Lost Films: Charlie Chan’s Chance

An Illustrated Script-based Reconstruction of
Charlie Chan’s Chance

Our Script-based Reconstruction for Charlie Chan’s Chance is based on DIALOGUE TAKEN FROM THE SCREEN, from December 29, 1931, and a SCREEN CONTINUITY, dated January 9, 1932.  As these two scripts were compiled “after the fact,” the happy result is the most accurate of our four reconstructions.  This, our humbly offered recreation of Charlie Chan’s Chance, with great certainty, gives the reader a very close representation of the final film!

SCREEN PLAY & DIALOG:  PHILLIP KLEIN and BARRY CONNORS
CAMERAMAN:  JOSEPH AUGUST
SOUND MAN:  ALBERT PROTZMAN
ART DIRECTOR:  GORDON WILES
COSTUMES:  DAVID COX
FILM EDITOR:  ALEX. TROFFEY
BUSINESS MANAGER:  SAM WURTZEL
ASSISTANT DIRECTOR:  JASPER BLYSTONE
DIRECTOR:  J.G. BLYSTONE

Charlie Chan:  WARNER OLAND
Inspector Flannery:  JAMES KIRKWOOD
Inspector Fife:  H.B. WARNER
Barry Kirk:  RALPH MORGAN
Kenneth Dunwood:  JAMES TODD
Paradise:  CHARLES McNAUGHTON
Shirley Marlowe:  MARION NIXON
Gloria Garland:  LINDA WATKINS
John Douglas:  ALEXANDER KIRKLAND
Garrick Enderby:  HERBERT BUNSTON
Kee Lin:  JAMES WANG
Doctor:  JOE BROWN
Li Gung:  EDWARD PEIL, SR.

FADE IN

WIDE SHOT EXTERIOR STREET OUTSIDE THE OFFICES OF THE CRIMINAL INVESTIGATION BUREAU.

Traffic seen going along the street –

DISSOLVE TO –

CLOSE SHOT on bronze panel in the wall of the building, showing that in the building are the offices of the New York Police Department.

DISSOLVE TO TITLE –

TITLE: “BUREAU OF CRIMINAL INVESTIGATION”

DISSOLVE TO –

CLOSE SHOT – INTERIOR BUREAU – ON A FINGERPRINT APPARATUS as the hand of official rolls the roller over the ink preparatory to taking fingerprints – as he does this and as he takes the impression of each of the prisoners’ fingers he speaks:

VOICE:  Come on – give us the other one.  Come on – come on.  Put it in there.  ‘Fraid to get it dirty?  What’s the matter?  You’ve done this before.  This is nothing new to you.  Nothing strange about it.  Okay.

DISSOLVE TO –

A SHOT along the files in the record room of the bureau – the camera moves along the long row of files – VOICE of Flannery heard before he is seen –

FLANNERY’S VOICE:  This is our Rogues’ Gallery.

The camera takes in Flannery as he moves to one of the files, draws out a slide from it –

CUT TO INSERT OF THE book of photographs of criminals, as Flannery’s hand turns over the pages, showing the “Rogues’ Gallery” –

CUT TO CLOSEUP on Flannery standing at the record files – continues:

Your police department in Honolulu hasn’t any collection like this, has it Mr. Chan?

CAMERA PANS OVER to take in CHAN IN CLOSEUP – as he replies:

CHAN:  Not so many.  The Islands are not yet so civilized as New York. (Turns) Inspector Fife, perhaps, has as many in Scotland Yard.

As he says this last CAMERA PANS to CLOSEUP on Inspector Fife –

FIFE:  Yes.  Unfortunately, the British Islands are also more civilized than the Hawaiian.

CAMERA PANS BACK to the three men standing together by record files.  Flannery with the records before him. He points to one –

FLANNERY:  Here.  Here’s a man who’s –

CUT TO INSERT of the picture of criminal – voice of Flannery continues through shot —

– hard to arrest.  Always has to be clubbed into submission.

CUT TO CLOSE SHOT on the three by files as Flannery finishes:

He’s a hard nut.

CHAN:  Hard nut?

FLANNERY:  Yes – hard nut.

CHAN: (As he gets this) Oh, I see.  Some heads, like hard nuts, much better if well cracked.(All laugh)

FLANNERY:  Right. (Puts record away in file) I want you to see the lineup.  These criminals are more interesting in the flesh.

(The three men start from the scene)

DISSOLVE TO –

MEDIUM SHOT door to auditorium as Flannery and the other two men enter to it – Flannery opens the door through which the big auditorium is seen – and the three men go inside.

VOICES HEARD as the door is opened and they go inside – they move toward the background where there is a platform, and the wall back of it is marked out with a line scale – the area around platform more brightly lit than the rest of the hall.  Flannery goes up on the platform.  Chan and Fife stand nearby.

FLANNERY: (Addressing the audience of police officers before him) Boys –

CUT TO MEDIUM CLOSE SHOT on Flannery on the platform, Chan and Fife standing nearby as Flannery continues:

– this gentleman is Inspector Fife of Scotland Yard —

(Applause comes through shot)

CUT TO CLOSE SHOT on Flannery as he speaks –

– and this gentleman is Inspector Chan of the Honolulu Police, who’s been sent here to study New York police methods.

CUT TO CLOSE SHOT on Chan and Fife standing before platform as Flannery’s voice continues through shot –

We’ve heard of Sherlock Holmes, Arsene Lupin and now we have with us one equally well known – Charlie –

CUT TO FULL SHOT in the hall, as the people applaud – Flannery’s voice heard through
shot –

– Chan.

CUT TO CLOSE SHOT on Chan and Fife as they take bows.

CUT TO CLOSE SHOT on Flannery as he continues:

(Indicates audience) And those boys are what I consider one of the finest detective organizations in the world.

CUT TO CLOSE SHOT on Chan and Fife standing together.

CHAN:  Could not be otherwise.  Under strong general there are –

CUT TO MEDIUM SHOT of the group of three – Flannery, Chan and Fife as Chan finishes:

– no weak soldiers.

CUT TO FULL SHOT by platform – Flannery turns around to address someone standing before platform.

FLANNERY: Ready with the lineup?

VOICE: All ready, Inspector. (Calling off [scene]) John Hawkins.

CUT TO CLOSE SHOT on platform as big burly man comes on – the man standing close before platform – back to camera addresses Hawkins.

FLANNERY: Hawkins. Stand on the platform – look straight out in front of you – take your hat off.

CUT TO MEDIUM CLOSE SHOT on Flannery standing before a lighted reading desk – audience glimpsed dimly back of him as he speaks.

FLANNERY: Last night in Washington Heights he put a man to sleep with a blackjack –

CUT TO MEDIUM SHOT on Chan and Fife standing in the aisle near platform as the voice of Flannery continues through shot –

FLANNERY’S VOICE:  – kicked all his teeth out and robbed him of fifty dollars.  What do you do for a living?

CUT TO CLOSEUP on Hawkins – ugly and insolent as he speaks:

HAWKINS:  I’m a dentist.

CUT TO CLOSE SHOT on Flannery at the reading desk as he speaks:

FLANNERY:  Dentist, eh?  And you use a blackjack instead of gas.  Some idea.

CUT TO FULL SHOT by the platform Hawkins here – man standing before platform – Flannery and others in shot.

Flannery finishes:

Take him off.

Hawkins exits – next prisoner is called.

VOICE:  Isador Rosenblatt!

(Hawkins exits the platform)

CUT TO MEDIUM CLOSE SHOT on Rosenblatt standing on platform – mike seen before him.

VOICE continues through shot –

FLANNERY’S VOICE:   Put your hat on.  Stand on the platform, Rosenblatt.  Look straight to the front.  This man is charged with entering a delicatessen store on 116th Street and stealing a ham.

CUT TO CLOSE SHOT – Flannery continues:

How did you come to steal a ham?

CUT TO CLOSEUP on Rosenblatt.

ROSENBLATT:  You’re Inspector Flannery, ain’t you?

FLANNERY’S VOICE:  Never mind my name.  Why did you do it?

ROSENBLATT:  Well, I’ll tell you the truth, Inspector.  I took that ham for a poor starving Irish family named Flannery.

CUT TO MEDIUM SHOT by Chan and Fife – Flannery’s voice comes through shot –

FLANNERY’S VOICE:  Take him out.

VOICE:  Step down off the platform.

CUT TO MEDIUM SHOT on platform as girl comes to the platform.

VOICE:  Evelyn Vandelear.

FLANNERY’S VOICE:  Look straight out in front of you.

CUT TO CLOSE SHOT on Flannery at reading desk –

FLANNERY:  This girl is charged with blackmailing a man out of eight –

CUT TO CLOSEUP on Evelyn on platform, very tough – Flannery finishes:

– hundred dollars.

EVELYN:  Eight hundred dollars?  Say, that thirty-cent millionaire was just eight dollars short of having twenty cents, so wipe your nose on that one!

UT TO FULL SHOT by platform, Flannery in foreground.

FLANNERY: (To Chan and Fife) This young lady is what we call a live wire.

CUT TO CLOSE SHOT group and audience – Flannery at reading desk.

CHAN:  Oh I see – live wire slightly shocking.

FLANNERY:  Right.  Take her off.

CUT TO FULL SHOT of platform.

VOICE:  The Rajah Mangapore.

CUT TO CLOSE SHOT on platform as Benny dressed in tall hat and morning coat comes on –

Man’s voice heard as he gives instructions –

FLANNERY:  Look straight ahead of you and take that steeple off.

CUT TO MEDIUM CLOSE SHOT on Flannery standing before reading desk as he speaks:

This man claims to be the seventh son of a seventh son – born with –

CUT TO CLOSE SHOT on Chan and Fife as voice of Flannery continues:

– a veil.  He’s charged with fortune telling and swindling.

CUT TO CLOSE SHOT on Flannery – continues:

What have you to say for yourself?

Cut to medium shot on Benny standing on platform – as he speaks – using extravagant gestures to illustrate his words.

BENNY:  I’m no fortuneteller, your Honor – I predict the future events by virtue of the science of astrology.

CUT TO MEDIUM SHOT by Flannery – group and audience back of him.

FLANNERY:  Come on out from behind those whiskers, Benny.  (Turning around to address audience back of him)  This is Benny, the dip.  He used to imagine he was a pick-pocket but he couldn’t get his hand in and out –

CUT TO MEDIUM SHOT on Benny on platform as voice of Flannery finishes:

– of a sugar barrel.

BENNY:  Go on!  I’m better than anyone you ever –

CUT TO MEDIUM CLOSE SHOT on Flannery – Benny’s voice finishes:

– knocked off.

FLANNERY:  Well, you’d better consult the stars and find out how long it will be –

CUT TO FULL SHOT GROUP and Flannery, platform seen background as Flannery finishes:

– before you get out.

BENNY:  Oh yes?

FLANNERY:  Take him off.  Step down – put that hat on.

MEDIUM CLOSE SHOT Flannery.

FLANNERY: (To Chan and Fife) Well, you’ve had enough of this, I guess.

CUT TO MEDIUM CLOSE SHOT on Chan and Fife, Fife looks toward Flannery off scene and speaks:

FIFE:  It’s been very interesting, Inspector.  Thanks very much.

CHAN:  Thank you so much.

CUT TO FULL SHOT in auditorium – as Flannery, Chan and Fife start down the aisle –

FIFE:  Come on, Charlie.

(Audience rises and applauds as they exit)

DISSOLVE TO EXTERIOR SHOT –

STREET in Chinatown – traffic noises heard

(VOICES HEARD)DISSOLVE TO -INTERIOR KEE LIN’S RESTAURANT – MEDIUM CLOSE SHOT on
Chan, Fife and Kee Lin seated together in room –

KEE LIN: (In Chinese) You have heard the story about the mule who tried to come down from the attic on a ladder.

FIFE: (Turning to Chan as the latter laughs) What is that?

CHAN:  I will tell you later.

FIFE: (Takes out his watch and looks at it) Come on, Charlie, we must be going. (Rises – shakes hands with Kee Lin) Thank you, Kee Lin, for a most enjoyable –

CUT TO CLOSEUP on Kee Lin as Fife finishes:

– dinner.

KEE LIN:  When your feet enter my humble dwelling I am honored –

CUT TO MEDIUM SHOT of the group as Kee Lin finishes:

– more than I deserve.

FIFE:  That’s nice of you.

CHAN: (Rising) Good kitchens kill more men than sharp sword.

(Telephone bell heard)

KEE LIN:  Telephone. (Exits from scene)

CUT TO FULL SHOT in another corner of restaurant as Kee Lin comes down to the telephone in foreground, picks it up and speaks into it –

CUT TO CLOSER SHOT on Kee Lin at phone –

KEE LIN:  Hi.  Hi.  Hello — (Turns and calls) Mr. Chan.

CUT TO WIDER SHOT by Kee Lin –

Chan enters from background to Kee Lin at phone – takes phone from Kee Lin who exits from scene.

CHAN:  What?  Yes, Inspector Fife is here.  One moment.

CUT TO FULL SHOT in the restaurant as Fife enters from background and takes the phone from Chan.

FIFE:  Thank you, Charlie.

(Chan moves to background)

Yes – yes –

CUT TO CLOSEUP on Chan listening.  Fife’s voice continues through shot.

What?  Why it – it isn’t possible.  Where?  How long ago?

CUT TO CLOSEUP on Fife speaking in phone:

Oh this is terrible.  Very well – I’ll be there as soon as possible.

CUT TO MEDIUM SHOT by Chan and Fife – Kee Lin tipped in shot –

CHAN:  Something has happened?

FIFE: (Turning in direction of Chan) Sir Lionel Gray, former Chief of Scotland Yard, has just dropped dead in Barry Kirk’s offices in Wall Street.

CHAN:  So sorry.  Can I be of service?

FIFE: (Turning to Chan) Come with me, Charlie, will you? (To Kee Lin) I’m afraid we must go, Kee Lin. Goodnight.

KEE LIN: (As Fife makes a step toward Chan then stops) May blessings come and sit on your doorstep. (In Chinese) Goodnight.

CHAN:  Goodnight.

FIFE:  Goodnight to you.

DISSOLVE TO –

INTERIOR BARRY’S OFFICE –

CLOSEUP on Doctor Hammond.

DR. HAMMOND:  Unquestionably, gentlemen, a case of heart failure. I should say Sir Lionel has been dead over an hour.

FIFE:  He died in the line of duty.  Although retired, he was still investigating unsolved cases.

CUT TO CLOSEUP on Chan.

CHAN:  These are your offices, Mr. Kirk?

CUT TO CLOSEUP on Kirk and Fife.KIRK:  Yes. I – I turned them over to Sir Lionel and he’s been stopping with me in my penthouse upstairs.

