You may not remember this, but there were two Japanese actors who played roles in Terror Island.

One is Job Mordaunt’s Japanese Assistant, who appears in parts 3 and 4 above, which are both considered missing in the current version (Library of Congress Print) of Terror Island. He also appeared in part 2.

And the other is Harper’s Japanese Assistant, Sato, who appears above in missing part 3. He also appeared in parts 1 and 2.

Neither actor gets credit in the movie, nor has Terror Island listed as a movie they did in the internet Movie Database (IMDb).

So what were the names of these actors?

Will share the answer in my next post.

Here is the second installment where I share the missing scenes in chronological order for Part 4. This post begins where the previous installment left off.

At the wharf, the boat has been released from its moorings and is now held by a single line, ready to leave.  They are placing the last of the boxes on board with block and tackle.  The paraphernalia has been hastily thrown into the boxes, while another adjusts the sling.  The gang-plank is still out.  The sailors carrying Beverly, and Job enter.  The Captain motions them to hustle on board and they exit up the gang-plank.

In the cabin, a sailor just finished tying Beverly to a chair. She is bound and gagged.  Stella and Job stand beside her.  Stella searches for the jewel box.

Stella finds jewel box, holds it up. Job snatches at it, but she avoids him and starts to examine it herself.

Two boxes remain to be loaded.  The gang-plank is being ordered up by the Captain. Harper rushes in, stops as he sees the boat is ready to sail and swinging at the end of one line. It looks like there is no chance for him to slip on board and attempt the release of Beverly. One man is nailing up the next to last box, while the other man places sling around it.  This attracts Harper’s attention.  He creeps forward, keeping in the shelter of the freight.

Harper creeps in, moves lid to look into box, finds room for himself, slips in and shoves lid over him. At this moment, the workman turns, goes to this box, begins nailing on lid.

The dog is at side of box, barks, jumps on it, makes unmistakable signs that he wants to get into the box with his friend and preserver.

Guy has a puzzled expression as he looks at dog. He walks toward it, calls dog, examines collar, sees that chain was unhooked, looks suspiciously at box, then starts to run for gang-plank, just as tackle is hooked in box and it starts up.  Guy gets aboard just as last line is cast off and the boat swings away from dock.

With the boat moving out and the box still suspended over water, Guy cuts rope, and box falls into water and begins to sink. Harper’s hand shows through broken board.

Box sinks to bottom, it wobbles around, hand shows, Harper attempts to break out.  Boards on side seen to give, Harper emerges from box, starts to swim upward.

Harper comes to surface, strikes out for dock, climbs up.

In the cabin, Beverly is bound, Stella and Job are examining jewel case. Guy enters, laughs as he sees Beverly then speaks: “I’ve just sent Harper to the bottom. Now let’s see him salvage himself!”

Harper shows his disappointment and grief as his failure to make the boat and protect Beverly. He lets his arms drop helplessly and bows head.

After hurried repairs to the submarine, it is loaded and is seen proceeding out.

With the Vaquero a few hours at sea

Stella, Guy and Job are in Stella’s cabin. Job stops suddenly and looks at Guy and says: “As Stella going to deliver the pearl to the natives, Beverly is only in the way.  I wish she’d fall overboard.”

Stella glances up from her inspection of the pearl toward the two men, a contemptuous smile on her lips, tries to catch something of their conversation, then goes back to her contemplation of the jewel.

Guy looks at his father from corner of eyes, leans toward him and speaks:

“Why deprive me of a little innocent amusement with Beverly?”

He looks at job, turns eyes upward, smiles and winks.

Stella had heard the remark.  She jumps to feet and comes fiercely toward Guy showing her jealously.  He laughs, she clutches him angrily, he brutally shoves her aside and exits.

The end of a periscope fastened to a tiny buoy is seen to be traveling thru the water.

In glass can be seen the boat.

Harper standing beside shelf on which is placed the other end of periscope is gazing intently into it.

Harper speaks: “We are close to the Vaquero, slow down”

Harper enters air-tight compartment, opens valve, place is quickly flooded, he opens outer trap and swims out.

Harper seen climbing up rope on side of boat near center.

End of Part Four

Credits:

• Paraphrased Scenes – Paramount Files at Margaret Herrick Library

Parts 3 and 4 of the current version of Terror Island are considered missing. I previously did four posts that described the missing scenes in chronological order for Part 3:

• Terror Island Part 3 (1 of 4)
• Terror Island Part 3 (2 of 4)
• Terror Island Part 3 (3 of 4)
• Terror Island Part 3 (4 of 4)

It is now time to share in some detail the missing scenes in chronological order for Part 4. This is the first of two installments.

