Original subtitles

[music]

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>> You don't know what you're talking

about.

It ain't the ship, it's the men.

It ain't the officers, it's us. I make

this ship go, and don't you forget it.

I make her go. Didn't you ever see your

picture in the paper? Did the skipper

ever hand you a little tin whistle to

toot? You talk too much. That's what his

mother told him when he was only one day

old, if he had a mother.

>> Nah, we've been here before, twice.

So, we've moved in a circle again.

That's one of the sad things about this

life we live. There's only just so many

saloons. Well, who has money left? Not

me. We'll drink our drinks on Mr. Long.

Huh? Who's been a guest of ours much too

long. Oh, no. I'm saving what I got left

for a reason. Uh that again.

And uh what you fixing to buy this time

that you'll never get? Oh, I'm going to

buy something I can play. I always had a

soul for music. Uh well, a drink would

be better for you, and easier on us.

Yeah?

You want me to turn your keel side up

and shake your savings OUT OF YOU?

>> [music]

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[laughter]

>> IT DON'T LOOK NICE TO TAKE ANOTHER

FELLOW'S SEAT.

YOU BOYS HAVE had enough.

It's drinking causes all the

misunderstanding between men.

Now, go quietly back to your ship and

stay out of trouble.

Money.

>> [laughter]

>> Tell me, Hank,

have you ever known a woman whose face

you could remember if you wanted to?

Not even your mother?

I ran away from mine when I was a kid.

Glad to beat it, too.

There was nothing for me but lickings,

that was all.

But you can bet no one's ever licked me

since.

You guys want to try it?

Uh how old were you when I don't know,

seven or eight. What about it? Nothing,

nothing.

There was a man named Samson.

Strength was his purpose, and strength

was his reason, and his only defense

against the world and its ways. You talk

too much. It's me that makes the ship

go, me. We're back to that again. She's

a good ship, there's none better. Sure

ain't. You talk of her in the way I talk

of the woman I loved, if I was fool

enough to love a woman. Dave, shut up.

That's a lot of tripe.

They'll double-cross you for a nickel,

or even nothing.

Treat them rough, that's me, the whole

bunch of them.

They don't belong, they don't amount to

nothing.

Who makes the old tub go? It's us guys,

ME, ME. I MAKE HER GO.

You got a dream in your hand,

a crazy, killing dream that makes no

sense.

>> [music]

>> Uh Hank, you're mad at nobody, not even

him. There's plenty of us to see that

you get fair play and no interference.

How are you, Hank?

Have you signed on for another voyage on

the old tub?

>> [laughter]

>> Not me, brother. I'm not that dumb.

She's my ship, and I like her.

Nobody calls her a tub. Don't get out OF

THIS OR NO ONE TROUBLE. ANYBODY FIGHT

ANYBODY, POLICE ARREST EVERYBODY. YOU

MAKE TOO MUCH TROUBLE. GET OUT OF THE NO

OTHER BUSINESS. GET OUT.

ANYBODY FIGHT ANYBODY, POLICE ARREST

FULL OF BOILERS with a poker me

fingertips.

She leaks like a junk pile sieve, and

should have been beefed after the last

war. That's how far behind the parade

she is.

I say she's a rotten, stinking tub.

She's a good ship.

They can't sink her, and they can't stop

her.

She's no tub.

>> [screaming]

>> Can you be responsible? Sim, ele é

culpado. Yes, sir? Sim.

>> I'm just an innocent bystander. I'm a

peaceful American citizen. Music's my

trade.

This This man, he start big fight, ruin

my business. Best company in Lisbon, now

she's wrecked. All right, present your

bill to our owner's agent. He'll settle

for any damage you can show was done by

men off our ship. You sure you can prove

what you claim? The men?

Hurry it up, men. Back to the ship.

Come along, Hunt. Come along.

Wait a minute.

I didn't sign up for another trip. If

you'd rather be on the beach in Lisbon

than spending your pay in New York,

that's up to you. But these boys will

throw you in the calaboose and throw

away the key if you're not aboard in 10

minutes.

Well, we spent our pay and we've had our

pleasure. Come on, boys. Back to the

ship. Snap it up.

Snap it up, says Mr. Lazar. You'd think

he was a captain instead of the second

engineer. Nobody tells me to snap it up.

I'm there when I'm ready.

She don't sail without me, she can't. I

make her go.

What does he do? Toot the whistle. Well,

it's the way of the world. Some blow

some whistles and others listen and does

as they're told.

>> You talk too much.

But I do. But I do.

I guess they're going to normal by the

way. Your passes triple ants. Okay,

Tony.

Why should I?

The Wail of the Banshee.

What's this?

Passengers.

We never hauled no passengers before.

Well, then we'll haul what the owners

tell us to haul, me bucko. I don't like

them.

Passengers are bad luck. Jonahs. I

wouldn't say that. No, they're just poor

people trying to get where they'll be

safe and they'll be free.

Ah, try and hold back your tears.

We're back onto it again.

Feed the furnaces and feed our lives and

our hearts along with the coal and for

what? You talk too much. Go on.

All's set, Manuel, except for these.

The hotel sent down the passports, but

the people they have not come.

Well, that's Helen Parker. You know her?

