Illustrated Script: CHARLIE CHAN'S GREATEST CASE

PRODUCER: SOL M. WURTZEL

DIRECTOR: HAMILTON MACFADDEN

ASSISTANT DIRECTOR: PERCY IKERD

SCREENPLAY: LESTER COLE & MARION ORTH

PHOTOGRAPHY: ERNEST PALMER

SETTINGS: DUNCAN CRAMER

EDITOR: ALEX TROFFEY

GOWNS: ROYER

MUSICAL DIRECTION: SAMUEL KAYLIN

SOUND: GEORGE LEVERETT

Charlie Chan: WARNER OLAND

Carlotta Egan: HEATHER ANGEL

John Quincy Winterslip: JOHN WARBURTON

Harry Jennison: WALTER BYRON

T. M. Brade: IVAN SIMPSON

Barbara Winterslip: VIRGINIA CHERRILL

Captain Hallett: FRANCES FORD

Dan Winterslip: ROBERT WARWICK

Amos Winterslip: FRANK MCGLYNN

Minerva Winterslip: CLARA BLANDICK

Captain Arthur Temple Cope: CLAUDE KING

James Egan: WILLIAM STACK

The beachcomber: ROGER IMHOFF

Arlene Compton: GLORIA ROY

Steve Leatherbee: CORNELIUS KEEFE

FADE IN:

Opening titles. One or two atmospheric shots of Honolulu, the Royal Hawaiian, boys on their surf boards, the beach.

SCENE 1 -- Omitted.

SCENE 2
EXTERIOR
CLOSE SHOT ON A DRAWN VENETIAN BLIND on the outside of a veranda. Behind this blind we hear the voice of a man raised angrily.

MAN'S VOICE: I've lived through thirty years of watching you besmirch the name of Winterslip with sinful deeds, but this is more than I'll put up with.

SECOND VOICE: (Lightly) Have a drink, Amos.

DISSOLVE THROUGH BLIND INTO:

SCENE 3
INTERIOR DAN'S VERANDA

It is luxuriously furnished in attractive wicker furnishings and looks as if it were the general living quarters of the household. On a table is a framed photograph of Dan's younger daughter, Barbara. Discovered are Dan and Amos Winterslip, both men are in their early fifties, both dressed in white linen. Amos of stiff sanctimonious appearance, Dan just the opposite. Amos holds a newspaper and shakes it in Dan's face.

AMOS: When such disgraceful actions become the property of scandal columns, it's time something was done about it.

Amos indicates a particular item in the newspaper which has aroused his indignation. Dan takes the paper from him calmly and looks at it.

SCENE 4
INSERT OF PICTURE IN NEWSPAPER OF ARLENE COMPTON.

LAP DISSOLVE TO:

SCENE 5
NEWSPAPER ARTICLE ACCOMPANYING PICTURE which reads:

DAN'S VOICE: (Reads article aloud) "Having become accustomed to expect about anything from Dan Winterslip, one of the Island's wealthiest and most colorful characters, we are prepared to accept with calm, an announcement of his marriage any day now to Arline Compton, picturesque widow."

SCENE 6
INTERIOR VERANDA
Dan reads the article and smiles provokingly, and puts paper down.

DAN: Tse. Tse. Imagine spelling her name wrong.

AMOS: (Infuriated by his manner) It isn't bad enough that everyone knows of your shady methods of the last thirty years. This trafficking with a woman of this type is a disgrace to the name of Winterslip. Who is she? You know what they say?

DAN: No, Amos, what do they say?

AMOS: (Virtually triumphant) That her husband's plane crash was not an accident. He committed suicide. Because of her! (With disgust) Flaunting around town the jewelry and flashy clothes you gave her. (He points to the picture of Barbara)

AMOS' VOICE: What will your daughter say when she comes back from San Francisco?

SCENE 8
INTERIOR VERANDA
Dan looks thoughtfully at the picture, rises and taking Amos' arm, leads him to the screen door at the end of the veranda.

SCENE 9
SHOOTING THROUGH SCREEN, we see a white picket fence in the background with Amos and Dan in foreground. Dan points toward this fence.

DAN: Now, look here, Amos. For thirty years you've lived on the other side of that fence, snooping around, watching my activities and condemning me in your righteous heart. You've refused to speak to me, denied me as a brother. You've cursed me and prayed to God to strike me dead for my sins. And now you dare come over here and tell me how to live my life.

SCENE 10
CLOSE SHOT AT DOORWAY TO DINING ROOM.
Koahla, man-servant, discovered eavesdropping on Amos and Dan. Dan's voice is heard.

AMOS: You'll pay for this. You may have prospered in this life with your shady methods, but in the life to come, you'll get yours.

Amos jerks open the screen door, stalks out slamming the door after him. Amos exits.

SCENE 11
INTERIOR VERANDA
Dan has crossed to the table and is pouring himself a drink.

SCENE 12
EXTERIOR DAN'S GARDEN
Amos, rushing down the garden path, turns a heavily shrubbed corner and bumps into Minerva, very nearly knocking her down.

MINERVA: (Catching her breath) Well! You're in enough hurry to be going to a prayer meeting.

AMOS: (Furiously) Perhaps if you went and prayed for your brother, Dan, it wouldn't do any harm.

MINERVA: (Amused) He's your brother, too. Why don't you try it!

AMOS: If something isn't done to stop him from going through with that affair, no Winterslip will ever be able to hold his head up again. (Furiously) I'd see him dead rather than married to that woman.

With that, Amos goes on his way. Minerva looks after him and then starts for the house.

SCENE 13
INTERIOR VERANDA
Dan has finished mixing his drink as Minerva enters.

He indicates a packet of mail on the table. Minerva crossed toward it, talking as she walks.

Off-stage phone rings twice and stops.

