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