The House on Punchbowl Hill



















 
 

Illustrated Script-based Reconstruction:
CHARLIE CHAN'S COURAGE

Our Script-based Reconstruction for Charlie Chan’s Courage is a combination of DIALOGUE TAKEN FROM THE SCREEN, dated June 22, 1934 and a FINAL SHOOTING SCRIPT from March 19 of the same year. 

 

Portions of the original, production script were omitted from the completed picture.  As with two of the other scripts, there were dialogue changes to varying degrees as evidenced by the dialogue script.  Changes were made and offered in our present reconstruction will, it is believed, offer you, our honored visitor, a reasonably accurate rendition of how Charlie Chan’s Courage originally appeared when released on July 6, 1934.

 

Notes:

 

Several actors' roles were eliminated from the completed version of Charlie Chan’s Courage.  Among those credited in the original production script while not ultimately appearing in the finished film were Mary McLaren, whose shipboard scene with her child, Gail Kaye was not used.  Likewise, movie production chorus girls Lita Chevret and Susan Flemming were cut from the movie.

 

In the original script, a prospector, played by Francis Ford, is referenced as "Hewitt," while in the dialogue script his name is not mentioned and he is referred to simply as "Man" by the script writer.  For reasons of clarity, this character is noted as "Prospector" in our present "composite" script.  Ford's character remains in our credits, which was likely the case the original movie's credits.

 

As can be noted in his dialogue as spelled out in the original production script, while posing as Ah Kim, Charlie Chan speaks his lines in a "sing-song," dialect-laden manner, similar to that Chan used briefly in the film Charlie Chan in Paris while making a point in civility to artist Max Corday.  With this in mind, please note that the more straight forward dialogue used in the dialogue script was used in our "composite" script.








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




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

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 MC VEY
 
Bliss:  WADE BOTELER




FADE IN:

TITLE:

SAN FRANCISCO

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

FAST DISSOLVE TO:

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: 

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 - goodbye.

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 right in.

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

MRS. JORDAN:  Hello, Alec.

AT TWO - MEDIUM CLOSE

CRAWFORD:  (Affectionately)  Good morning, Sally.

MRS. JORDAN:  I could hardly 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.

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.

MRS. JORDAN:  (A sad smile...quietly)  I'm broke, Alec - it seems absurd, doesn't it?

Crawford gets up, decidedly upset. 

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.

MRS. JORDAN - CLOSEUP

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

AT TWO - MEDIUM CLOSE

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

Mrs. Jordan's face lights hopefully.

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?

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. 

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:  Oh Sally, may I present Mr. Madden - Mrs. Jordan.

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

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

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

CRAWFORD:  Will you sit down please.

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.

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)  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.  I have sent for it.

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

MADDEN'S VOICE:  (Tersely)  And when will it arrive?

MRS. JORDAN'S VOICE:  Thursday morning.

Thorne is decidedly interested. 

AT DESK - MEDIUM CLOSE

MADDEN:  Won't do.  I'm leaving this afternoon for my desert place near El Dorado.  In 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.

He stares a grim challenge.

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

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

MEDIUM SHOT - AT FOUR

MADDEN:  (Nodding briskly)  Good!  I'll give you fifty thousand down and the balance within thirty days.

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

Thorne will come over this afternoon with a check and pick up the receipt.

Thorne suavely addresses Mrs. Jordan.

THORNE:  You say the pearls will arrive Thursday Morning?

Mrs. Jordan nods.
 
MRS. JORDAN:  Yes.
 
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 a private messenger.

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 shall be down at the desert until Saturday - they could deliver the pearls there and then you could take them on to Miss Madden yourself.

MADDEN:
  (Glaring at him)  Thorne you're a fool.  Do you think I'm going to carry that necklace clear across country and take the chance of getting robbed?

(Thorne shrugs)

(Madden turns to Crawford...emphatically)  I want them delivered to my New York office and nowhere else.  My secretary will keep in touch with you, Mrs. Jordan.  Good day.

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

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:  Good morning, ane.  Has Mrs. Jordan come yet?

SECRETARY:  She's with your father.
 
BOB:  Thanks.

He enters the private office.

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:  (Mrs. Jordan nods.)  Yes.
 
BOB:  (Bob turns to Crawford)  What luck with the necklace? 

CRAWFORD:  We've sold it.

BOB:
  (Nodding toward door)  Oh - was that Madden?

CRAWFORD:  Yes.

BOB:  Big bruiser, isn't he.

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

AT TAXI - DRIVER'S SEAT - CLOSE
A stocky, hard-faced driver is watching the two men narrowly.
 
TAXIMAN:  That's him. 

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

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

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

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...  wasn't he your number one boy?

MRS. JORDAN:  Yes, at the big house on the beach when Bob was little.  He's always been very 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 arrive?

MRS. JORDAN:  Thursday morning, on the President Grant.
  (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:
 
INSERT NEWSPAPER HEADLINES
____________________________________________
 
            THE SAN FRANCISCO TELEGRAM
 
                               SHIP ARRIVAL
 
         PRESIDENT GRANT -- SAN FRANCISCO
            FROM HONOLULU
                   THURSDAY 9:00 AM
 
         San Clemente
            San Francisco from Honolulu
____________________________________________ 

(VOICES)
 
NEWSBOY:  Paper - paper - read all about it - paper - read all about it.
 
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.

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. 

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

BOB:  Pacific Navigation Dock. 

VOICES:  Paper!

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

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.

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

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

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.
 
BOB:  Driver, turn right at this corner.

FAST DISSOLVE TO: 

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: 
(A little over-eager)  There'll be a rush for cabs going back.  I'll wait for you.

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

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

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.

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

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.

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

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

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

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

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.
 
CONFUSION OF VOICES:  On, hello, here we are - etc...   I'll bet you they're glad to get off - they've been on the boat so long.  Etc.

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.

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

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

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. 

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. 

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

DRIVER:  Weren't you expecting somebody aboard 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:

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 look of the whole thing, Victor.

VICTOR: 
(A contemptuous snort)  Oh, 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. 

AT DOOR - MEDIUM CLOSE
Victor opens it, revealing Chan.

CHAN:  Good morning.

