile shot of Keaton looking well-groomed as he parts the curtain to look out.
An open-topped chauffeur-driven car pulls in from R, outside, decked with garlands and a 'Just Married' sign; behind are two stationary cars; the chauffeur turns to talk to the newly-weds in the back. Close-up of the happy couple, who are black; the woman is in an ample white dress and has what looks like a cloth and bead tiara; the man at R is in a striped suit, wing collar and bow tie, and a top hat, cocked jauntily; they embrace joyfully.
Inside, as Keaton lets go of the curtain, he looks thoughtfully at a wardrobe on which is the framed portrait of a woman, as his valet approaches the wardrobe, opens its door, and takes out some clothing, draping it over his left arm; Keaton speaks to him.
Intertitle: '"I think I'll get married."'
The valet continues to take things out, as Keaton looks more decisive, and nods, speaking again.
Intertitle: '"Today."'
His valet looks at him in understandable surprise, as Keaton turns to him and speaks.
Intertitle: '"We'll sail for Honolulu tomorrow on our honeymoon - get two tickets."'
They speak, Keaton nods, and walks off R, the butler looking aghast.
Keaton enters a large marble bathroom, from L, and - still in his dressing gown - walks down the steps into his rectangular bath - laid into the floor, with ropes surrounding it - takes the soap and begins to soap himself over his gown, till he realizes what he's doing, climbs out, takes off his gown, and starts to take off his underwear.
Intertitle: 'He had completed all the arrangements - - except to notify the girl.'
The front entrance to the house, high bushes either side of the path, as Keaton exits, smartly dressed in suit and trilby, with cane & bunch of flowers; and turns to left of screen.
Long shot of Keaton approaching a car and waiting chauffeur, in front of large ivy-clad residence; he enters the car, as does the chauffeur, and it does a U-turn in the road, stopping at the house directly opposite; the chauffeur opens the passenger door, Keaton dismounts, and walks up a high flight of stairs to the grand residence.
A drawing room, bookcases at rear, a fireplace at L, with a sofa in front, a standing young woman with short hair, in a pale dress, reads a letter, as Keaton - now holding hat, cane and flowers - is ushered in; he gives hat and cane to the butler, who goes to rear as Keaton presents the flowers to the woman, centre screen, addressing her.
Intertitle: '"Will you marry me?"'
She looks surprised, and replies, shaking her head.
Intertitle: '"Certainly not!"'
Keaton looks dismayed, and immediately turns to the butler, takes back his hat and cane, and exits R, the butler following him, as the woman mutters to herself. The car, parked beside the broad sidewalk; the chauffeur gets out and opens the door for the dejected Keaton, who enters from L - then turns, shaking his head.
Intertitle: '"I think a long walk would do me good."'
He walks towards us, round the front of the car. Long shot as he walks back across the road and re-enters his gate, as the car does a U-turn again. Keaton crosses his path, then turns to his door. The woman, in front of her own door, now looks sad, as she still holds the flowers; she dabs at her eye. Keaton enters his hallway, puts down his hat and cane, as his butler enters from L, holding his hat, and hands Keaton his tickets.
Intertitle: '"Your tickets, sir - - and congratulations."'
Keaton takes the tickets and sighs, talking to the butler.
Intertitle: '"The boat sails at ten in the morning, sir."'
Keaton looks doubtful and shakes his head.
Intertitle: '"I don't get up that early - so I'll go aboard tonight."'
Keaton looks at the tickets, separates them, pockets one, then sadly tears the other up.
Intertitle: 'Going on a honeymoon without a bride is like singing the words of "Kiss Me Again" to the music of "Alice, Where Art Thou."'
Keaton seated in a closed car beside the chauffeur.
Intertitle: '"What pier, sir?"'
Keaton looks at his ticket, then answers the chauffeur, using a microphone to speak through the glass partition.
Intertitle: '"Pier two."'
The chauffeur nods.
In the Vrooms' drawing room, Vroom and Maguire talk as a manservant picks up her hat and a maid assists her into her coat. Closer shot of Vroom speaking to Maguire.
Intertitle: '"I must get some papers off the Navigator, so stop at Pier 12."'
Vroom & Maguire, as they walk off R.
A high metal fence, with a big sing saying Pier 12, as a gate slides open, obscuring the '1'. Keaton looks up, stops, puts down his bags, and looks at his ticket; his papers are blown away, and he initially makes a rush after them, then turns back, as his hat is blown off his head; he rapidly puts his foot on a suitcase and holds down another with his cane, before bundling all up (with a hat box), and entering a door at L.
