Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 2
EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT Jo and Hank look at the hotel. JO Well. This eases the pain. HANK What pain, mummy? JO Just an expression. Ben beckons the porter. PORTER Bon jour, monsieur. BEN Will you take care of the driver? PORTER Qui, m'sieu. BEN My name is McKenna, Doctor McKenna. PORTER I'll take care of everything, m'sieu. EXT. HOTEL MAMOUNIA - (DAY) - MED. SHOT A moderately well-dressed, middle-aged couple emerge from the hotel. The man is dressed in a dark grey flannel suit. The woman wears a light-weight, two- piece sweater and skirt, She catches sight of Jo McKenna. The man with her beckons to a porter. They are Mr. and Mrs. DRAYTON. DRAYTON Est-ce que vous etes libre? Jevous prend. PORTER Oui, m'sieu. EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT Jo looks at the couple, then looks quickly away. EXT. HOTEL MAMOUNIA - (DAY) - MED. CLOSE SHOT With a marked glance at Jo McKenna, the woman whispers something to the man. He follows her glance. EXT. HOTEL MAMOUNIA - (DAY) - CLOSE SHOT Ben reaches for Hank, and the McKennas move into the hotel. As they move past the CAMERA, Jo plucks at Ben's arm. JO We're being watched. BEN Oh come on. Ben gives her a look of affectionate exasperation, and pushes her ahead of him into the hotel. THE CAMERA PANS BACK to the couple left standing outside. The woman is still looking after Jo McKenna. LAP DISSOLVE TO: INT. MCKENNA SUITE - (NIGHT) - MED. SHOT It is now evening, and we are in the double bedroom and single bedroom of the McKennas in the Hotel Mamounia. We are able to see through into the single room where Hank is, brushing his teeth while his mother supervises his getting ready for bed. Jo is already dressed for the evening in a smart-looking outfit. Ben is by the chest of drawers and mirror. He just lust finished putting on his shirt. At the far end of the room there is a balcony over- looking the hotel gardens. By a small table stands Louis Bernard dressed with unobtrusive good taste. He is looking into the garden beyond. On the table are glasses and a shaker of martinis. INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT In the single room occupied by Hank. Jo is putting his clothes away. Hank, having brushed his teeth and rinsed his mouth, emerges from the bathroom. He wears pajamas, but still has his shoos on. HANK How about it, mummy? One chorus. JO I'm a little out of form, Hank. HANK One chorus, and that's all. JO (Smiles) All right, Mr. Hammerstein. What's your pleasure? HANK (Happily) Quo Sera Sera. Like you and Alfred Drake. I'll be Alfred Drake. JO What's your key? HANK Whatever I happen to hit. He hums a note to give her the key. HANK How's that? JO Pretty original. HANK Let's go. He tap dances a vamp introduction to the song. He's quite professional. Then he stops, takes a pose, and begins singing in a small, but not untalented voice. HANK When I was lust a little boy I asked my mother "What will I be?" Will I be handsome? Will I be rich? Here's what she said to me: Jo takes up the song. Her voice is obviously professional, but beyond that, quite beautiful. JO Que Sera Sera, whatever will be will be The future's not ours to see Que Sera Sera What will be will be Que Sera Sera. INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT Louis Bernard looks up with some surprise, fascinated and delighted with Jo's singing ability. INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT Ben, who is putting on his tie, pauses, and listens. There is a slight smile of pleasure and affection on his face. Hank's voice comes over: HANK When I was just a child in school I asked my teacher "What should I try" Should I paint pictures? Should I sing songs? This was her wise reply: INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT Jo does a turn, takes Hank's hand and he does a turn around her as she sings. JO Que Sera Sera, whatever will be will be The future's not ours to see Que Sera Sera! Whatever will be will be Que Sera Sera! Hank looks up happily to his mother, as she sings to him with love. Hank whistles a harmony accompaniment to the next verse. JO Now I have children of my own They ask their mother "What will I be?" Will I be handsome? Will I be rich? I tell them tenderly: They sing the chorus in harmony together. HANK AND JO Que Sera Sera, whatever will be will be The future's not ours to see Que Sera Sera! What will be will be Que Sera Sera! Just before they finish the song, there is a loud knocking at the outside door. The song trails off. HANK (Disgusted) There goes our sock finish! INT. MCKENNA SUITE - (NIGHT) - MED. SHOT Ben goes to the door, tightening his tie on the way. He opens it. A waiter is there with a tray of food. WAITER Dinaire for thee boy. BEN (Pointing) Right in there. The waiter heads for the single bedroom, as the CAMERA PANS Ben back to the dresser. LOUIS I can't tell you how beautifully your wife sings. BEN Yeah. She is pretty good. LOUIS She's marvelous. Too bad it was interrupted. Ben pauses in dressing, speaks almost to himself. BEN I've had the same feeling. Often. Louis looks at him briefly. There is a rattle of dishes from the back bedroom. INT. MCKENNA SUITE - (NIGHT) - MED. SHOT The waiter comes out of the bedroom, followed by Jo. JO (Indicating waiter) He said the manager is going to send up somebody to baby sit. BEN Good. The waiter nods politely, goes out the door. LOUIS Mrs. McKenna, permit me the pleasure of serving you a