CHARLIE CHAN'S CHANCE

SCREEN PLAY & DIALOG: PHILLIP KLEIN and BARRY CONNORS

CAMERAMAN: JOSEPH AUGUST

SOUND MAN: ALBERT PROTZMAN

ART DIRECTOR: GORDON WILES

COSTUMES: DAVID COX

FILM EDITOR: ALEX. TROFFEY

BUSINESS MANAGER: SAM WURTZEL

ASSISTANT DIRECTOR: JASPER BLYSTONE

DIRECTOR: J. G. BLYSTONE

CAST OF CHARACTERS

SCREEN CONTINUITY
Dated: January 9, 1932

FADE IN

WIDE SHOT EXTERIOR STREET OUTSIDE THE OFFICES OF THE CRIMINAL INVESTIGATION BUREAU.

Traffic seen going along the street -

DISSOLVE TO -

CLOSE SHOT on bronze panel in the wall of the building, showing that in the building are the offices of the New York Police Department.

DISSOLVE TO TITLE -

TITLE: "BUREAU OF CRIMINAL INVESTIGATION"

DISSOLVE TO -

CLOSE SHOT - INTERIOR BUREAU - ON A FINGERPRINT APPARATUS as the hand of official rolls the roller over the ink preparatory to taking fingerprints - as he does this and as he takes the impression of each of the prisoners' fingers he speaks:

VOICE: Come on - give us the other one - Come on - come on. Put it in there. 'Fraid to get it dirty? What's the matter? You've done this before. This is nothing new to you. Nothing strange about it. Okay.

DISSOLVE TO -

A SHOT along the files in the record room of the bureau - the camera moves along the long row of files - VOICE of Flannery heard before he is seen -

FLANNERY'S VOICE: This is our Rogues' Gallery.

The camera takes in Flannery as he moves to one of the files, draws out a slide from it -

CUT TO INSERT OF THE book of photographs of criminals, as Flannery's hand turns over the pages, showing the "Rogues' Gallery" -

CUT TO CLOSEUP on Flannery standing at the record files - continues:

Your police department in Honolulu hasn't any collection like this, has it Mr. Chan?

CAMERA PANS OVER to take in CHAN IN CLOSEUP - as he replies:

As he says this last CAMERA PANS to CLOSEUP on Inspector Fife -

FIFE: Yes. Unfortunately, the British Islands are also more civilized than the Hawaiian.

CAMERA PANS BACK to the three men standing together by record files. Flannery with the records before him. He points to one -

FLANNERY: Here. Here's a man who's -

CUT TO INSERT of the picture of criminal - voice of Flannery continues through shot --

- hard to arrest. Always has to be clubbed into submission.

CUT TO CLOSE SHOT on the three by files as Flannery finishes:

(All laugh)

(The three men start from the scene)

DISSOLVE TO -

MEDIUM SHOT door to auditorium as Flannery and the other two men enter to it - Flannery opens the door through which the big auditorium is seen - and the three men go inside.

VOICES HEARD as the door is opened and they go inside - they move toward the background where there is a platform, and the wall back of it is marked out with a line scale - the area around platform more brightly lit than the rest of the hall. Flannery goes up on the platform. Chan and Fife stand nearby.

CUT TO MEDIUM CLOSE SHOT on Flannery on the platform, Chan and Fife standing nearby as Flannery continues:

- this gentleman is Inspector Fife of Scotland Yard --

(Applause comes through shot)

CUT TO CLOSE SHOT on Flannery as he speaks -

- and this gentleman is Inspector Chan of the Honolulu Police, who's been sent here to study New York police methods.

CUT TO CLOSE SHOT on Chan and Fife standing before platform as Flannery's voice continues through shot -

We've heard of Sherlock Holmes, Arsene Lupin and now we have with us one equally known - Charlie -

CUT TO FULL SHOT in the hall, as the people applaud - Flannery's voice heard through shot -

- Chan.

CUT TO CLOSE SHOT on Chan and Fife as they take bows.

CUT TO CLOSE SHOT on Flannery as he continues:

CUT TO CLOSE SHOT on Chan and Fife standing together.

CHAN: Could not be otherwise. Under strong general there are -

CUT TO MEDIUM SHOT of the group of three - Flannery, Chan and Fife as Chan finishes:

- no weak soldiers.

