Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 8
DISSOLVE TO: EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Jo stands watching something across the street. EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT From Jo's viewpoint, the exterior of Ambrose Chapel. An old building, silent and deserted. A faded sign outside identifies it. INT. AMBROSE CHAPEL - (DAY) - MED. SHOT A non-conformist Chapel. Empty, except for one figure, a woman laying out music on the organ rack in the front of the Chapel. The CAMERA MOVES IN on her, and as she turns on her way to the hymn board, we see that she is Mrs. Drayton. At the hymn board, she slips into it a series of hymn numbers. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The CAMERA THEN PANS her across the empty chapel to a side door. She goes through it. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT She comes up a flight of stairs, the CAMERA MOVING with her. She stops at a door on the first landing, takes a key out of her pocket, and unlocks the door. She enters. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Inside of a small, almost bare room, Mrs. Drayton closes the door behind her and stands with her back to it, watching. The CAMERA PANS SLIGHTLY to reveal the rest of the room. Sitting at a small table is a listless, young Hank McKenna. He is playing checkers with the woman we saw at the airport who was standing with the autograph hunters, watching Jo McKenna. The one with the dirty glasses, who made a phone call. Hank has caught the woman in a checker trap, and with obvious satisfaction jumps three of her men. HANK Three men! You don't know much about checkers, do you? MRS. DRAYTON It's time you went to bed, dear. You'll get tired out. HANK Can I finish? I'm winning? MRS. DRAYTON Yes, you finish. Edna, see that he gets some milk and biscuits. EDNA And he'd better have another sleeping pill...I've got to get downstairs -- MRS. DRAYTON (To Hank) You'll go to sleep, Hank, won't you? HANK I guess so. EDNA Hurry up if you want to finish this game. MRS. DRAYTON Look it doesn't hurt to be kind. Yell out when you want me to open the door. Edna studies the board with a frown. Mrs. Drayton smiles and goes out the door. INT. AMBROSE CHAPEL - (DAY) - MED. SHOT In the corridor once again Mrs. Drayton locks the door, and crosses the hall. The CAMERA PANNING her. She enters another door. INT. AMBROSE CHAPEL - (DAY) - MED. SHOT She enters a larger, more ornate room. The CAMERA PANS her in, and we see first Drayton, who is putting on a surplice -- and then the man who knocked on the McKennas' door in the Mamounia Hotel, looking for someone named Montgomery. He is putting on a tie and tuxedo. He wears a dangerous-looking revolver strapped underneath his armpit; Mrs. Drayton, without a word, sits down and lights a cigarette, exhaling with something close to fatigue. Then she speaks. MRS. DRAYTON I wish it was tomorrow. Drayton turns, having finished his dressing. DRAYTON (Coldly) That's not a very orthodox sentiment. He goes to a desk, and takes something out of a drawer. It is a small envelope. He turns to the man with the gun. DRAYTON Two excellent tickets for the concert at the Albert Hall -- with my compliments. He hands them to Rien. Rien takes the envelope, glances at it briefly, then puts it into his pocket. DRAYTON Your box is nicely placed, or shall we say strategically placed. He goes to a portable record player, which is open and has a record on it. He looks down at the phonograph. DRAYTON Now for the most important part. He gestured towards the record. RIEN What is it? DRAYTON A record of the delightful Picco they will play tonight. RIEN What about it? DRAYTON Music is less in your line than marksmanship. If you will listen, my friend, I will play for you the exact moment at which you can shoot. Now listen carefully. Drayton plays the record. DRAYTON Let me do it for you again. Now listen for the cymbal crash. Drayton plays the record again and claps his hands together at the cymbal crash. DRAYTON You see at such a moment your shot will not be heard. The listeners will not even be disturbed. I think the composer would have appreciated that. No one will know. RIEN None except one you mean. The assassin smiles. DRAYTON Ah, yes -- if you are clever, my friend. Any questions musical or otherwise? RIEN No. DRAYTON There's's one comforting thought. It happens early in the evening. I hope I won't upset you if I say there's time for one shot only. If you need another, the risk is yours. RIEN I do not take risks. DRAYTON That's a comfort -- traipsing all the way down to Marrakesh to fetch you I should like you to do me credit. He looks at his watch. DRAYTON Your distinguished target's on the way there now. A car is waiting for you downstairs at the back entrance. You will pick up a Miss Benson on your way. She will be your companion in the box. She's there to lend an air of respectability...if that's possible. RIEN You will have the money when I return? DRAYTON I think you can trust me. RIEN (Looking him up and down) What is your English proverb -- a wolf in Sheep's clothing? Drayton laughs. DRAYTON I think you had better be going. It is impolite to be late for a concert. It would be awkward if they made you wait until the first selection is over. He turns to his wife. DRAYTON See him downstairs, my dear. (To Rien) I'm sorry you must sneak out the back way, but we have to preserve our respectable front. She exits with the assassin. Drayton turns to the mirror and surveys himself. LAP DISSOLVE TO: EXT. REAR ENTRANCE AMBROSE CHAPEL - (DAY) In the distance Jo is seen pacing. To rear door of the chapel opens and Mrs. Drayton pushes Rien out. He crosses and enters a waiting car. The car drives off. EXT. AMBROSE STREET - (DAY) - MEDIUM SHOT The shadows of the day are lengthening as Ben gets out of a taxi and approaches Jo standing on the sidewalk. His fatigue of before seems to have vanished in his eagerness to meet Jo and find out what she knows. EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT Ben comes up to her. She grips his hands. JO There it is. BEN You may have just hit it right on the nose. You can't be farther wrong than I was with my Ambrose Chapel. Let's go. JO Ben, should we get some help from the police? BEN No, honey, please, no -- let's take a crack at this alone. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT The Chapel as seen from their viewpoint. People are now entering it, but it seem as if the tag end of the congregation is entering, because the service is obviously under way, the sound of hymn singing coming across faintly to us. EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT Ben takes her hand, squeezes it affectionately. Together they cross the street, the CAMERA PANNING them up the steps of the chapel and to the entrance. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT They enter the Chapel from the rear, looking around cautiously. A hymn is in progress. The Chapel holds about three hundred people. It is of the non-conformist type and the congregation consists mostly of middle- aged and elderly women. Although the McKennas are not aware of it, we notice that the organist is none other than Edna, the woman who observed Jo at the airport, and later took care of Hank. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT Carefully the McKennas find their way to a back row seat. One or two of the women in the back row turn to look at the new arrivals. Jo wants to whisper something to Ben, but with a gesture he silences her. Ben picks up hymnal, hands her one, finds the right page and begins to sing along with the hymn. But instead of following the words of the hymn, Ben makes up his own words to communicate with Jo, as he looks around at the chapel. BEN (singing) This looks like mother wild goose chase. JO (Singing them) Let's wait and look around... Some of the parishioners turn and listen to Jo's voice because it has a professional quality that rises above the rest. Whether they are watching her in suspicion, or admiration, is hard to tell. Jo turns her attention to the hymn book, trying to be unnoticed. Ben's eyes catch something coming down the aisle. BEN (Singing) Look who's coming down the aisle. Jo follows his glance, leaning forward a little and to one side. INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT Coming up the aisle with a collection basket, collecting money during the hymn is Mrs. Drayton. She is approaching the row in which the McKennas are standing. INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT Jo looks towards Ben helplessly. Mrs. Drayton is between the two of them and any possible exit. Ben immediately eases his way along behind a column which hides him somewhat from the front, but not from the side. Jo endeavors to shrink her body behind a tall woman in front of her, but she is not entirely successful. We can see Mrs. Drayton getting closer to them. Jo looks toward Ben almost panicked. Suddenly Mrs. Drayton has reached the end of their row. She pushes forward her collection plate, and as she does so her face blanches. She instantly identifies the two. Ben, with little else to do, looks her straight in the eye and puts some coins into her plate. INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT As the astonished Mrs. Drayton turns to go back down the aisle with her plate of coins and bills, we now see the surpliced Mr. Drayton ascending the pulpit. He looks down to his wife. INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT From Mr. Drayton's viewpoint, as he notices his wife coming up the aisle with a startled expression on her face. She tries to nod with her head to indicate something important lies behind her. INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT Mr. Drayton, trying to puzzle out her alarm, studies her face, and then lifts his eyes to look beyond her. The expression on his face leaves no doubt that he cannot understand what she's trying to convey. The hymn has come an end, and the congregation starts seating itself. INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT The McKennas take a seat along with the rest, and as yet they are relatively inconspicuous from the front of the chapel. Ben takes a piece of paper out of his pocket, examines it, and satisfied it is the right one, hands it to his wife. The congregation falls silent as Drayton is apparently about to begin his sermon. INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT Drayton glances down to his Bible, opens it a certain page, and as he does so, he looks at his wife who is sitting near the organ. She half-turns to look up at him. She seems frightened. Drayton fumbles with the pages of the Bible, apparently trying to make something out of his wife's attitude. Failing, he looks up and begins his sermon. He speaks into a microphone. DRAYTON Brothers and Sisters: The subject of my address this evening is adversity. The average life, yours and mine, is often harassed and perplexed by cruelties and disappointments beyond our control. Strangely enough, it is often the