The House on Punchbowl Hill



















 
 

Production Script:
CHARLIE CHAN'S COURAGE



CHARLIE CHAN'S COURAGE




PRODUCER: JOHN STONE

EXECUTIVE PRODUCER: WINFIELD R. SHEEHAN

DIRECTOR: GEORGE HADDEN

ASSISTANT DIRECTOR: SID BOWAN

SCREENPLAY: SETON I. MILLER

PHOTOGRAPHY: HAL MOHR

CAMERA OPERATOR: JOSEPH LA SHELLE

SETTINGS: DUNCAN CRAMER

FILM EDITOR: ALEX TROFFEY

GOWNS: ROYER

MUSICAL DIRECTION: SAMUEL KAYLIN

SOUND: ALFRED BRUZLIN




CAST OF CHARACTERS


Charlie Chan: WARNER OLAND

Paula Graham: DRUE LEYTON

Bob Crawford: DONALD WOODS

P. J. Madden: PAUL HARVEY

Martin Thorne: MURRAY KINNELL

Alexander Crawford: REGINALD MASON

Sally Jordan: VIRGINIA HAMMOND

Will Holley: SI JENKS

Professor Gamble: HARVEY CLARK

Maydorf: JERRY JEROME

Victor Jordan: JACK CARTER

Louie Wong: JAMES WANG

Constable Brackett: DE WITT C. JENNINGS

Hewitt: FRANCES FORD

Stenographer: LUCILLE MILLER

Mother: MARY MCLAREN

Child: GAIL KAYE

Taxi driver: LARRY FISHER

Porter: SAM MCDANIELS

Station lounger: CARL STOCKDALE

Chorus girls: LITA CHEVRET & SUSAN FLEMMING

Leading lady: CARLY LINCOLN

Leading man: JOHN DAVID HORSLEY

Heavy: GEORGE MAGRILL

Prop man: FRANK MILLS

Assistant director: SHERRY HALL

Eddie Boston: JAMES P. BURTIS

Director: PAUL MCVEY

Bliss: WADE BOTELER



CHARLIE CHAN'S COURAGE

FINAL SHOOTING SCRIPT
Dated: March 19, 1934


Adaptation and Screen Play by: Seton I. Miller



FADE IN:

SCENE 1
An effective stock shot of San Francisco through the Golden Gate.

FAST DISSOLVE TO:

SCENE 2
EXTERIOR JEWELRY STORE - FULL SHOT
The exterior of a very exclusive jewelry store in a smart district. On the window is the simple legend:

"CRAWFORD, LTD."

FAST DISSOLVE TO:

SCENE 3
INTERIOR CRAWFORD'S OFFICE - MEDIUM SHOT
A luxurious private office. Alexander Crawford, a fine-looking, kindly, middle-aged man, with grey hair, is
on the phone.

CRAWFORD: ...I'm sorry, Mr. Van Dusen...the ring is eight thousand...all right, sir...thank you...we'll send it to Mrs. Van Dusen this afternoon...Oh, I beg your pardon...Miss Evelyn Fontaine. (He scribbles an address) ...Yes, sir. Good-bye.

He hangs up with a faint smile. The secretary enters.

SECRETARY: Mrs. Jordan is here, Mr. Crawford.

Crawford's face lights. He gets up eagerly, crossing.

CRAWFORD: Have her come in.

The secretary ushers Mrs. Jordan in. She is a frail, lovely woman of about forty-five. She smiles warmly.

MRS. JORDAN: Hello, Alex.

SCENE 4
AT TWO - MEDIUM CLOSE

CRAWFORD: (Affectionately) 'Morning, Sally.

MRS. JORDAN: I couldn't believe your message. Have you really found a buyer?

Crawford nods and ushers her toward a chair beside the desk.

CRAWORD: Yes...I was surprised myself...

SCENE 5
AT DESK - MEDIUM CLOSE
As they sit down he continues.

CRAWFORD: ...his name is Madden -- P.J. Madden.

MRS. JORDAN:
(With quick interest) The Wall Street Plunger?

Crawford nods, looking at her thoughtfully.

CRAWFORD: Are you sure you want to sell the Cavanaugh pearls, Sally?

Mrs. Jordan nods silently.

It seems a shame...It's your father's gift...I thought that necklace would be the last thing you'd part with.

MRS. JORDAN:
(A sad smile...quietly) It is. I'm broke, Alex.

CRAWFORD:
(Startled) You mean the whole Cavanaugh fortune is gone...ships...everything?

MRS. JORDAN: Yes. It seems absurd, doesn't it?

Crawford gets up, decidedly upset.

SCENE 6
AT CRAWFORD - MEDIUM CLOSE as he paces up and down a few steps, silent, but troubled. He turns back to her.

CRAWFORD: (Quietly) I wish you hadn't let your son take charge of the estate.

SCENE 7
MRS. JORDAN - CLOSEUP

MRS. JORDAN: (Wistfully) I know...Victor's been foolish and reckless... (She smiles up at him) ...but he's all I have since Fred went. I'm sticking by him.

SCENE 8
AT TWO - MEDIUM CLOSE

CRAWFORD: (In quiet admiration) Still the same good sport.

It is obvious that Mrs. Jordan never had much to do with business. She hesitates, then asks.

MRS. JORDAN: (Hesitantly) Did he...say what he'd be willing to pay for them?

CRAWFORD:
(Nodding) Three hundred thousand.

MRS. JORDAN:
(Startled...at a loss) But father only paid a hundred and fifty thousand.

CRAWFORD:
(Smiling) Yes...thirty years ago. That necklace is one of the finest sets of matched pearls in the world. It's worth a half million on today's market.

Mrs. Jordan's face lights hopefully.

SCENE 9
AT DOOR - MEDIUM CLOSE
Crawford's secretary again appears.

SECRETARY: (Respectfully) Mr. Madden is here.

Madden strides in, followed by his secretary. He doesn't wait for formality. Madden is over six feet tall, terrifically dynamic and powerful, with iron grey hair and cold grey eyes that bore through people. His secretary, Martin Thorne, is small, slender and dapper...suavely efficient...about thirty-five...a hint of hidden cunning in his face.

MADDEN: (Tersely...as he enters) Crawford?

SCENE 10
AT CRAWFORD AND MRS. JORDAN
CLOSE SHOT -
The two are surprised at the abrupt appearance. Crawford nods quietly. Madden's speech is abrupt, almost rude; he wastes no time, nor does he brook argument.

CRAWFORD: Yes.

He starts toward Madden.

SCENE 11
AT GROUP - MEDIUM SHOT as he crosses and offers his hand.

CRAWFORD: How do you do?

Madden nods. Crawford courteously presents Madden to Mrs. Jordan.

CRAWFORD: Sally...May I present Mr. Madden...Mrs. Jordan.

Mrs. Jordan nods. Madden's rock-like face does not relax at all.

MADDEN: How d'you do...? (He abruptly indicates his secretary) ....Thorne, my secretary.

Thorne bows suavely and silently. Crawford indicates a chair as he crosses and sits down at his desk.

CRAWFORD: Will you gentlemen be seated?

Madden ignores the proffered chair, crossing to the desk.

MADDEN: There's no need of any preamble, Crawford. I've come to see those pearls.

SCENE 12
AT DESK - MEDIUM CLOSE
Crawford looks at him in surprise.

CRAWFORD: I'm afraid I gave you the wrong impression. They aren't in San Francisco.

MADDEN:
(Angrily) But when you told me to come here and meet the owner....

Crawford is slightly resentful, interrupting quietly.

CRAWFORD: I meant just that.

MRS. JORDAN: I'm sorry, Mr. Madden. I didn't intend to sell the necklace when I left Honolulu, but I've sent for it.

SCENE 14
THORNE - CLOSE SHOT
Thorne is watching the group narrowly as the voices come into scene.

MADDEN'S VOICE: (Tersely) When will it get here?

MRS. JORDAN'S VOICE: Thursday morning.

Thorne is decidedly interested.

SCENE 15
AT DESK - MEDIUM CLOSE

MADDEN: No good. I'm leaving this afternoon for my desert place near El Dorado. After a few days I'm going on to New York.

CRAWFORD: I could deliver the necklace in New York.

Madden reaches an abrupt decision.

MADDEN: All right...I'll buy it if you're willing to take my price...three hundred thousand.

Crawford looks at him squarely.

CRAWFORD: It's worth a half million, Mr. Madden. You're driving a hard bargain.

SCENE 16
CLOSEUP - MADDEN

MADDEN: I always drive a hard bargain. Take it or leave it.

He stares a grim challenge.

SCENE 17
CLOSE SHOT - AT CRAWFORD AND MRS. JORDAN -
Mrs. Jordan turns to Mrs. Crawford, nodding quietly.

MRS. JORDAN: It's all right, Alex. I accept.

SCENE 18
MEDIUM SHOT - AT FOUR

MADDEN: (Nodding briskly) Good...fifty thousand down...the balance within thirty days of delivery.

Mrs. Jordan nods acceptance. Madden turns to Crawford, indicating Thorne.

Thorne'll come over this afternoon with the check and pick up the bill of sale.

Thorne suavely addresses Mrs. Jordan.

THORNE: You say the pearls will arrive Thursday Morning?

Mrs. Jordan nods.

SCENE 19
CLOSEUP - CRAWFORD
He is watching Thorne narrowly as the latter continues off scene, ingratiatingly.

THORNE'S VOICE: Ah, yes...and they're coming by...?

CRAWFORD:
(Interrupting firmly) By private messenger.

SCENE 20
CLOSE SHOT - THORNE AND MADDEN
Thorne turns to look suavely at Crawford off scene.

THORNE: Of course. (He turns to Madden) I was thinking, Chief...we'll be at the desert until Saturday...he could deliver it there, and you could take it back to Miss Madden yourself.

MADDEN:
(Glaring at him) You're a fool, Thorne! Do you think I'd carry that string clear across country and take a chance of getting robbed?

(Thorne shrugs)

(Madden turns to Crawford...emphatically) I want them delivered to my offices in New York and nowhere else!

SCENE 21

MEDIUM SHOT - AT GROUP
Crawford nods. Madden picks up his hat as if to leave. Thorne moves toward the door.

MRS. JORDAN: Mr. Madden...

Madden turns inquiringly.

SCENE 22
CLOSEUP - MRS. JORDAN
She is looking at him curiously.

...I don't want any trouble about the necklace. What if it isn't satisfactory? You're paying this huge sum without ever seeing it.

SCENE 23
CLOSEUP - MADDEN
He looks at her grimly.

MADDEN: I've seen you wear it many times in Honolulu.

SCENE 24
CLOSE SHOT - CRAWFORD AND MRS. JORDAN
The two stare at him in startled surprise.

MRS. JORDAN: (Uncertainly) I...I don't remember you.

SCENE 25
AT MADDEN AND THORN - MEDIUM CLOSE
Madden in foreground, Thorne in background by the door.

MADDEN: (Tersely...almost grimly) You never looked at me. I used to be a bellboy in the hotel where you gave your parties...I've wanted that necklace for years. Good day.

He turns on his heel toward the door. Thorne opens it and the two exit.

SCENE 26
AT CRAWFORD AND MRS. JORDAN - MEDIUM CLOSE SHOT
The two look after him in stunned amazement as the sound of the door closing comes into scene.

SCENE 27
OUTER OFFICE - FULL SHOT
As Madden and Thorne cross toward the store doorway, Bob Crawford hurries in. He is a fine looking, pleasant, energetic young man of about thirty. Thorne and Madden pay no attention to him as he crosses toward the desk, but Bob gives them a brief interested glance. They exit.

BOB: Has Mrs. Jordan come yet?

SECRETARY: She's with your father.

He enters the private office.

SCENE 28
PRIVATE OFFICE - MEDIUM SHOT
Bob enters briskly, closing the door. He has a great affection for Mrs. Jordan.

BOB: Hello, Sally--- (He gives her an affectionate kiss) -- has Dad been taking good care of you? (Mrs. Jordan nods. Bob turns to Crawford) --What luck with the necklace?

CRAWFORD: Sold it to Madden.

BOB:
(Nodding toward door) Was that him?

CRAWFORD: Yes.

BOB: Big bruiser, isn't he?

SCENE 29
EXTERIOR JEWELRY STORE - AT CURB
Madden and Thorne are getting into a limousine. A taxi is parked about twenty feet behind it.

SCENE 30
AT TAXI - DRIVER'S SEAT - CLOSE
A stocky, hard-faced driver is watching the two men narrowly.

SCENE 31
TOWARD LIMOSINE - HIS ANGLE
Thorne gets in after Madden and slams the door. The limousine starts away.

SCENE 32
AT TAXI - MEDIUM CLOSE
The driver quickly starts his motor and pulls away from the curb.

SCENE 33
STREET - FULL SHOT
As the taxi swings out from the curb following the limousine.

SCENE 34
CRAWFORD'S PRIVATE OFFICE - AT DESK - MEDIUM CLOSE

BOB: How's the necklace coming over?

MRS. JORDAN: Charlie Chan's bringing it. He's a detective sergeant with the Honolulu police.

CRAWFORD:
(He remembers the name) Chan...didn't he used to be your number one boy?

MRS. JORDAN: Yes...at the big house on the beach...when Bob was little. He's always been devoted to me.

BOB:
(Grinning) I remember him. He used to catch me every time I raided your cookie jar, and chase me out of the house. When does he get in?

MRS. JORDAN: Thursday morning, on the 'President Pierce.'
(She smiles reminiscently) He's planning to take a real vacation.

CRAWFORD:
(To Bob) You better meet him at the boat, Bob.

BOB: I'll do that.
(He gets up, indicating Mrs. Jordan) Is it all right if I take this good-looking young lady to lunch?

CRAWFORD:
(Smiling) Sure, if I can come along too.

Bob turns to Mrs. Jordan, indicating his father, as the latter gets up.

BOB: Will he bore you?

Crawford, who is reaching for his hat, gives an indignant snort.

CRAWFORD: Fresh young pup!

As they start for the door, we

FADE OUT.

FADE IN:

SCENE 35
EXTERIOR EXCLUSIVE MEN'S CLUB - DAY - FULL SHOT - "THE METROPOLITAN CLUB."
Two cabs are parked a few feet away from the club. In the rear one a man is sitting in the back seat. Bob comes down the steps of the club briskly, and walks out toward the curb.

SCENE 36
AT FIRST CAB - DRIVER'S SEAT - CLOSE SHOT
We see the same hard-faced driver that was parked outside Crawford's jewelry store. His eyes narrow at the sight of Bob. He quickly starts his motor and drives forward.

SCENE 37
BOB AT CURB - MEDIUM CLOSE
The cab stops in front of Bob.

DRIVER: Taxi?

BOB:
(Nodding) Pacific Navigation Dock.

As Bob starts to get in, he glances casually toward second cab.

SCENE 38
SECOND CAB - BOB'S ANGLE
The man in the rear seat (Maydorf) is leaning forward, talking to the driver. Both are looking toward Camera. They see Bob looking and quickly look away, Maydorf sitting back. He is a hard-faced gangster type with slouch hat and dark top coat.

SCENE 39
INTERIOR BOB'S CAB - MEDIUM CLOSE
Bob gets in with slight suspicious frown. The driver slams the door.

SCENE 40
AT TWO CABS - MEDIUM SHOT
Bobs cab drives away. The second cab follows.

SCENE 41
INTERIOR BOB'S CAB - MEDIUM CLOSE SHOOTING TOWARD REAR
We see the other cab following. Bob glances back as his cab rounds a corner and sees the other cab follow. His eyes narrow.

FAST DISSOLVE TO:

SCENE 42
STREET - EXTERIOR DOCK - MEDIUM CLOSE SHOT
The cab enters and stops. Bob gets out and gives the driver a bill.

BOB: Keep the change.

DRIVER: Thanks.
(A little over-eager) There'll be a rush for cabs goin' back. I'll wait for yuh.

There is a flicker of amusement in Bob's eyes as he exits.

SCENE 43
AT CURB - MEDIUM CLOSE
As the second cab comes to a stop. Maydorf climbs out, nods to the driver and saunters after Bob.

SCENE 44
DOCK - MEDIUM SHOT
The ship gangplank is just being placed in position. There is a crowded bustle on the dock. Bob pushes through the crowd toward the bottom of the gangplank. Maydorf casually follows, at no time watching Bob or appearing to be interested in him.