He steps into the room. 

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:  So glad you arrived 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:  Alec, you remember Charlie Chan?

CRAWFORD:  Yes, indeed.  How do you do.

CHAN: 
(Bowing)  Hello.
 
VICTOR:  Hello, Charlie.
 
MRS. JORDAN:  You know my son - Victor.

CRAWFORD - CLOSEUP

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

AT CHAN AND VICTOR - MEDIUM CLOSE

CHAN:  (Apologetically)  Oh, so sorry, but I find no one waiting at bottom of gangboard, so I engage taxi and hurry to this place.

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:  Pearls travel securely around waist.  Excuse.  (He takes a velvet bundle from the belt, as he continues)  Responsibility make them rest heavy on unworthy stomach like - sour rice.

"...rest heavy on unworthy stomach..."

Victor holds out his hand for the bundle, but Chan serenely ignores it, exiting from scene.
AT MRS. JORDAN AND CRAWFORD - MEDIUM CLOSE
Chan enters and hands the bundle to Mrs. Jordan.

MRS. JORDAN:  Thank you, Charlie.

CHAN:  And 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.

"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. 

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

CRAWFORD:  Hello, Bob -

Recognition flickers in Chan's eyes.

CRAWFORD:  - what happened to you?

BOB: 
(Emphatically)  Plenty.

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

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.

CRAWFORD - CLOSEUP

CRAWFORD:   Bob, why didn't you meet Mr. Chan at the dock?

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 see who I was going to meet, so I - I didn't meet anyone.

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

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

CRAWFORD'S VOICE: 
(Off scene...anxiously)  Did they 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)  knew there was something 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.

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

BOB:  Not so good.

CRAWFORD - CLOSEUP

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

AT BOB - CRAWFORD - CHAN - MEDIUM CLOSE

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

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

CHAN - CLOSEUP

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

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 make excuse for changing?

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

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 here 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, Alec, we must oblige him.  I can't risk losing the sale.

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

AT MRS. JORDAN AND CHAN - CLOSE SHOT

MRS. JORDAN:  Charlie, I've asked so much of you already, but will you grant me one more great favor and take the necklace 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.

AT GROUP - MEDIUM SHOT
Chan continues to Bob.

"...suggest possibility of unknown danger..."

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)  Why certainly - I'd be glad to.

CHAN - CLOSEUP

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

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

BOB:  Oh and I'm the to be the cane, eh?

GROUP - MEDIUM SHOT

CHAN:  (Nodding)  Most correct.  Humbly suggest that you arrive at ranch ahead of time.  I follow later with pearls.  If all is okay, 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 setting hen squats cautiously on thin egg.

FAST DISSOLVE TO:

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

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.

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

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

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.
 
PAULA:  Goodbye. 

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

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.

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. 

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. 

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

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

Paula glances across and sees Bob staring.

FAST DISSOLVE TO:

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.

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.

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.

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.

...the two paying no attention to each other.

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)  Well, the closest thing to it is a flivver across the street.

BOB:  Thanks.

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

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

He exits. Paula starts across the road.

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.

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

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:  Evening, folks.

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

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.

BOB - CLOSEUP
Bob watches off scene, surprised.

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

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

HOLLEY:  - twenty-four.  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.

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.

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, you haven't any objections, have you?.

BOB: 
(Chuckling)  INot at all, but I'll have to go with you.  This is the only cab.

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

BOB:  
(Grinning)  Really.

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

PAULA:  (In apology)  I'm so sorry.

BOB: 
(Grinning)  You should be.

INTERIOR GARAGE - MEDIUM SHOT - TOWARD DOOR -
Holley stops the car beside them - 
 
HOLLEY:  Step right in, folks.
 
- 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. 

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.

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.

HOLLEY:  (Singing)  "Went out skating with my gal - the ice was cold and so was Sal - "
 
BOB:  It starts out interestingly.

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 interesting further on.

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

Finest country in the world.

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 ain't up.  The sky gets mighty pretty.
 
PAULA:  I can imagine. 

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 - more like 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.

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

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

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 don'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 darned thing can talk Chinese.  Folks around here call him the Chinese Parrot.

Bob nods dryly.

BOB:  Well that seems logical.

HOLLEY:  Sure it does.

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: 

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

HOLLEY:  There's the Madden Ranch - them lights up ahead.

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

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

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:  Weren't those shots?

HOLLEY: 
(Surprised and startled)  Yeah, 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.

ROAD - AT GATE - MEDIUM SHOT
As the car slows down and turns in the gate. 
 
HOLLEY:  Well here we are, folks.
 
(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.

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)

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

BOB:  Hey!

HOLLEY:  What's the matter?

BOB: 
(Quickly)  I saw someone back there.

HOLLEY:  
(Frowning)  Where?
 
BOB:  Someone just ran across the driveway.
 
HOLLEY:  I didn't see nobody.
 
PAULA:  Neither did I.
 
BOB:  Well maybe it was just a shadow.

"Well maybe it was just a shadow."

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

He and Paula get out of the car...

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

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. 

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?

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

BOB:  We want to see Mr. Madden.

AT ENTRANCE - MEDIUM CLOSE

THORNE:  He's not at 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.  Mr. Madden's expecting me.

Thorne's manner changes magically. He is apologetic and suavely congenial, throwing the door open.
 
THORNE:  Oh, I'm sorry, Mr. Crawford - come right in.

Paula and Bob enter.

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.

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

THORNE:  How do you do.
 
PAULA:  How do you do.

He turns to Bob.

"I wasn't expecting you until tomorrow."

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

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.

THORNE - CLOSEUP
Thorne is perfectly controlled by now.

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

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

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

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, my company sent me up to make arrangements about working here on Saturday.

THORNE: 
(Brusquely)  It'll be impossible!

PAULA - CLOSEUP
She is resentful.

PAULA:  But Mr. Madden said in his letter that he'd be would allow us to use the ranch if we let him know a few days in advance.

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

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

TOWARD DOOR - MEDIUM CLOSE

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

Thorne shrugs with a sardonic smile.

THORNE:  Not at all.

PAULA:
  (Icily)  Thank you.  Good night.
 
BOB:  I'll go with you.

