Charlie Chan in Rio Page #6

Synopsis: Charlie and son Jimmy visit an exotic Rio nightclub in the company of local police chief Suoto in order to arrest nightclub chanteuse Lola Dean, whom Charlie believes killed her paramour a year earlier in Honolulu after discovering that he was married. Rather than cause a public scene, the always discreet Chan decides to wait until she gets home. By the time the minions of the law arrive, they find the singer has been stabbed to death, her jewels stolen, and a bevy of clues seemingly planted at the crime scene. Among the suspects are the singer's companion, an ex-husband, a Dean friend along with her boyfriend, an amateur sleuth, her rich playboy fiancée, a rival for his affections, a mind-reading mystic, and, of course, the butler.
Genre: Comedy, Crime, Mystery
Director(s): Harry Lachman
Production: Twentieth Century Fox Home Entertainment
 
IMDB:
7.5
Year:
1941
60 min
80 Views


If the police should ask you any questions,

you don't know a thing.

- You didn't see me carry anything into my room. Do you understand?

- You're hurting my arm, Rice.

That's nothing to what you'll get

if you don't keep your mouth shut.

I won't say anything, I promise.

Please let go of me.

Well, remember what I told you then.

Still haven't found anything?

Must have patience.

Ah, Senhor Chan, I'm afraid

this possibility is too remote.

One moment, please. Here. Observe.

Yes, those are definitely pin scratches.

Stick 'em up!

Stick 'em up, I tell ya.

Keep your hands up.

Come.

Try to stop me, I'll let you have it.

Keep your hands off that gun.

Now open that door.

- Nice work, my son.

- Thanks, Pop.

I'll take that gun now, please.

Has earned right to carry one.

You haven't seen anything yet, Pop.

Wait till you see this, Senhor Souto.

Well, Miss Dean's jewels, no doubt.

Yep. The butler's your man, Pop.

Most incriminating.

But not proof of murder.

Oh, listen, Pop,

what do I have to bring you...

a talking picture of this killer

knifing Miss Dean in the back?

Same would be most excellent proof.

Have something to say?

Yes. Those are Miss Dean's jewels

all right, but I didn't kill her.

I only happened to enter the room when I saw...

Get the lights.

- He's dead.

- There's the gun, Pop.

It's a cinch. All we got to do

is find out who had it in his pocket.

- Not very difficult.

- Who?

You.

Sometime learn not to carry gun

in outside coat pocket.

Excuse me.

One of you turned the lights off

at this switch.

Pardon me, Senhor Souto.

But this isn't the only switch

that controls the lights in this room.

There's one over there.

And another over there.

Excuse me.

Now, look here, Mr. Souto.

I'm sick and tired of all this.

Miss Ellis, I regret to say

that your personal discomfort...

is of no concern to us

at all right now.

Two people have been murdered

here tonight.

It's quite obvious that the same person

committed both crimes...

and that that person is in this house,

in this very hall room now.

One of you, in order to stop Rice

from telling who killed Miss Dean...

turned out the lights at that switch...

or that switch, or that switch...

and took the gun from Jimmy's pocket

and shot the butler.

Also wish you to know

Senhor Souto and self...

have discovered method

of trapping murderer.

- Mr. Chan, may I ask one question?

- Certainly.

Amateur detective work

has been more or less a hobby with me...

and I've especially admired your work...

so I know that a trap is an essential part

of the technique of a good detective.

Doesn't tipping the murderer off to the fact you

have a trap set defeat the fundamental purpose?

- Sort of puts the murderer on guard.

- Precisely, Mr. Kellogg.

Putting murderer on guard is the trap.

Well, I hadn't thought of that.

That's very good.

Here we are, knee-deep in murders,

and Bulldog Drummond comes to life.

I find his comments most interesting,

Mrs. Reynolds.

Perhaps Mr. Chan would even be unorthodox

enough to reveal the exact nature of the trap.

Most happy.

Can best do so if everyone

will come with me into dining room, please.

- One of us is going to be

the next to be bumped off.

Please take same chairs as before.

I don't remember where...

Oh, yes. I sat on the other side.

Oh, Joan, you were there.

Mr. Wagner, you were here.

- Ken, you were at the end of the table.

- That's right.

Thank you.

This is very exciting.

So is parachute jumping,

but I don't like it.

Will explain purpose

of unusual procedure.

Senhor Souto and self

have discovered freshly made scratches...

on floor in Miss Dean's room.

