Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 7
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
Ben opens the door, and Jo follows him half-way into
the corridor. The voices of the others are half-heard
over Jo and Ben's sotto voce conversation.
JAN
(To Cindy)
Maybe he's tired. Maybe he'd like to
sleep, or something. Maybe he has
ulcers and can't eat.
J0
Ben, please ...
(She takes his am)
BEN
It has to be done, Jo.
J0
I Want to go with you.
CINDY
Jan, how somebody so graceful can have
such an awkward sense of diplomacy,
I'll never know.
BEN
You can't. I won't disappear. Promise.
In the background, the four visitors, while not actually
eavesdropping, are somewhat subdued by the attitude of
the McKennas toward each other.
JO
Ben, for the last time, please let me
go.
He pats her affectionately on the cheek.
BEN
Two people are much easier to follow
than one. We don't want Buchanan's
men on our tracks. Or the other people,
either. I'm going out by the service
entrance --
He turns and goes quickly. She watches him briefly,
then turns back into the room. She tries to assume a
more pleasant face...
LAP DISSOLVE TO:
EXT. LONDON STREET - (DAY) - MEDIUM SHOT
In a quiet street off Camden Town we see Ben, alight
and pay off a London taxi. The taxi does a U-turn and
disappears around a corner. Ben starts to walk TOWARD
THE CAMERA. He glances at the piece of paper from,
his pocket bearing Ambrose Chappell's address. He is
completely alone in a deserted street -- so much so
that his footsteps click on the pavement and create
the feeling of an echo. As he walks he listens to the
echo ind for a moment wonders if it is an echo. He
slows up and comes to a stop close to the CAMERA.
There is complete silence -- only the faint distant
London traffic noises.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
He resumes his walk, the CAMERA DOLLYING HIM. The
echo starts again. He slows up again and stops -- but
this time the echo continues. He becomes tense, looks
around in alarm.
EXT. LONDON STREET - (DAY) - MEDIUM LONG SHOT
The CAMERA PANS the streets from Ben's viewpoint.
There is no sign of anyone.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben resumes his walk, the CAMERA DOLLYING him. He
stops suddenly, as though to trap the echo -- but the
echo comes on after him. Slightly scared, he now
resumes his walk with a more hurried pace. The echo
gets louder. He glances quickly over his shoulder
again.
EXT. LONDON STREET - (DAY) - MEDIUM SHOT
A man is following him, at about the same pace. He is
rather well dressed, and appears nonchalant.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben continues walking, and after a bit cautiously
glances behind him.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
The same man is following behind.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben glances down at the paper in his hand, and looks
up trying to locate the right house number as he walks.
The street has a mixture of houses, yards, an odd dirty-
looking store or two. Ben's expression indicates that
he would like to make his destination before the man
following catches up with him. Then he changes his
mind. He deliberately slows up.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Showing Ben as he walks slowly along, listening to the
man approaching behind him, listening with the back of
his head, and with his whole body. The man walking
behind is aware of Ben. He begins staring at him.
Ben instinctively clenches his right hand into a fist
of preparedness. As the man closes in Ben we see that
he is rather elderly, sixty years old, perhaps. As
the man reaches Ben, and passes him, Ben's follows him
and study him.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben watches the man go on ahead of him at a faster
pace. Suddenly the man turns a sharp right into
doorway, and is gone. Ben glances at the paper in his
hand. He stops and looks up in astonishment.
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
The little side doorway in which the elderly man turned.
Above it is an old painted sign reading "AMBROSE
CHAPPELL - TAXIDERMIST."
EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
Ben hesitates briefly in thought, puts the piece of
paper into his pocket, then makes up his mind and goes
through the doorway.
EXT. SMALL YARD - (DAY) - CLOSE SHOT
Ben, rather cautiously, makes his way across a small
and somewhat dreary-looking yard, and comes to face a
low building at the end of which is a kind of small
factory. The door of the factory is just closing as
he makes his way across.
EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
Ben pauses at the door to the factory, and looks down
at the pushbutton bell. There is a window next to the
door. Ben bends and peers through the window.
EXT. FACTORY WINDOW - (DAY) - CLOSE SHOT
Staring through the other side of the window is the
snarling, realistic head of a tiger.
EXT. SMALL YARD - (DAY) - MEDIUM CLOSE SHOT
Startled, Ben recoils instinctively. Then he turns
back to the door, takes a deep breath, braces himself,
and presses the doorbell. The door is soon opened by
a young workman in shirtsleeves and apron.
WORKMAN
Yes?
BEN
I...I'd like to speak to Mr. Ambrose
Chappell, please.
WORKMAN
Come in .
