THE MAN WHO KNEW TOO MUCH
An Original Screenplay
by
John Michael Hayes
FOR EDUCATIONAL PURPOSES ONLY
FINAL DRAFT
May 7, 1955
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MAIN TITLES
INT. BUS - (DAY) - MEDIUM CLOSE SHOT
Mr. and Mrs. Ben McKenna at the back of a motor coach
with their seven year old son, HANK. We do not see
much of the background which is receding from us.
THEY are studying the countryside from the windows at
each side of them. The CAMERA PULLS BACK down the
aisle of the bus revealing the other passengers. They
are a surprise, consisting of Arab men and women, with
an occasional civilian and French Army officer. The
CAMERA STOPS at the end of the bus.
EXT. BUS - (DAY) - MED. CLOSE SHOT
The French driver and a couple of his companions, Arab.
EXT. BUS - (DAY) - MED. CLOSE SHOT
The CAMERA MOVES BACK TO THE REAR OF THE BUS,
photographing the side windows. At the bottom of the
screen is the destination board. By the time we get
opposite the window out of which the McKennas are
looking, we have been able to read the words "CASABLANCA --
MARRAKESH."
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben and Hank are looking intently out the window.
Jo's interest seems only casual.
HANK
Daddy -- you sure I never been to Africa
before? It looks familiar.
INT. BUS (DAY) - MED. LONG SHOT
Shooting through the McKenna's window at the landscape
moving by. It is semiarid desert. A line of blue-
grey mountains in the distant.
INT. BUS - (DAY) - MED. CLOSE SHOT
Jo studies the landscape.
JO
We saw the same scenery last summer
driving to Las Vegas.
Hank turns, and smiles slightly.
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HANK
Oh sure. Where daddy lost all that
money at the cr --
BEN
Hank!
HANK
-- table.
Ben gives his wife a look of exasperation, She smiles
at him.
HANK
Hey look - a camel!
INT. BUS - (DAY) - MED. LONG SHOT
Shooting through the McKenna's window. The bus is
entering a small Arab village, Squat stone and plaster
building, narrow streets, a few carts, donkeys and one
camel. A few pedestrians, mostly Arab men, few women.
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben puts his hand on Hank's shoulder.
JO
This isn't really Africa, Hank. It's
French Morocco.
BEN
(To her)
Northern Africa.
HANK
Still seems like Las Vegas.
BEN
(Slightly indignant)
We're only a hundred miles north of
the Sahara Desert!
INT. BUS - (DAY) - MED. LONG SHOT
The bus is passing through the center of the town. We
move past a few shops, everything looking drab and
meager. The sun is strong and hot.
INT. BUS - (DAY) - MED. LONG SHOT
Hank studies the scene outside. He shrugs.
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HANK
I dunno. In school they called it the
Dark Continent.
(He squints)
It's twice as bright as Indianapolis!
Jo and Ban smile at Hank.
BEN
Just wait till you see Marrakesh.
HANK
Marrakesh. Sounds like a drink.
Ben runs his tongue across his lips.
BEN
You bet it does.
INT. BUS - (DAY) - MED. LONG SHOT
The bus rolls on past the Arab village into the open
desert once again. It looks parched and grim.
INT. BUS - (DAY) - MED. CLOSE SHOT
Tired of watching the sameness of the desert, Hank
grows, restless. He looks about for something to do.
Ben leans back against the seat and closes his eyes.
Jo takes a paper-bound novel out of her bag, finds her
place. Hank decides to wander down the aisle of the
bus and test its possibilities for adventure.
The CAMERA DOLLIES BACK with him as he rather aimlessly
makes for the front of the bus,. Having left the Arab
village, the bus picks up speed, and is beginning to
bump and sway somewhat. When Hank is a little better
than half way down the aisle, the bus sways in a
particularly startling manner, causing Hank to stagger.
In order to steady himself, he thrusts out his hand to
grab the side of a seat. He misses the seat, and only
succeeds in clutching at the veil of an Arab woman.
Unfortunately, he pulls the veil from her face.
INT. BUS - (DAY) - CLOSE SHOT
The startled woman, instantly horrified, covers her
face with her hands and gives a sharp cry,
INT. BUS - (DAY) - CLOSE SHOT
With the bus still bumping and swaying, Hank staggers
a bit without realizing that he still has, hold of the
woman's veil.
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INT. BUS - (DAY) - MED. SHOT
The woman still covers her face, but from the seat
next to her, and nearer the window, an Arab rises and
makes a sharp comment in Arabic to Hank. The Arab's
robes are brown, with a turban-like hat combining
twisted strands of white and pale green cloth, The
Arab starts to move past the woman, toward Hank,
repeating his demand.
INT. BUS - (DAY) - MED. SHOT
People look quickly toward the sound, wondering at the
reason for the trouble.
INT. BUS (DAY) - CLOSE SHOT
The bus driver scans his rear vision mirror for the
source of the trouble behind him.
INT. BUS (DAY) - CLOSE SHOT
Hank looks up at the oncoming Arab, and retreats
uncertainly, not realizing he is still holding the
veil.
INT. BUS - (DAY) - CLOSE SHOT
The Arab in the brown robes begins assaulting the boy
in furious Arabic, indicating that he wants the veil.
INT. BUS - (DAY) - MED. CLOSE SHOT
Two Arabs, and a veiled woman, rise in their seats
apparently disturbed by what the brown-clothed Arab is
saying. They being talking among themselves.
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben and his wife, Jo, are straining from their back
seat and looking down the aisle to see what is wrong.
Ben looks at his wife quickly and then back, indicating
that Hank is involved.
INT. BUS - (DAY) - CLOSE SHOT
Still staring straight at the Arab, both frightened
and fascinated by his verbal attack, Hank retreats.
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INT. BUS - (DAY) - MED. SHOT
Except for the French passengers, everyone in the bus
is in a state of disturbance. The Arab continues to
advance on Hank keeping up a steady tirade of Arabic.
INT. BUS - (DAY) - CLOSE SHOT
Ben rises quickly and advances protectively toward his
son and the oncoming Arab.
INT. BUS - (DAY) - MED. SHOT
Hank retreats and squeezes himself against his mother,
still with the veil in one hand. Ben faces the Arab
who stops, but continues his monologue for Ben's
benefit.
BEN
Now wait a minute. Wait a minute.
Simmer down.
The Arab continues pointing, talking.
INT. BUS - (DAY) - MED. CLOSE SHOT
From a nearby seat a young Frenchman in civilian clothes
rises quickly. The CAMERA PANS him to Ben and the
Arab. He pushes in between the pair.
LOUIS
(To Ben)
Pardon me.
He turns to the Arab, moves him back a little, sharply
silences his attack, and then begins, in Arabic, to
explain firmly that the boy meant, no harm. It was an
accident. The Arab isn't convinced, points to Hank.
INT. BUS - (DAY) - MED. CLOSE SHOT
The Frenchman leans toward Hank and takes the veil he
is still unconsciously holding. He hands it to the
Arab with a sharp command to return to his seat. The
Arab turns away carrying the veil. As the CAMERA PANS
him AWAY, we see the spectators resuming their seats,
growing quiet.
INT. BUS - (DAY) - MED. CLOSE SHOT
Hank and Jo relax. Ben addresses the Frenchman, a
pleasant-looking young man. He is LOUIS BERNARD.
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BEN
I'd like to thank you. Without your
help, anything might have happened.
LOUIS
(smiles pleasantly)
A pleasure, monsieur. There are moments
in life when we all need a little help.
BEN
May I introduce my wife, Mrs. McKenna.
Louis turns pleasantly to Jo.
LOUIS
How do you do, madame. My name is
Louis Bernard.
She returns his smile.
JO
Thank you, Mr. Bernard.
BEN
And this is our son, Hank.
LOUIS
Hallo, Hank.
He holds out his hand to Hank, who takes it.
HANK
You talk Arab talk.
LOUIS
A few words.
JO
Why was he so angry? It was an
accident.
LOUIS
(Half shrugs)
The Moslem religion allows for few
accidents.
(To Ben)
May I be permitted to sit down?
BEN
Oh, sure, sure. 0f course. Next to
Jo, there.
LOUIS
(Pauses)
I thought his name was Hank.
BEN
Oh, uh --
(MORE)
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BEN (CONT'D)
(smiles)
That's my wife's name. Jo. Jay oh.
No "e."
INT. BUS - (DAY) - MED. CLOSE SHOT
Louis Bernard slides into the seat next to Jo, who
moves over slightly. Ben sits on the other side so
that Hank and Jo are between himself and Louis. In
the rear windows behind them we see the retreating
landscape of French Morocco.
LOUIS
How different.
BEN
For Josephine. Called her Jo so long,
nobody knows her by any other name.
HANK
I do. Mummy.
She smiles at Hank, rubs the back of his neck.
LOUIS
Now about the "accident." You see, a
Moslem woman never takes off her veil
in public under any circumstances.
HANK
They feed her intervaneously?
Louis looks at the boy with some surprise.
LOUIS
Quite a big word for such a small boy.
BEN
I'm a doctor.
LOUIS
Oh. Well, he sounds like one.
BEN
He can spell "haemoglobin" -- but he
has trouble with "cat" and "dog."
LOUIS
(Laughs)
And where do you practice, Doctor?
BEN
Indianapolis, Indiana. The Good
Samaritan.
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INT. BUS - (DAY) - CLOSE SHOT
Jo seems to be studying Bernard, as if puzzled.
LOUIS (O.S.)
What brings you to Marrakesh?
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben seems happy to talk with somebody new.
BEN
We've been to a medical convention in
Paris. And while we were in Europe, I
thought I'd like to see Morocco again.
HANK
Daddy liberated Africa.
Louis laughs a little. Ben seems uncomfortable.
BEN
I was up around Casablanca with an
Army field hospital, that's all.
INT. BUS - (DAY) - CLOSE SHOT
Jo his been listening. She seems annoyed at Louis
Bernard's questioning. She interrupts.
JO
Do you live in Morocco, Mr. Bernard?
INT. BUS - (DAY) - MED. CLOSE SHOT
He smiles at her.
LOUIS
Oh no.
(To Ben)
I suppose you came directly from Paris?
BEN
We looked in on Rome and Lisbon a few
days.
HANK
And Casablanca.
LOUIS
I hope you will have time to truly
enjoy Marrakesh.
BEN
At the most we'll have three days.
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LOUIS
You will naturally be stopping at the
hotel Mamounia or La Menara?
JO
Why?
LOUIS
(smiles)
They are hotels for tourists of good
taste.
The background, as seen through the windows of the
bus, indicates that we are in a built-up area.
INT. BUS - (DAY) - MED. SHOT
It moves through the outskirts of Marrakesh, a somewhat
more populated section, although the streets are narrow
and crowded.
INT. BUS (DAY) - MED. CLOSE SHOT
A persists with Louis Bernard.
JO
Do you live in France, Mr. Bernard?
LOUIS
Sometimes.
HANK
Do you eat snails.
LOUIS
When I'm lucky enough to got them.
HANK
If you ever get hungry, our garden
back home is full of snails.
LOUIS
(Chuckles)
Thank you for the invitation.
HANK
That's all right. We tried everything
to got rid of them. We never thought
of a Frenchman.
Even Jo has to laugh at this, and as the bus continues
on into Marrakesh, the three see to be fairly good
friends brought together by the artless charm of a
little boy.
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EXT. BUS - (DAY) - MED. LONG SHOT
The bus moves slowly through the streets busy with
bicycle riders, Arab women carrying things on their
heads, men on foot leading donkeys, an occasional camel,
carts, horse-drawn carriages carrying elegant Moslem
women, and ancient French automobiles.
EXT. BUS - (DAY) - MED. LONG SHOT
The bus circles past the "Medina" of Marrakesh, the
market place with its crowds, vendors, shoppers,
beggars, and the curious. It swings in toward the bus
stop.
EXT. BUS STOP - (DAY) - MED. LONG SHOT
The bus pulls up to a stop, the door opens, and the
passengers begin to file out. The McKennas, together
with Louis Bernard, are the last off the bus. Arab
helpers have already climbed to the roof of the bus,
to unload the baggage. The clean-cut airline baggage
of the McKennas is in sharp contrast to the Hessianroped
bundles of the Arabs. There are nearby fiacres to
take the people to their various destinations in the
city, and some small, undersized taxi cabs.
EXT. BUS STOP - (DAY) - MED. CLOSE SHOT
Hank rubs his backside a little.
HANK
Next time take the train.
BEN
(To Louis)
Would you like to share our taxi to
the hotel?
LOUIS
That's kind of you, doctor, but
unfortunately I have some business
first.
Jo tries to be casual.
JO
What business are you in, Mr. Bernard?
But he has turned his head and speaks something in
Arabic to a porter, who begins to gather the McKenna's
bags, and one belonging to Louis. Louis turns to Ben.
LOUIS
However, I'll be there later - perhaps
we might have a drink together.
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BEN
All right. But I'll serve the drinks
in our suite.
LOUIS
In that case, I will take you to dinner.
BEN
No. Now that's not a fair bargain.
LOUIS
But I know Marrakesh. I can show you
an intriguing Arab restaurant where
the food is different, and the manner
of eating exotic.
BEN
(Gives in)
Well -- that's what we came here for.
Okay, Jo? Simple one of those Arabian
Nights?
Ben takes her arm, in a warm gesture.
JO
(Smiles agreeably)
Okay, But I'm no Scheherazade.
BEN
You'll do.
LOUIS
How would you prefer to travel to the
hotel? By taxi? Fiacre?
HANK
A wagon! I want to ride in a wagon!
He points out one of the open horse-drawn carriages.
Louis looks to Ben for confirmation. Ben nods assent.
Louis turns to the porter, and orders him in Arabia to
put the McKenna's baggage aboard the first available
carriage. He picks up his own small bag.
LOUIS
Au revoir. I look forward to cocktails.
He nods to Ben and Jo, and Pats Hank on the head.
JO
Goodbye.
BEN
See you later. And thinks again.
Louis smiles, turns and casually strolls off toward
the center of the market place. Hank watches him for
a moment, while Ben turns to see what is happening to
his bags.
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HANK
I don't like people who pat me on the
head.
BEN
(turns to Jo)
The carriage awaits, madame.
Jo turns from the retreating Louis, and steers Hank
toward Ben, The CAMERA PANS them to the fiacre.
EXT. BUS STOP - (DAY) - MEDIUM CLOSE SHOT
The McKennas follow their baggage aboard the carriage.
EXT. BUS STOP - (DAY) - CLOSE SHOT
Ben settles the excited Hank into his seat.
HANK
How do you like this! A horse-drawn
convertible!
Jo looks toward the market place, and something she
sees makes her eyes widen with surprise.
EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT
As seen from Jo's viewpoint, over the side of the
carriage. The Frenchman, Louis Bernard, is talking
wit the Arab in the brown robes and white and green
hat. The same Arab who was assaulting Hank verbally
on the bus. They are talking pleasantly, and smiling.
EXT. BUS STOP - DAY) - CLOSE SHOT
Jo turns to call Ben's attention to it, when there is
a sudden crack of a whip, a shouted command to the
horse, and the carriage starts of with an abrupt jerk.
It throws her head back. Hank screams with delight.
BEN
Hold on. Hold on! Here we go!
The carriage moves into the street with a rapid pace.
Jo looks again to find Louis Bernard.
EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT
Louis Bernard and the Arab have disappeared.
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EXT. THE CARRIAGE - (DAY) - MED. CLOSE SHOT
Jo slumps back into the seat, trying to evaluate whit
she his seen. The market place recedes in the
background. Hank is now standing up, holding on to
the side of the carriage and watching the sights.
J0
Ben -- I just saw Louis Bernard talking
to that Arab.
BEN
What Arab?
JO
The one who was shouting at Hank for
taking the woman's veil. He and the
Frenchman were talking like old friends.
BEN
All right. Let's assume they knew
each other, and Louis Bernard didn't
bother to tell us. What does that
mean?
JO
It means Mr. Bernard is a very
mysterious man.
BEN
He struck me as quite normaL
JO
What do you know about him?
BEN
I know his name...and, uh....
JO
You see? And he knows you' re an
American living in Indianapolis,
Indiana. A doctor at the Good
Samaritan. You have a garden with
snails, a wife, a boy who can spell
haemoglobin. You went to a medical
convention in Paris. Stopped at Rome,
Lisbon, Casablanca. You once served
in North Africa with an Army field
Hospital --
BEN
Now hold on. Wait a minute. We were
just talking casually...
Jo shakes her head.
JO
Not talking.
(MORE)
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JO (CONT'D)
He was asking, you were telling. You
might as well have handed him your
passport.
BEN
What difference does it make? I have
nothing to hide.
JO
Maybe Mr. Bernard has.
BEN
Jo. I know this is mysterious Morocco.
Inscrutable natives gliding through
twisted, narrow streets, but --
JO
(Irritated at not
being taken
seriously)
Oh, Ben!
BEN
Then relax. You're just mad because
he didn't ask any questions about you.
She looks at him briefly without any expression. Then
she malts into a smile.
JO
Bitter medicine, doctor. But I'll
swallow it.
The carriage swings into the driveway of the Hotel
Mamounia. It is a rich-looking building, elegantly
landscaped. The CAMERA PANS it to the entrance of the
hotel. Several hotel employees move quickly to meet
it. They help the McKennas descend, and assemble the
baggage.
EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT
Jo and Hank look at the hotel.
JO
Well. This eases the pain.
HANK
What pain, mummy?
JO
Just an expression.
Ben beckons the porter.
PORTER
Bon jour, monsieur.
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BEN
Will you take care of the driver?
PORTER
Qui, m'sieu.
BEN
My name is McKenna, Doctor McKenna.
PORTER
I'll take care of everything, m'sieu.
EXT. HOTEL MAMOUNIA - (DAY) - MED. SHOT
A moderately well-dressed, middle-aged couple emerge
from the hotel. The man is dressed in a dark grey
flannel suit. The woman wears a light-weight, two-
piece sweater and skirt, She catches sight of Jo
McKenna. The man with her beckons to a porter. They
are Mr. and Mrs. DRAYTON.
DRAYTON
Est-ce que vous etes libre? Jevous
prend.
PORTER
Oui, m'sieu.
EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT
Jo looks at the couple, then looks quickly away.
EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT
With a marked glance at Jo McKenna, the woman whispers
something to the man. He follows her glance.
EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT
Ben reaches for Hank, and the McKennas move into the
hotel. As they move past the CAMERA, Jo plucks at
Ben's arm.
JO
We're being watched.
BEN
Oh come on.
Ben gives her a look of affectionate exasperation, and
pushes her ahead of him into the hotel. THE CAMERA
PANS BACK to the couple left standing outside. The
woman is still looking after Jo McKenna.
LAP DISSOLVE TO:
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INT. MCKENNA SUITE - (NIGHT) - MED. SHOT
It is now evening, and we are in the double bedroom
and single bedroom of the McKennas in the Hotel
Mamounia. We are able to see through into the single
room where Hank is, brushing his teeth while his mother
supervises his getting ready for bed. Jo is already
dressed for the evening in a smart-looking outfit.
Ben is by the chest of drawers and mirror. He just
lust finished putting on his shirt.
At the far end of the room there is a balcony over-
looking the hotel gardens. By a small table stands
Louis Bernard dressed with unobtrusive good taste. He
is looking into the garden beyond. On the table are
glasses and a shaker of martinis.
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
In the single room occupied by Hank. Jo is putting
his clothes away. Hank, having brushed his teeth and
rinsed his mouth, emerges from the bathroom. He wears
pajamas, but still has his shoos on.
HANK
How about it, mummy? One chorus.
JO
I'm a little out of form, Hank.
HANK
One chorus, and that's all.
JO
(Smiles)
All right, Mr. Hammerstein. What's
your pleasure?
HANK
(Happily)
Quo Sera Sera. Like you and Alfred
Drake. I'll be Alfred Drake.
JO
What's your key?
HANK
Whatever I happen to hit.
He hums a note to give her the key.
HANK
How's that?
JO
Pretty original.
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HANK
Let's go.
He tap dances a vamp introduction to the song. He's
quite professional. Then he stops, takes a pose, and
begins singing in a small, but not untalented voice.
HANK
When I was lust a little boy
I asked my mother "What will I be?"
Will I be handsome?
Will I be rich?
Here's what she said to me:
Jo takes up the song. Her voice is obviously
professional, but beyond that, quite beautiful.
JO
Que Sera Sera, whatever will
be will be
The future's not ours to see
Que Sera Sera
What will be will be
Que Sera Sera.
INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT
Louis Bernard looks up with some surprise, fascinated
and delighted with Jo's singing ability.
INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT
Ben, who is putting on his tie, pauses, and listens.
There is a slight smile of pleasure and affection on
his face. Hank's voice comes over:
HANK
When I was just a child in school
I asked my teacher "What should I try"
Should I paint pictures?
Should I sing songs?
This was her wise reply:
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
Jo does a turn, takes Hank's hand and he does a turn
around her as she sings.
JO
Que Sera Sera, whatever will
be will be
The future's not ours to see
Que Sera Sera!
Whatever will be will be
Que Sera Sera!
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Hank looks up happily to his mother, as she sings to
him with love. Hank whistles a harmony accompaniment
to the next verse.
JO
Now I have children of my own
They ask their mother "What will I
be?"
Will I be handsome?
Will I be rich?
I tell them tenderly:
They sing the chorus in harmony together.
HANK AND JO
Que Sera Sera, whatever will
be will be
The future's not ours to see
Que Sera Sera!
What will be will be
Que Sera Sera!
Just before they finish the song, there is a loud
knocking at the outside door. The song trails off.
HANK
(Disgusted)
There goes our sock finish!
INT. MCKENNA SUITE - (NIGHT) - MED. SHOT
Ben goes to the door, tightening his tie on the way.
He opens it. A waiter is there with a tray of food.
WAITER
Dinaire for thee boy.
BEN
(Pointing)
Right in there.
The waiter heads for the single bedroom, as the CAMERA
PANS Ben back to the dresser.
LOUIS
I can't tell you how beautifully your
wife sings.
BEN
Yeah. She is pretty good.
LOUIS
She's marvelous. Too bad it was
interrupted.
Ben pauses in dressing, speaks almost to himself.
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BEN
I've had the same feeling. Often.
Louis looks at him briefly. There is a rattle of dishes
from the back bedroom.
INT. MCKENNA SUITE - (NIGHT) - MED. SHOT
The waiter comes out of the bedroom, followed by Jo.
JO
(Indicating waiter)
He said the manager is going to send
up somebody to baby sit.
BEN
Good.
The waiter nods politely, goes out the door.
LOUIS
Mrs. McKenna, permit me the pleasure
of serving you a drink.
JO
Thank you.
He goes toward the balcony for the drink.
LOUIS
Were you on the American stage, Mrs.
McKenna?
INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT
Jo turns, and gives Ben a meaningful glance. "The
Frenchman is asking questions again."
INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT
Ben gives her a look of comic disparagement.
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
Louis comes up, hands her a martini.
LOUIS
Madame.
JO
Thank you. Let's sit where it's cool.
THE CAMERA PRECEDES Jo and Louis as they walk to the
balcony. Ben, putting the finishing touches on his
tie, watches them out of the corner of his eye.
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Jo takes a seat, and Louis leans against the railing.
JO
Yes, I was on the American stage, and
the London stage, and even the Paris
stage.
