Production Script:
CHARLIE CHAN'S COURAGE
CHARLIE CHAN'S COURAGE
PRODUCER: JOHN STONE
EXECUTIVE PRODUCER: WINFIELD R. SHEEHAN
DIRECTOR:
GEORGE HADDEN
ASSISTANT DIRECTOR: SID BOWAN
SCREENPLAY: SETON I. MILLER
PHOTOGRAPHY: HAL MOHR
CAMERA
OPERATOR: JOSEPH LA SHELLE
SETTINGS: DUNCAN CRAMER
FILM EDITOR: ALEX TROFFEY
GOWNS: ROYER
MUSICAL
DIRECTION: SAMUEL KAYLIN
SOUND: ALFRED BRUZLIN
CAST OF CHARACTERS
Charlie Chan: WARNER OLAND
Paula Graham: DRUE LEYTON
Bob Crawford:
DONALD WOODS
P. J. Madden: PAUL HARVEY
Martin Thorne: MURRAY KINNELL
Alexander Crawford: REGINALD
MASON
Sally Jordan: VIRGINIA HAMMOND
Will Holley: SI JENKS
Professor Gamble: HARVEY CLARK
Maydorf:
JERRY JEROME
Victor Jordan: JACK CARTER
Louie Wong: JAMES WANG
Constable Brackett: DE WITT C. JENNINGS
Hewitt: FRANCES FORD
Stenographer: LUCILLE MILLER
Mother: MARY MCLAREN
Child: GAIL KAYE
Taxi
driver: LARRY FISHER
Porter: SAM MCDANIELS
Station lounger: CARL STOCKDALE
Chorus girls: LITA CHEVRET
& SUSAN FLEMMING
Leading lady: CARLY LINCOLN
Leading man: JOHN DAVID HORSLEY
Heavy: GEORGE MAGRILL
Prop man: FRANK MILLS
Assistant director: SHERRY HALL
Eddie Boston: JAMES P. BURTIS
Director:
PAUL MCVEY
Bliss: WADE BOTELER
CHARLIE CHAN'S COURAGE
FINAL SHOOTING SCRIPT Dated: March 19, 1934
Adaptation and Screen Play by: Seton I. Miller
FADE IN: SCENE 1 An effective stock shot of San Francisco through the Golden Gate. FAST DISSOLVE TO:
SCENE 2 EXTERIOR JEWELRY STORE - FULL SHOT The exterior of a very exclusive jewelry store in a smart district.
On the window is the simple legend:
"CRAWFORD, LTD."
FAST DISSOLVE TO:
SCENE 3 INTERIOR CRAWFORD'S OFFICE - MEDIUM SHOT A luxurious
private office. Alexander Crawford, a fine-looking, kindly, middle-aged man, with grey hair, is
on the phone.
CRAWFORD: ...I'm sorry, Mr. Van Dusen...the ring is eight thousand...all right, sir...thank
you...we'll send it to Mrs. Van Dusen this afternoon...Oh, I beg your pardon...Miss Evelyn Fontaine. (He scribbles
an address) ...Yes, sir. Good-bye.
He hangs up with a faint smile. The secretary enters.
SECRETARY: Mrs. Jordan is here, Mr. Crawford.
Crawford's face lights. He gets up eagerly, crossing.
CRAWFORD: Have her come in.
The secretary ushers Mrs. Jordan in. She is a frail, lovely woman of about forty-five. She smiles warmly.
MRS. JORDAN: Hello, Alex.
SCENE 4 AT TWO - MEDIUM CLOSE
CRAWFORD: (Affectionately) 'Morning, Sally.
MRS.
JORDAN: I couldn't believe your message. Have you really found a buyer?
Crawford nods and ushers her toward a chair beside the desk.
CRAWORD: Yes...I was surprised myself...
SCENE 5 AT DESK - MEDIUM CLOSE As they sit down he continues.
CRAWFORD: ...his name is Madden -- P.J. Madden.
MRS. JORDAN: (With
quick interest) The Wall Street Plunger?
Crawford nods, looking at her thoughtfully.
CRAWFORD: Are you sure you want to sell the Cavanaugh pearls, Sally?
Mrs. Jordan nods silently.
It seems a shame...It's your father's gift...I thought that necklace would be the
last thing you'd part with.
MRS. JORDAN: (A sad smile...quietly) It is. I'm broke, Alex.
CRAWFORD: (Startled) You mean the whole Cavanaugh fortune is gone...ships...everything?
MRS. JORDAN: Yes. It seems absurd, doesn't it?
Crawford gets up, decidedly upset. SCENE 6 AT CRAWFORD - MEDIUM CLOSE as he paces up and down a few steps, silent,
but troubled. He turns back to her.
CRAWFORD: (Quietly) I wish you hadn't let your son take
charge of the estate.
SCENE 7 MRS. JORDAN - CLOSEUP
MRS. JORDAN: (Wistfully) I know...Victor's been foolish
and reckless... (She smiles up at him) ...but he's all I have since Fred went. I'm sticking by him.
SCENE 8 AT TWO - MEDIUM CLOSE
CRAWFORD: (In quiet admiration) Still the same good sport.
It is obvious that Mrs. Jordan never had much to do with business. She hesitates, then asks.
MRS. JORDAN: (Hesitantly) Did he...say what he'd be willing
to pay for them?
CRAWFORD: (Nodding) Three hundred thousand.
MRS. JORDAN:
(Startled...at a loss) But father only paid a hundred and fifty thousand.
CRAWFORD: (Smiling)
Yes...thirty years ago. That necklace is one of the finest sets of matched pearls in the world. It's worth a half million
on today's market.
Mrs. Jordan's face lights hopefully. SCENE 9 AT DOOR - MEDIUM CLOSE Crawford's secretary again appears.
SECRETARY: (Respectfully) Mr. Madden is here.
Madden strides in, followed by his secretary. He doesn't wait for formality. Madden is over six feet tall, terrifically
dynamic and powerful, with iron grey hair and cold grey eyes that bore through people. His secretary, Martin Thorne, is small,
slender and dapper...suavely efficient...about thirty-five...a hint of hidden cunning in his face.
MADDEN: (Tersely...as he enters) Crawford?
SCENE 10 AT CRAWFORD AND MRS. JORDAN CLOSE SHOT - The two are surprised at the abrupt appearance. Crawford nods
quietly. Madden's speech is abrupt, almost rude; he wastes no time, nor does he brook argument.
CRAWFORD: Yes.
He starts toward Madden. SCENE 11 AT GROUP - MEDIUM SHOT as he crosses and offers his hand.
CRAWFORD: How do you do?
Madden nods. Crawford courteously presents Madden to Mrs. Jordan.
CRAWFORD: Sally...May I present Mr. Madden...Mrs. Jordan.
Mrs. Jordan nods. Madden's rock-like face does not relax at all.
MADDEN: How d'you do...? (He abruptly indicates his secretary) ....Thorne,
my secretary.
Thorne bows suavely and silently. Crawford indicates a chair as he crosses and sits down at his desk.
CRAWFORD: Will you gentlemen be seated?
Madden ignores the proffered chair, crossing to the desk.
MADDEN: There's no need of any preamble, Crawford. I've come to see those pearls.
SCENE 12 AT DESK - MEDIUM CLOSE Crawford looks at him in surprise.
CRAWFORD: I'm afraid I gave you the wrong impression. They aren't in San Francisco.
MADDEN: (Angrily) But when you told me to come here and meet the owner....
Crawford is slightly resentful, interrupting quietly.
CRAWFORD: I meant just that. MRS. JORDAN: I'm sorry, Mr. Madden. I didn't intend to sell the necklace when I
left Honolulu, but I've sent for it.
SCENE 14 THORNE - CLOSE SHOT Thorne is watching the group narrowly as the voices come into scene.
MADDEN'S VOICE: (Tersely) When will it get here?
MRS.
JORDAN'S VOICE: Thursday morning.
Thorne is decidedly interested. SCENE 15 AT DESK - MEDIUM CLOSE
MADDEN: No good. I'm leaving this afternoon for my desert place near El Dorado. After a few days I'm going on to New York.
CRAWFORD: I could deliver the necklace in New York.
Madden reaches an abrupt decision.
MADDEN: All right...I'll buy it if you're willing to take my price...three hundred thousand.
Crawford looks at him squarely.
CRAWFORD: It's worth a half million, Mr. Madden. You're driving a hard bargain.
SCENE 16 CLOSEUP - MADDEN
MADDEN: I always drive a hard bargain. Take it or leave it.
He stares a grim challenge. SCENE 17 CLOSE SHOT - AT CRAWFORD AND MRS. JORDAN - Mrs. Jordan turns to Mrs.
Crawford, nodding quietly.
MRS. JORDAN: It's all right, Alex. I accept.
SCENE 18 MEDIUM SHOT - AT FOUR
MADDEN: (Nodding briskly) Good...fifty thousand down...the
balance within thirty days of delivery.
Mrs. Jordan nods acceptance. Madden turns to Crawford, indicating Thorne.
Thorne'll come over this afternoon with the check and pick up the bill of sale.
Thorne suavely addresses Mrs. Jordan.
THORNE: You say the pearls will arrive Thursday Morning?
Mrs. Jordan nods. SCENE 19 CLOSEUP - CRAWFORD He is watching Thorne narrowly as the latter continues off
scene, ingratiatingly.
THORNE'S VOICE: Ah, yes...and they're coming by...?
CRAWFORD: (Interrupting
firmly) By private messenger.
SCENE 20 CLOSE SHOT - THORNE AND MADDEN Thorne turns to look suavely at Crawford off scene.
THORNE: Of course. (He turns to Madden) I was thinking,
Chief...we'll be at the desert until Saturday...he could deliver it there, and you could take it back to Miss Madden yourself.
MADDEN: (Glaring at him) You're a fool, Thorne! Do you think I'd carry that string clear
across country and take a chance of getting robbed?
(Thorne shrugs)
(Madden turns to Crawford...emphatically) I want them delivered to my offices
in New York and nowhere else!
SCENE 21 MEDIUM SHOT - AT GROUP Crawford nods. Madden picks up his hat as if to leave. Thorne moves toward
the door.
MRS. JORDAN: Mr. Madden...
Madden turns inquiringly. SCENE 22 CLOSEUP - MRS. JORDAN She is looking at him curiously.
...I don't want any trouble about the necklace. What if it isn't satisfactory? You're paying this huge sum without ever
seeing it.
SCENE 23 CLOSEUP - MADDEN He looks at her grimly.
MADDEN: I've seen you wear it many times in Honolulu.
SCENE 24 CLOSE SHOT - CRAWFORD AND MRS. JORDAN The two stare at him in startled surprise.
MRS. JORDAN: (Uncertainly) I...I don't remember you.
SCENE 25 AT MADDEN AND THORN - MEDIUM CLOSE Madden in foreground, Thorne in background by the door.
MADDEN: (Tersely...almost grimly) You never looked at me.
I used to be a bellboy in the hotel where you gave your parties...I've wanted that necklace for years. Good day.
He turns on his heel toward the door. Thorne opens it and the two exit. SCENE 26 AT CRAWFORD AND MRS. JORDAN
- MEDIUM CLOSE SHOT The two look after him in stunned amazement as the sound of the door closing comes into scene.
SCENE 27 OUTER OFFICE - FULL SHOT As Madden and Thorne cross toward the store doorway, Bob Crawford hurries
in. He is a fine looking, pleasant, energetic young man of about thirty. Thorne and Madden pay no attention to him as he
crosses toward the desk, but Bob gives them a brief interested glance. They exit.
BOB: Has Mrs. Jordan come yet? SECRETARY: She's with your father.
He enters the private office. SCENE 28 PRIVATE OFFICE - MEDIUM SHOT Bob enters briskly, closing the door.
He has a great affection for Mrs. Jordan.
BOB: Hello, Sally--- (He gives her an affectionate kiss)
-- has Dad been taking good care of you? (Mrs. Jordan nods. Bob turns to Crawford) --What luck with
the necklace?
CRAWFORD: Sold it to Madden.
BOB: (Nodding toward door) Was that him?
CRAWFORD: Yes.
BOB: Big bruiser, isn't he?
SCENE 29 EXTERIOR JEWELRY STORE - AT CURB Madden and Thorne are getting into a limousine. A taxi is parked about
twenty feet behind it. SCENE 30 AT TAXI - DRIVER'S SEAT - CLOSE A stocky, hard-faced driver is watching
the two men narrowly. SCENE 31 TOWARD LIMOSINE - HIS ANGLE Thorne gets in after Madden and slams the
door. The limousine starts away. SCENE 32 AT TAXI - MEDIUM CLOSE The driver quickly starts his motor
and pulls away from the curb. SCENE 33 STREET - FULL SHOT As the taxi swings out from the curb following
the limousine. SCENE 34 CRAWFORD'S PRIVATE OFFICE - AT DESK - MEDIUM CLOSE
BOB: How's the necklace coming over?
MRS. JORDAN: Charlie Chan's bringing
it. He's a detective sergeant with the Honolulu police.
CRAWFORD: (He remembers the name) Chan...didn't
he used to be your number one boy?
MRS. JORDAN: Yes...at the big house on the beach...when Bob was little. He's always
been devoted to me.
BOB: (Grinning) I remember him. He used to catch me every time I raided
your cookie jar, and chase me out of the house. When does he get in?
MRS. JORDAN: Thursday morning, on the 'President
Pierce.' (She smiles reminiscently) He's planning to take a real vacation.
CRAWFORD:
(To Bob) You better meet him at the boat, Bob.
BOB: I'll do that. (He gets up, indicating
Mrs. Jordan) Is it all right if I take this good-looking young lady to lunch?
CRAWFORD: (Smiling)
Sure, if I can come along too.
Bob turns to Mrs. Jordan, indicating his father, as the latter gets up.
BOB: Will he bore you?
Crawford, who is reaching for his hat, gives an indignant snort.
CRAWFORD: Fresh young pup!
As they start for the door, we FADE OUT. FADE IN: SCENE 35 EXTERIOR EXCLUSIVE MEN'S CLUB -
DAY - FULL SHOT - "THE METROPOLITAN CLUB." Two cabs are parked a few feet away from the club. In the rear one
a man is sitting in the back seat. Bob comes down the steps of the club briskly, and walks out toward the curb. SCENE
36 AT FIRST CAB - DRIVER'S SEAT - CLOSE SHOT We see the same hard-faced driver that was parked outside Crawford's
jewelry store. His eyes narrow at the sight of Bob. He quickly starts his motor and drives forward. SCENE 37 BOB
AT CURB - MEDIUM CLOSE The cab stops in front of Bob.
DRIVER: Taxi?
BOB: (Nodding) Pacific Navigation
Dock.
As Bob starts to get in, he glances casually toward second cab. SCENE 38 SECOND CAB - BOB'S ANGLE The man
in the rear seat (Maydorf) is leaning forward, talking to the driver. Both are looking toward Camera. They see Bob looking
and quickly look away, Maydorf sitting back. He is a hard-faced gangster type with slouch hat and dark top coat. SCENE
39 INTERIOR BOB'S CAB - MEDIUM CLOSE Bob gets in with slight suspicious frown. The driver slams the door. SCENE
40 AT TWO CABS - MEDIUM SHOT Bobs cab drives away. The second cab follows. SCENE 41 INTERIOR BOB'S CAB
- MEDIUM CLOSE SHOOTING TOWARD REAR We see the other cab following. Bob glances back as his cab rounds a corner and sees
the other cab follow. His eyes narrow. FAST DISSOLVE TO: SCENE 42 STREET - EXTERIOR DOCK - MEDIUM CLOSE
SHOT The cab enters and stops. Bob gets out and gives the driver a bill.
BOB: Keep the change.
DRIVER: Thanks. (A little over-eager)
There'll be a rush for cabs goin' back. I'll wait for yuh.
There is a flicker of amusement in Bob's eyes as he exits. SCENE 43 AT CURB - MEDIUM CLOSE As the second
cab comes to a stop. Maydorf climbs out, nods to the driver and saunters after Bob. SCENE 44 DOCK - MEDIUM SHOT
The ship gangplank is just being placed in position. There is a crowded bustle on the dock. Bob pushes through the crowd
toward the bottom of the gangplank. Maydorf casually follows, at no time watching Bob or appearing to be interested in him.
