INT. EMBASSY - (NIGHT) - CLOSE SHOT
In the Ambassador's study underneath the oil painting
of himself, the Prime Minister is escorted to a
telephone by the butler who hands him the instrument.
Having been told who was on the other and of the line
he is all smiles as he greets Jo.
PRIME MINISTER
My dear lady...This is a charming
surprise...
He listens to the other end of the phone, agreeably
making sounds such as "ah ha" "ah" "hum", then he
speaks, with a gracious sweep of his hand and a half
bow to the telephone.
PRIME MINISTER
Delighted, delighted, delighted. The
Ambassador, too, will be delighted.
Any friends of mine are friends of
his. We will drink a little toast to
your country and to mine. Peacefully
we will co-exist...Yes?
He looks up to admire the painting of himself on the
wall.
INT. GREEN ROOM - (NIGHT) - MEDIUM CLOSE SHOT
Jo hangs up the phone, a little surprised and still
considerably nervous.
JO
(To Ben)
He said -- all right.
LAP DISSOLVE TO:
EXT. EMBASSY - (NIGHT) - MEDIUM LONG SHOT
A taxi pulls up in the front of the large, old-fashioned
Embassy. The windows are brightly lighted, evidence
of a social occasion. Ben and Jo get out of the taxi.
EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben pays the driver, takes Jo's arm, and they start up
the steps of the Embassy. The CAMERA PANS them.
EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben presses the doorbell. His grip on Jo's's arm slides
down to her hand. He holds it tightly.
The door opens, and a liveried man ushers them in with
gesture.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
They enter a large hallway. The liveried man closes
the door. Standing in a nearby doorway is a group of
people listening to the music of a string quartet
playing in the room beyond. Included in the group is
the Personal Aide of the Prime Minister. He sees Jo
and Ben enter, hurries over to them, smiling and eager.
The piece that the string quartet is playing ends amid
a round of polite applause. There are people rising
from their chairs and a general movement out into the
hallway.
AIDE
Good even. Would you come this way,
please? The Prime Minister is waiting
for you.
Following the Aide, Ben and Jo squeeze through the
crowded doorway.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
The Aide leads Ben and Jo through the main room, the
CAMERA DOLLIES them. As they move through the room
people begin to notice them, first of all because they
are not dressed for the occasion -- but then the looks
seem to be admiring ones, and there is a smattering of
applause at their passage. Apparently people recognize
them. The Aide takes them to the Prime Minister, who
is just getting up from his seat of honor in the first
row.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
The Prime Minister recognizes them immediately, and
comes forward quickly to meet them.
PRIME MINISTER
(Effusively)
Good evening, good evening!
The Ambassador is behind the Prime Minister, and the
Prime Minister turns to him with enthusiasm.
PRIME MINISTER
This is the charming lady who saved my
life at the Concert!
The Ambassador comes forward quickly, all smiles.
AMBASSADOR
(Suavely)
Madame, you saved the life of the one
man, who is irreplaceable in our
Country.
PRIME MINISTER
(Suddenly to Jo)
They tell me you are the famous Jo
Conway, Madame?
JO
Yes. I'm Jo Conway.
PRIME MINISTER
(To Ben)
Do you think perhaps Madame might be
persuaded to sing?
BEN
(interrupting)
I'm sure she would be glad to...
wouldn't you dear?
JO
Well, I don't know. It's been some
time...
PRIME MINISTER
I beg you, Madame. A tranquil coda to
conclude a dramatic evening!
JO
All right. I'm very flattered.
AMBASSADOR
(To butler)
Stanis would you put up some chairs
quickly.
(To guests)
Ladies and gentlemen, we have with us
tonight...Jo Conway...the famous Jo
Conway...she has graciously consented
to sing for us ..
(To his wife)
Darling would you see that the Prime
Minister has a very good seat.
They move off to seats -- Jo is led to piano by
Ambassador. Aide crosses to Ben.
AIDE
Would you like to sit down, sir?
