You were with him on night he was killed.

Arlene changes front.

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

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

Steve snarls at him.

STEVE: You got nothing on us.

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

He bows and exits. Steve is worried.

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

ARLENE: Oh, Steve - I'm frightened.

DISSOLVE TO:

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

CARLOTTA: Good evening, Mr. Brade.

BRADE: Even'. Any mail?

CARLOTTA: (Turns, looks at pigeon holes) Nothing.

BRADE: I'm leaving for the island of Maui for a few days. But I'm not checkin' out, an' I'd be obliged if no one went into my room while I'm gone.

CARLOTTA: Of course not, Mr. Brade.

Brade leaves.

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

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

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

KOAHLA: Like to see Mr. Brade, please.

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

KOAHLA: Come back.

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

JOHN: Miss Egan.

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

I...I wish you'd let me explain. (A feeble attempt at a joke) I'm not a missionary.

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

Unfortunately I've been put in the position of playing at detective.

CARLOTTA: (Icily) Well, I wish you would pick up your toys and play somewhere else.

JOHN: I didn't realize...I mean, I didn't know your father...What I really mean is I don't believe he is guilty.

CARLOTTA: (Coldly) That's very kind of you. You don't know how relieved I am. (Sarcastically) I suppose that now you've changed your mind, he's automatically released.

JOHN: No, but I'm going to clear him.

CARLOTTA: (Bitterly) I don't see how you can spend your time around here.

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

JOHN: (Earnestly) I just want you to believe me, that's all.

He falls into step with her - as they exit.

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

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

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

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

JOHN: So it is simply a question of finding the person who fits the clues. As far as I can see it certainly is not your father.

CARLOTTA: (Angrily) Then why don't they release him?

JOHN: Well, he admits he was there that night, and he refuses to tell the nature of his business.

CARLOTTA: I'm sure he has a good reason.

JOHN: But they don't know that.

He turns and takes her hands in his.

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

Carlotta softens a little.

CARLOTTA: But why should you?

JOHN: (Smiling) The hero always helps the maiden in distress.

CARLOTTA: And you are the hero?

JOHN: You can tell me that - later - Now the important thing is to find some way to clear your father.

CARLOTTA: (Slow, struggling with herself as to whether or not to tell) I found a check dated the night of the murder in father's desk, made out by your uncle to him. (Triumphantly) If Mr. Winterslip gave him a check that night, my father certainly intended to cash it. And that would prove difficult under the circumstances. Therefore, it would be to his advantage if Mr. Winterslip were alive! That ought to clear him!

JOHN: That sounds reasonable. Will you let me have the check?

CARLOTTA: (Looks at him searchingly as if making up her mind. Finally) Yes.

JOHN: (Gratefully) Thank you.

They turn and start back.

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

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

CHAN'S VOICE: "Corsican".

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

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

COPE: Where can I find Mr. Egan?

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

CHAN: You are...please?

COPE: My name is Cope.

CHAN: (Gratified) Gives me great honor to make your acquaintance. I intend to visit you later.

COPE: I'm afraid I haven't the slightest knowledge of who is addressing me.

CHAN: Your most insignificant servant, Charles Chan.

COPE: What can I do for you, Mr. Chan?

CHAN: You can make me most happy by telling me what you did last Monday.

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

COPE: Are you trying to be funny?

CHAN: Funny as man can be about murder.

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

SCENE 137
INSERT OF BADGE IN CHAN'S HAND

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

CHAN: Beg to repeat question.

COPE: (Coldly) I see no reason why I should answer.

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

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

CHAN'S VOICE: "Corsican".

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

CHAN: Thank you so much.

He stores the stub with the others.

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

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

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

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

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

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

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

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

There is a rustle from the bushes.

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

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

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

JOHN'S VOICE: (Excitedly) I've got to see Chan at once.

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

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

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

SCENE 148
AROUND CORNER
John has Carlotta in his arms.

JOHN: You're not hurt?

CARLOTTA: You!

She takes hold of his arm. He looks down quickly.

SCENE 149
INSERT OF JOHN'S ARM
Her hands are on it. We see a bullet hole through the coat.

SCENE 150
EXTERIOR REEF AND PALM

JOHN: (Strangely exhilarated) Never touched me.

Carlotta sighs in great relief.

CARLOTTA: Oh - I'm so glad.

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

JOHN: Steady - I'm all right.

CARLOTTA: You might have been killed.

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

She looks up at him smiling anxiously.

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

Both John and Barbara look up to veranda above.

JOHN: Chan!

They start up the steps.

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

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

CHAN: Memory serves well.