LOUIS
Oh?
JO
I thought you might have seen me in
Paris -- being French, and --
LOUIS
The theater, requires time, and for me
time is often a luxury.
JO
Have you ever been to Paris, Mr.
Bernard?
LOUIS
(studies her briefly)
I was born there.
Jo takes a sip of her drink, with some, frustration.
J0
What do you do for a living?
LOUIS
Buy and sell.
JO
What?
LOUIS
Whatever gives the best profit.
She puts down her drink with some exasperation. As
she does, she glances back toward Ben. He's getting
his coat, but pauses to give her a slight smile and a
look that says "You're wasting your time."
JO
(More firmly)
Just what are you buying, or selling,
now in Marrakesh?
LOUIS
(Sips his drink)
You know, I would much rather talk
about the stage. If you tell me what
to answer any?
Before he can answer, there is a KNOCK at the door,
and he looks toward it. She gets to her feet, and
starts for the door.
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JO
I'll answer it.
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
The CAMERA PANS Jo past Ben to the door. He has just
put on his coat, and turns to follow her to the door.
She opens it, and standing in the corridor is a
silhouetted figure. We cannot see the face. Jo
switches on a light, which reveals a rather studious
looking man of medium height standing there.
BEN
Excusez moi, mais is cherche la chambre
do Monsieur Montgomery.
Jo looks at Ben helplessly, who looks over his shoulder
toward Louis Bernard for help in translating the French.
INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT
As the McKennas turn, the man in the doorway lifts
himself on tiptoe a little and gives a sharp look in
the direction of Louis Bernard.
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
The man immediately turns his attention back to Ben,
and begins talking in broken English.
RIEN
I am inquiring for the room of a
Monsieur Montgomery. He asked me for
a drink, and l --
BEN
Sorry, there's no Montgomery here.
RIEN
Then pardon me, monsieur, I regret
disturbing you.
BEN
It's all right.
As Ben closes the door, we see that Louis Bernard has
been advancing into the room for a better look at the
man in the doorway,
INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
The McKennas turn back to the room. Louis Bernard's
face his changed slightly to the more serious. Hank's
voice is heard off:
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HANK
Mummy -- I can't cut this meat!
JO
I'll do it, Hank.
She goes out of the room, glancing briefly at Louis.
LOUIS
(To Ben)
May I use your telephone?
Ben gestures that the phone is his. The CAMERA PANS
Louis to the phone, which he picks up, and begins
talking in French asking first for the operator, and a
certain number. Beyond that his conversation is a
mystery, because his face reveals nothing. (Possibly
speaks Arabic.)
INT. MCKENNA SUITE - (NIGHT) - MED. SHOT
As Louis Bernard talks on the phone, Ben goes to pick
up his drink. He comes back into the room, as JO enters
once again from the bedroom. She looks at Louis, then
at Ben who shrugs his shoulders. Louis finishes his
phone conversation, hangs up.
LOUIS
I am terribly sorry, but I cannot go
to dinner with you tonight.
I had neglected an important matter which now requires
my attention. Perhaps, another night...
He bows briefly and moves towards the door. The
McKenna's look at each other quite bewildered.
FADE OUT.
FADE IN:
INT. ARAB RESTAURANT - (NIGHT) - MED. FULL SHOT
The CAMERA is slowly MOVING around the interior of an
Arab restaurant catering to European tourists. It has
a Moorish atmosphere, and the diners are sitting on
cushions or low sofas. Long-robed waiters are padding
in and out from the kitchens, quietly and efficiently
serving food. There are no Arab women to be seen.
The air has a smoky quality, and the room is filled
with the murmur of voices and the clink of dishes.
Perhaps soft music of an oriental nature is heard in
the background. The light is supplied principally
from candles.
As the CAMERA completes its sweep around and COMES TO
REST on the entrance, we see Ben and Jo arriving.
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A headwaiter, wearing a fez, comes forward.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
The headwaiter bows slightly.
HEADWAITER
Bonsoir, Madame, Monsieur.
BEN
Good evening. My name is McKenna.
HEADWAITER
Of course. The hotel phoned. Follow
me please.
The headwaiter turns and moves into the restaurant,
The McKennas follow him, the CAMERA PANNING them. Ben
is interested in everything he sees. Jo glances at
the diners, and then a look of surprise starts through
her face.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
They are passing a couple who are seated on cushions
eating. The couple look up at Ben and Jo. They are
the same two people we saw come out of the Hotel
Mamounia just as the McKennas entered. The woman had
stared at Jo, and she does it again, nudging the man
next to her with an elbow. The McKennas almost pass
them, then stop. The woman continues half-looking
over her shoulder again, then turns back to her dinner.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
The headwaiter shows them to their seats -- two cushions
directly behind those of the two people who stared at
them.
HEADWAITER
I think you will find this comfortable.
He bows and departs. Jo seems disturbed, looks around
as if trying to find another seat.
JO
Ben...
BEN
Sit down, Jo, please. People are
staring at us.
She sits on the far cushion. Her movements are graceful
and easy as she sits tailor fashion. Ben, being tall
and somewhat awkward, has trouble.
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First he kneels, and then with much struggle manages
to fold his long legs underneath him.
INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT
He turns to Jo, expecting to find her amused at his
antics, but instead her face is serious, and she has a
secret look about her. She leans close to him.
JO
You're right. People are staring at
us.
BEN
What people?
She gives a quiet, warning nod toward the two people
sitting behind them. Ben cranes his head around, but
all he can see Is the back of a woman's head. He turns
back.
JO
They stared at us when we went into
the hotel.
BEN
Jo, will you stop imagining things?
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
Ben looks at her, then slowly turns his head to look
behind him at the couple. As he does, the woman behind
him also turns. They are staring directly at each
other.
MRS. DRAYTON
Good evening.
Hearing her voice, Jo turns, looks, and so does the
man with Mrs. Drayton. The woman then turns half way
around toward Jo.
MRS. DRAYTON
You must think me awfully rude. I've
been staring at you ever since I saw
you at the hotel.
Jo slides a glance of "see" at Ben.
MRS. DRAYTON
(She peers at Jo)
You are Jo Conway, the Jo Conway?
Jo visibly relaxes and becomes Jo Conway. It's Ben's
turn to give her a triumphant look in return.
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JO
Yes, I am.
Mrs. Drayton turns to the man next to her.
MRS. DRAYTON
Didn't I tell you? I knew I was right.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
Another angle, featuring the man, and Ben.
MRS. DRAYTON
I'm Lucy Drayton, and this is my
husband.
DRAYTON
How do you do, sir!
BEN
How do you do. We're Mr. and Mrs.
McKenna.
DRAYTON
My wife tells me Mrs. McKenna appeared
at the London Palladium a few years
ago.
MRS. DRAYTON
Of course we hardly ever see a show.
Edward is such an old stick-in-the-
mud. So I have to console myself with
your records.
DRAYTON
And I must admit I love 'em. I'm not
one for this terrible Bee Bop or
whatever you call it.
JO
(Laughs)
Thank you, Mr. Drayton.
MRS. DRAYTON
When are you coming back to London?
JO
Possibly never again, professionally.
MRS. DRAYTON
Don't tell me you've given up the stage.
JO
Temporarily.
BEN
It's just that I'm a doctor... Yes.
And a doctor's wife...
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JO
What Ben means is that there are no
Broadway musical shows produced in
Indianapolis, Indiana. Of course, if
we lived in New York...
(For Ben's benefit)
...where I hear doctors aren't
starving...
BEN
(To Jo)
I have nothing against working in New
York. Nothing except the fact that
it's very hard for my patients to come
all the way from Indianapolis for
treatment.
Drayton looks at his wife disapprovingly.
MRS. DRAYTON
Oh dear, oh dear. I'm always saying
the wrong thing.
JO
Not the least, Mrs. Drayton.
MRS. DRAYTON
Tell me; Dr. McKenna do you always.....
BEN
Do you think we could get straightened
around.
LAP DISSOLVE TO:
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
We now find the Draytons and the McKennas are sitting
in a group, eating dinner together. There is no back
to back awkwardness. All are busily tearing whole
roast chickens apart with their bare fingers. Drayton
holds a piece of chicken aloft, demonstrating the proper
Arab method of eating.
DRAYTON
Only the first two fingers and thumb
of the right hand. Never use the
smaller fingers. And always keep the
left hand in the lap.
JO
Does it have something to do with
religion?
DRAYTON
More social than religious, I'd say.
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BEN
It seems to me if you have four good
fingers, and a thumb, you should use
them all.
J0
Three finger -- four fingers -- for my
money this is nothing but chicken in
the rough. We have it at every drive-
in back home.
DRAYTON
Well, as I was saying, I was quite
happy farming my bit of land It
Buckinghamshire, when these chaps from
the United Nations started worrying
me.
MRS. DRAYTON
Edward was a big noise at the Ministry
of Food during the war, you know.
DRAYTON
So, I pulled myself up by the roots,
and here we are. United Nations Relief.
BEN
That sounds like interesting work.
DRAYTON
You should see my report on soil erosion
in Morocco...
(Sadly)
But nobody reads it.
Jo is staring at the entrance to the restaurant. Mrs.
Drayton follows her glance. The two men stop talking,
and eating, and also look.
INT. ARAB RESTAURANT - (NIGHT) - MED. LONG SHOT
Louis Bernard is standing in the entrance of the
restaurant. On his arm is a rather elegantly dressed
woman. She is also handsome and graceful. As he stands
waiting for the headwaiter, Louis Bernard looks around
the restaurant. His eyes stop when he comes to the
McKennas. He looks directly at them without the
slightest sign of recognition.
LOUIS
Trouvez nous un coin tranquille --
C'est possible? (Could you show me a
quiet place?)
WAITER
Certainment, monsieur. (Certainly,
Sir)
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INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT
Jo and Ben stare back. There is resentment in Jo's
eyes, and conjecture in Ben's.
INT. ARAB RESTAURANT - (NIGHT) - MED. SHOT
The headwaiter comes up to Louis Bernard, exchanges a
few words with him which we cannot hear, and then leads
the couple to a set of cushions in the far corner of
the room. As he moves away from the entrance, Louis
Bernard does not look at the McKennas.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
As the couple traverses the restaurant, our four diners
watch them -- the Draytons out of idle curiosity, but
the McKennas with growing astonishment as they realize
that Bernard has no intention of recognizing them, or
speaking to them. Jo turns back to Ben.
JO
Well just what do you think of that?
First he promises to take us to dinner --
BEN
Look, we only met him today. We can't
expect him to change his whole life --
JO
Oh, Ben! What's the matter with you?!
BEN
Nothing! What's the matter with you?!
JO
I just don't like to be both privately
and publicly insulted.
BEN
Can you blame him? Turning down an
old married couple for a date with a
girl like that?
JO
We're not an old married couple! All
right -- He's a heel. I don't
understand him -- and I'm beginning
not to like what he's doing to our
whole night.
Drayton, quietly amused, is listening to Ben and Jo.
But Mrs. Drayton is embarrassed. She makes conversation
at random.
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MRS. DRAYTON
(To Drayton)
I must do some shopping in the market
tomorrow. I do hope it'll be fine.
Fine, but not too fine. Of course, I
how our English weather is awful, but
I sometimes think we don't know when
we're lucky. All this sunshine, day
after day. It seems unnatural, somehow.
Ben makes as if to rise, but Jo holds him down.
BEN
I want to get up.
JO
Ben, I know you -- once you get worked
up, you'll start a fight. Now please,
sit down and forget him.
DRAYTON
(To the McKennas)
By the way, it'd be pleasant if you'd
let us show you round the market place,
tomorrow.
JO
Louis Bernard, the big buyer from
Paris, was going to take us through
the market tomorrow.
BEN
(Starts to rise
aaain)
Good. I'll just go over and cancel
out.
She pushes him down again.
JO
Ben, don't. Our dinner's getting cold.
(To the Draytons)
We'd love to go with you.
Ben glares in Bernard's direction, and then picks up a
chicken leg.
JO
I don't know why Ben gets so worked up
over unimportant things.
Ben looks a her slowly, and with some amazement. Then
his eyes lift a little and he sees the headwaiter
standing nearby gesturing to him to please use only
three fingers. Ben looks down at the chicken leg. He
is holding it gripped in his fist. This is too much.
He throws the leg down to his plate in disgust.
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INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
Over in the far corner of the restaurant, the lady
with Louis Bernard leans forward and murmurs something
in French. Her gaze is across the room in the direction
of the McKennas.
WOMAN
C'est les deux que cherchez? (Is that
the couple you are looking for?)
Louis turns slightly and looks. He glances back at
her and nods significantly.
LOUIS
Oui. (Yes.)
FADE OUT.
FADE IN:
EXT. MARKET PLACE - (DAY) - ESTABLISHING SHOT
It is around eleven o'clock in the morning in the main
market square at Marrakesh. This is usually the busy
time of the day. There are coaches arriving from the
countryside with the Arab farmers alighting with their
baggage, veiled women getting off the coaches and going
into the markets.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
A closer view of the shoppers -- veiled women, men on
bicycles, carts and donkeys passing.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The water sellers move slowly through the market, their
large hats tinkling with gay sounding bells.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The medicine man sitting among his medical wares --
Ben and Jo enter and look down at the collection of
claws, lizards, and barnyard scrapings.
J0
Looks like he has a cure for everything.
BEN
Yeah, there's a lot of that going around
these days.
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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
Woman with sewing machine on head.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The bread vendors offering large fresh-baked loaves of
bread. Scattered among the native populace are some
tourists and perhaps some French residents.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Mr. Drayton is standing by an Arab who has a small
gambling table set up, possibly roulette, There are
others gambling. After a moment's hesitation, and a
look around to see that he is safe from Mrs. Drayton,
he chances a small bet. He loses.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
An old man squatting on his heels and surrounded by a
small circle of onlookers is reading from a book. His
voice intones monotonously. The CAMERA PANS to the
RIGHT and we see Hank McKenna standing watching him.
Hank is holding on to Mrs. Drayton's hand.
HANK
What's he doing, Mrs. Drayton?
MRS. DRAYTON
He's the teller of tales, Hank. He
reads legends and famous old stories
from history.
HANK
Wish he'd say something I could
understand.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
A larger group of people who are gathered around some
acrobats who are performing rather well.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Standing on the fringe of the crowd watching the
acrobats are the McKennas.
J0
Ben, I'm glad we came here. It's
different, a little exciting.
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BEN
Wouldn't you rather be in Now York --
rehearsing?
She takes his arm affectionately.
JO
Oh, all that talk last night was just
social chit chat, Every woman who ever
gave up the stage for marriage is
supposed to want to go back. I was
just playing a part expected of me.
She pauses a second.
BEN
Well, if you do -- let's talk about it --
seriously.
JO
No, if at all, let's talk about it
humorously.
HANK
Mummy! Daddy!
They turn in time to see Hank run up to them, followed
by Mrs. Drayton.
HANK
Come on with us! We're gonna see the
medicine man! Maybe you on learn
something, Daddy.
BEN
(Laughs)
You're probably right.
J0
(To Mrs. Drayton)
Any time he starts wearing you out --
MRS. DRAYTON
I've never enjoyed the market place so
much. Oh!
She dashes off in pursuit of the fast-moving Hank.
HANK
Come on!
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Standing on the fringe of the crowd watching the
acrobats are the McKennas.
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JO
Ben, this whole market place is very
different and exciting.
BEN
Just like the county fairs when I was
a kid. They'd get everything but the
balloon ascension.
Jo starts giggling. Ben looks it her.
BEN
That didn't sound too hilarious to me.
JO
I was just thinking...do you know what's
paying for these three days in
Marrakesh?
Ben chuckles.
JO
And the purse I bought in Paris...
Bill Edwards' tonsils.
HANK
Mummy! Daddy!
They turn in time to see Hank run up to them, followed
by Mrs. Drayton.
HANK
Come on with us! We're gonna see the
medicine man! Maybe you can learn
something, Daddy.
BEN
(laughs)
You're probably right.
JO
(to Mrs. Drayton)
Any time he starts wearing you out...
Mrs. Drayton ad Hank go out of the picture.
BEN
I don't know whether or not to believe
you.
JO
Ben, glamour is a costume I put on
once. It never fit too well. I'd
rather live my own life than one written
for me.
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BEN
Including sleeping with a man who always
smells of ether?
J0
I don't have to look seductive at
breakfast and worry if the Times
reviewer doesn't like my scrambled
eggs.
Drayton appears behind them.
DRAYTON
How are the acrobats today?
BEN
Oh fine, fine. Haven't dropped anybody
yet.
Ben takes Jo's arm and they saunter off, leaving Mr.
Drayton to the acrobats. They do it in such a way as
to indicate the group is not hold together by any social
formalities.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA DOLLIES along beside them as they pass down
a line of Arab barbers all busily engaged with shaving
and cutting the hair of their customers.
BEN
All the way home we'll be riding on
Herbie Taylor's ulcors.
J0
And Allida Markle's asthma.
Her eyes widen a little in surprise, and somewhat hurt,
at his statement.
BEN
Oh, I know it's just a song and a dance
here and there... but it's all he thinks
about. Show business.
JO
Ben, you're setting a trap for me.
BEN
He has a good mind. Give him a chance
to develop it.
JO
You mean give him a change to be a
doctor?
BEN
I didn't say that.
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EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance. Jo holds
out her hand for Ben to shake it.
JO
All right, darling, a deal's a deal.
Ben takes her hand.
JO
For every time step he'll learn a new
muscle -- and for every chorus, three
bones.
Ben can't help chuckling.
BEN
And for every matinee?
JO
Two chapters of Grey's Anatomy.
They stop short of bumping into Hank and Mrs. Drayton.
HANK
Hey, Mummy.
(He points)
Sewing machines! Looks like a
television commercial.
BEN
Now If we could only get four cases of
the Seven-year itch, we could retire.
Or, if Mrs. Yarros really has triplets,
we could at least redecorate the house.
J0
(Laughs)
Oh, Ben, what would they say if they
heard us?
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance.
BEN
One of the reasons I came to a place
like Marrakesh is so that we could say
things like this without anybody hearing
us.
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JO
I'd like to say something where nobody
can hear us.
BEN
This is the safest place.
JO
When are we going to have another child?
Ben looks at her with some surprise.
JO
You're the doctor. You have all the
answers.
BEN
Yeah -- but, but this is the first
time I've heard the question!
They stop short of bumping into Hank and Mrs. Drayton.
HANK
Hey, Mummy.
(He points)
Sewing machines! Looks like a
television commercial.
Jo laughs appreciatively, and rumples his hair.
JO
Having a good time, Hank?
MRS. DRAYTON
He's delighted with everything.
At this moment, Mr. Drayton saunters up, and for the
first time the group is all together. Suddenly there
as some shouts in the distance. Everyone's attention
is drawn to the noise. Hank moves quickly, threading
his way through some people for a better look, the
CAMERA PANNING him away.
EXT. MARKET PLACE - (DAY) - LONG SHOT
From Hank's viewpoint we see police chasing a white-
robed Arab figure. The police consist of a couple of
uniformed French officials and two or three others in
local Arab dress, with rifles slung over their backs.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Hank, fascinated at the drama, dishes away to got a
better view.
Jo and Ben miss Hank. Then see him moving through the
crowd.
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BEN
Hank! Hank -- come back here!
JO
Hank!
She starts forward after him, but Mrs. Drayton moves
faster than anyone. She passes both of the McKennas
and overtakes Hank.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Mrs. Drayton reaches down and takes hold of Hank's
shoulders, and pulls him toward her.
MRS. DRAYTON
Hank, it's best to keep away from
trouble.
Hank is looking away toward the chase.
HANK
What's going on?
Mrs. Drayton looks toward the trouble.
MRS. DRAYTON
It looks as though the police are
chasing somebody.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A closer view of the chase brings us back to where the
motor coaches are loading up, and for a moment the
police as lost to view.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high view of the open air tannery with its circles
of crude stone water tanks becomes the scene of a
further part of the chase. We see the white-robed
Arab leaping between the crude tanks with the police
yelling and running after him in the distance. The
difficulty of the obstacles enables the Arab to get
ahead of them, and we see that he is now able to dodge
through an archway into the grain market.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
As the chase passes through the grain market, it
scatters grain and grain sellers in every direction.
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EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
The pursued Arab dashes through an enclosure holding
the donkeys which are used to carry grain to and from
the market. There is quite a stampede, with the donkeys
running, kicking, and braying in fright.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
Through another archway the Arab now dashes down some
of the narrow streets of the Medina. Sapling branches
are laced overhead creating a latticed shadow pattern
on the ground below.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
As the Arab moves along the narrow street, with the
police in pursuit, progress is made difficult by the
many shoppers and bicycle riders. One bicycle rider
trying to avoid the oncoming Arab turns and drives
helplessly into a lags pottery store. The sound of
wreckage is enormous.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The Arab turns into another street where the rows of
brilliantly dyed wool yarn hang, from overhead strung
along sapling poles. There is in unfortunate collision
between the fleeing Arab end a workman crossing the
street with a large vat of blue dye on his shoulder.
In a moment the whole narrow streetway is saturated
with blue dye, and everyone is lifting his robe and
hopping around to avoid being stained. The Arab
continues on past. The police dash through the street
trying to avoid the dye themselves.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The Police reach a narrow intersection where the blind
beggars as squatting, begging alms. They pause. There
is no sign of their quarry. Then one of them points
to faint blue footprints dashing away to the left.
They take up the pursuit once again.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high, overhead shot of the narrow streets showing
that the police have caught sight of their man again.
But there seems to be something strange about the chase
now. Two white-robed Arabs are running. The second
Arab we haven't seen before, but he is faster than the
first man and is gaining on him.
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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
A closer, level shot, the CAMERA PANNING, shows, the
two breathless men closing in on each other. As they
reach an intersection in the streets, lighted by a
shaft of sunlight, the new Arab comes up behind the
original man being chased and whipping out a knife
from under his robes, plunges it into the back of the
first man. Then he turns and quickly moves away into
a street on his left. The first Arab jerks his head
up and backward with the sharp pain of the stabbing,
Then he staggers into the dark shadows.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high shot shows that the stabbed man is almost out
of sight for a moment so that the police continue their
chase after the second man, who has swiftly darted
down another side turning.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The CAMERA MOVES IN behind the stabbed Arab. The knife
is still in his back. We get a glimpse of his hands,
vainly groping behind him. The CAMERA MOVES WITH HIM
as he staggers out into the open market place. His
shadow on the ground shows us the silhouette of the
knife handle sticking out from his back. The CAMERA
MOVES IN CLOSE to follow the agony of his head and
shoulders as he attempts to go forward.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
The CAMERA seems to pass BEYOND HIM for a moment, and
there, a few yards away, stands Ben McKenna, and his
group.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
The Arab hesitates for a moment, but the attitude of
his head shows us that he has seen McKenna. He makes
his way desperately and painfully toward him. He is
finding it difficult to remain upright and even take
those last few steps.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
A closer view of McKenna shows that those around him,
including his wife and the Draytons, become frightened.
He spreads his arms out to move them back protectively,
waiting to see what is going to happen.
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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
As the Arab reaches McKenna, the knife drops from his
back, and he collapses at Ben's feet. Ben endeavors
to grab him as he falls. He misses his shoulders, and
his hands close in and inadvertently grab the Arab's
cheeks.
