Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 10
INT. UPSTAIRS CORRIDOR - (NIGHT) - CLOSEUP
Ben trying one more box door. He again closes it and
moves to one more.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The dignitary's pleased and smiling face.
INT. HALL - (NIGHT) - CLOSEUP
The gun poised. It fills the screen.
INT. HALL - (NIGHT) - CLOSEUP
The cymbals are held in the foreground and through
them we can see the orchestra and the conductor beyond.
The conductor looks up from his score and points
deliberately to the cymbal player.
INT. HALL - (NIGHT) - CLOSEUP
The cymbals clash together.
INT. HALL - (NIGHT) - CLOSEUP
Jo leaping forward with a scream.
INT. HALL - (NIGHT) - CLOSEUP
The dignitary is clutching his arm and slumping forward.
We gain an impression of those around leaping to their
feet.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
The people around Jo, startled as they rise in their
seats and turn back to her.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
Ben dashes to a final door and swinging it open finds
himself face-to-face with the Assassin. The latter's
hand goes for his holster. He pulls out his gun. Ben
lunges forward with a blow.
INT. ASSASSIN'S BOX - (NIGHT) - CLOSEUP
The Assassin staggers back and we hear the clatter of
the gun as it falls to the floor.
He immediately turns towards the CAMERA looking for a
means of escape. He leaps to the edge of the box to
go over into the next one. He slips.
INT. ASSASSIN'S BOX - (NIGHT) - SEMI-LONG SHOT
We see the Assassin fall with a crash into the aisle
below him as Ben dashes forward in the box.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The soprano singers in the middle of their note quickly
change it to a unified scream.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The music trails off as the orchestra rises to its
feet at the startling occurrence.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
The hall is in an uproar.
INT. HALL - (NIGHT) - MEDIUM SHOT
The people around the dignitary in his box are backing
up to give him air. Someone is examining his wound.
He see by his movements and a shake of his head that
he is not dead.
INT. HALL - (NIGHT) - SEMI-CLOSEUP
Jo is still standing looking up.
INT. HALL - (NIGHT) - SEMI-LONG SHOT
From her viewpoint she sees Ben leaning over the box
in horror looking down at the dead Assassin below.
The door opens and the uniformed and plainclothes police
dash into The box.
INT. LOBBY - (NIGHT) - LONG SHOT
There is utter confusion in the lobby, police dashing
upstairs on either side.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
We see Ben hurrying down the stairs. Jo rushes into
the lobby and, seeing Ben, dashes towards him.
A few of the people around the lobby begin to look at
Jo and Ben. We see the Assistant Manager hurry over
to them. They are in a group of three, and although
we do not actually hear what he says, due to the hubbub,
he is obviously questioning Ben and being solicitous
to Jo.
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
We go close just in time to catch the tail-end of the
conversation. Ben is just saying:
BEN
Then he didn't kill him?
ASSISTANT MANAGER
Your wife saved him -- it is only a
small flesh wound...Oh here he is
now...you must come and meet him...don't
be nervous...I'll get the aide to
present you...it will be all right
(To Woburn)
Would you present the lady to the prime
minister?
Suddenly their attention is drawn to something off-
screen up the stairs. The hubbub increases.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
From their viewpoint we see the Prime Minister,
obviously not wounded sufficiently to incapacitate,
being escorted down the stairs by his Aide and other
members of the staff, including Woburn of the Special
Branch. The Prime Minister is indicating his arm and
obviously by the way he waves his hands, is deprecating
their concern about his wound. In fact he is rather
over-doing it. Just beyond them at the top of the
stairs we see 'Buchanan' standing with the Ambassador.
INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
'Buchanan' is reassuring the Ambassador.
BUCHANAN
I'll report to you fully at the Embassy,
Your Excellency. In the meantime...
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
The manager is leading Ben and Jo across to the foot
of the stairs. They are reluctant but he insists. As
the CAMERA PANS them over they meet the group at the
bottom at the stairs. The manager calls out to Mr.
Woburn and indicates Ben and Jo.
INT. LOBBY STAIRS - (NIGHT) - CLOSEUP
Woburn is a little non-plussed. He leans over to one
of the Prime Minister's Aides. The latter's face lights
up. He leans over and whispers something to the Prime
Minister. The Prime Minister is all smiles.
INT. LOBBY - (NIGHT) - MEDIUM SHOT
Woburn steps down and introduces Ben and Jo to the
Prime Minister's Aide.
WOBURN
Mr. Prime Minister, this is the lady
who --
The Prime Minister interrupts enthusiastically.
PRIME MINISTER
My dear lady, I shall be for ever in
your debt.
WOBURN
And this is her husband --
The Prime Minister interrupts again, less
enthusiastically.
PRIME MINISTER
A pleasure, my dear sir...
(He turns to Jo)
I trust you will permit me to wait
upon you tomorrow and to express the
depth of my gratitude.
JO
(Weakly)
It wasn't -- it wasn't --
PRIME MINISTER
(Gallantly)
Oh but it was, my dear lady.
