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ALL SCRIPTS


                   THE MAN WHO KNEW TOO MUCH

                    An Original Screenplay

                                 by

                      John Michael Hayes




              FOR EDUCATIONAL PURPOSES ONLY




FINAL DRAFT
May 7, 1955



Converted to PDF by SCREENTALK
www.screentalk.org

MAIN TITLES


INT. BUS - (DAY) - MEDIUM CLOSE SHOT

Mr. and Mrs. Ben McKenna at the back of a motor coach
with their seven year old son, HANK. We do not see
much of the background which is receding from us.
THEY are studying the countryside from the windows at
each side of them. The CAMERA PULLS BACK down the
aisle of the bus revealing the other passengers. They
are a surprise, consisting of Arab men and women, with
an occasional civilian and French Army officer. The
CAMERA STOPS at the end of the bus.


EXT. BUS - (DAY) - MED. CLOSE SHOT

The French driver and a couple of his companions, Arab.


EXT. BUS - (DAY) - MED. CLOSE SHOT

The CAMERA MOVES BACK TO THE REAR OF THE BUS,
photographing the side windows. At the bottom of the
screen is the destination board. By the time we get
opposite the window out of which the McKennas are
looking, we have been able to read the words "CASABLANCA --
MARRAKESH."


INT. BUS - (DAY) - MED. CLOSE SHOT

Ben and Hank are looking intently out the window.
Jo's interest seems only casual.

                      HANK
          Daddy -- you sure I never been to Africa
          before? It looks familiar.


INT. BUS (DAY) - MED. LONG SHOT

Shooting through the McKenna's window at the landscape
moving by. It is semiarid desert. A line of blue-
grey mountains in the distant.


INT. BUS - (DAY) - MED. CLOSE SHOT

Jo studies the landscape.

                      JO
          We saw the same scenery last summer
          driving to Las Vegas.

Hank turns, and smiles slightly.

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                        HANK
            Oh sure. Where daddy lost all that
            money at the cr --

                        BEN
            Hank!

                        HANK
            -- table.

Ben gives his wife a look of exasperation, She smiles
at him.

                        HANK
            Hey look - a camel!


INT. BUS - (DAY) - MED. LONG SHOT

Shooting through the McKenna's window. The bus     is
entering a small Arab village, Squat stone and    plaster
building, narrow streets, a few carts, donkeys    and one
camel. A  few pedestrians, mostly Arab men, few    women.


INT. BUS - (DAY) - MED. CLOSE SHOT

Ben puts his hand on Hank's shoulder.

                        JO
            This isn't really Africa, Hank.    It's
            French Morocco.

                         BEN
                (To her)
            Northern Africa.

                        HANK
            Still seems like Las Vegas.

                        BEN
                (Slightly indignant)
            We're only a hundred miles north of
            the Sahara Desert!


INT. BUS - (DAY) - MED. LONG SHOT

The bus is passing through the center of the town.     We
move past a few shops, everything looking drab and
meager. The sun is strong and hot.


INT. BUS - (DAY) - MED. LONG SHOT

Hank studies the scene outside.   He shrugs.

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                      HANK
          I dunno. In school they called it the
          Dark Continent.
              (He squints)
          It's twice as bright as Indianapolis!

Jo and Ban smile at Hank.

                      BEN
          Just wait till you see Marrakesh.

                       HANK
          Marrakesh.   Sounds like a drink.

Ben runs his tongue across his lips.

                      BEN
          You bet it does.


INT. BUS - (DAY) - MED. LONG SHOT

The bus rolls on past the Arab village into the open
desert once again. It looks parched and grim.


INT. BUS - (DAY) - MED. CLOSE SHOT

Tired of watching the sameness of the desert, Hank
grows, restless. He looks about for something to do.
Ben leans back against the seat and closes his eyes.
Jo takes a paper-bound novel out of her bag, finds her
place. Hank decides to wander down the aisle of the
bus and test its possibilities for adventure.

The CAMERA DOLLIES BACK with him as he rather aimlessly
makes for the front of the bus,. Having left the Arab
village, the bus picks up speed, and is beginning to
bump and sway somewhat. When Hank is a little better
than half way down the aisle, the bus sways in a
particularly startling manner, causing Hank to stagger.
In order to steady himself, he thrusts out his hand to
grab the side of a seat. He misses the seat, and only
succeeds in clutching at the veil of an Arab woman.
Unfortunately, he pulls the veil from her face.


INT. BUS - (DAY) - CLOSE SHOT

The startled woman, instantly horrified, covers her
face with her hands and gives a sharp cry,


INT. BUS - (DAY) - CLOSE SHOT

With the bus still bumping and swaying, Hank staggers
a bit without realizing that he still has, hold of the
woman's veil.

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INT. BUS - (DAY) - MED. SHOT

The woman still covers her face, but from the seat
next to her, and nearer the window, an Arab rises and
makes a sharp comment in Arabic to Hank. The Arab's
robes are brown, with a turban-like hat combining
twisted strands of white and pale green cloth, The
Arab starts to move past the woman, toward Hank,
repeating his demand.


INT. BUS - (DAY) - MED. SHOT

People look quickly toward the sound, wondering at the
reason for the trouble.


INT. BUS (DAY) - CLOSE SHOT

The bus driver scans his rear vision mirror for the
source of the trouble behind him.


INT. BUS (DAY) - CLOSE SHOT

Hank looks up at the oncoming Arab, and retreats
uncertainly, not realizing he is still holding the
veil.


INT. BUS - (DAY) - CLOSE SHOT

The Arab in the brown robes begins assaulting the boy
in furious Arabic, indicating that he wants the veil.


INT. BUS - (DAY) - MED. CLOSE SHOT

Two Arabs, and a veiled woman, rise in their seats
apparently disturbed by what the brown-clothed Arab is
saying. They being talking among themselves.


INT. BUS - (DAY) - MED. CLOSE SHOT

Ben and his wife, Jo, are straining from their back
seat and looking down the aisle to see what is wrong.
Ben looks at his wife quickly and then back, indicating
that Hank is involved.


INT. BUS - (DAY) - CLOSE SHOT

Still staring straight at the Arab, both frightened
and fascinated by his verbal attack, Hank retreats.

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INT. BUS - (DAY) - MED. SHOT

Except for the French passengers, everyone in the bus
is in a state of disturbance. The Arab continues to
advance on Hank keeping up a steady tirade of Arabic.


INT. BUS - (DAY) - CLOSE SHOT

Ben rises quickly and advances protectively toward his
son and the oncoming Arab.


INT. BUS - (DAY) - MED. SHOT

Hank retreats and squeezes himself against his mother,
still with the veil in one hand. Ben faces the Arab
who stops, but continues his monologue for Ben's
benefit.

                       BEN
          Now wait a minute.     Wait a minute.
          Simmer down.

The Arab continues pointing, talking.


INT. BUS - (DAY) - MED. CLOSE SHOT

From a nearby seat a young Frenchman in civilian clothes
rises quickly. The CAMERA PANS him to Ben and the
Arab. He pushes in between the pair.

                         LOUIS
              (To Ben)
          Pardon me.

He turns to the Arab, moves him back   a little, sharply
silences his attack, and then begins,   in Arabic, to
explain firmly that the boy meant, no   harm. It was an
accident. The Arab isn't convinced,    points to Hank.


INT. BUS - (DAY) - MED. CLOSE SHOT

The Frenchman leans toward Hank and takes the veil he
is still unconsciously holding. He hands it to the
Arab with a sharp command to return to his seat. The
Arab turns away carrying the veil. As the CAMERA PANS
him AWAY, we see the spectators resuming their seats,
growing quiet.


INT. BUS - (DAY) - MED. CLOSE SHOT

Hank and Jo relax. Ben addresses the Frenchman, a
pleasant-looking young man. He is LOUIS BERNARD.

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                      BEN
          I'd like to thank you. Without your
          help, anything might have happened.

                      LOUIS
              (smiles pleasantly)
          A pleasure, monsieur. There are moments
          in life when we all need a little help.

                      BEN
          May I introduce my wife, Mrs. McKenna.

Louis turns pleasantly to Jo.

                      LOUIS
          How do you do, madame.      My name is
          Louis Bernard.

She returns his smile.

                      JO
          Thank you, Mr. Bernard.

                      BEN
          And this is our son, Hank.

                         LOUIS
          Hallo, Hank.

He holds out his hand to Hank, who takes it.

                      HANK
          You talk Arab talk.

                         LOUIS
          A few words.

                      JO
          Why was he so angry?      It was an
          accident.

                       LOUIS
              (Half shrugs)
          The Moslem religion allows for few
          accidents.
              (To Ben)
          May I be permitted to sit down?

                      BEN
          Oh, sure, sure.      0f course.   Next to
          Jo, there.

                       LOUIS
              (Pauses)
          I thought his name was Hank.

                         BEN
          Oh, uh --
                         (MORE)

   Converted to PDF by www.screentalk.org            7.



                       BEN (CONT'D)
              (smiles)
          That's my wife's name. Jo.      Jay oh.
          No "e."


INT. BUS - (DAY) - MED. CLOSE SHOT

Louis Bernard slides into the seat next to Jo, who
moves over slightly. Ben sits on the other side so
that Hank and Jo are between himself and Louis. In
the rear windows behind them we see the retreating
landscape of French Morocco.

                      LOUIS
          How different.

                      BEN
          For Josephine. Called her Jo so long,
          nobody knows her by any other name.

                       HANK
          I do.   Mummy.

She smiles at Hank, rubs the back of his neck.

                      LOUIS
          Now about the "accident." You see, a
          Moslem woman never takes off her veil
          in public under any circumstances.

                      HANK
          They feed her intervaneously?

Louis looks at the boy with some surprise.

                      LOUIS
          Quite a big word for such a small boy.

                      BEN
          I'm a doctor.

                       LOUIS
          Oh.   Well, he sounds like one.

                      BEN
          He can spell "haemoglobin" -- but he
          has trouble with "cat" and "dog."

                       LOUIS
              (Laughs)
          And where do you practice, Doctor?

                      BEN
          Indianapolis, Indiana.   The Good
          Samaritan.

   Converted to PDF by www.screentalk.org             8.



INT. BUS - (DAY) - CLOSE SHOT

Jo seems to be studying Bernard, as if puzzled.

                      LOUIS (O.S.)
          What brings you to Marrakesh?


INT. BUS - (DAY) - MED. CLOSE SHOT

Ben seems happy to talk with somebody new.

                      BEN
          We've been to a medical convention in
          Paris. And while we were in Europe, I
          thought I'd like to see Morocco again.

                      HANK
          Daddy liberated Africa.

Louis laughs a little.   Ben seems uncomfortable.

                      BEN
          I was up around Casablanca with an
          Army field hospital, that's all.


INT. BUS - (DAY) - CLOSE SHOT

Jo his been listening.   She seems annoyed at Louis
Bernard's questioning.   She interrupts.

                      JO
          Do you live in Morocco, Mr. Bernard?


INT. BUS - (DAY) - MED. CLOSE SHOT

He smiles at her.

                       LOUIS
          Oh no.
              (To Ben)
          I suppose you came directly from Paris?

                      BEN
          We looked in on Rome and Lisbon a few
          days.

                      HANK
          And Casablanca.

                      LOUIS
          I hope you will have time to truly
          enjoy Marrakesh.

                      BEN
          At the most we'll have three days.

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                      LOUIS
          You will naturally be stopping at the
          hotel Mamounia or La Menara?

                       JO
          Why?

                       LOUIS
              (smiles)
          They are hotels for tourists of good
          taste.

The background, as seen through the windows of the
bus, indicates that we are in a built-up area.


INT. BUS - (DAY) - MED. SHOT

It moves through the outskirts of Marrakesh, a somewhat
more populated section, although the streets are narrow
and crowded.


INT. BUS (DAY) - MED. CLOSE SHOT

A persists with Louis Bernard.

                      JO
          Do you live in France, Mr. Bernard?

                       LOUIS
          Sometimes.

                      HANK
          Do you eat snails.

                      LOUIS
          When I'm lucky enough to got them.

                      HANK
          If you ever get hungry, our garden
          back home is full of snails.

                      LOUIS
              (Chuckles)
          Thank you for the invitation.

                      HANK
          That's all right. We tried everything
          to got rid of them. We never thought
          of a Frenchman.

Even Jo has to laugh at this, and as the bus continues
on into Marrakesh, the three see to be fairly good
friends brought together by the artless charm of a
little boy.

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EXT. BUS - (DAY) - MED. LONG SHOT

The bus moves slowly through the streets busy with
bicycle riders, Arab women carrying things on their
heads, men on foot leading donkeys, an occasional camel,
carts, horse-drawn carriages carrying elegant Moslem
women, and ancient French automobiles.


EXT. BUS - (DAY) - MED. LONG SHOT

The bus circles past the "Medina" of Marrakesh, the
market place with its crowds, vendors, shoppers,
beggars, and the curious. It swings in toward the bus
stop.


EXT. BUS STOP - (DAY) - MED. LONG SHOT

The bus pulls up to a stop, the door opens, and the
passengers begin to file out. The McKennas, together
with Louis Bernard, are the last off the bus. Arab
helpers have already climbed to the roof of the bus,
to unload the baggage. The clean-cut airline baggage
of the McKennas is in sharp contrast to the Hessianroped
bundles of the Arabs. There are nearby fiacres to
take the people to their various destinations in the
city, and some small, undersized taxi cabs.


EXT. BUS STOP - (DAY) - MED. CLOSE SHOT

Hank rubs his backside a little.

                      HANK
          Next time take the train.

                      BEN
              (To Louis)
          Would you like to share our taxi to
          the hotel?

                      LOUIS
          That's kind of you, doctor, but
          unfortunately I have some business
          first.

Jo tries to be casual.

                      JO
          What business are you in, Mr. Bernard?

But he has turned his head and speaks something in
Arabic to a porter, who begins to gather the McKenna's
bags, and one belonging to Louis. Louis turns to Ben.

                      LOUIS
          However, I'll be there later - perhaps
          we might have a drink together.

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                      BEN
          All right. But I'll serve the drinks
          in our suite.

                      LOUIS
          In that case, I will take you to dinner.

                       BEN
          No.   Now that's not a fair bargain.

                      LOUIS
          But I know Marrakesh. I can show you
          an intriguing Arab restaurant where
          the food is different, and the manner
          of eating exotic.

                      BEN
              (Gives in)
          Well -- that's what we came here for.
          Okay, Jo? Simple one of those Arabian
          Nights?

Ben takes her arm, in a warm gesture.

                      JO
              (Smiles agreeably)
          Okay, But I'm no Scheherazade.

                       BEN
          You'll do.

                      LOUIS
          How would you prefer to travel to the
          hotel? By taxi? Fiacre?

                       HANK
          A wagon!   I want to ride in a wagon!

He points out one of the open horse-drawn  carriages.
Louis looks to Ben for confirmation. Ben   nods assent.
Louis turns to the porter, and orders him  in Arabia to
put the McKenna's baggage aboard the first  available
carriage. He picks up his own small bag.

                       LOUIS
          Au revoir.   I look forward to cocktails.

He nods to Ben and Jo, and Pats Hank on the head.

                       JO
          Goodbye.

                      BEN
          See you later. And thinks again.

Louis smiles, turns and casually strolls off toward
the center of the market place. Hank watches him for
a moment, while Ben turns to see what is happening to
his bags.

  Converted to PDF by www.screentalk.org                 12.



                      HANK
          I don't like people who pat me on the
          head.

                      BEN
              (turns to Jo)
          The carriage awaits, madame.

Jo turns from the retreating Louis, and steers Hank
toward Ben, The CAMERA PANS them to the fiacre.


EXT. BUS STOP - (DAY) - MEDIUM CLOSE SHOT

The McKennas follow their baggage aboard the carriage.


EXT. BUS STOP - (DAY) - CLOSE SHOT

Ben settles the excited Hank into his seat.

                       HANK
          How do you like this!    A horse-drawn
          convertible!

Jo looks toward the market place, and something she
sees makes her eyes widen with surprise.


EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT

As seen from Jo's viewpoint, over the side of the
carriage. The Frenchman, Louis Bernard, is talking
wit the Arab in the brown robes and white and green
hat. The same Arab who was assaulting Hank verbally
on the bus. They are talking pleasantly, and smiling.


EXT. BUS STOP - DAY) - CLOSE SHOT

Jo turns to call Ben's attention to it, when there is
a sudden crack of a whip, a shouted command to the
horse, and the carriage starts of with an abrupt jerk.
It throws her head back. Hank screams with delight.

                       BEN
          Hold on.   Hold on!   Here we go!

The carriage moves into the street with a rapid pace.
Jo looks again to find Louis Bernard.


EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT

Louis Bernard and the Arab have disappeared.

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EXT. THE CARRIAGE - (DAY) - MED. CLOSE SHOT

Jo slumps back into the seat, trying to evaluate whit
she his seen. The market place recedes in the
background. Hank is now standing up, holding on to
the side of the carriage and watching the sights.

                      J0
          Ben -- I just saw Louis Bernard talking
          to that Arab.

                         BEN
          What Arab?

                      JO
          The one who was shouting at Hank for
          taking the woman's veil. He and the
          Frenchman were talking like old friends.

                      BEN
          All right. Let's assume they knew
          each other, and Louis Bernard didn't
          bother to tell us. What does that
          mean?

                      JO
          It means Mr. Bernard is a very
          mysterious man.

                      BEN
          He struck me as quite normaL

                      JO
          What do you know about him?

                      BEN
          I know his name...and, uh....

                      JO
          You see? And he knows you' re an
          American living in Indianapolis,
          Indiana. A doctor at the Good
          Samaritan. You have a garden with
          snails, a wife, a boy who can spell
          haemoglobin. You went to a medical
          convention in Paris. Stopped at Rome,
          Lisbon, Casablanca. You once served
          in North Africa with an Army field
          Hospital --

                      BEN
          Now hold on. Wait a minute.     We were
          just talking casually...

Jo shakes her head.

                         JO
          Not talking.
                         (MORE)

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                      JO (CONT'D)
          He was asking, you were telling. You
          might as well have handed him your
          passport.

                      BEN
          What difference does it make?    I have
          nothing to hide.

                      JO
          Maybe Mr. Bernard has.

                      BEN
          Jo. I know this is mysterious Morocco.
          Inscrutable natives gliding through
          twisted, narrow streets, but --

                      JO
              (Irritated at not
               being taken
               seriously)
          Oh, Ben!

                      BEN
          Then relax. You're just mad because
          he didn't ask any questions about you.

She looks at him briefly without any expression.    Then
she malts into a smile.

                      JO
          Bitter medicine, doctor.   But I'll
          swallow it.

The carriage swings into the driveway of the Hotel
Mamounia. It is a rich-looking building, elegantly
landscaped. The CAMERA PANS it to the entrance of the
hotel. Several hotel employees move quickly to meet
it. They help the McKennas descend, and assemble the
baggage.


EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT

Jo and Hank look at the hotel.

                       JO
          Well.   This eases the pain.

                      HANK
          What pain, mummy?

                      JO
          Just an expression.

Ben beckons the porter.

                      PORTER
          Bon jour, monsieur.

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                      BEN
          Will you take care of the driver?

                         PORTER
          Qui, m'sieu.

                      BEN
          My name is McKenna, Doctor McKenna.

                      PORTER
          I'll take care of everything, m'sieu.


EXT. HOTEL MAMOUNIA - (DAY) - MED. SHOT

A moderately well-dressed, middle-aged couple emerge
from the hotel. The man is dressed in a dark grey
flannel suit. The woman wears a light-weight, two-
piece sweater and skirt, She catches sight of Jo
McKenna. The man with her beckons to a porter. They
are Mr. and Mrs. DRAYTON.

                      DRAYTON
          Est-ce que vous etes libre?    Jevous
          prend.

                         PORTER
          Oui, m'sieu.


EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT

Jo looks at the couple, then looks quickly away.


EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT

With a marked glance at Jo McKenna, the woman whispers
something to the man. He follows her glance.


EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT

Ben reaches for Hank, and the McKennas move into the
hotel. As they move past the CAMERA, Jo plucks at
Ben's arm.

                      JO
          We're being watched.

                         BEN
          Oh come on.

Ben gives her a look of   affectionate exasperation, and
pushes her ahead of him   into the hotel. THE CAMERA
PANS BACK to the couple   left standing outside. The
woman is still looking   after Jo McKenna.

LAP DISSOLVE TO:

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INT. MCKENNA SUITE - (NIGHT) - MED. SHOT

It is now evening, and we are in the double bedroom
and single bedroom of the McKennas in the Hotel
Mamounia. We are able to see through into the single
room where Hank is, brushing his teeth while his mother
supervises his getting ready for bed. Jo is already
dressed for the evening in a smart-looking outfit.
Ben is by the chest of drawers and mirror. He just
lust finished putting on his shirt.

At the far end of the room there is a   balcony over-
looking the hotel gardens. By a small    table stands
Louis Bernard dressed with unobtrusive   good taste. He
is looking into the garden beyond. On    the table are
glasses and a shaker of martinis.


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

In the single room occupied by Hank. Jo is putting
his clothes away.  Hank, having brushed his teeth and
rinsed his mouth, emerges from the bathroom. He wears
pajamas, but still has his shoos on.

                      HANK
          How about it, mummy?   One chorus.

                      JO
          I'm a little out of form, Hank.

                      HANK
          One chorus, and that's all.

                       JO
              (Smiles)
          All right, Mr. Hammerstein.    What's
          your pleasure?

                      HANK
              (Happily)
          Quo Sera Sera. Like you and Alfred
          Drake. I'll be Alfred Drake.

                      JO
          What's your key?

                      HANK
          Whatever I happen to hit.

He hums a note to give her the key.

                        HANK
          How's that?

                      JO
          Pretty original.

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                      HANK
          Let's go.

He tap dances a vamp introduction to the song. He's
quite professional. Then he stops, takes a pose, and
begins singing in a small, but not untalented voice.

                      HANK
          When I was lust a little boy
          I asked my mother "What will I be?"
          Will I be handsome?
          Will I be rich?
          Here's what she said to me:

Jo takes up the song. Her voice is obviously
professional, but beyond that, quite beautiful.

                      JO
          Que Sera Sera, whatever will
          be will be
          The future's not ours to see
          Que Sera Sera
          What will be will be
          Que Sera Sera.


INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT

Louis Bernard looks up with some surprise, fascinated
and delighted with Jo's singing ability.


INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT

Ben, who is putting on his tie, pauses, and listens.
There is a slight smile of pleasure and affection on
his face. Hank's voice comes over:

                      HANK
          When I was just a child in school
          I asked my teacher "What should I try"
          Should I paint pictures?
          Should I sing songs?
          This was her wise reply:


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

Jo does a turn, takes Hank's hand and he does a turn
around her as she sings.

                      JO
          Que Sera Sera, whatever will
          be will be
          The future's not ours to see
          Que Sera Sera!
          Whatever will be will be
          Que Sera Sera!

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Hank looks up happily to his mother, as she sings to
him with love. Hank whistles a harmony accompaniment
to the next verse.

                      JO
          Now I have children of my own
          They ask their mother "What will I
          be?"
          Will I be handsome?
          Will I be rich?
          I tell them tenderly:

They sing the chorus in harmony together.

                      HANK AND JO
          Que Sera Sera, whatever will
          be will be
          The future's not ours to see
          Que Sera Sera!
          What will be will be
          Que Sera Sera!

Just before they finish the song, there is a loud
knocking at the outside door. The song trails off.

                      HANK
              (Disgusted)
          There goes our sock finish!


INT. MCKENNA SUITE - (NIGHT) - MED. SHOT

Ben goes to the door, tightening his tie on the way.
He opens it. A waiter is there with a tray of food.

                      WAITER
          Dinaire for thee boy.

                      BEN
              (Pointing)
          Right in there.

The waiter heads for the single bedroom, as the CAMERA
PANS Ben back to the dresser.

                      LOUIS
          I can't tell you how beautifully your
          wife sings.

                       BEN
          Yeah.   She is pretty good.

                       LOUIS
          She's marvelous. Too bad it was
          interrupted.

Ben pauses in dressing, speaks almost to himself.

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                      BEN
          I've had the same feeling.    Often.

Louis looks at him briefly.    There is a rattle of dishes
from the back bedroom.


INT. MCKENNA SUITE - (NIGHT) - MED. SHOT

The waiter comes out of the bedroom, followed by Jo.

                      JO
              (Indicating waiter)
          He said the manager is going to send
          up somebody to baby sit.

                       BEN
          Good.

The waiter nods politely, goes out the door.

                      LOUIS
          Mrs. McKenna, permit me the pleasure
          of serving you a drink.

                       JO
          Thank you.

He goes toward the balcony for the drink.

                      LOUIS
          Were you on the American stage, Mrs.
          McKenna?


INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT

Jo turns, and gives Ben a meaningful glance.     "The
Frenchman is asking questions again."


INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT

Ben gives her a look of comic disparagement.


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

Louis comes up, hands her a martini.

                       LOUIS
          Madame.

                       JO
          Thank you.   Let's sit where it's cool.

THE CAMERA PRECEDES Jo and Louis as they walk to the
balcony. Ben, putting the finishing touches on his
tie, watches them out of the corner of his eye.