Inside the cabin he enters, bunks at L, a hand basin, pitcher of water and towels opposite, below a mirror; he drops his bags on the floor, fiddles with a wall-mounted lamp, drops his cane, and takes off his coat; there is a stool at R.
Night time scene as a watchman looks at his door and is suddenly overpowered by a group of men, who carry him back inside.
Inside, man with trilby and cane watches as four men in caps carry the struggling watchman to a table; there are pictures on the wall, and a hurricane lamp on the table; they lay him on the table and start to tie him up; the watchman rises on one elbow as the man with the cane addresses him.
Intertitle: '"Is there anyone on board?"'
Closer shot of the interrogation.
Intertitle: '"Nobody."'
They continue to tie him to the table.
Vroom's car drives onto the pier from R, and stops. Inside the car, Vroom and Maguire talk, then Vroom gets out; she smiles.
Vroom enters the open gate at Pier 12.
Intertitle: 'Under the cover of darkness the foreign agents prepared to carry out their plans.'
Walking towards us, the agents spot Vroom and run, dispersing; Vroom walks in from R, is accosted by an agent, who he shoves away, then comes back towards us, shouting.
Intertitle: '"Help!"'
The agents put a cloth over his mouth. The girl (Maguire) hears the cries. The agents carry Vroom off. Maguire gets out of the car and runs towards the action. The agents carry in the struggling Vroom, towards where the bound watchman still lies.
The ship, as Maguire runs away down the pier towards the gangway. She ducks below a rope, runs down the gangway onto the ship.
Vroom, now gagged and tied to a chair, glares at a man pointing a gun at him, as agents get ready to leave.
Maguire climbs stairs to a cabin, calling anxiously for her father.
The agents approach a bollard, and release the thick rope. The woman turns, and descends steps. Agents go to another bollard and release the rope. The ship drifting away from the pier, the gangway ready to fall. Maguire rushes out, seeing with horror what's happened. She stands at the end of the gangway, as it falls into the water. The desperate Maguire shouting, and rushing off. Close-up of her calling out anxiously for her father.
Keaton asleep in his bunk, below his picture of the girl. Looking down on Maguire, as she swoons in despair.
Intertitle: 'The next morning found the Navigator drifting helplessly at sea.'
Long shot of the ship - a single funnel, with masts fore and aft.
Nattily dressed, Keaton steps out of his cabin (at R) onto the deck; his hat immediately blows away, he reaches towards his head, then goes back to his cabin, takes a boater, puts it on his head, then holds it there with the crook of his cane, as he turns round the corner and off screen R.
The woman walks down the deck, knocking on cabin doors.
Keaton enters the dining room, sits, and claps his hands for service. Close-up of him looking around as nothing happens, and clapping again; he is in 3-piece suit and spotted bow tie. He gets up, and crosses the room, off L.
On deck, he approaches, his hat blows off, and without breaking pace he reaches into his cabin door, picks up the top hat, and puts it on.
On the bridge - compass in centre, engine controls at R - he approaches the ship's wheel, turns it experimentally, looks back then peers at the compass. Close-up of the compass. Keaton takes out his pocket watch and compares it to the compass display, looking a little puzzled; he turns away.
The girl peers round the corner, on deck, as Keaton descends a ladder to the deck, facing away from her. She descends to a lower deck, as they miss each other; she enters a dark doorway, as Keaton leans on a rail looking out, directly above her. Keaton, who has been smoking a cigarette in a long cigarette holder, removes the butt and drops it. From the doorway, Maguire looks down. Vignette of the still-smoking cigarette butt on the deck. She steps out, picks it up, and looks round eagerly. Close-up of her calling out. Keaton, walking towards us, hears the cry and turns back. The girl ascends to the next deck, and walks towards us. Keaton walks rapidly away, on the opposite side of the ship. The girl runs towards us; Keaton rounds the corner and runs towards us, having missed her again. She runs down the far side and disappears, just as Keaton appears by us, and runs away. She runs fast towards us, as does he. She runs away, Keaton pelting along behind - neither having yet seen the other. She enters a cabin, looks round, then descends stairs, just as Keaton appears in the opposite doorway; he runs through and out in front of us, looks R & L, then scratches his neck in puzzlement, before walking off R. End-on shot of the two of them going up and down stairs across three decks, constantly missing each other, before Keaton stops at the top to look out. The girl descends steps to what seems to be a workshop, and sits on a plank suspended on two trestles
On the top deck Keaton, beside a vent pipe, looks round, then his hat falls into the pipe, and as he reaches for the hat he falls backwards down the pipe himself. His hat falls on the plank beside the girl, and just as she looks at it Keaton lands on top, breaking the plank, and the girl falling into a heap with him. They sit up, turn and face each other in astonishment; she mouths "who are you?". Keaton turns to her, smitten.