SCENE 45
BOTTOM OF GANGPLANK - MEDIUM CLOSE
Bob stops in a position a short distance from the bottom of the gangplank. He looks casually around.

SCENE 46
MAYDORF - BOB'S ANGLE
A short distance from CAMERA Maydorf is pushing between two people, and comes to a stop casually, watching the crowd, not once glancing toward CAMERA.

SCENE 47
AT BOB - MEDIUM CLOSE
He looks toward the boat again, a faint grin coming into his face.

SCENE 48
BOAT DECK - EDGE OF CROWD - MEDIUM CLOSE SHOT -
Charlie Chan is squatting down, talking to three little American children...a boy and two girls...the youngest about three. Their mother stands beside them, smiling down at the scene.

CHAN: (Smiling fondly) Now we must say good-bye.

TINY GIRL: Please don't go away, Charlie.

CHAN:
(To all three) Sometime we hunt Indians again. (He pats the little girl's cheek and gets up, smiling at mother)...my knowledge of Indians most limited.

SCENE 49
CHAN AND WOMAN - MEDIUM CLOSE

MOTHER: But you certainly know a lot about children, Mr. Chan.

CHAN: Experience comes with ripe years.

He draws a picture from pocket and gives it to her. She inspects it.

INSERT:
Picture of a long line of Chan's children, ranged down in size.

CHAN'S VOICE: (Off scene) Have learned much from honorable family.

BACK TO SCENE

He takes out a smaller picture and hands it to her.

INSERT:
Of picture a Chinese baby of six months.

CHAN'S VOICE: Added blessing too late to be included.

BACK TO SCENE:

The woman gives the pictures back.

WOMAN: You're most fortunate.

CHAN:
(Smiling) Sometimes have entertained doubts when walking floor.

A whistle shrills off scene.

VOICE: All ashore.

The crowd starts to move. Chan picks up his grip.

SCENE 50
DECK - AT GANGPLANK - MEDIUM SHOT
The crowd starts ashore.

SCENE 51
DOCK - MEDIUM SHOT
Bob and Maydorf watching in the crowd...Maydorf expectantly alert.

SCENE 52
GANGPLANK - CLOSE PAN SHOT
Chan appears at the top of the gangplank. WE PAN WITH HIM as he walks down.

SCENE 53
BOB - CLOSE SHOT
We see a faint flicker of recognition in Bob's face, then he continues to stare indifferently at the top of the gangplank.

SCENE 54
BOTTOM OF GANGPLANK - MEDIUM SHOT
Gangplank in foreground. Maydorf is watching Bob and the gangplank. Chan reaches the bottom of the gangplank, looking around, as if seeing if anyone is there to meet him, then ambles out of scene. Bob gives no sign of recognition, ignoring him, continuing to look at gangplank expectantly.

SCENE 55
AT CROWD - MEDIUM SHOT
As Chan ambles across and disappears in the crowd.

SCENE 56
BOB - MEDIUM CLOSE
Bob continues to stare up the gangplank a moment, then casually turns and starts to retrace his steps toward the taxi.

SCENE 57
MAYDORF - CLOSE SHOT
A look of helpless surprise from Bob to the gangplank and back to Bob again. He frowns ominously and exits after Bob.

SCENE 58
STREET - TAXI - MEDIUM SHOT
Bob saunters off the dock toward taxi. Maydorf idles in the edge of the crowd looking back toward the ship, but keeping an eye on the taxi.

SCENE 59
AT TAXI - MEDIUM CLOSE SHOT
The driver is surprised to see Bob return alone. He opens the door as Bob enters scene.

DRIVER: Wasn't you expectin' somebody on the ship?

BOB:
(Grinning) Yes...I came down to meet the Dowager Empress of Siberia...but they tell me she's dead.

He turns and walks up the street, leaving the taxi driver staring helplessly.

FAST DISSOLVE TO:

SCENE 60
HOTEL SUITE - LIVING ROOM - FULL SHOT
Crawford is pacing up and down worriedly. Mrs. Jordan is apprehensive. her son, Victor, is at a table mixing a scotch and soda. He is a dissipated, spoiled young man with a pouchy face and flabby shape that shows excess of living. He is faultlessly dressed.

CRAWFORD: ...I don't like the looks of the whole thing, Victor.

VICTOR:
(A contemptuous snort) Nonsense! If Madden wants to change his mind, that's his business. It isn't up to us to question his orders.

He samples the drink. A buzzer sounds off scene. All turn expectantly. Victor crosses quickly to door.

SCENE 61
AT DOOR - MEDIUM CLOSE
Victor opens it, revealing Chan. Victor addresses him with careless condescension.

VICTOR: Hello Charlie.

There is a flicker of dislike in Chan's eyes.

CHAN: Good morning.

He steps into the room.

SCENE 62
ROOM - MEDIUM CLOSE SHOT
Mrs. Jordan hurries forward, relieved and happy. She has a great affection for Chan. Crawford is puzzled and worried as he notes Chan is alone.

MRS. JORDAN: I'm so glad you're here safely.

Charlie idolizes Mrs. Jordan.

CHAN: Thank you so much.

MRS. JORDAN: Did you have a good trip?

CHAN: Always pleasant journey which ends among old friends.

Mrs. Jordan turns to Crawford.

MRS. JORDAN: Alex, you remember Charlie Chan.

CRAWFORD: Yes, indeed. How do you do.

CHAN:
(Bowing) Mr. Crawford always honored guest at Jordan home.

SCENE 63
JORDAN - CLOSEUP

CRAWFORD: Didn't my son come with you? He was supposed to meet you at the dock.

SCENE 64
AT CHAN AND VICTOR - MEDIUM CLOSE

CHAN: (Apologetically) So sorry. Found no one waiting at bottom of gangboard, so I engage taxi and hurry to this spot.

VICTOR:
(Impatiently) Bob probably missed him in the crowd. (He turns to Chan) Have you got the pearls, Charlie?

Chan nods and pulls a worn old money belt from his pocket.

CHAN: Travel securely around waist. (He takes a velvet bundle from the belt, as he continues) Responsibility makes them rest heavy on unworthy stomach...like sour rice.

Victor holds out his hand for the bundle, but Chan serenely ignores it, exiting from scene.

SCENE 65
AT MRS. JORDAN AND CRAWFORD - MEDIUM CLOSE
Chan enters and hands the bundle to Mrs. Jordan.

MRS. JORDAN: Thank you, Charlie.

CHAN: Now most enjoyable vacation begins.

Mrs. Jordan wraps a gorgeous triple string containing about one hundred and fifty large and exquisitely matched pearls. Crawford gazes at them with tremendous admiration. There is a fleeting expression of regret on Mrs. Jordan's face.

INSERT: Of pearls in Mrs. Jordan's hand.

CRAWFORD'S VOICE: (Off scene) It's been so long...I'd forgotten how exquisite they were.

BACK TO SCENE: Mrs. Jordan hands them to him.

CRAWFORD: (Gently) I know how you feel, Sally.

Mrs. Jordan shrugs and gives a slight smile. She is a good loser. The buzzer sounds again off scene.

SCENE 66
ROOM - MEDIUM SHOT
Victor crosses and opens the door. Bob breezes in.

BOB: Hello, Vic.

Recognition flickers in Chan's eyes.

CRAWFORD: What happened to you?

BOB:
(Emphatically) Plenty.

MRS. JORDAN: Bob, this is Charlie Chan...Mr. Crawford.

SCENE 67
AT BOB AND CHARLIE - CLOSE SHOT
The two strike an immediate note of renewed friendship.

BOB: (Grinning) I think he recognizes me.

CHAN:
(Smiles and nods) Fondly recall many races from cookie jar to back door.

SCENE 68
CRAWFORD - CLOSEUP

CRAWFORD: Why didn't you meet him at the station?

SCENE 69
GROUP - MEDIUM SHOT
Bob turns to him and speaks quickly and incisively.

BOB: (His words cause interest and alarm in the others' faces) Because a hard looking bird followed me down there in another taxi and stuck to me like a leech on the dock. He wanted to go see who I was going to meet, so I didn't meet anyone.

SCENE 70
CHAN - CLOSEUP
His face is impassive, but his eyes narrow with interest.

BOB'S VOICE: (Off scene...quietly) My taxi driver was in on it, too.

CRAWFORD'S VOICE:
(Off scene...anxiously) Did the follow you back uptown?

BOB'S VOICE:
(Off scene) Yes...but I ditched them at the club...ducked out the kitchen door.

Crawford's fears are confirmed. He whirls on Victor.

CRAWFORD: (Explosively) told you that something's wrong. (To Bob) Someone called me this morning and pretended to be Madden. He tried to find out who was bringing the necklace. When I questioned him, he hung up.

SCENE 71
BOB - CLOSEUP
Bob realizes there is danger. He is thoughtful.

BOB: Not so good.

SCENE 72
CRAWFORD - CLOSEUP

CRAWFORD: (Grimly) Worse than that. About an hour later Madden phoned from the desert. He wants the pearls delivered there...tomorrow.

SCENE 73
AT BOB - CRAWFORD - CHAN - MEDIUM CLOSE

BOB: But I thought he insisted on our sending them to New York.

CRAWFORD: That's just the point. The whole thing looks rotten.

SCENE 74
CHAN - CLOSEUP

CHAN: (Quietly) Humbly beg to interrupt. You're sure this was the real Mr. Madden?

SCENE 75
CHAN AND CRAWFORD - CLOSE SHOT

CRAWFORD: Yes...I'd swear it was his voice. I put in a return call to the desert. He was there, all right...and repeated his orders.

CHAN: He offers excuse for changing?

CRAWFORD:
(Nodding) He said his daughter was coming from Chicago. He wants to meet her there and give her the necklace.

SCENE 76
AT GROUP - CLOSE SHOT

VICTOR: (Fuming with impatience) Well...isn't that reason enough? You're trying to build up a lot of danger out of nothing.

Crawford turns on him coldly.

CRAWFORD: (Tersely) Madden stated in my office that he wouldn't carry the necklace...too much chance of robbery. Why didn't he ask us to deliver it in Chicago?

MRS. JORDAN: They're right, Victor.
(Turning to Crawford) But if he wants it delivered there, we'll have to oblige him, Alex. I can't risk losing the sale.

Crawford nods thoughtful agreement. Mrs. Jordan turns and looks at Chan.

SCENE 77
AT MRS. JORDAN AND CHAN - CLOSE SHOT

MRS. JORDAN: Charlie...I've asked so much of you already, but will you do one more great favor and take this to the desert?

Chan nods and smiles.

CHAN: When proper person is encountered, pearls will be delivered.

MRS. JORDAN:
(Quietly) I'm very grateful.

CHAN: Humble servant can never repay many kindnesses.

Mrs. Jordan smiles her gratitude.

SCENE 78
AT GROUP - MEDIUM SHOT
Chan continues to Bob.

CHAN: (Thoughtfully) Many facts stated here suggest possibility of unknown danger in delivering pearls. Beg to request your valuable help in present matter.

BOB:
(Promptly) Certainly. I'd be glad to.

SCENE 79
CHAN - CLOSEUP

CHAN: (Nodding) Thank you so much. (He smiles) Blind man feels ahead with cane before proceeding.

SCENE 80
BOB - CLOSEUP
A grin dawns on his face as he realizes Chan's idea.

BOB: And I'm the one to be the cane, right?

SCENE 81
GROUP - MEDIUM SHOT

CHAN: (Nodding) Most correct. Humbly suggest that you arrive at ranch ahead of time. I follow later with necklace. If all is correct, we deliver same.

BOB: Great!
(He turns to his father enthusiastically) I'll fly down to Los Angeles after lunch and catch the afternoon train out to the ranch.

CHAN:
(Mildly) Tread softly. Beg to recall that hen squats with caution on thin egg.

FAST DISSOLVE TO:

SCENE 82
LOS ANGELES TRAIN PLATFORM - DAY - MEDIUM PAN SHOT
Bob strides along the platform towards his car, carrying a suitcase, topcoat and newspaper.

SCENE 83
AT CAR STEPS - MEDIUM CLOSE
As Bob enters and gives his grip to porter. In background, a man and a girl are standing. The man has a hard, forceful face. The girl, Paula, is decidedly beautiful, with poise and self-possession. She has a grip and a couple of magazines.

SCENE 84
AT PAULA AND MAN - MEDIUM CLOSE
They see Bob and stare at him with apparent impersonal interest.

SCENE 85
BOB - CLOSE SHOT
As he is about to get on the car, he catches sight of the couple and sees them looking at him.

SCENE 86
PAULA AND MAN - BOB'S ANGLE - MEDIUM LONG SHOT
They are looking toward CAMERA for an instant, then turn back to each other. The man says something, Paula nods. He tips his hat and leaves.

SCENE 87
AT CAR STEPS - CLOSE SHOT
Bob mounts the steps and disappears into the car.

SCENE 88
PAULA - MEDIUM CLOSE PAN SHOT
As she picks up her grip, WE PAN WITH HER ACROSS TO THE CAR STEPS. She also enters the car.

SCENE 89
INTERIOR CAR - BOB'S SEAT - CLOSE SHOT
The porter is just leaving. Bob tosses his topcoat on the other seat and sits down with his paper.

SCENE 90
INTERIOR CAR - MEDIUM SHOT
Porter re-enters carrying Paula's bag. Paula follows. The train starts. (Sound effects of starting train) The porter puts Paula's bag across the aisle from Bob. Paula glances impersonally at Bob and sits down.

SCENE 91
BOB - CLOSE SHOT
He looks across. His eyes narrow with suspicious interest.

SCENE 92
AT TWO SEATS - MEDIUM CLOSE
The porter leaves. Paula glances across and sees Bob staring. Bob looks back at his paper. Paula turns coldly back and takes a magazine. We hold for a moment with the two grimly reading, and

FAST DISSOLVE TO:

SCENE 93
RAILROAD STATION - MEDIUM SHOT - NIGHT
A small, dingy desert station with the name "EL DORADO". (The town is practically a water stop...a small hotel, restaurant, a few wooden buildings, and across from the station, a quaint ramshackle garage, formerly a stable.) In the distance we see the headlights and hear the whistle of the approaching train.

SCENE 94
INTERIOR BOB'S CAR - AT TWO SEATS MEDIUM CLOSE SHOT
We hear the whistle and bell as the train slows down. The conductor comes slowly through.

CONDUCTOR: El Dorado... El Dorado.

He walks between the two seats, concealing the two from each other. They get up and start gathering their things. The conductor walks from between them and they see each other with suspicious stares, and turn away. The porter takes their grips and exits. Paula exits coldly, Bob following.

SCENE 95
EXTERIOR CAR STEPS AND PLATFORM - MEDIUM CLOSE
Platform is dimly lit. Paula descends, takes her grip and tips the porter. Bob does the same, the two paying no attention to each other.

PORTER: Thank you, Miss. Thank you, suh.

Paula walks around station to road. Bob turns to one of two or three small town characters lounging on the platform. As they talk, the train starts to pull out.

BOB: Is there a taxi around here I could hire?

MAN:
(Meditating) Wal...about the only one is in the garage across the road, but it ain't no taxi...it's a flivver.

BOB: Thanks.

He strides around the opposite end of the station from Paula.

SCENE 96
BOB'S END OF THE STATION FROM ROAD - MEDIUM CLOSE SHOT
He comes around the end of the station, heading across the road.

SCENE 97
PAULA'S END OF THE STATION FROM ROAD - MEDIUM CLOSE SHOT
Paula is just handing her grip to a middle-aged character in shirt sleeves.

PAULA: You can leave it in the lobby.

MAN: Yes ma'am.

He exits. Paula starts across the road.

SCENE 98
STATION - FROM ACROSS ROAD - FULL SHOT
Bob and Paula walk across the road converging toward CAMERA as if heading for the same place. Bob is slightly behind, coming diagonally. They catch sight of each other as they approach. Paula comes to a sudden stop in the near side of the road, glaring coldly at Bob.

PAULA: (Coldly) Are you following me or am I following you?

BOB:
(Grimly) I'm beginning to wonder myself.

PAULA:
(Sarcastically) Perhaps we can go from here together.

BOB:
(Sardonically) Delighted...where are you going?

Paula glares at him and marches out of scene. Bob Follows.

SCENE 99
EXTERIOR GARAGE ENTRANCE - MEDIUM CLOSE
Paula stalks into the garage. Bob follows.