CUT TO FULL SHOT by platform - Flannery turns around to address someone standing before platform.

FLANNERY: Ready with the lineup?

CUT TO CLOSE SHOT on platform as big burly man comes on - the man standing close before platform - back to camera addresses Hawkins.

MAN: Hawkins. Stand on the platform...look straight out in front of you - take your hat off.

CUT TO MEDIUM CLOSE SHOT on Flannery standing before a lighted reading desk - audience glimpsed dimly back of him as he speaks.

FLANNERY: Last night in Washington Heights he put a man to sleep with a blackjack -

CUT TO MEDIUM SHOT on Chan and Fife standing in the aisle near platform as the voice of Flannery continues through shot -

FLANNERY'S VOICE: - kicked all his teeth out and robbed him of fifty dollars. What do you do for a living?

CUT TO CLOSEUP on Hawkins - ugly and insolent as he speaks:

HAWKINS: I'm a dentist.

CUT TO CLOSE SHOT on Flannery at the reading desk as he speaks:

FLANNERY: Dentist, eh? And you use a blackjack instead of gas. Some idea.

CUT TO FULL SHOT by the platform Hawkins here - man standing before platform - Flannery and others in shot.

Flannery finishes:

Take him off.

Hawkins exits - next prisoner is called.

VOICE: Isador Rosenblatt! Put your hat on -

(Hawkins exits the platform)

CUT TO MEDIUM CLOSE SHOT on Rosenblatt standing on platform - mike [microphone] seen before him.

VOICE continues through shot -

Look straight to the front.

FLANNERY'S VOICE: This man is charged with entering a delicatessen store on 116th Street and stealing a ham.

CUT TO CLOSE SHOT - Flannery continues:

How did you come to steal a ham?

CUT TO CLOSEUP on Rosenblatt.

ROSENBLATT: You're Inspector Flannery, ain't you?

FLANNERY'S VOICE: Never mind my name. Why did you do it?

ROSENBLATT: Well, I'll tell you the truth, Inspector. I took that ham for a poor starving Irish family named Flannery.

CUT TO MEDIUM SHOT by Chan and Fife - Flannery's voice comes through shot -

FLANNERY'S VOICE: Take him out.

VOICE: Step down off the platform.

CUT TO MEDIUM SHOT on platform as girl comes to the platform.

VOICE: Evelyn Vandelear.

FLANNERY'S VOICE: Look straight out in front of you.

CUT TO CLOSE SHOT on Flannery at reading desk -

FLANNERY: This girl is charged with blackmailing a man out of eight -

CUT TO CLOSEUP on Evelyn on platform, very tough - Flannery finishes:

- hundred dollars.

EVELYN: Eight hundred dollars? Say, that thirty-cent millionaire was just eight dollars short of having twenty cents, so wipe your nose on that one!

CUT TO FULL SHOT by platform, Flannery in foreground.

CUT TO CLOSE SHOT group and audience - Flannery at reading desk.

FLANNERY: Right.

CUT TO FULL SHOT of platform.

VOICE: Take her off! The Rajah Mangapore.

CUT TO CLOSE SHOT on platform as Benny dressed in tall hat and morning coat comes on -

Man's voice heard as he gives instructions -

VOICE: Look straight ahead of you and take that steeple off.

CUT TO MEDIUM CLOSE SHOT on Flannery standing before reading desk as he speaks:

FLANNERY: This man claims to be the seventh son of a seventh son - born with -

CUT TO CLOSE SHOT on Chan and Fife as voice of Flannery continues:

- a veil. He's charged with fortune telling and swindling.

CUT TO CLOSE SHOT on Flannery - continues:

What have you to say for yourself?

Cut to medium shot on Benny standing on platform - as he speaks - using extravagant gestures to illustrate his words.

BENNY: I'm no fortuneteller, your Honor - I predict the future events by virtue of the science of astrology.

CUT TO MEDIUM SHOT by Flannery - group and audience back of him.

CUT TO MEDIUM SHOT on Benny on platform as voice of Flannery finishes:

- of a sugar barrel.

BENNY: Go on! I'm better than anyone you ever -

CUT TO MEDIUM CLOSE SHOT on Flannery - Benny's voice finishes:

- knocked off.

