(PLAYlNG DRAMATlC OVERTURE)
(PEOPLE TALKlNG lNDlSTlNCTLY)
Daddy, you're sure l've never been to Africa before?
lt looks familiar.
You saw the same scenery last summer driving to Las Vegas.
Oh, sure. Where Daddy lost all that money at the crap. . .
Hey!
. . .table. (LAUGHlNG)
(HORN HONKlNG)
Hey, look! A camel.
Uh-huh.
Of course this isn't really Africa, honey. lt's the French Morocco.
Well, it's northern Africa.
Still seems like Las Vegas.
We're just 1 00 miles north of the Sahara desert.
Do you realize that, son?
l don't know. ln school, they call this the dark continent.
This is twice as bright as lndianapolis.
Ah, you just wait till we get to Marrakech.
Marrakech? Sounds like a drink.
Hmm.
lt sure does.
(CHUCKLES)
(HORN HONKlNG)
(TlRES SCREECHlNG)
(ALL TALKlNG lNDlSTlNCTLY)
(SHOUTlNG lN ARABlC)
Wait a minute. Wait a minute.
Hold on here. What's the matter?
(BOTH SPEAKlNG ARABlC)
(ALL MURMURlNG)
Well, l sure want to thank you.
Without your help, anything might have happened here.
My pleasure, monsieur.
There are moments in life when we all need a little help.
Yeah. Just what was the trouble?
Your little boy accidentally pulled off his wife's veil.
You know? Oh, yeah.
Hank!
BEN: l want to introduce my wife, Mrs. McKenna.
How do you do? How do you do, madame?
My name is Louis Bernard.
Well, we thank you very much, Mr. Bernard.
That's our son, Hank.
Hello, Hank.
Hello. You talk Arab talk.
A few words.
Why was he so angry? lt was just an accident.
But the Muslim religion allows for few accidents.
Yeah, l suppose so. Oh.
May l. . .
Yeah, sit down right in front of Jo there.
Oh, l thought his name was Hank.
No, it's my wife's name. You see, J-O. No "E."
How different.
lt's short for Josephine.
l've called her that so long nobody knows her by any other name.
Do they? No.
l do. Mommy.
Oh, yeah. Forgot about that.
Now, about the accident.
You see, a Muslim woman never takes off her veil in public
under any circumstances. l see.
You mean they feed intravenously?
No, Hank.
What a big word for such a small boy.
(CHUCKLES) You see, l'm a doctor.
Oh, well, he sounds like one.
(CHUCKLES)
Oh, yeah. He can spell hemoglobin.
Of course, he has a little trouble with words like dog and cat.
(LAUGHlNG)
Where do you practice, Doctor?
lndianapolis, lndiana. Good Samaritan Hospital out there.
What brings you to Marrakech?
You see, we were attending a medical convention in Paris.
And l thought as much as as we were in Europe,
l'd come down and see Morocco again.
Daddy liberated Africa.
Well, l was stationed up in Casablanca
at an army field hospital during the war.
Do you live in Morocco, Mr. Bernard?
No.
l suppose you came directly from Paris.
We looked in on Lisbon and Rome.
HANK: And Casablanca.
And Casablanca.
l hope you will have time to truly enjoy Marrakech.
Well, let's see. We'll have at the most about three days.
You will naturally be stopping at the hotels La Mamounia or La Menara.
Why do you ask?
Because they are hotels for tourists of good taste.
Oh.
Do you live in France, Mr. Bernard?
Sometimes.
Do you eat snails?
(LAUGHS) When l'm lucky enough to get them.
Well, if you ever get hungry, our garden back home is full of snails.
Thank you for the invitation.
(LAUGHlNG)
That's all right. We tried everything to get rid of them.
We never thought of a Frenchman.
(ALL LAUGHlNG)
(BlCYCLE BELL RlNGlNG)
(BUS HORN HONKlNG)
(PEOPLE TALKlNG lNDlSTlNCTLY)
Here we go.
Say, do you want to share a taxi with us down to the hotel?
That's kind of you, Doctor,
but unfortunately, l have some business first.
Oh, l see.
What business are you in, Mr. Bernard?
However, l'll be there later. Perhaps we might have a drink together.
Well, no, come up to our suite. We'll have a drink up there.
ln that case, l will take you to dinner.
No, that's not fair.
But l know Marrakech.
l can show you an intriguing Arab restaurant
where the food is different and the manner of eating exotic.
Well, that's what we came here for. How about it, Jo?
How about one of those Arabian nights?
l'd love it. (LAUGHS)
How would you prefer to travel to the hotel? By taxi, fiacre?
BEN: Gee, l don't know.
A wagon ! l wanna ride in a wagon !
Well, l guess it's a wagon.
(LAUGHlNG) See you later.
Au revoir. l look forward to the cocktails.
Good-bye. Come on.
Bye.
Hank, you sit up with the driver.
How do you like this? A horse-drawn convertible.
(MEN TALKlNG)
(lNDlSTlNCT)
(LAUGHlNG)
Well, l just saw Louis Bernard talking to that Arab.
What Arab?
The one that was shouting at Hank for pulling the veil off.
They were talking like they were very dear friends.
Well, he probably knew him before. What does that mean?
lt means that Mr. Bernard is a very mysterious man.
What? He seemed perfectly normal to me.
Now, what do you really know about him?
What do l know about him? l know his name.
We were sitting there. We were talking.
You don't know anything about this man,
and he knows everything there is to know about you.
Oh, wait.
He knows that you live in lndianapolis, lndiana.
He knows that you're a doctor at the Good Samaritan Hospital.
And he knows that you attended a medical convention in Paris,
and that you stopped off in Rome, and Lisbon and Casablanca
for just a few days.
All right.
And he knows that you served in north Africa in an army field hospital.
Honey, it was just a casual conversation. That's all.
Darling, you weren't just talking casually.
He was asking all kinds of questions, and you were answering them.
You might as well have handed him your passport.
Well, what's the difference?
We just have a conversation. l've got nothing to hide.
l have a feeling that Mr. Bernard has.
Oh, honey.
l know this is mysterious Morocco,
but we're not going to lose our head, are we?
l know. l know what it is.
What?
Why, you're sore because this fella didn't ask you any questions.
Huh? Oh, hardy-har-har.
Hardy-har.
(SPEAKlNG FRENCH)
Well, this eases the pain.
What pain, Mommy?
lt's just an expression, honey.
Hey, can you take care of the driver? Yes, sir.
My name is McKenna, Dr. McKenna.
l'll take care of everything, sir.
(SPEAKlNG FRENCH)
Come on.
We're being watched.
What? Oh, come on !
