Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 3
INT. ARAB RESTAURANT - (NIGHT) - CLOSE SHOT
Jo and Ben stare back. There is resentment in Jo's
eyes, and conjecture in Ben's.
INT. ARAB RESTAURANT - (NIGHT) - MED. SHOT
The headwaiter comes up to Louis Bernard, exchanges a
few words with him which we cannot hear, and then leads
the couple to a set of cushions in the far corner of
the room. As he moves away from the entrance, Louis
Bernard does not look at the McKennas.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
As the couple traverses the restaurant, our four diners
watch them -- the Draytons out of idle curiosity, but
the McKennas with growing astonishment as they realize
that Bernard has no intention of recognizing them, or
speaking to them. Jo turns back to Ben.
JO
Well just what do you think of that?
First he promises to take us to dinner --
BEN
Look, we only met him today. We can't
expect him to change his whole life --
JO
Oh, Ben! What's the matter with you?!
BEN
Nothing! What's the matter with you?!
JO
I just don't like to be both privately
and publicly insulted.
BEN
Can you blame him? Turning down an
old married couple for a date with a
girl like that?
JO
We're not an old married couple! All
right -- He's a heel. I don't
understand him -- and I'm beginning
not to like what he's doing to our
whole night.
Drayton, quietly amused, is listening to Ben and Jo.
But Mrs. Drayton is embarrassed. She makes conversation
at random.
MRS. DRAYTON
(To Drayton)
I must do some shopping in the market
tomorrow. I do hope it'll be fine.
Fine, but not too fine. Of course, I
how our English weather is awful, but
I sometimes think we don't know when
we're lucky. All this sunshine, day
after day. It seems unnatural, somehow.
Ben makes as if to rise, but Jo holds him down.
BEN
I want to get up.
JO
Ben, I know you -- once you get worked
up, you'll start a fight. Now please,
sit down and forget him.
DRAYTON
(To the McKennas)
By the way, it'd be pleasant if you'd
let us show you round the market place,
tomorrow.
JO
Louis Bernard, the big buyer from
Paris, was going to take us through
the market tomorrow.
BEN
(Starts to rise
aaain)
Good. I'll just go over and cancel
out.
She pushes him down again.
JO
Ben, don't. Our dinner's getting cold.
(To the Draytons)
We'd love to go with you.
Ben glares in Bernard's direction, and then picks up a
chicken leg.
JO
I don't know why Ben gets so worked up
over unimportant things.
Ben looks a her slowly, and with some amazement. Then
his eyes lift a little and he sees the headwaiter
standing nearby gesturing to him to please use only
three fingers. Ben looks down at the chicken leg. He
is holding it gripped in his fist. This is too much.
He throws the leg down to his plate in disgust.
INT. ARAB RESTAURANT - (NIGHT) - MED. CLOSE SHOT
Over in the far corner of the restaurant, the lady
with Louis Bernard leans forward and murmurs something
in French. Her gaze is across the room in the direction
of the McKennas.
WOMAN
C'est les deux que cherchez? (Is that
the couple you are looking for?)
Louis turns slightly and looks. He glances back at
her and nods significantly.
LOUIS
Oui. (Yes.)
FADE OUT.
FADE IN:
EXT. MARKET PLACE - (DAY) - ESTABLISHING SHOT
It is around eleven o'clock in the morning in the main
market square at Marrakesh. This is usually the busy
time of the day. There are coaches arriving from the
countryside with the Arab farmers alighting with their
baggage, veiled women getting off the coaches and going
into the markets.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
A closer view of the shoppers -- veiled women, men on
bicycles, carts and donkeys passing.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The water sellers move slowly through the market, their
large hats tinkling with gay sounding bells.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The medicine man sitting among his medical wares --
Ben and Jo enter and look down at the collection of
claws, lizards, and barnyard scrapings.
J0
Looks like he has a cure for everything.
BEN
Yeah, there's a lot of that going around
these days.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
Woman with sewing machine on head.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The bread vendors offering large fresh-baked loaves of
bread. Scattered among the native populace are some
tourists and perhaps some French residents.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Mr. Drayton is standing by an Arab who has a small
gambling table set up, possibly roulette, There are
others gambling. After a moment's hesitation, and a
look around to see that he is safe from Mrs. Drayton,
he chances a small bet. He loses.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
An old man squatting on his heels and surrounded by a
small circle of onlookers is reading from a book. His
voice intones monotonously. The CAMERA PANS to the
RIGHT and we see Hank McKenna standing watching him.
Hank is holding on to Mrs. Drayton's hand.
HANK
What's he doing, Mrs. Drayton?
MRS. DRAYTON
He's the teller of tales, Hank. He
reads legends and famous old stories
from history.