CUT TO MEDIUM SHOT shooting down on Fife, Chan and Kirk — Doctor tipped in foreground.

FIFE:  Did he complain of illness?

CUT TO FULL SHOT on group around the desk – across which Sir Lionel is sprawled.

KIRK:  On the contrary, he was in fine spirits.  Said he was on the verge of solving an important case.

CHAN:  Did he name case?

KIRK:  No.

CUT TO CLOSEUP on Kirk and Fife as Kirk continues:

He asked me to invite several guests here tonight – they’re upstairs now.

CUT TO CLOSEUP on Fife and Chan.

Kirk’s voice continues through shot

Then unexpectedly someone telephoned him for an appointment here.

CUT TO MEDIUM SHOT on Fife, Chan and Kirk – Doctor in foreground tipped in.

(Shooting down)

FIFE:  Who?

KIRK:  He gave his name – I don’t recall it.

CUT TO CLOSEUP on Kirk and Fife.

Kirk continues:

However, after Sir Lionel had been absent an hour, I sent my butler down and he found him –

CUT TO FULL SHOT on the group around the desk as Kirk finishes:

– as you see him.

CHAN: (Addressing doctor) You are positive, Honorable Sir, this man died of –

CUT TO CLOSEUP — on Dr. Hammond – Chan’s voice finishing through shot –

– heart failure?

DR. HAMMOND:  Positive, sir.  I would stake my professional –

CUT TO CLOSEUP on Chan and Fife.

Dr. Hammond’s voice finishes through shot –

– reputation on it.

CHAN:  But who or what stopped heart?

FIFE: (Turning to Chan) What do you mean, Charlie?

CHAN: (Looking at Fife) I have seen strange thing in this room.

FIFE:  What?

CHAN:  House cat has not moved nor taken breath since we came.

CUT TO MEDIUM SHOT on group of four.

KIRK:  Cat?  Why where?

CHAN:  Under that chair.

CUT TO FULL SHOT in the room –

Chan moves toward foreground where a chair stands, and pushes chair a little back — below it lies cat.

CHAN:  Dead.

FIFE:  Is that your cat, Mr. Kirk?

KIRK:  Yes.
 
FIFE:  When did you last see it?

KIRK:  Upstairs –

CUT TO CLOSEUP on Chan listening to voices continue through shot.

KIRK’S VOICE:  – just before dinner.

FIFE’S VOICE:  That’s strange.

CHAN:  Very strange.  Cat is like rich man’s heir – never dies out of sympathy.

CUT TO MEDIUM SHOT on the four men around desk at which Sir Lionel lies dead.

KIRK:  Well, you don’t think there’s a connection?

CHAN: (Indicating Sir Lionel) Prominent detective is about to catch criminal – at this point detective is found dead.

FIFE:  That may be mere coincidence, Charlie.

CHAN:  I always suspect coincidence – (Indicates his nose) – same as nose always suspect ancient cheese.

CUT TO CLOSE SHOT on Fife, Chan and Kirk.

FIFE:  You really think –

CUT TO FULL SHOT on the group around desk –

CHAN:  Yes.  Hold guests upstairs.  Telephone Inspector Flannery.  This is murder.

The men turn – Fife moves down to the desk telephone and as he raises it to call number –

FADE OUT.

FADE IN

INTERIOR BARRY KIRK’S PENTHOUSE.

MEDIUM SHOT on group in room.

FLANNERY: (To Paradise) Well go on, what happened then?

PARADISE:  Why sir, Mr. Kirk sent me below for Sir Lionel and I found the office door and the windows open and breeze blowing all the papers about, sir.  So I closed the windows, went into the private office and there, sir, I – I found Sir Lionel.

FIFE:  Haven’t I seen you before, somewhere?

PARADISE: (Turning to Fife) I think not, sir.

Flannery turns – camera moves over with him to take in the guests.

FLANNERY:  If anyone can throw any light on this affair I’d like it now.  It will be much pleasanter all around than if I have to dig it up later.

CUT TO CLOSEUP on Kirk, as he stands very thoughtful.

CUT TO CLOSEUP on Gloria – seated.

CUT TO FULL SHOT of the group – seated in the room.

CUT TO CLOSE SHOT on Enderby.

CUT TO CLOSE SHOT on Mrs. Enderby – very nervous.

CUT TO CLOSE SHOT on Mrs. Enderby’s hands playing with pearl necklace.

CUT TO FULL SHOT of the guests in room.

CUT TO CLOSEUP on Dunwood – watching.

CUT TO CLOSEUP on Flannery – he turns around.

CUT TO CLOSEUP on Gloria – watching.

CUT TO SHOT of the room as Flannery moves over and comes to pause before Gloria’s chair.

FLANNERY:  Miss Garland, you say you’re an actress.

GLORIA:  Yes, and a lot of others have said it too.

FLANNERY:  I’ll take your word for it.  Ever played England?

GLORIA:  Yes, often.

Fife moves over closer to Gloria stands before her as he speaks:

FIFE:  Have you ever met Sir Lionel before tonight, Miss Garland?

GLORIA:  Never.

FIFE:  What time did you arrive here tonight –

CUT TO CLOSE SHOT on Gloria – as Fife’s voice continues:

– for dinner?

GLORIA:  I had intended arriving at eight but coming up the stairs I broke my string of pearls –

CUT TO CLOSE SHOT on Chan, Fife and Flannery, voice of Gloria continues:

– and I spent about twenty minutes –

CUT TO CLOSE SHOT on Gloria, as she finishes:

– picking them up, making sure I –

CUT TO FULL SHOT of the group as she finishes:

– hadn’t lost any.

FIFE:  I see.

FLANNERY: (Moves over to corner where Enderby and wife sit) Mr. Enderby.  Sir Lionel was evidently looking for an Englishman.  You were born in England, weren’t you?

CUT TO MEDIUM CLOSE SHOT on Mr. and Mrs. Enderby –

Enderby – very indignant as he replies:

ENDERBY:  Is that an offense?

MRS. ENDERBY:  Garrick!  Please.  He’s not accusing you of anything.

ENDERBY:  Bah!  I don’t like this questioning.  Are we suspects?

CUT TO CLOSE SHOT on Chan and Fife.

FIFE:  Every guest here had the opportunity during the bridge game after dinner to leave this room.

CUT TO MEDIUM SHOT ON Enderby and Mrs. Enderby as Fife’s voice finishes through shot –

Did you?

ENDERBY: (Indignantly) No I didn’t.

MRS. ENDERBY: (Interrupting) Oh, but Garrick you –

ENDERBY: (Glaring down at Mrs. Enderby) Oh must you contradict?  What were you going to say?

MRS. ENDERBY:  Nothing.

CUT TO CLOSEUP on Dunwood –

DUNWOOD:  But you left the room just after we lost the third rubber –

CUT TO MEDIUM CLOSE SHOT by Enderby and Mrs. Enderby – Dunwood’s voice finishes:

– didn’t you?

ENDERBY:  You’re quite mistaken.  I haven’t left the room this evening.

CUT TO FULL SHOT on the group in the corner of the penthouse apartment.

DUNWOOD: My error.  Sorry.

ENDERBY: (Indignantly) Sorry – bah! (Exits)

CUT TO CLOSEUP on Dunwood and Flannery –

FLANNERY:  And you, Mr. Dunwood?

DUNWOOD: Yes, I was out quite a while – in the garden – admiring the skyline.

KIRK: (Enters to the two) I can vouch for Mr. Dunwood – I brought him out a drink.

DUNWOOD: Oh, but I didn’t drink it, Inspector.

KIRK:  My error.  I shouldn’t have mentioned it before the Inspector.  Sorry.

FLANNERY: (To Dunwood) Was it a good drink?

DUNWOOD:  Excellent.

FLANNERY:  How do you know it was?

DUNWOOD: (Smiling) You have me there.

FLANNERY:  You’re an Englishman too, aren’t you?

DUNWOOD:  Australian, educated in London and Heidelberg.

FLANNERY:  And your offices are in this building?

KIRK:  He was my first important tenant.  That’s how we became friends.  Now he attends to all my investments.

CUT TO FULL SHOT in the room, the group in corner — Flannery back to camera.

FLANNERY:  Thank you, ladies and gentlemen.  I’ll not keep you any longer.  Let’s look around. (Moves over as he finishes and goes through door)

CUT TO FULL SHOT other side of door as Flannery enters through it – two men here – he addresses them – Chan and Fife follow Flannery.

FLANNERY:  All right, boys, report to headquarters.

MAN:  Okay Chief. (The two men exit)

CUT TO EXTERIOR ROOF OF PENTHOUSE.

MEDIUM SHOT on Chan, Fife and Flannery standing by parapet looking over – the apartment is seen through windows – two men standing inside –

FLANNERY: (Pointing over parapet) There’s our financial district, Charlie –

CUT TO LONG SHOT on the financial district – night – buildings with lighted windows.

CUT TO MEDIUM SHOT on the group on penthouse roof – interior seen through windows.

– that’s the Battery down there.  Those lights you see – that’s the Brooklyn Bridge.

CHAN:  I must see it in daytime.

FLANNERY:  I wonder who made that telephone appointment with Sir Lionel.

CHAN:  He was interested in one of these guests.  Which one?

FIFE:  I’ve seen that butler in the prisoners’ dock in England somewhere.

CHAN:  Yes?

FIFE:  Yes.  Scotland Yard will have the record.

CUT TO CLOSEUP on Fife and Chan, as Fife continues:

What do you think of Enderby?

CHAN:  Enderby?  Oh he reminds me of little lamb.

FIFE:  What?

CHAN:  Every few seconds –

CUT TO FULL SHOT of the three on the penthouse roof as Chan finishes:

– he says bah! Bah!

FIFE:  Very rude to his wife, wasn’t he?

CUT TO CLOSEUP on Chan and Fife.

CHAN:  Maybe some people on sea of matrimony wish they had missed boat.

CUT TO FULL SHOT on penthouse roof as Kirk comes out from inside to the group.

FLANNERY:  Mr. Kirk, I wish you could remember the name of the man who made that telephone appointment.

KIRK:  It was John something.  I’m sure I’d recognize it if I heard it again.

FIFE: (To Flannery) I wonder if your men have found any fingerprints?

FLANNERY:  I’m going down and see. (Exits right foreground)

CUT TO LONG SHOT on the steps that lead down from the roof as Flannery goes down from the roof.

CUT TO MEDIUM SHOT on Chan, Fife and Kirk on penthouse roof.

CHAN: (Moves forward) Is possible for any of the party to have gone downstairs to offices below? (Indicates direction as he speaks)

KIRK:  Yes it is.

CHAN:  Let us go down. (Exits from scene)

CUT TO INTERIOR KIRK’S OFFICE.

Flannery comes in through the door – two men are here by the desk – with apparatus for photographing fingerprints.

FLANNERY:  Any prints?

EXPERT:  Yes, sir, about ten of them – they look very good, too.

FLANNERY: (Standing before desk, spreading his fingers on the desk as he speaks) Yes, someone stood here with his fingers on the desk facing Sir Lionel.  Shoot them down to headquarters and – for classification. (Moves to telephone and picks it up)

EXPERT:  Yes sir.

FLANNERY: (Speaking into phone) Operator, I want you to get me Spring 7-3100.

CUT TO SHADOW SHOT on door – and wall – the shadow moves along and then Chan comes into the scene, walking along close to wall, looking around him — moves along, entering the offices, stands back to camera as he speaks:

CHAN:  Did Sir Lionel keep papers in this safe?

KIRK: (Entering to Chan) Yes.

CHAN:  Open please.

Kirk goes through railed part of office to safe –

CUT TO MEDIUM SHOT on Flannery at the phone, experts by him.

Flannery speaks into phone.

FLANNERY:  Flannery speaking.  Give me the Lieutenant.

CUT TO CLOSEUP on Flannery as he continues, into phone –

Lieutenant, I want you to trace all calls made on Hanover 2-7700 in the last twenty-four hours.

CUT TO CLOSE SHOT on Kirk, Chan and Fife in office by safe – Kirk is taking pictures, etc. from open safe.

KIRK: (As he empties last papers from safe) Why that’s odd.  He must have removed the papers.

CHAN: (Papers in his hand) Perhaps person who removed him also removed the papers. What is this? (Examines card)

CUT TO INSERT of Cosmopolitan membership card — Kirk’s voice comes through shot –

KIRK’S VOICE:  That’s the membership book to the Cosmopolitan Club –

CUT TO MEDIUM CLOSE SHOT on Chan and Kirk as Kirk finishes:

I procured a two weeks’ guest card for Sir Lionel.

CHAN: (Indicating names in book) Know any of these?

KIRK:  No.

CUT TO FULL SHOT of the group in room – Kirk and others are seen. Background – Flannery moves toward them from foreground.

FIFE: (As Flannery enters) We find the safe has been robbed –

CUT TO MEDIUM SHOT by the group – Fife finishes:

– of all of Sir Lionel’s papers.

FLANNERY:  There’s your motive, gentlemen.

FIFE:  Undoubtedly.

CUT TO CLOSE SHOT on Flannery.

FLANNERY:  I think the autopsy will –

CUT TO MEDIUM CLOSE SHOT on Chan, Kirk and Fife.  Flannery’s voice continues:

– show he was killed by with gas.

CHAN:  An almost perfect crime.  Doctor extremely positive verdict was heart failure.

CUT TO FULL SHOT on group –

Chan and Kirk holding papers in hand.

FIFE:  Yes and we would have believed him but thanks to you, Charlie.

CHAN:  No, thanks to Honorable cat.

CUT TO CLOSE SHOT on Chan and Kirk as Chan continues – holding membership card in hand

Here’s number written – thirteen thirteen. (Moves over – camera with him to Flannery) You think this means something?

FLANNERY: I don’t think so.

CHAN:  Sometimes very small cloud hide sun.

CUT TO FULL SHOT of the group – telephone bell rings – Flannery picks up phone –

FLANNERY: (Into phone) Hello.  Yes – yes.

CUT TO CLOSEUP on Flannery as he continues into phone.

What’s the number?  How’s the telephone listed?

CUT TO FULL SHOT on the four men as Flannery speaks in to phone:

What name?  John R. Douglas.

KIRK: (Looks toward Flannery) That’s the name – John R. Douglas.

FLANNERY: (Holding up hand to silence Kirk) What’s the address?  What’s his business?  Right. (Puts phone down) Gentlemen, guess what this man’s business is?

FIFE:  What?

CUT TO CLOSE SHOT on Flannery.

FLANNERY:  He’s a manufacturer of chemicals.  Fits –

CUT TO CLOSE SHOT on Chan, Kirk and Fife.