SCENE 100
INTERIOR GARAGE - TOWARD ENTRANCE - MEDIUM SHOT
A ramshackle interior littered with parts of cars. There is also an antique Ford touring car. The front corner contains a battered desk and ancient cash register. Will Holley is leaning back against the wall, smoking a frayed cigar and looking through a Sears-Roebuck catalog (A Chic sale type). He is a small middle-aged man, wizened and weather beaten.

Paula enters, Bob following. Holley beams a welcome, shutting the catalog and getting up.

HOLLEY: Evenin', folks.

Paula realizes from his words that Bob has also entered and gives a brief cold glance back and then addresses Holley.

SCENE 101
AT PAULA AND HOLLEY - MEDIUM CLOSE

PAULA: Do you run a taxi?

HOLLEY: Yes, Ma'am... sort of.

PAULA: How much will you charge to the Madden ranch.

SCENE 102
BOB - CLOSEUP
Bob watches off scene, surprised.

HOLLEY'S VOICE: (Off scene...pensively) Well, let's see...twelve miles each way...

SCENE 103
AT PAULA AND HOLLEY - MEDIUM CLOSE
Holley is scratching his chin, half figuring to himself.

HOLLEY: ...Twenty-four...a gallon and a half... (He announces seriously) ...seventy-five cents.

PAULA: (Amused) All right.

HOLLEY:
(Adding quickly) ...And five cents tax.

Paula nods again. Holley exits.

SCENE 104
AT CASH REGISTER - CLOSE SHOT
Holley enters, pushes the "No Sale" key on the cash register and it flies open with a loud crash and jangle of a bell. Holley carefully deposits his cigar in the money drawer and slams the register shut, exiting from the scene.

SCENE 105
AT PAULA AND BOB - MEDIUM CLOSE
They are both amused at Holley's character. During he ensuing lines, we hear Holley cranking and starting the Ford off scene. Bob looks at Paula, amused.

BOB: So you're going to Madden's?

PAULA: Yes... but you're not.

BOB:
(Chuckling) I'll have to...this is the only cab.

PAULA:
(Staring at him in surprise) Were you really going there?

BOB:
(Grinning) Sure.

Paula's eyes crinkle with amusement, then she starts to laugh.

PAULA: (In apology) I'm sorry.

BOB:
(Grinning) You should be.

SCENE 106
INTERIOR GARAGE - MEDIUM SHOT - TOWARD DOOR -
Holley stops the car beside them and they get in. Bob slams the door. Holley gooses the rattly old motor and the car takes a flying leap out of the garage.

SCENE 107
EXTERIOR GARAGE - AT ENTRANCE - MEDIUM SHOT
As the car rushes out and swings sharply, the back wheel missing the ramp and bounding violently down over the curb, roaring away down the road.

SCENE 108
BACK SEAT - AT TWO - CLOSE SHOT (PROCESS)
(The ensuing scenes of the ride are all processed against the faintly lighted night desert. The sound of the speeding rattling motor coming into scene.) Paula and Bob are half in each other's laps from the bounce, and Paula's hat is askew. They manage to get straightened out. Paula pushing her hat back to its normal position.

BOB: Starts out interestingly.

SCENE 109
HOLLEY - CLOSE SHOT
He plays the ensuing scenes always looking ahead, watching the road, but taking a serious, talkative interest in his passengers.

HOLLEY: (Seriously) It gets more interestin' further on...

SCENE 110
AT PAULA AND BOB - CLOSE SHOT
They look in surprised amazement as the voice continues.

...finest country in the world.

SCENE 111
AT THREE - MEDIUM CLOSE SIDE SHOT
They rattle along in silence an instant.

HOLLEY: You folks newlyweds?

Paula and Bob glance at each other in amusement.

BOB: (Dryly) No...we've never met before.

HOLLEY: Oh...
(An instant's pause) Well...the desert's a right nice place to meet. (He squints at the sky critically.) Too bad the moon isn't up...the sky gets mighty purty.

SCENE 112
AT PAULA AND BOB - CLOSE SHOT
As she speaks, she draws her coat collar more closely around her neck. Bob is surprised to see a large and lovely square cut emerald ring on her engagement finger.

INSERT: OF PAULA'S HAND on fur collar, showing the emerald ring.

BACK TO SCENE:

There is a flicker of disappointment in Bob's face. Paula catches him looking at her emerald.

BOB: (With reluctant admiration) Lovely emerald.

Paula opens her mouth to reply bit is interrupted by Holley's voice.

HOLLEY'S VOICE: (Off scene...Critically) No...it's more deep blue...except just after sunset.

Bob turns and stares helplessly ahead at Holley, then looks back at Paula, and sees she is amused. He grins.

BOB: (Quietly) You haven't told me your name.

HOLLEY'S VOICE: Will Holley.

Paula gives him a flickering amused glance, then looks at Holley.

PAULA: Thanks.

SCENE 113
HOLLEY - CLOSE SHOT
He is seriously steering away and nods.

HOLLEY: You're right welcome, Ma'am. Everyone knows me around these parts.

SCENE 114
AT THREE FROM SIDE - MEDIUM CLOSE
Paula turns to Bob.

PAULA: I'm Paula Graham.

BOB:
(Blurting quietly) I'm Bob Crawford.

He ends his words with an emphatic nod at Holley as if saying, "That's a time I beat you."

HOLLEY: Glad to meet you.

Bob stares at him helplessly.

Do you know Madden well?

Bob gives up, sinking back in his seat.

BOB: No.

Holley chatters on seriously.

HOLLEY: Neither do I. He doesn't stay here much. There's just a Chinese caretaker...Louie Wong...and Tony. Louie went into Los Angeles yesterday...he inherited some money.

The last words make Bob sit up a little in alert interest.

PAULA: (Amusedly) And who's Tony?

HOLLEY: Oh, he's just a parrot.
(He chuckles) The darn thing can talk Chinese. Folks around here call him the Chinese Parrot.

Bob nods dryly.

BOB: That seems logical.

HOLLEY: Sure it does.

SCENE 115
REAR SEAT - AT TWO - CLOSE SHOT
Bob sinks back defeated and silent. Paula looks at him in amusement. He sees her and grins sheepishly and then leans close to her and whispers.

BOB: (Whispering) Let's whisper.

FAST DISSOLVE TO:

SCENE 116
HOLLEY - CLOSE SHOT
Driving serenely along. He points ahead.

HOLLEY: There's the ranch...them lights up ahead.

SCENE 117
AT THREE - FROM SIDE - MEDIUM CLOSE
As Paula and Bob sit up and look ahead interestedly.

SCENE 118
ROAD AHEAD - FROM CAR - LONG MOVING SHOT (PROCESS)
About three blocks ahead, off to one side of the road, are twinkling lights.

SCENE 119
AT THREE - FROM SIDE - MEDIUM CLOSE
As Bob and Paula start sinking back, there comes from a distance two revolver shots. Bob and Paula sit up startled.

BOB: Those were shots!

HOLLEY:
(Surprised and startled) Sounded like a forty-five.

BOB: They seemed to come from the ranch.

HOLLEY: Sure did. Madden keeps a lot of guns there...but I can't figure him shooting at night.

SCENE 120
ROAD - AT GATE - MEDIUM SHOT
As the car slows down and turns in the gate. (In the ensuing exterior shots, we see that the house is a luxurious rambling one story, Spanish structure, with landscaping, cactus beds and shrubbery.) The gates are partly closed. Holley lets the nose of the car push them open and leans out to push the near gate.

SCENE 121
TOWARD GARAGE - MEDIUM SHOT
The garage is dark. The car's headlights swing across it, revealing a middle-aged man in prospector's clothes, with a bearded face. He has stopped and turned, crouching startedly, looking toward the lights. He darts off into the darkness. (The whole scene is just a flash of action)

SCENE 122
INTERIOR CAR - ALL THREE - MEDIUM CLOSE
Bob and Paula are staring toward the garage. Holley is just coming upright.

BOB: Who was that?

HOLLEY: Where?

BOB:
(Quickly) By the garage. A man ran past it.

HOLLEY:
(Frowning) Didn't see him.

SCENE 123
CAR - AT ENTANCE - CLOSE SHOT
Car stops in front of entrance.

HOLLEY: I don't like the looks of these goin's on.

BOB: Neither do I.

He and Paula get out of the car and exit, Bob taking his grip.

SCENE 124
ENTRANCE - MEDIUM CLOSE SHOT
Bob and Paula enter. Bob pushes the doorbell. We hear it ring faintly inside. There is a long delay. Bob rings it again.

SCENE 125
AT DOOR - CLOSE SHOT
As it is yanked open about a foot, Thorne appears, staring through the narrow opening. He is a little disheveled and decidedly agitated, trembling nervously.

THORNE: (Snapping angrily) What do you want?

SCENE 126
BOB AND PAULA - CLOSE SHOT
Bob and Paula are resentful at his manner.

BOB: We want to see Mr. Madden.

SCENE 127
AT ENTRANCE - MEDIUM CLOSE

THORNE: He's not home.

He starts to slam the door but Bob holds it.

BOB: Wait a minute. You're Thorne, aren't you?

Thorne stops his effort to close the door, staring questioningly.

THORNE: Yes?

BOB: I'm Bob Crawford from San Francisco. Madden's expecting me.

Thorne's manner changes magically. He is apologetic and suavely congenial, throwing the door open.

Paula and Bob enter.

SCENE 128
INTERIOR LIVING ROOM - MEDIUM SHOT
As they enter. (The living room is very large and magnificently furnished; low, comfortable furniture, a fine desk, soft lights and a huge fireplace. On the wall is a large collection of firearms. Thorne closes the door.

BOB: Mr. Thorne...Miss Graham.

SCENE 129
AT GROUP - MEDIUM CLOSE
Thorne is slightly puzzled at the girl's presence but bows suavely.

THORNE: How do you do.

He turns to Bob.

(Smiling) I wasn't expecting you until tomorrow. We have to be careful in an isolated place like this.

SCENE 130
BOB - CLOSEUP
He watches Thorne steadily but appears to be nonchalant.

BOB: I don't blame you. We heard a couple of shots as we drove up.

SCENE 131
THORNE - CLOSEUP
Thorne is perfectly controlled by now.

THORNE: (Suavely) I thought I heard them, too...That's one reason I was suspicious of you. It was probably someone in the desert...taking pot shots at Jack rabbits.

SCENE 132
PAULA - CLOSEUP
She doesn't believe Thorne at all.

PAULA: You said that Mr. Madden isn't home?

SCENE 133
AT GROUP - MEDIUM CLOSE

THORNE: No...he's in Palm Springs. He'll be back tomorrow noon.

PAULA: Did he mention the Imperial Picture Corporation to you...about using the ranch for location?

Thorne immediately freezes up into blunt coldness, and from this instant on, he and Paula clash.

THORNE: Then you're not here with Mr. Crawford?

PAULA: No...they sent me to ask Mr. Madden if they could use the ranch Saturday.

THORNE:
(Brusquely) It'll be impossible.

SCENE 134
PAULA - CLOSEUP
She is resentful.

PAULA: But he said in his letter he'd be glad to if we let him know a few days ahead.

SCENE 135
CLOSEUP - THORNE
He is grim and terse, as if dismissing the subject.

THORNE: I know. I took the letter for him, but I can assure you he's changed his mind.

SCENE 136
TOWARD DOOR - MEDIUM CLOSE

PAULA: (Icily) You won't be offended when I come back tomorrow and ask him myself.

Thorne shrugs with a sardonic smile.

THORNE: Not at all.

PAULA:
(Icily) Thank you. Good night.

She starts for the door. Bob picks up his grip as if to leave. Thorne eyes the grip anxiously.

BOB: Ask Mr. Madden to call me at the hotel tomorrow.

THORNE:
(Over-cordial) Won't you stay here? The Chief would expect you to be his guest.

BOB: Well...thanks - I will. Excuse me a minute.

He puts down the grip and hurries after Paula.

SCENE 137
EXTERIOR ENTRANCE - MEDIUM CLOSE PAN SHOT
He joins her outside the door. WE PAN WITH THEM across to the car, as they speak.

BOB: I'm sorry your trip panned out this way.

Paula smiles and shrugs.

PAULA: I'm used to a few disappointments.

BOB: You'll be back tomorrow?

PAULA: Yes.
(She looks directly at Bob) I think he was lying.

BOB: So do I.

They reach the car.

SCENE 138
AT CAR

HOLLEY: Everything all right?

BOB: We're still wondering.

HOLLEY: Umph...didn't see nothin' more out here.
(To Paula) Like to ride up front?

PAULA:
(Nodding) Thanks.

SCENE 139
CLOSE SHOT - PAULA
As she gets in with Holley. Bob closes the door.

BOB: I'm sorry that you have to put up at that one-horse hotel.

PAULA:
(Smiling) I'll be a lot happier than staying here.

HOLLEY:
(Nodding) The rooms second floor front are right comfortable...'cept the one with the broken spring.

Paula smiles and turns to Bob.

PAULA: Good night.

BOB: Good night.

The car rattles away. Bob looks after it. He is getting very interested in Paula. He turns and looks at the house, frowns, and strides toward it.

SCENE 140
INTERIOR LIVING ROOM - TOWARD DOOR - MEDIUM CLOSE SHOT
Thorne has picked up the suitcase and is eying it with interest. Bob enters unexpectedly. Thorne lowers the suitcase but continues to hold it. There is suppressed eagerness in his voice.

THORNE: You brought the necklace?

BOB:
(Carelessly, but observing) No...I didn't.

Thorne's face darkens. He cannot help but stare in surprise.

THORNE: But I understood you to say --

BOB:
(Interrupting) I came down to talk with Madden and handle the transaction. Dad's sending the string by messenger tomorrow.

Thorne is disappointed.

THORNE: Oh, I see.... (He is silent a moment, as if thinking; then says, suavely) ...if you like, I'll show you your room.

BOB:
(Nodding) Thanks.

SCENE 141
TOWARD HALL - MEDIUM SHOT
As Thorne, carrying the grip, leads Bob toward the hall.

SCENE 142
INTERIOR HALL - MEDIUM SHOT
As Thorne and Bob enter and cross to bedroom door, Thorne entering first.

SCENE 143
INTERIOR BEDROOM - MEDIUM SHOT
As Thorne enters and switches on the light. Bob follows. It is a very comfortably furnished bedroom. One set of windows open on the patio, the second set on the driveway and garage side. Thorne puts down the grip.

THORNE: (Suavely) You'll have to excuse me. I was getting some rush work out for the Chief when you arrived.

BOB: Certainly. Go right ahead.

THORNE: Good night.

Bob nods. Thorne exits, closing the door. Bob stares at the closed door, through narrowed eyes.

SCENE 144
INTERIOR HALL - AT DOOR - MEDIUM CLOSE
Thorne also stares at the door, expressionlessly, rubbing his chin. After an instant he turns and goes down the hall toward the other bedrooms.

SLOW DISSOLVE TO:

SCENE 145
INTERIOR BOB'S BEDROOM - BESIDE TABLE - CLOSE PAN SHOT
In the darkness we faintly see a small clock on the bedside table. It registers 2:18. CAMERA PANS ACROSS to a CLOSE SHOT of Bob sleeping. A shaft of light appears across his face. It widens and then narrows. Bob's eyes open, vacantly at first, then with swift consciousness. He lies motionless but stares out of scene.

SCENE 146
TOWARD DOOR - BOB'S ANGLE
The door is opened about two inches, a light coming in from the hall. It silently closes, leaving the room dark.

SCENE 147
AT BED - MEDIUM CLOSE SHOT
Bob sits upright, listening tensely. He climbs quickly out of bed, coming toward door.

SCENE 148
AT DOOR - CLOSE SHOT
As Bob cautiously opens it and looks out.

SCENE 149
HALL - BOB'S ANGLE
The lighted hallway is empty.

SCENE 150
INTERIOR BEDROOM
Bob softly closes the door. From off scene comes the sound of a car starting in the garage. Bob hurries across to the window.

SCENE 151
AT WINDOW - CLOSE SHOT
As he looks out, keeping to one side, so that he won't be seen.

SCENE 152
TOWARD GARAGE - LONG SHOT - BOB'S ANGLE
We see the garage in the distance. A large, expensive touring car with the top up, backs quietly out and turns, rolling quietly down the driveway. It seems empty except for Thorne. The car disappears.