EXT. MARKET PLACE - (DAY) - CLOSE SHOT
A big close up of Ben's hands as his fingers slide off
the Arab's face. He turns his hands up and we see
they are covered with black grease paint.
EXT. MARKET PLACE - (DAY) - CLOSE SHOT
The Arab's head his now dropped to the ground, and we
see streaks of white flesh showing through the dark
makeup which Ben's fingers had scraped off.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben drops to his knees to examine the man better. The
Arab gasps out something in French.
LOUIS
Ils ont trouv�s... ils ont r�ussi �
trouver...
Ben looks at him puzzled.
LOUIS
(English)
McKenna... I'm... Louis.... Bernard.
Ben is quite surprised.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben glances swiftly at the fallen knife, and then
reaches across Louis Bernard to turn him over and
examine his wound. But the Frenchman reaches up with
one arm and grabs Ben by the coat.
LOUIS
McKenna -- listen to me -- first!
With what strength he has, Louis drags Ben down until
Ben's ear is near to his mouth. With a great effort
Louis whispers to him.
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EXT. MARKET PLACE - (DAY) - CLOSE SHOT
A big closeup of Ben's ear and Louis' mouth enables us
to hear the whispering, but Louis' voice is fading so
much that we cannot distinguish the words -- at least
enough to make any sense out of what he says.
LOUIS
A man...a statesman...is to be
killed...assassinated...in
London...soon...very soon...tell
them...in London...to try Ambrose
Chappell...
Presently, the mouth stops speaking. It remains still
and open.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
As Ben backs away, we see the staring eyes, and open
mouth of Louis. Ben quickly puts his hand inside the
robes to feel for Louis' heart, The hand slowly
withdraws. Ben rises.
EXT. MARKET PLACE - (DAY) - MED. SHOT
The Arabs crowd in to see the details. Louis Bernard,
the McKennas and the Draytons are in the center of a
large flat cement section of the market place. The
Police by now have caught up to the event, and dash
quickly into the picture toward Ben and Louis.
Instinctively Ben backs away, as do the Draytons, and
Jo and Hank. However, Ben still stays closer than the
rest. One of the police picks up the knife and examines
it, another bends down to wipe the make-up off Louis
Bernard's face. Ben looks around for his wife.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben beckons to his wife beyond him, to join him. Jo
turns Hank over to Mrs. Drayton. Hank stands close to
the English woman as Jo comes over. As Jo comes up to
Ben, he is feeling in his pocket for something. Takes
out a pen.
JO
Ben -- who is he?
BEN
Louis Bernard. Got something to write
on?
She begins looking in her purse.
JO
Is he dead?
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BEN
(Impatiently)
Yes. Yes. He's dead.
She produces a small address book. Ben snatches it
out of her hand unceremoniously. He opens the book
end begins writing something down fast. Jo watches
him with mystified curiosity.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
Drayton strolls up, out of curiosity. He has also
seen Ben's hurried writing, but Ben casually puts the
notebook back into his inside pocket, along with the
pen. Before either man can comment on the writing,
the voice of a policeman is heard, speaking in French.
POLICE ONE
Savez vous qui est cet homme?
The uniformed French policeman approaches Ben.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
The policeman repeats his question as he stops in front
of Ben.
POLICE
J'ai dit: Savez vous qui est cet homme?
Drayton steps forward to help. He addresses the police.
DRAYTON
Il ne parle pas francais. Je traduir�i.
The policeman nods. Drayton turns to Ben.
DRAYTON
He wants to find out if you know this
man.
The policeman watches their faces.
JO
Of course we know him!
(She points)
It's the frenchman, Louis Bernard.
Her gestures, and her comments, although In English,
give the policeman all the information he needs.
POLICE ONE
(Looks at body)
Louis Bernard?
He moves away toward the body, which the other policemen
are now covering with a sheet.
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He gives them some instructions in French.
Ben looks at Jo in a way that says "Who asked you to
say anything."
The French policeman returns to the group. He addresses
Drayton.
POLICE MAN
Quel est le nom de ces personnes?
DRAYTON
McKenna.
POLICE MAN
Dites leur que j'aimerai qu'ils viennent
tous les deux au commissariat pour
faire un rapport.
Drayton nods unhappily, and turns to Ben and Jo.
DRAYTON
Just as I thought. He wants both of
you to go to police headquarters to
make a statement.
BEN
Do we have to?
DRAYTON
I'm afraid so.
(He turns to wife)
Our friends here have to go to the
police Station. I'm going with them
to give what help I can.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Mrs. Drayton comes up to the group, still holding on
to Hank's hand.
MRS. DRAYTON
You don't want your little boy to go,
do you?
HANK
I wanna go. I never saw a French police
station before.
MRS. DRAYTON
Perhaps it would be best if I took him
back to the hotel.
JO
You're very thoughtful.
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POLICE ONE
Ameneles aux Bureaux de Police.
(He moves out)
DRAYTON
(To Ben)
I think we'd better set off.
(To wife wryly)
Heaven knows how long we shall be.
POLICE TWOO
Alons-y. Sil vous plait.
Police Two moves across the square with Drayton. Ben
and Jo precede them. Drayton begins conversing in
French with them about the crime, but we cannot
distinguish their words clearly. Jo looks back and
gives a little wave to Hank.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The McKenna's are walking across the square with the
Police and Drayton a few yards behind them. The CAMERA
MOVES with them. Jo moves close to Ben and speaks to
him in a surreptitious manner.
JO
Why should he suddenly turn up in Arab-
outfit, wearing makeup?
BEN
What's more important -- why was he
killed?
JO
I'll bet he was a spy, or something
like that.
Ben looks at her with some surprise.
JO
Ben, what did he whisper to you? What
did you write down?
BEN
I'll tell you later.
Ben looks at his hands.
JO
What is it?
BEN
I don't feel very good after what I
said about Louis Bernard last night.
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JO looks away, equally embarrassed. Ben wipes his
fingers with his handkerchief.
LAP DISSOLVE TO:
INT. POLICE STATION - (DAY) - MED. SHOT
The main hallway and waiting room of the Police Station
in Marrakesh. French and Arab personnel move up and
down the wide hallway from one doorway to another.
There is a babble of voices and the sound of phones
heard off. The McKennas and Drayton are seated on a
long bench, waiting to be called into the inner office
of the Police Inspector. Drayton sits next to Ben.
It is hot. Jo has eyes for everything, but Ben seems
to be somewhat impatient. He looks at his watch for
the third or fourth time in a minute.
INT. POLICE STATION - (DAY) - MED. CLOSE SHOT
Drayton notices him studying his watch. He leans to
him, and at the same time wipes off the side of his on
face with a handkerchief.
DRAYTON
Once we talk to the police inspector,
I'll do my best to out some of the red
tape.
JO
I have to stretch.
She gets up and saunters away, looking around the police
station for whatever there is to see. Drayton speaks
to Ben with reassuring geniality.
DRAYTON
I'm afraid the questions will go on
till doomsday, if you admit knew this
chap Bernard before.
BEN
I didn't know him at all. We only met
yesterday on a bus.
DRAYTON
They're a cynical lot, these French --
they might refuse to believe that.
BEN
They'll have to believe me. It's true.
DRAYTON
It might sound a bit odd, from their
point of view. They saw the poor chap
whispering to you ... and then they
saw you writing something down...
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Ben looks at Drayton, waiting for his to go on.
DRAYTON
The question is, are you going to show
them what you wrote down?
Before Ben can say any more, a policeman opens the
door leading to the Police Inspector's office. He
calls out.
INT. POLICE STATION - (DAY) - MED. SHOT
Jo turns around at the sound of the door opening, and
Ben and Drayton start to rise from the bench.
The policeman steps aside, holding the door, as a Police
Inspector comes out of the office from behind him. He
is a short, heavy-built-dark man. He does not smile.
INT. POLICE STATION - (DAY) - MED. CLOSE SHOT
The Inspector walks a few steps into the corridor,
stops. Ben, Jo and Drayton approach him. Drayton
speaks first.
DRAYTON
Ces personnes sont mes bons amis, les
McKenna. Mon nom est Drayton. Ils ne
parlent pas francais et ils m'ont
demand� de traduire.
The Inspector answers in English.
INSPECTOR
Thank you, Monsieur Drayton, but a
translator will not be necessary.
(To McKenna)
Won't you come inside, Monsieur, Madame?
He stops aside, and wait.
INSPECTOR
(To Drayton)
Do to the kindness to wait. I might
have questions for you later.
He motions to the McKennas. Jo goes past him first,
into the office, followed by Ben, Drayton returns to
the bench, and watches the trio as the office door
closes on them.
INT. POLICE STATION - (DAY) - MED. SHOT
A medium-sized office, saved from plainness of civil
service decor by a few personal decorations of the
Inspector.
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He waves the McKenna to chairs, as he goes around behind
his desk and remains standing. Ben and Jo sit down.
The Inspector looks at some papers on his desk, then
holds out his hand.
INSPECTOR
(Precisely)
Your passports, please.
Ben looks at Jo, who fishes for them in her purse.
She takes them out, hands them to Ben, who hands them
to the Inspector. He scrutinizes them. Uncomfortable,
Ben retreats to a chair and sits down, waiting. The
inspector checks the pictures against the people he
sees sitting in his office, then puts the passports
down on his desk.
INSPECTOR
You entered French Morocco four days
ago.
BEN
That's right.
INSPECTOR
You are a doctor, monsieur?
BEN
A surgeon. A tourist, and an American
citizen.
INSPECTOR
Three good reasons why you should have
nothing in common with Louis Bernard.
BEN
I didn't have.
INSPECTOR
You were recently in Paris?
BEN
A medical convention.
INSPECTOR
You come to Marrakesh with him in the
same bus. You drank an ap�ritif with
him in your hotel room. And you ate
at the same restaurant last night.
JO
But at different tables.
The Inspector's eyes study her briefly, as if her
comment was an unnecessary interruption. Then his
eyes return to Ben.
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INSPECTOR
So, Louis Bernard is a stranger to
you?
BEN
I met him yesterday -- on the bus --
for the first time in my life.
The Inspector begins to let his skepticism be seen.
INSPECTOR
(ironically)
And yet -- out of five thousand people --
In a great market place -- he comes to
you when he is about to die! Is that
the action of a casual acquaintance,
monsieur?
BEN
(Obstinate)
I know nothing about Louis Bernard.
INSPECTOR
No? Not even, I suppose, that he was
an agent of the D�uxieme Bureau?
BEN
What's that?
INSPECTOR
Perhaps you have also never head of
the American F.B.I.?
(Sadly)
It would be so much more easy for both
of us, monsieur, if you would cease to
pretend.
BEN
Now, look here...
INSPECTOR
(Patiently)
The dead man found out what he had
been sent here to discover. That is
why he was kill-ed. He told you what
he had discovered. Why? Because he
placed complete confidence in you.
Voila.
BEN
Boy, you not only ask the questions
you also answer them -- Wait a minute
let me ask you a question.
INSPECTOR
Indeed, Monsieur?
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BEN
Assuming Bernard trusted me as
implicitly as you say, I would never
reveal anything he said to me, would
I?
INSPECTOR
Even Americans, I suppose, sometimes
find it desirable to betray a
confidence?
BEN
Let's get something straight. I'm a
tourist traveling for pleasure. I
somehow got involved in an unfortunate
incident. I came down here to make a
simple statement of fact, and not to
be subjected to a police grilling.
INSPECTOR
Monsieur, I would like....
BEN
(Interrupting)
Now hold your horses! Just hold them.
The door opens suddenly. The two men look up.
INT. INSPECTOR'S OFFICE - (DAY) - MED. CLOSE SHOT
A policeman opens the door and leans in.
POLICE TWO
Inspecteur. On demande Monsieur McKenna
au t�l�phone.
As he speaks, the policeman nods in the direction of
Ben.
INT. INSPECTOR'S OFFICE - (DAY) - MED. SHOT
The Inspector impatiently tries to dismiss the officer
with a gesture.
INSPECTOR
Laissez nous, nous sommes occuppes.
Ben motions to the policeman to stay where he is
BEN
Wait a minute. A telephone call for
me?
The policeman at the door looks at the Inspector
briefly. The Inspector is disconcerted, but doesn't
tell the man what to say, so he turns back to Ben and
nods.
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BEN
Where?
The policeman points over his shoulder to in outside
office.
INSPECTOR
(To the world in
general)
Mais enfin, voyons!
BEN
I'll take the call now. You just take
it easy.
He goes out the door, closing it behind him. The
Inspector sits down heavily. Then he looks up at Jo.
INSPECTOR
Madame McKenna.
JO
I don't know a thing,
INT. POLICE STATION - (DAY) - MEDIUM CLOSE SHOT
The CAMERA PANS Ban as he follows the policeman down
the outside corridor, past Drayton who is still sitting
on a bench and watching Ben somewhat anxiously, and
into a small plain office.
INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
The policeman enters the small office first. There is
a desk, more like a table, and a phone is lying on it
off the hook. The policeman picks it up, and hands it
to Ben. Ben holds it without speaking a second, and
waves the policeman out.
The policeman is indifferent. He leaves. Ben puts
the phone to his ear.
BEN
Hello.
INT. ROOM - (DAY) - CLOSE SHOT
A robed Arab is sitting in a chair holding a telephone.
The room is part of a rather elaborate Moorish house.
The Arab speaks in accented English.
ARAB
Doctor McKenna?
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INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
As Ben answers, he idly looks through the open doorway
toward Drayton sitting on the bench outside.
BEN
This is McKenna. Who's calling me?
INT. ROOM - (DAY) - CLOSE SHOT
The Arab doesn't bother to identify himself.
ARAB
You tell even one word of that Louis
Bernard whispered to you in the market-
place -- your little boy will be in
serious danger.
The Arab starts to hang up.
INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
There is an audible click in the receiver held in Ben's
hand.
BEN
Hello.
There is no answer. Ben lowers the phone slightly,
looks at it a minute, then continues on downward with
it, returning the receiver to the phone cradle. He
stands a brief moment in thought, then half turns toward
Drayton sitting in the corridor outside. He motions
to Drayton to join him in the office
BEN
Drayton!
The Englishman gets up and comes into the small office.
BEN
Didn't your wife say she was taking
Hank straight back to the hotel?
DRAYTON
As I recall. Why?
Ben picks up the phone, hands it to Drayton.
BEN
Call her. Somebody just threatened me
about Hank. See if he's all right.
Drayton reacts with surprise, speaks into the Phone.
He speaks French.
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DRAYTON
Passez moi l'h�tel Mamounia, s'il vous
plait. Voulez vous appeler la chambre
deux cents dix sept s'il vous plait....
je vois, Puis-je parler au,
concierge?...Ah! ici Mr. Drayton de
la chambre deux cents dix sept. Est
ce que ma femme est revenue a l'h�tel
depuis une heure? Sa chambre ne r�pond
pas.... je vois... bien... bien...
merci... Oh! Un instant s'il vous
plait.
BEN
Four fourteen.
DRAYTON
(To phone)
Voulez vous essayer la chambre quatre
cents quatorze?...Merci.
Ben slowly hangs up. Looks at Ben.
DRAYTON
I can't believe it.
BEN
She didn't come back?
DRAYTON
At least nobody's seen her. What on
earth...
BEN
Look -- you get back to the hotel right
away -- and see if you can find out
what's going on.
DRAYTON
It's so unlike my wife...
BEN
I'll finish up with the police and
join you as soon as I can.
DRAYTON
Right. But don't worry. Probably
some stupid misunderstanding.
(He starts out,
stops)
If I find out anything before you get
back, I'll ring you here.
BEN
Just don't waste any time!
Drayton hurries out of the office. He goes one way,
Ben the other.
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INT. INSPECTOR'S OFFICE - (DAY) - MEDIUM SHOT
As Ben enters the office, both Jo and the Inspector
look up him inquiringly.
JO
Who was it, Ben?
Ben adopts as casual an air as he can under the
circumstances. He doesn't sit down. He speaks more
to the Inspector than to his wife, avoiding her eyes.
BEN
It was the Concierge at the Hotel. He
heard we were being held by the Police
and thought there was some way he could
help us.
JO
That was nice of him.
BEN
(Looking at Inspector)
I told him if we weren't back there in
fifteen minutes to call the American
Consulate in Casablanca.
The Inspector has realised that he won't get any more
out of Ben.
INSPECTOR
(charmingly)
But, Monsieur, if you had only told me
in the first place, that you wished to
consult with your consul!
Ben gives him a look.
BEN
Let's go, Jo.
INSPECTOR
There is just one small formality. I
must request you to sign a statement
of the facts.
BEN
If it doesn't take too long.
INSPECTOR
But a moment. I will send for a typist.
Reluctantly the Inspector reaches for a phone on his
desk. Jo looks at her husband somewhat puzzled.
JO
Ben...
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He gives her a warning glance to be quiet. She does.
He reaches out, takes her hand.
LAP DISSOLVE TO:
EXT. MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT
Ben and Jo are riding along in an open Victoria, headed
back for the Hotel Mamounia. Ben seems preoccupied
with his thoughts.
JO
(Holds out her hand)
Let me see the message.
BEN
I don't -- I don't think you should.
She holds out her hand more firmly.
JO
I'm your wife, Ben -- not the police
inspector. Let's see it.
Reluctantly, Ben takes out the notebook, hands it to
her. Ben watches her as she reads the note he has
written.
The notebook page held by Jo on which Ben has scribbled
Louis Bernard's message. It reads: "A MAN...A
STATESMAN...IS TO BE KILLED...ASSASSINATED...IN
LONDON...SOON...VERY SOON...TELL THEM...IN LONDON...TO
TRY AMBROSE CHAPPEL...
EXT. MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT
Jo looks up, soberly.
J0
Why didn't you give this to the police?
BEN
Because I didn't want to.
JO
But Ben, a man's life --
BEN
(Interrupts)
...is at stake, I know, But I'm not
sure of what's the right thing to do.
She closes the notebook. Ben reaches over, takes it
from her and replaces it in his pocket. She stares
ahead, with her own thoughts. Then she speaks.
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J0
I thought we ought to go back to the
hotel, pack our clothes, take Hank,
and get out of this country as quickly
as we can.
BEN
(Thinking)
Maybe.
JO
Hank, seeing a man killed in front of
him. What a shook it must be to his
mind.
BEN
(Quietly)
I know.
JO
Why don't you just give that note to
the American Consulate -- Why get any
more involved?
Ben is uncomfortable, and unhappy, but he tries to
hide it. He leans toward Jo as if he's about to tell
her something important. He reaches out, places his
hand over hers.
BEN
Jo...about Hank...
(He trails off)
JO
What about him?
BEN
Well...he...he's the kind of a kid who
can take of himself.
EXT. HOTEL MAMOUNIA - (DAY) - MED. LONG SH
The Victoria turns into the Hotel Mamounia, and pulls
up in front of the entrance. The McKennas dismount.
EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SH
Jo straightens out her dress, waits for Ben to accompany
her into the hotel. The head porter is outside
supervising some baggage with the lesser porters. He
touches his cap to the McKennas.
BEN
(To Jo)
You get the key. I'll take care of
the driver.
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JO
Okay.
She turns and enters the hotel. Ben takes a bill out
of his pocket, examines it, and hands it to the driver.
The Victoria moves off. Ben turns to the Head Porter.
BEN
Uh...pardon me.
The head Porter turns to Ben respectfully.
HEAD PORTER
Yes, m'sieu?
BEN
Do you know Mrs. Drayton?
HEAD PORTER
The English lady?
BEN
(Nods)
Did you see her come back from the
market place anytime in the past hour
or so?
HEAD PORTER
(Thinks)
No, m'sieu.
BEN
Wait a minute. You don't understand...
she had a small boy with her. Mine.
HEAD PORTER
No, m'sieu.
BEN
How about Mister Drayton?
HEAD PORTER
Oui, m'sieu. M'sieu Drayton check
out.
BEN
He what?
HEAD PORTER
Checked out.
Ben stares at him.
BEN
He couldn't have.
HEAD PORTER
Oui, m'sieu. He did.
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BEN
(Still can't believe
it)
No, Mr. Drayton, the Englishman with
horn-rimmed glasses.
The Head Porter nods in agreement.
HEAD PORTER
Oui, m'sieu. Checked out.
EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SH
Ben turns slowly away from the porter, his face filled
with disturbance. He looks up toward the entrance as
he hears Jo's voice off.
JO
Ben, What's holding you up?
He quickly composes his face as best he can. The CAMERA
PANS HIM over to the entrance where Jo is waiting with
the key. He takes her arm and they enter the hotel.
LAP DISSOLVE TO:
INT. MCKENNAS SUITE - (DAY) - MED. SHOT
They enter the room, close the door. Ben goes
immediately to their luggage, specifically to his
medical bag. He opens it, and begins looking for
something. Jo tosses her handbag on the bed, looks
around the suite.
JO
Frankly, I'm exhausted. Don't you
feel well?
He doesn't answer her. She shrugs, and starts for the
telephone.
JO
I'll call Mrs. Drayton and tell her
we're back. She can bring Hank up
here, or I'll go get his.
She picks up the receiver. Ben speaks without turning
around.
BEN
Jo, hold the call for a minute.
JO
Why?
BEN
Because I asked you to.
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She puts the receiver down slowly. She doesn't like
his manner.
JO
Ben...we're about to have our monthly
fight.
Ben takes two pills out of a small bottle. Closes the
bottle, and his medical bag.
BEN
I hope we don't.
JO
Then stop playing Rasputin. I only
said I was going to call Mrs. Drayton.
She reaches for the phone again. He turns.
BEN
Wait 'til I come back.
She hesitates. He goes into the bathroom, the CAMERA
PANNING HIM.
She is puzzled with him. Shrugs her shoulders. Slumps
to a sitting position on the bed. She ribs her face
and her eyes with a gesture of fatigue. There is the
sound of running water in the bathroom. When she looks
up again, Ben is standing in front of her. In one
hand he his two capsules, in the other a glass of water.
He holds them out to her. His manner is casual and
pleasant.
BEN
Something to relax you.
She looks at the pills.
JO
I'm so relaxed I'm tired. You take
them.
BEN
Jo, they're for you. I'm the doctor.
JO
Ben...
BEN
You know how you get when things happen --
tense and upset. Now do me a favor.
She stands up.
JO
Six months ago you told me I took too
many pills!
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BEN
Six months ago you weren't a witness
to a murder. You've been excited,
fatigued -- talking a blue streak and
going around in circles.
JO
I have not.
Ben takes a deep breath.
BEN
Jo, I make my living knowing when and
how to administer medicine. You'll
feel a lot better tomorrow if you take
these today. But you don't think so.
Okay, I'll make a deal with you.
JO
I'm listening.
BEN
There's something about Louis Bernard,
the police station, and this whole spy
business that I haven't told you yet.
He holds out the capsules.
BEN
This is the price of curiosity.
Despite herself she's intrigued.
JO
What could it be?
BEN
There's one way to find out.
She reaches out, takes the capsules, pops them into
her mouth. He hands her the water, she drinks some of
it.
JO
All right, Doctor McKenna. I am now
relaxed and listening.
INT. MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT
Ben moves away from Jo, puts the glass on a dresser.
She sits down on the edge of the bed like a little
girl waiting to hear a bedtime story.
JO
Why don't I call Mrs. Drayton first.
You can tell me while she's bringing
Hank up.
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BEN
Just a minute. This whole thing strange
right from the very beginning.