FLANNERY: Well, you'd better consult the stars and find out how long it will be -

CUT TO FULL SHOT GROUP and Flannery, platform seen background as Flannery finishes:

- before you get out.

BENNY: Oh yes.

FLANNERY: Take him off.

MAN: Step down - put that hat on.

MEDIUM CLOSE SHOT Flannery.

CUT TO MEDIUM CLOSE SHOT on Chan and Fife, Fife looks toward Flannery off scene and speaks:

FIFE: It's been very interesting, Inspector. Thanks very much.

CHAN: Thank you so much.

CUT TO FULL SHOT in auditorium - as Flannery, Chan and Fife start down the aisle -

FIFE: Come on, Charlie.

(Audience rises and applauds as they exit)

DISSOLVE TO EXTERIOR SHOT -

STREET in Chinatown - traffic noises heard.

DISSOLVE TO -

INTERIOR KEE LIN'S RESTAURANT - MEDIUM CLOSE SHOT on Chan, Fife and Kee Lin seated together in room -

CUT TO CLOSEUP on Kee Lin as Fife finishes:

- dinner.

KEE LIN: When your feet enter my humble dwelling I am honored -

CUT TO MEDIUM SHOT of the group as Kee Lin finishes:

(Telephone bell heard)

CUT TO FULL SHOT in another corner of restaurant as Kee Lin comes down to the telephone in foreground, picks it up and speaks into it -

CUT TO CLOSER SHOT on Kee Lin at phone -

CUT TO WIDER SHOT by Kee Lin -

Chan enters from background to Kee Lin at phone - takes phone from Kee Lin who exits from scene.

CHAN: Hello. What? Yes, Inspector Fife is here. One moment.

CUT TO FULL SHOT in the restaurant as Fife enters from background and takes the phone from Chan.

FIFE: Thank you, Charlie.

(Chan moves to background)

Yes - yes -

CUT TO CLOSEUP on Chan listening. Fife's voice continues through shot.

How long ago?

CUT TO CLOSEUP on Fife speaking in phone:

Oh this is terrible. Very well - I'll be there as soon as possible.

CUT TO MEDIUM SHOT by Chan and Fife - Kee Lin tipped in shot -

DISSOLVE TO -

INTERIOR BARRY'S OFFICE -

CLOSEUP on Doctor Hammond.

CUT TO CLOSEUP on Chan.

CHAN: These are your offices, Mr. Kirk?

KIRK: Yes I - I turned them over to Sir Lionel and he's been stopping with me in my penthouse upstairs.

CUT TO MEDIUM SHOT shooting down on Fife, Chan and Kirk -- Doctor tipped in foreground.

FIFE: Did he complain of illness?

CUT TO FULL SHOT on group around the desk - across which Sir Lionel is sprawled.

KIRK: On the contrary, he was in fine spirits. Said he was on the verge of solving an important case.

CHAN: Did he name case?

KIRK: No.

CUT TO CLOSEUP on Kirk and Fife as Kirk continues:

He asked me to invite several guests here tonight -- they're upstairs now.

CUT TO CLOSEUP on Fife and Chan.

Kirk's voice continues through shot -

Then unexpectedly someone telephoned him for an appointment here.

CUT TO MEDIUM SHOT on Fife, Chan and Kirk - Doctor in foreground tipped in.

(Shooting down)

FIFE: Who?

KIRK: He gave his name -- I don't recall it.

CUT TO CLOSEUP on Kirk and Fife.

Kirk continues:

However, after Sir Lionel had been absent an hour, I sent my butler down and he found him -

CUT TO FULL SHOT on the group around the desk as Kirk finishes:

CUT TO CLOSEUP -- on Dr. Hammond - Chan's voice finishing through shot -

- heart failure?

DR. HAMMOND: Positive, sir. I would stake my professional -

CUT TO CLOSEUP on Chan and Fife.

Dr. Hammond's voice finishes through shot -

CUT TO MEDIUM SHOT on group of four.

KIRK: Cat? Why where?

CHAN: Under that chair.

CUT TO FULL SHOT in the room -

Chan moves toward foreground where a chair stands, and pushes chair a little back -- below it lies cat.

CUT TO CLOSEUP on Chan listening to voices continue through shot.

KIRK'S VOICE: - just before dinner.

FIFE'S VOICE: That's strange.