Flannery continues:

FLANNERY’S VOICE:  – doesn’t it?

CHAN:  Yes – like duck’s foot in mud pond.

CUT TO FULL SHOT on the four men.

FLANNERY:  Hm – I think we’re after the right man.  I’ll give you a ring as soon as we pick him up. (Exits)

KIRK:  Thanks.

CUT TO CLOSEUP on Fife, smiling as he speaks:

FIFE:  Quick work, what?  He’s what you Americans call a hot shot.

CUT TO MEDIUM SHOT Chan, Fife and Kirk.

CHAN:  Chef who cooks with gunpowder make quick fire.

KIRK:  Well, gentlemen, may I offer you a drink?

CHAN:  No thanks.

CUT TO CLOSE SHOT on Chan and Kirk as Chan continues:

On subject of drink I am one-round prize fighter.  Second round always knock-out.

KIRK:  I hope Flannery is after the right man.

CUT TO FULL SHOT on the three.

FIFE:  Think I’ll telephone Scotland Yard.  Will you get it for me, Mr. Kirk?

KIRK:  Certainly. (Lifts phone)

FIFE:  Thank you.

KIRK: (Into phone) Hello –

CUT TO CLOSE SHOT on Kirk and Chan, as Kirk continues into phone.

– get me Transatlantic Operator, please.  I want to speak to Scotland Yard, London, England.

CUT TO INTERIOR EXCHANGE –

CLOSE SHOT on operator at switch board – (girl).

OPERATOR:  What is your number, please?

CUT TO INTERIOR KIRK’S OFFICE.

CLOSE SHOT on Kirk at phone.

KIRK:  Hanover 2-7700.

CUT TO INTERIOR EXCHANGE –

CLOSEUP on operator (girl) at switch board –

GIRL:  Scotland Yard, London.

CUT TO ANOTHER EXCHANGE –

MEDIUM CLOSE SHOT on male operator at big switch board as he raises phone, plugs in –

MAN:  Are you through to London?

CUT TO CLOSEUP on dial indicator as the hands travel around the face of the dial.

CUT TO WIDE SHOT on open country with the high tower – from which the spark of the electric current is seen – as it comes from the top of the tower and travels across the sky – NIGHT.

FADE TO WIDE SHOT over ocean – showing the electric current passing through space over the ocean – NIGHT.

FADE TO WIDE SHOT country location lights from small houses seen – the electric wave passes through space toward large receiving towers – NIGHT.

CUT TO INTERIOR LONDON telephone exchange – man with earphones at switch board operating keys.

MAN:  Hello.  Are you there?  Right – right – yes.  This is London.  I’ll put you through to Scotland Yard.

CUT TO AN EXTERIOR SHOT.

CUT TO INTERIOR SCOTLAND YARD OFFICE of Chief – MEDIUM SHOT – Chief seated at desk – clerk standing at desk speaking into phone.

CLERK:  Hello, are you there?  Yes, this is Scotland Yard. (To Chief) Here’s New York on the telephone now, sir.

CHIEF: (As he takes phone from clerk) Thank you. (Into phone) Hello.

CUT TO INTERIOR KIRK’S OFFICE.

CLOSE SHOT on Kirk, Chan and Fife – Fife speaking into phone.

FIFE:  Scotland Yard?  This is Inspector Fife speaking.

CUT TO CLOSEUP of Fife speaking in phone:

I’m sorry to report – Sir Lionel Grey was murdered here tonight.

CUT TO INTERIOR SCOTLAND YARD.

CLOSE SHOT on Chief speaking into phone.

CHIEF:  Oh, terrible!

CUT TO INTERIOR KIRK’S OFFICE.

CLOSEUP on Fife at phone.

FIFE:  Please cable me immediately, in code, name of case in which he was interested and full details.  Also complete data on a man named –

CUT TO CLOSEUP on Chan and Kirk.

Voice of Fife finishes through shot –

– Stanley Paradise.

CUT TO INTERIOR SCOTLAND YARD –

CLOSE SHOT on Chief at desk, speaking into phone –

CHIEF:  Yes, you shall have it forthwith.

CUT TO INTERIOR KIRK’S OFFICE –

MEDIUM CLOSE SHOT on Fife, Kirk and Chan.

FIFE:  Thank you. (Puts phone down)

KIRK: (To Fife) Are you investigating my butler?

FIFE: (Turning to Kirk)  Merely a matter of routine, Mr. Kirk.

KIRK:  Oh.  Well, gentlemen, I’ll see you upstairs.

CUT TO FULL SHOT in office as Kirk exits.

Chan moves down to foreground where Fife stands.

FIFE:  Strange lack of clues, Charlie.

CUT TO CLOSE SHOT on Chan and Fife.

CHAN:  Remember, nothing but the wind can pass the sun without casting shadow.

FIFE: (Indicating direction) Let’s take a look in here.

CUT TO FULL SHOT as Chan and Fife exit – camera with them, as they move through to another part of office where two men are.

MAN: (To other man as Chan and Fife enter) All right, Mac.

MAC:  Goodnight, Inspector.

MAN:  Goodnight. (Mac and the man exit)

CUT TO CLOSE SHOT on Chan and Fife at the desk.

FIFE:  Charlie, I’m going to make an important inquiry.

CHAN:  Yes?

FIFE:  You’ve solved some extraordinary cases. I wish I could make you stay and help me.

CHAN: (Taking out envelope from pocket) You forget, there’s new baby in our family in Honolulu.

FIFE:  No I don’t.  It’s a boy, isn’t it?

CHAN:  Oh yes, a boy.  Most fortunate.  Out of eleven opportunities, I’ve been unfortunate three times.

FIFE: (Laughing) That’s splendid.

CHAN:  Well, I must send cable. (Sits down at desk) Baby will have to wait a while to see old papa. (Takes out cable blanks)

FIFE: (Standing at desk) You mean you’ll stay, Charlie?

CUT TO CLOSE SHOT on Chan looking up in direction of Fife.

CHAN:  When friend asks, friend gives.

CUT TO MEDIUM CLOSE SHOT on Chan and Fife.

FIFE:  That’s splendid.  Thank you, Charlie.

CUT TO CLOSE SHOT on Chan at the desk – takes up pen, dips it into ink, and tries to write with it.  Unsuccessful – so picks up another pen.

CUT TO MEDIUM CLOSE SHOT on Chan seated at desk, Fife standing by him – Chan draws the ink stand to him –

CUT TO CLOSE SHOT Chan dipping pen into ink again – as he does so the pen comes into contact with something in ink well – Chan leans forward as he gets this.

CUT TO CLOSEUP on Chan’s hand holding the pen as it stirs around in the ink well –

CUT TO CLOSE SHOT on Chan, takes up small piece of blotting paper and blots the ink out of the ink well.

CUT TO CLOSE SHOT on Fife watching this operation.

CUT TO CLOSE SHOT on Chan as he extracts pearl from ink well.

CUT TO CLOSEUP on Chan’s hand – it lifts the pearl between fingers.

CUT TO CLOSE SHOT on Chan and Fife as Chan examines the pearl.

CUT TO CLOSE SHOT of he two – another angle.

CHAN:  Pearl from string.

FIFE:  The broken necklace.

CUT TO CLOSE SHOT – different angle of two.

CHAN:  This is unexpected squirt from aggressive grapefruit.

FIFE:  The Garland woman said she broke her necklace on the stairs.  She broke it here at this desk.

CHAN:  We must find connection between her and this man police seek – John R. Douglas.

DISSOLVE TO –

WIDE SHOT EXTERIOR ROAD HOUSE CAFE NIGHT – As a car drives up to the door of the cafe.

DISOLVE TO –

INTERIOR LOBBY OF CAFE as Shirley comes up the stairs in background, moving down to foreground where waiter stands near entrance to dining room.

WAITER:  How do you do, madam.

CUT TO MEDIUM CLOSE SHOT on Shirley and waiter near entrance to dining room.

SHIRLEY:  Mr. John R. Douglas – I’m to meet him here.

WAITER:  Oh, yes madam – (Glances through doorway to cafe) – this way please.

CUT TO FULL SHOT as the waiter and Shirley start down into the cafe passing tables and on to a corner table –

CUT TO ANOTHER SHOT by corner table as the waiter brings Shirley to Douglas, who is there.

WAITER:  Here’s the lady, sir.

JOHN:  Hello, Shirley.

SHIRLEY:  Hello.  Am I late?

JOHN:  No.  You must have hurried.

SHIRLEY:  Oh I did.

CUT TO CLOSE SHOT by John, Shirley and waiter at table.

WAITER: (Handing menu to John) Supper sir?

JOHN: (To Shirley) Supper?

SHIRLEY:  Oh – oh no, thank you, nothing to eat.  Just coffee.

JOHN:  The same for me, please.

WAITER:  Yes sir. (Exits)

CUT TO CLOSEUP on Shirley.

SHIRLEY:  You know, I had a feeling I was being followed.

CUT TO MEDIUM CLOSE SHOT on the two at table.

JOHN:  So did I.

SHIRLEY:  You did?

CUT TO CLOSEUP on Shirley as she continues:

Did you see Sir Lionel?

CUT TO CLOSEUP on John.

JOHN:  Yes, but it wasn’t easy.

CUT TO CLOSEUP on Shirley.

SHIRLEY:  He didn’t refuse to see you?

CUT TO CLOSEUP on John.

JOHN:  Oh no, no.  He was attending a bridge party in Barry Kirk’s penthouse and I was obliged to wait in the office below.

CUT TO MEDIUM CLOSE SHOT on the two as John continues:

He seemed surprised when he found I’d come from you – tried to trick me into telling him where you lived and your name.

SHIRLEY:  But you didn’t?

JOHN:  Of course not.

CUT TO CLOSEUP on John as he continues:

I told him I wouldn’t unless he’d promise to protect you.

CUT TO CLOSEUP on Shirley as John’s voice continues though shot —

But he refused to compromise.

CUT TO MEDIUM CLOSE SHOT of the two.

SHIRLEY:  What will he do?

CUT TO CLOSEUP on John

.JOHN:  He said if you didn’t tell him where Alan Raleigh is and testify against him –

CUT TO MEDIUM CLOSE SHOT on the two as John continues:

– he’d find you, take you back to England and try you as an accessory after the fact for shielding a murderer.

CUT TO FULL SHOT by table – the waiter enters with coffee and cups on a tray and starts putting them on the table.

CUT TO CLOSE SHOT on John and Shirley as the cups and coffee are put down on the table before them.

CUT TO MEDIUM CLOSE SHOT on the group at table – waiter finishes putting cups, etc. down.

CUT TO CLOSEUP on Shirley, her head a little averted.

CUT TO MEDIUM SHOT as waiter exits.

CUT TO CLOSE SHOT on John and Shirley.  John continues – now that waiter has gone.

I pleaded with him – told him he was heaping tragedy on a girl who had suffered too much already.  But he’s an iceberg.

CUT TO CLOSEUP on Shirley much distressed as she speaks.

SHIRLEY:  But didn’t you tell him I don’t know where Alan is?  That I’d never seen him since that night in London?

CUT TO CLOSEUP on John.

JOHN:  He doesn’t believe it.  I told him he was asking too much of you – of any girl – to send a man she once loved to a hangman.

CUT TO MEDIUM CLOSE SHOT of the two.

SHIRLEY:  Couldn’t he understand that?

JOHN: (Folding his hands on the table) He agreed to think it over – told me to come back tomorrow afternoon at –

CUT TO CLOSEUP on Shirley.

John’s voice finishes:

– three o’clock.

SHIRLEY:  Maybe he said that so he can have you followed and find me.

CUT TO MEDIUM CLOSE SHOT on the two.

JOHN:  In that case I’d better not see him again. (He takes up coffee pot to pour coffee)

SHIRLEY: (Stopping him) I don’t think I even want coffee, John.  Do you mind taking me home?

JOHN:  Of course not, dear. (Puts coffee pot down again) (Calls off [scene]) Check, please.

CUT TO FULL SHOT by the table as waiter to the table with check, which John takes, pays
waiter –

WAITER:  Thank you..

As John and Shirley rise from table –

DISSOLVE TO –

EXTERIOR SHIRLEY’S APARTMENT HOUSE.

THEY GET OUT of the car and start up steps to door.

CUT TO CLOSE SHOT on Shirley and John outside apartment house door – he kisses her –

JOHN:  Goodnight, dear.  Think it over.  Marry me and we’ll go away together.

CUT TO MEDIUM CLOSE SHOT on the two.

SHIRLEY:  Oh, I’d like to.  I love you better than anything else in the world, but don’t ask me to decide now.  Goodnight, dear. (They kiss again – John opens the door for her and she goes inside)

CUT TO EXTERIOR STREET by car as John comes down to the car, gets into driver’s seat and starts car –

CUT TO FULL SHOT exterior apartment house as John drives out in car.

DISSOLVE TO –

FULL SHOT exterior street near filling station – Flannery stands in foreground with filling station man –

Newsboy enters from background shouting papers –

NEWSBOY:  Extra!  All about the Wall Street murder!  All about the Wall Street murder.  Extra – paper!

FLANNERY:  Hey, boy!

The boy comes down from foreground to Flannery with paper —

In the background a car drives into scene toward filling station.

Newsboy goes away shouting his wares.  His voice continues throughout the scene as he shouts:

NEWSBOY:  PAPER!  EXTRA!  All about the Wall Street murder. Thank you.  Paper, sir?  Here you are.

(CALLS HIS PAPER THROUGHOUT SCENE) 

MEDIUM SHOT on John’s car going along.

CUT TO MEDIUM SHOT by filling station as John drives his car into the foreground, stopping just where Flannery and the filling station man stand.

Newsboy’s voice continues shouting:

Paper!  Paper!  All about the Wall Street murder!  Paper! Extra!  Extra!  Evening Journal!  All about the Wall Street murder.

CUT TO CLOSE SHOT on the filling station man, standing by car in which John sits – man gives broad and knowing wink to Flannery –

CUT TO MEDIUM SHOT on Flannery and John – who is in car – as Flannery opens the door of the car and speaks:

FLANNERY:  Come on – get out on this side.

CUT TO CLOSE SHOT by John and Flannery –

JOHN:  What for?

FLANNERY:  Ride down to headquarters.

JOHN:  Why?

FLANNERY:  Take a look at those headlines.

As he says this, Flannery hands the paper he has just bought to John. John takes it and
studies it –

CUT TO INSERT on the paper with glaring headlines about murder of Sir Lionel Grey.

CUT TO MEDIUM CLOSE SHOT by John and Flannery as John looks up from the paper to Flannery –

FADE OUT.

FADE IN

INTERIOR KIRK’S OFFICES –

MEDIUM SHOT as Flannery enters to Fife and Chan, who stands back to camera.