HANK
Wish he'd say something I could
understand.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
A larger group of people who are gathered around some
acrobats who are performing rather well.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Standing on the fringe of the crowd watching the
acrobats are the McKennas.
J0
Ben, I'm glad we came here. It's
different, a little exciting.
BEN
Wouldn't you rather be in Now York --
rehearsing?
She takes his arm affectionately.
JO
Oh, all that talk last night was just
social chit chat, Every woman who ever
gave up the stage for marriage is
supposed to want to go back. I was
just playing a part expected of me.
She pauses a second.
BEN
Well, if you do -- let's talk about it --
seriously.
JO
No, if at all, let's talk about it
humorously.
HANK
Mummy! Daddy!
They turn in time to see Hank run up to them, followed
by Mrs. Drayton.
HANK
Come on with us! We're gonna see the
medicine man! Maybe you on learn
something, Daddy.
BEN
(Laughs)
You're probably right.
J0
(To Mrs. Drayton)
Any time he starts wearing you out --
MRS. DRAYTON
I've never enjoyed the market place so
much. Oh!
She dashes off in pursuit of the fast-moving Hank.
HANK
Come on!
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Standing on the fringe of the crowd watching the
acrobats are the McKennas.
JO
Ben, this whole market place is very
different and exciting.
BEN
Just like the county fairs when I was
a kid. They'd get everything but the
balloon ascension.
Jo starts giggling. Ben looks it her.
BEN
That didn't sound too hilarious to me.
JO
I was just thinking...do you know what's
paying for these three days in
Marrakesh?
Ben chuckles.
JO
And the purse I bought in Paris...
Bill Edwards' tonsils.
HANK
Mummy! Daddy!
They turn in time to see Hank run up to them, followed
by Mrs. Drayton.
HANK
Come on with us! We're gonna see the
medicine man! Maybe you can learn
something, Daddy.
BEN
(laughs)
You're probably right.
JO
(to Mrs. Drayton)
Any time he starts wearing you out...
Mrs. Drayton ad Hank go out of the picture.
BEN
I don't know whether or not to believe
you.
JO
Ben, glamour is a costume I put on
once. It never fit too well. I'd
rather live my own life than one written
for me.
BEN
Including sleeping with a man who always
smells of ether?
J0
I don't have to look seductive at
breakfast and worry if the Times
reviewer doesn't like my scrambled
eggs.
Drayton appears behind them.
DRAYTON
How are the acrobats today?
BEN
Oh fine, fine. Haven't dropped anybody
yet.
Ben takes Jo's arm and they saunter off, leaving Mr.
Drayton to the acrobats. They do it in such a way as
to indicate the group is not hold together by any social
formalities.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA DOLLIES along beside them as they pass down
a line of Arab barbers all busily engaged with shaving
and cutting the hair of their customers.
BEN
All the way home we'll be riding on
Herbie Taylor's ulcors.
J0
And Allida Markle's asthma.
Her eyes widen a little in surprise, and somewhat hurt,
at his statement.
BEN
Oh, I know it's just a song and a dance
here and there... but it's all he thinks
about. Show business.
JO
Ben, you're setting a trap for me.
BEN
He has a good mind. Give him a chance
to develop it.
JO
You mean give him a change to be a
doctor?
BEN
I didn't say that.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance. Jo holds
out her hand for Ben to shake it.
JO
All right, darling, a deal's a deal.
Ben takes her hand.
JO
For every time step he'll learn a new
muscle -- and for every chorus, three
bones.
Ben can't help chuckling.
BEN
And for every matinee?
JO
Two chapters of Grey's Anatomy.
They stop short of bumping into Hank and Mrs. Drayton.
HANK
Hey, Mummy.
(He points)
Sewing machines! Looks like a
television commercial.
BEN
Now If we could only get four cases of
the Seven-year itch, we could retire.
Or, if Mrs. Yarros really has triplets,
we could at least redecorate the house.
J0
(Laughs)
Oh, Ben, what would they say if they
heard us?
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
The CAMERA PANNING through the market place to a line
of veiled women all working at Singer sewing machines.
Drayton saunters behind them in the distance.
BEN
One of the reasons I came to a place
like Marrakesh is so that we could say
things like this without anybody hearing
us.
JO
I'd like to say something where nobody
can hear us.
BEN
This is the safest place.
JO
When are we going to have another child?
Ben looks at her with some surprise.
JO
You're the doctor. You have all the
answers.
BEN
Yeah -- but, but this is the first
time I've heard the question!
They stop short of bumping into Hank and Mrs. Drayton.
HANK
Hey, Mummy.
(He points)
Sewing machines! Looks like a
television commercial.
Jo laughs appreciatively, and rumples his hair.
JO
Having a good time, Hank?
MRS. DRAYTON
He's delighted with everything.
