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1 STOPPED AT 2930 <B>THE MAN WHO KNEW TOO MUCH</B></I></U></SMALL>
2 #REF! <P>
3 #REF! An Original Screenplay by John Michael Hayes
4 #REF! <P>
5 #REF! FINAL DRAFT
6 #REF! <P>
7 #REF! May 7, 1955.MAIN TITLES
8 #REF! <P>
9 </p><p><p ID="slug"> BUS - (DAY) - MEDIUM CLOSE SHOT
10 </p><p><p ID="act"> Mr. and Mrs. Ben McKenna at the back of a motor co
11 seven year old son, HANK. We do not see much of th
12 which is receding from us.
13 </p><p><p ID="act"> THEY are studying the countryside from the windows
14 them. The CAMERA PULLS BACK down the aisle of the
15 the other passengers. They are a surprise, consist
16 and women, with an occasional civilian and French
17 </p><p><p ID="act"> The CAMERA STOPS at the end of the bus.
18 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
19 </p><p><p ID="act"> The French driver and a couple of his companions,
20 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
21 </p><p><p ID="act"> The CAMERA MOVES BACK TO THE REAR OF THE BUS, phot
22 side windows. At the bottom of the screen is the d
23 board. By the time we get opposite the window out
24 McKennas are looking, we have been able to read th
25 "CASABLANCA -- MARRAKESH."
26 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
27 </p><p><p ID="act"> Ben and Hank are looking intently out the window.
28 Jo's interest seems only casual.
29 </p><p><P ID="speaker"> HANK
30 </p><P ID="dia"> Daddy -- you sure I never been to Africa before? I
31 familiar.
32 </p><p><p ID="slug"> BUS (DAY) - MED. LONG SHOT
33 </p><p><p ID="act"> Shooting through the McKenna's window at the lands
34 It is semiarid desert. A line of blue-grey mountai
35 distant.
36 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
37 </p><p><p ID="act"> Jo studies the landscape.
38 </p><p><P ID="speaker"> JO
39 </p><P ID="dia"> We saw the same scenery last summer driving to Las
40 Hank turns, and smiles slightly..
41 </p><p> <P ID="right"> 2
42 </p><p><P ID="speaker"> HANK
43 </p><P ID="dia"> Oh sure. Where daddy lost all that money at the cr
44 Hank!
45 </p><p><P ID="speaker"> HANK
46 </p><P ID="dia"> -- table.
47 Ben gives his wife a look of exasperation, She smi
48 </p><p><P ID="speaker"> HANK
49 </p><P ID="dia"> Hey look - a camel!
50 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
51 </p><p><p ID="act"> Shooting through the McKenna's window. The bus is
52 Arab village, Squat stone and plaster building, na
53 few carts, donkeys and one camel. A few pedestrian
54 men, few women.
55 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
56 </p><p><p ID="act"> Ben puts his hand on Hank's shoulder.
57 </p><p><P ID="speaker"> JO
58 </p><P ID="dia"> This isn't really Africa, Hank. It's French Morocc
59 </p><p><P ID="speaker"> BEN
60 </p> <P ID="spkdir"> (To her)
61 </p><P ID="dia"> Northern Africa.
62 </p><p><P ID="speaker"> HANK
63 </p><P ID="dia"> Still seems like Las Vegas.
64 </p><p><P ID="speaker"> BEN
65 </p> <P ID="spkdir"> (Slightly indignant)
66 </p><P ID="dia"> We're only a hundred miles north of the Sahara Des
67 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
68 </p><p><p ID="act"> The bus is passing through the center of the town.
69 few shops, everything looking drab and meager. The
70 and hot.
71 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
72 </p><p><p ID="act"> Hank studies the scene outside. He shrugs..
73 </p><p> <P ID="right"> 3
74 </p><p><P ID="speaker"> HANK
75 </p><P ID="dia"> I dunno. In school they called it the Dark Contine
76 </p> <P ID="spkdir"> (He squints)
77 </p><P ID="dia"> It's twice as bright as Indianapolis!
78 Jo and Ban smile at Hank.
79 </p><p><P ID="speaker"> BEN
80 </p><P ID="dia"> Just wait till you see Marrakesh.
81 </p><p><P ID="speaker"> HANK
82 </p><P ID="dia"> Marrakesh. Sounds like a drink.
83 Ben runs his tongue across his lips.
84 </p><p><P ID="speaker"> BEN
85 </p><P ID="dia"> You bet it does.
86 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
87 </p><p><p ID="act"> The bus rolls on past the Arab village into the op
88 again. It looks parched and grim.
89 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
90 </p><p><p ID="act"> Tired of watching the sameness of the desert, Hank
91 restless. He looks about for something to do.
92 Ben leans back against the seat and closes his eye
93 Jo takes a paper-bound novel out of her bag, finds
94 decides to wander down the aisle of the bus and te
95 possibilities for adventure.
96 </p><p><p ID="act"> The CAMERA DOLLIES BACK with him as he rather aiml
97 the front of the bus,. Having left the Arab villag
98 up speed, and is beginning to bump and sway somewh
99 a little better than half way down the aisle, the
100 particularly startling manner, causing Hank to sta
101 In order to steady himself, he thrusts out his han
102 side of a seat. He misses the seat, and only succe
103 at the veil of an Arab woman.
104 Unfortunately, he pulls the veil from her face.
105 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
106 </p><p><p ID="act"> The startled woman, instantly horrified, covers he
107 hands and gives a sharp cry,
108 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
109 </p><p><p ID="act"> With the bus still bumping and swaying, Hank stagg
110 without realizing that he still has, hold of the w
111 veil..
112 </p><p> <P ID="right"> 4
113 </p><p><p ID="slug"> BUS - (DAY) - MED. SHOT
114 </p><p><p ID="act"> The woman still covers her face, but from the seat
115 and nearer the window, an Arab rises and makes a s
116 Arabic to Hank. The Arab's robes are brown, with a
117 combining twisted strands of white and pale green
118 starts to move past the woman, toward Hank, repeat
119 </p><p><p ID="slug"> BUS - (DAY) - MED. SHOT
120 </p><p><p ID="act"> People look quickly toward the sound, wondering at
121 the trouble.
122 </p><p><p ID="slug"> BUS (DAY) - CLOSE SHOT
123 </p><p><p ID="act"> The bus driver scans his rear vision mirror for th
124 trouble behind him.
125 </p><p><p ID="slug"> BUS (DAY) - CLOSE SHOT
126 </p><p><p ID="act"> Hank looks up at the oncoming Arab, and retreats u
127 realizing he is still holding the veil.
128 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
129 </p><p><p ID="act"> The Arab in the brown robes begins assaulting the
130 Arabic, indicating that he wants the veil.
131 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
132 </p><p><p ID="act"> Two Arabs, and a veiled woman, rise in their seats
133 disturbed by what the brown-clothed Arab is saying
134 talking among themselves.
135 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
136 </p><p><p ID="act"> Ben and his wife, Jo, are straining from their bac
137 looking down the aisle to see what is wrong.
138 Ben looks at his wife quickly and then back, indic
139 is involved.
140 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
141 </p><p><p ID="act"> Still staring straight at the Arab, both frightene
142 by his verbal attack, Hank retreats..
143 </p><p> <P ID="right"> 5
144 </p><p><p ID="slug"> BUS - (DAY) - MED. SHOT
145 </p><p><p ID="act"> Except for the French passengers, everyone in the
146 state of disturbance. The Arab continues to advanc
147 keeping up a steady tirade of Arabic.
148 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
149 </p><p><p ID="act"> Ben rises quickly and advances protectively toward
150 oncoming Arab.
151 </p><p><p ID="slug"> BUS - (DAY) - MED. SHOT
152 </p><p><p ID="act"> Hank retreats and squeezes himself against his mot
153 the veil in one hand. Ben faces the Arab who stops
154 his monologue for Ben's benefit.
155 </p><p><P ID="speaker"> BEN
156 </p><P ID="dia"> Now wait a minute. Wait a minute.
157 Simmer down.
158 </p><p><p ID="act"> The Arab continues pointing, talking.
159 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
160 </p><p><p ID="act"> From a nearby seat a young Frenchman in civilian c
161 quickly. The CAMERA PANS him to Ben and the Arab.
162 between the pair.
163 </p><p><P ID="speaker"> LOUIS
164 </p> <P ID="spkdir"> (To Ben)
165 </p><P ID="dia"> Pardon me.
166 </p><p><p ID="act"> He turns to the Arab, moves him back a little, sha
167 his attack, and then begins, in Arabic, to explain
168 boy meant, no harm. It was an accident. The Arab i
169 points to Hank.
170 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
171 </p><p><p ID="act"> The Frenchman leans toward Hank and takes the veil
172 unconsciously holding. He hands it to the Arab wit
173 command to return to his seat. The Arab turns away
174 veil. As the CAMERA PANS him AWAY, we see the spec
175 their seats, growing quiet.
176 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
177 </p><p><p ID="act"> Hank and Jo relax. Ben addresses the Frenchman, a
178 young man. He is LOUIS BERNARD..
179 </p><p> <P ID="right"> 6
180 </p><p><P ID="speaker"> BEN
181 </p><P ID="dia"> I'd like to thank you. Without your help, anything
182 happened.
183 </p><p><P ID="speaker"> LOUIS
184 </p> <P ID="spkdir"> (smiles pleasantly)
185 </p><P ID="dia"> A pleasure, monsieur. There are moments in life wh
186 little help.
187 </p><p><P ID="speaker"> BEN
188 </p><P ID="dia"> May I introduce my wife, Mrs. McKenna.
189 </p><p><p ID="act"> Louis turns pleasantly to Jo.
190 </p><p><P ID="speaker"> LOUIS
191 </p><P ID="dia"> How do you do, madame. My name is Louis Bernard.
192 </p><p><p ID="act"> She returns his smile.
193 </p><p><P ID="speaker"> JO
194 </p><P ID="dia"> Thank you, Mr. Bernard.
195 </p><p><P ID="speaker"> BEN
196 </p><P ID="dia"> And this is our son, Hank.
197 </p><p><P ID="speaker"> LOUIS
198 </p><P ID="dia"> Hallo, Hank.
199 </p><p><p ID="act"> He holds out his hand to Hank, who takes it.
200 </p><p><P ID="speaker"> HANK
201 </p><P ID="dia"> You talk Arab talk.
202 </p><p><P ID="speaker"> LOUIS
203 </p><P ID="dia"> A few words.
204 </p><p><P ID="speaker"> JO
205 </p><P ID="dia"> Why was he so angry? It was an accident.
206 </p><p><P ID="speaker"> LOUIS
207 </p> <P ID="spkdir"> (Half shrugs)
208 </p><P ID="dia"> The Moslem religion allows for few accidents.
209 </p> <P ID="spkdir"> (To Ben)
210 </p><P ID="dia"> May I be permitted to sit down?
211 </p><p><P ID="speaker"> BEN
212 </p><P ID="dia"> Oh, sure, sure. 0f course. Next to Jo, there.
213 </p><p><P ID="speaker"> LOUIS
214 </p> <P ID="spkdir"> (Pauses)
215 </p><P ID="dia"> I thought his name was Hank.
216 </p><p><P ID="speaker"> BEN
217 </p><P ID="dia"> Oh, uh -- (MORE).
218 </p><p> <P ID="right"> 7
219 </p><p><P ID="speaker"> BEN (CONT'D)
220 </p> <P ID="spkdir"> (smiles)
221 </p><P ID="dia"> That's my wife's name. Jo. Jay oh.
222 No "e."
223 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
224 </p><p><p ID="act"> Louis Bernard slides into the seat next to Jo, who
225 slightly. Ben sits on the other side so that Hank
226 between himself and Louis. In the rear windows beh
227 the retreating landscape of French Morocco.
228 </p><p><P ID="speaker"> LOUIS
229 </p><P ID="dia"> How different.
230 </p><p><P ID="speaker"> BEN
231 </p><P ID="dia"> For Josephine. Called her Jo so long, nobody knows
232 other name.
233 </p><p><P ID="speaker"> HANK
234 </p><P ID="dia"> I do. Mummy.
235 </p><p><p ID="act"> She smiles at Hank, rubs the back of his neck.
236 </p><p><P ID="speaker"> LOUIS
237 </p><P ID="dia"> Now about the "accident." You see, a Moslem woman
238 her veil in public under any circumstances.
239 </p><p><P ID="speaker"> HANK
240 </p><P ID="dia"> They feed her intervaneously?
241 Louis looks at the boy with some surprise.
242 </p><p><P ID="speaker"> LOUIS
243 </p><P ID="dia"> Quite a big word for such a small boy.
244 </p><p><P ID="speaker"> BEN
245 </p><P ID="dia"> I'm a doctor.
246 </p><p><P ID="speaker"> LOUIS
247 </p><P ID="dia"> Oh. Well, he sounds like one.
248 </p><p><P ID="speaker"> BEN
249 </p><P ID="dia"> He can spell "haemoglobin" -- but he has trouble w
250 "dog."
251 </p><p><P ID="speaker"> LOUIS
252 </p> <P ID="spkdir"> (Laughs)
253 </p><P ID="dia"> And where do you practice, Doctor?
254 </p><p><P ID="speaker"> BEN
255 </p><P ID="dia"> Indianapolis, Indiana. The Good Samaritan..
256 </p><p> <P ID="right"> 8
257 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
258 </p><p><p ID="act"> Jo seems to be studying Bernard, as if puzzled.
259 </p><p><P ID="speaker"> LOUIS (O.S.)
260 </p><P ID="dia"> What brings you to Marrakesh?
261 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
262 </p><p><p ID="act"> Ben seems happy to talk with somebody new.
263 </p><p><P ID="speaker"> BEN
264 </p><P ID="dia"> We've been to a medical convention in Paris. And w
265 Europe, I thought I'd like to see Morocco again.
266 </p><p><P ID="speaker"> HANK
267 </p><P ID="dia"> Daddy liberated Africa.
268 </p><p><p ID="act"> Louis laughs a little. Ben seems uncomfortable.
269 </p><p><P ID="speaker"> BEN
270 </p><P ID="dia"> I was up around Casablanca with an Army field hosp
271 all.
272 </p><p><p ID="slug"> BUS - (DAY) - CLOSE SHOT
273 </p><p><p ID="act"> Jo his been listening. She seems annoyed at Louis
274 questioning. She interrupts.
275 </p><p><P ID="speaker"> JO
276 </p><P ID="dia"> Do you live in Morocco, Mr. Bernard?
277 </p><p><p ID="slug"> BUS - (DAY) - MED. CLOSE SHOT
278 </p><p><p ID="act"> He smiles at her.
279 </p><p><P ID="speaker"> LOUIS
280 </p><P ID="dia"> Oh no.
281 </p> <P ID="spkdir"> (To Ben)
282 </p><P ID="dia"> I suppose you came directly from Paris?
283 </p><p><P ID="speaker"> BEN
284 </p><P ID="dia"> We looked in on Rome and Lisbon a few days.
285 </p><p><P ID="speaker"> HANK
286 </p><P ID="dia"> And Casablanca.
287 </p><p><P ID="speaker"> LOUIS
288 </p><P ID="dia"> I hope you will have time to truly enjoy Marrakesh
289 </p><p><P ID="speaker"> BEN
290 </p><P ID="dia"> At the most we'll have three days..
291 </p><p> <P ID="right"> 9
292 </p><p><P ID="speaker"> LOUIS
293 </p><P ID="dia"> You will naturally be stopping at the hotel Mamoun
294 </p><p><P ID="speaker"> JO
295 </p><P ID="dia"> Why?
296 </p><p><P ID="speaker"> LOUIS
297 </p> <P ID="spkdir"> (smiles)
298 </p><P ID="dia"> They are hotels for tourists of good taste.
299 </p><p><p ID="act"> The background, as seen through the windows of the
300 that we are in a built-up area.
301 </p><p><p ID="slug"> BUS - (DAY) - MED. SHOT
302 </p><p><p ID="act"> It moves through the outskirts of Marrakesh, a som
303 populated section, although the streets are narrow
304 </p><p><p ID="slug"> BUS (DAY) - MED. CLOSE SHOT
305 </p><p><p ID="act"> A persists with Louis Bernard.
306 </p><p><P ID="speaker"> JO
307 </p><P ID="dia"> Do you live in France, Mr. Bernard?
308 </p><p><P ID="speaker"> LOUIS
309 </p><P ID="dia"> Sometimes.
310 </p><p><P ID="speaker"> HANK
311 </p><P ID="dia"> Do you eat snails.
312 </p><p><P ID="speaker"> LOUIS
313 </p><P ID="dia"> When I'm lucky enough to got them.
314 </p><p><P ID="speaker"> HANK
315 </p><P ID="dia"> If you ever get hungry, our garden back home is fu
316 </p><p><P ID="speaker"> LOUIS
317 </p> <P ID="spkdir"> (Chuckles)
318 </p><P ID="dia"> Thank you for the invitation.
319 </p><p><P ID="speaker"> HANK
320 </p><P ID="dia"> That's all right. We tried everything to got rid o
321 thought of a Frenchman.
322 </p><p><p ID="act"> Even Jo has to laugh at this, and as the bus conti
323 Marrakesh, the three see to be fairly good friends
324 together by the artless charm of a little boy..
325 </p><p> <P ID="right"> 10
326 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
327 </p><p><p ID="act"> The bus moves slowly through the streets busy with
328 Arab women carrying things on their heads, men on
329 donkeys, an occasional camel, carts, horse-drawn c
330 carrying elegant Moslem women, and ancient French
331 </p><p><p ID="slug"> BUS - (DAY) - MED. LONG SHOT
332 </p><p><p ID="act"> The bus circles past the "Medina" of Marrakesh, th
333 with its crowds, vendors, shoppers, beggars, and t
334 swings in toward the bus stop.
335 </p><p><p ID="slug"> BUS STOP - (DAY) - MED. LONG SHOT
336 </p><p><p ID="act"> The bus pulls up to a stop, the door opens, and th
337 begin to file out. The McKennas, together with Lou
338 the last off the bus. Arab helpers have already cl
339 roof of the bus, to unload the baggage. The clean-
340 baggage of the McKennas is in sharp contrast to th
341 bundles of the Arabs. There are nearby fiacres to
342 to their various destinations in the city, and som
343 undersized taxi cabs.
344 </p><p><p ID="slug"> BUS STOP - (DAY) - MED. CLOSE SHOT
345 </p><p><p ID="act"> Hank rubs his backside a little.
346 </p><p><P ID="speaker"> HANK
347 </p><P ID="dia"> Next time take the train.
348 </p><p><P ID="speaker"> BEN
349 </p> <P ID="spkdir"> (To Louis)
350 </p><P ID="dia"> Would you like to share our taxi to the hotel?
351 </p><p><P ID="speaker"> LOUIS
352 </p><P ID="dia"> That's kind of you, doctor, but unfortunately I ha
353 first.
354 </p><p><p ID="act"> Jo tries to be casual.
355 </p><p><P ID="speaker"> JO
356 </p><P ID="dia"> What business are you in, Mr. Bernard?
357 </p><p><p ID="act"> But he has turned his head and speaks something in
358 porter, who begins to gather the McKenna's bags, a
359 to Louis. Louis turns to Ben.
360 </p><p><P ID="speaker"> LOUIS
361 </p><P ID="dia"> However, I'll be there later - perhaps we might ha
362 together..
363 </p><p> <P ID="right"> 11
364 </p><p><P ID="speaker"> BEN
365 </p><P ID="dia"> All right. But I'll serve the drinks in our suite.
366 </p><p><P ID="speaker"> LOUIS
367 </p><P ID="dia"> In that case, I will take you to dinner.
368 </p><p><P ID="speaker"> BEN
369 </p><P ID="dia"> No. Now that's not a fair bargain.
370 </p><p><P ID="speaker"> LOUIS
371 </p><P ID="dia"> But I know Marrakesh. I can show you an intriguing
372 where the food is different, and the manner of eat
373 </p><p><P ID="speaker"> BEN
374 </p> <P ID="spkdir"> (Gives in)
375 </p><P ID="dia"> Well -- that's what we came here for.
376 Okay, Jo? Simple one of those Arabian Nights?
377 Ben takes her arm, in a warm gesture.
378 </p><p><P ID="speaker"> JO
379 </p> <P ID="spkdir"> (Smiles agreeably)
380 </p><P ID="dia"> Okay, But I'm no Scheherazade.
381 </p><p><P ID="speaker"> BEN
382 </p><P ID="dia"> You'll do.
383 </p><p><P ID="speaker"> LOUIS
384 </p><P ID="dia"> How would you prefer to travel to the hotel? By ta
385 </p><p><P ID="speaker"> HANK
386 </p><P ID="dia"> A wagon! I want to ride in a wagon!
387 </p><p><p ID="act"> He points out one of the open horse-drawn carriage
388 Louis looks to Ben for confirmation. Ben nods asse
389 Louis turns to the porter, and orders him in Arabi
390 McKenna's baggage aboard the first available carri
391 his own small bag.
392 </p><p><P ID="speaker"> LOUIS
393 </p><P ID="dia"> Au revoir. I look forward to cocktails.
394 </p><p><p ID="act"> He nods to Ben and Jo, and Pats Hank on the head.
395 </p><p><P ID="speaker"> JO
396 </p><P ID="dia"> Goodbye.
397 </p><p><P ID="speaker"> BEN
398 </p><P ID="dia"> See you later. And thinks again.
399 </p><p><p ID="act"> Louis smiles, turns and casually strolls off towar
400 the market place. Hank watches him for a moment, w
401 to see what is happening to his bags..
402 </p><p> <P ID="right"> 12
403 </p><p><P ID="speaker"> HANK
404 </p><P ID="dia"> I don't like people who pat me on the head.
405 </p><p><P ID="speaker"> BEN
406 </p> <P ID="spkdir"> (turns to Jo)
407 </p><P ID="dia"> The carriage awaits, madame.
408 </p><p><p ID="act"> Jo turns from the retreating Louis, and steers Han
409 The CAMERA PANS them to the fiacre.
410 </p><p><p ID="slug"> BUS STOP - (DAY) - MEDIUM CLOSE SHOT
411 </p><p><p ID="act"> The McKennas follow their baggage aboard the carri
412 </p><p><p ID="slug"> BUS STOP - (DAY) - CLOSE SHOT
413 </p><p><p ID="act"> Ben settles the excited Hank into his seat.
414 </p><p><P ID="speaker"> HANK
415 </p><P ID="dia"> How do you like this! A horse-drawn convertible!
416 </p><p><p ID="act"> Jo looks toward the market place, and something sh
417 eyes widen with surprise.
418 </p><p><p ID="slug"> MARKET PLACE - (DAY) - SEMI-LONG SHOT
419 </p><p><p ID="act"> As seen from Jo's viewpoint, over the side of the
420 Frenchman, Louis Bernard, is talking wit the Arab
421 robes and white and green hat. The same Arab who w
422 Hank verbally on the bus. They are talking pleasan
423 smiling.
424 </p><p><p ID="slug"> BUS STOP - DAY) - CLOSE SHOT
425 </p><p><p ID="act"> Jo turns to call Ben's attention to it, when there
426 crack of a whip, a shouted command to the horse, a
427 starts of with an abrupt jerk.
428 It throws her head back. Hank screams with delight
429 </p><p><P ID="speaker"> BEN
430 </p><P ID="dia"> Hold on. Hold on! Here we go!
431 </p><p><p ID="act"> The carriage moves into the street with a rapid pa
432 Jo looks again to find Louis Bernard.
433 </p><p><p ID="slug"> MARKET PLACE - (DAY) - SEMI-LONG SHOT
434 </p><p><p ID="act"> Louis Bernard and the Arab have disappeared..
435 </p><p> <P ID="right"> 13
436 </p><p><p ID="slug"> THE CARRIAGE - (DAY) - MED. CLOSE SHOT
437 </p><p><p ID="act"> Jo slumps back into the seat, trying to evaluate w
438 seen. The market place recedes in the background.
439 standing up, holding on to the side of the carriag
440 the sights.
441 </p><p><P ID="speaker"> JO
442 </p><P ID="dia"> Ben -- I just saw Louis Bernard talking to that Ar
443 </p><p><P ID="speaker"> BEN
444 </p><P ID="dia"> What Arab?
445 </p><p><P ID="speaker"> JO
446 </p><P ID="dia"> The one who was shouting at Hank for taking the wo
447 and the Frenchman were talking like old friends.
448 </p><p><P ID="speaker"> BEN
449 </p><P ID="dia"> All right. Let's assume they knew each other, and
450 didn't bother to tell us. What does that mean?
451 </p><p><P ID="speaker"> JO
452 </p><P ID="dia"> It means Mr. Bernard is a very mysterious man.
453 </p><p><P ID="speaker"> BEN
454 </p><P ID="dia"> He struck me as quite normal
455 </p><p><P ID="speaker"> JO
456 </p><P ID="dia"> What do you know about him?
457 </p><p><P ID="speaker"> BEN
458 </p><P ID="dia"> I know his name...and, uh....
459 </p><p><P ID="speaker"> JO
460 </p><P ID="dia"> You see? And he knows you' re an American living i
461 Indiana. A doctor at the Good Samaritan. You have
462 snails, a wife, a boy who can spell haemoglobin. Y
463 medical convention in Paris. Stopped at Rome, Lisb
464 You once served in North Africa with an Army field
465 </p><p><P ID="speaker"> BEN
466 </p><P ID="dia"> Now hold on. Wait a minute. We were just talking c
467 </p><p><p ID="act"> Jo shakes her head.
468 </p><p><P ID="speaker"> JO
469 </p><P ID="dia"> Not talking.
470 </p> <P ID="spkdir"> (MORE).
471 </p><p> <P ID="right"> 14
472 </p><p><P ID="speaker"> JO (CONT'D)
473 </p><P ID="dia"> He was asking, you were telling. You might as well
474 your passport.
475 </p><p><P ID="speaker"> BEN
476 </p><P ID="dia"> What difference does it make? I have nothing to hi
477 </p><p><P ID="speaker"> JO
478 </p><P ID="dia"> Maybe Mr. Bernard has.
479 </p><p><P ID="speaker"> BEN
480 </p><P ID="dia"> Jo. I know this is mysterious Morocco.
481 Inscrutable natives gliding through twisted, narro
482 </p><p><P ID="speaker"> JO
483 </p> <P ID="spkdir"> (Irritated at not being taken seriously)
484 </p><P ID="dia"> Oh, Ben!
485 </p><p><P ID="speaker"> BEN
486 </p><P ID="dia"> Then relax. You're just mad because he didn't ask
487 about you.
488 </p><p><p ID="act"> She looks at him briefly without any expression. T
489 into a smile.
490 </p><p><P ID="speaker"> JO
491 </p><P ID="dia"> Bitter medicine, doctor. But I'll swallow it.
492 </p><p><p ID="act"> The carriage swings into the driveway of the Hotel
493 a rich-looking building, elegantly landscaped. The
494 to the entrance of the hotel. Several hotel employ
495 to meet it. They help the McKennas descend, and as
496 baggage.
497 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT
498 </p><p><p ID="act"> Jo and Hank look at the hotel.
499 </p><p><P ID="speaker"> JO
500 </p><P ID="dia"> Well. This eases the pain.
501 </p><p><P ID="speaker"> HANK
502 </p><P ID="dia"> What pain, mummy?
503 </p><p><P ID="speaker"> JO
504 </p><P ID="dia"> Just an expression.
505 </p><p><p ID="act"> Ben beckons the porter.
506 </p><p><P ID="speaker"> PORTER
507 </p><P ID="dia"> Bon jour, monsieur..
508 </p><p> <P ID="right"> 15
509 </p><p><P ID="speaker"> BEN
510 </p><P ID="dia"> Will you take care of the driver?
511 </p><p><P ID="speaker"> PORTER
512 </p><P ID="dia"> Qui, m'sieu.
513 </p><p><P ID="speaker"> BEN
514 </p><P ID="dia"> My name is McKenna, Doctor McKenna.
515 </p><p><P ID="speaker"> PORTER
516 </p><P ID="dia"> I'll take care of everything, m'sieu.
517 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - MED. SHOT
518 </p><p><p ID="act"> A moderately well-dressed, middle-aged couple emer
519 hotel. The man is dressed in a dark grey flannel s
520 wears a light-weight, two-piece sweater and skirt,
521 sight of Jo McKenna. The man with her beckons to a
522 are Mr. and Mrs. DRAYTON.
523 </p><p><P ID="speaker"> DRAYTON
524 </p><P ID="dia"> Est-ce que vous etes libre? Jevous prend.
525 </p><p><P ID="speaker"> PORTER
526 </p><P ID="dia"> Oui, m'sieu.
527 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - CLOSE SHOT
528 </p><p><p ID="act"> Jo looks at the couple, then looks quickly away.
529 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT
530 </p><p><p ID="act"> With a marked glance at Jo McKenna, the woman whis
531 to the man. He follows her glance.
532 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - CLOSE SHOT
533 </p><p><p ID="act"> Ben reaches for Hank, and the McKennas move into t
534 they move past the CAMERA, Jo plucks at Ben's arm.
535 </p><p><P ID="speaker"> JO
536 </p><P ID="dia"> We're being watched.
537 </p><p><P ID="speaker"> BEN
538 </p><P ID="dia"> Oh come on.
539 </p><p><p ID="act"> Ben gives her a look of affectionate exasperation,
540 ahead of him into the hotel. THE CAMERA PANS BACK
541 left standing outside. The woman is still looking
542 McKenna.
543 </p><p><p ID="act"> LAP DISSOLVE TO:.
544 </p><p> <P ID="right"> 16
545 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. SHOT
546 </p><p><p ID="act"> It is now evening, and we are in the double bedroo
547 bedroom of the McKennas in the Hotel Mamounia. We
548 through into the single room where Hank is, brushi
549 while his mother supervises his getting ready for
550 already dressed for the evening in a smart-looking
551 Ben is by the chest of drawers and mirror. He just
552 putting on his shirt.
553 </p><p><p ID="act"> At the far end of the room there is a balcony over
554 hotel gardens. By a small table stands Louis Berna
555 unobtrusive good taste. He is looking into the gar
556 the table are glasses and a shaker of martinis.
557 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
558 </p><p><p ID="act"> In the single room occupied by Hank. Jo is putting
559 away. Hank, having brushed his teeth and rinsed hi
560 from the bathroom. He wears pajamas, but still has
561 </p><p><P ID="speaker"> HANK
562 </p><P ID="dia"> How about it, mummy? One chorus.
563 </p><p><P ID="speaker"> JO
564 </p><P ID="dia"> I'm a little out of form, Hank.
565 </p><p><P ID="speaker"> HANK
566 </p><P ID="dia"> One chorus, and that's all.
567 </p><p><P ID="speaker"> JO
568 </p> <P ID="spkdir"> (Smiles)
569 </p><P ID="dia"> All right, Mr. Hammerstein. What's your pleasure?
570 </p><p><P ID="speaker"> HANK
571 </p> <P ID="spkdir"> (Happily)
572 </p><P ID="dia"> Quo Sera Sera. Like you and Alfred Drake. I'll be
573 </p><p><P ID="speaker"> JO
574 </p><P ID="dia"> What's your key?
575 </p><p><P ID="speaker"> HANK
576 </p><P ID="dia"> Whatever I happen to hit.
577 </p><p><p ID="act"> He hums a note to give her the key.
578 </p><p><P ID="speaker"> HANK
579 </p><P ID="dia"> How's that?
580 </p><p><P ID="speaker"> JO
581 </p><P ID="dia"> Pretty original..
582 </p><p> <P ID="right"> 17
583 </p><p><P ID="speaker"> HANK
584 </p><P ID="dia"> Let's go.
585 </p><p><p ID="act"> He tap dances a vamp introduction to the song. He'
586 professional. Then he stops, takes a pose, and beg
587 small, but not untalented voice.
588 </p><p><P ID="speaker"> HANK
589 </p><P ID="dia"> When I was lust a little boy I asked my mother "Wh
590 Will I be handsome?
591 Will I be rich?
592 Here's what she said to me:
593 </p><p><p ID="act"> Jo takes up the song. Her voice is obviously profe
594 beyond that, quite beautiful.
595 </p><p><P ID="speaker"> JO
596 </p><P ID="dia"> Que Sera Sera, whatever will be will be The future
597 see Que Sera Sera What will be will be Que Sera Se
598 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - CLOSE SHOT
599 </p><p><p ID="act"> Louis Bernard looks up with some surprise, fascina
600 delighted with Jo's singing ability.
601 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - CLOSE SHOT
602 </p><p><p ID="act"> Ben, who is putting on his tie, pauses, and listen
603 There is a slight smile of pleasure and affection
604 Hank's voice comes over:
605 </p><p><P ID="speaker"> HANK
606 </p><P ID="dia"> When I was just a child in school I asked my teach
607 I try"
608 Should I paint pictures?
609 Should I sing songs?
610 This was her wise reply:
611 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
612 </p><p><p ID="act"> Jo does a turn, takes Hank's hand and he does a tu
613 she sings.
614 </p><p><P ID="speaker"> JO
615 </p><P ID="dia"> Que Sera Sera, whatever will be will be The future
616 see Que Sera Sera!
617 Whatever will be will be Que Sera Sera!.
618 </p><p> <P ID="right"> 18
619 </p><p><p ID="act"> Hank looks up happily to his mother, as she sings
620 love. Hank whistles a harmony accompaniment to the
621 </p><p><P ID="speaker"> JO
622 </p><P ID="dia"> Now I have children of my own They ask their mothe
623 be?"
624 Will I be handsome?
625 Will I be rich?
626 I tell them tenderly:
627 </p><p><p ID="act"> They sing the chorus in harmony together.
628 </p><p><P ID="speaker"> HANK AND JO
629 </p><P ID="dia"> Que Sera Sera, whatever will be will be The future
630 see Que Sera Sera!
631 What will be will be Que Sera Sera!
632 </p><p><p ID="act"> Just before they finish the song, there is a loud
633 outside door. The song trails off.
634 </p><p><P ID="speaker"> HANK
635 </p> <P ID="spkdir"> (Disgusted)
636 </p><P ID="dia"> There goes our sock finish!
637 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. SHOT
638 </p><p><p ID="act"> Ben goes to the door, tightening his tie on the wa
639 He opens it. A waiter is there with a tray of food
640 </p><p><P ID="speaker"> WAITER
641 </p><P ID="dia"> Dinaire for thee boy.
642 </p><p><P ID="speaker"> BEN
643 </p> <P ID="spkdir"> (Pointing)
644 </p><P ID="dia"> Right in there.
645 </p><p><p ID="act"> The waiter heads for the single bedroom, as the CA
646 back to the dresser.
647 </p><p><P ID="speaker"> LOUIS
648 </p><P ID="dia"> I can't tell you how beautifully your wife sings.
649 </p><p><P ID="speaker"> BEN
650 </p><P ID="dia"> Yeah. She is pretty good.
651 </p><p><P ID="speaker"> LOUIS
652 </p><P ID="dia"> She's marvelous. Too bad it was interrupted.
653 </p><p><p ID="act"> Ben pauses in dressing, speaks almost to himself..
654 </p><p> <P ID="right"> 19
655 </p><p><P ID="speaker"> BEN
656 </p><P ID="dia"> I've had the same feeling. Often.
657 </p><p><p ID="act"> Louis looks at him briefly. There is a rattle of d
658 back bedroom.
659 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. SHOT
660 </p><p><p ID="act"> The waiter comes out of the bedroom, followed by J
661 </p><p><P ID="speaker"> JO
662 </p> <P ID="spkdir"> (Indicating waiter)
663 </p><P ID="dia"> He said the manager is going to send up somebody t
664 </p><p><P ID="speaker"> BEN
665 </p><P ID="dia"> Good.
666 </p><p><p ID="act"> The waiter nods politely, goes out the door.
667 </p><p><P ID="speaker"> LOUIS
668 </p><P ID="dia"> Mrs. McKenna, permit me the pleasure of serving yo
669 </p><p><P ID="speaker"> JO
670 </p><P ID="dia"> Thank you.
671 </p><p><p ID="act"> He goes toward the balcony for the drink.
672 </p><p><P ID="speaker"> LOUIS
673 </p><P ID="dia"> Were you on the American stage, Mrs.
674 McKenna?
675 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - CLOSE SHOT
676 </p><p><p ID="act"> Jo turns, and gives Ben a meaningful glance. "The
677 asking questions again."
678 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - CLOSE SHOT
679 </p><p><p ID="act"> Ben gives her a look of comic disparagement.
680 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
681 </p><p><p ID="act"> Louis comes up, hands her a martini.
682 </p><p><P ID="speaker"> LOUIS
683 </p><P ID="dia"> Madame.
684 </p><p><P ID="speaker"> JO
685 </p><P ID="dia"> Thank you. Let's sit where it's cool.
686 </p><p><p ID="act"> THE CAMERA PRECEDES Jo and Louis as they walk to t
687 putting the finishing touches on his tie, watches
688 corner of his eye..
689 </p><p> <P ID="right"> 20
690 </p><p><p ID="act"> Jo takes a seat, and Louis leans against the raili
691 </p><p><P ID="speaker"> JO
692 </p><P ID="dia"> Yes, I was on the American stage, and the London s
693 the Paris stage.
694 </p><p><P ID="speaker"> LOUIS
695 </p><P ID="dia"> Oh?
696 </p><p><P ID="speaker"> JO
697 </p><P ID="dia"> I thought you might have seen me in Paris -- being
698 </p><p><P ID="speaker"> LOUIS
699 </p><P ID="dia"> The theater, requires time, and for me time is oft
700 </p><p><P ID="speaker"> JO
701 </p><P ID="dia"> Have you ever been to Paris, Mr.
702 Bernard?
703 </p><p><P ID="speaker"> LOUIS
704 </p> <P ID="spkdir"> (studies her briefly)
705 </p><P ID="dia"> I was born there.
706 </p><p><p ID="act"> Jo takes a sip of her drink, with some, frustratio
707 </p><p><P ID="speaker"> JO
708 </p><P ID="dia"> What do you do for a living?
709 </p><p><P ID="speaker"> Louis
710 </p><P ID="dia"> Buy and sell.
711 </p><p><P ID="speaker"> JO
712 </p><P ID="dia"> What?
713 </p><p><P ID="speaker"> LOUIS
714 </p><P ID="dia"> Whatever gives the best profit.
715 </p><p><p ID="act"> She puts down her drink with some exasperation. As
716 glances back toward Ben. He's getting his coat, bu
717 her a slight smile and a look that says "You're wa
718 time."
719 </p><p><P ID="speaker"> JO
720 </p> <P ID="spkdir"> (More firmly)
721 </p><P ID="dia"> Just what are you buying, or selling, now in Marra
722 </p><p><P ID="speaker"> LOUIS
723 </p> <P ID="spkdir"> (Sips his drink)
724 </p><P ID="dia"> You know, I would much rather talk about the stage
725 what to answer any?
726 Before he can answer, there is a KNOCK at the door
727 toward it. She gets to her feet, and starts for th
728 door..
729 </p><p> <P ID="right"> 21
730 </p><p><P ID="speaker"> JO
731 </p><P ID="dia"> I'll answer it.
732 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
733 </p><p><p ID="act"> The CAMERA PANS Jo past Ben to the door. He has ju
734 coat, and turns to follow her to the door.
735 She opens it, and standing in the corridor is a si
736 figure. We cannot see the face. Jo switches on a l
737 reveals a rather studious looking man of medium he
738 there.
739 </p><p><P ID="speaker"> BEN
740 </p><P ID="dia"> Excusez moi, mais is cherche la chambre do Monsieu
741 </p><p><p ID="act"> Jo looks at Ben helplessly, who looks over his sho
742 Louis Bernard for help in translating the French.
743 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - CLOSE SHOT
744 </p><p><p ID="act"> As the McKennas turn, the man in the doorway lifts
745 tiptoe a little and gives a sharp look in the dire
746 Bernard.
747 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
748 </p><p><p ID="act"> The man immediately turns his attention back to Be
749 talking in broken English.
750 </p><p><P ID="speaker"> RIEN
751 </p><P ID="dia"> I am inquiring for the room of a Monsieur Montgome
752 for a drink, and l --
753 </p><p><P ID="speaker"> BEN
754 </p><P ID="dia"> Sorry, there's no Montgomery here.
755 </p><p><P ID="speaker"> RIEN
756 </p><P ID="dia"> Then pardon me, monsieur, I regret disturbing you.
757 </p><p><P ID="speaker"> BEN
758 </p><P ID="dia"> It's all right.
759 </p><p><p ID="act"> As Ben closes the door, we see that Louis Bernard
760 advancing into the room for a better look at the m
761 doorway,
762 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT
763 </p><p><p ID="act"> The McKennas turn back to the room. Louis Bernard'
764 changed slightly to the more serious. Hank's voice
765 off:.
766 </p><p> <P ID="right"> 22
767 </p><p><P ID="speaker"> HANK
768 </p><P ID="dia"> Mummy -- I can't cut this meat!
769 </p><p><P ID="speaker"> JO
770 </p><P ID="dia"> I'll do it, Hank.
771 </p><p><p ID="act"> She goes out of the room, glancing briefly at Loui
772 </p><p><P ID="speaker"> LOUIS
773 </p> <P ID="spkdir"> (To Ben)
774 </p><P ID="dia"> May I use your telephone?
775 </p><p><p ID="act"> Ben gestures that the phone is his. The CAMERA PAN
776 phone, which he picks up, and begins talking in Fr
777 first for the operator, and a certain number. Beyo
778 conversation is a mystery, because his face reveal
779 (Possibly speaks Arabic.)
780 </p><p><p ID="slug"> MCKENNA SUITE - (NIGHT) - MED. SHOT
781 </p><p><p ID="act"> As Louis Bernard talks on the phone, Ben goes to p
782 drink. He comes back into the room, as JO enters o
783 the bedroom. She looks at Louis, then at Ben who s
784 shoulders. Louis finishes his phone conversation,
785 </p><p><P ID="speaker"> LOUIS
786 </p><P ID="dia"> I am terribly sorry, but I cannot go to dinner wit
787 I had neglected an important matter which now requ
788 attention. Perhaps, another night...
789 </p><p><p ID="act"> He bows briefly and moves towards the door. The Mc
790 each other quite bewildered.
791 </p><p><p ID="act"> FADE OUT.
792 </p><p><p ID="act"> FADE IN:
793 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. FULL SHOT
794 </p><p><p ID="act"> The CAMERA is slowly MOVING around the interior of
795 restaurant catering to European tourists. It has a
796 atmosphere, and the diners are sitting on cushions
797 Long-robed waiters are padding in and out from the
798 quietly and efficiently serving food. There are no
799 be seen.
800 </p><p><p ID="act"> The air has a smoky quality, and the room is fille
801 murmur of voices and the clink of dishes.
802 </p><p><p ID="act"> Perhaps soft music of an oriental nature is heard
803 background. The light is supplied principally from
804 As the CAMERA completes its sweep around and COMES
805 entrance, we see Ben and Jo arriving..
806 </p><p> <P ID="right"> 23
807 </p><p><p ID="act"> A headwaiter, wearing a fez, comes forward.
808 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
809 </p><p><p ID="act"> The headwaiter bows slightly.
810 </p><p><P ID="speaker"> HEADWAITER
811 </p><P ID="dia"> Bonsoir, Madame, Monsieur.
812 </p><p><P ID="speaker"> BEN
813 </p><P ID="dia"> Good evening. My name is McKenna.
814 </p><p><P ID="speaker"> HEADWAITER
815 </p><P ID="dia"> Of course. The hotel phoned. Follow me please.
816 </p><p><p ID="act"> The headwaiter turns and moves into the restaurant
817 follow him, the CAMERA PANNING them. Ben is intere
818 everything he sees. Jo glances at the diners, and
819 surprise starts through her face.
820 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
821 </p><p><p ID="act"> They are passing a couple who are seated on cushio
822 couple look up at Ben and Jo. They are the same tw
823 come out of the Hotel Mamounia just as the McKenna
824 woman had stared at Jo, and she does it again, nud
825 next to her with an elbow. The McKennas almost pas
826 stop. The woman continues half-looking over her sh
827 then turns back to her dinner.
828 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
829 </p><p><p ID="act"> The headwaiter shows them to their seats -- two cu
830 behind those of the two people who stared at them.
831 </p><p><P ID="speaker"> HEADWAITER
832 </p><P ID="dia"> I think you will find this comfortable.
833 </p><p><p ID="act"> He bows and departs. Jo seems disturbed, looks aro
834 to find another seat.
835 </p><p><P ID="speaker"> JO
836 </p><P ID="dia"> Ben...
837 </p><p><P ID="speaker"> BEN
838 </p><P ID="dia"> Sit down, Jo, please. People are staring at us.
839 </p><p><p ID="act"> She sits on the far cushion. Her movements are gra
840 as she sits tailor fashion. Ben, being tall and so
841 has trouble..
842 </p><p> <P ID="right"> 24
843 </p><p><p ID="act"> First he kneels, and then with much struggle manag
844 long legs underneath him.
845 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - CLOSE SHOT
846 </p><p><p ID="act"> He turns to Jo, expecting to find her amused at hi
847 instead her face is serious, and she has a secret
848 She leans close to him.
849 </p><p><P ID="speaker"> JO
850 </p><P ID="dia"> You're right. People are staring at us.
851 </p><p><P ID="speaker"> BEN
852 </p><P ID="dia"> What people?
853 </p><p><p ID="act"> She gives a quiet, warning nod toward the two peop
854 behind them. Ben cranes his head around, but all h
855 back of a woman's head. He turns back.
856 </p><p><P ID="speaker"> JO
857 </p><P ID="dia"> They stared at us when we went into the hotel.
858 </p><p><P ID="speaker"> BEN
859 </p><P ID="dia"> Jo, will you stop imagining things?
860 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
861 </p><p><p ID="act"> Ben looks at her, then slowly turns his head to lo
862 the couple. As he does, the woman behind him also
863 staring directly at each other.
864 </p><p><P ID="speaker"> MRS. DRAYTON
865 </p><P ID="dia"> Good evening.
866 </p><p><p ID="act"> Hearing her voice, Jo turns, looks, and so does th
867 Drayton. The woman then turns half way around towa
868 </p><p><P ID="speaker"> MRS. DRAYTON
869 </p><P ID="dia"> You must think me awfully rude. I've been staring
870 since I saw you at the hotel.
871 </p><p><p ID="act"> Jo slides a glance of "see" at Ben.
872 </p><p><P ID="speaker"> MRS. DRAYTON
873 </p> <P ID="spkdir"> (She peers at Jo)
874 </p><P ID="dia"> You are Jo Conway, the Jo Conway?
875 </p><p><p ID="act"> Jo visibly relaxes and becomes Jo Conway. It's Ben
876 her a triumphant look in return..
877 </p><p> <P ID="right"> 25
878 </p><p><P ID="speaker"> JO
879 </p><P ID="dia"> Yes, I am.
880 </p><p><p ID="act"> Mrs. Drayton turns to the man next to her.
881 </p><p><P ID="speaker"> MRS. DRAYTON
882 </p><P ID="dia"> Didn't I tell you? I knew I was right.
883 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
884 </p><p><p ID="act"> Another angle, featuring the man, and Ben.
885 </p><p><P ID="speaker"> MRS. DRAYTON
886 </p><P ID="dia"> I'm Lucy Drayton, and this is my husband.
887 </p><p><P ID="speaker"> DRAYTON
888 </p><P ID="dia"> How do you do, sir!
889 </p><p><P ID="speaker"> BEN
890 </p><P ID="dia"> How do you do. We're Mr. and Mrs.
891 McKenna.
892 </p><p><P ID="speaker"> DRAYTON
893 </p><P ID="dia"> My wife tells me Mrs. McKenna appeared at the Lond
894 few years ago.
895 </p><p><P ID="speaker"> MRS. DRAYTON
896 </p><P ID="dia"> Of course we hardly ever see a show.
897 Edward is such an old stick-in-the-mud.
898 So I have to console myself with your records.
899 </p><p><P ID="speaker"> DRAYTON
900 </p><P ID="dia"> And I must admit I love 'em. I'm not one for this
901 or whatever you call it.
902 </p><p><P ID="speaker"> JO
903 </p> <P ID="spkdir"> (Laughs)
904 </p><P ID="dia"> Thank you, Mr. Drayton.