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Jo takes a seat, and Louis leans against the railing.

                        JO
            Yes, I was on the American stage, and
            the London stage, and even the Paris
            stage.

                          LOUIS
            Oh?

                        JO
            I thought you might have seen me in
            Paris -- being French, and --

                        LOUIS
            The theater, requires time, and for me
            time is often a luxury.

                        JO
            Have you ever been to Paris, Mr.
            Bernard?

                        LOUIS
                (studies her briefly)
            I was born there.

Jo takes a sip of her drink, with some, frustration.

                        J0
            What do you do for a living?

                        LOUIS
            Buy and sell.

                          JO
            What?

                        LOUIS
            Whatever gives the best profit.

She puts down     her drink with some exasperation. As
she does, she     glances back toward Ben. He's getting
his coat, but     pauses to give her a slight smile and a
look that says     "You're wasting your time."

                        JO
                (More firmly)
            Just what are you buying, or selling,
            now in Marrakesh?

                          LOUIS
                (Sips   his drink)
            You know,   I would much rather talk
            about the   stage. If you tell me what
            to answer   any?

Before he can answer, there is a KNOCK at the door,
and he looks toward it. She gets to her feet, and
starts for the door.

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                      JO
          I'll answer it.


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

The CAMERA PANS Jo past Ben to the door. He has just
put on his coat, and turns to follow her to the door.
She opens it, and standing in the corridor is a
silhouetted figure. We cannot see the face. Jo
switches on a light, which reveals a rather studious
looking man of medium height standing there.

                      BEN
          Excusez moi, mais is cherche la chambre
          do Monsieur Montgomery.

Jo looks at Ben helplessly, who looks over his shoulder
toward Louis Bernard for help in translating the French.


INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT

As the McKennas turn, the man in the doorway lifts
himself on tiptoe a little and gives a sharp look in
the direction of Louis Bernard.


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

The man immediately turns his attention back to Ben,
and begins talking in broken English.

                      RIEN
          I am inquiring for the room of a
          Monsieur Montgomery. He asked me for
          a drink, and l --

                      BEN
          Sorry, there's no Montgomery here.

                      RIEN
          Then pardon me, monsieur, I regret
          disturbing you.

                      BEN
          It's all right.

As Ben closes the door, we see that Louis Bernard has
been advancing into the room for a better look at the
man in the doorway,


INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT

The McKennas turn back to the room. Louis Bernard's
face his changed slightly to the more serious. Hank's
voice is heard off:

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                        HANK
            Mummy -- I can't cut this meat!

                        JO
            I'll do it, Hank.

She goes out of the room, glancing briefly at Louis.

                         LOUIS
                (To Ben)
            May I use your telephone?

Ben gestures that the phone is his. The CAMERA PANS
Louis to the phone, which he picks up, and begins
talking in French asking first for the operator, and a
certain number. Beyond that his conversation is a
mystery, because his face reveals nothing. (Possibly
speaks Arabic.)


INT. MCKENNA SUITE - (NIGHT) - MED. SHOT

As Louis Bernard talks on the phone, Ben goes to   pick
up his drink. He comes back into the room, as JO    enters
once again from the bedroom. She looks at Louis,    then
at Ben who shrugs his shoulders. Louis finishes    his
phone conversation, hangs up.

                        LOUIS
            I am terribly sorry, but I cannot go
            to dinner with you tonight.

I had neglected an important matter which now requires
my attention. Perhaps, another night...

He bows briefly and moves towards the door. The
McKenna's look at each other quite bewildered.

FADE OUT.

FADE IN:


INT. ARAB RESTAURANT - (NIGHT) - MED. FULL SHOT

The CAMERA is slowly MOVING around the interior of an
Arab restaurant catering to European tourists. It has
a Moorish atmosphere, and the diners are sitting on
cushions or low sofas. Long-robed waiters are padding
in and out from the kitchens, quietly and efficiently
serving food. There are no Arab women to be seen.
The air has a smoky quality, and the room is filled
with the murmur of voices and the clink of dishes.
Perhaps soft music of an oriental nature is heard in
the background. The light is supplied principally
from candles.

As the CAMERA completes its sweep around and COMES TO
REST on the entrance, we see Ben and Jo arriving.

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A headwaiter, wearing a fez, comes forward.


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

The headwaiter bows slightly.

                      HEADWAITER
          Bonsoir, Madame, Monsieur.

                      BEN
          Good evening. My name is McKenna.

                       HEADWAITER
          Of course.   The hotel phoned.   Follow
          me please.

The headwaiter turns and moves into the restaurant,
The McKennas follow him, the CAMERA PANNING them. Ben
is interested in everything he sees. Jo glances at
the diners, and then a look of surprise starts through
her face.


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

They are passing a couple who are seated on cushions
eating. The couple look up at Ben and Jo. They are
the same two people we saw come out of the Hotel
Mamounia just as the McKennas entered. The woman had
stared at Jo, and she does it again, nudging the man
next to her with an elbow. The McKennas almost pass
them, then stop. The woman continues half-looking
over her shoulder again, then turns back to her dinner.


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

The headwaiter shows them to their seats -- two cushions
directly behind those of the two people who stared at
them.

                      HEADWAITER
          I think you will find this comfortable.

He bows and departs. Jo seems disturbed, looks around
as if trying to find another seat.

                       JO
          Ben...

                      BEN
          Sit down, Jo, please.   People are
          staring at us.

She sits on the far cushion. Her movements are graceful
and easy as she sits tailor fashion. Ben, being tall
and somewhat awkward, has trouble.

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First he kneels, and then with much struggle manages
to fold his long legs underneath him.


INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT

He turns to Jo, expecting to find her amused at his
antics, but instead her face is serious, and she has a
secret look about her. She leans close to him.

                      JO
          You're right. People are staring at
          us.

                         BEN
          What people?

She gives a quiet, warning nod toward the two people
sitting behind them. Ben cranes his head around, but
all he can see Is the back of a woman's head. He turns
back.

                      JO
          They stared at us when we went into
          the hotel.

                      BEN
          Jo, will you stop imagining things?


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

Ben looks at her, then slowly turns his head to look
behind him at the couple. As he does, the woman behind
him also turns. They are staring directly at each
other.

                      MRS. DRAYTON
          Good evening.

Hearing her voice, Jo turns, looks, and so does the
man with Mrs. Drayton. The woman then turns half way
around toward Jo.

                      MRS. DRAYTON
          You must think me awfully rude. I've
          been staring at you ever since I saw
          you at the hotel.

Jo slides a glance of "see" at Ben.

                      MRS. DRAYTON
              (She peers at Jo)
          You are Jo Conway, the Jo Conway?

Jo visibly relaxes and becomes Jo Conway. It's Ben's
turn to give her a triumphant look in return.

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                         JO
          Yes, I am.

Mrs. Drayton turns to the man next to her.

                      MRS. DRAYTON
          Didn't I tell you? I knew I was right.


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

Another angle, featuring the man, and Ben.

                      MRS. DRAYTON
          I'm Lucy Drayton, and this is my
          husband.

                      DRAYTON
          How do you do, sir!

                      BEN
          How do you do. We're Mr. and Mrs.
          McKenna.

                      DRAYTON
          My wife tells me Mrs. McKenna appeared
          at the London Palladium a few years
          ago.

                      MRS. DRAYTON
          Of course we hardly ever see a show.
          Edward is such an old stick-in-the-
          mud. So I have to console myself with
          your records.

                      DRAYTON
          And I must admit I love 'em. I'm not
          one for this terrible Bee Bop or
          whatever you call it.

                       JO
              (Laughs)
          Thank you, Mr. Drayton.

                      MRS. DRAYTON
          When are you coming back to London?

                      JO
          Possibly never again, professionally.

                      MRS. DRAYTON
          Don't tell me you've given up the stage.

                         JO
          Temporarily.

                      BEN
          It's just that I'm a doctor... Yes.
          And a doctor's wife...

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                      JO
          What Ben means is that there are no
          Broadway musical shows produced in
          Indianapolis, Indiana. Of course, if
          we lived in New York...
              (For Ben's benefit)
          ...where I hear doctors aren't
          starving...

                      BEN
              (To Jo)
          I have nothing against working  in New
          York. Nothing except the fact   that
          it's very hard for my patients  to come
          all the way from Indianapolis  for
          treatment.

Drayton looks at his wife disapprovingly.

                      MRS. DRAYTON
          Oh dear, oh dear. I'm always saying
          the wrong thing.

                      JO
          Not the least, Mrs. Drayton.

                      MRS. DRAYTON
          Tell me; Dr. McKenna do you always.....

                      BEN
          Do you think we could get straightened
          around.

LAP DISSOLVE TO:


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

We now find the Draytons and the McKennas are  sitting
in a group, eating dinner together. There is   no back
to back awkwardness. All  are busily tearing  whole
roast chickens apart with their bare fingers.   Drayton
holds a piece of chicken aloft, demonstrating  the proper
Arab method of eating.

                      DRAYTON
          Only the first two fingers and thumb
          of the right hand. Never use the
          smaller fingers. And always keep the
          left hand in the lap.

                      JO
          Does it have something to do with
          religion?

                      DRAYTON
          More social than religious, I'd say.

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                      BEN
          It seems to me if you have four good
          fingers, and a thumb, you should use
          them all.

                      J0
          Three finger -- four fingers -- for my
          money this is nothing but chicken in
          the rough. We have it at every drive-
          in back home.

                      DRAYTON
          Well, as I was saying, I was quite
          happy farming my bit of land It
          Buckinghamshire, when these chaps from
          the United Nations started worrying
          me.

                      MRS. DRAYTON
          Edward was a big noise at the Ministry
          of Food during the war, you know.

                      DRAYTON
          So, I pulled myself up by the roots,
          and here we are. United Nations Relief.

                      BEN
          That sounds like interesting work.

                      DRAYTON
          You should see my report on soil erosion
          in Morocco...
              (Sadly)
          But nobody reads it.

Jo is staring at the entrance to the restaurant. Mrs.
Drayton follows her glance. The two men stop talking,
and eating, and also look.


INT. ARAB RESTAURANT - (NIGHT) - MED. LONG SHOT

Louis Bernard is standing in the entrance of the
restaurant. On his arm is a rather elegantly dressed
woman. She is also handsome and graceful. As he stands
waiting for the headwaiter, Louis Bernard looks around
the restaurant. His eyes stop when he comes to the
McKennas. He looks directly at them without the
slightest sign of recognition.

                      LOUIS
          Trouvez nous un coin tranquille --
          C'est possible? (Could you show me a
          quiet place?)

                      WAITER
          Certainment, monsieur.   (Certainly,
          Sir)

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INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT

Jo and Ben stare back. There is resentment in Jo's
eyes, and conjecture in Ben's.


INT. ARAB RESTAURANT - (NIGHT) - MED. SHOT

The headwaiter comes up to Louis Bernard, exchanges a
few words with him which we cannot hear, and then leads
the couple to a set of cushions in the far corner of
the room. As he moves away from the entrance, Louis
Bernard does not look at the McKennas.


INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

As the couple traverses the restaurant, our four diners
watch them -- the Draytons out of idle curiosity, but
the McKennas with growing astonishment as they realize
that Bernard has no intention of recognizing them, or
speaking to them. Jo turns back to Ben.

                      JO
          Well just what do you think of that?
          First he promises to take us to dinner --

                      BEN
          Look, we only met him today. We can't
          expect him to change his whole life --

                       JO
          Oh, Ben!   What's the matter with you?!

                       BEN
          Nothing!   What's the matter with you?!

                      JO
          I just don't like to be both privately
          and publicly insulted.

                      BEN
          Can you blame him? Turning down an
          old married couple for a date with a
          girl like that?

                       JO
          We're not an old married couple! All
          right -- He's a heel. I don't
          understand him -- and I'm beginning
          not to like what he's doing to our
          whole night.

Drayton, quietly amused, is listening to Ben and Jo.
But Mrs. Drayton is embarrassed. She makes conversation
at random.

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                      MRS. DRAYTON
              (To Drayton)
          I must do some shopping in the market
          tomorrow. I do hope it'll be fine.
          Fine, but not too fine. Of course, I
          how our English weather is awful, but
          I sometimes think we don't know when
          we're lucky. All this sunshine, day
          after day. It seems unnatural, somehow.

Ben makes as if to rise, but Jo holds him down.

                      BEN
          I want to get up.

                      JO
          Ben, I know you -- once you get worked
          up, you'll start a fight. Now please,
          sit down and forget him.

                      DRAYTON
              (To the McKennas)
          By the way, it'd be pleasant if you'd
          let us show you round the market place,
          tomorrow.

                      JO
          Louis Bernard, the big buyer from
          Paris, was going to take us through
          the market tomorrow.

                       BEN
               (Starts to rise
                aaain)
          Good. I'll just go over and cancel
          out.

She pushes him down again.

                      JO
          Ben, don't. Our dinner's getting cold.
              (To the Draytons)
          We'd love to go with you.

Ben glares in Bernard's direction, and then picks up a
chicken leg.

                      JO
          I don't know why Ben gets so worked up
          over unimportant things.

Ben looks a her slowly, and with some amazement. Then
his eyes lift a little and he sees the headwaiter
standing nearby gesturing to him to please use only
three fingers. Ben looks down at the chicken leg. He
is holding it gripped in his fist. This is too much.
He throws the leg down to his plate in disgust.

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INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT

Over in the far corner of the restaurant, the lady
with Louis Bernard leans forward and murmurs something
in French. Her gaze is across the room in the direction
of the McKennas.

                        WOMAN
            C'est les deux que cherchez? (Is that
            the couple you are looking for?)

Louis turns slightly and looks.     He glances back at
her and nods significantly.

                            LOUIS
            Oui.   (Yes.)

FADE OUT.

FADE IN:


EXT. MARKET PLACE - (DAY) - ESTABLISHING SHOT

It is around eleven o'clock in the morning in the    main
market square at Marrakesh. This is usually the     busy
time of the day. There are coaches arriving from     the
countryside with the Arab farmers alighting with    their
baggage, veiled women getting off the coaches and    going
into the markets.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

A closer view of the shoppers -- veiled women, men on
bicycles, carts and donkeys passing.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The water sellers move slowly through the market, their
large hats tinkling with gay sounding bells.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The medicine man sitting among his medical wares --
Ben and Jo enter and look down at the collection of
claws, lizards, and barnyard scrapings.

                        J0
            Looks like he has a cure for everything.

                        BEN
            Yeah, there's a lot of that going around
            these days.

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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

Woman with sewing machine on head.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The bread vendors offering large fresh-baked loaves of
bread. Scattered among the native populace are some
tourists and perhaps some French residents.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

Mr. Drayton is standing by an Arab who has a small
gambling table set up, possibly roulette, There are
others gambling. After  a moment's hesitation, and a
look around to see that he is safe from Mrs. Drayton,
he chances a small bet.  He loses.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

An old man squatting on his heels and surrounded by a
small circle of onlookers is reading from a book. His
voice intones monotonously. The CAMERA PANS to the
RIGHT and we see Hank McKenna standing watching him.
Hank is holding on to Mrs. Drayton's hand.

                      HANK
          What's he doing, Mrs. Drayton?

                      MRS. DRAYTON
          He's the teller of tales, Hank. He
          reads legends and famous old stories
          from history.

                      HANK
          Wish he'd say something I could
          understand.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

A larger group of people who are gathered around some
acrobats who are performing rather well.


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

Standing on the fringe of the crowd watching the
acrobats are the McKennas.

                      J0
          Ben, I'm glad we came here. It's
          different, a little exciting.

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                      BEN
          Wouldn't you rather be in Now York --
          rehearsing?

She takes his arm affectionately.

                       JO
          Oh, all that  talk last night was just
          social chit  chat, Every woman who ever
          gave up the  stage for marriage is
          supposed to  want to go back. I was
          just playing  a part expected of me.

She pauses a second.

                      BEN
          Well, if you do -- let's talk about it --
          seriously.

                      JO
          No, if at all, let's talk about it
          humorously.

                       HANK
          Mummy!   Daddy!

They turn in time to see Hank run up to them, followed
by Mrs. Drayton.

                      HANK
          Come on with us! We're gonna see the
          medicine man! Maybe you on learn
          something, Daddy.

                       BEN
              (Laughs)
          You're probably right.

                      J0
              (To Mrs. Drayton)
          Any time he starts wearing you out --

                      MRS. DRAYTON
          I've never enjoyed the market place so
          much. Oh!

She dashes off in pursuit of the fast-moving Hank.

                         HANK
          Come on!


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

Standing on the fringe of the crowd watching the
acrobats are the McKennas.

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                      JO
          Ben, this whole market place is very
          different and exciting.

                      BEN
          Just like the county fairs when I was
          a kid. They'd get everything but the
          balloon ascension.

Jo starts giggling.   Ben looks it her.

                      BEN
          That didn't sound too hilarious to me.

                      JO
          I was just thinking...do you know what's
          paying for these three days in
          Marrakesh?

Ben chuckles.

                      JO
          And the purse I bought in Paris...

Bill Edwards' tonsils.

                       HANK
          Mummy!   Daddy!

They turn in time to see Hank run up to them, followed
by Mrs. Drayton.

                      HANK
          Come on with us! We're gonna see the
          medicine man! Maybe you can learn
          something, Daddy.

                       BEN
              (laughs)
          You're probably right.

                      JO
              (to Mrs. Drayton)
          Any time he starts wearing you out...

Mrs. Drayton ad Hank go out of the picture.

                      BEN
          I don't know whether or not to believe
          you.

                      JO
          Ben, glamour is a costume I put on
          once. It never fit too well. I'd
          rather live my own life than one written
          for me.

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                      BEN
          Including sleeping with a man who always
          smells of ether?

                      J0
          I don't have to look seductive at
          breakfast and worry if the Times
          reviewer doesn't like my scrambled
          eggs.

Drayton appears behind them.

                      DRAYTON
          How are the acrobats today?

                      BEN
          Oh fine, fine. Haven't dropped anybody
          yet.

Ben takes Jo's arm and they saunter off, leaving Mr.
Drayton to the acrobats. They do it in such a way as
to indicate the group is not hold together by any social
formalities.


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

The CAMERA DOLLIES along beside them as they pass down
a line of Arab barbers all busily engaged with shaving
and cutting the hair of their customers.

                      BEN
          All the way home we'll be riding on
          Herbie Taylor's ulcors.

                      J0
          And Allida Markle's asthma.

Her eyes widen a little in surprise, and somewhat hurt,
at his statement.

                      BEN
          Oh, I know it's just a song and a dance
          here and there... but it's all he thinks
          about. Show business.

                      JO
          Ben, you're setting a trap for me.

                      BEN
          He has a good mind.   Give him a chance
          to develop it.

                      JO
          You mean give him a change to be a
          doctor?

                      BEN
          I didn't say that.

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EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance. Jo holds
out her hand for Ben to shake it.

                      JO
          All right, darling, a deal's a deal.

Ben takes her hand.

                      JO
          For every time step he'll learn a new
          muscle -- and for every chorus, three
          bones.

Ben can't help chuckling.

                      BEN
          And for every matinee?

                      JO
          Two chapters of Grey's Anatomy.

They stop short of bumping into Hank and Mrs. Drayton.

                      HANK
          Hey, Mummy.
              (He points)
          Sewing machines! Looks like a
          television commercial.

                      BEN
          Now If we could only get four cases of
          the Seven-year itch, we could retire.
          Or, if Mrs. Yarros really has triplets,
          we could at least redecorate the house.

                       J0
              (Laughs)
          Oh, Ben, what would they say if they
          heard us?


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance.

                      BEN
          One of the reasons I came to a place
          like Marrakesh is so that we could say
          things like this without anybody hearing
          us.

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                       JO
          I'd like to say something where nobody
          can hear us.

                      BEN
          This is the safest place.

                      JO
          When are we going to have another child?

Ben looks at her with some surprise.

                      JO
          You're the doctor.   You have all the
          answers.

                      BEN
          Yeah -- but, but this is the first
          time I've heard the question!

They stop short of bumping into Hank and Mrs. Drayton.

                      HANK
          Hey, Mummy.
              (He points)
          Sewing machines! Looks like a
          television commercial.

Jo laughs appreciatively, and rumples his hair.

                      JO
          Having a good time, Hank?

                      MRS. DRAYTON
          He's delighted with everything.

At this moment, Mr. Drayton saunters up, and for the
first time the group is all together. Suddenly there
as some shouts in the distance. Everyone's attention
is drawn to the noise. Hank moves quickly, threading
his way through some people for a better look, the
CAMERA PANNING him away.


EXT. MARKET PLACE - (DAY) - LONG SHOT

From Hank's viewpoint we see police chasing a white-
robed Arab figure. The police consist of a couple of
uniformed French officials and two or three others in
local Arab dress, with rifles slung over their backs.


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

Hank, fascinated at the drama, dishes away to got a
better view.

Jo and Ben miss Hank.   Then see him moving through the
crowd.

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                       BEN
          Hank!   Hank -- come back here!

                       JO
          Hank!

She starts forward after him, but Mrs. Drayton moves
faster than anyone. She passes both of the McKennas
and overtakes Hank.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

Mrs. Drayton reaches down and takes hold of Hank's
shoulders, and pulls him toward her.

                      MRS. DRAYTON
          Hank, it's best to keep away from
          trouble.

Hank is looking away toward the chase.

                      HANK
          What's going on?

Mrs. Drayton looks toward the trouble.

                      MRS. DRAYTON
          It looks as though the police are
          chasing somebody.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

A closer view of the chase brings us back to where the
motor coaches are loading up, and for a moment the
police as lost to view.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

A high view of the open air tannery with its circles
of crude stone water tanks becomes the scene of a
further part of the chase. We see the white-robed
Arab leaping between the crude tanks with the police
yelling and running after him in the distance. The
difficulty of the obstacles enables the Arab to get
ahead of them, and we see that he is now able to dodge
through an archway into the grain market.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

As the chase passes through the grain market, it
scatters grain and grain sellers in every direction.

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EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

The pursued Arab dashes through an enclosure holding
the donkeys which are used to carry grain to and from
the market. There is quite a stampede, with the donkeys
running, kicking, and braying in fright.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

Through another archway the Arab now dashes down some
of the narrow streets of the Medina. Sapling branches
are laced overhead creating a latticed shadow pattern
on the ground below.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

As the Arab moves along the narrow street, with the
police in pursuit, progress is made difficult by the
many shoppers and bicycle riders. One bicycle rider
trying to avoid the oncoming Arab turns and drives
helplessly into a lags pottery store. The sound of
wreckage is enormous.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The Arab turns into another street where the rows of
brilliantly dyed wool yarn hang, from overhead strung
along sapling poles. There is in unfortunate collision
between the fleeing Arab end a workman crossing the
street with a large vat of blue dye on his shoulder.
In a moment the whole narrow streetway is saturated
with blue dye, and everyone is lifting his robe and
hopping around to avoid being stained. The Arab
continues on past. The police dash through the street
trying to avoid the dye themselves.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The Police reach a narrow intersection where the blind
beggars as squatting, begging alms. They pause. There
is no sign of their quarry. Then one of them points
to faint blue footprints dashing away to the left.
They take up the pursuit once again.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

A high, overhead shot of the narrow streets showing
that the police have caught sight of their man again.
But there seems to be something strange about the chase
now. Two white-robed Arabs are running. The second
Arab we haven't seen before, but he is faster than the
first man and is gaining on him.

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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

A closer, level shot, the CAMERA PANNING, shows, the
two breathless men closing in on each other. As they
reach an intersection in the streets, lighted by a
shaft of sunlight, the new Arab comes up behind the
original man being chased and whipping out a knife
from under his robes, plunges it into the back of the
first man. Then he turns and quickly moves away into
a street on his left. The first Arab jerks his head
up and backward with the sharp pain of the stabbing,
Then he staggers into the dark shadows.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

A high shot shows that the stabbed man is almost out
of sight for a moment so that the police continue their
chase after the second man, who has swiftly darted
down another side turning.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

The CAMERA MOVES IN behind the stabbed Arab. The knife
is still in his back. We get a glimpse of his hands,
vainly groping behind him. The CAMERA MOVES WITH HIM
as he staggers out into the open market place. His
shadow on the ground shows us the silhouette of the
knife handle sticking out from his back. The CAMERA
MOVES IN CLOSE to follow the agony of his head and
shoulders as he attempts to go forward.


EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT

The CAMERA seems to pass BEYOND HIM for a moment, and
there, a few yards away, stands Ben McKenna, and his
group.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

The Arab hesitates for  a moment, but the attitude of
his head shows us that  he has seen McKenna. He makes
his way desperately and  painfully toward him. He is
finding it difficult to  remain upright and even take
those last few steps.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

A closer view  of McKenna shows that those around him,
including his  wife and the Draytons, become frightened.
He spreads his  arms out to move them back protectively,
waiting to see  what is going to happen.

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EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

As the Arab reaches McKenna, the knife drops from his
back, and he collapses at Ben's feet. Ben endeavors
to grab him as he falls. He misses his shoulders, and
his hands close in and inadvertently grab the Arab's
cheeks.