(JO VOCALlZlNG)
JO: (SlNGlNG) Que sera, sera
What will be, will be
HANK: (SlNGlNG) When l was just a little boy
l asked my mother what will l be
He'll make a fine doctor.
HANK: Will l be handsome? Will l be rich?
Here's what she said to me
Come on, darling.
(SlNGlNG) Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
What will be, will be
Second verse.
BOTH: (SlNGlNG) When i was just a child in school
l asked my teacher what should l try
Catch.
Should l paint pictures? Should l sing songs?
This was her wise reply
Que sera, sera
Whatever will be, will be (WHlSTLES ALONG)
The future's not ours to see
Que sera, sera
Oops! (CHUCKLES)
BOTH: What will be, will be
May l have this next dance? Yes.
All right.
(VOCALlZlNG)
Oh, you're divine. (KNOCKlNG ON DOOR)
Dinner for the boy.
Yeah, come in. Right around the corner.
l can't tell you how beautifully your wife sings.
Pretty good, isn't she?
Oh, she's marvelous.
Too bad it was interrupted.
l 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.
l would love it. Thank you.
Were you on the American stage, Mrs. McKenna?
Yes, Mr. Bernard, l was on the American stage,
and the London stage, and the Paris stage.
Oh?
l 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?
l was born there.
What business are you in?
l buy and sell.
What?
Whatever gives the best profit.
Well, now that you're in Marrakech,
what are you buying and selling?
You know, l would much rather talk about the stage.
lf you tell me what shows you are in. . .
(KNOCKlNG ON DOOR)
Would you excuse me? l'll get it.
No, l got it.
No, l will.
(SPEAKlNG FRENCH)
l'm inquiring for the room of Monsieur Montgomery.
He asked me for a drink, and l. . .
l'm sorry. There's no Montgomery here.
Pardon me, monsieur. l regret disturbing you.
BEN: Okay.
May l use your telephone, please?
Yeah, sure. lt's right there.
HANK: Mommy! Yes?
HANK: l can't cut this meat.
l'll do it for you, dear.
(SPEAKlNG FRENCH)
Hello?
(SPEAKlNG FRENCH)
l'm terribly sorry, but l cannot go to dinner with you tonight.
Oh? Oh !
l have neglected an important matter
which now requires my attention.
l see.
Perhaps another night?
Sure. Sure. We'll get together again.
Good-bye. Good-bye.
Bye. Good night.
(VlOLlN PLAYlNG)
(lNDlSTlNCT CHATTER)
(GREETlNG lN FRENCH)
My name's McKenna.
Of course. The hotel phoned. Follow me, please.
l 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 CLATTERlNG)
(SPEAKlNG 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?
(WHlSPERS) l'm not.
Good evening. You must think me awfully rude.
l've been staring at you ever since l saw you at the hotel.
You are Jo Conway, the Jo Conway?
Yes, l am.
Didn't l tell you? l knew l was right.
l'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 l have to console myself with your records.
Oh ! l must admit l love them.
l'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, l am.
Well, it's just that l'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 lndianapolis, lndiana.
Well, you know. . . Of course, we could live in New York.
l hear that doctors aren't starving there either.
Well, it's not that l have any objection to working in New York.
lt's just that it'd be hard for my patients
to come from lndianapolis for treatment.
LUCY: You know, dear, l'm always saying the wrong thing. l'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.
lt's kind of kind of hard on the neck.
(LUCY LAUGHlNG)
EDWARD: lt's in one of our English counties.
lt's not what you'd call a farm.
lt's really more of a small holding.
Ah, here we are.
lsn'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)
ls that the way you do it? Just break it?
Yes, just break it. Just break it. Just like this.
lt won't break. Oh, no.
Well, l'm gonna. . . There.
ls that the way you do it?
(LAUGHlNG) That's quite all right.
That was a tough one.
Does it chew any better than it tears?
(LAUGHlNG)
ls it fattening?
l imagine it might be.
No, it's pretty good, hon.
Well, l. . . No plate.
No? No.
No knife or forks.
That's right. l 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, l see.
May l show you?
Just these two fingers, huh?
Can l help you? l'll hold it for you.
That's it. There we are.
(GlGGLlNG)
Well. . .
Boy, could l use this hand now. l can't. . .
(ALL LAUGHlNG)
lt's all right. Nobody minds. No one minds.
That's good style.
No one minds.
lt's messy, but worth it.
l think l'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?
l think it's more social than religious.
l don't know.
lt seems like to me if you have four good fingers and a thumb,
you ought to be able to use all of them.
lt's very good, isn't it?
Very good.
Well, as l was saying,
l 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.
l'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. . .
(SPEAKlNG 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?
l 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 married couple!
All right. All right.
All right, he's a heel. l don't understand him,
but l'm beginning not to like what he's doing to our whole night.
(CLEARS THROAT) l must do some shopping in the market tomorrow.
l do hope it'll be fine. Well, not too fine.
Of course, l know that our English weather is pretty awful,
but sometimes, you know, l think we don't realize when we're lucky.
All this sunshine day after day,
well, it doesn't seem natural somehow.
l want to get up.
Ben, don't.
l know you. Once you get worked up, you start a fight.
Now, forget about him.
Will you come to the market with us tomorrow?
As a matter of fact, Louis Bernard, the big buyer from Paris,
was going to take us to the marketplace tomorrow.
Yeah. Yeah, l think l'll go over and cancel out.
Now, Ben, sit down and eat your dinner. lt's getting cold.
We'd love to go.
Oh, good, good. We'd be delighted.
l don't know why he gets so worked up over unimportant things.
(MAN EXCLAlMS lN FRENCH)
Monsieur!
(SPEAKlNG FRENCH)
(lNDlSTlNCT CHATTER)
(LlVELY MUSlC PLAYlNG)
(MEN EXCLAlMlNG)
(SPEAKlNG ARABlC)
What's he saying, Mrs. Drayton?
He's the teller of tales, Hank.
(SPEAKlNG ARABlC)
lsn't this exciting?
Just like the county fair when l was a kid.
They got everything but the balloon ascension.
(LAUGHlNG)
What's so funny about that? Did you ever see a balloon ascension?
No, you know what l was just thinking?
You know what's paying for these three days in Marrakech?
Me.
Mrs. Campbell's gallstones.
Oh ! (LAUGHlNG)
You know the purse l bought in Paris? Yeah.
Bill Edward's tonsils. (BOTH LAUGHlNG)
HANK: Mommy! Daddy!
Daddy, come with us! We're gonna see the medicine man.
Maybe you can learn something, Daddy.
l wouldn't be a bit surprised.
Anytime he starts wearing you out. . .
Oh, l haven't enjoyed the market so much. Oh !
You know, l never thought of it that way before.