Yeah, I knew her in New York.

You sure she's not on it? No, damn it.

I'm sure.

Well, that's funny.

It's getting late.

If anyone asks for me, tell them I'll be

right back. Okay, Tony.

>> [music]

>> There's the Baron with that girl again.

Look at him. Did you ever see anyone

more devoted?

I'd rather look at her. She's something

special.

You know who she is, don't you?

Mildred Douglas, the American girl. More

money than she can spend.

Although I must say she seems to try.

Mildred Douglas.

>> [music]

>> So, the Baron's in love.

Good night.

Good evening. Are you looking for

someone?

>> Yes, Miss Douglas. Oh, that's perfectly

all right. She's waiting here. Table 11.

>> [music]

[music]

>> Mildred. Hello, darling.

>> Hello, Aldo. Mildred, we haven't much

time. We're supposed to be on the ship

in 15 minutes. Ship? Don't be absurd.

We're going back by clipper. I told Mr.

Cutler to get us on it. Well, that's out

of the question. You know it is. We're

lucky to have any sort of

accommodations. We came here by clipper.

I don't see why we can't go back that

way. Well, we can't, so let's make the

best of it. I'll meet you in the lobby.

I want to say goodbye to Mr. Cutler.

Goodbye, Aldo.

Goodbye.

You didn't tell me you were leaving.

Didn't I?

I think you had no intention of telling

me.

You mustn't think. Just dance and make

pretty speeches. Don't think. So, you

had no intention of telling me.

You are very beautiful. Very beautiful

and very strange.

>> Thank you.

The lady smiles. I am rewarded.

That, I suppose, is your idea of humor.

On the contrary. I am most serious. It

is you who have such a magnificent sense

of humor. Yes.

You've kept me at your heels like a

patient little puppy.

Then without warning you, you're gone.

What did you expect? You always tease

the animals, but never feed them.

I don't like saying goodbye, Helen.

You've done a great job here. And I hope

you'll hurry back. Well, I'm planning

to, Mr. Cutler.

I'll try and come back in the same ship.

There'll be a lot of work waiting for

you. I know, but I'll be back.

Goodbye. Goodbye, Helen.

Good luck.

Tony. Tony Lazar. Helen, I've just been

asking for you. I checked out. I'm

leaving tonight. I know. I just found

out. You're sailing with us.

>> You mean we're going back together?

That's a pleasant surprise. What can I

do to help? Is your luggage down?

>> Yes, but I can manage.

>> I'll have it taken care of. Say, this is

swell. I wish we weren't so rushed. We

could do the town together. That sounds

old times.

I phoned you last time we were in New

York.

Look, those were the others.

Mr. Cutler.

Yes.

I'm sorry, Miss Douglas. I'm busy.

>> I suppose what Helen told me is true.

What did Helen tell you, Miss Douglas?

That we've got to accept accommodations

on a filthy little freighter that

shouldn't be allowed to leave the dock,

much less carry passengers. It's true

that I managed to find a place for you

aboard the freighter. You managed?

That's amusing.

Mr. Cutler,

it occurs to me you didn't really try.

I've done as much as I can do.

Of course not. I know if it was going to

be like this, I wouldn't have come here

with Helen. Helen came to work.

There's a job to be done and Helen

wanted to help do it.

Your passport indicated that you came

here for the same purpose.

You haven't shown the slightest interest

in anything but having a good time. I've

been amused. I'm glad we were successful

in entertaining you.

Most of us find it impossible to be

amused by the tragic spectacle that is

all around us. Is this a sermon, Mr.

Cutler?

I've had to give you passage that should

go to people like these.

To them, that filthy little freighter

means a chance to live. I don't suppose

that would interest you. You're a very

sentimental man.

Not sentimental, Miss Douglas,

discerning.

I'm not concerned with the fact that

you're all wealthy, important. To me,

you're demanding and inconsiderate. You

seem to think that your position gives

you an advantage over other people.

Frankly, I'm not impressed. You'll find

it unfortunate, Mr. Cutler, that you're

so impractical.

>> Hello. Oh, Mildred. Mildred, I want you

to meet Tony Lazar. Tony, this is Miss

Douglas. Hello. We're in luck, Mildred.

Tony has taken care of our luggage and

he's going to see that we get through

the customs.

>> That's very kind of you. Not at all. We

better get started, though, or they'll

sail without us. Oh, they'll wait. I

have to pick up a few things. Will you

help me with them? Sure. Darling, you

get a cab. We'll meet you outside.

Man the

gangway.

Lay out your gangway.

Lay out

your stream

lines.

Lay out your forward

spring.

Lay out your after

spring.

All clear.

>> [music]

>> Sorry, I've been busy today.

George,

I left my pea jacket down here. Meaning

it to you.

Pick it up and save it like you would

your back, would you? I sure will, pal.

I can't appreciate it. I'll take good

care of it. All right, dear. Thanks.

Hold on, pal.

Hold on.

Have a nice trip. Okay.

>> [music]

>> Oh, Helen, this is ghastly.

>> Well, it isn't luxurious, I'll admit.

Hey, did you leave anything in that

shop, darling?

>> Who gets this? I'd hate to take a bet on

who gets it.

Not

>> there's any choice.

