Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - page 1
THE MAN WHO KNEW TOO MUCH
An Original Screenplay
by
John Michael Hayes
FINAL DRAFT
May 7, 1955
MAIN TITLES
INT. BUS - (DAY) - MEDIUM CLOSE SHOT
Mr. and Mrs. Ben McKenna at the back of a motor coach
with their seven year old son, HANK. We do not see
much of the background which is receding from us.
THEY are studying the countryside from the windows at
each side of them. The CAMERA PULLS BACK down the
aisle of the bus revealing the other passengers. They
are a surprise, consisting of Arab men and women, with
an occasional civilian and French Army officer. The
CAMERA STOPS at the end of the bus.
EXT. BUS - (DAY) - MED. CLOSE SHOT
The French driver and a couple of his companions, Arab.
EXT. BUS - (DAY) - MED. CLOSE SHOT
The CAMERA MOVES BACK TO THE REAR OF THE BUS,
photographing the side windows. At the bottom of the
screen is the destination board. By the time we get
opposite the window out of which the McKennas are
looking, we have been able to read the words "CASABLANCA --
MARRAKESH."
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben and Hank are looking intently out the window.
Jo's interest seems only casual.
HANK
Daddy -- you sure I never been to Africa
before? It looks familiar.
INT. BUS (DAY) - MED. LONG SHOT
Shooting through the McKenna's window at the landscape
moving by. It is semiarid desert. A line of blue-
grey mountains in the distant.
INT. BUS - (DAY) - MED. CLOSE SHOT
Jo studies the landscape.
JO
We saw the same scenery last summer
driving to Las Vegas.
Hank turns, and smiles slightly.
HANK
Oh sure. Where daddy lost all that
money at the cr --
BEN
Hank!
HANK
-- table.
Ben gives his wife a look of exasperation, She smiles
at him.
HANK
Hey look - a camel!
INT. BUS - (DAY) - MED. LONG SHOT
Shooting through the McKenna's window. The bus is
entering a small Arab village, Squat stone and plaster
building, narrow streets, a few carts, donkeys and one
camel. A few pedestrians, mostly Arab men, few women.
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben puts his hand on Hank's shoulder.
JO
This isn't really Africa, Hank. It's
French Morocco.
BEN
(To her)
Northern Africa.
HANK
Still seems like Las Vegas.
BEN
(Slightly indignant)
We're only a hundred miles north of
the Sahara Desert!
INT. BUS - (DAY) - MED. LONG SHOT
The bus is passing through the center of the town. We
move past a few shops, everything looking drab and
meager. The sun is strong and hot.
INT. BUS - (DAY) - MED. LONG SHOT
Hank studies the scene outside. He shrugs.
HANK
I dunno. In school they called it the
Dark Continent.
(He squints)
It's twice as bright as Indianapolis!
Jo and Ban smile at Hank.
BEN
Just wait till you see Marrakesh.
HANK
Marrakesh. Sounds like a drink.
Ben runs his tongue across his lips.
BEN
You bet it does.
INT. BUS - (DAY) - MED. LONG SHOT
The bus rolls on past the Arab village into the open
desert once again. It looks parched and grim.
INT. BUS - (DAY) - MED. CLOSE SHOT
Tired of watching the sameness of the desert, Hank
grows, restless. He looks about for something to do.
Ben leans back against the seat and closes his eyes.
Jo takes a paper-bound novel out of her bag, finds her
place. Hank decides to wander down the aisle of the
bus and test its possibilities for adventure.
The CAMERA DOLLIES BACK with him as he rather aimlessly
makes for the front of the bus,. Having left the Arab
village, the bus picks up speed, and is beginning to
bump and sway somewhat. When Hank is a little better
than half way down the aisle, the bus sways in a
particularly startling manner, causing Hank to stagger.
In order to steady himself, he thrusts out his hand to
grab the side of a seat. He misses the seat, and only
succeeds in clutching at the veil of an Arab woman.
Unfortunately, he pulls the veil from her face.
INT. BUS - (DAY) - CLOSE SHOT
The startled woman, instantly horrified, covers her
face with her hands and gives a sharp cry,
INT. BUS - (DAY) - CLOSE SHOT
With the bus still bumping and swaying, Hank staggers
a bit without realizing that he still has, hold of the
woman's veil.
INT. BUS - (DAY) - MED. SHOT
The woman still covers her face, but from the seat
next to her, and nearer the window, an Arab rises and
makes a sharp comment in Arabic to Hank. The Arab's
robes are brown, with a turban-like hat combining
twisted strands of white and pale green cloth, The
Arab starts to move past the woman, toward Hank,
repeating his demand.