He opens the door, and Ben enters.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Ben follows the workman into the shop. It is cluttered
with stuffed animals of every size and shape imaginable.
Lions, tigers, elephant heads, swordfish, crocodiles --
everything. Ben stares around at what he sees. A
number of workmen are busy mounting, stuffing, and
preparing animals for display. The workmen who let
him in calls to someone.
WORKMAN
A sent to see you, sir.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
A man, about eighty years old, turns from inspecting a
piece of work, and comes forward to Ben. He is a thin,
gracious, gentle sort of creature.
CHAPPELL SR.
Good afternoon, Sir. I am Ambrose
Chappell.
Ben studies the man briefly. His face shows disbelief
that such a man could be put of an assassination plot.
Chappell stops in front of him, waits a brief moment.
CHAPPELL SR.
What can I do for you?
BEN
Well you see, I uh...
There is a twinkle in the old man's eye.
CHAPPELL SR.
You gave me your name that might be a
start.
BEN
Oh, of course, McKenna. Doctor Benjamin
McKenna, I called you.
CHAPPELL SR.
(After a moment)
Oh, yes, yes.
BEN
You are Ambrose Chappell?
CHAPPELL SR.
(Smiles)
I have been Ambrose Chappell for nearby
seventy-one years.
(He winks)
But I think I understand your problem.
BEN
You do?
CHAPPELL SR
Certainly. It happens all the time.
You expected someone else -- Just a
moment.
(He turns and calls
out)
Ambrose!
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
From behind a doorway on the far side a man emerge s
in response to the call. He is somewhat younger than
the first Ambrose Chappell, but not by much. He is
the fifty-year-old gentleman who had been apparently
following Ben on the street. The CAMERA PANS him over
following to his father, and Ben.
CHAPPELL SR.
I think this gentleman wants to talk
to us.
CHAPPELL JR.
Now, father. Now why don't you go and
have a nice rest?
CHAPPELL SR.
Humph! I have centuries of rest ahead
of me.
(Nods to Ben)
Good day to you, sir.
Ben nods in return, and the elder Chappell returns to
whatever he was doing when Ben entered.
CHAPPELL JR.
Now what can I do for you?
Ben turns his attention back to the son. He is now a
little more in command of himself.
BEN
I'm Doctor Mckenna.
(He waits, no
reaction)
Does the name mean anything to you?
Chappell Jr. thinks for a moment. The name obviously
doesn't register.
CHAPPELL
I don't think so.
INT. TAXIDERMY SHOP - (DAY) - MED. SHOT
A widor angle of the shop. Workmen pause in their
work to look in the direction of Ben with some
curiosity.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Chappell Jr. nods his head, but waits with a deadpan
expression for Ben to continue. After a pause, Ben
does.
BEN
You have no idea why I came here?
CHAPPELL JR.
My dear sir, I haven't the faintest
idea!
Ben's expression shows that he feels Chappell is putting
up a thorough bluff, but he still goes on.
BEN
I was given your name by someone I
happened to meet in Marrakesh.
Chappel Jr.'s expression doesn't change, except for a
slightly raised eyebrow.
CHAPPELL JR.
Oh, yes?
Ben now has the feeling he's on to the right man.
BEN
I suppose you've heard of him. Louis
Bernard. A Frenchman.
CHAPPELL JR.
Louis Bernard?
He seems to be turning the name over in his mind. Ben
turns to at the workmen around them.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
The workmen half-listening, return to their work on
the various animals. They are a bit self-conscious at
being observed eavesdropping.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Ben turns back to Chappell Jr. He moves in a little
closer, and drops his voice somewhat. Chappell Jr.
watches him warily.
BEN
Let's stop fencing with words, huh?
Bernard told me to come here, just
before he died.
CHAPPELL JR.
This man is...dead?
BEN
You know it as well as I do. Now I
came to make a business proposition.
And I don't see how you can turn it
down.
Ambrose Chappell looks over to a man stuffing animal's
corpse.
CHAPPEEL JR.
What did you have in mind?
BEN
You want to talk here?
CHAPPELL JR.
Certainly. We have no secrets from
our employees.
BEN
Okay. First of all, I haven't uttered
one word of what Bernard told to before
he died. And I won't. Frankly I'm
not interested in political intrigue,
and I don't care who it is you're going
to kill here in London. All I want is
that boy, and I'll get on the first
plane for America.
When Ben begins mentioning a killing, Chappell Jr's
face takes on a look of alarm, almost panic. He moves
back from Ben, watching him like a deadly cobra. Ben,
however, now convinced that he has the right man in
front of him, moves in on him to finish his proposition.
BEN
Now that isn't all. If money will do
anything...
INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
Chappell Jr. now seems thoroughly frightened. He moves
back from Ben, almost stumbling. He turns, goes back
to the door of a small office, in which is now standing
Chappell Sr.
INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT
Chappell Sr. leans closer to the open door, as the son
speaks urgently and sotto Voce to him.
CHAPPELL JR.
Father -- phone the police! Quick!
INT. TAXIDERMY SHOP - (DAY) - MED. CLOSE SHOT
Chappell Jr. now turns back toward Ben, trying to assume
a pleasant and casual manner.
CHAPPELL JR.
Now, sir -- shall we go into this a
little more carefully? You said
something about money?
Workmen are pausing in their work to look at the pair,
wondering at the mention of money.
BEN
You told him to call the police. Now
don't try to bluff me like that!
He reaches out quickly, grabs Chappell jr. by the label.
The man gives an involuntary cry of fear.
INT. TAXIDERMY SHOP - (DAY) - CLOSE SHOT
Chappell Sr. is on the phone.
CHAPPELL SR.
This is Ambrose Chappell's -- Burdett
Street. Will you send someone round
at once?
(Glancing toward
him)
There's is an extraordinary individual
here, and we really can't cope with
him.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Chappell Jr. struggles to get loose from Ben's grasp.
CHAPPELL JR.
Let me go!
BEN
You don't know Louis Bernard?
CHAPPELL JR.
I've never heard of him.
BEN
And you don't have any idea what went
on in Marrakesh yesterday, or where my
boy is?
CHAPPELL JR.
No, of course not! Edgar! William!
Davis! Help!
Ben lets go of Chappell Jr., and turns in confusion.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM SHOT
The workmen drop their tools, and move in on Ben quickly
and threateningly. Even Chappell Sr. comes out of the
office in alarm. Ben backs away toward the door.
BEN
Now just a minute. Take it easy. I
obviously got the wrong place. Now
stay away from me.
But they don't. They come on. Ben looks quickly around
for a weapon, or an exit. He sees the door, and moves
quickly toward it, but the workmen are faster than he
is. Two of them bar the exit. Ben tries to shove
them out of the way and get through the door. The men
grapple with him. Chappell Jr., himself, and another
workman rush in, endeavoring to subdue Ben. A silent,
but furious struggle ensues. It is now a complete
melee between the four men and Ben as they try to hold
him down.
CHAPPELL JR.
Hold him...hold him...till the police
come.
Ben breaks loose temporarily, trying to find another
escape. He realizes that the time for talking is past.
But as fast as he is, the men are on him again. They
twist and struggle through the stuffed and mounted
animals. There is a melange of lion heads, swordfish,
and other partially completed jobs. Sometimes, Ben in
his struggles comes face to face with the angry head
of a bared-teeth lion. Ambrose Chappell Jr. himself
at one point finds the swordfish a very painful object
somewhere about his anatomy. Ben eventually wrenches
himself free.
INT. TAXIDERMY SHOP - (DAY) - MEDIUM CLOSE SHOT
Shooting toward the doorway. The confusion gives him
a free moment. He makes the door, twists it open, and
dashes out into the yard. Suddenly he turns back and
dashes in again. The man retreat in fear. Ben picks
up his fallen hat and dashes out again.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
The five persons in the McKenna suits are sitting
around. All but Jo have drinks in their hands. She
seems to be absorbed in her own thoughts, but Val
Parnell is holding forth, oblivious at first to her
disinterest.
VAL
...and back at our flat, after the
first night, Chris had the nerve to
suggest that the sketch where Bud
Flanagan comes in dressed up as the
Countess was unconvincing ... that no
matter how well-got-up Bud Flanagan
was, even if he were dressed by
Hartnell, nobody would believe he was
an aristocrat. So I said, 'Look Chris,
why don't you cut William Hickey's
column out of the paper?! --
He stops talking, as he looks across at the silent Jo.
Helen and the others, follow his look. They watch her
sympathetically. Jo seems totally unaware that anyone
else is in the room, staring, into thin air, absorbed
with thoughts of her own.
VAL
(Softly)
Jo. Jo.
JO
Huh?
VAL
What's become of that unpredictable
husband of yours?
(Consults his watch)
He's been gone over an hour.
She doesn't answer, so he goes on.
VAL
Who was it he went to see? Some man
named...
(Looks at group for
help)
...what was it...Church?
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
Slowly Jo's expression begins to chance to one of
interest. We see a flood of thoughts expressed in her
face. She looks across at Val and replies:
JO
No. No...you mean Chappell!
She rises from her chair with some excitement. She
murmurs, almost to herself:
JO
It's not a man, it's a place! Ambrose
Chapel! Ambrose Chapel! It has to
be!