SCENE 153
INTERIOR BEDROOM - AT BOB - CLOSE SHOT
He stands looking into the darkness, his eyes narrowed, his face grim, as we

FADE OUT.

FADE IN:

SCENE 154
INTERIOR BOB'S BEDROOM - AT GRIP - CLOSE TRUCKING SHOT
We see Bob reaching into his open grip. It comes out with a .32 automatic. CAMERA TRUCKS BACK, revealing Bob dressed, except for his coat. He sticks the gun in his hip pocket, picks up his coat and puts it on as he exits.

SCENE 155
INTERIOR HALL - FULL SHOT
As Bob enters. It is empty. He takes a few steps up toward the other bedrooms.

BOB: Thorne?

There is no answer. The place seems deserted. Bob turns and exits toward the living room.

SCENE 156
INTERIOR LIVING ROOM - FULL SHOT
Bob enters and finds living room also deserted. He looks around worriedly, then starts toward the patio. As he does so, a metallic crash comes into the scene. Bob turns, looking toward dining room and crosses to it.

SCENE 157
INTERIOR DINING ROOM - FULL SHOT
The table is set for two. A subdued noise comes from the kitchen. Bob enters the kitchen.

SCENE 158
INTERIOR KITCHEN - FULL SHOT
As Bob enters, Thorne in different clothes, is cooking breakfast. He is hot and disheveled, irritated at having to work. Eggs and bacon are sizzling in the frying pan, and a large metal pot of coffee stands on the stove. He sees Bob and his face becomes more pleasant.

THORNE: Oh...'morning, Crawford. How'd you sleep?

BOB: Like a log. This desert air is something!

THORNE: Hungry?

BOB: Right.

THORNE:
(Indicating stove) This mess won't be much of a breakfast, but you'll have to stand for it. Our cook ran out on us.

Bob grins, crossing.

SCENE 159
AT STOVE - MEDIUM CLOSE

BOB: Can I help?

THORNE: It's almost ready.

He clumsily turns some bacon over and reaches for the coffee pot, starting to pick it up. The handle burns him painfully, and he drops it back on the stove with a crash and shakes his hand, cursing under his breath. Bob is about to speak when a loud knock comes on the kitchen door. Both men turn.

SCENE 160
AT KITCHEN DOOR - CLOSE SHOT
Chan is standing in the doorway. We hardly recognize him. He is disguised as a poor Chinese laborer, in blouse and pants and old shoes. He wears a battered, flat-brimmed hat. He looks dusty and tired.

SCENE 161
AT THORNE AND BOB - MEDIUM CLOSE SHOT
Bob is slightly behind Thorne. Bob is surprised, and a flicker of intense relief comes into his face.

THORNE: (Snarling) What do you want?

SCENE 162
AT DOOR - MEDIUM CLOSE
As Thorne enters scene. Chan speaks humbly and apologetically.

CHAN: Me hungly, boss. Walk many mile. Mebbe catchum food for wouk.

Thorne gestures him to "beat it."

THORNE: (Surily) There's nothing for you. Go on, get out of here.

Chan bows humbly and sadly.

CHAN: Velly solly.

He turns wearily and starts away from the door. Thorne turns and exits.

SCENE 163
AT STOVE - MEDIUM CLOSE
Bob shows a flicker of disappointment. Thorne enters to stove.

BOB: (Carelessly) Seems a shame to turn the old bird away.

THORNE:
(Almost a snarl) Ah...they're pests!

He starts to pick up a frying pan...gets an idea suddenly and quickly puts the pan down, turning and hurrying toward the door.

SCENE 164
EXTERIOR KITCHEN - AT DOOR - MEDIUM SHOT
Chan is shuffling slowly away. The kitchen door flies open and Thorne takes a step outside.

THORNE: (Eagerly) Hey!...Wait a minute! C'mere!

Chan turns back.

SCENE 165
AT KITCHEN DOOR - MEDIUM CLOSE
As Chan enters scene.

THORNE: Can you cook?

Chan's face brightens, his head bobbing.

CHAN: Yes, boss. Long time me number one boy and cook...big house.

THORNE:
(Relieved) You've got a job. (Nodding toward kitchen) Come on in.

SCENE 166
INTERIOR KITCHEN - MEDIUM SHOT
A flicker of elation comes into Bob's face, which is quickly concealed as Thorne enters, followed by Chan.

THORNE: (To Chan) What's your name?

CHAN: Ah Kim.

THORNE: (Nodding) You can stay until our cook comes back...understand?

Chan nods. Thorne indicates bedroom door of kitchen.

He sleeps there. (As he continues, he starts dishing up the breakfast) Get out of those filthy rags and put on some of his clothes.

Thorne picks up the platter of eggs and bacon, and some plates. Chan bows and starts for the bedroom, as Thorne adds:

Bring the coffee in first. (Turning to Bob) No more work. I'm glad I thought of this.

BOB:
(With a faint smile) So am I.

Thorne exits into dining room.

SCENE 167
AT KITCHEN DOOR - CLOSE SHOT
Bob starts to follow.

SCENE 168
CHAN - CLOSEUP
He shoots a silent, inquiring glance at Bob.

SCENE 169
BOB - AT DOOR - CLOSE SHOT
He gives a silent shake of his head and a decidedly warning glance. He exits.

SCENE 170
CHAN - AT STOVE - MEDIUM CLOSE
Chan looks after Bob. His eyes narrow slightly. He turns, picks up the coffee pot and exits.

SCENE 171
INTERIOR DINING ROOM - AT TABLE - MEDIUM CLOSE

He passes the platter to Thorne.

THORNE: (Dishing up his eggs) I'm driving into Palm Springs after breakfast to get Madden. You'd better stay here and meet the messenger.

BOB: Good idea.

There is a flicker of relief in Thorne's face, which Chan notes as he pours Bob's coffee. He ambles quietly into the kitchen.

FAST DISSOLVE TO:

SCENE 172
EXTERIOR GARAGE - MEDIUM SHOT
Thorne is backing the touring car out. He turns it and drives it out of scene.

SCENE 173
REVERSE ANGLE - TOWARD GATE AND ROAD - FULL SHOT
As the car drives out through he gate and turns in the opposite direction from El Dorado, driving away.

SCENE 174
INTERIOR LIVING ROOM - AT FRONT WINDOW - MEDIUM CLOSE
Chan, dressed in nicer Chinese costume, with full sleeved blouse, pants, and sandals, is standing at the window watching the departure of Thorne. Bob is behind him, also watching. He has evidently been telling Chan about his arrival.

BOB: ---and he looked into my room to see if I was asleep. He drove away right afterward.

CHAN:
(Turning to him) And two shots sounded like .45 revolver?

BOB: That's what Holley thought.

Chan nods thoughtfully.

CHAN: Also interesting that Chinese servant is absent.

He looks around the room with careless scrutiny.

Present location very agreeable place for murder...

His eyes fasten on the gun display out of scene.

...with plenty guns.

He exits from scene, Bob following.

SCENE 175
AT GUNS - MEDIUM CLOSE SHOT
As Chan enters, Bob following. Chan inspects the array of guns with interest.

INSERT: OF GUN COLLECTION - THEIR ANGLE
On a dark wood panel an amazingly complete collection of guns and revolvers, chiefly of the frontier era, hang on hooks - the rifles on two hooks, supporting their barrel and trigger-guard, the revolvers on one hook through their trigger-guard. They range from the huge buffalo gun to a single tiny single shot Derringer. Beneath each gun a small card is held by two tacks, bearing the name of the model.

BACK TO SCENE: Chan takes a revolver and breaks open the cylinder, inspecting it. We see that it is loaded. He hangs it up and takes a second revolver. It is also loaded.

CHAN: Much fuel tempts men to build fire.

Chan's attention focuses on the lower right-hand corner of the panel which is empty, although not particularly noticeable. He squats down and scrutinizes the corner through narrow eyes.

CHAN: Observe unusual fact that revolver recently taken from group.

BOB:
(Startled) Where?

Chan indicates the corner. Bob kneels down beside it.

INSERT: OF CORNER
Chan's hand is in scene, indicating three holes in the wood...one large and two small ones below, and finger streaks in the fine field of dust, as he speaks.

CHAN'S VOICE: (Off scene) Hook and two tack removed...fingers making marks in dust collected since servant left.

BACK TO SCENE:

BOB: Might have collected some time ago.

CHAN:
(Shaking head) Highly polished guns indicate frequent cleaning.

Chan comes upright, Bob following.

BOB: (Staring at him) Do you think Thorne could have killed Madden? This trip to Palm Springs may be a stall until the necklace comes.

CHAN:
(Shrugging) Most convenient method of obtaining same. At breakfast, Thorne is most anxious about time of arrival. (He looks keenly around the room and starts for the hall) Suggest we investigate owner's bedroom.

SCENE 176
LIVING ROOM - MEDIUM SHOT
As the two cross toward the hall, Chan's eyes scrutinize the furniture and walls. They exit into hall.

SCENE 177
INTERIOR HALL - FULL SHOT
They hurry along the hall and enter Madden's bedroom.

SCENE 178
INTERIOR MADDEN'S BEDROOM - FULL SHOT
Chan scrutinizes the furniture, then studies the walls. His eyes narrow. He turns to scrutinize a large rectangular painting of a lovely river scene which hangs on the side wall beyond the foot of the bed. The side of the bed is against the wall.

CHAN: (Mildly) Note that painted river starts moving again after long time standing still.

Bob is puzzled. Chan indicates the end wall. Bob turns to look.

INSERT: OF WALL - THEIR ANGLE
We see a large faint rectangle lighter than the plaster wall around it, where the plaster has been protected by the picture.

BACK TO SCENE:
As Chan crosses to the painting.

SCENE 179
AT PAINTING - CLOSE SHOT
Chan examines the picture as Bob enters scene. He pulls the picture out, starting to look at its back, then sees something on the wall behind it. He quickly pulls the picture aside, indicating wall.

INSERT: OF WALL WITH PICTURE PULLED AWAY
The plaster has been shattered by a large size bullet hole.

CHAN'S VOICE: One of bullets accounted for.

BACK TO SCENE:
Chan replaces the picture and turns, looking around the room. He exits.

SCENE 180
BEDROOM - MEDIUM SHOT
Chan crosses, studying floor and furniture in relation to the picture. He looks at the bed - then pulls it aside, looking at the rug. His face gets grim.

CHAN: Bed also hastily moved to cover crime.

Bob crosses quickly. They look at floor.

INSERT: OF FLOOR
A large ugly pool has dried on the light colored carpet.

CHAN'S VOICE: Second bullet reposing in victim.

BACK TO SCENE:
Bob is slightly dazed at this actual proof of the crime.

BOB: Then Madden must have been lying in here when Thorne came to the door! No wonder he didn't want to let us in!

CHAN:
(Nodding) Took body away in car last night. (An ominous note) Suggest patiently waiting for gentleman's return.

As they look at each other, we FAST DISSOLVE TO:

SCENE 181
INTERIOR LIVING ROOM - DAY - AT CLOCK - CLOSE TRUCK SHOT -
An antique clock shows 12:30. I ticks with maddening slowness. THE CAMERA TRUCKS BACK TO A MEDIUM SHOT. Bob
is pacing up and down, his face grim. He suddenly stops and turns, as he hears an approaching car slow down, turning in
at the gate. Bob strides toward the front door and exits.

SCENE 182
EXTERIOR FRONT DOOR - CLOSE SHOT
As Bob comes out, he comes to a dazed stop, staring off scene.

SCENE 183
TOWARDS DRIVEWAY - BOB'S ANGLE
Getting out of the car, and striding toward CAMERA, is Madden himself, not only alive, but hale and hearty. Thorne is lifting two handbags out of the back seat.

SCENE 184
AT BOB - MEDIUM CLOSE PAN SHOT
As Madden enters scene extending his hand cordially.

MADDEN: (His brisk driving self) Crawford?

Bob nods, shaking hands, unable to find words.

MADDEN: I'm sorry I wasn't here to receive you...didn't expect anyone until today. Thorne make you comfortable?

As he speaks the last sentence, he goes on inside, Bob moving with him.

BOB: Yes.

Thorne follows with the grips.

SCENE 185
INTERIOR LIVINNG ROOM - MEDIUM SHOT
As they enter. Thorne follows and exits toward the bedroom.

SCENE 186
AT MADDEN AND BOB - MEDIUM CLOSE
Madden scrutinizes Bob.

MADDEN: (Bluntly) Thorne says you didn't bring the necklace.

Bob hesitates. He is still trying to recover...trying to figure out this surprising turn of events.

BOB: No...it's coming today.

MADDEN:
(His eyes narrowly) Was here any particular object in your coming ahead?

BOB: Well...yes. We can't be too careful on a big deal like this. Your changing your mind had us worried.

MADDEN:
(Snorting angrily) Nonsense! I told your father twice on the phone I wanted it down here.

BOB:
(Slightly resentful...stiffly) You gave us very definite instructions about New York.

Madden sees Bob's resentment and chuckles.

MADDEN: Well, you don't need to worry any more. It's my responsibility the minute you turn it over.

As Madden speaks, Thorne enters.

SCENE 187
TOWARD DINING ROOM - MEDIUM CLOSE
Chan comes in from the kitchen carrying an armful of firewood. He looks off scene and comes to a stop.

SCENE 188
LIVING ROOM - HIS ANGLE
We see a side view of Madden's face.

SCENE 189
AT CHAN - CLOSE SHOT
He shows no surprise except that his eyes narrow slightly. He exits toward fireplace.

SCENE 190
LIVING ROOM - MEDIUM SHOT
Chan crosses, paying no attention to the others. Madden looks at him, then stares at Thorne.

MADDEN: Who's this?

THORNE: (Carelessly) A new cook I got to take Louie's place. (Turning to Chan, indicating Madden) This is your boss, Ah Kim.

CHAN:
(Bobbing humbly) Glad to see you, Boss.

Madden nods. Chan turns back and piles the wood in the holder. Madden turns tersely to Bob.

MADDEN: Excuse me while I clean up. Come along, Thorne.

The two exit into the hall, Bob and Chan looking after them.

SCENE 191
BOB AND CHAN - MEDIUM CLOSE
Bob turns to Chan, helplessly.

BOB: (Speaking quickly in a low voice) He's alive...who on earth was killed?

CHAN:
(Staring thoughtfully toward hall) Answer would be of most importance.

BOB:
(Frowning...shrugs) I hate to do it, but it looks like we've got to deliver the pearls.

CHAN:
(Firmly) Humbly take upon myself responsibility of refusing to do so.

BOB:
(Surprised) Why?

CHAN: Promise was given Mrs. Jordan to protect necklace until time of safe delivery. Disturbing facts continue to suggest danger.

BOB:
(Staring) What now?

SCENE 192
CHAN - CLOSEUP

CHAN: Both men tell lies. They do not come from Palm Springs.

SCENE 193
BOB - CLOSEUP
Bob stares at him, startled, suddenly tense at this news.

BOB: How do you know?

SCENE 194
AT TWO - MEDIUM CLOSE

CHAN: (Shrugging) To said place and back is ninety miles. Brazenly took liberty of examining car speedometer this morning and now. Amazing instrument shows trip of forty-four miles.

Bob is silent and perturbed. Chan adds quietly:

Suggest Madden hoo-mali-mali until mystery cleared away.

Bob looks over at him evenly, thinking it over.

BOB: Stall him along, eh? (He nods grimly) All right, Charlie...I'm with you.

CHAN: Thank you so much.

He turns and ambles out of scene.

SCENE 195
INTERIOR LIVING ROOM - MEDIUM SHOT
Chan exits into dining room. The doorbell buzzes off scene. Bob turns curiously and crosses to the door.

SCENE 196
AT DOOR - MEDIUM CLOSE
As Bob opens it, revealing Paula in a cool smart white outfit. There is a look of grim determination on her face. The glare changes to a surprised smile.

PAULA: Oh...hello.

As she comes in, Bob chuckles.

BOB: All girded for battle, eh?

PAULA: Yes. Is he here?

Bob nods.

SCENE 197
LIVING ROOM - TOWARD HALL
MEDIUM CLOSE

BOB'S VOICE: (Off scene) I'll ask him to see you.

As he speaks, Madden enters from the hall. A look of surprise and annoyance as he sees the two. He exits toward them.

SCENE 198
AT GROUP - MEDIUM CLOSE
Bob introduces the two.

BOB: This is Mr. Madden...Miss Graham.