INT. BUS - (DAY) - MED. SHOT
People look quickly toward the sound, wondering at the
reason for the trouble.
INT. BUS (DAY) - CLOSE SHOT
The bus driver scans his rear vision mirror for the
source of the trouble behind him.
INT. BUS (DAY) - CLOSE SHOT
Hank looks up at the oncoming Arab, and retreats
uncertainly, not realizing he is still holding the
veil.
INT. BUS - (DAY) - CLOSE SHOT
The Arab in the brown robes begins assaulting the boy
in furious Arabic, indicating that he wants the veil.
INT. BUS - (DAY) - MED. CLOSE SHOT
Two Arabs, and a veiled woman, rise in their seats
apparently disturbed by what the brown-clothed Arab is
saying. They being talking among themselves.
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben and his wife, Jo, are straining from their back
seat and looking down the aisle to see what is wrong.
Ben looks at his wife quickly and then back, indicating
that Hank is involved.
INT. BUS - (DAY) - CLOSE SHOT
Still staring straight at the Arab, both frightened
and fascinated by his verbal attack, Hank retreats.
INT. BUS - (DAY) - MED. SHOT
Except for the French passengers, everyone in the bus
is in a state of disturbance. The Arab continues to
advance on Hank keeping up a steady tirade of Arabic.
INT. BUS - (DAY) - CLOSE SHOT
Ben rises quickly and advances protectively toward his
son and the oncoming Arab.
INT. BUS - (DAY) - MED. SHOT
Hank retreats and squeezes himself against his mother,
still with the veil in one hand. Ben faces the Arab
who stops, but continues his monologue for Ben's
benefit.
BEN
Now wait a minute. Wait a minute.
Simmer down.
The Arab continues pointing, talking.
INT. BUS - (DAY) - MED. CLOSE SHOT
From a nearby seat a young Frenchman in civilian clothes
rises quickly. The CAMERA PANS him to Ben and the
Arab. He pushes in between the pair.
LOUIS
(To Ben)
Pardon me.
He turns to the Arab, moves him back a little, sharply
silences his attack, and then begins, in Arabic, to
explain firmly that the boy meant, no harm. It was an
accident. The Arab isn't convinced, points to Hank.
INT. BUS - (DAY) - MED. CLOSE SHOT
The Frenchman leans toward Hank and takes the veil he
is still unconsciously holding. He hands it to the
Arab with a sharp command to return to his seat. The
Arab turns away carrying the veil. As the CAMERA PANS
him AWAY, we see the spectators resuming their seats,
growing quiet.
INT. BUS - (DAY) - MED. CLOSE SHOT
Hank and Jo relax. Ben addresses the Frenchman, a
pleasant-looking young man. He is LOUIS BERNARD.
BEN
I'd like to thank you. Without your
help, anything might have happened.
LOUIS
(smiles pleasantly)
A pleasure, monsieur. There are moments
in life when we all need a little help.
BEN
May I introduce my wife, Mrs. McKenna.
Louis turns pleasantly to Jo.
LOUIS
How do you do, madame. My name is
Louis Bernard.
She returns his smile.
JO
Thank you, Mr. Bernard.
BEN
And this is our son, Hank.
LOUIS
Hallo, Hank.
He holds out his hand to Hank, who takes it.
HANK
You talk Arab talk.
LOUIS
A few words.
JO
Why was he so angry? It was an
accident.
LOUIS
(Half shrugs)
The Moslem religion allows for few
accidents.
(To Ben)
May I be permitted to sit down?
BEN
Oh, sure, sure. Of course. Next to
Jo, there.
LOUIS
(Pauses)
I thought his name was Hank.
BEN
Oh, uh --
(MORE)
BEN (CONT'D)
(smiles)
That's my wife's name. Jo. Jay oh.
No "e."
INT. BUS - (DAY) - MED. CLOSE SHOT
Louis Bernard slides into the seat next to Jo, who
moves over slightly. Ben sits on the other side so
that Hank and Jo are between himself and Louis. In
the rear windows behind them we see the retreating
landscape of French Morocco.
LOUIS
How different.
BEN
For Josephine. Called her Jo so long,
nobody knows her by any other name.
HANK
I do. Mummy.
She smiles at Hank, rubs the back of his neck.
LOUIS
Now about the "accident." You see, a
Moslem woman never takes off her veil
in public under any circumstances.