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 will expect you to be his guest.

BOB:  Well, all right, thanks - I will.  Excuse me a moment.

He puts down the grip and hurries after Paula.

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

"I'm sorry your trip panned out this way."

BOB:  Sorry your trip panned out this way.

Paula smiles and shrugs.

PAULA:  I'm used to 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. 

AT CAR

HOLLEY:  Everything all right?

BOB:  We're still wondering.

HOLLEY:  Ain't seen nothin' more out here.
  (To Paula)  Like to ride up front?

PAULA:
  (Nodding)  Thanks.

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 smiles and turns to Bob.
 
PAULA:  (Smiling)  Goodnight.

BOB:
  Goodnight..

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. 

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.

INTERIOR HOUSE
 
GAMBLE:  Did he bring the necklace?
 
THORNE:  I don't know.
 
INTERIOR LIVING ROOM 
 
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 handle the transaction.  My father's sending the pearls 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.

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

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

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:  Goodnight.

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

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:

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. 

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.

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

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

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

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. 

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

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.

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

FADE OUT.

FADE IN:

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.

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.

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.

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

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

BOB:  Like a log.  This desert air's wonderful!

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.

AT STOVE - MEDIUM CLOSE

BOB:  Oh may I help?

THORNE:  No, 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.

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.

He looks dirty and tired.

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?

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

"Me hungry, boss.  Walk many mile."

CHAN:  Me hungry, boss.  Walk many mile.  Maybe catchum food for work.  Perhaps bowl of rice?

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:  Very sorry, boss.

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

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

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

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 - come here.

Chan turns back.

CHAN:  Yes, boss.

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 at big house.

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

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. 
 
CHAN:  Yes, boss. 
 
Thorne indicates bedroom door of kitchen.

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

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

And clean up this mess.  (Turning to Bob)  No more work - I'm glad I thought of this.

BOB:
  (With a faint smile)  So am I.

THORNE:  What time do you think the necklace will arrive.
 
BOB:  I don't know.  
 
Thorne exits into dining room.

AT KITCHEN DOOR - CLOSE SHOT
Bob starts to follow.

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

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

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

INTERIOR DINING ROOM - AT TABLE - MEDIUM CLOSE

He passes the platter to Thorne.

THORNE:  (Dishing up his eggs)  I'm driving in to Palm Springs after breakfast to get Mr. Madden.  I suggest you 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:

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

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.

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:  A good idea --- and he looked into my room to see if I was asleep.  He drove away right afterwards.

CHAN:
 (Turning to him)  And two shots you heard when you drove up sounded like forty-five revolver?

BOB:  Well that's what Holley thought.

Chan nods thoughtfully.

CHAN:  Also interesting that Chinese servant absent.

He looks around the room with careless scrutiny.

Present location very agreeable place for murder.
 
BOB:  What?

His eyes fasten on the gun display out of scene.

"...with plenty guns."

CHAN:  Plenty guns -

He exits from scene, Bob following.
 
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.

It is also loaded.

CHAN:  Much fuel tempt man to build fire.

"Much fuel tempt man 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 revolver recently taken from group -

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)  - finger marks collected in dust 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?

CHAN:  Is possible.

BOB:  Then 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 investigating owner's bedroom.

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

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

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 the painted river starts moving 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.

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:  First of two shots you heard accounted for.

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

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 belong under center of picture.

Bob crosses quickly.  They look at floor.

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

BOB'S VOICE:  Blood! 
 
CHAN'S VOICE:  Yes.  Second bullet reposing in victim.  Bed hastily moved to cover crime.

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:

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.

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

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.

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. 

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

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 that 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.  The responsibility is mine the minute you turn it over to me.
 
BOB:  Of course.  

As Madden speaks, Thorne enters.

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. 

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

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

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

MADDEN:  Who's this?

"A new cook I got to take Louie's place."

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:  If you'll excuse me I'll clean up.  Come along, Thorne.

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

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's happened now?

CHAN - CLOSEUP

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

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 mile.  Brazenly took liberty of examining car speedometer this morning and just now.  Amazing instrument shows trip of forty-four mile.

Bob is silent and perturbed.  Chan adds quietly:

Suggest giving 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.

INTERIOR LIVING ROOM - MEDIUM SHOT
Chan exits into dining room.  The doorbell buzzes off scene. 
 
BOB:  Oh, I'll answer it, Charlie.  
 
Bob turns curiously and crosses to the door.

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:  Come in.  All girded up for battle, eh?

PAULA:  Yes.  Is he here?

Bob nods. 

LIVING ROOM - TOWARD HALL
MEDIUM CLOSE

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

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

AT GROUP - MEDIUM CLOSE
Bob introduces the two.

BOB:  This is Mr. Madden, Miss Graham.
 
PAULA:  How do you do..  

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

"Oh yes...you wrote me about using the ranch."

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

MADDEN:  He was right.  It will be impossible.

Paula looks at him coldly with a little resentment.

PAULA:  I'm sorry.  It means a black mark against me with my company.  The people I work for don't accept excuses - only results.  I told them everything was arranged.

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

PAULA - CLOSEUP

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

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

PAULA'S VOICE:  (Off scene - continuing)  I believed, foolishly perhaps, the old rumor that the word of Madden was never broken.

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.

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.

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

PAULA:  (To Madden)  Mr. Madden, you're a dear.  I knew I could rely on you.  I'll wire the company right away.  Thank you. 

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. 

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 fiancÚ.  That ring means you're engaged, I suppose.

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

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

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:  Describe this lucky lad - what's he like?
 
PAULA:  Oh, he's tall and dark and handsome and -

BOB:  He would be.  I imagine I'd dislike him heartily.  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.

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)  Well we might be able to afford a maid.

BOB:
  (Shaking his head)  It'd 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.

PAULA - CLOSEUP
She looks at him with mock seriousness.

PAULA:  Well there is something in what you say.

BOB - CLOSEUP

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

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

"You'll have to tell me the rest later."

PAULA:  Well, you'll have to save the rest till later.  (She starts the car motor)  I've got to send that telegram.

BOB:
  (Nodding)  All right.  Where's your chauffeur?
 
PAULA:  I left him figuring the gas tax. 
 
