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