905 </p><p><P ID="speaker"> MRS. DRAYTON
906 </p><P ID="dia"> When are you coming back to London?
907 </p><p><P ID="speaker"> JO
908 </p><P ID="dia"> Possibly never again, professionally.
909 </p><p><P ID="speaker"> MRS. DRAYTON
910 </p><P ID="dia"> Don't tell me you've given up the stage.
911 </p><p><P ID="speaker"> JO
912 </p><P ID="dia"> Temporarily.
913 </p><p><P ID="speaker"> BEN
914 </p><P ID="dia"> It's just that I'm a doctor... Yes.
915 And a doctor's wife....
916 </p><p> <P ID="right"> 26
917 </p><p><P ID="speaker"> JO
918 </p><P ID="dia"> What Ben means is that there are no Broadway music
919 produced in Indianapolis, Indiana. Of course, if w
920 York...
921 </p> <P ID="spkdir"> (For Ben's benefit)
922 </p><P ID="dia"> ...where I hear doctors aren't starving...
923 </p><p><P ID="speaker"> BEN
924 </p> <P ID="spkdir"> (To Jo)
925 </p><P ID="dia"> I have nothing against working in New York. Nothin
926 fact that it's very hard for my patients to come a
927 Indianapolis for treatment.
928 </p><p><p ID="act"> Drayton looks at his wife disapprovingly.
929 </p><p><P ID="speaker"> MRS. DRAYTON
930 </p><P ID="dia"> Oh dear, oh dear. I'm always saying the wrong thin
931 </p><p><P ID="speaker"> JO
932 </p><P ID="dia"> Not the least, Mrs. Drayton.
933 </p><p><P ID="speaker"> MRS. DRAYTON
934 </p><P ID="dia"> Tell me; Dr. McKenna do you always.....
935 </p><p><P ID="speaker"> BEN
936 </p><P ID="dia"> Do you think we could get straightened around.
937 </p><p><p ID="act"> LAP DISSOLVE TO:
938 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
939 </p><p><p ID="act"> We now find the Draytons and the McKennas are sitt
940 eating dinner together. There is no back to back a
941 are busily tearing whole roast chickens apart with
942 fingers. Drayton holds a piece of chicken aloft, d
943 proper Arab method of eating.
944 </p><p><P ID="speaker"> DRAYTON
945 </p><P ID="dia"> Only the first two fingers and thumb of the right
946 the smaller fingers. And always keep the left hand
947 </p><p><P ID="speaker"> JO
948 </p><P ID="dia"> Does it have something to do with religion?
949 </p><p><P ID="speaker"> DRAYTON
950 </p><P ID="dia"> More social than religious, I'd say..
951 </p><p> <P ID="right"> 27
952 </p><p><P ID="speaker"> BEN
953 </p><P ID="dia"> It seems to me if you have four good fingers, and
954 should use them all.
955 </p><p><P ID="speaker"> Jo
956 </p><P ID="dia"> Three finger -- four fingers -- for my money this
957 but chicken in the rough. We have it at every driv
958 </p><p><P ID="speaker"> DRAYTON
959 </p><P ID="dia"> Well, as I was saying, I was quite happy farming m
960 Buckinghamshire, when these chaps from the United
961 worrying me.
962 </p><p><P ID="speaker"> MRS. DRAYTON
963 </p><P ID="dia"> Edward was a big noise at the Ministry of Food dur
964 know.
965 </p><p><P ID="speaker"> DRAYTON
966 </p><P ID="dia"> So, I pulled myself up by the roots, and here we a
967 Nations Relief.
968 </p><p><P ID="speaker"> BEN
969 </p><P ID="dia"> That sounds like interesting work.
970 </p><p><P ID="speaker"> DRAYTON
971 </p><P ID="dia"> You should see my report on soil erosion in Morocc
972 </p> <P ID="spkdir"> (Sadly)
973 </p><P ID="dia"> But nobody reads it.
974 </p><p><p ID="act"> Jo is staring at the entrance to the restaurant. M
975 Drayton follows her glance. The two men stop talki
976 and also look.
977 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. LONG SHOT
978 </p><p><p ID="act"> Louis Bernard is standing in the entrance of the r
979 his arm is a rather elegantly dressed woman. She i
980 and graceful. As he stands waiting for the headwai
981 Bernard looks around the restaurant. His eyes stop
982 to the McKennas. He looks directly at them without
983 sign of recognition.
984 </p><p><P ID="speaker"> LOUIS
985 </p><P ID="dia"> Trouvez nous un coin tranquille -- C'est possible?
986 me a quiet place?)
987 </p><p><P ID="speaker"> WAITER
988 </p><P ID="dia"> Certainment, monsieur. (Certainly, Sir).
989 </p><p> <P ID="right"> 28
990 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - CLOSE SHOT
991 </p><p><p ID="act"> Jo and Ben stare back. There is resentment in Jo's
992 conjecture in Ben's.
993 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. SHOT
994 </p><p><p ID="act"> The headwaiter comes up to Louis Bernard, exchange
995 with him which we cannot hear, and then leads the
996 of cushions in the far corner of the room. As he m
997 the entrance, Louis Bernard does not look at the M
998 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
999 </p><p><p ID="act"> As the couple traverses the restaurant, our four d
1000 -- the Draytons out of idle curiosity, bbut the Mc
1001 growing astonishment as they realize that Bernard
1002 of recognizing them, or speaking to them. Jo turns
1003 </p><p><P ID="speaker"> JO
1004 </p><P ID="dia"> Well just what do you think of that?
1005 First he promises to take us to dinner --
1006 </p><p><P ID="speaker"> BEN
1007 </p><P ID="dia"> Look, we only met him today. We can't expect him t
1008 whole life --
1009 </p><p><P ID="speaker"> JO
1010 </p><P ID="dia"> Oh, Ben! What's the matter with you?!
1011 </p><p><P ID="speaker"> BEN
1012 </p><P ID="dia"> Nothing! What's the matter with you?!
1013 </p><p><P ID="speaker"> JO
1014 </p><P ID="dia"> I just don't like to be both privately and publicl
1015 </p><p><P ID="speaker"> BEN
1016 </p><P ID="dia"> Can you blame him? Turning down an old married cou
1017 with a girl like that?
1018 </p><p><P ID="speaker"> JO
1019 </p><P ID="dia"> We're not an old married couple! All right -- He's
1020 understand him -- and I'm beginning not to like wh
1021 our whole night.
1022 </p><p><p ID="act"> Drayton, quietly amused, is listening to Ben and J
1023 But Mrs. Drayton is embarrassed. She makes convers
1024 random..
1025 </p><p> <P ID="right"> 29
1026 </p><p><P ID="speaker"> MRS. DRAYTON
1027 </p> <P ID="spkdir"> (To Drayton)
1028 </p><P ID="dia"> I must do some shopping in the market tomorrow. I
1029 fine.
1030 Fine, but not too fine. Of course, I how our Engli
1031 awful, but I sometimes think we don't know when we
1032 this sunshine, day after day. It seems unnatural,
1033 </p><p><p ID="act"> Ben makes as if to rise, but Jo holds him down.
1034 </p><p><P ID="speaker"> BEN
1035 </p><P ID="dia"> I want to get up.
1036 </p><p><P ID="speaker"> JO
1037 </p><P ID="dia"> Ben, I know you -- once you get worked up, you'll
1038 Now please, sit down and forget him.
1039 </p><p><P ID="speaker"> DRAYTON
1040 </p> <P ID="spkdir"> (To the McKennas)
1041 </p><P ID="dia"> By the way, it'd be pleasant if you'd let us show
1042 market place, tomorrow.
1043 </p><p><P ID="speaker"> JO
1044 </p><P ID="dia"> Louis Bernard, the big buyer from Paris, was going
1045 through the market tomorrow.
1046 </p><p><P ID="speaker"> BEN
1047 </p> <P ID="spkdir"> (Starts to rise aaain)
1048 </p><P ID="dia"> Good. I'll just go over and cancel out.
1049 </p><p><p ID="act"> She pushes him down again.
1050 </p><p><P ID="speaker"> JO
1051 </p><P ID="dia"> Ben, don't. Our dinner's getting cold.
1052 </p> <P ID="spkdir"> (To the Draytons)
1053 </p><P ID="dia"> We'd love to go with you.
1054 </p><p><p ID="act"> Ben glares in Bernard's direction, and then picks
1055 leg.
1056 </p><p><P ID="speaker"> JO
1057 </p><P ID="dia"> I don't know why Ben gets so worked up over unimpo
1058 </p><p><p ID="act"> Ben looks a her slowly, and with some amazement. T
1059 lift a little and he sees the headwaiter standing
1060 to him to please use only three fingers. Ben looks
1061 chicken leg. He is holding it gripped in his fist.
1062 much.
1063 </p><p><p ID="act"> He throws the leg down to his plate in disgust..
1064 </p><p> <P ID="right"> 30
1065 </p><p><p ID="slug"> ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
1066 </p><p><p ID="act"> Over in the far corner of the restaurant, the lady
1067 Bernard leans forward and murmurs something in Fre
1068 across the room in the direction of the McKennas.
1069 </p><p><P ID="speaker"> WOMAN
1070 </p><P ID="dia"> C'est les deux que cherchez? (Is that the couple y
1071 for?)
1072 </p><p><p ID="act"> Louis turns slightly and looks. He glances back at
1073 significantly.
1074 </p><p><P ID="speaker"> LOUIS
1075 </p><P ID="dia"> Oui. (Yes.)
1076 </p><p><p ID="act"> FADE OUT.
1077 </p><p><p ID="act"> FADE IN:
1078 </p><p><p ID="slug"> MARKET PLACE - (DAY) - ESTABLISHING SHOT
1079 </p><p><p ID="act"> It is around eleven o'clock in the morning in the
1080 square at Marrakesh. This is usually the busy time
1081 There are coaches arriving from the countryside wi
1082 farmers alighting with their baggage, veiled women
1083 coaches and going into the markets.
1084 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1085 </p><p><p ID="act"> A closer view of the shoppers -- veiled women, men
1086 carts and donkeys passing.
1087 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1088 </p><p><p ID="act"> The water sellers move slowly through the market,
1089 tinkling with gay sounding bells.
1090 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1091 </p><p><p ID="act"> The medicine man sitting among his medical wares -
1092 enter and look down at the collection of claws, li
1093 barnyard scrapings.
1094 </p><p><P ID="speaker"> Jo
1095 </p><P ID="dia"> Looks like cure for everything.
Looks like he has a he has a cure for everything.
1096 </p><p><P ID="speaker"> BEN
1097 </p><P ID="dia"> Yeah, there's a lot of that going around these day
1098 </p><p> <P ID="right"> 31
1099 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1100 </p><p><p ID="act"> Woman with sewing machine on head.
1101 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1102 </p><p><p ID="act"> The bread vendors offering large fresh-baked loave
1103 Scattered among the native populace are some touri
1104 some French residents.
1105 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1106 </p><p><p ID="act"> Mr. Drayton is standing by an Arab who has a small
1107 set up, possibly roulette, There are others gambli
1108 moment's hesitation, and a look around to see that
1109 Mrs. Drayton, he chances a small bet. He loses.
1110 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1111 </p><p><p ID="act"> An old man squatting on his heels and surrounded b
1112 of onlookers is reading from a book. His voice int
1113 monotonously. The CAMERA PANS to the RIGHT and we
1114 standing watching him.
1115 </p><p><p ID="act"> Hank is holding on to Mrs. Drayton's hand.
1116 </p><p><P ID="speaker"> HANK
1117 </p><P ID="dia"> What's he doing, Mrs. Drayton?
1118 </p><p><P ID="speaker"> MRS. DRAYTON
1119 </p><P ID="dia"> He's the teller of tales, Hank. He reads legends a
1120 stories from history.
1121 </p><p><P ID="speaker"> HANK
1122 </p><P ID="dia"> Wish he'd say something I could understand.
1123 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1124 </p><p><p ID="act"> A larger group of people who are gathered around s
1125 are performing rather well.
1126 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1127 </p><p><p ID="act"> Standing on the fringe of the crowd watching the a
1128 McKennas.
1129 </p><p><P ID="speaker"> Jo
1130 </p><P ID="dia"> glad I'm glad we came here. It's di
Ben, I'm Ben, we came here. It's different, a litt
1131 exciting..
1132 </p><p> <P ID="right"> 32
1133 </p><p><P ID="speaker"> BEN
1134 </p><P ID="dia"> Wouldn't you rather be in Now York -- rehearsing?
1135 She takes his arm affectionately.
1136 </p><p><P ID="speaker"> JO
1137 </p><P ID="dia"> Oh, all that talk last night was just social chit
1138 woman who ever gave up the stage for marriage is s
1139 to go back. I was just playing a part expected of
1140 </p><p><p ID="act"> She pauses a second.
1141 </p><p><P ID="speaker"> BEN
1142 </p><P ID="dia"> Well, if you do -- let's talk about it -- seriousl
1143 </p><p><P ID="speaker"> JO
1144 </p><P ID="dia"> No, if at all, let's talk about it humorously.
1145 </p><p><P ID="speaker"> HANK
1146 </p><P ID="dia"> Mummy! Daddy!
1147 </p><p><p ID="act"> They turn in time to see Hank run up to them, foll
1148 Drayton.
1149 </p><p><P ID="speaker"> HANK
1150 </p><P ID="dia"> Come on with us! We're gonna see the medicine man!
1151 learn something, Daddy.
1152 </p><p><P ID="speaker"> BEN
1153 </p> <P ID="spkdir"> (Laughs)
1154 </p><P ID="dia"> You're probably right.
1155 </p><p><P ID="speaker"> Jo
1156 </p> <P ID="spkdir"> (To Mrs. Drayton)
1157 </p><P ID="dia"> Any time he starts wearing you out --
1158 </p> <P ID="spkdir"> MRS. DRAYTON
1159 </p><P ID="dia"> I've never enjoyed the market place so much. Oh!
1160 </p><p><p ID="act"> She dashes off in pursuit of the fast-moving Hank.
1161 </p><p><P ID="speaker"> HANK
1162 </p><P ID="dia"> Come on!
1163 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1164 </p><p><p ID="act"> Standing on the fringe of the crowd watching the a
1165 McKennas..
1166 </p><p> <P ID="right"> 33
1167 </p><p><P ID="speaker"> JO
1168 </p><P ID="dia"> Ben, this whole market place is very different and
1169 </p><p><P ID="speaker"> BEN
1170 </p><P ID="dia"> Just like the county fairs when I was a kid. They'
1171 but the balloon ascension.
1172 </p><p><p ID="act"> Jo starts giggling. Ben looks it her.
1173 </p><p><P ID="speaker"> BEN
1174 </p><P ID="dia"> That didn't sound too hilarious to me.
1175 </p><p><P ID="speaker"> JO
1176 </p><P ID="dia"> I was just thinking...do you know what's paying fo
1177 days in Marrakesh?
1178 </p><p><p ID="act"> Ben chuckles.
1179 </p><p><P ID="speaker"> JO
1180 </p><P ID="dia"> And the purse I bought in Paris...
1181 Bill Edwards' tonsils.
1182 </p><p><P ID="speaker"> HANK
1183 </p><P ID="dia"> Mummy! Daddy!
1184 </p><p><p ID="act"> They turn in time to see Hank run up to them, foll
1185 Drayton.
1186 </p><p><P ID="speaker"> HANK
1187 </p><P ID="dia"> Come on with us! We're gonna see the medicine man!
1188 learn something, Daddy.
1189 </p><p><P ID="speaker"> BEN
1190 </p> <P ID="spkdir"> (laughs)
1191 </p><P ID="dia"> You're probably right.
1192 </p><p><P ID="speaker"> JO
1193 </p> <P ID="spkdir"> (to Mrs. Drayton)
1194 </p><P ID="dia"> Any time he starts wearing you out...
1195 </p><p><p ID="act"> Mrs. Drayton and Hank go out of the picture.
1196 </p><p><P ID="speaker"> BEN
1197 </p><P ID="dia"> I don't know whether or not to believe you.
1198 </p><p><P ID="speaker"> JO
1199 </p><P ID="dia"> Ben, glamour is a costume I put on once. It never
1200 I'd rather live my own life than one written for m
1201 </p><p> <P ID="right"> 34
1202 </p><p><P ID="speaker"> BEN
1203 </p><P ID="dia"> Including sleeping with a man who always smells of
1204 I don't have to look seductive at breakfast and wo
1205 Times reviewer doesn't like my scrambled eggs.
1206 </p><p><P ID="speaker"> Jo
1207 </p><P ID="dia"> Drayton appears behind them.
1208 </p><p><P ID="speaker"> DRAYTON
1209 </p><P ID="dia"> How are the acrobats today?
1210 </p><p><P ID="speaker"> BEN
1211 </p><P ID="dia"> Oh fine, fine. Haven't dropped anybody yet.
1212 </p><p><p ID="act"> Ben takes Jo's arm and they saunter off, leaving M
1213 Drayton to the acrobats. They do it in such a way
1214 the group is not hold together by any social forma
1215 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1216 </p><p><p ID="act"> The CAMERA DOLLIES along beside them as they pass
1217 Arab barbers all busily engaged with shaving and c
1218 of their customers.
1219 </p><p><P ID="speaker"> BEN
1220 </p><P ID="dia"> All the way home we'll be riding on Herbie Taylor'
1221 And Allida Markle's asthma.
1222 </p><p><p ID="act"> Jo
1223 </p><p><p ID="act"> Her eyes widen a little in surprise, and somewhat
1224 statement.
1225 </p><p><P ID="speaker"> BEN
1226 </p><P ID="dia"> Oh, I know it's just a song and a dance here and t
1227 all he thinks about. Show business.
1228 </p><p><P ID="speaker"> JO
1229 </p><P ID="dia"> Ben, you're setting a trap for me.
1230 </p><p><P ID="speaker"> BEN
1231 </p><P ID="dia"> He has a good mind. Give him a chance to develop i
1232 </p><p><P ID="speaker"> JO
1233 </p><P ID="dia"> You mean give him a change to be a doctor?
1234 </p><p><P ID="speaker"> BEN
1235 </p><P ID="dia"> I didn't say that..
1236 </p><p> <P ID="right"> 35
1237 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1238 </p><p><p ID="act"> The CAMERA PANNING through the market place to a l
1239 women all working at Singer sewing machines.
1240 Drayton saunters behind them in the distance. Jo h
1241 hand for Ben to shake it.
1242 </p><p><P ID="speaker"> JO
1243 </p><P ID="dia"> All right, darling, a deal's a deal.
1244 Ben takes her hand.
1245 </p><p><P ID="speaker"> JO
1246 </p><P ID="dia"> For every time step he'll learn a new muscle -- an
1247 chorus, three bones.
1248 </p><p><p ID="act"> Ben can't help chuckling.
1249 </p><p><P ID="speaker"> BEN
1250 </p><P ID="dia"> And for every matinee?
1251 </p><p><P ID="speaker"> JO
1252 </p><P ID="dia"> Two chapters of Grey's Anatomy.
1253 </p><p><p ID="act"> They stop short of bumping into Hank and Mrs. Dray
1254 </p><p><P ID="speaker"> HANK
1255 </p><P ID="dia"> Hey, Mummy.
1256 </p> <P ID="spkdir"> (He points)
1257 </p><P ID="dia"> Sewing machines! Looks like a television commercia
1258 </p><p><P ID="speaker"> BEN
1259 </p><P ID="dia"> Now If we could only get four cases of the Seven-y
1260 could retire.
1261 Or, if Mrs. Yarros really has triplets, we could a
1262 redecorate the house.
1263 </p> <P ID="spkdir"> (Laughs)
1264 </p><p><P ID="speaker"> Jo
1265 </p><P ID="dia"> Oh, Ben, what would they say if they heard us?
1266 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1267 </p><p><p ID="act"> The CAMERA PANNING through the market place to a l
1268 women all working at Singer sewing machines.
1269 Drayton saunters behind them in the distance.
1270 </p><p><P ID="speaker"> BEN
1271 </p><P ID="dia"> One of the reasons I came to a place like Marrakes
1272 could say things like this without anybody hearing
1273 </p><p> <P ID="right"> 36
1274 </p><p><P ID="speaker"> JO
1275 </p><P ID="dia"> I'd like to say something where nobody can hear us
1276 </p><p><P ID="speaker"> BEN
1277 </p><P ID="dia"> This is the safest place.
1278 </p><p><P ID="speaker"> JO
1279 </p><P ID="dia"> When are we going to have another child?
1280 </p><p><p ID="act"> Ben looks at her with some surprise.
1281 </p><p><P ID="speaker"> JO
1282 </p><P ID="dia"> You're the doctor. You have all the answers.
1283 </p><p><P ID="speaker"> BEN
1284 </p><P ID="dia"> Yeah -- but, but this is the first time I've heard
1285 </p><p><p ID="act"> They stop short of bumping into Hank and Mrs. Dray
1286 </p><p><P ID="speaker"> HANK
1287 </p><P ID="dia"> Hey, Mummy.
1288 </p> <P ID="spkdir"> (He points)
1289 </p><P ID="dia"> Sewing machines! Looks like a television commercia
1290 </p><p><p ID="act"> Jo laughs appreciatively, and rumples his hair.
1291 </p><p><P ID="speaker"> JO
1292 </p><P ID="dia"> Having a good time, Hank?
1293 </p><p><P ID="speaker"> MRS. DRAYTON
1294 </p><P ID="dia"> He's delighted with everything.
1295 </p><p><p ID="act"> At this moment, Mr. Drayton saunters up, and for t
1296 the group is all together. Suddenly there as some
1297 distance. Everyone's attention is drawn to the noi
1298 quickly, threading his way through some people for
1299 the CAMERA PANNING him away.
1300 </p><p><p ID="slug"> MARKET PLACE - (DAY) - LONG SHOT
1301 </p><p><p ID="act"> From Hank's viewpoint we see police chasing a whit
1302 figure. The police consist of a couple of uniforme
1303 officials and two or three others in local Arab dr
1304 slung over their backs.
1305 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1306 </p><p><p ID="act"> Hank, fascinated at the drama, dishes away to got
1307 Jo and Ben miss Hank. Then see him moving through
1308 crowd..
1309 </p><p> <P ID="right"> 37
1310 </p><p><P ID="speaker"> BEN
1311 </p><P ID="dia"> Hank! Hank -- come back here!
1312 </p><p><P ID="speaker"> JO
1313 </p><P ID="dia"> Hank!
1314 </p><p><p ID="act"> She starts forward after him, but Mrs. Drayton mov
1315 anyone. She passes both of the McKennas and overta
1316 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1317 </p><p><p ID="act"> Mrs. Drayton reaches down and takes hold of Hank's
1318 pulls him toward her.
1319 </p><p><P ID="speaker"> MRS. DRAYTON
1320 </p><P ID="dia"> Hank, it's best to keep away from trouble.
1321 </p><p><p ID="act"> Hank is looking away toward the chase.
1322 </p><p><P ID="speaker"> HANK
1323 </p><P ID="dia"> What's going on?
1324 </p><p><p ID="act"> Mrs. Drayton looks toward the trouble.
1325 </p><p><P ID="speaker"> MRS. DRAYTON
1326 </p><P ID="dia"> It looks as though the police are chasing somebody
1327 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1328 </p><p><p ID="act"> A closer view of the chase brings us back to where
1329 coaches are loading up, and for a moment the polic
1330 view.
1331 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1332 </p><p><p ID="act"> A high view of the open air tannery with its circl
1333 stone water tanks becomes the scene of a further p
1334 chase. We see the white-robed Arab leaping between
1335 with the police yelling and running after him in t
1336 difficulty of the obstacles enables the Arab to ge
1337 and we see that he is now able to dodge through an
1338 the grain market.
1339 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1340 </p><p><p ID="act"> As the chase passes through the grain market, it s
1341 and grain sellers in every direction..
1342 </p><p> <P ID="right"> 38
1343 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1344 </p><p><p ID="act"> The pursued Arab dashes through an enclosure holdi
1345 which are used to carry grain to and from the mark
1346 quite a stampede, with the donkeys running, kickin
1347 in fright.
1348 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1349 </p><p><p ID="act"> Through another archway the Arab now dashes down s
1350 narrow streets of the Medina. Sapling branches are
1351 creating a latticed shadow pattern on the ground b
1352 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1353 </p><p><p ID="act"> As the Arab moves along the narrow street, with th
1354 pursuit, progress is made difficult by the many sh
1355 bicycle riders. One bicycle rider trying to avoid
1356 Arab turns and drives helplessly into a lags potte
1357 sound of wreckage is enormous.
1358 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1359 </p><p><p ID="act"> The Arab turns into another street where the rows
1360 dyed wool yarn hang, from overhead strung along sa
1361 There is in unfortunate collision between the flee
1362 workman crossing the street with a large vat of bl
1363 shoulder.
1364 </p><p><p ID="act"> In a moment the whole narrow streetway is saturate
1365 and everyone is lifting his robe and hopping aroun
1366 stained. The Arab continues on past. The police da
1367 street trying to avoid the dye themselves.
1368 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1369 </p><p><p ID="act"> The Police reach a narrow intersection where the b
1370 squatting, begging alms. They pause. There is no s
1371 quarry. Then one of them points to faint blue foot
1372 away to the left.
1373 </p><p><p ID="act"> They take up the pursuit once again.
1374 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1375 </p><p><p ID="act"> A high, overhead shot of the narrow streets showin
1376 police have caught sight of their man again.
1377 </p><p><p ID="act"> But there seems to be something strange about the
1378 white-robed Arabs are running. The second Arab we
1379 before, but he is faster than the first man and is
1380 him..
1381 </p><p> <P ID="right"> 39
1382 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1383 </p><p><p ID="act"> A closer, level shot, the CAMERA PANNING, shows, t
1384 breathless men closing in on each other. As they r
1385 intersection in the streets, lighted by a shaft of
1386 new Arab comes up behind the original man being ch
1387 whipping out a knife from under his robes, plunges
1388 back of the first man. Then he turns and quickly m
1389 street on his left. The first Arab jerks his head
1390 with the sharp pain of the stabbing, Then he stagg
1391 dark shadows.
1392 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1393 </p><p><p ID="act"> A high shot shows that the stabbed man is almost o
1394 a moment so that the police continue their chase a
1395 man, who has swiftly darted down another side turn
1396 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1397 </p><p><p ID="act"> The CAMERA MOVES IN behind the stabbed Arab. The k
1398 his back. We get a glimpse of his hands, vainly gr
1399 him. The CAMERA MOVES WITH HIM as he staggers out
1400 market place. His shadow on the ground shows us th
1401 the knife handle sticking out from his back. The C
1402 CLOSE to follow the agony of his head and shoulder
1403 to go forward.
1404 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM LONG SHOT
1405 </p><p><p ID="act"> The CAMERA seems to pass BEYOND HIM for a moment,
1406 yards away, stands Ben McKenna, and his group.
1407 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1408 </p><p><p ID="act"> The Arab hesitates for a moment, but the attitude
1409 shows us that he has seen McKenna. He makes his wa
1410 and painfully toward him. He is finding it difficu
1411 upright and even take those last few steps.
1412 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1413 </p><p><p ID="act"> A closer view of McKenna shows that those around h
1414 his wife and the Draytons, become frightened.
1415 </p><p><p ID="act"> He spreads his arms out to move them back protecti
1416 see what is going to happen..
1417 </p><p> <P ID="right"> 40
1418 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1419 </p><p><p ID="act"> As the Arab reaches McKenna, the knife drops from
1420 collapses at Ben's feet. Ben endeavors to grab him
1421 misses his shoulders, and his hands close in and i
1422 grab the Arab's cheeks.
1423 </p><p><p ID="slug"> MARKET PLACE - (DAY) - CLOSE SHOT
1424 </p><p><p ID="act"> A big close up of Ben's hands as his fingers slide
1425 face. He turns his hands up and we see they are co
1426 grease paint.
1427 </p><p><p ID="slug"> MARKET PLACE - (DAY) - CLOSE SHOT
1428 </p><p><p ID="act"> The Arab's head his now dropped to the ground, and
1429 of white flesh showing through the dark makeup whi
1430 had scraped off.
1431 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1432 </p><p><p ID="act"> Ben drops to his knees to examine the man better.
1433 out something in French.
1434 </p><p><P ID="speaker"> LOUIS
1435 </p><P ID="dia"> Ils ont trouvés... ils ont réussi à trouver...
1436 </p><p><p ID="act"> Ben looks at him puzzled.
1437 </p><p><P ID="speaker"> LOUIS
1438 </p> <P ID="spkdir"> (English)
1439 </p><P ID="dia"> McKenna... I'm... Louis.... Bernard.
1440 </p><p><p ID="act"> Ben is quite surprised.
1441 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1442 </p><p><p ID="act"> Ben glances swiftly at the fallen knife, and then
1443 Louis Bernard to turn him over and examine his wou
1444 Frenchman reaches up with one arm and grabs Ben by
1445 </p><p><P ID="speaker"> LOUIS
1446 </p><P ID="dia"> McKenna -- listen to me -- first!
1447 </p><p><p ID="act"> With what strength he has, Louis drags Ben down un
1448 near to his mouth. With a great effort Louis whisp
1449 him..
1450 </p><p> <P ID="right"> 41
1451 </p><p><p ID="slug"> MARKET PLACE - (DAY) - CLOSE SHOT
1452 </p><p><p ID="act"> A big closeup of Ben's ear and Louis' mouth enable
1453 whispering, but Louis' voice is fading so much tha
1454 distinguish the words -- at least enough to make a
1455 what he says.
1456 </p><p><P ID="speaker"> LOUIS
1457 </p><P ID="dia"> A man...a statesman...is to be killed...assassinat
1458 London...soon...very soon...tell them...in London.
1459 Chappell...
1460 </p><p><p ID="act"> Presently, the mouth stops speaking. It remains st
1461 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1462 </p><p><p ID="act"> As Ben backs away, we see the staring eyes, and op
1463 Louis. Ben quickly puts his hand inside the robes
1464 Louis' heart, The hand slowly withdraws. Ben rises
1465 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. SHOT
1466 </p><p><p ID="act"> The Arabs crowd in to see the details. Louis Berna
1467 and the Draytons are in the center of a large flat
1468 of the market place. The Police by now have caught
1469 event, and dash quickly into the picture toward Be
1470 Instinctively Ben backs away, as do the Draytons,
1471 However, Ben still stays closer than the rest. One
1472 picks up the knife and examines it, another bends
1473 make-up off Louis Bernard's face. Ben looks around
1474 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1475 </p><p><p ID="act"> Ben beckons to his wife beyond him, to join him. J
1476 over to Mrs. Drayton. Hank stands close to the Eng
1477 comes over. As Jo comes up to Ben, he is feeling i
1478 something. Takes out a pen.
1479 </p><p><P ID="speaker"> JO
1480 </p><P ID="dia"> Ben -- who is he?
1481 </p><p><P ID="speaker"> BEN
1482 </p><P ID="dia"> Louis Bernard. Got something to write on?
1483 </p><p><p ID="act"> She begins looking in her purse.
1484 </p><p><P ID="speaker"> JO
1485 </p><P ID="dia"> Is he dead?.
1486 </p><p> <P ID="right"> 42
1487 </p><p><P ID="speaker"> BEN
1488 </p> <P ID="spkdir"> (Impatiently)
1489 </p><P ID="dia"> Yes. Yes. He's dead.
1490 </p><p><p ID="act"> She produces a small address book. Ben snatches it
1491 unceremoniously. He opens the book end begins writ
1492 down fast. Jo watches him with mystified curiosity
1493 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM SHOT
1494 </p><p><p ID="act"> Drayton strolls up, out of curiosity. He has also
1495 hurried writing, but Ben casually puts the noteboo
1496 inside pocket, along with the pen. Before either m
1497 on the writing, the voice of a policeman is heard,
1498 French.
1499 </p><p><P ID="speaker"> POLICE ONE
1500 </p><P ID="dia"> Savez vous qui est cet homme?
1501 </p><p><p ID="act"> The uniformed French policeman approaches Ben.
1502 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
1503 </p><p><p ID="act"> The policeman repeats his question as he stops in
1504 </p><p><P ID="speaker"> POLICE
1505 </p><P ID="dia"> J'ai dit: Savez vous qui est cet homme?
1506 </p><p><p ID="act"> Drayton steps forward to help. He addresses the po
1507 </p><p><P ID="speaker"> DRAYTON
1508 </p><P ID="dia"> Il ne parle pas francais. Je traduirßi.
1509 </p><p><p ID="act"> The policeman nods. Drayton turns to Ben.
1510 </p><p><P ID="speaker"> DRAYTON
1511 </p><P ID="dia"> He wants to find out if you know this man.
1512 </p><p><p ID="act"> The policeman watches their faces.
1513 </p><p><P ID="speaker"> JO
1514 </p><P ID="dia"> Of course we know him!
1515 </p> <P ID="spkdir"> (She points)
1516 </p><P ID="dia"> It's the frenchman, Louis Bernard.
1517 </p><p><p ID="act"> Her gestures, and her comments, although In Englis
1518 policeman all the information he needs.
1519 </p><p><P ID="speaker"> POLICE ONE
1520 </p> <P ID="spkdir"> (Looks at body)
1521 </p><P ID="dia"> Louis Bernard?
1522 </p><p><p ID="act"> He moves away toward the body, which the other pol
1523 covering with a sheet..
1524 </p><p> <P ID="right"> 43
1525 </p><p><p ID="act"> He gives them some instructions in French.
1526 </p><p><p ID="act"> Ben looks at Jo in a way that says "Who asked you
1527 anything."
1528 </p><p><p ID="act"> The French policeman returns to the group. He addr
1529 </p><p><P ID="speaker"> POLICE MAN
1530 </p><P ID="dia"> Quel est le nom de ces personnes?
1531 </p><p><P ID="speaker"> DRAYTON
1532 </p><P ID="dia"> McKenna.
1533 </p><p><P ID="speaker"> POLICE MAN
1534 </p><P ID="dia"> Dites leur que j'aimerai qu'ils viennent tous les
1535 commissariat pour faire un rapport.
1536 </p><p><p ID="act"> Drayton nods unhappily, and turns to Ben and Jo.
1537 </p><p><P ID="speaker"> DRAYTON
1538 </p><P ID="dia"> Just as I thought. He wants both of you to go to p
1539 headquarters to make a statement.
1540 </p><p><P ID="speaker"> BEN
1541 </p><P ID="dia"> Do we have to?
1542 </p><p><P ID="speaker"> DRAYTON
1543 </p><P ID="dia"> I'm afraid so.
1544 </p> <P ID="spkdir"> (He turns to wife)
1545 </p><P ID="dia"> Our friends here have to go to the police Station.
1546 them to give what help I can.
1547 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1548 </p><p><p ID="act"> Mrs. Drayton comes up to the group, still holding
1549 hand.
1550 </p><p><P ID="speaker"> MRS. DRAYTON
1551 </p><P ID="dia"> You don't want your little boy to go, do you?
1552 </p><p><P ID="speaker"> HANK
1553 </p><P ID="dia"> I wanna go. I never saw a French police station be
1554 </p><p><P ID="speaker"> MRS. DRAYTON
1555 </p><P ID="dia"> Perhaps it would be best if I took him back to the
1556 </p><p><P ID="speaker"> JO
1557 </p><P ID="dia"> You're very thoughtful..
1558 </p><p> <P ID="right"> 44
1559 </p><p><P ID="speaker"> POLICE ONE
1560 </p><P ID="dia"> Ameneles aux Bureaux de Police.
1561 </p> <P ID="spkdir"> (He moves out)
1562 </p><p><P ID="speaker"> DRAYTON
1563 </p> <P ID="spkdir"> (To Ben)
1564 </p><P ID="dia"> I think we'd better set off.
1565 </p> <P ID="spkdir"> (To wife wryly)
1566 </p><P ID="dia"> Heaven knows how long we shall be.
1567 </p><p><P ID="speaker"> POLICE TWO
1568 </p><P ID="dia"> Alons-y. Sil vous plait.
1569 </p><p><p ID="act"> Police Two moves across the square with Drayton. B
1570 precede them. Drayton begins conversing in French
1571 the crime, but we cannot distinguish their words c
1572 back and gives a little wave to Hank.
1573 </p><p><p ID="slug"> MARKET PLACE - (DAY) - MED. CLOSE SHOT
1574 </p><p><p ID="act"> The McKenna's are walking across the square with t
1575 Drayton a few yards behind them. The CAMERA MOVES
1576 moves close to Ben and speaks to him in a surrepti
1577 </p><p><P ID="speaker"> JO
1578 </p><P ID="dia"> Why should he suddenly turn up in Arab-outfit, wea
1579 </p><p><P ID="speaker"> BEN
1580 </p><P ID="dia"> What's more important -- why was he killed?
1581 </p><p><P ID="speaker"> JO
1582 </p><P ID="dia"> I'll bet he was a spy, or something like that.
1583 </p><p><p ID="act"> Ben looks at her with some surprise.
1584 </p><p><P ID="speaker"> JO
1585 </p><P ID="dia"> Ben, what did he whisper to you? What did you writ
1586 </p><p><P ID="speaker"> BEN
1587 </p><P ID="dia"> I'll tell you later.
1588 </p><p><p ID="act"> Ben looks at his hands.
1589 </p><p><P ID="speaker"> JO
1590 </p><P ID="dia"> What is it?
1591 </p><p><P ID="speaker"> BEN
1592 </p><P ID="dia"> I don't feel very good after what I said about Lou
1593 night..
1594 </p><p> <P ID="right"> 45
1595 </p><p><p ID="act"> JO looks away, equally embarrassed. Ben wipes his
1596 handkerchief.
1597 </p><p><p ID="act"> LAP DISSOLVE TO:
1598 </p><p><p ID="slug"> POLICE STATION - (DAY) - MED. SHOT
1599 </p><p><p ID="act"> The main hallway and waiting room of the Police St
1600 Marrakesh. French and Arab personnel move up and d
1601 hallway from one doorway to another.
1602 </p><p><p ID="act"> There is a babble of voices and the sound of phone
1603 McKennas and Drayton are seated on a long bench, w
1604 called into the inner office of the Police Inspect
1605 next to Ben.
1606 </p><p><p ID="act"> It is hot. Jo has eyes for everything, but Ben see
1607 somewhat impatient. He looks at his watch for the
1608 time in a minute.
1609 </p><p><p ID="slug"> POLICE STATION - (DAY) - MED. CLOSE SHOT
1610 </p><p><p ID="act"> Drayton notices him studying his watch. He leans t
1611 the same time wipes off the side of his on face wi
1612 handkerchief.
1613 </p><p><P ID="speaker"> DRAYTON
1614 </p><P ID="dia"> Once we talk to the police inspector, I'll do my b
1615 of the red tape.
1616 </p><p><P ID="speaker"> JO
1617 </p><P ID="dia"> I have to stretch.
1618 </p><p><p ID="act"> She gets up and saunters away, looking around the
1619 for whatever there is to see. Drayton speaks to Be
1620 reassuring geniality.
1621 </p><p><P ID="speaker"> DRAYTON
1622 </p><P ID="dia"> I'm afraid the questions will go on till doomsday,
1623 knew this chap Bernard before.
1624 </p><p><P ID="speaker"> BEN
1625 </p><P ID="dia"> I didn't know him at all. We only met yesterday on
1626 </p><p><P ID="speaker"> DRAYTON
1627 </p><P ID="dia"> They're a cynical lot, these French -- they might
1628 believe that.
1629 </p><p><P ID="speaker"> BEN
1630 </p><P ID="dia"> They'll have to believe me. It's true.
1631 </p><p><P ID="speaker"> DRAYTON
1632 </p><P ID="dia"> It might sound a bit odd, from their point of view
1633 poor chap whispering to you ... and then they saw
1634 something down....
1635 </p><p> <P ID="right"> 46
1636 </p><p><p ID="act"> Ben looks at Drayton, waiting for his to go on.
1637 </p><p><P ID="speaker"> DRAYTON
1638 </p><P ID="dia"> The question is, are you going to show them what y
1639 </p><p><p ID="act"> Before Ben can say any more, a policeman opens the
1640 the Police Inspector's office. He calls out.
1641 </p><p><p ID="slug"> POLICE STATION - (DAY) - MED. SHOT
1642 </p><p><p ID="act"> Jo turns around at the sound of the door opening,
1643 Drayton start to rise from the bench.
1644 The policeman steps aside, holding the door, as a
1645 comes out of the office from behind him. He is a s
1646 heavy-built-dark man. He does not smile.
1647 </p><p><p ID="slug"> POLICE STATION - (DAY) - MED. CLOSE SHOT
1648 </p><p><p ID="act"> The Inspector walks a few steps into the corridor,
1649 and Drayton approach him. Drayton speaks first.
1650 </p><p><P ID="speaker"> DRAYTON
1651 </p><P ID="dia"> Ces personnes sont mes bons amis, les McKenna. Mon
1652 Drayton. Ils ne parlent pas francais et ils m'ont
1653 traduire.
1654 </p><p><p ID="act"> The Inspector answers in English.
1655 </p><p><P ID="speaker"> INSPECTOR
1656 </p><P ID="dia"> Thank you, Monsieur Drayton, but a translator will
1657 necessary.
1658 </p> <P ID="spkdir"> (To McKenna)
1659 </p><P ID="dia"> Won't you come inside, Monsieur, Madame?
1660 </p><p><p ID="act"> He stops aside, and wait.
1661 </p><p><P ID="speaker"> INSPECTOR
1662 </p> <P ID="spkdir"> (To Drayton)
1663 </p><P ID="dia"> Do to the kindness to wait. I might have questions
1664 </p><p><p ID="act"> He motions to the McKennas. Jo goes past him first
1665 office, followed by Ben, Drayton returns to the be
1666 the trio as the office door closes on them.
1667 </p><p><p ID="slug"> POLICE STATION - (DAY) - MED. SHOT
1668 </p><p><p ID="act"> A medium-sized office, saved from plainness of civ
1669 by a few personal decorations of the Inspector..
1670 </p><p> <P ID="right"> 47
1671 </p><p><p ID="act"> He waves the McKenna to chairs, as he goes around
1672 and remains standing. Ben and Jo sit down.
1673 </p><p><p ID="act"> The Inspector looks at some papers on his desk, th
1674 hand.
1675 </p><p><P ID="speaker"> INSPECTOR
1676 </p> <P ID="spkdir"> (Precisely)
1677 </p><P ID="dia"> Your passports, please.
1678 </p><p><p ID="act"> Ben looks at Jo, who fishes for them in her purse.
1679 She takes them out, hands them to Ben, who hands t
1680 Inspector. He scrutinizes them. Uncomfortable, Ben
1681 chair and sits down, waiting. The inspector checks
1682 against the people he sees sitting in his office,
1683 passports down on his desk.
1684 </p><p><P ID="speaker"> INSPECTOR
1685 </p><P ID="dia"> You entered French Morocco four days ago.
1686 </p><p><P ID="speaker"> BEN
1687 </p><P ID="dia"> That's right.
1688 </p><p><P ID="speaker"> INSPECTOR
1689 </p><P ID="dia"> You are a doctor, monsieur?
1690 </p><p><P ID="speaker"> BEN
1691 </p><P ID="dia"> A surgeon. A tourist, and an American citizen.
1692 </p><p><P ID="speaker"> INSPECTOR
1693 </p><P ID="dia"> Three good reasons why you should have nothing in
1694 Louis Bernard.
1695 </p><p><P ID="speaker"> BEN
1696 </p><P ID="dia"> I didn't have.
1697 </p><p><P ID="speaker"> INSPECTOR
1698 </p><P ID="dia"> You were recently in Paris?
1699 </p><p><P ID="speaker"> BEN
1700 </p><P ID="dia"> A medical convention.
1701 </p><p><P ID="speaker"> INSPECTOR
1702 </p><P ID="dia"> You come to Marrakesh with him in the same bus. Yo
1703 apéritif with him in your hotel room. And you ate
1704 restaurant last night.
1705 </p><p><P ID="speaker"> JO
1706 </p><P ID="dia"> But at different tables.
1707 </p><p><p ID="act"> The Inspector's eyes study her briefly, as if her
1708 unnecessary interruption. Then his eyes return to
1709 </p><p> <P ID="right"> 48
1710 </p><p><P ID="speaker"> INSPECTOR
1711 </p><P ID="dia"> So, Louis Bernard is a stranger to you?
1712 </p><p><P ID="speaker"> BEN
1713 </p><P ID="dia"> I met him yesterday -- on the bus -- for the first
1714 life.
1715 </p><p><p ID="act"> The Inspector begins to let his skepticism be seen
1716 </p><p><P ID="speaker"> INSPECTOR
1717 </p> <P ID="spkdir"> (ironically)
1718 </p><P ID="dia"> And yet -- out of five thousand people -- In a gre
1719 -- he comes to you when he is about to diee! Is th
1720 a casual acquaintance, monsieur?
1721 </p><p><P ID="speaker"> BEN
1722 </p> <P ID="spkdir"> (Obstinate)
1723 </p><P ID="dia"> I know nothing about Louis Bernard.
1724 </p><p><P ID="speaker"> INSPECTOR
1725 </p><P ID="dia"> No? Not even, I suppose, that he was an agent of t
1726 Bureau?
1727 </p><p><P ID="speaker"> BEN
1728 </p><P ID="dia"> What's that?
1729 </p><p><P ID="speaker"> INSPECTOR
1730 </p><P ID="dia"> Perhaps you have also never head of the American F
1731 </p> <P ID="spkdir"> (Sadly)
1732 </p><P ID="dia"> It would be so much more easy for both of us, mons
1733 would cease to pretend.
1734 </p><p><P ID="speaker"> BEN
1735 </p><P ID="dia"> Now, look here...
1736 </p><p><P ID="speaker"> INSPECTOR
1737 </p> <P ID="spkdir"> (Patiently)
1738 </p><P ID="dia"> The dead man found out what he had been sent here
1739 That is why he was kill-ed. He told you what he ha
1740 Why? Because he placed complete confidence in you.
1741 Voila.
1742 </p><p><P ID="speaker"> BEN
1743 </p><P ID="dia"> Boy, you not only ask the questions you also answe
1744 minute let me ask you a question.
1745 </p><p><P ID="speaker"> INSPECTOR
1746 </p><P ID="dia"> Indeed, Monsieur?.
1747 </p><p> <P ID="right"> 49
1748 </p><p><P ID="speaker"> BEN
1749 </p><P ID="dia"> Assuming Bernard trusted me as implicitly as you s
1750 never reveal anything he said to me, would I?
1751 </p><p><P ID="speaker"> INSPECTOR
1752 </p><P ID="dia"> Even Americans, I suppose, sometimes find it desir
1753 confidence?
1754 </p><p><P ID="speaker"> BEN
1755 </p><P ID="dia"> Let's get something straight. I'm a tourist travel
1756 pleasure. I somehow got involved in an unfortunate
1757 came down here to make a simple statement of fact,
1758 subjected to a police grilling.
1759 </p><p><P ID="speaker"> INSPECTOR
1760 </p><P ID="dia"> Monsieur, I would like....
1761 </p><p><P ID="speaker"> BEN
1762 </p> <P ID="spkdir"> (Interrupting)
1763 </p><P ID="dia"> Now hold your horses! Just hold them.
1764 </p><p><p ID="act"> The door opens suddenly. The two men look up.
1765 </p><p><p ID="slug"> INSPECTOR'S OFFICE - (DAY) - MED. CLOSE SHOT
1766 </p><p><p ID="act"> A policeman opens the door and leans in.
1767 </p><p><P ID="speaker"> POLICE TWO
1768 </p><P ID="dia"> Inspecteur. On demande Monsieur McKenna au télépho
1769 </p><p><p ID="act"> As he speaks, the policeman nods in the direction
1770 </p><p><p ID="slug"> INSPECTOR'S OFFICE - (DAY) - MED. SHOT
1771 </p><p><p ID="act"> The Inspector impatiently tries to dismiss the off
1772 gesture.
1773 </p><p><P ID="speaker"> INSPECTOR
1774 </p><P ID="dia"> Laissez nous, nous sommes occuppes.