EXT. MARKET PLACE - (DAY) - CLOSE SHOT

A big close up of Ben's hands as his fingers slide off
the Arab's face. He turns his hands up and we see
they are covered with black grease paint.


EXT. MARKET PLACE - (DAY) - CLOSE SHOT

The Arab's head his now dropped to the ground, and we
see streaks of white flesh showing through the dark
makeup which Ben's fingers had scraped off.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

Ben drops to his knees to examine the man better.   The
Arab gasps out something in French.

                      LOUIS
          Ils ont trouvés... ils ont réussi à
          trouver...

Ben looks at him puzzled.

                      LOUIS
              (English)
          McKenna... I'm... Louis.... Bernard.

Ben is quite surprised.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

Ben glances swiftly at the fallen knife, and then
reaches across Louis Bernard to turn him over and
examine his wound. But the Frenchman reaches up with
one arm and grabs Ben by the coat.

                      LOUIS
          McKenna -- listen to me -- first!

With what strength he has, Louis drags Ben down until
Ben's ear is near to his mouth. With a great effort
Louis whispers to him.

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EXT. MARKET PLACE - (DAY) - CLOSE SHOT

A big closeup of Ben's ear and Louis' mouth enables us
to hear the whispering, but Louis' voice is fading so
much that we cannot distinguish the words -- at least
enough to make any sense out of what he says.

                      LOUIS
          A man...a statesman...is to be
          killed...assassinated...in
          London...soon...very soon...tell
          them...in London...to try Ambrose
          Chappell...

Presently, the mouth stops speaking.    It remains still
and open.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

As Ben backs away, we see the staring eyes, and open
mouth of Louis. Ben quickly puts his hand inside the
robes to feel for Louis' heart, The hand slowly
withdraws. Ben rises.


EXT. MARKET PLACE - (DAY) - MED. SHOT

The Arabs crowd in to see the details. Louis Bernard,
the McKennas and the Draytons are in the center of a
large flat cement section of the market place. The
Police by now have caught up to the event, and dash
quickly into the picture toward Ben and Louis.
Instinctively Ben backs away, as do the Draytons, and
Jo and Hank. However, Ben still stays closer than the
rest. One of the police picks up the knife and examines
it, another bends down to wipe the make-up off Louis
Bernard's face. Ben looks around for his wife.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

Ben beckons to his wife beyond him, to join him. Jo
turns Hank over to Mrs. Drayton. Hank stands close to
the English woman as Jo comes over. As Jo comes up to
Ben, he is feeling in his pocket for something. Takes
out a pen.

                      JO
          Ben -- who is he?

                      BEN
          Louis Bernard. Got something to write
          on?

She begins looking in her purse.

                        JO
          Is he dead?

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                       BEN
               (Impatiently)
           Yes. Yes. He's dead.

She   produces a small address book. Ben snatches it
out   of her hand unceremoniously. He opens the book
end   begins writing something down fast. Jo watches
him   with mystified curiosity.


EXT. MARKET PLACE - (DAY) - MEDIUM SHOT

Drayton strolls up, out of curiosity. He has also
seen Ben's hurried writing, but Ben casually puts the
notebook back into his inside pocket, along with the
pen. Before either man can comment on the writing,
the voice of a policeman is heard, speaking in French.

                       POLICE ONE
           Savez vous qui est cet homme?

The uniformed French policeman approaches Ben.


EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT

The policeman repeats his question as he stops in front
of Ben.

                       POLICE
           J'ai dit: Savez vous qui est cet homme?

Drayton steps forward to help.   He addresses the police.

                       DRAYTON
           Il ne parle pas francais.   Je traduirái.

The policeman nods.   Drayton turns to Ben.

                       DRAYTON
           He wants to find out if you know this
           man.

The policeman watches their faces.

                       JO
           Of course we know him!
               (She points)
           It's the frenchman, Louis Bernard.

Her gestures, and her comments, although In English,
give the policeman all the information he needs.

                       POLICE ONE
               (Looks at body)
           Louis Bernard?

He moves away toward the body, which the other policemen
are now covering with a sheet.

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He gives them some instructions in French.

Ben looks at Jo in a way that says "Who asked you to
say anything."

The French policeman returns to the group.    He addresses
Drayton.

                      POLICE MAN
          Quel est le nom de ces personnes?

                      DRAYTON
          McKenna.

                      POLICE MAN
          Dites leur que j'aimerai qu'ils viennent
          tous les deux au commissariat pour
          faire un rapport.

Drayton nods unhappily, and turns to Ben and Jo.

                      DRAYTON
          Just as I thought. He wants both of
          you to go to police headquarters to
          make a statement.

                      BEN
          Do we have to?

                      DRAYTON
          I'm afraid so.
              (He turns to wife)
          Our friends here have to go to the
          police Station. I'm going with them
          to give what help I can.


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

Mrs. Drayton comes up to the group, still holding on
to Hank's hand.

                      MRS. DRAYTON
          You don't want your little boy to go,
          do you?

                      HANK
          I wanna go. I never saw a French police
          station before.

                      MRS. DRAYTON
          Perhaps it would be best if I took him
          back to the hotel.

                      JO
          You're very thoughtful.

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                      POLICE ONE
          Ameneles aux Bureaux de Police.
              (He moves out)

                       DRAYTON
              (To Ben)
          I think we'd better set off.
              (To wife wryly)
          Heaven knows how long we shall be.

                       POLICE TWOO
          Alons-y.   Sil vous plait.

Police Two moves across the square with Drayton. Ben
and Jo precede them. Drayton begins conversing in
French with them about the crime, but we cannot
distinguish their words clearly. Jo looks back and
gives a little wave to Hank.


EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT

The McKenna's are walking across the square with the
Police and Drayton a few yards behind them. The CAMERA
MOVES with them. Jo moves close to Ben and speaks to
him in a surreptitious manner.

                      JO
          Why should he suddenly turn up in Arab-
          outfit, wearing makeup?

                      BEN
          What's more important -- why was he
          killed?

                      JO
          I'll bet he was a spy, or something
          like that.

Ben looks at her with some surprise.

                      JO
          Ben, what did he whisper to you?    What
          did you write down?

                      BEN
          I'll tell you later.

Ben looks at his hands.

                        JO
          What is it?

                      BEN
          I don't feel very good after what I
          said about Louis Bernard last night.

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JO looks away, equally embarrassed.    Ben wipes his
fingers with his handkerchief.

LAP DISSOLVE TO:


INT. POLICE STATION - (DAY) - MED. SHOT

The main hallway and waiting room of the Police Station
in Marrakesh. French and Arab personnel move up and
down the wide hallway from one doorway to another.
There is a babble of voices and the sound of phones
heard off. The McKennas and Drayton are seated on a
long bench, waiting to be called into the inner office
of the Police Inspector. Drayton sits next to Ben.
It is hot. Jo has eyes for everything, but Ben seems
to be somewhat impatient. He looks at his watch for
the third or fourth time in a minute.


INT. POLICE STATION - (DAY) - MED. CLOSE SHOT

Drayton notices him studying his watch. He leans to
him, and at the same time wipes off the side of his on
face with a handkerchief.

                      DRAYTON
          Once we talk to the police inspector,
          I'll do my best to out some of the red
          tape.

                      JO
          I have to stretch.

She gets up and saunters away, looking around the police
station for whatever there is to see. Drayton speaks
to Ben with reassuring geniality.

                      DRAYTON
          I'm afraid the questions will go on
          till doomsday, if you admit knew this
          chap Bernard before.

                      BEN
          I didn't know him at all.     We only met
          yesterday on a bus.

                      DRAYTON
          They're a cynical lot, these French --
          they might refuse to believe that.

                      BEN
          They'll have to believe me.     It's true.

                      DRAYTON
          It might sound a bit odd,    from their
          point of view. They saw     the poor chap
          whispering to you ... and    then they
          saw you writing something    down...

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Ben looks at Drayton, waiting for his to go on.

                      DRAYTON
          The question is, are you going to show
          them what you wrote down?

Before Ben can say any more, a policeman opens the
door leading to the Police Inspector's office. He
calls out.


INT. POLICE STATION - (DAY) - MED. SHOT

Jo turns around at the sound of the door opening, and
Ben and Drayton start to rise from the bench.

The policeman steps aside, holding the door, as a Police
Inspector comes out of the office from behind him. He
is a short, heavy-built-dark man. He does not smile.


INT. POLICE STATION - (DAY) - MED. CLOSE SHOT

The Inspector walks a few steps into the corridor,
stops. Ben, Jo and Drayton approach him. Drayton
speaks first.

                      DRAYTON
          Ces personnes sont mes bons amis, les
          McKenna. Mon nom est Drayton. Ils ne
          parlent pas francais et ils m'ont
          demandé de traduire.

The Inspector answers in English.

                      INSPECTOR
          Thank you, Monsieur Drayton, but a
          translator will not be necessary.
              (To McKenna)
          Won't you come inside, Monsieur, Madame?

He stops aside, and wait.

                      INSPECTOR
              (To Drayton)
          Do to the kindness to wait. I might
          have questions for you later.

He motions to the McKennas. Jo goes past him first,
into the office, followed by Ben, Drayton returns to
the bench, and watches the trio as the office door
closes on them.


INT. POLICE STATION - (DAY) - MED. SHOT

A medium-sized office, saved from plainness of civil
service decor by a few personal decorations of the
Inspector.

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He waves the McKenna to chairs, as he goes around behind
his desk and remains standing. Ben and Jo sit down.
The Inspector looks at some papers on his desk, then
holds out his hand.

                      INSPECTOR
              (Precisely)
          Your passports, please.

Ben looks at Jo, who fishes for them in her purse.
She takes them out, hands them to Ben, who hands them
to the Inspector. He scrutinizes them. Uncomfortable,
Ben retreats to a chair and sits down, waiting. The
inspector checks the pictures against the people he
sees sitting in his office, then puts the passports
down on his desk.

                      INSPECTOR
          You entered French Morocco four days
          ago.

                      BEN
          That's right.

                      INSPECTOR
          You are a doctor, monsieur?

                        BEN
          A surgeon.    A tourist, and an American
          citizen.

                      INSPECTOR
          Three good reasons why you should have
          nothing in common with Louis Bernard.

                      BEN
          I didn't have.

                      INSPECTOR
          You were recently in Paris?

                      BEN
          A medical convention.

                        INSPECTOR
          You come to   Marrakesh with him in the
          same bus.    You drank an apéritif with
          him in your   hotel room. And you ate
          at the same   restaurant last night.

                      JO
          But at different tables.

The Inspector's eyes study her briefly, as if her
comment was an unnecessary interruption. Then his
eyes return to Ben.

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                      INSPECTOR
          So, Louis Bernard is a stranger to
          you?

                      BEN
          I met him yesterday -- on the bus --
          for the first time in my life.

The Inspector begins to let his skepticism be seen.

                      INSPECTOR
              (ironically)
          And yet -- out of five  thousand people --
          In a great market place  -- he comes to
          you when he is about to  die! Is that
          the action of a casual  acquaintance,
          monsieur?

                      BEN
              (Obstinate)
          I know nothing about Louis Bernard.

                      INSPECTOR
          No? Not even, I suppose, that he was
          an agent of the Déuxieme Bureau?

                      BEN
          What's that?

                      INSPECTOR
          Perhaps you have also never head of
          the American F.B.I.?
              (Sadly)
          It would be so much more easy for both
          of us, monsieur, if you would cease to
          pretend.

                      BEN
          Now, look here...

                      INSPECTOR
              (Patiently)
          The dead man found out what he had
          been sent here to discover. That is
          why he was kill-ed. He told you what
          he had discovered. Why? Because he
          placed complete confidence in you.
          Voila.

                      BEN
          Boy, you not only ask the questions
          you also answer them -- Wait a minute
          let me ask you a question.

                      INSPECTOR
          Indeed, Monsieur?

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                      BEN
          Assuming Bernard trusted me as
          implicitly as you say, I would never
          reveal anything he said to me, would
          I?

                      INSPECTOR
          Even Americans, I suppose, sometimes
          find it desirable to betray a
          confidence?

                      BEN
          Let's get something straight. I'm a
          tourist traveling for pleasure. I
          somehow got involved in an unfortunate
          incident. I came down here to make a
          simple statement of fact, and not to
          be subjected to a police grilling.

                      INSPECTOR
          Monsieur, I would like....

                      BEN
              (Interrupting)
          Now hold your horses!   Just hold them.

The door opens suddenly.   The two men look up.


INT. INSPECTOR'S OFFICE - (DAY) - MED. CLOSE SHOT

A policeman opens the door and leans in.

                      POLICE TWO
          Inspecteur. On demande Monsieur McKenna
          au téléphone.

As he speaks, the policeman nods in the direction of
Ben.


INT. INSPECTOR'S OFFICE - (DAY) - MED. SHOT

The Inspector impatiently tries to dismiss the officer
with a gesture.

                      INSPECTOR
          Laissez nous, nous sommes occuppes.

Ben motions to the policeman to stay where he is

                      BEN
          Wait a minute. A telephone call for
          me?

The policeman at the door looks at the Inspector
briefly. The Inspector is disconcerted, but doesn't
tell the man what to say, so he turns back to Ben and
nods.

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                      BEN
          Where?

The policeman points over his shoulder to in outside
office.

                      INSPECTOR
              (To the world in
               general)
          Mais enfin, voyons!

                      BEN
          I'll take the call now.    You just take
          it easy.

He goes out the door, closing it behind him. The
Inspector sits down heavily. Then he looks up at Jo.

                      INSPECTOR
          Madame McKenna.

                      JO
          I don't know a thing,


INT. POLICE STATION - (DAY) - MEDIUM CLOSE SHOT

The CAMERA PANS Ban as he follows the policeman down
the outside corridor, past Drayton who is still sitting
on a bench and watching Ben somewhat anxiously, and
into a small plain office.


INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT

The policeman enters the small office   first. There is
a desk, more like a table, and a phone   is lying on it
off the hook. The policeman picks it    up, and hands it
to Ben. Ben holds it without speaking    a second, and
waves the policeman out.

The policeman is indifferent.    He leaves.   Ben puts
the phone to his ear.

                      BEN
          Hello.


INT. ROOM - (DAY) - CLOSE SHOT

A robed Arab is sitting in a chair holding a telephone.
The room is part of a rather elaborate Moorish house.
The Arab speaks in accented English.

                      ARAB
          Doctor McKenna?

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INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT

As Ben answers, he idly looks through the open doorway
toward Drayton sitting on the bench outside.

                      BEN
          This is McKenna.     Who's calling me?


INT. ROOM - (DAY) - CLOSE SHOT

The Arab doesn't bother to identify himself.

                       ARAB
          You tell  even one word of that Louis
          Bernard  whispered to you in the market-
          place --  your little boy will be in
          serious  danger.

The Arab starts to hang up.


INT. SMALL OFFICE - (DAY) - MEDIUM CLOSE SHOT

There is an audible click in the receiver held in Ben's
hand.

                         BEN
          Hello.

There is no answer. Ben lowers the phone slightly,
looks at it a minute, then continues on downward with
it, returning the receiver to the phone cradle. He
stands a brief moment in thought, then half turns toward
Drayton sitting in the corridor outside. He motions
to Drayton to join him in the office

                         BEN
          Drayton!

The Englishman gets up and comes into the small office.

                      BEN
          Didn't your wife say she was taking
          Hank straight back to the hotel?

                         DRAYTON
          As I recall.     Why?

Ben picks up the phone, hands it to Drayton.

                      BEN
          Call her. Somebody just threatened me
          about Hank. See if he's all right.

Drayton reacts with surprise, speaks into the Phone.
He speaks French.

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                      DRAYTON
          Passez moi l'hôtel Mamounia, s'il vous
          plait. Voulez vous appeler la chambre
          deux cents dix sept s'il vous plait....
          je vois, Puis-je parler au,
          concierge?...Ah! ici Mr. Drayton de
          la chambre deux cents dix sept. Est
          ce que ma femme est revenue a l'hôtel
          depuis une heure? Sa chambre ne répond
          pas.... je vois... bien... bien...
          merci... Oh! Un instant s'il vous
          plait.

                      BEN
          Four fourteen.

                      DRAYTON
              (To phone)
          Voulez vous essayer la chambre quatre
          cents quatorze?...Merci.

Ben slowly hangs up.   Looks at Ben.

                      DRAYTON
          I can't believe it.

                      BEN
          She didn't come back?

                      DRAYTON
          At least nobody's seen her.     What on
          earth...

                      BEN
          Look -- you get back to the hotel right
          away -- and see if you can find out
          what's going on.

                      DRAYTON
          It's so unlike my wife...

                      BEN
          I'll finish up with the police and
          join you as soon as I can.

                      DRAYTON
          Right. But don't worry. Probably
          some stupid misunderstanding.
              (He starts out,
               stops)
          If I find out anything before you get
          back, I'll ring you here.

                      BEN
          Just don't waste any time!

Drayton hurries out of the office.     He goes one way,
Ben the other.

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INT. INSPECTOR'S OFFICE - (DAY) - MEDIUM SHOT

As Ben enters the office, both Jo and the Inspector
look up him inquiringly.

                      JO
          Who was it, Ben?

Ben adopts as casual an air as he can under the
circumstances. He doesn't sit down. He speaks more
to the Inspector than to his wife, avoiding her eyes.

                      BEN
          It was the Concierge at the Hotel. He
          heard we were being held by the Police
          and thought there was some way he could
          help us.

                      JO
          That was nice of him.

                      BEN
              (Looking at Inspector)
          I told him if we weren't back there in
          fifteen minutes to call the American
          Consulate in Casablanca.

The Inspector has realised that he won't get any more
out of Ben.

                      INSPECTOR
              (charmingly)
          But, Monsieur, if you had only told me
          in the first place, that you wished to
          consult with your consul!

Ben gives him a look.

                      BEN
          Let's go, Jo.

                      INSPECTOR
          There is just one small formality. I
          must request you to sign a statement
          of the facts.

                      BEN
          If it doesn't take too long.

                      INSPECTOR
          But a moment. I will send for a typist.

Reluctantly the Inspector reaches for a phone on his
desk. Jo looks at her husband somewhat puzzled.

                        JO
          Ben...

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He gives her a warning glance to be quiet.   She does.
He reaches out, takes her hand.

LAP DISSOLVE TO:


EXT. MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT

Ben and Jo are riding along in an open Victoria, headed
back for the Hotel Mamounia. Ben seems preoccupied
with his thoughts.

                      JO
              (Holds out her hand)
          Let me see the message.

                      BEN
          I don't -- I don't think you should.

She holds out her hand more firmly.

                      JO
          I'm your wife, Ben -- not the police
          inspector. Let's see it.

Reluctantly, Ben takes out the notebook, hands it to
her. Ben watches her as she reads the note he has
written.

The notebook page held by Jo on which Ben has scribbled
Louis Bernard's message. It reads: "A MAN...A
STATESMAN...IS TO BE KILLED...ASSASSINATED...IN
LONDON...SOON...VERY SOON...TELL THEM...IN LONDON...TO
TRY AMBROSE CHAPPEL...


EXT. MARRAKESH STREETS - (DAY) - MED. CLOSE SHOT

Jo looks up, soberly.

                      J0
          Why didn't you give this to the police?

                      BEN
          Because I didn't want to.

                      JO
          But Ben, a man's life --

                      BEN
              (Interrupts)
          ...is at stake, I know, But I'm not
          sure of what's the right thing to do.

She closes the notebook. Ben reaches over, takes it
from her and replaces it in his pocket. She stares
ahead, with her own thoughts. Then she speaks.

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                      J0
          I thought we ought to go back to the
          hotel, pack our clothes, take Hank,
          and get out of this country as quickly
          as we can.

                      BEN
              (Thinking)
          Maybe.

                      JO
          Hank, seeing a man killed in front of
          him. What a shook it must be to his
          mind.

                      BEN
              (Quietly)
          I know.

                      JO
          Why don't you just give that note to
          the American Consulate -- Why get any
          more involved?

Ben is uncomfortable, and unhappy, but he tries to
hide it. He leans toward Jo as if he's about to tell
her something important. He reaches out, places his
hand over hers.

                      BEN
          Jo...about Hank...
              (He trails off)

                      JO
          What about him?

                      BEN
          Well...he...he's the kind of a kid who
          can take of himself.


EXT. HOTEL MAMOUNIA - (DAY) - MED. LONG SH

The Victoria turns into the Hotel Mamounia, and pulls
up in front of the entrance. The McKennas dismount.


EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SH

Jo straightens out her dress, waits for Ben to accompany
her into the hotel. The head porter is outside
supervising some baggage with the lesser porters. He
touches his cap to the McKennas.

                      BEN
              (To Jo)
          You get the key.   I'll take care of
          the driver.

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                         JO
          Okay.

She turns and enters the hotel. Ben takes a bill out
of his pocket, examines it, and hands it to the driver.
The Victoria moves off. Ben turns to the Head Porter.

                      BEN
          Uh...pardon me.

The head Porter turns to Ben respectfully.

                         HEAD PORTER
          Yes, m'sieu?

                      BEN
          Do you know Mrs. Drayton?

                      HEAD PORTER
          The English lady?

                      BEN
              (Nods)
          Did you see her come back from the
          market place anytime in the past hour
          or so?

                         HEAD PORTER
              (Thinks)
          No, m'sieu.

                      BEN
          Wait a minute. You don't understand...
          she had a small boy with her. Mine.

                         HEAD PORTER
          No, m'sieu.

                      BEN
          How about Mister Drayton?

                         HEAD PORTER
          Oui, m'sieu.     M'sieu Drayton check
          out.

                         BEN
          He what?

                         HEAD PORTER
          Checked out.

Ben stares at him.

                      BEN
          He couldn't have.

                         HEAD PORTER
          Oui, m'sieu.     He did.

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                      BEN
              (Still can't believe
               it)
          No, Mr. Drayton, the Englishman with
          horn-rimmed glasses.

The Head Porter nods in agreement.

                         HEAD PORTER
          Oui, m'sieu.     Checked out.


EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SH

Ben turns slowly away from the porter, his face filled
with disturbance. He looks up toward the entrance as
he hears Jo's voice off.

                      JO
          Ben, What's holding you up?

He quickly composes his face as best he can. The CAMERA
PANS HIM over to the entrance where Jo is waiting with
the key. He takes her arm and they enter the hotel.

LAP DISSOLVE TO:


INT. MCKENNAS SUITE - (DAY) - MED. SHOT

They enter the room, close the door. Ben goes
immediately to their luggage, specifically to his
medical bag. He opens it, and begins looking for
something. Jo tosses her handbag on the bed, looks
around the suite.

                      JO
          Frankly, I'm exhausted.    Don't you
          feel well?

He doesn't answer her.    She shrugs, and starts for the
telephone.

                      JO
          I'll call Mrs. Drayton and tell her
          we're back. She can bring Hank up
          here, or I'll go get his.

She picks up the receiver.    Ben speaks without turning
around.

                      BEN
          Jo, hold the call for a minute.

                         JO
          Why?

                      BEN
          Because I asked you to.

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She puts the receiver down slowly.    She doesn't like
his manner.

                      JO
          Ben...we're about to have our monthly
          fight.

Ben takes two pills out of a small bottle.      Closes the
bottle, and his medical bag.

                      BEN
          I hope we don't.

                      JO
          Then stop playing Rasputin. I only
          said I was going to call Mrs. Drayton.

She reaches for the phone again.    He turns.

                      BEN
          Wait 'til I come back.

She hesitates.   He goes into the bathroom, the CAMERA
PANNING HIM.

She is puzzled with him. Shrugs her shoulders. Slumps
to a sitting position on the bed. She ribs her face
and her eyes with a gesture of fatigue. There is the
sound of running water in the bathroom. When she looks
up again, Ben is standing in front of her. In one
hand he his two capsules, in the other a glass of water.
He holds them out to her. His manner is casual and
pleasant.

                      BEN
          Something to relax you.

She looks at the pills.

                      JO
          I'm so relaxed I'm tired.     You take
          them.

                      BEN
          Jo, they're for you.     I'm the doctor.

                       JO
          Ben...

                      BEN
          You know how you get when things happen --
          tense and upset. Now do me a favor.

She stands up.

                      JO
          Six months ago you told me I took too
          many pills!

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                      BEN
          Six months ago you weren't a witness
          to a murder. You've been excited,
          fatigued -- talking a blue streak and
          going around in circles.

                        JO
          I have not.

Ben takes a deep breath.

                      BEN
          Jo, I make my living knowing when and
          how to administer medicine. You'll
          feel a lot better tomorrow if you take
          these today. But you don't think so.
          Okay, I'll make a deal with you.

                      JO
          I'm listening.

                      BEN
          There's something about Louis Bernard,
          the police station, and this whole spy
          business that I haven't told you yet.

He holds out the capsules.

                      BEN
          This is the price of curiosity.

Despite herself she's intrigued.

                      JO
          What could it be?

                      BEN
          There's one way to find out.

She reaches out, takes the capsules, pops them into
her mouth. He hands her the water, she drinks some of
it.

                      JO
          All right, Doctor McKenna.   I am now
          relaxed and listening.


INT. MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT

Ben moves away from Jo, puts the glass on a dresser.
She sits down on the edge of the bed like a little
girl waiting to hear a bedtime story.