FLANNERY:  The autopsy showed no signs of poisoning in the stomach but the lungs showed –

CUT TO CLOSE SHOT Fife with Chan, as Flannery finishes:

– gas.

FIFE:  Has Douglas decided to talk yet?

CUT TO CLOSEUP on Flannery.

FLANNERY:  He denies he was here last night but the fingerprints we found on that desk are his.

CUT TO CLOSE SHOT on Chan, Fife and Flannery –

CHAN:  What about the elevator boy?

FLANNERY:  Identified him positively –

CUT TO ANOTHER CLOSE SHOT of the group as Flannery continues:

– as the man he brought up and took down just about the time of the murder.  When we proved Douglas was lying he shut up like a clam.

FIFE:  That looks bad for him.

FLANNERY:  He’s guilty.  If he isn’t, why does he lie?  Why is he afraid to talk?

CUT TO ANOTHER CLOSE SHOT of the three men.

CHAN:  Silence is golden except in police station.

FLANNERY:  I’m going down and give him another grilling.  Where can I reach you? (This to Fife)

FIFE:  We’re staying here –

CUT TO ANOTHER MEDIUM CLOSE ANGLE of the group as Fife continues:

Mr. Kirk insisted upon our being his guests during the investigation.

FLANNERY:  We? (To Chan) Thought you were on your way to Honolulu.

CUT TO ANOTHER CLOSE ANGLE of the three.

FIFE:  No – Mr. Chan has kindly consented to stay.

FLANNERY:  Oh – think we need help, Charlie?

CHAN: (Indicating Fife) Inspector Fife – (Changes tone) Oh, I want to go home and meet new boy.

Fife and Flannery laugh.

FLANNERY:  Do you mean to say I have the wrong man?

CUT TO CLOSE SHOT of the three – different angle. Flannery tipped in.

CHAN:  Can happen.  Even wise fly sometimes mistake spider web for old –

CUT TO FULL SHOT on the three, Chan finishes:

– man’s whiskers.

FLANNERY:  Well I hope you dig up something.  It sometimes takes two heads to.

CHAN: (Makes gesture) Also takes two heads to make empty barrel.

FLANNERY:  See you later. (Exits)

CUT TO MEDIUM CLOSE SHOT on door as Flannery exits through it.

CUT TO CLOSE SHOT by Chan and Fife –

FIFE:  Yeah.  Charlie, tell me, why – why do you pay so – (Pauses as he sees Chan looking off scene – looks that way also)

CUT TO CLOSE SHOT on door with glass panel against which man’s shadow is seen.

CUT TO CLOSE SHOT by Chan and Fife, Fife starts away.

CUT TO MEDIUM SHOT in room as Fife goes to the door and opens it quickly, disclosing Paradise outside, listening.

PARADISE:  Pardon, sir – I –

CUT TO CLOSE SHOT on Chan – he is watching suspiciously toward direction of Paradise (Off [scene]).

Voice of Paradise continues through shot —

PARADISE’S VOICE:  I was just about to knock.

CUT TO MEDIUM SHOT on Fife and Paradise at door – as Paradise continues:

Letter addressed to Sir Lionel – (Hands large envelope to Fife)

CUT TO MEDIUM SHOT by group of three – camera shooting toward Chan through doorway at which Fife and Paradise stand.

Paradise continues:

– and Miss Garland’s waiting upstairs, sir.

FIFE:  Thank you.

PARADISE:  Yes, sir.

CUT TO CLOSE SHOT on Chan – watching toward direction of Paradise.
CUT TO MEDIUM SHOT by Chan.

Fife enters to him with the envelope in his hand.

FIFE:  From Scotland Yard to Thomas Cook and Sons.

CHAN:  Is not Garrick Enderby with Cook and Son?

FIFE: (Opening the letter) Yes. (Examines contents of envelope) A blank sheet of paper! (Holds up envelope and examines it closely) Charlie, this envelope has been steamed and re-sealed.

(Chan has the paper in his hand and is examining it through magnifying glass)

CHAN: (Examining paper through glass) And whoever did this forgot to cleanse his hands.

FIFE:  Why?

CHAN:  There’s one fine thumb print.

FIFE:  Show me. (Takes paper and glass from Chan – examines paper) Hm.  I’m going to try and match that thumb print at Thomas Cook and Sons.  Charlie, I’ll get you to interview Miss Garland for me – will you?

CHAN:  Me?

FIFE: (Nodding his head) Yes.

Charlie searches through his pockets and takes out pearl, holding it between his fingers – exits from scene.

CUT TO INTERIOR ROOM IN KIRK’S PENTHOUSE APARTMENT –

MEDIUM SHOT on Dunwood and Gloria – as they speak the camera moves closer to them.

DUNWOOD:  Well I leave you to the tender mercies of the police.

GLORIA:  Stay here with me – I’m frightened.

CUT TO CLOSE SHOT of the two – Dunwood facing camera.

DUNWOOD:  Great Scott!  You don’t know anything to tell them do you?

CUT TO CLOSE SHOT of the two – different angle – Gloria faces camera.

GLORIA:  No.

CUT TO CLOSE SHOT of the two. Dunwood faces camera.

DUNWOOD:  Oh, well in that case speak freely. (He turns)

CUT TO FULLER SHOT of the two as Dunwood continues:

Kirk’s waiting for me – I’ll see you later.

Dunwood exits – Gloria moves toward the table at background near window – camera moves back as she goes.

PARADISE: (Entering from foreground) May I bring you something to drink while you’re waiting, Miss Garland?

GLORIA: (As she takes out cigarette and lights lighter) No, thank you.

Paradise exits, Gloria lights her cigarette – Chan seen entering scene outside on the roof –

Chan comes into the room.

CHAN:  Good morning, Miss Garland.  Inspector Fife appointed me unworthy –

CUT TO CLOSEUP on Gloria as she turns – Chan’s voice finishing through shot.

– substitute.

GLORIA: (Rising) I told Inspector Flannery everything I knew about this last night.

CUT TO CLOSE SHOT on Chan.

CHAN:  Humbly begging pardon, I’m in great hurry.

CUT TO FULL SHOT of the two – Gloria is moving away from Chan.

Chan enters to her – camera moving up on the two as Chan continues:

How did this pearl from your broken string mix itself with ink on Sir Lionel’s desk? (Holds up pearl as he speaks)

GLORIA:  It isn’t mine. (She moves away – Chan follows her)

CHAN:  Do not tangle foot in fringe of murder. (Gloria moves down) (Chan follows) Only foolish mouse plays with cat.  Were you in Sir Lionel’s office last night before he died or after?

Gloria turns from Chan without answering and moves to window seat in background where she sits.

Chan moves after her.

CUT TO CLOSEUP on Chan and Gloria, as Chan seats himself by Gloria.

GLORIA: (Realizing she has got to speak) Wait – I’ll tell you everything.  He stopped me as I passed the office on my way up here.  He told me he had asked Mr. Kirk to invite me here for a special request.

CHAN:  And that reason was – ?

GLORIA:  He asked me about a girl who disappeared from a show four years ago in London – a girl I played with.  He wanted to know if I’d seen her in New York.  I told him no.

CHAN:  Why did you tell him no?

GLORIA:  We were dear friends.  She’s a lovely girl.  I was afraid I might get her into some trouble.

CHAN:  Where can I find her?  What is her name?

GLORIA:  She’s known as the Masked Dancer at the Follies.

CHAN:  The Masked Dancer at the Follies?

CUT TO MEDIUM CLOSE SHOT on the two – Chan speaks to someone off [scene].

Paradise, my hat. (Rises) (To Gloria) Pardon Haste.  Thank you so much. (Hands her pearl as he says) Oh, your pearl.

GLORIA: (Rising) Is that all you want to know – just that one thing?

CHAN:  One at a time is good fishing.

CUT TO WIDE SHOT in the room as Paradise enters with Chan’s hat, hands it to him – opens door for Chan – who goes out.

FADE OUT.

FADE IN

INTERIOR STAGE of Follies –

FULL SHOT shooting down on the Masked Dancer as she runs on to the stage – center – takes her bows to the applause which comes through the shot.  The curtain comes down – dancer moves toward wings to exit.

CUT TO FULL SHOT shooting down on to the stage, showing other dancers around – as Shirley (the Masked Dancer) runs along stage toward the stairs up which she starts.

CUT TO SHOT on the stairs as Shirley runs up the stairs –

ANOTHER SHOT – she comes to door to dressing room at top, through which she goes.

CUT TO INTERIOR DRESSING ROOM FULL SHOT as Shirley comes in and sits down at dresser.

CUT TO MEDIUM SHOT in wings of stage – Chan is here with stage hand – the stage hand points in the direction of the stairs.

MAN:  There’s her room – number one – right up there.

CHAN:  Thank you so much. (Chan exits from the scene)

CUT TO INTERIOR DRESSING ROOM – Shirley seated at the dressing table, preparing to remove make up.

CUT TO INTERIOR DRESSING room door by stairs, as Chan comes to it – takes out card from his pocket and writes on it – knocks on door.

CUT TO INTERIOR DRESSING ROOM – full shot – as knock is heard Shirley speaks to maid.

SHIRLEY:  See who it is. (Rises – maid goes to door)

CUT TO EXTERIOR OF DOOR – maid opens it.

CHAN: (Handing card to maid – off scene) Will you give card to lady, please?

MAID’S VOICE:  Yes sir.

Chan stands by the door – up the stairs come the chorus girls on their way to dressing rooms – they pass Chan as he stands at the door watching them.

CHORUS GIRL: (As she passes Chan) Who ordered chop suey?

CUT TO ANOTHER SHOT on the stairs. More chorus girls run up the stairs.

SECOND CHORUS GIRL:  No laundry today.

CUT TO MEDIUM SHOT shooting from the stairs toward Chan who stands by dressing room door watching the girls as they run up the stairs – their costumes decidedly scanty.

CHAN:  So I notice.

CUT TO CLOSE SHOT INTERIOR DRESSING ROOM by door as the maid opens it to Chan outside – says:

MAID:  Can’t you see Mademoiselle after the matinee, sir?

CHAN:  Tell her I’m afraid person Sir Lionel Grey sought may disappear again.

SHIRLEY’S VOICE:   Ask him to come in.

Chan comes into the room – camera moves over with him as he crosses to Shirley at dressing table – she speaks to maid —

SHIRLEY:  Tanya, would you wait outside, please?

CUT TO CLOSER SHOT on Chan and Shirley – she is seated at the dresser – Chan stands by her.

CHAN:  I must ask you please to remove mask.

SHIRLEY:  I always wear it to and from the theatre and while I’m here.

CUT TO MEDIUM CLOSE SHOT on the two.

CHAN:  Also, perhaps, to avoid recognition. (Shirley rises)

CUT TO CLOSEUP on Shirley as she removes her mask.

CUT TO MEDIUM SHOT of the two.

SHIRLEY:  Well?

CHAN:  You look like nice girl –

(She turns away from Chan)

– you have not been happy since that night in London four years ago when you disappear.

CUT TO CLOSE SHOT on Shirley, distressed as she speaks:

SHIRLEY:  You’re making sure I’ll never be happy again, aren’t you?

CHAN’S VOICE:  I seek only truth.

CUT TO MEDIUM SHOT on the two as Chan continues:

A man has been arrested and charged with murder.  I do not believe he’s guilty.

CUT TO CLOSEUP on Shirley as she speaks a little wildly.

SHIRLEY:  He isn’t — he’s innocent.  Why, he didn’t even know Sir Lionel was dead.  He was going back this afternoon to see him.

CUT TO MEDIUM SHOT of the two.

CHAN:  You knew he was there then?

SHIRLEY:  He went to Sir Lionel to plead for me.

CHAN:  He is shielding you?  That is why he will not talk. (Turns around looking down toward chair) May I take seat?

SHIRLEY:  Of course.

CHAN:  Thank you.  Now tell me –

SHIRLEY:  You’ll only use what I tell you –

CUT TO CLOSEUP on Chan – Shirley’s voice finishes through shot –– against me.

CHAN:  You forget police are also human beings.  You can trust me.

CUT TO CLOSEUP on Shirley as she sits down.

CUT TO MEDIUM SHOT on Chan and Shirley – as she turns in Chan’s direction –

CUT TO CLOSEUP on Shirley as she starts to speak:

SHIRLEY:  Well I was in love with Alan Raleigh.  We were to be married.  I was young – infatuated.  The day after his aunt’s death I discovered he was guilty of the crime.

CUT TO CLOSE SHOT on Chan –

CHAN:  That is why you disappeared.

CUT TO CLOSEUP on Shirley as Chan finishes:

SHIRLEY:  Oh, I had loved him.  I couldn’t give him up to justice.  But ever since, I’ve been hunted – hunted – as if I myself were guilty.

CUT TO MEDIUM SHOT of the two.

CHAN:  Did you go with him?

SHIRLEY:  No.  I’ve never seen him since that day in London, but I think he’s in New York.

CHAN:  Why?

SHIRLEY:  I’ve seen his Chinese servant here.

CUT TO CLOSE SHOT on Chan – he becomes more interested.

CHAN:  Do you remember name of servant?

CUT TO CLOSEUP on Shirley –

SHIRLEY:  In London he was called Li Gung.

CUT TO CLOSE SHOT on Chan repeating the name.

CHAN:  Li Gung – Li Gung.

CUT TO CLOSEUP on Shirley becomes more worried.

SHIRLEY:  What will they do to John?

CHAN’S VOICE:  You are much interested in him?

SHIRLEY:  Oh, he must be freed.  If necessary I’ll tell them everything – I’ll even let them take me back and –

CUT TO MEDIUM SHOT on Chan and Shirley as she finishes:

– try me.

CHAN:  No – no.  More important to find Alan Raleigh.  For present keep secret.  I will keep also – like good friend.

SHIRLEY: (Putting her hand in his) Oh, I need a friend.  John and I both need a friend – desperately.

CHAN:  I will try to be that friend.

CUT TO CLOSE SHOT of the two as they get up from chairs – Chan still holding her hand.

SHIRLEY:  Oh thank you.  I’m sure you can help us.

CHAN:  I’m only insignificant, clumsy person, and it is difficult to pick up needle with boxing glove. (Exits)

DISSOLVE TO –

INTERIOR KEE LIN’S RESTAURANT.

MEDIUM SHOT on Kee Lin and Chan seated together in room.

KEE LIN:  No matter how great the difficulty, fortune always leave an open door, through which can come remedy.

CHAN:  You encourage me, honorable friend.

KEE LIN:  Tell me how I can help you?

CHAN:  You have done so already.  Friends, like fiddle strings, should not be stretched too tight.

