A rather typical “Lion’s Head” brand film, The Scapegrace was shot at the Cricks studio in Croydon with local gravelly heathland standing in for the Yukon.
The scapegrace (or “good for nothing”), Jack Marriot, gets into debt gambling in the fleshpots of London. Cut off by his father, he takes a ship for Vancouver with some money given by one of his former gambling friends. In the Yukon, he arrives in time for the Gold Rush and falls foul of Manoel Garcia, a Mexican gunslinger who has designs on Molly, a bar girl at the local saloon. He stands up to the Mexican, earning Molly’s friendship, and has some success panning for vgold. Manoel spies Jack hiding his gold dust in his tent and later at the saloon tries to get him drunk, but Molly shoots the glass out of his hand. The Mexican follows Jack back to his claim, ties him up, steals the gold, and sets fire to the tent. Following the Mexican, Molly tries to help but is overpowered. Missing Molly, the townspeople search for her and rescue Jack from the burning tent. Pursued, the Mexican tries to cross a rotten bridge with Molly; while he falls to his death, Jack rescues Molly from a ledge. Back in town, Jack receives a delayed letter from his father who, impressed with his success in the goldfields, promises to visit. The father arrives at that very moment, and reconciles with Jack, who introduces him to Molly.
The film has a slightly overlong set-up, and the acting is little more than adequate; but the location shooting works well for this kind of story. And the print is complete, which is unusual for the period. Overall, this is a good example of a modest British studio’s attempt to cash in on the public appetite for westerns.

Bryony Dixon