The Long Voyage Home Page #4

Synopsis: Aboard the freighter Glencairn, the lives of the crew are lived out in fear, loneliness, suspicion and cameraderie. The men smuggle drink and women aboard, fight with each other, spy on each other, comfort each other as death approaches, and rescue each other from danger.
Genre: Drama, War
Director(s): John Ford
Production: Criterion Collection
  Nominated for 6 Oscars. Another 3 wins & 1 nomination.
 
IMDB:
7.1
Rotten Tomatoes:
100%
APPROVED
Year:
1940
105 min
262 Views


Well, what do you wanna do, Cocky? | Whistle up a few submarines?

Blasted U-boats. | I hope the British navy sinks them all.

Not only the submarines we have to fear, | that's what I'm thinking.

Oh, you don't have to worry about mines | as far out as this.

I wasn't thinking of mines either.

Your wheel, Ole?

My lookout.

- Ain't it your deck watch? | - Yes, yes. Surely.

- I can't figure that guy out. | - No, no one has.

Watch that light!

Sorry, Drisk.

- Do you know what I caught him doing? | - What?

Going through the old man's code books.

Nah! Smitty, good fellow.

Wanna get square-headed...

Wait till you hear what I seen.

Ole, I see light.

She wink on. She wink off. | Then she wink away.

- Sure, Axel. | - Yeah.

Hit the bunk!

Taking a gander at the chart.

I think the ship's not safe with the fellow. | I think I'll sleep outside on deck.

I tell you, I see that light. She wink on. | She wink off. Just like wigwag.

And that's another thing. | How did I forget that?

I thought the square-head was seeing | things. Maybe he ain't so dopey after all.

I'm coming along the deck, see, | with a coffee pot when...

Curse that fog!

Curse him thick!

Who's the lug put his cup | where a man'd sit on it.

Smitty.

He think he's such a fine gentleman

that he can't put his own away | the same as the rest of us?

- He use for get dressed, Smitty, all right? | - All right, is he?

Of course he's all right!

Can't you keep your tempers? | It's this blasted fog.

The thought you might be blown | to smithereens any minute.

It's my last trip through the zone, so it is.

Devil take them and their 25% bonus.

Be caught like a rat in the trap | in the bargain maybe.

- So you think the Duke's all right? | - Now look here, my boy...

Look, there it is. That's it.

Are you all crazy?

The light. That's where it comes from. | What'd I tell you?

Hey! You're showing the lights, you lug.

- Who left that open? | - Smitty.

Who has done it if Smitty didn't? | It's over his bunk, isn't it?

She wink on. She wink off. | Just like wigwag.

Hey, what's going on here | behind my back?

That's what we're trying to tell you, Drisk.

Maybe you won't be thinking | so much of the Duke when you hear it.

All right, all right. Out with it.

Stop winking and nodding | and making a mystery of things.

Keep your eye on the door.

- Sing out if you see Smitty coming. | - Yeah.

I see him in the chart room, | getting a fix on our course.

I caught him in the Captain's cabin, | pouring over the code book,

the International Code book.

Easy-peasy.

Take it easy, Drisk.

Shut up.

By jiminy! By devil!

Are you gonna have it out on deck?

Why should we stay here | and be blown to bits?

Are you frightened, you toad?

Well, it's a fine thing when full grown men

shiver like children | at the sight of a little black box.

Still, it's a devilish thing, the look of it.

"A bit of a black box," you call it?

How big do you think it has to be? | As big as this fo'c's'le?

It looks bad, so it does.

There's only one consolement.

The traitor's English.

Who says he's English?

Haven't you read | how all them German spies

has been living for years in London

and talks the King's English, | as good as I do.

He talks English too good. | That's what I mean.

That's right.

I never met a swell | that talked the way he does.

Now, listen, Drisk,

was he ever open with us | like a good shipmate?

No, he always keeps to himself | like he was hiding something.