KEE LIN:  Ask.

CUT TO CLOSEUP on Chan.

CHAN:  I seek man named Li Gung.  Where can I find him, wise one?

CUT TO CLOSEUP on Kee Lin – he considers this – putting finger to forehead.

KEE LIN:  Li Gung.  On Lee Street.  Number thirteen thirteen, there is a man called Henry Li — he has a cousin Li Gung who sometime comes to visit him.

CUT TO MEDIUM SHOT ON THE TWO.

CHAN:  Thirteen thirteen.  And this Li Gung – what is known of him?

KEE LIN:  Very little except he once lived in Limehouse – London.

CHAN:  Limehouse – London.  Out of the darkness of the unknown comes bright spark of light.  My humble gratitude is yours. (Takes up hat) Duty says I must walk my way. (Rises from chair)

KEE LIN: (Bowing – in Chinese) Goodbye.

CHAN: (Bowing – in Chinese) Goodbye. (Exits)

DISSOLVE TO –

INTERIOR HALLWAY of Li Gung’s apartment house – FULL SHOT as Chan comes up the stairs – pauses by door and listens – then starts up on the next flight of stairs till he reaches the corner, turns here and starts down a step or two again – stumbles and clatters down the remaining steps of the flight till he comes to position near door – he holds his ankle as though he has hurt it.

CUT TO MEDIUM SHOT on door as it opens and Henry comes out to where Chan is sitting on the stairs.

HENRY:  What’s the matter – did you hurt yourself?

CHAN: (Rubbing his ankle) I have given my ankle a bad turn – if I could only rest a little.

HENRY:  Sure. (Crossed to Chan and helps him to his feet) Here let me help you.  Come on. (He helps Chan in through doorway)

CUT TO INTERIOR LI GUNG’S ROOM.

FULL SHOT as Henry helps Chan in Li Gung is there –

HENRY:  Say uncle, this gentleman hurt himself.

LI GUNG: (Rising from chair and going toward the two) Condescend to enter my contemptible abode.

CHAN:  Thank you.

CUT TO CLOSER SHOT by three as Chan sits.

CUT TO MEDIUM CLOSE SHOT on Henry and Chan near door.

HENRY:  I go get first aid kit. (Moves toward background)

CHAN:  Injury not serious enough for first aid kit.

CUT TO CLOSEUP on Henry.

HENRY:  But every day Boy Scout have got to do one good deed.

CUT TO FULL SHOT by group in room as Henry turns and exits through door.

CUT TO MEDIUM CLOSE SHOT on Chan and Li Gung.

CHAN:  Every day one good deed – nice boy.  Accident overwhelmed me while in search of my old friend Li Gung.

LI GUNG: (Becomes suspicious – looks at Chan) You’re friend of Li Gung? (Looks toward a photograph on table – Chan’s eyes look in the same direction)

CUT TO INSERT of photograph of Chinese man in European clothes.  Voice of Chan heard through shot.

CHAN’S VOICE:  Yes –

CUT TO MEDIUM CLOSE SHOT on Chan and Li Gung. Chan continues:

That is excellent likeness of him.

LI GUNG:  Yes – he was here this morning.

CHAN:  Where can –

CUT TO CLOSEUP on Li Gung – Chan’s voice finishes through shot –

– I find him?

LI GUNG:  He disappeared on business of his own.

CUT TO CLOSEUP on Chan as he says:

CHAN:  He still works for same Englishman?

CUT TO CLOSEUP on Li Gung as he says:

LI GUNG:  My cousin speaks little of his affairs.

CUT TO CLOSEUP on Chan, turns away as he says:

CHAN:  Hm – probably why he is so valuable to his employer.

CUT TO FULL SHOT in the room as the door opens and Henry comes in with Doctor, who carries kit bag.

HENRY:  Here’s Doctor Bloom – he’s got a first aid kit.

DOCTOR: (Looking from Chan to Li Gung) An accident – which one of you?

HENRY: (Indicating Chan) His ankle.

DOCTOR:  Oh. (Moves forward to where Chan is sitting)

CUT TO MEDIUM CLOSE SHOT on Chan and the Doctor as Doctor enters to Chan and kneels before him.

CHAN:  But I do not need a doctor – it – it is not serious. 

(Doctor starts to take off Chan’s sock as he speaks)

DOCTOR:  All sprains are serious.  It’s a good thing you sent for me in time.

CHAN:  But I did not send for you.

HENRY:  No – I did – that’s my good deed for today.

CHAN:  Hm.

CUT TO CLOSE SHOT on Chan as Doctor takes off the sock and examines foot – twisting foot.

CUT TO WIDER SHOT as Doctor twists foot –

DOCTOR:  What’s the idea?  There’s nothing wrong with this ankle.

CUT TO ANOTHER shot of the group.

CHAN:  I told you it was nothing.

CUT TO WIDER SHOT by the group as the Doctor rises to his feet – holds out his hand to Chan as he speaks:

DOCTOR:  Five dollars please –

(Chan counts out money)

CUT TO FULL SHOT in the room as Chan counts out money and gives it to Doctor.

DOCTOR:  Thank you.  Good day. (Bows to Chan) Good day sir. (Bows to Li Gung and exits)

CHAN: (Putting on sock) A fool and his money never become old –

CUT TO CLOSEUP on Li Gung as Chan finishes:

– acquaintances.

LI GUNG:  So I observe.

CUT TO CLOSE SHOT on Chan working with his shoe, out of scene.

CHAN:  These doctors – five dollars for this – what would he charge for a broken neck?

CUT TO MEDIUM SHOT on Chan and Li Gung – as Li Gung picks up Chan’s hat and hands it to Chan.

LI GUNG:  Here’s your hat.

CHAN:  Oh I see – guest –

CUT TO CLOSE SHOT on Chan and Li Gung as Chan continues:

– who lingers too long – becomes stale like unused fish.

LI GUNG:  You are second man who has come here for Li Gung.

CHAN:  Yes?

LI GUNG:  The other was Englishman – did I not read in paper of his death?

CHAN:  Possibly.

CUT TO FULL SHOT in the room as Chan exits through door.

CUT TO MEDIUM SHOT by the door to apartment and stairway as Chan comes out – Li Gung stands in the doorway.

LI GUNG:  If you will accept humble advice — step carefully – rain quenches unguarded fire.

CUT TO CLOSE SHOT on Chan and Li Gung.

CHAN:  Ah yes – but it takes very rainy day to drown duck.

Li Gung slams door shut.

CUT TO ANOTHER SHOT of the stairs, as Chan starts down the stairs – shooting to Chan going down, through banisters.  Henry enters down the stairs to Chan with sock as he calls:

HENRY:  Hey mister – (Enters to Chan on stairs) – you forgot your sock.

CUT TO ANOTHER SHOT on the two.  Chan takes the sock, pats Henry’s shoulder and smiles at boy as he says:

CHAN:  Thank you so much.  And every day when you are doing kind deed, remember kind hearted elephant who tried to help hen hatch chickens.

HENRY:  What did he do?

CHAN:  He sat down on little hen’s eggs. (Exits down the stairs, Henry stands, open mouthed staring after Chan – then after a pause calls down stairs)

HENRY:  I got you!

FADE OUT.

FADE IN

INTERIOR KIRK’S OFFICES –

MEDIUM CLOSE SHOT on Fife seated at desk, Dunwood seated in chair by him

DUNWOOD:  But if the police found several gas masks in Douglas’ chemical factory – why advertise?

CUT TO MEDIUM CLOSE SHOT on Fife, Kirk and Dunwood – different angle.

Dunwood finishes:

Why offer a reward?

FIFE:  Just about the place you’d expect to find them, isn’t it?  Mr. Kirk – (Rising from chair)

KIRK:  Yes sir.

FIFE: (Hands written ad to Kirk) Will you be so kind?

KIRK:  I’ll see that it goes in all the morning and evening papers.

DUNWOOD:  Thank you.  But I don’t think it will bring any results – looks like a slim chance.

CUT TO FULL SHOT in the room as Chan enters – Dunwood moves background.

FIFE:  Ah Charlie –

KIRK:  Good evening – good evening.

FIFE: (Seated on edge of desk) I’ll wager you’ve been busy.

CHAN:  Oh – busy as one-eyed cat watching six mouse holes.

FIFE:  You find anything?

CHAN:  My day’s work has been useless as life preserver for fish.

FIFE:  Too bad –

CUT TO CLOSE SHOT on Fife as he continues:

– anything happen after you telephoned?  What about Li Gung?

CUT TO CLOSE SHOT on Chan.

CHAN:  Boy Scout perpetrated good deed and updumped –

CUT TO FULL SHOT on group at desk as Chan finishes:

– apple cart.

KIRK:  I’ll attend to the ad – we’ll be on our way. (Looks toward desk where Fife is seated) Oh, you got the cable.

FIFE:  Yes – thanks.

DUNWOOD: (Coming up to desk) Cheerio – better luck another day.

FIFE:  Thank you. CUT TO CLOSE SHOT on Chan and Fife at desk.,

CHAN:  What did you find at Cook and Sons?

FIFE:  Charlie, the thumb print on this blank sheet of paper is not Enderby’s.

CHAN:  No?

FIFE:  No – here’s a photograph of it – – someone else was opening Sir Lionel’s mail.

CUT TO MEDIUM SHOT on Paradise as he enters with tray.

CUT TO CLOSE SHOT on Chan – watching.

CUT TO CLOSE SHOT on Chan and Fife at desk – Fife speaks to Paradise.

FIFE:  Bring it in here, will you?

CUT TO FULL SHOT as Paradise enters to the desk with tray and sets it on desk –

CUT TO MEDIUM CLOSE SHOT on Fife at desk, Paradise by him – Paradise hands paper to Fife.

PARADISE:  I found this in Sir Lionel’s room behind the dresser, sir — might be important.

FIFE:  Thank you.

CUT TO FULL SHOT as Fife sits.

PARADISE: (In background – to Chan) Your hat, sir? (Takes Chan’s hat) (Exits)

FIFE:  Charlie –

CUT TO CLOSE SHOT on Chan and Fife at desk – examining letter, Fife continues –

– my cable and this letter proves that your dancer was telling the truth.

CHAN:  I think so.

FIFE:  Sir Lionel was looking for an Englishman named Alan Raleigh.

CHAN:  This butler, Paradise, also English and also have opportunity to handle mail.(Indicates paper Fife holds in hand) Look at date of post mark on that envelope.

FIFE: (Examining the envelope) You’re right, Charlie – the letter was stolen from this envelope.

CUT TO ANOTHER SHOT by the two as Fife lifts tray into scene across desk and sets it down – continues:

Quickly – see if you can find a thumb print on this tray.

CUT TO CLOSE SHOT on Chan and Fife examining the tray.

CHAN:  Look! (Hands glass to Fife)

CUT TO CLOSE SHOT of the two – different angle, as Fife examines tray through glass.

CUT TO ANOTHER CLOSE ANGLE SHOT of he two examining the tray.

CUT TO CLOSE SHOT – different angle, as Chan pours some solution from bottle on to the tray –

CUT TO MEDIUM SHOT of the two as they examine the tray with solution on it.

CUT TO CLOSEUP on the tray showing Chan’s hand in shot glass is held over the thumb print on tray.

CUT TO MEDIUM CLOSE SHOT on Chan and Fife – Chan is looking at the tray and paper through glass.

CHAN:  Identical!

FIFE:  Positive?

CHAN:  Could not be mistaken.

FIFE:  It seems impossible we’ve blindly stumbled on the solution of this crime.

CHAN: (Putting glass away in his pocket) The impossible sometimes permits itself the luxury of occurring.

FIFE:  I think I’ll take this man in charge.

CHAN:  No — wait — we can watch.  Do not wave stick when trying to catch dog.  I am sorry this happened.

FIFE:  Why?

CHAN:  It adds more water to an ocean of puzzlement. (Ticks off names on fingers as he speaks) John R. Douglas — Alan Raleigh — Li Gung — Enderby — and now Paradise.  Innocent and guilty in this case are harder to separate than Siamese Twins.

CUT TO INTERIOR DRESSING ROOM.

CLOSE SHOT on Shirley seated at table writing note –

CUT TO INSERT OF LETTER which reads as follows:

Dear Mr. Chan:
May I see you at once.  I have decided to tell the police everything.

CUT TO MEDIUM SHOT in dressing room – maid here with Shirley.

Maid has head dress of Shirley’s costume in her hand and is arranging it.

SHIRLEY:  Is my car outside?

MAID:  I don’t know.  Shall I go and see, Mademoiselle?

CUT TO CLOSE SHOT on Shirley.

SHIRLEY:  No – never mind. (Pauses in her writing – looks ahead) I’m going to tell the police everything, Tanya.

(The shadow of a man is seen in background on wall)

CUT TO FULL SHOT in the room – Tanya, the maid, stands watching Shirley.

CUT TO EXTERIOR STAGE DOOR as car drives up – the chauffeur gets out of the car — camera trucks up to the car as a hand comes in, feels along the top of the window, then winds the window shut –

CUT TO INTERIOR DRESSING ROOM.

FULL SHOT – Shirley at dresser hands note to maid.

SHIRLEY:  Tell the chauffeur to deliver this at once — the gentleman may come back with him.

MAID:  Yes, Mademoiselle.

CUT TO INTERIOR CAR – CLOSE SHOT as a hand throws bottle into car.

CLOSE SHOT on the floor showing the small bottle bursting on the floor and fumes rising – the door is shut.

CUT TO EXTERIOR STAGE DOOR as maid comes out to the chauffeur – hands him the note as she says:

MAID:  Mademoiselle wants you to deliver this at once – a gentleman may come with you – and hurry.

CHAUFFEUR:  Okay, honey.

Moves to the car, camera panning with him – gets into car – closes door and starts car.

CUT TO WIDE SHOT showing the car driving along street.

CUT TO CLOSE SHOT on chauffeur inside car – driving.

CUT TO WIDE SHOT in a street, car going along.

CUT TO CLOSEUP on the chauffeur in car as he struggles with his collar as if trying to get air.

CUT TO SHOT in street showing car traveling along from foreground.

CUT TO CLOSE SHOT on the chauffeur inside the car as he slumps in his seat.

CUT TO SHOT of the car going along street – begins to wobble in its course.

CUT TO SHOT of the car – shooting through the windshield to the street – ahead.

CUT TO WIDE SHOT in street as car comes along and crashes into a large obstacle.

CUT TO FULL SHOT by car in street as people in the street start running to it, crowding
around it.

CUT TO CLOSER SHOT on people crowding around the car – VOICES HEARD.

VOICES:  Is he dead?  Certainly.  Oh my!

CUT TO CLOSE SHOT by the car.