What?
l'm wearing Johnny Matthews' appendix.
(CHUCKLlNG) Oh, dear. What about the boat trip?
Let's see, it took two boys, one girl
and two sets of twins, didn't it?
And Mrs. Morgan's hives.
(LAUGHS)
(MUSlC CONTlNUES)
(PEOPLE CHANTlNG)
Well, how are the acrobats today?
Oh, wonderful.
Watch that kid that goes clear to the top there. He's great.
l'll see you later. Yes.
All the way home, we'll be riding on Herbie Taylor's ulcers.
And Allida Markle's asthma.
Now, if we could just get four cases
of the seven-year itch, we could retire.
Or if Mrs. Yarro's really gonna have triplets,
we could completely redecorate the house, couldn't we?
(LAUGHlNG)
What would they say if they heard us?
You know, one of the reasons l came to a place like Marrakech
is so we could say things like that without everybody hearing us.
Well, l'd like to say something where nobody could hear us.
This is the safest place.
When are we going to have another baby?
You're the doctor. You have all the answers.
Yeah, but this is the first time l've ever heard the question.
Mommy, look! Come here!
Look. Sewing machines. Looks like a television commercial.
Having a good time, Hank?
l guess so.
Oh, he's delighted with everything.
(WHlSTLE BLOWlNG) MAN: Coming through ! Coming through !
(PEOPLE TALKlNG lNDlSTlNCTLY)
Hank! Hank, come back here!
Hank!
lt's best to keep out of trouble, Hank.
What's going on?
LUCY: Looks like the police are chasing somebody.
(PEOPLE SHOUTlNG)
(SHOUTlNG lN ARABlC)
(GRUNTS)
(lNDlSTlNCT)
Hey. Hey, look there.
(CROWD TALKlNG lNDlSTlNCTLY)
You better stand back. Go on. Stand back.
Monsieur McKenna.
l'm Louis Bernard.
(WHlSPERS) A man, a statesman,
he is to be killed, assassinated, in London.
Soon, very soon.
Tell them in London.
Ambrose Chappell.
(CROWD MURMURlNG)
Ben, who is he? Louis Bernard.
You got something to write on? Louis Bernard?
He's dead.
(lNDlSTlNCT CHATTER)
(WHlSTLE BLOWlNG)
(MAN SPEAKlNG FRENCH)
(SPEAKlNG FRENCH)
He says, "Do you know this man?"
Yes, we do know him. He's Louis Bernard, the. . .
Louis Bernard?
(SPEAKlNG FRENCH) (SlREN WAlLlNG)
Monsieur and Madame McKenna.
(SPEAKlNG FRENCH)
He wants you to go to police headquarters to make a statement.
Okay.
Our friends have to go to the police station.
l think l better go with them. Yes, of course.
(SlREN WAlLlNG)
(BRAKES SQUEALlNG)
(CROWD MURMURlNG)
You don't want your little boy to go, do you? (WHlSTLE BLOWlNG)
(ENGlNE REVVlNG) But l want to go to the police station.
l think it better if l take him back to the hotel, don't you?
Would you please? Certainly.
Thank you. You be a good boy, Hank.
(SPEAKS FRENCH)
We're to be going now.
Heaven knows when we shall be back.
Ben, why do you suppose he turned up in an Arab outfit
and wearing make-up?
What's more important, why was he killed?
l'll bet he was a spy or something like that.
What were you writing down? What was he telling you?
l'll tell you later.
(SlREN WAlLlNG)
What is it?
l just feel kind of funny.
Why should he pick me out to tell?
After what we said about him last night, the poor fella.
When we get in with the inspector,
l'll do my best to cut some of the red tape.
Fine. Fine.
Well, l'm going to stretch a bit.
l'm afraid the questions will go on till doomsday
if you admit you knew this chap Bernard before.
l don't know him at all. We met yesterday on a bus.
They're a cynical lot, you know, these French.
They might refuse to believe that.
Well, they've got to believe it. lt's the truth.
Look at it from their point of view.
They saw this poor fellow whispering to you,
and then they saw you write something down.
Are you gonna show them what you wrote?
(DOOR OPENS)
(SPEAKlNG FRENCH)
Thank you, Mr. Drayton, but a translator will not be necessary.
Won't you come inside, madame, monsieur?
Please do me the kindness to wait.
l might have questions for you later.
Very good.
Passports, please.
You came to French Morocco four days ago.
That's right.
You are a doctor, sir?
Yes, l'm a surgeon, a tourist and American citizen.
Three good reasons why you should have
nothing in common with Louis Bernard.
l didn't have.
You were in Paris recently?
Yes, l was attending a medical convention.
You came to Marrakech with him in the same bus,
had an aperitif with him in your hotel room,
and you ate at the same restaurant last night.
Yes, but at different tables.
So Louis Bernard is a stranger to you?
l met him for the first time in my life yesterday on a bus.
And yet out of 5,000 people in a great marketplace,
he comes to you when he is about to die.
ls that the action of a casual acquaintance, monsieur?
l know absolutely nothing about Louis Bernard.
No. Not even, l suppose, that he was an agent of the Deuxième Bureau?
(STAMMERS)
What's that?
Perhaps you have also never heard of the American FBl?
Now, wait. . .
lt would be so much easier for both of us, monsieur,
if you would cease to pretend.
Look here. . .
The dead man found out what he had been sent here to discover.
That's why he was killed.
He told you what he had discovered. Why?
Because he placed complete confidence in you. Not true?
Boy, you not only ask the questions,
you answer them too, don't you?
Let me ask you a question.
Assuming that Bernard trusted me as implicitly as you say,
then l'd never reveal anything he said to me, would l?
Even Americans, l suppose, find it sometimes desirable
to betray a confidence.
Wait a minute. Let's get some things straight here.
l'm a tourist. l'm traveling for pleasure.
l somehow got involved in this very unfortunate incident.
l came here to make a simple statement of fact
and not be subjected to a police grilling.
Monsieur, l would like you. . .
No, you let me finish. Now, let me finish. (KNOCKlNG ON DOOR)
Entrez!
(BOTH SPEAKlNG FRENCH)
Wait a minute. Wait a minute.
Did he say l was wanted on the telephone?
l'll take that call now. And you just take it easy.
Hello.
MAN ON PHONE: Dr. McKenna?
This is Dr. McKenna. Who's this?
lf you tell even one word
of what Louis Bernard whispered to you in the marketplace,
your little boy will be in serious danger.
Remember, say nothing.
(LlNE CLlCKS)
Hello?
(CLlCKlNG)
Drayton?
Didn't you tell me your wife was going to take Hank
right straight back to the hotel?
l thought so, yes.
Well, call her up.
Somebody just called me and threatened me about Hank.