MADDEN: Oh yes...you wrote me about using the ranch.

PAULA: Mr. Thorne said you'd changed your mind.

MADDEN: He was right. It'll be impossible.

Paula looks at him coldly with a little resentment.

PAULA: I'm sorry. It means a black mark against me with the company. I promised them they could have it and they've made all their arrangements, except the date.

MADDEN:
(With a slight smile) You were a little premature, weren't you?

SCENE 199
PAULA - CLOSEUP

PAULA: (Swiftly) I don't know why. I had the word of P. J. Madden...

SCENE 200
MADDEN - CLOSEUP
Madden looks at her with a glint of admiration, as she continues:

PAULA'S VOICE: (Off scene - continuing) ...perhaps I was foolish in believing the old rumor that it's never been broken.

SCENE 201
AT GROUP - MEDIUM CLOSE
Madden looks at her in grim amusement for an instant.

MADDEN: I'm not licked very often, young lady...but you win.

Paula gives him a relieved smile.

PAULA: Thank you.

SCENE 202
LIVING ROOM - AT HALL ENTRANCE
As Madden continues, Thorne enters. He gives a frown of acute displeasure at Madden's words.

MADDEN'S VOICE: (Off scene) I'm leaving Saturday night for Chicago. You can use the ranch on Sunday.

Thorne, fuming, exits toward the group.

SCENE 203
AT GROUP - MEDIUM SHOT - TOWARD DOOR
As Thorne approaches the group, Paula prepares to leave.

PAULA: (To Madden) I'll wire the company right away.

Madden nods. As she turns to the door, she gives Thorne a mockingly sweet smile.

PAULA: How do you do, Mr. Thorne.

Thorne bows stiffly.

Paula and Bob exit.

SCENE 204
EXTERIOR ENTRANCE - AT TWO - MEDIUM CLOSE TRUCK SHOT -
Holley's Ford is standing in the drive. Paula has driven it out alone. WE TRUCK WITH THEM AS THEY WALK slowly to the car. Bob looks at her thoughtfully.

BOB: I suppose he tells you you're beautiful.

PAULA:
(Surprised) Who?

Bob gloomily indicates her hand.

BOB: Your fiancee. That ring means you're engaged, I suppose.

SCENE 205
PAULA - CLOSE SHOT
Paula glances at the ring, and then looks back at him, her eyes twinkle in amusement.

PAULA: It does look that way, doesn't it?

SCENE 206
AT TWO - CLOSE SHOT
Bob grins and shakes his head.

BOB: Don't tell me you're marrying a movie actor?

PAULA:
(Laughing) Of course not. He's really very nice.

Bob nods.

BOB: I imagine I'd dislike him marvelously. What's his name... (Disparagingly) ...Wilbur?

They are at the car. Bob opens the door. Paula frowns at him disapprovingly.

PAULA: Certainly not...it's Jack.

BOB:
(Grunting) He's still Wilbur to me!

SCENE 207
AT CAR - CLOSE SHOT
As Paula gets in laughing and sits down, Bob shuts the door and leans on it, looking at her sadly.

BOB: (Shaking his head) The idea of a girl like you getting married. Here you are roaming free and happy, around the desert and hills and canyons...and you want to tie yourself down to a two-room apartment and a gas range.

PAULA:
(Amusedly) We might be able to afford a maid.

BOB:
(Shaking his head) It would still be terrible. (With feeling) Imagine mending Wilbur's socks!

PAULA: I tell you his name is Jack.

BOB:
(Quickly) What of it? He'll be just as hard on the socks.

SCENE 208
PAULA - CLOSEUP
She looks at him with mock seriousness.

PAULA: There's something in what you say.

SCENE 209
BOB - CLOSEUP

BOB: (Shaking his head, gloomily) I've only scratched the surface.

SCENE 210
AT TWO - CLOSE SHOT
Paula laughs and shakes her head.

PAULA: You'll have to tell me the rest later. (She starts the car motor) I've got to get back and send that telegram.

BOB:
(Nodding) All right. (With sudden interest) Is Wilbur bald-headed?

Paula gives him an angry stare and drives abruptly out of scene, and Bob grins after her, as WE FADE OUT.

FADE IN:

SCENE 211
KITCHEN - MEDIUM SHOT - NIGHT
The kitchen is spic and span. Chan with an apron still around his waist has just finished work. He is carrying a last stack of dishes across to the cupboard.

SCENE 212
AT CUPBOARD - CLOSE SHOT
He sets the dishes into the cupboard with an emphatic disgusted bang, pushes the door shut. He wipes his sleeve across his hot forehead and gives a sigh of relief.

MADDEN'S VOICE: (Off scene, bellowing furiously) Crawford!

Chan's eyes narrow. He hurriedly exits.

SCENE 213
KITCHEN - AT DOOR TO DINING ROOM - MEDIUM CLOSE
As Chan enters, he pushes the door open an inch and listens.

SCENE 214
INTERIOR LIVING ROOM - MEDIUM SHOT
Madden is pacing up and down, seething with anger, chewing on a cigar. Bob enters from the hall.

BOB: Yes?

He crosses toward Madden. The latter savagely flings his cigar in the fireplace.

MADDEN: I'm getting fed up with this delay. What's become of that messenger?!

SCENE 215
AT TWO - MEDIUM CLOSE

BOB: I don't know. He ought...

Madden interrupts angrily as he exits from scene, his voice coming back.

MADDEN: (Interrupting) I'm going to call your father and find out!

Bob is startled and alarmed. He exits out of the scene after Madden.

SCENE 216
AT PHONE - MEDIUM CLOSE
As Madden enters.

MADDEN: What's his home number?

Bob enters scene speaking casually, sitting down at the phone and picking up receiver, as he speaks.

BOB: I'll call him for you. (Into phone) Get me San Francisco...Montrose 3531.

FAST PAN DISSOLVE TO:

SCENE 217
INTERIOR CRAWFORD LIBRARY - AT CHAIR - MEDIUM CLOSE
small section of a richly furnished room. Crawford in a dressing gown, is reading. The phone is on a small table by the chair. It rings. Crawford picks it up.

CRAWFORD: Hello?

SCENE 218
AT MADDEN AND BOB - CLOSE SHOT
He sits up, startled.

CRAWFORD: Why, he left...

SCENE 220
AT MADDEN AND BOB - CLOSE SHOT
Bob speaks quickly, faking startled surprise.

BOB: He didn't?

Madden rages.

SCENE 221
CRAWFORD - CLOSE SHOT
He stares at the phone, frowning, realizing there is something wrong. He speaks in a low voice, guardedly.

CRAWFORD: You mean Chan hasn't shown up at all?

SCENE 222
AT BOB AND MADDEN - CLOSE SHOT
Bob sees a chance to get over a message to his father. He glances up at Madden as he replies, emphasizing the first word. It looks as if he is speaking about Madden.

BOB: Yes.....but he's been worried under the circumstances...so have I... (He appears resentful) Why didn't you let us know he wouldn't get here till Sunday?

He emphasizes the word "Sunday" hoping his father will get the idea. Madden is purple, glaring at Bob.

MADDEN: (Bellowing) Sunday?! (He grabs the phone) Let me have that phone! (He bellows into it) Look here, Crawford. What do you mean you haven't started that necklace yet?!

SCENE 223
CRAWFORD - CLOSE SHOT
We see that he has gotten Bob's message. He thinks fast, and speaks with mild apology.

CRAWFORD: I'm terribly sorry, Mr. Madden...it was unavoidable. One of the strings broke when it was being cleaned. I'm having them re-strung on...

SCENE 224
AT MADDEN AND BOB - MEDIUM CLOSE
Madden interrupts furiously, almost shouting:

MADDEN: Just a minute, Crawford! Can you understand the English language? Who asked you to have 'em cleaned...re-strung...keep still! I'll talk! (He does not notice the relief in Bob's face) I told you I wanted 'em today! At once! I've a good mind to call the whole thing off!

Bob holds his breath.

SCENE 225
CRAWFORD - CLOSE SHOT

CRAWFORD: (Gently) I'm sorry. They'll be ready late tomorrow. The best I can do is deliver them Sunday...if you still want them.

SCENE 226
AT MADDEN AND BOB - MEDIUM CLOSE
Madden controls himself with an effort.

MADDEN: Well...I guess I'll have to wait...if you promise to have them here. (A pause...he nods grimly) All right...but this is the last time I deal with you, my friend!

He slams up the receiver.

SCENE 227
CHAN - AT KITCHEN DOOR - MEDIUM SHOT
Chan gives a slight smile and nod of approval and ambles away from the door into the kitchen.

SCENE 228
INTERIOR LIVING ROOM - MEDIUM SHOT
Bob gets up from the phone, shrugging.

BOB: Tough luck.

MADDEN:
(Grunting angrily...speaking bluntly) There's no use waiting up any longer. You'll excuse me, Crawford.

He strides out into the hall. Bob looks after him with a faint smile, then turns and starts to pick up a magazine, when he is suddenly frozen with horror. Into scene comes a terrifying scream and blood curdling call for help.

VOICE: (Screaming - half-choked) HELP! HELP! MURDER! Put down that gun!

The scream comes from the patio. Bob makes a lunge through the screen doors. The screaming covers his rush, stopping as he exits.

SCENE 229
PATIO - MEDIUM SHOT
It is dark, except for soft lights through windows. It contains comfortable wicker furniture and potted plants. It is empty as Bob bursts out.

SCENE 230
AT BOB - CLOSE SHOT
Bob looks searchingly around. The scream comes again almost in his ears.

VOICE: HELP! MURDER!

Bob wheels startedly.

SCENE 231
PARROT ON PERCH - BOB'S ANGLE
A close shot of a huge vari-colored parrot sitting on a perch in the shadows. It cocks its head on one side, looking curiously at Bob and says in a normal voice.

PARROT: Hello.

SCENE 232
INTERIOR PATIO - MEDIUM SHOT
Madden, Thorne and Chan rush into the patio from different directions, Madden through the screen door. Thorne is agitated and trembling like a leaf.

SCENE 233
AT MADDEN AND BOB - MEDIUM CLOSE
Madden turns to Bob, strangely apologetic and pleasant, anxious to explain.

SCENE 234
CHAN - CLOSE SHOT
He is watching the group narrowly.

MADDEN'S VOICE: (Off scene) He goes on a tear like that every once in a while when he gets excited.

SCENE 235
THORNE - CHAN'S ANGLE - CLOSE SHOT
Thorne is still trembling, making an effort to control an unnatural startled fear.

SCENE 236
AT BOB AND MADDEN - MEDIUM CLOSE

BOB: (Seemingly suspicious) He certainly gave me a terrific jolt.

There seems to be relief in Madden's face. He chuckles congenially.

MADDEN: I can imagine. He's had a pretty scarlet past knocking around sailor's dives. A sea captain gave him to me five years ago.

SCENE 237
PARROT - CLOSE SHOT
The parrot blinks solemnly at the group.

PARROT: Don't crowd gentlemen...one at a time, please.

SCENE 238
AT GROUP - MEDIUM SHOT

MADDEN: (Chuckling) That goes back to his bedroom days.

He looks at the parrot critically and nods.

MADDEN: He's calmed down now. (Admonishingly) Behave yourself, Tony.

SCENE 239
PARROT - CLOSE SHOT
He blinks and cocks his head, speaking in a very high, coy, female voice.

PARROT: Oh, Hon-ey...not tonight.....please.

SCENE 240
AT GROUP - MEDIUM CLOSE
Bob can't restrain a grin.

BOB: He seems to have been everywhere.

Madden chuckles.

MADDEN: I don't doubt it. Good night. (He turns to Thorne tersely) Come along, Thorne. I'll sign those letters before I turn in.

He goes into the house. Thorne starts to follow reluctantly.

SCENE 241
PARROT - CLOSE SHOT

PARROT: (In a sing song voice) Sung kai low hop.

SCENE 242
CHAN - CLOSEUP
Chan's eyes gleam with sudden interest, but he is casual as he replies.

CHAN: Gee fung low hop.

SCENE 243
AT GROUP - MEDIUM SHOT
Thorne who has come to a stop and whirls about angrily, glaring at Chan.

THORNE: (Angrily) That's enough, Ah Kim! Don't get him excited again! Leave him alone!

Chan bobs apologetically.

CHAN: Solly, Boss. Funny pallot. Him talk Chinese.

Thorne nods impatiently.

THORNE: (Tersely) Yes, of course. You won't be needed any more. Go on to bed.

Chan bows humbly and disappears in the direction of the kitchen in the darkness.

THORNE: (To Bob) Good night, Crawford.

BOB: Good night.

Thorne goes inside. Bob takes another thoughtful glance at the parrot.

FADE OUT.

FADE IN:

SCENE 244
KITCHEN - DAY - MEDIUM SHOT
Chan has been washing dishes. As we come to scene, he gathers the frying pans off the stove and carries them to the sink.

SCENE 245
AT SINK - MEDIUM CLOSE

Chan enters. He sighs and starts to wash a frying pan, glancing out the window. He stops, tensely alert, staring.

SCENE 246
PATIO - THROUGH WINDOW - CHAN'S ANGLE
We see the patio on the other side of a wall. The parrot's perch projects above the wall. It is empty.

SCENE 247
INTERIOR KITCHEN - MEDIUM SHOT
Chan hurriedly crosses to the door and exits.

SCENE 248
EXTERIOR REAR OF HOUSE - MEDIUM SHOT
As Chan exits and crosses around to the patio.

SCENE 249
INTERIOR PATIO - MEDIUM CLOSE SHOT TOWARD CHAN
He enters the patio and comes to a stop, his eyes narrowing.

SCENE 250
BASE OF PERCH - CHAN'S ANGLE
The parrot is lying limply on the stone flagging, at the foot of the perch, dead.

SCENE 251
AT CHAN - MEDIUM CLOSE PAN SHOT
He crosses and kneels down beside the parrot.

SCENE 252
AT PARROT - CLOSE SHOT
As Chan kneels feeling the body. He runs his hand over the feathers carefully, looking for a wound. There is none. Chan looks around, then gets up.

SCENE 253
AT PERCH - MEDIUM CLOSE
As Chan gets up, he looks at the perch. He dips his finger in the water cup and tastes it. It seems all right. He takes the food cup out...empties some of the parrot seed into his hand, poking it with a finger. He sees something.

INSERT: OF HAND
His finger pokes the seeds. We see grey powder mixed with the seeds.

BACK TO SCENE:
He gingerly touches his finger to his tongue. It has a bitter taste. He spits it out, rubbing his tongue on the back of his hand. He puts the container back, putting the seeds in it, and brushing off his hand. He hurries toward the dining room doors.

SCENE 254
INTERIOR DINING ROOM - MEDIUM SHOT
Madden, Thorne, and Bob are smoking over their breakfast coffee. Chan clatters in excitedly, watching Thorne's and Madden's faces.

CHAN: (Indicating patio) Poah litta Tony on glound...him dead.

Madden and Thorne are both astounded. Madden's face blackens. He jumps up with a muttered curse, throws down his napkin and rushes outside, followed by Thorne. Bob gives Chan a puzzled look as they follow.

SCENE 255
INTERIOR PATIO - AT PERCH - MEDIUM CLOSE
Madden stops, staring down at the dead bird with grim sorrow that seems extremely genuine. He kneels down, stroking the limp form.

MADDEN: (Softly) Gone west...eh, old boy? (He is silent an instant, then seems to rouse himself) I hate to lose him after all these years.

Thorne nods sympathetically.

THORNE: Louie said he hadn't been well lately. He was getting pretty old, Chief.

MADDEN: Yes...he lived a long time.
(He picks up the parrot and rises, shaking his head) This'll break Louie's heart.

CHAN:
(Holding out his hand) You want me take him, Boss? Me put him in glound.

MADDEN: No...I'm going to have Tony around here as long as I keep the ranch.
(To Thorne) Run me into El Dorado, Thorne. I'm going to ship him to Los Angeles and have him mounted.

Thorne nods. The two start to turn toward the house, but stop, listening intently. We hear a car coming through the gate, off scene.

SCENE 256
TOWARD GARAGE DRIVEWAY - THEIR ANGLE - LONG SHOT
A big sedan drives in and skids to stop in front of the garage.

SCENE 257
AT CAR - MEDIUM CLOSE
Gamble, a beady eyed, fussy little man of middle age, clambers briskly out, waving a greeting.