As he talks he moves about the room first one way,
then the other, watching Jo closely, almost as if he
were trying to lull her into sleep, or hypnotize her.
BEN
It was no accident that Louis Bernard
helped us out on the bus, and struck
up a conversation. You were right
about him.
JO
See.
BEN
Yes...yes, you were right about him.
He was...was strange.
Jo is beginning to appear a little drowsy. Ben watches
her closely.
JO
I know all that. Get to the surprise.
BEN
He got talking to us because he was on
the lookout for a suspicious married
couple.
JO
Nothing suspicious about us.
BEN
He was wrong. It was a different
married couple.
JO
And he was killed before he found them.
BEN
No. He found them. In the restaurant.
Last night. That's why he was killed.
JO
You'll be telling me next it was Mr.
and Mrs. Drayton!
BEN
(Quietly)
That's just who it was, Jo.
She rubs a hand over her face. The drug is taking.
JO
If that's a joke, I don't think it's a
very funny one.
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She stops talking. He looks at her more closely.
Then he walks over to her and sits down on the bed
next to her. He looks at her intensely.
JO
Think I'll lie down.
He prevents her.
BEN
Listen to me. And listen carefully.
She comes awake more, studies him.
BEN
That phone call I received at the police
station.
She nods dumbly.
BEN
It wasn't from the concierge at the
hotel. It was from somebody with a
foreign voice who said if I told anybody
one word of what. Louis Bernard
whispered to me in the market place
that something...something might happen
to...to, to Hank.
She comes suddenly as awake as she can.
JO
Hank? Why H... ?
BEN
They've taken him away.
She pushes herself to her feet. She is fighting the
drug successfully. She almost shouts at him.
JO
Mrs. Drayton took Hank back to the
hotel. She is downstairs!
He stands up.
BEN
Mrs. Drayton has vanished! She never
came back here! And Hank didn't either!
JO
Well let's start looking for him. Mr.
Drayton...Mr. Drayton should...
He takes hold of her arms.
BEN
Jo, Mr. Drayton, checked out of the
hotel thirty or forty minutes ago!
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She knocks his hands away from her arms in a sudden
violent gesture, and all but screams.
JO
Ben!! I could kill you! Sedative!
He reaches for her again. She hits him away.
JO
All this time you, knew Hank was gone,
and you wouldn't tell me.
BEN
I wasn't sure, until now.
She is fighting the drug which is beginning to take
over again.
JO
He's my child more than yours! I had
him.
He takes hold of her again. She struggles fiercely,
trying to get away, to hit him, kick him.
JO
Let go of me! I'll never never never
forget this! We've got to find Hank!
We've got to find him.
He struggles silently with her, trying to push her
down on the bed, and hold her until the drug does its
work.
JO
You think you're the only one strong
enough to take anything? Ben, Ben, I
hate you, with my whole heart.
(She starts to cry)
Hank! Where is Hank? Hank, oh Hank!
Get him, Ben. Please. You damn
miserable human...how could
anybody...do...
INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT
He has forced her down on the bed, pinioning her arms,
even though her legs still struggle somewhat. She is
having a hard time seeing, or talking. Her head waves
back and forth. It's hard work for Ben to hold her.
J0
I...never wanted to...come here
in...first...Place...oh Hank, Hank
darling...if I ever...wake...I'll
kill...you...you...
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Her legs grow quiet. Her arm relax somewhat. She is
still straining to move her head, and talk, but all
that comes out are unintelligible sounds and a half
moan of anguish. Then she's gone. Ben looks at her a
moment, relaxes his grip. He lowers his head down
against hers. He seem to be fighting the desire to
cry. He finally gains control of himself. He lifts
his head slightly, gives her a soft and heartfelt kiss
on the cheek.
BEN
(Softly)
Darling, if somebody did this to me,
I'd say just what you said.
INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE MOT
Ben stands up. The weight of unhappiness is heavy on
him. He gets a blanket from the foot of the bed and
covers her up. He brushes back the hair from her
forehead. Then he turns, and the CAMERA PANNING HIM
OVER to the door. He takes one last look at Jo, then
goes out the door, closing it softly behind him.
LAP DISSOLVE TO:
As the light of sunset fades into growing darkness,
the muezzin stands atop the minaret, arms raised to
the heavens and giving out his high, sing-song call to
prayer. The call is taken up by another voice somewhere
in the city, and then another, and still another --
until the prayer is a continuous round of chanting
starting close, moving away, almost fading, and then
returning.
INT. MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT
The chant of the call to prayer can be heard In the
background. We are in the single bedroom, of Hank
McKenna. There is one lamp burning over the empty
bed, and another on the wall over the dresser. Ben is
despondently carrying Hank's small suits, and other
articles of clothing from the closet to in open suitcase
on the bed. As he crosses with the final armload of
clothes, he looks out of the door into the large
bedroom.
INT. MCKENNAS SUITE - (DAY) - MEDIUM SHOT
In the mirror, on the far wall, Ben can see the
reflection of his wife stirring in her bed. He watches
as she drags herself up into-a half-pitting position.
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INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben quickly puts the final items of the boy's clothes
on top of the rest in the suitcase and closes it. He
picks up the suitcase and carries it into the larger
room, the CAMERA PANNING him.
INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
As Ben enters the main room, he glances at his wife.
INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT
Jo's eyes are beginning to open and close, and she
shakes her head a little, as she tries to recover from
the sedative he gave her.
INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben puts down Hank's suitcase, and crosses to their
own luggage, the CAMERA PANNING him in such a way as
to keep Jo in the background. He opens the suitcases,
and begins taking clothes out of the dresser drawers
to pack them.
INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT
Jo opens her eyes and looks about her. She tries to
straighten up her hair a little. She takes in the
room, and then as though a sudden thought strikes her,
she looks toward the open door of her missing son's
bedroom.
INT. MCKENNAS SUITE - (DAY) - MEDIUM SHOT
The empty boy's room as seen from her viewpoint.
Ben pauses in his packing a moment to observe her.
The he continues on with his work.
INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT
Jo stares at the empty room for a moment longer, then
turns sharply back toward her husband.
INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
From her viewpoint we see the back view of Ben is he
continues packing. Ben half-glances over his shoulder
now aware that she is fully awake.
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BEN
There's still no news of him, Jo.
INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT
She stares at him apathetically.
INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
We now see Ben's face as he packs his suitcases. Beyond
him, past his shoulder, we see his wife staring in his
direction. He continues to talk, although he finds it
difficult to be matter-of-fact, moving back and forth
from the dresser drawers to the suitcases.
BEN
Both the Draytons are definitely gone.
The hotel register says they come from
London. Drayton told the concierge he
was a college professor. The only
thing to do now is to get out of
Marrakesh.
Her face shows a slight rise in reaction, mostly
puzzlement.
BEN
As individuals we're helpless here.
And because of that phone call, we
can't bring the police in on it. I
even thought of taking that chance.
He pauses, and glances at her to see how she reacts.
She just stares at his her eyes a little dull.
BEN
But connect Hank's disappearance to
Louis Bernard's murder. And the first
thing they'd do would be to make me
tell them Louis Bernard's message.
That...that could be, Hank's...well,
it wouldn't help him.
Ben goes to take some of Jo's clothes out of drawer,
and comes up with a play script. He looks at it a
moment, then back to Jo. Her eyes observe it, but she
says nothing. Ben continues on to the suitcase, where
he lays the script in with the clothes.
BEN
We're going to London.
She looks a little more sharply as if in question. He
notices as he goes to the dresser for more clothes.
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BEN
I found out. The Draytons had a private
plane -- that's how they took Hank
back. It could lend anywhere -- no
question of a passport or anything.
He Packs some more clothes away. Jo doesn't stir, she
just stares at him.
BEN
So we're going to London to find him.
He looks at her for a reaction. She turns her head
away from him as if in disagreement, or perhaps fighting
for control of her emotions. Ben crosses to her, the
CAMERA PANNING him. He sits down on the edge of the
bed, and takes out the small notebook from his coat.
He opens it. In careful, low tones, he reads Louis
Bernard's message.
BEN
(Reading)
A Man...a statesman...is to be killed...
assassinated ... in London...soon...very
soon...tell them...in London...to try
Ambrose Chappell...
(Looks up)
We're going to try this Ambrose Chappell
and if he has anything at all to do
with this, I'm going to offer him every
cent I've got to got Hank back. This
Ambrose Chappell guy is our only hope.
Understand, Jo?
Jo puts out a weary hand as though to dismiss the piece
of paper, and all that it contains. Again she turns
her head away. Slowly Ben puts the paper back into
pocket. He speaks with a shade more urgency in his
voice.
BEN
We've only got a few hours, Jo! We
have to got up and start moving.
Ben gets up, and the CAMERA PANS him to the dresser
and the suitcases. Then he pauses and looks back at
Jo who is still looking away. Jo turns back to look
at Ben. She is studying him now as if she has just
seen him for the first time. Her eyes are more alert.
Ben turns back to his packing.
BEN
I've paid the bill, and there's a car
waiting downstairs. As soon as I pack,
we're leaving.
Slowly Jo gets off the bed, and comes over to Ben. He
pauses, articles of clothing in his hands.
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For a moment she stands there looking at him, and then
impulsively she throws her arms around him and clings
to him. Her anguish is genuine.
JO
Oh Ben, Ben, Ben...where is he? Where
is he?
Ben kisses her on the cheek. She buries her head in
his shoulder. Ben stares off into space as if he hopes
to find in answer to her question.
FADE OUT.
Fade In:
EXT. LONDON AIRPORT - (DAY) - LONG SHOT
CAMERA PANNING with B.E.A. Viscount as it taxiis in to
position.
DISSOLVE:
EXT. LONDON AIRPORT - (DAY) - MEDIUM LONG SHOT
The first passengers emerge from the doorway of the
plane, followed by Ben and Jo. There is a group of
newspaper men and press photographers gathered around
the gangway. There is a stir in the group as the
McKennas appear. A couple of flash bulbs pop. An
airlines official hurries up the gangway to Ben.
OFFICIAL
Would you mind waiting for the press
photographers?
They nod agreement and the official joins the passengers
as they go down the steps.
EXT. LONDON AIRPORT - (DAY) - CLOSE SHOT
Jo turns to Ben.
JO
How could they remember me so well,
Ben? It's been four years since I
played London.
BEN
I guess you're the kind of girl they
don't forget.
JO
But how did they know...who could have
told them...Ben, you didn't...?
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She breaks off.
BEN
All I did was wire Val and Helen Parnell
to get us rooms --
He indicates fans and newspapermen.
BEN
But I didn't count on this --
Jo understands that his kind intention has slightly
miscarried. They look off as the yelling of the bobby
sox fans becomes louder.
EXT. LONDON AIRPORT - (DAY) - LONG SHOT
Fans behind the airport fence, holding out autograph
books and shouting for her autograph. Others try to
break from the barrier, but are restrained by the
police. Standing in the front row of the fans is a
sober-faced woman who is not shouting or holding out a
book.
EXT. LONDON AIRPORT - (DAY) - MEDIUM CLOSE SHOT
As the last of the passengers leaves the plane, Jo and
Ben take a position on the steps for the photographers.
Despite the long trip, her worry, her fatigue, Jo does
her best to act the part her public demands. She smiles
as well as she can, waves a little, turns her head to
the right and to the left to favor the photographers.
EXT. LONDON AIRPORT - (DAY) - MEDIUM SHOT
The sober-faced woman, standing among the fans. She
has a rather grey, pasty face, and stares off at Jo
through horn-rimmed glasses that are encrusted with
dust in the corners of the lenses. After a moment she
pushes her way back through the crowd of fans and moves
out of sight.
EXT. LONDON AIRPORT - (DAY) - MEDIUM SHOT
As the photographers continue their work Ben and Jo
come down the remaining steps and are joined by a man
wearing ordinary civilian clothes. He takes a small
black identification folder out of his pocket and holds
it up for their inspection.
EDINGTON
I'm Inspector Edington of the Criminal
Investigation Department of Scotland
Yard.
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There is immediate alarm in Jo's face, but she then
controls it.
BEN
Yes? What is it?
EDINGTON
As things are, there's no need for you
to go through the Customs. Will you
come this way!
His tone and manner of asking them leaves little doubt
that his question is an order. The McKennas glance at
each other briefly. They realize that this is a further
development of their involvement.
BEN
Whatever you say.
EDINGTON
(Smiles)
This Way, please.
He and the airlines official lead the McKennas toward
another entrance to the Airport Building. As she
follows, Jo seems tense and a little scared.
INT. PUBLIC PHONE BOOTH - (DAY) - MED. CLOSE SHOT
The be-spectacled, pasty-faced woman who had been
standing with the fans before, is now speaking rather
cautiously into a telephone. We don't hear what she
is saying, but the inclination of her head shows that
she is making some reference to the new arrivals.
EXT. AIRPORT BUILDING CORRIDOR - (DAY) - MED. CLOSE SHOT
Another man is waiting for them at a door outside the
airport building.
EDINGTON
This is Mr. Woburn -- Doctor and Mrs.
McKenna.
WOBURN
How do you do?
BEN
Now what do you people want with us?
WOBURN
Mr. Buchanan would like to have a chat
with you, inside.
BEN
Who is Mr. Buchanan?
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WOBURN
Special Branch, Scotland Yard.
He gestures them to enter the building. They do,
leaving Edington and tho Airline official outside.
EXT. AIRORT OFFICE - (DAY) - MED. SHOT
Woburn leads Ben and Jo into an inner office. It is a
good-sized room, plain, but comfortable.
WOBURN
This is Mr. Buchanan -- Doctor and
Mrs. McKenna.
BUCHANAN
How do you do?
Ben nods to him without speaking.
BUCHANAN
Thank you, Woburn.
Mr. Woburn quietly exits, closing the door behind him.
The McKennas stand a moment, wondering what do.
BUCHANAN
Do sit down, won't you?
Jo hesitates, then sits down. Ben doesn't.
BEN
Why does Scotland Yard want to talk
with us?
Buchanan sits down behind the desk. He's sophisticated
and intelligent.
BUCHANAN
Let me say at once, we're shocked...
that you son was taken from you in
Marrakesh and deeply sympathetic.
EXT. AIRPORT OFFICE - (DAY) - MED. SHOT
Jo leans forward quickly, eager, hopeful, unable to
restrain herself.
JO
Do you know where he is?
Ben is somewhat more reserved.
BEN
What about Hank? What have you heard?
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BUCHANAN
(O.S.)
I only wish I could give you some
cheerful news.
Jo settles back, unhappy, discouraged and a little
resentful of Buchanan. Ben seems irritated by the
disappointment.
INT. AIRPORT OFFICE - (DAY) - MED. SHOT
Buchanan continues quietly.
BUCHANAN
We might find him. Quite soon, indeed,
if we work together...Louis Bernard
was sent to Marrakesh by the French at
our request to check up on an
assassination plot -- here, in London.
A good agent keeps on staking his life.
He doesn't always win.
Ben and Jo watch Buchanan carefully.
BUCHANAN
Bernard reckoned you were a man to
trust. He relied on you, to come to
us.
Jo looks at Ben. He thinks a moment, but says nothing.
BUCHANAN
Those people kidnapped your boy -- in
order to keep your mouth shut. That's
right, isn't it?
BEN
I think they took him for money.
BUCHANAN
Then why didn't you go straight to
your Consulate in Casablanca? Why did
you come to London?
Ben is silent. He can't think of an answer to this
one.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Jo seems about to volunteer some information.
JO
Mr. Buchanan --
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INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
Ben looks sharply at her.
BEN
Jo...
INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
Buchanan seem only casually obvious of the exchange.
But he has noted it In his mind.
BUCHANAN
You're convinced that these people
brought your son to London. You're
convinced you can find him -- off your
own bat. You can't. It's impossible.
But with the help we can give you,
there's a chance. A really good chance.
INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
Before Ben can stop her, Jo bursts in hotly.
JO
They told us not to say anything!
INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
Buchanan turns to her and speaks gently, but with force.
BUCHANAN
Anything you tell me will be in the
most absolute confidence.
Ben starts to interrupt.
BEN
That might be true, but --
Buchanan holds up a hand to interrupt him.
BUCHANAN
(To Jo)
Your son is the trump card these people
hold. He's perfectly safe -- for the
moment.
JO
And when they've done what they're
going to do, they'll let him go. So
all we have to do is wait.
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BUCHANAN
(Gently, to Jo)
No, Mrs. McKenna. If they consider
the boy a nuisance, afterwards -- I'm
afraid --
He gestures.
BEN
Now, don't try to frighten us, Mr.
Buchanan.
BUCHANAN
It's exactly what I'm trying to do --
frighten you. I'm trying to prevent a
man being murdered here, in London.
The Pressure on Jo is beginning to weaken her. Buchanan
persists.
BUCHANAN
If you don't tell me all you know, you
become an accessory before the fact of
murder. In English law, you become
just short of murderers yourselves.
INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
Jo, a creature of emotion, is bewildered and upset and
tired of fighting Buchanan. She is ready to give in.
She looks to Ben.
JO
Ben, what can we do by ourselves? We
need --
BEN
(Interrupts)
You worked on the wrong McKenna, Mr.
Buchanan. Louis Bernard talked to me,
not my wife.
Buchanan turns to Ben.
BUCHANAN
Then you tell me.
BEN
Bernard spoke in French, and I don't
understand a word of the language.
There is a pause while Buchanan studies Ben.
BUCHANAN
And what did you write down on a piece
of paper?
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Ben stands there. He has no answer. Jo gets up from
her seat.
JO
Ben -- maybe they could find those
people, and Hank, before --
BEN
(Interrupts)
Maybe. Maybe isn't good enough for
me, and it shouldn't be good enough
for you.
JO
You act as if you're the only one who's
concerned about Hank.
BEN
Now Jo, I didn't mean it that way. We
made up our minds what we were going
to do -- now let's try to stick to it.
Ben turns to Buchanan.
BEN
We'd like to cooperate with you, Mr.
Buchanan -- but -- but we just can't.
BUCHANAN
(quietly)
I have a son of my own. I don't know
what I'd do...
Jo looks at Ben appealingly. Even Ben is uncertain
now, trying to evaluate things quickly,
BEN
Well, maybe if we --
He is interrupted by a tapping at the door. Buchanan
looks up, as do the McKennas. The CAMERA PANS Buchanan
to the door as he opens it himself. His assistant
Woburn is there. There is a whispered conversation.
Woburn retreats, and Buchanan turns back to the room.
BUCHANAN
(Matter-of-factly)
A phone call for you, Mrs. McKenna.
INT. AIRPORT OFFICE - (DAY) - MEDIUM SHOT
Buchanan crosses and picks up the telephone from the
desk.
BUCHANAN
Put the call through here, please.
He pauses a moment, then hands the phone to Jo.
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BUCHANAN
Mrs. McKenna.
Jo steps forward, takes the phone hesitantly, looking
at Bon for reassurance. He nods to her. Buchanan,
meanwhile, has casually, but quickly gone out of the
office, closing the door behind him.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
In the outer office Woburn quickly hands Buchanan the
phone, who puts it to his ear.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Jo puts the phone to her ear. She speaks hesitantly.
JO
Hallo.
We hear a voice on filter.
MRS. DRAYTON
Mrs. McKenna?
JO
Yes.
MRS. DRAYTON
This is Mrs. Drayton. You remember
me?
Jo pales and seems about to faint.
JO
Mrs...Drayton?
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Ben reacts with surprise, and gives a stop or two
forward. He is tense.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Jo recovers herself.
JO
Where's Hank? Where have you got him?
INT. AIRPORT OUTER OFFICE - (DAY) - CLOSE SHOT
Buchanan puts out a hand. Woburn places a pen in it,
and slides a pad along the desk under it. We hear
Mrs. Drayton's voice over the filter.
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MRS. DRAYTON
He's here. With me. You mustn't worry
about him, really you mustn't.
Buchanan pauses, with nothing to write.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Jo shows some relief, but she's still deeply concerned.
JO
Where is he? Where have you got him?
MRS. DRAYTON
I expect you'd like to speak to him,
wouldn't you?
JO
Yes. Please, please!
She looks towards Ben.
INT. AIRPORT OFFICE - (DAY) - MEDIUM CLOSE SH
Ben moves close to her, trying to pick up a little of
the conversation from the phone. She tips the phone a
little in his direction.
JO
Hello. Hello, Hank?
MRS. DRAYTON
Just a minute.
HANK
Mummy? Mummy is that you?
Jo fights sudden tears.
JO
Oh, Hank, Hank darling, are you really
all right?
HANK
I'm a little scared, mummy. But I'm
all right -- I guess. I miss you mummy,
I miss you so much.
She bursts out crying, unable to hold herself back any
more. Ben takes the phone from her quickly.
BEN
Hank. This is daddy.
HANK
Is mummy crying?
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BEN
Where are you, Hank? Where are you?
HANK
I didn't mean to make her cry, daddy,
but I'm scared, and I want to see her.
BEN
(Desperation)
Hank, where are you? For Heaven's
sake, where are you?!!
HANK
Welbeck eight --
There is a sudden click. Ben rattles the receiver.
All he gets is a dial tone. He hangs up, and turns to
Jo who is quietly crying, trying to get over the shock
of hearing Hank. Buchanan enters the office as Ben
takes jo by the shoulders and turns her around to him.
He takes out a handkerchief, hands it to her. She
covers her face for a moment, then dries her tears.
She looks up at Ben.
JO
He was scared.
She starts sobbing soundlessly again, her body shaking.
Ben takes her in his arms to quiet her. She quiets
down slowly. Buchanan standing behind the desk doesn't
look at the pair, but he speaks first.
BUCHANAN
It was a London telephone exchange.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Woburn comes in the office, goes to Buchanan.
WOBURN
(Tersely)
Public call box -- West One.
He shrugs as if to say "that's the end." Buchanan
nods for Woburn to leave. Woburn does, casting a side
glance of sympathy toward Jo and Ben. He closes the
door quietly behind him.
INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT
Buchanan looks at the pair, and sighs in a manner that
suggests he recognizes defeat, when he sees it.
Jo now has herself under control. She leaves Ben's
arms, and returns to her seat to gather herself
together, dry her eyes. Ben turns to Buchanan.
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BEN
Do I have to say any more?
He reaches for a pad and pencil. He scribbles something
on it.
BUCHANAN
You may change your minds. If you do,
this number will reach me.
He tears off a page of the paper, and hands it to Ben.
LAP DISSOLVE TO:
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
In a suite at Savoy's Hotel we see the door open and
Ben and Jo McKenna are ushered into the suite by the
frock-coated desk clerk. Behind them are two assistant
porters carrying their bags. In the foreground, through
which we are SHOOTING, are three large baskets of
assorted flowers. They are obviously gift of greeting
to London. The porters move off into the bedroom with
the bags. They lay out the bags, open the drapes and
windows, etc. The desk clerk turns on the lights in
the main room, as the McKennas look about.
DESK CLARK
Everything all right, sir?
BEN
It's fine. Just fine.
DESK CLARK
(Hands Ben key)
Your room key, Sir.
Ben takes it. The porters come out of the bedroom.
Ben reaches in his pocket, comes up with a bill, hands
it to one of them. The porter touches his forehead in
sort of a salute. The porters exit. The desk clerk
follows, pauses at the door.
DESK CLERK
And I hope you have a most pleasant
stay in London.