Go on. Call her up. See if he's all right.
(SPEAKlNG FRENCH)
Hotel Mamounia?
(SPEAKlNG FRENCH)
My wife doesn't answer.
(SPEAKlNG FRENCH)
Concierge?
(SPEAKlNG FRENCH)
What's your room number?
Four fourteen.
(SPEAKlNG FRENCH)
l can't believe it.
She hasn't come back yet, huh?
At least nobody's seen her.
All right, now you go back to the hotel.
And see if you can find out what's going on.
lt's so unlike my wife.
l'll take care of the police and join you as soon as l can.
Look here. Don't worry. lt's probably some stupid misunderstanding.
lf l find anything out before you get back, l'll telephone you here.
Just don't waste any time.
Good-bye.
Who was it, Ben?
lt was the concierge at the hotel.
Oh.
He found out we were being held by the police.
He just called up to see if there was anything he could do.
That's very nice of him.
Yes, l thought so.
l told him if we weren't back there in 1 5 minutes,
for him to call the American Consulate at Casablanca.
But, monsieur, if you had only told me in the first place
that you wished to consult with your consul.
Yeah, yeah. Come on, Jo.
There is just one small formality.
l must request you to sign a statement of the facts.
lf it doesn't take too long, of course.
But a moment. l will send for a typist.
(DlALlNG)
(HOOFBEATS)
Ben?
Yeah?
Ben, aren't you going to let me see the message?
(STAMMERS) l don't. . .
l don't think l should.
Darling, l'm not the police inspector.
l'm your wife, and l think that l should see it.
Ben, why didn't you give this to the police?
Because l didn't want to.
But, Ben, a man's life. . .
ls at stake. Yeah, l know.
l just. . . l don't know what's the right thing to do.
Look, l think we should go back to the hotel,
pick up Hank, and get out of here as quickly as we can.
Maybe.
Darling, think about Hank.
What a terrible thing this is for him,
seeing a man murdered right before his eyes.
lt's a horrible shock to a little boy.
l know.
Why don't you take that note, give it to the American Consulate?
And let's not get any more involved, please.
(lNDlSTlNCT)
Why don't you get the key? l'll take care of the driver.
All right.
Say, you know a Mrs. Drayton?
English lady. That's right.
Did you see her coming from the marketplace
any time in the last hour or so?
No, sir.
Now, wait a minute. You understand this is very important.
She had a little boy with her, my little boy.
No, sir.
Well, what about Mr. Drayton?
Mr. Drayton checked out.
He what? Checked out.
But he couldn't have.
Yes, sir, he did.
No, Mr. Drayton, the Englishman with the horn-rimmed glasses.
Yes, sir. He checked out.
(SlGHS) l don't know about you, but l'm exhausted.
l guess l'll call Mrs. Drayton.
Tell her we're back. She can bring up Hank.
Just hold that call a minute, Jo.
Why? Because l asked you to!
Ben, are we about to have our monthly fight?
l hope not.
JO: Well, then stop acting like that.
l merely said l was going to call Mrs. Drayton.
BEN: Just a minute. Wait a minute.
Just a minute. Just a minute.
l want you to take these. They'll relax you.
Relax me? l'm so relaxed l'm tired.
l think maybe you need them.
These are for you, Jo. Now, come on.
l'm the doctor. Here.
Ben.
Jo, you know what happens when you get excited and nervous.
Now, here. Do me a favor.
Six months ago, you told me l took too many pills.
Six months ago, you weren't a witness to a murder.
Now, you've been excited. You've been talking a blue streak.
You've been walking around in circles.
l haven't!
Jo, l make my living knowing when and how to administer medicine.
Now l know you'll feel better if you take these. Why fight me on this?
All right, you don't think you will feel better.
l'll make a deal with you.
We'll make a deal. What is this?
Well, there's something about this Louis Bernard,
and the police station, and this whole spy business
l haven't told you yet. What?
Here's the price of curiosity. What is it?
Come on. Come on. There's one way of finding out.
All right, Dr. McKenna. l'm now relaxed and listening.
Well, there's been something strange about this whole thing
from the very beginning.
Now it wasn't any accident that Louis Bernard came up to us,
and helped us on the bus, and started up a conversation.
You were right about him.
You see there?
l know. l know. That's what l said.
You were right about him. He was strange.
Yes, l know all that. But what were you going to tell me?
He started to talk to us, and the reason he started to talk to us
was 'cause he was on the lookout
for a suspicious married couple.
There's nothing very suspicious-looking about us, is there?
No, because he was wrong. lt was a different married couple.
Oh.
And he was killed before he found them?
No, he found them. He found them, all right.
lt was in the restaurant where we had dinner last night.
And that's one of the reasons he was killed.
You'll be telling me next it's Mr. and Mrs. Drayton.
That's who it was, Jo.
Ben, if this is your idea of a joke, it's not a very funny one.
l think l'll lie down.
Now, listen to me. Jo.
Now, listen to me very carefully.
That phone call at the police station,
that wasn't the concierge at the hotel.
That was a man with a foreign voice, and he told me
if l mentioned one single word of what
Louis Bernard told me in the marketplace,
that something would happen to Hank.
Hank? Why Hank?
They've taken him away.
But Mrs. Drayton brought him back to the hotel.
Mrs. Drayton never got back to the hotel, and neither did Hank.
But Mr. Drayton. . . Listen, Jo.
Mr. Drayton checked out of the hotel 40 minutes ago.
Now, come on, Jo. Now, sit down.
l could kill you ! You gave me sedatives! (CRYlNG)
Jo, sit down.
(SOBBlNG) You did ! Let go!
Why didn't you tell me?
l wasn't sure until now.
You did ! You did !
Jo, please! Please!
(WAlLlNG) Let go of me! Let go!
Ben !
Lie down, Jo. Lie down, Jo.
Ben, let me find my baby!
Please.
Oh, dear God !
l want my boy!
Jo, please.
Please! Please. Where is he, Ben? Jo.
Forgive me, Jo. Forgive me.
(MUEZZlN CALLlNG)
There's still no word of him, Jo.
The Draytons are definitely gone.
The register in the hotel says they came from London.
Drayton told the concierge he was a college professor.
l don't think there's anything we can do here, Jo.
l can't bring the police in on this thing.
l'd even thought of taking that chance.
But the minute they connect Hank's disappearance
with Louis Bernard's murder,
then the first thing they'll do
is make me tell them what Louis Bernard
whispered to me in the marketplace.
That won't do Hank any good.
l'm going to London.
The Draytons had a private airplane. l found that out.
That's how they got Hank out of here.
lt could land anyplace. No trouble with passports or anything.
So we're going to London to find him.