BOB:  (With sudden interest)  Is Wilbur bald-headed?
 
PAULA:  What?
 
BOB:  Is Wilbut 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:
 
INTERIOR MADDEN HOUSE
 
THORNE:  You should never have agreed to  tp let that pictiure company come here - it's going to attract a lot of attention.  The place will be overrun with people.  Oh - very well, Chief, just as you say.  I'll - I'll attend to it.

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.

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.

THORNE:  You should never have agreed to  tp let that pictiure company come here - it's going to attract a lot of attention.  The place will be overrun with people.  Oh - very well, Chief, just as you say.  I'll - I'll attend to it.
 
MADDEN'S VOICE:  (Off scene, bellowing furiously)  Crawford!  Crawford!

Chan's eyes narrow.  He hurriedly exits. 

KITCHEN - AT DOOR TO DINING ROOM - MEDIUM CLOSE
As Chan enters, he pushes the door open an inch and listens.
 
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:  Say, I'm getting fed up with this delay.  What's become of that messenger?!

AT TWO - MEDIUM CLOSE

BOB:  Why, I don't know.

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.

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: 

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?

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

INTERIOR MADDEN HOUSE
 
BOB:  This is Bob, father.  That messenger hasn't arrived yet.  What time did he leave today?

INTERIOR CRAWFORD HOUSE
 
CRAWFORD:  Why, he left just a few hours after you did.

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

BOB:  He didn't?

Madden rages. 

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?

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:  (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?!

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 restrung on --

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 them cleaned - restrung?  keep still - I'll talk!  (He does not notice the relief in Bob's face)  I told you I wanted it delivered today - at once!  I've a good mind to call the whole thing off!

Bob holds his breath.

CRAWFORD - CLOSE SHOT

CRAWFORD:  (Gently)  The best I can do is to deliver them Sunday, if you still want them.

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

MADDEN:  All right, I guess I'll have to wait, if you'll 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. 

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

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

BOB:  Tough luck.

MADDEN:
  (Grunting angrily...speaking bluntly)  Well there's no use waiting up any longer.  Excuse me.

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!

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

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. 

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

VOICE:  HELP!  MURDER!  HELP!

Bob wheels startedly. 

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.

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. 

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

Madden turns to Bob, strangely apologetic...

CHAN - CLOSE SHOT
He is watching the group narrowly.

MADDEN'S VOICE:  (Off scene)  That crazy bird!  I'm sorry, Crawford - I forgot to tell you about him. 

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

AT BOB AND MADDEN - MEDIUM CLOSE

MADDEN:  He goes on a tear like this every once in a while when he gets excited.
 
BOB:  (Seemingly suspicious)  He certainly gave me a terrific jolt.

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

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

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

PARROT:  Don't crowd.....one at a time.....

AT GROUP - MEDIUM SHOT

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

He looks at the parrot critically and nods.

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

PARROT - CLOSE SHOT
He blinks and cocks his head.

AT GROUP - MEDIUM CLOSE

MADDEN:  (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.

PARROT - CLOSE SHOT

CHAN:  (In Chinese)  Gee fung low hop.  [How do you do.]

"Gee fung low hop."

PARROT:  (In Chinese - in a sing song voice)  Sung kai low hop.  [How do you do - how are you?]

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

...he is casual as he replies.

CHAN:  (In Chinese)  (Manufactured Chinese)

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!  Let him alone!

Chan bobs apologetically.

CHAN:  Very sorry.  Funny parrot - him talk Chinese.

Thorne nods impatiently.

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

"Well you won't be needed any more."

Chan bows humbly and disappears in the direction of the kitchen in the darkness.
 
Thorne goes inside.  Bob takes another thoughtful glance at the parrot.

"Goodnight."

PARROT:  Goodnight.

FADE OUT.

FADE IN: 

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.
 
AT SINK - MEDIUM CLOSE
Chan enters.  He sighs and starts to wash a frying pan, glancing out the window. 
 
CHAN:  Morning, Tony. 
 
He stops, tensely alert, staring. 

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. 

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

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

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

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

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

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.

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.

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.

MADDEN:  Well what is it? 
 
CHAN: (Indicating patio)  Dead - poor little Tony him lie on ground - him dead.
 
MADDEN:  What - why he -
 
THORNE:  What!

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.

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)  Poor old Tony - gone west, eh?  (He is silent an instant, then seems to rouse himself)  I hate to lose him,  after all these years.

"Poor old Tony - gone west, eh?"

Thorne nods sympathetically.

THORNE:  Louie told me he hadn't been very 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 will break Louie's heart.

CHAN:
  (Holding out his hand)  Want me take him, boss?  Me put him in ground.

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 have him shipped to a taxidermist.

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

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

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.

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:  Well I made it in less than four hours.  This is a great place you got here.  How have you been?  Hello, Thorne.   (He notes the bird)  Well 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.

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

GAMBLE:  Have you ever studied the Sauromalus Ater?

BOB:  No.

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

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 here 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.

MADDEN: (To Gamble) Well Thorne and I were just starting into town, when you -
 
GAMBLE:  (Interrupting)  Splendid!  I'll drive you in - then we can have a talk on the way.
 
MADDEN:  All right - we'll get our hats and meet you at the front door.

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

MADDEN:  See you later, Crawford.

GAMBLE:  (He turns to Chan)  Yeah.  Boy, take my things.
 
THORNE:  (To Chan)  Put them in the guest bedroom.
 
Bob enters.  They exit.  Bob enters the house.

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:  Do you think he's mixed up in this?

CHAN:
  (Shrugging)  Large sugar bowl draws many flies.  Too bad.  Had hoped to learn much from late lamented parrot.
 
BOB:  Yes - Tony must have heard everything.
 
CHAN:  For which he received sad reward of being poisoned.
 
BOB:  Poisoned?
 
CHAN:  With arsenic.
 
BOB:  Well this job's getting dangerous.
 
CHAN:  Always danger where men are evil, but knowledge best weapon for protection. 

EXTERIOR HOUSE
 
MADDEN:  What do you mean by coming here?  You should have stayed where you were.
 
GAMBLE:  I just wanted to check up.