1775 </p><p><p ID="act"> Ben motions to the policeman to stay where he is
1775.1 </p><p><P ID="speaker"> BEN
1776 </p><P ID="dia"> Wait a minute. A telephone call for me?
1777 </p><p><p ID="act"> The policeman at the door looks at the Inspector b
1778 Inspector is disconcerted, but doesn't tell the ma
1779 so he turns back to Ben and nods..
1780 </p><p> <P ID="right"> 50
1781 </p><p><P ID="speaker"> BEN
1782 </p><P ID="dia"> Where?
1783 The policeman points over his shoulder to in outsi
1784 </p><p><P ID="speaker"> INSPECTOR
1785 </p> <P ID="spkdir"> (To the world in general)
1786 </p><P ID="dia"> Mais enfin, voyons!
1787 </p><p><P ID="speaker"> BEN
1788 </p><P ID="dia"> I'll take the call now. You just take it easy.
1789 </p><p><p ID="act"> He goes out the door, closing it behind him. The I
1790 down heavily. Then he looks up at Jo.
1791 </p><p><P ID="speaker"> INSPECTOR
1792 </p><P ID="dia"> Madame McKenna.
1793 </p><p><P ID="speaker"> JO
1794 </p><P ID="dia"> I don't know a thing,
1795 </p><p><p ID="slug"> POLICE STATION - (DAY) - MEDIUM CLOSESHOT
1796 </p><p><p ID="act"> The CAMERA PANS Ban as he follows the policeman do
1797 corridor, past Drayton who is still sitting on a b
1798 watching Ben somewhat anxiously, and into a small
1799 </p><p><p ID="slug"> SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
1800 </p><p><p ID="act"> The policeman enters the small office first. There
1801 like a table, and a phone is lying on it off the h
1802 policeman picks it up, and hands it to Ben. Ben ho
1803 speaking a second, and waves the policeman out.
1804 </p><p><p ID="act"> The policeman is indifferent. He leaves. Ben puts
1805 ear.
1806 </p><p><P ID="speaker"> BEN
1807 </p><P ID="dia"> Hello.
1808 </p><p><p ID="slug"> ROOM - (DAY) - CLOSE SHOT
1809 </p><p><p ID="act"> A robed Arab is sitting in a chair holding a telep
1810 The room is part of a rather elaborate Moorish hou
1811 The Arab speaks in accented English.
1812 </p><p><P ID="speaker"> ARAB
1813 </p><P ID="dia"> Doctor McKenna?.
1814 </p><p> <P ID="right"> 51
1815 </p><p><p ID="slug"> SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
1816 </p><p><p ID="act"> As Ben answers, he idly looks through the open doo
1817 Drayton sitting on the bench outside.
1818 </p><p><P ID="speaker"> BEN
1819 </p><P ID="dia"> This is McKenna. Who's calling me?
1820 </p><p><p ID="slug"> ROOM - (DAY) - CLOSE SHOT
1821 </p><p><p ID="act"> The Arab doesn't bother to identify himself.
1822 </p><p><P ID="speaker"> ARAB
1823 </p><P ID="dia"> You tell even one word of that Louis Bernard whisp
1824 the market-place -- your little boy will be in ser
1825 </p><p><p ID="act"> The Arab starts to hang up.
1826 </p><p><p ID="slug"> SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT
1827 </p><p><p ID="act"> There is an audible click in the receiver held in
1828 </p><p><P ID="speaker"> BEN
1829 </p><P ID="dia"> Hello.
1830 </p><p><p ID="act"> There is no answer. Ben lowers the phone slightly,
1831 minute, then continues on downward with it, return
1832 to the phone cradle. He stands a brief moment in t
1833 half turns toward Drayton sitting in the corridor
1834 motions to Drayton to join him in the office.
1834.5 </p><p><P ID="speaker"> BEN
1835 </p><P ID="dia"> Drayton!
1836 </p><p><p ID="act"> The Englishman gets up and comes into the small of
1837 </p><p><P ID="speaker"> BEN
1838 </p><P ID="dia"> Didn't your wife say she was taking Hank straight
1839 hotel?
1840 </p><p><P ID="speaker"> DRAYTON
1841 </p><P ID="dia"> As I recall. Why?
1842 </p><p><p ID="act"> Ben picks up the phone, hands it to Drayton.
1843 </p><p><P ID="speaker"> BEN
1844 </p><P ID="dia"> Call her. Somebody just threatened me about Hank.
1845 right.
1846 </p><p><p ID="act"> Drayton reacts with surprise, speaks into the Phon
1847 He speaks French..
1848 </p><p> <P ID="right"> 52
1849 </p><p><P ID="speaker"> DRAYTON
1850 </p><P ID="dia"> Passez moi l'hôtel Mamounia, s'il vous plait. Voul
1851 la chambre deux cents dix sept s'il vous plait....
1852 je vois, Puis-je parler au, concierge?...Ah! ici M
1853 chambre deux cents dix sept. Est ce que ma femme e
1854 l'hôtel depuis une heure? Sa chambre ne répond pas
1855 bien... bien...
1856 merci... Oh! Un instant s'il vous plait.
1857 </p><p><P ID="speaker"> BEN
1858 </p><P ID="dia"> Four fourteen.
1859 </p><p><P ID="speaker"> DRAYTON
1860 </p> <P ID="spkdir"> (To phone)
1861 </p><P ID="dia"> Voulez vous essayer la chambre quatre cents quator
1862 </p><p><p ID="act"> Ben slowly hangs up. Looks at Ben.
1863 </p><p><P ID="speaker"> DRAYTON
1864 </p><P ID="dia"> I can't believe it.
1865 </p><p><P ID="speaker"> BEN
1866 </p><P ID="dia"> She didn't come back?
1867 </p><p><P ID="speaker"> DRAYTON
1868 </p><P ID="dia"> At least nobody's seen her. What on earth...
1869 </p><p><P ID="speaker"> BEN
1870 </p><P ID="dia"> Look -- you get back to the hotel right away -- an
1871 find out what's going on.
1872 </p><p><P ID="speaker"> DRAYTON
1873 </p><P ID="dia"> It's so unlike my wife...
1874 </p><p><P ID="speaker"> BEN
1875 </p><P ID="dia"> I'll finish up with the police and join you as soo
1876 </p><p><P ID="speaker"> DRAYTON
1877 </p><P ID="dia"> Right. But don't worry. Probably some stupid misun
1878 </p> <P ID="spkdir"> (He starts out, stops)
1879 </p><P ID="dia"> If I find out anything before you get back, I'll r
1880 </p><p><P ID="speaker"> BEN
1881 </p><P ID="dia"> Just don't waste any time!
1882 </p><p><p ID="act"> Drayton hurries out of the office. He goes one way
1883 other..
1884 </p><p> <P ID="right"> 53
1885 </p><p><p ID="slug"> INSPECTOR'S OFFICE - (DAY) - MEDIUM SHOT
1886 </p><p><p ID="act"> As Ben enters the office, both Jo and the Inspecto
1887 inquiringly.
1888 </p><p><P ID="speaker"> JO
1889 </p><P ID="dia"> Who was it, Ben?
1890 </p><p><p ID="act"> Ben adopts as casual an air as he can under the ci
1891 doesn't sit down. He speaks more to the Inspector
1892 wife, avoiding her eyes.
1893 </p><p><P ID="speaker"> BEN
1894 </p><P ID="dia"> It was the Concierge at the Hotel. He heard we wer
1895 the Police and thought there was some way he could
1896 </p><p><P ID="speaker"> JO
1897 </p><P ID="dia"> That was nice of him.
1898 </p><p><P ID="speaker"> BEN
1899 </p> <P ID="spkdir"> (Looking at Inspector)
1900 </p><P ID="dia"> I told him if we weren't back there in fifteen min
1901 American Consulate in Casablanca.
1902 </p><p><p ID="act"> The Inspector has realised that he won't get any m
1903 </p><p><P ID="speaker"> INSPECTOR
1904 </p> <P ID="spkdir"> (charmingly)
1905 </p><P ID="dia"> But, Monsieur, if you had only told me in the firs
1906 you wished to consult with your consul!
1907 </p><p><p ID="act"> Ben gives him a look.
1908 </p><p><P ID="speaker"> BEN
1909 </p><P ID="dia"> Let's go, Jo.
1910 </p><p><P ID="speaker"> INSPECTOR
1911 </p><P ID="dia"> There is just one small formality. I must request
1912 statement of the facts.
1913 </p><p><P ID="speaker"> BEN
1914 </p><P ID="dia"> If it doesn't take too long.
1915 </p><p><P ID="speaker"> INSPECTOR
1916 </p><P ID="dia"> But a moment. I will send for a typist.
1917 </p><p><p ID="act"> Reluctantly the Inspector reaches for a phone on h
1918 looks at her husband somewhat puzzled.
1919 </p><p><P ID="speaker"> JO
1920 </p><P ID="dia"> Ben....
1921 </p><p> <P ID="right"> 54
1922 </p><p><p ID="act"> He gives her a warning glance to be quiet. She doe
1923 He reaches out, takes her hand.
1924 </p><p><p ID="act"> LAP DISSOLVE TO:
1925 </p><p><p ID="slug"> MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT
1926 </p><p><p ID="act"> Ben and Jo are riding along in an open Victoria, h
1927 the Hotel Mamounia. Ben seems preoccupied with his
1928 </p><p><P ID="speaker"> JO
1929 </p> <P ID="spkdir"> (Holds out her hand)
1930 </p><P ID="dia"> Let me see the message.
1931 </p><p><P ID="speaker"> BEN
1932 </p><P ID="dia"> I don't -- I don't think you should.
1933 </p><p><p ID="act"> She holds out her hand more firmly.
1934 </p><p><P ID="speaker"> JO
1935 </p><P ID="dia"> I'm your wife, Ben -- not the police inspector. Le
1936 </p><p><p ID="act"> Reluctantly, Ben takes out the notebook, hands it
1937 watches her as she reads the note he has written.
1938 </p><p><p ID="act"> The notebook page held by Jo on which Ben has scri
1939 Bernard's message. It reads: "A MAN...A STATESMAN.
1940 KILLED...ASSASSINATED...IN
1941 LONDON...SOON...VERY SOON...TELL THEM...IN LONDON.
1942 TRY AMBROSE CHAPPEL...
1943 </p><p><p ID="slug"> MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT
1944 </p><p><p ID="act"> Jo looks up, soberly.
1945 </p><p><P ID="speaker"> Jo
1946 </p><P ID="dia"> Why didn't you give this to the police?
1947 </p><p><P ID="speaker"> BEN
1948 </p><P ID="dia"> Because I didn't want to.
1949 </p><p><P ID="speaker"> JO
1950 </p><P ID="dia"> But Ben, a man's life --
1950.5 </p><p><P ID="speaker"> BEN
1951 </p> <P ID="spkdir"> (Interrupts)
1952 </p><P ID="dia"> ...is at stake, I know, But I'm not sure of what's
1953 to do.
1954 </p><p><p ID="act"> She closes the notebook. Ben reaches over, takes i
1955 replaces it in his pocket. She stares ahead, with
1956 thoughts. Then she speaks..
1957 </p><p> <P ID="right"> 55
1960 </p><p><P ID="speaker"> Jo
1958 </p><P ID="dia"> I thought we ought to go back to the hotel, pack o
1959 take Hank, and get out of this country as quickly
1961 </p><p><P ID="speaker"> BEN
1962 </p> <P ID="spkdir"> (Thinking)
1963 </p><P ID="dia"> Maybe.
1964 </p><p><P ID="speaker"> JO
1965 </p><P ID="dia"> Hank, seeing a man killed in front of him. What a
1966 to his mind.
1967 </p><p><P ID="speaker"> BEN
1968 </p> <P ID="spkdir"> (Quietly)
1969 </p><P ID="dia"> I know.
1970 </p><p><P ID="speaker"> JO
1971 </p><P ID="dia"> Why don't you just give that note to the American
1972 get any more involved?
1973 </p><p><p ID="act"> Ben is uncomfortable, and unhappy, but he tries to
1974 leans toward Jo as if he's about to tell her somet
1975 He reaches out, places his hand over hers.
1976 </p><p><P ID="speaker"> BEN
1977 </p><P ID="dia"> Jo...about Hank...
1978 </p> <P ID="spkdir"> (He trails off)
1979 </p><p><P ID="speaker"> JO
1980 </p><P ID="dia"> What about him?
1981 </p><p><P ID="speaker"> BEN
1982 </p><P ID="dia"> Well...he...he's the kind of a kid who can take of
1983 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - MED. LONG SH
1984 </p><p><p ID="act"> The Victoria turns into the Hotel Mamounia, and pu
1985 of the entrance. The McKennas dismount.
1986 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - MED. CLOSE SH
1987 </p><p><p ID="act"> Jo straightens out her dress, waits for Ben to acc
1988 the hotel. The head porter is outside supervising
1989 with the lesser porters. He touches his cap to the
1990 </p><p><P ID="speaker"> BEN
1991 </p> <P ID="spkdir"> (To Jo)
1992 </p><P ID="dia"> You get the key. I'll take care of the driver..
1993 </p><p> <P ID="right"> 56
1994 </p><p><P ID="speaker"> JO
1995 </p><P ID="dia"> Okay.
1996 </p><p><p ID="act"> She turns and enters the hotel. Ben takes a bill o
1997 pocket, examines it, and hands it to the driver.
1998 The Victoria moves off. Ben turns to the Head Port
1999 </p><p><P ID="speaker"> BEN
2000 </p><P ID="dia"> Uh...pardon me.
2001 </p><p><p ID="act"> The head Porter turns to Ben respectfully.
2002 </p><p><P ID="speaker"> HEAD PORTER
2003 </p><P ID="dia"> Yes, m'sieu?
2004 </p><p><P ID="speaker"> BEN
2005 </p><P ID="dia"> Do you know Mrs. Drayton?
2006 </p><p><P ID="speaker"> HEAD PORTER
2007 </p><P ID="dia"> The English lady?
2008 </p><p><P ID="speaker"> BEN
2009 </p> <P ID="spkdir"> (Nods)
2010 </p><P ID="dia"> Did you see her come back from the market place an
2011 past hour or so?
2012 </p><p><P ID="speaker"> HEAD PORTER
2013 </p> <P ID="spkdir"> (Thinks)
2014 </p><P ID="dia"> No, m'sieu.
2015 </p><p><P ID="speaker"> BEN
2016 </p><P ID="dia"> Wait a minute. You don't understand...
2017 she had a small boy with her. Mine.
2018 </p><p><P ID="speaker"> HEAD PORTER
2019 </p><P ID="dia"> No, m'sieu.
2020 </p><p><P ID="speaker"> BEN
2021 </p><P ID="dia"> How about Mister Drayton?
2022 </p><p><P ID="speaker"> HEAD PORTER
2023 </p><P ID="dia"> Oui, m'sieu. M'sieu Drayton check out.
2024 </p><p><P ID="speaker"> BEN
2025 </p><P ID="dia"> He what?
2026 </p><p><P ID="speaker"> HEAD PORTER
2027 </p><P ID="dia"> Checked out.
2028 </p><p><p ID="act"> Ben stares at him.
2029 </p><p><P ID="speaker"> BEN
2030 </p><P ID="dia"> He couldn't have.
2031 </p><p><P ID="speaker"> HEAD PORTER
2032 </p><P ID="dia"> Oui, m'sieu. He did..
2033 </p><p> <P ID="right"> 57
2034 </p><p><P ID="speaker"> BEN
2035 </p> <P ID="spkdir"> (Still can't believe it)
2036 </p><P ID="dia"> No, Mr. Drayton, the Englishman with horn-rimmed g
2037 </p><p><p ID="act"> The Head Porter nods in agreement.
2038 </p><p><P ID="speaker"> HEAD PORTER
2039 </p><P ID="dia"> Oui, m'sieu. Checked out.
2040 </p><p><p ID="slug"> HOTEL MAMOUNIA - (DAY) - CLOSE SH
2041 </p><p><p ID="act"> Ben turns slowly away from the porter, his face fi
2042 disturbance. He looks up toward the entrance as he
2043 voice off.
2044 </p><p><P ID="speaker"> JO
2045 </p><P ID="dia"> Ben, What's holding you up?
2046 </p><p><p ID="act"> He quickly composes his face as best he can. The C
2047 over to the entrance where Jo is waiting with the
2048 her arm and they enter the hotel.
2049 </p><p><p ID="act"> LAP DISSOLVE TO:
2050 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MED. SHOT
2051 </p><p><p ID="act"> They enter the room, close the door. Ben goes imme
2052 luggage, specifically to his medical bag. He opens
2053 looking for something. Jo tosses her handbag on th
2054 around the suite.
2055 </p><p><P ID="speaker"> JO
2056 </p><P ID="dia"> Frankly, I'm exhausted. Don't you feel well?
2057 He doesn't answer her. She shrugs, and starts for
2058 </p><p><P ID="speaker"> JO
2059 </p><P ID="dia"> I'll call Mrs. Drayton and tell her we're back. Sh
2060 up here, or I'll go get his.
2061 </p><p><p ID="act"> She picks up the receiver. Ben speaks without turn
2062 </p><p><P ID="speaker"> BEN
2063 </p><P ID="dia"> Jo, hold the call for a minute.
2064 </p><p><P ID="speaker"> JO
2065 </p><P ID="dia"> Why?
2066 </p><p><P ID="speaker"> BEN
2067 </p><P ID="dia"> Because I asked you to..
2068 </p><p> <P ID="right"> 58
2069 </p><p><p ID="act"> She puts the receiver down slowly. She doesn't lik
2070 </p><p><P ID="speaker"> JO
2071 </p><P ID="dia"> Ben...we're about to have our monthly fight.
2072 </p><p><p ID="act"> Ben takes two pills out of a small bottle. Closes
2073 his medical bag.
2074 </p><p><P ID="speaker"> BEN
2075 </p><P ID="dia"> I hope we don't.
2076 </p><p><P ID="speaker"> JO
2077 </p><P ID="dia"> Then stop playing Rasputin. I only said I was goin
2078 Drayton.
2079 </p><p><p ID="act"> She reaches for the phone again. He turns.
2080 </p><p><P ID="speaker"> BEN
2081 </p><P ID="dia"> Wait 'til I come back.
2082 </p><p><p ID="act"> She hesitates. He goes into the bathroom, the CAME
2083 She is puzzled with him. Shrugs her shoulders. Slu
2084 position on the bed. She ribs her face and her eye
2085 of fatigue. There is the sound of running water in
2086 </p><p><p ID="act"> When she looks up again, Ben is standing in front
2087 hand he his two capsules, in the other a glass of
2088 He holds them out to her. His manner is casual and
2089 </p><p><P ID="speaker"> BEN
2090 </p><P ID="dia"> Something to relax you.
2091 </p><p><p ID="act"> She looks at the pills.
2092 </p><p><P ID="speaker"> JO
2093 </p><P ID="dia"> I'm so relaxed I'm tired. You take them.
2094 </p><p><P ID="speaker"> BEN
2095 </p><P ID="dia"> Jo, they're for you. I'm the doctor.
2096 </p><p><P ID="speaker"> JO
2097 </p><P ID="dia"> Ben...
2098 </p><p><P ID="speaker"> BEN
2099 </p><P ID="dia"> You know how you get when things happen -- tense a
2100 me a favor.
2101 </p><p><p ID="act"> She stands up.
2102 </p><p><P ID="speaker"> JO
2103 </p><P ID="dia"> Six months ago you told me I took too many pills!.
2104 </p><p> <P ID="right"> 59
2105 </p><p><P ID="speaker"> BEN
2106 </p><P ID="dia"> Six months ago you weren't a witness to a murder.
2107 excited, fatigued -- talking a blue streak and goi
2108 circles.
2109 </p><p><P ID="speaker"> JO
2110 </p><P ID="dia"> I have not.
2111 </p><p><p ID="act"> Ben takes a deep breath.
2112 </p><p><P ID="speaker"> BEN
2113 </p><P ID="dia"> Jo, I make my living knowing when and how to admin
2114 You'll feel a lot better tomorrow if you take thes
2115 don't think so. Okay, I'll make a deal with you.
2116 </p><p><P ID="speaker"> JO
2117 </p><P ID="dia"> I'm listening.
2118
2119 </p><p><P ID="speaker"> BEN
2120 </p><P ID="dia"> There's something about Louis Bernard, the police
2121 this whole spy business that I haven't told you ye
2122 </p><p><p ID="act"> He holds out the capsules.
2123 </p><p><P ID="speaker"> BEN
2124 </p><P ID="dia"> This is the price of curiosity.
2125 </p><p><p ID="act"> Despite herself she's intrigued.
2126 </p><p><P ID="speaker"> JO
2127 </p><P ID="dia"> What could it be?
2128 </p><p><P ID="speaker"> BEN
2129 </p><P ID="dia"> There's one way to find out.
2130 </p><p><p ID="act"> She reaches out, takes the capsules, pops them int
2131 hands her the water, she drinks some of it.
2132 </p><p><P ID="speaker"> JO
2133 </p><P ID="dia"> All right, Doctor McKenna. I am now relaxed and li
2134 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT
2135 </p><p><p ID="act"> Ben moves away from Jo, puts the glass on a dresse
2136 She sits down on the edge of the bed like a little
2137 hear a bedtime story.
2138 </p><p><P ID="speaker"> JO
2139 </p><P ID="dia"> Why don't I call Mrs. Drayton first.
2140 You can tell me while she's bringing Hank up..
2141 </p><p> <P ID="right"> 60
2142 </p><p><P ID="speaker"> BEN
2143 </p><P ID="dia"> Just a minute. This whole thing strange right from
2144 beginning.
2145 </p><p><p ID="act"> As he talks he moves about the room first one way,
2146 watching Jo closely, almost as if he were trying t
2147 sleep, or hypnotize her.
2148 </p><p><P ID="speaker"> BEN
2149 </p><P ID="dia"> It was no accident that Louis Bernard helped us ou
2150 and struck up a conversation. You were right about
2151 </p><p><P ID="speaker"> JO
2152 </p><P ID="dia"> See.
2153 </p><p><P ID="speaker"> BEN
2154 </p><P ID="dia"> Yes...yes, you were right about him.
2155 He was...was strange.
2156 </p><p><p ID="act"> Jo is beginning to appear a little drowsy. Ben wat
2157 closely.
2158 </p><p><P ID="speaker"> JO
2159 </p><P ID="dia"> I know all that. Get to the surprise.
2160 </p><p><P ID="speaker"> BEN
2161 </p><P ID="dia"> He got talking to us because he was on the lookout
2162 suspicious married couple.
2163 </p><p><P ID="speaker"> JO
2164 </p><P ID="dia"> Nothing suspicious about us.
2165 </p><p><P ID="speaker"> BEN
2166 </p><P ID="dia"> He was wrong. It was a different married couple.
2167 </p><p><P ID="speaker"> JO
2168 </p><P ID="dia"> And he was killed before he found them.
2169 </p><p><P ID="speaker"> BEN
2170 </p><P ID="dia"> No. He found them. In the restaurant.
2171 Last night. That's why he was killed.
2172 </p><p><P ID="speaker"> JO
2173 </p><P ID="dia"> You'll be telling me next it was Mr.
2174 and Mrs. Drayton!
2175 </p><p><P ID="speaker"> BEN
2176 </p> <P ID="spkdir"> (Quietly)
2177 </p><P ID="dia"> That's just who it was, Jo.
2178 </p><p><p ID="act"> She rubs a hand over her face. The drug is taking.
2179 </p><p><P ID="speaker"> JO
2180 </p><P ID="dia"> If that's a joke, I don't think it's a very funny
2181 </p><p> <P ID="right"> 61
2182 </p><p><p ID="act"> She stops talking. He looks at her more closely.
2183 Then he walks over to her and sits down on the bed
2184 looks at her intensely.
2185 </p><p><P ID="speaker"> JO
2186 </p><P ID="dia"> Think I'll lie down.
2187 </p><p><p ID="act"> He prevents her.
2188 </p><p><P ID="speaker"> BEN
2189 </p><P ID="dia"> Listen to me. And listen carefully.
2190 </p><p><p ID="act"> She comes awake more, studies him.
2191 </p><p><P ID="speaker"> BEN
2192 </p><P ID="dia"> That phone call I received at the police station.
2193 </p><p><p ID="act"> She nods dumbly.
2194 </p><p><P ID="speaker"> BEN
2195 </p><P ID="dia"> It wasn't from the concierge at the hotel. It was
2196 with a foreign voice who said if I told anybody on
2197 Louis Bernard whispered to me in the market place
2198 something...something might happen to...to, to Han
2199 </p><p><p ID="act"> She comes suddenly as awake as she can.
2200 </p><p><P ID="speaker"> JO
2201 </p><P ID="dia"> Hank? Why H... ?
2202 </p><p><P ID="speaker"> BEN
2203 </p><P ID="dia"> They've taken him away.
2204 </p><p><p ID="act"> She pushes herself to her feet. She is fighting th
2205 successfully. She almost shouts at him.
2206 </p><p><P ID="speaker"> JO
2207 </p><P ID="dia"> Mrs. Drayton took Hank back to the hotel. She is d
2208 </p><p><p ID="act"> He stands up.
2209 </p><p><P ID="speaker"> BEN
2210 </p><P ID="dia"> Mrs. Drayton has vanished! She never came back her
2211 didn't either!
2212 </p><p><P ID="speaker"> JO
2213 </p><P ID="dia"> Well let's start looking for him. Mr.
2214 Drayton...Mr. Drayton should...
2215 He takes hold of her arms.
2216 </p><p><P ID="speaker"> BEN
2217 </p><P ID="dia"> Jo, Mr. Drayton, checked out of the hotel thirty o
2218 ago!.
2219 </p><p> <P ID="right"> 62
2220 </p><p><p ID="act"> She knocks his hands away from her arms in a sudde
2221 gesture, and all but screams.
2222 </p><p><P ID="speaker"> JO
2223 </p><P ID="dia"> Ben!! I could kill you! Sedative!
2224 </p><p><p ID="act"> He reaches for her again. She hits him away.
2225 </p><p><P ID="speaker"> JO
2226 </p><P ID="dia"> All this time you, knew Hank was gone, and you wou
2227 </p><p><P ID="speaker"> BEN
2228 </p><P ID="dia"> I wasn't sure, until now.
2229 </p><p><p ID="act"> She is fighting the drug which is beginning to tak
2230 </p><p><P ID="speaker"> JO
2231 </p><P ID="dia"> He's my child more than yours! I had him.
2232 </p><p><p ID="act"> He takes hold of her again. She struggles fiercely
2233 away, to hit him, kick him.
2234 </p><p><P ID="speaker"> JO
2235 </p><P ID="dia"> Let go of me! I'll never never never forget this!
2236 find Hank!
2237 We've got to find him.
2238 </p><p><p ID="act"> He struggles silently with her, trying to push her
2239 bed, and hold her until the drug does its work.
2240 </p><p><P ID="speaker"> JO
2241 </p><P ID="dia"> You think you're the only one strong enough to tak
2242 Ben, I hate you, with my whole heart.
2243 </p> <P ID="spkdir"> (She starts to cry)
2244 </p><P ID="dia"> Hank! Where is Hank? Hank, oh Hank!
2245 Get him, Ben. Please. You damn miserable human...h
2246 anybody...do...
2247 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - CLOSE SHOT
2248 </p><p><p ID="act"> He has forced her down on the bed, pinioning her a
2249 her legs still struggle somewhat. She is having a
2250 seeing, or talking. Her head waves back and forth.
2251 for Ben to hold her.
2252 </p><p><P ID="speaker"> Jo
2253 </p><P ID="dia"> to...come here in...first...Place
I...never wanted Jo
2254 Hank darling...if I ever...wake...I'll
2255 kill...you...you....
2256 </p><p> <P ID="right"> 63
2257 </p><p><p ID="act"> Her legs grow quiet. Her arm relax somewhat. She i
2258 straining to move her head, and talk, but all that
2259 unintelligible sounds and a half moan of anguish.
2260 </p><p><p ID="act"> Ben looks at her a moment, relaxes his grip. He lo
2261 down against hers. He seem to be fighting the desi
2262 finally gains control of himself. He lifts his hea
2263 gives her a soft and heartfelt kiss on the cheek.
2264 </p><p><P ID="speaker"> BEN
2265 </p> <P ID="spkdir"> (Softly)
2266 </p><P ID="dia"> Darling, if somebody did this to me, I'd say just
2267 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE MOT
2268 </p><p><p ID="act"> Ben stands up. The weight of unhappiness is heavy
2269 a blanket from the foot of the bed and covers her
2270 back the hair from her forehead. Then he turns, an
2271 PANNING HIM OVER to the door. He takes one last lo
2272 goes out the door, closing it softly behind him.
2273 </p><p><p ID="act"> LAP DISSOLVE TO:
2274 </p><p><p ID="act"> As the light of sunset fades into growing darkness
2275 stands atop the minaret, arms raised to the heaven
2276 his high, sing-song call to prayer. The call is ta
2277 another voice somewhere in the city, and then anot
2278 another -- until the prayer is a continuous round
2279 starting close, moving away, almost fading, and th
2280 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT
2281 </p><p><p ID="act"> The chant of the call to prayer can be heard In th
2282 are in the single bedroom, of Hank McKenna. There
2283 burning over the empty bed, and another on the wal
2284 dresser. Ben is despondently carrying Hank's small
2285 other articles of clothing from the closet to in o
2286 the bed. As he crosses with the final armload of c
2287 out of the door into the large bedroom.
2288 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM SHOT
2289 </p><p><p ID="act"> In the mirror, on the far wall, Ben can see the re
2290 wife stirring in her bed. He watches as she drags
2291 into-a half-pitting position..
2292 </p><p> <P ID="right"> 64
2293 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
2294 </p><p><p ID="act"> Ben quickly puts the final items of the boy's clot
2295 the rest in the suitcase and closes it. He picks u
2296 and carries it into the larger room, the CAMERA PA
2297 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
2298 </p><p><p ID="act"> As Ben enters the main room, he glances at his wif
2299 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - CLOSE SHOT
2300 </p><p><p ID="act"> Jo's eyes are beginning to open and close, and she
2301 a little, as she tries to recover from the sedativ
2302 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
2303 </p><p><p ID="act"> Ben puts down Hank's suitcase, and crosses to thei
2304 the CAMERA PANNING him in such a way as to keep Jo
2305 background. He opens the suitcases, and begins tak
2306 of the dresser drawers to pack them.
2307 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - CLOSE SHOT
2308 </p><p><p ID="act"> Jo opens her eyes and looks about her. She tries t
2309 her hair a little. She takes in the room, and then
2310 sudden thought strikes her, she looks toward the o
2311 missing son's bedroom.
2312 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM SHOT
2313 </p><p><p ID="act"> The empty boy's room as seen from her viewpoint.
2314 Ben pauses in his packing a moment to observe her.
2315 The he continues on with his work.
2316 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - CLOSE SHOT
2317 </p><p><p ID="act"> Jo stares at the empty room for a moment longer, t
2318 sharply back toward her husband.
2319 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
2320 </p><p><p ID="act"> From her viewpoint we see the back view of Ben is
2321 packing. Ben half-glances over his shoulder now aw
2322 fully awake..
2323 </p><p> <P ID="right"> 65
2324 </p><p><P ID="speaker"> BEN
2325 </p><P ID="dia"> There's still no news of him, Jo.
2326 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - CLOSE SHOT
2327 </p><p><p ID="act"> She stares at him apathetically.
2328 </p><p><p ID="slug"> MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT
2329 </p><p><p ID="act"> We now see Ben's face as he packs his suitcases. B
2330 his shoulder, we see his wife staring in his direc
2331 continues to talk, although he finds it difficult
2332 matter-of-fact, moving back and forth from the dre
2333 the suitcases.
2334 </p><p><P ID="speaker"> BEN
2335 </p><P ID="dia"> Both the Draytons are definitely gone.
2336 The hotel register says they come from London. Dra
2337 concierge he was a college professor. The only thi
2338 to get out of Marrakesh.
2339 </p><p><p ID="act"> Her face shows a slight rise in reaction, mostly p
2340 </p><p><P ID="speaker"> BEN
2341 </p><P ID="dia"> As individuals we're helpless here.
2342 And because of that phone call, we can't bring the
2343 it. I even thought of taking that chance.
2344 </p><p><p ID="act"> He pauses, and glances at her to see how she react
2345 She just stares at his her eyes a little dull.
2346 </p><p><P ID="speaker"> BEN
2347 </p><P ID="dia"> But connect Hank's disappearance to Louis Bernard'
2348 the first thing they'd do would be to make me tell
2349 Bernard's message.
2350 That...that could be, Hank's...well, it wouldn't h
2351 </p><p><p ID="act"> Ben goes to take some of Jo's clothes out of drawe
2352 with a play script. He looks at it a moment, then
2353 eyes observe it, but she says nothing. Ben continu
2354 suitcase, where he lays the script in with the clo
2355 </p><p><P ID="speaker"> BEN
2356 </p><P ID="dia"> We're going to London.
2357 </p><p><p ID="act"> She looks a little more sharply as if in question.
2358 he goes to the dresser for more clothes..
2359 </p><p> <P ID="right"> 66
2360 </p><p><P ID="speaker"> BEN
2361 </p><P ID="dia"> I found out. The Draytons had a private plane -- t
2362 took Hank back. It could lead anywhere -- no quest
2363 passport or anything.
2364 </p><p><p ID="act"> He Packs some more clothes away. Jo doesn't stir,
2365 at him.
2366 </p><p><P ID="speaker"> BEN
2367 </p><P ID="dia"> So we're going to London to find him.
2368 </p><p><p ID="act"> He looks at her for a reaction. She turns her head
2369 as if in disagreement, or perhaps fighting for con
2370 emotions. Ben crosses to her, the CAMERA PANNING h
2371 on the edge of the bed, and takes out the small no
2372 coat.
2373 </p><p><p ID="act"> He opens it. In careful, low tones, he reads Louis
2374 message.
2375 </p><p><P ID="speaker"> BEN
2376 </p> <P ID="spkdir"> (Reading)
2377 </p><P ID="dia"> A Man...a statesman...is to be killed...
2378 assassinated ... in London...soon...very soon...te
2379 London...to try Ambrose Chappell...
2380 </p> <P ID="spkdir"> (Looks up)
2381 </p><P ID="dia"> We're going to try this Ambrose Chappell and if he
2382 all to do with this, I'm going to offer him every
2383 got Hank back. This Ambrose Chappell guy is our on
2384 Understand, Jo?
2385 </p><p><p ID="act"> Jo puts out a weary hand as though to dismiss the
2386 and all that it contains. Again she turns her head
2387 Ben puts the paper back into pocket. He speaks wit
2388 urgency in his voice.
2389 </p><p><P ID="speaker"> BEN
2390 </p><P ID="dia"> We've only got a few hours, Jo! We have to got up
2391 moving.
2392 </p><p><p ID="act"> Ben gets up, and the CAMERA PANS him to the dresse
2393 suitcases. Then he pauses and looks back at Jo who
2394 looking away. Jo turns back to look at Ben. She is
2395 now as if she has just seen him for the first time
2396 more alert.
2397 </p><p><p ID="act"> Ben turns back to his packing.
2398 </p><p><P ID="speaker"> BEN
2399 </p><P ID="dia"> I've paid the bill, and there's a car waiting down
2400 as I pack, we're leaving.
2401 </p><p><p ID="act"> Slowly Jo gets off the bed, and comes over to Ben.
2402 articles of clothing in his hands..
2403 </p><p> <P ID="right"> 67
2404 For a moment she stands there looking at him, and
2405 she throws her arms around him and clings to him.
2406 genuine.
2407 </p><p><P ID="speaker"> JO
2408 </p><P ID="dia"> Oh Ben, Ben, Ben...where is he? Where is he?
2409 </p><p><p ID="act"> Ben kisses her on the cheek. She buries her head i
2410 Ben stares off into space as if he hopes to find i
2411 question.
2412 </p><p><p ID="act"> FADE OUT.
2413 </p><p><p ID="act"> FADE IN:
2414 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - LONG SHOT
2415 </p><p><p ID="act"> CAMERA PANNING with B.E.A. Viscount as it taxiis i
2416 DISSOLVE:
2417 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - MEDIUM LONG SHOT
2418 </p><p><p ID="act"> The first passengers emerge from the doorway of th
2419 followed by Ben and Jo. There is a group of newspa
2420 press photographers gathered around the gangway. T
2421 in the group as the McKennas appear. A couple of f
2422 An airlines official hurries up the gangway to Ben
2423 </p><p><P ID="speaker"> OFFICIAL
2424 </p><P ID="dia"> Would you mind waiting for the press photographers
2425 </p><p><p ID="act"> They nod agreement and the official joins the pass
2426 go down the steps.
2427 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - CLOSE SHOT
2428 </p><p><p ID="act"> Jo turns to Ben.
2429 </p><p><P ID="speaker"> JO
2430 </p><P ID="dia"> How could they remember me so well, Ben? It's been
2431 since I played London.
2432 </p><p><P ID="speaker"> BEN
2433 </p><P ID="dia"> I guess you're the kind of girl they don't forget.
2434 </p><p><P ID="speaker"> JO
2435 </p><P ID="dia"> But how did they know...who could have told them..
2436 didn't...?.
2437 </p><p> <P ID="right"> 68
2438 </p><p><p ID="act"> She breaks off.
2439 </p><p><P ID="speaker"> BEN
2440 </p><P ID="dia"> All I did was wire Val and Helen Parnell to get us
2441 indicates fans and newspapermen.
2442 </p><p><P ID="speaker"> BEN
2443 </p><P ID="dia"> But I didn't count on this --
2444 </p><p><p ID="act"> Jo understands that his kind intention has slightl
2445 the bobby sox fans becomes louder.
2446 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - LONG SHOT
2447 </p><p><p ID="act"> Fans behind the airport fence, holding out autogra
2448 shouting for her autograph. Others try to break fr
2449 but are restrained by the police. Standing in the
2450 fans is a sober-faced woman who is not shouting or
2451 book.
2452 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - MEDIUM CLOSE SHOT
2453 </p><p><p ID="act"> As the last of the passengers leaves the plane, Jo
2454 position on the steps for the photographers.
2455 Despite the long trip, her worry, her fatigue, Jo
2456 act the part her public demands. She smiles as wel
2457 waves a little, turns her head to the right and to
2458 favor the photographers.
2459 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - MEDIUM SHOT
2460 </p><p><p ID="act"> The sober-faced woman, standing among the fans. Sh
2461 grey, pasty face, and stares off at Jo through hor
2462 that are encrusted with dust in the corners of the
2463 moment she pushes her way back through the crowd o
2464 out of sight.
2465 </p><p><p ID="slug"> LONDON AIRPORT - (DAY) - MEDIUM SHOT
2466 </p><p><p ID="act"> As the photographers continue their work Ben and J
2467 remaining steps and are joined by a man wearing or
2468 clothes. He takes a small black identification fol
2469 pocket and holds it up for their inspection.
2470 </p><p><P ID="speaker"> EDINGTON
2471 </p><P ID="dia"> I'm Inspector Edington of the Criminal Investigati
2472 Scotland Yard..
2473 </p><p> <P ID="right"> 69
2474 </p><p><p ID="act"> There is immediate alarm in Jo's face, but she the
2475 </p><p><P ID="speaker"> BEN
2476 </p><P ID="dia"> Yes? What is it?
2477 </p><p><P ID="speaker"> EDINGTON
2478 </p><P ID="dia"> As things are, there's no need for you to go throu
2479 Will you come this way!
2480 </p><p><p ID="act"> His tone and manner of asking them leaves little d
2481 question is an order. The McKennas glance at each
2482 They realize that this is a further development of
2483 involvement.
2484 </p><p><P ID="speaker"> BEN
2485 </p><P ID="dia"> Whatever you say.
2486 </p><p><P ID="speaker"> EDINGTON
2487 </p> <P ID="spkdir"> (Smiles)
2488 </p><P ID="dia"> This Way, please.
2489 </p><p><p ID="act"> He and the airlines official lead the McKennas tow
2490 entrance to the Airport Building. As she follows,
2491 and a little scared.
2492 </p><p><p ID="slug"> PUBLIC PHONE BOOTH - (DAY) - MED. CLOSE SHOT
2493 </p><p><p ID="act"> The be-spectacled, pasty-faced woman who had been
2494 the fans before, is now speaking rather cautiously
2495 telephone. We don't hear what she is saying, but t
2496 of her head shows that she is making some referenc
2497 arrivals.
2498 </p><p><p ID="slug"> AIRPORT BUILDING CORRIDOR - (DAY) - MED. CLOSE SHO
2499 </p><p><p ID="act"> Another man is waiting for them at a door outside
2500 building.
2501 </p><p><P ID="speaker"> EDINGTON
2502 </p><P ID="dia"> This is Mr. Woburn -- Doctor and Mrs.
2503 McKenna.
2504 </p><p><P ID="speaker"> WOBURN
2505 </p><P ID="dia"> How do you do?
2506 </p><p><P ID="speaker"> BEN
2507 </p><P ID="dia"> Now what do you people want with us?
2508 </p><p><P ID="speaker"> WOBURN
2509 </p><P ID="dia"> Mr. Buchanan would like to have a chat with you, i
2510 </p><p><P ID="speaker"> BEN
2511 </p><P ID="dia"> Who is Mr. Buchanan?.
2512 </p><p> <P ID="right"> 70
2513 </p><p><P ID="speaker"> WOBURN
2514 </p><P ID="dia"> Special Branch, Scotland Yard.
2515 </p><p><p ID="act"> He gestures them to enter the building. They do, l
2516 and tho Airline official outside.
2517 </p><p><p ID="slug"> AIRORT OFFICE - (DAY) - MED. SHOT
2518 </p><p><p ID="act"> Woburn leads Ben and Jo into an inner office. It i
2519 room, plain, but comfortable.
2520 </p><p><P ID="speaker"> WOBURN
2521 </p><P ID="dia"> This is Mr. Buchanan -- Doctor and Mrs. McKenna.
2522 </p><p><P ID="speaker"> BUCHANAN
2523 </p><P ID="dia"> How do you do?
2524 </p><p><p ID="act"> Ben nods to him without speaking.
2525 </p><p><P ID="speaker"> BUCHANAN
2526 </p><P ID="dia"> Thank you, Woburn.
2527 </p><p><p ID="act"> Mr. Woburn quietly exits, closing the door behind
2528 The McKennas stand a moment, wondering what do.
2529 </p><p><P ID="speaker"> BUCHANAN
2530 </p><P ID="dia"> Do sit down, won't you?
2531 </p><p><p ID="act"> Jo hesitates, then sits down. Ben doesn't.
2532 </p><p><P ID="speaker"> BEN
2533 </p><P ID="dia"> Why does Scotland Yard want to talk with us?
2534 </p><p><p ID="act"> Buchanan sits down behind the desk. He's sophistic
2535 intelligent.
2536 </p><p><P ID="speaker"> BUCHANAN
2537 </p><P ID="dia"> Let me say at once, we're shocked...
2538 that you son was taken from you in Marrakesh and d
2539 sympathetic.
2540 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. SHOT
2541 </p><p><p ID="act"> Jo leans forward quickly, eager, hopeful, unable t
2542 herself.
2543 </p><p><P ID="speaker"> JO
2544 </p><P ID="dia"> Do you know where he is?
2545 </p><p><p ID="act"> Ben is somewhat more reserved.
2546 </p><p><P ID="speaker"> BEN
2547 </p><P ID="dia"> What about Hank? What have you heard?.
2548 </p><p> <P ID="right"> 71
2549 </p><p><P ID="speaker"> BUCHANAN
2550 </p> <P ID="spkdir"> (O.S.)
2551 </p><P ID="dia"> I only wish I could give you some cheerful news.
2552 </p><p><p ID="act"> Jo settles back, unhappy, discouraged and a little
2553 Buchanan. Ben seems irritated by the disappointmen
2554 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. SHOT
2555 </p><p><p ID="act"> Buchanan continues quietly.
2556 </p><p><P ID="speaker"> BUCHANAN
2557 </p><P ID="dia"> We might find him. Quite soon, indeed, if we work
2558 Bernard was sent to Marrakesh by the French at our
2559 check up on an assassination plot -- here, in Lond
2560 A good agent keeps on staking his life.
2561 He doesn't always win.
2562 </p><p><p ID="act"> Ben and Jo watch Buchanan carefully.
2563 </p><p><P ID="speaker"> BUCHANAN
2564 </p><P ID="dia"> Bernard reckoned you were a man to trust. He relie
2565 come to us.
2566 </p><p><p ID="act"> Jo looks at Ben. He thinks a moment, but says noth
2567 </p><p><P ID="speaker"> BUCHANAN
2568 </p><P ID="dia"> Those people kidnapped your boy -- in order to kee
2569 shut. That's right, isn't it?
2570 </p><p><P ID="speaker"> BEN
2571 </p><P ID="dia"> I think they took him for money.
2572 </p><p><P ID="speaker"> BUCHANAN
2573 </p><P ID="dia"> Then why didn't you go straight to your Consulate
2574 Why did you come to London?
2575 </p><p><p ID="act"> Ben is silent. He can't think of an answer to this
2576 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2577 </p><p><p ID="act"> Jo seems about to volunteer some information.
2578 </p><p><P ID="speaker"> JO
2579 </p><P ID="dia"> Mr. Buchanan --.
2580 </p><p> <P ID="right"> 72
2581 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
2582 </p><p><p ID="act"> Ben looks sharply at her.
2583 </p><p><P ID="speaker"> BEN
2584 </p><P ID="dia"> Jo...
2585 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
2586 </p><p><p ID="act"> Buchanan seem only casually obvious of the exchang
2587 But he has noted it In his mind.
2588 </p><p><P ID="speaker"> BUCHANAN
2589 </p><P ID="dia"> You're convinced that these people brought your so
2590 You're convinced you can find him -- off your own
2591 It's impossible.
2592 But with the help we can give you, there's a chanc
2593 chance.
2594 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
2595 </p><p><p ID="act"> Before Ben can stop her, Jo bursts in hotly.
2596 </p><p><P ID="speaker"> JO
2597 </p><P ID="dia"> They told us not to say anything!
2598 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
2599 </p><p><p ID="act"> Buchanan turns to her and speaks gently, but with
2600 </p><p><P ID="speaker"> BUCHANAN
2601 </p><P ID="dia"> Anything you tell me will be in the most absolute
2602 </p><p><p ID="act"> Ben starts to interrupt.
2603 </p><p><P ID="speaker"> BEN
2604 </p><P ID="dia"> That might be true, but --
2605 </p><p><p ID="act"> Buchanan holds up a hand to interrupt him.
2606 </p><p><P ID="speaker"> BUCHANAN
2607 </p> <P ID="spkdir"> (To Jo)
2608 </p><P ID="dia"> Your son is the trump card these people hold. He's
2609 -- for the moment.
2610 </p><p><P ID="speaker"> JO
2611 </p><P ID="dia"> And when they've done what they're going to do, th
2612 go. So all we have to do is wait..
2613 </p><p> <P ID="right"> 73
2614 </p><p><P ID="speaker"> BUCHANAN
2615 </p> <P ID="spkdir"> (Gently, to Jo)
2616 </p><P ID="dia"> No, Mrs. McKenna. If they consider the boy a nuisa
2617 </p><p><p ID="act"> He gestures.
2618 </p><p><P ID="speaker"> BEN
2619 </p><P ID="dia"> Now, don't try to frighten us, Mr.
2620 Buchanan.
2621 </p><p><P ID="speaker"> BUCHANAN
2622 </p><P ID="dia"> It's exactly what I'm trying to do -- frighten you
2623 prevent a man being murdered here, in London.
2624 The Pressure on Jo is beginning to weaken her. Buc
2625 </p><p><P ID="speaker"> BUCHANAN
2626 </p><P ID="dia"> If you don't tell me all you know, you become an a
2627 the fact of murder. In English law, you become jus
2628 murderers yourselves.
2629 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT
2630 </p><p><p ID="act"> Jo, a creature of emotion, is bewildered and upset
2631 fighting Buchanan. She is ready to give in.
2632 She looks to Ben.
2633 </p><p><P ID="speaker"> JO
2634 </p><P ID="dia"> Ben, what can we do by ourselves? We need -- BEN
2635 </p> <P ID="spkdir"> (Interrupts)
2636 </p><P ID="dia"> You worked on the wrong McKenna, Mr.