This must be made of straw. Tea shells.

Come on, Mildred. It isn't going to be

that bad. We're lucky. Maybe you think

so. I don't. We haven't got room enough

to breathe.

Look. How do they expect us to put

anything in there?

Cold. Well, it's the best there is.

Least if they gave us

two cabins.

>> You ordered that, you said a bride's

suite. We'd have room enough to move

around.

It'd be a little better.

I wonder.

Yes, who's there? Lazar.

Come in.

Yes, sir.

Wasn't asking for you at sailing time,

Mr. Lazar.

I'm sorry, Chief. I had some personal

business. I saw it from the bridge.

It's too bad they had to have a war and

put the cruise ships out of style.

You'd look fine in whites, kissing hands

at a masquerade.

Well, Tony. I think I'll let the ladies

watch out for themselves from here to

New York.

This trip, there'll be other things for

us to watch out for. Yes, sir. We're

joining in a convoy somewhere offshore

inside of the next few hours.

Now, we're five knots slower at our best

and luckiest than the fine modern oil

burners we're joining up with.

The captain wants speed, and I've got to

have steam in your shift, same as the

others. Yes, sir. Anything else? Mhm?

Oh, yes. Captain, may I order a drill

first day out?

I'd pass word it on among the passengers

to start getting used to the life

jackets. Okay, Chief.

Get on here,

STRIKE HER.

GET IT IN THERE.

GET IT IN THERE.

BRING THEM.

COME ON, FEED THEM.

THEY'RE HUNGRY.

LET THEM HAVE IT.

FIRE IT UP.

TAKE THEM BACK HERE. THAT'S US.

WE MAKE THIS BOAT.

THAT'S THE BOAT, YOU GUYS.

THE WHOLE THING IS US.

AND GUYS UP THERE, THEY THINK THEY'RE

SOMETHING.

BUT THEY'RE NOTHING.

COME ON, 25 KNOTS THAT'S US.

YEAH, HE SAID 25 KNOTS. LAY THAT ON YOUR

TACHOMETER.

GET THAT STEAM UP AND KEEP IT UP.

YOU'RE NOT OFF DUTY FOR 2 HOURS YET.

I'LL RAM THIS SON OF A [ __ ] THROUGH.

I'LL RAM THE

GOD DAMN THROUGH.

WHAT DO THEY WANT, CHIEF?

MORE COAL.

WHAT IS HAY TO YOU? BLOW A WHISTLE.

AND WHO MAKES THE SHIP GO? ME.

WE MAKE HER GO.

TAKE YOUR SHOT IN THE HEART OUT

YOURSELF.

STOP YOUR SHOT OFF NOW. SHUT UP AND FEED

THEM.

FEED THEM, YOU HEAR ME? THEY'RE HUNGRY.

IT'S COLD. FEED THEM.

FEED THEM.

FEED THEM.

YOU HEAR ME?

>> [music]

[music]

[music]

>> GOOD MORNING. I'M SORRY to kept you

waiting, Tony. I'd say it was worth it.

Thank you, sir. How'd you make out? Oh,

all the comforts of home. Mhm. I know.

Mine's up forward, the presidential

suite.

Tony,

another stripe.

Second engineer.

That's wonderful.

Important things have been happening to

you.

I'm very happy for you, Tony. Thank you,

Helen.

I'm still blaming myself for not knowing

you were in Lisbon. I wish you had. You

didn't have to go 3,000 miles to avoid

me. Tony, you're silly.

By the way, what were you doing in

Lisbon? Tell you all about it sometime.

Come on, let's go up on the upper deck.

How about having your next kings and

queens dining with the international

set? Tony, you know me better than that.

I'd have taken you to go get the Greeks.

I bet you never been there.

>> No. The best pastrami maker in the whole

of Lisbon, and with an eye for the

ladies.

You'd have charmed him. Linda, Linda de

Briga.

>> [laughter]

>> I'd have introduced you to some friends

of mine, all unimportant people.

>> I'd have loved that, Tony.

Oh, Tony.

How much luggage do you have?

Oh, Tony.

Good morning. Good morning. I tell my

wife who are the lady who happens to go

on ship. For that, I buy some of my

cigarettes in analog. I know. Here. I

know you yet. You don't wash near

me. Thank you.

Kiss the hand. My dushenka. Thank you.

Kiss the hand. Kiss the hand. She does

not speak English. I know. I know.

She says thank you for helping us to go

to America.

>> You're very

>> If you like music? Yes, fine. I'll play

for you.

>> [music]

[music]

>> Hello.

Good morning.

Rest well? How could I? We're crowded in

together like two very uncomfortable

sardines, Helen and I. Place is scarcely

large enough for one, but for two.

I'd be glad to let you have my cabin. I

could bunk in with the radio operator.

I'm afraid the captain would never hear

of it. Rules, you know. The trouble with

most regulations is they're not suited

to the individual.

Don't you think so?

Like getting acquainted with your life

jacket? But it's so unbecoming.

Very handy sometimes.

Too bad you and Helen can't be more

comfortable.

It's warm.

Up and down, up and down. I suppose

we'll be doing this for days. This isn't

a cruise ship, you know.

>> That's obvious.

Well, I suppose we'll have to make the

best of it.