GAMBLE: Hello, P.J.! Glad to see you.

As he speaks the last words, he starts digging a big suitcase, briefcase and topcoat out of the car.

SCENE 258
AT GROUP - MEDIUM SHOT
Bob and Chan are curious about the new arrival. Madden is grimly exasperated. He and Thorne exchange glances, and Madden shrugs angrily. Gamble breezes in. He always speaks rapidly, not giving others much chance to talk.

GAMBLE: Hello, Thorne. How've you been, P.J. (He notes the bird) Well, well...the old parrot died, eh? Probably hypertrophic cirrhosis. Too bad. (He looks at Bob) Who's this?

MADDEN: Mr. Crawford...Professor Gamble the zoologist.

SCENE 259
AT BOB AND GAMBLE - MEDIUM CLOSE
As they shake hands.

GAMBLE: Did you ever study the Sauromalus Ater?

BOB: No.

GAMBLE:
(Shaking head) Too bad. It's very interesting.

SCENE 260
AT GROUP - MEDIUM CLOSE
Gamble turns back to Madden.

GAMBLE: Nice of you to let me use the ranch.

Madden is unusually angry. He controls himself.

MADDEN: (Testily) I didn't expect you down until after I'd left. We'll be pretty crowded.

Gamble waves this aside serenely.

GAMBLE: Oh, that won't bother me. I'll be on the desert most of the time. (He turns to Chan) Here boy, take my things.

Chan takes the topcoat, grip and briefcase, studying the man without appearing to.

THORNE: (To Chan) Put 'em in the guest bedroom.

MADDEN:
(To Gamble) Thorne and I were just starting into town, when...

GAMBLE:
(Interrupting) Splendid...get right in my car and I'll drive you in. We can have a talk on the way.

There is no escaping the man. Madden hesitates...glances helplessly at Thorne.

MADDEN: All right...see you later, Crawford.

Bob enters. They exit. Bob enters the house.

SCENE 261
INTERIOR GUEST BEDROOM - MEDIUM SHOT
Chan arranges the grips by the bed and starts toward the closet with the topcoat. Off scene the car drives away. Bob enters.

BOB: Gamble went with 'em. Do you think he's mixed up in this?

CHAN:
(Shrugging) Large sugar bowl draws many flies.

He enters the closet.

SCENE 262
INTERIOR CLOSET - CLOSE SHOT
Some hunting togs hang on the pole. Chan puts the topcoat on a hanger. He starts to push the hunting togs aside. He stops, peering closely at the shoulder of the hunting coat.

INSERT: HUNTING COAT
We see splotches of dust and cobwebs on top of the shoulder.

BACK TO SCENE:
Chan peers up at the top of the closet.

INSERT: CLOSET CEILING
In the dimness we see a square wood trap door entrance into attic.

BACK TO SCENE:
He turns back to the bedroom.

CHAN: (Indicating upward) Suggest investigating recently used entrance to upper regions.

SCENE 263
INTERIOR BEDROOM - TOWARD CLOSET - MEDIUM CLOSE

BOB: Where?

He hurries to the closet, peering upward. He comes back out and grabs a chair, carrying it in.

SCENE 264
INTERIOR CLOSET - MEDIUM SHOT
Bob places the chair and clambers on it, lifting the trap door aside.

SCENE 265
INTERIOR ATTIC - MEDIUM SHOT
As the trap door shoves aside and Bob's head appears. The attic is about four feet high, the flatly sloping roof slanting lower to meet the beams. There is no floor, except the beams and plaster. The attic is dark. Bob hoists himself through and strikes a match, looking around.

BOB: Don't see a thing. (He suddenly catches sight of something) Wait...here's something! (The match burns out)

Bob walks across on the beams, lifts a large valise from between two beams, carries it across and lowers it to Chan, following.

SCENE 266
INTERIOR CLOSET - MEDIUM SHOT
As Chan takes the grip into the bedroom, Bob lowers himself to the chair and follows.

SCENE 267
INTERIOR BEDROOM - TOWARD BED - MEDIUM SHOT
As Chan crosses and sets the grip on the bed, Bob follows him.

SCENE 268
AT GRIP - CLOSE SHOT
Chan lifts out shirts, socks, handkerchiefs, and a toilet case, examining them and laying them aside. He lifts out a folded suit coat, rapidly searching the pockets, finding nothing. He looks at the label on the inside pocket. His eyes narrow. He shows the label to Bob.

INSERT: OF LABEL
In print:

"Louis & Barnes, Inc.
47th & Broadway,
New York, N.Y."

On the name line is written in ink:

"JERRY DELANEY"

BACK TO SCENE:
Bob stares grimly at Chan.

BOB: The man Thorne murdered?

Chan shrugs and goes on hunting. He feels in the inside coat pocket and brings out a stub of a railroad ticket.

CHAN: (Reading) Chicago to Palm Springs... (He turns the ticket over) ...purchased February 8th.

BOB:
(Staring excitedly) That would get him to Palm springs the 11th...Wednesday...the night before I got here.

Chan nods thoughtfully. He takes out a folded vest and searches the pockets. In the right hand lower one, he finds a rather old fashioned watch. He suddenly starts examining the watch pocket itself, turning it inside out. It is chamois lined.

CHAN: Note chamois lined watch pocket.

BOB:
(Surprised) What about it?

CHAN: Specially constructed right side of vest.

SCENE 269
BOB - CLOSE SHOT
Bob instinctively feels in his right hand pocket.

BOB: Well, that's correct... (Surprised) ...no it isn't. You usually carry your watch on the left.

SCENE 270
CHAN - CLOSE SHOT

CHAN: (Nodding) Because easier to reach with coat buttoned. Murdered man was left-handed.

SCENE 271
AT TWO - MEDIUM CLOSE

BOB: (Helplessly) But where does he fit in?... Why would Thorne kill him?

CHAN: Had hoped to learn same from late parrot.

BOB:
(Nodding) Tony must have heard everything.

CHAN: For which he received sad reward of being poisoned.

BOB:
(Startled) Poisoned?

CHAN:
(Nodding) With arsenic. Only remaining witness is bearded man you saw running past garage night you arrived.

BOB:
(Grunting hopelessly) No chance of finding him. It'd be like hunting for a needle in a haystack.

CHAN: Only requires careful inspection of hay.

He reaches under his blouse and pulls from a pocket an old battered top of a canteen bottle.

Person in question runs on to desert where pack donkey is waiting...loses top to canteen bottle in darkness.

BOB: That doesn't tell much who he is.

CHAN: Man who sits by side of road sees world pass by. Will ask storekeeper in El Dorado.

FADE OUT.

FADE IN:

SCENE 272
MOUNTAIN TRAIL - MEDIUM SHOT - DAY
Chan puffs up the last few steps of a steep trail and reaches level ground. He gives a sigh of relief, mops his forehead and looks around with interest.

SCENE 273
EXTERIOR SHACK - MEDIUM SHOT - CHAN'S ANGLE
A small one-room shack built of odds and ends of wood and tin. It is deserted. A burro is tethered nearby.

SCENE 274
AT CHAN - MEDIUM CLOSE
He exits from scene toward shack.

SCENE 275
FRONT OF SHACK - MEDIUM CLOSE
As Chan enters. A prospector's outfit, including a shovel and pick, is parked on a bench outside the door. Lying beside it is an old canteen with shiny new top. Chan examines it.

SCENE 276
TOWARD HILLSIDE - MEDIUM SHOT
Hewitt, the man we have seen at Madden's, comes striding down the hillside, lighting a pipe. He comes to a startled stop in foreground, glaring suspiciously off scene, then strides on.

SCENE 277
EXTERIOR SHACK - MEDIUM SHOT
Hewitt strides past the end of it.

HEWITT: (In gruff suspicion) What're you doin' here?

Chan turns, putting down the bottle, dropping the role of Ah Kim.

CHAN: Humbly request important information.

HEWITT:
(More on guard than ever) What about?

CHAN: Wish to learn what took place at Madden ranch Thursday night.

SCENE 278
HEWITT - CLOSE SHOT
His face becomes mask-like and grim.

HEWITT: How should I know? I ain't been around there for a month.

SCENE 279
AT TWO - MEDIUM CLOSE
Chan shakes his head and takes the old canteen top from his pocket.

CHAN: Found top to your canteen near garage.

HEWITT:
(Staring at Chan) I lost that a long time ago when I was down seein' Louie.

CHAN:
(Indicating bottle) And yet only bought new top yesterday at El Dorado store.

HEWITT:
(Angrily) Look here...I don't know what you're drivin' at...but I don't know nothin' about Madden, see?

CHAN:
(Suddenly...loudly) Help! Murder! Put down that gun!

Hewitt jumps startedly, dropping his pipe. He picks it up. Chan smiles and shakes his head.

Humbly suggest that you tell truth. Will save most troublesome interview with police.

HEWITT:
(Staring at him) You mean I won't get dragged into it?

CHAN: Most correct. Only desire is to solve mystery.

SCENE 280
HEWITT - CLOSE SHOT
He stares an instant and seems satisfied that Chan is honest.

HEWITT: All right...I'll tell yuh. Louie's an old friend of mine, and I stopped by to see him. I heard someone yell for help in Madden's bedroom and then there was two shots.

SCENE 281
AT TWO - MEDIUM CLOSE

CHAN: Where were you at time?

HEWITT: Outside the patio. I sneaked across and looked in the window. A man was lyin' in there on the floor.

CHAN: You saw who he was?

HEWITT: No...he'd fallen halfway behind the bed.

CHAN: What kind of gun did Thorne shoot with?

SCENE 282
HEWITT - CLOSEUP
He stares at Chan in surprise, blurting his words.

HEWITT: Thorne didn't kill the guy...the big boss himself did it! Madden!

SCENE 283
CHAN - CLOSEUP
Chan stares out of scene, suddenly tense at this astounding news. His eyes are narrow.

CHAN: Madden?!...He was there?!

HEWITT'S VOICE:
(Off scene) Sure. He was standin' there with a smokin' .45 in his hand, glarin' down at the guy on the floor.

SCENE 284
AT TWO - MEDIUM CLOSE

Thorne was way over on one side of the room.

CHAN:
(Quietly) Thank you so much.

FADE OUT.

FADE IN:

SCENE 285
STATION - TELEGRAPH WINDOW - NIGHT - MEDIUM CLOSE
Bob is at the window. The operator finishes counting words and writes number.

OPERATOR: Eighty-four cents.

Bob pays him. The operator verifies the address.

OPERATOR: (Reading) Alexander...is that Crawford?

BOB: Yes.

The operator nods. Paula enters with a written telegraph form.

PAULA: Hello there.

BOB:
(A mock frown) Following me again?

Paula laughs and turns to operator.

PAULA: Will you send this right away?

She hands him the money with it.

BOB: Wiring good-night to Wilbur?

PAULA: No.

BOB: Do you think he'd mind if I drove you back to the hotel?

As he speaks they start to exit.

PAULA: (Laughing) Why it's only four doors down the street!

FAST PAN DISOLVE TO:

SCENE 286
STREET - AT CURB - MEDIUM CLOSE
The car stops. Bob shuts off the motor.

BOB: A swell ride.

Paula laughs. They get out.

SCENE 287
EXTERIOR HOTEL - MEDIUM CLOSE
They walk up onto the deserted hotel veranda. Off scene we hear the distant whistle of the approaching night train.

SCENE 288
VERANDA - AT DOOR - MEDIUM CLOSE
They come to a stop. Bob looks at Paula.

BOB: (Thoughtfully) You know, I may as well confess something.

PAULA: What?

BOB:
(Shaking head) If you weren't engaged to Wilbur, I honestly think I'd find myself falling in love.

PAULA:
(Her eyes twinkling) That would be awful, wouldn't it?

BOB:
(Nodding...with feeling) Good old Wilbur...he's saved my freedom. (With sudden eagerness) Will you be at the ranch tomorrow with the movie company?

PAULA:
(A laughing nod) Yes...but I promise not to bother you. (Adding softly) Good-night...Bob.

She enters. The door closes. Bob stands looking at it. He turns out of scene.

SCENE 289
AT STEPS AND SIDEWALK - MEDIUM CLOSE
As Bob comes down the steps, he suddenly stops, staring toward the road in surprise.

SCENE 290
ROAD - BOB'S ANGLE - PAN SHOT
Gamble is driving past in his sedan. WE PAN WITH THE CAR. It stops beside the railroad station...about two hundred feet away. The train, off scene, is approaching.

SCENE 291
BOB - MEDIUM CLOSE SHOT
Bob watches in alert suspicion and moves slowly down the sidewalk in the shadows, watching off scene.

SCENE 292
STATION PLATFORM - MEDIUM SHOT
As the train pulls in, Gamble crosses from his car to the platform. Maydorf gets off the train. He is dressed much the same as in San Francisco. Gamble greets him.

SCENE 293
BOB - CLOSE SHOT
He shows startled surprise at the sight of Maydorf. His face gets grim and his eyes narrow as he watches.

SCENE 294
STATION PLATFORM - MEDIUM SHOT
A quaint little old Chinaman gets off, one car down, carrying a carpet bag, and walks across the platform. It is Louie Wong, dressed in an amusing, ill-fitting civilian suit. Gamble and Maydorf give a brief glance at him as they say a few words, then cross quickly to Gamble's car and get in.

SCENE 295
AT BOB AND STREET - MEDIUM SHOT
Bob watches the car start swiftly in the direction of the Madden ranch. Bob walks back to his car.

SCENE 296
AT CAR - MEDIUM CLOSE SHOT
As Bob climbs into the car, Louie Wong enters scene. He recognizes the car. His face lights eagerly and he hurries to it.

SCENE 297
AT CAR - CLOSE SHOT
Bob turns in surprise as he comes up to it. He speaks rapidly. His face beams with friendliness.

WONG: You dlive boss' auto. Mebbe go to lanch now? Me Louie Wong. Mebbe takum me along, please?

Bob's face lights with alert interest as he realizes Louie's identity.

BOB: Sure...get right in.

Louie bobs gratefully, getting in the back seat.

WONG: Thank you velly much.

Bob starts the motor and drives out of scene.

SCENE 298
ROAD - MEDIUM SHOT
As the car heads quickly away toward the ranch.

DISSOLVE TO:

SCENE 299
RANCH GATE - MEDIUM SHOT - NIGHT
As Bob drives up to it and comes to a stop. The gate is closed.

SCENE 300
AT CAR - CLOSE SHOT
Bob looks at the closed gate in puzzled surprise. Louie quickly opens the back seat door.

WONG: Me open.

He exits toward gate.

SCENE 301
AT GATE - FROM OPPOSITE SIDE - CLOSE SHOT
Louie enters and reaches over the gate for the latch. We see that it is wedged with a small stick. Louie has a little difficulty getting it out.

SCENE 302
AT GATE - MEDIUM SHOT
As Louie swings the gate open and stands aside, Bob drives through and as the headlights go past, Louie and the gate are left in darkness.

SCENE 303
AT GARAGE - MEDIUM SHOT
Bob drives the car in, turns off the motor and lights and gets out. As he comes out of the garage, Chan comes from the direction of the house, carrying a flashlight.

SCENE 304
EXTERIOR GARAGE DOOR - AT TWO - MEDIUM CLOSE
As Bob steps out of the doorway, he and Chan meet.

BOB: Hello, Ah Kim. I brought home a playmate for you... (He nods significantly toward gate) ...Louie Wong.

Chan's eyes show a gleam of interest. He turns toward the gate. Bob also turns.

SCENE 305
DRIVEWAY - TOWARD GATE - THEIR ANGLE - MEDIUM SHOT
The driveway is empty. In the distance we see dimly that the gate is half closed. Louie Wong seems to have disappeared.

SCENE 306
AT CHAN AND BOB - MEDIUM CLOSE
Bob shows puzzled surprise.

BOB: (Calling) Louie?

SCENE 307
DRIVEWAY - MEDIUM PAN SHOT
As the two hurry back to the gate, WE PAN WITH THEM. As the gate PANS INTO SCENE, they are startled to see Louie's body lies crumpled on the ground between the gates. Chan turns on the flashlight, swinging it swiftly around at the cactus and shrubbery in the vicinity. No one is in sight. He kneels quickly down, Bob following.

SCENE 308
AT LOUIE - CLOSE SHOT
As the two kneel beside him, Louie is dead. The flashlight reveals a gash in his vest over his heart, a spreading stain on the cloth.