At the docks on the deck of the Vaquero, Guy Mordaunt is talking with his father, Job Mordaunt:

“Tell her you’ve just found someone willing to make the trip. She’ll come with you quick enough now that the sub is disabled.”

[318-35]

At the gang plank, Beverly his seen seated with her dog. Job says:

“Good news, my dear, found a captain that is willing to make the trip! Come on over and meet him.”

“Hurry up! His steamer is just beyond our office – you can come right back.”

Beverly decides she will be alright and turns toward Job and nods her head. They start out.

Harper enters hastily and hurries to where Beverly was seated. He is anxious to report the condition of the sub.  He has on trousers, shirt, and low shoes only. Not seeing Beverly, he glances around in surprise – then seems a bit worried.  He looks up and sees Job and Beverly hurrying away.  His face hardens with determination.  He starts out in their direction on a run. He waves and calls as he goes.

Job hears and sees Harper is running toward them.  His face expresses fear and consternation. He stops, turns Beverly toward a door and tells her the Captain is inside.  Hastily throwing the door open, he pushes her in and follows.

Sailors and Guy draw back, apprehensive, as door is thrown open, but relax when it is Job who is entering. Job thrusts Beverly into the room, closes the door and stands with back against. He holds up his hands speaks hurriedly.  Beverly looks back and forth from Job to Guy.

Job says: “Harper’s coming.” as he turns to lock door.

Beverly shows hope at this announcement and turns toward door. Job angrily waves her back. Guy gives short order to sailors. Two of them rush forward and seize Beverly roughly, throwing a bit of canvas over her head, then begin wind rope about her arms. Guy has snatched the chain from Beverly’s hands and ties dog to leg of table.

Harper enters on run, pauses for an instant, then boldly tries the door.

Sailors are holding the struggling Beverly and binding her arms.  Job, standing at door, signal Harper is outside.  Guy motions to let him in, while he and two sailors station themselves so that the opening door will conceal them.  Job unlocks door, swings it suddenly open.  Harper rushes in, sees Beverly struggling in the hands of two sailors and starts toward her. Job and other sailors jump on his back. The three men go to the floor struggling, the sailors striking viciously with blackjacks.  The struggle is short and sharp.  Harper’s shirt is torn off.  He is dragged to his feet in a dazed condition and placed in a chair against the wall.  One sailor and Guy take coil of small chain and start to bind him.

[318-23]

They pass the chain thru iron ring in wall.

The two sailors that bound Beverly are now rolling her in an old sail which they start to tie up.

The dog is seen tugging at chain and barking at the men.

[318-25]

Harper is now bound, so Guy and sailors hastily prepare to destroy the building.  Boxes and barrels are placed before Harper and oil is poured over the mass, a candle is placed on top of one of the barrels, and a thread is stretched from it to the telephone bell, by Guy.

[318-22]

Preparations complete, the candle is lit, and two sailors pick up Beverly who now resembles a roll of canvas. Job throws open the door and all exit hastily. Job goes out last, closing the door.

Sailors carrying Beverly start toward dock. Guy speaks to Job, who is locking the door, telling him he will telephone.  Guy then starts across the street. Job after locking door hurries out after sailors.

Harper slowly regaining his senses, struggles to free himself from chains.

Guy enters cigar stand at dock, picks up phone and calls number.

Telephone rings and jerks the thread.

[318-24]

Harper staring at candle before him. It wobbles, tips over the mass of inflammable material which is ignited and starts to blaze.  Harper struggles violently.

Dog tugs on chain and tries to get away as fire is all around.

Harper is struggling desperately to break chains.

Harper snaps chains, frees arms, extricates himself from balance, fights his way past blazing boxes to dog, unlocks chain, then starts through smoke for door, followed by dog.

Harper at door, blinding smoke about him, works at lock and starts to pick it.

The door is opened and Harper rushes out past the crowd and hurries toward dock, dog at his heel.

Credits

• Paraphrased Scenes – Paramount Files at Margaret Herrick Library
• Cropped Stills – Academy of Motion Pictures Arts and Sciences (A.M.P.A.S.)

What was the working title(s) for Terror Island:

• [A] Salvage
• [B] The Isle [Island]of Hate
• [C] Deep Sea Loot
• [D] Houdini: Terror on the Magic Isle

Let’s explore each of the possible answers.