There is an awkward pause. The Prime Minister collects
himself and turns to move on out of the hall, the police
making a passageway for him through the crowd. We see
the Ambassador hurrying into the picture and moving
across the screen quickly to follow the Prime Minister.
INT. LOBBY - (NIGHT) - SEMI-CLOSEUP
Ben and Jo stand for a moment not knowing what to do
or where to go next. Woburn standing with Ben and Jo.
They look up and see Buchanan.
WOBURN
I think Mr. Buchanan would like to
talk to you.
INT. LOBBY - (NIGHT) - SEMI-LONG SHOT
From their viewpoint a grim 'Buchanan' is standing at
the top of the stairs.
INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP
The CAMERA PANS Ben and Jo up the stairs towards
'Buchanan'. They increase their pace towards him.
INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP
When they reach him they have only one thought in their
minds to ask him.
JO
(Wildly)
Where's our boy? Where's Hank?
BUCHANAN
(quietly)
We can talk if you'll come in here.
The CAMERA PANS the three across the top landing and
to the doors of the 'Green Room' There are various
police standing about and some of Special Branch men
can be seen inside the room. 'Buchanan' steps aside
too allow Jo to enter. Then he and Ben follow her in.
The door closes behind them.
INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT
The three of them enter the 'Green Room', generally
used by the principal Artistes appearing at Royal Albert
Hall. Buchanan nods to two Special Branch men who are
standing about in case they are needed. The room is
informal containing arm chairs, a sofa and a number of
small tables. Jo sits down wearily into the nearest
chair. Ben remains standing, Buchanan takes a seat in
a chair near a telephone, he looks up at Ben as if he
expects him to say something. Ben responds to the
look.
BUCHANAN
(Coldly)
So you both know the time and place
all along.
BEN
(Roughly)
Don't be a fool.
BUCHANAN
An odd coincidence -- both of you
turning up here.
BEN
(Coldly)
Too bad you didn't contact your
assistant. He sent us both here.
BUCHANAN
(Quickly)
I beg your pardon.
BEN
You see, we finally needed that help
you offered. We still need it.
JO
(Urgently)
Yes, Mr. Buchanan. We still need it.
The door opens and another member of the Special Branch
enters.
DETECTIVE
Sir?
Buchanan nods to him to speak.
DETECTIVE
We've questioned the woman. Said she
bought a ticket that happened to place
her in the same box with the man that
did the shooting. Doesn't know anything --
but if she does, she's not talking.
BUCHANAN
I'll see her later.
DETECTIVE
Very good, sir.
The Detective exits as Ben sits down dejectedly in a
chair.
BUCHANAN
(Gently)
Please tell me everything, now.
Everything.
(go turns to Jo)
There's still plenty of room for hope,
Mrs. McKenna...
INT. EMBASSY - (NIGHT) - MED. SHOT
A high CAMERA shows us a large hallway and ornate
ballroom.
As yet the room is about quarter filled and various
guests of the Diplomatic Corps and others are gradually
adding to the group. The CAMERA DOLLIES DOWN over
them until it reaches slightly open doorway. Peering
cautiously through we see the face of Drayton.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
On the other side of the doorway is Drayton and his
wife. She is pacing nervously behind him. A footman
comes up to them and announces:
FOOTMAN
His Excellency will see you now.
Drayton motions to his wife and the CAMERA PANS them
after the footman across a small hallway. He is the
very same footman we saw among the group of servants
who were herded out of the kitchen. He opens a door
in front of the Draytons -- they enter.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
Standing in front of a fireplace, above which is an
oil painting of the Prime Minister, is the Ambassador
whom we saw at the Albert Hall. He is on the telephone.
AMBASSADOR
Yes...yes...I see. Well if the woman
won't talk, she won't talk and that's
that, I suppose. All right.
INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT
Mrs. Drayton closes the door behind the two as Drayton
advances towards the Ambassador with an easy manner,
the CAMERA PANNING him.
DRAYTON
(Easily)
Excuse me sir, I have a lot to explain
to you -- something very unusual has
happened. I must also have the money
to pay our French marksman.
AMBASSADOR
(Almost casually)
Wouldn't it be superfluous, considering
that he's dead?
Drayton and his wife stare mutely at the Ambassador.
They are staggered at this news.
AMBASSADOR
His aim wasn't quite as good as you
led me to expect. The target merely
received a slight flesh wound in the
arm. Worse than useless.
Drayton still stares, petrified, at the Ambassador.
AMBASSADOR
Then your French friend panicked, and
made a fatal crash -- landing on the
floor of the Albert Hall.
DRAYTON
(Blustering weakly)
I don't see how you can hold me
responsible. He was most warmly
recommended by our people in
Marrakesh...
The Ambassador now begins to get really nasty.
AMBASSADOR
I'm glad you're able to treat the matter
so lightly. I am holding a reception
here this evening. In a few minutes,
I have to welcome our Prime Minister
as my guest of honor -- when I hope
and expected that he would be totally
unable to attend. That amuses you, no
doubt?
DRAYTON
(Feebly)
I don't know what to say ...
AMBASSADOR
(Brutally)
No. But I do. You've muddled
everything from the start. Kidnapping
that child in Marrakesh...Don't you
realize that Americans dislike having
their children kidnapped?