                      JO
          Why don't I call Mrs. Drayton first.
          You can tell me while she's bringing
          Hank up.

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                      BEN
          Just a minute. This whole thing strange
          right from the very beginning.

As he talks he moves about the room first one way,
then the other, watching Jo closely, almost as if he
were trying to lull her into sleep, or hypnotize her.

                      BEN
          It was no accident that Louis Bernard
          helped us out on the bus, and struck
          up a conversation. You were right
          about him.

                      JO
          See.

                      BEN
          Yes...yes, you were right about him.
          He was...was strange.

Jo is beginning to appear a little drowsy.   Ben watches
her closely.

                      JO
          I know all that.   Get to the surprise.

                      BEN
          He got talking to us because he was on
          the lookout for a suspicious married
          couple.

                      JO
          Nothing suspicious about us.

                      BEN
          He was wrong. It was a different
          married couple.

                      JO
          And he was killed before he found them.

                      BEN
          No. He found them. In the restaurant.
          Last night. That's why he was killed.

                      JO
          You'll be telling me next it was Mr.
          and Mrs. Drayton!

                      BEN
              (Quietly)
          That's just who it was, Jo.

She rubs a hand over her face.   The drug is taking.

                      JO
          If that's a joke, I don't think it's a
          very funny one.

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She stops talking. He looks at her more closely.
Then he walks over to her and sits down on the bed
next to her. He looks at her intensely.

                      JO
          Think I'll lie down.

He prevents her.

                      BEN
          Listen to me. And listen carefully.

She comes awake more, studies him.

                      BEN
          That phone call I received at the police
          station.

She nods dumbly.

                      BEN
          It wasn't from the concierge at the
          hotel. It was from somebody with a
          foreign voice who said if I told anybody
          one word of what. Louis Bernard
          whispered to me in the market place
          that something...something might happen
          to...to, to Hank.

She comes suddenly as awake as she can.

                        JO
          Hank?    Why H... ?

                      BEN
          They've taken him away.

She pushes herself to her feet. She is fighting the
drug successfully. She almost shouts at him.

                      JO
          Mrs. Drayton took Hank back to the
          hotel. She is downstairs!

He stands up.

                      BEN
          Mrs. Drayton has vanished! She never
          came back here! And Hank didn't either!

                      JO
          Well let's start looking for him.    Mr.
          Drayton...Mr. Drayton should...

He takes hold of her arms.

                      BEN
          Jo, Mr. Drayton, checked out of the
          hotel thirty or forty minutes ago!

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She knocks his hands away from her arms in a sudden
violent gesture, and all but screams.

                       JO
          Ben!!   I could kill you!   Sedative!

He reaches for her again.    She hits him away.

                      JO
          All this time you, knew Hank was gone,
          and you wouldn't tell me.

                      BEN
          I wasn't sure, until now.

She is fighting the drug which is beginning to take
over again.

                      JO
          He's my child more than yours!    I had
          him.

He takes hold of her again. She struggles fiercely,
trying to get away, to hit him, kick him.

                      JO
          Let go of me! I'll never never never
          forget this! We've got to find Hank!
          We've got to find him.

He struggles silently with her, trying to push her
down on the bed, and hold her until the drug does its
work.

                      JO
          You think you're the only one strong
          enough to take anything? Ben, Ben, I
          hate you, with my whole heart.
              (She starts to cry)
          Hank! Where is Hank? Hank, oh Hank!
          Get him, Ben. Please. You damn
          miserable human...how could
          anybody...do...


INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT

He has forced her down on   the bed, pinioning her arms,
even though her legs still   struggle somewhat. She is
having a hard time seeing,   or talking. Her head waves
back and forth. It's hard    work for Ben to hold her.

                      J0
          I...never wanted to...come here
          in...first...Place...oh Hank, Hank
          darling...if I ever...wake...I'll
          kill...you...you...

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Her legs grow quiet. Her arm relax somewhat. She is
still straining to move her head, and talk, but all
that comes out are unintelligible sounds and a half
moan of anguish. Then she's gone. Ben looks at her a
moment, relaxes his grip. He lowers his head down
against hers. He seem to be fighting the desire to
cry. He finally gains control of himself. He lifts
his head slightly, gives her a soft and heartfelt kiss
on the cheek.

                       BEN
              (Softly)
          Darling, if somebody did this to me,
          I'd say just what you said.


INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE MOT

Ben stands up. The weight of unhappiness is heavy on
him. He gets a blanket from the foot of the bed and
covers her up. He brushes back the hair from her
forehead. Then he turns, and the CAMERA PANNING HIM
OVER to the door. He takes one last look at Jo, then
goes out the door, closing it softly behind him.

LAP DISSOLVE TO:

As the light of sunset fades into growing darkness,
the muezzin stands atop the minaret, arms raised to
the heavens and giving out his high, sing-song call to
prayer. The call is taken up by another voice somewhere
in the city, and then another, and still another --
until the prayer is a continuous round of chanting
starting close, moving away, almost fading, and then
returning.


INT. MCKENNAS SUITE - (DAY) - MED. CLOSE SHOT

The chant of the call to prayer can be heard In the
background. We are in the single bedroom, of Hank
McKenna. There is one lamp burning over the empty
bed, and another on the wall over the dresser. Ben is
despondently carrying Hank's small suits, and other
articles of clothing from the closet to in open suitcase
on the bed. As he crosses with the final armload of
clothes, he looks out of the door into the large
bedroom.


INT. MCKENNAS SUITE - (DAY) - MEDIUM SHOT

In the mirror, on the far wall, Ben can see the
reflection of his wife stirring in her bed. He watches
as she drags herself up into-a half-pitting position.

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INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT

Ben quickly puts the final items of the boy's clothes
on top of the rest in the suitcase and closes it. He
picks up the suitcase and carries it into the larger
room, the CAMERA PANNING him.


INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT

As Ben enters the main room, he glances at his wife.


INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT

Jo's eyes are beginning to open and close, and she
shakes her head a little, as she tries to recover from
the sedative he gave her.


INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT

Ben puts down Hank's suitcase, and crosses to their
own luggage, the CAMERA PANNING him in such a way as
to keep Jo in the background. He opens the suitcases,
and begins taking clothes out of the dresser drawers
to pack them.


INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT

Jo opens her eyes and looks about   her. She tries to
straighten up her hair a little.    She takes in the
room, and then as though a sudden   thought strikes her,
she looks toward the open door of   her missing son's
bedroom.


INT. MCKENNAS SUITE - (DAY) - MEDIUM SHOT

The empty boy's room as seen from her viewpoint.

Ben pauses in his packing a moment to observe her.
The he continues on with his work.


INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT

Jo stares at the empty room for a moment longer, then
turns sharply back toward her husband.


INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT

From her viewpoint we see the back view of Ben is he
continues packing. Ben half-glances over his shoulder
now aware that she is fully awake.

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                      BEN
          There's still no news of him, Jo.


INT. MCKENNAS SUITE - (DAY) - CLOSE SHOT

She stares at him apathetically.


INT. MCKENNAS SUITE - (DAY) - MEDIUM CLOSE SHOT

We now see Ben's face as he packs his suitcases. Beyond
him, past his shoulder, we see his wife staring in his
direction. He continues to talk, although he finds it
difficult to be matter-of-fact, moving back and forth
from the dresser drawers to the suitcases.

                      BEN
          Both the Draytons are definitely gone.
          The hotel register says they come from
          London. Drayton told the concierge he
          was a college professor. The only
          thing to do now is to get out of
          Marrakesh.

Her face shows a slight rise in reaction, mostly
puzzlement.

                      BEN
          As individuals we're helpless here.
          And because of that phone call, we
          can't bring the police in on it. I
          even thought of taking that chance.

He pauses, and glances at her to see how she reacts.
She just stares at his her eyes a little dull.

                      BEN
          But connect Hank's disappearance to
          Louis Bernard's murder. And the first
          thing they'd do would be to make me
          tell them Louis Bernard's message.
          That...that could be, Hank's...well,
          it wouldn't help him.

Ben goes to take some of Jo's clothes out of drawer,
and comes up with a play script. He looks at it a
moment, then back to Jo. Her eyes observe it, but she
says nothing. Ben continues on to the suitcase, where
he lays the script in with the clothes.

                      BEN
          We're going to London.

She looks a little more sharply as if in question. He
notices as he goes to the dresser for more clothes.

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                      BEN
          I found out. The Draytons had a private
          plane -- that's how they took Hank
          back. It could lend anywhere -- no
          question of a passport or anything.

He Packs some more clothes away.   Jo doesn't stir, she
just stares at him.

                      BEN
          So we're going to London to find him.

He looks at her for a reaction. She turns her head
away from him as if in disagreement, or perhaps fighting
for control of her emotions. Ben crosses to her, the
CAMERA PANNING him. He sits down on the edge of the
bed, and takes out the small notebook from his coat.
He opens it. In careful, low tones, he reads Louis
Bernard's message.

                      BEN
              (Reading)
          A Man...a statesman...is to be killed...
          assassinated ... in London...soon...very
          soon...tell them...in London...to try
          Ambrose Chappell...
              (Looks up)
          We're going to try this Ambrose Chappell
          and if he has anything at all to do
          with this, I'm going to offer him every
          cent I've got to got Hank back. This
          Ambrose Chappell guy is our only hope.
          Understand, Jo?

Jo puts out a weary hand as though to dismiss the piece
of paper, and all that it contains. Again she turns
her head away. Slowly Ben puts the paper back into
pocket. He speaks with a shade more urgency in his
voice.

                      BEN
          We've only got a few hours, Jo! We
          have to got up and start moving.

Ben gets up, and the CAMERA PANS him to  the dresser
and the suitcases. Then he pauses and   looks back at
Jo who is still looking away. Jo turns   back to look
at Ben. She is studying him now as if   she has just
seen him for the first time. Her eyes   are more alert.
Ben turns back to his packing.

                      BEN
          I've paid the bill, and there's a car
          waiting downstairs. As soon as I pack,
          we're leaving.

Slowly Jo gets off the bed, and comes over to Ben.   He
pauses, articles of clothing in his hands.

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For a moment she stands there looking at him, and then
impulsively she throws her arms around him and clings
to him. Her anguish is genuine.

                        JO
            Oh Ben, Ben, Ben...where is he?   Where
            is he?

Ben kisses her on the cheek. She buries her head in
his shoulder. Ben stares off into space as if he hopes
to find in answer to her question.

FADE OUT.

Fade In:


EXT. LONDON AIRPORT - (DAY) - LONG SHOT

CAMERA PANNING with B.E.A. Viscount as it taxiis in to
position.

DISSOLVE:


EXT. LONDON AIRPORT - (DAY) - MEDIUM LONG SHOT

The first passengers emerge from the doorway of the
plane, followed by Ben and Jo. There is a group of
newspaper men and press photographers gathered around
the gangway. There is a stir in the group as the
McKennas appear. A couple of flash bulbs pop. An
airlines official hurries up the gangway to Ben.

                        OFFICIAL
            Would you mind waiting for the press
            photographers?

They nod agreement and the official joins the passengers
as they go down the steps.


EXT. LONDON AIRPORT - (DAY) - CLOSE SHOT

Jo turns to Ben.

                        JO
            How could they remember me so well,
            Ben? It's been four years since I
            played London.

                        BEN
            I guess you're the kind of girl they
            don't forget.

                        JO
            But how did they know...who could have
            told them...Ben, you didn't...?

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She breaks off.

                      BEN
          All I did was wire Val and Helen Parnell
          to get us rooms --

He indicates fans and newspapermen.

                      BEN
          But I didn't count on this --

Jo understands that his kind intention has slightly
miscarried. They look off as the yelling of the bobby
sox fans becomes louder.


EXT. LONDON AIRPORT - (DAY) - LONG SHOT

Fans behind the airport fence, holding out autograph
books and shouting for her autograph. Others try to
break from the barrier, but are restrained by the
police. Standing in the front row of the fans is a
sober-faced woman who is not shouting or holding out a
book.


EXT. LONDON AIRPORT - (DAY) - MEDIUM CLOSE SHOT

As the last of the passengers leaves the plane, Jo and
Ben take a position on the steps for the photographers.
Despite the long trip, her worry, her fatigue, Jo does
her best to act the part her public demands. She smiles
as well as she can, waves a little, turns her head to
the right and to the left to favor the photographers.


EXT. LONDON AIRPORT - (DAY) - MEDIUM SHOT

The sober-faced woman, standing among the fans. She
has a rather grey, pasty face, and stares off at Jo
through horn-rimmed glasses that are encrusted with
dust in the corners of the lenses. After a moment she
pushes her way back through the crowd of fans and moves
out of sight.


EXT. LONDON AIRPORT - (DAY) - MEDIUM SHOT

As the photographers continue their work Ben and Jo
come down the remaining steps and are joined by a man
wearing ordinary civilian clothes. He takes  a small
black identification folder out of his pocket and holds
it up for their inspection.

                      EDINGTON
          I'm Inspector Edington of the Criminal
          Investigation Department of Scotland
          Yard.

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There is immediate alarm in Jo's face, but she then
controls it.

                       BEN
          Yes?   What is it?

                      EDINGTON
          As things are, there's no need for you
          to go through the Customs. Will you
          come this way!

His tone and manner  of asking them leaves little doubt
that his question is  an order. The McKennas glance at
each other briefly.   They realize that this is a further
development of their  involvement.

                      BEN
          Whatever you say.

                       EDINGTON
              (Smiles)
          This Way, please.

He and the airlines official lead the McKennas toward
another entrance to the Airport Building. As she
follows, Jo seems tense and a little scared.


INT. PUBLIC PHONE BOOTH - (DAY) - MED. CLOSE SHOT

The be-spectacled, pasty-faced woman who had been
standing with the fans before, is now speaking rather
cautiously into a telephone. We don't hear what she
is saying, but the inclination of her head shows that
she is making some reference to the new arrivals.


EXT. AIRPORT BUILDING CORRIDOR - (DAY) - MED. CLOSE SHOT

Another man is waiting for them at a door outside the
airport building.

                      EDINGTON
          This is Mr. Woburn -- Doctor and Mrs.
          McKenna.

                      WOBURN
          How do you do?

                      BEN
          Now what do you people want with us?

                      WOBURN
          Mr. Buchanan would like to have a chat
          with you, inside.

                      BEN
          Who is Mr. Buchanan?

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                      WOBURN
          Special Branch, Scotland Yard.

He gestures them to enter the building. They do,
leaving Edington and tho Airline official outside.


EXT. AIRORT OFFICE - (DAY) - MED. SHOT

Woburn leads Ben and Jo into an inner office.    It is a
good-sized room, plain, but comfortable.

                      WOBURN
          This is Mr. Buchanan -- Doctor and
          Mrs. McKenna.

                      BUCHANAN
          How do you do?

Ben nods to him without speaking.

                      BUCHANAN
          Thank you, Woburn.

Mr. Woburn quietly exits, closing the door behind him.
The McKennas stand a moment, wondering what do.

                      BUCHANAN
          Do sit down, won't you?

Jo hesitates, then sits down.    Ben doesn't.

                      BEN
          Why does Scotland Yard want to talk
          with us?

Buchanan sits down behind the desk.    He's sophisticated
and intelligent.

                      BUCHANAN
          Let me say at once, we're shocked...
          that you son was taken from you in
          Marrakesh and deeply sympathetic.


EXT. AIRPORT OFFICE - (DAY) - MED. SHOT

Jo leans forward quickly, eager, hopeful, unable to
restrain herself.

                      JO
          Do you know where he is?

Ben is somewhat more reserved.

                      BEN
          What about Hank?   What have you heard?

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                      BUCHANAN
              (O.S.)
          I only wish I could give you some
          cheerful news.

Jo settles back, unhappy, discouraged and a little
resentful of Buchanan. Ben seems irritated by the
disappointment.


INT. AIRPORT OFFICE - (DAY) - MED. SHOT

Buchanan continues quietly.

                      BUCHANAN
          We might find him. Quite soon, indeed,
          if we work together...Louis Bernard
          was sent to Marrakesh by the French at
          our request to check up on an
          assassination plot -- here, in London.
          A good agent keeps on staking his life.
          He doesn't always win.

Ben and Jo watch Buchanan carefully.

                      BUCHANAN
          Bernard reckoned you were a man to
          trust. He relied on you, to come to
          us.

Jo looks at Ben.   He thinks a moment, but says nothing.

                      BUCHANAN
          Those people kidnapped your boy -- in
          order to keep your mouth shut. That's
          right, isn't it?

                      BEN
          I think they took him for money.

                      BUCHANAN
          Then why didn't you go straight to
          your Consulate in Casablanca? Why did
          you come to London?

Ben is silent.   He can't think of an answer to this
one.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Jo seems about to volunteer some information.

                      JO
          Mr. Buchanan --

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INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT

Ben looks sharply at her.

                      BEN
          Jo...


INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT

Buchanan seem only casually obvious of the exchange.
But he has noted it In his mind.

                      BUCHANAN
          You're convinced that these people
          brought your son to London. You're
          convinced you can find him -- off your
          own bat. You can't. It's impossible.
          But with the help we can give you,
          there's a chance. A really good chance.


INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT

Before Ben can stop her, Jo bursts in hotly.

                      JO
          They told us not to say anything!


INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT

Buchanan turns to her and speaks gently, but with force.

                      BUCHANAN
          Anything you tell me will be in the
          most absolute confidence.

Ben starts to interrupt.

                      BEN
          That might be true, but --

Buchanan holds up a hand to interrupt him.

                      BUCHANAN
              (To Jo)
          Your son is the trump card these people
          hold. He's perfectly safe -- for the
          moment.

                      JO
          And when they've done what they're
          going to do, they'll let him go. So
          all we have to do is wait.

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                      BUCHANAN
              (Gently, to Jo)
          No, Mrs. McKenna. If they consider
          the boy a nuisance, afterwards -- I'm
          afraid --

He gestures.

                      BEN
          Now, don't try to frighten us, Mr.
          Buchanan.

                      BUCHANAN
          It's exactly what I'm trying to do --
          frighten you. I'm trying to prevent a
          man being murdered here, in London.

The Pressure on Jo is beginning to weaken her.      Buchanan
persists.

                      BUCHANAN
          If you don't tell me all you know, you
          become an accessory before the fact of
          murder. In English law, you become
          just short of murderers yourselves.


INT. AIRPORT OFFICE - (DAY) - MED. CLOSE SHOT

Jo, a creature of emotion, is bewildered and upset and
tired of fighting Buchanan. She is ready to give in.
She looks to Ben.

                      JO
          Ben, what can we do by ourselves?    We
          need --

                       BEN
              (Interrupts)
          You worked on the wrong McKenna, Mr.
          Buchanan. Louis Bernard talked to me,
          not my wife.

Buchanan turns to Ben.

                      BUCHANAN
          Then you tell me.

                      BEN
          Bernard spoke in French, and I don't
          understand a word of the language.

There is a pause while Buchanan studies Ben.

                      BUCHANAN
          And what did you write down on a piece
          of paper?

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Ben stands there.   He has no answer.   Jo gets up from
her seat.

                      JO
          Ben -- maybe they could find those
          people, and Hank, before --

                      BEN
              (Interrupts)
          Maybe. Maybe isn't good enough for
          me, and it shouldn't be good enough
          for you.

                      JO
          You act as if you're the only one who's
          concerned about Hank.

                      BEN
          Now Jo, I didn't mean it that way. We
          made up our minds what we were going
          to do -- now let's try to stick to it.

Ben turns to Buchanan.

                      BEN
          We'd like to cooperate with you, Mr.
          Buchanan -- but -- but we just can't.

                      BUCHANAN
              (quietly)
          I have a son of my own.   I don't know
          what I'd do...

Jo looks at Ben appealingly. Even Ben is uncertain
now, trying to evaluate things quickly,

                      BEN
          Well, maybe if we --

He is interrupted by a tapping at the door. Buchanan
looks up, as do the McKennas. The CAMERA PANS Buchanan
to the door as he opens it himself. His assistant
Woburn is there. There is a whispered conversation.
Woburn retreats, and Buchanan turns back to the room.

                      BUCHANAN
              (Matter-of-factly)
          A phone call for you, Mrs. McKenna.


INT. AIRPORT OFFICE - (DAY) - MEDIUM SHOT

Buchanan crosses and picks up the telephone from the
desk.

                      BUCHANAN
          Put the call through here, please.

He pauses a moment, then hands the phone to Jo.

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                      BUCHANAN
          Mrs. McKenna.

Jo steps forward, takes the phone hesitantly, looking
at Bon for reassurance.  He nods to her. Buchanan,
meanwhile, has casually, but quickly gone out of the
office, closing the door behind him.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

In the outer office Woburn quickly hands Buchanan the
phone, who puts it to his ear.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Jo puts the phone to her ear.    She speaks hesitantly.

                       JO
          Hallo.

We hear a voice on filter.

                      MRS. DRAYTON
          Mrs. McKenna?

                       JO
          Yes.

                      MRS. DRAYTON
          This is Mrs. Drayton. You remember
          me?

Jo pales and seems about to faint.

                      JO
          Mrs...Drayton?


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Ben reacts with surprise, and gives a stop or two
forward. He is tense.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Jo recovers herself.

                      JO
          Where's Hank? Where have you got him?


INT. AIRPORT OUTER OFFICE - (DAY) - CLOSE SHOT

Buchanan puts out a hand. Woburn places a pen in it,
and slides a pad along the desk under it. We hear
Mrs. Drayton's voice over the filter.

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                      MRS. DRAYTON
          He's here. With me. You mustn't worry
          about him, really you mustn't.

Buchanan pauses, with nothing to write.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Jo shows some relief, but she's still deeply concerned.

                         JO
          Where is he?        Where have you got him?

                      MRS. DRAYTON
          I expect you'd like to speak to him,
          wouldn't you?

                        JO
          Yes.    Please, please!

She looks towards Ben.


INT. AIRPORT OFFICE - (DAY) - MEDIUM CLOSE SH

Ben moves close to her, trying to pick up a little of
the conversation from the phone. She tips the phone a
little in his direction.

                        JO
          Hello.    Hello, Hank?

                      MRS. DRAYTON
          Just a minute.

                        HANK
          Mummy?    Mummy is that you?

Jo fights sudden tears.

                      JO
          Oh, Hank, Hank darling, are you really
          all right?

                      HANK
          I'm a little scared, mummy. But I'm
          all right -- I guess. I miss you mummy,
          I miss you so much.

She bursts out crying, unable to hold herself back any
more. Ben takes the phone from her quickly.

                        BEN
          Hank.    This is daddy.

                      HANK
          Is mummy crying?

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                      BEN
          Where are you, Hank?   Where are you?

                      HANK
          I didn't mean to make her cry, daddy,
          but I'm scared, and I want to see her.

                      BEN
              (Desperation)
          Hank, where are you? For Heaven's
          sake, where are you?!!

                      HANK
          Welbeck eight --

There is a sudden click. Ben rattles the receiver.
All he gets is a dial tone. He hangs up, and turns to
Jo who is quietly crying, trying to get over the shock
of hearing Hank. Buchanan enters the office as Ben
takes jo by the shoulders and turns her around to him.
He takes out a handkerchief, hands it to her. She
covers her face for a moment, then dries her tears.
She looks up at Ben.

                      JO
          He was scared.

She starts sobbing soundlessly again, her body shaking.
Ben takes her in his arms to quiet her. She quiets
down slowly. Buchanan standing behind the desk doesn't
look at the pair, but he speaks first.

                      BUCHANAN
          It was a London telephone exchange.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Woburn comes in the office, goes to Buchanan.

                      WOBURN
              (Tersely)
          Public call box -- West One.

He shrugs as if to say "that's the end." Buchanan
nods for Woburn to leave. Woburn does, casting a side
glance of sympathy toward Jo and Ben. He closes the
door quietly behind him.


INT. AIRPORT OFFICE - (DAY) - CLOSE SHOT

Buchanan looks at the pair, and sighs in a manner that
suggests he recognizes defeat, when he sees it.

Jo now has herself under control. She leaves Ben's
arms, and returns to her seat to gather herself
together, dry her eyes. Ben turns to Buchanan.

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                      BEN
          Do I have to say any more?

He reaches for a pad and pencil.     He scribbles something
on it.

                      BUCHANAN
          You may change your minds.     If you do,
          this number will reach me.

He tears off a page of the paper, and hands it to Ben.

LAP DISSOLVE TO:


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

In a suite at Savoy's Hotel we see the door open and
Ben and Jo McKenna are ushered into the suite by the
frock-coated desk clerk. Behind them are two assistant
porters carrying their bags. In the foreground, through
which we are SHOOTING, are three large baskets of
assorted flowers. They are obviously gift of greeting
to London. The porters move off into the bedroom with
the bags. They lay out the bags, open the drapes and
windows, etc. The desk clerk turns on the lights in
the main room, as the McKennas look about.

                      DESK CLARK
          Everything all right, sir?

                        BEN
          It's fine.    Just fine.

                      DESK CLARK
              (Hands Ben key)
          Your room key, Sir.

Ben takes it. The    porters come out of the  bedroom.
Ben reaches in his   pocket, comes up with a  bill, hands
it to one of them.    The porter touches his  forehead in
sort of a salute.    The porters exit. The   desk clerk
follows, pauses at   the door.