Policeman at the door opens it and stoops down toward chauffeur inside (Off [scene]).

CUT TO CLOSER SHOT as people crowd around car – another policeman comes into scene –

CUT TO CLOSE SHOT by first policeman as he leans into the car and takes another look at the chauffeur, straightens from car as he speaks:

POLICEMAN:  This fellow’s dead – (Starts to hustle the people around him back) – get back there – all get back – get back.

CUT TO WIDER SHOT as people move back.

VOICES:  Did you see it?  No – I was down the street a ways.

Policeman calls to another –

POLICEMAN:  Hey Sully.

CUT TO CLOSE SHOT on Sully and policeman at car – as the one named Sully comes to him near car door.

POLICEMAN (Continued): (Showing him object) Come here – look at this.

SULLY:  What do you make of it?

POLICEMAN:  I don’t think the crash killed him – you’d better phone the Inspector.

CUT TO CLOSER SHOT by the car a man comes into scene, dressed in chauffeur’s uniform – goes to get in car – policeman stops him.

POLICEMAN:  You know who this car belongs to?

MAN:  It belongs to the Masked Dancer at the Follies – her name’s Marlowe – she’s over at the theatre now.

POLICEMAN:  Guess we’ll go and see that dancer.  I’ll phone the Inspector from the theatre.(Starts away)

SULLY: (As he moves the people back from the car) Okay.  Come on, get back folks – step back.

DISSOLVE TO –

MEDIUM SHOT outside dressing room door and stairs as the policeman comes up the stairs to the door and knocks on it.

CUT TO INTERIOR DRESSING ROOM.

FULL SHOT – Shirley and maid here as knock heard.

SHIRLEY:  Give me my robe – see who it is.

(Maid goes to the door and opens it)

POLICEMAN: (Entering to Shirley) I have some bad news for you, Miss – your
chauffeur’s —

CUT TO CLOSE SHOT on Shirley as she listens – the policeman’s voice finishes through
shot —

– just been murdered.

SHIRLEY:  Murdered?  How?

POLICEMAN’S VOICE:  Looks like gas.

SHIRLEY: (As she gets this) That was meant for me.

CUT TO FULL SHOT on Shirley and policeman.

POLICEMAN: (Handing note to her) Did you write this letter?

CUT TO CLOSE SHOT on Shirley. The policeman’s hand holding note, seen in the shot.

SHIRLEY:  You’d better open it —

CUT TO MEDIUM CLOSE SHOT on the two as policeman opens letter.  Starts to read over it.

CLOSE SHOT on Shirley as she watches policeman (Off scene) – frightened.

CUT TO CLOSE SHOT on policeman.

POLICEMAN:  What was all this you were –

CUT TO CLOSE SHOT on Shirley as she turns – policeman’s voice continuing through shot.

POLICEMAN’S VOICE:  – going to tell the police.  Guess you’d better come down to headquarters.  I’ll be waiting for you outside.

CUT TO FULL SHOT in dressing room as policeman exits.  Maid closes the door behind him.

FADE OUT.

FADE IN

INTERIOR HEADQUARTERS – MEDIUM SHOT – Shirley and Flannery are seated by desk – Chan standing by desk.  He is questioning her.

SHIRLEY:  This is just as I told it to Mr. Chan – and there’s nothing I can add to it.

FLANNERY:  Would you recognize this Alan Raleigh –

CUT TO CLOSEUP on the girl and Flannery –

CUT TO ANOTHER CLOSE SHOT of the two at desk – as Flannery finishes

– would you?

CUT TO ANOTHER CLOSE SHOT of girl and Flannery –

SHIRLEY:  I think so – but he may have changed.

CUT TO CLOSE SHOT of Shirley and Flannery, different angle.

FLANNERY:  We may have him here this afternoon –

CUT TO FULL SHOT by desk as Flannery rises from the desk — continues:

– will you wait in the next office?

Shirley rises from her chair, crosses back of Flannery to left of scene and then turns –

CUT TO CLOSEUP on Shirley and Flannery – she is very much distressed as she speaks:

SHIRLEY:  After what happened last night you must be convinced that Mr. Douglas is innocent.

CUT TO MEDIUM SHOT on Shirley and Flannery –

FLANNERY:  There’s one thing we’re sure of – it wasn’t Douglas who killed your –

CUT TO CLOSEUP on Shirley and Flannery as he finishes

– chauffeur.

(Shirley starts away)

CUT TO MEDIUM SHOT in room as Shirley exits – Chan opening the door for her to go out.

FLANNERY (Continued): (As Chan moves back to him) That one is shielding Raleigh – (Steps to dictograph at desk and speaks into it) Send Douglas in here.

CUT TO MEDIUM SHOT by the door as it is opened by policeman who shows John Douglas in to the room.  Douglas moves over to desk.

Sit down Douglas. (John sits down) Well we finally found out why you won’t talk.

JOHN:  Have you?

FLANNERY:  Yes.  Do you know a girl named Shirley Marlowe?

CUT TO CLOSE SHOT on John – Flannery tipped in shot

.JOHN:  No – no – I don’t know anyone of that name.

CUT TO ANOTHER CLOSE SHOT of the three –

FLANNERY:  Think again – she’s known as the Masked Dancer at the Follies.

CUT TO CLOSE SHOT.

JOHN:  Sorry – I don’t know her.

CUT TO CLOSE SHOT – Flannery.

FLANNERY:  Don’t happen to be engaged to marry her, eh?

CUT TO CLOSE SHOT John – and Flannery.

JOHN:  Hardly – since I’ve never heard of her.

FLANNERY: (Leaning farther into shot) Did you know someone tried to kill her last night?

JOHN: (Startled) What?

FLANNERY:  Well I thought you didn’t –

CUT TO FULL SHOT in the room as Flannery continues:

– know her.  Will you ask her to come in, Charlie?

CHAN: (Moving over to door to other room – camera with him, opens door and says) Will you come in please?

CUT TO ANOTHER SHOT by the door as Shirley comes in.

CUT TO CLOSE SHOT on John as he sees her.  Recognition in his face.

CUT TO CLOSE SHOT on group –

FLANNERY:  Never saw this girl before, eh

CUT TO CLOSE SHOT on John.

JOHN:  No.

CUT TO MEDIUM CLOSE SHOT by Shirley – she moves over.

SHIRLEY: (Entering to John) John – it’s no use – I’ve told them everything.

JOHN:  Oh Shirley –

CUT TO CLOSEUP on Shirley and John as he continues:

– why did you?

SHIRLEY:  Because I want them to know that you’re innocent

CUT TO MEDIUM SHOT on the group of four –

FLANNERY:  Douglas, we know why you called on Sir Lionel – will you answer just one question?

JOHN:  If I can.

FLANNERY:  Did you see anyone in the office –

CUT TO CLOSE SHOT on John and Shirley as Flannery’s voice finishes:

– or the building?

JOHN:  Yes.

FLANNERY’S VOICE:  Who?

JOHN:  As I was waiting for the elevator, I saw a Chinaman with a basket on his arm
start –

CUT TO CLOSE SHOT Chan and Flannery as John’s voice continues through shot –

– to walk up the stairs.

CHAN:  Oh – perhaps Li Gung.

FLANNERY:  I think I’ll leave Li Gung to you, Charlie.

CHAN:  Thank you – you give me easy job

CUT TO FULL SHOT of the group of four –

FLANNERY:  We’re taking up the matter of bail for you with the District Attorney.JOHN:  Thanks.

CUT TO CLOSEUP on Shirley and John as he looks down on her.  Continues:

I owe this to you, dear.  Be careful – we can’t have anything happen to you.

FLANNERY’S VOICE: (Coming through shot) I’m taking care of that –

CUT TO FULL SHOT of the group of four as Flannery continues:

I’ve assigned a detective – (To John) Will you wait in the other office?

John moves over to the door to the other room and opens it – man enters the doorway as John goes out.

POLICEMAN: (Standing in doorway) Inspector Fife is here.

FLANNERY’S VOICE:  Send him in.

Fife comes through the door – enters to the desk by Flannery –

FLANNERY:  Well Inspector – where is Enderby?

FIFE: (Indicating Shirley) Is this young woman Miss Marlowe?

FLANNERY:  Yes.

FIFE:  I’m sorry – we can’t have Enderby here to meet her.

FLANNERY:  Why?

CUT TO CLOSE SHOT on Fife and Shirley.

FIFE:  He left town last night – nobody seems to know where he’s gone or when he’ll be back.

CUT TO MEDIUM CLOSE SHOT on the group of four –

FLANNERY:  We’ll find him. (To Shirley) Miss Marlowe, you can go –

(She turns and looks at Flannery)

– we’ll have to ask you to come back again.

(As Shirley starts to pull fur neckpiece on)

FIFE:  Pardon, Inspector – aren’t you overlooking something?

FLANNERY:  What?

FIFE:  This young woman is wanted by Scotland Yard.

(There is a long pause in which Shirley looks at Fife)

CUT TO CLOSE SHOT on Chan – watching – his face filled with pity for Shirley.

CUT TO MEDIUM SHOT on Shirley, Chan and Flannery – Flannery moves over to the phone, camera with him, picks up the phone, as bell rings.

FLANNERY:  Flannery speaking.  What’s that?  Tug boat O. Kay?  Seventieth Street.  No – I’ll attend to this myself. (Turns to Shirley) Miss Marlowe, will you wait in the –

CUT TO CLOSE SHOT on Shirley as she gets this. Flannery finishing:

– other office please.

CUT TO CLOSE SHOT on Chan and Flannery.

Gentlemen, a gas mask has been found in the East River.  I’ll order a police boat to find the tug that picked it up. (Speaks into dictograph) Have a boat ready for me at nine o’clock.

FADE OUT.

FADE IN

EXTERIOR STREET outside building, as Chan, Flannery and Fife come to a car standing by curb and get into car.

FLANNERY: (As he gets to car) Harbor police – and step on it.

CUT TO EXTERIOR STREET – THROUGH TRAFFIC – car is coming along toward camera through street –

CUT TO CLOSE SHOT on Chan, Fife and Flannery seated in the car, camera shooting toward them as car travels along.

CUT TO ANOTHER SHOT in street showing the car driving along street.

DISSOLVE TO –

WIDE SHOT – DOCKS – as the car drives in to the dock edge.

CUT TO ANOTHER SHOT – Flannery and others get out of the car.

CUT TO ANOTHER MEDIUM SHOT on the docks, near police boat as Flannery enters to man by boat, Chan and Fife with him.

MAN: (As Flannery comes in) How are you Inspector?

FLANNERY:  Hello Mike.  We’re looking for a tug boat called the O. Kay – usually ties up around Seventieth Street – East River – make it snappy.

MAN:  Right sir.

CUT TO FULL SHOT by the boat and dock as Chan, Fife and Flannery get into the police boat.

CUT TO SHOT ON RIVER showing the boat moving away from the dock – the men standing on it.

DISSOLVE TO –

CLOSER SHOT on the police boat, Chan, Fife and Flannery seen standing on the boat, sky scrapers seen on the river bank background.

DISSOLVE TO –

CLOSER SHOT of the three men standing on the tug boat – another sky scraper line background.

CHAN:  Advertising for gas mask was better idea than I thought.

FIFE:  I only hope it proves to be the right one, Charlie.

FLANNERY:  Man said he was standing on the pier and saw the tug boat O. Kay pick it up.  If we can find it, it may lead to something.

CHAN: (Turning around to face Flannery) If not – it may be long time before the beginning and ending of this case shake hands.

FLANNERY:  Cheer up, Charlie – the Big Town isn’t getting you, is it?

CUT TO CLOSE SHOT on Chan and Fife, river background –

CHAN:  Oh no – but I’m very lonesome for new boy in Honolulu.

FIFE:  How many children have you, Charlie?  Twelve, isn’t it?

CHAN: (Turning to Fife) Oh no – only eleven!

FIFE:  Only eleven!

CUT TO MEDIUM CLOSE SHOT on Chan, Fife and Flannery, river in background.

FLANNERY:  What are you trying to do, Charlie – raise enough voters to elect yourself sheriff of Honolulu?

CHAN: (Laughs) I never thought of that – but sounds like good idea. (Turns looking toward sky line again)

FLANNERY:  Was the boy born in hospital?

CHAN: (Turning back to Flannery) Oh no – home made!

(All laugh)

DISSOLVE – TO ANOTHER MEDIUM SHOT of the three on boat – they are nearing the dock sides, and a light from the tug boat is traveling along some boats docked there

CUT TO FULL SHOT on the side of tug O. Kay as the light picks up the name on it –

CUT TO MEDIUM SHOT on the three men on the police boat as the light pans over the O. Kay.

FLANNERY:  There she is, Charlie.

CUT TO ANOTHER SHOT on police boat as it comes up alongside of the O. Kay – Flannery steps off the police boat on to the O. Kay.

CUT TO A CLOSER SHOT on board the O. Kay – police boat alongside.

CUT TO CLOSER SHOT as Flannery gets to boat –

FLANNERY:  Hey you – come out here!

MAN: (Entering through door to deck) Well – what do you want?

FLANNERY:  Are you the owner of this boat?

CUT TO CLOSEUP on policeman watching scene (off [scene]).

CUT TO CLOSE SHOT on man and Flannery – the man becomes uneasy and speaks bombastically:

MAN:  Now listen, gents – you’re making a mistake – you – you got the wrong guy – I wasn’t there – and I – I don’t know anything about it – I got six witnesses can prove I was in Donovan’s –

CUT TO CLOSE SHOT on Chan and Fife as they watch – voice of man finishes through shot –

– when it happened.

CHAN:  When what happened?

CUT TO CLOSE SHOT on Man and Flannery – man getting upset –

MAN:  I don’t know.

FLANNERY:  What do you mean you don’t know?

MAN:  Well I thought you was accusing me of something.

FLANNERY:  Where’s the mask you picked up in the river?

MAN:  Is that what you want?

FLANNERY:  Yeah.

MAN:  Well why didn’t you say so?

CUT TO FULL SHOT on the boat – police boat standing by O. Kay, as the man turns inside the door to cabin.  Re-enters to Flannery with mask – hands it to Flannery –

MAN:  Here it is.

FLANNERY: (Examining the mask) Where’d you pick it up?

MAN:  Right off the Ninety-Sixth Street pier.

FLANNERY:  When?

MAN:  Early last Tuesday –

CHAN:  That was day after murder.

FLANNERY:  Yes – and here’s the number.

CUT TO CLOSE SHOT on Man and Flannery

FLANNERY:  I’ll find out who sold this and maybe who bought it.

FIFE’S VOICE:  All right.

MAN: (Becoming belligerent) Hey listen – there ought to be something coming to me for this – hadn’t there?

