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