                      DESK CLERK
          And I hope you have a most pleasant
          stay in London.

Both Jo and Ben turn to look at him briefly.     He is
smiling, they are not.

                        BEN
          Oh yes.    Thank you.

The desk clerk goes out the door, carefully closing
it. The McKenna are alone. Jo turns to look at the
basket of flowers, and crosses TOWARD THE CAMERA to
look at them. She takes a card in her hand, attached
to the largest basket, reads the note.

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                       JO
              (To Ben)
          It's from the Panell's. "Welcome home,
          Jo. Look forward to seeing your family.
          Especially the little--"
              (She breaks off)

JO stands there a brief moment, takes a breath, and
looks at to otter two cards.

                       JO
          Cindy and Jan.
              (To Ben)
          You don't know Cindy and Jan.


INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT

Ben puts the room key down on a table, and the CAMERA
PANS him over to a smaller desk containing the telephone
and telephone books. He sits down at the desk, and
reaches for the general telephone directory. He begins
flipping through the pages. Jo turns from the flowers
and walks over to him. He pauses, takes out of his
pocket the black notebook on which he wrote Louis
Bernard's message. He tears out the page, hands the
notebook to Jo.

                      BEN
          You'd better keep your book.

He returns to the telephone book, after looking at the
note and placing it on the desk in front of him.

                      JO
          What are you looking for?

                      BEN
          The only clue we have which might lead
          us to Hank. The place and identity of
          Mr. Ambrose Chappell.

He finds what is apparently the right page.    His finger
begins to trace down the list of names.

                      INSERT
          Ben's finger going down the column of
          names. "C - C - CHAPPELL - ABRAHAM
          CHAPPELL - A.C. CHAPPELL & CO. ALFRED
          CHAPPELL -- AMBROSE CHAPPELL!!"


INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT

Ben pauses, notes the place on the Page, and reaches
for some notepaper and a pen from the desk.

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                      BEN
          There it is -- big as life -- Ambrose
          Chappell.

He returns his eye to the book, as Jo leans closer to
watch him. He begins writing down the name and address,
and murmurs half-aloud as he writes --

                      BEN
          Ambrose Chappell - Sixty-one Burdett
          Street. Camden Town. Telephone -
          Gulliver 6198.

He reaches for the phone, after putting the book to
one side. He lifts the receiver, but Jo reaches out
to stop him. He looks at her with some annoyance.

                      BEN
          Don't you want me to call him?

                      JO
          I can't make up my mind, Ben. I'm jut
          scared to death. I'm afraid we'll do
          the wrong thing.

                      BEN
              (Quietly)
          I'll try not to be too wrong.

He picks up the phone.

                      JO
          What are you going to say?

                      BEN
          I'll offer to keep my mouth shut and
          give him all the money we have -- for
          Hank.
              (To phone)
          Operator. Get me ...
              (Consults address)
          Gulliver 6198. Thank you.

He waits and at that moment there is a sudden, loud,
but happy pounding on the door. Both Jo and Ben jump
and turn toward the door, almost frightened.

Muffled shouts are heard of "Open up! We know you're
in there! Jo! It's us! We're here!"

                         JO
          I go.

She heads for the door, and Ben sits there squirming
with suspense, and annoyance at being interrupted.
Beyond him, Jo opens the door, and immediately four
people pour in. They are Val Parnall and his wife.
Helen, intelligent, sophisticated, and full of life.

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The other two are Cindy Fontaine, an American music
hall entertainer, now in England, around forty-five,
more of a character actress than a lead -- and Jan
Peterson, a musical comedy singer nearer Jo's age,
smart-looking, but talkative and slightly
scatterbrained. The women come in first, Helen Parnell
throws her arms around Jo in affectionate greeting.

                       HELEN
          Jo!   You look wonderful!

Val Parnell follows the women in and closes the door
behind him.

                      VAL
          When we got your wire I couldn't believe
          it. What were you doing down in
          Morocco?

                         JO
          Sightseeing.

                      CINDY
          Two minutes later Helen was on the
          phone to me. And I had to call Jan.

                      JAN
          You're the perfect answer to what London
          needs, Jo. This week's the dullest
          thing since my first show.

Jo has disengaged herself from Helen.     Shakes hands
with Val.

                       JO
          Hello,  Val. Jo and I want to thank
          all of  you for the lovely flowers.
          But you  shouldn't have. We might not
          be here  long!

Ben has been watching them anxiously, torn between
hanging up the phone, or waiting for his call to go
through. The call finally comes through.

                      BEN
          Hello, hello? Is this Ambrose Chappell?
          Mr. Ambrose Chappell? All right...I
          will...I

He looks up at the group.     They notice him for the
first time.

                      JAN
          Oh hello, Mr. Conway.     Didn't know you
          were there.

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                      VAL
              (To Jan with meaning)
          It's McKenna...Doctor McKenna.      Welcome
          to London Town, doctor.

                      JAN
              (Toward Ben)
          Oh, I am sorry.
              (To Jo)
          I knew you were married, but a doctor.
          How clever! Especially in such a
          psychosomatic business. Why --

                      CINDY
          Will you be quiet!

                      JAN
          Cindy!

                      CINDY
          You don't know what psychosomatic means.

                      JAN
          I do too! It means when your mind
          gets sick of your body it does something
          to it --

                      CINDY
          The doctor's trying to talk on the
          phone.

Ben tries to be casual and amiable.

                      BEN
          It's only business.   It's nothing.

Helen Parnell flops into a chair.

                      HELEN
          Business is everything.     Shhh.

They all fall silent, and watch Ben.    He is
uncomfortable.

                      BEN
          Hello?
              (He tries to keep
               voice down)
          Mr. Ambrose Chappell?
              (forced to be louder)
          I said is this Ambrose Chappell?
          ...Well this Mr. McKenna. Uh,...Doctor
          Benjamin McKenna.

He looks at the listening group uncomfortably.

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                        J0
                (To group)
            I don't think we need to be quiet.
            Would you like some drinks?

Val Parnell signals silently to her that he can wait
until after the call.

                        BEN
            Well, uh, uh .. are you going to be at
            your address for a while? Uh huh,
            it's just some business. Nothing big.
            Uh huh, well thank you. I'll drop
            around.


INT. CLARIDGE'S SUITE - (DAY) - MED. SHOT

Ben hangs up, and turns to the group. He tries to be
as casual as possible. He picks up the note from Louis
Bernard, and the one on which the address of Ambrose
Chappell is written and shoves them into his pocket.
He rises to meet his guests.

                         JAN
            See.   We could have talked.

                         J0
                (Smiles)
            That's what I told you.

                        JO
                (To group)
            I'd like everyone to meet my husband.

Ben volunteers his hand to Val Parnell, while nodding
at Mrs. Parnell.

                        VAL
                (Takes his hand)
            I've heard so much about you, Doctor,
            it's nice to see you in person.

                        HELEN
            You look just like, those pictures Jo
            had in her dressing room four years
            ago. Haven't changed a bit.

                        JAN
            Why should he? He's a doctor.   Probably
            gets free hormones.

Everyone laughs, including Ben and Jo.

                        JO
            And this one is Jan Peterson who sing
            almost as well as I do, but can handle
            those legs like Nijinsky.

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                      BEN
          I can believe it.   How do you do, Jan.

                      JAN
          When Nijinsky got off the stage he was
          through with his footwork. That's
          just when mine begins.

Laughter again.

                      JO
          And Cindy Fontaine, the most wonderful
          expatriate I've ever known.

                      BEN
              (Nods to her)
          Haven't you been home recently?

                      CINDY
          How can I go back to Harrisburg?    They
          know me there as Elva MacDuff
              (Shake's her head,
               pats her wide hips)
          Cindy. It doesn't fit any more.

                      VAL
          Where's your boy? I'd like to see
          which one you he looks like.

All momentary gaiety goes from Jo's face, and Ben has
a hard time appearing nonchalant.

                      BEN
          He -- he's staying with some other
          people -- so we can have a little time
          to ourselves.

                      JAN
          What's his name?

                      JO
              (Tonelessly)
          Hank. Henry, really.

                      CINDY
          I hope he has your looks, and the
          doctor's brains.

Jo turns away toward the flowers.

                      JO
          Thank you again for the beautiful
          flowers.

                      BEN
              (Quickly)
          I'm taking orders for drinks.

He looks around.

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                       VAL
          Okay.   But dinner tonight's on me.

Jo turns around to look at him, disturbed, almost to
the point of alarm. A carefree dinner is something
she just couldn't go through.

                      BEN
              (Into phone)
          Room service, please.

                      VAL
          A welcome home for Jo.
              (Smiles at her)
          And I wish I could persuade her to
          stay a month.

                      JO
          Oh, Val -- I wish I could, but...

                       BEN
              (To Val)
          Will you order the stuff?

He starts toward the door, pausing to pat Jo
comfortingly on the shoulder.

                      BEN
          I'll be back in a little while.

                      HELEN
          Aren't you going to wait for a drink,
          doctor.

                      BEN
          Thank you, but I'll catch up when I
          get back.

Ben starts for the door.

                       JO
          Ben!

She goes with him to the door.


INT. SAVOY SUITE - (DAY) - CLOSE SHOT

Ben opens the door, and Jo follows him half-way into
the corridor. The voices of the others are half-heard
over Jo and Ben's sotto voce conversation.

                      JAN
              (To Cindy)
          Maybe he's tired. Maybe he'd like to
          sleep, or something. Maybe he has
          ulcers and can't eat.

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                      J0
          Ben, please ...
              (She takes his am)

                      BEN
          It has to be done, Jo.

                      J0
          I Want to go with you.

                      CINDY
          Jan, how somebody so graceful can have
          such an awkward sense of diplomacy,
          I'll never know.

                       BEN
          You can't.   I won't disappear.   Promise.

In the background, the four visitors, while not actually
eavesdropping, are somewhat subdued by the attitude of
the McKennas toward each other.

                      JO
          Ben, for the last time, please let me
          go.

He pats her affectionately on the cheek.

                      BEN
          Two people are much  easier to follow
          than one. We don't   want Buchanan's
          men on our tracks.   Or the other people,
          either. I'm going   out by the service
          entrance --

He turns and goes quickly. She watches him briefly,
then turns back into the room. She tries to assume a
more pleasant face...

LAP DISSOLVE TO:


EXT. LONDON STREET - (DAY) - MEDIUM SHOT

In a quiet street off Camden Town we see Ben, alight
and pay off a London taxi. The taxi does a U-turn and
disappears around a corner. Ben starts to walk TOWARD
THE CAMERA. He glances at the piece of paper from,
his pocket bearing Ambrose Chappell's address. He is
completely alone in a deserted street -- so much so
that his footsteps click on the pavement and create
the feeling of an echo. As he walks he listens to the
echo ind for a moment wonders if it is an echo. He
slows up and comes to a stop close to the CAMERA.
There is complete silence -- only the faint distant
London traffic noises.

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EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

He resumes his walk, the CAMERA DOLLYING HIM. The
echo starts again. He slows up again and stops -- but
this time the echo continues. He becomes tense, looks
around in alarm.


EXT. LONDON STREET - (DAY) - MEDIUM LONG SHOT

The CAMERA PANS the streets from Ben's viewpoint.
There is no sign of anyone.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben resumes his walk, the CAMERA DOLLYING  him. He
stops suddenly, as though to trap the echo  -- but the
echo comes on after him. Slightly scared,   he now
resumes his walk with a more hurried pace.   The echo
gets louder. He glances quickly over his   shoulder
again.


EXT. LONDON STREET - (DAY) - MEDIUM SHOT

A man is following him, at about the same pace.   He is
rather well dressed, and appears nonchalant.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben continues walking, and after a bit cautiously
glances behind him.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

The same man is following behind.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben glances down at the paper in his hand, and looks
up trying to locate the right house number as he walks.
The street has a mixture of houses, yards, an odd dirty-
looking store or two. Ben's expression indicates that
he would like to make his destination before the man
following catches up with him. Then he changes his
mind. He deliberately slows up.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Showing Ben as he walks slowly along, listening to the
man approaching behind him, listening with the back of
his head, and with his whole body. The man walking
behind is aware of Ben. He begins staring at him.

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Ben instinctively clenches his right hand into a fist
of preparedness. As the man closes in Ben we see that
he is rather elderly, sixty years old, perhaps. As
the man reaches Ben, and passes him, Ben's follows him
and study him.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben watches the   man go on ahead of him at a faster
pace. Suddenly    the man turns a sharp right into
doorway, and is   gone. Ben glances at the paper in his
hand. He stops    and looks up in astonishment.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

The little side doorway in which the elderly man turned.
Above it is an old painted sign reading "AMBROSE
CHAPPELL - TAXIDERMIST."


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben hesitates briefly in thought, puts the piece of
paper into his pocket, then makes up his mind and goes
through the doorway.


EXT. SMALL YARD - (DAY) - CLOSE SHOT

Ben, rather cautiously, makes his  way  across a small
and somewhat dreary-looking yard,  and  comes to face a
low building at the end of which  is a  kind of small
factory. The door of the factory   is  just closing as
he makes his way across.


EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT

Ben pauses at the door to the factory, and looks down
at the pushbutton bell. There is a window next to the
door. Ben bends and peers through the window.


EXT. FACTORY WINDOW - (DAY) - CLOSE SHOT

Staring through the other side of the window is the
snarling, realistic head of a tiger.


EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT

Startled, Ben recoils instinctively. Then he turns
back to the door, takes a deep breath, braces himself,
and presses the doorbell. The door is soon opened by
a young workman in shirtsleeves and apron.

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                      WORKMAN
          Yes?

                      BEN
          I...I'd like to speak to Mr. Ambrose
          Chappell, please.

                      WORKMAN
          Come in .

He opens the door, and Ben enters.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

Ben follows the workman into the shop. It is cluttered
with stuffed animals of every size and shape imaginable.
Lions, tigers, elephant heads, swordfish, crocodiles --
everything. Ben stares around at what he sees. A
number of workmen are busy mounting, stuffing, and
preparing animals for display. The workmen who let
him in calls to someone.

                      WORKMAN
          A sent to see you, sir.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

A man, about eighty years old, turns from inspecting a
piece of work, and comes forward to Ben. He is a thin,
gracious, gentle sort of creature.

                      CHAPPELL SR.
          Good afternoon, Sir. I am Ambrose
          Chappell.

Ben studies the man briefly. His face shows disbelief
that such a man could be put of an assassination plot.
Chappell stops in front of him, waits a brief moment.

                      CHAPPELL SR.
          What can I do for you?

                      BEN
          Well you see, I uh...

There is a twinkle in the old man's eye.

                      CHAPPELL SR.
          You gave me your name that might be a
          start.

                      BEN
          Oh, of course, McKenna.    Doctor Benjamin
          McKenna, I called you.

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                      CHAPPELL SR.
              (After a moment)
          Oh, yes, yes.

                      BEN
          You are Ambrose Chappell?

                       CHAPPELL SR.
              (Smiles)
          I have been Ambrose Chappell for nearby
          seventy-one years.
              (He winks)
          But I think I understand your problem.

                        BEN
          You do?

                      CHAPPELL SR
          Certainly. It happens all the time.
          You expected someone else -- Just a
          moment.
              (He turns and calls
               out)
          Ambrose!


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

From behind a doorway on the   far side a man emerge s
in response to the call. He    is somewhat younger than
the first Ambrose Chappell,   but not by much. He is
the fifty-year-old gentleman   who had been apparently
following Ben on the street.    The CAMERA PANS him over
following to his father, and   Ben.

                      CHAPPELL SR.
          I think this gentleman wants to talk
          to us.

                      CHAPPELL JR.
          Now, father. Now why don't you go and
          have a nice rest?

                        CHAPPELL SR.
          Humph!    I have centuries of rest ahead
          of me.

                      (Nods to Ben)
          Good day to you, sir.

Ben nods in return, and the elder Chappell returns to
whatever he was doing when Ben entered.

                      CHAPPELL JR.
          Now what can I do for you?

Ben turns his attention back to the son.    He is now a
little more in command of himself.

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                      BEN
          I'm Doctor Mckenna.
              (He waits, no
               reaction)
          Does the name mean anything to you?

Chappell Jr. thinks for a moment.    The name obviously
doesn't register.

                      CHAPPELL
          I don't think so.


INT. TAXIDERMY SHOP - (DAY) - MED. SHOT

A widor angle of the shop. Workmen pause in their
work to look in the direction of Ben with some
curiosity.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

Chappell Jr. nods his head, but waits with a deadpan
expression for Ben to continue. After a pause, Ben
does.

                      BEN
          You have no idea why I came here?

                      CHAPPELL JR.
          My dear sir, I haven't the faintest
          idea!

Ben's expression shows that he feels Chappell is putting
up a thorough bluff, but he still goes on.

                      BEN
          I was given your name by someone I
          happened to meet in Marrakesh.

Chappel Jr.'s expression doesn't change, except for a
slightly raised eyebrow.

                      CHAPPELL JR.
          Oh, yes?

Ben now has the feeling he's on to the right man.

                      BEN
          I suppose you've heard of him.    Louis
          Bernard. A Frenchman.

                      CHAPPELL JR.
          Louis Bernard?

He seems to be turning the name over in his mind.    Ben
turns to at the workmen around them.

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INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

The workmen half-listening, return to their work on
the various animals. They are a bit self-conscious at
being observed eavesdropping.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

Ben turns back to Chappell Jr. He moves in a little
closer, and drops his voice somewhat. Chappell Jr.
watches him warily.

                      BEN
          Let's stop fencing with words, huh?
          Bernard told me to come here, just
          before he died.

                      CHAPPELL JR.
          This man is...dead?

                      BEN
          You know it as well as I do. Now I
          came to make a business proposition.
          And I don't see how you can turn it
          down.

Ambrose Chappell looks over to a man stuffing animal's
corpse.

                      CHAPPEEL JR.
          What did you have in mind?

                      BEN
          You want to talk here?

                      CHAPPELL JR.
          Certainly. We have no secrets from
          our employees.

                      BEN
          Okay. First of all, I haven't uttered
          one word of what Bernard told to before
          he died. And I won't. Frankly I'm
          not interested in political intrigue,
          and I don't care who it is you're going
          to kill here in London. All I want is
          that boy, and I'll get on the first
          plane for America.

When Ben begins mentioning a killing, Chappell Jr's
face takes on a look of alarm, almost panic. He moves
back from Ben, watching him like a deadly cobra. Ben,
however, now convinced that he has the right man in
front of him, moves in on him to finish his proposition.

                      BEN
          Now that isn't all.   If money will do
          anything...

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INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT

Chappell Jr. now seems thoroughly frightened. He moves
back from Ben, almost stumbling. He turns, goes back
to the door of a small office, in which is now standing
Chappell Sr.


INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT

Chappell Sr. leans closer to the open door, as the son
speaks urgently and sotto Voce to him.

                      CHAPPELL JR.
          Father -- phone the police!   Quick!


INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT

Chappell Jr. now turns back toward Ben, trying to assume
a pleasant and casual manner.

                      CHAPPELL JR.
          Now, sir -- shall we go into this a
          little more carefully? You said
          something about money?

Workmen are pausing in their work to look at the pair,
wondering at the mention of money.

                      BEN
          You told him to call the police.   Now
          don't try to bluff me like that!

He reaches out quickly, grabs Chappell jr. by the label.
The man gives an involuntary cry of fear.


INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT

Chappell Sr. is on the phone.

                       CHAPPELL SR.
          This is Ambrose Chappell's -- Burdett
          Street. Will you send someone round
          at once?
               (Glancing toward
                him)
          There's is an extraordinary individual
          here, and we really can't cope with
          him.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

Chappell Jr. struggles to get loose from Ben's grasp.

                       CHAPPELL JR.
          Let me go!

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                      BEN
          You don't know Louis Bernard?

                      CHAPPELL JR.
          I've never heard of him.

                      BEN
          And you don't have any idea what went
          on in Marrakesh yesterday, or where my
          boy is?

                      CHAPPELL JR.
          No, of course not! Edgar!   William!
          Davis! Help!

Ben lets go of Chappell Jr., and turns in confusion.


INT. TAXIDERMY SHOP - (DAY) - MEDIUM SHOT

The workmen drop their tools, and move in on Ben quickly
and threateningly. Even Chappell Sr. comes out of the
office in alarm. Ben backs away toward the door.

                      BEN
          Now just a minute. Take it easy. I
          obviously got the wrong place. Now
          stay away from me.

But they don't. They come on. Ben looks quickly around
for a weapon, or an exit. He sees the door, and moves
quickly toward it, but the workmen are faster than he
is. Two of them bar the exit. Ben tries to shove
them out of the way and get through the door. The men
grapple with him. Chappell Jr., himself, and another
workman rush in, endeavoring to subdue Ben. A silent,
but furious struggle ensues. It is now a complete
melee between the four men and Ben as they try to hold
him down.

                      CHAPPELL JR.
          Hold him...hold him...till the police
          come.

Ben breaks loose temporarily, trying to find another
escape. He realizes that the time for talking is past.
But as fast as he is, the men are on him again. They
twist and struggle through the stuffed and mounted
animals. There is a melange of lion heads, swordfish,
and other partially completed jobs. Sometimes, Ben in
his struggles comes face to face with the angry head
of a bared-teeth lion. Ambrose Chappell Jr. himself
at one point finds the swordfish a very painful object
somewhere about his anatomy. Ben eventually wrenches
himself free.

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INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT

Shooting toward the doorway. The confusion  gives him
a free moment. He makes the door, twists it  open, and
dashes out into the yard. Suddenly he turns  back and
dashes in again. The man retreat in fear.   Ben picks
up his fallen hat and dashes out again.


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

The five persons in the McKenna suits are sitting
around. All but Jo have drinks in their hands. She
seems to be absorbed in her own thoughts, but Val
Parnell is holding forth, oblivious at first to her
disinterest.

                      VAL
          ...and back at our flat, after the
          first night, Chris had the nerve to
          suggest that the sketch where Bud
          Flanagan comes in dressed up as the
          Countess was unconvincing ... that no
          matter how well-got-up Bud Flanagan
          was, even if he were dressed by
          Hartnell, nobody would believe he was
          an aristocrat. So I said, 'Look Chris,
          why don't you cut William Hickey's
          column out of the paper?! --

He stops talking, as he looks across at the silent Jo.
Helen and the others, follow his look. They watch her
sympathetically. Jo  seems totally unaware that anyone
else is in the room, staring, into thin air, absorbed
with thoughts of her own.

                         VAL
              (Softly)
          Jo. Jo.

                         JO
          Huh?

                      VAL
          What's become of that unpredictable
          husband of yours?
              (Consults his watch)
          He's been gone over an hour.

She doesn't answer, so he goes on.

                      VAL
          Who was it he went to see?   Some man
          named...
              (Looks at group for
               help)
          ...what was it...Church?

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INT. SAVOY SUITE - (DAY) - CLOSE SHOT

Slowly Jo's expression begins to chance to one of
interest. We see a flood of thoughts expressed in her
face. She looks across at Val and replies:

                       JO
          No.   No...you mean Chappell!

She rises from her chair with some excitement.    She
murmurs, almost to herself:

                      JO
          It's not a man, it's a place! Ambrose
          Chapel! Ambrose Chapel! It has to
          be!


INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT

The others watch Jo, puzzled at her strange performance.
No one dares speak until she finds out what it means.


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

With some excitement, Jo addresses Val Parnell.

                      J0
          Do they list chapels in the London
          Telephone Directory?

                      VAL
          Let's a take a look.

He crosses to the telephone desk, picks up telephone
directory and opens it.


INT. SAVOY SUITE - (DAY)

INSERT of telephone directory - Val's finger lands on
'Ambrose Chapel, 17 Ambrose Street, West Two.'


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

                      VAL
              (Excitedly)
          Here it is, Ambrose Chapel, 17 Ambrose
          Street, West Two.

He turns triumphantly to Jo. Without hesitation she
crosses to a table, takes her purse. She hurries to
the door without a word; then turns to them.

                      JO
          I'm very sorry.
                      (MORE)

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                        JO (CONT'D)
            But have another drink -- and please
            explain to Ben when he comes in.

She hurries out the door. The others are left standing,
looking at each other. Val and Helen speak almost at
the same time, asking each other the same question.

                        VAL AND HELEN
            Explain what?

DISSOLVE:


EXT. AMBROSE STREET - (DAY) - LONG SHOT

Jo hurrying down street towards chapel seen in b.g.


EXT. AMBROSE STREET - DAY - MEDIUM SHOT

Jo enters and stares off at the chapel.


EXT. AMBROSE STREET - (DAY) - MEDIUM LONG SHOT

Of chapel as seen by Jo.


EXT. AMBROSE STREET - (DAY) - CLOSE SHOT

Jo wondering if this really is the right place. She
decides she had better phone Ben and turns out of SHOT.

DISSOLVE:


INT. SAVOY SUITE - MEDIUM SHOT - (DAY)

The Parnell party are still wondering what all this is
about.

                        CINDY
            There's something weird going on around
            here that I can't follow.

                        VAL
            Let's see if we can figure this out.
            First of all there was a man named to
            uh...