Jo, now listen to me. This is what Bernard said.
"A man, a statesman, is to be killed, assassinated,
"in London. Soon, very soon.
"Tell them in London to try Ambrose Chappell."
That's the fella we've got to find.
And if he knows anything about this,
l'm gonna offer him every penny l have to get Hank back.
The Chappell guy's our only hope. You understand that, Jo?
Now, l've got a car waiting downstairs.
l've paid the hotel bill. We get packed, we'll be all set.
Honey?
We don't have much time. You'll have to get up and start getting ready.
Please, Jo.
(SOBBlNG)
(PEOPLE TALKlNG EXClTEDLY)
Would you just wait, sir, for the press photographers?
Will you come this way, madam?
WOMAN: Jo, darling, love from the fan club!
(FANS SHOUTlNG)
How could they remember me so well, Ben?
lt's been four years since l played London.
You're the kind of gal they don't forget.
Who told them we were coming? Ben, you didn't.
All l did was wire your friends, the Parnells, to get us hotel rooms.
l never figured on anything like this.
(CHEERlNG)
(WHlSTLlNG)
Dr. and Mrs. McKenna,
l'm lnspector Edington of the Criminal lnvestigation Department.
As things are, there's no need for you to go through the Customs.
Come this way.
WOMAN 1 : How about a photo, Jo?
WOMAN 2: Hi, Jo!
(CHEERlNG)
(WHlSTLlNG)
This way, please.
CROWD: (CHANTlNG) We want Jo! We want Jo! We want Jo! We want Jo!
This is Mr. Woburn. Dr. and Mrs. McKenna.
How do you do? How do you do?
What do you people want with us?
Mr. Buchanan would like to have a chat with you inside.
Who's Mr. Buchanan?
Special Branch, Scotland Yard.
(lNAUDlBLE)
This is Mr. Buchanan. Dr. and Mrs. McKenna.
How do you do? Thank you, Woburn.
Do sit down, won't you?
Let me say at once that we're shocked
that your son was taken from you in Marrakech,
and deeply sympathetic.
Do you know where he is?
Have you heard anything about our boy?
l only wish l could give you some cheerful news,
but we might find him quite soon indeed if we work together.
Bernard the Frenchman was sent to Morocco at our request
to check up on an assassination plot here in London.
You know, a good agent keeps on staking his life.
He doesn't always win.
Bernard reckoned you were a man to trust.
He relied on you to come to us.
Those people kidnapped your boy in order to keep your mouth shut.
That's right, isn't it?
No, l think they took him for money.
Then why didn't you go straight to your consulate in Casablanca?
Why did you come to London?
Well, l. . .
Mr. Buchanan. . . No, no.
You're convinced that these people brought your son to London.
You're convinced that you can find him off your own bat.
You can't. lt's impossible.
But with the help we can give you, there's a chance,
a really good chance.
But they told us not to say anything.
Anything you tell me will be in the most absolute confidence.
Yes, that may be true, but. . .
Your son is the trump card these people hold.
He's perfectly safe for the moment.
And when they've done what they want,
they'll let him go. ls that the idea?
Are we supposed to just sit here and wait?
No, Mrs. McKenna.
lf they consider your boy a nuisance afterwards, l'm afraid. . .
There's no need for you to try and scare us, Mr. Buchanan.
That's exactly what l am trying to do, scare you.
l'm trying to prevent a man being murdered here in London.
lf you don't tell me all you know,
you become an accessory before the fact of murder.
Ben, what can we do by ourselves?
Now, wait a minute. Now, wait just a minute.
You've been working on the wrong McKenna.
Louis Bernard talked to me. He didn't talk to my wife, you know.
Then you tell me.
He was a Frenchman. He spoke to me in French,
and l don't understand a single word of the language!
Ben, maybe they could find those people and Hank.
Maybe. Maybe's not good enough for me.
And l don't think it ought to be good enough for you either.
You act as if you're the only one who's concerned about. . .
Honey, honey, l didn't mean it that way.
We made up our minds what we're gonna do about this thing.
Now let's try and stick to it.
l'm sorry, Mr. Buchanan,
we'd like to cooperate with you on this thing, but we just can't.
(PHONE RlNGS) Well, l've got a son of my own.
l don't know what l'd do.
(KNOCKlNG ON DOOR)
Excuse me.
(lNAUDlBLE)
Telephone call for you, Mrs. McKenna.
Put the telephone call for Mrs. McKenna through here, please.
Hello.
WOMAN ON PHONE: Mrs. McKenna?
Yes?
This is Mrs. Drayton. Do you remember me?
(WHlSPERS) Mrs. Drayton.
Where is our son? Where have you got him?
He's here with me. You mustn't worry about him, really.
Where's our son? Where have you got him?
l expect you'd like to speak to him, wouldn't you?
(SOBBlNG) Yes, please! Please.
Hank! Hello, Hank!
Just a minute.
HANK ON PHONE: Mommy? Mommy, is that you?
Oh, Hank, darling, are you really all right?
l'm a little scared, Mommy, but l'm all right, l guess.
l miss you, Mommy. l miss you so much!
Here. Hank. Hank, this is Daddy. (SOBBlNG)
ls Mommy crying?
Now, Hank, listen to me.
Where are you? Where are you?
l didn't mean to make her cry, Daddy,
but I'm scared, and l want to see her.
Hank, son, now listen. Tell me where you are. Where are you?
Welbeck eight...
Yeah?
(AlRPLANE ENGlNE ROARlNG)
Eight. Go on, Hank.
(LlNE CLlCKS)
Hank!
(ROARlNG GROWS LOUDER)
(SOBBlNG)
Ben, he was so scared.
lt was a London telephone exchange.
Public call box. West One.
Do l have to say any more? Come on, dear.
You may change your minds.
lf you do,
this number will find me.
MAN ON PA: Baggage and airport service for 552 from Paris...
Everything all right, sir? Yeah, yeah.
Your room key, sir. Thank you.
Oh, uh. . . Here.
Thank you, sir. There you are.
lt's from the Parnells. "Welcome home, Jo.
"Look forward to seeing your family, especially the little one."
"With love, from Jan and Cindy." That's very nice.
"Ambrose Chappell." There he is, big as life.
"61 Burdett Street, Camden Town. Gulliver 61 98."
What are you going to say?
l'm gonna tell him l'll keep my mouth shut
and offer him all the money we have for Hank.
Operator?
Operator, l want Gulliver 61 98.
(KNOCKlNG ON DOOR)
l'll get it.
Jo! You look wonderful ! Jo!
When we got your wire, l couldn't believe it.
What were you doing down in Morocco?
Sightseeing.
You're the perfect answer to what London needs, Jo.
This week's the dullest thing since my first show.