Poor little Tony.

>> [music]

[clears throat]

[laughter]

>> Come on, come on, you guys. Time for

your baths.

>> [laughter]

>> Good for what else you?

Take it easy, Hank.

All right, Hank. All right.

All right.

Yes, sir, Hank.

You're quite a fellow, quite a fellow.

If you last. I'll last.

I'll be making a go when those guys up

on top are laid away in their whistles

where they ought to be.

>> [laughter]

>> I've been young, too.

And I've been sure in my time.

Ah, there was beautiful ships in them

days.

Tall sails touching the sky.

Cutting through the night and through

the sun.

The ocean was the ocean then. The ships

were ships.

Steaming now.

Black smoke from the funnels smudging up

the decks. The engines pounding and

throbbing and choking our lungs with the

coal dust. Breaking our backs in the

heat of the stokehold.

And we shoveling our hearts and our

lives into the furnaces along with the

coal.

Caged in with never even a sight of the

sky.

What's that you're looking at? That's

sky, ain't it?

And we ain't no cage.

And the smoke smells good.

And I got my heart in me as good as

ever. Always will be. You'll go like

that, with a shovel in your hand.

Ah, Paddy's right. He's wrong.

Flesh and blood, wheels of the engine.

That's all we are. Well, what's the

matter with that? That's good.

Fire and steel and steam.

25 knots an hour, that's us. What more

do we want? 25 knots, he says.

10 it is, and a slow 10, too.

Fool yourself if you want to, Hank.

But don't think. Don't dream. You wasn't

built for it.

But heaven help you the day the time

comes

when the furnaces and your strength

ain't enough.

You talk too much. That he does. That he

does. I got a furnace to feed right now,

and it's hungry. Let's go below and grab

our grub.

Come on, you guys. Come on, let's feed

them.

>> [music]

>> Hello.

It's all arranged. I can have your

cabin. The captain said so.

That is, if you haven't changed your

mind.

Of course not, but

well, I'm a little surprised.

It was just a matter of making him

understand. [music] After all, it it

does say on our passports we had a

reason for going to Lisbon.

A lot of influential friends of mine

might be upset to know that the captain

hadn't tried to do his best for me.

Thanks. I'm sorry, you can't smoke here.

I know.

Smoking isn't allowed on deck at night.

Is that another one of your regulations?

You can have a smoke inside if you like.

All right.

I had no idea you could be so stern.

We have to be careful about lights,

Milverton.

Even a little thing like a match can be

seen for miles out at sea.

I suppose you think I'm a dangerous

character.

Why don't you give me a chance to find

out?

You and the admiral, I presume. Oh,

that's Mr. McDougall, our chief

engineer.

I've learned a lot from him. Been with

him ever since I signed on.

I was staying in Rio de Janeiro.

I like Rio.

You've been to lots of places, haven't

you? Quite a few, but I move around. If

I'm bored with a place, I leave.

Are you like that with men who fall in

love with you?

Let's get started,

You can begin to [music] pack your

things now.

Milverton? Yes.

Hello, darling.

I'm moving. The Ritz? Better

accommodations, no doubt.

Not better. Roomier. On this ship.

What am I supposed to do? Guess? Oh,

that isn't too difficult.

Into Tony's cabin. Into Tony's cabin?

Uh-huh.

Oh, he's moving in with the radio

operator.

That's nice of Tony. Tony, the perfect

seagoing Samaritan.

You two seem to be getting along fine

together.

I mean

This is ready. Take it over for me, will

you, darling? Okay, Duchess. Take over

these, too, will you?

>> Oh, don't forget to come back for

another load, darling.

Yes, Helen.

Here, let me.

>> Thanks, Tony.

I'll get the rest. You'll need a

trailer. There's no reason why you

should bother. Oh, I don't mind. I've

traveled with Mildred before.

You and Mildred have been friends for a

long time, haven't you?

>> Mhm. We grew up together, went to the

same schools.

I guess you know her better than anyone.

I think I do.

>> [bell]

[laughter]

>> Poor tired fellows.

Should have stayed ashore. This is just

too tough for them.

>> [laughter]

>> What are you up to? Uh, I just want to

keep my eye on the property. There's

thieves on this boat, believe it or not.

>> Come on, feed them.

Just ain't got the strength for man's

WORK LIKE THIS.

>> [laughter]

>> ALL RIGHT, COME ON, BOYS. PITCH IT IN

THERE.

FEED THEM, THEY'RE HUNGRY.

THEY'VE BEEN STARVED FOR HOURS. COME ON,

GET GOING.

GET THAT STEAM UP FOR AN HOUR, MATE.

COME ON, BOYS.

GET THAT STEAM GOING.

MILDRED? YES?

I'M NOT READY YET. But you said now.

Don't rush, darling. As it happens, I

have an engagement.

A date at the embassy? Quite the

opposite. I'm paying a visit to the

stokehold.

Way, way down in the engine room, where

no woman has ever trod. Mildred, you're

not serious. They won't let you go down

there. They don't allow women in that

stokehold. They?

You know very well it's against the

rules.

>> I didn't have any trouble with that

other rule about the cabin. So, you went

to the captain again.

The captain knows it's wise to do as

much as possible for me.