HANK
They feed her intervaneously?
Louis looks at the boy with some surprise.
LOUIS
Quite a big word for such a small boy.
BEN
I'm a doctor.
LOUIS
Oh. Well, he sounds like one.
BEN
He can spell "haemoglobin" -- but he
has trouble with "cat" and "dog."
LOUIS
(Laughs)
And where do you practice, Doctor?
BEN
Indianapolis, Indiana. The Good
Samaritan.
INT. BUS - (DAY) - CLOSE SHOT
Jo seems to be studying Bernard, as if puzzled.
LOUIS (O.S.)
What brings you to Marrakesh?
INT. BUS - (DAY) - MED. CLOSE SHOT
Ben seems happy to talk with somebody new.
BEN
We've been to a medical convention in
Paris. And while we were in Europe, I
thought I'd like to see Morocco again.
HANK
Daddy liberated Africa.
Louis laughs a little. Ben seems uncomfortable.
BEN
I was up around Casablanca with an
Army field hospital, that's all.
INT. BUS - (DAY) - CLOSE SHOT
Jo his been listening. She seems annoyed at Louis
Bernard's questioning. She interrupts.
JO
Do you live in Morocco, Mr. Bernard?
INT. BUS - (DAY) - MED. CLOSE SHOT
He smiles at her.
LOUIS
Oh no.
(To Ben)
I suppose you came directly from Paris?
BEN
We looked in on Rome and Lisbon a few
days.
HANK
And Casablanca.
LOUIS
I hope you will have time to truly
enjoy Marrakesh.
BEN
At the most we'll have three days.
LOUIS
You will naturally be stopping at the
hotel Mamounia or La Menara?
JO
Why?
LOUIS
(smiles)
They are hotels for tourists of good
taste.
The background, as seen through the windows of the
bus, indicates that we are in a built-up area.
INT. BUS - (DAY) - MED. SHOT
It moves through the outskirts of Marrakesh, a somewhat
more populated section, although the streets are narrow
and crowded.
INT. BUS (DAY) - MED. CLOSE SHOT
A persists with Louis Bernard.
JO
Do you live in France, Mr. Bernard?
LOUIS
Sometimes.
HANK
Do you eat snails.
LOUIS
When I'm lucky enough to got them.
HANK
If you ever get hungry, our garden
back home is full of snails.
LOUIS
(Chuckles)
Thank you for the invitation.
HANK
That's all right. We tried everything
to got rid of them. We never thought
of a Frenchman.
Even Jo has to laugh at this, and as the bus continues
on into Marrakesh, the three see to be fairly good
friends brought together by the artless charm of a
little boy.
EXT. BUS - (DAY) - MED. LONG SHOT
The bus moves slowly through the streets busy with
bicycle riders, Arab women carrying things on their
heads, men on foot leading donkeys, an occasional camel,
carts, horse-drawn carriages carrying elegant Moslem
women, and ancient French automobiles.
EXT. BUS - (DAY) - MED. LONG SHOT
The bus circles past the "Medina" of Marrakesh, the
market place with its crowds, vendors, shoppers,
beggars, and the curious. It swings in toward the bus
stop.
EXT. BUS STOP - (DAY) - MED. LONG SHOT
The bus pulls up to a stop, the door opens, and the
passengers begin to file out. The McKennas, together
with Louis Bernard, are the last off the bus. Arab
helpers have already climbed to the roof of the bus,
to unload the baggage. The clean-cut airline baggage
of the McKennas is in sharp contrast to the Hessianroped
bundles of the Arabs. There are nearby fiacres to
take the people to their various destinations in the
city, and some small, undersized taxi cabs.
EXT. BUS STOP - (DAY) - MED. CLOSE SHOT
Hank rubs his backside a little.
HANK
Next time take the train.
BEN
(To Louis)
Would you like to share our taxi to
the hotel?
LOUIS
That's kind of you, doctor, but
unfortunately I have some business
first.
Jo tries to be casual.
JO
What business are you in, Mr. Bernard?
But he has turned his head and speaks something in
Arabic to a porter, who begins to gather the McKenna's
bags, and one belonging to Louis. Louis turns to Ben.
LOUIS
However, I'll be there later - perhaps
we might have a drink together.
BEN
All right. But I'll serve the drinks
in our suite.
LOUIS
In that case, I will take you to dinner.
BEN
No. Now that's not a fair bargain.
LOUIS
But I know Marrakesh. I can show you
an intriguing Arab restaurant where
the food is different, and the manner
of eating exotic.