MINERVA: What happened between you and Amos? I heard you shouting all the way down at the beach.

DAN: (Chuckling) My most righteous brother finally broke his thirty years silence to rebuke me, and assure me the Lord was about to strike me dead for my sins. (He shrugs) Just a Puritan touched by the sun. Have a drink?

MINERVA: (Starting to read letter) Make it man-sized, I'm parched.

Dan begins to prepare a huge scotch and soda for Minerva. Koahla, the native boy, enters.

DAN: What's he to me?

MINERVA: Nephew.

DAN: I don't understand why they have to send him for you. Aren't you able to take care of yourself?

MINERVA: He's the only available male in the family. I've written to them that I'm enjoying myself, and that's more than they can tolerate.

DAN: (Smiles) I suppose he'll stop with our brother, Roger, in San Francisco. Why don't you wire him there and tell him to make his home with us when he gets here?

MINERVA: (Laughs) You don't know what you're letting yourself in for, Dan. John Quincy is just like Amos thirty years ago without the touch of sun.

Dan, beginning to look over the newspaper, chuckles. Minerva seats herself and enjoys her drink. Suddenly, Dan sees something in the paper which appears to upset him. His expression changes.

He throws the newspaper aside, rises and crosses impatiently to the door, meeting the house-boy as he appears there.

Dan picks up his hat from a peg on the wall and starts for the screen door where he turns and looks back at Minerva.

Under the pretext of tidying room, Koahla picks up paper and exits.

SCENE 14
DAN'S HOUSE - ANOTHER ROOM
Koahla enters with paper in stealthy manner. He reads the article which Dan has folded uppermost, with great interest.

SCENE 15
INSERT: FOLDED NEWSPAPER -

Next week, from India, comes T.M. Brade, retired British Civil Servant. This is his first visit of the Islands, and is the gratification of a life-long desire."

SCENE 16
INTERIOR DAN'S HOUSE
This information seems to mean something to Koahla. He tears the item out of the paper -

SCENE 17
HALLWAY
Kamaikui, coming down hall, calls -

SCENE 18
KOAHLA hears the call. He quickly slips the torn bit of paper into his pocket and, to avoid seeing Kamaikui at this moment, nimbly slips over the window sill, drops to the ground and runs madly down the beach.

FADE OUT.

FADE IN:

SCENE 19
CLOSEUP ON LIFE PRESERVER attached to the railing on a ferry boat. Inscribed on it is:

In the background we have a process shot of the bay and the San Francisco sky line.

DISOLVE TO:

SCENE 20
DECK OF FERRY - BOAT IN MOTION.
Same process shot in background. Colored porter loaded with eight pieces of elaborate pigskin luggage which include a set of golf clubs and a hat box, comes into the scene. As the porter, exhausted, sets them down, we notice that they are initialed "J.Q.W." and labeled "Boston." The porter wipes his brow and turns grinning as John Quincy, a young man of twenty-eight, or so, immaculately clad and formal with cane and gloves, comes into the scene. He tips the porter.

The porter goes on his way. John leans against the rail looking out and frowning. It is a misty day. A hearty, middle-aged man standing there observes John's impressive luggage.

MAN: First trip out this way?

JOHN: (Coldly) Mm.

MAN: (Not at all daunted) Too bad it's so foggy. Unusual. As a rule this is the most beautiful view in the world.

JOHN: (Coldly polite) Is that so?

MAN: Yes. Why, we have...

JOHN: (Bitingly) How fascinating.

The man realizes that John does not intend to respond to his cordial efforts. He shrugs and moves away. John sighs with relief and gazes out over the water. A second man comes over to him, notices the luggage and then says:

JOHN: No, sorry.

SECOND MAN: First trip out this way?

JOHN: (Controlling a sigh) Yes.

SECOND MAN: Great country. Too bad about the fog today. Unusual. Most of the time you can see the Golden Gate and Mount Tamalpais. Great sight. Ever see Mount Tamalpais?

JOHN: No.

SECOND MAN: Ha, ha. Of course not. Forgot you said you were never here before. Too bad it's foggy.

JOHN: (In cold, measured tones) I like the fog, do you mind terribly?

SECOND MAN: (Gasping with astonishment) I...oh...er...

The second man walks away. John grits his teeth and turns back to his survey of the water, standing with his back full to the camera. Now Carlotta enters the scene and drops her heavy bag with relief.

SCENE 21
CLOSEUP OF JOHN as he hears the bag drop. His expression is one of extreme annoyance. Anticipating the questions, he decides to nip them in the bud and without looking around starts talking.

SCENE 22
MEDIUM CLOSE SHOT - ANOTHER ANGLE
For a moment Carlotta looks at him in astonishment. Then she decides it must be a game and why shouldn't she play it too? Thrusting her hand in front of her coat, Napoleon-wise, and dropping her chin on her chest, she assumes a deep bass voice.

CARLOTTA: I would have conquered the world, and Wellington, too, if it hadn't been for Fouche.

She opens her purse and hands him a packet. Dumbfounded he takes them without being aware of the fact that he's done so.

She opens her case and offers John a cigarette. John quickly hands her back the matches.

JOHN: I'm terribly sorry. I suppose it must have sounded quite crazy. I beg your pardon.

CARLOTTA: That's all right.

As if she is just a bit frightened, she starts to move away. John pursues her a step, detaining her.

JOHN: Now, look here. I suppose you think I really am. And the more I insist I'm not, the more you'll think I am.

CARLOTTA: (Anxious to get away) Honestly, I promise you never to think about it. May I go now?

JOHN: But you are thinking it, I know. I'm afraid I became a bit annoyed by the hearty cordiality of these people. Everyone felt obligated to assure me that this fog was unusual, and that this was really a beautiful place. I was only trying to beat the next nuisance to it.