CHAN: Very strange. Cat is like rich man's heir -- never dies out of sympathy.

CUT TO MEDIUM SHOT on the four men around desk at which Sir Lionel lies dead.

CUT TO CLOSE SHOT on Fife, Chan and Kirk.

FIFE: You really think --

CUT TO FULL SHOT on the group around desk -

CHAN: Yes. Hold guests upstairs. Telephone Inspector Flannery. This is murder.

The men turn - Fife moves down to the desk telephone and as he raises it to call number -

FADE OUT.

FADE IN

INTERIOR BARRY KIRK'S PENTHOUSE.

MEDIUM SHOT on group in room.

Flannery turns - camera moves over with him to take in the guests.

FLANNERY: If anyone can throw any light on this affair I'd like it now. It will be much pleasanter all around than if I have to dig it up later.

CUT TO CLOSEUP on Kirk, as he stands very thoughtful.

CUT TO CLOSEUP on Gloria - seated.

CUT TO FULL SHOT of the group - seated in the room.

CUT TO CLOSE SHOT on Enderby.

CUT TO CLOSE SHOT on Mrs. Enderby - very nervous.

CUT TO CLOSE SHOT on Mrs. Enderby's hands playing with pearl necklace.

CUT TO FULL SHOT of the guests in room.

CUT TO CLOSEUP on Dunwood - watching.

CUT TO CLOSEUP on Flannery - he turns around.

CUT TO CLOSEUP on Gloria - watching.

CUT TO SHOT of the room as Flannery moves over and comes to pause before Gloria's chair.

FLANNERY: Miss Garland, you say you're an actress?

GLORIA: Yes, and a lot of others have said it too.

FLANNERY: I'll take your word for it -- Ever played England?

GLORIA: Yes, often.

Fife moves over closer to Gloria stands before her as he speaks:

FIFE: Have you ever met Sir Lionel before tonight, Miss Garland?

GLORIA: Never.

FIFE: What time did you arrive here tonight -

CUT TO CLOSE SHOT on Gloria - as Fife's voice continues:

- for dinner?

GLORIA: I had intended arriving at eight but coming up the stairs I broke my string of pearls -

CUT TO CLOSE SHOT on Chan, Fife and Flannery, voice of Gloria continues:

- and I spent about twenty minutes -

CUT TO CLOSE SHOT on Gloria, as she finishes:

- picking them up - making sure I -

CUT TO FULL SHOT of the group as she finishes:

CUT TO MEDIUM CLOSE SHOT on Mr. and Mrs. Enderby -

Enderby - very indignant as he replies:

ENDERBY: Is that an offense?

MRS. ENDERBY: Garrick! Please. He's not accusing you of anything.

ENDERBY: Bah! I don't like this questioning. Are we suspects?

CUT TO CLOSE SHOT on Chan and Fife.

FIFE: Every guest here had the opportunity during the bridge game after dinner to leave this room.

CUT TO MEDIUM SHOT ON Enderby and Mrs. Enderby as Fife's voice finishes through shot -

CUT TO CLOSEUP on Dunwood -

DUNWOOD: But you left the room just after we lost the third rubber -

CUT TO MEDIUM CLOSE SHOT by Enderby and Mrs. Enderby - Dunwood's voice finishes:

- didn't you?

ENDERBY: You're quite mistaken. I haven't left the room this evening.

CUT TO FULL SHOT on the group in the corner of the penthouse apartment.

CUT TO CLOSEUP on Dunwood and Flannery -

CUT TO FULL SHOT in the room, the group in corner -- Flannery back to camera.

CUT TO FULL SHOT other side of door as Flannery enters through it - two men here - he addresses them - Chan and Fife follow Flannery.

CUT TO EXTERIOR ROOF OF PENTHOUSE.

MEDIUM SHOT on Chan, Fife and Flannery standing by parapet looking over - the apartment is seen through windows - two men standing inside -

CUT TO LONG SHOT on the financial district - night - buildings with lighted windows.

CUT TO MEDIUM SHOT on the group on penthouse roof - interior seen through windows.

That's the Battery down there. Those lights you see - that's the Brooklyn Bridge.

CHAN: I must see it in daytime.

FLANNERY: I wonder who made that telephone appointment with Sir Lionel.

CHAN: He was interested in one of these guests. Which one?