[A] Camera! The digest of the motion picture industry (Los Angeles California October 18,1919) mentions:

Houdini is well under way on his second thriller for Famous Players-Lasky, under the direction of James Cruze.  “Salvage” is the working title.

Exhibitors Herald (Dec 13, 1919) mentions:

“Terror Island” is the title selected for Houdini’s second mystery picture for Paramount-Artcraft, filmed under the working title, “Salvage”.

[B] Motion Picture News (Nov 8, 1919) mentions:

On his arrival at Hollywood, Mr. Lasky found the studio active with new productions including … “The Isle of Hate” (a working title) , with Houdini, etc.

[C] Letter addressed to Lasky Studios (Nov 2, 1919) while filming in Riverside CA, Houdini mentions:  

I am doing underwater swimming for my “deep sea loot” story.

And Catalina Islander Newspaper (Nov 25, 1919) mentions:

The working title of the picture, said Mr. Houdini, is Salvage or Deep Sea Loot.

[A][B] The Paramount Terror Island Stills Collection mentions:

Former Titles were “Island of Hate” and “Salvage”

And the Paramount Terror Island Scripts Collection has a synopsis that mentions:

“S A L V A G E.” (Temporary Title).

and cost sheets that mention:

SAVAGE was the original title and Terror Island was the released title. ISLAND OF HATE is handwritten on one of the cost sheets.

[A][B] and [C] “Salvage” and “Island of Hate” are documented in the Paramount files and the newspapers and “Deep Sea Loot” appears to come from Houdini Himself via letters and interviews.

[D] While not a working title for the movie, “Houdini: Terror on the Magic Isle”, is the title of a special exhibition at the Catalina Island Museum which runs May 5 to Sept. 23, 2018.

The museum will also host a special screening of Terror Island in Catalina’s spectacular Art Deco Avalon Casino Theater on Saturday, May 19th at 1:00 PM. The screening will include live musical accompaniment by Michael Mortilla and The Accompanists. Tickets are available now.

Related:

• Houdini in Riverside
• Deep Sea Loot 1919

Just hanging out on a tropical island reading Houdini Unbound.

Bonus:

Joe M. Notaro Collection

I recently acquired this Philadelphia newspaper dated April 18, 1920 advertising Houdini (on film) at the Regent.

The Regent was one of the first theatres to show Terror Island, charge ten cents, and feature a mammoth pipe organ.

The earliest theatre to show Terror Island that I could find was an exclusive first-run at Boston Massachusetts Modern and Beacon theatres,

Sunday April 11, 1920

Friday April 16, 1920

followed by Burlington Vermont Majestic, Alexandria Louisiana Saengers Strand, and Waco Texas Rex on Sunday April 18th

and then Philadelphia Pennsylvania Regent.

The below image of Houdini (on film) depicted in the newspaper is missing from footage available today.

It is from Part 3 of one of the missing reels from Terror Island. To find out what your missing, check out the following posts:

• Terror Island Part 3 (1 of 4) – Stills 9, 7, 1, 3, 8, 10, 6
• Terror Island Part 3 (2 of 4) – Stills 14, 19, 20, 16
• Terror Island Part 3 (3 of 4) – Stills 17, 18, 15
• Terror Island Part 3 (4 of 4) – Stills 4, 5

Other Related Posts:

• Premiere of The Master Mystery in Boston
• Houdini Opens at Broadway
• Private Showing of The Grim Game In New York

Congratulations to the winner(s) of the above two photographs (Lot 304 and Lot 308) that sold at the Potter & Potter Spring auction on April 8, 2017 for $1500.00 and $1000.00, respectively.

304. Houdini, Harry (Ehrich Weiss). Candid Photograph of Houdini Aboard a Ship, Annotated by Houdini. Circa 1919. Houdini stands at the center of the deck, his arms wrapped around his wife, Bess, and a girl identified as Lila. Another woman, identified by Houdini as “Minnie” sits at his left. The annotations in ink on the image are in Houdini’s hands, with a later inked in date of 1919 at the lower left. 4 x 3 ¼”. Scrapbook remnants on verso, else good.

 

308. Houdini, Harry (Ehrich Weiss). Photograph of Houdini and Company Aboard a Train Car. Circa 1920. Houdini and eight other individuals, including his wife Beatrice, stand on the rear of a train car. Houdini, at the left, has one arm outstretched. Old ink notation in the lower margin identifies several of the individuals. Possibly taken during the production of a Houdini movie. 7 x 5”. Corners with slight damage.

