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
