Altogether, they merited the "launching" held for them at a studio party where seven girls from seven lands gave Errol seven vials filled from the seven seas, to break on the bows of the vessels. The place was so full of pretty damsels that the name of the picture could well have been changed to "The Chicken Hawk."

The craft were practical, too, not merely for looks. Before certain sequences the stage was flooded to a considerable depth and the ships could actually sail for forty feet into a scene. Which, on a sound stage, is some feat.

But to get back to those people who fell into the "ocean," and did it so often that the production was dubbed "Webfooted" among its friends. The rival ships met in a whale of a battle where Errol captured the vessel on which were Maria and her uncle, the Spanish Ambassador to London (Claude Rains). As is usual with the movies, the fight lasted for days, and the rival crews developed a humorous feud. Between takes they leaned from their adjacent riggings and sent one another kersplash. All in the interests of good, clean fun.

In the thick of this battle, while steel clashed and cannon thundered, Errol made a daring leap from his own deck to that of the enemy. Sword in hand, he fought his way to the hold to free the English prisoners chained as galley slaves. Then he raced to the upper deck to join in the fray again.

Here his attention was attracted by the leaded amber windows of an officer's cabin. He thrust open the door and stood amazed at the magnificence of the furnishings. The rare old pewter and silver, table and chairs in this scene, by the way, were insured for nearly $100,000. He saw a table set for dinner, the heavy silver platters and goblets twinkling in the light of candles burning in gold candlesticks.

And here he caught his first sight of Maria. Her yellow gown with its fine white ruff was in strong contrast with the dark panels of the wall against which she leaned.

continue>>