At this moment, Mr. Drayton saunters up, and for the
first time the group is all together. Suddenly there
as some shouts in the distance. Everyone's attention
is drawn to the noise. Hank moves quickly, threading
his way through some people for a better look, the
CAMERA PANNING him away.
EXT. MARKET PLACE - (DAY) - LONG SHOT
From Hank's viewpoint we see police chasing a white-
robed Arab figure. The police consist of a couple of
uniformed French officials and two or three others in
local Arab dress, with rifles slung over their backs.
EXT. MARKET PLACE - (DAY) - MED. CLOSE SHOT
Hank, fascinated at the drama, dishes away to got a
better view.
Jo and Ben miss Hank. Then see him moving through the
crowd.
BEN
Hank! Hank -- come back here!
JO
Hank!
She starts forward after him, but Mrs. Drayton moves
faster than anyone. She passes both of the McKennas
and overtakes Hank.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Mrs. Drayton reaches down and takes hold of Hank's
shoulders, and pulls him toward her.
MRS. DRAYTON
Hank, it's best to keep away from
trouble.
Hank is looking away toward the chase.
HANK
What's going on?
Mrs. Drayton looks toward the trouble.
MRS. DRAYTON
It looks as though the police are
chasing somebody.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A closer view of the chase brings us back to where the
motor coaches are loading up, and for a moment the
police as lost to view.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high view of the open air tannery with its circles
of crude stone water tanks becomes the scene of a
further part of the chase. We see the white-robed
Arab leaping between the crude tanks with the police
yelling and running after him in the distance. The
difficulty of the obstacles enables the Arab to get
ahead of them, and we see that he is now able to dodge
through an archway into the grain market.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
As the chase passes through the grain market, it
scatters grain and grain sellers in every direction.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
The pursued Arab dashes through an enclosure holding
the donkeys which are used to carry grain to and from
the market. There is quite a stampede, with the donkeys
running, kicking, and braying in fright.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
Through another archway the Arab now dashes down some
of the narrow streets of the Medina. Sapling branches
are laced overhead creating a latticed shadow pattern
on the ground below.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
As the Arab moves along the narrow street, with the
police in pursuit, progress is made difficult by the
many shoppers and bicycle riders. One bicycle rider
trying to avoid the oncoming Arab turns and drives
helplessly into a lags pottery store. The sound of
wreckage is enormous.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The Arab turns into another street where the rows of
brilliantly dyed wool yarn hang, from overhead strung
along sapling poles. There is in unfortunate collision
between the fleeing Arab end a workman crossing the
street with a large vat of blue dye on his shoulder.
In a moment the whole narrow streetway is saturated
with blue dye, and everyone is lifting his robe and
hopping around to avoid being stained. The Arab
continues on past. The police dash through the street
trying to avoid the dye themselves.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The Police reach a narrow intersection where the blind
beggars as squatting, begging alms. They pause. There
is no sign of their quarry. Then one of them points
to faint blue footprints dashing away to the left.
They take up the pursuit once again.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high, overhead shot of the narrow streets showing
that the police have caught sight of their man again.
But there seems to be something strange about the chase
now. Two white-robed Arabs are running. The second
Arab we haven't seen before, but he is faster than the
first man and is gaining on him.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
A closer, level shot, the CAMERA PANNING, shows, the
two breathless men closing in on each other. As they
reach an intersection in the streets, lighted by a
shaft of sunlight, the new Arab comes up behind the
original man being chased and whipping out a knife
from under his robes, plunges it into the back of the
first man. Then he turns and quickly moves away into
a street on his left. The first Arab jerks his head
up and backward with the sharp pain of the stabbing,
Then he staggers into the dark shadows.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
A high shot shows that the stabbed man is almost out
of sight for a moment so that the police continue their
chase after the second man, who has swiftly darted
down another side turning.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
The CAMERA MOVES IN behind the stabbed Arab. The knife
is still in his back. We get a glimpse of his hands,
vainly groping behind him. The CAMERA MOVES WITH HIM
as he staggers out into the open market place. His
shadow on the ground shows us the silhouette of the
knife handle sticking out from his back. The CAMERA
MOVES IN CLOSE to follow the agony of his head and
shoulders as he attempts to go forward.
EXT. MARKET PLACE - (DAY) - MEDIUM LONG SHOT
The CAMERA seems to pass BEYOND HIM for a moment, and
there, a few yards away, stands Ben McKenna, and his
group.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
The Arab hesitates for a moment, but the attitude of
his head shows us that he has seen McKenna. He makes
his way desperately and painfully toward him. He is
finding it difficult to remain upright and even take
those last few steps.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
A closer view of McKenna shows that those around him,
including his wife and the Draytons, become frightened.
He spreads his arms out to move them back protectively,
waiting to see what is going to happen.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
As the Arab reaches McKenna, the knife drops from his
back, and he collapses at Ben's feet. Ben endeavors
to grab him as he falls. He misses his shoulders, and
his hands close in and inadvertently grab the Arab's
cheeks.