JOHN: (Handing it to him triumphantly) I took it away from Koahla, but he got away.

CARLOTTA: He probably is the one who fired at us. You ought to go after him.

CHAN: (Examining the box) Cannot get far. To conceal oneself from law is like trying to hide in bird cage.

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

JOHN: I wonder what's in it.

CHAN: Shall gratify your worthy curiosity.

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

CHAN: Look!

They look.

SCENE 152
INSERT: INSIDE OF BOX
It is empty.

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

SCENE 153
EXTERIOR VERANDA

JOHN: (Slightly exasperated) Then what could Uncle Dan's urgency have been?

CHAN: Mr. Brade very best person to answer that question.

CARLOTTA: Mr. Brade? Why, a Mr. Brade is stopping here at the hotel.

JOHN: (Excitedly) Let's see him at once.

CARLOTTA: Oh! You can't. He's gone away for a few days.

JOHN: Where? Can't we go after him?

CHAN: Make haste only when withdrawing hand from mouth of tiger. And now, humbly beg to be excused. I have appointment with Honorable Amos Winterslip.

He picks up box and bows.

JOHN: Er, ah, do you need me?

CHAN: (Smiles) Humbly suggest you continue along present lines. (This, with ever so slight glance in Carlotta's direction)

As Chan goes down steps, CAMERA PANS to include Chan's Ford in back ground in driveway. He carries the box to the car - unlocks car - gets in and drives away.

SCENE 154
INTERIOR LOBBY
John and Carlotta come to desk.

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

She walks behind the deck. He leans on it.

JOHN: (Smiling) Too many things happening in too short a time. Let me have it - I'll catch him at Uncle Amos'.

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

You know, you oughtn't to be here all alone...I mean until your father gets back. Aren't you at all afraid?

CARLOTTA: Why, I hadn't even thought about it.

JOHN: Well, I have. I think I'll move in.

CARLOTTA: (Flustered; yet secretly gratified) Why, I...I wouldn't dream of allowing it, really.

JOHN: This is a hotel, isn't it?

CARLOTTA: Yes.

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

JOHN: With bath, please.

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

On the ocean side?

CARLOTTA: Yes, sir.

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

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

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

JOHN: What's up?

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

JOHN: Gone!

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

I'll be back.

He crosses to the door, then turns.

JOHN: Goodbye.

CARLOTTA: Goodbye.

John goes out.

SCENE 157
EXTERIOR REEF AND PALM
John comes running down the stairway and hurries along the garden path.

DISSOLVE INTO:

SCENE 158
ROAD NEAR AMOS' HOUSE
Chan's Ford is parked at the roadside. John comes along the road. He sees Chan's Ford and is about to continue on when he hears the crackling of twigs under foot. John stops abruptly, looking in the direction of the noise.

JOHN: (Sharply) Chan?

CHAN'S VOICE: (From opposite direction) Here, please.

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

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

CHAN: (Calls) John!

JOHN'S VOICE: (Muffled) Coming...

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

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

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

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

SCENE 161
ANOTHER ANGLE
John is stunned, horrified.

JOHN: Uncle Amos!

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

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

Over the scene comes John's voice:

JOHN'S VOICE: (Excitedly) That's our man!

FADE OUT.

FADE IN:

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

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

Chan continues to write without looking up.

CHAN: Cannot hasten. Cat who tries to catch two mice at one time, goes without supper.

HALLETT: (Impatiently) I know, I know, Charlie. But the newspapers are on my tail.

CHAN: (Looks up, smiles) Ah, you can portion it out, but cannot receive it, eh?

He continues to write.

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

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

Chan writes the name of "Arthur Temple Cope".

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

HALLETT: Yes, Mr. Jennison?

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

CHAN: Unworthy officer apologizes for stupidity - very sorry.

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

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

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

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

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

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

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

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

BACK TO:

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

JENNISON: Who was that?

CHAN: (Picking up dart) Enough poison on this to bring immediate death to all concerned.

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

HALLETT: (Shouting) Flannagan! Hong Foo!

Chan turns to Jennison.

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

He looks significantly at Jennison.

DISSOLVE TO:

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

CHAN: Soup is food, not musical instrument.

BOY: Well, then, how about that saxophone you promised me?

CHAN: (Grimaces) Of both prefer musical soup.

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

Oswald.

OSWALD: What's on your mind, Pop?

CHAN: You have carefully gone over instructions?

OSWALD: Everything's Jake.

CHAN: (Puzzled) Jake?

OSWALD: Okay.

CHAN: (Enlightened) Oh...Okay.

