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