                        HELEN
            Ambrose Chapel.

                        CINDY
            And Ben rushed off to see him.

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                      HELEN
          Then Jo said it wasn't a man, but a
          place and she dashed off.

                      JAN
          Don't mention it again or I might dash
          off.

                      CINDY
          What a temptation.

                      HELEN
          Can you fathom it, Val?

Val paces thoughtfully, and they watch him.

                      VAL
          It must be a now American gag.    I'll
          ask Danny about it.

At that moment the door suddenly opens. Everyone turns
in surprise. Ben is standing in the doorway. He comes
slowly into the room, closing the door. He is very
tired looking, and disheveled. They watch him enter
silently.


INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT

Too tired to say anything at first, Ben drops into the
first chair he comes to. Then he looks up.

                        BEN
          Where's Jo?

Val walks over to him, hands him a ready-made drink.
Ben takes it but doesn't have time to drink when Val
speaks.

                      VAL
          She's just gone off to Ambrose Chapel.

Immediately Ben puts down the drink.

                      BEN
          But -- but, that's where I've been...

He stands up.


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

                      VAL
          It isn't your Ambrose Chapel!

Ben looks at him questioningly.

                      HELEN
          It isn't a he! It's an it!     A building.

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                      CINDY
          She's just gone there.


INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT

Ben studies the group trying to appraise in his mind
what they have said.

                         BEN
          Where is it!     What's the address?

Val crosses to find the phone book on the desk and
looks for address.

                      VAL
          17 Ambrose Street, Bayswater.

Ben moves quickly to the door and goes out into corridor
as telephone rings. Jan answers it. She puts down
the receiver and shouts out to Ben.

                     JAN
          Doctor! Doctor!      It's Jo!   Come back --
          it's Jo.

Ben comes quickly into the room pushing his way through
everyone.


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

He goes immediately to the phone.    Jan hands Ben the
receiver.

                         BEN
          Jo?


INT. LONDON CALL BOX - (DAY) - CLOSE SHOT

Jo is overjoyed to hear Ben's voice.

                      JO
          Ben -- Ben, darling...what happened --
          did you find anything?


INT. SAVOY SUITE - (DAY) - CLOSE SHOT

                      BEN
          No -- I drew a complete blank.

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INT. LONDON CALL BOX - (DAY) - CLOSE SHOT

                      JO
          Then it must be the chapel - and I've
          found it, Ben. It's just a short way
          from here. It was a crazy thing to do --


INT. SAVOY SUITE - (DAY) - CLOSE SHOT

                      BEN
              (Interrupting
               hurriedly)
          I have the address, Jo. Now stay there
          until I get there...and don't do
          anything!


INT. LONDON CALL BOX - (DAY) - CLOSE SHOT

Jo loses some of her anxiety.

                      JO
          I'll meet you outside.

She hangs up, sighs and starts out of the phone booth.


INT. SAVOY SUITE - (DAY) - MEDIUM SHOT

Ben hangs up the phone and starts for the door. He
looks back at the group as he pauses in doorway.

                      BEN
          Will you stick around? We'll be back
          as soon as we can. I don't know how
          to thank you.

He goes out through the door closing it.    Everyone
stands staring at the door.

DISSOLVE TO:


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Jo stands watching something across the street.


EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT

From Jo's viewpoint, the exterior of Ambrose Chapel.
An old building, silent and deserted. A faded sign
outside identifies it.

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INT. AMBROSE CHAPEL - (DAY) - MED. SHOT

A non-conformist Chapel. Empty, except for    one figure,
a woman laying out music on the organ rack   in the front
of the Chapel. The CAMERA MOVES IN on her,    and as she
turns on her way to the hymn board, we see   that she is
Mrs. Drayton. At the hymn board, she slips    into it a
series of hymn numbers.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The CAMERA THEN PANS her across the empty chapel to a
side door. She goes through it.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

She comes up a flight of stairs, the CAMERA MOVING
with her. She stops at a door on the first landing,
takes a key out of her pocket, and unlocks the door.
She enters.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Inside of a small, almost bare room, Mrs. Drayton closes
the door behind her and stands with her back to it,
watching. The CAMERA PANS SLIGHTLY to reveal the rest
of the room. Sitting at a small table is a listless,
young Hank McKenna. He is playing checkers with the
woman we saw at the airport who was standing with the
autograph hunters, watching Jo McKenna. The one with
the dirty glasses, who made a phone call. Hank has
caught the woman in a checker trap, and with obvious
satisfaction jumps three of her men.

                      HANK
          Three men! You don't know much about
          checkers, do you?

                      MRS. DRAYTON
          It's time you went to bed, dear.    You'll
          get tired out.

                      HANK
          Can I finish? I'm winning?

                      MRS. DRAYTON
          Yes, you finish. Edna, see that he
          gets some milk and biscuits.

                      EDNA
          And he'd better have another sleeping
          pill...I've got to get downstairs --

                      MRS. DRAYTON
              (To Hank)
          You'll go to sleep, Hank, won't you?

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                        HANK
          I guess so.

                      EDNA
          Hurry up if you want to finish this
          game.

                      MRS. DRAYTON
          Look it doesn't hurt to be kind. Yell
          out when you want me to open the door.

Edna studies the board with a frown.   Mrs. Drayton
smiles and goes out the door.


INT. AMBROSE CHAPEL - (DAY) - MED. SHOT

In the corridor once again Mrs. Drayton locks the door,
and crosses the hall. The CAMERA PANNING her. She
enters another door.


INT. AMBROSE CHAPEL - (DAY) - MED. SHOT

She enters a larger, more ornate room. The CAMERA
PANS her in, and we see first Drayton, who is putting
on a surplice -- and then the man who knocked on the
McKennas' door in the Mamounia Hotel, looking for
someone named Montgomery. He is putting on a tie and
tuxedo. He wears a dangerous-looking revolver strapped
underneath his armpit; Mrs. Drayton, without a word,
sits down and lights a cigarette, exhaling with
something close to fatigue. Then she speaks.

                      MRS. DRAYTON
          I wish it was tomorrow.

Drayton turns, having finished his dressing.

                       DRAYTON
              (Coldly)
          That's not a very orthodox sentiment.

He goes to a desk, and takes something out of a drawer.
It is a small envelope. He turns to the man with the
gun.

                       DRAYTON
          Two excellent tickets for the concert
          at the Albert Hall -- with my
          compliments.

He hands them to Rien. Rien takes the envelope, glances
at it briefly, then puts it into his pocket.

                      DRAYTON
          Your box is nicely placed, or shall we
          say strategically placed.

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He goes to a portable record player, which is open and
has a record on it. He looks down at the phonograph.

                      DRAYTON
          Now for the most important part.

He gestured towards the record.

                        RIEN
          What is it?

                      DRAYTON
          A record of the delightful Picco they
          will play tonight.

                      RIEN
          What about it?

                      DRAYTON
          Music is less in your line than
          marksmanship. If you will listen, my
          friend, I will play for you the exact
          moment at which you can shoot. Now
          listen carefully.

Drayton plays the record.

                      DRAYTON
          Let me do it for you again.   Now listen
          for the cymbal crash.

Drayton plays the record again and claps his hands
together at the cymbal crash.

                      DRAYTON
          You see at such a moment your shot
          will not be heard. The listeners will
          not even be disturbed. I think the
          composer would have appreciated that.
          No one will know.

                      RIEN
          None except one you mean.

The assassin smiles.

                      DRAYTON
          Ah, yes -- if you are clever, my friend.
          Any questions musical or otherwise?

                        RIEN
          No.

                      DRAYTON
          There's's one comforting thought. It
          happens early in the evening. I hope
          I won't upset you if I say there's
          time for one shot only. If you need
          another, the risk is yours.

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                      RIEN
          I do not take risks.

                      DRAYTON
          That's a comfort -- traipsing all the
          way down to Marrakesh to fetch you I
          should like you to do me credit.

He looks at his watch.

                      DRAYTON
          Your distinguished target's on the way
          there now. A car is waiting for you
          downstairs at the back entrance. You
          will pick up a Miss Benson on your
          way. She will be your companion in
          the box. She's there to lend an air
          of respectability...if that's possible.

                      RIEN
          You will have the money when I return?

                      DRAYTON
          I think you can trust me.

                      RIEN
              (Looking him up and
               down)
          What is your English proverb -- a wolf
          in Sheep's clothing?

Drayton laughs.

                         DRAYTON
          I think you    had better be going. It
          is impolite    to be late for a concert.
          It would be    awkward if they made you
          wait until    the first selection is over.

He turns to his wife.

                      DRAYTON
          See him downstairs, my dear.
              (To Rien)
          I'm sorry you must sneak out the back
          way, but we have to preserve our
          respectable front.

She exits with the assassin.    Drayton turns to the
mirror and surveys himself.

LAP DISSOLVE TO:


EXT. REAR ENTRANCE AMBROSE CHAPEL - (DAY)

In the distance Jo is seen pacing. To rear door of
the chapel opens and Mrs. Drayton pushes Rien out. He
crosses and enters a waiting car. The car drives off.

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EXT. AMBROSE STREET - (DAY) - MEDIUM SHOT

The shadows of the day are lengthening as Ben gets out
of a taxi and approaches Jo standing on the sidewalk.
His fatigue of before seems to have vanished in his
eagerness to meet Jo and find out what she knows.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben comes up to her.   She grips his hands.

                         JO
          There it is.

                      BEN
          You may have just hit it right on the
          nose. You can't be farther wrong than
          I was with my Ambrose Chapel. Let's
          go.

                      JO
          Ben, should we get some help from the
          police?

                      BEN
          No, honey, please, no -- let's take a
          crack at this alone.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT

The Chapel as seen from their viewpoint. People are
now entering it, but it seem as if the tag end of the
congregation is entering, because the service is
obviously under way, the sound of hymn singing coming
across faintly to us.


EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT

Ben takes her hand, squeezes it affectionately.
Together they cross the street, the CAMERA PANNING
them up the steps of the chapel and to the entrance.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM   SHOT

They enter the Chapel from the rear, looking around
cautiously. A hymn is in progress. The Chapel holds
about three hundred people. It is of the non-conformist
type and the congregation consists mostly of middle-
aged and elderly women. Although the McKennas are not
aware of it, we notice that the organist is none other
than Edna, the woman who observed Jo at the airport,
and later took care of Hank.

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EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

Carefully the McKennas find their way to a back row
seat. One or two of the women in the back row turn to
look at the new arrivals. Jo wants to whisper something
to Ben, but with a gesture he silences her. Ben picks
up hymnal, hands her one, finds the right page and
begins to sing along with the hymn. But instead of
following the words of the hymn, Ben makes up his own
words to communicate with Jo, as he looks around at
the chapel.

                      BEN
              (singing)
          This looks like mother wild goose chase.

                      JO
              (Singing them)
          Let's wait and look around...

Some of the parishioners turn and listen to Jo's voice
because it has a professional quality that rises above
the rest. Whether they are watching her in suspicion,
or admiration, is hard to tell. Jo turns her attention
to the hymn book, trying to be unnoticed. Ben's eyes
catch something coming down the aisle.

                      BEN
              (Singing)
          Look who's coming down the aisle.

Jo follows his glance, leaning forward a little and to
one side.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT

Coming up the aisle with a collection basket, collecting
money during the hymn is Mrs. Drayton. She is
approaching the row in which the McKennas are standing.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

Jo looks towards Ben helplessly. Mrs. Drayton is
between the two of them and any possible exit. Ben
immediately eases his way along behind a column which
hides him somewhat from the front, but not from the
side. Jo endeavors to shrink her body behind a tall
woman in front of her, but she is not entirely
successful. We can see Mrs. Drayton getting closer to
them.

Jo looks toward Ben almost panicked. Suddenly Mrs.
Drayton has reached the end of their row. She pushes
forward her collection plate, and as she does so her
face blanches. She instantly identifies the two.
Ben, with little else to do, looks her straight in the
eye and puts some coins into her plate.

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INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

As the astonished Mrs. Drayton turns to go back down
the aisle with her plate of coins and bills, we now
see the surpliced Mr. Drayton ascending the pulpit.
He looks down to his wife.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT

From Mr. Drayton's viewpoint, as he notices his wife
coming up the aisle with a startled expression on her
face. She tries to  nod with her head to indicate
something important lies behind her.


INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT

Mr. Drayton, trying to puzzle out her alarm, studies
her face, and then lifts his eyes to look beyond her.
The expression on his face leaves no doubt that he
cannot understand what she's trying to convey. The
hymn has come an end, and the congregation starts
seating itself.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

The McKennas take a seat along with the rest, and as
yet they are relatively inconspicuous from the front
of the chapel. Ben takes a piece of paper out of his
pocket, examines it, and satisfied it is the right
one, hands it to his wife. The congregation falls
silent as Drayton is apparently about to begin his
sermon.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

Drayton glances down to his Bible, opens it a certain
page, and as he does so, he looks at his wife who is
sitting near the organ. She half-turns to look up at
him. She seems frightened. Drayton fumbles with the
pages of the Bible, apparently trying to make something
out of his wife's attitude. Failing, he looks up and
begins his sermon. He speaks into a microphone.

                       DRAYTON
          Brothers and Sisters: The subject of
          my address this evening is adversity.
          The average life, yours and mine, is
          often harassed and perplexed by
          cruelties and disappointments beyond
          our control.

Strangely enough, it is often the things beyond our
control which help to make us better beings.

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Pain and tribulation are the testing ground of   life
and let us be grateful for them. Let us bless    the
disappointments and the frustrations and say a   prayer
for the agony of the moment. Only thus shall    we confirm
and re-confirm our own goodness and therefore   the
essential goodness of all Mankind.


INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

Half-glancing at Drayton as he delivers his sermon.
Ben talks to Jo. Their conversation is whispered.

                      BEN
          That's Buchanan's phone number. Go on
          out and call him and ask him to surround
          the place with police.

                      JO
          What if he asks me...

                      BEN
          Tell him...tell him everything. This
          is the time. I'm sure Hank is around
          here some place.

                      JO
          Ben, I don't want to leave you.

                      BEN
          I don't know how else to do it, honey.

Ben gives her a gentle push. With a regretful look at
him, she slides out of the seat.


INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT

In the middle of his sermon, Drayton looks up. He
almost falters and stops, as he sees Jo rise from her
seat.

The chapel as seen from Drayton's viewpoint. Jo has
turned up the aisle and gone out the door at the back.


INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT

Drayton composes his face, but his eyes are serious.
Without the slightest pause, he continues his sermon,
shifting his ideas in mid-paragraph.

                      DRAYTON
          Few of us pause to think how life's
          adversities work in our behalf, to
          make better men and women of us.
                      (MORE)

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                      DRAYTON (CONT'D)
          But I believe we should pause now to
          do a little stock-taking -- to look
          into our own hearts and see what we
          find there. Therefore instead of
          continuing the service, I think we
          should all return to our homes for
          private meditation, remembering how
          little we have to complain of and how
          much to be grateful for. Next week I
          shall discuss the fruits of our
          meditation. Until then, my blessing
          upon each and every one of you.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Ben watches Drayton, with little charity in his heart.
There is a stir in the congregation when Drayton tells
them to go home. They look at each other, uncertainly.


INT. AMBROSE CHAPEL - (DAY) - MED. SHOT

Drayton closes the Bible, and begins to descend from
the pulpit. The congregation comes to life. The
members rise from their seats and begin filing out of
the chapel. Occasionally they cast backward glances
toward the pulpit, as if surprised at what they have
heard.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

When Drayton reaches the two steps of the altar, he
beckons the organist to him. She comes, and he whispers
something to her. He then motions his wife nearer to
him, and also whispers something to her. Mrs. Drayton
goes off through a side door by the altar, while the
organist makes her way down the aisle through the
congregation to stand by the door.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The CAMERA PANS Ben as he threads his way up through
the women who are filing out. Drayton stands at the
front of the chapel, waiting. Finally, after a slow
and deliberate walk up the now nearly empty chapel,
Ben comes face to face with Drayton. Drayton greets
him with bland amiability.

                      DRAYTON
          Well this is a pleasant surprise,
          Doctor.

                      BEN
          Where's my boy, Drayton?

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                      DRAYTON
          He's upstairs. As a matter of fact
          you've just come in time to help my
          wife with Hank's food. Seems Hank
          doesn't care much for English cooking.

Drayton's eyes stray to the back of the church as he
talks. Ben, noticing Drayton's eye movement, follows
it cautiously. But before he can confirm his
suspicions, there is a loud clang of a door closing
that gives him his answer. He looks around quickly.


INT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT

At the other end of the chapel, the woman, Edna, has
just closed the door, and is in the process of locking
the heavy iron lock with a large key. She extracts
the key and puts it into her pocket.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Ben turns back to Drayton to find that his manner has
changed somewhat. He grabs him quickly by the throat
of his robes.

                      BEN
          What do you want? I'll give you money
          and keep my mouth shut. All I want is
          my boy.

                      DRAYTON
          And what about your wife? Did she go
          outside just to get some fresh air.

                      BEN
          Tell me what you want.   I'll do
          anything.

                      DRAYTON
          All right -- you'll see your boy in
          good time.

With a sudden twist, he wrenches himself away from
Ben. He reaches for a button on the altar, presses
it. Instantly the door by the side of the altar opens
and two rather strong men appear. Ben turns alertly
to face them, backing of a little.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

One of the men is obviously the chauffeur type, and
the other one, a handyman type in his shirtsleeves.
Ben takes this in, and notices the open door behind
them. Ben maneuvers himself toward the pulpit, and
suddenly dashes for the steps.

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He surprises them with his speed, and before anyone
can stop him, he is in the pulpit. He grabs the
microphone previously used by Drayton in his sermon.
He yells into it.

                     BEN
          Hank! Hank McKenna!    Hank!   Where are
          you? Hank! Hank!

As the sound roars through he chapel the two man dash
for the pulpit, and at that mount we hear, faintly
off, the voice of Hank:

                       HANK
          Daddy!   Daddy, I'm here!   Dad -

His voice is choked off. Ben jumps down from the pulpit
in an effort to make for the open door, but the two
men throw themselves on top of him.


INT. PHONE BOOTH - (DAY) - CLOSE SHOT

Jo speaks into the phone with great urgency.

                      JO
          ...And Ben is in there now, watching
          the both of them!


INT. SPECIAL BRANCH OFFICE - (DAY) - CLOSE SHOT

Woburn, assistant to Buchanan, is listening intently
on the phone. The office behind him is not handsomely
appointed. Jo's voice is heard on filter.

                      J0
          He sent me out to call you -- so we
          could do something before they get
          away.

                      WOBURN
          I see, Mrs. McKenna -- and you believe
          your son is somewhere in the chapel?

                      JO
          I don't know, I don't know where he
          is...but at least these people will
          know -- the Draytons. If you'd only
          send somebody to get them.

                      WOBURN
          I'm afraid it isn't quite as easy as
          all that.


INT. PHONE BOOTH - (DAY) - CLOSE SHOT

Jo interrupts him, impatient with his caution.

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                      J0
          Mr. Woburn, there isn't any time! My
          husband is sitting in that chapel
          waiting for me to bring some help.
          Can't I talk with Mr. Buchanan? He
          said when we needed him, to call.


INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT

Woburn is concerned.

                      WOBURN
          I'm awfully sorry, but I simply can't
          get hold of him just now. He's gone
          to a rather important diplomatic affair --
          at the Albert Hall.


INT. PHONE BOOTH - (DAY) - CLOSE SHOT

Jo is tired of his talk.   She wants action.

                      JO
          Well call him there, please!    Call
          him!


INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT

As he talks, Woburn reaches for a pad d a pencil, and
begins making some notes.

                      WOBURN
          He's on his way. I don't know quite --

                       JO
              (Filter)
          Then can't you do anything -- right
          away -- before we lose the Draytons?

                      WOBURN
          I assure you, I'll do all I cant as
          soon as I can.


INT. PHONE BOOTH - (DAY) - CLOSE SHOT

Jo is at the frantic point.

                      JO
          We don't have days to do this. It's a
          matter of minutes. Can't you send the
          police. Or do I have to go to the
          Albert Hall myself.

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INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT

Woburn finishes making his notes. He reaches for
another phone with his left hand, and dials a number
as he talks to Jo.

                       WOBURN
               (Efficiently)
           That won't be necessary. I'll see
           that the chapel is put under immediate
           observation. By the time you get back
           a police car should be there. Please
           return to your husband, tell him to
           come straight out of the chapel, and
           let the police take over.

He turns to the other phone.

                       WOBURN
           Woburn, Special Branch, hold on.
               (To the other phone)
           I must ring off now, Mrs. McKenna.
           Please believe me, I'll have everything
           laid on.


INT. PHONE BOOTH - (DAY) - CLOSE SHOT

With a feeling of frustration, Jo hangs up the phone
as Woburn clicks off on the other end. She exits to
the phone booth.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT

The   back door of the chapel opens and Drayton, Hank
and   Mrs. Drayton emerge. Drayton locks chapel door
and   crosses to a waiting car. They all get in and the
car   moves off.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT

Jo hurries up the street towards Ambrose Chapel.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

Jo turns the corner heading for the chapel.    She looks.


EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT

The doors of the chapel are closed.   It seems strangely
deserted.

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EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT

Jo hurries across the street, and up the steps to the
Chapel. She tries the door.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The door locked. She tries it again. It does not
give. She bangs her on the door. No one answers.
Jo's face is puzzled and a frightened.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

The CAMERA PANS Jo to the right side of the Chapel.
She looks down the length of it. No sign of anyone.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The CAMERA PANS Jo to the right side of the Chapel.
There is no sign of life down the whole side of it.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Jo returns to the front door, examines it, tries it
again. Now there is definite panic in her face. There
Is the sudden sound of a car pulling up quickly to the
curb. She turns.


EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT

A police car has pulled up to the curb.   There are
four men in it.


EXT. AMBROSE CHAPEL - (DAY) - MED. SHOT

The CAMERA PANS Jo from the front of the Chapel down
to the police car. Three men are getting out, leaving
the driver inside.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Jo comes up to the three men.   One of them, in charge,
does the talking.

                      JO
          There's nobody there!

                      PATTERSON
          Are you Mrs. McKenna?

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                      JO
          Yes, but something's wrong. A few
          minutes ago the place was full of
          people, and now there's nobody!

Two of the police move up toward the Chapel.    Patterson
glances at it.

                      PATTERSON
          Our orders are to keep it under
          observation until a Scotland Yard car
          arrives.

                      JO
          My husband's in there. There must
          have been thirty or forty people...
          and now...

Patterson looks at her carefully.

                      PATTERSON
          When was this?

                      JO
          It couldn't...it couldn't have been
          more than five minutes ago!

                      PATTERSON
              (Interrupting)
          Let's take a look.

                      JO
          I told Mr. Woburn he had to hurry.


EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT

The CAMERA PANS the two of them up to the Chapel. The
other police have gone down the sides for an inspection.
Patterson and Jo go to the main door. Patterson tries
it.

                      JO
          I tried that. It's looked, Let's force
          it open.

                      PATTERSON
          I'm sorry, madam, we can't break in.
              (Sympathetic)
          Requires a search warrant. It's the
          law, you see.

                      JO
          Couldn't you get one?

                      PATTERSON
          It all takes time. We'll have a look
          round, shall we? Matthews, you take
          the other end.

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                       MATTHEWS
          All right.

They start around the corner to inspect the sides of
the Chapel.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Patterson and Jo peer in the windows.   They apparently
see nothing.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Another policeman is checking the windows on the other
side. Nothing.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The third policeman is checking the alleyway in back
of the Chapel. He sees no sign of anything suspicious.
Patterson and Jo come around the back and try the back
door.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The back door is firmly locked.

                      MATTHEWS
          There's no one there, sir.

                      PATTERSON
          Are you quite certain the place was
          full of people -- only a few minutes
          ago?

                      JO
          Of course I'm certain. I was there
          myself, sitting next to my husband.
          He sent me out to call Scotland Yard.

He looks at her quizzically.

                      J0
          It's much too complicated to explain.

                      PATTERSON
          We'll just have to sit tight and wait
          for the car to arrive from the Yard.

He starts for the front of the Chapel, and Jo,
unhappily, is forced to follow.

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INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The chapel is deserted inside. In the dim light we
can see a form stretched out on the floor. It is Ben.
He begins to stir a little as if just beginning to
come to after being knocked unconscious.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

The policemen are grouped around the patrol car, as
Patterson, the sergeant, talks over a radio telephone.

                      PATTERSON
          So far as we can make out, sir, there's
          no sign of life. I see, very good,
          Sir.

He hangs up, and gets out of the open car.    He turns
to one of his men.

                      PATTERSON
          Walden, you'll stay here, till the car
          arrives from the Yard.

                       WALDEN
          Okay.

                      PATTERSON
          That's all, Matthews.

The other policeman gets into the car, Leaving the
door open for the Sergeant.

                      JO
          You're not leaving?

                      PATTERSO
              (Politely)
          Orders, madam. Can we give you lift
          somewhere?

Jo is frustrated, and irritated, but she thinks for a
moment and makes a sudden decision.

                      JO
          Yes, I want to go to Albert Hall.

Patterson looks at her with tolerant surprise.