2637 Buchanan. Louis Bernard talked to me, not my wife.
2638 </p><p><p ID="act"> Buchanan turns to Ben.
2639 </p><p><P ID="speaker"> BUCHANAN
2640 </p><P ID="dia"> Then you tell me.
2641 </p><p><P ID="speaker"> BEN
2642 </p><P ID="dia"> Bernard spoke in French, and I don't understand a
2643 language.
2644 </p><p><p ID="act"> There is a pause while Buchanan studies Ben.
2645 </p><p><P ID="speaker"> BUCHANAN
2646 </p><P ID="dia"> And what did you write down on a piece of paper?.
2647 </p><p> <P ID="right"> 74
2648 </p><p><p ID="act"> Ben stands there. He has no answer. Jo gets up fro
2649 </p><p><P ID="speaker"> JO
2650 </p><P ID="dia"> Ben -- maybe they could find those people, and Han
2651 </p> <P ID="spkdir"> (Interrupts)
2652 </p><P ID="dia"> Maybe. Maybe isn't good enough for me, and it shou
2653 enough for you.
2654 </p><p><P ID="speaker"> JO
2655 </p><P ID="dia"> You act as if you're the only one who's concerned
2656 </p><p><P ID="speaker"> BEN
2657 </p><P ID="dia"> Now Jo, I didn't mean it that way. We made up our
2658 were going to do -- now let's try to stick to it.
2659 </p><p><p ID="act"> Ben turns to Buchanan.
2660 </p><p><P ID="speaker"> BEN
2661 </p><P ID="dia"> We'd like to cooperate with you, Mr.
2662 Buchanan -- but -- but we just can't.
2663 </p><p><P ID="speaker"> BUCHANAN
2664 </p> <P ID="spkdir"> (quietly)
2665 </p><P ID="dia"> I have a son of my own. I don't know what I'd do..
2666 </p><p><p ID="act"> Jo looks at Ben appealingly. Even Ben is uncertain
2667 evaluate things quickly.
</p><p><P ID="speaker"> BEN
2668 </p><P ID="dia"> Well, maybe if we --
</p><p><p ID="act"> He is interrupted by a tapping at the door.
2669 Buchanan looks up, as do the McKennas. The CAMERA
2670 the door as he opens it himself. His assistant Wob
2671 There is a whispered conversation.
2672 Woburn retreats, and Buchanan turns back to the ro
2673 </p><p><P ID="speaker"> BUCHANAN
2674 </p> <P ID="spkdir"> (Matter-of-factly)
2675 </p><P ID="dia"> A phone call for you, Mrs. McKenna.
2676 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MEDIUM SHOT
2677 </p><p><p ID="act"> Buchanan crosses and picks up the telephone from t
2678 </p><p><P ID="speaker"> BUCHANAN
2679 </p><P ID="dia"> Put the call through here, please.
2680 </p><p><p ID="act"> He pauses a moment, then hands the phone to Jo..
2681 </p><p> <P ID="right"> 75
2682 </p><p><P ID="speaker"> BUCHANAN
2683 </p><P ID="dia"> Mrs. McKenna.
2684 </p><p><p ID="act"> Jo steps forward, takes the phone hesitantly, look
2685 reassurance. He nods to her. Buchanan, meanwhile,
2686 but quickly gone out of the office, closing the do
2687 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2688 </p><p><p ID="act"> In the outer office Woburn quickly hands Buchanan
2689 puts it to his ear.
2690 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2691 </p><p><p ID="act"> Jo puts the phone to her ear. She speaks hesitantl
2692 </p><p><P ID="speaker"> JO
2693 </p><P ID="dia"> Hallo.
2694 </p><p><p ID="act"> We hear a voice on filter.
2695 </p><p><P ID="speaker"> MRS. DRAYTON
2696 </p><P ID="dia"> Mrs. McKenna?
2697 </p><p><P ID="speaker"> JO
2698 </p><P ID="dia"> Yes.
2699 </p><p><P ID="speaker"> MRS. DRAYTON
2700 </p><P ID="dia"> This is Mrs. Drayton. You remember me?
2701 </p><p><p ID="act"> Jo pales and seems about to faint.
2702 </p><p><P ID="speaker"> JO
2703 </p><P ID="dia"> Mrs...Drayton?
2704 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2705 </p><p><p ID="act"> Ben reacts with surprise, and gives a stop or two
2706 tense.
2707 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2708 </p><p><p ID="act"> Jo recovers herself.
2709 </p><p><P ID="speaker"> JO
2710 </p><P ID="dia"> Where's Hank? Where have you got him?
2711 </p><p><p ID="slug"> AIRPORT OUTER OFFICE - (DAY) - CLOSE SHOT
2712 </p><p><p ID="act"> Buchanan puts out a hand. Woburn places a pen in i
2713 pad along the desk under it. We hear Mrs. Drayton'
2714 filter..
2715 </p><p> <P ID="right"> 76
2716 </p><p><P ID="speaker"> MRS. DRAYTON
2717 </p><P ID="dia"> He's here. With me. You mustn't worry about him, r
2718 mustn't.
2719 </p><p><p ID="act"> Buchanan pauses, with nothing to write.
2720 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2721 </p><p><p ID="act"> Jo shows some relief, but she's still deeply conce
2722 </p><p><P ID="speaker"> JO
2723 </p><P ID="dia"> Where is he? Where have you got him?
2724 </p><p><P ID="speaker"> MRS. DRAYTON
2725 </p><P ID="dia"> I expect you'd like to speak to him, wouldn't you?
2726 </p><p><P ID="speaker"> JO
2727 </p><P ID="dia"> Yes. Please, please!
2728 </p><p><p ID="act"> She looks towards Ben.
2729 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - MEDIUM CLOSE SH
2730 </p><p><p ID="act"> Ben moves close to her, trying to pick up a little
2731 conversation from the phone. She tips the phone a
2732 direction.
2733 </p><p><P ID="speaker"> JO
2734 </p><P ID="dia"> Hello. Hello, Hank?
2735 </p><p><P ID="speaker"> MRS. DRAYTON
2736 </p><P ID="dia"> Just a minute.
2737 </p><p><P ID="speaker"> HANK
2738 </p><P ID="dia"> Mummy? Mummy is that you?
2739 </p><p><p ID="act"> Jo fights sudden tears.
2740 </p><p><P ID="speaker"> JO
2741 </p><P ID="dia"> Oh, Hank, Hank darling, are you really all right?
2742 </p><p><P ID="speaker"> HANK
2743 </p><P ID="dia"> I'm a little scared, mummy. But I'm all right -- I
2744 you mummy, I miss you so much.
2745 </p><p><p ID="act"> She bursts out crying, unable to hold herself back
2746 takes the phone from her quickly.
2747 </p><p><P ID="speaker"> BEN
2748 </p><P ID="dia"> Hank. This is daddy.
2749 </p><p><P ID="speaker"> HANK
2750 </p><P ID="dia"> Is mummy crying?.
2751 </p><p> <P ID="right"> 77
2752 </p><p><P ID="speaker"> BEN
2753 </p><P ID="dia"> Where are you, Hank? Where are you?
2754 </p><p><P ID="speaker"> HANK
2755 </p><P ID="dia"> I didn't mean to make her cry, daddy, but I'm scar
2756 to see her.
2757 </p><p><P ID="speaker"> BEN
2758 </p> <P ID="spkdir"> (Desperation)
2759 </p><P ID="dia"> Hank, where are you? For Heaven's sake, where are
2760 </p><p><P ID="speaker"> HANK
2761 </p><P ID="dia"> Welbeck eight --
2762 </p><p><p ID="act"> There is a sudden click. Ben rattles the receiver.
2763 All he gets is a dial tone. He hangs up, and turns
2764 quietly crying, trying to get over the shock of he
2765 Buchanan enters the office as Ben takes jo by the
2766 turns her around to him.
2767 </p><p><p ID="act"> He takes out a handkerchief, hands it to her. She
2768 for a moment, then dries her tears.
2769 She looks up at Ben.
2770 </p><p><P ID="speaker"> JO
2771 </p><P ID="dia"> He was scared.
2772 </p><p><p ID="act"> She starts sobbing soundlessly again, her body sha
2773 Ben takes her in his arms to quiet her. She quiets
2774 Buchanan standing behind the desk doesn't look at
2775 speaks first.
2776 </p><p><P ID="speaker"> BUCHANAN
2777 </p><P ID="dia"> It was a London telephone exchange.
2778 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2779 </p><p><p ID="act"> Woburn comes in the office, goes to Buchanan.
2780 </p><p><P ID="speaker"> WOBURN
2781 </p> <P ID="spkdir"> (Tersely)
2782 </p><P ID="dia"> Public call box -- West One.
2783 </p><p><p ID="act"> He shrugs as if to say "that's the end." Buchanan
2784 to leave. Woburn does, casting a side glance of sy
2785 and Ben. He closes the door quietly behind him.
2786 </p><p><p ID="slug"> AIRPORT OFFICE - (DAY) - CLOSE SHOT
2787 </p><p><p ID="act"> Buchanan looks at the pair, and sighs in a manner
2788 recognizes defeat, when he sees it.
2789 Jo now has herself under control. She leaves Ben's
2790 returns to her seat to gather herself together, dr
2791 turns to Buchanan..
2792 </p><p> <P ID="right"> 78
2793 </p><p><P ID="speaker"> BEN
2794 </p><P ID="dia"> Do I have to say any more?
2795 </p><p><p ID="act"> He reaches for a pad and pencil. He scribbles some
2796 </p><p><P ID="speaker"> BUCHANAN
2797 </p><P ID="dia"> You may change your minds. If you do, this number
2798 </p><p><p ID="act"> He tears off a page of the paper, and hands it to
2799 LAP DISSOLVE TO:
2800 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
2801 </p><p><p ID="act"> In a suite at Savoy's Hotel we see the door open a
2802 McKenna are ushered into the suite by the frock-co
2803 Behind them are two assistant porters carrying the
2804 foreground, through which we are SHOOTING, are thr
2805 of assorted flowers. They are obviously gift of gr
2806 London. The porters move off into the bedroom with
2807 lay out the bags, open the drapes and windows, etc
2808 turns on the lights in the main room, as the McKen
2809 </p><p><P ID="speaker"> DESK CLARK
2810 </p><P ID="dia"> Everything all right, sir?
2811 </p><p><P ID="speaker"> BEN
2812 </p><P ID="dia"> It's fine. Just fine.
2813 </p><p><P ID="speaker"> DESK CLARK
2814 </p> <P ID="spkdir"> (Hands Ben key)
2815 </p><P ID="dia"> Your room key, Sir.
2816 </p><p><p ID="act"> Ben takes it. The porters come out of the bedroom.
2817 Ben reaches in his pocket, comes up with a bill, h
2818 of them. The porter touches his forehead in sort o
2819 porters exit. The desk clerk follows, pauses at th
2820 </p><p><P ID="speaker"> DESK CLERK
2821 </p><P ID="dia"> And I hope you have a most pleasant stay in London
2822 </p><p><p ID="act"> Both Jo and Ben turn to look at him briefly. He is
2823 are not.
2824 </p><p><P ID="speaker"> BEN
2825 </p><P ID="dia"> Oh yes. Thank you.
2826 </p><p><p ID="act"> The desk clerk goes out the door, carefully closin
2827 McKenna are alone. Jo turns to look at the basket
2828 crosses TOWARD THE CAMERA to look at them. She tak
2829 hand, attached to the largest basket, reads the no
2830 </p><p> <P ID="right"> 79
2831 </p><p><P ID="speaker"> JO
2832 </p> <P ID="spkdir"> (To Ben)
2833 </p><P ID="dia"> It's from the Panell's. "Welcome home, Jo. Look fo
2834 your family.
2835 Especially the little--"
2836 </p> <P ID="spkdir"> (She breaks off)
2837 </p><p><p ID="act"> JO stands there a brief moment, takes a breath, an
2838 otter two cards.
2839 </p><p><P ID="speaker"> JO
2840 </p><P ID="dia"> Cindy and Jan.
2841 </p> <P ID="spkdir"> (To Ben)
2842 </p><P ID="dia"> You don't know Cindy and Jan.
2843 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
2844 </p><p><p ID="act"> Ben puts the room key down on a table, and the CAM
2845 over to a smaller desk containing the telephone an
2846 books. He sits down at the desk, and reaches for t
2847 telephone directory. He begins flipping through th
2848 turns from the flowers and walks over to him. He p
2849 of his pocket the black notebook on which he wrote
2850 message. He tears out the page, hands the notebook
2851 </p><p><P ID="speaker"> BEN
2852 </p><P ID="dia"> You'd better keep your book.
2853 </p><p><p ID="act"> He returns to the telephone book, after looking at
2854 placing it on the desk in front of him.
2855 </p><p><P ID="speaker"> JO
2856 </p><P ID="dia"> What are you looking for?
2857 </p><p><P ID="speaker"> BEN
2858 </p><P ID="dia"> The only clue we have which might lead us to Hank.
2859 identity of Mr. Ambrose Chappell.
2860 </p><p><p ID="act"> He finds what is apparently the right page. His fi
2861 trace down the list of names.
2862 </p><p><p ID="act"> INSERT
2863 </p><p><p ID="act"> Ben's finger going down the column of names. "C -
2864 ABRAHAM CHAPPELL - A.C. CHAPPELL & CO. ALFRED CHAP
2865 CHAPPELL!!"
2866 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
2867 </p><p><p ID="act"> Ben pauses, notes the place on the Page, and reach
2868 notepaper and a pen from the desk..
2869 </p><p> <P ID="right"> 80
2870 </p><p><P ID="speaker"> BEN
2871 </p><P ID="dia"> There it is -- big as life -- Ambrose Chappell.
2872 </p><p><p ID="act"> He returns his eye to the book, as Jo leans closer
2873 He begins writing down the name and address, and m
2874 half-aloud as he writes --
</p><p><P ID="speaker"> BEN
2875 </p><P ID="dia"> Ambrose Chappell - Sixty-one Burdett Street. Camde
2876 Telephone -Gulliver 6198.
2877 </p><p><p ID="act"> He reaches for the phone, after putting the book t
2878 lifts the receiver, but Jo reaches out to stop him
2879 her with some annoyance.
2880 </p><p><P ID="speaker"> BEN
2881 </p><P ID="dia"> Don't you want me to call him?
2882 </p><p><P ID="speaker"> JO
2883 </p><P ID="dia"> I can't make up my mind, Ben. I'm jut scared to de
2884 we'll do the wrong thing.
2885 </p><p><P ID="speaker"> BEN
2886 </p> <P ID="spkdir"> (Quietly)
2887 </p><P ID="dia"> I'll try not to be too wrong.
2888 </p><p><p ID="act"> He picks up the phone.
2889 </p><p><P ID="speaker"> JO
2890 </p><P ID="dia"> What are you going to say?
2891 </p><p><P ID="speaker"> BEN
2892 </p><P ID="dia"> I'll offer to keep my mouth shut and give him all
2893 have -- for Hank.
2894 </p> <P ID="spkdir"> (To phone)
2895 </p><P ID="dia"> Operator. Get me ...
2896 </p> <P ID="spkdir"> (Consults address)
2897 </p><P ID="dia"> Gulliver 6198. Thank you.
2898 </p><p><p ID="act"> He waits and at that moment there is a sudden, lou
2899 pounding on the door. Both Jo and Ben jump and tur
2900 door, almost frightened.
2901 </p><p><p ID="act"> Muffled shouts are heard of "Open up! We know you'
2902 It's us! We're here!"
2903 </p><p><P ID="speaker"> JO
2904 </p><P ID="dia"> I go.
2905 </p><p><p ID="act"> She heads for the door, and Ben sits there squirmi
2906 suspense, and annoyance at being interrupted.
2907 </p><p><p ID="act"> Beyond him, Jo opens the door, and immediately fou
2908 in. They are Val Parnall and his wife.
2909 Helen, intelligent, sophisticated, and full of lif
2910
2911 The other two are Cindy Fontaine, an American musi
2912 entertainer, now in England, around forty-five, mo
2913 character actress than a lead -- and Jan Peterson,
2914 comedy singer nearer Jo's age, smart-looking, but
2915 slightly scatterbrained. The women come in first,
2916 throws her arms around Jo in affectionate greeting
2917 </p><p><P ID="speaker"> HELEN
2918 </p><P ID="dia"> Jo! You look wonderful!
2919 </p><p><p ID="act"> Val Parnell follows the women in and closes the do
2920 </p><p><P ID="speaker"> VAL
2921 </p><P ID="dia"> When we got your wire I couldn't believe it. What
2922 down in Morocco?
2923 </p><p><P ID="speaker"> JO
2924 </p><P ID="dia"> Sightseeing.
2925 </p><p><P ID="speaker"> CINDY
2926 </p><P ID="dia"> Two minutes later Helen was on the phone to me. An
2927 Jan.
2928 </p><p><P ID="speaker"> JAN
2929 </p><P ID="dia"> You're the perfect answer to what London needs, Jo
2930 the dullest thing since my first show.
2931 Jo has disengaged herself from Helen. Shakes hands
2932 </p><p><P ID="speaker"> JO
2933 </p><P ID="dia"> Hello, Val. Jo and I want to thank all of you for
2934 flowers.
2935 But you shouldn't have. We might not be here long!
2936 Ben has been watching them anxiously, torn between
2937 phone, or waiting for his call to go through. The
2938 comes through.
2939 </p><p><P ID="speaker"> BEN
2940 </p><P ID="dia"> Hello, hello? Is this Ambrose Chappell?
2941 Mr. Ambrose Chappell? All right...I will...I He lo
2942 group. They notice him for the first time.
2943 </p><p><P ID="speaker"> JAN
2944 </p><P ID="dia"> Oh hello, Mr. Conway. Didn't know you were there..
2945 </p><p> <P ID="right"> 82
2946 </p><p><P ID="speaker"> VAL
2947 </p> <P ID="spkdir"> (To Jan with meaning)
2948 </p><P ID="dia"> It's McKenna...Doctor McKenna. Welcome to London T
2949 </p><p><P ID="speaker"> JAN
2950 </p> <P ID="spkdir"> (Toward Ben)
2951 </p><P ID="dia"> Oh, I am sorry.
2952 </p> <P ID="spkdir"> (To Jo)
2953 </p><P ID="dia"> I knew you were married, but a doctor.
2954 How clever! Especially in such a psychosomatic bus
2955 </p><p><P ID="speaker"> CINDY
2956 </p><P ID="dia"> Will you be quiet!
2957 </p><p><P ID="speaker"> JAN
2958 </p><P ID="dia"> Cindy!
2959 </p><p><P ID="speaker"> CINDY
2960 </p><P ID="dia"> You don't know what psychosomatic means.
2961 </p><p><P ID="speaker"> JAN
2962 </p><P ID="dia"> I do too! It means when your mind gets sick of you
2963 something to it -- CINDY
2964 The doctor's trying to talk on the phone.
2965 Ben tries to be casual and amiable.
2966 </p><p><P ID="speaker"> BEN
2967 </p><P ID="dia"> It's only business. It's nothing.
2968 Helen Parnell flops into a chair.
2969 </p><p><P ID="speaker"> HELEN
2970 </p><P ID="dia"> Business is everything. Shhh.
2971 They all fall silent, and watch Ben. He is uncomfo
2972 </p><p><P ID="speaker"> BEN
2973 </p><P ID="dia"> Hello?
2974 </p> <P ID="spkdir"> (He tries to keep voice down)
2975 </p><P ID="dia"> Mr. Ambrose Chappell?
2976 </p> <P ID="spkdir"> (forced to be louder)
2977 </p><P ID="dia"> I said is this Ambrose Chappell?
2978 ...Well this Mr. McKenna. Uh,...Doctor Benjamin Mc
2979 He looks at the listening group uncomfortably..
2980 </p><p> <P ID="right"> 83
2981 </p> <P ID="spkdir"> (To group)
2982 </p><p><P ID="speaker"> Jo
2983 </p><P ID="dia"> I don't think we need to be quiet.
2984 Would you like some drinks?
2985 Val Parnell signals silently to her that he can wa
2986 the call.
2987 </p><p><P ID="speaker"> BEN
2988 </p><P ID="dia"> Well, uh, uh .. are you going to be at your addres
2989 Uh huh, it's just some business. Nothing big.
2990 Uh huh, well thank you. I'll drop around.
2991 </p><p><p ID="slug"> CLARIDGE'S SUITE - (DAY) - MED. SHOT
2992 </p><p><p ID="act"> Ben hangs up, and turns to the group. He tries to
2993 possible. He picks up the note from Louis Bernard,
2994 which the address of Ambrose Chappell is written a
2995 into his pocket.
2996 He rises to meet his guests.
2997 </p><p><P ID="speaker"> JAN
2998 </p><P ID="dia"> See. We could have talked.
2999 </p> <P ID="spkdir"> (Smiles)
3000 </p><P ID="dia"> That's what I told you.
3001 </p><p><P ID="speaker"> Jo
3002 </p><p><P ID="speaker"> JO
3003 </p> <P ID="spkdir"> (To group)
3004 </p><P ID="dia"> I'd like everyone to meet my husband.
3005 Ben volunteers his hand to Val Parnell, while nodd
3006 Parnell.
3007 </p><p><P ID="speaker"> VAL
3008 </p> <P ID="spkdir"> (Takes his hand)
3009 </p><P ID="dia"> I've heard so much about you, Doctor, it's nice to
3010 person.
3011 </p><p><P ID="speaker"> HELEN
3012 </p><P ID="dia"> You look just like, those pictures Jo had in her d
3013 four years ago. Haven't changed a bit.
3014 </p><p><P ID="speaker"> JAN
3015 </p><P ID="dia"> Why should he? He's a doctor. Probably gets free h
3016 Everyone laughs, including Ben and Jo.
3017 </p><p><P ID="speaker"> JO
3018 </p><P ID="dia"> And this one is Jan Peterson who sing almost as we
3019 can handle those legs like Nijinsky..
3020 </p><p> <P ID="right"> 84
3021 </p><p><P ID="speaker"> BEN
3022 </p><P ID="dia"> I can believe it. How do you do, Jan.
3023 </p><p><P ID="speaker"> JAN
3024 </p><P ID="dia"> When Nijinsky got off the stage he was through wit
3025 That's just when mine begins.
3026 Laughter again.
3027 </p><p><P ID="speaker"> JO
3028 </p><P ID="dia"> And Cindy Fontaine, the most wonderful expatriate
3029 </p><p><P ID="speaker"> BEN
3030 </p> <P ID="spkdir"> (Nods to her)
3031 </p><P ID="dia"> Haven't you been home recently?
3032 </p><p><P ID="speaker"> CINDY
3033 </p><P ID="dia"> How can I go back to Harrisburg? They know me ther
3034 MacDuff (Shake's her head, pats her wide hips)
3035 Cindy. It doesn't fit any more.
3036 </p><p><P ID="speaker"> VAL
3037 </p><P ID="dia"> Where's your boy? I'd like to see which one you he
3038 All momentary gaiety goes from Jo's face, and Ben
3039 appearing nonchalant.
3040 </p><p><P ID="speaker"> BEN
3041 </p><P ID="dia"> He -- he's staying with some other people -- so we
3042 little time to ourselves.
3043 </p><p><P ID="speaker"> JAN
3044 </p><P ID="dia"> What's his name?
3045 </p><p><P ID="speaker"> JO
3046 </p> <P ID="spkdir"> (Tonelessly)
3047 </p><P ID="dia"> Hank. Henry, really.
3048 </p><p><P ID="speaker"> CINDY
3049 </p><P ID="dia"> I hope he has your looks, and the doctor's brains.
3050 Jo turns away toward the flowers.
3051 </p><p><P ID="speaker"> JO
3052 </p><P ID="dia"> Thank you again for the beautiful flowers.
3053 </p><p><P ID="speaker"> BEN
3054 </p> <P ID="spkdir"> (Quickly)
3055 </p><P ID="dia"> I'm taking orders for drinks.
3056 He looks around..
3057 </p><p> <P ID="right"> 85
3058 </p><p><P ID="speaker"> VAL
3059 </p><P ID="dia"> Okay. But dinner tonight's on me.
3060 Jo turns around to look at him, disturbed, almost
3061 alarm. A carefree dinner is something she just cou
3062 through.
3063 </p><p><P ID="speaker"> BEN
3064 </p> <P ID="spkdir"> (Into phone)
3065 </p><P ID="dia"> Room service, please.
3066 </p><p><P ID="speaker"> VAL
3067 </p><P ID="dia"> A welcome home for Jo.
3068 </p> <P ID="spkdir"> (Smiles at her)
3069 </p><P ID="dia"> And I wish I could persuade her to stay a month.
3070 </p><p><P ID="speaker"> JO
3071 </p><P ID="dia"> Oh, Val -- I wish I could, but...
3072 </p><p><P ID="speaker"> BEN
3073 </p> <P ID="spkdir"> (To Val)
3074 </p><P ID="dia"> Will you order the stuff?
3075 He starts toward the door, pausing to pat Jo comfo
3076 shoulder.
3077 </p><p><P ID="speaker"> BEN
3078 </p><P ID="dia"> I'll be back in a little while.
3079 </p><p><P ID="speaker"> HELEN
3080 </p><P ID="dia"> Aren't you going to wait for a drink, doctor.
3081 </p><p><P ID="speaker"> BEN
3082 </p><P ID="dia"> Thank you, but I'll catch up when I get back.
3083 Ben starts for the door.
3084 </p><p><P ID="speaker"> JO
3085 </p><P ID="dia"> Ben!
3086 She goes with him to the door.
3087 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - CLOSE SHOT
3088 </p><p><p ID="act"> Ben opens the door, and Jo follows him half-way in
3089 The voices of the others are half-heard over Jo an
3090 voce conversation.
3091 </p><p><P ID="speaker"> JAN
3092 </p> <P ID="spkdir"> (To Cindy)
3093 </p><P ID="dia"> Maybe he's tired. Maybe he'd like to sleep, or som
3094 has ulcers and can't eat..
3095 </p><p> <P ID="right"> 86
3096 Ben, please ...
3097 </p><p><P ID="speaker"> Jo
3098 </p> <P ID="spkdir"> (She takes his am)
3099 </p><p><P ID="speaker"> BEN
3100 </p><P ID="dia"> It has to be done, Jo.
3101 I Want to go with you.
3102 </p><p><P ID="speaker"> Jo
3103 </p><p><P ID="speaker"> CINDY
3104 </p><P ID="dia"> Jan, how somebody so graceful can have such an awk
3105 diplomacy, I'll never know.
3106 </p><p><P ID="speaker"> BEN
3107 </p><P ID="dia"> You can't. I won't disappear. Promise.
3108 In the background, the four visitors, while not ac
3109 eavesdropping, are somewhat subdued by the attitud
3110 McKennas toward each other.
3111 </p><p><P ID="speaker"> JO
3112 </p><P ID="dia"> Ben, for the last time, please let me go.
3113 He pats her affectionately on the cheek.
3114 </p><p><P ID="speaker"> BEN
3115 </p><P ID="dia"> Two people are much easier to follow than one. We
3116 Buchanan's men on our tracks. Or the other people,
3117 going out by the service entrance -- He turns and
3118 She watches him briefly, then turns back into the
3119 to assume a more pleasant face...
3120 LAP DISSOLVE TO:
3121 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM SHOT
3122 </p><p><p ID="act"> In a quiet street off Camden Town we see Ben, alig
3123 London taxi. The taxi does a U-turn and disappears
3124 corner. Ben starts to walk TOWARD THE CAMERA. He g
3125 piece of paper from, his pocket bearing Ambrose Ch
3126 address. He is completely alone in a deserted stre
3127 that his footsteps click on the pavement and creat
3128 an echo. As he walks he listens to the echo ind fo
3129 wonders if it is an echo. He slows up and comes to
3130 the CAMERA.
3131 There is complete silence -- only the faint distan
3132 noises..
3133 </p><p> <P ID="right"> 87
3134 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3135 </p><p><p ID="act"> He resumes his walk, the CAMERA DOLLYING HIM. The
3136 again. He slows up again and stops -- but this tim
3137 continues. He becomes tense, looks around in alarm
3138 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM LONG SHOT
3139 </p><p><p ID="act"> The CAMERA PANS the streets from Ben's viewpoint.
3140 There is no sign of anyone.
3141 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3142 </p><p><p ID="act"> Ben resumes his walk, the CAMERA DOLLYING him. He
3143 as though to trap the echo -- but the echo comes o
3144 Slightly scared, he now resumes his walk with a mo
3145 The echo gets louder. He glances quickly over his
3146 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM SHOT
3147 </p><p><p ID="act"> A man is following him, at about the same pace. He
3148 dressed, and appears nonchalant.
3149 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3150 </p><p><p ID="act"> Ben continues walking, and after a bit cautiously
3151 him.
3152 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3153 </p><p><p ID="act"> The same man is following behind.
3154 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3155 </p><p><p ID="act"> Ben glances down at the paper in his hand, and loo
3156 locate the right house number as he walks.
3157 The street has a mixture of houses, yards, an odd
3158 store or two. Ben's expression indicates that he w
3159 make his destination before the man following catc
3160 Then he changes his mind. He deliberately slows up
3161 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3162 </p><p><p ID="act"> Showing Ben as he walks slowly along, listening to
3163 approaching behind him, listening with the back of
3164 with his whole body. The man walking behind is awa
3165 begins staring at him..
3166 </p><p> <P ID="right"> 88
3167 Ben instinctively clenches his right hand into a f
3168 preparedness. As the man closes in Ben we see that
3169 elderly, sixty years old, perhaps. As the man reac
3170 passes him, Ben's follows him and study him.
3171 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3172 </p><p><p ID="act"> Ben watches the man go on ahead of him at a faster
3173 the man turns a sharp right into doorway, and is g
3174 at the paper in his hand. He stops and looks up in
3175 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3176 </p><p><p ID="act"> The little side doorway in which the elderly man t
3177 Above it is an old painted sign reading "AMBROSE C
3178 TAXIDERMIST."
3179 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3180 </p><p><p ID="act"> Ben hesitates briefly in thought, puts the piece o
3181 pocket, then makes up his mind and goes through th
3182 </p><p><p ID="slug"> SMALL YARD - (DAY) - CLOSE SHOT
3183 </p><p><p ID="act"> Ben, rather cautiously, makes his way across a sma
3184 dreary-looking yard, and comes to face a low build
3185 of which is a kind of small factory. The door of t
3186 just closing as he makes his way across.
3187 </p><p><p ID="slug"> SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
3188 </p><p><p ID="act"> Ben pauses at the door to the factory, and looks d
3189 pushbutton bell. There is a window next to the doo
3190 peers through the window.
3191 </p><p><p ID="slug"> FACTORY WINDOW - (DAY) - CLOSE SHOT
3192 </p><p><p ID="act"> Staring through the other side of the window is th
3193 realistic head of a tiger.
3194 </p><p><p ID="slug"> SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
3195 </p><p><p ID="act"> Startled, Ben recoils instinctively. Then he turns
3196 door, takes a deep breath, braces himself, and pre
3197 doorbell. The door is soon opened by a young workm
3198 shirtsleeves and apron..
3199 </p><p> <P ID="right"> 89
3200 </p><p><P ID="speaker"> WORKMAN
3201 </p><P ID="dia"> Yes?
3202 </p><p><P ID="speaker"> BEN
3203 </p><P ID="dia"> I...I'd like to speak to Mr. Ambrose Chappell, ple
3204 </p><p><P ID="speaker"> WORKMAN
3205 </p><P ID="dia"> Come in .
3206 He opens the door, and Ben enters.
3207 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3208 </p><p><p ID="act"> Ben follows the workman into the shop. It is clutt
3209 stuffed animals of every size and shape imaginable
3210 Lions, tigers, elephant heads, swordfish, crocodil
3211 everything. Ben stares around at what he sees. A n
3212 are busy mounting, stuffing, and preparing animals
3213 The workmen who let him in calls to someone.
3214 </p><p><P ID="speaker"> WORKMAN
3215 </p><P ID="dia"> A sent to see you, sir.
3216 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3217 </p><p><p ID="act"> A man, about eighty years old, turns from inspecti
3218 work, and comes forward to Ben. He is a thin, grac
3219 sort of creature.
3220 </p><p><P ID="speaker"> CHAPPELL SR.
3221 </p><P ID="dia"> Good afternoon, Sir. I am Ambrose Chappell.
3222 Ben studies the man briefly. His face shows disbel
3223 man could be put of an assassination plot.
3224 Chappell stops in front of him, waits a brief mome
3225 </p><p><P ID="speaker"> CHAPPELL SR.
3226 </p><P ID="dia"> What can I do for you?
3227 </p><p><P ID="speaker"> BEN
3228 </p><P ID="dia"> Well you see, I uh...
3229 There is a twinkle in the old man's eye.
3230 </p><p><P ID="speaker"> CHAPPELL SR.
3231 </p><P ID="dia"> You gave me your name that might be a start.
3232 </p><p><P ID="speaker"> BEN
3233 </p><P ID="dia"> Oh, of course, McKenna. Doctor Benjamin McKenna, I
3234 you..
3235 </p><p> <P ID="right"> 90
3236 </p><p><P ID="speaker"> CHAPPELL SR.
3237 </p> <P ID="spkdir"> (After a moment)
3238 </p><P ID="dia"> Oh, yes, yes.
3239 </p><p><P ID="speaker"> BEN
3240 </p><P ID="dia"> You are Ambrose Chappell?
3241 </p><p><P ID="speaker"> CHAPPELL SR.
3242 </p> <P ID="spkdir"> (Smiles)
3243 </p><P ID="dia"> I have been Ambrose Chappell for nearby seventy-on
3244 </p> <P ID="spkdir"> (He winks)
3245 </p><P ID="dia"> But I think I understand your problem.
3246 </p><p><P ID="speaker"> BEN
3247 </p><P ID="dia"> You do?
3248 </p><p><P ID="speaker"> CHAPPELL SR
3249 </p><P ID="dia"> Certainly. It happens all the time.
3250 You expected someone else -- Just a moment.
3251 </p> <P ID="spkdir"> (He turns and calls out)
3252 </p><P ID="dia"> Ambrose!
3253 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3254 </p><p><p ID="act"> From behind a doorway on the far side a man emerge
3255 to the call. He is somewhat younger than the first
3256 Chappell, but not by much. He is the fifty-year-ol
3257 had been apparently following Ben on the street. T
3258 him over following to his father, and Ben.
3259 </p><p><P ID="speaker"> CHAPPELL SR.
3260 </p><P ID="dia"> I think this gentleman wants to talk to us.
3261 </p><p><P ID="speaker"> CHAPPELL JR.
3262 </p><P ID="dia"> Now, father. Now why don't you go and have a nice
3263 </p><p><P ID="speaker"> CHAPPELL SR.
3264 </p><P ID="dia"> Humph! I have centuries of rest ahead of me.
3265 </p> <P ID="spkdir"> (Nods to Ben)
3266 </p><P ID="dia"> Good day to you, sir.
3267 Ben nods in return, and the elder Chappell returns
3268 was doing when Ben entered.
3269 </p><p><P ID="speaker"> CHAPPELL JR.
3270 </p><P ID="dia"> Now what can I do for you?
3271 Ben turns his attention back to the son. He is now
3272 in command of himself..
3273 </p><p> <P ID="right"> 91
3274 </p><p><P ID="speaker"> BEN
3275 </p><P ID="dia"> I'm Doctor Mckenna.
3276 </p> <P ID="spkdir"> (He waits, no reaction)
3277 </p><P ID="dia"> Does the name mean anything to you?
3278 Chappell Jr. thinks for a moment. The name obvious
3279 register.
3280 </p><p><P ID="speaker"> CHAPPELL
3281 </p><P ID="dia"> I don't think so.
3282 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MED. SHOT
3283 </p><p><p ID="act"> A widor angle of the shop. Workmen pause in their
3284 the direction of Ben with some curiosity.
3285 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3286 </p><p><p ID="act"> Chappell Jr. nods his head, but waits with a deadp
3287 for Ben to continue. After a pause, Ben does.
3288 </p><p><P ID="speaker"> BEN
3289 </p><P ID="dia"> You have no idea why I came here?
3290 </p><p><P ID="speaker"> CHAPPELL JR.
3291 </p><P ID="dia"> My dear sir, I haven't the faintest idea!
3292 Ben's expression shows that he feels Chappell is p
3293 thorough bluff, but he still goes on.
3294 </p><p><P ID="speaker"> BEN
3295 </p><P ID="dia"> I was given your name by someone I happened to mee
3296 Chappel Jr.'s expression doesn't change, except fo
3297 raised eyebrow.
3298 </p><p><P ID="speaker"> CHAPPELL JR.
3299 </p><P ID="dia"> Oh, yes?
3300 Ben now has the feeling he's on to the right man.
3301 </p><p><P ID="speaker"> BEN
3302 </p><P ID="dia"> I suppose you've heard of him. Louis Bernard. A Fr
3303 </p><p><P ID="speaker"> CHAPPELL JR.
3304 </p><P ID="dia"> Louis Bernard?
3305 He seems to be turning the name over in his mind.
3306 the workmen around them..
3307 </p><p> <P ID="right"> 92
3308 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3309 </p><p><p ID="act"> The workmen half-listening, return to their work o
3310 animals. They are a bit self-conscious at being ob
3311 eavesdropping.
3312 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3313 </p><p><p ID="act"> Ben turns back to Chappell Jr. He moves in a littl
3314 drops his voice somewhat. Chappell Jr.
3315 watches him warily.
3316 </p><p><P ID="speaker"> BEN
3317 </p><P ID="dia"> Let's stop fencing with words, huh?
3318 Bernard told me to come here, just before he died.
3319 </p><p><P ID="speaker"> CHAPPELL JR.
3320 </p><P ID="dia"> This man is...dead?
3321 </p><p><P ID="speaker"> BEN
3322 </p><P ID="dia"> You know it as well as I do. Now I came to make a
3323 proposition.
3324 And I don't see how you can turn it down.
3325 Ambrose Chappell looks over to a man stuffing anim
3326 </p><p><P ID="speaker"> CHAPPEEL JR.
3327 </p><P ID="dia"> What did you have in mind?
3328 </p><p><P ID="speaker"> BEN
3329 </p><P ID="dia"> You want to talk here?
3330 </p><p><P ID="speaker"> CHAPPELL JR.
3331 </p><P ID="dia"> Certainly. We have no secrets from our employees.
3332 </p><p><P ID="speaker"> BEN
3333 </p><P ID="dia"> Okay. First of all, I haven't uttered one word of
3334 told to before he died. And I won't. Frankly I'm n
3335 political intrigue, and I don't care who it is you
3336 kill here in London. All I want is that boy, and I
3337 first plane for America.
3338 When Ben begins mentioning a killing, Chappell Jr'
3339 a look of alarm, almost panic. He moves back from
3340 him like a deadly cobra. Ben, however, now convinc
3341 the right man in front of him, moves in on him to
3342 proposition.
3343 </p><p><P ID="speaker"> BEN
3344 </p><P ID="dia"> Now that isn't all. If money will do anything....
3345 </p><p> <P ID="right"> 93
3346 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
3347 </p><p><p ID="act"> Chappell Jr. now seems thoroughly frightened. He m
3348 Ben, almost stumbling. He turns, goes back to the
3349 office, in which is now standing Chappell Sr.
3350 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - CLOSE SHOT
3351 </p><p><p ID="act"> Chappell Sr. leans closer to the open door, as the
3352 urgently and sotto Voce to him.
3353 </p><p><P ID="speaker"> CHAPPELL JR.
3354 </p><P ID="dia"> Father -- phone the police! Quick!
3355 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
3356 </p><p><p ID="act"> Chappell Jr. now turns back toward Ben, trying to
3357 pleasant and casual manner.
3358 </p><p><P ID="speaker"> CHAPPELL JR.
3359 </p><P ID="dia"> Now, sir -- shall we go into this a little more ca
3360 said something about money?
3361 Workmen are pausing in their work to look at the p
3362 at the mention of money.
3363 </p><p><P ID="speaker"> BEN
3364 </p><P ID="dia"> You told him to call the police. Now don't try to
3365 that!
3366 He reaches out quickly, grabs Chappell jr. by the
3367 The man gives an involuntary cry of fear.
3368 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - CLOSE SHOT
3369 </p><p><p ID="act"> Chappell Sr. is on the phone.
3370 </p><p><P ID="speaker"> CHAPPELL SR.
3371 </p><P ID="dia"> This is Ambrose Chappell's -- Burdett Street. Will
3372 someone round at once?
3373 </p> <P ID="spkdir"> (Glancing toward him)
3374 </p><P ID="dia"> There's is an extraordinary individual here, and w
3375 cope with him.
3376 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3377 </p><p><p ID="act"> Chappell Jr. struggles to get loose from Ben's gra
3378 </p><p><P ID="speaker"> CHAPPELL JR.
3379 </p><P ID="dia"> Let me go!.
3380 </p><p> <P ID="right"> 94
3381 </p><p><P ID="speaker"> BEN
3382 </p><P ID="dia"> You don't know Louis Bernard?
3383 </p><p><P ID="speaker"> CHAPPELL JR.
3384 </p><P ID="dia"> I've never heard of him.
3385 </p><p><P ID="speaker"> Jo
3386 </p><p><P ID="speaker"> BEN
3387 </p><P ID="dia"> And you don't have any idea what went on in Marrak
3388 or where my boy is?
3389 </p><p><P ID="speaker"> CHAPPELL JR.
3390 </p><P ID="dia"> No, of course not! Edgar! William!
3391 Davis! Help!
3392 Ben lets go of Chappell Jr., and turns in confusio
3393 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM SHOT
3394 </p><p><p ID="act"> The workmen drop their tools, and move in on Ben q
3395 threateningly. Even Chappell Sr. comes out of the
3396 Ben backs away toward the door.
3397 </p><p><P ID="speaker"> BEN
3398 </p><P ID="dia"> Now just a minute. Take it easy. I obviously got t
3399 Now stay away from me.
3400 But they don't. They come on. Ben looks quickly ar
3401 weapon, or an exit. He sees the door, and moves qu
3402 but the workmen are faster than he is. Two of them
3403 Ben tries to shove them out of the way and get thr
3404 The men grapple with him. Chappell Jr., himself, a
3405 workman rush in, endeavoring to subdue Ben. A sile
3406 struggle ensues. It is now a complete melee betwee
3407 and Ben as they try to hold him down.
3408 </p><p><P ID="speaker"> CHAPPELL JR.
3409 </p><P ID="dia"> Hold him...hold him...till the police come.
3410 Ben breaks loose temporarily, trying to find anoth
3411 realizes that the time for talking is past.
3412 But as fast as he is, the men are on him again. Th
3413 struggle through the stuffed and mounted animals.
3414 melange of lion heads, swordfish, and other partia
3415 jobs. Sometimes, Ben in his struggles comes face t
3416 angry head of a bared-teeth lion. Ambrose Chappell
3417 one point finds the swordfish a very painful objec
3418 about his anatomy. Ben eventually wrenches himself
3419 </p><p> <P ID="right"> 95
3420 </p><p><p ID="slug"> TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
3421 </p><p><p ID="act"> Shooting toward the doorway. The confusion gives h
3422 moment. He makes the door, twists it open, and das
3423 yard. Suddenly he turns back and dashes in again.
3424 in fear. Ben picks up his fallen hat and dashes ou
3425 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3426 </p><p><p ID="act"> The five persons in the McKenna suits are sitting
3427 Jo have drinks in their hands. She seems to be abs
3428 thoughts, but Val Parnell is holding forth, oblivi
3429 her disinterest.
3430 </p><p><P ID="speaker"> VAL
3431 </p><P ID="dia"> ...and back at our flat, after the first night, Ch
3432 nerve to suggest that the sketch where Bud Flanaga
3433 dressed up as the Countess was unconvincing ... th
3434 well-got-up Bud Flanagan was, even if he were dres
3435 nobody would believe he was an aristocrat. So I sa
3436 why don't you cut William Hickey's column out of t
3437 stops talking, as he looks across at the silent Jo
3438 Helen and the others, follow his look. They watch
3439 sympathetically. Jo seems totally unaware that any
3440 the room, staring, into thin air, absorbed with th
3441 own.
3442 </p><p><P ID="speaker"> VAL
3443 </p> <P ID="spkdir"> (Softly)
3444 </p><P ID="dia"> Jo. Jo.
3445 </p><p><P ID="speaker"> JO
3446 </p><P ID="dia"> Huh?
3447 </p><p><P ID="speaker"> VAL
3448 </p><P ID="dia"> What's become of that unpredictable husband of you
3449 </p> <P ID="spkdir"> (Consults his watch)
3450 </p><P ID="dia"> He's been gone over an hour.
3451 She doesn't answer, so he goes on.
3452 </p><p><P ID="speaker"> VAL
3453 </p><P ID="dia"> Who was it he went to see? Some man named...
3454 </p> <P ID="spkdir"> (Looks at group for help)
3455 </p><P ID="dia"> ...what was it...Church?.
3456 </p><p> <P ID="right"> 96
3457 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - CLOSE SHOT
3458 </p><p><p ID="act"> Slowly Jo's expression begins to chance to one of
3459 a flood of thoughts expressed in her face. She loo
3460 and replies:
3461 </p><p><P ID="speaker"> JO
3462 </p><P ID="dia"> No. No...you mean Chappell!
3463 She rises from her chair with some excitement. She
3464 to herself:
3465 </p><p><P ID="speaker"> JO
3466 </p><P ID="dia"> It's not a man, it's a place! Ambrose Chapel! Ambr
3467 has to be!
3468 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
3469 </p><p><p ID="act"> The others watch Jo, puzzled at her strange perfor
3470 No one dares speak until she finds out what it mea
3471 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3472 </p><p><p ID="act"> With some excitement, Jo addresses Val Parnell.
3473 Do they list chapels in the London Telephone Direc
3474 </p><p><P ID="speaker"> VAL
3475 </p><p><P ID="speaker"> Jo
3476 </p><P ID="dia"> Let's a take a look.
3477 He crosses to the telephone desk, picks up telepho
3478 opens it.
3479 </p><p><p ID="slug"> SAVOY SUITE - (DAY)
3480 </p><p><p ID="act"> INSERT of telephone directory - Val's finger lands
3481 Chapel, 17 Ambrose Street, West Two.'
3482 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3483 </p><p><P ID="speaker"> VAL
3484 </p> <P ID="spkdir"> (Excitedly)
3485 </p><P ID="dia"> Here it is, Ambrose Chapel, 17 Ambrose Street, Wes
3486 He turns triumphantly to Jo. Without hesitation sh
3487 table, takes her purse. She hurries to the door wi
3488 then turns to them.
3489 </p><p><P ID="speaker"> JO
3490 </p><P ID="dia"> I'm very sorry.
3491 </p> <P ID="spkdir"> (MORE).
3492 </p><p> <P ID="right"> 97
3493 JO (CONT'D)
3494 But have another drink -- and please explain to Be
3495 in.
3496 She hurries out the door. The others are left stan
3497 each other. Val and Helen speak almost at the same
3498 each other the same question.
3499 </p><p><P ID="speaker"> VAL AND HELEN
3500 </p><P ID="dia"> Explain what?
3501 DISSOLVE:
3502 </p><p><p ID="slug"> AMBROSE STREET - (DAY) - LONG SHOT
3503 </p><p><p ID="act"> Jo hurrying down street towards chapel seen in b.g
3504 </p><p><p ID="slug"> AMBROSE STREET - DAY - MEDIUM SHOT
3505 </p><p><p ID="act"> Jo enters and stares off at the chapel.
3506 </p><p><p ID="slug"> AMBROSE STREET - (DAY) - MEDIUM LONG SHOT
3507 </p><p><p ID="act"> Of chapel as seen by Jo.
3508 </p><p><p ID="slug"> AMBROSE STREET - (DAY) - CLOSE SHOT
3509 </p><p><p ID="act"> Jo wondering if this really is the right place. Sh
3510 had better phone Ben and turns out of SHOT.