CARLOTTA: (Stiffly) Oh, I see.

JOHN: (Hastily) No, really! I didn't mean...

CARLOTTA: I must say your manner of entering a flirtation is hardly alluring.

JOHN: (Hastily assuring her) But I'm not trying to enter a flirtation.

CARLOTTA: (Pretending disappointment) Oh, then I've been wasting all this time hoping...

JOHN: (It suddenly dawns on him) I say, are you trying to make a fool of me?

Carlotta smiles as if to say, "God's already done that." Then she turns and surveys his luggage.

John looks coldly at her and then, bending over his luggage, he deliberately picks up the box and throws it overboard.

Carlotta turns, concealing a smile, and sees -

SCENE 23
STOCK SHOT - FERRY SLIP

SCENE 24
MEDIUM CLOSE SHOT -

She picks up her bag and starts off. John hurriedly begins to gather up his luggage, eager to go with her.

Carlotta continues on her way, looks back smiling over her shoulder and calls a warning.

John, anxious to follow the girl, struggles with his luggage, picking up one piece and dropping another. Finally he becomes exasperated, looks at the luggage helplessly and mad through and through and shouts for help.

While waiting for the porter, he begins to stack up the bags in as good order as possible. The porter comes running to him grinning and takes charge of the luggage, noticing as he does so, the Boston labels.

This is the final straw for John, who looks as if he could curse with rage. Then his sense of humor gets the best of the situation. He laughs, as we

FADE OUT.

FADE IN:

SCENE 25
EXTERIOR SAN FRANCISCO STREET - NIGHT. An establishing shot.

DISSOLVE INTO:

SCENE 26
ANOTHER STREET. RESIDENCE DISTRICT. NIGHT. CLOSE SHOT ROGER WINTERSLIP'S CAR as chauffeur opens the door and John and Roger get out. John looks at the house with obvious distaste.

SCENE 27
ACROSS STREET, MYSTERIOUS FIGURE LURKING IN SHADOWS, WATCHING.

SCENE 28
EXTERIOR DAN WINTERSLIP'S SAN FRANCISCO HOUSE. CAMERA PANS UPWARD as John would see it, showing a three story house, with windows boarded up, and a general air of desertion.

SCENE 29
EXTERIOR DAN'S SAN FRANCISCO HOUSE. ROGER AND JOHN.

JOHN: (Protesting) Now look here, Uncle Roger. I demand an explanation of all this mystery. I'm hardly off the ferry before you whisk me into your car, speed to your house, rush through dinner without even a chance to wash up, and then dash out here. It's preposterous.

ROGER: (Chuckling) Practically everything your Uncle Dan does is preposterous, my boy.

He takes him by the arm and leads him up the stairs. CAMERA TRUCKS ALONG with them.

Take this house, for instance. He comes over here perhaps for two months a year, yet he goes to all the trouble of bringing all his servants with him, and opening the place. You'd think a hotel would do, but not for Dan.

By this time they have arrived at the door.

SCENE 30
ACROSS THE STREET we see a stealthy figure lurking in the shadows, watching Roger and John.

SCENE 31
WATCHER'S ANGLE
He sees them go into the house.

SCENE 32
INTERIOR DAN'S SAN FRANCISCO HOUSE - HALL AND STAIRWAY
Roger takes flashlight from his pocket, and as the pale light travels about we see the furniture swathed in ghostly linen covers, and the broad stairway leading up.

JOHN: (Firmly) I'm sorry, Uncle Roger, but I refuse to go another step unless I know what this is all about.

ROGER: All right, my boy. Here you are. Orders from Dan.

Roger takes Dan's cable from his pocket, hands it to John Quincy, and turns the flashlight on it for him to read.

SCENE 33
INSERT OF CABLE:

"ROGER WINTERSLIP
1438 MONROE ST.,
SAN FRANCISCO, CALIF.

WHEN NEPHEW ARRIVES TAKE
HIM TO MY HOUSE. IN OLD
TRUNK IN ATTIC WILL BE FOUND
SMALL STRONG BOX MARKED
T.M.B. HAVE HIM THROW IT
OVERBOARD INTO PACIFIC ON
WAY TO HAWAII

JOHN: (Looking up impatiently) But it all seems so ridiculous. If I understand it, I'm supposed to get this box of his and on the boat going over, drop it into the ocean. Is that right?

ROGER: Absolutely.

JOHN: (Exasperated) Well, then, it's nonsensical. Evidently it is of no value. Then why isn't it just as well off here as it is at the bottom of the Pacific?

Roger takes John by the arm with friendly force, and starts him up the stairs.

ROGER: Because that's the way Dan wants it, my boy, and it's always wise to accommodate Dan.

SCENE 35
ATTIC
A faint ray comes through a window high in a gable. We can just discern the movement of a shadowy figure, crossing the center of the room.

Then we hear Roger and John coming up the stairs, the light of the flash preceding them. The next moment they appear.

As Roger flashes the light on the trunk, the flashlight is suddenly struck from his hand. He shouts. John finds himself struggling with an unseen assailant. Roger joins in the scrap and the flashlight rolling crazily across the floor, throws weird circles of light on the struggle. Finding himself outnumbered, the mysterious stranger makes a break for the stairway. We can hear his feet pattering on the steps as he runs down. Roger picks up the flash and turns it upon John who is starting after the intruder.

Roger has now turned the flash on the trunk which we see is opened, and is bending over it with the flashlight shining on its contents.

John comes to the trunk and looks into it.

SCENE 36
INSERT OF BOX IN TRUNK
Plainly marked are the initials, T.M.B.

JOHN'S VOICE: Aren't you going to notify the police?

ROGER'S VOICE: (Slowly - impressively) No. Dan never takes up any of his affairs with the police authorities.

They cross to the stairway and start down.