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
The others watch Jo, puzzled at her strange performance.
No one dares speak until she finds out what it means.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
With some excitement, Jo addresses Val Parnell.
J0
Do they list chapels in the London
Telephone Directory?
VAL
Let's a take a look.
He crosses to the telephone desk, picks up telephone
directory and opens it.
INT. SAVOY SUITE - (DAY)
INSERT of telephone directory - Val's finger lands on
'Ambrose Chapel, 17 Ambrose Street, West Two.'
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
VAL
(Excitedly)
Here it is, Ambrose Chapel, 17 Ambrose
Street, West Two.
He turns triumphantly to Jo. Without hesitation she
crosses to a table, takes her purse. She hurries to
the door without a word; then turns to them.
JO
I'm very sorry.
(MORE)
JO (CONT'D)
But have another drink -- and please
explain to Ben when he comes in.
She hurries out the door. The others are left standing,
looking at each other. Val and Helen speak almost at
the same time, asking each other the same question.
VAL AND HELEN
Explain what?
DISSOLVE:
EXT. AMBROSE STREET - (DAY) - LONG SHOT
Jo hurrying down street towards chapel seen in b.g.
EXT. AMBROSE STREET - DAY - MEDIUM SHOT
Jo enters and stares off at the chapel.
EXT. AMBROSE STREET - (DAY) - MEDIUM LONG SHOT
Of chapel as seen by Jo.
EXT. AMBROSE STREET - (DAY) - CLOSE SHOT
Jo wondering if this really is the right place. She
decides she had better phone Ben and turns out of SHOT.
DISSOLVE:
INT. SAVOY SUITE - MEDIUM SHOT - (DAY)
The Parnell party are still wondering what all this is
about.
CINDY
There's something weird going on around
here that I can't follow.
VAL
Let's see if we can figure this out.
First of all there was a man named to
uh...
HELEN
Ambrose Chapel.
CINDY
And Ben rushed off to see him.
HELEN
Then Jo said it wasn't a man, but a
place and she dashed off.
JAN
Don't mention it again or I might dash
off.
CINDY
What a temptation.
HELEN
Can you fathom it, Val?
Val paces thoughtfully, and they watch him.
VAL
It must be a now American gag. I'll
ask Danny about it.
At that moment the door suddenly opens. Everyone turns
in surprise. Ben is standing in the doorway. He comes
slowly into the room, closing the door. He is very
tired looking, and disheveled. They watch him enter
silently.
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Too tired to say anything at first, Ben drops into the
first chair he comes to. Then he looks up.
BEN
Where's Jo?
Val walks over to him, hands him a ready-made drink.
Ben takes it but doesn't have time to drink when Val
speaks.
VAL
She's just gone off to Ambrose Chapel.
Immediately Ben puts down the drink.
BEN
But -- but, that's where I've been...
He stands up.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
VAL
It isn't your Ambrose Chapel!
Ben looks at him questioningly.
HELEN
It isn't a he! It's an it! A building.
CINDY
She's just gone there.
INT. SAVOY SUITE - (DAY) - MEDIUM CLOSE SHOT
Ben studies the group trying to appraise in his mind
what they have said.
BEN
Where is it! What's the address?
Val crosses to find the phone book on the desk and
looks for address.
VAL
17 Ambrose Street, Bayswater.
Ben moves quickly to the door and goes out into corridor
as telephone rings. Jan answers it. She puts down
the receiver and shouts out to Ben.
JAN
Doctor! Doctor! It's Jo! Come back --
it's Jo.
Ben comes quickly into the room pushing his way through
everyone.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
He goes immediately to the phone. Jan hands Ben the
receiver.
BEN
Jo?
INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
Jo is overjoyed to hear Ben's voice.
JO
Ben -- Ben, darling...what happened --
did you find anything?
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
BEN
No -- I drew a complete blank.
INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
JO
Then it must be the chapel - and I've
found it, Ben. It's just a short way
from here. It was a crazy thing to do --
INT. SAVOY SUITE - (DAY) - CLOSE SHOT
BEN
(Interrupting
hurriedly)
I have the address, Jo. Now stay there
until I get there...and don't do
anything!
INT. LONDON CALL BOX - (DAY) - CLOSE SHOT
Jo loses some of her anxiety.
JO
I'll meet you outside.
She hangs up, sighs and starts out of the phone booth.
INT. SAVOY SUITE - (DAY) - MEDIUM SHOT
Ben hangs up the phone and starts for the door. He
looks back at the group as he pauses in doorway.
BEN
Will you stick around? We'll be back
as soon as we can. I don't know how
to thank you.
He goes out through the door closing it. Everyone
stands staring at the door.
...continue to part 8