FIFE: I've seen that butler in the prisoners' dock in England somewhere.

CHAN: Yes?

FIFE: Yes. Scotland Yard will have the record.

CUT TO CLOSEUP on Fife and Chan, as Fife continues:

What do you think of Enderby?

CHAN: Enderby? Oh he reminds me of little lamb.

FIFE: What?

CHAN: Every few seconds -

CUT TO FULL SHOT of the three on the penthouse roof as Chan finishes:

- he says bah! Bah!

FIFE: Very rude to his wife, wasn't he?

CUT TO CLOSEUP on Chan and Fife.

CHAN: Maybe some people on sea of matrimony wish they had missed boat.

CUT TO FULL SHOT on penthouse roof as Kirk comes out from inside to the group.

CUT TO LONG SHOT on the steps that lead down from the roof as Flannery goes down from the roof.

CUT TO MEDIUM SHOT on Chan, Fife and Kirk on penthouse roof.

CUT TO INTERIOR KIRK'S OFFICE.

Flannery comes in through the door - two men are here by the desk - with apparatus for photographing fingerprints.

FLANNERY: Any prints?

EXPERT: Yes, sir, about ten of them - they look very good, too.

CUT TO SHADOW SHOT on door - and wall - the shadow moves along and then Chan comes into the scene, walking along close to wall, looking around him --- moves along, entering the offices, stands back to camera as he speaks:

Kirk goes through railed part of office to safe -

CUT TO MEDIUM SHOT on Flannery at the phone, experts by him.

Flannery speaks into phone.

FLANNERY: Flannery speaking. Give me the Lieutenant.

CUT TO CLOSEUP on Flannery as he continues, into phone -

Lieutenant, I want you to trace all calls made on Hanover 2-7700 in the last twenty-four hours.

CUT TO CLOSE SHOT on Kirk, Chan and Fife in office by safe - Kirk is taking pictures, etc. from open safe.

CUT TO INSERT of Cosmopolitan membership card -- Kirk's voice comes through shot -

KIRK'S VOICE: That's the membership book to the Cosmopolitan Club -

CUT TO MEDIUM CLOSE SHOT on Chan and Kirk as Kirk finishes:

CUT TO FULL SHOT of the group in room - Kirk and others are seen. Background - Flannery moves toward them from foreground.

CUT TO MEDIUM SHOT by the group - Fife finishes:

- of all Sir Lionel's papers.

FLANNERY: There's your motive, gentlemen.

FIFE: Undoubtedly.

CUT TO CLOSE SHOT on Flannery.

FLANNERY: I think the autopsy will -

CUT TO MEDIUM CLOSE SHOT on Chan, Kirk and Fife. Flannery's voice continues:

- show he was killed by with gas.

CHAN: An almost perfect crime. Doctor extremely positive verdict was heart failure.

CUT TO FULL SHOT on group -

Chan and Kirk holding papers in hand.

FIFE: Yes and we would have believed him but thanks to you, Charlie.

CHAN: No, thanks to honorable cat.

CUT TO CLOSE SHOT on Chan and Kirk as Chan continues - holding membership card in hand -

CUT TO FULL SHOT of the group - telephone bell rings - Flannery picks up phone -

CUT TO CLOSEUP on Flannery as he continues into phone.

What's the number? How's the telephone listed?

CUT TO FULL SHOT on the four men as Flannery speaks in to phone:

CUT TO CLOSE SHOT on Flannery.

FLANNERY: Hes a manufacturer of chemicals. Fits -

CUT TO CLOSE SHOT on Chan, Kirk and Fife.

Flannery continues:

FLANNERY'S VOICE: - doesn't it?

CHAN: Yes - like duck's foot in mud pond.

CUT TO FULL SHOT on the four men.

CUT TO CLOSEUP on Fife, smiling as he speaks:

FIFE: Quick work, what? He's what you Americans call a hot shot.

CUT TO MEDIUM SHOT Chan, Fife and Kirk.

CHAN: Chef who cooks with gunpowder make quick fire.

KIRK: Well, gentlemen, may I offer you a drink?

CHAN: No thanks.

CUT TO CLOSE SHOT on Chan and Kirk as Chan continues:

On subject of drink I am one-round prize-fighter. Second round always knock-out.

KIRK: I hope Flannery is after the right man.