SCENE 40
SECOND FLOOR STAIRWAY
As Roger and John come down, Roger lighting the way with the flashlight.

ROGER: The evening's still young. Perhaps we can find a gay spot. What would you like to do?

The CAMERA TRUCKS BACKWARD ALONG the hall as John and Roger cross to the staircase, leading down to the first floor.

SCENE 41
INTERIOR OF LOWER HALL SHOOTING UP THE STAIRCASE
As John and Roger start down.

ROGER: (Laughs) Don't let a little thing like this worry you, John. Back in your Uncle Dan's day, survival was a question of who was fastest with his fists, gun or knife, as the situation demanded.

By this time they are down the stairs and the CAMERA TRUCKS with them to the street door as John replies.

SCENE 42
MYSTERIOUS FIGURE ACROSS STREET, watching.

SCENE 43
INTERIOR HOUSE
The two men come out and Roger locks the door. The CAMERA TRUCKS with them as they cross to the car.

By this time they have arrived at the car. As they get in -

SCENE 44
MYSTERIOUS FIGURE watching them out of scene, and starting as if to follow.

QUICK FADE OUT AND INTO:

SCENE 45
INTERIOR NIGHT CLUB
Shooting through archway into supper room, dance number is being played and the dance floor in the center of the room is crowded. Roger and John enter from the left and stop in the archway. They are met by the Captain, who greets them, and leads them away.

SCENE 46
CUT TO NEARBY TABLE
Cope, a man of about fifty, of military bearing, is seated with a man friend. They are looking in the direction taken by Roger and John.

COPE: Who's that?

MAN: Roger Winterslip.

COPE: I thought his face was familiar. Dan's brother, eh?

MAN: That's right, you knew Dan well in the old days. I suppose you'll be seeing him when you get to Hawaii.

COPE: (Angrily) Not if I can help it. Hanging is too good for Dan Winterslip. And I might be tempted to ---- (Catches himself and forces a laugh) I guess Hawaii's big enough for the two of us.

SCENE 47
EDGE OF DANCE FLOOR - TRUCKING
Roger and John are skirting the dance floor. Suddenly, from the dance floor a woman's hand reaches into the scene, seizing Roger's shoulder. THE CAMERA STOPS with Roger and John and then we see that it is Barbara who has detained Roger. Harry Jennison, a good-looking young chap in his middle thirties, is her dancing partner. As he sees Barbara, Roger's face lights up.

ROGER: Barbara! You little devil. Why didn't you let me know you were in town?

As Barbara speaks, she and Jennison are bumped into by a passing couple on the crowded dance floor. Barbara and Jennison resume dancing as Barbara calls over Jennison's shoulder.

SCENE 48
BARBARA'S TABLE
Roger and John arrive at the table which is on the edge of the dance floor. As they are seating themselves, Roger says:

ROGER: And that, my boy, is your cousin, Dan's daughter. You'll probably be sailing on the same boat.

JOHN: She's very attractive. Who's the man?

ROGER: Harry Jennison. Another Islander - been Dan's lawyer for years.

As Roger speaks a waiter comes to the table, handing both men menus.

SCENE 49
NIGHT CLUB - CLOSEUP AT TELEPHONE
Cope is speaking into mouthpiece.

COPE: Hello, Anchor Steamship Company? -- This is Captain Cope. (Impatiently and slowly) Captain Arthur Temple Cope...I've changed my mind about the 'President Tyler.' I can't wait two days - (Waits) The 'Matsonia' or the Australian boat? Tomorrow at noon? Very well, the Australian boat. Thank you.

Cope hangs up and turns from the phone.

SCENE 50
BARBARA'S TABLE
The dance number is over and Barbara and Jennison come back to the table. John and Roger rise and Roger says:

I want you to meet your cousin, John Quincy Winterslip - he's going to the Islands to bring your Aunt Minerva home.

JOHN: How do you do?

BARBARA: Welcome.

During this Roger and Harry are shaking hands and ad libbing "Glad to meet you," etc.

The men shake hands and murmur a friendly greeting. The music starts up again for the second half of the dance, and Barbara, full of animation, turns to John.

BARBARA: Want to finish the dance, John Quincy?

JOHN: (Gravely - formally) Thank you - (Turns to the men) Will you excuse us?

ROGER: Go ahead, my boy.

JENNISON: Certainly.

John and Barbara step to the dance floor. The CAMERA TRUCKS ALONG with them as they dance. Barbara looks up teasingly into John's serious face.

BARBARA: You look as if you missed something. Should we have kissed?

JOHN: (Flustered) Oh, really....

BARBARA: What do cousins do in Boston?

JOHN: (Nervously trying to joke) Er -- rub noses, I believe.

BARBARA: What fun.

She stretches up and manages to rub his nose, much to his embarrassment. However, he evidently has liked it. She moves closer to him in dance positions and then the CAMERA STOPS, allowing them to dance away and lose themselves amongst the other couples, as we

FADE OUT.

FADE IN:

SCENE 51
LONG SHOT SHIP AT SEA - NIGHT

DISOLVE INTO:

SCENE 52
EXTERIOR BRIDGE OF SHIP

Barbara and Jennison are talking with the Captain.

While they are talking, Higgins, a passenger, joins them unobserved.

BARBARA: Captain Shane, what are the chances of beating the 'Matsonia' in?

CAPTAIN: (Smiles) Young lady, that would mean a whole day ahead of schedule. What's your hurry?

BARBARA: Oh, just an idea.

JENNISON: (Indulgently) Some of her school friends sailed yesterday on the 'Matsonia.' I expect she'd like to beat them. (Turns to Barbara) Isn't that it?

HIGGINS: Would it be possible, Captain? I'd like to get in a day ahead myself.

JENNISON: (Tempting him) You know that Japanese ship's record still stands. With this good weather, you have a chance to beat it.