CHAN: (Grimly) Dead...like Tony.

BOB:
(Stunned and horrified) But it seems impossible! It's only been a minute! Why would anyone kill him?

CHAN:
(In a low voice) Murdered in great haste. Implies something wrong here which old servant would recognize.

Bob starts to reply, but stops, listening. Rapidly approaching footsteps are heard off scene.

SCENE 309
AT TWO - MEDIUM CLOSE
As they get up tensely. Thorne comes hurrying out of the darkness staring suspiciously.

THORNE: What's all this? I heard you drive...

He breaks off, catching sight of the body. Chan turns on his flashlight on Louie, watching Thorne's face. Thorne's startledness seems amazingly genuine.

THORNE: Why...it's Louie! What's happened to him?

As he speaks, he kneels quickly beside Louie's body and stares at him an instant. He looks up in searching alarm.

THORNE: Who killed him?

BOB:
(Tersely) I don't know. I drove in and left him at the...

As he speaks, Thorne jumps to his feet and rushes off scene toward the house, calling:

THORNE: (Off scene) Chief!

SCENE 310
AT BOB AND CHAN - CLOSE SHOT
Chan and Bob stare after Thorne.

BOB: (Grimly) Do you think he did it?

CHAN: Equal chance that Madden guilty.

(Bob stares at him in surprise)

Prospector narrates amazing fact that Madden committed shooting in bedroom.

BOB:
(Completely at sea) Madden killed Delaney?

CHAN:
(Nodding) With Thorne present in room.

SCENE 311
TOWARD HOUSE - MEDIUM SHOT
Madden, in a dressing gown, comes racing out, Thorne following. Madden is seething with suppressed fury.

SCENE 312
AT CHAN AND BOB - MEDIUM CLOSE
As Madden enters, raging, he snatches the flashlight from Chan and flashes it on Louie's body. He suddenly whirls, shining the light directly in Thorne's face, looking as is he'd like to kill Thorne.

MADDEN: (Snarling) Fine business...this!

Thorne trembles with rage.

THORNE: (Snarling back) Well, what are you staring at me for?

Bob and Chan watch this unexpected fight narrowly. They are forgotten for the moment.

MADDEN: (Bellowing) I'll stare at you if I wish...though I'm sick of the sight of your silly face...

THORNE: I won't take that from you or...

Madden pays no attention, continuing to rage.

MADDEN: This place is turning into a madhouse...Tony dead...Louie murdered...movie outfit coming tomorrow...and now the police'll be messing up the place... (He controls himself with an effort and snarls) Go on and call'em! We might as well get it over with now.

Thorne turns on his heel and hurries into the house. Madden whirls to Chan.

MADDEN: Bring him into the house!

He strides off into the darkness towards house, carrying the flashlight.

SCENE 313
AT BOB AND CHAN - CLOSE SHOT
Chan stares after him, his eyes narrow.

CHAN: Man's soul is lost who does not grieve the death of faithful servant.

DISSOLVE TO:

SCENE 314
LIVING ROOM - MEDIUM SHOT - NIGHT
Louie's body lies on a davenport. A small town coroner is examining it. Constable Brackett, a burly, blustering small town official is questioning the four men. He is speaking respectfully to Madden as we come to scene.

BRACKETT: ...and you were both in the house when it happened?

MADDEN: Yes...I can account for Thorne.

BRACKETT:
(Turning to Bob) And you're sure you didn't see anyone by the gate when you drove in?

Bob nods. Brackett turns and crosses toward Chan, glaring at him belligerently.

SCENE 315
AT BRACKETT AND CHAN - MEDIUM CLOSE

BRACKETT: You're the new cook here, eh?

CHAN:
(Nodding meekly) Thas light, boss.

BRACKETT: Where'd you work before this?

CHAN:
(Mildly) All places, boss. Bid town, litta town.

BRACKETT:
(Bellowing angrily) I mean...where'd you work last?

CHAN:
(Serenely) Lailload, boss. Santa Fe Lailload. Lay sticks on glound.

BRACKETT:
(His eyes narrow) Had to work hard, eh?

CHAN: Thas light.

Brackett triumphantly thumps his finger on Chan's chest, moving him backward.

BRACKETT: So when you got an easy job here, you wanted to hang on to it? When Louie came back, you knew you'd lose it, so you killed him!

SCENE 316
AT GROUP - MEDIUM SHOT

BOB: (Angrily) That's nonsense! I told you he was at the garage!

Brackett turns pompously to him.

BRACKETT: You don't know these Chinese guys. They think nothin' of sneakin' around and stickin' knives in each other. (Turning to Chan) How'd you get into this country?

CHAN:
(Blandly) Melican citizen. Boahn San Flancisco.

BRACKETT:
(Sneering) Is that so? Let's see your chock-gee.

SCENE 317
AT BOB, CHAN, BRACKETT - MEDIUM CLOSE
Bob is completely dismayed. Chan stalls for time.

CHAN: What you say, boss?

BRACKETT:
(Bellowing triumphantly) I thought so! You know what I said! Your chock-gee...the certificate that shows you're a citizen. Come on!

CHAN:
(Understanding) Oh, boss, ce'tiflicate...all light, boss.

He pulls a worn piece of paper from his sleeve and hands it to Brackett. Bob shows amazement. Brackett inspects it in complete discomforture. He hands it back uncertainly.

BRACKETT: Well...you stay around here, see! Inspector Bliss'll be out tomorrow and he'll want to talk to you! Don't try to run away, understand?

CHAN:
(Nodding) I stay.

He walks away.

SCENE 318
AT GROUP - MEDIUM SHOT
As Chan heads towards dining room, Brackett turns away. Chan turns back, adding:

CHAN: You think I lun away easy job? (He snorts) Clazy cop!

Brackett does a startled double take back at him as Chan exits to dining room and we

FADE OUT.

FADE IN:

SCENE 319
MADDEN PATIO - FULL SHOT - DAY
The whole place is bustling with life. The movie company is in full swing, a mass of equipment and people. They are preparing to shoot a musical comedy dance number. An orchestra is at one side. Sixteen lovely girls are around
the place in scant tight-fitting chorus outfits.

SCENE 320
TWO CHORUS GIRLS - NEAR ENTRANCE TO LIVING ROOM - MEDIUM CLOSE
They look interestedly toward living room.

FIRST CHORUS GIRL: I wish Gold-Dust would stick his head out. I'd like to see what a multi-millionaire looks like.

SECOND CHORUS GIRL: I couldn't stand it.

VOICE:
(Off scene...calling) Come on, girls...places!

The girls reluctantly leave.

SCENE 321
PATIO - MEDIUM SHOT
The bustle increases as the girls assemble.

SCENE 322
AT CHAN - CLOSE SHOT
He is standing at one side watching the amazing scene with intense interest. People bustle back and forth past him.

SCENE 323
AT BOB AND PAULA - MEDIUM CLOSE SHOT
They are standing near Chan, the bustling going on around them. Bob is watching interestedly.

BOB: (Grinning) It can't be true.

Paula looks at him and laughs. The director crosses to him. He is the man who was with Paula in Los Angeles...a pleasant chap. He nods to Bob as if they had met earlier.

DIRECTOR: (To Paula) Someone said there's an abandoned mine on the other side of El Dorado. It might be okay for the next picture. Will you run up and take a look at it?

PAULA: Right after lunch.

DIRECTOR: Swell. Let me know before I leave tonight.

PAULA: I'll be back about three.

He nods and exits toward cameras.

SCENE 324
IN FRONT OF CAMERA - TOWARD CHORUS - MEDIUM SHOT
The set-up is ready. The leading man and girl are taking places in front of the camera. The director enters and addresses the man.

DIRECTOR: Now, for John's sake, Rannie, this time smile at her...you're supposed to be in love with the girl. Come on now. Let's get a good one.

Rannie grins and nods.

SCENE 325
BOB AND PAULA - CLOSE SHOT
Bob nods off scene toward Rannie.

BOB: Is Wilbur like Rannie?

PAULA:
(Amused) No...He's really wonderful.

BOB:
(Groaning) And you'll be back in Los Angeles with him in a couple of days. (He brightens) Maybe something's happened to him.

PAULA:
(Shaking head) I don't think so.

BOB:
(Hopefully) Is he careful crossing the street?

Before Paula can reply a whistle blows shrilly.

VOICE: (Off scene) Quiet, please.

Paula nods silently. Bob makes a grimace.

SCENES 326 to 335 (Inclusive)
PRODUCTION NUMBER
The romantic number starts with the chorus girls strolling in background of number. We see the mechanics of shooting, with sound man and cameras in scene and calls of "Roll 'em" and "Speed" etc. (The following scenes intercut with
the progress of the number.)

SCENE 336
CHAN - CLOSE SHOT
Chan watches the scene with absorbed interest.

SCENE 337
BOB AND PAULA - CLOSE SHOT
The two are engrossed in the musical love scene -

SCENE 338
PATIO - EXTERIOR ENTRANCE TO LIVING ROOM - MEDIUM CLOSE
Madden comes outside, looking interestedly at the scene, and strolls off scene toward Chan.

SCENE 339
AT TWO CHORUS GIRLS - CLOSE SHOT
At same girls, as they walk together in the scene. The second one sees Madden off scene and nudges the first, whispering an aside -

SECOND CHORUS GIRL: There's your millionaire, Peggy...don't fall over backwards.

Peggy looks off scene.

SCENE 340
TOWARD BOB AND CHAN - MEDIUM SHOT
Bob and Paula are standing about ten feet from Chan. Madden strolls in and stops near Chan, watching. The production number ends and the director motions for a closer set-up. The bustle starts.

SCENE 341
AT BOB AND PAULA - MEDIUM CLOSE

PAULA: Excuse me a minute.

BOB: Sure.

Paula exits toward cameras.

SCENE 342
NEAR SOUND WAGON - MEDIUM CLOSE
Two men of the crew are standing talking together. Near them is Eddie Boston, a stocky, small hard-faced man. He is lighting a cigarette.

FIRST PROP MAN: (Looking off scene) Say...isn't that Madden?

SECOND PROP MAN: Yeah.

At mention of Madden, Boston turns alertly, staring off scene.

SCENE 343
MADDEN - BOSTON'S ANGLE - MEDIUM SHOT
Madden is watching the preparation.

SCENE 344
BOSTON - CLOSE SHOT
His eyes narrow. A faint sardonic smile comes over his thin lips. He exits.

SCENE 345
AT MADDEN - MEDIUM CLOSE
Chan and Bob are in background. Boston walks up to Madden familiarly and extends his hand. Bob and Chan notice the greeting.

BOSTON: Hello, Mr. Madden.

Madden turns on him, stiffening an instant as if resenting being approached, and then shows puzzlement as if not recognizing him.

MADDEN: (Coldly) I'm sorry...I don't...

BOSTON:
(Sardonically) Don't remember me, eh? (His eyes bore into Madden's) I'm a friend of Jerry Delaney's. You'd remember him, wouldn't you?

Madden shows no sign of surprise.

SCENE 346
AT CHAN AND BOB - CLOSE SHOT
A flash of the two, showing them suddenly alert at the words.

SCENE 347
AT MADDEN AND BOSTON - MEDIUM CLOSE

MADDEN: (Calmly) Yes...I remember him. Why?

BOSTON: I saw him this morning. He sent you his best regards.

Madden shows no flicker of interest.

MADDEN: (Calmly) Oh...did he? Come into the house...I'd like to hear all about it.

Boston nods with a faint smile, and the two exit toward house.

SCENE 348
AT BOB AND CHAN - MEDIUM SHOT
Chan is looking thoughtfully toward the house. Bob, completely overcome by amazement, edges over to Chan.

SCENE 349
AT TWO - CLOSE SHOT

BOB: (Tensely) Did you hear what he said?! Delaney's alive!

CHAN: Most upsetting discovery...like bumble bee in honorable trousers.

BOB:
(Helplessly) But who was killed in the bedroom? This leaves us completely lost in the fog.

CHAN:
(Smiling faintly) On contrary, inscrutable fates reveal steps toward true solution.

He exits from scene.

SCENE 350
AT BOB - MEDIUM SHOT
As Chan ambles away toward the kitchen, Bob looks after him in puzzled surprise. Then he looks around and crosses to Paula, near the cameras.

SCENE 351
AT TWO MEDIUM CLOSE

BOB: Who was that chap who went inside with Madden?

PAULA: Eddie Boston...he's one of the assistants.

BOB: You know anything about him?

PAULA: Not very much. I heard he used to be a gambler in New York.

SCENE 352
PATIO - TOWARD LIVING ROOM - MEDIUM CLOSE
Madden strides out, agitated and angry. He looks around...spots Bob.

SCENE 353
BOB AND PAULA - MEDIUM CLOSE
They turn, surprised. Bob glances at her and exits.

SCENE 354
PATIO - MEDIUM CLOSE
As Bob enters, Madden approaching. They are alone. Madden is strangely furious and anxious.

MADDEN: Why isn't that necklace here? When's it coming?

BOB:
(At a loss) Why...I don't know... Sometime today.

MADDEN: Well...it better! I've got reservations on tonight's train and I'm not going to miss it! If the pearls aren't here by eight o'clock, the deal's off!

He turns and storms back into the house. Bob stares after him in puzzled worry. He turns to exit and stops short in surprise.

SCENE 355
DRIVEWAY - BOB'S ANGLE - PAN SHOT
Boston is hurrying around from the front of the house, his face expressionless, heading for the company cars.

SCENE 356
BOB - MEDIUM CLOSE
With a determined look, he strides out of the scene toward cars.

SCENE 357
DRIVEWAY - AT STUDIO CAR - MEDIUM CLOSE
Two or three studio cars in the driveway. Huge trucks are parked by the garage and out in the road. The driver is lounging behind the wheel. Boston enters and opens the front door.

BOSTON: (Tersely) Run me into town, Dan.

As he starts to get in, Bob enters.

BOB: Mr. Boston?

Boston turns and stares at Bob.

BOSTON: Yes?

BOB:
(Pleasantly casual) I wanted to ask you about a friend of mine. I heard you mention Jerry Delaney.

BOSTON: Boston's eyes bore into him an instant.

BOSTON:
(Shortly) I never heard the name in my life.

He gets into car and slams door. The car exits. Bob looks after it, defeated, as we

FADE OUT.

FADE IN:

SCENE 358
EXTERIOR HOLLEY'S GARAGE - MEDIUM SHOT - NIGHT
Madden's car races into scene and skids to a violent stop in front of garage.

SCENE 359
AT CAR - MEDIUM CLOSE SHOT
Bob is at the wheel, decidedly worried. He slides across, starting to get out, as Holley comes curiously out of the garage.

BOB: Have you seen Miss Graham?

HOLLEY: Not since she took my car this morning.

BOB: She went up to the abandoned mine. She hasn't come back! Nobody's seen her. Will you show me the way up there?

HOLLEY: Sure.

He climbs in quickly. The car dashes out.

SCENE 360
ROAD - FULL SHOT
As the car races away into the darkness.

FAST DISSOLVE TO:

SCENE 361
PETTICOAT MINE - FULL SHOT - NIGHT
A deserted mine; three or four buildings falling to ruins. All are in darkness. Bob's car races into scene and slows down, bumping through chuck holes in the street.

SCENE 362
INTERIOR CAR - AT TWO - CLOSE SHOT
The two are looking out opposite sides of the car, searching street.

SCENE 363
STREET - MEDIUM SHOT
As the car jounces slowly through.

SCENE 364
INTERIOR CAR - AT TWO - MEDIUM SHOT
Holley suddenly points off scene.

HOLLEY: There's the car.

Bob jams on the brakes, looking.

SCENE 365
AT CAR - MEDIUM PAN SHOT
They pile out and run between the buildings.

SCENE 366
REAR OF BUILDING - AT CAR - MEDIUM CLOSE
As they run in, looking into the car, quickly examining it. Bob straightens and looks around.

His face lights as he hears her voice.

PAULA'S VOICE: (Off scene from distance) Bob?!

SCENE 367
BUILDING - REAR DOOR - MEDIUM CLOSE
The door is open, hanging on one hinge. As the voice comes into scene, a shadowy figure appears in doorway, a heavy automatic in his hand. It is Maydorf. He exits softly toward them.

BOB'S VOICE: (Off scene) Where are you?

PAULA'S VOICE:
(From a distance) The stone building...I'm locked in.