Ambrose Chappell.
Mr. Ambrose Chappell.
Oh, Mr. Conway, l didn't know you were there.
Dr. McKenna. Dr. McKenna. Welcome to London town, Doctor.
Oh, l am sorry. l knew you were married. But a doctor? How clever.
Especially in such a psychosomatic business.
Jan, will you keep quiet?
Honey, you wouldn't know what psychosomatic means.
l do too. lt means when your mind gets sick of your body,
it does something to it.
ClNDY: Can't you see the doctor's trying to telephone?
Not at all. lt's just some business. lt's nothing.
Business is everything. Shh !
BEN: Hello. Hello? Ambrose Chappell.
l say, is this Mr. Ambrose Chappell?
Well, my name's McKenna. Dr. Benjamin McKenna.
l don't think we need to be quiet. Would you like a drink?
l was wondering if you'd be at your address for a little while.
l'd like to speak to you for a few minutes.
Yes. Thank you. l'll be right over.
l'd like all of you to meet my husband.
l've heard so much about you, Doctor.
lt's nice to see you in person.
How do you do, sir? This is Val's wife, Helen.
How do you do?
You look just like those pictures
Jo had in her dressing room four years ago.
Haven't changed a bit.
JAN: Why should he? He's a doctor.
Probably gets free hormones.
Oh, yes.
l'm Jan Peterson. l sing almost as well as your wife.
And, darling, this is Cindy Fontaine from Harrisburg, PA.
Oh, Harrisburg. Been back home lately?
How can l? They know me there as Elva McDuff.
lt doesn't quite fit me anymore. (LAUGHlNG)
Where's your boy? l'd like to see which one of you he looks like.
He's staying with some other people
so we could have a little time by ourselves.
JAN: What's his name?
Hank. Henry, really.
ClNDY: Well, l hope he looks like you and has the doctor's brain.
(CHUCKLES)
These flowers are really so lovely. We thank you very much.
Well, l'll order some drinks.
Okay, but dinner tonight's on me,
a sort of welcome home for Jo.
l wish l could persuade her to stay a month.
JO: l wish l could, Val, but l can't.
l'm terribly sorry, but l have an appointment l have to keep.
l wonder if you'd order the drinks, Mr. Parnell.
l'll be back as soon as l can. Excuse me, please.
Ben, please.
lt's got to be done.
Take me with you.
No, no, no. l can't. l won't disappear.
For the last time, please let me go with you.
Honey, two people are easier to follow than one.
Now we don't want Buchanan's men on our tracks,
the other people either.
l'm going out through the service entrance.
(FOOTSTEPS)
(FOOTSTEPS STOP)
(FOOTSTEPS CONTlNUE)
(FOOTSTEPS GROW LOUDER)
(FOOTSTEPS QUlCKEN)
(BELL RlNGS)
Yes, sir? Ambrose Chappell?
Come in.
(HAMMERlNG)
There's a gent to see you, sir.
(COUGHlNG)
Good afternoon, sir. l am Ambrose Chappell. What can l do for you?
Well, l. . .
lf you gave me your name, that might be a start.
Yes, of course. My name is McKenna. Dr. Benjamin McKenna.
l phoned you.
Yes, yes.
You are Ambrose Chappell?
Well, l've been Ambrose Chappell for nearly 71 years.
But l think l understand your problem.
You do? Certainly.
lt happens all the time.
You expected someone else.
Just a moment. Ambrose?
l think this gentleman wants to talk to us.
Now, Father, why don't you go and have a nice rest?
Hmm? (CHUCKLES)
l have centuries of rest ahead of me, thank you.
Good day to you, sir.
Now, what can l do for you?
l'm Dr. McKenna.
That name mean anything to you?
No. No, l don't think so.
You've no idea why l'm here?
My dear sir, l haven't the faintest idea.
But your name was given to me
by someone l happened to meet in Marrakech.
Yes? Yes.
Now, l think you know this man, Louis Bernard, a Frenchman.
Louis Bernard?
Come on. Let's stop fooling around.
Bernard told me to come here just before he died.
This man is dead?
You know he's dead just as well as l do.
Now, l've come here with a business proposition.
l don't see how you can turn it down.
Exactly what had you in mind?
You want to talk here?
Certainly.
We have no secrets from our employees.
Okay. Now, in the first place,
l haven't uttered one word of what Bernard told me before he died,
and l never will.
Frankly, l'm not interested in political intrigue.
l don't care who you fellows are gonna kill here in London.
All l want is that boy,
and l'll take the next airplane back to America.
Come on, please. Listen to me, will you?
Honestly, if money means anything to you, l'll do. . .
Father, call the police quick.
Now, sir, l shall we go into this a little more carefully. . .
Wait just a minute.
You told him to call the police. No, no. No, no.
What's the idea, trying to bluff me?
My dear sir, there can be no. . .
Let me go.
Are you sure you don't know Louis Bernard?
l've never heard of him.
You've got no idea what happened yesterday
in Marrakech or where my boy is?
Of course not. Where is he?
William ! Edgar! Davis! Help!
Now, wait a minute! Wait! All right, now, hold on. Wait. Listen.
lt's obvious l'm in the wrong place.
Now, all right, let go of me. Come on.
(BEN SHOUTlNG)
Come on. Listen.
(GRUNTlNG)
Wait.
Come on.
(SHOUTlNG)
l made a mistake. Now let me go.
Hold him ! Hold him !
The police are coming.
Ow!
Hold him.
He said that no matter how Bud Flanagan was got up,
even if he was dressed by Hartnell,
that nobody would ever believe that he was an aristocrat.
So l said,
"Listen, Chris,
"why don't you take William Hickey's column out of the paper?"
Jo? Jo, what's become of that unpredictable husband of yours?
He's been gone over an hour now.
He went to see some man. What was it? Church?
No. No, it was Chappell.
lt's not a man. lt's a place.
lt's Ambrose Chapel !
Val, do they list chapels in the directory?
Let's take a look.
Please help me find it.
Let's see. Here we are. Ambrose. Here we have a chap. . .
Ambrose Chapel, 1 7 Ambrose Street West Two.
1 7 Ambrose Street, West Two.
1 7 Ambrose Street.
Look, darlings, l have to go. l'm very sorry.
Have another drink, and l'll be back as soon as l can.
And explain to Ben when he comes in, would you?
Explain what? Explain what?
(DOOR CLOSES)
Look, there's something weird going on here,
and l can't quite follow it.
Let's try to figure the whole thing out.
First of all, there was a man named. . .
Ambrose Chappell.
And Ben dashed off to see him.
Then Jo said it wasn't a man but a place, and she dashed off.
Don't mention it again, darling, or l might dash off.
