Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 9
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
...continue to part 10