CUT TO FULL SHOT on the three.

CUT TO CLOSE SHOT on Kirk and Chan, as Kirk continues into phone.

- get me Transatlantic Operator, please. I want to speak to Scotland Yard, London, England.

CUT TO INTERIOR EXCHANGE -

CLOSE SHOT on operator at switch board - (girl).

OPERATOR: What is your number, please?

CUT TO INTERIOR KIRK'S OFFICE.

CLOSE SHOT on Kirk at phone.

KIRK: Hanover 2-7700.

CUT TO INTERIOR EXCHANGE -

CLOSEUP on operator (girl) at switch board -

GIRL: Scotland Yard, London.

MAN: Are you through to London?

CUT TO CLOSEUP on dial indicator as the hands travel around the face of the dial.

CUT TO WIDE SHOT on open country with the high tower - from which the spark of the electric current is seen - as it comes from the top of the tower and travels across the sky - NIGHT.

FADE TO WIDE SHOT over ocean - showing the electric current passing through space over the ocean - NIGHT.

FADE TO WIDE SHOT country location lights from small houses seen - the electric wave passes through space toward large receiving towers - NIGHT.

CUT TO EXTERIOR LONDON telephone exchange - man with earphones at switch board operating keys.

DISSOLVE TO -

CLOSE SHOT of girl at switch board.

GIRL: Hello - Are you there? This is London. I'll put you through to Scotland Yard.

CUT TO INTERIOR KIRK'S OFFICE.

CLOSE SHOT on Kirk, Chan and Fife - Fife speaking into phone.

CUT TO CLOSEUP of Fife speaking in phone:

I'm sorry to report - Sir Lionel Grey was murdered here tonight.

CUT TO INTERIOR SCOTLAND YARD.

CLOSE SHOT on Chief speaking into phone.

CHIEF: Oh, terrible!

CUT TO INTERIOR KIRK'S OFFICE.

CLOSEUP on Fife at phone.

FIFE: Please cable me immediately, in code, name of case in which he was interested and full details. Also complete data on a man named -

CUT TO CLOSEUP on Chan and Kirk.

Voice of Fife finishes through shot -

- Stanley Paradise.

CUT TO INTERIOR SCOTLAND YARD -

CLOSE SHOT on Chief at desk, speaking into phone -

CHIEF: Yes, you shall have it forthwith.

CUT TO INTERIOR KIRK'S OFFICE -

MEDIUM CLOSE SHOT on Fife, Kirk and Chan.

CUT TO FULL SHOT in office as Kirk exits.

Chan moves down to foreground where Fife stands.

FIFE: Strange lack of clues, Charlie.

CUT TO CLOSE SHOT on Chan and Fife.

CHAN: Remember, nothing but the wind can pass the sun without casting shadow.

CUT TO FULL SHOT as Chan and Fife exit - camera with them, as they move through to another part of office where two men are.

CUT TO CLOSE SHOT on Chan and Fife at the desk.

CUT TO CLOSE SHOT on Chan looking up in direction of Fife.

CHAN: When friend asks, friend gives.

CUT TO MEDIUM CLOSE SHOT on Chan and Fife.

FIFE: That's splendid. Thank you, Charlie.

CUT TO CLOSE SHOT on Chan at the desk - takes up pen, dips it into ink, and tries to write with it. Unsuccessful - so picks up another pen.

CUT TO MEDIUM CLOSE SHOT on Chan seated at desk, Fife standing by him - Chan draws the ink stand to him -

CUT TO CLOSE SHOT Chan dipping pen into ink again - as he does so the pen comes into contact with something in ink well - Chan leans forward as he gets this.

CUT TO CLOSEUP on Chan's hand holding the pen as it stirs around in the ink well -

CUT TO CLOSE SHOT on Chan, takes up small piece of blotting paper and blots the ink out of the ink well.

CUT TO CLOSE SHOT on Fife watching this operation.

CUT TO CLOSE SHOT on Chan as he extracts pearl from ink well.

CUT TO CLOSEUP on Chan's hand - it lifts the pearl between fingers.

CUT TO CLOSE SHOT on Chan and Fife as Chan examines the pearl.

CUT TO CLOSE SHOT of he two - another angle.

CHAN: Pearl from string.

FIFE: The broken necklace.