Ooh ! What a temptation. Can you fathom it, though?
lt's probably some new American gag.
l'll have to ask Danny about it.
(DOOR OPENS)
JAN: Well, hello again.
Oh !
l'm awfully sorry l had to rush off,
but it was something that had to be done.
Oh, boy, l can use this.
Thank you. Well, l. . .
Where's Jo? She's gone to Ambrose Chapel.
l just came from there.
Hey, not your Ambrose Chappell.
lt isn't a he. lt's an it, a building.
ClNDY: She just left 20 minutes ago.
She. . . What?
What do you mean? Where's the address?
l'll look it up again.
What is this? You say it's a building?
Yes, here it is. Ambrose Chapel,
1 7 Ambrose Street, Bayswater.
(PHONE RlNGlNG)
Yes? Doctor! Doctor, come back! lt's Jo.
Jo? Ben?
What happened? Did you find anything?
No, it was a wild goose chase.
Darling, it must be the chapel. l've found it.
lt's just a short way from here.
l know it was crazy thing to do, but...
Honey, l know the address. You wait there. l'll be right over.
All right, l'll meet you outside.
Bye, dear.
What did you say that address was again?
1 7 Ambrose Street, Bayswater.
l don't know how to thank you.
(DOOR CLOSES)
(DOOR UNLOCKlNG)
Three men. You don't know much about checkers, do you?
You'd better go to bed, dear, or you'll be overtired.
Can l finish? l'm winning.
Yes, finish.
Edna, see he has some milk and biscuits.
He'd better be put to sleep again, honey. l've got to get downstairs.
No, it's not necessary tonight.
You'll sleep, Hank, won't you?
l guess so.
Hurry up if you want to finish this game.
Look, it doesn't hurt to be kind, does it?
Give me a yell when you want me to unlock the door.
Can l come in? EDWARD: Yes.
l wish it was tomorrow.
That's not a very orthodox sentiment.
Before l forget.
Here you are, my friend.
Two tickets for the concert at the Albert Hall with my compliments.
Your box is nicely placed.
Or should we say, strategically placed.
And now, for the most important part.
What is it?
A record of the delightful piece
they're going to play this evening.
Music's less in your line than marksmanship.
lf you listen, l'm going to play you
the exact moment at which you can shoot.
So listen carefully.
(CHOlR SlNGlNG OPERA)
(CYMBALS CRASHlNG)
(MUSlC STOPS)
We'll have it once more. Listen for the crash of the cymbals.
(CHOlR SlNGlNG OPERA)
(CYMBALS CRASHlNG)
(MUSlC STOPS)
You see? At such a moment,
your shot will never be heard.
Even the listeners will be undisturbed.
l think the composer would've appreciated that, don't you?
No one will know.
No one except one.
That's right. lf you're clever, my friend.
Now, any questions, musical or otherwise?
No.
There's one comforting thought.
lt happens early in the evening.
And l hope l shan't upset you
if l tell you you've only time for one shot.
lf you need another, the risk is yours.
l don't take risks.
l'm very glad to hear that.
Traipsing all the way to Marrakech for you,
l should like you to do me credit.
Your distinguished target is already on his way.
There's a car waiting for you downstairs in the back entrance.
You're to pick up a Miss Benson on the way.
She'll be your companion in the box.
She'll lend you an air of respectability if that's possible.
Will you have the money when l return?
Don't you trust me?
What is your English proverb?
"A wolf in sheep's clothing."
A very clever disguise, l must say.
l think you'd better be going. lt's impolite to be late for a concert.
And it would be awkward if they made you wait until the first item was over.
Will you show our friend down to the car, my dear?
Yes, of course.
l'm sorry you have to sneak out by the back way,
but we must preserve a respectable front.
(CHOlR SlNGlNG OPERA)
(CYMBALS CRASHlNG)
(ENGlNE STARTS)
There it is.
Yeah. You just may have hit it right on the nose.
And you can't be farther wrong than l was with my Ambrose Chappell.
Come on, let's go.
Ben, should we get some help from the police?
No, honey, please. Let's take a crack at this alone. Come on.
(CONGREGATlON SlNGlNG)
(SlNGlNG LOUDLY)
Ben. Shh, shh.
(SlNGlNG CONTlNUES)
(SlNGlNG) This is just another wild goose chase
Let's wait
And look around
Look who's coming down the aisle
(SlNGlNG CONTlNUES)
The subject of my address to you this evening is adversity.
The average life, yours and mine,
is often harassed and perplexed
by disappointments and by cruelties beyond our control.
Now, strangely enough, it is often these things beyond our control. . .
(WHlSPERS) That's Buchanan's phone number.
You go out, call him up, tell him to surround this place with police.
What if he asks. . .
Tell him anything.
This is the time. l'm sure Hank's around here someplace.
But l don't want to leave you. l know. l know.
l don't know how else to do it, honey. You go on now.
. . .and therefore the goodness of all mankind.
(DOOR OPENS)
(DOOR CLOSES)
Few of us pause to consider how life's adversities work in our behalf
to make better men and women of us.
But l think we should pause, and pause now,
to do a little stocktaking,
to look into our own hearts and lives and see what we find there.
Therefore, instead of continuing the service,
l think we should all return to our homes for private meditation,
remembering how little we have to complain of
and how much to be grateful for.
Next week, l shall discuss the fruits of our meditations.
Until then, my blessing upon each and every one of you.
(ALL MURMURlNG)
(lNAUDlBLE)
Well, this is a pleasant surprise, Doctor.
Where's my boy, Drayton?
He's upstairs.
As a matter of fact, you've come just in time to help my wife with his food.
lt seems Hank doesn't care very much for our English cooking.
What do you want?
l'll give you money. l'll keep my mouth shut. All l want is my boy.
And what about your wife?
Did she go outside just to get a breath of fresh air?
Come on. Tell me what you want. l'll do anything.
All right, you'll see your boy all in good time.
Hank! Hank McKenna!
HANK: (FAlNTLY) Daddy? Daddy! Daddy! Daddy!
(BANGlNG) l'm here, Daddy! l'm here!
My husband's in there now watching them. He sent me out to call you
so that you could do something before they get away.
l'm afraid it isn't quite as easy as all that.
Mr. Woburn, my husband is in that chapel
waiting for me to bring help. Now you. . .
May l speak to Mr. Buchanan?
He told me to call him if l needed him, and l need him right now.
l'm awfully sorry. But l simply can't get in touch with him just now.
He's gone to a rather important diplomatic affair at the Albert Hall.
Well, then call him there! Please call him.
He's on his way. l don't know quite how. . .
Mr. Woburn, it isn't a matter of days. lt's a matter of minutes.
Now, you've got to send some. . .