Have also discovered similar scratches here

on floor near one of these chairs.

Have assumed scratches

made by tip of pin...

missing from Miss Dean's

crushed brooch.

Is possible this pin still lodged

in shoe of murderer.

Will find out in few moments.

That's a very clever deduction,

don't you think so, Joan?

Be just my luck

that I picked up that pin.

Stop worrying.

You weren't in Lola's room.

How do I know where I was tonight?

If you ask me, the murderer is making

a great mistake in underestimating Mr. Chan.

From his reputation, I should say

he was making a fatal mistake.

- Mr. Chan.

- Yes, Mr. Kellogg?

If you don't mind, one more question.

I like your processes of deduction.

But could you say, if you were

successful in finding this pin...

that it gives positive proof of guilt?

Couldn't you or Senhor Souto

or the murderer even...

have tracked it from Miss Dean's room

into this room and one of us stepped on it?

- Is possible.

- Well, in that case, what would you do?

Perhaps follow suggestion offered

by former wife of policeman.

Put each of you under hot lamp

and give you third degree.

- Would you really?

- Prefer not to walk across before coming to bridge.

- Yes, but...

- Oh, be quiet, Bulldog Drummond.

Come on, Lieutenant.

I can't stand the suspense.

Near what chair

did you find those scratches?

- This one.

- Miss Ashby's chair?

Why, you're not serious, Mr. Chan?

Surely you don't think that I...

Did not say that, Miss Ashby.

Merely said found scratches near this chair.

With kind permission,

will examine shoes, please?

Yes, of course.

Nothing here. Other shoe, please.

You are right, Senhor Chan.

The pin.

Well, what about it?

I was in Lola's room.

My shoe could have picked it up.

- Is possible, Miss Ashby, but...

- Excuse, please.

To satisfy suspicious colleague...

suggest you undergo questions...

after using Mr. Marana's

cigarette with coffee.

- Have no objections?

- Of course not.

Uh, pour coffee, please.

Cigarette, Miss Ashby.

Here's the coffee, Pop, but it's cold.

Caffeine exist in coffee hot or cold.

Drink this, please.

- Prefer to ask questions?

- Yes.

You killed Lola Dean?

Miss Ashby?

You killed Lola Dean, didn't you?

No.

But you did kill Rice, the butler?

No.

- Do have any knowledge of who might have killed them?

- No.

You've vindicated yourself,

Miss Ashby.

Sorry to have embarrassed you.

That's quite all right, Mr. Chan.

- Will continue with experiment, please.

- Two-to-one Grace is next.

- I'm willing.

- I'll bet you are.

- Will try cigarette on humble self.

- Oh, Mr. Chan.

- Please be seated, Mr. Chan.

- Pour coffee.

A copper giving himself the third degree.

Now I've seen everything.

What's the big idea, Pop?

Wish to give son opportunity

to question parent.

Say, that's swell.

Here's the cigarette, Mr. Chan.

Thank you. In these troubled times,

best to be economical.

Match, please.

Don't do it, Pop. Supposin' it hits you harder

than it hit me? Think of your heart.

- Afraid I not wake up?

- Yeah.

Appreciate son's devotion.

Make parent very happy.

That makes us all happy.

Just one big happy family.

Oh, cut it out, Lieutenant.

Let's get this thing over with.

Uh, match, please.

Wonder why he doesn't fold up.

Don't you feel woozy, Pop?

It isn't working.

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Samuel G. Engel

Samuel G. Engel (December 29, 1904 – April 7, 1984) was a screenwriter and film producer from the 1930s until the 1960s. He wrote and produced such films as My Darling Clementine (1946), Sitting Pretty (1948), The Frogmen (1951), Night and the City (1950), and Daddy Long Legs (1955). Born in Woodridge, New York (then Centreville), Engel gained a degree in pharmacology from the Albany College of Pharmacy and owned a chain of drug stores in Manhattan with his brother Irving, before moving to Los Angeles in 1930. Engel signed on as an assistant director at Warner Bros. in 1933. Three years later he was hired to be a producer at 20th Century Fox. After serving with the OSS and US Navy in World War II, he continued as a film producer with 20th Century Fox until 1962. Engel was president of the Screen Producers Guild from 1955 to 1958, and was instrumental in promoting its merger with the analogous guild of television producers to form the Producers Guild of America. more…

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Submitted on August 05, 2018

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