drink. JO Thank you. He goes toward the balcony for the drink. LOUIS Were you on the American stage, Mrs. McKenna? INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT Jo turns, and gives Ben a meaningful glance. "The Frenchman is asking questions again." INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT Ben gives her a look of comic disparagement. INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT Louis comes up, hands her a martini. LOUIS Madame. JO Thank you. Let's sit where it's cool. THE CAMERA PRECEDES Jo and Louis as they walk to the balcony. Ben, putting the finishing touches on his tie, watches them out of the corner of his eye. Jo takes a seat, and Louis leans against the railing. JO Yes, I was on the American stage, and the London stage, and even the Paris stage. LOUIS Oh? JO I thought you might have seen me in Paris -- being French, and -- LOUIS The theater, requires time, and for me time is often a luxury. JO Have you ever been to Paris, Mr. Bernard? LOUIS (studies her briefly) I was born there. Jo takes a sip of her drink, with some, frustration. J0 What do you do for a living? LOUIS Buy and sell. JO What? LOUIS Whatever gives the best profit. She puts down her drink with some exasperation. As she does, she glances back toward Ben. He's getting his coat, but pauses to give her a slight smile and a look that says "You're wasting your time." JO (More firmly) Just what are you buying, or selling, now in Marrakesh? LOUIS (Sips his drink) You know, I would much rather talk about the stage. If you tell me what to answer any? Before he can answer, there is a KNOCK at the door, and he looks toward it. She gets to her feet, and starts for the door. JO I'll answer it. INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT The CAMERA PANS Jo past Ben to the door. He has just put on his coat, and turns to follow her to the door. She opens it, and standing in the corridor is a silhouetted figure. We cannot see the face. Jo switches on a light, which reveals a rather studious looking man of medium height standing there. BEN Excusez moi, mais is cherche la chambre do Monsieur Montgomery. Jo looks at Ben helplessly, who looks over his shoulder toward Louis Bernard for help in translating the French. INT. MCKENNA SUITE - (NIGHT) - CLOSE SHOT As the McKennas turn, the man in the doorway lifts himself on tiptoe a little and gives a sharp look in the direction of Louis Bernard. INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT The man immediately turns his attention back to Ben, and begins talking in broken English. RIEN I am inquiring for the room of a Monsieur Montgomery. He asked me for a drink, and l -- BEN Sorry, there's no Montgomery here. RIEN Then pardon me, monsieur, I regret disturbing you. BEN It's all right. As Ben closes the door, we see that Louis Bernard has been advancing into the room for a better look at the man in the doorway, INT. MCKENNA SUITE - (NIGHT) - MED. CLOSE SHOT The McKennas turn back to the room. Louis Bernard's face his changed slightly to the more serious. Hank's voice is heard off: HANK Mummy -- I can't cut this meat! JO I'll do it, Hank. She goes out of the room, glancing briefly at Louis. LOUIS (To Ben) May I use your telephone? Ben gestures that the phone is his. The CAMERA PANS Louis to the phone, which he picks up, and begins talking in French asking first for the operator, and a certain number. Beyond that his conversation is a mystery, because his face reveals nothing. (Possibly speaks Arabic.) INT. MCKENNA SUITE - (NIGHT) - MED. SHOT As Louis Bernard talks on the phone, Ben goes to pick up his drink. He comes back into the room, as JO enters once again from the bedroom. She looks at Louis, then at Ben who shrugs his shoulders. Louis finishes his phone conversation, hangs up. LOUIS I am terribly sorry, but I cannot go to dinner with you tonight. I had neglected an important matter which now requires my attention. Perhaps, another night... He bows briefly and moves towards the door. The McKenna's look at each other quite bewildered. FADE OUT. FADE IN: INT. ARAB RESTAURANT - (NIGHT) - MED. FULL SHOT The CAMERA is slowly MOVING around the interior of an Arab restaurant catering to European tourists. It has a Moorish atmosphere, and the diners are sitting on cushions or low sofas. Long-robed waiters are padding in and out from the kitchens, quietly and efficiently serving food. There are no Arab women to be seen. The air has a smoky quality, and the room is filled with the murmur of voices and the clink of dishes. Perhaps soft music of an oriental nature is heard in the background. The light is supplied principally from candles. As the CAMERA completes its sweep around and COMES TO REST on the entrance, we see Ben and Jo arriving. A headwaiter, wearing a fez, comes forward. INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT The headwaiter bows slightly. HEADWAITER Bonsoir, Madame, Monsieur. BEN Good evening. My name is McKenna. HEADWAITER Of course. The hotel phoned. Follow me please. The headwaiter turns and moves into the restaurant, The McKennas follow him, the CAMERA PANNING them. Ben is interested in everything he sees. Jo glances at the diners, and then a look of surprise starts through her face. INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT They are passing a couple who are seated on cushions eating. The couple look up at Ben and Jo. They are the same two people we saw come out of the Hotel Mamounia just as the McKennas entered. The woman