I'm sure he'd be the last person in the

world to object.

I want to see how the other half lives.

Think I'll enjoy it.

It's time I enjoyed something on this

ship. I've been bored to distraction.

>> Hasn't been very exciting for any of us.

If I were you, I'd be a little more,

well, more cooperative. What a quaint

word, darling. It might get someone in

the trouble.

Is Tony taking you?

So, you told Tony you had the captain's

permission. Darling, you should have

been a lawyer. You're wonderful at

coercion. Do you think it's fair to

Tony? He's worked hard to get where he

is now. This might mean his job.

>> How dramatic you are.

Mildred Wait.

I'm afraid you don't understand.

>> Tony's a big boy. He'll have to take

care of himself.

Don't worry, he's quite capable.

Bye-bye. Cinderella will be home before

midnight.

Yes, Chief.

No, this is Anderson.

Well, uh,

Mrs. Lascelles is not here.

Yes, sir.

Up.

Chief wants more steam. We need another

three knots, and five would be better.

I'll say.

You're not going below like that. Your

dress will be ruined.

>> What's a dress? I have dozens of them.

Mildred, you won't like it. It's dingy

and depressing. I wish you'd change your

mind.

But I'm not going to change my mind.

Of course, if it's too much trouble

You know I don't mean that.

Come on, Tony.

Which way? Up.

Come on, boys.

SPEED IT UP.

MORE COAL, MORE STEAM.

HEY, YOU.

WHY AREN'T YOU SHOVELING? COME ON,

WHAT'S THE MATTER WITH YOU?

MORE STEAM, MORE STEAM.

SHUT UP UP THERE.

WHO'S RUNNING THIS, YOU OR ME?

SHUT UP.

COME ON, FEED THEM.

HEY, YOU.

COME ON, FIRE THEM UP.

LISTEN, TONY. THAT CHRISTMAS STRIKE

timer

Feed them. IF IT AIN'T FOR HIM AND HIS

WHISTLE, WE MAKE HER GO. COME ON, FEED

THEM.

WHAT'S THE MATTER WITH YOU? HAUL IT ON,

THEY'RE HUNGRY.

HE'S GOT HIS BROKEN TRAILER.

HE'S BEATING on there.

We never signed on to kill ourselves

dead for the sake of a guy with a

whistle. Or you neither. SHUT UP AND GET

GOING.

GET THAT STEAM IN HERE.

PITCH IT IN THERE.

MAKE HER GO.

MAKE HER STEAM.

GIVE US ALL YOU GOT.

PITCH IT IN THERE.

HAUL THAT COAL.

BRING IT IN THERE.

WATCH HER GO.

BRING IT IN THERE.

PITCH IT IN.

FIRE AWAY.

HAUL IT TOGETHER NOW.

SHOVEL THAT COAL.

COME ON.

COME ON, YOU GUYS. GIVE ME THE COAL.

SHUT UP. I'M NOT JOKING.

SHUT UP, LIKE I TELL YOU.

I'LL KNOCK YOUR BRAINS OUT. I'LL BUST

YOUR SKULL IN. I'LL DRIVE THAT WHISTLE

DOWN YOUR THROAT.

SHUT UP.

GET down here, THE [music] LOT OF YOU.

GET AWAY FROM ME.

Don't touch me, you ape. YOU HEAR ME,

APE?

YOU FED HIM, MR. FINCH. So who?

Mhm, this sedative will help.

She'll be all right, you see. The air is

the best medicine. It was the nerves.

Nerves? Thank you, doctor. You've been

very kind. I only do what I can. Then

why don't you go away? WHY DON'T THE TWO

OF YOU stop fussing over me?

She'll be all right, I am sure. She will

be all right.

Leave me alone.

>> [music]

>> Hard to get it washed off.

I tried to stick to you.

Gets hold of the skin, especially.

Give you the itch.

I'm your friend, Hank.

I'm speaking only as your friend.

It's a dangerous thing that you're

thinking. Forget it. Forget it all about

it. It's only a dead man's whisper. You

talk too much.

>> Who asked you? Forget it. That's what he

says.

So, the dame gives orders. She wants to

see the animals below decks. So, what?

>> The more you talk, the worse you make it

sound.

Well, what was it after all? The lady

come down below to see what truly makes

a ship go. That's all. Yeah, with Mr.

Lazar. Like a bellboy in one of them

fancy hotels. See, this, says he, my

little whistle. I make the ship go, says

Mr. Lazar. And then she calls

Well, I never saw a woman insult Hank

before and get away with it. You talk

too much. Pay him no mind, Hank. Pay him

no mind. Is it my fault lady white face

comes to see the animals and Mr. Lazar

points at us and says, here you are.

Right in this cage, ladies and

gentlemen, is a kind of baboon you've

never seen before. Shall I play that for

you on my concertina?

Let the words be spoken and then forgot.

And let you remain the man you've always

been.

No white-faced dame can call me an ape.

Take it easy, Hank.

I got to see her again.

I got to find out.

I got to find out. Wait, Hank. Don't be

a fool.

Will you stop now, Hank, before you go

too far? Listen to me, Strike. What can

you do about it? Nothing. How can a man

strike back at the words of a woman?