BARBARA: (Coaxingly, snuggling up to him) Oh, please, Captain Shane.

CAPTAIN: Now, don't try any of your wiles on me, young lady. (And with that he encircles her with his arm, holding her as he talks to Higgins) Such an offer, Mr. Higgins, is a great inducement, I'll try.

BARBARA: Oh, you darling! (She kisses him)

CAPTAIN: But I warn you, if we don't make it by five o'clock the evening before, we'll have to lie outside the harbor overnight.

BARBARA: But we will make it, I know.

CAPTAIN: (Gives instructions) Full speed ahead.

SCENE 53
CLOSEUP INSTRUMENT as it advances to full speed.

SCENE 54
INSTRUMENT ROOM BERKELEY AND OFFICER

OFFICER: (Looking at his instrument) The old man's giving her the works. Probably out to beat the record.

BERKELEY: (Interested) If it brings us in a day earlier, it will suit me right down to the ground.

SCENE 55
INTERIOR JOHN'S CABIN
He is unpacking a bag, getting to the box, which he takes halfway out of the bag, when there is a knock at the door. He replaces it.

UPTON: (With deep pompous tones) You're Mr. Winterslip?

JOHN: Yes.

UPTON: My name is Upton. Reverend Frank Upton, Missionary.

JOHN: Yes?

UPTON: (Severely) I noticed your name on the passenger list. Young man, you aren't by any misfortune related to Dan Winterslip, are you?

JOHN: He is my uncle.

UPTON: Indeed! I knew him forty years ago. I hope since then he's become an upright, god fearing, respectable man.

JOHN: What was he when you knew him...a horse thief?

UPTON: Good gracious, no. There aren't any horses in the South Seas.

JOHN: How unfortunate. How did he amuse himself?

UPTON: (Sternly) He was a Blackbirder.

SCENE 56
CLOSE SHOT
John has uncovered the strong box. We hear Upton's voice coming into the scene.

UPTON'S VOICE: I met him when he was first mate on the 'Maid of Shiloh,' a blackbirding ship, owned by a man named Brade, Thomas Michael Brade.

John looks sharply in direction of box.

SCENE 57
INSERT OF BOX
Showing the initials "T.M.B."

SCENE 58
MEDIUM SHOT
John instantly covers the box and closes the bag, while Upton continues:

UPTON: Brade died when they were in port, at the Apiang Islands. Dan brought him ashore and buried him.

JOHN: (Absently, looking toward the box) How amusing.

UPTON: (Astonished) Amusing, sir!

JOHN: (Hastily) I beg your pardon. I was thinking of the dinner you're missing. The food's really excellent on these boats.

UPTON: (Sighs righteously) There's too much thought of food for the body, and not enough thought of food for the soul. Now, if human beings would only consider that their lives ----

John sees that Upton is about to launch forth with a sermon and eases him toward the door.

JOHN: You may be right, sir. Eating is probably just a bad habit. But the roast young duck is really delicious.

UPTON: (Smacking his lips) Roast young duck? My favorite. Will you join me, sir?

JOHN: Thanks, but I've already eaten.

UPTON: Of course! (He is now in a hurry) See you again. (He closes the door)

JOHN: (To closed door) Not if I see you first.

John moves quickly to the bag, and removes the box. With he box under his arm, he comes to the door, opens it, looks up and down the deck. Satisfied, he exits.

DISSOLVE TO:

SCENE 59
DECK AFT
It appears deserted as John makes his way to the stern. We see a figure leap from the shadows, snatch the box from John's upraised arms as he is about to heave it overboard. The figure whirls John around and trips him, making him sit down suddenly and disappears again into the shadows.

John, astonished at this turn of events, which comes so quickly, turns, and cannot make up his mind for a moment what to do.

SCENE 60
EXTERIOR DECK
John running, rounds a corner of he deck. He stops suddenly and looks.

SCENE 61
EXTERIOR DECK - CLOSE SHOT
From John's angle. Upton, the missionary, carrying a black box, enters a cabin.

SCENE 62
EXTERIOR DECK - MEDIUM SHOT
John starts rapidly toward Upton's cabin, the CAMERA FOLLOWING HIM. He reaches a porthole opening on the cabin and looks in.

SCENE 63
INTERIOR UPTON'S CABIN - MEDIUM SHOT
Shot through porthole. Upton has his back to the CAMERA. On a dresser near the porthole is the box.

SCENE 64
EXTERIOR DECK - CLOSE SHOT
John reaches his hand in the porthole and grabs he box.

SCENE 65
EXTERIOR DECK - MEDIUM SHOT
Hugging the box to him, John starts down the deck, the CAMERA following him. As he passes, the CAMERA moves in for a CLOSE SHOT. John looks at the box and discovers that it is a graflex camera. He looks around. Seeing that he is unobserved, he drops the camera on a deck chair and starts back toward Upton's cabin.

SCENE 66
EXTERIOR DECK - MEDIUM SHOT - REVERSE ANGLE
As John starts away from the deck chair, two young people appear from around a passageway. They see the graflex, note John and pick the graflex up, starting after him.

SCENE 67
EXTERIOR DECK - CLOSE SHOT
As John reaches the door of Upton's cabin, it opens and Upton, agitated, comes out. He halts John.

UPTON: Have you seen anyone around here in the last few minutes?

JOHN: Why - no.

UPTON: Someone has just stolen my camera.

He slams into the cabin. John continues on his way. He then starts running in the direction he believes is taken by the thief.

SCENE 68
DECK FARTHER ALONG
Barbara and Jennison, in the partial shadow of a lifeboat, locked in passionate embrace.

Into the foreground walks John. He is about to walk right to where the couple is embraced, when they see him and stop short. They turn toward CAMERA.