And the name he calls himself, Smith.

I'll bet a buck on my next payday | that his real name is Schmidt.

Schmidt.

By devil, Schmidt!

Devil take me | if I don't think you have the truth of it.

I wish he didn't come back | after he jumped ship in United States.

Jumped ship. Jumped ship!

He was passing the word | to some German bloke

about the ammunition we're carrying.

I'll lay odds he was trying to sneak in | onboard when they nabbed him.

Well, I never was afraid | of anything or anyone.

- Don't monkey with it. | - Let's see face to face.

- Now get out of here! | - Careful, Drisk.

- Get that bucket of water. | - What are you gonna do with it, Drisk?

I'll show you what I'll do | with this Devil's machinery.

The devil's got you hot as a clam bake?

You guys keep out of this. Stand back.

- Good work, Drisk. | - Now, she don't blow up, by golly.

- What do you mean "blow up"? | - You pipe down.

Now, let's find this blaggart.

They hang spies on shore, | don't they?

Over the side with him, | and one man missing in the morning.

He'll go over the side, all right, | but not till after he's had a fair trial.

Ain't you seen enough, Drisk?

If Yank, God rest his soul, was here, | he'd agree with me. Johnny. Davis.

I found it.

We found it under his bunk. | Yeah, under his mattress.

- There's a bomb in there. | - I knew. I knew that fellow.

Here, just what's...

If this is your idea of a joke...

We'll show you how much of a joke it is | before we're through with you.

If you'll be good enough to explain...

It's you who'll do the explaining, | my fine gentleman.

Look at it, you dirty swine.

- Look at it! | - What is it?

Thought you wasn't half a fox, | didn't you?

It's mine. | What are you doing with my things?

What's in it? | Would you tell us to our faces?

- That's my business. | - Well, we're making it our business.

Get his keys. | See if he has one that'll open it.

Don't you open that, Driscoll.

If you do, so help me, | I'll kill you if I hang for it.

I am not the one to be killed. | I'm no dirty spy.

- Spy? | - We're on to your tricks.

Hiding this box under your mattress

so you could sneak out later | and put it in the hall.

What are you talking about, you fool? | I only put it there

so that I could get it quick in case | we were torpedoed. You must be insane!

Keep your mouth shut!

What are you talking about? | Let me get out of this...

- Wait. | - Get back there, you lot!

Stand back, you hairy ape!

It's...

It's nothing but a packet of letters.

Letters, what did I tell you?

That's why he was going | through the code book.

Letters are worse than bombs sometimes.

Where else would spies | get their orders from

if it wasn't from letters?

What orders would he be getting, | do you suppose?

Open it and find out.

The name written here is,

"Thomas Fenwick."

That's no more his name than Smith.

Schmidt, that's this guy's real tag.

You don't suppose | he'd be using his own name, do you?

It's a foreign postmark by the looks of it.

Look at the stamp.

B-E-R...

Berlin! | I knew them letters was from Germany.

Berlin, by devil!

Read it, Drisk.

I'm not much of a hand at reading,

but it begins, "Tom, darling."

"Tom, darling"?

- Read it out louder. | - Yeah, out loud.

"Tom, darling,

"Clive said he'd seen you at Gibraltar

"before you sailed for Malta.

"It wasn't anything he said, | but his manners seemed queer,

"and I was terribly uneasy

"until your letter arrived.

"There is only one thing, Tom, darling,

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Eugene O'Neill

Eugene Gladstone O'Neill (October 16, 1888 – November 27, 1953) was an American playwright and Nobel laureate in Literature. His poetically titled plays were among the first to introduce into U.S. drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. The drama Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire and Arthur Miller's Death of a Salesman.O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!). Nearly all of his other plays involve some degree of tragedy and personal pessimism. more…

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Submitted on August 05, 2018

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    "The Long Voyage Home" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/the_long_voyage_home_20731>.

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