Now that you've seen her again, can you

have hatred for the likes of her?

Break her in two like nothing.

It's what she is.

Nothing.

That's what we've been telling you.

Put you in the furnace with one hand.

What does she think she is?

She knows who she is, Mr. Lazar. Now,

come along back to folks where you

belong.

Try not to think about it anymore.

There's nothing to be afraid of. I'm not

afraid. Why do you say I was afraid?

I just can't forget it.

It isn't that easy.

I see him coming in.

I close my

eyes, I see

the way he looked coming in.

Like a beast.

A dirty, smelling beast. You're a liar.

Take him below where you belong. Take

him down WHERE YOU BELONG.

TAKE HIM BELOW AND KEEP HIM THERE. TAKE

IT EASY, HANK. Come on. Strike for the

SHIP'S OFFICER. HE'LL HAVE YOU FOR

KNIVES. TAKE HIM BELOW. STRIKE FOR THE

KNIVES.

COME ON, HANK.

TAKE IT EASY. COME ON, STRIKE.

HANK.

Come on, Hank.

Come on, Hank.

Hank, come on, Hank.

What, tonight?

Am I?

Then it must be because I have nothing

to say.

I could say a lot if I thought you'd be

interested.

Could you?

I've been thinking.

We'll be in New York in a couple of

days.

Days are years. It's like living in a

nightmare.

I'm sorry you feel that way.

How can I help it?

This isn't the sort of trip I'd want to

remember.

I hope there'll be some things about it

you'll want to remember.

>> [music]

>> I'll take over now.

Get that steam up and keep it up.

Dig in.

Poor tired fellows. Should have stayed

ashore. Ain't got the strength for men,

boy. Who's the guy that used to talk

about 25 knots?

What's the matter, Hank? Hank can't take

it?

The dame got you down? Pay him no mind,

Hank. Come on.

Save your breath for the shovel. One,

start throwing coal. I guess we better

do that. Only way Hank can show you boys

up.

That's too bad, Hank. You're falling

apart.

Just because a dame called you a

Get back there. Break out. COME ON,

HANK.

YOU DRAW YOUR PAY AS A BOSS STOKER, but

a punk kid could throw more coal than

you throw.

You'll spend the rest of this voyage in

the brig if you don't get yourself

straightened out. There's more than that

to straighten out, Mr. Lazar.

Break it up. Out of here now, number one

ship. Out.

PICK UP YOUR SHOVELS AND ALL PITCH COAL.

Pitch your backs into it.

Lazar and Smith, go topside to my cabin.

Get that steam up and KEEP IT UP.

I'VE BEEN AT SEA FOR 40 YEARS. I've

known fools and I've known wild men, but

you're in a class by yourselves.

It's my plain duty to see to it that

you're not left at liberty to put this

ship and what she carries in any more

danger. To hand you over for trial

ashore so that you'll sail on no other

ship for the rest of your lives.

That's my duty. But I can't do it. I've

got to put up with you cuz there's no

one to take your places.

Because of some personal feud between

you, you forget there's a job to be

done. It does not matter to either of

you that we're short-handed at best and

that we've lost the convoy.

Aye, and we might have kept up with it,

but we didn't.

Remember that now.

In case the worst happens and men that

have called you their friends have to

pay with their lives for your folly.

I'll not ask you to shake hands and

forget it. You haven't the sense.

But I tell you once and for all,

if I have to blow the whistle and feed

the furnaces myself,

one more word of complaint against

either or both of you, and so help me,

I'll have you chained to the wall of the

brig.

And there you'll stay.

Now,

get back to your work.

Good day, Mr. Cooper.

Babushka, America.

Immigration okay? No articles to

declare?

You'll find your luggage in section P to

your left. Thank you very much. Thank

you very much.

Beautiful. Beautiful.

You'll find your luggage in section S to

your left.

You'll find your luggage in section M to

your left.

I just wanted to say goodbye, Miss

Parker. Goodbye, Mr. MacDougall. Thank

you for everything. It's been a real

pleasure.

Your name, please? Parker, Helen Parker.

Helen Parker.

Everything's all right, Miss Parker.

Thank you.

Well, it's finally over. Thank goodness.

Bye, Mr. MacDougall. Goodbye. Bye, Tony.

You've been a darling.

Mr. Lazar.

You better be getting on with your final

report.

Yes, sir.

>> Hey Hank. Hank. Now Now the first thing

you need, Hank, is a tall schooner of

cold ale to take the taste of the ship

out of your mouth. Then a haircut and a

bath with hot water in a tub.

>> tub, Hank. Then we can go someplace

where we can hear some good music.

>> That's right, Hank, and take the taste

of that concertina out of our ears. Oh,

yeah?

You won't get more money wherever you

go. You're not worth half I pay you. It

isn't the wages I'm talking about, Miss

Douglas. I got decent treatment the

places I worked. I was treated like a

HUMAN BEING.

>> HOW DARE YOU?

EMMA, ANSWER THAT.

HELLO. OH, HELLO, DARLING. You're just

in time. You can help me.

I can't stay long, Mildred. I want to

talk to you about something.