CUT TO CLOSE SHOT - different angle of two.

DISSOLVE TO -

WIDE SHOT EXTERIOR ROAD HOUSE CAFE NIGHT - As a car drives up to the door of the cafe.

DISOLVE TO -

INTERIOR LOBBY OF CAFE as Shirley comes up the stairs in background, moving down to foreground where waiter stands near entrance to dining room.

WAITER: How do you do, madam.

CUT TO MEDIUM CLOSE SHOT on Shirley and waiter near entrance to dining room.

CUT TO FULL SHOT as the waiter and Shirley start down into the cafe passing tables and on to a corner
table -

CUT TO ANOTHER SHOT by corner table as the waiter brings Shirley to Douglas, who is there.

WAITER: Here's the lady, sir.

JOHN: Hello, Shirley.

SHIRLEY: Hello. Am I late?

JOHN: No. You must have hurried.

SHIRLEY: Oh I did.

CUT TO CLOSE SHOT by John, Shirley and waiter at table.

CUT TO CLOSEUP on Shirley.

SHIRLEY: You know, I had a feeling I was being followed.

CUT TO MEDIUM CLOSE SHOT on the two at table.

JOHN: So did I.

SHIRLEY: You did?

CUT TO CLOSEUP on Shirley as she continues:

Did you see Sir Lionel?

CUT TO CLOSEUP on John.

JOHN: Yes, but it wasn't easy.

CUT TO CLOSEUP on Shirley.

SHIRLEY: He didn't refuse to see you?

CUT TO CLOSEUP on John.

JOHN: Oh no, no. He was attending a bridge party in Barry Kirk's penthouse and I was obliged to wait in the office below.

CUT TO MEDIUM CLOSE SHOT on the two as John continues:

He seemed surprised when he found I'd come from you - tried to trick me into telling him where you lived and your name.

SHIRLEY: But you didn't?

JOHN: Of course not.

CUT TO CLOSEUP an John as he continues:

I told him I wouldn't unless he promised to protect you.

CUT TO CLOSEUP on Shirley as John's voice continues though shot --

But he refused to compromise.

CUT TO MEDIUM CLOSE SHOT of the two.

SHIRLEY: What will he do?

CUT TO CLOSEUP on John.

JOHN: He said if you didn't tell him where Alan Raleigh is and testify against him -

CUT TO MEDIUM CLOSE SHOT on the two as John continues:

- he'd find you, take you back to England and try you as an accessory after the fact for shielding a murderer.

I pleaded with him - told him he was heaping tragedy on a girl who had suffered too much already. But he's an iceberg.

CUT TO CLOSEUP on Shirley much distressed as she speaks.

SHIRLEY: But didn't you tell him I don't know where Alan is? That I'd never seen him since that night in London?

CUT TO CLOSEUP on John.

JOHN: He doesn't believe it. I told him he was asking too much of you -- of any girl -- to send a man she once loved to a hangman.

CUT TO MEDIUM CLOSE SHOT of the two.

CUT TO CLOSEUP on Shirley.

John's voice finishes:

- three o'clock.

SHIRLEY: Maybe he said that so he can have you followed and find me.

CUT TO MEDIUM CLOSE SHOT on the two.

CUT TO FULL SHOT by the table as waiter to the table with check, which John takes, pays waiter -

WAITER: Thank you.

As John and Shirley rise from table -

DISSOLVE TO -

EXTERIOR SHIRLEY'S APARTMENT HOUSE.

THEY GET OUT of the car and start up steps to door.

CUT TO CLOSE SHOT on Shirley and John outside apartment house door - he kisses her -

JOHN: Goodnight, dear. Think it over. Marry me and we'll go away together.

CUT TO MEDIUM CLOSE SHOT on the two.

SHIRLEY: Oh, I'd like to. I love you better than anything else in the world, but don't ask me to decide now. Goodnight, dear.

(They kiss again - John opens the door for her and she goes inside)

CUT TO EXTERIOR STREET by car as John comes down to the car, gets into driver's seat and starts car -

CUT TO FULL SHOT exterior apartment house as John drives out in car.

DISSOLVE TO -

FULL SHOT exterior street near filling station - Flannery stands in foreground with filling station man -

Newsboy enters from background shouting papers -

NEWSBOY: Extra! All about the Wall Street murder! All about the Wall Street murder. Extra - paper.