SCENE 45 BOTTOM OF GANGPLANK - MEDIUM CLOSE Bob stops in a position a short distance from the bottom of the
gangplank. He looks casually around. SCENE 46 MAYDORF - BOB'S ANGLE A short distance from CAMERA Maydorf
is pushing between two people, and comes to a stop casually, watching the crowd, not once glancing toward CAMERA. SCENE
47 AT BOB - MEDIUM CLOSE He looks toward the boat again, a faint grin coming into his face. SCENE 48 BOAT
DECK - EDGE OF CROWD - MEDIUM CLOSE SHOT - Charlie Chan is squatting down, talking to three little American children...a
boy and two girls...the youngest about three. Their mother stands beside them, smiling down at the scene.
CHAN: (Smiling fondly) Now we must say good-bye.
TINY
GIRL: Please don't go away, Charlie.
CHAN: (To all three) Sometime we hunt Indians again.
(He pats the little girl's cheek and gets up, smiling at mother)...my knowledge of Indians most
limited.
SCENE 49 CHAN AND WOMAN - MEDIUM CLOSE
MOTHER: But you certainly know a lot about children, Mr. Chan. CHAN: Experience comes with ripe years.
He draws a picture from pocket and gives it to her. She inspects it. INSERT: Picture of a long line of Chan's
children, ranged down in size.
CHAN'S VOICE: (Off scene) Have learned much from honorable
family.
BACK TO SCENE He takes out a smaller picture and hands it to her. INSERT: Of picture a Chinese baby
of six months.
CHAN'S VOICE: Added blessing too late to be included.
BACK TO SCENE: The woman gives the pictures back.
WOMAN: You're most fortunate.
CHAN: (Smiling) Sometimes
have entertained doubts when walking floor.
A whistle shrills off scene.
VOICE: All ashore.
The crowd starts to move. Chan picks up his grip. SCENE 50 DECK - AT GANGPLANK - MEDIUM SHOT The crowd starts
ashore. SCENE 51 DOCK - MEDIUM SHOT Bob and Maydorf watching in the crowd...Maydorf expectantly alert.
SCENE 52 GANGPLANK - CLOSE PAN SHOT Chan appears at the top of the gangplank. WE PAN WITH HIM as he walks down.
SCENE 53 BOB - CLOSE SHOT We see a faint flicker of recognition in Bob's face, then he continues to stare
indifferently at the top of the gangplank. SCENE 54 BOTTOM OF GANGPLANK - MEDIUM SHOT Gangplank in foreground.
Maydorf is watching Bob and the gangplank. Chan reaches the bottom of the gangplank, looking around, as if seeing if anyone
is there to meet him, then ambles out of scene. Bob gives no sign of recognition, ignoring him, continuing to look at gangplank
expectantly. SCENE 55 AT CROWD - MEDIUM SHOT As Chan ambles across and disappears in the crowd. SCENE
56 BOB - MEDIUM CLOSE Bob continues to stare up the gangplank a moment, then casually turns and starts to retrace
his steps toward the taxi. SCENE 57 MAYDORF - CLOSE SHOT A look of helpless surprise from Bob to the gangplank
and back to Bob again. He frowns ominously and exits after Bob. SCENE 58 STREET - TAXI - MEDIUM SHOT Bob
saunters off the dock toward taxi. Maydorf idles in the edge of the crowd looking back toward the ship, but keeping an eye
on the taxi. SCENE 59 AT TAXI - MEDIUM CLOSE SHOT The driver is surprised to see Bob return alone. He opens
the door as Bob enters scene.
DRIVER: Wasn't you expectin' somebody on the ship?
BOB: (Grinning)
Yes...I came down to meet the Dowager Empress of Siberia...but they tell me she's dead.
He turns and walks up the street, leaving the taxi driver staring helplessly. FAST DISSOLVE TO: SCENE
60 HOTEL SUITE - LIVING ROOM - FULL SHOT Crawford is pacing up and down worriedly. Mrs. Jordan is apprehensive.
her son, Victor, is at a table mixing a scotch and soda. He is a dissipated, spoiled young man with a pouchy face and flabby
shape that shows excess of living. He is faultlessly dressed.
CRAWFORD: ...I don't like the looks of the whole thing, Victor.
VICTOR: (A
contemptuous snort) Nonsense! If Madden wants to change his mind, that's his business. It isn't up to us to question
his orders.
He samples the drink. A buzzer sounds off scene. All turn expectantly. Victor crosses quickly to door. SCENE 61
AT DOOR - MEDIUM CLOSE Victor opens it, revealing Chan. Victor addresses him with careless condescension.
VICTOR: Hello Charlie.
There is a flicker of dislike in Chan's eyes.
CHAN: Good morning.
He steps into the room. SCENE 62 ROOM - MEDIUM CLOSE SHOT Mrs. Jordan hurries forward, relieved and happy.
She has a great affection for Chan. Crawford is puzzled and worried as he notes Chan is alone.
MRS. JORDAN: I'm so glad you're here safely.
Charlie idolizes Mrs. Jordan.
CHAN: Thank you so much. MRS. JORDAN: Did you have a good trip? CHAN: Always pleasant journey which
ends among old friends.
Mrs. Jordan turns to Crawford.
MRS. JORDAN: Alex, you remember Charlie Chan.
CRAWFORD: Yes, indeed. How do
you do.
CHAN: (Bowing) Mr. Crawford always honored guest at Jordan home.
SCENE 63 JORDAN - CLOSEUP
CRAWFORD: Didn't my son come with you? He was supposed to meet you at the dock.
SCENE 64 AT CHAN AND VICTOR - MEDIUM CLOSE
CHAN: (Apologetically) So sorry. Found no one waiting at
bottom of gangboard, so I engage taxi and hurry to this spot.
VICTOR: (Impatiently) Bob
probably missed him in the crowd. (He turns to Chan) Have you got the
pearls, Charlie?
Chan nods and pulls a worn old money belt from his pocket.
CHAN: Travel securely around waist. (He takes a velvet bundle from the
belt, as he continues) Responsibility makes them rest heavy on unworthy stomach...like sour rice.
Victor holds out his hand for the bundle, but Chan serenely ignores it, exiting from scene. SCENE 65 AT MRS.
JORDAN AND CRAWFORD - MEDIUM CLOSE Chan enters and hands the bundle to Mrs. Jordan.
MRS. JORDAN: Thank you, Charlie. CHAN: Now most enjoyable vacation begins.
Mrs. Jordan wraps a gorgeous triple string containing about one hundred and fifty large and exquisitely matched pearls. Crawford
gazes at them with tremendous admiration. There is a fleeting expression of regret on Mrs. Jordan's face. INSERT:
Of pearls in Mrs. Jordan's hand.
CRAWFORD'S VOICE: (Off scene) It's been so long...I'd forgotten
how exquisite they were.
BACK TO SCENE: Mrs. Jordan hands them to him.
CRAWFORD: (Gently) I know how you feel, Sally.
Mrs. Jordan shrugs and gives a slight smile. She is a good loser. The buzzer sounds again off scene. SCENE 66 ROOM
- MEDIUM SHOT Victor crosses and opens the door. Bob breezes in.
BOB: Hello, Vic.
Recognition flickers in Chan's eyes.
CRAWFORD: What happened to you?
BOB: (Emphatically) Plenty.
MRS. JORDAN: Bob, this is Charlie Chan...Mr. Crawford.
SCENE 67 AT BOB AND CHARLIE - CLOSE SHOT The two strike an immediate note of renewed friendship.
BOB: (Grinning) I think he recognizes me.
CHAN:
(Smiles and nods) Fondly recall many races from cookie jar to back door.
SCENE 68 CRAWFORD - CLOSEUP
CRAWFORD: Why didn't you meet him at the station?
SCENE 69 GROUP - MEDIUM SHOT Bob turns to him and speaks quickly and incisively.
BOB: (His words cause interest and alarm in the others' faces) Because
a hard looking bird followed me down there in another taxi and stuck to me like a leech on the dock. He wanted to go see who
I was going to meet, so I didn't meet anyone.
SCENE 70 CHAN - CLOSEUP His face is impassive, but his eyes narrow with interest.
BOB'S VOICE: (Off scene...quietly) My taxi driver was in
on it, too.
CRAWFORD'S VOICE: (Off scene...anxiously) Did the follow you back uptown?
BOB'S
VOICE: (Off scene) Yes...but I ditched them at the club...ducked out the kitchen door.
Crawford's fears are confirmed. He whirls on Victor.
CRAWFORD: (Explosively) I told you that something's
wrong. (To Bob) Someone called me this morning and pretended to be Madden. He tried to find out
who was bringing the necklace. When I questioned him, he hung up.
SCENE 71 BOB - CLOSEUP Bob realizes there is danger. He is thoughtful.
BOB: Not so good.
SCENE 72 CRAWFORD - CLOSEUP
CRAWFORD: (Grimly) Worse than that. About an hour later
Madden phoned from the desert. He wants the pearls delivered there...tomorrow.
SCENE 73 AT BOB - CRAWFORD - CHAN - MEDIUM CLOSE
BOB: But I thought he insisted on our sending them to New York. CRAWFORD: That's just the point. The whole thing
looks rotten.
SCENE 74 CHAN - CLOSEUP
CHAN: (Quietly) Humbly beg to interrupt. You're sure this
was the real Mr. Madden?
SCENE 75 CHAN AND CRAWFORD - CLOSE SHOT
CRAWFORD: Yes...I'd swear it was his voice. I put in a return call to the desert.
He was there, all right...and repeated his orders.
CHAN: He offers excuse for changing?
CRAWFORD: (Nodding)
He said his daughter was coming from Chicago. He wants to meet her there and give her the necklace.
SCENE 76 AT GROUP - CLOSE SHOT
VICTOR: (Fuming with impatience) Well...isn't that reason
enough? You're trying to build up a lot of danger out of nothing.
Crawford turns on him coldly.
CRAWFORD: (Tersely) Madden stated in my office that he wouldn't
carry the necklace...too much chance of robbery. Why didn't he ask us to deliver it in Chicago?
MRS. JORDAN: They're
right, Victor. (Turning to Crawford) But if he wants it delivered there, we'll have to oblige him,
Alex. I can't risk losing the sale.
Crawford nods thoughtful agreement. Mrs. Jordan turns and looks at Chan. SCENE 77 AT MRS. JORDAN AND CHAN -
CLOSE SHOT
MRS. JORDAN: Charlie...I've asked so much of you already, but will you do one more great favor and take this to the desert?
Chan nods and smiles.
CHAN: When proper person is encountered, pearls will be delivered.
MRS. JORDAN:
(Quietly) I'm very grateful.
CHAN: Humble servant can never repay many kindnesses.
Mrs. Jordan smiles her gratitude. SCENE 78 AT GROUP - MEDIUM SHOT Chan continues to Bob.
CHAN: (Thoughtfully) Many facts stated here suggest possibility
of unknown danger in delivering pearls. Beg to request your valuable help in present matter.
BOB: (Promptly)
Certainly. I'd be glad to.
SCENE 79 CHAN - CLOSEUP
CHAN: (Nodding) Thank you so much. (He smiles)
Blind man feels ahead with cane before proceeding.
SCENE 80 BOB - CLOSEUP A grin dawns on his face as he realizes Chan's idea.
BOB: And I'm the one to be the cane, right?
SCENE 81 GROUP - MEDIUM SHOT
CHAN: (Nodding) Most correct. Humbly suggest that you arrive
at ranch ahead of time. I follow later with necklace. If all is correct, we deliver same.
BOB: Great! (He
turns to his father enthusiastically) I'll fly down to Los Angeles after lunch and catch the afternoon train
out to the ranch.
CHAN: (Mildly) Tread softly. Beg to recall that hen squats with caution
on thin egg.
FAST DISSOLVE TO:
SCENE 82 LOS ANGELES TRAIN PLATFORM - DAY - MEDIUM PAN SHOT
Bob strides along the platform towards his car, carrying a suitcase, topcoat and newspaper.
SCENE 83 AT CAR
STEPS - MEDIUM CLOSE As Bob enters and gives his grip to porter. In background, a man and a girl are standing. The man
has a hard, forceful face. The girl, Paula, is decidedly beautiful, with poise and self-possession. She has a grip and a couple
of magazines.
SCENE 84 AT PAULA AND MAN - MEDIUM CLOSE They see Bob and stare at him with apparent impersonal
interest.
SCENE 85 BOB - CLOSE SHOT As he is about to get on the car, he catches sight of the couple and sees
them looking at him.
SCENE 86 PAULA AND MAN - BOB'S ANGLE - MEDIUM LONG SHOT They are looking toward CAMERA
for an instant, then turn back to each other. The man says something, Paula nods. He tips his hat and leaves.
SCENE
87 AT CAR STEPS - CLOSE SHOT Bob mounts the steps and disappears into the car.
SCENE 88 PAULA - MEDIUM
CLOSE PAN SHOT As she picks up her grip, WE PAN WITH HER ACROSS TO THE CAR STEPS. She also enters the car.
SCENE
89 INTERIOR CAR - BOB'S SEAT - CLOSE SHOT The porter is just leaving. Bob tosses his topcoat on the other seat and
sits down with his paper.
SCENE 90 INTERIOR CAR - MEDIUM SHOT Porter re-enters carrying Paula's bag. Paula
follows. The train starts. (Sound effects of starting train) The porter puts Paula's bag across the aisle from Bob. Paula
glances impersonally at Bob and sits down.
SCENE 91 BOB - CLOSE SHOT He looks across. His eyes narrow with
suspicious interest.
SCENE 92 AT TWO SEATS - MEDIUM CLOSE The porter leaves. Paula glances across and sees
Bob staring. Bob looks back at his paper. Paula turns coldly back and takes a magazine. We hold for a moment with the two
grimly reading, and
FAST DISSOLVE TO:
SCENE 93 RAILROAD STATION - MEDIUM SHOT - NIGHT A small,
dingy desert station with the name "EL DORADO". (The town is practically a water stop...a small hotel, restaurant, a few wooden
buildings, and across from the station, a quaint ramshackle garage, formerly a stable.) In the distance we see the headlights
and hear the whistle of the approaching train.
SCENE 94 INTERIOR BOB'S CAR - AT TWO SEATS MEDIUM CLOSE SHOT We hear the whistle
and bell as the train slows down. The conductor comes slowly through.
CONDUCTOR: El Dorado... El Dorado.
He walks between the two seats, concealing the two from each other. They get up and start gathering their things. The conductor
walks from between them and they see each other with suspicious stares, and turn away. The porter takes their grips and exits.
Paula exits coldly, Bob following. SCENE 95 EXTERIOR CAR STEPS AND PLATFORM - MEDIUM CLOSE Platform is dimly
lit. Paula descends, takes her grip and tips the porter. Bob does the same, the two paying no attention to each other.
PORTER: Thank you, Miss. Thank you, suh.
Paula walks around station to road. Bob turns to one of two or three small town characters lounging on the platform. As
they talk, the train starts to pull out.
BOB: Is there a taxi around here I could hire?
MAN: (Meditating)
Wal...about the only one is in the garage across the road, but it ain't no taxi...it's a flivver.
BOB:
Thanks.
He strides around the opposite end of the station from Paula. SCENE 96 BOB'S END OF THE STATION FROM ROAD -
MEDIUM CLOSE SHOT He comes around the end of the station, heading across the road. SCENE 97 PAULA'S END OF
THE STATION FROM ROAD - MEDIUM CLOSE SHOT Paula is just handing her grip to a middle-aged character in shirt sleeves.
PAULA: You can leave it in the lobby. MAN: Yes ma'am.
He exits. Paula starts across the road. SCENE 98 STATION - FROM ACROSS ROAD - FULL SHOT Bob and Paula walk
across the road converging toward CAMERA as if heading for the same place. Bob is slightly behind, coming diagonally. They
catch sight of each other as they approach. Paula comes to a sudden stop in the near side of the road, glaring coldly at
Bob.
PAULA: (Coldly) Are you following me or am I following you?
BOB: (Grimly) I'm beginning to wonder myself.
PAULA: (Sarcastically)
Perhaps we can go from here together.
BOB: (Sardonically) Delighted...where
are you going?