>> a fire, Emma. She's been impossible

lately. I'm getting ready to go to the

Ellisons for cocktails. You know the

Ellisons, don't you? Yes, of course. Oh,

it's too bad you weren't invited. It

should be amusing. The Blaines having a

crowd, too. I thought I'd drop by there,

then come back and change for dinner

with the Garretts. Perhaps we'll go

dancing later. Sounds like quite a

schedule.

>> I should hope so after that dreary trip.

Get out my dress for me, will you,

darling? I've a new black.

Well, not there, the other side.

And a bag.

Mildred, there's something I want to

tell you.

>> Darling, why don't you go with me to the

Ellisons? I'll lend you something to

wear. Thanks, but I can't. I'm leaving

tonight for Lisbon.

Helen, you're not going back.

Darling, you're simply priceless, our

little crusader.

Hello.

It's Tony. Here, you take it. He's

calling you, isn't he? Well, I don't

want to speak to him. Ask him what he

wants.

>> Suppose you ask him.

Hello.

Have you?

No, sorry. I'm busy.

No, I'll be quite late.

Tony, I just can't help being busy.

Tony, I don't know. Why don't you give

me a ring some other time?

So, that disposes of Tony Lazare. I

don't think I'll wear this after all.

You're not going to see Tony again?

Why should I?

I had no intention of going on with it.

He should have known I wasn't really

serious. Perhaps he was too honest to

see through your little game.

I don't know what you mean.

Perhaps he believed in you. Oh, I'm sure

he did, but that was foolish of him,

wasn't it? Why, darling, you look as

though you expect me to feel sorry for

Tony Lazare.

You are a sentimentalist, aren't you? I

haven't the slightest interest in the

man.

I was amused for a while, that's all.

You haven't changed, have you? Changed?

I was hoping someday you might, but you

haven't.

You know, Mildred, when we were kids,

you used to take toys that didn't belong

to you and break them and throw them

away.

For years you've been doing the same

thing with people and getting away with

it. Darling, I never knew you were so

interested in my career. I didn't

realize before how mean and vicious you

were.

The great Miss Mildred Douglas, who's

never done a kind, considerate act in

her life unless she thought she'd get

paid double in return for it.

You've waited a long time to tell me

this.

I thought I knew you, but I didn't. And

now I'm beginning to see another

picture.

And you wouldn't like it because it's

the truth about you.

And it isn't pretty.

Why don't you just say that you're in

love with Tony Lazare?

You should have told me.

Perhaps I could have made arrangements

to share him.

Close the dressing room door on the way

out, will you, darling? It's getting

chilly in here.

Hi, Tony. Hi, Al.

Is this where she lives?

Well, now that you've seen where she

lives, let that be enough.

Let's come along back now to where we

can buy us a drink.

The first one's on me. On him. You

wouldn't want to miss that, would you?

You want to go in there now, Hank? I'll

be in. No good.

Just a minute.

Who do you want to see?

Her name's Douglas.

I got to talk to her.

I got to ask her something. Miss

Douglas?

Wait a minute. I'll see if she's in.

Hank. Hank.

Right now.

What's your name? Smith.

Hank Smith.

>> She met him aboard our ship in case she

can remember that far back.

Hello. Miss Douglas?

This is Alan.

I'm sorry to bother you, but there's a

man down here says his name is Smith.

A sailor, I guess.

Tell him I'm not in. I don't want to see

him. Tell him anything.

Miss Douglas doesn't want to see you.

But I got to see her. I only want to ask

her something.

>> want to see you. Come on. Get out of

here now. Come on. Get out. Don't touch

the lady. Hey, listen, Hank. THIS IS

NONE OF YOUR BUSINESS.

>> [screaming]

>> ALL RIGHT, HANK. COME ON. COME ON.

COME ON. GET HIM IN THERE. LET ME OUT.

LET ME OUT OF HERE. LET ME OUT.

LET ME OUT. I DIDN'T DO ANYTHING.

>> BACK.

LET ME OUT OF HERE.

OPEN UP THIS CAGE. LET ME OUT OF HERE.

ALL RIGHT, QUIET DOWN.

I DIDN'T DO NOTHING. LET ME OUT, I TELL

YOU. LET ME OUT.

OPEN UP THIS CAGE AND LET ME OUT OF

HERE. SHUT UP, WILL YOU?

OPEN UP THIS CAGE AND LET ME OUT OF

HERE.

LET ME OUT [screaming] OF HERE. LET HIM

HAVE IT.

OKAY.

LET ME OUT OF HERE.

LET ME OUT, I TELL YOU.

LET ME OUT, YOU HEAR ME? LET ME OUT OF

HERE.

I DIDN'T DO NOTHING. TURN IT ON. LET ME

OUT OF HERE, YOU GUYS. LET ME OUT OF

HERE.

LET ME OUT.

LET ME OUT OF HERE.

LET ME OUT OF HERE.

SHUT UP.

SHUT UP.

THAT'S ENOUGH.

HANK'S A VERY PEACEFUL MAN, LIEUTENANT.

He's just like a great big gentle

Newfoundland dog. He wouldn't hurt his

best friend. He He didn't mean any harm.

That dame started it. He was okay.

The thing is, Lieutenant, that I look

after him. Huh? We look after him. He

can be managed.

All right. Let him out.

Come on, pal. You still want to get out?