3511 DISSOLVE:
3512 </p><p><p ID="slug"> SAVOY SUITE - MEDIUM SHOT - (DAY)
3513 </p><p><p ID="act"> The Parnell party are still wondering what all thi
3514 </p><p><P ID="speaker"> CINDY
3515 </p><P ID="dia"> There's something weird going on around here that
3516 </p><p><P ID="speaker"> VAL
3517 </p><P ID="dia"> Let's see if we can figure this out.
3518 First of all there was a man named to uh...
3519 </p><p><P ID="speaker"> HELEN
3520 </p><P ID="dia"> Ambrose Chapel.
3521 </p><p><P ID="speaker"> CINDY
3522 </p><P ID="dia"> And Ben rushed off to see him..
3523 </p><p> <P ID="right"> 98
3524 </p><p><P ID="speaker"> HELEN
3525 </p><P ID="dia"> Then Jo said it wasn't a man, but a place and she
3526 </p><p><P ID="speaker"> JAN
3527 </p><P ID="dia"> Don't mention it again or I might dash off.
3528 </p><p><P ID="speaker"> CINDY
3529 </p><P ID="dia"> What a temptation.
3530 </p><p><P ID="speaker"> HELEN
3531 </p><P ID="dia"> Can you fathom it, Val?
3532 Val paces thoughtfully, and they watch him.
3533 </p><p><P ID="speaker"> VAL
3534 </p><P ID="dia"> It must be a now American gag. I'll ask Danny abou
3535 At that moment the door suddenly opens. Everyone t
3536 surprise. Ben is standing in the doorway. He comes
3537 room, closing the door. He is very tired looking,
3538 They watch him enter silently.
3539 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
3540 </p><p><p ID="act"> Too tired to say anything at first, Ben drops into
3541 he comes to. Then he looks up.
3542 </p><p><P ID="speaker"> BEN
3543 </p><P ID="dia"> Where's Jo?
3544 Val walks over to him, hands him a ready-made drin
3545 Ben takes it but doesn't have time to drink when V
3546 </p><p><P ID="speaker"> VAL
3547 </p><P ID="dia"> She's just gone off to Ambrose Chapel.
3548 Immediately Ben puts down the drink.
3549 </p><p><P ID="speaker"> BEN
3550 </p><P ID="dia"> But -- but, that's where I've been...
3551 He stands up.
3552 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3553 </p><p><P ID="speaker"> VAL
3554 </p><P ID="dia"> It isn't your Ambrose Chapel!
3555 Ben looks at him questioningly.
3556 </p><p><P ID="speaker"> HELEN
3557 </p><P ID="dia"> It isn't a he! It's an it! A building..
3558 </p><p> <P ID="right"> 99
3559 </p><p><P ID="speaker"> CINDY
3560 </p><P ID="dia"> She's just gone there.
3561 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
3562 </p><p><p ID="act"> Ben studies the group trying to appraise in his mi
3563 have said.
3564 </p><p><P ID="speaker"> BEN
3565 </p><P ID="dia"> Where is it! What's the address?
3566 Val crosses to find the phone book on the desk and
3567 address.
3568 </p><p><P ID="speaker"> VAL
3569 </p><P ID="dia"> 17 Ambrose Street, Bayswater.
3570 Ben moves quickly to the door and goes out into co
3571 telephone rings. Jan answers it. She puts down the
3572 shouts out to Ben.
3573 </p><p><P ID="speaker"> JAN
3574 </p><P ID="dia"> Doctor! Doctor! It's Jo! Come back -- it's Jo.
3575 Ben comes quickly into the room pushing his way th
3576 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3577 </p><p><p ID="act"> He goes immediately to the phone. Jan hands Ben th
3578 </p><p><P ID="speaker"> BEN
3579 </p><P ID="dia"> Jo?
3580 </p><p><p ID="slug"> LONDON CALL BOX - (DAY) - CLOSE SHOT
3581 </p><p><p ID="act"> Jo is overjoyed to hear Ben's voice.
3582 </p><p><P ID="speaker"> JO
3583 </p><P ID="dia"> Ben -- Ben, darling...what happened -- did you fin
3584 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - CLOSE SHOT
3585 </p><p><P ID="speaker"> BEN
3586 </p><P ID="dia"> No -- I drew a complete blank..
3587 </p><p> <P ID="right"> 100
3588 </p><p><p ID="slug"> LONDON CALL BOX - (DAY) - CLOSE SHOT
3589 </p><p><P ID="speaker"> JO
3590 </p><P ID="dia"> Then it must be the chapel - and I've found it, Be
3591 short way from here. It was a crazy thing to do --
3592 SUITE - (DAY) - CLOSE SHOT</B></I></U></SMALL>
3593 </p><p><P ID="speaker"> BEN
3594 </p> <P ID="spkdir"> (Interrupting hurriedly)
3595 </p><P ID="dia"> I have the address, Jo. Now stay there until I get
3596 don't do anything!
3597 </p><p><p ID="slug"> LONDON CALL BOX - (DAY) - CLOSE SHOT
3598 </p><p><p ID="act"> Jo loses some of her anxiety.
3599 </p><p><P ID="speaker"> JO
3600 </p><P ID="dia"> I'll meet you outside.
3601 She hangs up, sighs and starts out of the phone bo
3602 </p><p><p ID="slug"> SAVOY SUITE - (DAY) - MEDIUM SHOT
3603 </p><p><p ID="act"> Ben hangs up the phone and starts for the door. He
3604 the group as he pauses in doorway.
3605 </p><p><P ID="speaker"> BEN
3606 </p><P ID="dia"> Will you stick around? We'll be back as soon as we
3607 know how to thank you.
3608 He goes out through the door closing it. Everyone
3609 at the door.
3610 DISSOLVE TO:
3611 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3612 </p><p><p ID="act"> Jo stands watching something across the street.
3613 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
3614 </p><p><p ID="act"> From Jo's viewpoint, the exterior of Ambrose Chape
3615 An old building, silent and deserted. A faded sign
3616 identifies it..
3617 </p><p> <P ID="right"> 101
3618 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. SHOT
3619 </p><p><p ID="act"> A non-conformist Chapel. Empty, except for one fig
3620 laying out music on the organ rack in the front of
3621 CAMERA MOVES IN on her, and as she turns on her wa
3622 board, we see that she is Mrs. Drayton. At the hym
3623 slips into it a series of hymn numbers.
3624 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3625 </p><p><p ID="act"> The CAMERA THEN PANS her across the empty chapel t
3626 She goes through it.
3627 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3628 </p><p><p ID="act"> She comes up a flight of stairs, the CAMERA MOVING
3629 stops at a door on the first landing, takes a key
3630 pocket, and unlocks the door.
3631 She enters.
3632 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3633 </p><p><p ID="act"> Inside of a small, almost bare room, Mrs. Drayton
3634 behind her and stands with her back to it, watchin
3635 PANS SLIGHTLY to reveal the rest of the room. Sitt
3636 table is a listless, young Hank McKenna. He is pla
3637 with the woman we saw at the airport who was stand
3638 autograph hunters, watching Jo McKenna. The one wi
3639 glasses, who made a phone call. Hank has caught th
3640 checker trap, and with obvious satisfaction jumps
3641 men.
3642 </p><p><P ID="speaker"> HANK
3643 </p><P ID="dia"> Three men! You don't know much about checkers, do
3644 </p><p><P ID="speaker"> MRS. DRAYTON
3645 </p><P ID="dia"> It's time you went to bed, dear. You'll get tired
3646 </p><p><P ID="speaker"> HANK
3647 </p><P ID="dia"> Can I finish? I'm winning?
3648 </p><p><P ID="speaker"> MRS. DRAYTON
3649 </p><P ID="dia"> Yes, you finish. Edna, see that he gets some milk
3650 </p><p><P ID="speaker"> EDNA
3651 </p><P ID="dia"> And he'd better have another sleeping pill...I've
3652 downstairs -- MRS. DRAYTON
3653 </p> <P ID="spkdir"> (To Hank)
3654 </p><P ID="dia"> You'll go to sleep, Hank, won't you?.
3655 </p><p> <P ID="right"> 102
3656 </p><p><P ID="speaker"> HANK
3657 </p><P ID="dia"> I guess so.
3658 </p><p><P ID="speaker"> EDNA
3659 </p><P ID="dia"> Hurry up if you want to finish this game.
3660 </p><p><P ID="speaker"> MRS. DRAYTON
3661 </p><P ID="dia"> Look it doesn't hurt to be kind. Yell out when you
3662 the door.
3663 Edna studies the board with a frown. Mrs. Drayton
3664 out the door.
3665 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. SHOT
3666 </p><p><p ID="act"> In the corridor once again Mrs. Drayton locks the
3667 crosses the hall. The CAMERA PANNING her. She ente
3668 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. SHOT
3669 </p><p><p ID="act"> She enters a larger, more ornate room. The CAMERA
3670 we see first Drayton, who is putting on a surplice
3671 man who knocked on the McKennas' door in the Mamou
3672 looking for someone named Montgomery. He is puttin
3673 tuxedo. He wears a dangerous-looking revolver stra
3674 his armpit; Mrs. Drayton, without a word, sits dow
3675 cigarette, exhaling with something close to fatigu
3676 speaks.
3677 </p><p><P ID="speaker"> MRS. DRAYTON
3678 </p><P ID="dia"> I wish it was tomorrow.
3679 Drayton turns, having finished his dressing.
3680 </p><p><P ID="speaker"> DRAYTON
3681 </p> <P ID="spkdir"> (Coldly)
3682 </p><P ID="dia"> That's not a very orthodox sentiment.
3683 He goes to a desk, and takes something out of a dr
3684 It is a small envelope. He turns to the man with t
3685 </p><p><P ID="speaker"> DRAYTON
3686 </p><P ID="dia"> Two excellent tickets for the concert at the Alber
3687 my compliments.
3688 He hands them to Rien. Rien takes the envelope, gl
3689 briefly, then puts it into his pocket.
3690 </p><p><P ID="speaker"> DRAYTON
3691 </p><P ID="dia"> Your box is nicely placed, or shall we say strateg
3692 placed..
3693 </p><p> <P ID="right"> 103
3694 He goes to a portable record player, which is open
3695 record on it. He looks down at the phonograph.
3696 </p><p><P ID="speaker"> DRAYTON
3697 </p><P ID="dia"> Now for the most important part.
3698 He gestured towards the record.
3699 </p><p><P ID="speaker"> RIEN
3700 </p><P ID="dia"> What is it?
3701 </p><p><P ID="speaker"> DRAYTON
3702 </p><P ID="dia"> A record of the delightful Picco they will play to
3703 </p><p><P ID="speaker"> RIEN
3704 </p><P ID="dia"> What about it?
3705 </p><p><P ID="speaker"> DRAYTON
3706 </p><P ID="dia"> Music is less in your line than marksmanship. If y
3707 my friend, I will play for you the exact moment at
3708 shoot. Now listen carefully.
3709 Drayton plays the record.
3710 </p><p><P ID="speaker"> DRAYTON
3711 </p><P ID="dia"> Let me do it for you again. Now listen for the cym
3712 Drayton plays the record again and claps his hands
3713 cymbal crash.
3714 </p><p><P ID="speaker"> DRAYTON
3715 </p><P ID="dia"> You see at such a moment your shot will not be hea
3716 listeners will not even be disturbed. I think the
3717 have appreciated that.
3718 No one will know.
3719 </p><p><P ID="speaker"> RIEN
3720 </p><P ID="dia"> None except one you mean.
3721 The assassin smiles.
3722 </p><p><P ID="speaker"> DRAYTON
3723 </p><P ID="dia"> Ah, yes -- if you are clever, my friend.
3724 Any questions musical or otherwise?
3725 </p><p><P ID="speaker"> RIEN
3726 </p><P ID="dia"> No.
3727 </p><p><P ID="speaker"> DRAYTON
3728 </p><P ID="dia"> There's's one comforting thought. It happens early
3729 I hope I won't upset you if I say there's time for
3730 If you need another, the risk is yours..
3731 </p><p> <P ID="right"> 104
3732 </p><p><P ID="speaker"> RIEN
3733 </p><P ID="dia"> I do not take risks.
3734 </p><p><P ID="speaker"> DRAYTON
3735 </p><P ID="dia"> That's a comfort -- traipsing all the way down to
3736 fetch you I should like you to do me credit.
3737 He looks at his watch.
3738 </p><p><P ID="speaker"> DRAYTON
3739 </p><P ID="dia"> Your distinguished target's on the way there now.
3740 for you downstairs at the back entrance. You will
3741 Benson on your way. She will be your companion in
3742 there to lend an air of respectability...if that's
3743 </p><p><P ID="speaker"> RIEN
3744 </p><P ID="dia"> You will have the money when I return?
3745 </p><p><P ID="speaker"> DRAYTON
3746 </p><P ID="dia"> I think you can trust me.
3747 </p><p><P ID="speaker"> RIEN
3748 </p> <P ID="spkdir"> (Looking him up and down)
3749 </p><P ID="dia"> What is your English proverb -- a wolf in Sheep's
3750 Drayton laughs.
3751 </p><p><P ID="speaker"> DRAYTON
3752 </p><P ID="dia"> I think you had better be going. It is impolite to
3753 concert.
3754 It would be awkward if they made you wait until th
3755 selection is over.
3756 He turns to his wife.
3757 </p><p><P ID="speaker"> DRAYTON
3758 </p><P ID="dia"> See him downstairs, my dear.
3759 </p> <P ID="spkdir"> (To Rien)
3760 </p><P ID="dia"> I'm sorry you must sneak out the back way, but we
3761 our respectable front.
3762 She exits with the assassin. Drayton turns to the
3763 surveys himself.
3764 LAP DISSOLVE TO:
3765 </p><p><p ID="slug"> REAR ENTRANCE AMBROSE CHAPEL - (DAY)
3766 </p><p><p ID="act"> In the distance Jo is seen pacing. To rear door of
3767 opens and Mrs. Drayton pushes Rien out. He crosses
3768 waiting car. The car drives off..
3769 </p><p> <P ID="right"> 105
3770 </p><p><p ID="slug"> AMBROSE STREET - (DAY) - MEDIUM SHOT
3771 </p><p><p ID="act"> The shadows of the day are lengthening as Ben gets
3772 and approaches Jo standing on the sidewalk.
3773 His fatigue of before seems to have vanished in hi
3774 meet Jo and find out what she knows.
3775 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3776 </p><p><p ID="act"> Ben comes up to her. She grips his hands.
3777 </p><p><P ID="speaker"> JO
3778 </p><P ID="dia"> There it is.
3779 </p><p><P ID="speaker"> BEN
3780 </p><P ID="dia"> You may have just hit it right on the nose. You ca
3781 wrong than I was with my Ambrose Chapel. Let's go.
3782 </p><p><P ID="speaker"> JO
3783 </p><P ID="dia"> Ben, should we get some help from the police?
3784 </p><p><P ID="speaker"> BEN
3785 </p><P ID="dia"> No, honey, please, no -- let's take a crack at thi
3786 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
3787 </p><p><p ID="act"> The Chapel as seen from their viewpoint. People ar
3788 it, but it seem as if the tag end of the congregat
3789 because the service is obviously under way, the so
3790 singing coming across faintly to us.
3791 </p><p><p ID="slug"> LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
3792 </p><p><p ID="act"> Ben takes her hand, squeezes it affectionately.
3793 Together they cross the street, the CAMERA PANNING
3794 steps of the chapel and to the entrance.
3795 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
3796 </p><p><p ID="act"> They enter the Chapel from the rear, looking aroun
3797 hymn is in progress. The Chapel holds about three
3798 It is of the non-conformist type and the congregat
3799 mostly of middle-aged and elderly women. Although
3800 not aware of it, we notice that the organist is no
3801 Edna, the woman who observed Jo at the airport, an
3802 care of Hank..
3803 </p><p> <P ID="right"> 106
3804 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3805 </p><p><p ID="act"> Carefully the McKennas find their way to a back ro
3806 two of the women in the back row turn to look at t
3807 Jo wants to whisper something to Ben, but with a g
3808 silences her. Ben picks up hymnal, hands her one,
3809 page and begins to sing along with the hymn. But i
3810 following the words of the hymn, Ben makes up his
3811 communicate with Jo, as he looks around at the cha
3812 </p><p><P ID="speaker"> BEN
3813 </p> <P ID="spkdir"> (singing)
3814 </p><P ID="dia"> This looks like mother wild goose chase.
3815 </p><p><P ID="speaker"> JO
3816 </p> <P ID="spkdir"> (Singing them)
3817 </p><P ID="dia"> Let's wait and look around...
3818 Some of the parishioners turn and listen to Jo's v
3819 has a professional quality that rises above the re
3820 are watching her in suspicion, or admiration, is h
3821 turns her attention to the hymn book, trying to be
3822 Ben's eyes catch something coming down the aisle.
3823 </p><p><P ID="speaker"> BEN
3824 </p> <P ID="spkdir"> (Singing)
3825 </p><P ID="dia"> Look who's coming down the aisle.
3826 Jo follows his glance, leaning forward a little an
3827 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
3828 </p><p><p ID="act"> Coming up the aisle with a collection basket, coll
3829 during the hymn is Mrs. Drayton. She is approachin
3830 which the McKennas are standing.
3831 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3832 </p><p><p ID="act"> Jo looks towards Ben helplessly. Mrs. Drayton is b
3833 of them and any possible exit. Ben immediately eas
3834 behind a column which hides him somewhat from the
3835 from the side. Jo endeavors to shrink her body beh
3836 in front of her, but she is not entirely successfu
3837 Mrs. Drayton getting closer to them.
3838 Jo looks toward Ben almost panicked. Suddenly Mrs.
3839 Drayton has reached the end of their row. She push
3840 collection plate, and as she does so her face blan
3841 instantly identifies the two.
3842 Ben, with little else to do, looks her straight in
3843 puts some coins into her plate..
3844 </p><p> <P ID="right"> 107
3845 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3846 </p><p><p ID="act"> As the astonished Mrs. Drayton turns to go back do
3847 with her plate of coins and bills, we now see the
3848 Drayton ascending the pulpit.
3849 He looks down to his wife.
3850 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
3851 </p><p><p ID="act"> From Mr. Drayton's viewpoint, as he notices his wi
3852 aisle with a startled expression on her face. She
3853 with her head to indicate something important lies
3854 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - CLOSE SHOT
3855 </p><p><p ID="act"> Mr. Drayton, trying to puzzle out her alarm, studi
3856 then lifts his eyes to look beyond her.
3857 The expression on his face leaves no doubt that he
3858 understand what she's trying to convey. The hymn h
3859 and the congregation starts seating itself.
3860 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3861 </p><p><p ID="act"> The McKennas take a seat along with the rest, and
3862 relatively inconspicuous from the front of the cha
3863 piece of paper out of his pocket, examines it, and
3864 the right one, hands it to his wife. The congregat
3865 as Drayton is apparently about to begin his sermon
3866 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3867 </p><p><p ID="act"> Drayton glances down to his Bible, opens it a cert
3868 he does so, he looks at his wife who is sitting ne
3869 She half-turns to look up at him. She seems fright
3870 fumbles with the pages of the Bible, apparently tr
3871 something out of his wife's attitude. Failing, he
3872 begins his sermon. He speaks into a microphone.
3873 </p><p><P ID="speaker"> DRAYTON
3874 </p><P ID="dia"> Brothers and Sisters: The subject of my address th
3875 adversity.
3876 The average life, yours and mine, is often harasse
3877 by cruelties and disappointments beyond our contro
3878 Strangely enough, it is often the things beyond ou
3879 help to make us better beings..
3880 </p><p> <P ID="right"> 108
3881 Pain and tribulation are the testing ground of lif
3882 grateful for them. Let us bless the disappointment
3883 frustrations and say a prayer for the agony of the
3884 thus shall we confirm and re-confirm our own goodn
3885 therefore the essential goodness of all Mankind.
3886 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
3887 </p><p><p ID="act"> Half-glancing at Drayton as he delivers his sermon
3888 Ben talks to Jo. Their conversation is whispered.
3889 </p><p><P ID="speaker"> BEN
3890 </p><P ID="dia"> That's Buchanan's phone number. Go on out and call
3891 to surround the place with police.
3892 </p><p><P ID="speaker"> JO
3893 </p><P ID="dia"> What if he asks me...
3894 </p><p><P ID="speaker"> BEN
3895 </p><P ID="dia"> Tell him...tell him everything. This is the time.
3896 around here some place.
3897 </p><p><P ID="speaker"> JO
3898 </p><P ID="dia"> Ben, I don't want to leave you.
3899 </p><p><P ID="speaker"> BEN
3900 </p><P ID="dia"> I don't know how else to do it, honey.
3901 Ben gives her a gentle push. With a regretful look
3902 slides out of the seat.
3903 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - CLOSE SHOT
3904 </p><p><p ID="act"> In the middle of his sermon, Drayton looks up. He
3905 and stops, as he sees Jo rise from her seat.
3906 The chapel as seen from Drayton's viewpoint. Jo ha
3907 aisle and gone out the door at the back.
3908 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - CLOSE SHOT
3909 </p><p><p ID="act"> Drayton composes his face, but his eyes are seriou
3910 Without the slightest pause, he continues his serm
3911 ideas in mid-paragraph.
3912 </p><p><P ID="speaker"> DRAYTON
3913 </p><P ID="dia"> Few of us pause to think how life's adversities wo
3914 behalf, to make better men and women of us.
3915 </p> <P ID="spkdir"> (MORE).
3916 </p><p> <P ID="right"> 109
3917 </p><p><P ID="speaker"> DRAYTON (CONT'D)
3918 </p><P ID="dia"> But I believe we should pause now to do a little s
3919 to look into our own hearts and see what we find t
3920 instead of continuing the service, I think we shou
3921 our homes for private meditation, remembering how
3922 to complain of and how much to be grateful for. Ne
3923 discuss the fruits of our meditation. Until then,
3924 each and every one of you.
3925 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3926 </p><p><p ID="act"> Ben watches Drayton, with little charity in his he
3927 There is a stir in the congregation when Drayton t
3928 home. They look at each other, uncertainly.
3929 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. SHOT
3930 </p><p><p ID="act"> Drayton closes the Bible, and begins to descend fr
3931 The congregation comes to life. The members rise f
3932 and begin filing out of the chapel. Occasionally t
3933 backward glances toward the pulpit, as if surprise
3934 have heard.
3935 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3936 </p><p><p ID="act"> When Drayton reaches the two steps of the altar, h
3937 organist to him. She comes, and he whispers someth
3938 then motions his wife nearer to him, and also whis
3939 to her. Mrs. Drayton goes off through a side door
3940 while the organist makes her way down the aisle th
3941 congregation to stand by the door.
3942 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3943 </p><p><p ID="act"> The CAMERA PANS Ben as he threads his way up throu
3944 are filing out. Drayton stands at the front of the
3945 waiting. Finally, after a slow and deliberate walk
3946 nearly empty chapel, Ben comes face to face with D
3947 greets him with bland amiability.
3948 </p><p><P ID="speaker"> DRAYTON
3949 </p><P ID="dia"> Well this is a pleasant surprise, Doctor.
3950 </p><p><P ID="speaker"> BEN
3951 </p><P ID="dia"> Where's my boy, Drayton?.
3952 </p><p> <P ID="right"> 110
3953 </p><p><P ID="speaker"> DRAYTON
3954 </p><P ID="dia"> He's upstairs. As a matter of fact you've just com
3955 help my wife with Hank's food. Seems Hank doesn't
3956 English cooking.
3957 Drayton's eyes stray to the back of the church as
3958 noticing Drayton's eye movement, follows it cautio
3959 he can confirm his suspicions, there is a loud cla
3960 closing that gives him his answer. He looks around
3961 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
3962 </p><p><p ID="act"> At the other end of the chapel, the woman, Edna, h
3963 the door, and is in the process of locking the hea
3964 with a large key. She extracts the key and puts it
3965 pocket.
3966 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3967 </p><p><p ID="act"> Ben turns back to Drayton to find that his manner
3968 somewhat. He grabs him quickly by the throat of hi
3969 </p><p><P ID="speaker"> BEN
3970 </p><P ID="dia"> What do you want? I'll give you money and keep my
3971 I want is my boy.
3972 </p><p><P ID="speaker"> DRAYTON
3973 </p><P ID="dia"> And what about your wife? Did she go outside just
3974 fresh air.
3975 </p><p><P ID="speaker"> BEN
3976 </p><P ID="dia"> Tell me what you want. I'll do anything.
3977 </p><p><P ID="speaker"> DRAYTON
3978 </p><P ID="dia"> All right -- you'll see your boy in good time.
3979 With a sudden twist, he wrenches himself away from
3980 for a button on the altar, presses it. Instantly t
3981 side of the altar opens and two rather strong men
3982 turns alertly to face them, backing of a little.
3983 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
3984 </p><p><p ID="act"> One of the men is obviously the chauffeur type, an
3985 a handyman type in his shirtsleeves.
3986 Ben takes this in, and notices the open door behin
3987 maneuvers himself toward the pulpit, and suddenly
3988 steps..
3989 </p><p> <P ID="right"> 111
3990 He surprises them with his speed, and before anyon
3991 he is in the pulpit. He grabs the microphone previ
3992 Drayton in his sermon.
3993 He yells into it.
3994 </p><p><P ID="speaker"> BEN
3995 </p><P ID="dia"> Hank! Hank McKenna! Hank! Where are you? Hank! Han
3996 As the sound roars through he chapel the two man d
3997 pulpit, and at that mount we hear, faintly off, th
3998 </p><p><P ID="speaker"> HANK
3999 </p><P ID="dia"> Daddy! Daddy, I'm here! Dad -His voice is choked o
4000 down from the pulpit in an effort to make for the
4001 the two men throw themselves on top of him.
4002 </p><p><p ID="slug"> PHONE BOOTH - (DAY) - CLOSE SHOT
4003 </p><p><p ID="act"> Jo speaks into the phone with great urgency.
4004 </p><p><P ID="speaker"> JO
4005 </p><P ID="dia"> ...And Ben is in there now, watching the both of t
4006 </p><p><p ID="slug"> SPECIAL BRANCH OFFICE - (DAY) - CLOSE SHOT
4007 </p><p><p ID="act"> Woburn, assistant to Buchanan, is listening intent
4008 The office behind him is not handsomely appointed.
4009 heard on filter.
4010 He sent me out to call you -- so we could do somet
4011 they get away.
4012 </p><p><P ID="speaker"> Jo
4013 </p><p><P ID="speaker"> WOBURN
4014 </p><P ID="dia"> I see, Mrs. McKenna -- and you believe your son is
4015 the chapel?
4016 </p><p><P ID="speaker"> JO
4017 </p><P ID="dia"> I don't know, I don't know where he is...but at le
4018 will know -- the Draytons. If you'd only send some
4019 them.
4020 </p><p><P ID="speaker"> WOBURN
4021 </p><P ID="dia"> I'm afraid it isn't quite as easy as all that.
4022 </p><p><p ID="slug"> PHONE BOOTH - (DAY) - CLOSE SHOT
4023 </p><p><p ID="act"> Jo interrupts him, impatient with his caution..
4024 </p><p> <P ID="right"> 112
4025 Mr. Woburn, there isn't any time! My husband is si
4026 </p><p><P ID="speaker"> Jo
4027 </p><P ID="dia"> chapel waiting for me to bring some help.
4028 Can't I talk with Mr. Buchanan? He said when we ne
4029 call.
4030 </p><p><p ID="slug"> SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
4031 </p><p><p ID="act"> Woburn is concerned.
4032 </p><p><P ID="speaker"> WOBURN
4033 </p><P ID="dia"> I'm awfully sorry, but I simply can't get hold of
4034 He's gone to a rather important diplomatic affair
4035 Hall.
4036 </p><p><p ID="slug"> PHONE BOOTH - (DAY) - CLOSE SHOT
4037 </p><p><p ID="act"> Jo is tired of his talk. She wants action.
4038 </p><p><P ID="speaker"> JO
4039 </p><P ID="dia"> Well call him there, please! Call him!
4040 </p><p><p ID="slug"> SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
4041 </p><p><p ID="act"> As he talks, Woburn reaches for a pad d a pencil,
4042 making some notes.
4043 </p><p><P ID="speaker"> WOBURN
4044 </p><P ID="dia"> He's on his way. I don't know quite -- JO
4045 </p> <P ID="spkdir"> (Filter)
4046 </p><P ID="dia"> Then can't you do anything -- right away -- before
4047 Draytons?
4048 </p><p><P ID="speaker"> WOBURN
4049 </p><P ID="dia"> I assure you, I'll do all I cant as soon as I can.
4050 </p><p><p ID="slug"> PHONE BOOTH - (DAY) - CLOSE SHOT
4051 </p><p><p ID="act"> Jo is at the frantic point.
4052 </p><p><P ID="speaker"> JO
4053 </p><P ID="dia"> We don't have days to do this. It's a matter of mi
4054 send the police. Or do I have to go to the Albert
4055 myself..
4056 </p><p> <P ID="right"> 113
4057 </p><p><p ID="slug"> SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
4058 </p><p><p ID="act"> Woburn finishes making his notes. He reaches for a
4059 with his left hand, and dials a number as he talks
4060 </p><p><P ID="speaker"> WOBURN
4061 </p> <P ID="spkdir"> (Efficiently)
4062 </p><P ID="dia"> That won't be necessary. I'll see that the chapel
4063 immediate observation. By the time you get back a
4064 should be there. Please return to your husband, te
4065 straight out of the chapel, and let the police tak
4066 He turns to the other phone.
4067 </p><p><P ID="speaker"> WOBURN
4068 </p><P ID="dia"> Woburn, Special Branch, hold on.
4069 </p> <P ID="spkdir"> (To the other phone)
4070 </p><P ID="dia"> I must ring off now, Mrs. McKenna.
4071 Please believe me, I'll have everything laid on.
4072 </p><p><p ID="slug"> PHONE BOOTH - (DAY) - CLOSE SHOT
4073 </p><p><p ID="act"> With a feeling of frustration, Jo hangs up the pho
4074 clicks off on the other end. She exits to the phon
4075 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
4076 </p><p><p ID="act"> The back door of the chapel opens and Drayton, Han
4077 Drayton emerge. Drayton locks chapel door and cros
4078 car. They all get in and the car moves off.
4079 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
4080 </p><p><p ID="act"> Jo hurries up the street towards Ambrose Chapel.
4081 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
4082 </p><p><p ID="act"> Jo turns the corner heading for the chapel. She lo
4083 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
4084 </p><p><p ID="act"> The doors of the chapel are closed. It seems stran
4085 deserted..
4086 </p><p> <P ID="right"> 114
4087 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
4088 </p><p><p ID="act"> Jo hurries across the street, and up the steps to
4089 tries the door.
4090 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4091 </p><p><p ID="act"> The door locked. She tries it again. It does not g
4092 her on the door. No one answers.
4093 Jo's face is puzzled and a frightened.
4094 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
4095 </p><p><p ID="act"> The CAMERA PANS Jo to the right side of the Chapel
4096 She looks down the length of it. No sign of anyone
4097 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4098 </p><p><p ID="act"> The CAMERA PANS Jo to the right side of the Chapel
4099 There is no sign of life down the whole side of it
4100 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4101 </p><p><p ID="act"> Jo returns to the front door, examines it, tries i
4102 there is definite panic in her face. There Is the
4103 a car pulling up quickly to the curb. She turns.
4104 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
4105 </p><p><p ID="act"> A police car has pulled up to the curb. There are
4106 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. SHOT
4107 </p><p><p ID="act"> The CAMERA PANS Jo from the front of the Chapel do
4108 car. Three men are getting out, leaving the driver
4109 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4110 </p><p><p ID="act"> Jo comes up to the three men. One of them, in char
4111 talking.
4112 </p><p><P ID="speaker"> JO
4113 </p><P ID="dia"> There's nobody there!
4114 </p><p><P ID="speaker"> PATTERSON
4115 </p><P ID="dia"> Are you Mrs. McKenna?.
4116 </p><p> <P ID="right"> 115
4117 </p><p><P ID="speaker"> JO
4118 </p><P ID="dia"> Yes, but something's wrong. A few minutes ago the
4119 of people, and now there's nobody!
4120 Two of the police move up toward the Chapel. Patte
4121 it.
4122 </p><p><P ID="speaker"> PATTERSON
4123 </p><P ID="dia"> Our orders are to keep it under observation until
4124 car arrives.
4125 </p><p><P ID="speaker"> JO
4126 </p><P ID="dia"> My husband's in there. There must have been thirty
4127 people...
4128 and now...
4129 Patterson looks at her carefully.
4130 </p><p><P ID="speaker"> PATTERSON
4131 </p><P ID="dia"> When was this?
4132 </p><p><P ID="speaker"> JO
4133 </p><P ID="dia"> It couldn't...it couldn't have been more than five
4134 </p><p><P ID="speaker"> PATTERSON
4135 </p> <P ID="spkdir"> (Interrupting)
4136 </p><P ID="dia"> Let's take a look.
4137 </p><p><P ID="speaker"> JO
4138 </p><P ID="dia"> I told Mr. Woburn he had to hurry.
4139 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
4140 </p><p><p ID="act"> The CAMERA PANS the two of them up to the Chapel.
4141 have gone down the sides for an inspection.
4142 Patterson and Jo go to the main door. Patterson tr
4143 </p><p><P ID="speaker"> JO
4144 </p><P ID="dia"> I tried that. It's looked, Let's force it open.
4145 </p><p><P ID="speaker"> PATTERSON
4146 </p><P ID="dia"> I'm sorry, madam, we can't break in.
4147 </p> <P ID="spkdir"> (Sympathetic)
4148 </p><P ID="dia"> Requires a search warrant. It's the law, you see.
4149 </p><p><P ID="speaker"> JO
4150 </p><P ID="dia"> Couldn't you get one?
4151 </p><p><P ID="speaker"> PATTERSON
4152 </p><P ID="dia"> It all takes time. We'll have a look round, shall
4153 you take the other end..
4154 </p><p> <P ID="right"> 116
4155 </p><p><P ID="speaker"> MATTHEWS
4156 </p><P ID="dia"> All right.
4157 They start around the corner to inspect the sides
4158 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4159 </p><p><p ID="act"> Patterson and Jo peer in the windows. They apparen
4160 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4161 </p><p><p ID="act"> Another policeman is checking the windows on the o
4162 Nothing.
4163 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4164 </p><p><p ID="act"> The third policeman is checking the alleyway in ba
4165 Chapel. He sees no sign of anything suspicious.
4166 Patterson and Jo come around the back and try the
4167 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4168 </p><p><p ID="act"> The back door is firmly locked.
4169 </p><p><P ID="speaker"> MATTHEWS
4170 </p><P ID="dia"> There's no one there, sir.
4171 </p><p><P ID="speaker"> PATTERSON
4172 </p><P ID="dia"> Are you quite certain the place was full of people
4173 minutes ago?
4174 </p><p><P ID="speaker"> JO
4175 </p><P ID="dia"> Of course I'm certain. I was there myself, sitting
4176 husband.
4177 He sent me out to call Scotland Yard.
4178 He looks at her quizzically.
4179 It's much too complicated to explain.
4180 </p><p><P ID="speaker"> PATTERSON
4181 </p><p><P ID="speaker"> Jo
4182 </p><P ID="dia"> We'll just have to sit tight and wait for the car
4183 the Yard.
4184 He starts for the front of the Chapel, and Jo, unh
4185 forced to follow..
4186 </p><p> <P ID="right"> 117
4187 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4188 </p><p><p ID="act"> The chapel is deserted inside. In the dim light we
4189 stretched out on the floor. It is Ben.
4190 He begins to stir a little as if just beginning to
4191 being knocked unconscious.
4192 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4193 </p><p><p ID="act"> The policemen are grouped around the patrol car, a
4194 sergeant, talks over a radio telephone.
4195 </p><p><P ID="speaker"> PATTERSON
4196 </p><P ID="dia"> So far as we can make out, sir, there's no sign of
4197 very good, Sir.
4198 He hangs up, and gets out of the open car. He turn
4199 men.
4200 </p><p><P ID="speaker"> PATTERSON
4201 </p><P ID="dia"> Walden, you'll stay here, till the car arrives fro
4202 </p><p><P ID="speaker"> WALDEN
4203 </p><P ID="dia"> Okay.
4204 </p><p><P ID="speaker"> PATTERSON
4205 </p><P ID="dia"> That's all, Matthews.
4206 The other policeman gets into the car, Leaving the
4207 the Sergeant.
4208 </p><p><P ID="speaker"> JO
4209 </p><P ID="dia"> You're not leaving?
4210 </p><p><P ID="speaker"> PATTERSO
4211 </p> <P ID="spkdir"> (Politely)
4212 </p><P ID="dia"> Orders, madam. Can we give you lift somewhere?
4213 Jo is frustrated, and irritated, but she thinks fo
4214 makes a sudden decision.
4215 </p><p><P ID="speaker"> JO
4216 </p><P ID="dia"> Yes, I want to go to Albert Hall.
4217 Patterson looks at her with tolerant surprise.
4218 </p><p><P ID="speaker"> PATTERSON
4219 </p><P ID="dia"> Afraid the Albert Hall's a bit off our beat. Suppo
4220 at the nearest taxi rank?
4221 Jo looks back at the Chapel briefly.
4222 </p><p><P ID="speaker"> JO
4223 </p><P ID="dia"> All right. Let's go..
4224 </p><p> <P ID="right"> 118
4225 They get into the car, and the CAMERA PANS it, as
4226 down the long Victoria London street, which now re
4227 </p><p><p ID="slug"> EMBASSY - (DAY) - MED. SHOT
4228 </p><p><p ID="act"> The exterior rear of a huge residential building s
4229 found in Kensington Palace Gardens or Belgrave Squ
4230 PANS DOWN and we see a Humber car driving through
4231 rear. It pulls up at the Service entrance. A man s
4232 the chauffeur gets out of the car. Inside the car
4233 and Hark McKenna. We see the man hurry to the door
4234 and enter.
4235 </p><p><p ID="slug"> EMBASSY KITCHEN - (DAY) - MED. SHOT
4236 </p><p><p ID="act"> There is a big staff of kitchen help, chefs, maids
4237 all preparing food for what is obviously a big par
4238 has entered, calls to them to get their attention.
4239 </p><p><P ID="speaker"> GUARD
4240 </p><P ID="dia"> Hello. Hello.
4241 The work falls quiet as they become aware of him.
4242 </p><p><P ID="speaker"> GUARD
4243 </p><P ID="dia"> Everybody out into the corridor. Hurry (He claps h
4244 There is a moment of bewilderment and confusion. T
4245 to someone obviously a butler, and whispers some w
4246 butler turns to the workers and starts herding the
4247 corridor through a door in the far corner of the k
4248 </p><p><P ID="speaker"> BUTLER
4249 </p><P ID="dia"> Do what he says. Come on. It will only be a minute
4250 of you -- out.
4251 The man goes to the door.
4252 </p><p><p ID="slug"> EMBASSY - (DAY) - MEDIUM SHOT
4253 </p><p><p ID="act"> He leans out the door and beckons the Draytons and
4254 quickly. The three get out of the car and hurry to
4255 </p><p><p ID="slug"> EMBASSY KITCHEN - (DAY) - MED. SHOT
4256 </p><p><p ID="act"> The man moves back into the kitchen, and goes to s
4257 the doorway through which the workers left.
4258 The door is closed..
4259 </p><p> <P ID="right"> 119
4260 </p><p><p ID="slug"> EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT
4261 </p><p><p ID="act"> The servants are packed together at one side of th
4262 are talking, grumbling.
4263 </p><p><P ID="speaker"> WOMAN COOK
4264 </p><P ID="dia"> This embassy -- there's always something queer goi
4265 </p><p><p ID="slug"> EMBASSY CORRIDOR - (DAY) - CLOSE SHOT
4266 </p><p><p ID="act"> While the other servants are grumbling, one is say
4267 rather a Shrewd-looking young footman.
4268 He strains to listen through closed door. Coming f
4269 are several sounds. A door opening, the walking of
4270 finally the slam of a door.
4271 </p><p><P ID="speaker"> ANOTHER VOICE
4272 </p><P ID="dia"> Bringing people in, in secret...
4273 </p><p><P ID="speaker"> ANOTHER VOICE
4274 </p><P ID="dia"> Give me the Swiss Embassy every time, there's neut
4275 Then the sound of a car leaving outside. The door
4276 opens and the servants, including the young footma
4277 </p><p><p ID="slug"> EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT
4278 </p><p><p ID="act"> The young footman, among the first to enter, surve
4279 There is no sign of anyone having passed through.
4280 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
4281 </p><p><p ID="act"> The street before the chapel is still deserted, an
4282 day is beginning to fade. Suddenly the silence is
4283 sound of the bell ringing spasmodically in the cha
4284 Along the street a few people begin putting their
4285 windows, and the one policeman left in charge is s
4286 away down the street.
4287 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4288 </p><p><p ID="act"> Inside the chapel we can see the cause of the spas
4289 ringing. Ben is using the rope to climb out of the
4290 succeeds in reaching high window. He holds on to t
4291 looks down..
4292 </p><p> <P ID="right"> 120
4293 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - LONG SHOT
4294 </p><p><p ID="act"> From his viewpoint. He can see people gathering in
4295 looking up at the chapel.
4296 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4297 </p><p><p ID="act"> Ben decides to swing to the opposite window which
4298 from the street. He swings, grabs, and with some d
4299 manages a foothold. He finally climbs out through
4300 </p><p><p ID="slug"> AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
4301 </p><p><p ID="act"> Ben moves cautiously out onto the roof of the chap
4302 Beyond and below him we can see people on the stre
4303 He manages to lay low and crawl over the roof, the
4304 him. We can now see beyond and below the patrolman
4305 two regular uniformed policemen. They are crossing
4306 chapel looking up, as we:
4307 LAP DISSOLVE TO:
4308 </p><p><p ID="slug"> ALBERT HALL - (DAY) - LONG SHOT
4309 </p><p><p ID="act"> Shooting through the Albert Memorial as a foregrou
4310 the activities of the arrivals at a big concert. T
4311 archway large limousines are pulling up, while on
4312 level with the main road odd taxis are pulling in.
4313 usual line of posters which run along the edge of
4314 </p><p><p ID="slug"> ALBERT HALL - (DAY) - LONG SHOT
4315 </p><p><p ID="act"> The screen is filled with a large poster. It annou
4316 evening the commemorative concert. Further details
4317 indicate that a Cantata will be sung featuring the
4318 Orchestra, The Royal Choral Society, and a name wo
4319 mezzo soprano, and Conductor Bernard Herrmann. Bet
4320 and the Poster a taxi pulls up. It is near enough
4321 that just the driver and the door fills the screen
4322 steps out the far side and pays off the driver wit
4323 Note.
4324 She hurries away. The driver endeavors to call aft
4325 turns the note around in his hand. He looks at it
4326 satisfaction, and stuffs it into the inner recesse
4327 clothes..
4328 </p><p> <P ID="right"> 121
4329 </p><p><p ID="slug"> ALBERT HALL - (DAY) - SEMI-LONG SHOT
4330 </p><p><p ID="act"> We see Jo threading her way across the narrow inne
4331 which large limousines are creeping and depositing
4332 dressed aristocrats.
4333 </p><p><p ID="slug"> ALBERT HALL - (DAY) - MED. SHOT
4334 </p><p><p ID="act"> Jo finds herself going up the few steps the front
4335 by a mixture of tattily-dressed, tiaraed English d
4336 the more elegantly dressed members of the Corps Di
4337 in white tie, tails and orders, and their more fas
4338 South American beauties.
4339 </p><p><p ID="slug"> LOBBY - (DAY) - LONG SHOT
4340 </p><p><p ID="act"> Shooting down from the stone-stepped, cast-iron ra
4341 staircase we see the milling people going off in d
4342 directions to their seats. There is a hubbub of vo
4343 which we can hear the programme sellers crying out
4344 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSEUP
4345 </p><p><p ID="act"> Jo patiently awaits her turns as two or three peop
4346 couple of Chelsea 'long-hairs', and one other peop
4347 obviously have not reserved ahead of time because
4348 money, take their turns at the window. A uniformed
4349 standing beside this queue, is repeating informati
4350 benefit of the queue.
4351 </p><p><P ID="speaker"> UNIFORMED ATTENDANT
4352 </p><P ID="dia"> Seats at a guinea. Starting Room three and six --
4353 the queue and addresses him.
4354 </p><p><P ID="speaker"> JO
4355 </p> <P ID="spkdir"> (Rather urgently)
4356 </p><P ID="dia"> I would like to see the manager, please.
4357 </p><p><P ID="speaker"> UNIFORMED ATTENDANT
4358 </p><P ID="dia"> I'm sorry, madam, The manager's on duty in the lob
4359 assistant.
4360 </p><p><P ID="speaker"> JO
4361 </p><P ID="dia"> Please, I must speak to one of them.
4362 Which are they?
4363 </p><p><P ID="speaker"> UNIFORMED ATTENDANT
4364 </p> <P ID="spkdir"> (Vaguely)
4365 </p><P ID="dia"> Over there somewhere...
4366 He resumes his chant..
4367 </p><p> <P ID="right"> 122
4368 Jo turns away disconsolately and starts Jo seek th
4369 herself. The CAMERA PANS her over and she finds he
4370 off by a crowd of four or five feet deep.
4371 </p><p><p ID="slug"> LOBBY - (DAY) - CLOSE UP
4372 </p><p><p ID="act"> Jo, standing on her toes endeavoring to look beyon
4373 people. Suddenly her face changes as she sees:
4374 </p><p><p ID="slug"> LOBBY - (DAY) - MED. SHOT
4375 </p><p><p ID="act"> Shooting over the head of crowd she sees the arriv
4376 important personage. He is accompanied by others w
4377 apparently attendants upon him. A couple of the in
4378 him are wearing large order sashes underneath thei
4379 waistcoats. The principal figure of this group is
4380 around sixty. He is in white tie and tails, and al
4381 number of foreign orders. About third is line behi
4382 'Buchanan'.
4383 </p><p><p ID="slug"> LOBBY - (DAY) - CLOSE UP
4384 </p><p><p ID="act"> Jo immediately recognizes him.
4385 </p><p><p ID="slug"> LOBBY - (DAY) - MED. SHOT
4386 </p><p><p ID="act"> From her viewpoint we see the men she has been see
4387 the manager of the Albert Hall, his assistant cow-
4388 him, and alongside of the manager someone dressed
4389 Sir Kenneth Clarke', the head of the Arts Council,
4390 new-arrival is greeted. There is an exchange of co
4391 which they are led on toward the beginning of the
4392 'Buchanan' comes nearer.
4393 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4394 </p><p><p ID="act"> Jo tries to push her way through towards him. The
4395 her resent her efforts. Behind Jo are two girls in
4396 twenties. Both are Chelsea types.
4397 </p><p><P ID="speaker"> 1ST GIRL
4398 </p><P ID="dia"> Is that the Prime Minister?
4399 </p> <P ID="spkdir"> (Bored)
4400 </p><p><P ID="speaker"> 2ND GIRL
4401 </p><P ID="dia"> No, that's only the Ambassador. The Prime Minister
4402 </p> <P ID="spkdir"> (Enthuses)
4403 </p><P ID="dia"> the bald head..
4404 </p><p> <P ID="right"> 123
4405 </p><p><P ID="speaker"> 1ST GIRL
4406 </p><P ID="dia"> Well, I'll guarantee he's got a better seat than w
4407 The CAMERA PANS Jo as she does manage to get forwa
4408 she is caught up in the Sudden break-up of the peo
4409 lined up to see arrival. By the time she is in the
4410 CAMERA PANS her further and over her shoulder we s
4411 'Buchanan'
4412 and the rest up the staircase, followed by other m
4413 audience going up in the same direction.
4414 </p><p><p ID="slug"> LOBBY - (DAY) - CLOSE UP
4415 </p><p><p ID="act"> We see Jo's frustration filling her face. She begi
4416 head. She looks down with indecision.
4417 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4418 </p><p><p ID="act"> In the foreground are passing people hurrying towa
4419 There, taking a step forward and staring in Jo's d
4420 Rien, the Assassin. His face shows considerable al
4421 sees.