John looks surprised, and then thoughtful, as he exits from scene. Now the CAMERA ROLLS UP CLOSE to Barbara and Jennison.

SCENE 69
DECK
Barbara and Jennison as they slip from close embrace.

JENNISON: Will you marry me? As soon as we arrive?

BARBARA: Yes, Harry.

JENNISON: I - I was almost afraid to ask you.

BARBARA: I was almost afraid you weren't going to. (Happily) I'm going to send a wireless to Dad. Come on.

JENNISON: Why not wait until we get in, and surprise him?

BARBARA: I'd rather have him know now, so that he can have time to arrange a party for me. (She kisses him swiftly) Come on.

She takes his hand, pulls him along. He follows reluctantly.

LAP DISOLVE:

SCENE 70
INTERIOR WIRELESS ROOM
Barbara and Jennison are reading message she has finished writing.

SCENE 71
INSERT MESSAGE:

"DAN WINTERSLIP
HONOLULU

AM ENGAGED TO HARRY JENNISON
DELERIOUSLY HAPPY HOW ABOUT
BIG PARTY TO WELCOME US AND
GIVE PATERNAL BLESSING LOVE
BARBARA"

SCENE 72
INTERIOR WIRELESS ROOM
Barbara hands it to the operator, who smiles.

FADE OUT.

FADE IN:

SCENE 73
EXTERIOR DAN'S HOUSE - NIGHT
Dan's car waits in driveway. We see a shadowy figure lurking.

Back of a clump of bushes, evidently lying in wait for Dan. Dan comes from the house and is about to step into his car when this figure steps out onto the driveway and we see that he is a rather seedy looking Englishman, tall, wiry, about forty-five years of age. He steps close to Dan.

MAN: (Taking hold of Dan's arm) Mr. Winterslip.

DAN: (Looks at the man and draws his arm away roughly) What is it?

MAN: I don't suppose you remember me. I'm Egan.

DAN: Oh...you run the Reef and Palm Hotel. What do you want?

EGAN: Twenty years ago I was a bank teller in Sydney, Australia. We met there.

DAN: (Brusquely) You're mistaken.

EGAN: (Darkly, positively) Oh, no, I'm not. (With foreboding menace) T.M. Brade is in town! I suppose you never heard of him?

DAN: (Angrily) No.

EGAN: (Smiling harshly) He's stopping at my hotel. It might be a good idea to give me a few moments privately with you before he comes to see you.

DAN: (Almost shouting in his anger) Now, look here. I don't know what you're talking about, and if I catch you skulking around on these grounds again, I'll have you arrested.

DISSOLVE INTO:

SCENE 74
INTERIOR ARLENE COMPTON'S BEACH HOME
It is attractively shabby. Arlene is a faded bleached blond past thirty, who might once have been beautiful. A victrola is playing. Steve and Arlene are dancing to the strains of seductive Hawaiian music. There is a knock at the door. Arlene motions to Steve to duck into the other room, which he does nonchalantly, arranging his clothes. Arlene arranges her hair, etc., and goes to the door. She opens the door.

ARLENE: Darling! I didn't expect you so early.

DAN: I can only stay a minute. Listen, Arlene, I don't want to seem an Indian giver, but you've got to do me a big favor.

ARLENE: What is it, Dan?

DAN: I've got to have that emerald brooch back.

It is obvious that Arlene has no intention of returning the brooch. She stalls.

ARLENE: I....er...of course, Dan. But as a matter of fact, I can't give it to you now. It's at the jewelers having the clasp fixed.

DAN: (Harshly) Why didn't you bring it to me to have it fixed? I told you no one should see that brooch.

ARLENE: Did you dear? I'm so sorry, I forgot.

DAN: It's vitally important that I get it back immediately. I'll give you something in place of it ---

ARLENE: All right. I'll get it for you tomorrow. (Brightly) Oh, I know what you can get for me in exchange. Do you remember that darling emerald necklace we saw in the arcade of the Royal Hawaiian?

DAN: It is as good as yours.

ARLENE: (Gratefully) Darling! (Sweetly) Don't you want to sit down, have a little drink, and -- (The rest of her sentence is implied)

DAN: I can't. I've a business engagement that won't wait. Goodbye.

The moment he's out of that door, Arlene crosses to a chest of drawers and takes out a brooch.

SCENE 75
INSERT of old-fashioned brooch in Arlene's hand.

SCENE 76
INTERIOR ARLENE'S BEACH HOUSE
Arlene looks at the brooch as if it were a valuable piece of property. The door of the bedroom opens and Steve Leatherbee, an obvious pimp type, enters the room. He calmly takes the brooch out of her hand.

STEVE: Listen you! I'm sick of this joint, see? I gotta get back to New York and the mob. You been playin' this mug for months, and all you got is some cheesy clothes and a phony piece o' joolry. I want cash, quick, and plenty of it. Now get busy!

ARLENE: I'm trying my best.

STEVE: Trying ain't good enough, see? Start doing.

ARLENE: (Coming to him coquettishly) And if I do, what happens?

STEVE: What do you think?

He kisses her.

FADE OUT.

FADE IN:

SCENE 77
ANCHOR PLUNGING INTO WATER.

DISSOLVE INTO:

SCENE 78
DECK OF SHIP - NIGHT
The captain is met at the foot of the companionway by a group of passengers, including John, Jennison, Barbara, Berkeley and Higgins. Conversation ad lib concerning the disappointment at failing to arrive in time to make the harbor.

CAPTAIN: I'm sorry...I did my best, but I warned you.

A WOMAN: I don't see why...it's so silly to wait out here for a quarantine...nobody has smallpox.

CAPTAIN: Port regulations, Madame. We dock at nine in the morning.

The crowd, disappointed, moves away, ad libbing "Too bad", "What a shame", etc. Higgins lingers behind the others.

