The Man Who Knew Too Much Page #2

Synopsis: While attending a medical conference in Paris, American physician Dr. Ben McKenna, his wife, retired musical theater actress and singer Jo McKenna née Conway, and their adolescent son Hank McKenna decide to take a side trip to among other places Marrekesh, French Morocco. With a knife plunged into his back, Frenchman Louis Bernard, who the family met earlier in their bus ride into Marrakesh and who is now masquerading as an Arab, approaches Ben, cryptically whispering into Ben's ears that there will be an attempted assassination in London of a statesman, this news whispered just before Bernard dies. Ben is reluctant to provide any information of this news to the authorities because concurrently Hank is kidnapped by British couple, Edward and Lucy Drayton, who also befriended the McKennas in Marrakesh and who probably have taken Hank out of the country back to England. Whoever the unknown people the Draytons are working for have threatened to kill Hank if Ben divulges any information to
Genre: Drama, Thriller
Director(s): Alfred Hitchcock
Production: MCA Universal Home Video
  Won 1 Oscar. Another 1 win & 4 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
91%
PG
Year:
1956
120 min
527 Views


This was her wise reply

Que sera, sera

Whatever will be,

will be

(WHISTLES ALONG)

The future's not

ours to see

Que sera, sera

Oops! (CHUCKLES)

BOTH:
What will be, will be

May I have

this next dance?

Yes.

All right.

(VOCALIZING)

Oh, you're divine.

(KNOCKING ON DOOR)

Dinner for the boy.

Yeah, come in.

Right around

the corner.

I can't tell you

how beautifully

your wife sings.

Pretty good,

isn't she?

Oh, she's marvelous.

Too bad it was

interrupted.

I had that same feeling

myself many times.

Well, everything's fine.

The manager has

a babysitter for us.

Good.

Mrs. McKenna,

permit me the pleasure

of serving you a drink.

I would love it.

Thank you.

Were you on the

American stage,

Mrs. McKenna?

Yes, Mr. Bernard,

I was on the

American stage,

and the London stage,

and the Paris stage.

Oh?

I thought perhaps you

had seen me in Paris,

being French.

You know,

the theater

requires time,

and for me,

time is often

a luxury.

Have you ever

been to Paris,

Mr. Bernard?

I was born there.

What business are you in?

I buy and sell.

What?

Whatever gives

the best profit.

Well, now that

you're in Marrakech,

what are you

buying and selling?

You know,

I would much rather

talk about the stage.

If you tell me what

shows you are in...

(KNOCKING ON DOOR)

Would you excuse me?

I'll get it.

No, I got it.

No, I will.

(SPEAKING FRENCH)

I'm inquiring

for the room of

Monsieur Montgomery.

He asked me for

a drink, and I...

I'm sorry.

There's no

Montgomery here.

Pardon me, monsieur.

I regret disturbing you.

BEN:
Okay.

May I use your

telephone, please?

Yeah, sure.

It's right there.

HANK:
Mommy!

Yes?

HANK:
I can't

cut this meat.

I'll do it for you,

dear.

(SPEAKING FRENCH)

Hello?

(SPEAKING FRENCH)

I'm terribly sorry,

but I cannot go to

dinner with you tonight.

Oh?

Oh!

I have neglected

an important matter

which now requires

my attention.

I see.

Perhaps

another night?

Sure.

Sure. We'll get

together again.

Good-bye.

Good-bye.

Bye.

Good night.

Good night.

(VIOLIN PLAYING)

(INDISTINCT CHATTER)

(GREETING IN FRENCH)

My name's McKenna.

Of course.

The hotel phoned.

Follow me, please.

I think you will

find this comfortable.

Thank you very much.

(CHUCKLES)

Honey, move over here.

Let me sit out there.

You're on my dress.

Whoop!

(METAL CLATTERING)

(SPEAKING FRENCH)

Yeah.

(CHUCKLES)

We always wash

the hands

before eating.

BOTH:
Oh!

Thank you.

Whoop!

(SOFTLY) Those people

are staring at us.

What people?

Right in back of us.

What?

Yes.

Here.

They were staring

at us in front of

the hotel too.

Jo, will you please

stop imagining things?

(WHISPERS) I'm not.

Good evening.

You must think

me awfully rude.

I've been staring at

you ever since I saw

you at the hotel.

You are Jo Conway,

the Jo Conway?

Yes, I am.