Intertitle: '"Will you marry me?"'
She says no, and he turns away pouting disappointedly.
Intertitle: '"This is a fine time to ask me that. I'm cold and hungry and - -"'.
She starts to cry, and he helps her up; seeing his hat, he picks it up, then seeing its condition he drops it again; he takes her hand and they walk off L.
Opposite us, they enter the ship's galley; there is a central table, and a large range at R. She inspects the contents of a pot at L, as he lifts a large piece of coal, at R, into a hole in the range, reaches into his pocket for a match, strikes it on the stove surface, and attempts to light the coal. On a worktop at L are containers labelled Rice and Coffee; Maguire carries over the large metal water can and places it in front of us, opens the coffee container, and delicately takes a pinch, throwing one or two beams back. Close-up of her hands as he counts four beans into the coffee pot. She puts the remaining beans back in the container, closes its lid, then returns to the pot, which she giggles, then turns, looking for water. She puts the pot beneath two taps, but each in turn produces no water, and she turns to Keaton. He looks at her, picks up a bucket and rope, and leaves the galley. On deck, he goes to the side and hurls the bucket over, holding onto the rope. She takes a slice from a huge piece of ?bacon. She ties the slice into a dainty knot, and pats it. Leaning over the side, Keaton pulls up his pail of sea water and returns to the galley. Looking pleased, the girl has him tip some into the coffee pot; he takes the bucket away.
In the larder, he looks round and selects a large tin, which he opens with a winding key, but it breaks, so he selects another, and the same things happens. Looking at the key in frustration, he throws it away with an Oh!, picks up a large knife and attempts to saw it open, then chop it with the knife, then chop it with a huge cleaver, which partly squashes it and ejects its contents over him, which he wipes off; he then turns the can through 90 degrees, has another chop at it, only for it to fly off completely. In the galley, it smashes the crockery the girl was holding, and she looks over to him. Keaton looks all round for the vanished tin, then throws down the cleaver. In the galley the girl looks round.
She lays a table for two, but has to use large cooking utensils as cutlery substitutes; she clasps her hands with pleasure.
A large barrel at L, in the larger Keaton takes a plate of four eggs and leaves for the galley. At R, on the stove, is a huge pan boiling; Keaton empties into it the plate of whole eggs. Back in the larder he selects another tin, picks up the cleaver, then puts it down again, before finding an augur and bit and attempting to drill through the lid; when he can't hold it steady he climbs onto the table sitting with the can held between his feet as he drills - but he drills right through and out the other side, without noticing, so as he takes it into the kitchen it is draining out the bottom. In the kitchen he spots the leak, thinks he must have the can upside down, turns it over, only for it to continue; though he tries to save some in his hand it all drains away and he discards the can, looking around guiltily; with a ladle he fishes in the large pot and extracts two eggs, which break as they drop on the stove top; he picks up a plate without looking. He fishes out another egg and puts it on the plate, which he is holding upside down, so that it's convex; unable to hold the egg, it too drops; he puts the plate down; continuing to look for eggs in the pan, he reaches for a match, strikes it, and tries to see better; spotting one, he throws down the match and unthinkingly reaches into the hot water with his bare hand; pulling it out hastily, he shakes it and tucks it into his left armpit; he takes the ladle again. Slightly less close shot: he fishes out another egg, then steadies it on the stove top with the hand he's just scalded; he shakes his hand again; reaching in again with the ladle he grabs at an egg as it drops, then looks for it in his hand - but it has fallen back into the pan; looking both exasperated and guilty, he covers the egg remains with an upturned plate.