HIGGINS: Listen, Captain, I've got to get ashore tonight. Couldn't one of your men take me in, in a small boat?

CAPTAIN: Not a chance, Mr. Higgins, I'm sorry.

The Captain walks away. Higgins moves to the railing and gazes frowningly toward the shore.

SCENE 79
EXTERIOR DECK - FARTHER ALONG

BERKELEY: (Speaking to the quartermaster) Higgins seems anxious enough to try to swim it.

QUARTERMASTER: He'd better not try it unless he's an expert. It's a good two miles.

BARBARA: Dad will be disappointed. I'll bet he has a party all ready.

JENNISON: (To John) And after one or two of Dan Winterslip's parties, you'll never go back, John.

JOHN: I'm sure I'll return to Boston.

BARBARA: (Laughs) Aunt Minerva once said something like that, but she traded her lorgnette for a ukelele.

DISSOLVE INTO:

SCENE 81
EXTERIOR DAN'S HOUSE - NIGHT
The house is in darkness. An automobile rolls up to the driveway, stops and Minerva gets out, carrying a ukelele.

MINERVA: (To occupants of car) Don't bother to come in with me. I'm quite all right. I've had a delightful evening. Thank you.

VOICES OF A MAN AND A WOMAN: Goodnight...goodnight. We'll go again sometime. See you soon.

MINERVA: Yes, goodnight.

The car moves away as Minerva enters the darkened house.

SCENE 82
INTERIOR DAN'S HOUSE - LIVING ROOM - DARK SET
Through wide open door we can see the veranda bright with moonlight. At first the only sign of movement is the illuminated dial of a wrist watch moving in the shadows. Minerva enters. Instantly, the dial stops moving, then apparently the wearer slips stealthily through some thin hangings into the dining room. Minerva gives a startled gasp and hastens from the room by another door.

SCENE 83
INTERIOR HALL
Minerva comes to servant's door and knocks very lightly.

The native boy, fully dressed, suddenly appears behind Minerva from the darkness of the hallway.

They go quietly down the hall.

SCENE 84
INTERIOR LIVING ROOM
Minerva and Koahla enter. She turns on the light.

Minerva crosses to the door leading to the veranda.

SCENE 85
INTERIOR VERANDA
In the moonlight we can faintly see Dan lying half off the couch, face upward, one arm hanging limp, the other twisted behind his back. Minerva raises her hand to her mouth suppressing a scream. Koala runs to her side.

Realizing that Dan is dead, Minerva stumbles back, saying unsteadily, and grabs the back of a chair.

She goes into the living room. Koahla, after a frightened look at the murdered man, follows.

SCENE 86
INTERIOR LIVING ROOM
Minerva crosses to the phone.

SCENE 90
INTERIOR LIVING ROOM
Minerva looks at her watch.

SCENE 91
INSERT OF WATCH showing the time to be 1:20.

SCENE 92
INTERIOR LIVING ROOM

MINERVA: Three eight seven, please. (She waits. Koahla brings her drink. She drinks.) Amos? Is that you, Amos? This is Minerva. Come over here as quickly as possible.

Please, Amos, this is no time for nonsense... your brother is dead... murdered...

She hangs up.

DISSOLVE TO:

SCENE 93
INTERIOR POLICE STATION
Captain Hallett at desk, talking into phone.

SCENE 94
INTERIOR CHAN'S LIVING ROOM
The dark room is splotched with moonlight. The telephone is ringing loudly.

NOTE: Throughout all the short scenes that follow, the telephone bell continues to ring.

SCENE 95
INTERIOR BEDROOM
Twin beds occupied by Chan and his wife. They are waking to the sound of the telephone bell.

SCENE 96
INTERIOR BEDROOM
QUICK FLASHES of each of Chan's eleven children waking.

MRS. CHAN: What is the matter?

CHAN: Even wisest man cannot answer until he knows question.

Chan makes a light while he speaks. In rapid succession all the eleven children come hurrying into the room, in various stages of undress, watching while Chan lifts the telephone receiver.

Chan hangs up and hastens from the room to dress. Mrs. Chan follows.

Now the children begin scurrying about. One gets Chan's flashlight, another gets his gun from the drawer, one of the very small ones gets his coat and is nearly hidden under it, trying to carry it. He looks like a Chinese Skippy. They all rush into the other room.

SCENE 98
INTERIOR CHAN'S BEDROOM
Chan is now almost dressed.

OLDEST BOY: (Handing him the gun) Don't forget to get fingerprints, Pop.

ANOTHER BOY: (Putting flashlight in his pocket) I think you ought to wear a disguise.

Through all this, Chan smiles indulgently and then begins looking about on the floor.

At this, into the room comes Chan's youngest, a tiny child, the shoes seem enormous.

He puts on his shoes while one of the boys laces them for him, pleading with Chan while he does so.

Chan is now dressed. He stands up and Mrs. Chan hands him his hat. He turns to the children clustered about him.

As he turns to go out,
FADE OUT AND INTO:

SCENE 99
INTERIOR DAN'S LIVING ROOM
Discovering Minerva, Captain Hallett, a policeman and a doctor. Hallett is questioning Minerva.

HALLETT: Nothing has been touched?

MINERVA: No.

HALLETT: Good. All right, doctor.

Hallett motions in the direction of the veranda, and the doctor nods and exits to veranda.

HALLETT: All right. Now, from the beginning. You live here?

MINERVA: (Resents his brusque tone) I'm visiting.

HALLETT: Hmmm.

MINERVA: (Sharply) "Hmmm" nothing, my good man, I'm the...his sister.

Hallett crosses and both he and the doctor go to the veranda.

SCENE 100
VERANDA
The doctor and Hallett are leaning over the body of Dan.