These are amazing photographs for a number of reasons:

• The girl identified as Lila is none other than Lila Lee, Houdini’s co-star in the movie “Terror Island” (TI).
• The woman identified as Minnie in Lot 304 may very well be Minnie Mooser, sister of Hattie Mooser.  Both knew Houdini well. Both women were born in Nevada, Hattie in 1878 and Minnie in 1881, but grew up in Sacramento and lived in Los Angeles before ultimately moving to San Francisco.
• There is speculation that Houdini may have been romantically involved with Lila and Hattie:
  • Houdini and his ‘girlfriends’ by John Cox
  • A Mysterious Houdini Girlfriend by Dean Carnegie
• The man identified as J. Cruze in Lot 308 is none other than James Cruze, the director of “Terror Island”.
• The photos most likely were taken while Houdini was filming the movie “Terror Island” on Catalina Island and Riverside respectively.  Houdini appears to be wearing the wooly jacket and light pants found in a number of stills for the movie. Still 318-9 can be seen below for comparison.

In addition to the photos, a nice Houdini Terror Island Movie Program (Lot 313) sold for $850.00

313. Houdini, Harry (Ehrich Weiss). Houdini Terror Island Movie Program. The Hippodrome Weekly, Vol. 1, No. 24 for the week of July 26, 1920, featuring Houdini and Lila Lee in a scene from Terror Island on the front wrapper. The interior features a “rhymed interview” regarding the film, and the program. Small 4to. Uncommon.

The Mission Inn 3649 Mission Inn Avenue, Riverside, California

Houdini stayed at the Riverside Mission Inn while filming underwater “Deep Sea Loot” movie scenes at Elliotta Springs Plunge.

Elliotta Springs Plunge, 1920

Let’s take a closer look at the evidence.

Based on an autographed letter on Mission Inn stationary that sold at auction,

HOUDINI, Harry. Autograph letter signed “Houdini” to Don Turley, “We are out here on location. Xpect to be here about 5 or more days.”

Riverside, CA: 2 November 1919. 1 page on The Mission Inn stationery. With original mailing envelope addressed in Houdini’s hand. Condition: usual folds, envelope torn at right where opened. harry houdini autograph letter written while on location filming the master mystery.

Houdini was at the Inn on 2 November 1919 and expected to be there about 5 or more days.

I contacted Steve Spiller, the executive director at the Mission Inn Museum, for more information on Houdini’s visit.

Steve got back to me right away and let me know that he forwarded my request to Karen Raines, the curator of history at the Mission Inn Museum and Kevin Hallaran, the archivist at the Riverside Metropolitan Museum.

Karen was able to locate a November 6, 1919 article in the Riverside Daily Press paper that says he was staying in Riverside. She confirmed he did film the underwater scenes for the movie at Elliotta Springs, which is no longer there; it was up on Strong Street near Main.

Steve looked through their holdings and let me know that they didn’t have much information on Houdini’s visit, but did provide me a nice 1920 photograph of Elliotta Springs Plunge and an excellent reference to a book by a local author Joan Hall, called Through the Doors of the Mission Inn. Vol.1 that contained a very interesting chapter on Houdini’s stay in town.  Below are a few relevant excerpts:

In NOVEMBER 1919, the Riverside Press noted that world-famous magician and escape artist, Harry Houdini, had been secretly staying at the Mission Inn for a week.  Normally, the publicity-seeking Houdini would have wanted the world to know where he was and what he was doing.  But in this instance Houdini was making a motion picture for Lasky Studio of Hollywood and he and the entire cast were quietly housed at the Inn.  Director Jim Cruze, a former motion picture star himself, was taking shots of Houdini in a series of underwater scenes at the Riverside’s Elliotta Springs Plunge. Crowds of fans were evidently to be avoided this time.

…

The plunge was located about a mile from the Mission Inn near north Main and Strong streets.  In 1898, William Elliott sank several wells to furnish a continuous flow of water to fill a large, public swimming pool.  The white sulfur spring water attracted swimmers as well as many early Hollywood motion picture companies.  Buster Keaton and Annette Kellerman were two stars who made movies in Elliotta.

…

While Houdini and the Lasky Studio crew were staying at the Mission Inn, Riverside experienced a sharp but quick earthquake on November 4.

…

Many years later, few Riversiders remembered Houdini had performed underwater scenes at Elliotta Plunge or that he had spent a week at the Mission Inn. The picture [“Deep Sea Loot”] was never completed and the Great Houdini received no publicity about his secluded Riverside visit.

Special Thanks to Steve Spiller, Karen Raines, Kevin Hallaran and Joan H. Hall for making this post possible.

Related:

• Deep Sea Loot 1919