things beyond our control which help to make us better beings. Pain and tribulation are the testing ground of life and let us be grateful for them. Let us bless the disappointments and the frustrations and say a prayer for the agony of the moment. Only thus shall we confirm and re-confirm our own goodness and therefore the essential goodness of all Mankind. INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT Half-glancing at Drayton as he delivers his sermon. Ben talks to Jo. Their conversation is whispered. BEN That's Buchanan's phone number. Go on out and call him and ask him to surround the place with police. JO What if he asks me... BEN Tell him...tell him everything. This is the time. I'm sure Hank is around here some place. JO Ben, I don't want to leave you. BEN I don't know how else to do it, honey. Ben gives her a gentle push. With a regretful look at him, she slides out of the seat. INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT In the middle of his sermon, Drayton looks up. He almost falters and stops, as he sees Jo rise from her seat. The chapel as seen from Drayton's viewpoint. Jo has turned up the aisle and gone out the door at the back. INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT Drayton composes his face, but his eyes are serious. Without the slightest pause, he continues his sermon, shifting his ideas in mid-paragraph. DRAYTON Few of us pause to think how life's adversities work in our behalf, to make better men and women of us. (MORE) DRAYTON (CONT'D) But I believe we should pause now to do a little stock-taking -- to look into our own hearts and see what we find there. Therefore instead of continuing the service, I think we should all return to our homes for private meditation, remembering how little we have to complain of and how much to be grateful for. Next week I shall discuss the fruits of our meditation. Until then, my blessing upon each and every one of you. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Ben watches Drayton, with little charity in his heart. There is a stir in the congregation when Drayton tells them to go home. They look at each other, uncertainly. INT. AMBROSE CHAPEL - (DAY) - MED. SHOT Drayton closes the Bible, and begins to descend from the pulpit. The congregation comes to life. The members rise from their seats and begin filing out of the chapel. Occasionally they cast backward glances toward the pulpit, as if surprised at what they have heard. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT When Drayton reaches the two steps of the altar, he beckons the organist to him. She comes, and he whispers something to her. He then motions his wife nearer to him, and also whispers something to her. Mrs. Drayton goes off through a side door by the altar, while the organist makes her way down the aisle through the congregation to stand by the door. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The CAMERA PANS Ben as he threads his way up through the women who are filing out. Drayton stands at the front of the chapel, waiting. Finally, after a slow and deliberate walk up the now nearly empty chapel, Ben comes face to face with Drayton. Drayton greets him with bland amiability. DRAYTON Well this is a pleasant surprise, Doctor. BEN Where's my boy, Drayton? DRAYTON He's upstairs. As a matter of fact you've just come in time to help my wife with Hank's food. Seems Hank doesn't care much for English cooking. Drayton's eyes stray to the back of the church as he talks. Ben, noticing Drayton's eye movement, follows it cautiously. But before he can confirm his suspicions, there is a loud clang of a door closing that gives him his answer. He looks around quickly. INT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT At the other end of the chapel, the woman, Edna, has just closed the door, and is in the process of locking the heavy iron lock with a large key. She extracts the key and puts it into her pocket. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Ben turns back to Drayton to find that his manner has changed somewhat. He grabs him quickly by the throat of his robes. BEN What do you want? I'll give you money and keep my mouth shut. All I want is my boy. DRAYTON And what about your wife? Did she go outside just to get some fresh air. BEN Tell me what you want. I'll do anything. DRAYTON All right -- you'll see your boy in good time. With a sudden twist, he wrenches himself away from Ben. He reaches for a button on the altar, presses it. Instantly the door by the side of the altar opens and two rather strong men appear. Ben turns alertly to face them, backing of a little. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT One of the men is obviously the chauffeur type, and the other one, a handyman type in his shirtsleeves. Ben takes this in, and notices the open door behind them. Ben maneuvers himself toward the pulpit, and suddenly dashes for the steps. He surprises them with his speed, and before anyone can stop him, he is in the pulpit. He grabs the microphone previously used by Drayton in his sermon. He yells into it. BEN Hank! Hank McKenna! Hank! Where are you? Hank! Hank! As the sound roars through he chapel the two man dash for the pulpit, and at that mount we hear, faintly off, the voice of Hank: HANK Daddy! Daddy, I'm here! Dad - His voice is choked off. Ben jumps down from the pulpit in an effort to make for the open door, but the two men throw themselves on top of him. INT. PHONE BOOTH - (DAY) - CLOSE SHOT Jo speaks into the phone with great urgency. JO ...And Ben is in