INTERIOR GUEST BEDROOM
 
BOB:  You know, I think Gamble must have a hold over him.  Why, he practically forced Madden to let him stay here.
 
CHAN:  Must not too soon come to conclusion.  Too many mixed drinks make big headache.  
 
He enters the closet.

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.
 
CHAN:  Mr. Crawford!

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

CHAN:  (Indicating upward)  Entrance to upper region recently used.

BACK TO SCENE:
He turns back to the bedroom.

INTERIOR BEDROOM - TOWARD CLOSET - MEDIUM CLOSE

BOB:  How do you know?
 
CHAN:  Dust only on one shoulder of coat.  Must have come from above.  Suggest investigating.
 
BOB:  All right.

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

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

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. 

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

INTERIOR BEDROOM - TOWARD BED - MEDIUM SHOT
As Chan crosses and sets the grip on the bed, Bob follows him.
 
CHAN:  Not much dust.
 
BOB:  Must have been put there recently.
 
CHAN:  Bad sign.

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

_______________________
 
        Louis & Barnes, Inc. 
          47th & Broadway,
             New York, N.Y.
 
    Name: Jerry Delaney.
    Date: Feb. 13, 1934
________________________

BACK TO SCENE:
Bob stares grimly at Chan.

"The man Thorne murdered?"

BOB:  The man Thorne murdered?
 
CHAN:  Maybe so - maybe not so.

Chan shrugs and goes on hunting.  He feels in the inside coat pocket and brings out a stub of a railroad ticket.
 
INSERT RAILROAD TICKET
 
____________________________________
 
               M B & G RAILROAD
 
     CHICAGO TO PALM SPRINGS, CALIF.
 
             PALM SPRINGS, CALIF.
 
____________________________________

CHAN:  (Reading)  Chicago to Palm Springs -  (He turns the ticket over)  -date used, February 8th.

BOB:
  (Staring excitedly)  That would get him here 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.

"Note chamois lined watch pocket."

CHAN:  Note chamois lined watch pocket.

BOB:
  (Surprised)  What about it?

CHAN:  Specially constructed right side of vest.

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

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

CHAN - CLOSE SHOT

CHAN:  (Nodding)  Because easier to reach under coat.  Jerry Delaney had peculiarity to be left-handed.

AT TWO - MEDIUM CLOSE

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

CHAN:  Is possible to get answer from man you saw run across driveway night you arrived.
 
BOB:  (Grunting hopelessly)  Not much chance of finding him - like looking 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 onto desert, where pack donkey waiting.
 
BOB:  How'd you find that out? 
 
CHAN:  Loses top to canteen bottle in darkness.

BOB:  Well that doesn't tell us who he is.

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

FADE OUT.

FADE IN: 

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. 

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. 

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

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. 

TOWARD HILLSIDE - MEDIUM SHOT
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.

EXTERIOR SHACK - MEDIUM SHOT 
The man strides past the end of it.

PROSPECTOR:  I don't know anything about it, I tell you.

Chan turns, putting down the bottle, dropping the role of Ah Kim.
 
AT TWO - MEDIUM CLOSE
Chan shakes his head and takes the old canteen top from his pocket.

CHAN:  I find this canteen top near Madden grounds.  (Indicating bottle)  Storekeeper in village say it belong to you. 

MAN - CLOSE SHOT
His face becomes mask-like and grim.
 
PROSPECTOR:  (Staring at Chan)  Why, I lost that a month ago.
 
CHAN:  Then why did you buy new top only yesterday? 
 
Chan smiles and shakes his head.
 
Bad truth better than good lie.  You had better tell everything or I turn this and you over to police.
 
PROSPECTOR:  (Staring at him)  No - wait - wait - don't do that - don't do that! 
 
CHAN:  Then tell me.

MAN - CLOSE SHOT
He stares an instant and seems satisfied that Chan is honest.

PROSPECTOR:  All right, I'll tell you.  I stopped in to see Louie Wong, the cook.  He's an old friend of mine, you know.
 
CHAN:  Uh huh.
 
PROSPECTOR:  And then I heard somebody yell for help over in Madden's bedroom - and then I heard two shots.

AT TWO - MEDIUM CLOSE

CHAN:  Where were you at time?

PROSPECTOR:  Outside in the patio.  I sneaked over and I looked in the window.  I saw a man lying on the floor.

CHAN:  You saw who he was?

PROSPECTOR:  No.  He'd fallen halfway behind the bed.

CHAN:  What kind of gun did Thorne shoot with?

MAN - CLOSEUP
He stares at Chan in surprise, blurting his words.

PROSPECTOR:  Thorne?  Thorne didn't shoot that guy.  It was the big boss himself - Madden!

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

CHAN:  Madden?  He was there?

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

AT TWO - MEDIUM CLOSE

Thorne was bending over the body.

CHAN:
  (Quietly)  Thank you so much.  Man who does not listen at keyhole never gets earache.

FADE OUT.

FADE IN: 

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)  Oh, hello.  Following me again?
 
PAULA:  Not this time.

Paula laughs and turns to operator.

PAULA:  Will you send this right away - collect.

She hands him the money with it.

BOB:  Wiring goodnight to Wilbur?

PAULA:  No.

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

As he speaks they start to exit.

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

"Why it's only four doors down the street."

BOB:  Well that's my hard luck.

FAST PAN DISOLVE TO:

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

BOB:  Gee - look at those stars.  This desert certainly gets you.
 
PAULA:  I love it.

Paula laughs.  They get out. 

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

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)  You'll be at the ranch tomorrow with the movie company.

PAULA:
  (A laughing nod)  Yes, but I promise not to bother you.  That reminds me, I have an early call in the morning.  You know I'm a poor working girl. 
 
BOB:  Yes - work always interferes with fun.  Goodnight.
 
PAULA:  Goodnight - Bob.

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

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

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.

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

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.

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

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.

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.

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. 

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

WONG:  You drive boss auto - maybe go to ranch now.   Me Louie Wong.  Maybe take me along.

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 very much.

Bob starts the motor and drives out of scene.

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

DISSOLVE TO: 

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

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. 

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

BOB:  Oh, Hello, Ah Kim.
 