Maguire puts the coffee pot back on the worktop, and they sit down at the table, opposite each other; Keaton picks up the huge carving knife and fork. Carving into the tough meat, and pressing hard on the fork, when he lifts the fork to take a bite he finds he has the whole plate on the end of the fork; he pulls the plate off the tines of the fork, then attempts to eat the rubbery meat using his fingers, but it stretches and pings into his mouth; he sits back and takes a sip of the coffee from a mug; he looks dismayed, but unwilling to be critical of her cooking; batting his hands he gets up from the table and rushes out of the room.
Close-up of the girl as she looks after him, shrugs, then takes a drink herself; she makes a face, and looks in his direction. He walks back in again, woodenly, sits down again, mimes something to her, then tips a huge catering spoonful of sugar into his cap, finds he can't stir it with the spoon end because it's bigger than the cup, then stirs it with the end of the spoon.
The two seated, as Keaton suddenly sees something, and stands up pointing as she looks round. A ship, approaching them fast. They climb onto deck and wave frantically, Keaton's handkerchief blowing away, then his waving hand getting caught in his jacket.
Keaton enters the bridge and picks up a heaped-up flag. On deck, he unties the flagpole rope and opens up the heap. He lifts up a tricolour flag, looking at the girl. She points and gives instructions.
Intertitle: '"Put up that bright one."'
He puts down the flag and starts knotting the rope. She continues waving. He pulls on the rope, hoisting the flag.
The captain and helmsman on the approaching ship; the captain looks through binoculars. Vignette of the flat at mast-top. Captain puts down binoculars and exclaims.
Intertitle: '"She's quarantined."'
Helmsman turns wheel hard a-port. The four-funnelled naval vessel turns away. Keaton and Maguire look dismayed. The cruiser steams away. They look despondent, then she grabs his arm, inspired.
Intertitle: '"Try and catch them!"'
They run up steps to a ship's lifeboat. Pulling on ropes they attempt to lower it; the boat catches at one end, and Keaton has to push it over; it hangs by one end; Keaton climbs into the lifeboat - hanging vertically - as Maguire lowers it. Maguire burns her hands on the ropes and lets go. The lifeboat falls headlong into the sea, and Keaton falls out in the process; he clambers back in. The girl calls to him from above, nods, and rushes off. Keaton rows so fast he falls backwards in the boat. She rushes along the side of the ship as he passes. By the anchor, Keaton ties a tow-rope. The girl rushes to the ship's bow. Keaton rowing, as he takes up the rope's slack. Long shot of Keaton rowing, trying to tow the ship, as the girl watches from the prow. Longer shot, showing the whole ship and the tiny boat trying to pull it. Keaton standing in the swamped lifeboat, looking after the receding cruiser. The distant cruiser. Keaton waves.
Intertitle: '"Hey! Wait a minute!"'
Keaton waves and gesticulates. The girl shouts to him. He tries to carry on rowing as the boat, and Keaton himself, sink below the surface. He struggles with an oar, trying to swim. She runs down the side of the ship, watching for him. Beside the ship, she flounders in the water. She struggles in from L with a lifebelt, which she proceeds to put over her own head. Keaton flounders. Extricating herself from the lifebelt, she throws it vertically down at him. It strikes him hard on the head and he goes under. She puts her hands to her head in horror. Keaton's head appears inside the lifebelt, and he inserts his arms, reaching up for the lifeboat pulley. She pulls on the rope. Keaton ascends, being pulled right through the lifebelt, left at his feet. The girl pulls so hard she hangs from the rope herself. Long shot as Keaton ascends to the deck and gains a footing, while she plunges into the water; he lets go the rope and looks round for her. Keaton on deck looking round for her, confused; he goes to the side and looks over. Long shot as he tries to haul her up, hand over hand; he falls back, feet in the air, as she falls back in the water; he gets up, and throws his hands in the air. On deck, he unrolls a heavy rope ladder. View from the sea as he lowers the rope ladder. The girl struggles onto the bottom rungs. Keaton takes a very high dive into the sea. Swimming to her, he helps her onto the ladder, but she faints backwards in his arms. Looking down at them as Keaton wonders how to get her up; he manoeuvres her over his shoulder and starts to heave her up, rung by rung. In a fireman's carry he lifts her onto the deck. He carries her to a folding deckchair, which collapses around her; he tries to set it up again with her still in it, but it breaks; he heaves her off it to lie on the deck; while he attempts to set up the chair - his back to her - she recovers, stands up, and staggers off R. Keaton finishes with the chair, turning round and bending to lift her onto it, only to find her gone; he looks under the chair for her, then all round. She steps through a doorway. Hands on hips he looks after her, exhausted; he sits on the arm of the chair, which collapses under him.