                      PATTERSON
          Afraid the Albert Hall's a bit off our
          beat. Suppose we drop you at the
          nearest taxi rank?

Jo looks back at the Chapel briefly.

                       JO
          All right.   Let's go.

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They get into the car, and the CAMERA PANS it, as it
drives away down the long Victoria London street, which
now remains deserted.


EXT. EMBASSY - (DAY) - MED. SHOT

The exterior rear of a huge residential building such
as is to be found in Kensington Palace Gardens or
Belgrave Square. The CAMERA PANS DOWN and we see a
Humber car driving through the gates at the rear. It
pulls up at the Service entrance. A man sitting beside
the chauffeur gets out of the car. Inside the car are
the Draytons and Hark McKenna. We see the man hurry
to the door of the kitchen and enter.


INT. EMBASSY KITCHEN - (DAY) - MED. SHOT

There is a big staff of kitchen help, chefs, maids of
middle-age, all preparing food for what is obviously a
big party. The man who has entered, calls to them to
get their attention.

                       GUARD
          Hello.   Hello.

The work falls quiet as they become aware of him.

                      GUARD
          Everybody out into the corridor.   Hurry
              (He claps his hands)

There is a moment of bewilderment and confusion. The
man crosses to someone obviously a butler, and whispers
some words to him. The butler turns to the workers
and starts herding them toward the corridor through a
door in the far corner of the kitchen.

                      BUTLER
          Do what he says. Come on. It will
          only be a minute. Come on, all of you --
          out.

The man goes to the door.


EXT. EMBASSY - (DAY) - MEDIUM SHOT

He leans out the door and beckons the Draytons and
Hank to come in quickly. The three get out of the car
and hurry toward the door.


INT. EMBASSY KITCHEN - (DAY) - MED. SHOT

The man moves back into the kitchen, and goes to stand
guard at the doorway through which the workers left.
The door is closed.

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INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT

The servants are packed together at one side of the
corridor. They are talking, grumbling.

                      WOMAN COOK
          This embassy -- there's always something
          queer going on.


INT. EMBASSY CORRIDOR - (DAY) - CLOSE SHOT

While the other servants are grumbling, one is saying
nothing. He rather a Shrewd-looking young footman.
He strains to listen through closed door. Coming from
the kitchen are several sounds. A door opening, the
walking of feet, and finally the slam of a door.

                      ANOTHER VOICE
          Bringing people in, in secret...

                      ANOTHER VOICE
          Give me the Swiss Embassy every time,
          there's neutrality for you!

Then the sound of a car leaving outside. The door to
the kitchen opens and the servants, including the young
footman enter again.


INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT

The young footman, among the first to enter, surveys
the kitchen. There is no sign of anyone having passed
through.


EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT

The street before the chapel is still deserted, and
the light of day is beginning to fade. Suddenly the
silence is broken by the sound of the bell ringing
spasmodically in the chapel belfry. Along the street
a few people begin putting their heads out of windows,
and the one policeman left in charge is seen hurrying
away down the street.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Inside the chapel we can see the cause of the spasmodic
bell ringing. Ben is using  the rope to climb out of
the chapel. He succeeds in  reaching high window. He
holds on to the window, and looks down.

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EXT. AMBROSE CHAPEL - (DAY) - LONG SHOT

From his viewpoint. He can see people gathering in
the street, looking up at the chapel.


INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Ben decides to swing to the opposite window which will
be away from the street. He swings, grabs, and with
some difficulty manages a foothold. He finally climbs
out through the window.


EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT

Ben moves cautiously out onto the roof of the chapel.
Beyond and below him we can see people on the street.
He manages to lay low and crawl over the roof, the
CAMERA PANNING him. We can now see beyond and below
the patrolman returning with two regular uniformed
policemen. They are crossing toward the chapel looking
up, as we:

LAP DISSOLVE TO:


EXT. ALBERT HALL - (DAY) - LONG SHOT

Shooting through the Albert Memorial as a foreground
piece we see the activities of the arrivals at a big
concert. Through the archway large limousines are
pulling up, while on the sidewalk level with the main
road odd taxis are pulling in. We see the usual line
of posters which run along the edge of the sidewalk.


EXT. ALBERT HALL - (DAY) - LONG SHOT

The screen is filled with a large poster. It announces
for that evening the commemorative concert. Further
details on the poster indicate that a Cantata will be
sung featuring the London Symphony Orchestra, The Royal
Choral Society, and a name woman as featured mezzo
soprano, and Conductor Bernard Herrmann. Between the
CAMERA and the Poster a taxi pulls up. It is near
enough to the CAMERA so that just the driver and the
door fills the screen, Jo McKenna steps out the far
side and pays off the driver with a Ten Shilling Note.
She hurries away. The driver endeavors to call after
her as he turns the note around in his hand. He looks
at it with satisfaction, and stuffs it into the inner
recesses of his clothes.

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EXT. ALBERT HALL - (DAY) - SEMI-LONG SHOT

We see Jo threading her way across the narrow inner
roadway into which large limousines are creeping and
depositing indifferently dressed aristocrats.


EXT. ALBERT HALL - (DAY) - MED. SHOT

Jo finds herself going up the few steps the front door
surrounded by a mixture of tattily-dressed, tiaraed
English duchesses, and the more elegantly dressed
members of the Corps Diplomatique men in white tie,
tails and orders, and their more fashionably dressed
South American beauties.


INT. LOBBY - (DAY) - LONG SHOT

Shooting down from the stone-stepped, cast-iron
railinged staircase we see the milling people going
off in different directions to their seats. There is
a hubbub of voices through which we can hear the
programme sellers crying out their wares.


INT. LOBBY - (DAY) - SEMI-CLOSEUP

Jo patiently awaits her turns as two or three people,
perhaps a couple of Chelsea 'long-hairs', and one other
people, who obviously have not reserved ahead of time
because they had no money, take their turns at the
window. A uniformed attendant, standing beside this
queue, is repeating information for the benefit of the
queue.

                      UNIFORMED ATTENDANT
          Seats at a guinea. Starting Room three
          and six --

Jo moves out of the queue and addresses him.

                      JO
              (Rather urgently)
          I would like to see the manager, please.

                      UNIFORMED ATTENDANT
          I'm sorry, madam, The manager's on
          duty in the lobby. So's his assistant.

                      JO
          Please, I must speak to one of them.
          Which are they?

                      UNIFORMED ATTENDANT
              (Vaguely)
          Over there somewhere...

He resumes his chant.

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Jo turns away disconsolately and starts Jo seek these
men out for herself. The CAMERA PANS her over and she
finds herself blocked off by a crowd of four or five
feet deep.


INT. LOBBY - (DAY) - CLOSE UP

Jo, standing on her toes endeavoring to look beyond
the block of people. Suddenly her face changes as she
sees:


INT. LOBBY - (DAY) - MED. SHOT

Shooting over the head of crowd she sees the arrival
of an important personage. He is accompanied by others
who are apparently attendants upon him. A couple of
the individuals behind him are wearing large order
sashes underneath their white waistcoats. The principal
figure of this group is an oldish an around sixty. He
is in white tie and tails, and also wearing a number
of foreign orders. About third is line behind him
comes 'Buchanan'.


INT. LOBBY - (DAY) - CLOSE UP

Jo immediately recognizes him.


INT. LOBBY - (DAY) - MED. SHOT

From her viewpoint we see the men she has been seeking,
possibly the manager of the Albert Hall, his assistant
cow-towing behind him, and alongside of the manager
someone dressed like he might be 'Sir Kenneth Clarke',
the head of the Arts Council, The new-arrival is
greeted. There is an exchange of courtesies, after
which they are led on toward the beginning of the
staircase. As 'Buchanan' comes nearer.


INT. LOBBY - (DAY) - SEMI-CLOSE UP

Jo tries to push her way through towards him. The
people around her resent her efforts. Behind Jo are
two girls in their early twenties. Both are Chelsea
types.

                      1ST GIRL
              (Bored)
          Is that the Prime Minister?

                      2ND GIRL
              (Enthuses)
          No, that's only the Ambassador. The
          Prime Minister's the one with the bald
          head.

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                      1ST GIRL
          Well, I'll guarantee he's got a better
          seat than we have.

The CAMERA PANS Jo as she does manage to get forward a
little, but she is caught up in the Sudden break-up of
the people who have lined up to see arrival. By the
time she is in the clear the CAMERA PANS her further
and over her shoulder we see the last of 'Buchanan'
and the rest up the staircase, followed by other members
of the audience going up in the same direction.


INT. LOBBY - (DAY) - CLOSE UP

We see Jo's frustration filling her face. She begins
to turn her head. She looks down with indecision.


INT. LOBBY - (DAY) - SEMI-CLOSE UP

In the foreground are passing people hurrying towards
their seats. There, taking a step forward and staring
in Jo's direction, is Rien, the Assassin. His face
shows considerable alarm at what he sees.


INT. LOBBY - (DAY) - MEDIUM. SHOT

From his viewpoint Jo is   half-turned in his direction.
Her head is still down.    Slowly she looks up. Her
mouth half-opens when she   sees the man she once saw in
the corridor of the hotel   at Marrakesh.


INT. LOBBY - (DAY) - SEMI-CLOSE UP

Rien, with a quick thought, hurries over to her.


INT. LOBBY - (DAY) - SEMI-CLOSE UP

The two are in SEMI-CLOSEUP.    He says to her quietly:

                      RIEN
          You have a very nice little boy, madame.

He turns to go.   Jo clutches him and almost cries out.

                         J0
          Where Is he?     Where is he?

Rien does not reply. The CAMERA PANS him away. We
see him join a woman escort and make their way for the
staircase.

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INT. LOBBY - (DAY) - SEMI-CLOSE UP

The CAMERA PULLS BACK and we now see that the crowd in
the lobby is thinning out. Jo stands alone, jostled
by a stream of late arrivals. From the hall itself we
can hear the SOUND of the orchestra tuning up, followed
by a burst of applause, with a few shouts which
obviously herald the arrival of the visiting dignitary
in his box.


INT. LOBBY - (DAY) - SEMI-CLOSE UP

Jo stares toward the opening into the hall. She seems
drawn to go in. She crosses and the CAMERA FOLLOWS
her to the first entrance to the outer corridor.


INT. CORRIDOR - (DAY) - CLOSEUP

Jo stands for a moment and then slowly crosses the
corridor to the main entrance where the ticket collector
and a programme girl stand. As she approaches the
opening, the ticket collector steps forward.

                      TICKET COLLECTOR
          Your ticket, madam?

Jo shakes her heads.

                       JO
          If you don't mind, I'm just looking
          for someone.

She takes a step or two forward as some new arrivals
take up the attention of the ticket collector. The
programme girl escorts them out of the scene.


INT. HALL - (DAY) - CLOSEUP

Jo stares at the vast hall in front of her.


INT. HALL - (DAY) - LONG SHOT

From her viewpoint she sees the complete hall, the
orchestra and choir assembled, and a round of applause
is heard as the conductor is seen threading his way
toward the instruments and mounts the podium.


INT. HALL - (DAY) - SEMI-CLOSEUP

Jo steals a glance toward the box which first catches
her eye.

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INT. HALL - (DAY) - LONG SHOT

From her viewpoint she sees the  flag-draped box of the
foreign visitor. It is full of   his entourage and seat
slightly to the left of him in  the second row 'Buchanan'
is sitting. Nearer to her and   in front of 'Buchanan'
on one side of the dignitary is  a be-medalled, blue-
sashed individual who might be  an Ambassador.


INT. HALL - (DAY) - CLOSEUP

Jo turns her head away and looks at the other side.


INT. HALL - (DAY) - LONG SHOT

The CAMERA roves among the boxes. Suddenly it stops
on one as the Assassin takes his seat with his woman
escort like any ordinary couple. They are quite casual
in their behavior.


INT. HALL - (DAY) - CLOSEUP

Jo becomes transfixed. A sudden silence returns her
attention to the orchestra.


INT. HALL - (DAY) - LONG SHOT

From her viewpoint we see the full orchestra, the
conductor with raised baton.


INT. HALL - (DAY) - SEMI-LONG SHOT

The Women's choir raise their sheets of music in unison.


INT. HALL - (DAY) - FULL LONG SHOT

From a point high above we see the whole hall, the
audience, and the orchestra. The cantata starts with
a roll on the timpani and a burst of music.


INT. HALL - (DAY) - LONG SHOT

A nearer view of the orchestra.


INT. HALL - (DAY) - SEMI-LONG SHOT

A whole sweep of the orchestra with the choir
predominant.

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INT. HALL - (DAY) - SEMI-LONG SHOT

A skimming shot over the top of the orchestra with the
strings in the foreground predominant. The SOUND of
these instruments seems to dominate the other music
due to their proximity to the CAMERA.


INT. HALL - (DAY) - MEDIUM SHOT

The cellos -- again their sound dominates the scene.


INT. HALL - (DAY) - MEDIUM SHOT

The woodwinds -- the same sound effect.


INT. HALL - (DAY) - MEDIUM SHOT

Now the brass.   Their notes drown out the rest of the
orchestra.


INT. HALL - (DAY) - MEDIUM SHOT

Now the double brass. As each of these shots follow
in succession, we get more intimate with each group of
instruments and finally:


INT. HALL - (DAY) - SEMI-CLOSEUP

To the timpani where we just hear the kettle drums
booming away.


INT. HALL - (DAY) - SEMI-CLOSEUP

At last one individual, who is seated with legs crossed
and arms folded, on a chair, and beside him on another
chair, the cymbals.


INT. HALL - (DAY) - CLOSEUP

The inert cymbals resting on their chair.


INT. HALL - (DAY) - MEDIUM SHOT

Rien in his box is glancing toward the orchestra. He
looks down beside him and slowly picks something up
from a chair.


INT. HALL - (DAY) - CLOSEUP

Jo stares up and catches her breath.

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INT. HALL - (DAY) - MEDIUM SHOT

From her viewpoint we see Rien is raising a pair of
small black leather opera glasses which he puts to his
eyes and studies his target.


INT. HALL - (DAY) - CLOSEUP

Jo turns slowly and looks up at the dignitary's box.
He is turning to the man beside him, whom we shall
later know as the Ambassador, and indicates with
gestures how much he is enjoying the concert. He looks
back over his shoulder and gives the same gestures and
comments to 'Buchanan'. Then, turning forward, he
settles back comfortably in his seat to enjoy the music.


INT. LOBBY - (DUSK) - LONG SHOT

Through the doors we see a taxi pulling away and
presently a glass door opens and a dishevelled Ben
comes into the lobby. He comes up to the CAMERA and
looks about him.


INT. LOBBY - (DUSK) - MEDIUM SHOT

From his viewpoint the lobby appears empty except
perhaps for a solitary uniformed policeman.


INT. LOBBY - (DUSK) - SEMI-CLOSEUP

Ben look the other way and upstairs.


INT. LOBBY - (DUSK) - SEMI-LONG SHOT

From his viewpoint the other direction -- just
emptiness.


INT. LOBBY - (DUSK) - CLOSEUP

We see Ben's bewilderment as to what to do and where
to go. We PAN him up to the first corridor entrance
that leads to the main circular corridor. Ben enters.
His face lights up.


INT. CORRIDOR - (DUSK) - SEMI-LONG SHOT

From his viewpoint we see through the opening the ticket
collector and the program girl standing at the opening
leading down the main aisle. On the right, standing
with her back to him, is Jo.

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INT. HALL - (DUSK) - MEDIUM SHOT

The CAMERA PANS Ben as he hurries forward. He touches
Jo lightly on the shoulder. She turns, startled, and
manages to suppress an exclamation on seeing him. We
do not hear what they are saying but by their pantomime
we see that Jo is telling Ben all about the impending
shooting. Ben argues with her. He indicates he will
tell Buchanan. She frantically restrains him but he
shakes her off and dashes away.


INT. LOBBY - (DUSK) - SEMI-LONG SHOT

We see Ben ascending the stairs originally taken by
the dignitary and his group.


INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT

Ben comes into the corridor and looks about him. Beyond
him we see a group of men obviously detectives, and
ahead of them a police constable. We see Ben hurry in
his direction.


INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT

Ben comes up to the constable and is about to pass him
when he is stopped. We again do not hear the dialogue,
but the pantomime shows that Ben is trying to get to
Buchanan. The constable doesn't quite know what to
make of Ben's dramatic plea. He indicates that he
must talk to his superior. Ben waits impatiently as
the constable goes over to one of the Inspectors who
is standing in a small group a little way off. From
his viewpoint we see the constable addressing the
Inspector with skeptical nods of his head in Ben's
direction.


INT. HALL - (DUSK) - SEMI-CLOSEUP

Jo, looking over her shoulder and then up to the box
of the dignitary. She turns desperately towards the
direction of the Assassin's box.


INT. HALL - (DUSK) - SEMI-LONG SHOT

Another view of the orchestra, but the duration of it
on the screen is much quicker.


INT. HALL - (DUSK) - SEMI-LONG SHOT

A flash of the Violins.

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INT. HALL - (NIGHT) - MEDIUM SHOT

A flash of the cellos.


INT. HALL - (NIGHT) - MEDIUM SHOT

A quick flash of the brass.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

A timpani section.


INT. HALL - (NIGHT) - CLOSEUP

The cymbals still laying on the chair.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT

The Inspector is turning to Ben, the Constable on one
side. Again in pantomime the Inspector questioning
the impatient Ben. He leaves Ben and goes over to the
men standing outside the door to the box. Ben half-
turns away with exasperation toward the CAMERA.


INT. HALL - (NIGHT) - MED. SHOT

The conductor in the foreground.    We see a quick shot
of the orchestra beyond.


INT. HALL - (NIGHT) - MEDIUM SHOT

The singers.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The timpani.


INT. HALL - (NIGHT) - CLOSEUP

We see a different angle the cymbals filling the screen.
CAMERA PULLS BACK quickly and the man who is to wield
them unfolds his arms and uncrosses his legs. He leans
forward to glance at his  score.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT

Ben is still waiting for the Inspector to discuss
matters with the plainclothesman. He turns and hurries
away, the CAMERA PANNING him.

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INT. HALL - (NIGHT) - MEDIUM SHOT

Jo is almost weeping with the effect of the singing
and the emotional stress she is going through.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

In the orchestra, the cymbal player now places one
hand on the cymbals on the chair.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

In the box the Assassin places his hand for the   first
time inside his coat towards his holster. The    CAMERA
PULLS BACK to show the woman sitting with him,   seeing
this gesture, rising and backing away into the   dark
recesses of the box.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT

Ben is now quickly listening into the section behind
the boxes, one of which is occupied by the Assassin.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP

Ben looks along the corridor.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT

From his viewpoint we see rows of boxes.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP

Ben is a little nonplussed.   He approaches one.


INT. UPSTAIRS CORRIDOR - (NIGHT) - MEDIUM SHOT

The plainclothesmen and two uniformed policemen are
now coming toward CAMERA looking for the departed Ben.


INT. HALL - (NIGHT) - MEDIUM SHOT

Back in the orchestra the conductor is wielding his
baton vigorously. He swings over a sheet of music.


INT. HALL - (NIGHT) - SEMI-LONG SHOT

The choir turns over their music.

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INT. HALL - (NIGHT) - SEMI-CLOSEUP

The cymbal player turns over his music. He looks at
the music in front of him and for the first time picks
up the cymbals.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP

A closer view of Ben shows him trying another door
cautiously and surreptitiously. He looks in and then
softly closes the door. He moves further along and
tries another door with the same cautious movement.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The Assassin now has his gun out in the darkness of
the rear of the box.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The cymbal player watching his music, his cymbals held.


INT. HALL - (NIGHT) - CLOSEUP

From his viewpoint with the cymbals tipping the bottom
of the screen, we see all his music. It is blank.
The CAMERA SWIFTLY MOVES IN to the bottom of the right-
hand page showing the one note he is to strike.


INT. HALL - (NIGHT) - MEDIUM SHOT

Jo becoming more anxious and desperate. She looks up
towards the Assassin's box with horror as she sees:


INT. HALL - (NIGHT) - MEDIUM SHOT

The Assassin's figure moving forward and the tip of
the gun for the first time.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The conductor looks up towards the cymbal player.


INT. HALL - (NIGHT) - CLOSEUP

The player raises the cymbals.


INT. HALL - (NIGHT) - CLOSEUP

A close view of the poised gun in the Assassin's box.

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INT. UPSTAIRS CORRIDOR - (NIGHT) - CLOSEUP

Ben trying one more box door.   He again closes it and
moves to one more.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The dignitary's pleased and smiling face.


INT. HALL - (NIGHT) - CLOSEUP

The gun poised.   It fills the screen.


INT. HALL - (NIGHT) - CLOSEUP

The cymbals are held in the foreground and through
them we can see the orchestra and the conductor beyond.
The conductor looks up from his score and points
deliberately to the cymbal player.


INT. HALL - (NIGHT) - CLOSEUP

The cymbals clash together.


INT. HALL - (NIGHT) - CLOSEUP

Jo leaping forward with a scream.


INT. HALL - (NIGHT) - CLOSEUP

The dignitary is clutching his arm and slumping forward.
We gain an impression of those around leaping to their
feet.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

The people around Jo, startled as they rise in their
seats and turn back to her.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP

Ben dashes to a final door and swinging it open finds
himself face-to-face with the Assassin. The latter's
hand goes for his holster. He pulls out his gun. Ben
lunges forward with a blow.


INT. ASSASSIN'S BOX - (NIGHT) - CLOSEUP

The Assassin staggers back and we hear the clatter of
the gun as it falls to the floor.

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He immediately turns towards the CAMERA looking for a
means of escape. He leaps to the edge of the box to
go over into the next one. He slips.


INT. ASSASSIN'S BOX - (NIGHT) - SEMI-LONG SHOT

We see the Assassin fall with a crash into the aisle
below him as Ben dashes forward in the box.


INT. HALL - (NIGHT) - SEMI-LONG SHOT

The soprano singers in the middle of their note quickly
change it to a unified scream.


INT. HALL - (NIGHT) - SEMI-LONG SHOT

The music trails off as the orchestra rises to its
feet at the startling occurrence.


INT. HALL - (NIGHT) - SEMI-LONG SHOT

The hall is in an uproar.


INT. HALL - (NIGHT) - MEDIUM SHOT

The people   around the dignitary in his box are backing
up to give   him air. Someone is examining his wound.
He see by   his movements and a shake of his head that
he is not   dead.


INT. HALL - (NIGHT) - SEMI-CLOSEUP

Jo is still standing looking up.


INT. HALL - (NIGHT) - SEMI-LONG SHOT

From her viewpoint she sees Ben leaning over the box
in horror looking down at the dead Assassin below.
The door opens and the uniformed and plainclothes police
dash into The box.


INT. LOBBY - (NIGHT) - LONG SHOT

There is utter confusion in the lobby, police dashing
upstairs on either side.


INT. LOBBY - (NIGHT) - SEMI-LONG SHOT

We see Ben hurrying down the stairs. Jo rushes into
the lobby and, seeing Ben, dashes towards him.

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A few of the people around the lobby begin to look at
Jo and Ben. We see the Assistant Manager hurry over
to them. They are in a group of three, and although
we do not actually hear what he says, due to the hubbub,
he is obviously questioning Ben and being solicitous
to Jo.


INT. LOBBY - (NIGHT) - SEMI-CLOSEUP

We go close just in time to catch the tail-end of the
conversation. Ben is just saying:

                      BEN
          Then he didn't kill him?

                      ASSISTANT MANAGER
          Your wife saved him -- it is only a
          small flesh wound...Oh here he is
          now...you must come and meet him...don't
          be nervous...I'll get the aide to
          present you...it will be all right
              (To Woburn)
          Would you present the lady to the prime
          minister?

Suddenly their attention is drawn to something off-
screen up the stairs. The hubbub increases.


INT. LOBBY - (NIGHT) - SEMI-LONG SHOT

From their viewpoint we see the Prime Minister,
obviously not wounded sufficiently to incapacitate,
being escorted down the stairs by his Aide and other
members of the staff, including Woburn of the Special
Branch. The Prime Minister is indicating his arm and
obviously by the way he waves his hands, is deprecating
their concern about his wound. In fact he is rather
over-doing it. Just beyond them at the top of the
stairs we see 'Buchanan' standing with the Ambassador.


INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP

'Buchanan' is reassuring the Ambassador.

                      BUCHANAN
          I'll report to you fully at the Embassy,
          Your Excellency. In the meantime...


INT. LOBBY - (NIGHT) - SEMI-CLOSEUP

The manager is leading Ben and Jo across to the foot
of the stairs. They are reluctant but he insists. As
the CAMERA PANS them over they meet the group at the
bottom at the stairs. The manager calls out to Mr.
Woburn and indicates Ben and Jo.

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INT. LOBBY STAIRS - (NIGHT) - CLOSEUP

Woburn is a little non-plussed.  He leans over to one
of the Prime Minister's Aides.  The latter's face lights
up. He leans over and whispers  something to the Prime
Minister. The Prime Minister is  all smiles.


INT. LOBBY - (NIGHT) - MEDIUM SHOT

Woburn steps down and introduces Ben and Jo to the
Prime Minister's Aide.