EXT. MARKET PLACE - (DAY) - CLOSE SHOT
A big close up of Ben's hands as his fingers slide off
the Arab's face. He turns his hands up and we see
they are covered with black grease paint.
EXT. MARKET PLACE - (DAY) - CLOSE SHOT
The Arab's head his now dropped to the ground, and we
see streaks of white flesh showing through the dark
makeup which Ben's fingers had scraped off.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben drops to his knees to examine the man better. The
Arab gasps out something in French.
LOUIS
Ils ont trouvés... ils ont réussi à
trouver...
Ben looks at him puzzled.
LOUIS
(English)
McKenna... I'm... Louis.... Bernard.
Ben is quite surprised.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben glances swiftly at the fallen knife, and then
reaches across Louis Bernard to turn him over and
examine his wound. But the Frenchman reaches up with
one arm and grabs Ben by the coat.
LOUIS
McKenna -- listen to me -- first!
With what strength he has, Louis drags Ben down until
Ben's ear is near to his mouth. With a great effort
Louis whispers to him.
EXT. MARKET PLACE - (DAY) - CLOSE SHOT
A big closeup of Ben's ear and Louis' mouth enables us
to hear the whispering, but Louis' voice is fading so
much that we cannot distinguish the words -- at least
enough to make any sense out of what he says.
LOUIS
A man...a statesman...is to be
killed...assassinated...in
London...soon...very soon...tell
them...in London...to try Ambrose
Chappell...
Presently, the mouth stops speaking. It remains still
and open.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
As Ben backs away, we see the staring eyes, and open
mouth of Louis. Ben quickly puts his hand inside the
robes to feel for Louis' heart, The hand slowly
withdraws. Ben rises.
EXT. MARKET PLACE - (DAY) - MED. SHOT
The Arabs crowd in to see the details. Louis Bernard,
the McKennas and the Draytons are in the center of a
large flat cement section of the market place. The
Police by now have caught up to the event, and dash
quickly into the picture toward Ben and Louis.
Instinctively Ben backs away, as do the Draytons, and
Jo and Hank. However, Ben still stays closer than the
rest. One of the police picks up the knife and examines
it, another bends down to wipe the make-up off Louis
Bernard's face. Ben looks around for his wife.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
Ben beckons to his wife beyond him, to join him. Jo
turns Hank over to Mrs. Drayton. Hank stands close to
the English woman as Jo comes over. As Jo comes up to
Ben, he is feeling in his pocket for something. Takes
out a pen.
JO
Ben -- who is he?
BEN
Louis Bernard. Got something to write
on?
She begins looking in her purse.
JO
Is he dead?
BEN
(Impatiently)
Yes. Yes. He's dead.
She produces a small address book. Ben snatches it
out of her hand unceremoniously. He opens the book
end begins writing something down fast. Jo watches
him with mystified curiosity.
EXT. MARKET PLACE - (DAY) - MEDIUM SHOT
Drayton strolls up, out of curiosity. He has also
seen Ben's hurried writing, but Ben casually puts the
notebook back into his inside pocket, along with the
pen. Before either man can comment on the writing,
the voice of a policeman is heard, speaking in French.
POLICE ONE
Savez vous qui est cet homme?
The uniformed French policeman approaches Ben.
EXT. MARKET PLACE - (DAY) - MEDIUM CLOSE SHOT
The policeman repeats his question as he stops in front
of Ben.
POLICE
J'ai dit: Savez vous qui est cet homme?
Drayton steps forward to help. He addresses the police.
DRAYTON
Il ne parle pas francais. Je traduirái.
The policeman nods. Drayton turns to Ben.
DRAYTON
He wants to find out if you know this
man.
The policeman watches their faces.
JO
Of course we know him!
(She points)
It's the frenchman, Louis Bernard.
Her gestures, and her comments, although In English,
give the policeman all the information he needs.
POLICE ONE
(Looks at body)
Louis Bernard?
He moves away toward the body, which the other policemen
are now covering with a sheet.
He gives them some instructions in French.
Ben looks at Jo in a way that says "Who asked you to
say anything."
The French policeman returns to the group. He addresses
Drayton.
POLICE MAN
Quel est le nom de ces personnes?
DRAYTON
McKenna.
POLICE MAN
Dites leur que j'aimerai qu'ils viennent
tous les deux au commissariat pour
faire un rapport.
Drayton nods unhappily, and turns to Ben and Jo.
DRAYTON
Just as I thought. He wants both of
you to go to police headquarters to
make a statement.
BEN
Do we have to?
DRAYTON
I'm afraid so.
(He turns to wife)
Our friends here have to go to the
police Station. I'm going with them
to give what help I can.
...continue to part 4