CHAN:  Hello.
 
BOB:  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.

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.

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

BOB:  (Calling)  Louie.

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.
 
BOB:  Louie!
 
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.

Chan turns on the flashlight...

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.
 
BOB:  He's dead. 

"Dead...like Tony."

CHAN:  (Grimly)  Stabbed in back.

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

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

"Murdered in great haste."

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

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 up.

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 happened?

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 gate.

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

THORNE:  (Off scene)  Chief!  Chief!

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

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

CHAN:  Equal chance Madden guilty.

(Bob stares at him in surprise)
 
BOB:  What?

CHAN:  Prospector narrates amazing fact - that Madden committed shooting in bedroom.

BOB: 
(Completely at sea)  Madden killed Delaney?

CHAN:
  (Nodding)  With Thorne present in room.

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

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 like, though I'm tired of looking at your silly face.

THORNE:  I won't take that from you.

Madden pays no attention, continuing to rage.

MADDEN:  This place is turning into a madhouse.  Tony dead - Louie murdered - a movie outfit coming tomorrow - and now I suppose the police will be messing up the place.  (He controls himself with an effort and snarls)  Go on in and call them - we may as well get it over with now.

Thorne turns on his heel and hurries into the house. Madden strides off into the darkness towards house, carrying the flashlight.

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

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

"Man's soul is lost who does not grieve..."

DISSOLVE TO: 

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:  You were both in the house when it happened, huh?

MADDEN:  Yes.  I can account for Thorne.

BRACKETT:
  (Turning to Bob)  Yeah.  Sure you didn't see anyone by the gate when you drove up?

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

AT BRACKETT AND CHAN - MEDIUM CLOSE

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

CHAN:
  (Nodding meekly)  That's right, boss.

BRACKETT:  Yeah.  Where'd you work before you came here?

CHAN:
  (Mildly)  Railroad, boss.

BRACKETT:
  Yeah.
 
CHAN:  (Serenely)  Santa Fe Railroad.  Me layum big sticks on ground.

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

CHAN:  That's right, boss.

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

BRACKETT:  Yeah - so that when you got an easier job, you wanted to hang on to it.  When Louie came back, you knew you'd lose it, so you killed him.

AT GROUP - MEDIUM SHOT

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

Brackett turns pompously to him.

BRACKETT:  (Turning to Chan)  How'd you get into this country?

CHAN:
  (Blandly)  American citizen - born San Francisco.

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

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 - your certificate to show you're a citizen.  Come on -- 

CHAN:
  (Understanding)  Oh, you mean certificate.
 
BRACKETT:  Yes.

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

"Don't try to run away, understand?"

BRACKETT:  Well, you stay around here just the same.  Inspector Bliss'll be down here tomorrow, and he'll want to talk to you.  Now don't try to run away, you understand?

CHAN:
  (Nodding)  Me stay.

He walks away. 

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

CHAN:  You think I run away easy job?  (He snorts)  Clrazy cop.

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

FADE OUT.

FADE IN:

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.

(VOICES) 

VOICE:
  (Off scene...calling)  Look out, Ranny.  (Etc.)

INTERIOR MADDEN HOUSE
 
MADDEN:  It looks as if all Hollywood has moved in on us.
 
THORNE:  Well, it was your own idea.
 
EXTERIOR RANCH
 
AT CHAN - CLOSE SHOT
He is standing at one side watching the amazing scene with intense interest.  People bustle back and forth past him.

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

PAULA:  Right after lunch.

DIRECTOR:  All right.  Let me know before I leave tonight.

PAULA:  I'll be back about three o'clock.
 
DIRECTOR:  Okay.

He nods and exits toward cameras.

INTERIOR MADDEN HOUSE
 
GAMBLE:  What ar you doing in there?
 
CHAN:  Me fix up.
 
GAMBLE:  Oh, yes - yes.  Well, never mind - come back later.
 
CHAN:  Thank you so much.
 
IN FRONT OF CAMERA - 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:  For the love of Pete, Ranny, this time smile at her.  You're supposed to be in love with the girl.  Put a little feeling in it, you know.

"Now, for John's sake, Rannie..."

Rannie grins and nods.
 
RANNY:  Where's my hairdresser?
 
VOICE:  Coming! 

BOB AND PAULA - CLOSE SHOT
Bob nods off scene toward Ranny.

BOB:  Is Wilbur like Ranny?

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.

Paula nods silently.  Bob makes a grimace.
 
Paula exits toward cameras.

NEAR SOUND WAGON - MEDIUM CLOSE
Two men of the crew are standing talking together. Eddie Boston, a stocky, small hard-faced man, is lighting a cigarette.  Boston turns alertly, staring off scene.

BOSTON:  (Looking off scene)  Say, isn't that Madden?

MAN:  Where?
 
BOSTON:  There by the end of the fountain.
 
MAN:  Yes.
 
IN FRONT OF CAMERA
 
DIRECTOR:  Make this a good one, will you?  I want to really believe that you hate this guy, do you see?
 
ACTOR:  Well don't worry, I do.
 
DIRECTOR:  All right.  As soon as you're ready, Joe, we'll make it.
 
JOE:  All right, boys - set your lights.

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

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

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)  You don't remember me, huh?  (His eyes bore into Madden's)  I'm a friend of Jerry Delaney.  You'd remember him, wouldn't you?

Madden shows no sign of surprise.

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

AT MADDEN AND BOSTON - MEDIUM CLOSE

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

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

Madden shows no flicker of interest.

MADDEN:  (Calmly)   Did he?
 
BOSTON:  Yes.
 
MADDEN:  Come into the house - I'd like to hear all about it.

Boston nods with a faint smile, and the two exit toward house.
 
DIRECTOR:  Quiet!  Action!

AT BOB AND CHAN - MEDIUM SHOT
Chan is looking thoughtfully toward the house.  Bob, completely overcome by amazement, edges over to Chan.
 
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. 
 
[As the circumstances of Chan's next line are not detailed in either script text, possibly inserted here was a quick scene, based on the ACTOR's line above, of the ACTOR very realistically punching RANNY in front of the rolling camera of the ongoing film production.]
 
Moving picture hero will recover - unfortunately.