BEN
No...I'll just stand over here.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Discreetly, Ben moves away from the group, and over
toward a side wall, the CAMERA PANNING HIM. All eyes
are on Jo.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Jo adjusts herself at the piano. Her face seems
serious. She looks up briefly with her eyes to check
where Ben is.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The people in the hallway, realizing there is to be
more entertainment, move toward the main room.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A tries out the keys of the Piano.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
People are finding their seats. There is coughing,
shuffling of feet, and then a gradual hush.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben watches Jo, and at the same time seems to be lookIng
around the room, particularly toward the various exits.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Having strummed a few notes, Jo settles down and plays
the introduction to her song. We see the great
tenseness on her face, interposed with Professional
smiles, which she bestows on those nearest her, but
always the tenseness returns. As she sings, her voice
seem to be rather overpowering. It fills the whole
room with quite a volume. It almost seems out of place
that she has become so professional in such an intimate
drawing room setting.
INT. EMBASSY - (NIGHT) - FULL SHOT
Everyone in the ballroom is listening intently, and
with surprise, at her singing.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The hallway, showing people crowded at the door,
listening.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The first landing on the flight of stairs above the
hallway. No one is around. Jo's voice loses some of
its volume.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
A higher stairway landing.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A second floor corridor, deserted. Jo's voice fading.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A door at the end of the corridor. We now hear the
song floating up clearly, but much diminished.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
In a room on the other side of the door, Hank McKenna
is listening to the music. Hank seems a little puzzled.
Then, his face lights up and he jumps suddenly to his
feet. He runs towards the door and begins trying to
open it.
HANK
That's my Mother's voice! That's my
Mother singing!
Mrs. Drayton is quite startled by Hank's performance.
MRS. DRAYTON
Hank -- are you sure? Are you really
sure?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Hank turns around at the doorway, to look at Mrs.
Drayton.
HANK
That's her! I know it!
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Mrs Drayton's face, still awed by what she has heard.
MRS. DRAYTON
What is she doing here?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Hank, a little mystified, has no answer. He walks
slowly back into the room, towards Mrs. Drayton,
listening and thinking about what he hears.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Mrs. Drayton's face shows a new and dangerous thought
coming into it. She looks down at Hank.
MRS. DRAYTON
Hank? -- can you whistle that song?
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
He looks at her and nods abstractedly.
HANK
I guess so.
She kneels down quickly to him.
MRS DRAYTON
Then go on -- whistle it. Whistle it
as loud as you can.
On Hank's face comes a little understanding. He can
barely believe what she means. Then he understands.
He turns, and deliberately facing the door, starts to
whistle the song. He whistles loud and vigorously.
Mrs. Drayton stands up and moves back to a chair, as
she watches him.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Down in the ballroom, Jo is looking up anxiously as
she sings. She deliberately breaks and pauses for a
moment and softens her accompaniment. Then she hears
it -- a faint whistle coming from above, not enough
for those around to appreciate it, but loud enough for
the straining ears of Jo. She looks across the ballroom
to find Ben, and her eyes go up.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Watching her, Ben understands. He gives her the
slightest sign of agreement.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Jo continues her song with almost excitement in her
singing voice. The CAMERA passes around her as it
follows Ben as he walks along the wall slowly.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben makes his way along the wall toward the far doorway,
which leads to the grand staircase Everyone is so intent
on listening to Jo, that his movement attracts no
attention.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
At the bottom of the service stairs in the back of the
Embassy, Drayton is standing with two men who came
with him in the car. One of them holds a short length
of rope in his hand.
DRAYTON
You two wait in the mail room. I'll
bring him down.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ben mounts two stairs leading up to the grand staircase.
He looks about him cautiously.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
At the service stairs, Drayton goes up two stairs and
turns back to the men. He looks at his watch.
DRAYTON
I won't be a minute.
He starts to move up one step.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Up in the room, Hank is bent in a chair, sobbing, Mrs.
Drayton is kneeling by him, trying to reassure him.
She stops suddenly as she hears footsteps in the
distance. She rises to her feet, and as the footsteps
grow and grow, she looks at the boy desperately, She
goes to the door, hears the steps coming nearer and
nearer. She looks across at the window.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The barred window.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
She looks down at Hank almost protectively, as the
footsteps get still nearer. She goes to Hank, kneels
down again and clutches the boy to her as the footsteps
stop outside the door. She looks at the door, with
horror.
INT. EMBASSY - (NIGHT) - CLOSE SHOT
The door handle turns quietly, but firmly.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Mrs. Drayton lets out a piercing scream. Hank's head
jerks up. The door is heard bursting open.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Ban stands in the doorway. He instantly rushes toward
Hank, the CAMERA PANNING him. Hank leaps to his feet,
and the two of them come together. No clear words are
spoken, Just muffled sounds of words as they hug each
other. Then they release each other, and turn to look
at Mrs. Drayton. She is standing, staring at the door
with horror. Ben turns quickly to look.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Framed in the doorway is Drayton. Deftly he reaches
into his pocket and produces a small automatic.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
For a moment the group stands there in silence. Then
Ben speaks.