FLANNERY:  If you ever get what’s coming to you it’ll probably be twenty years.

MAN:  Say don’t I even get a new hat out of this?

CUT TO FULL SHOT of the group on O. Kay and police boat.

CHAN:  Good head always gets own new hat.

(Flannery steps off the O. Kay on to police boat)

FADE OUT.

FADE IN

INTERIOR LI GUNG’S ROOM –

CLOSEUP on Li Gung’s hand as he pours something down barrel of gun he holds in his
hand –

CUT TO CLOSEUP on Li Gung, gun in hand, standing near window where there is a table with gold fish bowl on it – he is putting something down the gun barrel.

CUT TO FULL SHOT on Li Gung, standing by the window – crosses from the window to other side of room, arranges a chair to face a certain position goes back to table at window, picks up piece of paper and holds it close to bowl.

CUT TO CLOSE SHOT on Li Gung by the table, holding paper close to the bowl.  He moves around the table and starts to fix gun in position near bowl.

CUT TO CLOSE SHOT on Li Gung, DIFFERENT ANGLE, he is back to camera and is arranging the gun so that it points in the direction of the chair in background.

CUT TO CLOSEUP on gun as Li Gung’s hand fixes it –

CUT TO CLOSE SHOT on Li Gung by bowl – he takes something from his pocket. Puts his hand around the bowl.

CUT TO MEDIUM CLOSE SHOT by Li Gung as he draws the window shade up, moves to the bowl, puts his hand around the bowl to feel effect of sun’s rays.

CUT TO FULL SHOT by Li Gung in room – he takes up a picture frame and sets it in a position before the bowl – crosses to the door – knock having been heard, and opens it – admitting two men.  The two men start into the room.

FIRST MAN: (As Li Gung opens door – in Chinese)  Hello.

SECOND MAN: (In Chinese) Hello.

LI GUNG:  You are on time.  I am expecting visitor whom I cannot trust.

MAN:  Police?

LI GUNG:  I need you for witnesses.  Come. (Moves across room)

FIRST MAN: (As he follows Li Gung across room) (In Chinese) I wonder what he wants?

SECOND MAN: (Moving across room) (In Chinese) He will tell us.

CUT TO INTERIOR STAIRS as Chan and Henry come up the stairs to the door – start in.

CUT TO FULL SHOT in the room as the door opens and Henry ushers Chan inside.

HENRY: (To Li Gung) Here’s Mr. Chan.

LI GUNG:  Oh, hello.

CUT TO CLOSE SHOT on Chan and Henry standing near door –

CHAN: (To Li Gung) Hello – (Indicates Henry) Big Scout very full of rice – he find me.

CUT TO FULL SHOT in room – by door – Li Gung indicates the arm chair he had previously arranged to face windows.

LI GUNG:  Please be seated.

CHAN:  Thank you. (Sits in chair)

LI GUNG: (Going to Henry who stands at door) Oh, I have business to talk.

HENRY: (Protesting) I have no place to go.

LI GUNG:  (Hustling Henry to door) Go – do good deed. (Henry exits – Li Gung closes door – moves back to Chan)

CHAN:  You have news of Li Gung?

LI GUNG:  Yes. (Looks out in direction front) My friends Po Ki and Loo Tom –

CUT TO CLOSE SHOT on the two men whom Li Gung had admitted previously – voice of Li Gung continues through shot –

– also friends of –

CUT TO MEDIUM SHOT on Chan and Li Gung as Li Gung finishes:

– Li Gung.

CHAN:  Really?

LI GUNG:  Let’s have light.

Li Gung crosses the room to the window and raises the shade.

CUT TO CLOSE SHOT on Chan watching, suspicion in his face.

CUT TO MEDIUM SHOT on Li Gung by the window, very suave as he turns toward direction of Chan and speaks:

LI GUNG:  The rays of the sun accomplish many desirable things in this world.

CUT TO CLOSE SHOT Chan – makes bow.

CUT TO SHOT by Li – he moves over – camera with him and enters to Chan.

CHAN: (As Li Gung sits down) Where is Li Gung?

LI GUNG:  Patience –

CUT TO FULL SHOT of the two in room seated together – Li Gung continues: (Bowl seen in shot)

– I have prepared startling surprise for you.

CHAN:  I shall be most happy –

CUT TO CLOSEUP on the gun placed in position by bowl.  Chan’s voice continues through shot –

– to receive it.

CUT TO FULL SHOT on the two men.  Chan turns and glances toward the picture he had previously taken to be picture of Li Gung – continues:

My old friend Li Gung looks well.

CUT TO CLOSE SHOT on Li Gung, shakes his head and speaks grimly:

LI GUNG:  That is not Li Gung.

CUT TO CLOSE SHOT on Chan, manages to conceal his discomfiture at this news.

CHAN:  No – long time since I’ve seen him.

CUT TO CLOSE SHOT on Li Gung.

LI GUNG:  You see him now – I am Li Gung!  What do you want?

CUT TO CLOSE SHOT on Chan.

CHAN:  I must be sure that you are –

CUT TO CLOSEUP on the gun, the sun’s rays striking it through bowl – Chan’s voice finishes:

– Li Gung.

CUT TO A FULL SHOT on Chan and Li Gung.

LI GUNG:  You want to know about Alan Raleigh?

CHAN:  Where is he?

LI GUNG:  In New York – I saw him recently.

CUT TO CLOSE SHOT on Chan. Li Gung’s voice finishes:

CHAN:  Perhaps at the death of Sir Lionel Grey?

CUT TO CLOSE SHOT on Li Gung –

LI GUNG:  You wish to know who killed him?

CUT TO MEDIUM CLOSE SHOT on black cat walking around table by bowl.

CUT TO CLOSEUP on the cat’s feet as they move the gun around to a different direction.

CUT TO MEDIUM CLOSE SHOT on the cat moving over table — exits.

Through the above shots of the cat the voices of Chan and Li Gung are heard –

CHAN’S VOICE:  That would favor me too much.

LI GUNG’S VOICE:  I shall tell you all.

CHAN’S VOICE:  Go on.

LI GUNG’S VOICE:  But you will never use this information.

CHAN’S VOICE:  Why not?

CUT TO MEDIUM SHOT Chan and Li Gung –

LI GUNG:  Because the dead tell no secrets!

CUT TO CLOSE SHOT on the gun, the sun’s rays striking it fully now, it goes off –

CUT TO MEDIUM CLOSE SHOT by Chan as he rises from his chair, alarmed.

CUT TO FULL SHOT in room – the two friends run forward from foreground.

Li Gung slumps forward from his chair to the floor.

CUT TO ANOTHER SHOT as the two men exit –

CUT TO MEDIUM SHOT by Chan as he moves to the table at window, stoops down and picks up something from floor.

CUT TO CLOSE SHOT on Chan as he straightens – examines the gun he holds in his hand. Examines the gold fish bowl – putting hand before it.

CUT TO FULL SHOT in the room – through the door crowds a group of excited neighbors – Chinese – CHORUS of voices heard as they crowd in, looking at the body of Li Gung on the floor.

VOICES: (In Chinese) What is it?  What happened?  Is he hurt?

POLICEMAN: (Pushing his way in) Let me in here – what’s going on here?

CUT TO MEDIUM CLOSE SHOT Chan and Policeman – Chan holds up his official badge to policeman as he speaks:

CHAN:  I am Inspector Chan of Honolulu Police – this man tried to commit murder – but made slight mistake in subject.

POLICEMAN:  Very well, Mr. Chan – I’ll know where to find you.

DISSOLVE TO –

CUT TO CLOSEUP on a badge with the number 118 on it – it is held in man’s hands.

CUT TO INTERIOR HEADQUARTERS.

CLOSE SHOT on bespectacled clerk as he examines mask to which badge is attached.

CLERK:  Yes sir – absolutely – that’s the mask I sold.

CAMERA MOVES back to take in Flannery.

FLANNERY:  How many of these have you sold in the last week?

CLERK:  Oh just that one.

FLANNERY:  You couldn’t be mistaken about who bought it?

CLERK:  Absolutely not – it was a Chinaman.

FLANNERY:  Are you sure you’d recognize this Chinaman if you saw him again?

CLERK:  Absolutely.

CUT TO MEDIUM SHOT by door as it opens and Chan comes in.

CUT TO MEDIUM SHOT by clerk, as he looks up and sees Chan (Off [scene]) recognition in his face.

CUT TO CLOSE SHOT on Chan moving along – clerk’s voice continues through shot –

Why there he is – that’s the man!

CUT TO SHOT of the group – watching Chan, as clerk watches him wide eyed.

CUT TO CLOSE SHOT on Chan – clerk’s voice continues:

He’s wearing different clothes – but I’d know him anywhere.

FLANNERY’S VOICE:  What?

CLERK’S VOICE:  Absolutely –

CUT TO CLOSE SHOT on Clerk and Flannery as Clerk continues:

– that’s the man that I sold the gas mask to.

CUT TO MEDIUM WIDE SHOT on Chan, Flannery and clerk.

FLANNERY:  That’s where this blows up – what do you think about it, Charlie?

CUT TO CLOSE SHOT on Chan by door –

CHAN:  Well I’m surprised to find out I myself man I was –

CUT TO FULL SHOT on group – Chan finishes:

– looking for.

FLANNERY:  Thanks.  We’ll call you when we want you again.  Send this gentleman home

(Clerk rises from his chair at desk)

CUT TO MEDIUM SHOT by Chan and Flannery at desk – They sit down at it – Flannery continues:

Well, Charlie – you were right.  Li Gung is the man we want.  I’ll find him if I have to comb the whole town.

CHAN:  Too late.

FLANNERY:  Why?

CUT TO CLOSE SHOT on Chan and Flannery.

CHAN:  Even now Li Gung is preparing to attend his own unworthy funeral.

CUT TO MEDIUM SHOT on Chan and Flannery as the later gets this.

FLANNERY:  Dead?

CHAN:  Dead as sardine in honorable tin can.  He invited me into trap but caught wrong fox.

FLANNERY: (Tapping Chan on chest) Did you kill him?

CUT TO CLOSE SHOT of the two –

CHAN:  No – he saved me trouble by politely killing himself.

FLANNERY:  Did you find out anything?

CHAN:  Only that Alan Raleigh is in New York.

CUT TO MEDIUM SHOT of the two.

FLANNERY:  Yes and Enderby is still missing.  I wonder if Fife could be right –

CUT TO CLOSE SHOT on the two – Flannery finishes:

– about him.

CHAN:  I don’t know – sometimes hope become scarce as midnight rainbow.

CUT TO MEDIUM SHOT of the two.

FLANNERY:  Yes – and our only arrest is out on bail – (Rises from chair) Charlie we’re on the spot — even now the New York and London papers are after us.

CUT TO CLOSE SHOT on Chan – distressed as he speaks –

CHAN:  My stupidity overwhelms me – perhaps all I’ve accomplished is to send unhappy girl back to England.

CUT TO FULL SHOT on Chan and Flannery.

FLANNERY:  Yes and that’s where Fife will take her – unless we find Raleigh.

CHAN:  I have only one miserable hope left.

FLANNERY:  What’s that?

CHAN:  Could you introduce me to Cosmopolitan Club?

FLANNERY:  I can make arrangements.  (Shakes his head dubiously) But there’s nothing there, Charlie – I think we’re all wet.

CHAN:  But man is not incurably drowned – if he still knows he is all wet.

DISSOLVE TO –

INTERIOR COSMOPOLITAN CLUB –

MEDIUM SHOT in lobby – on Manager and Chan standing together –

MANAGER:  Certainly, Inspector – right over here. (Starts toward check room) John, give this gentleman any information he wishes.

CUT TO CLOSER SHOT by check room.

CLERK:  Yes sir.

CHAN: (To Manager) Thank you so much. (Takes out membership card and examines it as he continues – to clerk) Do check numbers run as high as this?

CLERK: (As he looks at card) Yes sir.

CHAN:  Something is checked on that number now?

CLERK: (Looking around toward background of checkroom) Yes – a briefcase. (Turns back to Chan as he says this)

CHAN:  May I examine please?

CLERK:  Very well. (Exits from scene and re-enters with brief case)

CUT TO MEDIUM SHOT on Manager and Chan – Chan with case.

MANAGER:  Does that belong to some Chinese gentleman?

CHAN:  Why do you ask?

CUT TO ANOTHER MEDIUM SHOT by the check room – as Manager continues:

MANAGER:  A Chinaman came here a few days ago trying to get it – we wouldn’t give it to him because he wouldn’t tell us who sent him.

CHAN:  If you will allow me please. (Exits)

MANAGER:  Certainly.

CUT TO WIDER SHOT in hallway of club as Chan moves forward with the case and down to a table, lays case on table and opens it.

CUT TO CLOSE SHOT on Manager watching.

CUT TO CLOSEUP on Chan as he takes papers from case — glances through them, smiles – puts them back in the case – locks the case and takes up membership book.

CHAN:  Are names of all members in this book?

CUT TO MEDIUM CLOSE SHOT on Chan and Manager –

MANAGER:  Yes – alphabetically.

CHAN: (Looking through the book) You have new applications?

MANAGER:  Yes – right here. (Starts away from the scene.  Charlie follows him to the case, camera moving with them)

CUT TO MEDIUM SHOT in hallway by a big board of numbers on the wall – Chan comes to the board, indicates a number and says:

CHAN:  That one.

MANAGER:  A guest card was sent to him last night.

CHAN:  Is he in club now?

MANAGER:  No – but he received his card this morning – he may be here any minute.

CHAN:  May I use telephone?

MANAGER:  Certainly.

CUT TO ANOTHER FULL SHOT of hall as Chan comes to the foreground sits down at phone.

CHAN: (Speaking into phone) Hello – Spring 7-3100 – Inspector Flannery please – Quickly – hm?  Charlie Chan.

DISSOLVE TO –

FULL SHOT in the club hallway – Chan is in foreground.  Flannery enters from background to him – Chan rising as Flannery comes down.

FLANNERY:  Has he come yet?

CHAN:  Not yet –

Chan and Flannery move over – the camera with them to a position by wall where they stand together.

– if he calls for the brief case we can see.

FLANNERY:  Are you sure it’s Sir Lionel’s brief case?

CHAN:  Yes – it was checked here soon after the murder.

FLANNERY:  By whom?

CHAN:  Wait and see.

CUT TO FULL SHOT in club – as a page boy goes along, paging a number – calling out loudly as he walks toward background.

PAGE BOY:  Mr. Garrick Enderby – Mr. Garrick Enderby –

CUT TO CLOSE SHOT on Chan and Flannery standing back to wall – voice of page heard through shot –

Mr. Garrick Enderby —

CUT TO FULL SHOT in lobby as the page catches sight of Chan and Flannery by wall – looks at them inquiringly and moves a step to them as he repeats:

Mr. Enderby?