SCENE 368
AT BOB AND HOLLEY - MEDIUM SHOT
As Bob starts, Maydorf steps in behind him.

MAYDORF: (Steely) Shove 'em up!

Bob and Holley whirl around. As they see the gun they raise their arms. Maydorf recognizes Bob.

(Ominously) Oh...it's you, eh? You shouldn't come sticking your nose into other people's business. Get in there!

He herds them out of scene, Bob looking for a chance to jump him.

SCENE 369
AT BUILDING DOOR - MEDIUM CLOSE
As the three converge at the door, Holley entering first. Bob takes a chance. He swings a vicious short arm jab to Maydorf's chin, connecting, at the same instant grabbing the latter's gun hand. They reel against the wall, the gun exploding twice, both men struggling with their free hand...a short, savage fight.

BOB: (Grimly, as they slug) I've been... (Maydorf's fist slugs his face) ...longing to meet you again!

Bob jabs Maydorf's gun arm across the door jamb, nearly breaking it. The gun falls from his limp hand. Maydorf's fist connects with Bob's face. Holley dives for the gun. Bob breaks free, swinging a vicious punch that knocks Maydorf cold. He collapses limply to the ground.

HOLLEY: (Nodding approvingly) Purty good fight.

Bob ransacks Maydorf's pockets and finds the keys, racing out of scene. As he does so, Maydorf comes to and glares dazedly up. Holley, holding the gun on him, gives a contemptuous snort.

HOLLEY: You ain't so tough!

SCENE 370
AT JAIL DOOR - MEDIUM CLOSE
Bob is just getting the padlock off and thrusts the door open. Paula rushes out. In mutual relief they instantly go into each other's arms.

PAULA: I was afraid you'd been shot.

BOB:
(Shaking head...anxiously) You're all right?

Paula nods. He kisses her...impulsively. Then he releases her.

BOB: (Apologetically) I'm sorry...I've been worried about you.

Paula smiles understandingly.

PAULA: I know. (She notices the keys) Bob, he's got someone else locked up on the other side.

Bob looks at her in surprise and the two hurriedly exit.

SCENE 371
SECOND DOOR - MEDIUM CLOSE
They hurry in. Bob unlocks the door and thrusts it back. The two peer into the darkness.

BOB: Hello?...Hello...

There is no answer. They suddenly catch sight of something and stare in astounded amazement as we

FAST DISSOLVE TO:

SCENE 372
INTERIOR MADDEN LIVING ROOM - NIGHT - MEDIUM SHOT
Madden is pacing up and down. Thorne and Gamble are sitting in chairs, staring at him.

SCENE 373
EXTERIOR ENTRANCE - MEDIUM PAN SHOT
Victor Jordan is getting out of a hired car and strides to the door. He looks irritated and impatient.

SCENE 374
INTERIOR LIVING ROOM - MEDIUM SHOT
The buzzer sounds off scene. Madden turns, staring at the door. Thorne and gamble sit up...hawk-like and eager. Madden sees their expression and glowers at them as he crosses to the door -

SCENE 375
AT DOOR - MEDIUM CLOSE
Madden opens it.

VICTOR: Mr. Madden?

Madden nods. Victor shows fawning respect.

I'm Victor Jordan.

MADDEN:
(Eagerly shaking hands) Oh yes...how do you do.

He closes the door behind Victor and turns to him.

SCENE 376
ROOM - MEDIUM SHOT

MADDEN: (Introducing Victor) Professor Gamble...Mr. Thorne.

VICTOR:
(Shaking hands) How are you?

MADDEN: You've brought the necklace?

VICTOR:
(Staring in surprise) Why...of course not!

The three men stare at him. Before he can say any more, Madden grates out, his face black with fury:

MADDEN: Are you trying to stall me again?

VICTOR:
(Nervously apologetic) No, Mr. Madden. I just heard about this stalling...that's why I hurried down here. Crawford should have given it to you Thursday.

SCENE 377
MADDEN - CLOSEUP
He controls his fury with difficulty.

MADDEN: Do you mean he's had it here all the time?

SCENE 378
AT GROUP - MEDIUM SHOT

VICTOR: (Anxiously explaining) No...Charlie Chan has it...the Chinaman that brought it from Hawaii.

Thorne and Gamble are startled. Madden's eyes narrow dangerously.

MADDEN: Chinaman, eh?

Victor looks at the men bewildered.

VICTOR: Why, yes...he's here, isn't he?

MADDEN:
(With ominous calm) Excuse me a minute.

He strides toward the kitchen.

SCENE 379
INTERIOR KITCHEN - MEDIUM SHOT
Chan is sweeping the kitchen floor. Madden enters.

MADDEN: (Grimly) I want to have a little talk with you.

CHAN:
(Surprised) Suah...wha's a matta, boss?

MADDEN:
(Evenly) Where did you work before you came here?

CHAN:
(Smiling congenially) Get'um woik all places, boss. Maybe lay sticks on gloun' fo' lailload.

MADDEN: You're a liar.

Chan's eye's narrow slightly but he continues calmly.

CHAN: Wha's matta, boss?

MADDEN:
(Ominously) I'll show you what's the matter. Come in here!

Chan, playing the bewildered Chinaman to perfection, exits toward living room, Madden following.

SCENE 380
INTERIOR LIVING ROOM - MEDIUM SHOT
Chan enters from dining room, followed by Madden. He stops short at sight of Victor.

SCENE 381
CHAN - CLOSEUP
A flicker of surprise and resentment comes into his eyes.

SCENE 382
VICTOR - CLOSE SHOT
He stares in amazement at Chan.

VICTOR: Have you gone crazy, Charlie? What've you got that outfit on for?

SCENE 383
AT MADDEN AND CHAN - MEDIUM SHOT

MADDEN: (Grimly) You've got Jordan's necklace...hand it over!

Chan's eyes narrow, his mind working swiftly. He stares at Victor and turns to Madden, dropping his dialect.

CHAN: (Calmly) Mr. Jordan juggles truth...pearls are property of his mother. Humbly refuse to deliver them.

SCENE 384
GROUP - MEDIUM SHOT

VICTOR: (Snarling) Oh yes you will! I had her write out an order telling you to.

He takes out a folded piece of paper and gives it to Chan.

SCENE 385
AT CHAN - CLOSE SHOT
He reads the note, a look of helpless resignation on his face.

SCENE 386
AT GROUP - MEDIUM SHOT
He hands the note back, reaches under his blouse and unhooks the money belt, taking out the velvet bundle and handing it to Madden.

SCENE 387
MADDEN - THORNE AND GAMBLE - MEDIUM CLOSE
As Madden eagerly takes out the necklace and holds it up. Thorne and Gamble crowd in on him.

GAMBLE: Beautiful!

Madden angrily shrugs them away from him.

SCENE 388
CHAN - CLOSE SHOT
He is watching them narrowly

CHAN: One moment, please...humbly request receipt.

SCENE 389
AT GROUP - MEDIUM SHOT
Madden nods and crosses to a desk, speaking. Chan follows.

MADDEN: Glad to give it to you. It's been waiting around here for three days.

SCENE 390
AT DESK - MEDIUM CLOSE
He sits down at his desk, continuing.

Just have to sign it.

He puts the necklace on a blotter, pulls open the middle drawer and lifts out a paper, taking a pen in his right hand. Chan is watching narrowly. Madden pulls out his watch with his left hand...glances at it...puts it away, and turns to Victor.

MADDEN: Good thing you came when you did...I'll just have time to make that train.

SCENE 391
VICTOR - CLOSE SHOT

VICTOR: (Beaming) Glad I could help.

SCENE 392
AT DESK - MEDIUM CLOSE
Madden turns back and starts writing his name, Chan watching.

INSERT OF PAPER: MADDENS RIGHT HAND writes the name with unusual slowness.

BACK TO SCENE: Madden puts down the pen and starts to get up. Chan suddenly grabs at the pearls. Madden also grabs, instinctively reaching with his left hand...but too late. Chan has them and darts back.

MADDEN: (Bellowing) What's this?! Why you crazy...

CHAN:
(Grimly) Will retain the pearls.

MADDEN:
(Snarling) You will, will you? We'll see about that!

As he speaks, he grabs into the middle drawer, again with his left hand, pulling out a revolver. There is a thundering report and a flash of fire through the folds of Chan's voluminous sleeve. Madden staggers back, his left arm going limp, the gun clattering to the floor. As he does so, Chan speaks calmly.

CHAN: Left-handed man always uses left hand...should also use correct name...Jerry Delaney.

SCENE 393
ROOM - MEDIUM SHOT
Thorne is poised to spring.

DELANEY: He's insane!

VICTOR:
(Rushing forward, shouting furiously) You fool...shooting Madden! Give me that gun!

The gun appears from Chan's sleeve, trained on Victor.

CHAN: (Evenly) You also, stand back with others.

Victor cowers back, thinking Chan is mad. Chan turns to Delaney.

CHAN: Anxious man hurries too fast, Mr. Delaney...often stubs big toe. Pretended real grief when old parrot dies, but forgot to show same for loyal man-servant murdered.

The front door crashes open. Constable Brackett thunders in, gun in hand, Inspector Bliss following.

BRACKETT: (Bellowing) What was that shooting?! (He sees Chan and glares triumphantly) Oh, it's you again, eh? (Aiming his gun at Chan) Give me that gun.

He starts for Chan.

SCENE 394
THORNE AND GAMBLE - CLOSE SHOT
They are suddenly warily alert.

SCENE 395
DELANEY, CHAN AND BRACKETT - MEDIUM SHOT -
Chan is helpless. Brackett takes his gun.

CHAN: (Protesting) You make great mistake. I am Detective Sergeant Chan of Honolulu Police.

BRACKETT:
(Snarling) And I'm the Queen of Sheba. (Grabbing Chan roughly) Come with us.

Delaney, very poised, halts the Constable.

DELANEY: Just a minute, Constable. He has a pearl necklace he took from me.

BRACKETT:
(Glaring at Chan) You have, eh? Give it up!

CHAN:
(Quickly) He is not Mr. Madden.

Brackett looks at Delaney, surprised, then back at Chan.

BRACKETT: You're nuts! I've known Mr. Madden for years.

He takes the pearls from Chan and hands them to Delaney, who drops them in his pocket.

DELANEY: Thanks.

SCENE 396
BRACKETT - AND CHAN - MEDIUM CLOSE PAN SHOT -
Brackett grabs Chan and drags him toward door. WE PAN WITH THEM. The door has been left open. As WE PAN into scene the real Madden suddenly appears from outside darkness, followed by Bob and Paula, and behind them Holley with gun in Maydorf's ribs. Madden's hair is rumpled, his face bearded and pale. He is in his shirt sleeves, his arm in a sling. His shoulder is stained with dried blood. Brackett comes to a dazed halt as if he has seen a ghost, looking helplessly from Madden to Delaney, and back.

BRACKETT: (Stammering) Mr. Madden...!

Madden nods. He stares across at Delaney.

SCENE 397
GAMBLE, THORNE AND DELANEY - MEDIUM CLOSE
They are staring off scene at Madden.

SCENE 398
ROOM - MEDIUM SHOT
Madden's eyes drill into Delaney.

MADDEN: (Grimly) Almost got away with it, didn't you Jerry. You always were good at it.

Delaney suddenly makes a dash for the closed patio doors. Chan is a little quicker, grabbing Delaney and doing a jiu-jitsu throw over his back.

SCENE 399
AT SIDE WALL - MEDIUM SHOT
A small size table stands against the wall. Delaney crashes full length against the wall and floor, knocking over the table and bric-a-brac. He is half stunned.

SCENE 400
CHAN - CLOSE SHOT
He straightens up with a wry face, his hand on his back as if he had a crick in it.

CHAN: (Smiling) Ancient bones creak with pleasure.

SCENE 401
ROOM - MEDIUM SHOT
As Bliss hurries across and slaps handcuffs on Delaney, Chan turns to Madden and continues:

Most happy to see corpse from bedroom alive.

Madden nods gratefully. Brackett breaks in, addressing Madden:

BRACKETT: (Apologetically) Sorry about this, Mr. Madden. That bird had me fooled.

MADDEN:
(With a grim smile) I don't blame you, Brackett. He used to be an actor until he discovered he was almost my twin...then he started a racket impersonating me in New York years ago. (He turns grimly to Thorne) You remembered that, didn't you, Thorne...waited for a chance to double-cross me.

Thorne is silent. Madden adds bitterly.

I thought I had found one man who could be loyal to me.

He turns to Brackett, indicating Thorne wearily.

Arrest him...take them away.

Brackett nods. He and Bliss herd Delaney and Thorne toward the door. Chan stops Bliss.

SCENE 402
AT BLISS AND DELANEY - MEDIUM CLOSE

CHAN: (Mildly) One moment, please.

He reaches into Delaney's pocket and takes the necklace. Bliss starts on with Delaney.

SCENE 403
AT GAMBLE - MEDIUM SHOT
Gamble sees his opportunity. He starts moving toward the bedroom hallway, clearing his throat dignifiedly.

GAMBLE: I owe you an apology, gentlemen. I'm very sorry to have been innocently drawn into this tangle. I will leave at once.

As he reaches the door, he finds Chan blocking his way.

SCENE 404
AT TWO - MEDIUM CLOSE

CHAN: Innocent man would not carry knife used to murder Louie Wong.

GAMBLE:
(Sputtering) Why, this is preposterous! Outrageous!

Even as he speaks Chan jerks open his coat.

INSERT: OF VEST AND ARMPIT. A leather sheath is strapped by the armpit. In it is a knife.

BACK TO SCENE: Chan pulls out the thin-bladed wicked looking knife.

CHAN: (Smiling slightly) Should not sleep with knife under pillow. Found interesting impression on sheet when making bed.

He points the knife toward Gamble, herding him out of scene.

SCENE 405
ROOM - MEDIUM SHOT
Chan herds Gamble toward the door, where Brackett, who has turned back, is waiting. Brackett exits with Gamble. Chan turns toward Madden.

SCENE 406
AT CHAN AND MADDEN - MEDIUM CLOSE
Chan hands Madden the necklace with a sigh of relief.

CHAN: (Smiling) Often round-about path to correct destination.

DISSOLVE TO:

SCENE 407
EL DORADO STATION - AT OBSERVATION CAR PLATFORM - MEDIUM CLOSE - NIGHT -
The gate and trap door are open. Chan and Bob are on rear platform with coats and grip, ready to leave. Paula has stepped up on platform with them to say goodbye. Bob and Paula are looking at each other, rather helplessly, unhappy at parting. Chan, a couple of feet away, is setting his grip down by door.

SCENE 408
AT BOB AND PAULA - CLOSE SHOT
Bob tries to make conversation.

BOB: When are you going back to Los Angeles?

PAULA:
(Quietly) Probably Wednesday.

BOB:
(An instant's pause) Would you mind if I flew down to see you?

PAULA: No...I'd enjoy it.

BOB:
(Smiling) Thanks. (The smile fades, he looks at her hungrily) You know...if it weren't for that engagement ring I think I'd kidnap you to San Francisco tonight.

SCENE 409
AT THREE - MEDIUM CLOSE

PAULA: (Smiling) It's always proved a protection.

She turns to Chan, extending her right hand.

PAULA: Goodbye, Mr. Chan

CHAN:
(Smiling appreciatively) Goodbye.

He smiles down at the small hand held in his. His eyes narrow. He looks up quickly at Bob.

(Indicating hand) Suggest noticing that supposed engagement ring usually worn on right hand.

Bob takes her hand and looks at it.

INSERT OF HAND: A faint white circle shows on right hand ring finger.

BACK TO SCENE: Bob stars into Paula's eyes in questioning accusation.

BOB: Have you been lying all this time?

Paula seems almost relieved at having to confess.

PAULA: (Nodding) There isn't any Wilbur.

There is a flash of relief in Bob's face. He takes her impulsively in his arms, grinning.

BOB: I thought his name was Jack.

He kisses her. As he does so, the bell up forward rings and the train starts to move...the Camera with it.

CHAN: (Hastily) Suggest important need of third ticket. Will attend to same.

He quickly and adroitly goes into car, with a backward smile at the two.

SCENE 410
TRAIN TRACKS TOWARD REAR PLATFORM - FULL SHOT
The train pulls away down the track. As it grows smaller, speeding away in the darkness, the two figures in each other's arms silhouetted against the dim light of the platform, we

FADE OUT.


THE END.

 
 

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