had stared at Jo, and she does it again, nudging the man next to her with an elbow. The McKennas almost pass them, then stop. The woman continues half-looking over her shoulder again, then turns back to her dinner. INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT The headwaiter shows them to their seats -- two cushions directly behind those of the two people who stared at them. HEADWAITER I think you will find this comfortable. He bows and departs. Jo seems disturbed, looks around as if trying to find another seat. JO Ben... BEN Sit down, Jo, please. People are staring at us. She sits on the far cushion. Her movements are graceful and easy as she sits tailor fashion. Ben, being tall and somewhat awkward, has trouble. First he kneels, and then with much struggle manages to fold his long legs underneath him. INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT He turns to Jo, expecting to find her amused at his antics, but instead her face is serious, and she has a secret look about her. She leans close to him. JO You're right. People are staring at us. BEN What people? She gives a quiet, warning nod toward the two people sitting behind them. Ben cranes his head around, but all he can see Is the back of a woman's head. He turns back. JO They stared at us when we went into the hotel. BEN Jo, will you stop imagining things? INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT Ben looks at her, then slowly turns his head to look behind him at the couple. As he does, the woman behind him also turns. They are staring directly at each other. MRS. DRAYTON Good evening. Hearing her voice, Jo turns, looks, and so does the man with Mrs. Drayton. The woman then turns half way around toward Jo. MRS. DRAYTON You must think me awfully rude. I've been staring at you ever since I saw you at the hotel. Jo slides a glance of "see" at Ben. MRS. DRAYTON (She peers at Jo) You are Jo Conway, the Jo Conway? Jo visibly relaxes and becomes Jo Conway. It's Ben's turn to give her a triumphant look in return. JO Yes, I am. Mrs. Drayton turns to the man next to her. MRS. DRAYTON Didn't I tell you? I knew I was right. INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT Another angle, featuring the man, and Ben. MRS. DRAYTON I'm Lucy Drayton, and this is my husband. DRAYTON How do you do, sir! BEN How do you do. We're Mr. and Mrs. McKenna. DRAYTON My wife tells me Mrs. McKenna appeared at the London Palladium a few years ago. MRS. DRAYTON Of course we hardly ever see a show. Edward is such an old stick-in-the- mud. So I have to console myself with your records. DRAYTON And I must admit I love 'em. I'm not one for this terrible Bee Bop or whatever you call it. JO (Laughs) Thank you, Mr. Drayton. MRS. DRAYTON When are you coming back to London? JO Possibly never again, professionally. MRS. DRAYTON Don't tell me you've given up the stage. JO Temporarily. BEN It's just that I'm a doctor... Yes. And a doctor's wife... JO What Ben means is that there are no Broadway musical shows produced in Indianapolis, Indiana. Of course, if we lived in New York... (For Ben's benefit) ...where I hear doctors aren't starving... BEN (To Jo) I have nothing against working in New York. Nothing except the fact that it's very hard for my patients to come all the way from Indianapolis for treatment. Drayton looks at his wife disapprovingly. MRS. DRAYTON Oh dear, oh dear. I'm always saying the wrong thing. JO Not the least, Mrs. Drayton. MRS. DRAYTON Tell me; Dr. McKenna do you always..... BEN Do you think we could get straightened around. LAP DISSOLVE TO: INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT We now find the Draytons and the McKennas are sitting in a group, eating dinner together. There is no back to back awkwardness. All are busily tearing whole roast chickens apart with their bare fingers. Drayton holds a piece of chicken aloft, demonstrating the proper Arab method of eating. DRAYTON Only the first two fingers and thumb of the right hand. Never use the smaller fingers. And always keep the left hand in the lap. JO Does it have something to do with religion? DRAYTON More social than religious, I'd say. BEN It seems to me if you have four good fingers, and a thumb, you should use them all. J0 Three finger -- four fingers -- for my money this is nothing but chicken in the rough. We have it at every drive- in back home. DRAYTON Well, as I was saying, I was quite happy farming my bit of land It Buckinghamshire, when these chaps from the United Nations started worrying me. MRS. DRAYTON Edward was a big noise at the Ministry of Food during the war, you know. DRAYTON So, I pulled myself up by the roots, and here we are. United Nations Relief. BEN That sounds like interesting work. DRAYTON You should see my report on soil erosion in Morocco... (Sadly) But nobody reads it. Jo is staring at the entrance to the restaurant. Mrs. Drayton follows her glance. The two men stop talking, and eating, and also look. INT. ARAB RESTAURANT - (NIGHT) - MED. LONG SHOT Louis Bernard is standing in the entrance of the restaurant. On his arm is a rather elegantly dressed woman. She is also handsome and graceful. As he stands waiting for the headwaiter, Louis Bernard looks around the restaurant. His eyes stop when he comes to the McKennas. He looks directly at them without the slightest sign of recognition. LOUIS Trouvez nous un coin tranquille -- C'est possible? (Could you show me a quiet place?) WAITER Certainment, monsieur. (Certainly, Sir)
...continue to part 3