Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 5
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.
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!
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.
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.
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!
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...
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.
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.
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.
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.
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...?
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.
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?
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?
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.
...continue to part 6
