CHARLIE CHAN'S COURAGE

PRODUCER: JOHN STONE

EXECUTIVE PRODUCER: WINFIELD R. SHEEHAN

DIRECTOR: GEORGE MADDEN

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."

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 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 nods, looking at her thoughtfully.

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

Mrs. Jordan nods silently.

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.

SCENE 7
MRS. JORDAN - CLOSEUP

SCENE 8
AT TWO - MEDIUM CLOSE

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

Mrs. Jordan's face lights hopefully.

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

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.

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.

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 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.

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

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.

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

(Thorne shrugs)

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.

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

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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

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.

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

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

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

BOB: Not so good.

SCENE 72
CRAWFORD - CLOSEUP

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

SCENE 75
CHAN AND CRAWFORD - CLOSE SHOT

SCENE 76
AT GROUP - CLOSE SHOT

Crawford turns on him coldly.

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.

Mrs. Jordan smiles her gratitude.

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

SCENE 79
CHAN - CLOSEUP

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

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.

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 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.

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

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.

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

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 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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Thorne shrugs with a sardonic smile.

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

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.

They reach the car.

SCENE 138
AT CAR

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

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

Thorne is disappointed.

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.

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.

Bob grins, crossing.

SCENE 159
AT STOVE - MEDIUM CLOSE

BOB: Can I help?

THORNE: It's almost ready.

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."

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.

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.

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.