Both Jo and Ben turn to look at him briefly. He is
smiling, they are not.
BEN
Oh yes. Thank you.
The desk clerk goes out the door, carefully closing
it. The McKenna are alone. Jo turns to look at the
basket of flowers, and crosses TOWARD THE CAMERA to
look at them. She takes a card in her hand, attached
to the largest basket, reads the note.
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JO
(To Ben)
It's from the Panell's. "Welcome home,
Jo. Look forward to seeing your family.
Especially the little--"
(She breaks off)
JO stands there a brief moment, takes a breath, and
looks at to otter two cards.
JO
Cindy and Jan.
(To Ben)
You don't know Cindy and Jan.
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben puts the room key down on a table, and the CAMERA
PANS him over to a smaller desk containing the telephone
and telephone books. He sits down at the desk, and
reaches for the general telephone directory. He begins
flipping through the pages. Jo turns from the flowers
and walks over to him. He pauses, takes out of his
pocket the black notebook on which he wrote Louis
Bernard's message. He tears out the page, hands the
notebook to Jo.
BEN
You'd better keep your book.
He returns to the telephone book, after looking at the
note and placing it on the desk in front of him.
JO
What are you looking for?
BEN
The only clue we have which might lead
us to Hank. The place and identity of
Mr. Ambrose Chappell.
He finds what is apparently the right page. His finger
begins to trace down the list of names.
INSERT
Ben's finger going down the column of
names. "C - C - CHAPPELL - ABRAHAM
CHAPPELL - A.C. CHAPPELL & CO. ALFRED
CHAPPELL -- AMBROSE CHAPPELL!!"
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben pauses, notes the place on the Page, and reaches
for some notepaper and a pen from the desk.
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BEN
There it is -- big as life -- Ambrose
Chappell.
He returns his eye to the book, as Jo leans closer to
watch him. He begins writing down the name and address,
and murmurs half-aloud as he writes --
BEN
Ambrose Chappell - Sixty-one Burdett
Street. Camden Town. Telephone -
Gulliver 6198.
He reaches for the phone, after putting the book to
one side. He lifts the receiver, but Jo reaches out
to stop him. He looks at her with some annoyance.
BEN
Don't you want me to call him?
JO
I can't make up my mind, Ben. I'm jut
scared to death. I'm afraid we'll do
the wrong thing.
BEN
(Quietly)
I'll try not to be too wrong.
He picks up the phone.
JO
What are you going to say?
BEN
I'll offer to keep my mouth shut and
give him all the money we have -- for
Hank.
(To phone)
Operator. Get me ...
(Consults address)
Gulliver 6198. Thank you.
He waits and at that moment there is a sudden, loud,
but happy pounding on the door. Both Jo and Ben jump
and turn toward the door, almost frightened.
Muffled shouts are heard of "Open up! We know you're
in there! Jo! It's us! We're here!"
JO
I go.
She heads for the door, and Ben sits there squirming
with suspense, and annoyance at being interrupted.
Beyond him, Jo opens the door, and immediately four
people pour in. They are Val Parnall and his wife.
Helen, intelligent, sophisticated, and full of life.
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The other two are Cindy Fontaine, an American music
hall entertainer, now in England, around forty-five,
more of a character actress than a lead -- and Jan
Peterson, a musical comedy singer nearer Jo's age,
smart-looking, but talkative and slightly
scatterbrained. The women come in first, Helen Parnell
throws her arms around Jo in affectionate greeting.
HELEN
Jo! You look wonderful!
Val Parnell follows the women in and closes the door
behind him.
VAL
When we got your wire I couldn't believe
it. What were you doing down in
Morocco?
JO
Sightseeing.
CINDY
Two minutes later Helen was on the
phone to me. And I had to call Jan.
JAN
You're the perfect answer to what London
needs, Jo. This week's the dullest
thing since my first show.
Jo has disengaged herself from Helen. Shakes hands
with Val.
JO
Hello, Val. Jo and I want to thank
all of you for the lovely flowers.
But you shouldn't have. We might not
be here long!
Ben has been watching them anxiously, torn between
hanging up the phone, or waiting for his call to go
through. The call finally comes through.
BEN
Hello, hello? Is this Ambrose Chappell?
Mr. Ambrose Chappell? All right...I
will...I
He looks up at the group. They notice him for the
first time.
JAN
Oh hello, Mr. Conway. Didn't know you
were there.
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VAL
(To Jan with meaning)
It's McKenna...Doctor McKenna. Welcome
to London Town, doctor.
JAN
(Toward Ben)
Oh, I am sorry.
(To Jo)
I knew you were married, but a doctor.
How clever! Especially in such a
psychosomatic business. Why --
CINDY
Will you be quiet!
JAN
Cindy!
CINDY
You don't know what psychosomatic means.
JAN
I do too! It means when your mind
gets sick of your body it does something
to it --
CINDY
The doctor's trying to talk on the
phone.
Ben tries to be casual and amiable.
BEN
It's only business. It's nothing.
Helen Parnell flops into a chair.
HELEN
Business is everything. Shhh.
They all fall silent, and watch Ben. He is
uncomfortable.
BEN
Hello?
(He tries to keep
voice down)
Mr. Ambrose Chappell?
(forced to be louder)
I said is this Ambrose Chappell?
...Well this Mr. McKenna. Uh,...Doctor
Benjamin McKenna.
He looks at the listening group uncomfortably.
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J0
(To group)
I don't think we need to be quiet.
Would you like some drinks?
Val Parnell signals silently to her that he can wait
until after the call.
BEN
Well, uh, uh .. are you going to be at
your address for a while? Uh huh,
it's just some business. Nothing big.
Uh huh, well thank you. I'll drop
around.
INT. CLARIDGE'S SUITE - (DAY) - MED. SHOT
Ben hangs up, and turns to the group. He tries to be
as casual as possible. He picks up the note from Louis
Bernard, and the one on which the address of Ambrose
Chappell is written and shoves them into his pocket.
He rises to meet his guests.
JAN
See. We could have talked.
J0
(Smiles)
That's what I told you.
JO
(To group)
I'd like everyone to meet my husband.
Ben volunteers his hand to Val Parnell, while nodding
at Mrs. Parnell.
VAL
(Takes his hand)
I've heard so much about you, Doctor,
it's nice to see you in person.
HELEN
You look just like, those pictures Jo
had in her dressing room four years
ago. Haven't changed a bit.
JAN
Why should he? He's a doctor. Probably
gets free hormones.
Everyone laughs, including Ben and Jo.
JO
And this one is Jan Peterson who sing
almost as well as I do, but can handle
those legs like Nijinsky.
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BEN
I can believe it. How do you do, Jan.
JAN
When Nijinsky got off the stage he was
through with his footwork. That's
just when mine begins.
Laughter again.
JO
And Cindy Fontaine, the most wonderful
expatriate I've ever known.
BEN
(Nods to her)
Haven't you been home recently?
CINDY
How can I go back to Harrisburg? They
know me there as Elva MacDuff
(Shake's her head,
pats her wide hips)
Cindy. It doesn't fit any more.
VAL
Where's your boy? I'd like to see
which one you he looks like.
All momentary gaiety goes from Jo's face, and Ben has
a hard time appearing nonchalant.
BEN
He -- he's staying with some other
people -- so we can have a little time
to ourselves.
JAN
What's his name?
JO
(Tonelessly)
Hank. Henry, really.
CINDY
I hope he has your looks, and the
doctor's brains.
Jo turns away toward the flowers.
JO
Thank you again for the beautiful
flowers.
BEN
(Quickly)
I'm taking orders for drinks.
He looks around.
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VAL
Okay. But dinner tonight's on me.
Jo turns around to look at him, disturbed, almost to
the point of alarm. A carefree dinner is something
she just couldn't go through.
BEN
(Into phone)
Room service, please.
VAL
A welcome home for Jo.
(Smiles at her)
And I wish I could persuade her to
stay a month.
JO
Oh, Val -- I wish I could, but...
BEN
(To Val)
Will you order the stuff?
He starts toward the door, pausing to pat Jo
comfortingly on the shoulder.
BEN
I'll be back in a little while.
HELEN
Aren't you going to wait for a drink,
doctor.
BEN
Thank you, but I'll catch up when I
get back.
Ben starts for the door.
JO
Ben!
She goes with him to the door.
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
Ben opens the door, and Jo follows him half-way into
the corridor. The voices of the others are half-heard
over Jo and Ben's sotto voce conversation.
JAN
(To Cindy)
Maybe he's tired. Maybe he'd like to
sleep, or something. Maybe he has
ulcers and can't eat.
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J0
Ben, please ...
(She takes his am)
BEN
It has to be done, Jo.
J0
I Want to go with you.
CINDY
Jan, how somebody so graceful can have
such an awkward sense of diplomacy,
I'll never know.
BEN
You can't. I won't disappear. Promise.
In the background, the four visitors, while not actually
eavesdropping, are somewhat subdued by the attitude of
the McKennas toward each other.
JO
Ben, for the last time, please let me
go.
He pats her affectionately on the cheek.
BEN
Two people are much easier to follow
than one. We don't want Buchanan's
men on our tracks. Or the other people,
either. I'm going out by the service
entrance --
He turns and goes quickly. She watches him briefly,
then turns back into the room. She tries to assume a
more pleasant face...
LAP DISSOLVE TO:
EXT. LONDON STREET - (DAY) - MEDIUM SHOT
In a quiet street off Camden Town we see Ben, alight
and pay off a London taxi. The taxi does a U-turn and
disappears around a corner. Ben starts to walk TOWARD
THE CAMERA. He glances at the piece of paper from,
his pocket bearing Ambrose Chappell's address. He is
completely alone in a deserted street -- so much so
that his footsteps click on the pavement and create
the feeling of an echo. As he walks he listens to the
echo ind for a moment wonders if it is an echo. He
slows up and comes to a stop close to the CAMERA.
There is complete silence -- only the faint distant
London traffic noises.
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EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
He resumes his walk, the CAMERA DOLLYING HIM. The
echo starts again. He slows up again and stops -- but
this time the echo continues. He becomes tense, looks
around in alarm.
EXT. LONDON STREET - (DAY) - MEDIUM LONG SHOT
The CAMERA PANS the streets from Ben's viewpoint.
There is no sign of anyone.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben resumes his walk, the CAMERA DOLLYING him. He
stops suddenly, as though to trap the echo -- but the
echo comes on after him. Slightly scared, he now
resumes his walk with a more hurried pace. The echo
gets louder. He glances quickly over his shoulder
again.
EXT. LONDON STREET - (DAY) - MEDIUM SHOT
A man is following him, at about the same pace. He is
rather well dressed, and appears nonchalant.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben continues walking, and after a bit cautiously
glances behind him.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
The same man is following behind.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben glances down at the paper in his hand, and looks
up trying to locate the right house number as he walks.
The street has a mixture of houses, yards, an odd dirty-
looking store or two. Ben's expression indicates that
he would like to make his destination before the man
following catches up with him. Then he changes his
mind. He deliberately slows up.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Showing Ben as he walks slowly along, listening to the
man approaching behind him, listening with the back of
his head, and with his whole body. The man walking
behind is aware of Ben. He begins staring at him.
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Ben instinctively clenches his right hand into a fist
of preparedness. As the man closes in Ben we see that
he is rather elderly, sixty years old, perhaps. As
the man reaches Ben, and passes him, Ben's follows him
and study him.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben watches the man go on ahead of him at a faster
pace. Suddenly the man turns a sharp right into
doorway, and is gone. Ben glances at the paper in his
hand. He stops and looks up in astonishment.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
The little side doorway in which the elderly man turned.
Above it is an old painted sign reading "AMBROSE
CHAPPELL - TAXIDERMIST."
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben hesitates briefly in thought, puts the piece of
paper into his pocket, then makes up his mind and goes
through the doorway.
EXT. SMALL YARD - (DAY) - CLOSE SHOT
Ben, rather cautiously, makes his way across a small
and somewhat dreary-looking yard, and comes to face a
low building at the end of which is a kind of small
factory. The door of the factory is just closing as
he makes his way across.
EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
Ben pauses at the door to the factory, and looks down
at the pushbutton bell. There is a window next to the
door. Ben bends and peers through the window.
EXT. FACTORY WINDOW - (DAY) - CLOSE SHOT
Staring through the other side of the window is the
snarling, realistic head of a tiger.
EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
Startled, Ben recoils instinctively. Then he turns
back to the door, takes a deep breath, braces himself,
and presses the doorbell. The door is soon opened by
a young workman in shirtsleeves and apron.
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WORKMAN
Yes?
BEN
I...I'd like to speak to Mr. Ambrose
Chappell, please.
WORKMAN
Come in .
He opens the door, and Ben enters.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Ben follows the workman into the shop. It is cluttered
with stuffed animals of every size and shape imaginable.
Lions, tigers, elephant heads, swordfish, crocodiles --
everything. Ben stares around at what he sees. A
number of workmen are busy mounting, stuffing, and
preparing animals for display. The workmen who let
him in calls to someone.
WORKMAN
A sent to see you, sir.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
A man, about eighty years old, turns from inspecting a
piece of work, and comes forward to Ben. He is a thin,
gracious, gentle sort of creature.
CHAPPELL SR.
Good afternoon, Sir. I am Ambrose
Chappell.
Ben studies the man briefly. His face shows disbelief
that such a man could be put of an assassination plot.
Chappell stops in front of him, waits a brief moment.
CHAPPELL SR.
What can I do for you?
BEN
Well you see, I uh...
There is a twinkle in the old man's eye.
CHAPPELL SR.
You gave me your name that might be a
start.
BEN
Oh, of course, McKenna. Doctor Benjamin
McKenna, I called you.
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CHAPPELL SR.
(After a moment)
Oh, yes, yes.
BEN
You are Ambrose Chappell?
CHAPPELL SR.
(Smiles)
I have been Ambrose Chappell for nearby
seventy-one years.
(He winks)
But I think I understand your problem.
BEN
You do?
CHAPPELL SR
Certainly. It happens all the time.
You expected someone else -- Just a
moment.
(He turns and calls
out)
Ambrose!
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
From behind a doorway on the far side a man emerge s
in response to the call. He is somewhat younger than
the first Ambrose Chappell, but not by much. He is
the fifty-year-old gentleman who had been apparently
following Ben on the street. The CAMERA PANS him over
following to his father, and Ben.
CHAPPELL SR.
I think this gentleman wants to talk
to us.
CHAPPELL JR.
Now, father. Now why don't you go and
have a nice rest?
CHAPPELL SR.
Humph! I have centuries of rest ahead
of me.
(Nods to Ben)
Good day to you, sir.
Ben nods in return, and the elder Chappell returns to
whatever he was doing when Ben entered.
CHAPPELL JR.
Now what can I do for you?
Ben turns his attention back to the son. He is now a
little more in command of himself.
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BEN
I'm Doctor Mckenna.
(He waits, no
reaction)
Does the name mean anything to you?
Chappell Jr. thinks for a moment. The name obviously
doesn't register.
CHAPPELL
I don't think so.
INT. TAXIDERMY SHOP - (DAY) - MED. SHOT
A widor angle of the shop. Workmen pause in their
work to look in the direction of Ben with some
curiosity.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Chappell Jr. nods his head, but waits with a deadpan
expression for Ben to continue. After a pause, Ben
does.
BEN
You have no idea why I came here?
CHAPPELL JR.
My dear sir, I haven't the faintest
idea!
Ben's expression shows that he feels Chappell is putting
up a thorough bluff, but he still goes on.
BEN
I was given your name by someone I
happened to meet in Marrakesh.
Chappel Jr.'s expression doesn't change, except for a
slightly raised eyebrow.
CHAPPELL JR.
Oh, yes?
Ben now has the feeling he's on to the right man.
BEN
I suppose you've heard of him. Louis
Bernard. A Frenchman.
CHAPPELL JR.
Louis Bernard?
He seems to be turning the name over in his mind. Ben
turns to at the workmen around them.
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INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
The workmen half-listening, return to their work on
the various animals. They are a bit self-conscious at
being observed eavesdropping.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Ben turns back to Chappell Jr. He moves in a little
closer, and drops his voice somewhat. Chappell Jr.
watches him warily.
BEN
Let's stop fencing with words, huh?
Bernard told me to come here, just
before he died.
CHAPPELL JR.
This man is...dead?
BEN
You know it as well as I do. Now I
came to make a business proposition.
And I don't see how you can turn it
down.
Ambrose Chappell looks over to a man stuffing animal's
corpse.
CHAPPEEL JR.
What did you have in mind?
BEN
You want to talk here?
CHAPPELL JR.
Certainly. We have no secrets from
our employees.
BEN
Okay. First of all, I haven't uttered
one word of what Bernard told to before
he died. And I won't. Frankly I'm
not interested in political intrigue,
and I don't care who it is you're going
to kill here in London. All I want is
that boy, and I'll get on the first
plane for America.
When Ben begins mentioning a killing, Chappell Jr's
face takes on a look of alarm, almost panic. He moves
back from Ben, watching him like a deadly cobra. Ben,
however, now convinced that he has the right man in
front of him, moves in on him to finish his proposition.
BEN
Now that isn't all. If money will do
anything...
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INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
Chappell Jr. now seems thoroughly frightened. He moves
back from Ben, almost stumbling. He turns, goes back
to the door of a small office, in which is now standing
Chappell Sr.
INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT
Chappell Sr. leans closer to the open door, as the son
speaks urgently and sotto Voce to him.
CHAPPELL JR.
Father -- phone the police! Quick!
INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
Chappell Jr. now turns back toward Ben, trying to assume
a pleasant and casual manner.
CHAPPELL JR.
Now, sir -- shall we go into this a
little more carefully? You said
something about money?
Workmen are pausing in their work to look at the pair,
wondering at the mention of money.
BEN
You told him to call the police. Now
don't try to bluff me like that!
He reaches out quickly, grabs Chappell jr. by the label.
The man gives an involuntary cry of fear.
INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT
Chappell Sr. is on the phone.
CHAPPELL SR.
This is Ambrose Chappell's -- Burdett
Street. Will you send someone round
at once?
(Glancing toward
him)
There's is an extraordinary individual
here, and we really can't cope with
him.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Chappell Jr. struggles to get loose from Ben's grasp.
CHAPPELL JR.
Let me go!
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BEN
You don't know Louis Bernard?
CHAPPELL JR.
I've never heard of him.
BEN
And you don't have any idea what went
on in Marrakesh yesterday, or where my
boy is?
CHAPPELL JR.
No, of course not! Edgar! William!
Davis! Help!
Ben lets go of Chappell Jr., and turns in confusion.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM SHOT
The workmen drop their tools, and move in on Ben quickly
and threateningly. Even Chappell Sr. comes out of the
office in alarm. Ben backs away toward the door.
BEN
Now just a minute. Take it easy. I
obviously got the wrong place. Now
stay away from me.
But they don't. They come on. Ben looks quickly around
for a weapon, or an exit. He sees the door, and moves
quickly toward it, but the workmen are faster than he
is. Two of them bar the exit. Ben tries to shove
them out of the way and get through the door. The men
grapple with him. Chappell Jr., himself, and another
workman rush in, endeavoring to subdue Ben. A silent,
but furious struggle ensues. It is now a complete
melee between the four men and Ben as they try to hold
him down.
CHAPPELL JR.
Hold him...hold him...till the police
come.
Ben breaks loose temporarily, trying to find another
escape. He realizes that the time for talking is past.
But as fast as he is, the men are on him again. They
twist and struggle through the stuffed and mounted
animals. There is a melange of lion heads, swordfish,
and other partially completed jobs. Sometimes, Ben in
his struggles comes face to face with the angry head
of a bared-teeth lion. Ambrose Chappell Jr. himself
at one point finds the swordfish a very painful object
somewhere about his anatomy. Ben eventually wrenches
himself free.
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INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Shooting toward the doorway. The confusion gives him
a free moment. He makes the door, twists it open, and
dashes out into the yard. Suddenly he turns back and
dashes in again. The man retreat in fear. Ben picks
up his fallen hat and dashes out again.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
The five persons in the McKenna suits are sitting
around. All but Jo have drinks in their hands. She
seems to be absorbed in her own thoughts, but Val
Parnell is holding forth, oblivious at first to her
disinterest.
VAL
...and back at our flat, after the
first night, Chris had the nerve to
suggest that the sketch where Bud
Flanagan comes in dressed up as the
Countess was unconvincing ... that no
matter how well-got-up Bud Flanagan
was, even if he were dressed by
Hartnell, nobody would believe he was
an aristocrat. So I said, 'Look Chris,
why don't you cut William Hickey's
column out of the paper?! --
He stops talking, as he looks across at the silent Jo.
Helen and the others, follow his look. They watch her
sympathetically. Jo seems totally unaware that anyone
else is in the room, staring, into thin air, absorbed
with thoughts of her own.
VAL
(Softly)
Jo. Jo.
JO
Huh?
VAL
What's become of that unpredictable
husband of yours?
(Consults his watch)
He's been gone over an hour.
She doesn't answer, so he goes on.
VAL
Who was it he went to see? Some man
named...
(Looks at group for
help)
...what was it...Church?
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INT. SAVOY SUITE - (DAY) - CLOSE SHOT
Slowly Jo's expression begins to chance to one of
interest. We see a flood of thoughts expressed in her
face. She looks across at Val and replies:
JO
No. No...you mean Chappell!
She rises from her chair with some excitement. She
murmurs, almost to herself:
JO
It's not a man, it's a place! Ambrose
Chapel! Ambrose Chapel! It has to
be!
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
The others watch Jo, puzzled at her strange performance.
No one dares speak until she finds out what it means.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
With some excitement, Jo addresses Val Parnell.
J0
Do they list chapels in the London
Telephone Directory?
VAL
Let's a take a look.
He crosses to the telephone desk, picks up telephone
directory and opens it.
INT. SAVOY SUITE - (DAY)
INSERT of telephone directory - Val's finger lands on
'Ambrose Chapel, 17 Ambrose Street, West Two.'
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
VAL
(Excitedly)
Here it is, Ambrose Chapel, 17 Ambrose
Street, West Two.
He turns triumphantly to Jo. Without hesitation she
crosses to a table, takes her purse. She hurries to
the door without a word; then turns to them.
JO
I'm very sorry.
(MORE)
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JO (CONT'D)
But have another drink -- and please
explain to Ben when he comes in.
She hurries out the door. The others are left standing,
looking at each other. Val and Helen speak almost at
the same time, asking each other the same question.
VAL AND HELEN
Explain what?
DISSOLVE:
EXT. AMBROSE STREET - (DAY) - LONG SHOT
Jo hurrying down street towards chapel seen in b.g.
EXT. AMBROSE STREET - DAY - MEDIUM SHOT
Jo enters and stares off at the chapel.
EXT. AMBROSE STREET - (DAY) - MEDIUM LONG SHOT
Of chapel as seen by Jo.
EXT. AMBROSE STREET - (DAY) - CLOSE SHOT
Jo wondering if this really is the right place. She
decides she had better phone Ben and turns out of SHOT.
DISSOLVE:
INT. SAVOY SUITE - MEDIUM SHOT - (DAY)
The Parnell party are still wondering what all this is
about.
CINDY
There's something weird going on around
here that I can't follow.
VAL
Let's see if we can figure this out.
First of all there was a man named to
uh...
HELEN
Ambrose Chapel.