He exits from scene.

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. 

AT TWO MEDIUM CLOSE

BOB:  Paula, who was that chap who went inside with Madden?

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

BOB:  Do you know anything about him?

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

INTERIOR MADDEN HOUSE
 
BOSTON:  Thanks.
 
PATIO - TOWARD LIVING ROOM - MEDIUM CLOSE
Madden strides out, agitated and angry.  He looks around...spots Bob.

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

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

MADDEN:  Crawford!
 
BOB:  Excuse me.
 
MADDEN:  Why isn't that necklace here?

BOB: 
(At a loss)  Why, I - 

MADDEN:  You told me it was arriving today!  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. 

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

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

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)  Drive me to 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's eyes bore into him an instant.

BOSTON:  (Shortly)  You're mistaken - 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:

EXTERIOR MINE

PAULA:  (SCREAMING)

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

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 - straight ahead.

He climbs in quickly. The car dashes out. 

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

FAST DISSOLVE TO:

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. 

INTERIOR CAR - AT TWO - CLOSE SHOT
The two are looking out opposite sides of the car, searching street. 

STREET - MEDIUM SHOT
As the car jounces slowly through.

INTERIOR CAR - AT TWO - MEDIUM SHOT
Holley suddenly points off scene.

HOLLEY:  There's the car.

Bob jams on the brakes, looking. 

AT CAR - MEDIUM PAN SHOT
They pile out and run between the buildings.

REAR OF BUILDING - AT CAR - MEDIUM CLOSE
As they run in, looking into the car, quickly examining it.  Bob straightens and looks around.

BOB:  Paula!  Paula!
 
His face lights as he hears her voice.

PAULA'S VOICE:  (Off scene from distance)  Bob?!
 
His face lights as he hears her voice.

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)  In the house with the boarded windows.  I'm locked in.

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.

MAYDORF:  (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.

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.

...a short, savage fight.

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)  Pretty 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.

BOB:  Keep him covered, Holley.
 
HOLLEY:  You ain't so tough!

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:  Bob!
 
BOB:  Just a minute, Paula. 
 
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've been worried about you.

Paula smiles understandingly.

"There's someone else locked up in there."

PAULA:  (She notices the keys)  There's someone else locked up in there.

Bob looks at her in surprise and the two hurriedly exit.

SECOND DOOR - MEDIUM CLOSE
They hurry in.  Bob unlocks the door and thrusts it back.  The two peer into the darkness.

They suddenly catch sight of something and stare in astounded amazement as we

FAST DISSOLVE TO:

INTERIOR MADDEN LIVING ROOM - NIGHT - MEDIUM SHOT
Madden is pacing up and down.  Thorne and Gamble are sitting in chairs, staring at him.

EXTERIOR ENTRANCE - MEDIUM PAN SHOT
Victor Jordan is getting out of a hired car and strides to the door.  He looks irritated and impatient.

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 -

AT DOOR - MEDIUM CLOSE
Madden opens it.

VICTOR:  Mr. Madden?

Madden nods.
 
MADDEN:  Yes.
 
Victor shows fawning respect.

VICTOR:  I'm Victor Jordan.

MADDEN:
  (Eagerly shaking hands)  Oh, come right in.

He closes the door behind Victor and turns to him. 
Well, I'm glad to see you, Mr, Jordan.
 
ROOM - MEDIUM SHOT

MADDEN:  (Introducing Victor)  Professor Gamble - Mr. Thorne.

GAMBLE:
  (Shaking hands)  How do you do.
 
THORNE:  (Shaking hands)  How do you do. 

MADDEN:  Well, have you brought the pearls?

VICTOR: 
(Staring in surprise)  Why no - of course not!

The three men stare at him.  Before he can say any more, Madden grates out, his face black with fury:

MADDEN:  Say, are you trying to stall me too?

VICTOR:
  (Nervously apologetic)  No, Mr. Madden.  I just heard about this stalling - that's why I hurried down here.  He should have given you the pearls on Friday.

MADDEN - CLOSEUP
He controls his fury with difficulty.

MADDEN:  What!  You mean he's had them here all this time?

AT GROUP - MEDIUM SHOT

VICTOR:  (Anxiously explaining)  No - Charlie Chan has them - the Chinaman who brought them from Hawaii.

Thorne and Gamble are startled.  Madden's eyes narrow dangerously.

MADDEN:  Oh - Chinaman, eh?

Victor looks at the men bewildered.

VICTOR:  Why, he's here, isn't he?

MADDEN:
  (With ominous calm)  Yes, he's here.  Excuse me a minute.

He strides toward the kitchen. 

INTERIOR KITCHEN - MEDIUM SHOT
Chan is sweeping the kitchen floor.  Madden enters.

"Say, I want to have a little talk with you."

MADDEN:  (Grimly)  Say, I want to have a little talk with you.
 
CHAN:  (Surprised)  Busy now.
 
MADDEN:  What!
 
CHAN:  What's the matter, boss?

MADDEN:
 (Evenly)  Where did you work before you came here?

CHAN: 
(Smiling congenially)  Oh me cathem work all places.  Maybe layem big sticks on ground for railroad.

MADDEN:  You're a liar!

Chan's eye's narrow slightly but he continues calmly.

CHAN:  What's the matter, boss?

MADDEN:
  (Ominously)  I'll show you what's the matter.  Go in there.

Chan, playing the bewildered Chinaman to perfection, exits toward living room, Madden following. 

INTERIOR LIVING ROOM - MEDIUM SHOT
Chan enters from dining room, followed by Madden.  He stops short at sight of Victor. 

CHAN - CLOSEUP
A flicker of surprise and resentment comes into his eyes. 

VICTOR - CLOSE SHOT
He stares in amazement at Chan.

VICTOR:  Have you gone crazy, Charlie?  What've you got that outfit on for?

AT MADDEN AND CHAN - MEDIUM SHOT

MADDEN:  (Grimly)  You've got Jordan's necklace.  Hand it over!

"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 same.

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. 

AT CHAN - CLOSE SHOT
He reads the note, a look of helpless resignation on his face.

...a look of helpless resignation on his face.

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.

...handing it to Madden.