Paula glares at him and marches out of scene. Bob Follows. SCENE 99 EXTERIOR GARAGE ENTRANCE - MEDIUM CLOSE
Paula stalks into the garage. Bob follows. SCENE 100 INTERIOR GARAGE - TOWARD ENTRANCE - MEDIUM SHOT
A ramshackle interior littered with parts of cars. There is also an antique Ford touring car. The front corner contains
a battered desk and ancient cash register. Will Holley is leaning back against the wall, smoking a frayed cigar and looking
through a Sears-Roebuck catalog (A Chic sale type). He is a small middle-aged man, wizened and weather beaten. Paula
enters, Bob following. Holley beams a welcome, shutting the catalog and getting up.
HOLLEY: Evenin', folks.
Paula realizes from his words that Bob has also entered and gives a brief cold glance back and then addresses Holley.
SCENE 101 AT PAULA AND HOLLEY - MEDIUM CLOSE
PAULA: Do you run a taxi? HOLLEY: Yes, Ma'am... sort of. PAULA: How much will you charge to the Madden
ranch.
SCENE 102 BOB - CLOSEUP Bob watches off scene, surprised.
HOLLEY'S VOICE: (Off scene...pensively) Well, let's see...twelve
miles each way...
SCENE 103 AT PAULA AND HOLLEY - MEDIUM CLOSE Holley is scratching his chin, half figuring to himself.
HOLLEY: ...Twenty-four...a gallon and a half... (He announces seriously)
...seventy-five cents.
PAULA: (Amused) All right.
HOLLEY: (Adding
quickly) ...And five cents tax.
Paula nods again. Holley exits. SCENE 104 AT CASH REGISTER - CLOSE SHOT Holley enters, pushes the "No
Sale" key on the cash register and it flies open with a loud crash and jangle of a bell. Holley carefully deposits his
cigar in the money drawer and slams the register shut, exiting from the scene. SCENE 105 AT PAULA AND BOB - MEDIUM
CLOSE They are both amused at Holley's character. During he ensuing lines, we hear Holley cranking and starting the Ford
off scene. Bob looks at Paula, amused.
BOB: So you're going to Madden's?
PAULA: Yes... but you're not.
BOB:
(Chuckling) I'll have to...this is the only cab.
PAULA: (Staring at him in
surprise) Were you really going there?
BOB: (Grinning) Sure.
Paula's eyes crinkle with amusement, then she starts to laugh.
PAULA: (In apology) I'm sorry.
BOB: (Grinning)
You should be.
SCENE 106 INTERIOR GARAGE - MEDIUM SHOT - TOWARD DOOR - Holley stops the car beside them and they get in. Bob slams
the door. Holley gooses the rattly old motor and the car takes a flying leap out of the garage. SCENE 107 EXTERIOR
GARAGE - AT ENTRANCE - MEDIUM SHOT As the car rushes out and swings sharply, the back wheel missing the ramp and bounding
violently down over the curb, roaring away down the road. SCENE 108 BACK SEAT - AT TWO - CLOSE SHOT (PROCESS)
(The ensuing scenes of the ride are all processed against the faintly lighted night desert. The sound of the speeding
rattling motor coming into scene.) Paula and Bob are half in each other's laps from the bounce, and Paula's hat is askew.
They manage to get straightened out. Paula pushing her hat back to its normal position.
BOB: Starts out interestingly.
SCENE 109 HOLLEY - CLOSE SHOT He plays the ensuing scenes always looking ahead,
watching the road, but taking a serious, talkative interest in his passengers.
HOLLEY: (Seriously) It gets more interestin' further on...
SCENE 110 AT PAULA AND BOB - CLOSE SHOT They look in surprised amazement as the voice continues.
...finest country in the world.
SCENE 111 AT THREE - MEDIUM CLOSE SIDE SHOT They rattle along in silence an instant.
HOLLEY: You folks newlyweds?
Paula and Bob glance at each other in amusement.
BOB: (Dryly) No...we've never met before.
HOLLEY:
Oh... (An instant's pause) Well...the desert's a right nice place to meet. (He squints
at the sky critically.) Too bad the moon isn't up...the sky gets mighty purty.
SCENE 112 AT PAULA AND BOB - CLOSE SHOT As she speaks, she draws her coat collar more closely around her neck. Bob
is surprised to see a large and lovely square cut emerald ring on her engagement finger. INSERT: OF PAULA'S HAND
on fur collar, showing the emerald ring. BACK TO SCENE: There is a flicker of disappointment in Bob's
face. Paula catches him looking at her emerald.
BOB: (With reluctant admiration) Lovely emerald.
Paula opens her mouth to reply bit is interrupted by Holley's voice.
HOLLEY'S VOICE: (Off scene...Critically) No...it's more
deep blue...except just after sunset.
Bob turns and stares helplessly ahead at Holley, then looks back at Paula, and sees she is amused. He grins.
BOB: (Quietly) You haven't told me your name.
HOLLEY'S
VOICE: Will Holley.
Paula gives him a flickering amused glance, then looks at Holley.
PAULA: Thanks.
SCENE 113 HOLLEY - CLOSE SHOT He is seriously steering away and nods.
HOLLEY: You're right welcome, Ma'am. Everyone knows me around these parts.
SCENE 114 AT THREE FROM SIDE - MEDIUM CLOSE Paula turns to Bob.
PAULA: I'm Paula Graham.
BOB: (Blurting quietly) I'm
Bob Crawford.
He ends his words with an emphatic nod at Holley as if saying, "That's a time I beat you."
HOLLEY: Glad to meet you.
Bob stares at him helplessly.
Do you know Madden well?
Bob gives up, sinking back in his seat.
BOB: No.
Holley chatters on seriously.
HOLLEY: Neither do I. He doesn't stay here much. There's just a Chinese caretaker...Louie Wong...and Tony. Louie went
into Los Angeles yesterday...he inherited some money.
The last words make Bob sit up a little in alert interest.
PAULA: (Amusedly) And who's Tony?
HOLLEY: Oh, he's
just a parrot. (He chuckles) The darn thing can talk Chinese. Folks around here call him the Chinese
Parrot.
Bob nods dryly.
BOB: That seems logical. HOLLEY: Sure it does.
SCENE 115 REAR SEAT - AT TWO - CLOSE SHOT Bob sinks back defeated and silent. Paula looks at him in amusement. He
sees her and grins sheepishly and then leans close to her and whispers.
BOB: (Whispering) Let's whisper.
FAST DISSOLVE TO: SCENE 116 HOLLEY - CLOSE SHOT Driving serenely along. He points ahead.
HOLLEY: There's the ranch...them lights up ahead.
SCENE 117 AT THREE - FROM SIDE - MEDIUM CLOSE As Paula and Bob sit up and look ahead interestedly. SCENE
118 ROAD AHEAD - FROM CAR - LONG MOVING SHOT (PROCESS) About three blocks ahead, off to one side of the road, are
twinkling lights. SCENE 119 AT THREE - FROM SIDE - MEDIUM CLOSE As Bob and Paula start sinking back,
there comes from a distance two revolver shots. Bob and Paula sit up startled.
BOB: Those were shots!
HOLLEY: (Surprised and startled)
Sounded like a forty-five.
BOB: They seemed to come from the ranch.
HOLLEY: Sure did. Madden keeps a lot of
guns there...but I can't figure him shooting at night.
SCENE 120 ROAD - AT GATE - MEDIUM SHOT As the car slows down and turns in the gate. (In the ensuing exterior shots,
we see that the house is a luxurious rambling one story, Spanish structure, with landscaping, cactus beds and shrubbery.)
The gates are partly closed. Holley lets the nose of the car push them open and leans out to push the near gate. SCENE
121 TOWARD GARAGE - MEDIUM SHOT The garage is dark. The car's headlights swing across it, revealing a middle-aged
man in prospector's clothes, with a bearded face. He has stopped and turned, crouching startedly, looking toward the lights.
He darts off into the darkness. (The whole scene is just a flash of action) SCENE 122 INTERIOR CAR - ALL THREE
- MEDIUM CLOSE Bob and Paula are staring toward the garage. Holley is just coming upright.
BOB: Who was that?
HOLLEY: Where?
BOB: (Quickly) By
the garage. A man ran past it.
HOLLEY: (Frowning) Didn't see him.
SCENE 123 CAR - AT ENTANCE - CLOSE SHOT Car stops in front of entrance.
HOLLEY: I don't like the looks of these goin's on. BOB: Neither do I.
He and Paula get out of the car and exit, Bob taking his grip. SCENE 124 ENTRANCE - MEDIUM CLOSE SHOT Bob
and Paula enter. Bob pushes the doorbell. We hear it ring faintly inside. There is a long delay. Bob rings it again.
SCENE 125 AT DOOR - CLOSE SHOT As it is yanked open about a foot, Thorne appears, staring through the narrow
opening. He is a little disheveled and decidedly agitated, trembling nervously.
THORNE: (Snapping angrily) What do you want?
SCENE 126 BOB AND PAULA - CLOSE SHOT Bob and Paula are resentful at his manner.
BOB: We want to see Mr. Madden.
SCENE 127 AT ENTRANCE - MEDIUM CLOSE
THORNE: He's not home.
He starts to slam the door but Bob holds it.
BOB: Wait a minute. You're Thorne, aren't you?
Thorne stops his effort to close the door, staring questioningly.
THORNE: Yes? BOB: I'm Bob Crawford from San Francisco. Madden's expecting me.
Thorne's manner changes magically. He is apologetic and suavely congenial, throwing the door open.
Paula and Bob enter. SCENE 128 INTERIOR LIVING ROOM - MEDIUM SHOT As they enter. (The living room is
very large and magnificently furnished; low, comfortable furniture, a fine desk, soft lights and a huge fireplace. On the
wall is a large collection of firearms. Thorne closes the door.
BOB: Mr. Thorne...Miss Graham.
SCENE 129 AT GROUP - MEDIUM CLOSE Thorne is slightly puzzled at the girl's presence but bows suavely.
THORNE: How do you do.
He turns to Bob.
(Smiling) I wasn't expecting you until tomorrow. We have to be careful in
an isolated place like this.
SCENE 130 BOB - CLOSEUP He watches Thorne steadily but appears to be nonchalant.
BOB: I don't blame you. We heard a couple of shots as we drove up.
SCENE 131 THORNE - CLOSEUP Thorne is perfectly controlled by now.
THORNE: (Suavely) I thought I heard them, too...That's one
reason I was suspicious of you. It was probably someone in the desert...taking pot shots at Jack rabbits.
SCENE 132 PAULA - CLOSEUP She doesn't believe Thorne at all.
PAULA: You said that Mr. Madden isn't home?
SCENE 133 AT GROUP - MEDIUM CLOSE
THORNE: No...he's in Palm Springs. He'll be back tomorrow noon. PAULA: Did he mention the Imperial Picture Corporation
to you...about using the ranch for location?
Thorne immediately freezes up into blunt coldness, and from this instant on, he and Paula clash.
THORNE: Then you're not here with Mr. Crawford?
PAULA: No...they sent me to
ask Mr. Madden if they could use the ranch Saturday.
THORNE: (Brusquely) It'll be impossible.
SCENE 134 PAULA - CLOSEUP She is resentful.
PAULA: But he said in his letter he'd be glad to if we let him know a few days ahead.
SCENE 135 CLOSEUP - THORNE He is grim and terse, as if dismissing the subject.
THORNE: I know. I took the letter for him, but I can assure you he's changed his mind.
SCENE 136 TOWARD DOOR - MEDIUM CLOSE
PAULA: (Icily) You won't be offended when I come back tomorrow
and ask him myself.
Thorne shrugs with a sardonic smile.
THORNE: Not at all.
PAULA: (Icily) Thank you. Good
night.
She starts for the door. Bob picks up his grip as if to leave. Thorne eyes the grip anxiously.
BOB: Ask Mr. Madden to call me at the hotel tomorrow.
THORNE: (Over-cordial)
Won't you stay here? The Chief would expect you to be his guest.
BOB: Well...thanks - I will. Excuse me a
minute.
He puts down the grip and hurries after Paula. SCENE 137 EXTERIOR ENTRANCE - MEDIUM CLOSE PAN SHOT He joins
her outside the door. WE PAN WITH THEM across to the car, as they speak.
BOB: I'm sorry your trip panned out this way.
Paula smiles and shrugs.
PAULA: I'm used to a few disappointments.
BOB: You'll be back tomorrow?
PAULA:
Yes. (She looks directly at Bob) I think he was lying.
BOB: So do I.
They reach the car. SCENE 138 AT CAR
HOLLEY: Everything all right?
BOB: We're still wondering.
HOLLEY:
Umph...didn't see nothin' more out here. (To Paula) Like to ride up front?
PAULA:
(Nodding) Thanks.
SCENE 139 CLOSE SHOT - PAULA As she gets in with Holley. Bob closes the door.
BOB: I'm sorry that you have to put up at that one-horse hotel.
PAULA: (Smiling)
I'll be a lot happier than staying here.
HOLLEY: (Nodding) The rooms second
floor front are right comfortable...'cept the one with the broken spring.
Paula smiles and turns to Bob.
PAULA: Good night. BOB: Good night.
The car rattles away. Bob looks after it. He is getting very interested in Paula. He turns and looks at the house, frowns,
and strides toward it. SCENE 140 INTERIOR LIVING ROOM - TOWARD DOOR - MEDIUM CLOSE SHOT Thorne has picked
up the suitcase and is eying it with interest. Bob enters unexpectedly. Thorne lowers the suitcase but continues to hold
it. There is suppressed eagerness in his voice.
THORNE: You brought the necklace?
BOB: (Carelessly, but observing)
No...I didn't.
Thorne's face darkens. He cannot help but stare in surprise.
THORNE: But I understood you to say --
BOB: (Interrupting)
I came down to talk with Madden and handle the transaction. Dad's sending the string by messenger tomorrow.
Thorne is disappointed.
THORNE: Oh, I see.... (He is silent a moment, as if thinking; then says,
suavely) ...if you like, I'll show you your room.
BOB: (Nodding) Thanks.
SCENE 141 TOWARD HALL - MEDIUM SHOT As Thorne, carrying the grip, leads Bob toward the hall. SCENE 142 INTERIOR
HALL - MEDIUM SHOT As Thorne and Bob enter and cross to bedroom door, Thorne entering first. SCENE 143 INTERIOR
BEDROOM - MEDIUM SHOT As Thorne enters and switches on the light. Bob follows. It is a very comfortably furnished bedroom.
One set of windows open on the patio, the second set on the driveway and garage side. Thorne puts down the grip.
THORNE: (Suavely) You'll have to excuse me. I was getting
some rush work out for the Chief when you arrived.
BOB: Certainly. Go right ahead.
THORNE: Good night.
Bob nods. Thorne exits, closing the door. Bob stares at the closed door, through narrowed eyes. SCENE 144 INTERIOR
HALL - AT DOOR - MEDIUM CLOSE Thorne also stares at the door, expressionlessly, rubbing his chin. After an instant he
turns and goes down the hall toward the other bedrooms. SLOW DISSOLVE TO: SCENE 145 INTERIOR BOB'S BEDROOM
- BESIDE TABLE - CLOSE PAN SHOT In the darkness we faintly see a small clock on the bedside table. It registers 2:18.
CAMERA PANS ACROSS to a CLOSE SHOT of Bob sleeping. A shaft of light appears across his face. It widens and then narrows.
Bob's eyes open, vacantly at first, then with swift consciousness. He lies motionless but stares out of scene. SCENE
146 TOWARD DOOR - BOB'S ANGLE The door is opened about two inches, a light coming in from the hall. It silently closes,
leaving the room dark. SCENE 147 AT BED - MEDIUM CLOSE SHOT Bob sits upright, listening tensely. He climbs
quickly out of bed, coming toward door. SCENE 148 AT DOOR - CLOSE SHOT As Bob cautiously opens it and looks
out. SCENE 149 HALL - BOB'S ANGLE The lighted hallway is empty. SCENE 150 INTERIOR BEDROOM Bob
softly closes the door. From off scene comes the sound of a car starting in the garage. Bob hurries across to the window.
SCENE 151 AT WINDOW - CLOSE SHOT As he looks out, keeping to one side, so that he won't be seen. SCENE
152 TOWARD GARAGE - LONG SHOT - BOB'S ANGLE We see the garage in the distance. A large, expensive touring car with
the top up, backs quietly out and turns, rolling quietly down the driveway. It seems empty except for Thorne. The car disappears.
SCENE 153 INTERIOR BEDROOM - AT BOB - CLOSE SHOT He stands looking into the darkness, his eyes narrowed,
his face grim, as we FADE OUT. FADE IN: SCENE 154 INTERIOR BOB'S BEDROOM - AT GRIP - CLOSE
TRUCKING SHOT We see Bob reaching into his open grip. It comes out with a .32 automatic. CAMERA TRUCKS BACK, revealing
Bob dressed, except for his coat. He sticks the gun in his hip pocket, picks up his coat and puts it on as he exits.
SCENE 155 INTERIOR HALL - FULL SHOT As Bob enters. It is empty. He takes a few steps up toward the other bedrooms.
BOB: Thorne?
There is no answer. The place seems deserted. Bob turns and exits toward the living room. SCENE 156 INTERIOR
LIVING ROOM - FULL SHOT Bob enters and finds living room also deserted. He looks around worriedly, then starts toward
the patio. As he does so, a metallic crash comes into the scene. Bob turns, looking toward dining room and crosses to it.
SCENE 157 INTERIOR DINING ROOM - FULL SHOT The table is set for two. A subdued noise comes from the kitchen.
Bob enters the kitchen. SCENE 158 INTERIOR KITCHEN - FULL SHOT As Bob enters, Thorne in different clothes,
is cooking breakfast. He is hot and disheveled, irritated at having to work. Eggs and bacon are sizzling in the frying pan,
and a large metal pot of coffee stands on the stove. He sees Bob and his face becomes more pleasant.
THORNE: Oh...'morning, Crawford. How'd you sleep?
BOB: Like a log. This desert
air is something!
THORNE: Hungry?
BOB: Right.
THORNE: (Indicating stove) This
mess won't be much of a breakfast, but you'll have to stand for it. Our cook ran out on us.
Bob grins, crossing. SCENE 159 AT STOVE - MEDIUM CLOSE
BOB: Can I help? THORNE: It's almost ready.
He clumsily turns some bacon over and reaches for the coffee pot, starting to pick it
up. The handle burns him painfully, and he drops it back on the stove with a crash and shakes his hand, cursing under his
breath. Bob is about to speak when a loud knock comes on the kitchen door. Both men turn.
SCENE 160 AT KITCHEN
DOOR - CLOSE SHOT Chan is standing in the doorway. We hardly recognize him. He is disguised as a poor Chinese laborer,
in blouse and pants and old shoes. He wears a battered, flat-brimmed hat. He looks dusty and tired.
SCENE 161 AT THORNE AND BOB - MEDIUM CLOSE SHOT Bob is slightly behind
Thorne. Bob is surprised, and a flicker of intense relief comes into his face.
THORNE: (Snarling) What do you want?
SCENE 162 AT DOOR - MEDIUM CLOSE As Thorne enters scene. Chan speaks humbly and apologetically.
CHAN: Me hungly, boss. Walk many mile. Mebbe catchum food for wouk.
Thorne gestures him to "beat it."
THORNE: (Surily) There's nothing for you. Go on, get out
of here.
Chan bows humbly and sadly.
CHAN: Velly solly.
He turns wearily and starts away from the door. Thorne turns and exits. SCENE 163 AT STOVE - MEDIUM CLOSE Bob
shows a flicker of disappointment. Thorne enters to stove.
BOB: (Carelessly) Seems a shame to turn the old bird away.
THORNE: (Almost a snarl) Ah...they're pests!
He starts to pick up a frying pan...gets an idea suddenly and quickly puts the pan down, turning and hurrying toward the door.
SCENE 164 EXTERIOR KITCHEN - AT DOOR - MEDIUM SHOT Chan is shuffling slowly away. The kitchen door flies
open and Thorne takes a step outside.
THORNE: (Eagerly) Hey!...Wait a minute! C'mere!
Chan turns back. SCENE 165 AT KITCHEN DOOR - MEDIUM CLOSE As Chan enters scene.
THORNE: Can you cook?
Chan's face brightens, his head bobbing.
CHAN: Yes, boss. Long time me number one boy and cook...big house.
THORNE:
(Relieved) You've got a job. (Nodding toward kitchen) Come on in.
SCENE 166 INTERIOR KITCHEN - MEDIUM SHOT A flicker of elation comes into Bob's face, which is quickly concealed as
Thorne enters, followed by Chan.
THORNE: (To Chan) What's your name?
CHAN: Ah Kim.
THORNE: (Nodding) You can stay until our cook comes back...understand?
Chan nods. Thorne indicates bedroom door of kitchen.
He sleeps there. (As he continues, he starts dishing up the breakfast)
Get out of those filthy rags and put on some of his clothes.
Thorne picks up the platter of eggs and bacon, and some plates. Chan bows and starts for the bedroom, as Thorne adds:
Bring the coffee in first. (Turning to Bob) No more work.
I'm glad I thought of this.
BOB: (With a faint smile) So am I.
Thorne exits into dining room. SCENE 167 AT KITCHEN DOOR - CLOSE SHOT Bob starts to follow. SCENE
168 CHAN - CLOSEUP He shoots a silent, inquiring glance at Bob. SCENE 169 BOB - AT DOOR - CLOSE SHOT
He gives a silent shake of his head and a decidedly warning glance. He exits. SCENE 170 CHAN - AT STOVE
- MEDIUM CLOSE Chan looks after Bob. His eyes narrow slightly. He turns, picks up the coffee pot and exits. SCENE
171 INTERIOR DINING ROOM - AT TABLE - MEDIUM CLOSE
He passes the platter to Thorne.
THORNE: (Dishing up his eggs) I'm driving into Palm Springs
after breakfast to get Madden. You'd better stay here and meet the messenger.
BOB: Good idea.
There is a flicker of relief in Thorne's face, which Chan notes as he pours Bob's coffee. He ambles quietly into the kitchen.
FAST DISSOLVE TO: SCENE 172 EXTERIOR GARAGE - MEDIUM SHOT Thorne is backing the touring car out.
He turns it and drives it out of scene. SCENE 173 REVERSE ANGLE - TOWARD GATE AND ROAD - FULL SHOT As the
car drives out through he gate and turns in the opposite direction from El Dorado, driving away. SCENE 174 INTERIOR
LIVING ROOM - AT FRONT WINDOW - MEDIUM CLOSE Chan, dressed in nicer Chinese costume, with full sleeved blouse, pants,
and sandals, is standing at the window watching the departure of Thorne. Bob is behind him, also watching. He has evidently
been telling Chan about his arrival.
BOB: ---and he looked into my room to see if I was asleep. He drove away right afterward.
CHAN: (Turning to him) And two shots sounded like .45 revolver?
BOB: That's what
Holley thought.
Chan nods thoughtfully.
CHAN: Also interesting that Chinese servant is absent.
He looks around the room with careless scrutiny.
Present location very agreeable place for murder...
His eyes fasten on the gun display out of scene.
...with plenty guns.
He exits from scene, Bob following. SCENE 175 AT GUNS - MEDIUM CLOSE SHOT As Chan enters, Bob following.
Chan inspects the array of guns with interest. INSERT: OF GUN COLLECTION - THEIR ANGLE On a dark wood panel
an amazingly complete collection of guns and revolvers, chiefly of the frontier era, hang on hooks - the rifles on two hooks,
supporting their barrel and trigger-guard, the revolvers on one hook through their trigger-guard. They range from the huge
buffalo gun to a single tiny single shot Derringer. Beneath each gun a small card is held by two tacks, bearing the name
of the model. BACK TO SCENE: Chan takes a revolver and breaks open the cylinder, inspecting it. We see that it
is loaded. He hangs it up and takes a second revolver. It is also loaded.
CHAN: Much fuel tempts men to build fire.
Chan's attention focuses on the lower right-hand corner of the panel which is empty, although not particularly noticeable.
He squats down and scrutinizes the corner through narrow eyes.
CHAN: Observe unusual fact that revolver recently taken from group.
BOB:
(Startled) Where?
Chan indicates the corner. Bob kneels down beside it. INSERT: OF CORNER Chan's hand is in scene, indicating
three holes in the wood...one large and two small ones below, and finger streaks in the fine field of dust, as he speaks.
CHAN'S VOICE: (Off scene) Hook and two tack removed...fingers
making marks in dust collected since servant left.
BACK TO SCENE:
BOB: Might have collected some time ago.
CHAN: (Shaking head)
Highly polished guns indicate frequent cleaning.
Chan comes upright, Bob following.
BOB: (Staring at him) Do you think Thorne could have killed
Madden? This trip to Palm Springs may be a stall until the necklace comes.
CHAN: (Shrugging) Most
convenient method of obtaining same. At breakfast, Thorne is most anxious about time of arrival. (He looks keenly
around the room and starts for the hall) Suggest we investigate owner's bedroom.
SCENE 176 LIVING ROOM - MEDIUM SHOT As the two cross toward the hall, Chan's eyes scrutinize the furniture and walls.
They exit into hall. SCENE 177 INTERIOR HALL - FULL SHOT They hurry along the hall and enter Madden's bedroom.
SCENE 178 INTERIOR MADDEN'S BEDROOM - FULL SHOT Chan scrutinizes the furniture, then studies the walls.
His eyes narrow. He turns to scrutinize a large rectangular painting of a lovely river scene which hangs on the side wall
beyond the foot of the bed. The side of the bed is against the wall.
CHAN: (Mildly) Note that painted river starts moving again
after long time standing still.
Bob is puzzled. Chan indicates the end wall. Bob turns to look. INSERT: OF WALL - THEIR ANGLE We see a large
faint rectangle lighter than the plaster wall around it, where the plaster has been protected by the picture. BACK
TO SCENE: As Chan crosses to the painting. SCENE 179 AT PAINTING - CLOSE SHOT Chan examines the picture
as Bob enters scene. He pulls the picture out, starting to look at its back, then sees something on the wall behind it.
He quickly pulls the picture aside, indicating wall. INSERT: OF WALL WITH PICTURE PULLED AWAY The plaster has
been shattered by a large size bullet hole.
CHAN'S VOICE: One of bullets accounted for.
BACK TO SCENE: Chan replaces the picture and turns, looking around the room. He exits. SCENE 180 BEDROOM
- MEDIUM SHOT Chan crosses, studying floor and furniture in relation to the picture. He looks at the bed - then pulls
it aside, looking at the rug. His face gets grim.
CHAN: Bed also hastily moved to cover crime.
Bob crosses quickly. They look at floor. INSERT: OF FLOOR A large ugly pool has dried on the light colored
carpet.
CHAN'S VOICE: Second bullet reposing in victim.
BACK TO SCENE: Bob is slightly dazed at this actual proof of the crime.
BOB: Then Madden must have been lying in here when Thorne came to the door! No wonder
he didn't want to let us in!
CHAN: (Nodding) Took body away in car last night.
(An ominous note) Suggest patiently waiting for gentleman's return.
As they look at each other, we FAST DISSOLVE TO:
SCENE 181 INTERIOR LIVING
ROOM - DAY - AT CLOCK - CLOSE TRUCK SHOT - An antique clock shows 12:30. I ticks with maddening slowness. THE CAMERA TRUCKS
BACK TO A MEDIUM SHOT. Bob
is pacing up and down, his face grim. He suddenly stops and turns, as he hears an approaching
car slow down, turning in
at the gate. Bob strides toward the front door and exits.
SCENE 182 EXTERIOR
FRONT DOOR - CLOSE SHOT As Bob comes out, he comes to a dazed stop, staring off scene.
SCENE 183 TOWARDS DRIVEWAY
- BOB'S ANGLE Getting out of the car, and striding toward CAMERA, is Madden himself, not only alive, but hale and hearty.
Thorne is lifting two handbags out of the back seat.
SCENE 184 AT BOB - MEDIUM CLOSE PAN SHOT As Madden enters
scene extending his hand cordially.
MADDEN: (His brisk driving self) Crawford?
Bob nods, shaking hands, unable to find words.
MADDEN: I'm sorry I wasn't here to receive you...didn't expect anyone until today. Thorne make you comfortable?
As he speaks the last sentence, he goes on inside, Bob moving with him.
BOB: Yes.
Thorne follows with the grips. SCENE 185 INTERIOR LIVINNG ROOM - MEDIUM SHOT As they enter. Thorne follows
and exits toward the bedroom. SCENE 186 AT MADDEN AND BOB - MEDIUM CLOSE Madden scrutinizes Bob.
MADDEN: (Bluntly) Thorne says you didn't bring the necklace.
Bob hesitates. He is still trying to recover...trying to figure out this surprising turn of events.
BOB: No...it's coming today.
MADDEN: (His eyes narrowly)
Was here any particular object in your coming ahead?
BOB: Well...yes. We can't be too careful on a big deal
like this. Your changing your mind had us worried.
MADDEN: (Snorting angrily) Nonsense!
I told your father twice on the phone I wanted it down here.
BOB: (Slightly resentful...stiffly)
You gave us very definite instructions about New York.
Madden sees Bob's resentment and chuckles.
MADDEN: Well, you don't need to worry any more. It's my responsibility the minute you turn it over.
As Madden speaks, Thorne enters. SCENE 187 TOWARD DINING ROOM - MEDIUM CLOSE Chan comes in from the kitchen
carrying an armful of firewood. He looks off scene and comes to a stop. SCENE 188 LIVING ROOM - HIS ANGLE We
see a side view of Madden's face. SCENE 189 AT CHAN - CLOSE SHOT He shows no surprise except that his eyes
narrow slightly. He exits toward fireplace. SCENE 190 LIVING ROOM - MEDIUM SHOT Chan crosses, paying no
attention to the others. Madden looks at him, then stares at Thorne.
MADDEN: Who's this?
THORNE: (Carelessly) A new cook I got to take Louie's place.
(Turning to Chan, indicating Madden) This is your boss, Ah Kim.
CHAN:
(Bobbing humbly) Glad to see you, Boss.
Madden nods. Chan turns back and piles the wood in the holder. Madden turns tersely to Bob.
MADDEN: Excuse me while I clean up. Come along, Thorne.
The two exit into the hall, Bob and Chan looking after them. SCENE 191 BOB AND CHAN - MEDIUM CLOSE Bob turns
to Chan, helplessly.
BOB: (Speaking quickly in a low voice) He's alive...who
on earth was killed?
CHAN: (Staring thoughtfully toward hall) Answer would be of most importance.
BOB: (Frowning...shrugs) I hate to do it, but it looks like we've got to deliver the pearls.
CHAN: (Firmly) Humbly take upon myself responsibility of refusing to do so.
BOB:
(Surprised) Why?
CHAN: Promise was given Mrs. Jordan to protect necklace until time of safe delivery.
Disturbing facts continue to suggest danger.
BOB: (Staring) What now?
SCENE 192 CHAN - CLOSEUP
CHAN: Both men tell lies. They do not come from Palm Springs.
SCENE 193 BOB - CLOSEUP Bob stares at him, startled, suddenly tense at this news.
BOB: How do you know?
SCENE 194 AT TWO - MEDIUM CLOSE
CHAN: (Shrugging) To said place and back is ninety miles.
Brazenly took liberty of examining car speedometer this morning and now. Amazing instrument shows trip of forty-four miles.
Bob is silent and perturbed. Chan adds quietly:
Suggest Madden hoo-mali-mali until mystery cleared away.
Bob looks over at him evenly, thinking it over.
BOB: Stall him along, eh? (He nods grimly) All right, Charlie...I'm
with you.
CHAN: Thank you so much.
He turns and ambles out of scene. SCENE 195 INTERIOR LIVING ROOM - MEDIUM SHOT Chan exits into dining room.
The doorbell buzzes off scene. Bob turns curiously and crosses to the door. SCENE 196 AT DOOR - MEDIUM CLOSE
As Bob opens it, revealing Paula in a cool smart white outfit. There is a look of grim determination on her face. The
glare changes to a surprised smile.
PAULA: Oh...hello.
As she comes in, Bob chuckles.
BOB: All girded for battle, eh? PAULA: Yes. Is he here?
Bob nods. SCENE 197 LIVING ROOM - TOWARD HALL MEDIUM CLOSE
BOB'S VOICE: (Off scene) I'll ask him to see you.
As he speaks, Madden enters from the hall. A look of surprise and annoyance as he sees the two. He exits toward them.
SCENE 198 AT GROUP - MEDIUM CLOSE Bob introduces the two.
BOB: This is Mr. Madden...Miss Graham.
MADDEN: Oh yes...you wrote me about
using the ranch.
PAULA: Mr. Thorne said you'd changed your mind.
MADDEN: He was right. It'll be impossible.
Paula looks at him coldly with a little resentment.
PAULA: I'm sorry. It means a black mark against me with the company. I promised them
they could have it and they've made all their arrangements, except the date.
MADDEN: (With a slight smile)
You were a little premature, weren't you?
SCENE 199 PAULA - CLOSEUP
PAULA: (Swiftly) I don't know why. I had the word of P.
J. Madden...
SCENE 200 MADDEN - CLOSEUP Madden looks at her with a glint of admiration, as she continues:
PAULA'S VOICE: (Off scene - continuing) ...perhaps I was
foolish in believing the old rumor that it's never been broken.
SCENE 201 AT GROUP - MEDIUM CLOSE Madden looks at her in grim amusement for an instant.
MADDEN: I'm not licked very often, young lady...but you win.
Paula gives him a relieved smile.
PAULA: Thank you.
SCENE 202 LIVING ROOM - AT HALL ENTRANCE As Madden continues, Thorne enters. He gives a frown of acute displeasure
at Madden's words.
MADDEN'S VOICE: (Off scene) I'm leaving Saturday night for
Chicago. You can use the ranch on Sunday.
Thorne, fuming, exits toward the group. SCENE 203 AT GROUP - MEDIUM SHOT - TOWARD DOOR As Thorne approaches
the group, Paula prepares to leave.
PAULA: (To Madden) I'll wire the company right away.
Madden nods. As she turns to the door, she gives Thorne a mockingly sweet smile.
PAULA: How do you do, Mr. Thorne.
Thorne bows stiffly. Paula and Bob exit. SCENE 204 EXTERIOR ENTRANCE - AT TWO - MEDIUM CLOSE TRUCK
SHOT - Holley's Ford is standing in the drive. Paula has driven it out alone. WE TRUCK WITH THEM AS THEY WALK slowly
to the car. Bob looks at her thoughtfully.
BOB: I suppose he tells you you're beautiful.
PAULA: (Surprised)
Who?
Bob gloomily indicates her hand.
BOB: Your fiancee. That ring means you're engaged, I suppose.
SCENE 205 PAULA - CLOSE SHOT Paula glances at the ring, and then looks back at him, her eyes twinkle in amusement.
PAULA: It does look that way, doesn't it?
SCENE 206 AT TWO - CLOSE SHOT Bob grins and shakes his head.
BOB: Don't tell me you're marrying a movie actor?
PAULA: (Laughing)
Of course not. He's really very nice.
Bob nods.
BOB: I imagine I'd dislike him marvelously. What's his name... (Disparagingly)
...Wilbur?
They are at the car. Bob opens the door. Paula frowns at him disapprovingly.
PAULA: Certainly not...it's Jack.
BOB: (Grunting) He's
still Wilbur to me!
SCENE 207 AT CAR - CLOSE SHOT As Paula gets in laughing and sits down, Bob shuts the door and leans on it, looking
at her sadly.
BOB: (Shaking his head) The idea of a girl like you getting
married. Here you are roaming free and happy, around the desert and hills and canyons...and you want to tie yourself down
to a two-room apartment and a gas range.
PAULA: (Amusedly) We might be able to afford a
maid.
BOB: (Shaking his head) It would still be terrible. (With feeling)
Imagine mending Wilbur's socks!
PAULA: I tell you his name is Jack.
BOB: (Quickly)
What of it? He'll be just as hard on the socks.
SCENE 208 PAULA - CLOSEUP She looks at him with mock seriousness.
PAULA: There's something in what you say.
SCENE 209 BOB - CLOSEUP
BOB: (Shaking his head, gloomily) I've only scratched the
surface.
SCENE 210 AT TWO - CLOSE SHOT Paula laughs and shakes her head.
PAULA: You'll have to tell me the rest later. (She starts the car motor)
I've got to get back and send that telegram.
BOB: (Nodding) All right.
(With sudden interest) Is Wilbur bald-headed?
Paula gives him an angry stare and drives abruptly out of scene, and Bob grins after her, as WE FADE OUT. FADE IN:
SCENE 211 KITCHEN - MEDIUM SHOT - NIGHT The kitchen is spic and span. Chan with an apron still around his
waist has just finished work. He is carrying a last stack of dishes across to the cupboard. SCENE 212 AT CUPBOARD
- CLOSE SHOT He sets the dishes into the cupboard with an emphatic disgusted bang, pushes the door shut. He wipes his
sleeve across his hot forehead and gives a sigh of relief.
MADDEN'S VOICE: (Off scene, bellowing furiously) Crawford!
Chan's eyes narrow. He hurriedly exits. SCENE 213 KITCHEN - AT DOOR TO DINING ROOM - MEDIUM CLOSE As Chan
enters, he pushes the door open an inch and listens. SCENE 214 INTERIOR LIVING ROOM - MEDIUM SHOT Madden
is pacing up and down, seething with anger, chewing on a cigar. Bob enters from the hall.
BOB: Yes?
He crosses toward Madden. The latter savagely flings his cigar in the fireplace.
MADDEN: I'm getting fed up with this delay. What's become of that messenger?!
SCENE 215 AT TWO - MEDIUM CLOSE
BOB: I don't know. He ought...
Madden interrupts angrily as he exits from scene, his voice coming back.
MADDEN: (Interrupting) I'm going to call your father and
find out!
Bob is startled and alarmed. He exits out of the scene after Madden. SCENE 216 AT PHONE - MEDIUM CLOSE As
Madden enters.
MADDEN: What's his home number?
Bob enters scene speaking casually, sitting down at the phone and picking up receiver, as he speaks.
BOB: I'll call him for you. (Into phone) Get me San Francisco...Montrose
3531.
FAST PAN DISSOLVE TO: SCENE 217 INTERIOR CRAWFORD LIBRARY - AT CHAIR - MEDIUM CLOSE small section of a richly
furnished room. Crawford in a dressing gown, is reading. The phone is on a small table by the chair. It rings. Crawford
picks it up.
CRAWFORD: Hello?
SCENE 218 AT MADDEN AND BOB - CLOSE SHOT He sits up, startled.
CRAWFORD: Why, he left...
SCENE 220 AT MADDEN AND BOB - CLOSE SHOT Bob speaks quickly, faking startled surprise.
BOB: He didn't?
Madden rages. SCENE 221 CRAWFORD - CLOSE SHOT He stares at the phone, frowning, realizing there is something
wrong. He speaks in a low voice, guardedly.
CRAWFORD: You mean Chan hasn't shown up at all?
SCENE 222 AT BOB AND MADDEN - CLOSE SHOT Bob sees a chance to get over a message to his father. He glances up at
Madden as he replies, emphasizing the first word. It looks as if he is speaking about Madden.
BOB: Yes.....but he's been worried under the circumstances...so have I...
(He appears resentful) Why didn't you let us know he wouldn't get here till Sunday?
He emphasizes the word "Sunday" hoping his father will get the idea. Madden is purple, glaring at Bob.
MADDEN: (Bellowing) Sunday?! (He grabs the
phone) Let me have that phone! (He bellows into it) Look here, Crawford. What do you
mean you haven't started that necklace yet?!
SCENE 223 CRAWFORD - CLOSE SHOT We see that he has gotten Bob's message. He thinks fast, and speaks with mild apology.
CRAWFORD: I'm terribly sorry, Mr. Madden...it was unavoidable. One of the strings broke when it was being cleaned. I'm
having them re-strung on...
SCENE 224 AT MADDEN AND BOB - MEDIUM CLOSE Madden interrupts furiously, almost shouting:
MADDEN: Just a minute, Crawford! Can you understand the English language? Who asked
you to have 'em cleaned...re-strung...keep still! I'll talk! (He does not notice the relief in Bob's face)
I told you I wanted 'em today! At once! I've a good mind to call the whole thing off!
Bob holds his breath. SCENE 225 CRAWFORD - CLOSE SHOT
CRAWFORD: (Gently) I'm sorry. They'll be ready late tomorrow.
The best I can do is deliver them Sunday...if you still want them.
SCENE 226 AT MADDEN AND BOB - MEDIUM CLOSE Madden controls himself with an effort.
MADDEN: Well...I guess I'll have to wait...if you promise to have them here.
(A pause...he nods grimly) All right...but this is the last time I deal with you, my friend!
He slams up the receiver. SCENE 227 CHAN - AT KITCHEN DOOR - MEDIUM SHOT Chan gives a slight smile and nod
of approval and ambles away from the door into the kitchen. SCENE 228 INTERIOR LIVING ROOM - MEDIUM SHOT Bob
gets up from the phone, shrugging.
BOB: Tough luck.
MADDEN: (Grunting angrily...speaking bluntly)
There's no use waiting up any longer. You'll excuse me, Crawford.
He strides out into the hall. Bob looks after him with a faint smile, then turns and starts to pick up a magazine, when he
is suddenly frozen with horror. Into scene comes a terrifying scream and blood curdling call for help.
VOICE: (Screaming - half-choked) HELP! HELP! MURDER! Put
down that gun!
The scream comes from the patio. Bob makes a lunge through the screen doors. The screaming covers his rush, stopping as
he exits. SCENE 229 PATIO - MEDIUM SHOT It is dark, except for soft lights through windows. It contains
comfortable wicker furniture and potted plants. It is empty as Bob bursts out. SCENE 230 AT BOB - CLOSE SHOT
Bob looks searchingly around. The scream comes again almost in his ears.
VOICE: HELP! MURDER!
Bob wheels startedly. SCENE 231 PARROT ON PERCH - BOB'S ANGLE A close shot of a huge vari-colored parrot
sitting on a perch in the shadows. It cocks its head on one side, looking curiously at Bob and says in a normal voice.
PARROT: Hello.
SCENE 232 INTERIOR PATIO - MEDIUM SHOT Madden, Thorne and Chan rush into the patio from different directions, Madden
through the screen door. Thorne is agitated and trembling like a leaf. SCENE 233 AT MADDEN AND BOB - MEDIUM
CLOSE Madden turns to Bob, strangely apologetic and pleasant, anxious to explain.
SCENE 234 CHAN - CLOSE SHOT He is watching the group narrowly.
MADDEN'S VOICE: (Off scene) He goes on a tear like that
every once in a while when he gets excited.
SCENE 235 THORNE - CHAN'S ANGLE - CLOSE SHOT Thorne is still trembling, making an effort to control an unnatural startled
fear. SCENE 236 AT BOB AND MADDEN - MEDIUM CLOSE
BOB: (Seemingly suspicious) He certainly gave me a terrific
jolt.
There seems to be relief in Madden's face. He chuckles congenially.
MADDEN: I can imagine. He's had a pretty scarlet past knocking around sailor's dives. A sea captain gave him to me five
years ago.
SCENE 237 PARROT - CLOSE SHOT The parrot blinks solemnly at the group.
PARROT: Don't crowd gentlemen...one at a time, please.
SCENE 238 AT GROUP - MEDIUM SHOT
MADDEN: (Chuckling) That goes back to his bedroom
days.
He looks at the parrot critically and nods.
MADDEN: He's calmed down now. (Admonishingly) Behave yourself,
Tony.
SCENE 239 PARROT - CLOSE SHOT He blinks and cocks his head, speaking in a very high, coy, female voice.
PARROT: Oh, Hon-ey...not tonight.....please.
SCENE 240 AT GROUP - MEDIUM CLOSE Bob can't restrain a grin.
BOB: He seems to have been everywhere.
Madden chuckles.
MADDEN: I don't doubt it. Good night. (He turns to Thorne tersely)
Come along, Thorne. I'll sign those letters before I turn in.
He goes into the house. Thorne starts to follow reluctantly. SCENE 241 PARROT - CLOSE SHOT
PARROT: (In a sing song voice) Sung kai low hop.
SCENE 242 CHAN - CLOSEUP Chan's eyes gleam with sudden interest, but he is casual as he replies.
CHAN: Gee fung low hop.
SCENE 243 AT GROUP - MEDIUM SHOT Thorne who has come to a stop and whirls about angrily, glaring at Chan.
THORNE: (Angrily) That's enough, Ah Kim! Don't get him excited
again! Leave him alone!
Chan bobs apologetically.
CHAN: Solly, Boss. Funny pallot. Him talk Chinese.
Thorne nods impatiently.
THORNE: (Tersely) Yes, of course. You won't be needed any
more. Go on to bed.
Chan bows humbly and disappears in the direction of the kitchen in the darkness.
THORNE: (To Bob) Good night, Crawford.
BOB: Good
night.
Thorne goes inside. Bob takes another thoughtful glance at the parrot. FADE OUT. FADE IN: SCENE
244 KITCHEN - DAY - MEDIUM SHOT Chan has been washing dishes. As we come to scene, he gathers the frying pans off
the stove and carries them to the sink. SCENE 245 AT SINK - MEDIUM CLOSE Chan enters. He sighs and
starts to wash a frying pan, glancing out the window. He stops, tensely alert, staring. SCENE 246 PATIO - THROUGH
WINDOW - CHAN'S ANGLE We see the patio on the other side of a wall. The parrot's perch projects above the wall. It is
empty. SCENE 247 INTERIOR KITCHEN - MEDIUM SHOT Chan hurriedly crosses to the door and exits. SCENE
248 EXTERIOR REAR OF HOUSE - MEDIUM SHOT As Chan exits and crosses around to the patio. SCENE 249 INTERIOR
PATIO - MEDIUM CLOSE SHOT TOWARD CHAN He enters the patio and comes to a stop, his eyes narrowing. SCENE 250
BASE OF PERCH - CHAN'S ANGLE The parrot is lying limply on the stone flagging, at the foot of the perch, dead.
SCENE 251 AT CHAN - MEDIUM CLOSE PAN SHOT He crosses and kneels down beside the parrot. SCENE 252 AT
PARROT - CLOSE SHOT As Chan kneels feeling the body. He runs his hand over the feathers carefully, looking for a wound.
There is none. Chan looks around, then gets up. SCENE 253 AT PERCH - MEDIUM CLOSE As Chan gets up, he looks
at the perch. He dips his finger in the water cup and tastes it. It seems all right. He takes the food cup out...empties
some of the parrot seed into his hand, poking it with a finger. He sees something. INSERT: OF HAND His finger
pokes the seeds. We see grey powder mixed with the seeds. BACK TO SCENE: He gingerly touches his finger to
his tongue. It has a bitter taste. He spits it out, rubbing his tongue on the back of his hand. He puts the container back,
putting the seeds in it, and brushing off his hand. He hurries toward the dining room doors. SCENE 254 INTERIOR
DINING ROOM - MEDIUM SHOT Madden, Thorne, and Bob are smoking over their breakfast coffee. Chan clatters in excitedly,
watching Thorne's and Madden's faces.
CHAN: (Indicating patio) Poah litta Tony on glound...him
dead.
Madden and Thorne are both astounded. Madden's face blackens. He jumps up with a muttered curse, throws down his napkin
and rushes outside, followed by Thorne. Bob gives Chan a puzzled look as they follow. SCENE 255 INTERIOR PATIO
- AT PERCH - MEDIUM CLOSE Madden stops, staring down at the dead bird with grim sorrow that seems extremely genuine.
He kneels down, stroking the limp form.
MADDEN: (Softly) Gone west...eh, old boy? (He
is silent an instant, then seems to rouse himself) I hate to lose him after all these years.
Thorne nods sympathetically.
THORNE: Louie said he hadn't been well lately. He was getting pretty old, Chief.
MADDEN:
Yes...he lived a long time. (He picks up the parrot and rises, shaking his head) This'll break Louie's
heart.
CHAN: (Holding out his hand) You want me take him, Boss? Me put him in glound.
MADDEN:
No...I'm going to have Tony around here as long as I keep the ranch. (To Thorne) Run me into El
Dorado, Thorne. I'm going to ship him to Los Angeles and have him mounted.
Thorne nods. The two start to turn toward the house, but stop, listening intently. We hear a car coming through the gate,
off scene. SCENE 256 TOWARD GARAGE DRIVEWAY - THEIR ANGLE - LONG SHOT A big sedan drives in and skids to
stop in front of the garage. SCENE 257 AT CAR - MEDIUM CLOSE Gamble, a beady eyed, fussy little man of middle
age, clambers briskly out, waving a greeting.
GAMBLE: Hello, P.J.! Glad to see you.
As he speaks the last words, he starts digging a big suitcase, briefcase and topcoat out of the car. SCENE 258 AT
GROUP - MEDIUM SHOT Bob and Chan are curious about the new arrival. Madden is grimly exasperated. He and Thorne exchange
glances, and Madden shrugs angrily. Gamble breezes in. He always speaks rapidly, not giving others much chance to talk.
GAMBLE: Hello, Thorne. How've you been, P.J. (He notes the bird)
Well, well...the old parrot died, eh? Probably hypertrophic cirrhosis. Too bad. (He looks at Bob)
Who's this?
MADDEN: Mr. Crawford...Professor Gamble the zoologist.
SCENE 259 AT BOB AND GAMBLE - MEDIUM CLOSE As they shake hands.
GAMBLE: Did you ever study the Sauromalus Ater?
BOB: No.
GAMBLE:
(Shaking head) Too bad. It's very interesting.
SCENE 260 AT GROUP - MEDIUM CLOSE Gamble turns back to Madden.
GAMBLE: Nice of you to let me use the ranch.
Madden is unusually angry. He controls himself.
MADDEN: (Testily) I didn't expect you down until after I'd
left. We'll be pretty crowded.
Gamble waves this aside serenely.
GAMBLE: Oh, that won't bother me. I'll be on the desert most of the time.
(He turns to Chan) Here boy, take my things.
Chan takes the topcoat, grip and briefcase, studying the man without appearing to.
THORNE: (To Chan) Put 'em in the guest bedroom.
MADDEN:
(To Gamble) Thorne and I were just starting into town, when...
GAMBLE: (Interrupting)
Splendid...get right in my car and I'll drive you in. We can have a talk on the way.
There is no escaping the man. Madden hesitates...glances helplessly at Thorne.
MADDEN: All right...see you later, Crawford.
Bob enters. They exit. Bob enters the house. SCENE 261 INTERIOR GUEST BEDROOM - MEDIUM SHOT Chan arranges
the grips by the bed and starts toward the closet with the topcoat. Off scene the car drives away. Bob enters.
BOB: Gamble went with 'em. Do you think he's mixed up in this?
CHAN:
(Shrugging) Large sugar bowl draws many flies.
He enters the closet. SCENE 262 INTERIOR CLOSET - CLOSE SHOT Some hunting togs hang on the pole. Chan puts
the topcoat on a hanger. He starts to push the hunting togs aside. He stops, peering closely at the shoulder of the hunting
coat. INSERT: HUNTING COAT We see splotches of dust and cobwebs on top of the shoulder. BACK TO SCENE:
Chan peers up at the top of the closet. INSERT: CLOSET CEILING In the dimness we see a square wood trap
door entrance into attic. BACK TO SCENE: He turns back to the bedroom.
CHAN: (Indicating upward) Suggest investigating recently
used entrance to upper regions.
SCENE 263 INTERIOR BEDROOM - TOWARD CLOSET - MEDIUM CLOSE
BOB: Where?
He hurries to the closet, peering upward. He comes back out and grabs a chair, carrying it in. SCENE 264 INTERIOR
CLOSET - MEDIUM SHOT Bob places the chair and clambers on it, lifting the trap door aside. SCENE 265 INTERIOR
ATTIC - MEDIUM SHOT As the trap door shoves aside and Bob's head appears. The attic is about four feet high, the flatly
sloping roof slanting lower to meet the beams. There is no floor, except the beams and plaster. The attic is dark. Bob
hoists himself through and strikes a match, looking around.
BOB: Don't see a thing. (He suddenly catches sight of something)
Wait...here's something! (The match burns out)
Bob walks across on the beams, lifts a large valise from between two beams, carries it
across and lowers it to Chan, following.
SCENE 266 INTERIOR CLOSET - MEDIUM SHOT As Chan takes the grip into
the bedroom, Bob lowers himself to the chair and follows.
SCENE 267 INTERIOR BEDROOM - TOWARD BED - MEDIUM SHOT
As Chan crosses and sets the grip on the bed, Bob follows him.
SCENE 268 AT GRIP - CLOSE SHOT Chan lifts
out shirts, socks, handkerchiefs, and a toilet case, examining them and laying them aside. He lifts out a folded suit coat,
rapidly searching the pockets, finding nothing. He looks at the label on the inside pocket. His eyes narrow. He shows
the label to Bob.
INSERT: OF LABEL In print:
"Louis & Barnes, Inc. 47th & Broadway, New York, N.Y."
On the name line is written in ink:
"JERRY DELANEY"
BACK TO SCENE: Bob stares grimly at Chan.
BOB: The man Thorne murdered?
Chan shrugs and goes on hunting. He feels in the inside coat pocket and brings out a stub of a railroad ticket.
CHAN: (Reading) Chicago to Palm Springs... (He
turns the ticket over) ...purchased February 8th.
BOB: (Staring excitedly) That
would get him to Palm springs the 11th...Wednesday...the night before I got here.
Chan nods thoughtfully. He takes out a folded vest and searches the pockets. In the right hand lower one, he finds a rather
old fashioned watch. He suddenly starts examining the watch pocket itself, turning it inside out. It is chamois lined.
CHAN: Note chamois lined watch pocket.
BOB: (Surprised)
What about it?
CHAN: Specially constructed right side of vest.
SCENE 269 BOB - CLOSE SHOT Bob instinctively feels in his right hand pocket.
BOB: Well, that's correct... (Surprised) ...no it isn't.
You usually carry your watch on the left.
SCENE 270 CHAN - CLOSE SHOT
CHAN: (Nodding) Because easier to reach with coat buttoned.
Murdered man was left-handed.
SCENE 271 AT TWO - MEDIUM CLOSE
BOB: (Helplessly) But where does he fit in?... Why would
Thorne kill him?
CHAN: Had hoped to learn same from late parrot.
BOB: (Nodding) Tony
must have heard everything.
CHAN: For which he received sad reward of being poisoned.
BOB: (Startled)
Poisoned?
CHAN: (Nodding) With arsenic. Only remaining witness is bearded man you
saw running past garage night you arrived.
BOB: (Grunting hopelessly) No chance of finding
him. It'd be like hunting for a needle in a haystack.
CHAN: Only requires careful inspection of hay.
He reaches under his blouse and pulls from a pocket an old battered top of a canteen bottle.
Person in question runs on to desert where pack donkey is waiting...loses top to canteen bottle in darkness. BOB:
That doesn't tell much who he is. CHAN: Man who sits by side of road sees world pass by. Will ask storekeeper
in El Dorado.
FADE OUT. FADE IN: SCENE 272 MOUNTAIN TRAIL - MEDIUM SHOT - DAY Chan puffs up the last few steps
of a steep trail and reaches level ground. He gives a sigh of relief, mops his forehead and looks around with interest.
SCENE 273 EXTERIOR SHACK - MEDIUM SHOT - CHAN'S ANGLE A small one-room shack built of odds and ends of wood and
tin. It is deserted. A burro is tethered nearby. SCENE 274 AT CHAN - MEDIUM CLOSE He exits from scene toward
shack. SCENE 275 FRONT OF SHACK - MEDIUM CLOSE As Chan enters. A prospector's outfit, including a shovel
and pick, is parked on a bench outside the door. Lying beside it is an old canteen with shiny new top. Chan examines it.
SCENE 276 TOWARD HILLSIDE - MEDIUM SHOT Hewitt, the man we have seen at Madden's, comes striding down the
hillside, lighting a pipe. He comes to a startled stop in foreground, glaring suspiciously off scene, then strides on.
SCENE 277 EXTERIOR SHACK - MEDIUM SHOT Hewitt strides past the end of it.
HEWITT: (In gruff suspicion) What're you doin' here?
Chan turns, putting down the bottle, dropping the role of Ah Kim.
CHAN: Humbly request important information.
HEWITT: (More on
guard than ever) What about?
CHAN: Wish to learn what took place at Madden ranch Thursday night.
SCENE 278 HEWITT - CLOSE SHOT His face becomes mask-like and grim.
HEWITT: How should I know? I ain't been around there for a month.
SCENE 279 AT TWO - MEDIUM CLOSE Chan shakes his head and takes the old canteen top from his pocket.
CHAN: Found top to your canteen near garage.
HEWITT: (Staring
at Chan) I lost that a long time ago when I was down seein' Louie.
CHAN: (Indicating bottle)
And yet only bought new top yesterday at El Dorado store.
HEWITT: (Angrily) Look
here...I don't know what you're drivin' at...but I don't know nothin' about Madden, see?
CHAN: (Suddenly...loudly)
Help! Murder! Put down that gun!
Hewitt jumps startedly, dropping his pipe. He picks it up. Chan smiles and shakes his head.
Humbly suggest that you tell truth. Will save most troublesome interview with police.
HEWITT: (Staring at him) You mean I won't get dragged into it?
CHAN: Most correct.
Only desire is to solve mystery.
SCENE 280 HEWITT - CLOSE SHOT He stares an instant and seems satisfied that Chan is honest.
HEWITT: All right...I'll tell yuh. Louie's an old friend of mine, and I stopped by to see him. I heard someone yell for
help in Madden's bedroom and then there was two shots.
SCENE 281 AT TWO - MEDIUM CLOSE
CHAN: Where were you at time? HEWITT: Outside the patio. I sneaked across and looked in the window. A man was
lyin' in there on the floor. CHAN: You saw who he was? HEWITT: No...he'd fallen halfway behind the bed.
CHAN: What kind of gun did Thorne shoot with?
SCENE 282 HEWITT - CLOSEUP He stares at Chan in surprise, blurting his words.
HEWITT: Thorne didn't kill the guy...the big boss himself did it! Madden!
SCENE 283 CHAN - CLOSEUP Chan stares out of scene, suddenly tense at this astounding news. His eyes are narrow.
CHAN: Madden?!...He was there?!
HEWITT'S VOICE: (Off
scene) Sure. He was standin' there with a smokin' .45 in his hand, glarin' down at the guy on the floor.
SCENE 284 AT TWO - MEDIUM CLOSE
Thorne was way over on one side of the room.
CHAN: (Quietly)
Thank you so much.
FADE OUT. FADE IN: SCENE 285 STATION - TELEGRAPH WINDOW - NIGHT - MEDIUM CLOSE Bob is at the window.
The operator finishes counting words and writes number.
OPERATOR: Eighty-four cents.
Bob pays him. The operator verifies the address.
OPERATOR: (Reading) Alexander...is that Crawford?
BOB:
Yes.
The operator nods. Paula enters with a written telegraph form.
PAULA: Hello there.
BOB: (A mock frown) Following
me again?
Paula laughs and turns to operator.
PAULA: Will you send this right away?
She hands him the money with it.
BOB: Wiring good-night to Wilbur? PAULA: No. BOB: Do you think he'd mind if I drove you back to the
hotel?
As he speaks they start to exit.
PAULA: (Laughing) Why it's only four doors down the street!
FAST PAN DISOLVE TO: SCENE 286 STREET - AT CURB - MEDIUM CLOSE The car stops. Bob shuts off the motor.
BOB: A swell ride.
Paula laughs. They get out. SCENE 287 EXTERIOR HOTEL - MEDIUM CLOSE They walk up onto the deserted hotel
veranda. Off scene we hear the distant whistle of the approaching night train. SCENE 288 VERANDA - AT DOOR -
MEDIUM CLOSE They come to a stop. Bob looks at Paula.
BOB: (Thoughtfully) You know, I may as well confess something.
PAULA: What?
BOB: (Shaking head) If you weren't engaged to Wilbur, I honestly think
I'd find myself falling in love.
PAULA: (Her eyes twinkling) That would be awful, wouldn't
it?
BOB: (Nodding...with feeling) Good old Wilbur...he's saved my freedom. (With
sudden eagerness) Will you be at the ranch tomorrow with the movie company?
PAULA: (A laughing
nod) Yes...but I promise not to bother you. (Adding softly) Good-night...Bob.
She enters. The door closes. Bob stands looking at it. He turns out of scene. SCENE 289 AT STEPS AND SIDEWALK
- MEDIUM CLOSE As Bob comes down the steps, he suddenly stops, staring toward the road in surprise. SCENE 290
ROAD - BOB'S ANGLE - PAN SHOT Gamble is driving past in his sedan. WE PAN WITH THE CAR. It stops beside the railroad
station...about two hundred feet away. The train, off scene, is approaching. SCENE 291 BOB - MEDIUM CLOSE SHOT
Bob watches in alert suspicion and moves slowly down the sidewalk in the shadows, watching off scene. SCENE 292
STATION PLATFORM - MEDIUM SHOT As the train pulls in, Gamble crosses from his car to the platform. Maydorf gets off
the train. He is dressed much the same as in San Francisco. Gamble greets him. SCENE 293 BOB - CLOSE SHOT He
shows startled surprise at the sight of Maydorf. His face gets grim and his eyes narrow as he watches. SCENE 294
STATION PLATFORM - MEDIUM SHOT A quaint little old Chinaman gets off, one car down, carrying a carpet bag, and walks
across the platform. It is Louie Wong, dressed in an amusing, ill-fitting civilian suit. Gamble and Maydorf give a brief
glance at him as they say a few words, then cross quickly to Gamble's car and get in. SCENE 295 AT BOB AND STREET
- MEDIUM SHOT Bob watches the car start swiftly in the direction of the Madden ranch. Bob walks back to his car.
SCENE 296 AT CAR - MEDIUM CLOSE SHOT As Bob climbs into the car, Louie Wong enters scene. He recognizes the car.
His face lights eagerly and he hurries to it. SCENE 297 AT CAR - CLOSE SHOT Bob turns in surprise as he
comes up to it. He speaks rapidly. His face beams with friendliness.
WONG: You dlive boss' auto. Mebbe go to lanch now? Me Louie Wong. Mebbe takum me along, please?
Bob's face lights with alert interest as he realizes Louie's identity.
BOB: Sure...get right in.
Louie bobs gratefully, getting in the back seat.
WONG: Thank you velly much.
Bob starts the motor and drives out of scene. SCENE 298 ROAD - MEDIUM SHOT As the car heads quickly away
toward the ranch. DISSOLVE TO: SCENE 299 RANCH GATE - MEDIUM SHOT - NIGHT As Bob drives up to it
and comes to a stop. The gate is closed. SCENE 300 AT CAR - CLOSE SHOT Bob looks at the closed gate in puzzled
surprise. Louie quickly opens the back seat door.
WONG: Me open.
He exits toward gate. SCENE 301 AT GATE - FROM OPPOSITE SIDE - CLOSE SHOT Louie enters and reaches over the
gate for the latch. We see that it is wedged with a small stick. Louie has a little difficulty getting it out. SCENE
302 AT GATE - MEDIUM SHOT As Louie swings the gate open and stands aside, Bob drives through and as the headlights
go past, Louie and the gate are left in darkness. SCENE 303 AT GARAGE - MEDIUM SHOT Bob drives the car in,
turns off the motor and lights and gets out. As he comes out of the garage, Chan comes from the direction of the house, carrying
a flashlight. SCENE 304 EXTERIOR GARAGE DOOR - AT TWO - MEDIUM CLOSE As Bob steps out of the doorway, he
and Chan meet.
BOB: Hello, Ah Kim. I brought home a playmate for you... (He nods significantly
toward gate) ...Louie Wong.
Chan's eyes show a gleam of interest. He turns toward the gate. Bob also turns. SCENE 305 DRIVEWAY - TOWARD
GATE - THEIR ANGLE - MEDIUM SHOT The driveway is empty. In the distance we see dimly that the gate is half closed. Louie
Wong seems to have disappeared. SCENE 306 AT CHAN AND BOB - MEDIUM CLOSE Bob shows puzzled surprise.
BOB: (Calling) Louie?
SCENE 307 DRIVEWAY - MEDIUM PAN SHOT As the two hurry back to the gate, WE PAN WITH THEM. As the gate PANS INTO
SCENE, they are startled to see Louie's body lies crumpled on the ground between the gates. Chan turns on the flashlight,
swinging it swiftly around at the cactus and shrubbery in the vicinity. No one is in sight. He kneels quickly down, Bob
following.
SCENE 308 AT LOUIE - CLOSE SHOT As the two kneel beside him, Louie is dead. The flashlight reveals a gash in his
vest over his heart, a spreading stain on the cloth.
CHAN: (Grimly) Dead...like Tony.
BOB: (Stunned
and horrified) But it seems impossible! It's only been a minute! Why would anyone kill him?
CHAN:
(In a low voice) Murdered in great haste. Implies something wrong here which old servant would recognize.
Bob starts to reply, but stops, listening. Rapidly approaching footsteps are heard off scene. SCENE 309 AT TWO
- MEDIUM CLOSE As they get up tensely. Thorne comes hurrying out of the darkness staring suspiciously.
THORNE: What's all this? I heard you drive...
He breaks off, catching sight of the body. Chan turns on his flashlight on Louie, watching Thorne's face. Thorne's startledness
seems amazingly genuine.
THORNE: Why...it's Louie! What's happened to him?
As he speaks, he kneels quickly beside Louie's body and stares at him an instant. He looks up in searching alarm.
THORNE: Who killed him?
BOB: (Tersely) I don't know.
I drove in and left him at the...
As he speaks, Thorne jumps to his feet and rushes off scene toward the house, calling:
THORNE: (Off scene) Chief!
SCENE 310 AT BOB AND CHAN - CLOSE SHOT Chan and Bob stare after Thorne.
BOB: (Grimly) Do you think he did it?
CHAN: Equal
chance that Madden guilty.
(Bob stares at him in surprise)
Prospector narrates amazing fact that Madden committed shooting in bedroom.
BOB:
(Completely at sea) Madden killed Delaney?
CHAN: (Nodding) With
Thorne present in room.
SCENE 311 TOWARD HOUSE - MEDIUM SHOT Madden, in a dressing gown, comes racing out, Thorne following. Madden is seething
with suppressed fury. SCENE 312 AT CHAN AND BOB - MEDIUM CLOSE As Madden enters, raging, he snatches the
flashlight from Chan and flashes it on Louie's body. He suddenly whirls, shining the light directly in Thorne's face, looking
as is he'd like to kill Thorne.
MADDEN: (Snarling) Fine business...this!
Thorne trembles with rage.
THORNE: (Snarling back) Well, what are you staring at me
for?
Bob and Chan watch this unexpected fight narrowly. They are forgotten for the moment.
MADDEN: (Bellowing) I'll stare at you if I wish...though
I'm sick of the sight of your silly face...
THORNE: I won't take that from you or...
Madden pays no attention, continuing to rage.
MADDEN: This place is turning into a madhouse...Tony dead...Louie murdered...movie
outfit coming tomorrow...and now the police'll be messing up the place... (He controls himself with an effort
and snarls) Go on and call'em! We might as well get it over with now.
Thorne turns on his heel and hurries into the house. Madden whirls to Chan.
MADDEN: Bring him into the house!
He strides off into the darkness towards house, carrying the flashlight. SCENE 313 AT BOB AND CHAN - CLOSE SHOT
Chan stares after him, his eyes narrow.
CHAN: Man's soul is lost who does not grieve the death of faithful servant.
DISSOLVE TO: SCENE 314 LIVING ROOM - MEDIUM SHOT - NIGHT Louie's body lies on a davenport. A small town
coroner is examining it. Constable Brackett, a burly, blustering small town official is questioning the four men. He is
speaking respectfully to Madden as we come to scene.
BRACKETT: ...and you were both in the house when it happened?
MADDEN: Yes...I
can account for Thorne.
BRACKETT: (Turning to Bob) And you're sure you didn't see anyone
by the gate when you drove in?
Bob nods. Brackett turns and crosses toward Chan, glaring at him belligerently. SCENE 315 AT BRACKETT AND CHAN
- MEDIUM CLOSE
BRACKETT: You're the new cook here, eh?
CHAN: (Nodding meekly)
Thas light, boss.
BRACKETT: Where'd you work before this?
CHAN: (Mildly) All
places, boss. Bid town, litta town.
BRACKETT: (Bellowing angrily) I mean...where'd you work
last?
CHAN: (Serenely) Lailload, boss. Santa Fe Lailload. Lay sticks on glound.
BRACKETT:
(His eyes narrow) Had to work hard, eh?
CHAN: Thas light.
Brackett triumphantly thumps his finger on Chan's chest, moving him backward.
BRACKETT: So when you got an easy job here, you wanted to hang on to it? When Louie came back, you knew you'd lose it,
so you killed him!
SCENE 316 AT GROUP - MEDIUM SHOT
BOB: (Angrily) That's nonsense! I told you he was at the
garage!
Brackett turns pompously to him.
BRACKETT: You don't know these Chinese guys. They think nothin' of sneakin' around
and stickin' knives in each other. (Turning to Chan) How'd you get into this country?
CHAN:
(Blandly) Melican citizen. Boahn San Flancisco.
BRACKETT: (Sneering) Is
that so? Let's see your chock-gee.
SCENE 317 AT BOB, CHAN, BRACKETT - MEDIUM CLOSE Bob is completely dismayed. Chan stalls for time.
CHAN: What you say, boss?
BRACKETT: (Bellowing triumphantly)
I thought so! You know what I said! Your chock-gee...the certificate that shows you're a citizen. Come on!
CHAN:
(Understanding) Oh, boss, ce'tiflicate...all light, boss.
He pulls a worn piece of paper from his sleeve and hands it to Brackett. Bob shows amazement. Brackett inspects it in complete
discomforture. He hands it back uncertainly.
BRACKETT: Well...you stay around here, see! Inspector Bliss'll be out tomorrow and
he'll want to talk to you! Don't try to run away, understand?
CHAN: (Nodding) I stay.
He walks away. SCENE 318 AT GROUP - MEDIUM SHOT As Chan heads towards dining room, Brackett turns away.
Chan turns back, adding:
CHAN: You think I lun away easy job? (He snorts) Clazy cop!
Brackett does a startled double take back at him as Chan exits to dining room and we
FADE
OUT.
FADE IN:
SCENE 319 MADDEN PATIO - FULL SHOT - DAY The whole place is bustling with life. The
movie company is in full swing, a mass of equipment and people. They are preparing to shoot a musical comedy dance number.
An orchestra is at one side. Sixteen lovely girls are around the place in scant tight-fitting chorus outfits.
SCENE 320 TWO CHORUS GIRLS - NEAR ENTRANCE TO
LIVING ROOM - MEDIUM CLOSE They look interestedly toward living room.
FIRST CHORUS GIRL: I wish Gold-Dust would stick his head out. I'd like to see what
a multi-millionaire looks like.
SECOND CHORUS GIRL: I couldn't stand it.
VOICE: (Off scene...calling)
Come on, girls...places!
The girls reluctantly leave. SCENE 321 PATIO - MEDIUM SHOT The bustle increases as the girls assemble.
SCENE 322 AT CHAN - CLOSE SHOT He is standing at one side watching the amazing scene with intense interest.
People bustle back and forth past him. SCENE 323 AT BOB AND PAULA - MEDIUM CLOSE SHOT They are standing
near Chan, the bustling going on around them. Bob is watching interestedly.
BOB: (Grinning) It can't be true.
Paula looks at him and laughs. The director crosses to him. He is the man who was with Paula in Los Angeles...a pleasant
chap. He nods to Bob as if they had met earlier.
DIRECTOR: (To Paula) Someone said there's an abandoned mine
on the other side of El Dorado. It might be okay for the next picture. Will you run up and take a look at it?
PAULA:
Right after lunch.
DIRECTOR: Swell. Let me know before I leave tonight.
PAULA: I'll be back about three.
He nods and exits toward cameras. SCENE 324 IN FRONT OF CAMERA - TOWARD CHORUS - MEDIUM SHOT The set-up is
ready. The leading man and girl are taking places in front of the camera. The director enters and addresses the man.
DIRECTOR: Now, for John's sake, Rannie, this time smile at her...you're supposed to be in love with the girl. Come on now.
Let's get a good one.
Rannie grins and nods. SCENE 325 BOB AND PAULA - CLOSE SHOT Bob nods off scene toward Rannie.
BOB: Is Wilbur like Rannie?
PAULA: (Amused) No...He's
really wonderful.
BOB: (Groaning) And you'll be back in Los Angeles with him in a couple
of days. (He brightens) Maybe something's happened to him.
PAULA: (Shaking
head) I don't think so.
BOB: (Hopefully) Is he careful crossing the street?
Before Paula can reply a whistle blows shrilly.
VOICE: (Off scene) Quiet, please.
Paula nods silently. Bob makes a grimace.
SCENES 326 to 335 (Inclusive) PRODUCTION
NUMBER The romantic number starts with the chorus girls strolling in background of number. We see the mechanics of shooting,
with sound man and cameras in scene and calls of "Roll 'em" and "Speed" etc. (The following scenes intercut with the progress of the number.)
SCENE 336 CHAN - CLOSE SHOT Chan watches the scene with
absorbed interest.
SCENE 337 BOB AND PAULA - CLOSE SHOT The two are engrossed in the musical love scene -
SCENE 338 PATIO - EXTERIOR ENTRANCE TO LIVING ROOM - MEDIUM CLOSE Madden comes outside, looking interestedly
at the scene, and strolls off scene toward Chan.
SCENE 339 AT TWO CHORUS GIRLS - CLOSE SHOT At same girls,
as they walk together in the scene. The second one sees Madden off scene and nudges the first, whispering an aside -
SECOND CHORUS GIRL: There's your millionaire, Peggy...don't fall over backwards.
Peggy looks off scene.
SCENE 340 TOWARD BOB AND CHAN - MEDIUM SHOT Bob
and Paula are standing about ten feet from Chan. Madden strolls in and stops near Chan, watching. The production number ends
and the director motions for a closer set-up. The bustle starts.
SCENE 341 AT BOB AND PAULA - MEDIUM CLOSE
PAULA: Excuse me a minute. BOB: Sure.
Paula exits toward cameras. SCENE 342 NEAR SOUND WAGON - MEDIUM CLOSE Two men of the crew are standing talking
together. Near them is Eddie Boston, a stocky, small hard-faced man. He is lighting a cigarette.
FIRST PROP MAN: (Looking off scene) Say...isn't that Madden?
SECOND PROP MAN: Yeah.
At mention of Madden, Boston turns alertly, staring off scene. SCENE 343 MADDEN - BOSTON'S ANGLE - MEDIUM SHOT
Madden is watching the preparation. SCENE 344 BOSTON - CLOSE SHOT His eyes narrow. A faint sardonic
smile comes over his thin lips. He exits. SCENE 345 AT MADDEN - MEDIUM CLOSE Chan and Bob are in background.
Boston walks up to Madden familiarly and extends his hand. Bob and Chan notice the greeting.
BOSTON: Hello, Mr. Madden.
Madden turns on him, stiffening an instant as if resenting being approached, and then shows puzzlement as if not recognizing
him.
MADDEN: (Coldly) I'm sorry...I don't...
BOSTON:
(Sardonically) Don't remember me, eh? (His eyes bore into Madden's) I'm a friend
of Jerry Delaney's. You'd remember him, wouldn't you?
Madden shows no sign of surprise. SCENE 346 AT CHAN AND BOB - CLOSE SHOT A flash of the two, showing them
suddenly alert at the words. SCENE 347 AT MADDEN AND BOSTON - MEDIUM CLOSE
MADDEN: (Calmly) Yes...I remember him. Why?
BOSTON:
I saw him this morning. He sent you his best regards.
Madden shows no flicker of interest.
MADDEN: (Calmly) Oh...did he? Come into the house...I'd
like to hear all about it.
Boston nods with a faint smile, and the two exit toward house. SCENE 348 AT BOB AND CHAN - MEDIUM SHOT Chan
is looking thoughtfully toward the house. Bob, completely overcome by amazement, edges over to Chan. SCENE 349
AT TWO - CLOSE SHOT
BOB: (Tensely) Did you hear what he said?! Delaney's alive!
CHAN: Most upsetting discovery...like bumble bee in honorable trousers.
BOB: (Helplessly)
But who was killed in the bedroom? This leaves us completely lost in the fog.
CHAN: (Smiling
faintly) On contrary, inscrutable fates reveal steps toward true solution.
He exits from scene. SCENE 350 AT BOB - MEDIUM SHOT As Chan ambles away toward the kitchen, Bob looks after
him in puzzled surprise. Then he looks around and crosses to Paula, near the cameras. SCENE 351 AT TWO MEDIUM
CLOSE
BOB: Who was that chap who went inside with Madden? PAULA: Eddie Boston...he's one of the assistants. BOB:
You know anything about him? PAULA: Not very much. I heard he used to be a gambler in New York.
SCENE 352 PATIO - TOWARD LIVING ROOM - MEDIUM CLOSE Madden strides out, agitated and angry. He looks around...spots
Bob.
SCENE 353 BOB AND PAULA - MEDIUM CLOSE They turn, surprised. Bob glances at her and exits. SCENE 354 PATIO
- MEDIUM CLOSE As Bob enters, Madden approaching. They are alone. Madden is strangely furious and anxious.
MADDEN: Why isn't that necklace here? When's it coming?
BOB: (At
a loss) Why...I don't know... Sometime today.
MADDEN: Well...it better! I've got reservations on tonight's
train and I'm not going to miss it! If the pearls aren't here by eight o'clock, the deal's off!
He turns and storms back into the house. Bob stares after him in puzzled worry. He turns to exit and stops short in surprise.
SCENE 355 DRIVEWAY - BOB'S ANGLE - PAN SHOT Boston is hurrying around from the front of the house, his face
expressionless, heading for the company cars. SCENE 356 BOB - MEDIUM CLOSE With a determined look, he strides
out of the scene toward cars. SCENE 357 DRIVEWAY - AT STUDIO CAR - MEDIUM CLOSE Two or three studio cars
in the driveway. Huge trucks are parked by the garage and out in the road. The driver is lounging behind the wheel. Boston
enters and opens the front door.
BOSTON: (Tersely) Run me into town, Dan.
As he starts to get in, Bob enters.
BOB: Mr. Boston?
Boston turns and stares at Bob.
BOSTON: Yes?
BOB: (Pleasantly casual) I wanted to
ask you about a friend of mine. I heard you mention Jerry Delaney.
BOSTON: Boston's eyes bore into him an instant.
BOSTON: (Shortly) I never heard the name in my life.
He gets into car and slams door. The car exits. Bob looks after it, defeated, as we FADE OUT. FADE
IN: SCENE 358 EXTERIOR HOLLEY'S GARAGE - MEDIUM SHOT - NIGHT Madden's car races into scene and skids
to a violent stop in front of garage. SCENE 359 AT CAR - MEDIUM CLOSE SHOT Bob is at the wheel, decidedly
worried. He slides across, starting to get out, as Holley comes curiously out of the garage.
BOB: Have you seen Miss Graham? HOLLEY: Not since she took my car this morning. BOB: She went up to
the abandoned mine. She hasn't come back! Nobody's seen her. Will you show me the way up there? HOLLEY: Sure.
He climbs in quickly. The car dashes out. SCENE 360 ROAD - FULL SHOT As the car races away into the
darkness. FAST DISSOLVE TO: SCENE 361 PETTICOAT MINE - FULL SHOT - NIGHT A deserted mine;
three or four buildings falling to ruins. All are in darkness. Bob's car races into scene and slows down, bumping through
chuck holes in the street. SCENE 362 INTERIOR CAR - AT TWO - CLOSE SHOT The two are looking out opposite
sides of the car, searching street. SCENE 363 STREET - MEDIUM SHOT As the car jounces slowly through.
SCENE 364 INTERIOR CAR - AT TWO - MEDIUM SHOT Holley suddenly points off scene.
HOLLEY: There's the car.
Bob jams on the brakes, looking. SCENE 365 AT CAR - MEDIUM PAN SHOT They pile out and run between the buildings.
SCENE 366 REAR OF BUILDING - AT CAR - MEDIUM CLOSE As they run in, looking into the car, quickly examining
it. Bob straightens and looks around.
His face lights as he hears her voice.
PAULA'S VOICE: (Off scene from distance) Bob?!
SCENE 367 BUILDING - REAR DOOR - MEDIUM CLOSE The door is open, hanging on one hinge. As the voice comes into scene,
a shadowy figure appears in doorway, a heavy automatic in his hand. It is Maydorf. He exits softly toward them.
BOB'S VOICE: (Off scene) Where are you?
PAULA'S
VOICE: (From a distance) The stone building...I'm locked in.
SCENE 368 AT BOB AND HOLLEY - MEDIUM SHOT As Bob starts, Maydorf steps in behind him.
MAYDORF: (Steely) Shove 'em up!
Bob and Holley whirl around. As they see the gun they raise their arms. Maydorf recognizes Bob.
(Ominously) Oh...it's you, eh? You shouldn't come sticking your nose into
other people's business. Get in there!
He herds them out of scene, Bob looking for a chance to jump him. SCENE 369 AT BUILDING DOOR - MEDIUM CLOSE
As the three converge at the door, Holley entering first. Bob takes a chance. He swings a vicious short arm jab to
Maydorf's chin, connecting, at the same instant grabbing the latter's gun hand. They reel against the wall, the gun exploding
twice, both men struggling with their free hand...a short, savage fight.
BOB: (Grimly, as they slug) I've been... (Maydorf's
fist slugs his face) ...longing to meet you again!
Bob jabs Maydorf's gun arm across the door jamb, nearly breaking it. The gun falls from his limp hand. Maydorf's fist connects
with Bob's face. Holley dives for the gun. Bob breaks free, swinging a vicious punch that knocks Maydorf cold. He collapses
limply to the ground.
HOLLEY: (Nodding approvingly) Purty good fight.
Bob ransacks Maydorf's pockets and finds the keys, racing out of scene. As he does so, Maydorf comes to and glares dazedly
up. Holley, holding the gun on him, gives a contemptuous snort.
HOLLEY: You ain't so tough!
SCENE 370 AT JAIL DOOR - MEDIUM CLOSE Bob is just getting the padlock off and thrusts the door open. Paula rushes
out. In mutual relief they instantly go into each other's arms.
PAULA: I was afraid you'd been shot.
BOB: (Shaking head...anxiously)
You're all right?
Paula nods. He kisses her...impulsively. Then he releases her.
BOB: (Apologetically) I'm sorry...I've been worried about
you.
Paula smiles understandingly.
PAULA: I know. (She notices the keys) Bob, he's got someone
else locked up on the other side.
Bob looks at her in surprise and the two hurriedly exit. SCENE 371 SECOND DOOR - MEDIUM CLOSE They hurry
in. Bob unlocks the door and thrusts it back. The two peer into the darkness.
BOB: Hello?...Hello...
There is no answer. They suddenly catch sight of something and stare in astounded amazement as we FAST DISSOLVE
TO: SCENE 372 INTERIOR MADDEN LIVING ROOM - NIGHT - MEDIUM SHOT Madden is pacing up and down. Thorne and
Gamble are sitting in chairs, staring at him. SCENE 373 EXTERIOR ENTRANCE - MEDIUM PAN SHOT Victor Jordan
is getting out of a hired car and strides to the door. He looks irritated and impatient. SCENE 374 INTERIOR
LIVING ROOM - MEDIUM SHOT The buzzer sounds off scene. Madden turns, staring at the door. Thorne and gamble sit up...hawk-like
and eager. Madden sees their expression and glowers at them as he crosses to the door - SCENE 375 AT DOOR -
MEDIUM CLOSE Madden opens it.
VICTOR: Mr. Madden?
Madden nods. Victor shows fawning respect.
I'm Victor Jordan.
MADDEN: (Eagerly shaking hands) Oh
yes...how do you do.
He closes the door behind Victor and turns to him. SCENE 376 ROOM - MEDIUM SHOT
MADDEN: (Introducing Victor) Professor Gamble...Mr. Thorne.
VICTOR: (Shaking hands) How are you?
MADDEN: You've brought the necklace?
VICTOR:
(Staring in surprise) Why...of course not!
The three men stare at him. Before he can say any more, Madden grates out, his face black with fury:
MADDEN: Are you trying to stall me again?
VICTOR: (Nervously
apologetic) No, Mr. Madden. I just heard about this stalling...that's why I hurried down here. Crawford should
have given it to you Thursday.
SCENE 377 MADDEN - CLOSEUP He controls his fury with difficulty.
MADDEN: Do you mean he's had it here all the time?
SCENE 378 AT GROUP - MEDIUM SHOT
VICTOR: (Anxiously explaining) No...Charlie Chan has it...the
Chinaman that brought it from Hawaii.
Thorne and Gamble are startled. Madden's eyes narrow dangerously.
MADDEN: Chinaman, eh?
Victor looks at the men bewildered.
VICTOR: Why, yes...he's here, isn't he?
MADDEN: (With ominous
calm) Excuse me a minute.
He strides toward the kitchen. SCENE 379 INTERIOR KITCHEN - MEDIUM SHOT Chan is sweeping the kitchen floor.
Madden enters.
MADDEN: (Grimly) I want to have a little talk with you.
CHAN: (Surprised) Suah...wha's a matta, boss?
MADDEN: (Evenly)
Where did you work before you came here?
CHAN: (Smiling congenially) Get'um woik
all places, boss. Maybe lay sticks on gloun' fo' lailload.
MADDEN: You're a liar.
Chan's eye's narrow slightly but he continues calmly.
CHAN: Wha's matta, boss?
MADDEN: (Ominously) I'll
show you what's the matter. Come in here!
Chan, playing the bewildered Chinaman to perfection, exits toward living room, Madden following. SCENE 380 INTERIOR
LIVING ROOM - MEDIUM SHOT Chan enters from dining room, followed by Madden. He stops short at sight of Victor. SCENE
381 CHAN - CLOSEUP A flicker of surprise and resentment comes into his eyes. SCENE 382 VICTOR - CLOSE
SHOT He stares in amazement at Chan.
VICTOR: Have you gone crazy, Charlie? What've you got that outfit on for?
SCENE 383 AT MADDEN AND CHAN - MEDIUM SHOT
MADDEN: (Grimly) You've got Jordan's necklace...hand it
over!
Chan's eyes narrow, his mind working swiftly. He stares at Victor and turns to Madden, dropping his dialect.
CHAN: (Calmly) Mr. Jordan juggles truth...pearls are property
of his mother. Humbly refuse to deliver them.
SCENE 384 GROUP - MEDIUM SHOT
VICTOR: (Snarling) Oh yes you will! I had her write out
an order telling you to.
He takes out a folded piece of paper and gives it to Chan.
SCENE
385 AT CHAN - CLOSE SHOT He reads the note, a look of helpless resignation on his face.
SCENE 386 AT GROUP - MEDIUM SHOT He hands the note back, reaches under his blouse
and unhooks the money belt, taking out the velvet bundle and handing it to Madden.
SCENE 387 MADDEN - THORNE AND GAMBLE - MEDIUM CLOSE As Madden eagerly takes out
the necklace and holds it up. Thorne and Gamble crowd in on him.
GAMBLE: Beautiful!
Madden angrily shrugs them away from him. SCENE 388 CHAN - CLOSE SHOT He is watching them narrowly
CHAN: One moment, please...humbly request receipt.
SCENE 389 AT GROUP - MEDIUM SHOT Madden nods and crosses to a desk, speaking. Chan follows.
MADDEN: Glad to give it to you. It's been waiting around here for three days.
SCENE 390 AT DESK - MEDIUM CLOSE He sits down at his desk, continuing.
Just have to sign it.
He puts the necklace on a blotter, pulls open the middle drawer and lifts out a paper, taking a pen in his right hand. Chan
is watching narrowly. Madden pulls out his watch with his left hand...glances at it...puts it away, and turns to Victor.
MADDEN: Good thing you came when you did...I'll just have time to make that train.
SCENE 391 VICTOR - CLOSE SHOT
VICTOR: (Beaming) Glad I could help.
SCENE 392 AT DESK - MEDIUM CLOSE Madden turns back and starts writing his name, Chan watching. INSERT OF
PAPER: MADDENS RIGHT HAND writes the name with unusual slowness. BACK TO SCENE: Madden puts down the pen and starts
to get up. Chan suddenly grabs at the pearls. Madden also grabs, instinctively reaching with his left hand...but too late.
Chan has them and darts back.
MADDEN: (Bellowing) What's this?! Why you crazy...
CHAN:
(Grimly) Will retain the pearls.
MADDEN: (Snarling) You will, will you?
We'll see about that!
As he speaks, he grabs into the middle drawer, again with his left hand, pulling out a revolver. There is a thundering report
and a flash of fire through the folds of Chan's voluminous sleeve. Madden staggers back, his left arm going limp, the gun
clattering to the floor. As he does so, Chan speaks calmly.
CHAN: Left-handed man always uses left hand...should also use correct name...Jerry Delaney.
SCENE 393 ROOM - MEDIUM SHOT Thorne is poised to spring.
DELANEY: He's insane!
VICTOR: (Rushing forward, shouting furiously)
You fool...shooting Madden! Give me that gun!
The gun appears from Chan's sleeve, trained on Victor.
CHAN: (Evenly) You also, stand back with others.
Victor cowers back, thinking Chan is mad. Chan turns to Delaney.
CHAN: Anxious man hurries too fast, Mr. Delaney...often stubs big toe. Pretended real grief when old parrot dies, but forgot
to show same for loyal man-servant murdered.
The front door crashes open. Constable Brackett thunders in, gun in hand, Inspector Bliss following.
BRACKETT: (Bellowing) What was that shooting?! (He
sees Chan and glares triumphantly) Oh, it's you again, eh? (Aiming his gun at Chan) Give
me that gun.
He starts for Chan. SCENE 394 THORNE AND GAMBLE - CLOSE SHOT They are suddenly warily alert. SCENE
395 DELANEY, CHAN AND BRACKETT - MEDIUM SHOT - Chan is helpless. Brackett takes his gun.
CHAN: (Protesting) You make great mistake. I am Detective
Sergeant Chan of Honolulu Police.
BRACKETT: (Snarling) And I'm the Queen of Sheba. (Grabbing
Chan roughly) Come with us.
Delaney, very poised, halts the Constable.
DELANEY: Just a minute, Constable. He has a pearl necklace he took from me.
BRACKETT:
(Glaring at Chan) You have, eh? Give it up!
CHAN: (Quickly) He is not Mr.
Madden.
Brackett looks at Delaney, surprised, then back at Chan.
BRACKETT: You're nuts! I've known Mr. Madden for years.
He takes the pearls from Chan and hands them to Delaney, who drops them in his pocket.
DELANEY: Thanks.
SCENE 396 BRACKETT - AND CHAN - MEDIUM CLOSE PAN SHOT - Brackett grabs Chan and drags him toward door. WE PAN WITH
THEM. The door has been left open. As WE PAN into scene the real Madden suddenly appears from outside darkness, followed
by Bob and Paula, and behind them Holley with gun in Maydorf's ribs. Madden's hair is rumpled, his face bearded and pale.
He is in his shirt sleeves, his arm in a sling. His shoulder is stained with dried blood. Brackett comes to a dazed halt
as if he has seen a ghost, looking helplessly from Madden to Delaney, and back.
BRACKETT: (Stammering) Mr. Madden...!
Madden nods. He stares across at Delaney. SCENE 397 GAMBLE, THORNE AND DELANEY - MEDIUM CLOSE They are
staring off scene at Madden. SCENE 398 ROOM - MEDIUM SHOT Madden's eyes drill into Delaney.
MADDEN: (Grimly) Almost got away with it, didn't you Jerry.
You always were good at it.
Delaney suddenly makes a dash for the closed patio doors. Chan is a little quicker, grabbing Delaney and doing a jiu-jitsu
throw over his back. SCENE 399 AT SIDE WALL - MEDIUM SHOT A small size table stands against the wall. Delaney
crashes full length against the wall and floor, knocking over the table and bric-a-brac. He is half stunned. SCENE
400 CHAN - CLOSE SHOT He straightens up with a wry face, his hand on his back as if he had a crick in it.
CHAN: (Smiling) Ancient bones creak with pleasure.
SCENE 401 ROOM - MEDIUM SHOT As Bliss hurries across and slaps handcuffs on Delaney, Chan turns to Madden and continues:
Most happy to see corpse from bedroom alive.
Madden nods gratefully. Brackett breaks in, addressing Madden:
BRACKETT: (Apologetically) Sorry about this, Mr. Madden.
That bird had me fooled.
MADDEN: (With a grim smile) I don't blame you, Brackett. He used
to be an actor until he discovered he was almost my twin...then he started a racket impersonating me in New York years ago.
(He turns grimly to Thorne) You remembered that, didn't you, Thorne...waited for a chance to double-cross
me.
Thorne is silent. Madden adds bitterly.
I thought I had found one man who could be loyal to me.
He turns to Brackett, indicating Thorne wearily.
Arrest him...take them away.
Brackett nods. He and Bliss herd Delaney and Thorne toward the door. Chan stops Bliss. SCENE 402 AT BLISS AND
DELANEY - MEDIUM CLOSE
CHAN: (Mildly) One moment, please.
He reaches into Delaney's pocket and takes the necklace. Bliss starts on with Delaney.
SCENE 403 AT GAMBLE - MEDIUM SHOT Gamble sees his opportunity. He starts moving toward the bedroom hallway,
clearing his throat dignifiedly.
GAMBLE: I owe you an apology, gentlemen. I'm very sorry to have been innocently drawn into this tangle. I will leave at
once.
As he reaches the door, he finds Chan blocking his way. SCENE 404 AT TWO - MEDIUM CLOSE
CHAN: Innocent man would not carry knife used to murder Louie Wong.
GAMBLE:
(Sputtering) Why, this is preposterous! Outrageous!
Even as he speaks Chan jerks open his coat. INSERT: OF VEST AND ARMPIT. A leather sheath is strapped by the armpit.
In it is a knife. BACK TO SCENE: Chan pulls out the thin-bladed wicked looking knife.
CHAN: (Smiling slightly) Should not sleep with knife under
pillow. Found interesting impression on sheet when making bed.
He points the knife toward Gamble, herding him out of scene. SCENE 405 ROOM - MEDIUM SHOT Chan herds
Gamble toward the door, where Brackett, who has turned back, is waiting. Brackett exits with Gamble. Chan turns toward Madden.
SCENE 406 AT CHAN AND MADDEN - MEDIUM CLOSE Chan hands Madden the necklace with a sigh of relief.
CHAN: (Smiling) Often round-about path to correct destination.
DISSOLVE TO: SCENE 407 EL DORADO STATION - AT OBSERVATION CAR PLATFORM - MEDIUM CLOSE - NIGHT - The gate
and trap door are open. Chan and Bob are on rear platform with coats and grip, ready to leave. Paula has stepped up on platform
with them to say goodbye. Bob and Paula are looking at each other, rather helplessly, unhappy at parting. Chan, a couple
of feet away, is setting his grip down by door. SCENE 408 AT BOB AND PAULA - CLOSE SHOT Bob tries to make
conversation.
BOB: When are you going back to Los Angeles?
PAULA: (Quietly)
Probably Wednesday.
BOB: (An instant's pause) Would you mind if I flew down to see
you?
PAULA: No...I'd enjoy it.
BOB: (Smiling) Thanks. (The smile fades,
he looks at her hungrily) You know...if it weren't for that engagement ring I think I'd kidnap you to San Francisco
tonight.
SCENE 409 AT THREE - MEDIUM CLOSE
PAULA: (Smiling) It's always proved a protection.
She turns to Chan, extending her right hand.
PAULA: Goodbye, Mr. Chan
CHAN: (Smiling appreciatively)
Goodbye.
He smiles down at the small hand held in his. His eyes narrow. He looks up quickly at Bob.
(Indicating hand) Suggest noticing that supposed engagement ring usually
worn on right hand.
Bob takes her hand and looks at it. INSERT OF HAND: A faint white circle shows on right hand ring finger. BACK
TO SCENE: Bob stars into Paula's eyes in questioning accusation.
BOB: Have you been lying all this time?
Paula seems almost relieved at having to confess.
PAULA: (Nodding) There isn't any Wilbur.
There is a flash of relief in Bob's face. He takes her impulsively in his arms, grinning.
BOB: I thought his name was Jack.
He kisses her. As he does so, the bell up forward rings and the train starts to move...the Camera with it.
CHAN: (Hastily) Suggest important need of third ticket.
Will attend to same.
He quickly and adroitly goes into car, with a backward smile at the two. SCENE 410 TRAIN TRACKS TOWARD REAR
PLATFORM - FULL SHOT The train pulls away down the track. As it grows smaller, speeding away in the darkness, the two
figures in each other's arms silhouetted against the dim light of the platform, we
FADE OUT.
THE END.


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