CINDY
And Ben rushed off to see him.
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HELEN
Then Jo said it wasn't a man, but a
place and she dashed off.
JAN
Don't mention it again or I might dash
off.
CINDY
What a temptation.
HELEN
Can you fathom it, Val?
Val paces thoughtfully, and they watch him.
VAL
It must be a now American gag. I'll
ask Danny about it.
At that moment the door suddenly opens. Everyone turns
in surprise. Ben is standing in the doorway. He comes
slowly into the room, closing the door. He is very
tired looking, and disheveled. They watch him enter
silently.
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Too tired to say anything at first, Ben drops into the
first chair he comes to. Then he looks up.
BEN
Where's Jo?
Val walks over to him, hands him a ready-made drink.
Ben takes it but doesn't have time to drink when Val
speaks.
VAL
She's just gone off to Ambrose Chapel.
Immediately Ben puts down the drink.
BEN
But -- but, that's where I've been...
He stands up.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
VAL
It isn't your Ambrose Chapel!
Ben looks at him questioningly.
HELEN
It isn't a he! It's an it! A building.
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CINDY
She's just gone there.
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben studies the group trying to appraise in his mind
what they have said.
BEN
Where is it! What's the address?
Val crosses to find the phone book on the desk and
looks for address.
VAL
17 Ambrose Street, Bayswater.
Ben moves quickly to the door and goes out into corridor
as telephone rings. Jan answers it. She puts down
the receiver and shouts out to Ben.
JAN
Doctor! Doctor! It's Jo! Come back --
it's Jo.
Ben comes quickly into the room pushing his way through
everyone.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
He goes immediately to the phone. Jan hands Ben the
receiver.
BEN
Jo?
INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
Jo is overjoyed to hear Ben's voice.
JO
Ben -- Ben, darling...what happened --
did you find anything?
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
BEN
No -- I drew a complete blank.
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INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
JO
Then it must be the chapel - and I've
found it, Ben. It's just a short way
from here. It was a crazy thing to do --
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
BEN
(Interrupting
hurriedly)
I have the address, Jo. Now stay there
until I get there...and don't do
anything!
INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
Jo loses some of her anxiety.
JO
I'll meet you outside.
She hangs up, sighs and starts out of the phone booth.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
Ben hangs up the phone and starts for the door. He
looks back at the group as he pauses in doorway.
BEN
Will you stick around? We'll be back
as soon as we can. I don't know how
to thank you.
He goes out through the door closing it. Everyone
stands staring at the door.
DISSOLVE TO:
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Jo stands watching something across the street.
EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
From Jo's viewpoint, the exterior of Ambrose Chapel.
An old building, silent and deserted. A faded sign
outside identifies it.
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INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
A non-conformist Chapel. Empty, except for one figure,
a woman laying out music on the organ rack in the front
of the Chapel. The CAMERA MOVES IN on her, and as she
turns on her way to the hymn board, we see that she is
Mrs. Drayton. At the hymn board, she slips into it a
series of hymn numbers.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The CAMERA THEN PANS her across the empty chapel to a
side door. She goes through it.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
She comes up a flight of stairs, the CAMERA MOVING
with her. She stops at a door on the first landing,
takes a key out of her pocket, and unlocks the door.
She enters.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Inside of a small, almost bare room, Mrs. Drayton closes
the door behind her and stands with her back to it,
watching. The CAMERA PANS SLIGHTLY to reveal the rest
of the room. Sitting at a small table is a listless,
young Hank McKenna. He is playing checkers with the
woman we saw at the airport who was standing with the
autograph hunters, watching Jo McKenna. The one with
the dirty glasses, who made a phone call. Hank has
caught the woman in a checker trap, and with obvious
satisfaction jumps three of her men.
HANK
Three men! You don't know much about
checkers, do you?
MRS. DRAYTON
It's time you went to bed, dear. You'll
get tired out.
HANK
Can I finish? I'm winning?
MRS. DRAYTON
Yes, you finish. Edna, see that he
gets some milk and biscuits.
EDNA
And he'd better have another sleeping
pill...I've got to get downstairs --
MRS. DRAYTON
(To Hank)
You'll go to sleep, Hank, won't you?
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HANK
I guess so.
EDNA
Hurry up if you want to finish this
game.
MRS. DRAYTON
Look it doesn't hurt to be kind. Yell
out when you want me to open the door.
Edna studies the board with a frown. Mrs. Drayton
smiles and goes out the door.
INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
In the corridor once again Mrs. Drayton locks the door,
and crosses the hall. The CAMERA PANNING her. She
enters another door.
INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
She enters a larger, more ornate room. The CAMERA
PANS her in, and we see first Drayton, who is putting
on a surplice -- and then the man who knocked on the
McKennas' door in the Mamounia Hotel, looking for
someone named Montgomery. He is putting on a tie and
tuxedo. He wears a dangerous-looking revolver strapped
underneath his armpit; Mrs. Drayton, without a word,
sits down and lights a cigarette, exhaling with
something close to fatigue. Then she speaks.
MRS. DRAYTON
I wish it was tomorrow.
Drayton turns, having finished his dressing.
DRAYTON
(Coldly)
That's not a very orthodox sentiment.
He goes to a desk, and takes something out of a drawer.
It is a small envelope. He turns to the man with the
gun.
DRAYTON
Two excellent tickets for the concert
at the Albert Hall -- with my
compliments.
He hands them to Rien. Rien takes the envelope, glances
at it briefly, then puts it into his pocket.
DRAYTON
Your box is nicely placed, or shall we
say strategically placed.
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He goes to a portable record player, which is open and
has a record on it. He looks down at the phonograph.
DRAYTON
Now for the most important part.
He gestured towards the record.
RIEN
What is it?
DRAYTON
A record of the delightful Picco they
will play tonight.
RIEN
What about it?
DRAYTON
Music is less in your line than
marksmanship. If you will listen, my
friend, I will play for you the exact
moment at which you can shoot. Now
listen carefully.
Drayton plays the record.
DRAYTON
Let me do it for you again. Now listen
for the cymbal crash.
Drayton plays the record again and claps his hands
together at the cymbal crash.
DRAYTON
You see at such a moment your shot
will not be heard. The listeners will
not even be disturbed. I think the
composer would have appreciated that.
No one will know.
RIEN
None except one you mean.
The assassin smiles.
DRAYTON
Ah, yes -- if you are clever, my friend.
Any questions musical or otherwise?
RIEN
No.
DRAYTON
There's's one comforting thought. It
happens early in the evening. I hope
I won't upset you if I say there's
time for one shot only. If you need
another, the risk is yours.
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RIEN
I do not take risks.
DRAYTON
That's a comfort -- traipsing all the
way down to Marrakesh to fetch you I
should like you to do me credit.
He looks at his watch.
DRAYTON
Your distinguished target's on the way
there now. A car is waiting for you
downstairs at the back entrance. You
will pick up a Miss Benson on your
way. She will be your companion in
the box. She's there to lend an air
of respectability...if that's possible.
RIEN
You will have the money when I return?
DRAYTON
I think you can trust me.
RIEN
(Looking him up and
down)
What is your English proverb -- a wolf
in Sheep's clothing?
Drayton laughs.
DRAYTON
I think you had better be going. It
is impolite to be late for a concert.
It would be awkward if they made you
wait until the first selection is over.
He turns to his wife.
DRAYTON
See him downstairs, my dear.
(To Rien)
I'm sorry you must sneak out the back
way, but we have to preserve our
respectable front.
She exits with the assassin. Drayton turns to the
mirror and surveys himself.
LAP DISSOLVE TO:
EXT. REAR ENTRANCE AMBROSE CHAPEL - (DAY)
In the distance Jo is seen pacing. To rear door of
the chapel opens and Mrs. Drayton pushes Rien out. He
crosses and enters a waiting car. The car drives off.
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EXT. AMBROSE STREET - (DAY) - MEDIUM SHOT
The shadows of the day are lengthening as Ben gets out
of a taxi and approaches Jo standing on the sidewalk.
His fatigue of before seems to have vanished in his
eagerness to meet Jo and find out what she knows.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben comes up to her. She grips his hands.
JO
There it is.
BEN
You may have just hit it right on the
nose. You can't be farther wrong than
I was with my Ambrose Chapel. Let's
go.
JO
Ben, should we get some help from the
police?
BEN
No, honey, please, no -- let's take a
crack at this alone.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
The Chapel as seen from their viewpoint. People are
now entering it, but it seem as if the tag end of the
congregation is entering, because the service is
obviously under way, the sound of hymn singing coming
across faintly to us.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben takes her hand, squeezes it affectionately.
Together they cross the street, the CAMERA PANNING
them up the steps of the chapel and to the entrance.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
They enter the Chapel from the rear, looking around
cautiously. A hymn is in progress. The Chapel holds
about three hundred people. It is of the non-conformist
type and the congregation consists mostly of middle-
aged and elderly women. Although the McKennas are not
aware of it, we notice that the organist is none other
than Edna, the woman who observed Jo at the airport,
and later took care of Hank.
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EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
Carefully the McKennas find their way to a back row
seat. One or two of the women in the back row turn to
look at the new arrivals. Jo wants to whisper something
to Ben, but with a gesture he silences her. Ben picks
up hymnal, hands her one, finds the right page and
begins to sing along with the hymn. But instead of
following the words of the hymn, Ben makes up his own
words to communicate with Jo, as he looks around at
the chapel.
BEN
(singing)
This looks like mother wild goose chase.
JO
(Singing them)
Let's wait and look around...
Some of the parishioners turn and listen to Jo's voice
because it has a professional quality that rises above
the rest. Whether they are watching her in suspicion,
or admiration, is hard to tell. Jo turns her attention
to the hymn book, trying to be unnoticed. Ben's eyes
catch something coming down the aisle.
BEN
(Singing)
Look who's coming down the aisle.
Jo follows his glance, leaning forward a little and to
one side.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
Coming up the aisle with a collection basket, collecting
money during the hymn is Mrs. Drayton. She is
approaching the row in which the McKennas are standing.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
Jo looks towards Ben helplessly. Mrs. Drayton is
between the two of them and any possible exit. Ben
immediately eases his way along behind a column which
hides him somewhat from the front, but not from the
side. Jo endeavors to shrink her body behind a tall
woman in front of her, but she is not entirely
successful. We can see Mrs. Drayton getting closer to
them.
Jo looks toward Ben almost panicked. Suddenly Mrs.
Drayton has reached the end of their row. She pushes
forward her collection plate, and as she does so her
face blanches. She instantly identifies the two.
Ben, with little else to do, looks her straight in the
eye and puts some coins into her plate.
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INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
As the astonished Mrs. Drayton turns to go back down
the aisle with her plate of coins and bills, we now
see the surpliced Mr. Drayton ascending the pulpit.
He looks down to his wife.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
From Mr. Drayton's viewpoint, as he notices his wife
coming up the aisle with a startled expression on her
face. She tries to nod with her head to indicate
something important lies behind her.
INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
Mr. Drayton, trying to puzzle out her alarm, studies
her face, and then lifts his eyes to look beyond her.
The expression on his face leaves no doubt that he
cannot understand what she's trying to convey. The
hymn has come an end, and the congregation starts
seating itself.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
The McKennas take a seat along with the rest, and as
yet they are relatively inconspicuous from the front
of the chapel. Ben takes a piece of paper out of his
pocket, examines it, and satisfied it is the right
one, hands it to his wife. The congregation falls
silent as Drayton is apparently about to begin his
sermon.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
Drayton glances down to his Bible, opens it a certain
page, and as he does so, he looks at his wife who is
sitting near the organ. She half-turns to look up at
him. She seems frightened. Drayton fumbles with the
pages of the Bible, apparently trying to make something
out of his wife's attitude. Failing, he looks up and
begins his sermon. He speaks into a microphone.
DRAYTON
Brothers and Sisters: The subject of
my address this evening is adversity.
The average life, yours and mine, is
often harassed and perplexed by
cruelties and disappointments beyond
our control.
Strangely enough, it is often the things beyond our
control which help to make us better beings.
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Pain and tribulation are the testing ground of life
and let us be grateful for them. Let us bless the
disappointments and the frustrations and say a prayer
for the agony of the moment. Only thus shall we confirm
and re-confirm our own goodness and therefore the
essential goodness of all Mankind.
INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
Half-glancing at Drayton as he delivers his sermon.
Ben talks to Jo. Their conversation is whispered.
BEN
That's Buchanan's phone number. Go on
out and call him and ask him to surround
the place with police.
JO
What if he asks me...
BEN
Tell him...tell him everything. This
is the time. I'm sure Hank is around
here some place.
JO
Ben, I don't want to leave you.
BEN
I don't know how else to do it, honey.
Ben gives her a gentle push. With a regretful look at
him, she slides out of the seat.
INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
In the middle of his sermon, Drayton looks up. He
almost falters and stops, as he sees Jo rise from her
seat.
The chapel as seen from Drayton's viewpoint. Jo has
turned up the aisle and gone out the door at the back.
INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
Drayton composes his face, but his eyes are serious.
Without the slightest pause, he continues his sermon,
shifting his ideas in mid-paragraph.
DRAYTON
Few of us pause to think how life's
adversities work in our behalf, to
make better men and women of us.
(MORE)
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DRAYTON (CONT'D)
But I believe we should pause now to
do a little stock-taking -- to look
into our own hearts and see what we
find there. Therefore instead of
continuing the service, I think we
should all return to our homes for
private meditation, remembering how
little we have to complain of and how
much to be grateful for. Next week I
shall discuss the fruits of our
meditation. Until then, my blessing
upon each and every one of you.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Ben watches Drayton, with little charity in his heart.
There is a stir in the congregation when Drayton tells
them to go home. They look at each other, uncertainly.
INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
Drayton closes the Bible, and begins to descend from
the pulpit. The congregation comes to life. The
members rise from their seats and begin filing out of
the chapel. Occasionally they cast backward glances
toward the pulpit, as if surprised at what they have
heard.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
When Drayton reaches the two steps of the altar, he
beckons the organist to him. She comes, and he whispers
something to her. He then motions his wife nearer to
him, and also whispers something to her. Mrs. Drayton
goes off through a side door by the altar, while the
organist makes her way down the aisle through the
congregation to stand by the door.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The CAMERA PANS Ben as he threads his way up through
the women who are filing out. Drayton stands at the
front of the chapel, waiting. Finally, after a slow
and deliberate walk up the now nearly empty chapel,
Ben comes face to face with Drayton. Drayton greets
him with bland amiability.
DRAYTON
Well this is a pleasant surprise,
Doctor.
BEN
Where's my boy, Drayton?
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DRAYTON
He's upstairs. As a matter of fact
you've just come in time to help my
wife with Hank's food. Seems Hank
doesn't care much for English cooking.
Drayton's eyes stray to the back of the church as he
talks. Ben, noticing Drayton's eye movement, follows
it cautiously. But before he can confirm his
suspicions, there is a loud clang of a door closing
that gives him his answer. He looks around quickly.
INT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
At the other end of the chapel, the woman, Edna, has
just closed the door, and is in the process of locking
the heavy iron lock with a large key. She extracts
the key and puts it into her pocket.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Ben turns back to Drayton to find that his manner has
changed somewhat. He grabs him quickly by the throat
of his robes.
BEN
What do you want? I'll give you money
and keep my mouth shut. All I want is
my boy.
DRAYTON
And what about your wife? Did she go
outside just to get some fresh air.
BEN
Tell me what you want. I'll do
anything.
DRAYTON
All right -- you'll see your boy in
good time.
With a sudden twist, he wrenches himself away from
Ben. He reaches for a button on the altar, presses
it. Instantly the door by the side of the altar opens
and two rather strong men appear. Ben turns alertly
to face them, backing of a little.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
One of the men is obviously the chauffeur type, and
the other one, a handyman type in his shirtsleeves.
Ben takes this in, and notices the open door behind
them. Ben maneuvers himself toward the pulpit, and
suddenly dashes for the steps.
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He surprises them with his speed, and before anyone
can stop him, he is in the pulpit. He grabs the
microphone previously used by Drayton in his sermon.
He yells into it.
BEN
Hank! Hank McKenna! Hank! Where are
you? Hank! Hank!
As the sound roars through he chapel the two man dash
for the pulpit, and at that mount we hear, faintly
off, the voice of Hank:
HANK
Daddy! Daddy, I'm here! Dad -
His voice is choked off. Ben jumps down from the pulpit
in an effort to make for the open door, but the two
men throw themselves on top of him.
INT. PHONE BOOTH - (DAY) - CLOSE SHOT
Jo speaks into the phone with great urgency.
JO
...And Ben is in there now, watching
the both of them!
INT. SPECIAL BRANCH OFFICE - (DAY) - CLOSE SHOT
Woburn, assistant to Buchanan, is listening intently
on the phone. The office behind him is not handsomely
appointed. Jo's voice is heard on filter.
J0
He sent me out to call you -- so we
could do something before they get
away.
WOBURN
I see, Mrs. McKenna -- and you believe
your son is somewhere in the chapel?
JO
I don't know, I don't know where he
is...but at least these people will
know -- the Draytons. If you'd only
send somebody to get them.
WOBURN
I'm afraid it isn't quite as easy as
all that.
INT. PHONE BOOTH - (DAY) - CLOSE SHOT
Jo interrupts him, impatient with his caution.
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J0
Mr. Woburn, there isn't any time! My
husband is sitting in that chapel
waiting for me to bring some help.
Can't I talk with Mr. Buchanan? He
said when we needed him, to call.
INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
Woburn is concerned.
WOBURN
I'm awfully sorry, but I simply can't
get hold of him just now. He's gone
to a rather important diplomatic affair --
at the Albert Hall.
INT. PHONE BOOTH - (DAY) - CLOSE SHOT
Jo is tired of his talk. She wants action.
JO
Well call him there, please! Call
him!
INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
As he talks, Woburn reaches for a pad d a pencil, and
begins making some notes.
WOBURN
He's on his way. I don't know quite --
JO
(Filter)
Then can't you do anything -- right
away -- before we lose the Draytons?
WOBURN
I assure you, I'll do all I cant as
soon as I can.
INT. PHONE BOOTH - (DAY) - CLOSE SHOT
Jo is at the frantic point.
JO
We don't have days to do this. It's a
matter of minutes. Can't you send the
police. Or do I have to go to the
Albert Hall myself.
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INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
Woburn finishes making his notes. He reaches for
another phone with his left hand, and dials a number
as he talks to Jo.
WOBURN
(Efficiently)
That won't be necessary. I'll see
that the chapel is put under immediate
observation. By the time you get back
a police car should be there. Please
return to your husband, tell him to
come straight out of the chapel, and
let the police take over.
He turns to the other phone.
WOBURN
Woburn, Special Branch, hold on.
(To the other phone)
I must ring off now, Mrs. McKenna.
Please believe me, I'll have everything
laid on.
INT. PHONE BOOTH - (DAY) - CLOSE SHOT
With a feeling of frustration, Jo hangs up the phone
as Woburn clicks off on the other end. She exits to
the phone booth.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
The back door of the chapel opens and Drayton, Hank
and Mrs. Drayton emerge. Drayton locks chapel door
and crosses to a waiting car. They all get in and the
car moves off.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
Jo hurries up the street towards Ambrose Chapel.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
Jo turns the corner heading for the chapel. She looks.
EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
The doors of the chapel are closed. It seems strangely
deserted.
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EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
Jo hurries across the street, and up the steps to the
Chapel. She tries the door.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The door locked. She tries it again. It does not
give. She bangs her on the door. No one answers.
Jo's face is puzzled and a frightened.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
The CAMERA PANS Jo to the right side of the Chapel.
She looks down the length of it. No sign of anyone.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The CAMERA PANS Jo to the right side of the Chapel.
There is no sign of life down the whole side of it.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Jo returns to the front door, examines it, tries it
again. Now there is definite panic in her face. There
Is the sudden sound of a car pulling up quickly to the
curb. She turns.
EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
A police car has pulled up to the curb. There are
four men in it.
EXT. AMBROSE CHAPEL - (DAY) - MED. SHOT
The CAMERA PANS Jo from the front of the Chapel down
to the police car. Three men are getting out, leaving
the driver inside.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Jo comes up to the three men. One of them, in charge,
does the talking.
JO
There's nobody there!
PATTERSON
Are you Mrs. McKenna?
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JO
Yes, but something's wrong. A few
minutes ago the place was full of
people, and now there's nobody!
Two of the police move up toward the Chapel. Patterson
glances at it.
PATTERSON
Our orders are to keep it under
observation until a Scotland Yard car
arrives.
JO
My husband's in there. There must
have been thirty or forty people...
and now...
Patterson looks at her carefully.
PATTERSON
When was this?
JO
It couldn't...it couldn't have been
more than five minutes ago!
PATTERSON
(Interrupting)
Let's take a look.
JO
I told Mr. Woburn he had to hurry.
EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
The CAMERA PANS the two of them up to the Chapel. The
other police have gone down the sides for an inspection.
Patterson and Jo go to the main door. Patterson tries
it.
JO
I tried that. It's looked, Let's force
it open.
PATTERSON
I'm sorry, madam, we can't break in.
(Sympathetic)
Requires a search warrant. It's the
law, you see.
JO
Couldn't you get one?
PATTERSON
It all takes time. We'll have a look
round, shall we? Matthews, you take
the other end.
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MATTHEWS
All right.
They start around the corner to inspect the sides of
the Chapel.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Patterson and Jo peer in the windows. They apparently
see nothing.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Another policeman is checking the windows on the other
side. Nothing.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The third policeman is checking the alleyway in back
of the Chapel. He sees no sign of anything suspicious.
Patterson and Jo come around the back and try the back
door.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The back door is firmly locked.
MATTHEWS
There's no one there, sir.
PATTERSON
Are you quite certain the place was
full of people -- only a few minutes
ago?
JO
Of course I'm certain. I was there
myself, sitting next to my husband.
He sent me out to call Scotland Yard.
He looks at her quizzically.
J0
It's much too complicated to explain.
PATTERSON
We'll just have to sit tight and wait
for the car to arrive from the Yard.
He starts for the front of the Chapel, and Jo,
unhappily, is forced to follow.
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INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The chapel is deserted inside. In the dim light we
can see a form stretched out on the floor. It is Ben.
He begins to stir a little as if just beginning to
come to after being knocked unconscious.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
The policemen are grouped around the patrol car, as
Patterson, the sergeant, talks over a radio telephone.
PATTERSON
So far as we can make out, sir, there's
no sign of life. I see, very good,
Sir.
He hangs up, and gets out of the open car. He turns
to one of his men.
PATTERSON
Walden, you'll stay here, till the car
arrives from the Yard.
WALDEN
Okay.
PATTERSON
That's all, Matthews.
The other policeman gets into the car, Leaving the
door open for the Sergeant.
JO
You're not leaving?
PATTERSO
(Politely)
Orders, madam. Can we give you lift
somewhere?
Jo is frustrated, and irritated, but she thinks for a
moment and makes a sudden decision.
JO
Yes, I want to go to Albert Hall.
Patterson looks at her with tolerant surprise.
PATTERSON
Afraid the Albert Hall's a bit off our
beat. Suppose we drop you at the
nearest taxi rank?
Jo looks back at the Chapel briefly.
JO
All right. Let's go.
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They get into the car, and the CAMERA PANS it, as it
drives away down the long Victoria London street, which
now remains deserted.