BEN
I don't think you want to start any
shooting, Drayton -- with all those
people downstairs, and police outside.
Drayton looks at him without saying anything, but the
gun doesn't lower.
Mrs. Drayton addresses her husband fiercely.
MRS. DRAYTON
You've got to let the boy go!
DRAYTON
Precisely my own notion, my dear.
He moves forward on the group, gun poised. Hank
clutches his father in fright, and Ben tenses himself,
prepared for battle if necessary. Mrs. Drayton stares
at her husband with some defiance. Drayton addresses
Ben amiably.
DRAYTON
I'm sure you'll ba sensible, and help
me out of here?
BEN
Don't ask me for help, you miserable....
INT. EMBASSY - (NIGHT) - CLOSE SHOT
Drayton seems unperturbed by Ben's refusal. He leans
down closer to the boy, and addresses him directly.
DRAYTON
You wouldn't want your father to get
hurt, would you?
Hank looks up towards his father. Drayton looks up.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Drayton's intentions are unmistakable. Ben looks down
at him with a hatred that is almost ready to explode,
but he has sense enough to understand Drayton's meaning.
Drayton straightens up, a slight smile on his face.
He slips the gun into his pocket, but still holds it.
DRAYTON
We'll go down the stairs together in a
casual sort of way. Then we'll stroll
along to the nearest taxi rank. I
trust there won't be any emotional
outbursts...
BEN
(Interrupting)
There won't be. Hank -- don't say or
do anything.
Hank just nods. He's too frightened to talk.
DRAYTON
Shall we go?
Ben starts for the door with Hank, and Drayton moves
into the other side of Hank. As they go through the
door, Mrs. Drayton makes an instinctive step forward,
if to attack Drayton from the rear, but the sight of
Hank in danger stops her.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The trio, Hank in the center, slowly strolls down the
corridor toward the main stairway. The sound of Jo
Conway's voice can be heard from below.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
SHOOTING FROM BELOW we see the big staircase empty for
a moment, then the three appear at the top.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
A closer view shows the terrified, tear-stained face
of Hank, and the tense features of Ben. Drayton seems
carefully alert. The CAMERA MOVES DOWNWARD in front
of them as they descend. The music coming from the
ballroom ceases, as Jo finishes her second song. There
is the sound of great applause. The three are about a
dozen steps from the bottom, when suddenly Ben shoots
out a hard and pushes Drayton forward. Taken by
surprise, he stumbles, and falls down the stairs
clumsily. Clutching for support with his hands, the
gun goes off in his pocket, and he remains in a crumpled
heap at the bottom of the stairs.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
The applause having died out, the shot is heard loud,
and people pour out of the ballroom into the hallway.
They rush for the stairway, and Drayton's body, led by
the Ambassador and the Prime Minister.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
As people crowd excitedly around the body, Ben is
hurrying Hank away from the scene, the CAMERA PANS
them.
INT. EMBASSY - (NIGHT) - MEDIUM SHOT
Mrs. Drayton stops half-way down the stairway, and
looks down in shook at the sight of her dead husband.
INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT
Inside the ballroom, which is emptying due to the rush
of people to the corridor, Jo has risen from the piano
and is almost afraid to go out and see what has
happened. In a moment, Ben and the boy appear in the
doorway. Hank rushes across the ballroom to his mother,
who moves quickly when she sees him.
HANK
Mummy.
JO
Hank.
They embrace.
QUICK LAP DISSOLVE TO:
INT. CLARIDGE'S SUITE - (NIGHT) - MEDIUM SHOT
Inside the McKenna's hotel room, the Parnells and the
two woman guests are sprawled out in ungainly attitudes
of sleep. Val is snoring pleasantly. The door of the
room opens and the three McKennas appear. The sound
awakes Val. He peers at them sleepily and struggles
to a sitting position. Ben closes the door.
BEN
I'm sorry we were gone so long, Val,
but we had to go and pick up Hank.
Ben's voice awakens the other women. They sit up, and
stare with bewilderment at the smiling trio of Ben, Jo
and Hank.
FADE OUT
THE END
