Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 6
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 -- 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. 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? 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. 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. 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? 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. 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. 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. 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. 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. 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. 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. 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. 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.
...continue to part 7