EXT. EMBASSY - (DAY) - MED. SHOT
The exterior rear of a huge residential building such
as is to be found in Kensington Palace Gardens or
Belgrave Square. The CAMERA PANS DOWN and we see a
Humber car driving through the gates at the rear. It
pulls up at the Service entrance. A man sitting beside
the chauffeur gets out of the car. Inside the car are
the Draytons and Hark McKenna. We see the man hurry
to the door of the kitchen and enter.
INT. EMBASSY KITCHEN - (DAY) - MED. SHOT
There is a big staff of kitchen help, chefs, maids of
middle-age, all preparing food for what is obviously a
big party. The man who has entered, calls to them to
get their attention.
GUARD
Hello. Hello.
The work falls quiet as they become aware of him.
GUARD
Everybody out into the corridor. Hurry
(He claps his hands)
There is a moment of bewilderment and confusion. The
man crosses to someone obviously a butler, and whispers
some words to him. The butler turns to the workers
and starts herding them toward the corridor through a
door in the far corner of the kitchen.
BUTLER
Do what he says. Come on. It will
only be a minute. Come on, all of you --
out.
The man goes to the door.
EXT. EMBASSY - (DAY) - MEDIUM SHOT
He leans out the door and beckons the Draytons and
Hank to come in quickly. The three get out of the car
and hurry toward the door.
INT. EMBASSY KITCHEN - (DAY) - MED. SHOT
The man moves back into the kitchen, and goes to stand
guard at the doorway through which the workers left.
The door is closed.
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INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT
The servants are packed together at one side of the
corridor. They are talking, grumbling.
WOMAN COOK
This embassy -- there's always something
queer going on.
INT. EMBASSY CORRIDOR - (DAY) - CLOSE SHOT
While the other servants are grumbling, one is saying
nothing. He rather a Shrewd-looking young footman.
He strains to listen through closed door. Coming from
the kitchen are several sounds. A door opening, the
walking of feet, and finally the slam of a door.
ANOTHER VOICE
Bringing people in, in secret...
ANOTHER VOICE
Give me the Swiss Embassy every time,
there's neutrality for you!
Then the sound of a car leaving outside. The door to
the kitchen opens and the servants, including the young
footman enter again.
INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT
The young footman, among the first to enter, surveys
the kitchen. There is no sign of anyone having passed
through.
EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
The street before the chapel is still deserted, and
the light of day is beginning to fade. Suddenly the
silence is broken by the sound of the bell ringing
spasmodically in the chapel belfry. Along the street
a few people begin putting their heads out of windows,
and the one policeman left in charge is seen hurrying
away down the street.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Inside the chapel we can see the cause of the spasmodic
bell ringing. Ben is using the rope to climb out of
the chapel. He succeeds in reaching high window. He
holds on to the window, and looks down.
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EXT. AMBROSE CHAPEL - (DAY) - LONG SHOT
From his viewpoint. He can see people gathering in
the street, looking up at the chapel.
INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Ben decides to swing to the opposite window which will
be away from the street. He swings, grabs, and with
some difficulty manages a foothold. He finally climbs
out through the window.
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
Ben moves cautiously out onto the roof of the chapel.
Beyond and below him we can see people on the street.
He manages to lay low and crawl over the roof, the
CAMERA PANNING him. We can now see beyond and below
the patrolman returning with two regular uniformed
policemen. They are crossing toward the chapel looking
up, as we:
LAP DISSOLVE TO:
EXT. ALBERT HALL - (DAY) - LONG SHOT
Shooting through the Albert Memorial as a foreground
piece we see the activities of the arrivals at a big
concert. Through the archway large limousines are
pulling up, while on the sidewalk level with the main
road odd taxis are pulling in. We see the usual line
of posters which run along the edge of the sidewalk.
EXT. ALBERT HALL - (DAY) - LONG SHOT
The screen is filled with a large poster. It announces
for that evening the commemorative concert. Further
details on the poster indicate that a Cantata will be
sung featuring the London Symphony Orchestra, The Royal
Choral Society, and a name woman as featured mezzo
soprano, and Conductor Bernard Herrmann. Between the
CAMERA and the Poster a taxi pulls up. It is near
enough to the CAMERA so that just the driver and the
door fills the screen, Jo McKenna steps out the far
side and pays off the driver with a Ten Shilling Note.
She hurries away. The driver endeavors to call after
her as he turns the note around in his hand. He looks
at it with satisfaction, and stuffs it into the inner
recesses of his clothes.
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EXT. ALBERT HALL - (DAY) - SEMI-LONG SHOT
We see Jo threading her way across the narrow inner
roadway into which large limousines are creeping and
depositing indifferently dressed aristocrats.
EXT. ALBERT HALL - (DAY) - MED. SHOT
Jo finds herself going up the few steps the front door
surrounded by a mixture of tattily-dressed, tiaraed
English duchesses, and the more elegantly dressed
members of the Corps Diplomatique men in white tie,
tails and orders, and their more fashionably dressed
South American beauties.
INT. LOBBY - (DAY) - LONG SHOT
Shooting down from the stone-stepped, cast-iron
railinged staircase we see the milling people going
off in different directions to their seats. There is
a hubbub of voices through which we can hear the
programme sellers crying out their wares.
INT. LOBBY - (DAY) - SEMI-CLOSEUP
Jo patiently awaits her turns as two or three people,
perhaps a couple of Chelsea 'long-hairs', and one other
people, who obviously have not reserved ahead of time
because they had no money, take their turns at the
window. A uniformed attendant, standing beside this
queue, is repeating information for the benefit of the
queue.
UNIFORMED ATTENDANT
Seats at a guinea. Starting Room three
and six --
Jo moves out of the queue and addresses him.
JO
(Rather urgently)
I would like to see the manager, please.
UNIFORMED ATTENDANT
I'm sorry, madam, The manager's on
duty in the lobby. So's his assistant.
JO
Please, I must speak to one of them.
Which are they?
UNIFORMED ATTENDANT
(Vaguely)
Over there somewhere...
He resumes his chant.
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Jo turns away disconsolately and starts Jo seek these
men out for herself. The CAMERA PANS her over and she
finds herself blocked off by a crowd of four or five
feet deep.
INT. LOBBY - (DAY) - CLOSE UP
Jo, standing on her toes endeavoring to look beyond
the block of people. Suddenly her face changes as she
sees:
INT. LOBBY - (DAY) - MED. SHOT
Shooting over the head of crowd she sees the arrival
of an important personage. He is accompanied by others
who are apparently attendants upon him. A couple of
the individuals behind him are wearing large order
sashes underneath their white waistcoats. The principal
figure of this group is an oldish an around sixty. He
is in white tie and tails, and also wearing a number
of foreign orders. About third is line behind him
comes 'Buchanan'.
INT. LOBBY - (DAY) - CLOSE UP
Jo immediately recognizes him.
INT. LOBBY - (DAY) - MED. SHOT
From her viewpoint we see the men she has been seeking,
possibly the manager of the Albert Hall, his assistant
cow-towing behind him, and alongside of the manager
someone dressed like he might be 'Sir Kenneth Clarke',
the head of the Arts Council, The new-arrival is
greeted. There is an exchange of courtesies, after
which they are led on toward the beginning of the
staircase. As 'Buchanan' comes nearer.
INT. LOBBY - (DAY) - SEMI-CLOSE UP
Jo tries to push her way through towards him. The
people around her resent her efforts. Behind Jo are
two girls in their early twenties. Both are Chelsea
types.
1ST GIRL
(Bored)
Is that the Prime Minister?
2ND GIRL
(Enthuses)
No, that's only the Ambassador. The
Prime Minister's the one with the bald
head.
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1ST GIRL
Well, I'll guarantee he's got a better
seat than we have.
The CAMERA PANS Jo as she does manage to get forward a
little, but she is caught up in the Sudden break-up of
the people who have lined up to see arrival. By the
time she is in the clear the CAMERA PANS her further
and over her shoulder we see the last of 'Buchanan'
and the rest up the staircase, followed by other members
of the audience going up in the same direction.
INT. LOBBY - (DAY) - CLOSE UP
We see Jo's frustration filling her face. She begins
to turn her head. She looks down with indecision.
INT. LOBBY - (DAY) - SEMI-CLOSE UP
In the foreground are passing people hurrying towards
their seats. There, taking a step forward and staring
in Jo's direction, is Rien, the Assassin. His face
shows considerable alarm at what he sees.
INT. LOBBY - (DAY) - MEDIUM. SHOT
From his viewpoint Jo is half-turned in his direction.
Her head is still down. Slowly she looks up. Her
mouth half-opens when she sees the man she once saw in
the corridor of the hotel at Marrakesh.
INT. LOBBY - (DAY) - SEMI-CLOSE UP
Rien, with a quick thought, hurries over to her.
INT. LOBBY - (DAY) - SEMI-CLOSE UP
The two are in SEMI-CLOSEUP. He says to her quietly:
RIEN
You have a very nice little boy, madame.
He turns to go. Jo clutches him and almost cries out.
J0
Where Is he? Where is he?
Rien does not reply. The CAMERA PANS him away. We
see him join a woman escort and make their way for the
staircase.
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INT. LOBBY - (DAY) - SEMI-CLOSE UP
The CAMERA PULLS BACK and we now see that the crowd in
the lobby is thinning out. Jo stands alone, jostled
by a stream of late arrivals. From the hall itself we
can hear the SOUND of the orchestra tuning up, followed
by a burst of applause, with a few shouts which
obviously herald the arrival of the visiting dignitary
in his box.
INT. LOBBY - (DAY) - SEMI-CLOSE UP
Jo stares toward the opening into the hall. She seems
drawn to go in. She crosses and the CAMERA FOLLOWS
her to the first entrance to the outer corridor.
INT. CORRIDOR - (DAY) - CLOSEUP
Jo stands for a moment and then slowly crosses the
corridor to the main entrance where the ticket collector
and a programme girl stand. As she approaches the
opening, the ticket collector steps forward.
TICKET COLLECTOR
Your ticket, madam?
Jo shakes her heads.
JO
If you don't mind, I'm just looking
for someone.
She takes a step or two forward as some new arrivals
take up the attention of the ticket collector. The
programme girl escorts them out of the scene.
INT. HALL - (DAY) - CLOSEUP
Jo stares at the vast hall in front of her.
INT. HALL - (DAY) - LONG SHOT
From her viewpoint she sees the complete hall, the
orchestra and choir assembled, and a round of applause
is heard as the conductor is seen threading his way
toward the instruments and mounts the podium.
INT. HALL - (DAY) - SEMI-CLOSEUP
Jo steals a glance toward the box which first catches
her eye.
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INT. HALL - (DAY) - LONG SHOT
From her viewpoint she sees the flag-draped box of the
foreign visitor. It is full of his entourage and seat
slightly to the left of him in the second row 'Buchanan'
is sitting. Nearer to her and in front of 'Buchanan'
on one side of the dignitary is a be-medalled, blue-
sashed individual who might be an Ambassador.
INT. HALL - (DAY) - CLOSEUP
Jo turns her head away and looks at the other side.
INT. HALL - (DAY) - LONG SHOT
The CAMERA roves among the boxes. Suddenly it stops
on one as the Assassin takes his seat with his woman
escort like any ordinary couple. They are quite casual
in their behavior.
INT. HALL - (DAY) - CLOSEUP
Jo becomes transfixed. A sudden silence returns her
attention to the orchestra.
INT. HALL - (DAY) - LONG SHOT
From her viewpoint we see the full orchestra, the
conductor with raised baton.
INT. HALL - (DAY) - SEMI-LONG SHOT
The Women's choir raise their sheets of music in unison.
INT. HALL - (DAY) - FULL LONG SHOT
From a point high above we see the whole hall, the
audience, and the orchestra. The cantata starts with
a roll on the timpani and a burst of music.
INT. HALL - (DAY) - LONG SHOT
A nearer view of the orchestra.
INT. HALL - (DAY) - SEMI-LONG SHOT
A whole sweep of the orchestra with the choir
predominant.
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INT. HALL - (DAY) - SEMI-LONG SHOT
A skimming shot over the top of the orchestra with the
strings in the foreground predominant. The SOUND of
these instruments seems to dominate the other music
due to their proximity to the CAMERA.
INT. HALL - (DAY) - MEDIUM SHOT
The cellos -- again their sound dominates the scene.
INT. HALL - (DAY) - MEDIUM SHOT
The woodwinds -- the same sound effect.
INT. HALL - (DAY) - MEDIUM SHOT
Now the brass. Their notes drown out the rest of the
orchestra.
INT. HALL - (DAY) - MEDIUM SHOT
Now the double brass. As each of these shots follow
in succession, we get more intimate with each group of
instruments and finally:
INT. HALL - (DAY) - SEMI-CLOSEUP
To the timpani where we just hear the kettle drums
booming away.
INT. HALL - (DAY) - SEMI-CLOSEUP
At last one individual, who is seated with legs crossed
and arms folded, on a chair, and beside him on another
chair, the cymbals.
INT. HALL - (DAY) - CLOSEUP
The inert cymbals resting on their chair.
INT. HALL - (DAY) - MEDIUM SHOT
Rien in his box is glancing toward the orchestra. He
looks down beside him and slowly picks something up
from a chair.
INT. HALL - (DAY) - CLOSEUP
Jo stares up and catches her breath.
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INT. HALL - (DAY) - MEDIUM SHOT
From her viewpoint we see Rien is raising a pair of
small black leather opera glasses which he puts to his
eyes and studies his target.
INT. HALL - (DAY) - CLOSEUP
Jo turns slowly and looks up at the dignitary's box.
He is turning to the man beside him, whom we shall
later know as the Ambassador, and indicates with
gestures how much he is enjoying the concert. He looks
back over his shoulder and gives the same gestures and
comments to 'Buchanan'. Then, turning forward, he
settles back comfortably in his seat to enjoy the music.
INT. LOBBY - (DUSK) - LONG SHOT
Through the doors we see a taxi pulling away and
presently a glass door opens and a dishevelled Ben
comes into the lobby. He comes up to the CAMERA and
looks about him.
INT. LOBBY - (DUSK) - MEDIUM SHOT
From his viewpoint the lobby appears empty except
perhaps for a solitary uniformed policeman.
INT. LOBBY - (DUSK) - SEMI-CLOSEUP
Ben look the other way and upstairs.
INT. LOBBY - (DUSK) - SEMI-LONG SHOT
From his viewpoint the other direction -- just
emptiness.
INT. LOBBY - (DUSK) - CLOSEUP
We see Ben's bewilderment as to what to do and where
to go. We PAN him up to the first corridor entrance
that leads to the main circular corridor. Ben enters.
His face lights up.
INT. CORRIDOR - (DUSK) - SEMI-LONG SHOT
From his viewpoint we see through the opening the ticket
collector and the program girl standing at the opening
leading down the main aisle. On the right, standing
with her back to him, is Jo.
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INT. HALL - (DUSK) - MEDIUM SHOT
The CAMERA PANS Ben as he hurries forward. He touches
Jo lightly on the shoulder. She turns, startled, and
manages to suppress an exclamation on seeing him. We
do not hear what they are saying but by their pantomime
we see that Jo is telling Ben all about the impending
shooting. Ben argues with her. He indicates he will
tell Buchanan. She frantically restrains him but he
shakes her off and dashes away.
INT. LOBBY - (DUSK) - SEMI-LONG SHOT
We see Ben ascending the stairs originally taken by
the dignitary and his group.
INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT
Ben comes into the corridor and looks about him. Beyond
him we see a group of men obviously detectives, and
ahead of them a police constable. We see Ben hurry in
his direction.
INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT
Ben comes up to the constable and is about to pass him
when he is stopped. We again do not hear the dialogue,
but the pantomime shows that Ben is trying to get to
Buchanan. The constable doesn't quite know what to
make of Ben's dramatic plea. He indicates that he
must talk to his superior. Ben waits impatiently as
the constable goes over to one of the Inspectors who
is standing in a small group a little way off. From
his viewpoint we see the constable addressing the
Inspector with skeptical nods of his head in Ben's
direction.
INT. HALL - (DUSK) - SEMI-CLOSEUP
Jo, looking over her shoulder and then up to the box
of the dignitary. She turns desperately towards the
direction of the Assassin's box.
INT. HALL - (DUSK) - SEMI-LONG SHOT
Another view of the orchestra, but the duration of it
on the screen is much quicker.
INT. HALL - (DUSK) - SEMI-LONG SHOT
A flash of the Violins.
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INT. HALL - (NIGHT) - MEDIUM SHOT
A flash of the cellos.
INT. HALL - (NIGHT) - MEDIUM SHOT
A quick flash of the brass.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
A timpani section.
INT. HALL - (NIGHT) - CLOSEUP
The cymbals still laying on the chair.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
The Inspector is turning to Ben, the Constable on one
side. Again in pantomime the Inspector questioning
the impatient Ben. He leaves Ben and goes over to the
men standing outside the door to the box. Ben half-
turns away with exasperation toward the CAMERA.
INT. HALL - (NIGHT) - MED. SHOT
The conductor in the foreground. We see a quick shot
of the orchestra beyond.
INT. HALL - (NIGHT) - MEDIUM SHOT
The singers.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The timpani.
INT. HALL - (NIGHT) - CLOSEUP
We see a different angle the cymbals filling the screen.
CAMERA PULLS BACK quickly and the man who is to wield
them unfolds his arms and uncrosses his legs. He leans
forward to glance at his score.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
Ben is still waiting for the Inspector to discuss
matters with the plainclothesman. He turns and hurries
away, the CAMERA PANNING him.
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INT. HALL - (NIGHT) - MEDIUM SHOT
Jo is almost weeping with the effect of the singing
and the emotional stress she is going through.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
In the orchestra, the cymbal player now places one
hand on the cymbals on the chair.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
In the box the Assassin places his hand for the first
time inside his coat towards his holster. The CAMERA
PULLS BACK to show the woman sitting with him, seeing
this gesture, rising and backing away into the dark
recesses of the box.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
Ben is now quickly listening into the section behind
the boxes, one of which is occupied by the Assassin.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
Ben looks along the corridor.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
From his viewpoint we see rows of boxes.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
Ben is a little nonplussed. He approaches one.
INT. UPSTAIRS CORRIDOR - (NIGHT) - MEDIUM SHOT
The plainclothesmen and two uniformed policemen are
now coming toward CAMERA looking for the departed Ben.
INT. HALL - (NIGHT) - MEDIUM SHOT
Back in the orchestra the conductor is wielding his
baton vigorously. He swings over a sheet of music.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The choir turns over their music.
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INT. HALL - (NIGHT) - SEMI-CLOSEUP
The cymbal player turns over his music. He looks at
the music in front of him and for the first time picks
up the cymbals.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
A closer view of Ben shows him trying another door
cautiously and surreptitiously. He looks in and then
softly closes the door. He moves further along and
tries another door with the same cautious movement.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The Assassin now has his gun out in the darkness of
the rear of the box.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The cymbal player watching his music, his cymbals held.
INT. HALL - (NIGHT) - CLOSEUP
From his viewpoint with the cymbals tipping the bottom
of the screen, we see all his music. It is blank.
The CAMERA SWIFTLY MOVES IN to the bottom of the right-
hand page showing the one note he is to strike.
INT. HALL - (NIGHT) - MEDIUM SHOT
Jo becoming more anxious and desperate. She looks up
towards the Assassin's box with horror as she sees:
INT. HALL - (NIGHT) - MEDIUM SHOT
The Assassin's figure moving forward and the tip of
the gun for the first time.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The conductor looks up towards the cymbal player.
INT. HALL - (NIGHT) - CLOSEUP
The player raises the cymbals.
INT. HALL - (NIGHT) - CLOSEUP
A close view of the poised gun in the Assassin's box.
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INT. UPSTAIRS CORRIDOR - (NIGHT) - CLOSEUP
Ben trying one more box door. He again closes it and
moves to one more.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The dignitary's pleased and smiling face.
INT. HALL - (NIGHT) - CLOSEUP
The gun poised. It fills the screen.
INT. HALL - (NIGHT) - CLOSEUP
The cymbals are held in the foreground and through
them we can see the orchestra and the conductor beyond.
The conductor looks up from his score and points
deliberately to the cymbal player.
INT. HALL - (NIGHT) - CLOSEUP
The cymbals clash together.
INT. HALL - (NIGHT) - CLOSEUP
Jo leaping forward with a scream.
INT. HALL - (NIGHT) - CLOSEUP
The dignitary is clutching his arm and slumping forward.
We gain an impression of those around leaping to their
feet.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The people around Jo, startled as they rise in their
seats and turn back to her.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
Ben dashes to a final door and swinging it open finds
himself face-to-face with the Assassin. The latter's
hand goes for his holster. He pulls out his gun. Ben
lunges forward with a blow.
INT. ASSASSIN'S BOX - (NIGHT) - CLOSEUP
The Assassin staggers back and we hear the clatter of
the gun as it falls to the floor.
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He immediately turns towards the CAMERA looking for a
means of escape. He leaps to the edge of the box to
go over into the next one. He slips.
INT. ASSASSIN'S BOX - (NIGHT) - SEMI-LONG SHOT
We see the Assassin fall with a crash into the aisle
below him as Ben dashes forward in the box.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The soprano singers in the middle of their note quickly
change it to a unified scream.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The music trails off as the orchestra rises to its
feet at the startling occurrence.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The hall is in an uproar.
INT. HALL - (NIGHT) - MEDIUM SHOT
The people around the dignitary in his box are backing
up to give him air. Someone is examining his wound.
He see by his movements and a shake of his head that
he is not dead.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
Jo is still standing looking up.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
From her viewpoint she sees Ben leaning over the box
in horror looking down at the dead Assassin below.
The door opens and the uniformed and plainclothes police
dash into The box.
INT. LOBBY - (NIGHT) - LONG SHOT
There is utter confusion in the lobby, police dashing
upstairs on either side.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
We see Ben hurrying down the stairs. Jo rushes into
the lobby and, seeing Ben, dashes towards him.
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A few of the people around the lobby begin to look at
Jo and Ben. We see the Assistant Manager hurry over
to them. They are in a group of three, and although
we do not actually hear what he says, due to the hubbub,
he is obviously questioning Ben and being solicitous
to Jo.
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
We go close just in time to catch the tail-end of the
conversation. Ben is just saying:
BEN
Then he didn't kill him?
ASSISTANT MANAGER
Your wife saved him -- it is only a
small flesh wound...Oh here he is
now...you must come and meet him...don't
be nervous...I'll get the aide to
present you...it will be all right
(To Woburn)
Would you present the lady to the prime
minister?
Suddenly their attention is drawn to something off-
screen up the stairs. The hubbub increases.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
From their viewpoint we see the Prime Minister,
obviously not wounded sufficiently to incapacitate,
being escorted down the stairs by his Aide and other
members of the staff, including Woburn of the Special
Branch. The Prime Minister is indicating his arm and
obviously by the way he waves his hands, is deprecating
their concern about his wound. In fact he is rather
over-doing it. Just beyond them at the top of the
stairs we see 'Buchanan' standing with the Ambassador.
INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
'Buchanan' is reassuring the Ambassador.
BUCHANAN
I'll report to you fully at the Embassy,
Your Excellency. In the meantime...
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
The manager is leading Ben and Jo across to the foot
of the stairs. They are reluctant but he insists. As
the CAMERA PANS them over they meet the group at the
bottom at the stairs. The manager calls out to Mr.