DRAYTON
(Trying to keep his
end up)
How else could I make sure the American
would hold his tongue?
AMBASSADOR
(Ignoring this)
And then, to crown it all, you get
cold feet and come running along here
to hide -- and bring the child with
you: Don't you see what you've done to
the diplomatic status of this Embassy?
DRAYTON
(Weakly)
I didn't think...I only thought...
AMBASSADOR
(Staccato)
How are you going to get the child out
of here, eh? Eh? Eh? Eh?
DRAYTON
(Struggling for
self-confidence)
There's no difficulty about that,
surely? The car --
AMBASSADOR
(Interrupting)
With plain-clothes detectives planted
right round this building?
(Wryly)
You English intellectuals will be the
death of us all.
DRAYTON
(Desperate)
I'll think of some method. Just give
me time....
AMBASSADOR
(He snorts
Contemptuously)
Time!
The Ambassador paces a moment, suppressing his rage,
and then he stops and looks at Drayton as if thinking
about something.
AMBASSADOR
I want the child removed from this
Embassy, and removed in such a way
that he won't be able to say any more
where he has been tonight.
MRS. DRAYTON
Oh, no!
The Ambassador pauses and looks up at her in such a
manner that she almost shrinks. She tries to say
something, but no words come out of her half-open mouth.
Drayton, however, answers the Ambassador with horrible
servility.
DRAYTON
Right, I'll see to it..
Lucy Drayton looks at her husband with loathing. There
is a polite tap on the door. The Ambassador looks up.
AMBASSADOR
Come in.
The door opens and a butler enters.
BUTLER
Your Excellency, the Princess should
be arriving at any moment.
The Ambassador braces himself, his chest swells out a
little, h assumes a set smile and strides from the
room. Just at this moment we hear a String Orchestra
in the distance strike up some gay waltz music. The
Ambassador goes out of the door. Mrs. Drayton is
looking down at the floor.
INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT
Ben is talking. Buchanan is listening carefully.
BEN
...recognized him, and he recognized
me. So he jumped for it. And that is
all.
BUCHANAN
(Slowly)
Trying to liquidate one of their own
big-shots. I wish they'd stick to
their usual custom, and do it in their
own country...
At this moment the phone rings. Woburn, who is now re-
placing the two Special Branch men in the room, picks
up the telephone.
WOBURN
Hello.
(He listens for a
moment)
Hold on.
He turns the telephone over to Buchanan.
BUCHANAN
(To phone)
Buchanan speaking.
Buchanan listens for a while, his face changing as he
listens with increased interest.
BUCHANAN
Right. Bye.
Buchanan hangs up, turns to Woburn, but half speaks in
the direction of the McKenna's.
BUCHANAN
The Draytons are at the Embassy.
JO
How do you know?
BUCHANAN
We have ways of finding out -- from
the inside.
Ben almost shouts as he gets up from his chair.
BEN
If the Draytons are at the Embassy,
Hank has to be there too!
Buchanan turns his attention back to Ben.
BUCHANAN
(Grimly)
You're probably right. But we can do
nothing.
BEN
Why can't you?
BUCHANAN
Every Embassy in a foreign country has
extra-territorial rights.
BEN
What does that mean in common language?
BUCHANAN
As far as we're concerned, this Embassy
stands on foreign soil.
BEN
Does that mean they can steal children
and get away with it?
BUCHANAN
We could have the Foreign Office serve
a writ on the Ambassador.
He breaks off and speaks apologetically as If it were
I parenthesis.
BUCHANAN
...You know, I'm not responsible for
the complications of International
Law...
He resumes:
BUCHANAN
...If only we had positive proof that
the boy really is in there.
As they are talking Ben is thinking hard, obviously
hatching some scheme in his mind.
BEN
What's the telephone number of this
Embassy.
Both of the men looking at Ben a moment without
answering and then Woburn speaks first.
WONBURN
Grosvenor 0144.
JO
What are you thinking about, Ben?
Without answering Jo, Ben picks up the 'phone.
BEN
Grosvenor 0144.
Ben looks at the group briefly. Buchanan looks at Ben
with keen curiosity.
BEN
I'm going to speak to the Minister
himself.
Buchanan looks intrigued and surprised. We hear the
answering click on the other end of the phone.
BEN
May I speak to the Prime Minister,
please?
There is a pause and the distorted sound of a voice
mumbling on the other end of the phone. Ben interrupts
the question.
BEN
Tell him the lady who saved his life
wants to speak to him. Its important.
The voice on the other end of the phone mumbles briefly,
and there is silent. Ben has a satisfied look on his
face, as he hands the receiver to Jo. She seems
frightened.
JO
What am I supposed to say, Ben? I
don't know --
(She trails off)
Ben, half looking at Woburn and
Buchanan, gives her instructions.
BFN
He said he wanted to visit us soon so
he could thank you.
(MORE)
BFN (CONT'D)
Well, tell him we'd like to see him
tonight, at the Embassy, because we
have to leave London tomorrow.
...continue to part 11