FLANNERY: Hey, boy!

The boy comes down from foreground to Flannery with paper --

In the background a car drives into scene toward filling station.

Newsboy goes away shouting his wares. His voice continues throughout the scene as he shouts:

NEWSBOY: PAPER! EXTRA! All about the Wall Street murder. Thank you. Paper, sir? Here you are.

MEDIUM SHOT on John's car going along.

CUT TO MEDIUM SHOT by filling station as John drives his car in to the foreground, stopping just where Flannery and the filling station man stand.

Newsboy's voice continues shouting:

Paper! Paper! All about the Wall Street murder! Paper - Extra! Extra! Evening Journal! All about the Wall Street murder.

CUT TO CLOSE SHOT on the filling station man, standing by car in which John sits - man gives broad and knowing wink to Flannery -

CUT TO MEDIUM SHOT on Flannery and John - who is in car - as Flannery opens the door of the car and speaks:

FLANNERY: Come on - get out on this side.

CUT TO CLOSE SHOT by John and Flannery -

JOHN: What for?

FLANNERY: Ride down to headquarters.

JOHN: Why?

FLANNERY: Take a look at those headlines.

As he says this, Flannery hands the paper he has just bought to John. John takes it and studies it -

CUT TO INSERT on the paper with glaring headlines about murder of Sir Lionel Grey.

CUT TO MEDIUM CLOSE SHOT by John and Flannery as John looks up from the paper to Flannery -

FADE OUT.

FADE IN

INTERIOR KIRK'S OFFICES -

MEDIUM SHOT as Flannery enters to Fife and Chan, who stands back to camera.

FLANNERY: The autopsy showed no signs of poisoning in the stomach but the lungs showed -

CUT TO CLOSE SHOT Fife with Chan, as Flannery finishes:

- gas.

FIFE: Has Douglas decided to talk yet?

CUT TO CLOSEUP on Flannery.

FLANNERY: He denies he was here last night but the fingerprints we found on the desk are his.

CUT TO CLOSE SHOT on Chan, Fife and Flannery -

CHAN: What about the elevator boy?

FLANNERY: Identified him positively -

CUT TO ANOTHER CLOSE SHOT of the group as Flannery continues:

- as the man he brought up and took down just about the time of the murder. When we proved Douglas was lying he shut up like a clam.

FIFE: That looks bad for him.

FLANNERY: He's guilty. If he isn't, why does he lie? Why is he afraid to talk?

CUT TO ANOTHER CLOSE SHOT of the three men.

CUT TO ANOTHER MEDIUM CLOSE ANGLE of the group as Fife continues:

CUT TO ANOTHER CLOSE ANGLE of the three.

Fife and Flannery laugh.

FLANNERY: Do you mean to say I have the wrong man?

CUT TO CLOSE SHOT of the three - different angle. Flannery tipped in.

CHAN: Can happen. Even wise fly sometimes mistake spider web for old -

CUT TO FULL SHOT on the three, Chan finishes:

CUT TO MEDIUM CLOSE SHOT on door as Flannery exits through it.

CUT TO CLOSE SHOT by Chan and Fife -

CUT TO CLOSE SHOT on door with glass panel against which man's shadow is seen.

CUT TO CLOSE SHOT by Chan and Fife, Fife starts away.

CUT TO MEDIUM SHOT in room as Fife goes to the door and opens it quickly, disclosing Paradise outside, listening.

PARADISE: Pardon, sir - I --

CUT TO CLOSE SHOT on Chan - he is watching suspiciously toward direction of Paradise (Off [scene]).

Voice of Paradise continues through shot --

PARADISE'S VOICE: I was just about to knock.

CUT TO MEDIUM SHOT on Fife and Paradise at door - as Paradise continues:

CUT TO MEDIUM SHOT by group of three - camera shooting toward Chan through doorway at which Fife and Paradise stand.

Paradise continues:

- and Miss Garland's waiting upstairs, sir.

FIFE: Thank you.

PARADISE: Yes, sir.

CUT TO CLOSE SHOT on Chan - watching toward direction of Paradise.

CUT TO MEDIUM SHOT by Chan.

Fife enters to him with the envelope in his hand.

(Chan has the paper in his hand and is examining it through magnifying glass)