Woburn and indicates Ben and Jo.
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INT. LOBBY STAIRS - (NIGHT) - CLOSEUP
Woburn is a little non-plussed. He leans over to one
of the Prime Minister's Aides. The latter's face lights
up. He leans over and whispers something to the Prime
Minister. The Prime Minister is all smiles.
INT. LOBBY - (NIGHT) - MEDIUM SHOT
Woburn steps down and introduces Ben and Jo to the
Prime Minister's Aide.
WOBURN
Mr. Prime Minister, this is the lady
who --
The Prime Minister interrupts enthusiastically.
PRIME MINISTER
My dear lady, I shall be for ever in
your debt.
WOBURN
And this is her husband --
The Prime Minister interrupts again, less
enthusiastically.
PRIME MINISTER
A pleasure, my dear sir...
(He turns to Jo)
I trust you will permit me to wait
upon you tomorrow and to express the
depth of my gratitude.
JO
(Weakly)
It wasn't -- it wasn't --
PRIME MINISTER
(Gallantly)
Oh but it was, my dear lady.
There is an awkward pause. The Prime Minister collects
himself and turns to move on out of the hall, the police
making a passageway for him through the crowd. We see
the Ambassador hurrying into the picture and moving
across the screen quickly to follow the Prime Minister.
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
Ben and Jo stand for a moment not knowing what to do
or where to go next. Woburn standing with Ben and Jo.
They look up and see Buchanan.
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WOBURN
I think Mr. Buchanan would like to
talk to you.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
From their viewpoint a grim 'Buchanan' is standing at
the top of the stairs.
INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
The CAMERA PANS Ben and Jo up the stairs towards
'Buchanan'. They increase their pace towards him.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
When they reach him they have only one thought in their
minds to ask him.
JO
(Wildly)
Where's our boy? Where's Hank?
BUCHANAN
(quietly)
We can talk if you'll come in here.
The CAMERA PANS the three across the top landing and
to the doors of the 'Green Room' There are various
police standing about and some of Special Branch men
can be seen inside the room. 'Buchanan' steps aside
too allow Jo to enter. Then he and Ben follow her in.
The door closes behind them.
INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT
The three of them enter the 'Green Room', generally
used by the principal Artistes appearing at Royal Albert
Hall. Buchanan nods to two Special Branch men who are
standing about in case they are needed. The room is
informal containing arm chairs, a sofa and a number of
small tables. Jo sits down wearily into the nearest
chair. Ben remains standing, Buchanan takes a seat in
a chair near a telephone, he looks up at Ben as if he
expects him to say something. Ben responds to the
look.
BUCHANAN
(Coldly)
So you both know the time and place
all along.
BEN
(Roughly)
Don't be a fool.
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BUCHANAN
An odd coincidence -- both of you
turning up here.
BEN
(Coldly)
Too bad you didn't contact your
assistant. He sent us both here.
BUCHANAN
(Quickly)
I beg your pardon.
BEN
You see, we finally needed that help
you offered. We still need it.
JO
(Urgently)
Yes, Mr. Buchanan. We still need it.
The door opens and another member of the Special Branch
enters.
DETECTIVE
Sir?
Buchanan nods to him to speak.
DETECTIVE
We've questioned the woman. Said she
bought a ticket that happened to place
her in the same box with the man that
did the shooting. Doesn't know anything --
but if she does, she's not talking.
BUCHANAN
I'll see her later.
DETECTIVE
Very good, sir.
The Detective exits as Ben sits down dejectedly in a
chair.
BUCHANAN
(Gently)
Please tell me everything, now.
Everything.
(go turns to Jo)
There's still plenty of room for hope,
Mrs. McKenna...
INT. EMBASSY - (NIGHT) - MED. SHOT
A high CAMERA shows us a large hallway and ornate
ballroom.
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As yet the room is about quarter filled and various
guests of the Diplomatic Corps and others are gradually
adding to the group. The CAMERA DOLLIES DOWN over
them until it reaches slightly open doorway. Peering
cautiously through we see the face of Drayton.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
On the other side of the doorway is Drayton and his
wife. She is pacing nervously behind him. A footman
comes up to them and announces:
FOOTMAN
His Excellency will see you now.
Drayton motions to his wife and the CAMERA PANS them
after the footman across a small hallway. He is the
very same footman we saw among the group of servants
who were herded out of the kitchen. He opens a door
in front of the Draytons -- they enter.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
Standing in front of a fireplace, above which is an
oil painting of the Prime Minister, is the Ambassador
whom we saw at the Albert Hall. He is on the telephone.
AMBASSADOR
Yes...yes...I see. Well if the woman
won't talk, she won't talk and that's
that, I suppose. All right.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
Mrs. Drayton closes the door behind the two as Drayton
advances towards the Ambassador with an easy manner,
the CAMERA PANNING him.
DRAYTON
(Easily)
Excuse me sir, I have a lot to explain
to you -- something very unusual has
happened. I must also have the money
to pay our French marksman.
AMBASSADOR
(Almost casually)
Wouldn't it be superfluous, considering
that he's dead?
Drayton and his wife stare mutely at the Ambassador.
They are staggered at this news.
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AMBASSADOR
His aim wasn't quite as good as you
led me to expect. The target merely
received a slight flesh wound in the
arm. Worse than useless.
Drayton still stares, petrified, at the Ambassador.
AMBASSADOR
Then your French friend panicked, and
made a fatal crash -- landing on the
floor of the Albert Hall.
DRAYTON
(Blustering weakly)
I don't see how you can hold me
responsible. He was most warmly
recommended by our people in
Marrakesh...
The Ambassador now begins to get really nasty.
AMBASSADOR
I'm glad you're able to treat the matter
so lightly. I am holding a reception
here this evening. In a few minutes,
I have to welcome our Prime Minister
as my guest of honor -- when I hope
and expected that he would be totally
unable to attend. That amuses you, no
doubt?
DRAYTON
(Feebly)
I don't know what to say ...
AMBASSADOR
(Brutally)
No. But I do. You've muddled
everything from the start. Kidnapping
that child in Marrakesh...Don't you
realize that Americans dislike having
their children kidnapped?
DRAYTON
(Trying to keep his
end up)
How else could I make sure the American
would hold his tongue?
AMBASSADOR
(Ignoring this)
And then, to crown it all, you get
cold feet and come running along here
to hide -- and bring the child with
you: Don't you see what you've done to
the diplomatic status of this Embassy?
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DRAYTON
(Weakly)
I didn't think...I only thought...
AMBASSADOR
(Staccato)
How are you going to get the child out
of here, eh? Eh? Eh? Eh?
DRAYTON
(Struggling for
self-confidence)
There's no difficulty about that,
surely? The car --
AMBASSADOR
(Interrupting)
With plain-clothes detectives planted
right round this building?
(Wryly)
You English intellectuals will be the
death of us all.
DRAYTON
(Desperate)
I'll think of some method. Just give
me time....
AMBASSADOR
(He snorts
Contemptuously)
Time!
The Ambassador paces a moment, suppressing his rage,
and then he stops and looks at Drayton as if thinking
about something.
AMBASSADOR
I want the child removed from this
Embassy, and removed in such a way
that he won't be able to say any more
where he has been tonight.
MRS. DRAYTON
Oh, no!
The Ambassador pauses and looks up at her in such a
manner that she almost shrinks. She tries to say
something, but no words come out of her half-open mouth.
Drayton, however, answers the Ambassador with horrible
servility.
DRAYTON
Right, I'll see to it..
Lucy Drayton looks at her husband with loathing. There
is a polite tap on the door. The Ambassador looks up.
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AMBASSADOR
Come in.
The door opens and a butler enters.
BUTLER
Your Excellency, the Princess should
be arriving at any moment.
The Ambassador braces himself, his chest swells out a
little, h assumes a set smile and strides from the
room. Just at this moment we hear a String Orchestra
in the distance strike up some gay waltz music. The
Ambassador goes out of the door. Mrs. Drayton is
looking down at the floor.
INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT
Ben is talking. Buchanan is listening carefully.
BEN
...recognized him, and he recognized
me. So he jumped for it. And that is
all.
BUCHANAN
(Slowly)
Trying to liquidate one of their own
big-shots. I wish they'd stick to
their usual custom, and do it in their
own country...
At this moment the phone rings. Woburn, who is now re-
placing the two Special Branch men in the room, picks
up the telephone.
WOBURN
Hello.
(He listens for a
moment)
Hold on.
He turns the telephone over to Buchanan.
BUCHANAN
(To phone)
Buchanan speaking.
Buchanan listens for a while, his face changing as he
listens with increased interest.
BUCHANAN
Right. Bye.
Buchanan hangs up, turns to Woburn, but half speaks in
the direction of the McKenna's.
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BUCHANAN
The Draytons are at the Embassy.
JO
How do you know?
BUCHANAN
We have ways of finding out -- from
the inside.
Ben almost shouts as he gets up from his chair.
BEN
If the Draytons are at the Embassy,
Hank has to be there too!
Buchanan turns his attention back to Ben.
BUCHANAN
(Grimly)
You're probably right. But we can do
nothing.
BEN
Why can't you?
BUCHANAN
Every Embassy in a foreign country has
extra-territorial rights.
BEN
What does that mean in common language?
BUCHANAN
As far as we're concerned, this Embassy
stands on foreign soil.
BEN
Does that mean they can steal children
and get away with it?
BUCHANAN
We could have the Foreign Office serve
a writ on the Ambassador.
He breaks off and speaks apologetically as If it were
I parenthesis.
BUCHANAN
...You know, I'm not responsible for
the complications of International
Law...
He resumes:
BUCHANAN
...If only we had positive proof that
the boy really is in there.
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As they are talking Ben is thinking hard, obviously
hatching some scheme in his mind.
BEN
What's the telephone number of this
Embassy.
Both of the men looking at Ben a moment without
answering and then Woburn speaks first.
WONBURN
Grosvenor 0144.
JO
What are you thinking about, Ben?
Without answering Jo, Ben picks up the 'phone.
BEN
Grosvenor 0144.
Ben looks at the group briefly. Buchanan looks at Ben
with keen curiosity.
BEN
I'm going to speak to the Minister
himself.
Buchanan looks intrigued and surprised. We hear the
answering click on the other end of the phone.
BEN
May I speak to the Prime Minister,
please?
There is a pause and the distorted sound of a voice
mumbling on the other end of the phone. Ben interrupts
the question.
BEN
Tell him the lady who saved his life
wants to speak to him. Its important.
The voice on the other end of the phone mumbles briefly,
and there is silent. Ben has a satisfied look on his
face, as he hands the receiver to Jo. She seems
frightened.
JO
What am I supposed to say, Ben? I
don't know --
(She trails off)
Ben, half looking at Woburn and
Buchanan, gives her instructions.
BFN
He said he wanted to visit us soon so
he could thank you.
(MORE)
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BFN (CONT'D)
Well, tell him we'd like to see him
tonight, at the Embassy, because we
have to leave London tomorrow.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
In the Ambassador's study underneath the oil painting
of himself, the Prime Minister is escorted to a
telephone by the butler who hands him the instrument.
Having been told who was on the other and of the line
he is all smiles as he greets Jo.
PRIME MINISTER
My dear lady...This is a charming
surprise...
He listens to the other end of the phone, agreeably
making sounds such as "ah ha" "ah" "hum", then he
speaks, with a gracious sweep of his hand and a half
bow to the telephone.
PRIME MINISTER
Delighted, delighted, delighted. The
Ambassador, too, will be delighted.
Any friends of mine are friends of
his. We will drink a little toast to
your country and to mine. Peacefully
we will co-exist...Yes?
He looks up to admire the painting of himself on the
wall.
INT. GREEN ROOM - (NIGHT) - MEDIUM CLOSE SHOT
Jo hangs up the phone, a little surprised and still
considerably nervous.
JO
(To Ben)
He said -- all right.
LAP DISSOLVE TO:
EXT. EMBASSY - (NIGHT) - MEDIUM LONG SHOT
A taxi pulls up in the front of the large, old-fashioned
Embassy. The windows are brightly lighted, evidence
of a social occasion. Ben and Jo get out of the taxi.
EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben pays the driver, takes Jo's arm, and they start up
the steps of the Embassy. The CAMERA PANS them.
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EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben presses the doorbell. His grip on Jo's's arm slides
down to her hand. He holds it tightly.
The door opens, and a liveried man ushers them in with
gesture.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
They enter a large hallway. The liveried man closes
the door. Standing in a nearby doorway is a group of
people listening to the music of a string quartet
playing in the room beyond. Included in the group is
the Personal Aide of the Prime Minister. He sees Jo
and Ben enter, hurries over to them, smiling and eager.
The piece that the string quartet is playing ends amid
a round of polite applause. There are people rising
from their chairs and a general movement out into the
hallway.
AIDE
Good even. Would you come this way,
please? The Prime Minister is waiting
for you.
Following the Aide, Ben and Jo squeeze through the
crowded doorway.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
The Aide leads Ben and Jo through the main room, the
CAMERA DOLLIES them. As they move through the room
people begin to notice them, first of all because they
are not dressed for the occasion -- but then the looks
seem to be admiring ones, and there is a smattering of
applause at their passage. Apparently people recognize
them. The Aide takes them to the Prime Minister, who
is just getting up from his seat of honor in the first
row.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
The Prime Minister recognizes them immediately, and
comes forward quickly to meet them.
PRIME MINISTER
(Effusively)
Good evening, good evening!
The Ambassador is behind the Prime Minister, and the
Prime Minister turns to him with enthusiasm.
PRIME MINISTER
This is the charming lady who saved my
life at the Concert!
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The Ambassador comes forward quickly, all smiles.
AMBASSADOR
(Suavely)
Madame, you saved the life of the one
man, who is irreplaceable in our
Country.
PRIME MINISTER
(Suddenly to Jo)
They tell me you are the famous Jo
Conway, Madame?
JO
Yes. I'm Jo Conway.
PRIME MINISTER
(To Ben)
Do you think perhaps Madame might be
persuaded to sing?
BEN
(interrupting)
I'm sure she would be glad to...
wouldn't you dear?
JO
Well, I don't know. It's been some
time...
PRIME MINISTER
I beg you, Madame. A tranquil coda to
conclude a dramatic evening!
JO
All right. I'm very flattered.
AMBASSADOR
(To butler)
Stanis would you put up some chairs
quickly.
(To guests)
Ladies and gentlemen, we have with us
tonight...Jo Conway...the famous Jo
Conway...she has graciously consented
to sing for us ..
(To his wife)
Darling would you see that the Prime
Minister has a very good seat.
They move off to seats -- Jo is led to piano by
Ambassador. Aide crosses to Ben.
AIDE
Would you like to sit down, sir?
BEN
No...I'll just stand over here.
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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Discreetly, Ben moves away from the group, and over
toward a side wall, the CAMERA PANNING HIM. All eyes
are on Jo.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Jo adjusts herself at the piano. Her face seems
serious. She looks up briefly with her eyes to check
where Ben is.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The people in the hallway, realizing there is to be
more entertainment, move toward the main room.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A tries out the keys of the Piano.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
People are finding their seats. There is coughing,
shuffling of feet, and then a gradual hush.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben watches Jo, and at the same time seems to be lookIng
around the room, particularly toward the various exits.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Having strummed a few notes, Jo settles down and plays
the introduction to her song. We see the great
tenseness on her face, interposed with Professional
smiles, which she bestows on those nearest her, but
always the tenseness returns. As she sings, her voice
seem to be rather overpowering. It fills the whole
room with quite a volume. It almost seems out of place
that she has become so professional in such an intimate
drawing room setting.
INT. EMBASSY - (NIGHT) - FULL SHOT
Everyone in the ballroom is listening intently, and
with surprise, at her singing.
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INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The hallway, showing people crowded at the door,
listening.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The first landing on the flight of stairs above the
hallway. No one is around. Jo's voice loses some of
its volume.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
A higher stairway landing.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A second floor corridor, deserted. Jo's voice fading.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A door at the end of the corridor. We now hear the
song floating up clearly, but much diminished.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
In a room on the other side of the door, Hank McKenna
is listening to the music. Hank seems a little puzzled.
Then, his face lights up and he jumps suddenly to his
feet. He runs towards the door and begins trying to
open it.
HANK
That's my Mother's voice! That's my
Mother singing!
Mrs. Drayton is quite startled by Hank's performance.
MRS. DRAYTON
Hank -- are you sure? Are you really
sure?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Hank turns around at the doorway, to look at Mrs.
Drayton.
HANK
That's her! I know it!
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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Mrs Drayton's face, still awed by what she has heard.
MRS. DRAYTON
What is she doing here?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Hank, a little mystified, has no answer. He walks
slowly back into the room, towards Mrs. Drayton,
listening and thinking about what he hears.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Mrs. Drayton's face shows a new and dangerous thought
coming into it. She looks down at Hank.
MRS. DRAYTON
Hank? -- can you whistle that song?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
He looks at her and nods abstractedly.
HANK
I guess so.
She kneels down quickly to him.
MRS DRAYTON
Then go on -- whistle it. Whistle it
as loud as you can.
On Hank's face comes a little understanding. He can
barely believe what she means. Then he understands.
He turns, and deliberately facing the door, starts to
whistle the song. He whistles loud and vigorously.
Mrs. Drayton stands up and moves back to a chair, as
she watches him.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Down in the ballroom, Jo is looking up anxiously as
she sings. She deliberately breaks and pauses for a
moment and softens her accompaniment. Then she hears
it -- a faint whistle coming from above, not enough
for those around to appreciate it, but loud enough for
the straining ears of Jo. She looks across the ballroom
to find Ben, and her eyes go up.
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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Watching her, Ben understands. He gives her the
slightest sign of agreement.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Jo continues her song with almost excitement in her
singing voice. The CAMERA passes around her as it
follows Ben as he walks along the wall slowly.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben makes his way along the wall toward the far doorway,
which leads to the grand staircase Everyone is so intent
on listening to Jo, that his movement attracts no
attention.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
At the bottom of the service stairs in the back of the
Embassy, Drayton is standing with two men who came
with him in the car. One of them holds a short length
of rope in his hand.
DRAYTON
You two wait in the mail room. I'll
bring him down.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben mounts two stairs leading up to the grand staircase.
He looks about him cautiously.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
At the service stairs, Drayton goes up two stairs and
turns back to the men. He looks at his watch.
DRAYTON
I won't be a minute.
He starts to move up one step.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Up in the room, Hank is bent in a chair, sobbing, Mrs.
Drayton is kneeling by him, trying to reassure him.
She stops suddenly as she hears footsteps in the
distance. She rises to her feet, and as the footsteps
grow and grow, she looks at the boy desperately, She
goes to the door, hears the steps coming nearer and
nearer. She looks across at the window.
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INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The barred window.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
She looks down at Hank almost protectively, as the
footsteps get still nearer. She goes to Hank, kneels
down again and clutches the boy to her as the footsteps
stop outside the door. She looks at the door, with
horror.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
The door handle turns quietly, but firmly.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Mrs. Drayton lets out a piercing scream. Hank's head
jerks up. The door is heard bursting open.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ban stands in the doorway. He instantly rushes toward
Hank, the CAMERA PANNING him. Hank leaps to his feet,
and the two of them come together. No clear words are
spoken, Just muffled sounds of words as they hug each
other. Then they release each other, and turn to look
at Mrs. Drayton. She is standing, staring at the door
with horror. Ben turns quickly to look.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Framed in the doorway is Drayton. Deftly he reaches
into his pocket and produces a small automatic.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
For a moment the group stands there in silence. Then
Ben speaks.
BEN
I don't think you want to start any
shooting, Drayton -- with all those
people downstairs, and police outside.
Drayton looks at him without saying anything, but the
gun doesn't lower.
Mrs. Drayton addresses her husband fiercely.
MRS. DRAYTON
You've got to let the boy go!
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DRAYTON
Precisely my own notion, my dear.
He moves forward on the group, gun poised. Hank
clutches his father in fright, and Ben tenses himself,
prepared for battle if necessary. Mrs. Drayton stares
at her husband with some defiance. Drayton addresses
Ben amiably.
DRAYTON
I'm sure you'll ba sensible, and help
me out of here?
BEN
Don't ask me for help, you miserable....
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Drayton seems unperturbed by Ben's refusal. He leans
down closer to the boy, and addresses him directly.
DRAYTON
You wouldn't want your father to get
hurt, would you?
Hank looks up towards his father. Drayton looks up.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Drayton's intentions are unmistakable. Ben looks down
at him with a hatred that is almost ready to explode,
but he has sense enough to understand Drayton's meaning.
Drayton straightens up, a slight smile on his face.
He slips the gun into his pocket, but still holds it.
DRAYTON
We'll go down the stairs together in a
casual sort of way. Then we'll stroll
along to the nearest taxi rank. I
trust there won't be any emotional
outbursts...
BEN
(Interrupting)
There won't be. Hank -- don't say or
do anything.
Hank just nods. He's too frightened to talk.
DRAYTON
Shall we go?
Ben starts for the door with Hank, and Drayton moves
into the other side of Hank. As they go through the
door, Mrs. Drayton makes an instinctive step forward,
if to attack Drayton from the rear, but the sight of
Hank in danger stops her.
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INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The trio, Hank in the center, slowly strolls down the
corridor toward the main stairway. The sound of Jo
Conway's voice can be heard from below.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
SHOOTING FROM BELOW we see the big staircase empty for
a moment, then the three appear at the top.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A closer view shows the terrified, tear-stained face
of Hank, and the tense features of Ben. Drayton seems
carefully alert. The CAMERA MOVES DOWNWARD in front
of them as they descend. The music coming from the
ballroom ceases, as Jo finishes her second song. There
is the sound of great applause. The three are about a
dozen steps from the bottom, when suddenly Ben shoots
out a hard and pushes Drayton forward. Taken by
surprise, he stumbles, and falls down the stairs
clumsily. Clutching for support with his hands, the
gun goes off in his pocket, and he remains in a crumpled
heap at the bottom of the stairs.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The applause having died out, the shot is heard loud,
and people pour out of the ballroom into the hallway.
They rush for the stairway, and Drayton's body, led by
the Ambassador and the Prime Minister.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
As people crowd excitedly around the body, Ben is
hurrying Hank away from the scene, the CAMERA PANS
them.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
Mrs. Drayton stops half-way down the stairway, and
looks down in shook at the sight of her dead husband.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Inside the ballroom, which is emptying due to the rush
of people to the corridor, Jo has risen from the piano
and is almost afraid to go out and see what has
happened. In a moment, Ben and the boy appear in the
doorway. Hank rushes across the ballroom to his mother,
who moves quickly when she sees him.
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HANK
Mummy.
JO
Hank.
They embrace.
QUICK LAP DISSOLVE TO:
INT. CLARIDGE'S SUITE - (NIGHT) - MEDIUM SHOT
Inside the McKenna's hotel room, the Parnells and the
two woman guests are sprawled out in ungainly attitudes
of sleep. Val is snoring pleasantly. The door of the
room opens and the three McKennas appear. The sound
awakes Val. He peers at them sleepily and struggles
to a sitting position. Ben closes the door.
BEN
I'm sorry we were gone so long, Val,
but we had to go and pick up Hank.
Ben's voice awakens the other women. They sit up, and
stare with bewilderment at the smiling trio of Ben, Jo
and Hank.
FADE OUT
THE END