4422 </p><p><p ID="slug"> LOBBY - (DAY) - MEDIUM. SHOT
4423 </p><p><p ID="act"> From his viewpoint Jo is half-turned in his direct
4424 Her head is still down. Slowly she looks up. Her m
4425 when she sees the man she once saw in the corridor
4426 Marrakesh.
4427 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4428 </p><p><p ID="act"> Rien, with a quick thought, hurries over to her.
4429 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4430 </p><p><p ID="act"> The two are in SEMI-CLOSEUP. He says to her quietl
4431 </p><p><P ID="speaker"> RIEN
4432 </p><P ID="dia"> You have a very nice little boy, madame.
4433 He turns to go. Jo clutches him and almost cries o
4434 Where Is he? Where is he?
4435 Rien does not reply. The CAMERA PANS him away. We
4436 </p><p><P ID="speaker"> Jo
4437 </p><P ID="dia"> woman escort and make their way for the staircase.
4438 </p><p> <P ID="right"> 124
4439 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4440 </p><p><p ID="act"> The CAMERA PULLS BACK and we now see that the crow
4441 is thinning out. Jo stands alone, jostled by a str
4442 arrivals. From the hall itself we can hear the SOU
4443 orchestra tuning up, followed by a burst of applau
4444 shouts which obviously herald the arrival of the v
4445 dignitary in his box.
4446 </p><p><p ID="slug"> LOBBY - (DAY) - SEMI-CLOSE UP
4447 </p><p><p ID="act"> Jo stares toward the opening into the hall. She se
4448 in. She crosses and the CAMERA FOLLOWS her to the
4449 to the outer corridor.
4450 </p><p><p ID="slug"> CORRIDOR - (DAY) - CLOSEUP
4451 </p><p><p ID="act"> Jo stands for a moment and then slowly crosses the
4452 main entrance where the ticket collector and a pro
4453 stand. As she approaches the opening, the ticket c
4454 forward.
4455 </p><p><P ID="speaker"> TICKET COLLECTOR
4456 </p><P ID="dia"> Your ticket, madam?
4457 Jo shakes her heads.
4458 </p><p><P ID="speaker"> JO
4459 </p><P ID="dia"> If you don't mind, I'm just looking for someone.
4460 She takes a step or two forward as some new arriva
4461 attention of the ticket collector. The programme g
4462 out of the scene.
4463 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4464 </p><p><p ID="act"> Jo stares at the vast hall in front of her.
4465 </p><p><p ID="slug"> HALL - (DAY) - LONG SHOT
4466 </p><p><p ID="act"> From her viewpoint she sees the complete hall, the
4467 choir assembled, and a round of applause is heard
4468 is seen threading his way toward the instruments a
4469 podium.
4470 </p><p><p ID="slug"> HALL - (DAY) - SEMI-CLOSEUP
4471 </p><p><p ID="act"> Jo steals a glance toward the box which first catc
4472 eye..
4473 </p><p> <P ID="right"> 125
4474 </p><p><p ID="slug"> HALL - (DAY) - LONG SHOT
4475 </p><p><p ID="act"> From her viewpoint she sees the flag-draped box of
4476 visitor. It is full of his entourage and seat slig
4477 of him in the second row 'Buchanan'
4478 is sitting. Nearer to her and in front of 'Buchana
4479 on one side of the dignitary is a be-medalled, blu
4480 individual who might be an Ambassador.
4481 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4482 </p><p><p ID="act"> Jo turns her head away and looks at the other side
4483 </p><p><p ID="slug"> HALL - (DAY) - LONG SHOT
4484 </p><p><p ID="act"> The CAMERA roves among the boxes. Suddenly it stop
4485 Assassin takes his seat with his woman escort like
4486 couple. They are quite casual in their behavior.
4487 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4488 </p><p><p ID="act"> Jo becomes transfixed. A sudden silence returns he
4489 the orchestra.
4490 </p><p><p ID="slug"> HALL - (DAY) - LONG SHOT
4491 </p><p><p ID="act"> From her viewpoint we see the full orchestra, the
4492 raised baton.
4493 </p><p><p ID="slug"> HALL - (DAY) - SEMI-LONG SHOT
4494 </p><p><p ID="act"> The Women's choir raise their sheets of music in u
4495 </p><p><p ID="slug"> HALL - (DAY) - FULL LONG SHOT
4496 </p><p><p ID="act"> From a point high above we see the whole hall, the
4497 the orchestra. The cantata starts with a roll on t
4498 burst of music.
4499 </p><p><p ID="slug"> HALL - (DAY) - LONG SHOT
4500 </p><p><p ID="act"> A nearer view of the orchestra.
4501 </p><p><p ID="slug"> HALL - (DAY) - SEMI-LONG SHOT
4502 </p><p><p ID="act"> A whole sweep of the orchestra with the choir
4503 predominant..
4504 </p><p> <P ID="right"> 126
4505 </p><p><p ID="slug"> HALL - (DAY) - SEMI-LONG SHOT
4506 </p><p><p ID="act"> A skimming shot over the top of the orchestra with
4507 the foreground predominant. The SOUND of these ins
4508 to dominate the other music due to their proximity
4509 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4510 </p><p><p ID="act"> The cellos -- again their sound dominates the scen
4511 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4512 </p><p><p ID="act"> The woodwinds -- the same sound effect.
4513 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4514 </p><p><p ID="act"> Now the brass. Their notes drown out the rest of t
4515 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4516 </p><p><p ID="act"> Now the double brass. As each of these shots follo
4517 we get more intimate with each group of instrument
4518 </p><p><p ID="slug"> HALL - (DAY) - SEMI-CLOSEUP
4519 </p><p><p ID="act"> To the timpani where we just hear the kettle drums
4520 </p><p><p ID="slug"> HALL - (DAY) - SEMI-CLOSEUP
4521 </p><p><p ID="act"> At last one individual, who is seated with legs cr
4522 folded, on a chair, and beside him on another chai
4523 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4524 </p><p><p ID="act"> The inert cymbals resting on their chair.
4525 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4526 </p><p><p ID="act"> Rien in his box is glancing toward the orchestra.
4527 beside him and slowly picks something up from a ch
4528 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4529 </p><p><p ID="act"> Jo stares up and catches her breath..
4530 </p><p> <P ID="right"> 127
4531 </p><p><p ID="slug"> HALL - (DAY) - MEDIUM SHOT
4532 </p><p><p ID="act"> From her viewpoint we see Rien is raising a pair o
4533 leather opera glasses which he puts to his eyes an
4534 target.
4535 </p><p><p ID="slug"> HALL - (DAY) - CLOSEUP
4536 </p><p><p ID="act"> Jo turns slowly and looks up at the dignitary's bo
4537 He is turning to the man beside him, whom we shall
4538 the Ambassador, and indicates with gestures how mu
4539 enjoying the concert. He looks back over his shoul
4540 the same gestures and comments to 'Buchanan'. Then
4541 forward, he settles back comfortably in his seat t
4542 music.
4543 </p><p><p ID="slug"> LOBBY - (DUSK) - LONG SHOT
4544 </p><p><p ID="act"> Through the doors we see a taxi pulling away and p
4545 door opens and a dishevelled Ben comes into the lo
4546 to the CAMERA and looks about him.
4547 </p><p><p ID="slug"> LOBBY - (DUSK) - MEDIUM SHOT
4548 </p><p><p ID="act"> From his viewpoint the lobby appears empty except
4549 solitary uniformed policeman.
4550 </p><p><p ID="slug"> LOBBY - (DUSK) - SEMI-CLOSEUP
4551 </p><p><p ID="act"> Ben look the other way and upstairs.
4552 </p><p><p ID="slug"> LOBBY - (DUSK) - SEMI-LONG SHOT
4553 </p><p><p ID="act"> From his viewpoint the other direction -- just emp
4554 </p><p><p ID="slug"> LOBBY - (DUSK) - CLOSEUP
4555 </p><p><p ID="act"> We see Ben's bewilderment as to what to do and whe
4556 him up to the first corridor entrance that leads t
4557 circular corridor. Ben enters.
4558 His face lights up.
4559 </p><p><p ID="slug"> CORRIDOR - (DUSK) - SEMI-LONG SHOT
4560 </p><p><p ID="act"> From his viewpoint we see through the opening the
4561 and the program girl standing at the opening leadi
4562 aisle. On the right, standing with her back to him
4563 Jo..
4564 </p><p> <P ID="right"> 128
4565 </p><p><p ID="slug"> HALL - (DUSK) - MEDIUM SHOT
4566 </p><p><p ID="act"> The CAMERA PANS Ben as he hurries forward. He touc
4567 on the shoulder. She turns, startled, and manages
4568 exclamation on seeing him. We do not hear what the
4569 by their pantomime we see that Jo is telling Ben a
4570 impending shooting. Ben argues with her. He indica
4571 Buchanan. She frantically restrains him but he sha
4572 dashes away.
4573 </p><p><p ID="slug"> LOBBY - (DUSK) - SEMI-LONG SHOT
4574 </p><p><p ID="act"> We see Ben ascending the stairs originally taken b
4575 and his group.
4576 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT
4577 </p><p><p ID="act"> Ben comes into the corridor and looks about him. B
4578 a group of men obviously detectives, and ahead of
4579 constable. We see Ben hurry in his direction.
4580 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT
4581 </p><p><p ID="act"> Ben comes up to the constable and is about to pass
4582 stopped. We again do not hear the dialogue, but th
4583 shows that Ben is trying to get to Buchanan. The c
4584 quite know what to make of Ben's dramatic plea. He
4585 he must talk to his superior. Ben waits impatientl
4586 constable goes over to one of the Inspectors who i
4587 small group a little way off. From his viewpoint w
4588 constable addressing the Inspector with skeptical
4589 in Ben's direction.
4590 </p><p><p ID="slug"> HALL - (DUSK) - SEMI-CLOSEUP
4591 </p><p><p ID="act"> Jo, looking over her shoulder and then up to the b
4592 dignitary. She turns desperately towards the direc
4593 Assassin's box.
4594 </p><p><p ID="slug"> HALL - (DUSK) - SEMI-LONG SHOT
4595 </p><p><p ID="act"> Another view of the orchestra, but the duration of
4596 screen is much quicker.
4597 </p><p><p ID="slug"> HALL - (DUSK) - SEMI-LONG SHOT
4598 </p><p><p ID="act"> A flash of the Violins..
4599 </p><p> <P ID="right"> 129
4600 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4601 </p><p><p ID="act"> A flash of the cellos.
4602 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4603 </p><p><p ID="act"> A quick flash of the brass.
4604 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4605 </p><p><p ID="act"> A timpani section.
4606 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4607 </p><p><p ID="act"> The cymbals still laying on the chair.
4608 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
4609 </p><p><p ID="act"> The Inspector is turning to Ben, the Constable on
4610 in pantomime the Inspector questioning the impatie
4611 leaves Ben and goes over to the men standing outsi
4612 the box. Ben half-turns away with exasperation tow
4613 </p><p><p ID="slug"> HALL - (NIGHT) - MED. SHOT
4614 </p><p><p ID="act"> The conductor in the foreground. We see a quick sh
4615 orchestra beyond.
4616 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4617 </p><p><p ID="act"> The singers.
4618 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4619 </p><p><p ID="act"> The timpani.
4620 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4621 </p><p><p ID="act"> We see a different angle the cymbals filling the s
4622 CAMERA PULLS BACK quickly and the man who is to wi
4623 his arms and uncrosses his legs. He leans forward
4624 score.
4625 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
4626 </p><p><p ID="act"> Ben is still waiting for the Inspector to discuss
4627 plainclothesman. He turns and hurries away, the CA
4628 him..
4629 </p><p> <P ID="right"> 130
4630 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4631 </p><p><p ID="act"> Jo is almost weeping with the effect of the singin
4632 emotional stress she is going through.
4633 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4634 </p><p><p ID="act"> In the orchestra, the cymbal player now places one
4635 cymbals on the chair.
4636 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4637 </p><p><p ID="act"> In the box the Assassin places his hand for the fi
4638 his coat towards his holster. The CAMERA PULLS BAC
4639 woman sitting with him, seeing this gesture, risin
4640 away into the dark recesses of the box.
4641 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
4642 </p><p><p ID="act"> Ben is now quickly listening into the section behi
4643 one of which is occupied by the Assassin.
4644 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
4645 </p><p><p ID="act"> Ben looks along the corridor.
4646 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT
4647 </p><p><p ID="act"> From his viewpoint we see rows of boxes.
4648 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
4649 </p><p><p ID="act"> Ben is a little nonplussed. He approaches one.
4650 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - MEDIUM SHOT
4651 </p><p><p ID="act"> The plainclothesmen and two uniformed policemen ar
4652 toward CAMERA looking for the departed Ben.
4653 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4654 </p><p><p ID="act"> Back in the orchestra the conductor is wielding hi
4655 vigorously. He swings over a sheet of music.
4656 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-LONG SHOT
4657 </p><p><p ID="act"> The choir turns over their music..
4658 </p><p> <P ID="right"> 131
4659 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4660 </p><p><p ID="act"> The cymbal player turns over his music. He looks a
4661 front of him and for the first time picks up the c
4662 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
4663 </p><p><p ID="act"> A closer view of Ben shows him trying another door
4664 surreptitiously. He looks in and then softly close
4665 moves further along and tries another door with th
4666 movement.
4667 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4668 </p><p><p ID="act"> The Assassin now has his gun out in the darkness o
4669 the box.
4670 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4671 </p><p><p ID="act"> The cymbal player watching his music, his cymbals
4672 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4673 </p><p><p ID="act"> From his viewpoint with the cymbals tipping the bo
4674 screen, we see all his music. It is blank.
4675 The CAMERA SWIFTLY MOVES IN to the bottom of the r
4676 showing the one note he is to strike.
4677 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4678 </p><p><p ID="act"> Jo becoming more anxious and desperate. She looks
4679 Assassin's box with horror as she sees:
4680 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4681 </p><p><p ID="act"> The Assassin's figure moving forward and the tip o
4682 the first time.
4683 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4684 </p><p><p ID="act"> The conductor looks up towards the cymbal player.
4685 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4686 </p><p><p ID="act"> The player raises the cymbals.
4687 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4688 </p><p><p ID="act"> A close view of the poised gun in the Assassin's b
4689 </p><p> <P ID="right"> 132
4690 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - CLOSEUP
4691 </p><p><p ID="act"> Ben trying one more box door. He again closes it a
4692 more.
4693 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4694 </p><p><p ID="act"> The dignitary's pleased and smiling face.
4695 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4696 </p><p><p ID="act"> The gun poised. It fills the screen.
4697 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4698 </p><p><p ID="act"> The cymbals are held in the foreground and through
4699 the orchestra and the conductor beyond.
4700 The conductor looks up from his score and points d
4701 the cymbal player.
4702 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4703 </p><p><p ID="act"> The cymbals clash together.
4704 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4705 </p><p><p ID="act"> Jo leaping forward with a scream.
4706 </p><p><p ID="slug"> HALL - (NIGHT) - CLOSEUP
4707 </p><p><p ID="act"> The dignitary is clutching his arm and slumping fo
4708 We gain an impression of those around leaping to t
4709 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4710 </p><p><p ID="act"> The people around Jo, startled as they rise in the
4711 turn back to her.
4712 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
4713 </p><p><p ID="act"> Ben dashes to a final door and swinging it open fi
4714 face-to-face with the Assassin. The latter's hand
4715 holster. He pulls out his gun. Ben lunges forward
4716 </p><p><p ID="slug"> ASSASSIN'S BOX - (NIGHT) - CLOSEUP
4717 </p><p><p ID="act"> The Assassin staggers back and we hear the clatter
4718 it falls to the floor..
4719 </p><p> <P ID="right"> 133
4720 He immediately turns towards the CAMERA looking fo
4721 escape. He leaps to the edge of the box to go over
4722 one. He slips.
4723 </p><p><p ID="slug"> ASSASSIN'S BOX - (NIGHT) - SEMI-LONG SHOT
4724 </p><p><p ID="act"> We see the Assassin fall with a crash into the ais
4725 Ben dashes forward in the box.
4726 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-LONG SHOT
4727 </p><p><p ID="act"> The soprano singers in the middle of their note qu
4728 to a unified scream.
4729 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-LONG SHOT
4730 </p><p><p ID="act"> The music trails off as the orchestra rises to its
4731 startling occurrence.
4732 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-LONG SHOT
4733 </p><p><p ID="act"> The hall is in an uproar.
4734 </p><p><p ID="slug"> HALL - (NIGHT) - MEDIUM SHOT
4735 </p><p><p ID="act"> The people around the dignitary in his box are bac
4736 him air. Someone is examining his wound.
4737 He see by his movements and a shake of his head th
4738 dead.
4739 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-CLOSEUP
4740 </p><p><p ID="act"> Jo is still standing looking up.
4741 </p><p><p ID="slug"> HALL - (NIGHT) - SEMI-LONG SHOT
4742 </p><p><p ID="act"> From her viewpoint she sees Ben leaning over the b
4743 looking down at the dead Assassin below.
4744 The door opens and the uniformed and plainclothes
4745 The box.
4746 </p><p><p ID="slug"> LOBBY - (NIGHT) - LONG SHOT
4747 </p><p><p ID="act"> There is utter confusion in the lobby, police dash
4748 either side.
4749 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-LONG SHOT
4750 </p><p><p ID="act"> We see Ben hurrying down the stairs. Jo rushes int
4751 seeing Ben, dashes towards him..
4752 </p><p> <P ID="right"> 134
4753 A few of the people around the lobby begin to look
4754 We see the Assistant Manager hurry over to them. T
4755 group of three, and although we do not actually he
4756 due to the hubbub, he is obviously questioning Ben
4757 solicitous to Jo.
4758 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-CLOSEUP
4759 </p><p><p ID="act"> We go close just in time to catch the tail-end of
4760 conversation. Ben is just saying:
4761 </p><p><P ID="speaker"> BEN
4762 </p><P ID="dia"> Then he didn't kill him?
4763 </p><p><P ID="speaker"> ASSISTANT MANAGER
4764 </p><P ID="dia"> Your wife saved him -- it is only a small flesh wo
4765 is now...you must come and meet him...don't be ner
4766 the aide to present you...it will be all right (To
4767 Would you present the lady to the prime minister?
4768 Suddenly their attention is drawn to something off
4769 stairs. The hubbub increases.
4770 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-LONG SHOT
4771 </p><p><p ID="act"> From their viewpoint we see the Prime Minister, ob
4772 wounded sufficiently to incapacitate, being escort
4773 stairs by his Aide and other members of the staff,
4774 Woburn of the Special Branch. The Prime Minister i
4775 arm and obviously by the way he waves his hands, i
4776 their concern about his wound. In fact he is rathe
4777 Just beyond them at the top of the stairs we see '
4778 standing with the Ambassador.
4779 </p><p><p ID="slug"> LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
4780 </p><p><p ID="act"> 'Buchanan' is reassuring the Ambassador.
4781 </p><p><P ID="speaker"> BUCHANAN
4782 </p><P ID="dia"> I'll report to you fully at the Embassy, Your Exce
4783 meantime...
4784 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-CLOSEUP
4785 </p><p><p ID="act"> The manager is leading Ben and Jo across to the fo
4786 stairs. They are reluctant but he insists. As the
4787 over they meet the group at the bottom at the stai
4788 calls out to Mr.
4789 Woburn and indicates Ben and Jo..
4790 </p><p> <P ID="right"> 135
4791 </p><p><p ID="slug"> LOBBY STAIRS - (NIGHT) - CLOSEUP
4792 </p><p><p ID="act"> Woburn is a little non-plussed. He leans over to o
4793 Minister's Aides. The latter's face lights up. He
4794 whispers something to the Prime Minister. The Prim
4795 all smiles.
4796 </p><p><p ID="slug"> LOBBY - (NIGHT) - MEDIUM SHOT
4797 </p><p><p ID="act"> Woburn steps down and introduces Ben and Jo to the
4798 Minister's Aide.
4799 </p><p><P ID="speaker"> WOBURN
4800 </p><P ID="dia"> Mr. Prime Minister, this is the lady who -- The Pr
4801 interrupts enthusiastically.
4802 </p><p><P ID="speaker"> PRIME MINISTER
4803 </p><P ID="dia"> My dear lady, I shall be for ever in your debt.
4804 </p><p><P ID="speaker"> WOBURN
4805 </p><P ID="dia"> And this is her husband -- The Prime Minister inte
4806 less enthusiastically.
4807 </p><p><P ID="speaker"> PRIME MINISTER
4808 </p><P ID="dia"> A pleasure, my dear sir...
4809 </p> <P ID="spkdir"> (He turns to Jo)
4810 </p><P ID="dia"> I trust you will permit me to wait upon you tomorr
4811 express the depth of my gratitude.
4812 </p><p><P ID="speaker"> JO
4813 </p> <P ID="spkdir"> (Weakly)
4814 </p><P ID="dia"> It wasn't -- it wasn't -- PRIME MINISTER
4815 </p> <P ID="spkdir"> (Gallantly)
4816 </p><P ID="dia"> Oh but it was, my dear lady.
4817 There is an awkward pause. The Prime Minister coll
4818 turns to move on out of the hall, the police makin
4819 for him through the crowd. We see the Ambassador h
4820 picture and moving across the screen quickly to fo
4821 Minister.
4822 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-CLOSEUP
4823 </p><p><p ID="act"> Ben and Jo stand for a moment not knowing what to
4824 go next. Woburn standing with Ben and Jo.
4825 They look up and see Buchanan..
4826 </p><p> <P ID="right"> 136
4827 </p><p><P ID="speaker"> WOBURN
4828 </p><P ID="dia"> I think Mr. Buchanan would like to talk to you.
4829 </p><p><p ID="slug"> LOBBY - (NIGHT) - SEMI-LONG SHOT
4830 </p><p><p ID="act"> From their viewpoint a grim 'Buchanan' is standing
4831 the stairs.
4832 </p><p><p ID="slug"> LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
4833 </p><p><p ID="act"> The CAMERA PANS Ben and Jo up the stairs towards '
4834 increase their pace towards him.
4835 </p><p><p ID="slug"> UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
4836 </p><p><p ID="act"> When they reach him they have only one thought in
4837 ask him.
4838 </p><p><P ID="speaker"> JO
4839 </p> <P ID="spkdir"> (Wildly)
4840 </p><P ID="dia"> Where's our boy? Where's Hank?
4841 </p><p><P ID="speaker"> BUCHANAN
4842 </p> <P ID="spkdir"> (quietly)
4843 </p><P ID="dia"> We can talk if you'll come in here.
4844 The CAMERA PANS the three across the top landing a
4845 of the 'Green Room' There are various police stand
4846 some of Special Branch men can be seen inside the
4847 steps aside too allow Jo to enter. Then he and Ben
4848 The door closes behind them.
4849 </p><p><p ID="slug"> GREEN ROOM - (NIGHT) - MEDIUM SHOT
4850 </p><p><p ID="act"> The three of them enter the 'Green Room', generall
4851 principal Artistes appearing at Royal Albert Hall.
4852 to two Special Branch men who are standing about i
4853 needed. The room is informal containing arm chairs
4854 number of small tables. Jo sits down wearily into
4855 chair. Ben remains standing, Buchanan takes a seat
4856 a telephone, he looks up at Ben as if he expects h
4857 something. Ben responds to the look.
4858 </p><p><P ID="speaker"> BUCHANAN
4859 </p> <P ID="spkdir"> (Coldly)
4860 </p><P ID="dia"> So you both know the time and place all along.
4861 </p><p><P ID="speaker"> BEN
4862 </p> <P ID="spkdir"> (Roughly)
4863 </p><P ID="dia"> Don't be a fool..
4864 </p><p> <P ID="right"> 137
4865 </p><p><P ID="speaker"> BUCHANAN
4866 </p><P ID="dia"> An odd coincidence -- both of you turning up here.
4867 </p><p><P ID="speaker"> BEN
4868 </p> <P ID="spkdir"> (Coldly)
4869 </p><P ID="dia"> Too bad you didn't contact your assistant. He sent
4870 </p><p><P ID="speaker"> BUCHANAN
4871 </p> <P ID="spkdir"> (Quickly)
4872 </p><P ID="dia"> I beg your pardon.
4873 </p><p><P ID="speaker"> BEN
4874 </p><P ID="dia"> You see, we finally needed that help you offered.
4875 it.
4876 </p><p><P ID="speaker"> JO
4877 </p> <P ID="spkdir"> (Urgently)
4878 </p><P ID="dia"> Yes, Mr. Buchanan. We still need it.
4879 The door opens and another member of the Special B
4880 </p><p><P ID="speaker"> DETECTIVE
4881 </p><P ID="dia"> Sir?
4882 Buchanan nods to him to speak.
4883 </p><p><P ID="speaker"> DETECTIVE
4884 </p><P ID="dia"> We've questioned the woman. Said she bought a tick
4885 to place her in the same box with the man that did
4886 Doesn't know anything -- but if she does, she's no
4887 </p><p><P ID="speaker"> BUCHANAN
4888 </p><P ID="dia"> I'll see her later.
4889 </p><p><P ID="speaker"> DETECTIVE
4890 </p><P ID="dia"> Very good, sir.
4891 The Detective exits as Ben sits down dejectedly in
4892 </p><p><P ID="speaker"> BUCHANAN
4893 </p> <P ID="spkdir"> (Gently)
4894 </p><P ID="dia"> Please tell me everything, now.
4895 Everything.
4896 </p> <P ID="spkdir"> (go turns to Jo)
4897 </p><P ID="dia"> There's still plenty of room for hope, Mrs. McKenn
4898 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MED. SHOT
4899 </p><p><p ID="act"> A high CAMERA shows us a large hallway and ornate
4900 ballroom..
4901 </p><p> <P ID="right"> 138
4902 As yet the room is about quarter filled and variou
4903 Diplomatic Corps and others are gradually adding t
4904 CAMERA DOLLIES DOWN over them until it reaches sli
4905 doorway. Peering cautiously through we see the fac
4906 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MED. CLOSE SHOT
4907 </p><p><p ID="act"> On the other side of the doorway is Drayton and hi
4908 pacing nervously behind him. A footman comes up to
4909 announces:
4910 </p><p><P ID="speaker"> FOOTMAN
4911 </p><P ID="dia"> His Excellency will see you now.
4912 Drayton motions to his wife and the CAMERA PANS th
4913 footman across a small hallway. He is the very sam
4914 among the group of servants who were herded out of
4915 opens a door in front of the Draytons -- they ente
4916 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MED. CLOSE SHOT
4917 </p><p><p ID="act"> Standing in front of a fireplace, above which is a
4918 of the Prime Minister, is the Ambassador whom we s
4919 Hall. He is on the telephone.
4920 </p><p><P ID="speaker"> AMBASSADOR
4921 </p><P ID="dia"> Yes...yes...I see. Well if the woman won't talk, s
4922 and that's that, I suppose. All right.
4923 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MED. CLOSE SHOT
4924 </p><p><p ID="act"> Mrs. Drayton closes the door behind the two as Dra
4925 towards the Ambassador with an easy manner, the CA
4926 him.
4927 </p><p><P ID="speaker"> DRAYTON
4928 </p> <P ID="spkdir"> (Easily)
4929 </p><P ID="dia"> Excuse me sir, I have a lot to explain to you -- s
4930 unusual has happened. I must also have the money t
4931 marksman.
4932 </p><p><P ID="speaker"> AMBASSADOR
4933 </p> <P ID="spkdir"> (Almost casually)
4934 </p><P ID="dia"> Wouldn't it be superfluous, considering that he's
4935 Drayton and his wife stare mutely at the Ambassado
4936 They are staggered at this news..
4937 </p><p> <P ID="right"> 139
4938 </p><p><P ID="speaker"> AMBASSADOR
4939 </p><P ID="dia"> His aim wasn't quite as good as you led me to expe
4940 merely received a slight flesh wound in the arm. W
4941 useless.
4942 Drayton still stares, petrified, at the Ambassador
4943 </p><p><P ID="speaker"> AMBASSADOR
4944 </p><P ID="dia"> Then your French friend panicked, and made a fatal
4945 landing on the floor of the Albert Hall.
4946 </p><p><P ID="speaker"> DRAYTON
4947 </p> <P ID="spkdir"> (Blustering weakly)
4948 </p><P ID="dia"> I don't see how you can hold me responsible. He wa
4949 recommended by our people in Marrakesh...
4950 The Ambassador now begins to get really nasty.
4951 </p><p><P ID="speaker"> AMBASSADOR
4952 </p><P ID="dia"> I'm glad you're able to treat the matter so lightl
4953 a reception here this evening. In a few minutes, I
4954 our Prime Minister as my guest of honor -- when I
4955 expected that he would be totally unable to attend
4956 you, no doubt?
4957 </p><p><P ID="speaker"> DRAYTON
4958 </p> <P ID="spkdir"> (Feebly)
4959 </p><P ID="dia"> I don't know what to say ...
4960 </p><p><P ID="speaker"> AMBASSADOR
4961 </p> <P ID="spkdir"> (Brutally)
4962 </p><P ID="dia"> No. But I do. You've muddled everything from the s
4963 that child in Marrakesh...Don't you realize that A
4964 having their children kidnapped?
4965 </p><p><P ID="speaker"> DRAYTON
4966 </p> <P ID="spkdir"> (Trying to keep his end up)
4967 </p><P ID="dia"> How else could I make sure the American would hold
4968 </p><p><P ID="speaker"> AMBASSADOR
4969 </p> <P ID="spkdir"> (Ignoring this)
4970 </p><P ID="dia"> And then, to crown it all, you get cold feet and c
4971 along here to hide -- and bring the child with you
4972 what you've done to the diplomatic status of this
4973 Embassy?.
4974 </p><p> <P ID="right"> 140
4975 </p><p><P ID="speaker"> DRAYTON
4976 </p> <P ID="spkdir"> (Weakly)
4977 </p><P ID="dia"> I didn't think...I only thought...
4978 </p><p><P ID="speaker"> AMBASSADOR
4979 </p> <P ID="spkdir"> (Staccato)
4980 </p><P ID="dia"> How are you going to get the child out of here, eh
4981 </p><p><P ID="speaker"> DRAYTON
4982 </p> <P ID="spkdir"> (Struggling for self-confidence)
4983 </p><P ID="dia"> There's no difficulty about that, surely? The car
4984 </p> <P ID="spkdir"> (Interrupting)
4985 </p><P ID="dia"> With plain-clothes detectives planted right round
4986 </p> <P ID="spkdir"> (Wryly)
4987 </p><P ID="dia"> You English intellectuals will be the death of us
4988 </p><p><P ID="speaker"> DRAYTON
4989 </p> <P ID="spkdir"> (Desperate)
4990 </p><P ID="dia"> I'll think of some method. Just give me time....
4991 </p><p><P ID="speaker"> AMBASSADOR
4992 </p> <P ID="spkdir"> (He snorts Contemptuously)
4993 </p><P ID="dia"> Time!
4994 The Ambassador paces a moment, suppressing his rag
4995 stops and looks at Drayton as if thinking about so
4996 </p><p><P ID="speaker"> AMBASSADOR
4997 </p><P ID="dia"> I want the child removed from this Embassy, and re
4998 way that he won't be able to say any more where he
4999 tonight.
5000 </p><p><P ID="speaker"> MRS. DRAYTON
5001 </p><P ID="dia"> Oh, no!
5002 The Ambassador pauses and looks up at her in such
5003 she almost shrinks. She tries to say something, bu
5004 out of her half-open mouth.
5005 Drayton, however, answers the Ambassador with horr
5006 </p><p><P ID="speaker"> DRAYTON
5007 </p><P ID="dia"> Right, I'll see to it..
5008 Lucy Drayton looks at her husband with loathing. T
5009 tap on the door. The Ambassador looks up..
5010 </p><p> <P ID="right"> 141
5011 </p><p><P ID="speaker"> AMBASSADOR
5012 </p><P ID="dia"> Come in.
5013 The door opens and a butler enters.
5014 </p><p><P ID="speaker"> BUTLER
5015 </p><P ID="dia"> Your Excellency, the Princess should be arriving a
5016 The Ambassador braces himself, his chest swells ou
5017 assumes a set smile and strides from the room. Jus
5018 we hear a String Orchestra in the distance strike
5019 waltz music. The Ambassador goes out of the door.
5020 looking down at the floor.
5021 </p><p><p ID="slug"> GREEN ROOM - (NIGHT) - MEDIUM SHOT
5022 </p><p><p ID="act"> Ben is talking. Buchanan is listening carefully.
5023 </p><p><P ID="speaker"> BEN
5024 </p><P ID="dia"> ...recognized him, and he recognized me. So he jum
5025 that is all.
5026 </p><p><P ID="speaker"> BUCHANAN
5027 </p> <P ID="spkdir"> (Slowly)
5028 </p><P ID="dia"> Trying to liquidate one of their own big-shots. I
5029 stick to their usual custom, and do it in their ow
5030 At this moment the phone rings. Woburn, who is now
5031 two Special Branch men in the room, picks up the t
5032 </p><p><P ID="speaker"> WOBURN
5033 </p><P ID="dia"> Hello.
5034 </p> <P ID="spkdir"> (He listens for a moment)
5035 </p><P ID="dia"> Hold on.
5036 He turns the telephone over to Buchanan.
5037 </p><p><P ID="speaker"> BUCHANAN
5038 </p> <P ID="spkdir"> (To phone)
5039 </p><P ID="dia"> Buchanan speaking.
5040 Buchanan listens for a while, his face changing as
5041 increased interest.
5042 </p><p><P ID="speaker"> BUCHANAN
5043 </p><P ID="dia"> Right. Bye.
5044 Buchanan hangs up, turns to Woburn, but half speak
5045 direction of the McKenna's..
5046 </p><p> <P ID="right"> 142
5047 </p><p><P ID="speaker"> BUCHANAN
5048 </p><P ID="dia"> The Draytons are at the Embassy.
5049 </p><p><P ID="speaker"> JO
5050 </p><P ID="dia"> How do you know?
5051 </p><p><P ID="speaker"> BUCHANAN
5052 </p><P ID="dia"> We have ways of finding out -- from the inside.
5053 Ben almost shouts as he gets up from his chair.
5054 </p><p><P ID="speaker"> BEN
5055 </p><P ID="dia"> If the Draytons are at the Embassy, Hank has to be
5056 Buchanan turns his attention back to Ben.
5057 </p><p><P ID="speaker"> BUCHANAN
5058 </p> <P ID="spkdir"> (Grimly)
5059 </p><P ID="dia"> You're probably right. But we can do nothing.
5060 </p><p><P ID="speaker"> BEN
5061 </p><P ID="dia"> Why can't you?
5062 </p><p><P ID="speaker"> BUCHANAN
5063 </p><P ID="dia"> Every Embassy in a foreign country has extra-terri
5064 </p><p><P ID="speaker"> BEN
5065 </p><P ID="dia"> What does that mean in common language?
5066 </p><p><P ID="speaker"> BUCHANAN
5067 </p><P ID="dia"> As far as we're concerned, this Embassy stands on
5068 </p><p><P ID="speaker"> BEN
5069 </p><P ID="dia"> Does that mean they can steal children and get awa
5070 </p><p><P ID="speaker"> BUCHANAN
5071 </p><P ID="dia"> We could have the Foreign Office serve a writ on t
5072 He breaks off and speaks apologetically as If it w
5073 parenthesis.
5074 </p><p><P ID="speaker"> BUCHANAN
5075 </p><P ID="dia"> ...You know, I'm not responsible for the complicat
5076 International Law...
5077 He resumes:
5078 </p><p><P ID="speaker"> BUCHANAN
5079 </p><P ID="dia"> ...If only we had positive proof that the boy real
5080 there..
5081 </p><p> <P ID="right"> 143
5082 </p><p><p ID="act"> As they are talking Ben is thinking hard, obviousl
5083 scheme in his mind.
5084 </p><p><P ID="speaker"> BEN
5085 </p><P ID="dia"> What's the telephone number of this Embassy.
5086 </p><p><p ID="act"> Both of the men looking at Ben a moment without an
5087 Woburn speaks first.
5088 </p><p><P ID="speaker"> WOBURN
5089 </p><P ID="dia"> Grosvenor 0144.
5090 </p><p><P ID="speaker"> JO
5091 </p><P ID="dia"> What are you thinking about, Ben?
5092 </p><p><p ID="act"> Without answering Jo, Ben picks up the 'phone.
5093 </p><p><P ID="speaker"> BEN
5094 </p><P ID="dia"> Grosvenor 0144.
5095 </p><p><p ID="act"> Ben looks at the group briefly. Buchanan looks at
5096 curiosity.
5097 </p><p><P ID="speaker"> BEN
5098 </p><P ID="dia"> I'm going to speak to the Minister himself.
5099 </p><p><p ID="act"> Buchanan looks intrigued and surprised. We hear th
5100 click on the other end of the phone.
5101 </p><p><P ID="speaker"> BEN
5102 </p><P ID="dia"> May I speak to the Prime Minister, please?
5103 </p><p><p ID="act"> There is a pause and the distorted sound of a voic
5104 the other end of the phone. Ben interrupts the que
5105 </p><p><P ID="speaker"> BEN
5106 </p><P ID="dia"> Tell him the lady who saved his life wants to spea
5107 important.
5108 </p><p><p ID="act"> The voice on the other end of the phone mumbles br
5109 is silent. Ben has a satisfied look on his face, a
5110 receiver to Jo. She seems frightened.
5111 </p><p><P ID="speaker"> JO
5112 </p><P ID="dia"> What am I supposed to say, Ben? I don't know -- (S
5113 Ben, half looking at Woburn and Buchanan, gives he
5114 </p><p><P ID="speaker"> BFN
5115 </p><P ID="dia"> He said he wanted to visit us soon so he could tha
5116 </p> <P ID="spkdir"> (MORE).
5117 </p><p> <P ID="right"> 144
5118 </p><p><P ID="speaker"> BFN (CONT'D)
5119 </p><P ID="dia"> Well, tell him we'd like to see him tonight, at th
5120 because we have to leave London tomorrow.
5121 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5122 </p><p><p ID="act"> In the Ambassador's study underneath the oil paint
5123 the Prime Minister is escorted to a telephone by t
5124 hands him the instrument.
5125 Having been told who was on the other and of the l
5126 smiles as he greets Jo.
5127 </p><p><P ID="speaker"> PRIME MINISTER
5128 </p><P ID="dia"> My dear lady...This is a charming surprise...
5129 He listens to the other end of the phone, agreeabl
5130 such as "ah ha" "ah" "hum", then he speaks, with a
5131 of his hand and a half bow to the telephone.
5132 </p><p><P ID="speaker"> PRIME MINISTER
5133 </p><P ID="dia"> Delighted, delighted, delighted. The Ambassador, t
5134 delighted.
5135 Any friends of mine are friends of his. We will dr
5136 toast to your country and to mine. Peacefully we w
5137 co-exist...Yes?
5138 He looks up to admire the painting of himself on t
5139 </p><p><p ID="slug"> GREEN ROOM - (NIGHT) - MEDIUM CLOSE SHOT
5140 </p><p><p ID="act"> Jo hangs up the phone, a little surprised and stil
5141 nervous.
5142 </p><p><P ID="speaker"> JO
5143 </p> <P ID="spkdir"> (To Ben)
5144 </p><P ID="dia"> He said -- all right.
5145 LAP DISSOLVE TO:
5146 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM LONG SHOT
5147 </p><p><p ID="act"> A taxi pulls up in the front of the large, old-fas
5148 The windows are brightly lighted, evidence of a so
5149 Ben and Jo get out of the taxi.
5150 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5151 </p><p><p ID="act"> Ben pays the driver, takes Jo's arm, and they star
5152 of the Embassy. The CAMERA PANS them..
5153 </p><p> <P ID="right"> 145
5154 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5155 </p><p><p ID="act"> Ben presses the doorbell. His grip on Jo's's arm s
5156 her hand. He holds it tightly.
5157 The door opens, and a liveried man ushers them in
5158 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5159 </p><p><p ID="act"> They enter a large hallway. The liveried man close
5160 Standing in a nearby doorway is a group of people
5161 music of a string quartet playing in the room beyo
5162 the group is the Personal Aide of the Prime Minist
5163 and Ben enter, hurries over to them, smiling and e
5164 The piece that the string quartet is playing ends
5165 polite applause. There are people rising from thei
5166 general movement out into the hallway.
5167 </p><p><P ID="speaker"> AIDE
5168 </p><P ID="dia"> Good even. Would you come this way, please? The Pr
5169 waiting for you.
5170 Following the Aide, Ben and Jo squeeze through the
5171 doorway.
5172 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5173 </p><p><p ID="act"> The Aide leads Ben and Jo through the main room, t
5174 DOLLIES them. As they move through the room people
5175 them, first of all because they are not dressed fo
5176 -- but then the looks seem to be admiriing ones, a
5177 smattering of applause at their passage. Apparentl
5178 recognize them. The Aide takes them to the Prime M
5179 just getting up from his seat of honor in the firs
5180 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5181 </p><p><p ID="act"> The Prime Minister recognizes them immediately, an
5182 quickly to meet them.
5183 </p><p><P ID="speaker"> PRIME MINISTER
5184 </p> <P ID="spkdir"> (Effusively)
5185 </p><P ID="dia"> Good evening, good evening!
5186 The Ambassador is behind the Prime Minister, and t
5187 Minister turns to him with enthusiasm.
5188 </p><p><P ID="speaker"> PRIME MINISTER
5189 </p><P ID="dia"> This is the charming lady who saved my life at the
5190 Concert!.
5191 </p><p> <P ID="right"> 146
5192 The Ambassador comes forward quickly, all smiles.
5193 </p><p><P ID="speaker"> AMBASSADOR
5194 </p> <P ID="spkdir"> (Suavely)
5195 </p><P ID="dia"> Madame, you saved the life of the one man, who is
5196 our Country.
5197 </p><p><P ID="speaker"> PRIME MINISTER
5198 </p> <P ID="spkdir"> (Suddenly to Jo)
5199 </p><P ID="dia"> They tell me you are the famous Jo Conway, Madame?
5200 </p><p><P ID="speaker"> JO
5201 </p><P ID="dia"> Yes. I'm Jo Conway.
5202 </p><p><P ID="speaker"> PRIME MINISTER
5203 </p> <P ID="spkdir"> (To Ben)
5204 </p><P ID="dia"> Do you think perhaps Madame might be persuaded to
5205 </p><p><P ID="speaker"> BEN
5206 </p> <P ID="spkdir"> (interrupting)
5207 </p><P ID="dia"> I'm sure she would be glad to...
5208 wouldn't you dear?
5209 </p><p><P ID="speaker"> JO
5210 </p><P ID="dia"> Well, I don't know. It's been some time...
5211 </p><p><P ID="speaker"> PRIME MINISTER
5212 </p><P ID="dia"> I beg you, Madame. A tranquil coda to conclude a d
5213 </p><p><P ID="speaker"> JO
5214 </p><P ID="dia"> All right. I'm very flattered.
5215 </p><p><P ID="speaker"> AMBASSADOR
5216 </p> <P ID="spkdir"> (To butler)
5217 </p><P ID="dia"> Stanis would you put up some chairs quickly.
5218 </p> <P ID="spkdir"> (To guests)
5219 </p><P ID="dia"> Ladies and gentlemen, we have with us tonight...Jo
5220 famous Jo Conway...she has graciously consented to
5221 </p> <P ID="spkdir"> (To his wife)
5222 </p><P ID="dia"> Darling would you see that the Prime Minister has
5223 seat.
5224 They move off to seats -- Jo is led to piano by Am
5225 crosses to Ben.
5226 </p><p><P ID="speaker"> AIDE
5227 </p><P ID="dia"> Would you like to sit down, sir?
5228 </p><p><P ID="speaker"> BEN
5229 </p><P ID="dia"> No...I'll just stand over here..
5230 </p><p> <P ID="right"> 147
5231 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5232 </p><p><p ID="act"> Discreetly, Ben moves away from the group, and ove
5233 wall, the CAMERA PANNING HIM. All eyes are on Jo.
5234 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5235 </p><p><p ID="act"> Jo adjusts herself at the piano. Her face seems se
5236 up briefly with her eyes to check where Ben is.
5237 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5238 </p><p><p ID="act"> The people in the hallway, realizing there is to b
5239 entertainment, move toward the main room.
5240 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5241 </p><p><p ID="act"> A tries out the keys of the Piano.
5242 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5243 </p><p><p ID="act"> People are finding their seats. There is coughing,
5244 feet, and then a gradual hush.
5245 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5246 </p><p><p ID="act"> Ben watches Jo, and at the same time seems to be l
5247 the room, particularly toward the various exits.
5248 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5249 </p><p><p ID="act"> Having strummed a few notes, Jo settles down and p
5250 introduction to her song. We see the great tensene
5251 interposed with Professional smiles, which she bes
5252 nearest her, but always the tenseness returns. As
5253 voice seem to be rather overpowering. It fills the
5254 quite a volume. It almost seems out of place that
5255 so professional in such an intimate drawing room s
5256 </p><p><p ID="slug"> EMBASSY - (NIGHT) - FULL SHOT
5257 </p><p><p ID="act"> Everyone in the ballroom is listening intently, an
5258 at her singing..
5259 </p><p> <P ID="right"> 148
5260 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5261 </p><p><p ID="act"> The hallway, showing people crowded at the door, l
5262 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5263 </p><p><p ID="act"> The first landing on the flight of stairs above th
5264 one is around. Jo's voice loses some of its volume
5265 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5266 </p><p><p ID="act"> A higher stairway landing.
5267 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5268 </p><p><p ID="act"> A second floor corridor, deserted. Jo's voice fadi
5269 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5270 </p><p><p ID="act"> A door at the end of the corridor. We now hear the
5271 up clearly, but much diminished.
5272 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5273 </p><p><p ID="act"> In a room on the other side of the door, Hank McKe
5274 to the music. Hank seems a little puzzled.
5275 Then, his face lights up and he jumps suddenly to
5276 runs towards the door and begins trying to open it
5277 </p><p><P ID="speaker"> HANK
5278 </p><P ID="dia"> That's my Mother's voice! That's my Mother singing
5279 Mrs. Drayton is quite startled by Hank's performan
5280 </p><p><P ID="speaker"> MRS. DRAYTON
5281 </p><P ID="dia"> Hank -- are you sure? Are you really sure?
5282 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5283 </p><p><p ID="act"> Hank turns around at the doorway, to look at Mrs.
5284 Drayton.
5285 </p><p><P ID="speaker"> HANK
5286 </p><P ID="dia"> That's her! I know it!.
5287 </p><p> <P ID="right"> 149
5288 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5289 </p><p><p ID="act"> Mrs Drayton's face, still awed by what she has hea
5290 </p><p><P ID="speaker"> MRS. DRAYTON
5291 </p><P ID="dia"> What is she doing here?
5292 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5293 </p><p><p ID="act"> Hank, a little mystified, has no answer. He walks
5294 the room, towards Mrs. Drayton, listening and thin
5295 he hears.
5296 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5297 </p><p><p ID="act"> Mrs. Drayton's face shows a new and dangerous thou
5298 it. She looks down at Hank.
5299 </p><p><P ID="speaker"> MRS. DRAYTON
5300 </p><P ID="dia"> Hank? -- can you whistle that song?
5301 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5302 </p><p><p ID="act"> He looks at her and nods abstractedly.
5303 </p><p><P ID="speaker"> HANK
5304 </p><P ID="dia"> I guess so.
5305 She kneels down quickly to him.
5306 MRS DRAYTON
5307 Then go on -- whistle it. Whistle it as loud as yo
5308 On Hank's face comes a little understanding. He ca
5309 what she means. Then he understands.
5310 He turns, and deliberately facing the door, starts
5311 song. He whistles loud and vigorously.
5312 Mrs. Drayton stands up and moves back to a chair,
5313 him.
5314 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5315 </p><p><p ID="act"> Down in the ballroom, Jo is looking up anxiously a
5316 deliberately breaks and pauses for a moment and so
5317 accompaniment. Then she hears it -- a faint whistl
5318 above, not enough for those around to appreciate i
5319 enough for the straining ears of Jo. She looks acr
5320 to find Ben, and her eyes go up..
5321 </p><p> <P ID="right"> 150
5322 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5323 </p><p><p ID="act"> Watching her, Ben understands. He gives her the sl
5324 agreement.
