Plot
The plot revolves around the main character "Crash" Corrigan trying to stop an evil tyrant ruler of Atlantis from conquering the lost continent and then the entire upper world.
Lieutenant Crash Corrigan, in his last year at Annapolis, is invited by Billy Norton to visit his father, Professor Norton, after a wrestling match. At their house, the professor is demonstrating his new invention, which can detect and prevent (at short range) earthquakes, to Diana Compton and his theory about regular tremours from the area where Atlantis used to be.
When Atlantean tyrant Unga Khan and his Black Robe army turn their Disintegrator beam on St Clair, Professor Norton leads an expedition to investigate. Along with him in his Rocket Submarine are Crash, Diana, three sailors (Briny Deep, Salty, Joe) and their pet parrot Sinbad. Unknown to the expedition until it is underway and in trouble, Billy has stowed away on the Rocket Sub as well.
Problems for the expedition begin when Joe, in charge of the engine room, is driven mad by the fear that the submarine cannot survive such depths. In order to prove this, he locks the engine room door and sends the sub into a fatal dive. As soon as this crisis is averted, Unga Khan and Captain Hakur detect their approach and bring them through a tunnel into the Inland Sea with a Magnetic Ray.
Read more about this topic: Undersea Kingdom
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)