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

MRS. CHAN: You'll be home early?

CHAN: Cannot say.

MRS. CHAN: Good luck.

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

As Chan leaves, putting on his hat,

FADE OUT.

FADE IN:

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

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

Carlotta holds back nervously.

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

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

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

DISSOLVE INTO:

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

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

BRADE: (Nervously) Wot's it all about, is wot I want to know.

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

COPE: (Coldly squelching the man) Perhaps you're right.

Cope turns away, satisfied the man will bother him no more, and looks off. His attention is caught by someone, to whom he nods reassuringly. CAMERA SWINGS TO EGAN, who is answering the look; nervous, pleadingly hopeful in his gaze. CAMERA PANS to Arlene Compton, who turns and speaks, preening herself very much in the manner of an English grand dame.

ARLENE: Silly bores, these gatherings, what?

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

STEVE: WHAT?

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

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

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

CHAN: Thank you so much.

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

CHAN: Please be seated.

He indicates the direction with his hand, and John and Carlota move across the room to sit with Minerva, Jennison and Barbara. Carlotta throws a fleeting smile of cheer in the direction of her father, who tries to smile back.

Chan looks over the entire room, searchingly, as he starts to talk, standing in front of table.

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

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

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

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

CHAN: Except these five. (Pause) First I shall prove motive.

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

CHAN'S VOICE: Mr. Brade!

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

CHAN: Is this your box?

BRADE: I never saw it before in me life.

CHAN: These are your initials?

BRADE: They were also my father's.

CHAN: Humbly suggest you tell what you know of all this.

BRADE: I don't know nothing. I came 'ere to 'Awaii to see Dan Winterslip to get by rights what is mine. Dan Winterslip robbed my father when 'e was a mate on my father's ship, thirty-five years ago. When my father died, Winterslip buried 'im in the South Seas, and kept all 'is fortune, South American gold and jewels. I've been a Civil Service worker in India until I was retired. I've been waiting thirty years to save enough money to come 'ere to get what is rightfully mine, but I never 'ad a chance to see 'im.

CHAN: You did not see Dan Winterslip the night of the murder?

BRADE: No, I didn't, worse luck.

CHAN: You smoke Corsican cigarettes?

Picks up cigarette from desk.

CHAN: One was found on these grounds. It is a brand not sold on the Islands.

BRADE: (Wildly) Well, I don't know nothin' about it. (Suddenly) Yes, I do. (He points off at Egan)

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

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

CHAN: Thank you so much.

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

CHAN'S VOICE: Mr. Cope.

COPE: (Suavely) Mr. Chan.

CHAN'S VOICE: You smoke Corsican cigarettes, also.

COPE: Quite right.

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

CHAN: A most singular difference, however, is to be noticed from the two brands of Corsican...one extract of Virginian, other of Turkish influence. You favor Virginia.

COPE: (Nervously) What if I do?

CHAN: Mr. Brade smokes Turkish.

COPE: Well?

CHAN: Stub found here that night, Virginian. What were you doing here?

COPE: I wasn't here that night.

CHAN: Can you prove?

COPE: I went to bed early and read.

CHAN: Regret such alibis have habit of disappearing like cheese in vicinity of mouse.

MINERVA'S VOICE: Cheese and mice, fiddlesticks.

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

Captain Cope had tea with me here that afternoon.

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

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

CAMERA SWINGS BACK to Chan and Cope.

CHAN: We are still in most complete fog concerning your business on this Island.

COPE: (Determinedly) Well, sir, if you really must know, I.....

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

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

CHAN: Humbly suggest you continue.

COPE: (Leaning back in chair) I have nothing more to say.

CHAN: More later. Thank you so much.

As Chan turns from Cope.

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

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

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

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

Chan waves him back to his chair.

CHAN: Kindly wait until asked.

Brade retreats himself and Chan approaches Arlene.

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

ARLENE: Now, listen, you Chinese rainmaker, I don't know nothing about....

STEVE: (Under his breath) Let him do the talking, you dummy.

Chan comes into scene.

CHAN: (Interrupting) Woman's tongue like sword that never gets rusty.

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

ARLENE: Now I'll tell you everything I know, Mr. Chan, which is nothing. (She draws a long breath) I was here that night but left early. I returned that brooch to him -

STEVE: Get wise to yourself, Chan. Why should she kill him? He was worth more to her alive than dead, wasn't he?

CHAN: To you also?

STEVE: Ah, no cracks from you. (To Arlene) Come on, Babe, I guess we can scram now.

They start up.

CHAN: (Firmly) When I say go.

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

---

Дата добавления: 2015-07-24