5325 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5326 </p><p><p ID="act"> Jo continues her song with almost excitement in he
5327 The CAMERA passes around her as it follows Ben as
5328 the wall slowly.
5329 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5330 </p><p><p ID="act"> Ben makes his way along the wall toward the far do
5331 leads to the grand staircase Everyone is so intent
5332 Jo, that his movement attracts no attention.
5333 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5334 </p><p><p ID="act"> At the bottom of the service stairs in the back of
5335 Drayton is standing with two men who came with him
5336 of them holds a short length of rope in his hand.
5337 </p><p><P ID="speaker"> DRAYTON
5338 </p><P ID="dia"> You two wait in the mail room. I'll bring him down
5339 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5340 </p><p><p ID="act"> Ben mounts two stairs leading up to the grand stai
5341 He looks about him cautiously.
5342 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5343 </p><p><p ID="act"> At the service stairs, Drayton goes up two stairs
5344 to the men. He looks at his watch.
5345 </p><p><P ID="speaker"> DRAYTON
5346 </p><P ID="dia"> I won't be a minute.
5347 He starts to move up one step.
5348 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5349 </p><p><p ID="act"> Up in the room, Hank is bent in a chair, sobbing,
5350 Drayton is kneeling by him, trying to reassure him
5351 She stops suddenly as she hears footsteps in the d
5352 rises to her feet, and as the footsteps grow and g
5353 at the boy desperately, She goes to the door, hear
5354 coming nearer and nearer. She looks across at the
5355 window..
5356 </p><p> <P ID="right"> 151
5357 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5358 </p><p><p ID="act"> The barred window.
5359 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5360 </p><p><p ID="act"> She looks down at Hank almost protectively, as the
5361 still nearer. She goes to Hank, kneels down again
5362 boy to her as the footsteps stop outside the door.
5363 the door, with horror.
5364 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5365 </p><p><p ID="act"> The door handle turns quietly, but firmly.
5366 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5367 </p><p><p ID="act"> Mrs. Drayton lets out a piercing scream. Hank's he
5368 door is heard bursting open.
5369 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5370 </p><p><p ID="act"> Ban stands in the doorway. He instantly rushes tow
5371 CAMERA PANNING him. Hank leaps to his feet, and th
5372 come together. No clear words are spoken, Just muf
5373 words as they hug each other. Then they release ea
5374 turn to look at Mrs. Drayton. She is standing, sta
5375 with horror. Ben turns quickly to look.
5376 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5377 </p><p><p ID="act"> Framed in the doorway is Drayton. Deftly he reache
5378 pocket and produces a small automatic.
5379 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5380 </p><p><p ID="act"> For a moment the group stands there in silence. Th
5381 </p><p><P ID="speaker"> BEN
5382 </p><P ID="dia"> I don't think you want to start any shooting, Dray
5383 those people downstairs, and police outside.
5384 Drayton looks at him without saying anything, but
5385 lower.
5386 Mrs. Drayton addresses her husband fiercely.
5387 </p><p><P ID="speaker"> MRS. DRAYTON
5388 </p><P ID="dia"> You've got to let the boy go!.
5389 </p><p> <P ID="right"> 152
5390 </p><p><P ID="speaker"> DRAYTON
5391 </p><P ID="dia"> Precisely my own notion, my dear.
5392 He moves forward on the group, gun poised. Hank cl
5393 father in fright, and Ben tenses himself, prepared
5394 necessary. Mrs. Drayton stares at her husband with
5395 Drayton addresses Ben amiably.
5396 </p><p><P ID="speaker"> DRAYTON
5397 </p><P ID="dia"> I'm sure you'll ba sensible, and help me out of he
5398 </p><p><P ID="speaker"> BEN
5399 </p><P ID="dia"> Don't ask me for help, you miserable....
5400 </p><p><p ID="slug"> EMBASSY - (NIGHT) - CLOSE SHOT
5401 </p><p><p ID="act"> Drayton seems unperturbed by Ben's refusal. He lea
5402 to the boy, and addresses him directly.
5403 </p><p><P ID="speaker"> DRAYTON
5404 </p><P ID="dia"> You wouldn't want your father to get hurt, would y
5405 </p><p><p ID="act"> Hank looks up towards his father. Drayton looks up
5406 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5407 </p><p><p ID="act"> Drayton's intentions are unmistakable. Ben looks d
5408 a hatred that is almost ready to explode, but he h
5409 to understand Drayton's meaning.
5410 Drayton straightens up, a slight smile on his face
5411 He slips the gun into his pocket, but still holds
5412 </p><p><P ID="speaker"> DRAYTON
5413 </p><P ID="dia"> We'll go down the stairs together in a casual sort
5414 we'll stroll along to the nearest taxi rank. I tru
5415 be any emotional outbursts...
5416 </p><p><P ID="speaker"> BEN
5417 </p> <P ID="spkdir"> (Interrupting)
5418 </p><P ID="dia"> There won't be. Hank -- don't say or do anything.
5419 Hank just nods. He's too frightened to talk.
5420 </p><p><P ID="speaker"> DRAYTON
5421 </p><P ID="dia"> Shall we go?
5422 Ben starts for the door with Hank, and Drayton mov
5423 other side of Hank. As they go through the door, M
5424 makes an instinctive step forward, if to attack Dr
5425 rear, but the sight of Hank in danger stops her..
5426 </p><p> <P ID="right"> 153
5427 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5428 </p><p><p ID="act"> The trio, Hank in the center, slowly strolls down
5429 toward the main stairway. The sound of Jo Conway's
5430 heard from below.
5431 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5432 </p><p><p ID="act"> SHOOTING FROM BELOW we see the big staircase empty
5433 then the three appear at the top.
5434 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5435 </p><p><p ID="act"> A closer view shows the terrified, tear-stained fa
5436 the tense features of Ben. Drayton seems carefully
5437 CAMERA MOVES DOWNWARD in front of them as they des
5438 coming from the ballroom ceases, as Jo finishes he
5439 There is the sound of great applause. The three ar
5440 steps from the bottom, when suddenly Ben shoots ou
5441 pushes Drayton forward. Taken by surprise, he stum
5442 down the stairs clumsily. Clutching for support wi
5443 the gun goes off in his pocket, and he remains in
5444 at the bottom of the stairs.
5445 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5446 </p><p><p ID="act"> The applause having died out, the shot is heard lo
5447 pour out of the ballroom into the hallway.
5448 </p><p><p ID="act"> They rush for the stairway, and Drayton's body, le
5449 Ambassador and the Prime Minister.
5450 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5451 </p><p><p ID="act"> As people crowd excitedly around the body, Ben is
5452 away from the scene, the CAMERA PANS them.
5453 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM SHOT
5454 </p><p><p ID="act"> Mrs. Drayton stops half-way down the stairway, and
5455 shook at the sight of her dead husband.
5456 </p><p><p ID="slug"> EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
5457 </p><p><p ID="act"> Inside the ballroom, which is emptying due to the
5458 to the corridor, Jo has risen from the piano and i
5459 to go out and see what has happened. In a moment,
5460 appear in the doorway. Hank rushes across the ball
5461 mother, who moves quickly when she sees him..
5462 </p><p> <P ID="right"> 154
5463 </p><p><P ID="speaker"> HANK
5464 </p><P ID="dia"> Mummy.
5465 </p><p><P ID="speaker"> JO
5466 </p><P ID="dia"> Hank.
5467 </p><p><p ID="act"> They embrace.
5468 QUICK LAP DISSOLVE TO:
5469 </p><p><p ID="slug"> CLARIDGE'S SUITE - (NIGHT) - MEDIUM SHOT
5470 </p><p><p ID="act"> Inside the McKenna's hotel room, the Parnells and
5471 guests are sprawled out in ungainly attitudes of s
5472 snoring pleasantly. The door of the room opens and
5473 McKennas appear. The sound awakes Val. He peers at
5474 and struggles to a sitting position. Ben closes th
5475 </p><p><P ID="speaker"> BEN
5476 </p><P ID="dia"> I'm sorry we were gone so long, Val, but we had to
5477 Hank.
5478 </p><p><p ID="act"> Ben's voice awakens the other women. They sit up,
5479 bewilderment at the smiling trio of Ben, Jo and Ha
5480 <P>
5481 FADE OUT
5482 <P>
5483 THE END
MUCH</B></I></U></SMALL> </p><p><P ID="speaker">
y John Michael Hayes
at the back of a motor coach with their
. We do not see much of the background
untryside from the windows at each side of
ACK down the aisle of the bus revealing
ey are a surprise, consisting of Arab men
ional civilian and French Army officer.
end of the bus.
couple of his companions, Arab.
THE REAR OF THE BUS, photographing the
tom of the screen is the destination
t opposite the window out of which the
have been able to read the words
intently out the window.
r been to Africa before? It looks
enna's window at the landscape moving by.
line of blue-grey mountains in the
last summer driving to Las Vegas.
t all that money at the cr -- BEN
k of exasperation, She smiles at him.
enna's window. The bus is entering a small
e and plaster building, narrow streets, a
ne camel. A few pedestrians, mostly Arab
k's shoulder.
, Hank. It's French Morocco.
es north of the Sahara Desert!
gh the center of the town. We move past a
oking drab and meager. The sun is strong
utside. He shrugs..
called it the Dark Continent.
Indianapolis!
ss his lips.
e Arab village into the open desert once
meness of the desert, Hank grows,
for something to do.
he seat and closes his eyes.
ovel out of her bag, finds her place. Hank
he aisle of the bus and test its
with him as he rather aimlessly makes for
aving left the Arab village, the bus picks
ng to bump and sway somewhat. When Hank is
f way down the aisle, the bus sways in a
anner, causing Hank to stagger.
lf, he thrusts out his hand to grab the
s the seat, and only succeeds in clutching
the veil from her face.
antly horrified, covers her face with her
ng and swaying, Hank staggers a bit
e still has, hold of the woman's
er face, but from the seat next to her,
n Arab rises and makes a sharp comment in
's robes are brown, with a turban-like hat
s of white and pale green cloth, The Arab
woman, toward Hank, repeating his demand.
rd the sound, wondering at the reason for
rear vision mirror for the source of the
oming Arab, and retreats uncertainly, not
lding the veil.
bes begins assaulting the boy in furious
he wants the veil.
woman, rise in their seats apparently
own-clothed Arab is saying. They being
e straining from their back seat and
o see what is wrong.
ickly and then back, indicating that Hank
t the Arab, both frightened and fascinated
nk retreats..
ssengers, everyone in the bus is in a
e Arab continues to advance on Hank
de of Arabic.
vances protectively toward his son and the
es himself against his mother, still with
n faces the Arab who stops, but continues
ing, talking.
ng Frenchman in civilian clothes rises
him to Ben and the Arab. He pushes in
ves him back a little, sharply silences
ins, in Arabic, to explain firmly that the
as an accident. The Arab isn't convinced,
rd Hank and takes the veil he is still
e hands it to the Arab with a sharp
seat. The Arab turns away carrying the
him AWAY, we see the spectators resuming
ddresses the Frenchman, a pleasant-looking
ithout your help, anything might have
ere are moments in life when we all need a
Mrs. McKenna.
y name is Louis Bernard.
Hank, who takes it.
was an accident.
ws for few accidents.
e. Next to Jo, there.
o. Jay oh.
o the seat next to Jo, who moves over
e other side so that Hank and Jo are
s. In the rear windows behind them we see
of French Morocco.
r Jo so long, nobody knows her by any
the back of his neck.
" You see, a Moslem woman never takes off
any circumstances.
ith some surprise.
h a small boy.
n" -- but he has trouble with "cat" and
e, Doctor?
he Good Samaritan..
Bernard, as if puzzled.
with somebody new.
convention in Paris. And while we were in
ke to see Morocco again.
en seems uncomfortable.
ca with an Army field hospital, that's
he seems annoyed at Louis Bernard's
Mr. Bernard?
tly from Paris?
Lisbon a few days.
e to truly enjoy Marrakesh.
hree days..
opping at the hotel Mamounia or La Menara?
ists of good taste.
through the windows of the bus, indicates
skirts of Marrakesh, a somewhat more
ugh the streets are narrow and crowded.
r. Bernard?
got them.
our garden back home is full of snails.
ed everything to got rid of them. We never
this, and as the bus continues on into
to be fairly good friends brought
charm of a little boy..
ough the streets busy with bicycle riders,
gs on their heads, men on foot leading
amel, carts, horse-drawn carriages
women, and ancient French automobiles.
"Medina" of Marrakesh, the market place
, shoppers, beggars, and the curious. It
op, the door opens, and the passengers
cKennas, together with Louis Bernard, are
ab helpers have already climbed to the
ad the baggage. The clean-cut airline
is in sharp contrast to the Hessianroped
ere are nearby fiacres to take the people
tions in the city, and some small,
CLOSE SHOT
our taxi to the hotel?
or, but unfortunately I have some business
, Mr. Bernard?
ad and speaks something in Arabic to a
ther the McKenna's bags, and one belonging
ater - perhaps we might have a drink
e the drinks in our suite.
e you to dinner.
r bargain.
can show you an intriguing Arab restaurant
ent, and the manner of eating exotic.
ame here for.
those Arabian Nights?
warm gesture.
travel to the hotel? By taxi? Fiacre?
in a wagon!
open horse-drawn carriages.
onfirmation. Ben nods assent.
r, and orders him in Arabia to put the
the first available carriage. He picks up
d to cocktails.
nd Pats Hank on the head.
casually strolls off toward the center of
atches him for a moment, while Ben turns
to his bags..
pat me on the head.
ting Louis, and steers Hank toward Ben,
the fiacre.
M CLOSE SHOT
r baggage aboard the carriage.
Hank into his seat.
horse-drawn convertible!
et place, and something she sees makes her
EMI-LONG SHOT
int, over the side of the carriage. The
, is talking wit the Arab in the brown
n hat. The same Arab who was assaulting
. They are talking pleasantly, and
ttention to it, when there is a sudden
ed command to the horse, and the carriage
Hank screams with delight.
the street with a rapid pace.
ouis Bernard.
EMI-LONG SHOT
ab have disappeared..
ED. CLOSE SHOT
seat, trying to evaluate whit she his
ecedes in the background. Hank is now
to the side of the carriage and watching
Bernard talking to that Arab.
at Hank for taking the woman's veil. He
alking like old friends.
they knew each other, and Louis Bernard
. What does that mean?
a very mysterious man.
u' re an American living in Indianapolis,
Good Samaritan. You have a garden with
o can spell haemoglobin. You went to a
ris. Stopped at Rome, Lisbon, Casablanca.
Africa with an Army field Hospital --
te. We were just talking casually...
telling. You might as well have handed him
make? I have nothing to hide.
rious Morocco.
ing through twisted, narrow streets, but --
taken seriously)
mad because he didn't ask any questions
without any expression. Then she malts
But I'll swallow it.
the driveway of the Hotel Mamounia. It is
elegantly landscaped. The CAMERA PANS it
otel. Several hotel employees move quickly
e McKennas descend, and assemble the
MED. CLOSE SHOT
or McKenna.
hing, m'sieu.
MED. SHOT
d, middle-aged couple emerge from the
d in a dark grey flannel suit. The woman
o-piece sweater and skirt, She catches
man with her beckons to a porter. They
re? Jevous prend.
CLOSE SHOT
then looks quickly away.
MED. CLOSE SHOT
Jo McKenna, the woman whispers something
er glance.
CLOSE SHOT
d the McKennas move into the hotel. As
A, Jo plucks at Ben's arm.
affectionate exasperation, and pushes her
tel. THE CAMERA PANS BACK to the couple
he woman is still looking after Jo
- MED. SHOT
e are in the double bedroom and single
in the Hotel Mamounia. We are able to see
room where Hank is, brushing his teeth
ses his getting ready for bed. Jo is
evening in a smart-looking outfit.
rawers and mirror. He just lust finished
om there is a balcony over-looking the
l table stands Louis Bernard dressed with
He is looking into the garden beyond. On
d a shaker of martinis.
- MED. CLOSE SHOT
ied by Hank. Jo is putting his clothes
ed his teeth and rinsed his mouth, emerges
ars pajamas, but still has his shoos on.
in. What's your pleasure?
and Alfred Drake. I'll be Alfred Drake.
er the key.
roduction to the song. He's quite
ops, takes a pose, and begins singing in a
boy I asked my mother "What will I be?"
r voice is obviously professional, but
will be will be The future's not ours to
ill be will be Que Sera Sera.
- CLOSE SHOT
ith some surprise, fascinated and
ing ability.
- CLOSE SHOT
is tie, pauses, and listens.
of pleasure and affection on his face.
in school I asked my teacher "What should
- MED. CLOSE SHOT
nk's hand and he does a turn around her as
will be will be The future's not ours to
Que Sera Sera!.
his mother, as she sings to him with
rmony accompaniment to the next verse.
y own They ask their mother "What will I
harmony together.
will be will be The future's not ours to
Sera Sera!
the song, there is a loud knocking at the
rails off.
- MED. SHOT
ghtening his tie on the way.
there with a tray of food.
single bedroom, as the CAMERA PANS Ben
utifully your wife sings.
it was interrupted.
speaks almost to himself..
ly. There is a rattle of dishes from the
- MED. SHOT
the bedroom, followed by Jo.
oing to send up somebody to baby sit.
, goes out the door.
the pleasure of serving you a drink.
ny for the drink.
stage, Mrs.
- CLOSE SHOT
a meaningful glance. "The Frenchman is
- CLOSE SHOT
comic disparagement.
- MED. CLOSE SHOT
r a martini.
re it's cool.
nd Louis as they walk to the balcony. Ben,
uches on his tie, watches them out of the
is leans against the railing.
an stage, and the London stage, and even
seen me in Paris -- being French, and --
me, and for me time is often a luxury.
ink, with some, frustration.
with some exasperation. As she does, she
He's getting his coat, but pauses to give
look that says "You're wasting your
, or selling, now in Marrakesh?
ather talk about the stage. If you tell me
ere is a KNOCK at the door, and he looks
er feet, and starts for the
- MED. CLOSE SHOT
Ben to the door. He has just put on his
w her to the door.
ng in the corridor is a silhouetted
e face. Jo switches on a light, which
s looking man of medium height standing
rche la chambre do Monsieur Montgomery.
ly, who looks over his shoulder toward
n translating the French.
- CLOSE SHOT
e man in the doorway lifts himself on
s a sharp look in the direction of Louis
- MED. CLOSE SHOT
s his attention back to Ben, and begins
oom of a Monsieur Montgomery. He asked me
mery here.
, I regret disturbing you.
we see that Louis Bernard has been
for a better look at the man in the
- MED. CLOSE SHOT
o the room. Louis Bernard's face his
more serious. Hank's voice is heard
, glancing briefly at Louis.
one is his. The CAMERA PANS Louis to the
, and begins talking in French asking
and a certain number. Beyond that his
y, because his face reveals nothing.
- MED. SHOT
n the phone, Ben goes to pick up his
o the room, as JO enters once again from
t Louis, then at Ben who shrugs his
s his phone conversation, hangs up.
I cannot go to dinner with you tonight.
tant matter which now requires my
her night...
s towards the door. The McKenna's look at
) - MED. FULL SHOT
ING around the interior of an Arab
uropean tourists. It has a Moorish
rs are sitting on cushions or low sofas.
adding in and out from the kitchens,
serving food. There are no Arab women to
ity, and the room is filled with the
clink of dishes.
oriental nature is heard in the
supplied principally from candles.
its sweep around and COMES TO REST on the
Jo arriving..
fez, comes forward.
) - MED. CLOSE SHOT
ned. Follow me please.
moves into the restaurant, The McKennas
ANNING them. Ben is interested in
lances at the diners, and then a look of
) - MED. CLOSE SHOT
e who are seated on cushions eating. The
d Jo. They are the same two people we saw
mounia just as the McKennas entered. The
and she does it again, nudging the man
w. The McKennas almost pass them, then
s half-looking over her shoulder again,
) - MED. CLOSE SHOT
m to their seats -- two cushions directly
people who stared at them.
is comfortable.
seems disturbed, looks around as if trying
ople are staring at us.
ion. Her movements are graceful and easy
on. Ben, being tall and somewhat awkward,
n with much struggle manages to fold his
) - CLOSE SHOT
g to find her amused at his antics, but
ous, and she has a secret look about her.
staring at us.
ng nod toward the two people sitting
his head around, but all he can see Is the
He turns back.
e went into the hotel.
ing things?
) - MED. CLOSE SHOT
lowly turns his head to look behind him at
the woman behind him also turns. They are
rns, looks, and so does the man with Mrs.
turns half way around toward Jo.
y rude. I've been staring at you ever
ee" at Ben.
ecomes Jo Conway. It's Ben's turn to give
e man next to her.
w I was right.
) - MED. CLOSE SHOT
the man, and Ben.
is is my husband.
Kenna appeared at the London Palladium a
see a show.
ick-in-the-mud.
elf with your records.
'em. I'm not one for this terrible Bee Bop
to London?
ofessionally.
en up the stage.
tor... Yes.
here are no Broadway musical shows
, Indiana. Of course, if we lived in New
aren't starving...
orking in New York. Nothing except the
for my patients to come all the way from
e disapprovingly.
ways saying the wrong thing.
you always.....
t straightened around.
) - MED. CLOSE SHOT
and the McKennas are sitting in a group,
There is no back to back awkwardness. All
roast chickens apart with their bare
piece of chicken aloft, demonstrating the
rs and thumb of the right hand. Never use
always keep the left hand in the lap.
o do with religion?
us, I'd say..
ve four good fingers, and a thumb, you
gers -- for my money this is nothing
. We have it at every drive-in back home.
was quite happy farming my bit of land It
ese chaps from the United Nations started
t the Ministry of Food during the war, you
y the roots, and here we are. United
ting work.
on soil erosion in Morocco...
rance to the restaurant. Mrs.
ce. The two men stop talking, and eating,
) - MED. LONG SHOT
g in the entrance of the restaurant. On
antly dressed woman. She is also handsome
ds waiting for the headwaiter, Louis
restaurant. His eyes stop when he comes
s directly at them without the slightest
nquille -- C'est possible? (Could you show
Certainly, Sir).
) - CLOSE SHOT
here is resentment in Jo's eyes, and
) - MED. SHOT
to Louis Bernard, exchanges a few words
hear, and then leads the couple to a set
orner of the room. As he moves away from
ard does not look at the McKennas.
) - MED. CLOSE SHOT
the restaurant, our four diners watch them
dle curiosity, bbut the McKennas with
they realize that Bernard has no intention
speaking to them. Jo turns back to Ben.
ink of that?
e us to dinner --
day. We can't expect him to change his
er with you?!
er with you?!
both privately and publicly insulted.
ng down an old married couple for a date
couple! All right -- He's a heel. I don't
m beginning not to like what he's doing to
is listening to Ben and Jo.
rrassed. She makes conversation at
in the market tomorrow. I do hope it'll be
Of course, I how our English weather is
hink we don't know when we're lucky. All
day. It seems unnatural, somehow.
but Jo holds him down.
you get worked up, you'll start a fight.
forget him.
sant if you'd let us show you round the
uyer from Paris, was going to take us
and cancel out.
getting cold.
direction, and then picks up a chicken
s so worked up over unimportant things.
and with some amazement. Then his eyes
s the headwaiter standing nearby gesturing
y three fingers. Ben looks down at the
ng it gripped in his fist. This is too
o his plate in disgust..
) - MED. CLOSE SHOT
f the restaurant, the lady with Louis
d murmurs something in French. Her gaze is
irection of the McKennas.
hez? (Is that the couple you are looking
looks. He glances back at her and nods
STABLISHING SHOT
ock in the morning in the main market
s is usually the busy time of the day.
ng from the countryside with the Arab
heir baggage, veiled women getting off the
he markets.
EDIUM SHOT
ppers -- veiled women, men on bicycles,
EDIUM SHOT
lowly through the market, their large hats
EDIUM SHOT
among his medical wares -- Ben and Jo
he collection of claws, lizards, and
as a cure for everything.
hat going around these days..
EDIUM SHOT
e on head.
EDIUM SHOT
ng large fresh-baked loaves of bread.
ve populace are some tourists and perhaps
EDIUM CLOSE SHOT
by an Arab who has a small gambling table
e, There are others gambling. After a
a look around to see that he is safe from
a small bet. He loses.
EDIUM CLOSE SHOT
his heels and surrounded by a small circle
from a book. His voice intones
PANS to the RIGHT and we see Hank McKenna
s. Drayton's hand.
, Hank. He reads legends and famous old
I could understand.
EDIUM CLOSE SHOT
who are gathered around some acrobats who
ED. CLOSE SHOT
f the crowd watching the acrobats are the
we came here. It's different, a little
n Now York -- rehearsing?
ight was just social chit chat, Every
he stage for marriage is supposed to want
laying a part expected of me.
talk about it -- seriously.
k about it humorously.
Hank run up to them, followed by Mrs.
onna see the medicine man! Maybe you on
ng you out --
arket place so much. Oh!
t of the fast-moving Hank.
ED. CLOSE SHOT
f the crowd watching the acrobats are the
lace is very different and exciting.
rs when I was a kid. They'd get everything
looks it her.
larious to me.
you know what's paying for these three
n Paris...
Hank run up to them, followed by Mrs.
onna see the medicine man! Maybe you can
ng you out...
out of the picture.
not to believe you.
e I put on once. It never fit too well.
ife than one written for me..
a man who always smells of ether?
uctive at breakfast and worry if the
ike my scrambled eggs.
ropped anybody yet.
hey saunter off, leaving Mr.
They do it in such a way as to indicate
gether by any social formalities.
ED. CLOSE SHOT
beside them as they pass down a line of
engaged with shaving and cutting the hair
e riding on Herbie Taylor's ulcors.
in surprise, and somewhat hurt, at his
ong and a dance here and there... but it's
w business.
ap for me.
him a chance to develop it.
ge to be a doctor?
ED. CLOSE SHOT
gh the market place to a line of veiled
ger sewing machines.
them in the distance. Jo holds out her
al's a deal.
l learn a new muscle -- and for every
ng into Hank and Mrs. Drayton.
ike a television commercial.
four cases of the Seven-year itch, we
y has triplets, we could at least
say if they heard us?
ED. CLOSE SHOT
gh the market place to a line of veiled
ger sewing machines.
them in the distance.
e to a place like Marrakesh is so that we
is without anybody hearing us..
g where nobody can hear us.
e another child?
me surprise.
ave all the answers.
the first time I've heard the question!
ng into Hank and Mrs. Drayton.
ike a television commercial.
, and rumples his hair.
ton saunters up, and for the first time
r. Suddenly there as some shouts in the
ention is drawn to the noise. Hank moves
ay through some people for a better look,
see police chasing a white-robed Arab
st of a couple of uniformed French
ee others in local Arab dress, with rifles
ED. CLOSE SHOT
drama, dishes away to got a better view.
en see him moving through the
him, but Mrs. Drayton moves faster than
of the McKennas and overtakes Hank.
EDIUM CLOSE SHOT
n and takes hold of Hank's shoulders, and
away from trouble.
ard the chase.
d the trouble.
olice are chasing somebody.
EDIUM LONG SHOT
se brings us back to where the motor
and for a moment the police as lost to
EDIUM LONG SHOT
air tannery with its circles of crude
s the scene of a further part of the
robed Arab leaping between the crude tanks
and running after him in the distance. The
les enables the Arab to get ahead of them,
w able to dodge through an archway into
EDIUM LONG SHOT
ugh the grain market, it scatters grain
ry direction..
EDIUM LONG SHOT
through an enclosure holding the donkeys
grain to and from the market. There is
he donkeys running, kicking, and braying
EDIUM LONG SHOT
the Arab now dashes down some of the
dina. Sapling branches are laced overhead
ow pattern on the ground below.
EDIUM SHOT
the narrow street, with the police in
e difficult by the many shoppers and
cle rider trying to avoid the oncoming
lplessly into a lags pottery store. The
EDIUM SHOT
her street where the rows of brilliantly
m overhead strung along sapling poles.
collision between the fleeing Arab end a
eet with a large vat of blue dye on his
rrow streetway is saturated with blue dye,
his robe and hopping around to avoid being
ues on past. The police dash through the
he dye themselves.
EDIUM SHOT
w intersection where the blind beggars as
They pause. There is no sign of their
points to faint blue footprints dashing
once again.
EDIUM LONG SHOT
the narrow streets showing that the
of their man again.
mething strange about the chase now. Two
nning. The second Arab we haven't seen
than the first man and is gaining on
EDIUM SHOT
e CAMERA PANNING, shows, the two
n on each other. As they reach an
ets, lighted by a shaft of sunlight, the
the original man being chased and
m under his robes, plunges it into the
hen he turns and quickly moves away into a
first Arab jerks his head up and backward
he stabbing, Then he staggers into the
EDIUM LONG SHOT
he stabbed man is almost out of sight for
ice continue their chase after the second
ted down another side turning.
EDIUM SHOT
nd the stabbed Arab. The knife is still in
se of his hands, vainly groping behind
TH HIM as he staggers out into the open
on the ground shows us the silhouette of
g out from his back. The CAMERA MOVES IN
y of his head and shoulders as he attempts
EDIUM LONG SHOT
BEYOND HIM for a moment, and there, a few
cKenna, and his group.
EDIUM CLOSE SHOT
moment, but the attitude of his head
n McKenna. He makes his way desperately
. He is finding it difficult to remain
ose last few steps.
EDIUM CLOSE SHOT
shows that those around him, including
s, become frightened.
to move them back protectively, waiting to
EDIUM SHOT
nna, the knife drops from his back, and he
Ben endeavors to grab him as he falls. He
d his hands close in and inadvertently
hands as his fingers slide off the Arab's
up and we see they are covered with black
dropped to the ground, and we see streaks
hrough the dark makeup which Ben's fingers
EDIUM CLOSE SHOT
o examine the man better. The Arab gasps
nt réussi à trouver...
... Bernard.
EDIUM CLOSE SHOT
he fallen knife, and then reaches across
m over and examine his wound. But the
h one arm and grabs Ben by the coat.
s, Louis drags Ben down until Ben's ear is
a great effort Louis whispers to
ar and Louis' mouth enables us to hear the
oice is fading so much that we cannot
at least enough to make any sense out of
to be killed...assassinated...in
n...tell them...in London...to try Ambrose
ps speaking. It remains still and open.
EDIUM CLOSE SHOT
e the staring eyes, and open mouth of
his hand inside the robes to feel for
lowly withdraws. Ben rises.
e the details. Louis Bernard, the McKennas
the center of a large flat cement section
Police by now have caught up to the
into the picture toward Ben and Louis.
away, as do the Draytons, and Jo and Hank.
closer than the rest. One of the police
xamines it, another bends down to wipe the
d's face. Ben looks around for his wife.
EDIUM CLOSE SHOT
beyond him, to join him. Jo turns Hank
nk stands close to the English woman as Jo
up to Ben, he is feeling in his pocket for
hing to write on?
ress book. Ben snatches it out of her hand
s the book end begins writing something
m with mystified curiosity.
EDIUM SHOT
of curiosity. He has also seen Ben's
casually puts the notebook back into his
h the pen. Before either man can comment
e of a policeman is heard, speaking in
iceman approaches Ben.
EDIUM CLOSE SHOT
s question as he stops in front of Ben.
est cet homme?
help. He addresses the police.
. Je traduirßi.
ton turns to Ben.
you know this man.
eir faces.
s Bernard.
mments, although In English, give the
ation he needs.
body, which the other policemen are now
uctions in French.
that says "Who asked you to say
urns to the group. He addresses Drayton.
qu'ils viennent tous les deux au
un rapport.
and turns to Ben and Jo.
nts both of you to go to police
go to the police Station. I'm going with
ED. CLOSE SHOT
the group, still holding on to Hank's
le boy to go, do you?
a French police station before.
if I took him back to the hotel.
shall be.
the square with Drayton. Ben and Jo
gins conversing in French with them about
distinguish their words clearly. Jo looks
wave to Hank.
ED. CLOSE SHOT
g across the square with the Police and
nd them. The CAMERA MOVES with them. Jo
peaks to him in a surreptitious manner.
urn up in Arab-outfit, wearing makeup?
why was he killed?
r something like that.
me surprise.
to you? What did you write down?
fter what I said about Louis Bernard last
mbarrassed. Ben wipes his fingers with his
MED. SHOT
ting room of the Police Station in
ab personnel move up and down the wide
to another.
ces and the sound of phones heard off. The
seated on a long bench, waiting to be
fice of the Police Inspector. Drayton sits
or everything, but Ben seems to be
ooks at his watch for the third or fourth
MED. CLOSE SHOT
ying his watch. He leans to him, and at
the side of his on face with a
ce inspector, I'll do my best to out some
away, looking around the police station
see. Drayton speaks to Ben with
will go on till doomsday, if you admit
. We only met yesterday on a bus.
hese French -- they might refuse to
me. It's true.
, from their point of view. They saw the
you ... and then they saw you writing
iting for his to go on.
going to show them what you wrote down?
ore, a policeman opens the door leading to
ffice. He calls out.
MED. SHOT
ound of the door opening, and Ben and
om the bench.
e, holding the door, as a Police Inspector
from behind him. He is a short,
does not smile.
MED. CLOSE SHOT
w steps into the corridor, stops. Ben, Jo
. Drayton speaks first.
ons amis, les McKenna. Mon nom est
pas francais et ils m'ont demandé de
ton, but a translator will not be
onsieur, Madame?
it. I might have questions for you later.
as. Jo goes past him first, into the
Drayton returns to the bench, and watches
oor closes on them.
MED. SHOT
aved from plainness of civil service decor
tions of the Inspector..
chairs, as he goes around behind his desk
n and Jo sit down.
ome papers on his desk, then holds out his
hes for them in her purse.
s them to Ben, who hands them to the
s them. Uncomfortable, Ben retreats to a
ting. The inspector checks the pictures
es sitting in his office, then puts the
co four days ago.
d an American citizen.
ou should have nothing in common with
th him in the same bus. You drank an
r hotel room. And you ate at the same
dy her briefly, as if her comment was an
. Then his eyes return to Ben..
tranger to you?
n the bus -- for the first time in my
let his skepticism be seen.
housand people -- In a great market place
he is about to diee! Is that the action of
is Bernard.
that he was an agent of the Déuxieme
ver head of the American F.B.I.?
easy for both of us, monsieur, if you
hat he had been sent here to discover.
ed. He told you what he had discovered.
omplete confidence in you.
e questions you also answer them -- Wait a
me as implicitly as you say, I would
said to me, would I?
e, sometimes find it desirable to betray a
ight. I'm a tourist traveling for
involved in an unfortunate incident. I
simple statement of fact, and not to be
st hold them.
The two men look up.
Y) - MED. CLOSE SHOT
or and leans in.
onsieur McKenna au téléphone.
man nods in the direction of Ben.
Y) - MED. SHOT
y tries to dismiss the officer with a
s occuppes.
eman to stay where he is
ne call for me?
r looks at the Inspector briefly. The
d, but doesn't tell the man what to say,
and nods..
r his shoulder to in outside office.
You just take it easy.
osing it behind him. The Inspector sits
oks up at Jo.
MEDIUM CLOSESHOT
e follows the policeman down the outside
ho is still sitting on a bench and
xiously, and into a small plain office.
EDIUM CLOSE SHOT
small office first. There is a desk, more
e is lying on it off the hook. The
nd hands it to Ben. Ben holds it without
aves the policeman out.
rent. He leaves. Ben puts the phone to his
in a chair holding a telephone.
ther elaborate Moorish house.
ted English.
EDIUM CLOSE SHOT
looks through the open doorway toward
ench outside.
alling me?
to identify himself.
f that Louis Bernard whispered to you in
little boy will be in serious danger.
EDIUM CLOSE SHOT
k in the receiver held in Ben's hand.
lowers the phone slightly, looks at it a
n downward with it, returning the receiver
stands a brief moment in thought, then
n sitting in the corridor outside. He
in him in the office.
nd comes into the small office.
was taking Hank straight back to the
hands it to Drayton.
threatened me about Hank. See if he's all
rise, speaks into the Phone.
nia, s'il vous plait. Voulez vous appeler
x sept s'il vous plait....
au, concierge?...Ah! ici Mr. Drayton de la
ept. Est ce que ma femme est revenue a
? Sa chambre ne répond pas.... je vois...
s'il vous plait.
hambre quatre cents quatorze?...Merci.
ks at Ben.
er. What on earth...
the hotel right away -- and see if you can
police and join you as soon as I can.
Probably some stupid misunderstanding.
efore you get back, I'll ring you here.
he office. He goes one way, Ben the
Y) - MEDIUM SHOT
, both Jo and the Inspector look up him
air as he can under the circumstances. He
aks more to the Inspector than to his
the Hotel. He heard we were being held by
here was some way he could help us.
back there in fifteen minutes to call the
ed that he won't get any more out of Ben.
d only told me in the first place, that
th your consul!
formality. I must request you to sign a
d for a typist.
r reaches for a phone on his desk. Jo
ewhat puzzled.
lance to be quiet. She does.
) - MED. CLOSE SHOT
ong in an open Victoria, headed back for
seems preoccupied with his thoughts.
you should.
ore firmly.
t the police inspector. Let's see it.
ut the notebook, hands it to her. Ben
the note he has written.
y Jo on which Ben has scribbled Louis
ads: "A MAN...A STATESMAN...IS TO BE
N...TELL THEM...IN LONDON...TO
) - MED. CLOSE SHOT
to the police?
But I'm not sure of what's the right thing
Ben reaches over, takes it from her and
t. She stares ahead, with her own
back to the hotel, pack our clothes,
f this country as quickly as we can.
d in front of him. What a shook it must be
that note to the American Consulate -- Why
d unhappy, but he tries to hide it. He
's about to tell her something important.
is hand over hers.
d of a kid who can take of himself.
MED. LONG SH
the Hotel Mamounia, and pulls up in front
ennas dismount.
MED. CLOSE SH
ress, waits for Ben to accompany her into
er is outside supervising some baggage
He touches his cap to the McKennas.
ke care of the driver..
hotel. Ben takes a bill out of his
hands it to the driver.
Ben turns to the Head Porter.
Ben respectfully.
k from the market place anytime in the
understand...
her. Mine.
ton check out.
lishman with horn-rimmed glasses.
agreement.
om the porter, his face filled with
toward the entrance as he hears Jo's
face as best he can. The CAMERA PANS HIM
re Jo is waiting with the key. He takes
MED. SHOT
se the door. Ben goes immediately to their
his medical bag. He opens it, and begins
o tosses her handbag on the bed, looks
Don't you feel well?
he shrugs, and starts for the telephone.
nd tell her we're back. She can bring Hank
r. Ben speaks without turning around.
wn slowly. She doesn't like his manner.
e our monthly fight.
of a small bottle. Closes the bottle, and
in. I only said I was going to call Mrs.
e again. He turns.
nto the bathroom, the CAMERA PANNING HIM.
Shrugs her shoulders. Slumps to a sitting
ribs her face and her eyes with a gesture
sound of running water in the bathroom.
Ben is standing in front of her. In one
, in the other a glass of water.
. His manner is casual and pleasant.
. You take them.
the doctor.
n things happen -- tense and upset. Now do
me I took too many pills!.
't a witness to a murder. You've been
king a blue streak and going around in
wing when and how to administer medicine.
tomorrow if you take these today. But you
ll make a deal with you.
Louis Bernard, the police station, and
that I haven't told you yet.
he capsules, pops them into her mouth. He
drinks some of it.
a. I am now relaxed and listening.
MED. CLOSE SHOT
puts the glass on a dresser.
e of the bed like a little girl waiting to
ayton first.
e's bringing Hank up..
e thing strange right from the very
ut the room first one way, then the other,
ost as if he were trying to lull her into
Louis Bernard helped us out on the bus,
tion. You were right about him.
t about him.
r a little drowsy. Ben watches her
the surprise.
ause he was on the lookout for a
ifferent married couple.
he found them.
e restaurant.
e was killed.
t it was Mr.
face. The drug is taking.
t think it's a very funny one..
oks at her more closely.
r and sits down on the bed next to her. He
carefully.
udies him.
ed at the police station.
erge at the hotel. It was from somebody
said if I told anybody one word of what.
to me in the market place that
ght happen to...to, to Hank.
ake as she can.
r feet. She is fighting the drug
shouts at him.
ack to the hotel. She is downstairs!
d! She never came back here! And Hank
for him. Mr.
out of the hotel thirty or forty minutes
y from her arms in a sudden violent
. She hits him away.
Hank was gone, and you wouldn't tell me.
which is beginning to take over again.
yours! I had him.
in. She struggles fiercely, trying to get
never never forget this! We've got to
th her, trying to push her down on the
the drug does its work.
y one strong enough to take anything? Ben,
whole heart.
k, oh Hank!
u damn miserable human...how could
CLOSE SHOT
n the bed, pinioning her arms, even though
somewhat. She is having a hard time
head waves back and forth. It's hard work
...wake...I'll
arm relax somewhat. She is still
ad, and talk, but all that comes out are
d a half moan of anguish. Then she's gone.
t, relaxes his grip. He lowers his head
em to be fighting the desire to cry. He
himself. He lifts his head slightly,
rtfelt kiss on the cheek.
this to me, I'd say just what you said.
MEDIUM CLOSE MOT
t of unhappiness is heavy on him. He gets
of the bed and covers her up. He brushes
orehead. Then he turns, and the CAMERA
door. He takes one last look at Jo, then
ng it softly behind him.
ades into growing darkness, the muezzin
arms raised to the heavens and giving out
to prayer. The call is taken up by
in the city, and then another, and still
yer is a continuous round of chanting
way, almost fading, and then returning.
MED. CLOSE SHOT
prayer can be heard In the background. We
m, of Hank McKenna. There is one lamp
ed, and another on the wall over the
ntly carrying Hank's small suits, and
ng from the closet to in open suitcase on
ith the final armload of clothes, he looks
large bedroom.
MEDIUM SHOT
r wall, Ben can see the reflection of his
. He watches as she drags herself up
MEDIUM CLOSE SHOT
al items of the boy's clothes on top of
and closes it. He picks up the suitcase
larger room, the CAMERA PANNING him.
MEDIUM CLOSE SHOT
oom, he glances at his wife.
CLOSE SHOT
to open and close, and she shakes her head
o recover from the sedative he gave her.
MEDIUM CLOSE SHOT
tcase, and crosses to their own luggage,
n such a way as to keep Jo in the
suitcases, and begins taking clothes out
o pack them.
CLOSE SHOT
oks about her. She tries to straighten up
akes in the room, and then as though a
er, she looks toward the open door of her
MEDIUM SHOT
seen from her viewpoint.
g a moment to observe her.
his work.
CLOSE SHOT
oom for a moment longer, then turns
MEDIUM CLOSE SHOT
e the back view of Ben is he continues
s over his shoulder now aware that she is
CLOSE SHOT
MEDIUM CLOSE SHOT
he packs his suitcases. Beyond him, past
wife staring in his direction. He
ugh he finds it difficult to be
ack and forth from the dresser drawers to
finitely gone.
they come from London. Drayton told the
ge professor. The only thing to do now is
rise in reaction, mostly puzzlement.
pless here.
e call, we can't bring the police in on
king that chance.
t her to see how she reacts.
er eyes a little dull.
pearance to Louis Bernard's murder. And
o would be to make me tell them Louis
nk's...well, it wouldn't help him.
Jo's clothes out of drawer, and comes up
ooks at it a moment, then back to Jo. Her
says nothing. Ben continues on to the
the script in with the clothes.
sharply as if in question. He notices as
or more clothes..
s had a private plane -- that's how they
lead anywhere -- no question of a
es away. Jo doesn't stir, she just stares
to find him.
action. She turns her head away from him
r perhaps fighting for control of her
her, the CAMERA PANNING him. He sits down
and takes out the small notebook from his
low tones, he reads Louis Bernard's
to be killed...
on...soon...very soon...tell them...in
Chappell...
Ambrose Chappell and if he has anything at
going to offer him every cent I've got to
ose Chappell guy is our only hope.
as though to dismiss the piece of paper,
. Again she turns her head away. Slowly
into pocket. He speaks with a shade more
rs, Jo! We have to got up and start
ERA PANS him to the dresser and the
s and looks back at Jo who is still
ack to look at Ben. She is studying him
een him for the first time. Her eyes are
there's a car waiting downstairs. As soon
ed, and comes over to Ben. He pauses,
his hands..
there looking at him, and then impulsively
nd him and clings to him. Her anguish is
is he? Where is he?
eek. She buries her head in his shoulder.
e as if he hopes to find in answer to her
LONG SHOT
A. Viscount as it taxiis in to position.
MEDIUM LONG SHOT
rge from the doorway of the plane,
There is a group of newspaper men and
ered around the gangway. There is a stir
nnas appear. A couple of flash bulbs pop.
ries up the gangway to Ben.
or the press photographers?
he official joins the passengers as they
CLOSE SHOT
me so well, Ben? It's been four years
of girl they don't forget.
who could have told them...Ben, you
nd Helen Parnell to get us rooms -- He
kind intention has slightly miscarried. They look off as the yelling of
es louder.
LONG SHOT
fence, holding out autograph books and
ph. Others try to break from the barrier,
e police. Standing in the front row of the
man who is not shouting or holding out a
MEDIUM CLOSE SHOT
ngers leaves the plane, Jo and Ben take a
r the photographers.
er worry, her fatigue, Jo does her best to
demands. She smiles as well as she can,
r head to the right and to the left to
MEDIUM SHOT
tanding among the fans. She has a rather
ares off at Jo through horn-rimmed glasses
dust in the corners of the lenses. After a
y back through the crowd of fans and moves
MEDIUM SHOT
tinue their work Ben and Jo come down the
joined by a man wearing ordinary civilian
l black identification folder out of his
or their inspection.
f the Criminal Investigation Department of
in Jo's face, but she then controls it.
o need for you to go through the Customs.
sking them leaves little doubt that his
e McKennas glance at each other briefly.
s a further development of their
cial lead the McKennas toward another
Building. As she follows, Jo seems tense
Y) - MED. CLOSE SHOT
-faced woman who had been standing with
speaking rather cautiously into a
what she is saying, but the inclination
he is making some reference to the new
R - (DAY) - MED. CLOSE SHOT
or them at a door outside the airport
ctor and Mrs.
ant with us?
to have a chat with you, inside.
r the building. They do, leaving Edington
into an inner office. It is a good-sized
Doctor and Mrs. McKenna.
, closing the door behind him.
ent, wondering what do.
down. Ben doesn't.
ant to talk with us?
d the desk. He's sophisticated and
e shocked...
rom you in Marrakesh and deeply
MED. SHOT
, eager, hopeful, unable to restrain
ve you heard?.
you some cheerful news.
, discouraged and a little resentful of
tated by the disappointment.
MED. SHOT
soon, indeed, if we work together...Louis
akesh by the French at our request to
tion plot -- here, in London.
aking his life.
n carefully.
e a man to trust. He relied on you, to
ks a moment, but says nothing.
our boy -- in order to keep your mouth
traight to your Consulate in Casablanca?
think of an answer to this one.
CLOSE SHOT
eer some information.
MED. CLOSE SHOT
MED. CLOSE SHOT
lly obvious of the exchange.
ese people brought your son to London.
find him -- off your own bat. You can't.
give you, there's a chance. A really good
MED. CLOSE SHOT
Jo bursts in hotly.
MED. CLOSE SHOT
d speaks gently, but with force.
l be in the most absolute confidence.
to interrupt him.
rd these people hold. He's perfectly safe
at they're going to do, they'll let him
is wait..
y consider the boy a nuisance, afterwards -- I'm afraid --
en us, Mr.
ying to do -- frighten you. I'm trying to
ered here, in London.
ginning to weaken her. Buchanan persists.
you know, you become an accessory before
nglish law, you become just short of
MED. CLOSE SHOT
n, is bewildered and upset and tired of
s ready to give in.
urselves? We need -- BEN
McKenna, Mr.
talked to me, not my wife.
and I don't understand a word of the
uchanan studies Ben.
own on a piece of paper?.
no answer. Jo gets up from her seat.
find those people, and Hank, before -- BEN
enough for me, and it shouldn't be good
only one who's concerned about Hank.
that way. We made up our minds what we
let's try to stick to it.
ith you, Mr.
e just can't.