CUT TO CLOSE SHOT on Chan and Flannery at wall.

FLANNERY:  Do you think he’ll put up a fight?

CHAN:  Don’t know – got gun?

FLANNERY:  No – have you?

CHAN:  Got gun – but —

FLANNERY:  Well – Fife’ll have the Marlowe girl at Kirk’s – she’ll identify him.

CUT TO FULL SHOT in lobby near check room as Kirk, and other men come along toward check room.

CUT TO MEDIUM SHOT by the group at check room as they start getting their belongings from clerk in check room.

MAN:  Well up to that time you had led a virtuous life – I suppose?

KIRK:  Well you’re not suggesting it’s not been that way all along — after all you’re not ruining my reputation.

SECOND MAN: (As he gets his coat) Well are you coming our way, Barry?

KIRK:  No thanks – I’m going downtown.

MAN:  Well so long.

KIRK:  So long. (Moves up to the check room desk)

MAN:  Goodnight.

CUT TO FULL SHOT in lobby –

Kirk at check room counter.  Kirk moves down the hallway to background.

CUT TO CLOSE SHOT on Chan and Flannery watching Kirk off scene.

CUT TO WIDE SHOT in hallway as Kirk turns back and moves toward the check room again.

CUT TO MEDIUM SHOT by check room as Kirk comes to the counter – says to clerk as he puts down check for brief case.

KIRK:  I almost forgot this.

CUT TO INSERT of the check 1313 on counter.

CUT TO CLOSE SHOT Chan and Flannery watching.

CUT TO ANOTHER SHOT in hallway by check room as Chan and Flannery come in to where Kirk stands.

CHAN:  Oh, hello.

KIRK:  Oh hello – how are you?

CHAN: (To clerk) My hat and coat please. (To Kirk) Is that your brief case?

KIRK:  No – it belongs to a friend of mine.

FLANNERY:  Really?

KIRK:  Yes – he left it here at noon – he asked me to stop for it.

FLANNERY:  Where were you taking it?

KIRK:  Home.

CHAN:  Perhaps it good idea we all go home.

KIRK:  Yes of course.  Come along.

Chan takes up his coat from check room clerk, then turns back to where Manager stands.

CHAN:  Thank you so much.  You make Charlie Chan look like slender Chinese boy.  Goodnight.

MANAGER: (Laughs) Goodnight.

CUT TO INTERIOR APARTMENT –

MEDIUM SHOT by door as Shirley, John and Fife come into room.

FIFE: (Crossing the room as he speaks) I won’t detain you long, Miss Marlowe – a man will be here in a moment whom I’d like you to take a good look at. (Rings bell) Just a moment please.

CUT TO MEDIUM SHOT John and Shirley – anxious.

CUT TO FULL SHOT – as Paradise enters – says:

PARADISE: (Entering) Did you ring, sir?

FIFE:  Yes.

CUT TO CLOSE SHOT on Fife as he continues:

Have you ever seen this man before, Miss Marlowe?

CUT TO CLOSE SHOT on Shirley and John, standing together as she looks toward direction of Paradise.

CUT TO CLOSE SHOT on Paradise.

CUT TO CLOSE SHOT on Shirley and John.

SHIRLEY:  No I haven’t.

CUT TO MEDIUM CLOSE SHOT on Fife, Shirley and John.

FIFE:  Are you quite sure?

SHIRLEY:  Yes.

CUT TO FULL SHOT on the group in room – as Fife continues:

FIFE:  I see – Would you mind stepping out in the garden?

JOHN:  Of course not.

As he says this, John and Shirley move through the door in background.

FIFE: (As they go out) Thank you. (To Paradise) Come here.  Why did you steal that letter from Sir Lionel’s mail?

PARADISE:  I – I didn’t sir – 

FIFE: (Interrupting him) Now don’t lie – we found your thumb print on a blank sheet of paper in that Scotland Yard envelope.

PARADISE:  I was absolutely innocent of that charge, sir.

FIFE:  I know – you were acquitted – the Yard informed me.

CUT TO REVERSE CLOSE SHOT of the two as Fife continues:

But you were afraid of Sir Lionel.

PARADISE:  When I saw that letter was from Scotland Yard, I thought it was about me and I was panic-stricken, sir.  Oh please, sir – you’re – you’re not going to tell Mr. Kirk.FIFE:  Hm.

(Sound of ringing bell heard)

CUT TO FULL SHOT in the room. Fife continues:

Perhaps you’d better see who that is, Paradise.

PARADISE:  Thank you sir – thank you sir. (Moves to the door – camera with him – he opens the door and Enderby enters – moves to Fife, camera traveling with him)

ENDERBY: (As he goes along) What? (Moving over to Fife) Well, sir – you sent for me – here I am.

CUT TO CLOSE SHOT on Fife and Enderby.

FIFE:  So I see, Mr. Enderby.

ENDERBY:  Well now I’m here, what do you want of me?  Can’t a man take a little jaunt without the police asking questions?  If I’m guilty of anything arrest me and I’ll answer
your –

CUT TO ANOTHER CLOSE ANGLE of the two as Enderby finishes:

– questions in court.

FIFE:  Just a moment. (Moves over toward door)

CUT TO EXTERIOR ROOF OF PENTHOUSE APARTMENT – FULL SHOT – Shirley and John here. Fife enters scene through door in background – calls:

Miss Marlowe – Mr. Douglas!

CUT TO A MEDIUM CLOSE SHOT on Enderby, about to explode as he says:

ENDERBY:  Miss Marlowe – Mr. Douglas – what’s it all about?  What’s it about?

CUT TO MEDIUM SHOT by the door to roof garden as Shirley and John with Fife come in – pause there.

FIFE:  Miss Marlowe, do you recognize this man?

SHIRLEY:  No.

CUT TO CLOSE SHOT on Enderby, Fife’s voice coming through shot —

FIFE’S VOICE:  Are you quite sure he is not Alan Raleigh?

CUT TO CLOSE SHOT on Shirley and John.

SHIRLEY:  Of course.  I’ve never –

CUT TO CLOSE SHOT on Enderby, as she finishes:

– seen him before.

ENDERBY:  Is that why you brought me here?

CUT TO MEDIUM CLOSE SHOT on Fife, John and Shirley by door.

FIFE:  I’m sorry – I hope we haven’t inconvenienced you.

CUT TO FULL SHOT in room – taking in the group there.

ENDERBY: (Very much annoyed) Sorry, bah — bringing me here on a fool’s errand. (Exits as he says this)

CUT TO CLOSE SHOT on John, Fife and Shirley.

JOHN:  Inspector, isn’t it possible that if the British Home Secretary knew the facts of this case he would waive extradition?

FIFE:  I doubt it.

CUT TO CLOSE SHOT on John and Shirley –

JOHN:  But if he knew that Miss Marlowe was not guilty of this crime – that she merely shielded a man through a human –

CUT TO CLOSEUP on Fife – voice of John finishes through shot —

JOHN’S VOICE:  – forgivable impulse?

FIFE:  I’m afraid I cannot predict what the Home Secretary would do.

CUT TO FULL SHOT in the room as the door opens and Chan, Kirk and Flannery enter room. Fife’s voice comes through shot –

CUT TO ANOTHER SHOT by Shirley and John –

FIFE’S VOICE: (As the two come into group) Good evening, Charlie.

CHAN:  Miss Marlowe, you have never seen Mr. Kirk before?

CUT TO CLOSEUP on Shirley.

SHIRLEY:  Why – why yes.

CUT TO MEDIUM CLOSE SHOT on Chan, Kirk and Flannery.

FLANNERY:  Where?

CUT TO CLOSEUP on Shirley.

SHIRLEY:  I don’t know.

CUT TO CLOSE SHOT on Chan, Shirley and John – by door –

JOHN:  Shirley –

FLANNERY’S VOICE:  What do you mean, Miss Marlowe – you said that –

CHAN:  Just one moment – we wish to speak privately – if you do not mind please.

CUT TO FULL SHOT by the door – Chan, Shirley and John here – Chan by them, shuts the door after John and Shirley make their exit.

CHAN (Continued):  Mr. Kirk – the brief case.

CUT TO MEDIUM SHOT on Chan and Fife at door, Chan with the brief case.

FIFE:  What’s that, Charlie?

CHAN:  Sir Lionel’s brief case.FIFE:  Sir Lionel’s brief case – where did you get it?

CHAN:  We are indebted to Mr. Kirk.

CUT TO MEDIUM SHOT of the group of four men – watching toward Chan and Fife.

CUT TO CLOSE SHOT on Fife and Chan.

FIFE:  We’d better have a look at the contents.

CHAN:  Yes.

CUT TO FULL SHOT in the room as Chan and Fife move down to table, where Chan opens the case.

CUT TO CLOSE SHOT on Flannery, Kirk and Fife – bell heard ringing.

FLANNERY: (Stopping Chan and Fife) Fife – wait – (To Kirk) Mr. Kirk will you open that door and pretend you’re alone?

KIRK: (After a pause in which he studies the group) Why yes.

CUT TO FULL SHOT of the group as they start to go away.

CUT TO FLANNERY –

FLANNERY:  Leave the brief case here – and you two go in there, will you please?

CUT TO FULL SHOT in room as Fife and Chan exit through a door.

CUT TO MEDIUM CLOSE SHOT on a door as Flannery exits, pausing a moment.

CUT TO FULL SHOT in the room – Kirk moves forward, takes off coat and scarf lays them on chair, goes toward door.

CUT TO CLOSE SHOT on Flannery as he looks through half closed door toward room.

CUT TO MEDIUM SHOT room as Kirk opens door to hallway, admitting Dunwood.

DUNWOOD:  Hello Barry!  You alone?

KIRK:  Come in.

DUNWOOD: (Moving over, taking off coat and scarf) Oh I’ve had a busy day.

CUT TO CLOSE SHOT on Dunwood – smiles as he sees something off scene – continues:

Oh, I see you got my case for me – thanks.

CUT TO MEDIUM WIDE SHOT by the two – Dunwood moves to table in corner with case.

KIRK:  When did you get your membership card?

CUT TO CLOSE SHOT Kirk and Dunwood –

DUNWOOD:  This morning – Lunched at the club and forgot my case.

CUT TO REVERSE CLOSE SHOT of the two as Dunwood finishes:

Why do you ask?

KIRK:  Look here, Dunwood, you wouldn’t cast suspicion on an old friend, would you?

CUT TO REVERSE CLOSE SHOT of the two –

DUNWOOD:  What do you mean? 

KIRK:  I was told you hadn’t been to the club today.

CUT TO REVERSE CLOSE SHOT of the two –

DUNWOOD:  You’ve been misinformed –

CUT TO FULL SHOT in the room as Dunwood moves a few steps down – door in background opening as he says:

– now if you’ll excuse me I’ll –

FLANNERY: (Entering) If you’ll excuse me.

DUNWOOD:  What?

FIFE:  What are you doing with Sir Lionel Gray’s papers?

CUT TO ANOTHER SHOT as Dunwood moves forward.

DUNWOOD:  Oh there’s been a frightful mistake.

CHAN: (Holding gun to cover Dunwood) Yes – that was when you and your assistant Li Gung killed –

CUT TO CLOSE SHOT on Dunwood – his face terrified – Chan’s voice finishing through
shot —

– Sir Lionel Gray.

FIFE’S VOICE:  And another mistake you made was trying to murder the Masked Dancer.

FLANNERY:  Miss Marlowe, will you come in please?

CUT TO MEDIUM SHOT by door as Shirley and John enter to group – Flannery continues:

(Indicating Dunwood – off [scene]) Do you mean this man?

CUT TO CLOSEUP on Shirley – terrified as she recognizes Dunwood –

SHIRLEY:  Alan Raleigh!

CUT TO CLOSE SHOT on Dunwood – as he turns.

DUNWOOD: (Speaking rapidly) Yes – I deny everything – I never saw this woman before –

CUT TO CLOSE SHOT on Chan, gets sneezing fit, drops gun – Dunwood’s voice continuing through shot –

– she never saw me.

CUT TO FULL SHOT by the group as Dunwood makes a grab for the fallen gun – others move quickly to prevent him from getting it.

FLANNERY:  Watch out!

Dunwood holds the gun, covering the group as he stands back to the windows.

DUNWOOD: (Keeping the group covered) Thanks, Mr. Chan – I am Alan Raleigh –

CUT TO CLOSE SHOT on Dunwood – holding the gun as he continues:

– I did kill Sir Lionel – it was his life or mine.  You may keep the brief case – I don’t need it – I’m leaving – now get over there.

CUT TO CLOSE SHOT on Chan.

CHAN:  Sorry – but no – you are more –

CUT TO FULL SHOT on the group around Dunwood as Chan moves forward, as he continues:

– important than brief case.

DUNWOOD: (Threateningly) I’ll shoot –

CUT TO FULL SHOT by the group as they struggle with Dunwood for the gun.

FIFE:  Look out, Charlie – look out he’ll kill you!

FLANNERY:  Got him Charlie.

CHAN:  Yes.

CUT TO ANOTHER SHOT in the room by the group as handcuffs are put on Dunwood.

CUT TO CLOSE SHOT on the group as the handcuffs are made secure on Dunwood’s wrists.

FLANNERY:  That’s it – got him – all right – put them on —

FIFE:  That’s it, Charlie – he might have killed you.

CUT TO CLOSE SHOT of Chan and Fife –

CHAN: (Emptying gun) Oh no – old habit – wife never likes loaded gun, on account of children.

FLANNERY’S VOICE:  Clever trick, Charlie – now we’ve got his confession.

CUT TO CLOSE SHOT on Dunwood and Flannery —

DUNWOOD:  Yes – you’ve got it.  I overlooked the essential clue – thirteen-thirteen – doubly bad luck.

DISSOLVE TO –

SHOT BY THE DOOR leading to exterior as Chan – with others comes in.  Shirley and John have their arms around each other.

CHAN:  I could be happy man if I had not been the cause of this young lady’s return to England.

FIFE:  Well I think under the circumstances, Scotland Yard will call this case closed.

Shirley turns around to face Fife, then turns to John –

JOHN:  Shirley, that means you don’t have to go back.

SHIRLEY: (Turning toward Fife and Chan) Ah, thank you, Inspector.

FLANNERY: (Moves down a little) Well, Charlie, I guess the honor goes to you.

CUT TO CLOSER SHOT as Chan puts Fife’s hand in Flannery’s –

CHAN:  Ah – no – the geese who laid the eggs deserve the credit.

FADE OUT ——-

THE END

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