MADDEN - THORNE AND GAMBLE - MEDIUM CLOSE
As Madden eagerly takes out the necklace and holds it up.  Thorne and Gamble crowd in on him.

As Madden eagerly takes out the necklace...

GAMBLE:  Beautiful!
 
THORNE:  Let me see - let me see.

Madden angrily shrugs them away from him. 

CHAN - CLOSE SHOT
He is watching them narrowly.

CHAN:  One moment, please.  Humbly request receipt.

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 -

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:  It's a good thing you came when you did.  I've just got time to make that train.

VICTOR - CLOSE SHOT

VICTOR:  (Beaming)  I'm glad I could help.

AT DESK - MEDIUM CLOSE
Madden turns back and starts writing his name, Chan watching.

INSERT OF LETTER AS HAND SIGNS NAME:
______________________________________________
 
                (LETTER UPSIDE DOWN - NOT
                              LEGIBLE)
 
______________________________________________
 
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 all this, you crazy -  

CHAN:
  (Grimly)  Will retain pearls.

MADDEN:
 (Snarling)  Oh you will, will you?  Well 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.
 
JORDON:  (Rushing forward, shouting furiously)  You fool!  Give me that gun.
 
Chan speaks calmly.  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.
 
Left-handed man always uses left hand - should also use correct name - Jerry Delaney.

ROOM - MEDIUM SHOT
Thorne is poised to spring.

DELANEY:  You're insane!

CHAN:  Anxious man hurries too fast and stubs big toe.  Pretended real grief when old parrot died, but forgot to show same when loyal manservant murdered.

The front door crashes open.  Constable Brackett thunders in, gun in hand, Inspector Bliss following.

BRACKETT:  (Bellowing)  What's that shooting?!  (He sees Chan and glares triumphantly)  Uh huh - so it's you again, eh?  (Aiming his gun at Chan)  Give me that gun.

He starts for Chan. 

THORNE AND GAMBLE - CLOSE SHOT
They are suddenly warily alert. 

DELANEY, CHAN AND BRACKETT - MEDIUM SHOT -
Chan is helpless.  Brackett takes his gun.

CHAN:  (Protesting)  You're making great mistake.  I am Detective Sergeant Chan of Honolulu Police.

BRACKETT:
  (Snarling)  Yeah?  And I'm the Queen of Sheba.  (Grabbing Chan roughly)  Come along with us.

Delaney, very poised, halts the Constable.

DELANEY:  Just a minute, Constable - he has a string of pearls belonging to me.

BRACKETT:
  (Glaring at Chan)  Oh he has, eh?  Well give them up.

CHAN: 
(Quickly)  He's not Mr. Madden.

"He is not Mr. Madden."

Brackett looks at Delaney, surprised, then back at Chan.

BRACKETT:  Aw, why you're cuckoo!  I've known Mr. Madden for years.  Give me those pearls.

He takes the pearls from Chan and hands them to Delaney -
 
There you are, Mr. Madden.
 
- who drops them in his pocket.

DELANEY:  Thanks.

BRACKETT - AND CHAN - MEDIUM CLOSE PAN SHOT -
 
BRACKETT:  So you're a detective, eh?  Come on - get along.
 
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.

MADDEN:  Just a moment, gentlemen.

Madden nods. He stares across at Delaney.

DELANEY:  This man is a faker - arrest him! 

GAMBLE, THORNE AND DELANEY - MEDIUM CLOSE
They are staring off scene at Madden. 

ROOM - MEDIUM SHOT
Madden's eyes drill into Delaney.
 
MADDEN:  It ought to be easy to prove who's a faker here.  Take a good look at the two of us, Mr. Brackett. 

BRACKETT:  Why, Mr. Madden. 
 
MADDEN:  (Grimly)  Almost got away with it, didn't you, Delaney?  This is the last time you'll impersonate me.

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. 

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.
 
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.

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 of impersonating me in New York years ago.  (He turns grimly to Thorne)  You remembered that, didn't you, Thorne.  And you waited for a chance to double-cross me.

Thorne is silent.

Madden turns to Brackett, indicating Thorne wearily.

Arrest him.  Take him away.

Brackett nods.  He and Bliss herd Delaney and Thorne toward the door.  Chan stops Bliss. 

AT BLISS AND DELANEY - MEDIUM CLOSE

CHAN:  (Mildly)  One moment, please.

He reaches into Delaney's pocket and takes the necklace.  
 
CHAN:  Thank you so much.
 
Bliss starts on with Delaney.

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. 

AT TWO - MEDIUM CLOSE

CHAN:  One moment, please.  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. 

ROOM - MEDIUM SHOT
Chan herds Gamble toward the door, where Brackett, who has turned back, is waiting.
 
CHAN:  Keep for evidence - crazy cop.
 
Brackett exits with Gamble. 
 
BRACKETT:  Come on - come on - come on - come on boys.
 
Chan turns toward Madden.

AT CHAN AND MADDEN - MEDIUM CLOSE
Chan hands Madden the necklace with a sigh of relief.

CHAN:  (Smiling)  Round-about way often shortest path to correct destination.

"Round-about way often shortest path..."

MADDEN:  Young Crawford has been telling me about you.  Good work, Mr. Chan.
 
CHAN:  Thank you so much.  
 
DISSOLVE TO:
 
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.
 
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 - I think I'd kidnap you back to San Francisco tonight.

AT THREE - MEDIUM CLOSE

PAULA:  (Smiling)  It has proved a protection.

She turns to Chan, extending her right hand.

PAULA:  Goodbye, Mr. Chan

CHAN:
  (Smiling appreciatively)  Oh goodbye.

He smiles down at the small hand held in his.  His eyes narrow.  He looks up quickly at Bob.

CHAN:  (Indicating hand)  Suggest noticing that supposed engagement ring usually worn on right hand instead of left where it belongs, huh?

"...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. 
 
CHAN:  Charlie Chan enjoy vacation very much.  Now very glad to go home to mamma and children.
 
The bell up forward rings and the train starts to move...the Camera with it.

CHAN:  Same to you also sometime, huh?

He quickly and adroitly goes into car, with a backward smile at the two. 

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...

FADE OUT.


THE END

 
 

 
 

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