Intertitle: 'By they time they were ready to say "goodnight" they had found a couple of sea-going tuxedos.'
Maguire & Keaton in white & dark sailor's suits respectively, holding long candles casting their shadows on the cabin wall behind, part and enter adjacent cabin doors. Inside Keaton's cabin, he puts his candle in a wall-mounted candle-holder, gets into his bunk, takes off his hat, and settles for sleep. She settles in her bunk, then sits up in alarm. The mugshot picture of a fierce sailor she has seen. She lies down, facing away from it. In his cabin, the upper bunk and bedding suddenly collapse on Keaton, who falls out of bed in reaction. Maguire sits up in alarm and looks round. Keaton tries to put back the upper bunk. Maguire, out of bed, removes the offending picture, thinks about hiding it below her bund, then takes it to the door. Keaton, in his bunk, opens an adjacent porthole and looks out; he lies down again. The girl comes out on deck with the picture, and throws it overboard. The picture wire snags on a hook above Keaton's porthole. Inside Keaton's cabin, the sinister face swinging behind the porthole; Keaton rolls over, spots the face, then when it swings back into view hides under the bedclothes; when it happens a third time he kicks violently, and rises from the bunk draped in the sheet and unable to see. Just as Maguire's returning to her cabin, she sees this white-shrouded figure emerge from Keaton's cabin, takes fright, and flees; Keaton throws off the sheet. The girl hides round the corner. Keaton edges to his door and steals a quick look round, but the face isn't there; he looks away, then back again, and the face is back; grabbing his hat he runs. Round the corner Maguire waits with a broom as a weapon; as Keaton appears round the corner she whacks him in the face with it, and he falls on his rear; seeing who it is, she helps him up.
Inside a storage bay, as the ship sways, a barrel falls off another, chains swinging behind. Keaton and Maguire approach cautiously. His hands held forward, Keaton enters the storage bay past a crate labelled 'Giant Fire Crackers'; he stumbles onto the crate, clutching a cracker. Leaning over the crate, not seeing the label, he takes another from a crate labelled Candles. He passes her the fire cracker, thinking it's a candle, and looks for a match; she leaves, looking for one. She goes back round the corner and stops. Finding a match, he kicks aside a box, which reveals the word 'Roman' before the word 'Candles'; he stamps. The girl picks something up from the floor. He strikes his match on the door and lights his 'candle'; looking around, and facing away from it, he is oblivious to its firework activitiy. The girl lights her fire cracker and looks around, not seeing the way it is sparking. Keaton turns round as the Roman Candle goes off. Maguire jumps, drops her fire cracker, and runs off. Keaton sees his Roman Candle going off, drops it, and tries to stamp on it, but it frightens him off. He runs out and jumps as the firecracker goes off; he falls down, gets up, and rushes off R.
He enters the saloon, and collapses into an easy chair; the chair erupts with arms and legs, and he falls on the floor, having sat on the girl. They look round in the saloon - several large soft chairs. The girl sits in one of a pair of adjacent chairs, and Keaton puts a blanket over her, preparing to sit beside her. A cupboard door sings, disclosing a gramophone. Close-up of the record label on the turntable: 'Asleep in the Deep,' by Welford Glenn (Victor label). Keaton and the girl, side by side udner blankest, settle down. The swinging door catch releases the turntable brake, and the record starts to play. The gramophone; ''Danger is near thee - ' superimposed. Keaton and Maguire lift their heads and look at each other in consternation. The gramophone; 'Many brave hearts are asleep in the Deep - ' superimposed. Keaton & Maguire sink into their chairs. The gramophone; 'BEWARE' superimposed; the lid snaps shut. Keaton falls out of his chair and gets up; the girl is also roused.