Come on. Come on. You've been sprung.

Move along now

while your one-way ticket's still good.

Go on.

>> Hey.

What have they done to you? Hank boy.

Look at him. All right, get him out of

here.

I'll hold you two responsible. Get him

back to the ship and keep him there. But

if he's brought in here again, he'll

stay in. Yes, sir. Right away, yes sir.

Come on, Hank. Come along, Hank. Much

obliged. Everything's going to be all

right.

We're almost there now, Hank. We're

almost there. Uh-huh.

The Fighting Bulldog used to be a copper

before he quit the ring. Yeah. And a

champion glass of ale he serves in his

place, which we are now approaching by

some strange coincidence. We'll go in.

Three towels I'll say, which is all our

friend Mr. Long is likely to pay for.

You talk too much. But a swim will be

good for what ails you, Hank. Make you

like your old self again.

Now, Hank, you're making thoughts defeat

themselves. Just wipe your mind clear of

all.

He's gone.

Where did he go? HANK! HANK! HANK! HANK!

HANK!

HANK!

HANK!

How's the big fella, Hank? Good. We get

700 after the big show he put on last

night. How's the big fella? Well, just

getting his hand through. I'm going to

go eat. Yeah, you know that little boy

sure likes that stuff, don't he?

Really goes for it.

Bad place to die.

>> [snorts]

[groaning]

>> So, you're what she seen when she looked

at me.

Skinny white face, Dane.

I was you to her, and that's what she

called me.

I can't get it out of my head.

It done something to me.

You know how you feel sitting in that

cage all the time?

Well, that's me.

You can't think, can you?

You just keep sitting there.

Wondering how you're going to get out.

And that's me, too.

You like to smash things, don't you?

Sure.

That's it.

Smash things.

Smash her.

That's what I'll do.

Smash her so she can't smash me.

Smash her.

Smash her.

Smash her.

Oh, Tony, it's you.

Hello, Mildred. Isn't this an odd hour

to come calling? I dropped by earlier.

The doorman told me you were out for the

evening. You should have taken my word

for it. I told you I wouldn't be here.

Well, you're here now, that's the

important thing.

Aren't you going to ask me in?

Oh, yes, of course. Come on in.

I'm curious to know how you got up here

without being announced.

I used a little influence. How much did

it cost you? $5. Mercenary fellow, that

doorman.

You're very resourceful, aren't you,

Tony? I hope so.

Well, let's say I know what I want. An

admirable quality.

You always get what you want.

That's a question you'll have to answer.

I'll never forget the first time I saw

you light a cigarette.

Matter of fact, two cigarettes.

When did your ship sail, Tony?

Tonight, but I won't be on it.

Didn't you know what I had in mind when

I told you I intended quitting the ship?

No.

What did you have in mind? You.

I think you've had one too many.

Maybe I needed courage.

Well, if this is a proposal, it

certainly is a strange one. Mildred.

I see nothing strange in being in love

with you.

Tony, you're talking in circles.

Mildred, what's changed you?

Have I changed?

Well, the way you were before, naturally

I thought you were serious.

Too bad you misunderstood my intentions.

You see, I had none.

I'm not apologizing. It's just that I

hate to see you go on making a fool of

yourself.

Is that what I've been?

I'm afraid so, Tony.

I don't know where you got the idea that

I was in love with you. You must have

been daydreaming.

You're no more important to me than any

man I'd happen to meet.

You're not now. You never were.

It's as clear as that.

Well,

I guess that's clear enough.

It should be.

Now, if you'll excuse me, Tony, I'll say

good night.

Or shall we call it

goodbye?

Oh, Tony,

don't forget the doorman. Perhaps he'll

give you back your $5.

>> [music]

[music]

[music]

>> HIYA, BOB. HIYA, HANK. Where you been?

Been seeing how the other half lives. It

ain't no different.

Pour me a double shot.

I need it.

Heading back to the old tub?

She's my ship, and I like her.

Nobody calls her a tub. No offense,

Hank. No offense. She's a great ship,

sure.

I'll win on the house.

There's a friend of yours back there

ain't going to make the ship.

>> [music]

>> Now, try and hold back your tears. Here

we are sailing on her again.

Suppose there's worse than her

somewhere, maybe. She'll never be the

same.

There'll be something missing here, Mr.

Long. Well, he ain't coming.

You might as well forget about him.

LET'S GET GOING.

START PITCHING. GET THAT STEAM UP. HEY,

MCDOUGALL. WHERE YOU BEEN ALL NIGHT?

WHAT YOU been up to? WHAT DO YOU THINK?

MY LAST NIGHT ASHORE.

>> [laughter]

>> YOU TALK TOO MUCH. GET GOING.

HEAVE HO.

GET THAT STEAM UP.

TAKE IT IN THERE.

HEAVE HO.

HEAVE HO.

HEAVE HO.

LOOKS LIKE YOUR OLD SELF AGAIN, HANK.

I'LL BE IN YOUR HEART, YOUR OLD SELF

AGAIN. 25 KNOTS, THAT'S US.

MAKE HER MOVE.

HEAVE HO.

HEAVE HO.

>> [laughter]

>> HEAVE HO.

TENSION.

TENSION NOW.