I don't know what I'd do...
gly. Even Ben is uncertain now, trying to
apping at the door.
the McKennas. The CAMERA PANS Buchanan to
himself. His assistant Woburn is there.
versation.
hanan turns back to the room.
s. McKenna.
MEDIUM SHOT
ks up the telephone from the desk.
e, please.
hands the phone to Jo..
the phone hesitantly, looking at Bon for
her. Buchanan, meanwhile, has casually,
the office, closing the door behind him.
CLOSE SHOT
rn quickly hands Buchanan the phone, who
CLOSE SHOT
ear. She speaks hesitantly.
u remember me?
to faint.
CLOSE SHOT
, and gives a stop or two forward. He is
CLOSE SHOT
you got him?
DAY) - CLOSE SHOT
. Woburn places a pen in it, and slides a
it. We hear Mrs. Drayton's voice over the
mustn't worry about him, really you
thing to write.
CLOSE SHOT
t she's still deeply concerned.
you got him?
peak to him, wouldn't you?
MEDIUM CLOSE SH
trying to pick up a little of the
one. She tips the phone a little in his
are you really all right?
my. But I'm all right -- I guess. I miss
nable to hold herself back any more. Ben
re are you?
r cry, daddy, but I'm scared, and I want
Heaven's sake, where are you?!!
Ben rattles the receiver.
ne. He hangs up, and turns to Jo who is
o get over the shock of hearing Hank.
ce as Ben takes jo by the shoulders and
ief, hands it to her. She covers her face
her tears.
lessly again, her body shaking.
s to quiet her. She quiets down slowly.
the desk doesn't look at the pair, but he
e exchange.
CLOSE SHOT
ce, goes to Buchanan.
that's the end." Buchanan nods for Woburn
asting a side glance of sympathy toward Jo
oor quietly behind him.
CLOSE SHOT
ir, and sighs in a manner that suggests he
he sees it.
control. She leaves Ben's arms, and
ather herself together, dry her eyes. Ben
pencil. He scribbles something on it.
s. If you do, this number will reach me.
he paper, and hands it to Ben.
tel we see the door open and Ben and Jo
the suite by the frock-coated desk clerk.
stant porters carrying their bags. In the
h we are SHOOTING, are three large baskets
y are obviously gift of greeting to
off into the bedroom with the bags. They
he drapes and windows, etc. The desk clerk
he main room, as the McKennas look about.
s come out of the bedroom.
t, comes up with a bill, hands it to one
hes his forehead in sort of a salute. The
lerk follows, pauses at the door.
st pleasant stay in London.
look at him briefly. He is smiling, they
the door, carefully closing it. The
rns to look at the basket of flowers, and
A to look at them. She takes a card in her
rgest basket, reads the note..
"Welcome home, Jo. Look forward to seeing
moment, takes a breath, and looks at to
DIUM CLOSE SHOT
wn on a table, and the CAMERA PANS him
ontaining the telephone and telephone
he desk, and reaches for the general
begins flipping through the pages. Jo
nd walks over to him. He pauses, takes out
notebook on which he wrote Louis Bernard's
e page, hands the notebook to Jo.
one book, after looking at the note and
n front of him.
ich might lead us to Hank. The place and
tly the right page. His finger begins to
the column of names. "C - C - CHAPPELL -
CHAPPELL & CO. ALFRED CHAPPELL -- AMBROSE
DIUM CLOSE SHOT
ace on the Page, and reaches for some
the desk..
fe -- Ambrose Chappell.
e book, as Jo leans closer to watch him.
he name and address, and murmurs
-one Burdett Street. Camden Town.
, after putting the book to one side. He
Jo reaches out to stop him. He looks at
Ben. I'm jut scared to death. I'm afraid
uth shut and give him all the money we
ent there is a sudden, loud, but happy
th Jo and Ben jump and turn toward the
of "Open up! We know you're in there! Jo!
and Ben sits there squirming with
at being interrupted.
door, and immediately four people pour
and his wife.
isticated, and full of life..
Fontaine, an American music hall
and, around forty-five, more of a
lead -- and Jan Peterson, a musical
s age, smart-looking, but talkative and
The women come in first, Helen Parnell
o in affectionate greeting.
women in and closes the door behind him.
couldn't believe it. What were you doing
was on the phone to me. And I had to call
r to what London needs, Jo. This week's
my first show.
f from Helen. Shakes hands with Val.
t to thank all of you for the lovely
We might not be here long!
em anxiously, torn between hanging up the
s call to go through. The call finally
brose Chappell?
l right...I will...I He looks up at the
or the first time.
dn't know you were there..
Kenna. Welcome to London Town, doctor.
but a doctor.
n such a psychosomatic business. Why --
hosomatic means.
your mind gets sick of your body it does
alk on the phone.
nd amiable.
d watch Ben. He is uncomfortable.
. Uh,...Doctor Benjamin McKenna.
g group uncomfortably..
be quiet.
ntly to her that he can wait until after
going to be at your address for a while?
usiness. Nothing big.
I'll drop around.
- MED. SHOT
to the group. He tries to be as casual as
e note from Louis Bernard, and the one on
rose Chappell is written and shoves them
t my husband.
to Val Parnell, while nodding at Mrs.
you, Doctor, it's nice to see you in
e pictures Jo had in her dressing room
changed a bit.
ctor. Probably gets free hormones.
ng Ben and Jo.
rson who sing almost as well as I do, but
ke Nijinsky..
you do, Jan.
e stage he was through with his footwork.
most wonderful expatriate I've ever known.
risburg? They know me there as Elva
d, pats her wide hips)
ke to see which one you he looks like.
s from Jo's face, and Ben has a hard time
some other people -- so we can have a
, and the doctor's brains.
beautiful flowers.
at him, disturbed, almost to the point of
is something she just couldn't go
ade her to stay a month.
r, pausing to pat Jo comfortingly on the
for a drink, doctor.
h up when I get back.
Jo follows him half-way into the corridor.
are half-heard over Jo and Ben's sotto
he'd like to sleep, or something. Maybe he
ceful can have such an awkward sense of
pear. Promise.
our visitors, while not actually
hat subdued by the attitude of the
please let me go.
ly on the cheek.
er to follow than one. We don't want
acks. Or the other people, either. I'm
entrance -- He turns and goes quickly.
then turns back into the room. She tries
MEDIUM SHOT
mden Town we see Ben, alight and pay off a
es a U-turn and disappears around a
lk TOWARD THE CAMERA. He glances at the
pocket bearing Ambrose Chappell's
y alone in a deserted street -- so much so
on the pavement and create the feeling of
listens to the echo ind for a moment
. He slows up and comes to a stop close to
e -- only the faint distant London traffic
MEDIUM CLOSE SHOT
CAMERA DOLLYING HIM. The echo starts
and stops -- but this time the echo
nse, looks around in alarm.
MEDIUM LONG SHOT
ets from Ben's viewpoint.
MEDIUM CLOSE SHOT
e CAMERA DOLLYING him. He stops suddenly,
ho -- but the echo comes on after him.
resumes his walk with a more hurried pace.
glances quickly over his shoulder again.
MEDIUM SHOT
at about the same pace. He is rather well
MEDIUM CLOSE SHOT
nd after a bit cautiously glances behind
MEDIUM CLOSE SHOT
MEDIUM CLOSE SHOT
paper in his hand, and looks up trying to
umber as he walks.
of houses, yards, an odd dirty-looking
ession indicates that he would like to
ore the man following catches up with him.
. He deliberately slows up.
MEDIUM CLOSE SHOT
slowly along, listening to the man
listening with the back of his head, and
man walking behind is aware of Ben. He
es his right hand into a fist of
closes in Ben we see that he is rather
, perhaps. As the man reaches Ben, and
s him and study him.
MEDIUM CLOSE SHOT
n ahead of him at a faster pace. Suddenly
ght into doorway, and is gone. Ben glances
. He stops and looks up in astonishment.
MEDIUM CLOSE SHOT
in which the elderly man turned.
ed sign reading "AMBROSE CHAPPELL -
MEDIUM CLOSE SHOT
thought, puts the piece of paper into his
s mind and goes through the doorway.
makes his way across a small and somewhat
comes to face a low building at the end
all factory. The door of the factory is
his way across.
IUM CLOSE SHOT
o the factory, and looks down at the
s a window next to the door. Ben bends and
CLOSE SHOT
r side of the window is the snarling,
IUM CLOSE SHOT
stinctively. Then he turns back to the
h, braces himself, and presses the
on opened by a young workman in
Mr. Ambrose Chappell, please.
en enters.
MEDIUM CLOSE SHOT
into the shop. It is cluttered with
size and shape imaginable.
heads, swordfish, crocodiles --
round at what he sees. A number of workmen
ing, and preparing animals for display.
in calls to someone.
MEDIUM CLOSE SHOT
s old, turns from inspecting a piece of
to Ben. He is a thin, gracious, gentle
m Ambrose Chappell.
fly. His face shows disbelief that such a
ssassination plot.
of him, waits a brief moment.
e old man's eye.
at might be a start.
Doctor Benjamin McKenna, I called
pell for nearby seventy-one years.
your problem.
l the time.
e -- Just a moment.
MEDIUM CLOSE SHOT
the far side a man emerge s in response
hat younger than the first Ambrose
h. He is the fifty-year-old gentleman who
owing Ben on the street. The CAMERA PANS
s father, and Ben.
ants to talk to us.
't you go and have a nice rest?
of rest ahead of me.
the elder Chappell returns to whatever he
back to the son. He is now a little more
ing to you?
a moment. The name obviously doesn't
MED. SHOT
p. Workmen pause in their work to look in
h some curiosity.
MEDIUM CLOSE SHOT
ad, but waits with a deadpan expression
er a pause, Ben does.
he faintest idea!
hat he feels Chappell is putting up a
till goes on.
someone I happened to meet in Marrakesh.
doesn't change, except for a slightly
he's on to the right man.
f him. Louis Bernard. A Frenchman.
he name over in his mind. Ben turns to at
MEDIUM CLOSE SHOT
ng, return to their work on the various
self-conscious at being observed
MEDIUM CLOSE SHOT
ll Jr. He moves in a little closer, and
. Chappell Jr.
words, huh?
here, just before he died.
do. Now I came to make a business
can turn it down.
ver to a man stuffing animal's corpse.
crets from our employees.
ven't uttered one word of what Bernard
And I won't. Frankly I'm not interested in
I don't care who it is you're going to
I want is that boy, and I'll get on the
ng a killing, Chappell Jr's face takes on
panic. He moves back from Ben, watching
Ben, however, now convinced that he has
f him, moves in on him to finish his
oney will do anything....
MED. CLOSE SHOT
horoughly frightened. He moves back from
e turns, goes back to the door of a small
standing Chappell Sr.
CLOSE SHOT
r to the open door, as the son speaks
ce! Quick!
MED. CLOSE SHOT
ack toward Ben, trying to assume a
into this a little more carefully? You
heir work to look at the pair, wondering
police. Now don't try to bluff me like
grabs Chappell jr. by the label.
tary cry of fear.
CLOSE SHOT
's -- Burdett Street. Will you send
ary individual here, and we really can't
MEDIUM CLOSE SHOT
o get loose from Ben's grasp.
dea what went on in Marrakesh yesterday,
! William!
Jr., and turns in confusion.
MEDIUM SHOT
ools, and move in on Ben quickly and
pell Sr. comes out of the office in alarm.
it easy. I obviously got the wrong place.
e on. Ben looks quickly around for a
ees the door, and moves quickly toward it,
er than he is. Two of them bar the exit.
out of the way and get through the door.
. Chappell Jr., himself, and another
ring to subdue Ben. A silent, but furious
ow a complete melee between the four men
old him down.
ll the police come.
rily, trying to find another escape. He
or talking is past.
e men are on him again. They twist and
ffed and mounted animals. There is a
wordfish, and other partially completed
his struggles comes face to face with the
eth lion. Ambrose Chappell Jr. himself at
dfish a very painful object somewhere
ventually wrenches himself free..
MEDIUM CLOSE SHOT
way. The confusion gives him a free
r, twists it open, and dashes out into the
back and dashes in again. The man retreat
s fallen hat and dashes out again.
McKenna suits are sitting around. All but
hands. She seems to be absorbed in her own
l is holding forth, oblivious at first to
after the first night, Chris had the
e sketch where Bud Flanagan comes in
ss was unconvincing ... that no matter how
was, even if he were dressed by Hartnell,
was an aristocrat. So I said, 'Look Chris,
m Hickey's column out of the paper?! -- He
ks across at the silent Jo.
llow his look. They watch her
s totally unaware that anyone else is in
thin air, absorbed with thoughts of her
predictable husband of yours?
e goes on.
e? Some man named...
egins to chance to one of interest. We see
essed in her face. She looks across at Val
with some excitement. She murmurs, almost
lace! Ambrose Chapel! Ambrose Chapel! It
DIUM CLOSE SHOT
zled at her strange performance.
she finds out what it means.
addresses Val Parnell.
the London Telephone Directory?
one desk, picks up telephone directory and
ctory - Val's finger lands on 'Ambrose
t, West Two.'
el, 17 Ambrose Street, West Two.
Jo. Without hesitation she crosses to a
She hurries to the door without a word;
- and please explain to Ben when he comes
. The others are left standing, looking at
n speak almost at the same time, asking
LONG SHOT
towards chapel seen in b.g.
EDIUM SHOT
at the chapel.
MEDIUM LONG SHOT
CLOSE SHOT
lly is the right place. She decides she
turns out of SHOT.
ill wondering what all this is about.
going on around here that I can't follow.
re this out.
man named to uh...
man, but a place and she dashed off.
r I might dash off.
and they watch him.
n gag. I'll ask Danny about it.
suddenly opens. Everyone turns in
g in the doorway. He comes slowly into the
He is very tired looking, and disheveled.
DIUM CLOSE SHOT
g at first, Ben drops into the first chair
ands him a ready-made drink.
have time to drink when Val speaks.
mbrose Chapel.
n the drink.
I've been...
t! A building..
DIUM CLOSE SHOT
ying to appraise in his mind what they
phone book on the desk and looks for
door and goes out into corridor as
wers it. She puts down the receiver and
Come back -- it's Jo.
he room pushing his way through everyone.
he phone. Jan hands Ben the receiver.
- CLOSE SHOT
Ben's voice.
at happened -- did you find anything?
- CLOSE SHOT
el - and I've found it, Ben. It's just a
was a crazy thing to do -- <I>SAVOY
OT</B></I></U></SMALL>
Now stay there until I get there...and
- CLOSE SHOT
starts out of the phone booth.
nd starts for the door. He looks back at
n doorway.
e'll be back as soon as we can. I don't
door closing it. Everyone stands staring
MED. CLOSE SHOT
hing across the street.
MED. LONG SHOT
exterior of Ambrose Chapel.
and deserted. A faded sign outside
MED. SHOT
Empty, except for one figure, a woman
organ rack in the front of the Chapel. The
and as she turns on her way to the hymn
s Mrs. Drayton. At the hymn board, she
f hymn numbers.
MED. CLOSE SHOT
across the empty chapel to a side door.
MED. CLOSE SHOT
stairs, the CAMERA MOVING with her. She
irst landing, takes a key out of her
MED. CLOSE SHOT
t bare room, Mrs. Drayton closes the door
th her back to it, watching. The CAMERA
the rest of the room. Sitting at a small
ng Hank McKenna. He is playing checkers
the airport who was standing with the
ing Jo McKenna. The one with the dirty
e call. Hank has caught the woman in a
bvious satisfaction jumps three of her
w much about checkers, do you?
d, dear. You'll get tired out.
ee that he gets some milk and biscuits.
ther sleeping pill...I've got to get
, won't you?.
finish this game.
be kind. Yell out when you want me to open
ith a frown. Mrs. Drayton smiles and goes
MED. SHOT
in Mrs. Drayton locks the door, and
MERA PANNING her. She enters another door.
MED. SHOT
e ornate room. The CAMERA PANS her in, and
o is putting on a surplice -- and then the
cKennas' door in the Mamounia Hotel,
d Montgomery. He is putting on a tie and
rous-looking revolver strapped underneath
, without a word, sits down and lights a
something close to fatigue. Then she
nished his dressing.
ox sentiment.
akes something out of a drawer.
He turns to the man with the gun.
r the concert at the Albert Hall -- with
ien takes the envelope, glances at it
to his pocket.
d, or shall we say strategically
cord player, which is open and has a
own at the phonograph.
ul Picco they will play tonight.
ne than marksmanship. If you will listen,
or you the exact moment at which you can
in. Now listen for the cymbal crash.
again and claps his hands together at the
your shot will not be heard. The
be disturbed. I think the composer would
ever, my friend.
otherwise?
thought. It happens early in the evening.
if I say there's time for one shot only.
risk is yours..
psing all the way down to Marrakesh to
you to do me credit.
t's on the way there now. A car is waiting
e back entrance. You will pick up a Miss
will be your companion in the box. She's
respectability...if that's possible.
when I return?
verb -- a wolf in Sheep's clothing?
e going. It is impolite to be late for a
hey made you wait until the first
out the back way, but we have to preserve
sin. Drayton turns to the mirror and
APEL - (DAY)
en pacing. To rear door of the chapel
ushes Rien out. He crosses and enters a
MEDIUM SHOT
re lengthening as Ben gets out of a taxi
ng on the sidewalk.
ems to have vanished in his eagerness to
t she knows.
MEDIUM CLOSE SHOT
grips his hands.
right on the nose. You can't be farther
Ambrose Chapel. Let's go.
help from the police?
let's take a crack at this alone.
MEDIUM LONG SHOT
their viewpoint. People are now entering
e tag end of the congregation is entering,
bviously under way, the sound of hymn
intly to us.
MEDIUM CLOSE SHOT
ezes it affectionately.
street, the CAMERA PANNING them up the
to the entrance.
MEDIUM SHOT
om the rear, looking around cautiously. A
Chapel holds about three hundred people.
ist type and the congregation consists
d elderly women. Although the McKennas are
ce that the organist is none other than
rved Jo at the airport, and later took
MEDIUM CLOSE SHOT
ind their way to a back row seat. One or
back row turn to look at the new arrivals.
thing to Ben, but with a gesture he
up hymnal, hands her one, finds the right
along with the hymn. But instead of
he hymn, Ben makes up his own words to
he looks around at the chapel.
ild goose chase.
turn and listen to Jo's voice because it
ty that rises above the rest. Whether they
icion, or admiration, is hard to tell. Jo
he hymn book, trying to be unnoticed.
ng coming down the aisle.
eaning forward a little and to one side.
MEDIUM SHOT
a collection basket, collecting money
Drayton. She is approaching the row in
MEDIUM CLOSE SHOT
plessly. Mrs. Drayton is between the two
exit. Ben immediately eases his way along
des him somewhat from the front, but not
ors to shrink her body behind a tall woman
is not entirely successful. We can see
ser to them.
st panicked. Suddenly Mrs.
end of their row. She pushes forward her
she does so her face blanches. She
do, looks her straight in the eye and
MEDIUM CLOSE SHOT
rayton turns to go back down the aisle
and bills, we now see the surpliced Mr.
MEDIUM SHOT
oint, as he notices his wife coming up the
pression on her face. She tries to nod
e something important lies behind her.
CLOSE SHOT
uzzle out her alarm, studies her face, and
ook beyond her.
ce leaves no doubt that he cannot
ying to convey. The hymn has come an end,
rts seating itself.
MEDIUM CLOSE SHOT
along with the rest, and as yet they are
from the front of the chapel. Ben takes a
s pocket, examines it, and satisfied it is
to his wife. The congregation falls silent
about to begin his sermon.
MEDIUM CLOSE SHOT
his Bible, opens it a certain page, and as
his wife who is sitting near the organ.
p at him. She seems frightened. Drayton
f the Bible, apparently trying to make
e's attitude. Failing, he looks up and
eaks into a microphone.
e subject of my address this evening is
and mine, is often harassed and perplexed
intments beyond our control.
often the things beyond our control which
the testing ground of life and let us be
s bless the disappointments and the
rayer for the agony of the moment. Only
d re-confirm our own goodness and
goodness of all Mankind.
MEDIUM CLOSE SHOT
as he delivers his sermon.
onversation is whispered.
number. Go on out and call him and ask him
th police.
ything. This is the time. I'm sure Hank is
do it, honey.
ush. With a regretful look at him, she
CLOSE SHOT
mon, Drayton looks up. He almost falters
rise from her seat.
Drayton's viewpoint. Jo has turned up the
oor at the back.
CLOSE SHOT
e, but his eyes are serious.
use, he continues his sermon, shifting his
how life's adversities work in our
en and women of us.
pause now to do a little stock-taking --
rts and see what we find there. Therefore
e service, I think we should all return to
ditation, remembering how little we have
uch to be grateful for. Next week I shall
r meditation. Until then, my blessing upon
MED. CLOSE SHOT
h little charity in his heart.
ongregation when Drayton tells them to go
other, uncertainly.
MED. SHOT
, and begins to descend from the pulpit.
o life. The members rise from their seats
the chapel. Occasionally they cast
the pulpit, as if surprised at what they
MED. CLOSE SHOT
two steps of the altar, he beckons the
es, and he whispers something to her. He
arer to him, and also whispers something
s off through a side door by the altar,
her way down the aisle through the
the door.
MED. CLOSE SHOT
e threads his way up through the women who
stands at the front of the chapel,
a slow and deliberate walk up the now
comes face to face with Drayton. Drayton
surprise, Doctor.
er of fact you've just come in time to
food. Seems Hank doesn't care much for
the back of the church as he talks. Ben,
ovement, follows it cautiously. But before
cions, there is a loud clang of a door
is answer. He looks around quickly.
MED. LONG SHOT
chapel, the woman, Edna, has just closed
process of locking the heavy iron lock
tracts the key and puts it into her
MED. CLOSE SHOT
n to find that his manner has changed
uickly by the throat of his robes.
ive you money and keep my mouth shut. All
? Did she go outside just to get some
'll do anything.
your boy in good time.
wrenches himself away from Ben. He reaches
r, presses it. Instantly the door by the
and two rather strong men appear. Ben
em, backing of a little.
MED. CLOSE SHOT
sly the chauffeur type, and the other one,
hirtsleeves.
otices the open door behind them. Ben
the pulpit, and suddenly dashes for the
is speed, and before anyone can stop him,
grabs the microphone previously used by
! Where are you? Hank! Hank!
gh he chapel the two man dash for the
t we hear, faintly off, the voice of Hank:
Dad -His voice is choked off. Ben jumps
an effort to make for the open door, but
lves on top of him.
with great urgency.
ow, watching the both of them!
(DAY) - CLOSE SHOT
hanan, is listening intently on the phone.
not handsomely appointed. Jo's voice is
ou -- so we could do something before
nd you believe your son is somewhere in
ow where he is...but at least these people
s. If you'd only send somebody to get
e as easy as all that.
ient with his caution..
any time! My husband is sitting in that
bring some help.
chanan? He said when we needed him, to
(DAY) - MED. CLOSE SHOT
simply can't get hold of him just now.
portant diplomatic affair -- at the Albert
She wants action.
ase! Call him!
(DAY) - MED. CLOSE SHOT
hes for a pad d a pencil, and begins
know quite -- JO
ng -- right away -- before we lose the
l I cant as soon as I can.
this. It's a matter of minutes. Can't you
have to go to the Albert Hall
(DAY) - MED. CLOSE SHOT
is notes. He reaches for another phone
dials a number as he talks to Jo.
I'll see that the chapel is put under
y the time you get back a police car
return to your husband, tell him to come
el, and let the police take over.
. McKenna.
have everything laid on.
ation, Jo hangs up the phone as Woburn
end. She exits to the phone booth.
MEDIUM LONG SHOT
pel opens and Drayton, Hank and Mrs.
locks chapel door and crosses to a waiting
the car moves off.
MEDIUM LONG SHOT
towards Ambrose Chapel.
MEDIUM CLOSE SHOT
ing for the chapel. She looks.
MED. LONG SHOT
are closed. It seems strangely
MEDIUM LONG SHOT
reet, and up the steps to the Chapel. She
MED. CLOSE SHOT
es it again. It does not give. She bangs
a frightened.
MEDIUM CLOSE SHOT
e right side of the Chapel.
h of it. No sign of anyone.
MED. CLOSE SHOT
e right side of the Chapel.
down the whole side of it.
MED. CLOSE SHOT
door, examines it, tries it again. Now
in her face. There Is the sudden sound of
to the curb. She turns.
MED. LONG SHOT
up to the curb. There are four men in it.
MED. SHOT
the front of the Chapel down to the police
ng out, leaving the driver inside.
MED. CLOSE SHOT
men. One of them, in charge, does the
ng. A few minutes ago the place was full
's nobody!
p toward the Chapel. Patterson glances at
t under observation until a Scotland Yard
here must have been thirty or forty
t have been more than five minutes ago!
to hurry.
MEDIUM CLOSE SHOT
of them up to the Chapel. The other police
for an inspection.
he main door. Patterson tries it.
d, Let's force it open.
't break in.
t. It's the law, you see.
have a look round, shall we? Matthews,
rner to inspect the sides of the Chapel.
MED. CLOSE SHOT
the windows. They apparently see nothing.
MED. CLOSE SHOT
cking the windows on the other side.
MED. CLOSE SHOT
hecking the alleyway in back of the
of anything suspicious.
ound the back and try the back door.
MED. CLOSE SHOT
e place was full of people -- only a few
was there myself, sitting next to my
cotland Yard.
d to explain.
ight and wait for the car to arrive from
of the Chapel, and Jo, unhappily, is
MED. CLOSE SHOT
nside. In the dim light we can see a form
or. It is Ben.
le as if just beginning to come to after
MED. CLOSE SHOT
d around the patrol car, as Patterson, the
adio telephone.
t, sir, there's no sign of life. I see,
t of the open car. He turns to one of his
, till the car arrives from the Yard.
into the car, Leaving the door open for
ve you lift somewhere?
ritated, but she thinks for a moment and
ith tolerant surprise.
a bit off our beat. Suppose we drop you
pel briefly.
nd the CAMERA PANS it, as it drives away
ondon street, which now remains deserted.
uge residential building such as is to be
ce Gardens or Belgrave Square. The CAMERA
umber car driving through the gates at the
Service entrance. A man sitting beside
f the car. Inside the car are the Draytons
the man hurry to the door of the kitchen
- MED. SHOT
kitchen help, chefs, maids of middle-age,
hat is obviously a big party. The man who
em to get their attention.
they become aware of him.
orridor. Hurry (He claps his hands)
ilderment and confusion. The man crosses
utler, and whispers some words to him. The
ers and starts herding them toward the
in the far corner of the kitchen.
. It will only be a minute. Come on, all
d beckons the Draytons and Hank to come in
ut of the car and hurry toward the door.
- MED. SHOT
the kitchen, and goes to stand guard at
h the workers left.
- MED. CLOSE SHOT
together at one side of the corridor. They
always something queer going on.
- CLOSE SHOT
are grumbling, one is saying nothing. He
young footman.
ough closed door. Coming from the kitchen
or opening, the walking of feet, and
y every time, there's neutrality for you!
leaving outside. The door to the kitchen
including the young footman enter again.
- MED. CLOSE SHOT
the first to enter, surveys the kitchen.
ne having passed through.
MED. LONG SHOT
apel is still deserted, and the light of
. Suddenly the silence is broken by the
g spasmodically in the chapel belfry.
eople begin putting their heads out of
iceman left in charge is seen hurrying
MED. CLOSE SHOT
see the cause of the spasmodic bell
e rope to climb out of the chapel. He
h window. He holds on to the window, and
LONG SHOT
an see people gathering in the street,
MED. CLOSE SHOT
the opposite window which will be away
gs, grabs, and with some difficulty
inally climbs out through the window.
MED. CLOSE SHOT
onto the roof of the chapel.
can see people on the street.
d crawl over the roof, the CAMERA PANNING
nd and below the patrolman returning with
licemen. They are crossing toward the
ert Memorial as a foreground piece we see
rivals at a big concert. Through the
are pulling up, while on the sidewalk
odd taxis are pulling in. We see the
ich run along the edge of the sidewalk.
h a large poster. It announces for that
e concert. Further details on the poster
will be sung featuring the London Symphony
ral Society, and a name woman as featured
ctor Bernard Herrmann. Between the CAMERA
lls up. It is near enough to the CAMERA so
the door fills the screen, Jo McKenna
nd pays off the driver with a Ten Shilling
iver endeavors to call after her as he
his hand. He looks at it with
it into the inner recesses of his
MI-LONG SHOT
way across the narrow inner roadway into
re creeping and depositing indifferently
p the few steps the front door surrounded
dressed, tiaraed English duchesses, and
ed members of the Corps Diplomatique men
orders, and their more fashionably dressed
tone-stepped, cast-iron railinged
ling people going off in different
s. There is a hubbub of voices through
ogramme sellers crying out their wares.
turns as two or three people, perhaps a
hairs', and one other people, who
ved ahead of time because they had no
at the window. A uniformed attendant,
ue, is repeating information for the
ing Room three and six -- Jo moves out of
manager, please.
nager's on duty in the lobby. So's his
one of them.
tely and starts Jo seek these men out for
her over and she finds herself blocked
r five feet deep.
endeavoring to look beyond the block of
e changes as she sees:
f crowd she sees the arrival of an
is accompanied by others who are
on him. A couple of the individuals behind
der sashes underneath their white
l figure of this group is an oldish an
hite tie and tails, and also wearing a
. About third is line behind him comes
e the men she has been seeking, possibly
t Hall, his assistant cow-towing behind
e manager someone dressed like he might be
head of the Arts Council, The
There is an exchange of courtesies, after
ward the beginning of the staircase. As
through towards him. The people around
Behind Jo are two girls in their early
ssador. The Prime Minister's the one with
s got a better seat than we have.
e does manage to get forward a little, but
Sudden break-up of the people who have
By the time she is in the clear the
and over her shoulder we see the last of
rcase, followed by other members of the
same direction.
filling her face. She begins to turn her
h indecision.
ssing people hurrying towards their seats.
ward and staring in Jo's direction, is
face shows considerable alarm at what he
half-turned in his direction.
Slowly she looks up. Her mouth half-opens
e once saw in the corridor of the hotel at
ht, hurries over to her.
EUP. He says to her quietly:
tle boy, madame.
hes him and almost cries out.
CAMERA PANS him away. We see him join a
eir way for the staircase..
d we now see that the crowd in the lobby
ds alone, jostled by a stream of late
itself we can hear the SOUND of the
lowed by a burst of applause, with a few
erald the arrival of the visiting
ning into the hall. She seems drawn to go
CAMERA FOLLOWS her to the first entrance
nd then slowly crosses the corridor to the
ticket collector and a programme girl
the opening, the ticket collector steps
ust looking for someone.
forward as some new arrivals take up the
collector. The programme girl escorts them
ll in front of her.
ees the complete hall, the orchestra and
ound of applause is heard as the conductor
y toward the instruments and mounts the
d the box which first catches her
ees the flag-draped box of the foreign
is entourage and seat slightly to the left
'Buchanan'
r and in front of 'Buchanan'
tary is a be-medalled, blue-sashed
an Ambassador.
nd looks at the other side.
he boxes. Suddenly it stops on one as the
with his woman escort like any ordinary
asual in their behavior.
sudden silence returns her attention to
e the full orchestra, the conductor with
their sheets of music in unison.
we see the whole hall, the audience, and
ta starts with a roll on the timpani and a
hestra with the choir
top of the orchestra with the strings in
nt. The SOUND of these instruments seems
sic due to their proximity to the CAMERA.
r sound dominates the scene.
e sound effect.
es drown out the rest of the orchestra.
each of these shots follow in succession,
h each group of instruments and finally:
just hear the kettle drums booming away.
who is seated with legs crossed and arms
beside him on another chair, the cymbals.
g on their chair.
ing toward the orchestra. He looks down
cks something up from a chair.
her breath..
e Rien is raising a pair of small black
ich he puts to his eyes and studies his
s up at the dignitary's box.
beside him, whom we shall later know as
cates with gestures how much he is
looks back over his shoulder and gives
mments to 'Buchanan'. Then, turning
comfortably in his seat to enjoy the
a taxi pulling away and presently a glass
lled Ben comes into the lobby. He comes up
about him.
obby appears empty except perhaps for a
nd upstairs.
ther direction -- just emptiness.
t as to what to do and where to go. We PAN
idor entrance that leads to the main
-LONG SHOT
e through the opening the ticket collector
nding at the opening leading down the main
nding with her back to him, is
e hurries forward. He touches Jo lightly
ns, startled, and manages to suppress an
m. We do not hear what they are saying but
e that Jo is telling Ben all about the
argues with her. He indicates he will tell
y restrains him but he shakes her off and
stairs originally taken by the dignitary
K) - SEMI-LONG SHOT
dor and looks about him. Beyond him we see
detectives, and ahead of them a police
rry in his direction.
K) - SEMI-LONG SHOT
table and is about to pass him when he is
hear the dialogue, but the pantomime
to get to Buchanan. The constable doesn't
of Ben's dramatic plea. He indicates that
rior. Ben waits impatiently as the
ne of the Inspectors who is standing in a
off. From his viewpoint we see the
Inspector with skeptical nods of his head
ulder and then up to the box of the
perately towards the direction of the
estra, but the duration of it on the
on the chair.
HT) - SEMI-LONG SHOT
to Ben, the Constable on one side. Again
or questioning the impatient Ben. He
to the men standing outside the door to
away with exasperation toward the CAMERA.
eground. We see a quick shot of the
the cymbals filling the screen.
y and the man who is to wield them unfolds
is legs. He leans forward to glance at his
HT) - SEMI-LONG SHOT
the Inspector to discuss matters with the
s and hurries away, the CAMERA PANNING
h the effect of the singing and the
going through.
mbal player now places one hand on the
places his hand for the first time inside
ster. The CAMERA PULLS BACK to show the
seeing this gesture, rising and backing
ses of the box.
HT) - SEMI-LONG SHOT
ning into the section behind the boxes,
by the Assassin.
HT) - SEMI-CLOSEUP
HT) - SEMI-LONG SHOT
e rows of boxes.
HT) - SEMI-CLOSEUP
ed. He approaches one.
HT) - MEDIUM SHOT
two uniformed policemen are now coming
r the departed Ben.
e conductor is wielding his baton
er a sheet of music.
ir music..
over his music. He looks at the music in
first time picks up the cymbals.
HT) - SEMI-CLOSEUP
ws him trying another door cautiously and
s in and then softly closes the door. He
tries another door with the same cautious
gun out in the darkness of the rear of
ng his music, his cymbals held.
the cymbals tipping the bottom of the
usic. It is blank.
IN to the bottom of the right-hand page
is to strike.
and desperate. She looks up towards the
or as she sees:
ving forward and the tip of the gun for
owards the cymbal player.
ed gun in the Assassin's box..
HT) - CLOSEUP
door. He again closes it and moves to one
and smiling face.
the screen.
the foreground and through them we can see
nductor beyond.
rom his score and points deliberately to
ng his arm and slumping forward.
those around leaping to their feet.
artled as they rise in their seats and
HT) - SEMI-CLOSEUP
or and swinging it open finds himself
sassin. The latter's hand goes for his
s gun. Ben lunges forward with a blow.
- CLOSEUP
ck and we hear the clatter of the gun as
ards the CAMERA looking for a means of
edge of the box to go over into the next
- SEMI-LONG SHOT
with a crash into the aisle below him as
he middle of their note quickly change it
the orchestra rises to its feet at the
gnitary in his box are backing up to give
ining his wound.
and a shake of his head that he is not
ees Ben leaning over the box in horror
Assassin below.
niformed and plainclothes police dash into
in the lobby, police dashing upstairs on
the stairs. Jo rushes into the lobby and,
nd the lobby begin to look at Jo and Ben.
ager hurry over to them. They are in a
ough we do not actually hear what he says,
obviously questioning Ben and being
to catch the tail-end of the
t is only a small flesh wound...Oh here he
nd meet him...don't be nervous...I'll get
..it will be all right (To Woburn)
dy to the prime minister?
is drawn to something off-screen up the
see the Prime Minister, obviously not
incapacitate, being escorted down the
ther members of the staff, including
anch. The Prime Minister is indicating his
way he waves his hands, is deprecating
wound. In fact he is rather over-doing it.
top of the stairs we see 'Buchanan'
SEMI-CLOSEUP
the Ambassador.
at the Embassy, Your Excellency. In the
en and Jo across to the foot of the
nt but he insists. As the CAMERA PANS them
at the bottom at the stairs. The manager
lussed. He leans over to one of the Prime
tter's face lights up. He leans over and
e Prime Minister. The Prime Minister is
troduces Ben and Jo to the Prime
is the lady who -- The Prime Minister
for ever in your debt.
-- The Prime Minister interrupts again,
me to wait upon you tomorrow and to
gratitude.
- PRIME MINISTER
e. The Prime Minister collects himself and
the hall, the police making a passageway
d. We see the Ambassador hurrying into the
s the screen quickly to follow the Prime
oment not knowing what to do or where to
with Ben and Jo.
ld like to talk to you.
rim 'Buchanan' is standing at the top of
SEMI-CLOSEUP
Jo up the stairs towards 'Buchanan'. They
HT) - SEMI-CLOSEUP
have only one thought in their minds to
me in here.
e across the top landing and to the doors
e are various police standing about and
en can be seen inside the room. 'Buchanan'
to enter. Then he and Ben follow her in.
EDIUM SHOT
the 'Green Room', generally used by the
ring at Royal Albert Hall. Buchanan nods
n who are standing about in case they are
rmal containing arm chairs, a sofa and a
Jo sits down wearily into the nearest
ing, Buchanan takes a seat in a chair near
at Ben as if he expects him to say
to the look.
e and place all along.
th of you turning up here.
ct your assistant. He sent us both here.
ed that help you offered. We still need
ill need it.
er member of the Special Branch enters.
an. Said she bought a ticket that happened
box with the man that did the shooting.
but if she does, she's not talking.
en sits down dejectedly in a chair.
room for hope, Mrs. McKenna...
large hallway and ornate
quarter filled and various guests of the
ers are gradually adding to the group. The
them until it reaches slightly open
sly through we see the face of Drayton.
CLOSE SHOT
doorway is Drayton and his wife. She is
him. A footman comes up to them and
ife and the CAMERA PANS them after the
allway. He is the very same footman we saw
nts who were herded out of the kitchen. He
the Draytons -- they enter.
CLOSE SHOT
ireplace, above which is an oil painting
s the Ambassador whom we saw at the Albert
if the woman won't talk, she won't talk
se. All right.
CLOSE SHOT
door behind the two as Drayton advances
ith an easy manner, the CAMERA PANNING
lot to explain to you -- something very
must also have the money to pay our French
us, considering that he's dead?
re mutely at the Ambassador.
good as you led me to expect. The target
flesh wound in the arm. Worse than
trified, at the Ambassador.
panicked, and made a fatal crash --
the Albert Hall.
hold me responsible. He was most warmly
e in Marrakesh...
s to get really nasty.
treat the matter so lightly. I am holding
ening. In a few minutes, I have to welcome
guest of honor -- when I hope and
e totally unable to attend. That amuses
dled everything from the start. Kidnapping
..Don't you realize that Americans dislike
re the American would hold his tongue?
l, you get cold feet and come running
d bring the child with you: Don't you see
diplomatic status of this
thought...
the child out of here, eh? Eh? Eh? Eh?
out that, surely? The car -- AMBASSADOR
tives planted right round this building?
s will be the death of us all.
d. Just give me time....
oment, suppressing his rage, and then he
on as if thinking about something.
from this Embassy, and removed in such a
e to say any more where he has been
d looks up at her in such a manner that
tries to say something, but no words come
s the Ambassador with horrible servility.
r husband with loathing. There is a polite
assador looks up..
ler enters.
ncess should be arriving at any moment.
mself, his chest swells out a little, h
strides from the room. Just at this moment
ra in the distance strike up some gay
dor goes out of the door. Mrs. Drayton is
EDIUM SHOT
is listening carefully.
e recognized me. So he jumped for it. And
of their own big-shots. I wish they'd
tom, and do it in their own country...
rings. Woburn, who is now re-placing the
n the room, picks up the telephone.
ver to Buchanan.
hile, his face changing as he listens with
to Woburn, but half speaks in the
out -- from the inside.
gets up from his chair.
he Embassy, Hank has to be there too!
tion back to Ben.
ut we can do nothing.
gn country has extra-territorial rights.
ommon language?
d, this Embassy stands on foreign soil.
steal children and get away with it?
n Office serve a writ on the Ambassador.
apologetically as If it were I
ponsible for the complications of
ve proof that the boy really is in
is thinking hard, obviously hatching some
ber of this Embassy.
at Ben a moment without answering and then
n picks up the 'phone.
riefly. Buchanan looks at Ben with keen
e Minister himself.
and surprised. We hear the answering
f the phone.
Minister, please?
distorted sound of a voice mumbling on
ne. Ben interrupts the question.
ved his life wants to speak to him. Its
nd of the phone mumbles briefly, and there
isfied look on his face, as he hands the
s frightened.
y, Ben? I don't know -- (She trails off)
urn and Buchanan, gives her instructions.
it us soon so he could thank you.
to see him tonight, at the Embassy,
London tomorrow.
y underneath the oil painting of himself,
corted to a telephone by the butler who
on the other and of the line he is all
charming surprise...
end of the phone, agreeably making sounds
m", then he speaks, with a gracious sweep
ow to the telephone.
lighted. The Ambassador, too, will be
friends of his. We will drink a little
d to mine. Peacefully we will
e painting of himself on the wall.
EDIUM CLOSE SHOT
little surprised and still considerably
UM LONG SHOT
ront of the large, old-fashioned Embassy.
lighted, evidence of a social occasion.
UM CLOSE SHOT
es Jo's arm, and they start up the steps
RA PANS them..
UM CLOSE SHOT
. His grip on Jo's's arm slides down to
veried man ushers them in with gesture.
UM CLOSE SHOT
ay. The liveried man closes the door.
rway is a group of people listening to the
t playing in the room beyond. Included in
l Aide of the Prime Minister. He sees Jo
ver to them, smiling and eager.
g quartet is playing ends amid a round of
re people rising from their chairs and a
o the hallway.
e this way, please? The Prime Minister is
and Jo squeeze through the crowded
UM CLOSE SHOT
o through the main room, the CAMERA
ve through the room people begin to notice
se they are not dressed for the occasion
em to be admiriing ones, and there is a
t their passage. Apparently people
takes them to the Prime Minister, who is
seat of honor in the first row.
UM CLOSE SHOT
nizes them immediately, and comes forward
the Prime Minister, and the Prime
th enthusiasm.
y who saved my life at the
ward quickly, all smiles.
fe of the one man, who is irreplaceable in
famous Jo Conway, Madame?
ame might be persuaded to sing?
been some time...
nquil coda to conclude a dramatic evening!
some chairs quickly.
have with us tonight...Jo Conway...the
as graciously consented to sing for us ..
at the Prime Minister has a very good
- Jo is led to piano by Ambassador. Aide
UM CLOSE SHOT
ay from the group, and over toward a side
HIM. All eyes are on Jo.
UM CLOSE SHOT
e piano. Her face seems serious. She looks
to check where Ben is.
y, realizing there is to be more
rd the main room.
UM CLOSE SHOT
the Piano.
seats. There is coughing, shuffling of
UM CLOSE SHOT
he same time seems to be lookIng around
oward the various exits.
tes, Jo settles down and plays the
. We see the great tenseness on her face,
onal smiles, which she bestows on those
the tenseness returns. As she sings, her
overpowering. It fills the whole room with
t seems out of place that she has become
an intimate drawing room setting.
is listening intently, and with surprise,
ple crowded at the door, listening.
flight of stairs above the hallway. No
e loses some of its volume.
UM CLOSE SHOT
deserted. Jo's voice fading.
UM CLOSE SHOT
corridor. We now hear the song floating
UM CLOSE SHOT
ide of the door, Hank McKenna is listening
a little puzzled.
and he jumps suddenly to his feet. He
d begins trying to open it.
! That's my Mother singing!
artled by Hank's performance.
e you really sure?
UM CLOSE SHOT
doorway, to look at Mrs.
UM CLOSE SHOT
l awed by what she has heard.
UM CLOSE SHOT
, has no answer. He walks slowly back into
rayton, listening and thinking about what
s a new and dangerous thought coming into
that song?
UM CLOSE SHOT
abstractedly.
. Whistle it as loud as you can.
ittle understanding. He can barely believe
understands.
ly facing the door, starts to whistle the
nd vigorously.
nd moves back to a chair, as she watches
is looking up anxiously as she sings. She
pauses for a moment and softens her
hears it -- a faint whistle coming from
ose around to appreciate it, but loud
ears of Jo. She looks across the ballroom
UM CLOSE SHOT
tands. He gives her the slightest sign of
UM CLOSE SHOT
th almost excitement in her singing voice.
her as it follows Ben as he walks along
UM CLOSE SHOT
the wall toward the far doorway, which
case Everyone is so intent on listening to
tracts no attention.
UM CLOSE SHOT
vice stairs in the back of the Embassy,
two men who came with him in the car. One
ngth of rope in his hand.
room. I'll bring him down.
UM CLOSE SHOT
ading up to the grand staircase.
UM CLOSE SHOT
rayton goes up two stairs and turns back
his watch.
UM CLOSE SHOT
bent in a chair, sobbing, Mrs.
im, trying to reassure him.
e hears footsteps in the distance. She
s the footsteps grow and grow, she looks
She goes to the door, hears the steps
. She looks across at the
UM CLOSE SHOT
lmost protectively, as the footsteps get
o Hank, kneels down again and clutches the
eps stop outside the door. She looks at
ietly, but firmly.
UM CLOSE SHOT
piercing scream. Hank's head jerks up. The
UM CLOSE SHOT
y. He instantly rushes toward Hank, the
leaps to his feet, and the two of them
words are spoken, Just muffled sounds of
ther. Then they release each other, and
yton. She is standing, staring at the door
uickly to look.
UM CLOSE SHOT
Drayton. Deftly he reaches into his
all automatic.
tands there in silence. Then Ben speaks.
o start any shooting, Drayton -- with all
and police outside.
hout saying anything, but the gun doesn't
er husband fiercely.
group, gun poised. Hank clutches his
n tenses himself, prepared for battle if
stares at her husband with some defiance.
ble, and help me out of here?
ou miserable....
d by Ben's refusal. He leans down closer
s him directly.
ather to get hurt, would you?
s father. Drayton looks up.
UM CLOSE SHOT
unmistakable. Ben looks down at him with
ready to explode, but he has sense enough
a slight smile on his face.
s pocket, but still holds it.
together in a casual sort of way. Then
e nearest taxi rank. I trust there won't
don't say or do anything.
frightened to talk.
with Hank, and Drayton moves into the
hey go through the door, Mrs. Drayton
p forward, if to attack Drayton from the
ank in danger stops her..
nter, slowly strolls down the corridor
. The sound of Jo Conway's voice can be
ee the big staircase empty for a moment,
UM CLOSE SHOT
terrified, tear-stained face of Hank, and
n. Drayton seems carefully alert. The
front of them as they descend. The music
ceases, as Jo finishes her second song.
eat applause. The three are about a dozen
hen suddenly Ben shoots out a hard and
Taken by surprise, he stumbles, and falls
. Clutching for support with his hands,
pocket, and he remains in a crumpled heap
out, the shot is heard loud, and people
into the hallway.
ay, and Drayton's body, led by the
Minister.
UM CLOSE SHOT
y around the body, Ben is hurrying Hank
CAMERA PANS them.
way down the stairway, and looks down in
r dead husband.
UM CLOSE SHOT
ch is emptying due to the rush of people
risen from the piano and is almost afraid
as happened. In a moment, Ben and the boy
ank rushes across the ballroom to his
y when she sees him..
T) - MEDIUM SHOT
el room, the Parnells and the two woman
in ungainly attitudes of sleep. Val is
door of the room opens and the three
nd awakes Val. He peers at them sleepily
ng position. Ben closes the door.
o long, Val, but we had to go and pick up
other women. They sit up, and stare with
ing trio of Ben, Jo and Hank.