As the ship rolls, lines of cabin doors fall open and shut. Keaton turns the corner and stops, facing us, not seeing the doors opening and shutting behind him - hearing the noise, though, he looks round, trying to catch out the perpetrator; when he finally sees all the doors open he runs back towards us. In the saloon, he jumps feet first onto his chair, then falls back onto hers, as she gets up from behind his; he swings his legs round, looks round, clasps his hat to his head, picks up the two blankets, then they both hurry off R. They climb onto the deck, Keaton pulls over a deckchair, lays a blanket on her, gets her to sit down, then wraps it round her. As he turns away, the boat rolls, and the deckchair slides towards the edge; having laid a blanket on the other chair, he turns round again, just after the first chair has slid back. Keaton stumbles over a rope. As he straightens his chair, Maguire's slips away and back, just in time for him to sit. Close-up of Keaton, as he looks in horros as Maguire's chair slides off again. He lunges and grabs her feet as the chair slips away, this rime right over the edge. Him holding tight to her ankles, she wakes up and smacks his face; he explains what had happened, and she grabs his head with both hands, as he struggles up and they pull away. Keaton & Maguire, as the latter pulls his face into distortion, till Keaton breaks her grip, and she checks his face as he feels his nose. Keaton settles her down on the deck with a rolled blanket pillow and a blanket, then lays a blanket for himself. In his blanket, he rolls towards her.
Storm clouds lid by lightning. Torrential rain on deck; Keaton sits up. Close-up of the soaked Keaton, feeling the rain on his palm, looking up, resting his head on his hands, looking towards the girl; he throws off his blanket, stands up, puts on his hat, then lifts her to her feet, and walks & slips to the wtairwell, down which they go. Holding her blanket, he escorts her to the stairs up, but she slips out without his noticing, and heads for the door; she calls him back down, he drops the blanket, then falls on the wet deck as she enters; he gets up and follows her.

They sit down at a card table, with a wet patch. Close-up of Keaton trying to shuffle a deck of cards, but unable because the cards are wet and sticking together - the two shown are the queen of hearts and the jack of spades. Keaton looks at the cards. Wet shuffling. The girl and Keaton, as he continues to shuffle. Wet wadge of shuffled cards; Keaton tries dealing, then finds he has to peel the cards off one by one. He trows down the pile in disgust, but finds the girl is now asleep on his shoulder. He puts his feet on the table, and goes off to sleep himself.
Intertitle: 'Weeks later - still drifting. We now find the crew with a safe and quiet place to sleep.'
Keaton, seated, dressing his hair; stands up and makes his bed; curious round location. Keaton emerges from what is seen as a ship's boiler. He picks up a spanner from the floor, and knocks on the door of the neighbouring boiler. The girl tides her bed. She emerges, as he approaches the ladder up; she follws him.
He enters the galley, and pulls on a weight attached to a string. Close-up of Heath Robinson match striker, which sets fire to torn newspaper. Keaton fills coffee pot from rainwater rig. He pulls a string, and coffee flows down a channel into the pot; he removes the pot. He attaches a string to the pot, and puts it on the stove; another string lowers the lid on the fire. Keaton enters the larder, where he secures a can to a barrel, then with a foot treadles powers a hacksaw to open it; meanwhile he polishes his nails on the fly-wheel; he stops the treadle, empties the corned beef onto a plate, and returns to the galley. In the galley, he pulls a string over the huge pan, which lifts a wire basket of eggs, which he tips into a wicker basket hooked on the lip of the pan. At the table, Maguire pulls strings for the condiments, as Keaton brings in the eggs and corned beef; as he pulls up a chair he points and exclaims.
Intertitle: '"Land!"'
They run for the door, Keaton having picked up binoculars. On deck, they look out. Binocular view of palm trees and tribesmen. While Maguire looks excited, Keaton looks alarmed as he hands her the binoculars; she looks, and her face falls.
Intertitle: '"Cannibals!"'
He nods.
Intertitle: '"We're safer on the boat."'
They gesticulate and nod.
Intertitle: '"We're drifting toward them."'
They run back. At the stern, Keaton throws overboard a small anchor. The anchor falling, and dragging in sand. The girl beckons that they should go back. Hand in hand they run back up the ship, till she pulls him short midway.
Intertitle: ''"We're safe! I've anchored the ship."'
Keaton strides confidently, arms singing. The ship's rudder and screw sticking in sand. They fall forward on deck, as do two barrels. Keaton & Maguire on the deck; they get up. Water pouring in, by the propeller shaft.
From the shore, tribesmen run to the beach, the ship in the background.
Keaton & Maguire run to the leak; Keaton tries to stem the flow with a bag or pillow, then with his hands, but gives up and walks back to the girl. They talk.
Intertitle: '"We are sinking! It's just a matter of time until we're captured."'
They talk, and sit dejectedly.
Intertitle: '"Can't you fix it?"'
The two, Keaton shaking his head.
Intertitle: '"That would have to be fixed from the outside."'
Looking around, Maguire realizes

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