                      WOBURN
          Mr. Prime Minister, this is the lady
          who --

The Prime Minister interrupts enthusiastically.

                      PRIME MINISTER
          My dear lady, I shall be for ever in
          your debt.

                      WOBURN
          And this is her husband --

The Prime Minister interrupts again, less
enthusiastically.

                      PRIME MINISTER
          A pleasure, my dear sir...
              (He turns to Jo)
          I trust you will permit me to wait
          upon you tomorrow and to express the
          depth of my gratitude.

                       JO
              (Weakly)
          It wasn't -- it wasn't --

                      PRIME MINISTER
              (Gallantly)
          Oh but it was, my dear lady.

There is an awkward pause.  The Prime Minister collects
himself and turns to move on out of the hall, the police
making a passageway for him through the crowd. We see
the Ambassador hurrying into the picture and moving
across the screen quickly to follow the Prime Minister.


INT. LOBBY - (NIGHT) - SEMI-CLOSEUP

Ben and Jo stand for a moment not knowing what to do
or where to go next. Woburn standing with Ben and Jo.
They look up and see Buchanan.

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                       WOBURN
          I think Mr. Buchanan would like to
          talk to you.


INT. LOBBY - (NIGHT) - SEMI-LONG SHOT

From their viewpoint a grim 'Buchanan' is standing at
the top of the stairs.


INT. LOBBY STAIRS - (NIGHT) - SEMI-CLOSEUP

The CAMERA PANS Ben and Jo up the stairs towards
'Buchanan'. They increase their pace towards him.


INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP

When they reach him they have only one thought in their
minds to ask him.

                       JO
              (Wildly)
          Where's our boy?   Where's Hank?

                      BUCHANAN
              (quietly)
          We can talk if you'll come in here.

The CAMERA PANS the three across the top landing and
to the doors of the 'Green Room' There are various
police standing about and some of Special Branch men
can be seen inside the room. 'Buchanan' steps aside
too allow Jo to enter. Then he and Ben follow her in.
The door closes behind them.


INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT

The three of them enter the 'Green Room', generally
used by the principal Artistes appearing at Royal Albert
Hall. Buchanan nods to two Special Branch men who are
standing about in case they are needed. The room is
informal containing arm chairs, a sofa and a number of
small tables. Jo sits down wearily into the nearest
chair. Ben remains standing, Buchanan takes a seat in
a chair near a telephone, he looks up at Ben as if he
expects him to say something. Ben responds to the
look.

                       BUCHANAN
              (Coldly)
          So you both know the time and place
          all along.

                      BEN
              (Roughly)
          Don't be a fool.

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                      BUCHANAN
          An odd coincidence -- both of you
          turning up here.

                       BEN
              (Coldly)
          Too bad you didn't contact your
          assistant. He sent us both here.

                      BUCHANAN
              (Quickly)
          I beg your pardon.

                      BEN
          You see, we finally needed that help
          you offered. We still need it.

                      JO
              (Urgently)
          Yes, Mr. Buchanan.     We still need it.

The door opens and another member of the Special Branch
enters.

                      DETECTIVE
          Sir?

Buchanan nods to him to speak.

                      DETECTIVE
          We've questioned the woman. Said she
          bought a ticket that happened to place
          her in the same box with the man that
          did the shooting. Doesn't know anything --
          but if she does, she's not talking.

                      BUCHANAN
          I'll see her later.

                      DETECTIVE
          Very good, sir.

The Detective exits as Ben sits down dejectedly in a
chair.

                       BUCHANAN
              (Gently)
          Please tell me everything, now.
          Everything.
              (go turns to Jo)
          There's still plenty of room for hope,
          Mrs. McKenna...


INT. EMBASSY - (NIGHT) - MED. SHOT

A high CAMERA shows us a large hallway and ornate
ballroom.

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As yet the room is about quarter filled and various
guests of the Diplomatic Corps and others are gradually
adding to the group. The CAMERA DOLLIES DOWN over
them until it reaches slightly open doorway. Peering
cautiously through we see the face of Drayton.


INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT

On the other side of the doorway is Drayton and his
wife. She is pacing nervously behind him. A footman
comes up to them and announces:

                         FOOTMAN
             His Excellency will see you now.

Drayton motions to his wife and the CAMERA PANS them
after the footman across a small hallway. He is the
very same footman we saw among the group of servants
who were herded out of the kitchen. He opens a door
in front of the Draytons -- they enter.


INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT

Standing in front of a fireplace, above which is an
oil painting of the Prime Minister, is the Ambassador
whom we saw at the Albert Hall. He is on the telephone.

                         AMBASSADOR
             Yes...yes...I see. Well if the woman
             won't talk, she won't talk and that's
             that, I suppose. All right.


INT. EMBASSY - (NIGHT) - MED. CLOSE SHOT

Mrs. Drayton closes the door behind the two as Drayton
advances towards the Ambassador with an easy manner,
the CAMERA PANNING him.

                          DRAYTON
                 (Easily)
             Excuse me sir, I have a lot to explain
             to you -- something very unusual has
             happened. I must also have the money
             to pay our French marksman.

                         AMBASSADOR
                 (Almost casually)
             Wouldn't it be superfluous, considering
             that he's dead?

Drayton and his wife stare mutely at the Ambassador.
They are staggered at this news.

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                      AMBASSADOR
          His aim wasn't quite as good as you
          led me to expect. The target merely
          received a slight flesh wound in the
          arm. Worse than useless.

Drayton still stares, petrified, at the Ambassador.

                      AMBASSADOR
          Then your French friend panicked, and
          made a fatal crash -- landing on the
          floor of the Albert Hall.

                       DRAYTON
              (Blustering weakly)
          I don't see how you can hold me
          responsible. He was most warmly
          recommended by our people in
          Marrakesh...

The Ambassador now begins to get really nasty.

                      AMBASSADOR
          I'm glad you're able to treat the matter
          so lightly. I am holding a reception
          here this evening. In a few minutes,
          I have to welcome our Prime Minister
          as my guest of honor -- when I hope
          and expected that he would be totally
          unable to attend. That amuses you, no
          doubt?

                       DRAYTON
              (Feebly)
          I don't know what to say ...

                      AMBASSADOR
              (Brutally)
          No. But I do. You've muddled
          everything from the start. Kidnapping
          that child in Marrakesh...Don't you
          realize that Americans dislike having
          their children kidnapped?

                       DRAYTON
              (Trying to keep his
               end up)
          How else could I make sure the American
          would hold his tongue?

                      AMBASSADOR
              (Ignoring this)
          And then, to crown it all, you get
          cold feet and come running along here
          to hide -- and bring the child with
          you: Don't you see what you've done to
          the diplomatic status of this Embassy?

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                       DRAYTON
              (Weakly)
          I didn't think...I only thought...

                      AMBASSADOR
              (Staccato)
          How are you going to get the child out
          of here, eh? Eh? Eh? Eh?

                      DRAYTON
              (Struggling for
               self-confidence)
          There's no difficulty about that,
          surely? The car --

                      AMBASSADOR
              (Interrupting)
          With plain-clothes detectives planted
          right round this building?
              (Wryly)
          You English intellectuals will be the
          death of us all.

                      DRAYTON
              (Desperate)
          I'll think of some method.   Just give
          me time....

                       AMBASSADOR
              (He snorts
                Contemptuously)
          Time!

The Ambassador paces a moment, suppressing his rage,
and then he stops and looks at Drayton as if thinking
about something.

                      AMBASSADOR
          I want the child removed from this
          Embassy, and removed in such a way
          that he won't be able to say any more
          where he has been tonight.

                      MRS. DRAYTON
          Oh, no!

The Ambassador pauses and looks up at her in such a
manner that she almost shrinks. She tries to say
something, but no words come out of her half-open mouth.
Drayton, however, answers the Ambassador with horrible
servility.

                      DRAYTON
          Right, I'll see to it..

Lucy Drayton looks at her husband with loathing. There
is a polite tap on the door. The Ambassador looks up.

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                           AMBASSADOR
          Come in.

The door opens and a butler enters.

                      BUTLER
          Your Excellency, the Princess should
          be arriving at any moment.

The Ambassador braces himself, his       chest swells out a
little, h assumes a set smile and       strides from the
room. Just at this moment we hear        a String Orchestra
in the distance strike up some gay       waltz music. The
Ambassador goes out of the door.        Mrs. Drayton is
looking down at the floor.


INT. GREEN ROOM - (NIGHT) - MEDIUM SHOT

Ben is talking.    Buchanan is listening carefully.

                      BEN
          ...recognized him, and he recognized
          me. So he jumped for it. And that is
          all.

                       BUCHANAN
              (Slowly)
          Trying to liquidate one of their own
          big-shots. I wish they'd stick to
          their usual custom, and do it in their
          own country...

At this moment the phone rings. Woburn, who is now re-
placing the two Special Branch men in the room, picks
up the telephone.

                       WOBURN
          Hello.
              (He listens for a
               moment)
          Hold on.

He turns the telephone over to Buchanan.

                      BUCHANAN
              (To phone)
          Buchanan speaking.

Buchanan listens for a while, his face changing as he
listens with increased interest.

                           BUCHANAN
          Right.    Bye.

Buchanan hangs up, turns to Woburn, but half speaks in
the direction of the McKenna's.

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                      BUCHANAN
          The Draytons are at the Embassy.

                      JO
          How do you know?

                      BUCHANAN
          We have ways of finding out -- from
          the inside.

Ben almost shouts as he gets up from his chair.

                      BEN
          If the Draytons are at the Embassy,
          Hank has to be there too!

Buchanan turns his attention back to Ben.

                       BUCHANAN
              (Grimly)
          You're probably right.   But we can do
          nothing.

                      BEN
          Why can't you?

                      BUCHANAN
          Every Embassy in a foreign country has
          extra-territorial rights.

                      BEN
          What does that mean in common language?

                      BUCHANAN
          As far as we're concerned, this Embassy
          stands on foreign soil.

                      BEN
          Does that mean they can steal children
          and get away with it?

                      BUCHANAN
          We could have the Foreign Office serve
          a writ on the Ambassador.

He breaks off and speaks apologetically as If it were
I parenthesis.

                      BUCHANAN
          ...You know, I'm not responsible for
          the complications of International
          Law...

He resumes:

                      BUCHANAN
          ...If only we had positive proof that
          the boy really is in there.

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As they are talking Ben is thinking hard, obviously
hatching some scheme in his mind.

                      BEN
          What's the telephone number of this
          Embassy.

Both of the men looking at Ben a moment without
answering and then Woburn speaks first.

                      WONBURN
          Grosvenor 0144.

                      JO
          What are you thinking about, Ben?

Without answering Jo, Ben picks up the 'phone.

                      BEN
          Grosvenor 0144.

Ben looks at the group briefly.   Buchanan looks at Ben
with keen curiosity.

                      BEN
          I'm going to speak to the Minister
          himself.

Buchanan looks intrigued and surprised. We hear the
answering click on the other end of the phone.

                      BEN
          May I speak to the Prime Minister,
          please?

There is a pause and the distorted sound of a voice
mumbling on the other end of the phone. Ben interrupts
the question.

                      BEN
          Tell him the lady who saved his life
          wants to speak to him. Its important.

The voice on the other end of the phone mumbles briefly,
and there is silent. Ben has a satisfied look on his
face, as he hands the receiver to Jo. She seems
frightened.

                      JO
          What am I supposed to say, Ben? I
          don't know --
              (She trails off)
          Ben, half looking at Woburn and
          Buchanan, gives her instructions.

                      BFN
          He said he wanted to visit us soon so
          he could thank you.
                      (MORE)

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                      BFN (CONT'D)
          Well, tell him we'd like to see him
          tonight, at the Embassy, because we
          have to leave London tomorrow.


INT. EMBASSY - (NIGHT) - CLOSE SHOT

In the Ambassador's study underneath the oil painting
of himself, the Prime Minister is escorted to a
telephone by the butler who hands him the instrument.
Having been told who was on the other and of the line
he is all smiles as he greets Jo.

                      PRIME MINISTER
          My dear lady...This is a charming
          surprise...

He listens to the other end of the phone, agreeably
making sounds such as "ah ha" "ah" "hum", then he
speaks, with a gracious sweep of his hand and a half
bow to the telephone.

                      PRIME MINISTER
          Delighted, delighted, delighted. The
          Ambassador, too, will be delighted.
          Any friends of mine are friends of
          his. We will drink a little toast to
          your country and to mine. Peacefully
          we will co-exist...Yes?

He looks up to admire the painting of himself on the
wall.


INT. GREEN ROOM - (NIGHT) - MEDIUM CLOSE SHOT

Jo hangs up the phone, a little surprised and still
considerably nervous.

                       JO
              (To Ben)
          He said -- all right.

LAP DISSOLVE TO:


EXT. EMBASSY - (NIGHT) - MEDIUM LONG SHOT

A taxi pulls up in the front of the large, old-fashioned
Embassy. The windows are brightly lighted, evidence
of a social occasion. Ben and Jo get out of the taxi.


EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ben pays the driver, takes Jo's arm, and they start up
the steps of the Embassy. The CAMERA PANS them.

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EXT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ben presses the doorbell. His grip on Jo's's arm slides
down to her hand. He holds it tightly.

The door opens, and a liveried man ushers them in with
gesture.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

They enter a large hallway. The liveried man closes
the door. Standing in a nearby doorway is a group of
people listening to the music of a string quartet
playing in the room beyond. Included in the group is
the Personal Aide of the Prime Minister. He sees Jo
and Ben enter, hurries over to them, smiling and eager.
The piece that the string quartet is playing ends amid
a round of polite applause. There are people rising
from their chairs and a general movement out into the
hallway.

                     AIDE
          Good even. Would you come this way,
          please? The Prime Minister is waiting
          for you.

Following the Aide, Ben and Jo squeeze through the
crowded doorway.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

The Aide leads Ben and Jo through the main room, the
CAMERA DOLLIES them. As they move through the room
people begin to notice them, first of all because they
are not dressed for the occasion -- but then the looks
seem to be admiring ones, and there is a smattering of
applause at their passage. Apparently people recognize
them. The Aide takes them to the Prime Minister, who
is just getting up from his seat of honor in the first
row.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

The Prime Minister recognizes them immediately, and
comes forward quickly to meet them.

                      PRIME MINISTER
              (Effusively)
          Good evening, good evening!

The Ambassador is behind the Prime Minister, and the
Prime Minister turns to him with enthusiasm.

                      PRIME MINISTER
          This is the charming lady who saved my
          life at the Concert!

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The Ambassador comes forward quickly, all smiles.

                      AMBASSADOR
              (Suavely)
          Madame, you saved the life of the one
          man, who is irreplaceable in our
          Country.

                      PRIME MINISTER
              (Suddenly to Jo)
          They tell me you are the famous Jo
          Conway, Madame?

                       JO
          Yes.   I'm Jo Conway.

                       PRIME MINISTER
              (To Ben)
          Do you think perhaps Madame might be
          persuaded to sing?

                      BEN
              (interrupting)
          I'm sure she would be glad to...
          wouldn't you dear?

                      JO
          Well, I don't know.     It's been some
          time...

                      PRIME MINISTER
          I beg you, Madame. A tranquil coda to
          conclude a dramatic evening!

                       JO
          All right.   I'm very flattered.

                      AMBASSADOR
              (To butler)
          Stanis would you put up some chairs
          quickly.
              (To guests)
          Ladies and gentlemen, we have with us
          tonight...Jo Conway...the famous Jo
          Conway...she has graciously consented
          to sing for us ..
              (To his wife)
          Darling would you see that the Prime
          Minister has a very good seat.

They move off to seats -- Jo is led to piano by
Ambassador. Aide crosses to Ben.

                      AIDE
          Would you like to sit down, sir?

                      BEN
          No...I'll just stand over here.

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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Discreetly, Ben moves away from the group, and over
toward a side wall, the CAMERA PANNING HIM. All eyes
are on Jo.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Jo adjusts herself at the piano. Her face seems
serious. She looks up briefly with her eyes to check
where Ben is.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The people in the hallway, realizing there is to be
more entertainment, move toward the main room.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

A tries out the keys of the Piano.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

People are finding their seats. There is coughing,
shuffling of feet, and then a gradual hush.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ben watches Jo, and at the same time seems to be lookIng
around the room, particularly toward the various exits.


INT. EMBASSY - (NIGHT) - CLOSE SHOT

Having strummed a few notes, Jo settles down and plays
the introduction to her song. We see the great
tenseness on her face, interposed with Professional
smiles, which she bestows on those nearest her, but
always the tenseness returns. As she sings, her voice
seem to be rather overpowering. It fills the whole
room with quite a volume. It almost seems out of place
that she has become so professional in such an intimate
drawing room setting.


INT. EMBASSY - (NIGHT) - FULL SHOT

Everyone in the ballroom is listening intently, and
with surprise, at her singing.

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INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The hallway, showing people crowded at the door,
listening.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The first landing on the flight of stairs above the
hallway. No one is around. Jo's voice loses some of
its volume.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

A higher stairway landing.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

A second floor corridor, deserted.    Jo's voice fading.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

A door at the end of the corridor. We now hear the
song floating up clearly, but much diminished.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

In a room on the other side of the door, Hank McKenna
is listening to the music. Hank seems a little puzzled.
Then, his face lights up and he jumps suddenly to his
feet. He runs towards the door and begins trying to
open it.

                      HANK
          That's my Mother's voice!    That's my
          Mother singing!

Mrs. Drayton is quite startled by Hank's performance.

                      MRS. DRAYTON
          Hank -- are you sure? Are you really
          sure?


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Hank turns around at the doorway, to look at Mrs.
Drayton.

                        HANK
          That's her!    I know it!

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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Mrs Drayton's face, still awed by what she has heard.

                      MRS. DRAYTON
          What is she doing here?


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Hank, a little mystified, has no answer. He walks
slowly back into the room, towards Mrs. Drayton,
listening and thinking about what he hears.


INT. EMBASSY - (NIGHT) - CLOSE SHOT

Mrs. Drayton's face shows a new and dangerous thought
coming into it. She looks down at Hank.

                      MRS. DRAYTON
          Hank? -- can you whistle that song?


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

He looks at her and nods abstractedly.

                        HANK
          I guess so.

She kneels down quickly to him.

                      MRS DRAYTON
          Then go on -- whistle it.   Whistle it
          as loud as you can.

On Hank's face comes a little understanding. He can
barely believe what she means. Then he understands.
He turns, and deliberately facing the door, starts to
whistle the song. He whistles loud and vigorously.
Mrs. Drayton stands up and moves back to a chair, as
she watches him.


INT. EMBASSY - (NIGHT) - CLOSE SHOT

Down in the ballroom, Jo is looking up anxiously as
she sings. She deliberately breaks and pauses for a
moment and softens her accompaniment. Then she hears
it -- a faint whistle coming from above, not enough
for those around to appreciate it, but loud enough for
the straining ears of Jo. She looks across the ballroom
to find Ben, and her eyes go up.

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INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Watching her, Ben understands.   He gives her the
slightest sign of agreement.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Jo continues her song with almost excitement in her
singing voice. The CAMERA passes around her as it
follows Ben as he walks along the wall slowly.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ben makes his way along the wall toward the far doorway,
which leads to the grand staircase Everyone is so intent
on listening to Jo, that his movement attracts no
attention.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

At the bottom of the service stairs in the back of the
Embassy, Drayton is standing with two men who came
with him in the car. One of them holds a short length
of rope in his hand.

                      DRAYTON
          You two wait in the mail room.   I'll
          bring him down.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ben mounts two stairs leading up to the grand staircase.
He looks about him cautiously.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

At the service stairs, Drayton goes up two stairs and
turns back to the men. He looks at his watch.

                      DRAYTON
          I won't be a minute.

He starts to move up one step.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Up in the room, Hank is bent in a chair, sobbing, Mrs.
Drayton is kneeling by him, trying to reassure him.
She stops suddenly as she hears footsteps in the
distance. She rises to her feet, and as the footsteps
grow and grow, she looks at the boy desperately, She
goes to the door, hears the steps coming nearer and
nearer. She looks across at the window.

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INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The barred window.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

She looks down at Hank almost protectively, as  the
footsteps get still nearer. She goes to Hank,   kneels
down again and clutches the boy to her as the  footsteps
stop outside the door. She looks at the door,   with
horror.


INT. EMBASSY - (NIGHT) - CLOSE SHOT

The door handle turns quietly, but firmly.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Mrs. Drayton lets out a piercing scream. Hank's head
jerks up. The door is heard bursting open.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Ban stands in the doorway. He instantly rushes toward
Hank, the CAMERA PANNING him. Hank leaps to his feet,
and the two of them come together. No clear words are
spoken, Just muffled sounds of words as they hug each
other. Then they release each other, and turn to look
at Mrs. Drayton. She is standing, staring at the door
with horror. Ben turns quickly to look.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Framed in the doorway is Drayton. Deftly he reaches
into his pocket and produces a small automatic.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

For a moment the group stands there in silence.    Then
Ben speaks.

                      BEN
          I don't think you want to start any
          shooting, Drayton -- with all those
          people downstairs, and police outside.

Drayton looks at him without saying anything, but the
gun doesn't lower.

Mrs. Drayton addresses her husband fiercely.

                      MRS. DRAYTON
          You've got to let the boy go!

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                      DRAYTON
          Precisely my own notion, my dear.

He moves forward on   the group, gun poised. Hank
clutches his father   in fright, and Ben tenses himself,
prepared for battle   if necessary. Mrs. Drayton stares
at her husband with   some defiance. Drayton addresses
Ben amiably.

                      DRAYTON
          I'm sure you'll ba sensible, and help
          me out of here?

                      BEN
          Don't ask me for help, you miserable....


INT. EMBASSY - (NIGHT) - CLOSE SHOT

Drayton seems unperturbed by Ben's refusal. He leans
down closer to the boy, and addresses him directly.

                      DRAYTON
          You wouldn't want your father to get
          hurt, would you?

Hank looks up towards his father.    Drayton looks up.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Drayton's intentions are unmistakable. Ben looks down
at him with a hatred that is almost ready to explode,
but he has sense enough to understand Drayton's meaning.
Drayton straightens up, a slight smile on his face.
He slips the gun into his pocket, but still holds it.

                       DRAYTON
          We'll go down the stairs   together in a
          casual sort of way. Then    we'll stroll
          along to the nearest taxi   rank. I
          trust there won't be any   emotional
          outbursts...

                       BEN
              (Interrupting)
          There won't be. Hank -- don't say or
          do anything.

Hank just nods.   He's too frightened to talk.

                         DRAYTON
          Shall we go?

Ben starts for the door with Hank, and Drayton moves
into the other side of Hank. As they go through the
door, Mrs. Drayton makes an instinctive step forward,
if to attack Drayton from the rear, but the sight of
Hank in danger stops her.

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INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The trio, Hank in the center, slowly strolls down the
corridor toward the main stairway. The sound of Jo
Conway's voice can be heard from below.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

SHOOTING FROM BELOW we see the big staircase empty for
a moment, then the three appear at the top.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

A closer view shows the terrified, tear-stained face
of Hank, and the tense features of Ben. Drayton seems
carefully alert. The CAMERA MOVES DOWNWARD in front
of them as they descend. The music coming from the
ballroom ceases, as Jo finishes her second song. There
is the sound of great applause. The three are about a
dozen steps from the bottom, when suddenly Ben shoots
out a hard and pushes Drayton forward. Taken by
surprise, he stumbles, and falls down the stairs
clumsily. Clutching for support with his hands, the
gun goes off in his pocket, and he remains in a crumpled
heap at the bottom of the stairs.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

The applause having died out, the shot is heard loud,
and people pour out of the ballroom into the hallway.
They rush for the stairway, and Drayton's body, led by
the Ambassador and the Prime Minister.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

As people crowd excitedly around the body, Ben is
hurrying Hank away from the scene, the CAMERA PANS
them.


INT. EMBASSY - (NIGHT) - MEDIUM SHOT

Mrs. Drayton stops half-way down the stairway, and
looks down in shook at the sight of her dead husband.


INT. EMBASSY - (NIGHT) - MEDIUM CLOSE SHOT

Inside the ballroom, which is emptying due to the rush
of people to the corridor, Jo has risen from the piano
and is almost afraid to go out and see what has
happened. In a moment, Ben and the boy appear in  the
doorway. Hank rushes across the ballroom to his  mother,
who moves quickly when she sees him.

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                         HANK
           Mummy.

                         JO
           Hank.

They embrace.

QUICK LAP DISSOLVE TO:


INT. CLARIDGE'S SUITE - (NIGHT) - MEDIUM SHOT

Inside the McKenna's hotel room, the Parnells and the
two woman guests are sprawled out in ungainly attitudes
of sleep. Val is snoring pleasantly. The door of the
room opens and the three McKennas appear. The sound
awakes Val. He peers at them sleepily and struggles
to a sitting position. Ben closes the door.

                       BEN
           I'm sorry we were gone so long, Val,
           but we had to go and pick up Hank.

Ben's voice awakens the other women. They sit up, and
stare with bewilderment at the smiling trio of Ben, Jo
and Hank.

FADE OUT

                              THE END


Man Who Knew Too Much, The



Writers :   John Michael Hayes
Genres :   Adventure  Drama  Thriller


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