DOCTOR: Stabbed through the heart. Not been dead an hour. And look at this (Turns the body over so that one arm falls limply) Arm broken. This job was done by either a very powerful man or someone well versed in the Japanese art of Jiu Jitsu.

HALLETT: Hmmm.

He turns and goes back into the living room.

SCENE 101
INTERIOR DAN'S LIVING ROOM
Minerva sits stiffly upright in her chair and as Hallett approaches her, looks at him a little belligerently.

HALLETT: Now, let's see. What did you say your name was?

MINERVA: I didn't say. I wasn't asked. Minerva Winterslip.

HALLETT: The doctor tells me Mr. Winterslip has been dead a very short while. If you can give me any idea as to...

MINERVA: I can give you a very definite idea. It happened within two minutes of fifteen past one.

HALLETT: (Stares at her) You're sure of that?

MINERVA: Certainly, I'm sure. I got the time from the wrist watch of the person who committed the murder.

HALLETT: (Astonished) You...what! You saw him!

MINERVA: (Coldly) I didn't say that. I said I saw his wrist watch. The dial was illuminated. And if it will be of any assistance to you, the numeral indicating the hour two, was slightly obscured.

HALLETT: Well! You certainly had your wits about you.

MINERVA: Where else should they be?

Minerva rises and crosses to a window as if to draw the blind. Suddenly she bends a trifle, looking out into the garden and exclaims:

Without waiting for Hallett, Minerva makes a dash for the door. Hallett follows.

SCENE 101-A
EXTERIOR DAN'S GARDEN

Minerva comes upon a crouching figure and is about to seize hold of it when the figure straightens and we recognize the bland face of Chan. Hallett comes hastily up and exclaims:

HALLETT: Oh, Charlie. What are you doing out here?

CHAN: Like when eating orange. Start outside and work to center.

Chan shows him a small white object he has picked up.

SCENE 102
INSERT
Small cigarette butt in Chan's fingers.

SCENE 103
EXTERIOR DAN'S GARDEN

MINERVA: Who is this man?

HALLETT: This is Mr. Chan, Miss Winterslip. (Explaining to Chan) Miss Winterslip is a sister to the deceased man.

CHAN: Most unfortunate. Be generous to accept my most unworthy condolence.

MINERVA: What has he to do with this?

HALLETT: Mr. Chan will have charge of his case.

MINERVA: (With asperity) Charge of the case? A Chinaman!

CHAN: Humbly suggest not to judge wine by barrel it is in.

MINERVA: Well, I never...I see where I'll have to send to Washington for assistance. The idea!

CHAN: It is not easy to make fire in cold stove. Politely request cooperation for good of all. (To Hallett) May we proceed to scene of most upsetting crime?

They all turn and start back into the house.

DISSOLVE TO:

SCENE 104
INTERIOR DAN'S LIVING ROOM
It is evident that Chan has been questioning Minerva for some time and she shows signs of fatigue.

MINERVA: I've told you all I know about it.

CHAN: Most helpful. Thank you so much. The servants?

MINERVA: I'll call them.

She crosses to the thin curtains that hang from the dining room doorway. As she does so, Chan quickly crosses to the door on the opposite side of the room and pulls it open. Both Koahla and Kamaikui have been leaning against it, crouching. They now come into the room.

CHAN: To be found listening to what is not meant for your ears is to show that you have something to conceal. (To Koahla) Speak! What do you know about this lowly deed?

KOAHLA: (Surily) I go sleep early. Know nothing.

MINERVA: (Sharply) You weren't asleep when I called you. You weren't even in your room.

KOAHLA: Went for drink water.

CHAN: More later. (To Kamaikui) And you?

KAMAIKUI: Many people here tonight.

CHAN: Who?

KAMAIKUI: No see. Go to bed early. But cannot sleep. Hear loud talk. First man he shout and go. Then woman and man shout and go. Everybody come and shout and go and come back. Mr. Winterslip shout too.

CHAN: You understand what they say?

KAMAIKUI: No.

SCENE 105
INTERIOR DAN'S LIVING ROOM - ANOTHER ANGLE
They all turn quickly to find Amos standing tall and fanatic looking in the doorway.

MINERVA: (Nervously) For goodness sakes! (To everybody) This is Mr. Winterslip, my brother.

AMOS: (Entering the room) I warned you as to the outcome of all this, Minerva.

Chan approaches Amos quietly as latter seats himself in the nearest chair and drops his straw hat on the floor beside him.

CHAN: You mention warning of outcome. Humbly ask you tell what you know of this.

AMOS: I know one thing! You cannot live a life of sin, and hope to be rewarded in the hereafter.

CHAN: Profound wisdom, but not helpful at present. How did you learn of crime?

AMOS: My sister called me on the phone and I notified the police.

CHAN: You live but short distance?

AMOS: Yes.

CHAN: Why did you not come right over? Were you already in bed?

AMOS: No.

CHAN: What have you been doing since telephone call?

AMOS: I have been praying for his soul.

MINERVA: (With asperity) That doesn't help these gentlemen either, Amos. (Thinking) Now that I think of it, I remember a man named Egan calling on the phone a dozen times. Dan refused to talk to him. Perhaps....

CHAN: Egan...Reef and Palm Hotel. Most helpful. Thank you so much.

Chan turns slowly away from Amos and crosses the floor as if he is thinking deeply. Suddenly his sharp eyes encounter something on the floor. He quickly stoops.

SCENE 106
BIG CLOSEUP of Chan's hand picking up a piece of seaweed and turning it over once or twice, investigating it.

SCENE 107
MEDIUM SHOT
Chan straightens and puts the seaweed in his pocketbook without a word, although both Minerva and Amos have observed his action with curiosity. As Minerva is about to question him concerning it, Chan quickly diverts her by looking at his watch and saying: