FADE IN:

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

SCENE 1 -- Omitted.

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

DISSOLVE THROUGH BLIND INTO:

SCENE 3
INTERIOR DAN'S VERANDA

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

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

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

SCENE 4
INSERT OF PICTURE IN NEWSPAPER OF ARLENE COMPTON.

LAP DISSOLVE TO:

SCENE 5
NEWSPAPER ARTICLE ACCOMPANYING PICTURE which reads:

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

Dan is beginning to burn but he compels himself to speak calmly.

SCENE 7
INSERT OF BARBARA'S PICTURE.
We hear Amos' voice coming over insert.

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

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


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

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

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

SCENE 10A
INTERIOR VERANDA

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

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

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

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

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

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

DAN: Hello, Minerva. There's some mail for you.

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

Off-stage phone rings twice and stops.

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

Koahla leaves and Dan hands Minerva her drink.

MINERVA: Thanks Dan.

She takes a long swallow of the scotch.

Dan settles down into an easy chair and picks up the newspaper Amos has left.

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

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

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

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

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

SCENE 15
INSERT: FOLDED NEWSPAPER -

"T.M. BRADE DUE

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

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

SCENE 17
HALLWAY
Kamaikui, coming down hall, calls -

KAMAIKUI: Koahla.

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

FADE OUT.

FADE IN:

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

"TAMALPAIS, OAKLAND - SAN FRANCISCO"

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

DISOLVE TO:

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

PORTER: Thank you, sir. First trip out here?

John nods briefly as if wishing to dismiss the man.

Some place, California, sir.

JOHN: Yes, quite, thank you.

PORTER: Yessah.

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

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

SECOND MAN: Got a match, stranger?

John turns and observes him with restrained patience.

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

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

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

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

John turns in astonishment to find Carlotta beside him.

John continues to stare at her without answering.

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

CARLOTTA: Don't tell me that you haven't a cigarette either?

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

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

CARLOTTA: That's all right.

She turns away smiling.

Carlotta hastens to assure him.

CARLOTTA: All right, all right.

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

She turns to move away.

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

CARLOTTA: Where are you bound for, stranger?

JOHN: Hawaii.

Carlotta touches his hat box.

John looks chagrined.

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

JOHN: Do you feel better?

Carlotta turns, concealing a smile, and sees -

SCENE 23
STOCK SHOT - FERRY SLIP

SCENE 24
MEDIUM CLOSE SHOT -

CARLOTTA: Oh, we're coming in -

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

JOHN: I say, why can't we go....I mean if you'll wait...that I'd like to...

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

CARLOTTA: Don't go native over there.

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

JOHN: Porter!

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

PORTER: Yassuh. First trip out this way, sir? Too bad about the fog -

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

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

By this time they have arrived at the door.

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

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

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

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

SCENE 33
INSERT OF CABLE:

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

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

DAN"

SCENE 34
INTERIOR DAN'S HOUSE

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

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

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

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

ROGER: I guess that's the trunk over there.

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

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

ROGER: If he's after what we're after, he didn't get it.

John comes to the trunk and looks into it.

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

Roger turns the flash on John and sees a slight gash on his cheek.

They cross to the stairway and start down.

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

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

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

JOHN: Frankly, take the next train for Boston.

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

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

SCENE 42
MYSTERIOUS FIGURE ACROSS STREET, watching.

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

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

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

QUICK FADE OUT AND INTO:

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

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

Cope offers the man a cigarette from his case.

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

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

He shakes hands with Jennison.

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

BARBARA: Join us?

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

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

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

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

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

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

Cope hangs up and turns from the phone.

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

ROGER: You weren't going to sail without coming to see me, I hope?

He turns to John.

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

JOHN: How do you do?

BARBARA: Welcome.

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

ROGER: Oh, John - this is Mr. Jennison.

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

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

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

FADE OUT.

FADE IN:

SCENE 51
LONG SHOT SHIP AT SEA - NIGHT

DISOLVE INTO:

SCENE 52
EXTERIOR BRIDGE OF SHIP

Barbara and Jennison are talking with the Captain.

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

Barbara laughs. Higgins moves into the group.

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

They all turn and see Higgins.

CAPTAIN: Oh, good evening, Mr. Higgins.

Barbara and Jennison nod.

The Captain looks a bit reluctant.

SCENE 53
CLOSEUP INSTRUMENT as it advances to full speed.

SCENE 54
INSTRUMENT ROOM BERKELEY AND OFFICER

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

JOHN: Come in.

The Reverend Frank Upton enters. A missionary type, ascetic, austere.

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

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

John looks sharply in direction of box.

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

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

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

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

DISSOLVE TO:

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

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

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

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

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

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

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

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

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

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

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

JOHN: Why - no.

UPTON: Someone has just stolen my camera.

The two people who picked up the graflex enter. The man addresses John.

MAN: Pardon me - you left your camera back there.

He hands the graflex to John and they continue on. Upton glares at John.

UPTON: So!

He snatches the graflex away.

You are a true Winterslip, sir!

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

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

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

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

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

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

LAP DISOLVE:

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

SCENE 71
INSERT MESSAGE:

"DAN WINTERSLIP
HONOLULU

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

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

FADE OUT.

FADE IN:

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

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

Dan gets into his car and the car starts to move.

DISSOLVE INTO:

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

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

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

ARLENE: What is it, Dan?

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

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

He starts for door.

He takes her in his arms and kisses her perfunctorily.

DAN: Goodbye.

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

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

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

He kisses her.

FADE OUT.

FADE IN:

SCENE 77
ANCHOR PLUNGING INTO WATER.

DISSOLVE INTO:

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

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

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

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

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

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

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

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

SCENE 79
EXTERIOR DECK - FARTHER ALONG

SCENE 80
ANOTHER PART OF DECK
Barbara, Jennison and John.

DISSOLVE INTO:

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

The car moves away as Minerva enters the darkened house.

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

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

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

They go quietly down the hall.

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

MINERVA: Look in the dining room, Koahla.

Koahla obeys, but finds no one there.

Where is Mr. Dan?

KOAHLA: I think asleep.

Minerva crosses to the door leading to the veranda.

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

MINERVA: Dan!

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

KOAHLA: I call police.

MINERVA: No.

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

SCENE 86
INTERIOR LIVING ROOM
Minerva crosses to the phone.

He hurries into the dining room. Minerva picks up phone.

She waits.

SCENE 87
CLOSE SHOT
Hotel operator at telephone.

OPERATOR: Captain Cope is not in.

SCENE 88
INTERIOR LIVING ROOM

MINERVA: Not in his room?

SCENE 89
CLOSE SHOT - Hotel operator.

OPERATOR: Shall I have him paged?

SCENE 90
INTERIOR LIVING ROOM
Minerva looks at her watch.

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

SCENE 92
INTERIOR LIVING ROOM

She hangs up, then jiggles receiver.

Evidently Amos at the other end starts to protest. Minerva cuts him short.

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

She hangs up.

DISSOLVE TO:

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

CAPTAIN HALLETT: Hello. Who? Yes? Murdered! I'll be right over.

Hallett hangs up, then jiggles receiver once or twice.

HALLETT: Get me Charlie Chan.

MRS. CHAN: What is the matter?

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

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

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

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

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

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

CHAN: Where are my shoes?

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

CHAN: The smallest jewel is sometimes brightest.

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

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

To bed now with much haste.

He waves the children away and they scamper off.

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

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

HALLETT: Nothing has been touched?

MINERVA: No.

HALLETT: Good. All right, doctor.

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

The doctor appears in the doorway and calls.

DOCTOR: Captain Hallett.

HALLETT: Right.

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

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

He turns and goes back into the living room.

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

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

MINERVA: There! In the bushes!

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

SCENE 101-A
EXTERIOR DAN'S GARDEN

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

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

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

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

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

SCENE 103
EXTERIOR DAN'S GARDEN

They all turn and start back into the house.

DISSOLVE TO:

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

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

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

MINERVA: I'll call them.

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

Now over the scene comes the loud, righteous voice of Amos.

AMOS' VOICE: The wages of sin are death.

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

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

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

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

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

Chan picks up his hat and crosses to the door. Turning:

CHAN: Good night. Worry not. What is to be is to be and inscrutable fates very busy arranging program.

Chan leaves. Minerva and Amos sit in silence for a long moment, and then Minerva suddenly remembering, exclaims:

He picks up his hat, rises and starts for the door. Minerva looks after him, her brows knit. As he reaches the door, she calls sharply:

Amos shows nervousness and is almost too greatly astonished:

AMOS: I? You must be mad, Minerva.

He turns hastily and leaves.

Minerva gazes after him wonderingly, then rising, starts across the room as if to turn out the lights, when coming to the veranda she hears native voices raised in violent argument. She starts for the veranda.

SCENE 108
VERANDA
Kamaikui and Koahla are discovered in what amounts almost to a struggle. Kanaikui is clutching something and Koahla is trying to wrest it from her.

Koahla looks at her furtively and then slinks away. Kamaikui approaches Minerva holding some object in her outstretched hand.

KAMAIKUI: I find this here on porch. He try to take it.

She hands the object to Minerva who takes it and looks down at it curiously.

MINERVA: To whom does it belong?

KAMAIKUI: Many, many years, Mr. Dan have this and more just like it. Last month he give this to woman down beach.

MINERVA: Don't mention this to anyone, Kamaikui.

KAMAIKUI: No.

MINERVA: Thank you. Good night.

Kamaikui leaves and Minerva looks down again at the object she is holding.

SCENE 109
INSERT of Minerva's hand holding the brooch which we last saw in Arlene Compton's possession.

FADE OUT.

FADE IN:

SCENE 110
VERANDA - DAY
John and Minerva. John is pacing back and forth.

John picks up his hat and leaves.

SCENE 111
INTERIOR BARBARA'S ROOM
The door is partly open. Her luggage still unpacked is in the room. Barbara, wearing the clothes she has arrived in that morning, reclines on a chaise longue, weeping brokenly. Jennison, very tender and solicitous, is with her.

She sobs.

Jennison bends over her, taking her hand and kissing it gently.

There is a light knock on the partly opened door and Minerva enters with a cup of hot coffee for Barbara. As she crosses the room, Minerva says:

Barbara makes a pathetic attempt to smile bravely.

BARBARA: I'll try.

Jennison kisses her on the forehead.

JENNISON: I'll be back soon.

Jennison leaves.

Barbara clings to Minerva who sets the coffee down and puts her arms around the girl.

MINERVA: There, there, dear.

SCENE 112
EXTERIOR DAN'S DRIVEWAY
Jennison's roadster is parked here. Jennison comes from the house. At the same time Amos is walking along driveway on his way to the house. They meet at the car.

The two men look at each other with repressed antagonism, each showing a certain wariness. Jennison shrugs.

JENNISON: Very well. Would this evening suit you?

AMOS: Right now would be even better.

JENNISON: I'm sorry. I have some other business to attend to now and I promised to spend the remainder of the day with Barbara.

AMOS: Very well, then, this evening.

Jennison glares after him, gets in his car and drives off.

Amos continues on into the house.

SCENE 113
INTERIOR SMALL RESTUARANT
Chan is seated alone at a table near the window as we see printed in reverse on the window:

"THE ALL-AMERICAN RESTAURANT"

A Japanese waiter comes to the table with a piece of pie and places it in front of Chan. Chan inspects the pie gravely and then calls:

CHAN: Waiter!

The waiter returns.

Be kind to summon proprietor of his unworthy establishment.

WAITER: Please to state your complaints. I am also proprietor.

CHAN: This sector of pie appears most unhygienic. It is my unfortunate lot to look for fingerprints in my profession. But when they appear in pie, they are neither helpful nor tasty.

The waiter picks up the pie and exits with it. John Quincy enters the cafe, looks around, sees Chan and comes to his table.

Chan picks up the slip on the table which is his check. The waiter comes into the scene.

CHAN: I pay most unwillingly. Anxiously await day when law considers such food major crime.

WAITER: Thank you.

Chan and John leave the restaurant.

SCENE 114
EXTERIOR STREET

Chan's antiquated Ford is parked at the curb. Chan and John come into scene. Chan removes huge lock from front wheel of car. John watches him, amused.

Chan and John get in car. Chan unlocks and works several contraptions. Chan steps on the starter, a bit nervously but when the car responds and motor starts, he sighs with relief and they start out.

DISSOLVE TO:

SCENE 115
EXTERIOR REEF AND PALM HOTEL
It is a weather-beaten frame building, part of it is extending on rickety piling out over the water. A riotous garden surrounds it on the rear and two sides. Chan and John drive up in Chan's Ford. Behind them comes Hallett in his car. All three get out of cars.

They start for the dilapidated stairway leading up to the entrance of the hotel when Egan comes running down the stairs. He is about to brush past the three men when Hallett stops him.

Hallett seizes Egan by the arm and begins to force him back up the stairs again.

Hallett again urges Egan up the stairs.

HALLETT: You were the last person to see him alive. Now stop stalling and come inside.

The four of them mount the stairs.

SCENE 116
INTERIOR REEF AND PALM HOTEL
There are two exits in the lobby, which has a picturesque shabbiness. A beachcomber has slipped in when Egan went out, perhaps to get a glimpse of a newspaper from "home". When Hallett, John, Egan and Chan enter, the beachcomber makes a hasty silent exit. Egan indicates chairs and they all seat themselves.

The men are all seated with their backs to the exits, engrossed in their conversation. We see the beachcomber move stealthily past the open doorway and glance in as he passes. Then he moves away.

Now Egan is angry. He crushes the cigarette he has been smoking in a tray and rises.

EGAN: Now, look here. I have told you once, my business with Winterslip was my own.

Calmly Chan leans over and picks up the cigarette stub. He gazes happily at it, then takes a small box from his pocket, opens it, takes out the stub he found in the garden, comparing them.

SCENE 117
INSERT
Two cigarette stubs in Chan's fingers, each bearing the name "Corsican".

Egan reluctantly hands over his case. Chan finds half a dozen of the same brand of cigarettes in the case. From these he looks inquiringly at Egan.

John is viewing the proceedings with superior distaste.

JOHN: Why not arrest him, Captain Hallett? It's pretty obvious he's implicated.

Egan turns a glare of intense dislike to John. Hallett rises.

HALLETT: Come on, Egan.

EGAN: If you'll just wait until this afternoon....

HALLETT: Get your hat.

Egan suddenly becomes a figure which strongly appeals to the sympathy.

Now into the scene comes Carlotta Egan, with her suitcase. John recognizes her as the girl he has met on the ferry and looks on in astonishment as she drops her grip and runs into Egan's arms.

Hallett firmly leads Egan away. Carlotta stands there bewildered. John steps up to her.

JOHN: Perhaps I can explain. I don't suppose you remember me?

CARLOTTA: Of course I do, the missionary.

She brushes past John, runs to the door and sees:

SCENE 119
FROM CARLOTTA'S ANGLE
Egan getting into Hallett's car. Hallett gets in and the car starts off.

SCENE 120
INTERIOR HOTEL LOBBY - MEDIUM SHOT
Carlotta watches the car disappear. John comes up to her and Carlotta turns quickly to him.

Carlotta is ready to weep with anger and anxiety. She turns on her heel and leaves. John looks helplessly after her. Chan, who has been shrewdly observing this, approaches John, who is looking off in the direction taken by Carlotta.

JOHN: Perhaps Egan is not guilty, Mr. Chan. Do you think we've been too hasty?

CHAN: Perhaps - Hasty accuse, leisurely repent.

Chan and John are going out of the hotel on Chan's speech.

SCENE 121
EXTERIOR REEF AND PALM
John and Chan come to Chan's car - Chan takes big old-fashioned lock off wheel. They get in. Again Chan is uncertain as to response of car. He steps on starter and is gratified with the car's immediate response. Car starts out.

SCENE 122
CAMERA TRUCKING ALONG BESIDE THE CAR
Chan's expression is blandly noncommittal as they ride. John looks worried. Presently he says:

JOHN: There's something that's been on my mind all along, Mr. Chan.

CHAN: Humbly suggest....shoot.

JOHN: A strong-box I was bringing to my Uncle Dan from San Francisco was stolen from me on the way over. You see, it was like this.....

As John starts to tell about the box, CAMERA STOPS, and we see the beachcomber slip from behind palm tree and watch car disappear.

FADE OUT AND INTO:

SCENE 123
EXTERIOR DAN'S VERANDA
Amos and Minerva are having tea.

John comes into the scene, tosses his hat on a chair and sits down.

Minerva reaches for her handbag and takes out the brooch holding it up for them to see.

Chan's voice comes over the scene.

CHAN'S VOICE: The law is honest man's eyeglass to see better. Humbly suggest unworthy self as proper person.

They turn as Chan comes into the scene. He holds his hand out to Minerva, who after a second's hesitation, gives him the brooch.

CHAN: Thank you so much.

AMOS: Perhaps you're right. Let me know what you find out.

CHAN: Always enjoy to talk when words are important.

Amos exits.

SCENE 124
EXTERIOR DAN'S DRIVEWAY
Jennison is getting out of his car. Barbara is there meeting him - Amos passes them on his way home, and nods curtly.

By this time they have arrived at the door of he house and they stop.

JENNISON: I hope you'll always think so.

He takes her in his arms and kisses her tenderly.

FADE OUT.

FADE IN:

SCENE 125
INTERIOR ARLENE'S BEACH HOUSE
Steve is standing over Arlene, berating her. She is weeping.

STEVE: I said you was dumb, and I still say you're dumb.

ARLENE: Oh, Steve - how can you be so brutal -

There is a knock at the door.

STEVE: Who is it?

CHAN'S VOICE: Police Department.

Steve and Arlene exchange a quick, frightened glance. Steve goes to the door, the CAMERA PANNING with him. He opens the door, and Chan steps in. He bows to Arlene.

CHAN: Mrs. Compton?

ARLENE: Yes.

CHAN: Forgive intrusion, please - but I must ask you questions about Mr. Dan Winterslip.

Arlene gives a little moan and puts her handkerchief to her eyes.

You knew him well?

Steve intervenes.

STEVE: Whyn't you leave her alone? Can't you see she's all broken up?

Chan turns suavely on him.

CHAN: Sometimes beneath eyes that weep are teeth that laugh.

Arlene sits up indignantly.

Steve is tough.

STEVE: What's the idea of cracking wise?

CHAN: Wisdom is strong lever to pry knowledge loose. Maybe I have question for you, too -

Under his gaze, Steve drops back a step.

ARLENE: What do you want to know?

CHAN: You were Mr. Winterslip's - er - er -

He pauses, searching for a word.

- excuse poor English, please - friend?

ARLENE: He was my fiancé.

CHAN: A soft word does not scratch the tongue - His death was big surprise to you?

He bows.

She touches her eyes with the handkerchief and nods.

Arlene changes her front. She is defiant.

ARLENE: How dare you make any insinuations! I don't know anything about poor Danny's death. I haven't seen him since last Friday.

CHAN: You were not there last night?

ARLENE: No.

Chan extends his open hand, showing her the brooch.

CHAN: Pardon me, please.

Arlene gives a start as she sees the brooch.

ARLENE: That's mine - give it to me.

Chan shakes his head and puts the brooch in his pocket.

CHAN: It now belong to law. It was found in house of murdered man.

He stares steadily at her.

You were with him on night he was killed.

Arlene changes front.

ARLENE: Yes, I was - but I had nothing to do with his death. I went over to return that brooch. At nine-thirty, I left. That's the truth - you're not going to drag me into this, are you?

CHAN: Many times ship of reputation wrecked on rock of crime.

Steve snarls at him.

STEVE: You got nothing on us.

CHAN: That we shall see. Time covers and discovers everything. Meanwhile please not to try leaving Island. That is official.

He bows and exits. Steve is worried.

STEVE: They can't hang it on us - they can't.

ARLENE: Oh, Steve - I'm frightened.

DISSOLVE TO:

SCENE 126
INTERIOR REEF AND PALM HOTEL
Carlotta at desk. Brade, a Cockney provincial, of about fifty years of age, steps up to the deck and gives Carlotta his door key. He is carrying a small traveling bag.

Brade leaves.

Carlotta, who has been going over some papers, now puts some of them into a drawer of the desk. Her attention is arrested by something she sees in the drawer. She quickly picks it up.

SCENE 127
INSERT OF CHECK IN CARLOTTA'S HAND
It is for five thousand dollars, payable to James Egan, and signed by Dan Winterslip.

SCENE 128
INTERIOR LOBBY
Carlotta looking at check first in amazement, and then with a thoughtful frown. She looks up to see Koahla come into the lobby. He is carrying a package, wrapped, under his arm, which is actually the strong box. As Koahla approaches the desk, Carlotta hastily slips the check into the drawer and closes it.

KOAHLA: Like to see Mr. Brade, please.

CARLOTTA: I'm sorry, he's just left. Do you want to leave something for him?

KOAHLA: Come back.

He moves away quickly, and is about to leave by the front entrance when suddenly he stops, as he sees someone approaching, and hastily leaves by a door leading to the beach. John Quincy comes in by the main entrance. He comes to the desk.

JOHN: Miss Egan.

Carlotta looks up, sees John, and her face becomes set. John finds it difficult to go on, but is determined.

She just stares at him stonily. He finds it still more difficult.

With that, Carlotta turns from John deliberately and starts for the door leading to beach. John follows.

He falls into step with her - as they exit.

SCENE 129
INTERIOR LOBBY
Chan enters, finds lobby empty, crosses to desk and looks at register.

SCENE 130
INSERT
A portion of register showing name "T.M. Brade" and "Room No. 14".

SCENE 131
INTERIOR LOBBY
Chan's eyes begin to travel over desk in search of further information.

SCENE 132
EXTERIOR MOONLIT BEACH - TRUCKING SHOT
John and Carlotta. He has evidently made her listen to him, but she is far from being friendly.

He turns and takes her hands in his.

Look, isn't there some way I can make you believe that I really want to help you?

Carlotta softens a little.

They turn and start back.

SCENE 133
INTERIOR BRADE'S HOTEL ROOM
Chan is there going over Brade's belongings. His luggage is plainly marked "T.M.B., Calcutta". Chan has found a round tin box filled with cigarettes.

SCENE 134
INSERT TIN OF CIGARETTES.
Chan's fingers select one, turning it so we can see the name "Corsican" written on it.

CHAN'S VOICE: "Corsican".

SCENE 135
INTERIOR ROOM
Chan adds one of these to the two stubs which he already has of the same brand. Then he prepares to leave the room, putting things back as he has found them.

SCENE 136
INTERIOR REEF AND PALM LOBBY
Cope stands at the desk in the empty lobby. His manner suggests that he has been there for some moments, tapping bell. Chan comes into the lobby, goes behind the desk. We see him place key on #14 rack. Cope, seeing him, thinks he is the clerk.

COPE: Where can I find Mr. Egan?

Chan realizes Cope's mistake and is quick to take advantage of it.

Cope stares at Chan with an expression which might be fear. Then he becomes indignant.

COPE: Are you trying to be funny?

CHAN: Funny as man can be about murder.

Chan takes his badge from his pocket and holds it for Cope to look at it.

SCENE 137
INSERT OF BADGE IN CHAN'S HAND

SCENE 138
INTERIOR LOBBY
Cope's attitude changes to one of concern.

He crushes out his cigarette in a tray, and turning on his heel, strides rapidly from the lobby. Chan immediately picks up the stub.

SCENE 139
INSERT OF CIGARETTE STUB IN CHAN'S FINGERS
It also bears the name "Corsican".

CHAN'S VOICE: "Corsican".

SCENE 140
INTERIOR LOBBY
Chan looks after Cope's receding figure and murmurs:

CHAN: Thank you so much.

He stores the stub with the others.

SCENE 141
EXTERIOR REEF AND PALM MOTEL
TRUCKING SHOT of John and Carlotta coming along the path close to the building. There is a tangled mass of shrubbery against the building.

CARLOTTA: You must have thought I was a very dreadful person.

JOHN: I never thought that - even for a minute. I understood perfectly how you felt.

CARLOTTA: I'm so upset and worried - and angry, too - because I know that never could my father kill anyone - it's just not in his nature.

JOHN: I'm sure he didn't do it. Well, from now on I'm sharing your worries.

CARLOTTA: But won't you be going back to Boston?

JOHN: Not until we get your father out of trouble - and not until -

He pauses. She looks up at him expectantly, unconsciously they start to sway toward one another.

There is a rustle from the bushes.

SCENE 142
CLOSE SHOT ON SHRUB
It moves as if someone were concealed back of it.

SCENE 143
EXTERIOR REEF AND PALM - MEDIUM SHOT
John quickly dives into the shrubbery and grapples with someone. Carlotta moves back with a startled cry. John drags the fellow into the bright moonlight. It is Koahla. In the native's struggle to free himself, the package is torn and he drops the box. John seizes it. Koahla breaks and runs away. John looks at the box in astonishment.

SCENE 144
INSERT OF BOX showing initials "T.M.B".

SCENE 145
EXTERIOR REEF AND PALM
John and Carlotta start to run.

SCENE I46
CLOSEUP
As revolver in man's hand comes around the trunk of palm tree and two shots are fired.

SCENE 147
SIDE OF HOTEL
Carlotta and John are hastening in its shadow, about to turn the corner of the building. The shots stop momentarily. Then John, quick as lightning, takes Carlotta's arm and pulls her around the corner.

SCENE 148
AROUND CORNER
John has Carlotta in his arms.

JOHN: You're not hurt?

CARLOTTA: You!

Carlotta sighs in great relief.

CARLOTTA: Oh - I'm so glad.

She sways a little. He puts his arm around her.

JOHN: Steady - I'm all right.

CARLOTTA: You might have been killed.

JOHN: Heroes are always shot at - but never hit - because there has to be a happy ending. Now let's find Chan.

She looks up at him smiling anxiously.

CHAN'S VOICE: Already found. You were elected target for recent shot?

Both John and Barbara look up to veranda above.

JOHN: Chan!

They start up the steps.

SCENE 151
VERANDA, REEF AND PALM
Moonlight on ocean and beach in back ground, Chan standing there calmly as they move hastily into scene.

JOHN: Never mind about the shots. This is more important. You remember the box I told you was stolen from me on the boat?

John is observing Chan's scrutiny of the box. It is locked.

JOHN: I wonder what's in it.

CHAN: Shall gratify your worthy curiosity.

He takes from his pocket a knife. Opens one of the blades which is a sharp delicate strip of steel, and picks the lock in an astonishingly short period of time. Chan looks in box, smiles.

CHAN: Look!

They look.

SCENE 152
INSERT: INSIDE OF BOX
It is empty.

CHAN'S VOICE: Empty as Robin's nest in January.

SCENE 153
EXTERIOR VERANDA

He picks up box and bows.

CARLOTTA: Oh, you forgot to tell Chan about the check.

She walks behind the deck. He leans on it.

She goes to the drawer where she has left the check and starts to open it. She is arrested by his speech in the act of opening the drawer.

John very calmly takes the pen from the holder and writes his name on the register.

JOHN: With bath, please.

Carlotta looks at him. She cannot refuse. Turning to the keyboard, she takes a key from it and hands it across the desk to him. John looks at the key.

On the ocean side?

CARLOTTA: Yes, sir.

They look at each other. Then, she, to hide her embarrassment, opens the drawer to get the check.

SCENE 155
INSERT OF OPEN DRAWER
Carlotta's hand comes into the scene stirring the contents in search of the check.

SCENE 156
INTERIOR LOBBY
Carlotta suddenly looks up at John in blank amazement.

JOHN: What's up?

CARLOTTA: It's gone! The check is gone!

JOHN: Gone!

He leans over the desk as if to assure himself that the check is really gone. He then reaches across the desk with his left hand, taking her hand and pressing it with swift tenderness.

I'll be back.

He crosses to the door, then turns.

JOHN: Goodbye.

CARLOTTA: Goodbye.

At the sound of Chan's voice, John again turns his head. At the same moment, a figure darts out from back of Ford and starts running down the road. John dashes in pursuit.

SCENE 159
EXTERIOR ROAD NEAR AMOS' FENCE
In the moonlight we see Chan stooping over some object on the ground. He now straightens and takes a step or two toward the CAMERA as if he is trying to locate John.

Chan waits anxiously. In a moment, John appears, dragging the beachcomber.

JOHN: I found this fellow lurking in the ....

John breaks off abruptly for Chan has moved to one side so that now John can see what was heretofore hidden from him.

SCENE 160
CLOSE SHOT NEAR FENCE
The distorted corpse of Amos lying on the ground.

SCENE 161
ANOTHER ANGLE
John is stunned, horrified.

JOHN: Uncle Amos!

As John moves involuntarily toward the body of Amos, Chan steps close to the beachcomber, seizes his wrist suddenly and holds it up.

SCENE 162
INSERT OF BEACHCOMBER'S WRIST showing the wrist watch with the numeral two obscured.

Over the scene comes John's voice:

FADE OUT.

FADE IN:

SCENE 163
INTERIOR POLICE STATION - DAY
Chan is seated at desk, calmly writing on piece of paper. Hallett is pacing back and forth, very much upset.

HALLETT: I tell you, Charlie, they're putting the thumbscrews on me. That Minerva Winterslip woman is raising the roof at the Governor General's mansion. And if we don't get to the bottom of this right away, it means my stripes and your job.

Chan continues to write without looking up.

He continues to write.

SCENE 164
VERY CLOSE SHOT on Chan's hand, writing list of the names of the suspects. He has already written:

T.M. Brade
Arlene Compton
Steve Leatherbee
Koahla
James Egan

Chan writes the name of "Arthur Temple Cope".

SCENE 165
MEDIUM SHOT
Jennison is escorted in the office by a uniformed policeman. Chan looks up. Hallett nods curtly.

HALLETT: Yes, Mr. Jennison?

JENNISON: I am here as the late Mr. Winterslip's attorney to protest against the way your investigation has been handled.

CHAN: Unworthy officer apologizes for stupidity - very sorry.

JENNISON: Sorry? You're going to be a lot more than sorry if you don't do something right away. Do you realize that the 'President Tyler' sails tomorrow morning with most of your suspects on it?

HALLETT: Sure, we know - what do you want us to do - stop the boat?

JENNISON: I demand that you make every effort to arrest the guilty person before tomorrow - otherwise I shall register a formal protest with the Governor General.

SCENE 166
WINDOW OF ROOM HIGH UP
Through the bars stealthily comes a long narrow tube held in a man's hand.

SCENE 167
INTERIOR POLICE STATION
Chan rises, the piece of paper in his hand.

CHAN: If you will please see that these people are at Winterslip house tonight at eight thirty, we shall do our very best. Have plan.

As Chan finishes speaking, he hands the paper to toward Hallett. A dart flashes into the scene past Chan's head, piercing the paper, and pinning it to the desk.

SCENE 168
INSERT:
Quivering dart, stuck in desk through paper.

BACK TO:

SCENE 169
INTERIOR POLICE STATION
The three men look up in direction of window. There is no one there.

Hallett, who has been stunned with amazement, now turns and rushes from the room.

Chan turns to Jennison.

CHAN: Most strange. No native ever do anything to Chan - unless hired by someone.

He looks significantly at Jennison.

DISSOLVE TO:

SCENE 170
INTERIOR CHAN'S DINING ROOM
The entire family is at dinner. Chan looks at one of his sons admonishingly.

Chan rises. The whole family stands up respectfully. Chan turns to the eldest son on his right.

Oswald.

OSWALD: What's on your mind, Pop?

During this, Mrs. Chan has left the room. She now re-enters, bringing Chan his hat.

MRS. CHAN: You'll be home early?

CHAN: Cannot say.

MRS. CHAN: Good luck.

CHAN: Luck and help of inscrutable fates extremely necessary. Tonight decide future. Tomorrow big detective or lowly laundry man.

As Chan leaves, putting on his hat,

FADE OUT.

FADE IN:

SCENE 171
EXTERIOR DAN'S HOUSE - NIGHT
The house is brightly lighted within. Bars of light sift through the venetian blinds on the veranda. We can hear the murmur of many voices from the inside. John and Carlotta come up the garden path and, as they near the door, Carlotta stops. John slips his arm about her protectingly.

JOHN: Won't you come in? There's nothing to worry about.

Carlotta holds back nervously.

CARLOTTA: But you know what happens in cases like these. All they're interested in, is a conviction. It doesn't matter to them if the man is innocent as long as they can prove him guilty.

JOHN: Don't be nervous. For your father's sake. He'll feel better if he sees you believe in him.

Carlotta braces herself and manages to smile. As they go into the house,

DISSOLVE INTO:

SCENE 172
INTERIOR DAN'S LIVING ROOM - CLOSE SHOT AT DOOR
John and Carlotta enter, pause, their eyes travelling around the room.

SCENE 173
INTERIOR LIVING ROOM - PAN SHOT AROUND ROOM
As we pick up each character, the voices of the others are heard, ad lib. As we reach each individual, we hear what he is saying to the exclusion of the others, whose voices are but indistinctly heard. CAMERA first PANS on BRADE.

Brade turns, as he says this, as if he were asking the question of the man next to him. CAMERA PANS as he turns, revealing Cope.

ARLENE: Silly bores, these gatherings, what?

CAMERA PANS direction she is looking, revealing Steve, looking at her in open-mouthed astonishment.

STEVE: WHAT?

CAMERA PANS, passing in succession the beachcomber, Koahla, the three policemen standing at the doors, Hallett and the doctor. CAMERA PANS FARTHER. MINERVA'S voice is heard just before the Camera picks her up, where she is sitting with Jennison and Barbara.

MINERVA: This is all poppycock. The idea of bringing all these people into the house. The first thing I'll do when I get back to the States is to put this in the hands of the proper authorities, you may be sure.

As she reaches the end of her speech, CAMERA PANS to dining room door, and we see Charlie Chan standing there, having just arrived, listening with calm amusement to her speech. He has a box under his arm.

CHAN: Thank you so much.

SCENE 174
INTERIOR LIVING ROOM
Chan sees Carlotta and John at door.

CHAN: You have all, except one, good excuse for much annoyance that I bring you here tonight. Humbly request patience, for though all are called perhaps only one chosen.....

SCENE 175
CLOSEUP CHAN'S HANDS as he opens the book and lays the exhibits out in orderly fashion on the table. His voice comes over the scene.

CHAN'S VOICE: I have before me evidence which show that every person in room saw Dan Winterslip or had reason to see him the night of murder.

SCENE 176
LIVING ROOM
Chan pauses, and with a gesture toward the family group, adds:

SCENE 177
CLOSE SHOT OF BRADE
Uneasily he takes out a cigarette and lights it.

CHAN'S VOICE: Mr. Brade!

Suddenly into the scene right front of Brade, comes the box. Brade starts nervously. CAMERA MOVES BACK far enough to include Chan, who is holding the box.

Picks up cigarette from desk.

The CAMERA PANS QUICKLY TO EGAN, who looks startled and then PANS BACK to Chan and Brade again.

I gave Egan here a couple. 'E said 'ow 'e was famished for a 'omey fag.

CHAN: Thank you so much.

As Chan goes out of the scene, the CAMERA ROLLS UP close on Cope, who is cooly smoking a cigarette.

Chan comes into the scene speaking and holding two of the cigarette stubs.

The CAMERA SWINGS to Minerva who sits indignantly erect in her chair.

Captain Cope had tea with me here that afternoon.

CHAN'S VOICE: Much time saved if honorable lady not so secretive with important information.

MINERVA: Whom I have tea with is my own affair.

CAMERA SWINGS BACK to Chan and Cope.

Cope sits straighter in his chair and involuntarily looks off at Egan.

THE CAMERA SWINGS TO EGAN, who quickly and pleadingly shakes his head, then CAMERA SWINGS BACK TO COPE AND CHAN AGAIN as Cope stops abruptly. Chan, however, has caught the business.

As Chan turns from Cope.

SCENE 178
CLOSEUP OF BROOCH in Chan's fingers. Over the scene comes Arlene Compton's voice.

ARLENE'S VOICE: Yeah...that's my brooch all right.

SCENE 179
INTERIOR ROOM
As Arlene claims the brooch, Brade rises, comes over and looks at it.

BRADE: Hers, nothing! That brooch is part of a set belonging to my family. There was a necklace and earrings that went with it.

Chan waves him back to his chair.

CHAN: Kindly wait until asked.

Brade retreats himself and Chan approaches Arlene.

SCENE 180
ARLENE AND STEVE
She sees that she is to be the next one.

Chan comes into scene.

Arlene turns to Chan as if she has suddenly decided to take him into her confidence.

They start up.

They hesitate, then resume their seats. As they do so, Chan turns.

Mr. Egan.

He walks out of the scene.

SCENE 181
MEDIUM CLOSE SHOT ON EGAN
He is pathetically apprehensive. Chan comes to him. In he hand hanging close to his side, Chan holds the $5,000 check.

He holds up the check. Egan starts violently, then he flashes a quick look off at Carlotta.

SCENE 182
CLOSE SHOT
Carlotta with John on edge of shot. She is looking anxiously off at her father, hoping he will say something to clear himself.

SCENE 183
EGAN AND CHAN
Egan lowers his eyes and makes no reply.

CHAN: Regret that without adequate explanation will have to hold. Very often circumstantial evidence carry conviction.

This is said as a veiled threat to urge Egan to speak. But Egan remains silent. Chan turns and walks away.

SCENE 184
MEDIUM FULL SHOT
Chan crosses to table near which Hallett is seated.

CHAN: Advise that he be taken into custody.

HALLETT: Right.

He starts for Egan.

All eyes turn to Carlotta. She advances to Cope.

Why don't you speak? Why don't you tell what you know?

She stamps her foot.

Egan jumps up.

EGAN: Carlotta - please -

She turns to him.

CARLOTTA: I know all about it, Dad - I've known for years - ever since I found your old diary - it doesn't matter to me - you're my father no matter who you were or what you did - Thirty-five years ago, my father was a teller in a bank in Australia. One day a man walked in with a bag of foreign gold - he cashed it into English pounds. It was unusual - so much South American gold was rarely seen in those days. My father wrote the transaction in his diary - and he never forgot the face of the man. He is the only living person who could identify Winterslip as the man who had Brade's gold.

She pauses and looks defiantly around her. She looks at John pitifully, beseeching him with her eyes.

John springs to her. She holds him off.

I just couldn't tell you before - I didn't want anyone to know -

JOHN: What difference would it make to me?

Egan lifts his shamed face.

EGAN: I was going to use the money to send you back to England - to my family -

Carlotta goes to him and puts her arm around him.

CARLOTTA: I don't want to go to your family - they weren't interested in us before - I'm not interested in them now.

Cope comes to her in a kindly way.

COPE: My dear, don't judge us too harshly - I came here to take him home.

CHAN: I beg pardon - you take him home?

COPE: I am his older brother.

CHAN: Clues explode in embarrassed face, like loaded cigar. I am expecting....

She indicates Koahla. Chan walks over to beachcomber, he has the watch in his hand.

He goes to table and picks up box. He then goes to Koahla.

Koahla is taken out.

SCENE 185
CLOSE SHOT OF OPEN BOX in Chan's hand. Chan presses a hidden spring, and the bottom of the box shoots forward, revealing a narrow secret drawer, in which we see earrings and a necklace of the same peculiar design as the brooch.

SCENE 186
BACK TO SCENE

At this moment a loud commotion is heard just outside. Everyone keyed up to a high pitch of excitement shows extreme uneasiness. Now we see a struggle in the doorway between three men. We recognize Chan's two elder sons, each firmly grasping a struggling figure.

SCENE 187
MEDIUM CLOSE SHOT FAMILY GROUP
They are watching this struggle tensely. Suddenly Barbara gasps with astonishment.

SCENE 188
ANOTHER ANGLE - INTERIOR ROOM
Chan stands at the table confronting Berkeley, who is flanked on either side by Chan's sons.

OSWALD: Okay Pop?

CHAN: Extremely Jake! Thank you so much.

The boys drop back, leaving Chan and Berkeley facing each other. Berkeley is a little breathless and is arranging his disordered tie, etc.

BERKELEY: This is an outrage!

SCENE 189
INSERT: Chan's hand picking up the piece of seaweed from the table.

SCENE 190
INTERIOR ROOM

There is a gasp of amazement from everyone.

BERKELEY: You'll never get me alive!

He looks around wildly. Chan takes out a gun. Berkeley makes a break for the door. The women scream.

CHAN: Get him!

Jennison leaps for Berkeley, seizing him from behind, and although much smaller than Berkeley, we see that by a quick maneuver he throws the man on his back. Berkeley gives a cry of pain. Chan puts the gun on the table and comes to them quickly.

The doctor hastens over and stoops beside Berkeley, quickly examining his arm.

HALLETT: Broken.

Chan seizes hold of Jennison.

He hands the wire to her. She reads.

SCENE 191
INSERT: WIRELESS IN BARBARA'S HANDS
It reads:

"HARRY JENNISON
ABOARD S.S. PRESIDENT TYLER

Manage to break your engagement
with Barbara or will completely
disinherit her. If not will expose
you, regardless of damage to me.

DAN"

SCENE 192
BACK TO SCENE

During this, two policemen have come into scene and stand on either side of Jennison. Chan goes to the table, puts his gun down, and picks up the watch, which is square in shape. He comes back to Jennison and lifting his arm, pushes back his cuff.

SCENE 193
CLOSEUP OF JENNISON'S WRIST wearing a large round wrist watch.

CHAN'S VOICE: Officer, kindly remove.

The hands of the policeman come into the shot, and the wrist watch is taken off.

CHAN'S VOICE: You will notice that although this man wears round wrist watch, sunburned impression is square, fitting this watch.

During this speech Chan suits his action to his words. We see his fingers fitting the square wrist watch over the space where it has formerly rested, and where it fits exactly.

SCENE 194
MEDIUM SHOT

CHAN: Losing wrist watch most untimely.

Jennison looks quickly in direction of Barbara, who looks at him, gives a low cry and collapses. Minerva hastens to her. Chan also bends down to Barbara.

CHAN: Am most sorrowful for you. Sometimes sad world. Baby cries when born, and often life proves baby right.

Jennison, taking advantage of this unexpected event, sees the revolver Chan has placed on table. He dives for it, turns and holds the room at bay. Everyone shrinks back, but Chan, who walks calmly toward him.

JENNISON: Stand back, or I'll shoot!

Chan continues to walk toward him. Jennison, desperate, pulls the trigger. There is a click, nothing more.

Chan turns to assemblage.

CHAN: Thank you, so much.

DISSOLVE TO:

SCENE 195
INTERIOR CHAN'S HOUSE -- NIGHT
In front of house stands a brand new Ford touring car. Suddenly from within comes a commotion. The front door opens, and out streams Chan's entire family, shouting gleefully, and piling into the car. The youngsters fight for the front seat with Chan, ad libbing.... "I want to sit with Pop" --"He promised me", etc. Mrs. Chan comes into scene with the youngest, followed by Chan beaming happily. Mrs. Chan takes the front seat without a word. Chan looks at his wife.

CHAN: Inscrutable fates prompt Miss Minerva Winterslip to this unexpected generous reward of new car for humble services. We will now proceed to attest its efficiency.

Car drives off.

DISSOLVE INTO:

SCENE 196
EXTERIOR DAN'S GARDEN
Near wall. Carlotta and John.

JOHN: We could live in San Francisco.

CARLOTTA: But I think I'd like Boston.

CHAN'S VOICE: Observe happy phenomenon.

SCENE 199
BACK TO SCENE OF CHAN

MRS. CHAN: Yes - two lovers in moonlight cast only one shadow.

Chan looks at her, then at all his children.

CHAN: Yes - one shadow now -- many shadows later.

Then he tries starter fearfully, it responds immediately, much to his satisfaction, and car drives away as we

FADE OUT.

THE END.

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