BEN
(Gives in)
Well -- that's what we came here for.
Okay, Jo? Simple one of those Arabian
Nights?
Ben takes her arm, in a warm gesture.
JO
(Smiles agreeably)
Okay, But I'm no Scheherazade.
BEN
You'll do.
LOUIS
How would you prefer to travel to the
hotel? By taxi? Fiacre?
HANK
A wagon! I want to ride in a wagon!
He points out one of the open horse-drawn carriages.
Louis looks to Ben for confirmation. Ben nods assent.
Louis turns to the porter, and orders him in Arabia to
put the McKenna's baggage aboard the first available
carriage. He picks up his own small bag.
LOUIS
Au revoir. I look forward to cocktails.
He nods to Ben and Jo, and Pats Hank on the head.
JO
Goodbye.
BEN
See you later. And thinks again.
Louis smiles, turns and casually strolls off toward
the center of the market place. Hank watches him for
a moment, while Ben turns to see what is happening to
his bags.
HANK
I don't like people who pat me on the
head.
BEN
(turns to Jo)
The carriage awaits, madame.
Jo turns from the retreating Louis, and steers Hank
toward Ben, The CAMERA PANS them to the fiacre.
EXT. BUS STOP - (DAY) - MEDIUM CLOSE SHOT
The McKennas follow their baggage aboard the carriage.
EXT. BUS STOP - (DAY) - CLOSE SHOT
Ben settles the excited Hank into his seat.
HANK
How do you like this! A horse-drawn
convertible!
Jo looks toward the market place, and something she
sees makes her eyes widen with surprise.
EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT
As seen from Jo's viewpoint, over the side of the
carriage. The Frenchman, Louis Bernard, is talking
wit the Arab in the brown robes and white and green
hat. The same Arab who was assaulting Hank verbally
on the bus. They are talking pleasantly, and smiling.
EXT. BUS STOP - DAY) - CLOSE SHOT
Jo turns to call Ben's attention to it, when there is
a sudden crack of a whip, a shouted command to the
horse, and the carriage starts of with an abrupt jerk.
It throws her head back. Hank screams with delight.
BEN
Hold on. Hold on! Here we go!
The carriage moves into the street with a rapid pace.
Jo looks again to find Louis Bernard.
EXT. MARKET PLACE - (DAY) - SEMI-LONG SHOT
Louis Bernard and the Arab have disappeared.
EXT. THE CARRIAGE - (DAY) - MED. CLOSE SHOT
Jo slumps back into the seat, trying to evaluate whit
she his seen. The market place recedes in the
background. Hank is now standing up, holding on to
the side of the carriage and watching the sights.
J0
Ben -- I just saw Louis Bernard talking
to that Arab.
BEN
What Arab?
JO
The one who was shouting at Hank for
taking the woman's veil. He and the
Frenchman were talking like old friends.
BEN
All right. Let's assume they knew
each other, and Louis Bernard didn't
bother to tell us. What does that
mean?
JO
It means Mr. Bernard is a very
mysterious man.
BEN
He struck me as quite normaL
JO
What do you know about him?
BEN
I know his name...and, uh....
JO
You see? And he knows you're an
American living in Indianapolis,
Indiana. A doctor at the Good
Samaritan. You have a garden with
snails, a wife, a boy who can spell
haemoglobin. You went to a medical
convention in Paris. Stopped at Rome,
Lisbon, Casablanca. You once served
in North Africa with an Army field
Hospital --
BEN
Now hold on. Wait a minute. We were
just talking casually...
Jo shakes her head.
JO
Not talking.
(MORE)
JO (CONT'D)
He was asking, you were telling. You
might as well have handed him your
passport.
BEN
What difference does it make? I have
nothing to hide.
JO
Maybe Mr. Bernard has.
BEN
Jo. I know this is mysterious Morocco.
Inscrutable natives gliding through
twisted, narrow streets, but --
JO
(Irritated at not
being taken
seriously)
Oh, Ben!
BEN
Then relax. You're just mad because
he didn't ask any questions about you.
She looks at him briefly without any expression. Then
she malts into a smile.
JO
Bitter medicine, doctor. But I'll
swallow it.
The carriage swings into the driveway of the Hotel
Mamounia. It is a rich-looking building, elegantly
landscaped. The CAMERA PANS it to the entrance of the
hotel. Several hotel employees move quickly to meet
it. They help the McKennas descend, and assemble the
baggage.
...continue to part 2