there now, watching the both of them! INT. SPECIAL BRANCH OFFICE - (DAY) - CLOSE SHOT Woburn, assistant to Buchanan, is listening intently on the phone. The office behind him is not handsomely appointed. Jo's voice is heard on filter. J0 He sent me out to call you -- so we could do something before they get away. WOBURN I see, Mrs. McKenna -- and you believe your son is somewhere in the chapel? JO I don't know, I don't know where he is...but at least these people will know -- the Draytons. If you'd only send somebody to get them. WOBURN I'm afraid it isn't quite as easy as all that. INT. PHONE BOOTH - (DAY) - CLOSE SHOT Jo interrupts him, impatient with his caution. J0 Mr. Woburn, there isn't any time! My husband is sitting in that chapel waiting for me to bring some help. Can't I talk with Mr. Buchanan? He said when we needed him, to call. INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT Woburn is concerned. WOBURN I'm awfully sorry, but I simply can't get hold of him just now. He's gone to a rather important diplomatic affair -- at the Albert Hall. INT. PHONE BOOTH - (DAY) - CLOSE SHOT Jo is tired of his talk. She wants action. JO Well call him there, please! Call him! INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT As he talks, Woburn reaches for a pad d a pencil, and begins making some notes. WOBURN He's on his way. I don't know quite -- JO (Filter) Then can't you do anything -- right away -- before we lose the Draytons? WOBURN I assure you, I'll do all I cant as soon as I can. INT. PHONE BOOTH - (DAY) - CLOSE SHOT Jo is at the frantic point. JO We don't have days to do this. It's a matter of minutes. Can't you send the police. Or do I have to go to the Albert Hall myself. INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT Woburn finishes making his notes. He reaches for another phone with his left hand, and dials a number as he talks to Jo. WOBURN (Efficiently) That won't be necessary. I'll see that the chapel is put under immediate observation. By the time you get back a police car should be there. Please return to your husband, tell him to come straight out of the chapel, and let the police take over. He turns to the other phone. WOBURN Woburn, Special Branch, hold on. (To the other phone) I must ring off now, Mrs. McKenna. Please believe me, I'll have everything laid on. INT. PHONE BOOTH - (DAY) - CLOSE SHOT With a feeling of frustration, Jo hangs up the phone as Woburn clicks off on the other end. She exits to the phone booth. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT The back door of the chapel opens and Drayton, Hank and Mrs. Drayton emerge. Drayton locks chapel door and crosses to a waiting car. They all get in and the car moves off. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT Jo hurries up the street towards Ambrose Chapel. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT Jo turns the corner heading for the chapel. She looks. EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT The doors of the chapel are closed. It seems strangely deserted. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT Jo hurries across the street, and up the steps to the Chapel. She tries the door. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The door locked. She tries it again. It does not give. She bangs her on the door. No one answers. Jo's face is puzzled and a frightened. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT The CAMERA PANS Jo to the right side of the Chapel. She looks down the length of it. No sign of anyone. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The CAMERA PANS Jo to the right side of the Chapel. There is no sign of life down the whole side of it. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Jo returns to the front door, examines it, tries it again. Now there is definite panic in her face. There Is the sudden sound of a car pulling up quickly to the curb. She turns. EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT A police car has pulled up to the curb. There are four men in it. EXT. AMBROSE CHAPEL - (DAY) - MED. SHOT The CAMERA PANS Jo from the front of the Chapel down to the police car. Three men are getting out, leaving the driver inside. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Jo comes up to the three men. One of them, in charge, does the talking. JO There's nobody there! PATTERSON Are you Mrs. McKenna? JO Yes, but something's wrong. A few minutes ago the place was full of people, and now there's nobody! Two of the police move up toward the Chapel. Patterson glances at it. PATTERSON Our orders are to keep it under observation until a Scotland Yard car arrives. JO My husband's in there. There must have been thirty or forty people... and now... Patterson looks at her carefully. PATTERSON When was this? JO It couldn't...it couldn't have been more than five minutes ago! PATTERSON (Interrupting) Let's take a look. JO I told Mr. Woburn he had to hurry. EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT The CAMERA PANS the two of them up to the Chapel. The other police have gone down the sides for an inspection. Patterson and Jo go to the main door. Patterson tries it. JO I tried that. It's looked, Let's force it open. PATTERSON I'm sorry, madam, we can't break in. (Sympathetic) Requires a search warrant. It's the law, you see. JO Couldn't you get one? PATTERSON It all takes time. We'll have a look round, shall we? Matthews, you take the other end. MATTHEWS All right. They start around the corner to inspect the sides of the Chapel.
...continue to part 9