Didn't I tell you?

I knew I was right.

I'm Lucy Drayton,

and this is my husband.

How do you do?

How do you do?

We're Dr. And

Mrs. McKenna.

My wife tells me

Mrs. McKenna appeared

at the London Palladium

a few years ago.

Of course, we hardly

ever see a show now.

Edward is such an

old stick in the mud.

So I have to

console myself

with your records.

Oh!

I must admit

I love them.

I'm not one for

this terrible bebop

or whatever

you call it.

(ALL LAUGH)

Thank you very much.

When are you coming

back to London?

Possibly never again,

professionally.

Oh! Don't say

you're giving

up the stage.

Well, temporarily,

I am.

Well, it's just

that I'm a doctor,

and you know,

a doctor's wife never

has as much time...

What my husband

is trying to say

is Broadway musical

shows are not produced

in Indianapolis, Indiana.

Well, you know...

Of course,

we could live in New York.

I hear that doctors

aren't starving

there either.

Well, it's not that

I have any objection

to working in New York.

It's just that

it'd be hard

for my patients

to come from

Indianapolis

for treatment.

LUCY:
You know, dear,

I'm always saying the

wrong thing. I'm sorry.

JO:
Oh, not in the least.

LUCY:
Tell me,

Dr. McKenna,

do you also go...

Hey, why don't

all of you sort of turn

around here or something.

It's kind of kind

of hard on the neck.

(LUCY LAUGHING)

EDWARD:
It's in one of

our English counties.

It's not what

you'd call a farm.

It's really more

of a small holding.

Ah, here we are.

Isn't that

fascinating?

Yes.

There we are.

Hey, they look good.

Surprise.

They look wonderful.

Ah, looks like bread.

We're not going

to eat all that,

are we?

No.

(ALL LAUGH)

Is that the way

you do it?

Just break it?

Yes, just break it.

Just break it.

Just like this.

It won't break.

Oh, no.

Well, I'm gonna...

There.

Is that the way

you do it?

(LAUGHING)

That's quite

all right.

That was

a tough one.

Does it chew

any better

than it tears?

(LAUGHING)

Is it fattening?

I imagine

it might be.

No, it's pretty

good, hon.

Well, I...

No plate.

No?

No.

No knife or forks.

That's right.

I understand you're

just supposed to dig in.

Allow me to show you,

will you?

You use only the

first two fingers and

thumb of the right hand.

You don't use the

other two fingers,

and always the left

hand in the lap.

Oh, I see.

May I show you?

Just these two

fingers, huh?

Can I help you?

I'll hold it for you.

That's it.

There we are.

(GIGGLING)

Well...

Boy, could I use this

hand now. I can't...

(ALL LAUGHING)

It's all right.

Nobody minds.

No one minds.

That's good style.

No one minds.

It's messy,

but worth it.

I think

I'll practice

on an olive.

Oh!

Honey, it's wonderful.

Here. Take a bite.

Good?

Yeah.

Tell me, does this

way of eating

have to do with

religion or something?

I think

it's more social

than religious.

I don't know.

It seems like to me

if you have four good

fingers and a thumb,

you ought to be able

to use all of them.

It's very good,

isn't it?

Very good.

Well, as I was saying,

I was quite happy

farming my bit of land

down in Buckinghamshire

when these

United Nations fellows

started worrying me.

Edward was a big noise

in the Ministry of Food

during the war,

you know.

So we pulled

ourselves up

by the roots,

and here we are,

United Nations Relief.

Sounds like

interesting work.

I'm preparing

a report on soil

erosion at the moment.

You know,

parts of this country

are not unlike your

Dust Bowl formation.

A thin layer

of topsoil and

underneath...

(SPEAKING FRENCH)

How do you like that?

First he promises to

take us to dinner...

Yeah. Well, we just

met him today, honey.

You can't expect

him to change

his whole life.

Ben, what's the

matter with you?

What's the matter

with me?

There's nothing

the matter with me.

What's the matter with you?

I just don't want

to be insulted.

That's all.

Oh, you're not

being insulted.

After all, you can't

blame him, can we,

for turning down an

old married couple like

us for a girl like that.

We're not an old

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John Michael Hayes

John Michael Hayes (11 May 1919 – 19 November 2008) was an American screenwriter, who scripted several of Alfred Hitchcock's films in the 1950s. more…

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Submitted on August 05, 2018

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