You've got to send the police right away!
Or do l have to go to Albert Hall myself?
That won't be necessary.
l'll have the chapel put under immediate observation.
By the time you get back, a police car should be there.
Please return to your husband.
Tell him to come straight out of the chapel and let the police take over.
Woburn, Special Branch. Hold on.
l must ring off now, Mrs. McKenna.
Please believe me. l'll have everything laid on.
(LlNE CLlCKS)
(TlRES SCREECH)
There's nobody there.
Are you Mrs. McKenna?
Yes, but there's something wrong, Officer.
That place was full of people just a few minutes ago,
and now there's nobody.
Our orders are to keep it under observation
until the Scotland Yard car arrives.
But my husband is in there. There were 30 or 40 people. . .
When was this?
lt was no more than five minutes ago.
Let's take a look.
l've tried the door. lt's locked.
We'll have to force it open.
l'm sorry, madam. We can't break in.
Requires a search warrant. lt's the law, you see.
Well, can't we get one?
That all takes time.
We'll have a look around, shall we?
Matthews, take the other end.
All right.
(BANGlNG ON DOOR)
There's no one there.
Are you quite certain this place was full of people
only a few minutes ago?
Of course l'm certain. l was there myself sitting next to my husband.
He sent me out to call Scotland Yard.
Look, l'm afraid it's much too complicated to explain why.
We'll just have to sit tight and wait for the car to arrive from the Yard.
As far as we can make out, there's no sign of life.
MAN ON RADlO: Report back here.
l see. Very good, sir.
Walden, you stand by till the car arrives from the Yard.
That's all, Matthews. You're not leaving?
Orders, madam. Can we give you a lift somewhere?
Yes, take me to Albert Hall, please.
l'm afraid the Albert Hall's a little bit off our beat.
Suppose we drop you at the nearest taxi rank?
All right. (ENGlNE STARTS)
Wait here.
They're here.
Wait till l clear the kitchen.
(lNAUDlBLE)
Everybody out! Come on. lnto the corridor. Five minutes only!
Come on ! (ALL PROTESTlNG)
Do as he tells you. Come on. lt'll only take a minute.
Come on. All of you out.
Why? Why?
(ALL MURMURlNG)
All right. This way.
Always something funny going on at this embassy.
Bringing people in secret.
Give me the Swiss embassy anytime.
There's neutrality for you.
(FOOTSTEPS)
(CHAPEL BELL RlNGlNG)
(RlNGlNG CONTlNUES)
Please, may l see the manager?
l'm sorry, madam. The manager's on duty in the lobby.
So is his assistant.
l must speak with one of them.
Which are they?
Over there somewhere.
You have a very nice little boy, madame.
His safety will depend upon you tonight.
Where is he? Where is he?
Good evening.
ls that the Prime Minister?
WOMAN: No, that's only the Ambassador.
His Prime Minister's the one with the bald head.
Your ticket, madam?
l'm sorry. l'm looking for someone.
(APPLAUSE)
(APPLAUSE STOPS)
(ORCHESTRA PLAYS DRAMATlC MUSlC)
(SOMBER MUSlC)
(MELANCHOLlC MUSlC)
(SlNGlNG OPERA)
(CHOlR SlNGlNG)
(TENSE MUSlC)
(CHOlR SlNGlNG)
(SlNGlNG)
(CHOlR SlNGlNG)
(SlNGlNG FADES)
(DRAMATlC MUSlC)
(lNAUDlBLE)
(CHOlR SlNGlNG)
(lNAUDlBLE)
(DRAMATlC MUSlC)
(CHOlR SlNGlNG)
(SlNGlNG STOPS)
(SlNGlNG RESUMES)
(SlNGlNG STOPS)
(SCREAMS)
(SlNGlNG RESUMES)
(ALL SCREAMlNG)
(lNDlSTlNCT CHATTER)
(lNAUDlBLE)
l saw the gun. He was pointing it at the Prime Minister.
He was going to kill him, and l realized that l had to scream.
Well, then he didn't kill him?
Your wife saved him. lt's only a small flesh wound.
There they are. Do please come over
and let the Prime Minister thank you personally, would you?
l'm sure he'd like to. lt won't take very long.
Would you come along with me? Don't be nervous.
(lNDlSTlNCT)
Prime Minister, this is the young lady.
Dear lady, l'm forever in your debt.
WOBURN: This is her husband. (lNAUDlBLE)
l trust you'll permit me to wait upon you tomorrow.
And to express to you the depth of my gratitude.
lt wasn't. . .
But it was, my dear lady. lt was.
Will you excuse us?
Excuse me, but l have to go.
l think Mr. Buchanan would like a word with you.
Where's our boy? Where's Hank?
We can talk if you'll come in here.
So you both knew the time and the place all along.
Don't be a fool !
An odd coincidence, both of you turning up here.
Yeah, it's a pity you didn't contact your assistant.
He told us both you were here.
l beg your pardon?
We need that help you offered, Mr. Buchanan.
Sir, we've questioned the woman. Said she bought a ticket
which happened to place her in the same box
with the man who did the shooting.
Didn't know anything. But if she does, she isn't talking.
l'll see her later.
Very good, sir.
Please tell me everything now. Everything.
There's still plenty of room for hope, Mrs. McKenna.
His Excellency will see you now.
And that's that, l suppose.
Yes. All right.
Excuse me, sir. l have a lot to explain to you.
Something very unusual has happened.
l also have to have the money to pay the marksman.
Wouldn't that be superfluous, considering that he's dead?
His aim wasn't quite as good as you led me to expect.
The target merely received a slight flesh wound in the arm.
Worse than useless.
Then your French friend panicked, made a fatal crash,
landing on the floor of the Albert Hall.
l don't see how you can blame me for that, sir.
He was warmly recommended by our people in Marrakech.
l'm glad that you are able to treat the matter so lightly.
l'm holding a reception here this evening.
ln a few moments, l have to welcome
our Prime Minister as my guest of honor
when l hoped and expected that he would be totally unable to attend.
That amuses you, no doubt.
l don't know what to say.
No.
But l do.
You have muddled everything from the start.
Taking that child with you from Marrakech.
Don't you realize that Americans dislike having their children stolen?
How else could l make sure that McKenna would keep his mouth shut?
Then to crown it all, you get cold feet
and come running along here to hide,
bringing the wretched child with you.
Don't you see what you've done to the diplomatic status of this embassy?
l didn't think. l only thought we could. . .
How are you going to get the child out of here, eh?
Eh? Eh?
No difficulty about that, surely. The car. . .
With plainclothes detectives planted right 'round this building?
You English intellectuals will be the death of us all.
l'll think of something. Only give me time.
Time. (SCOFFS)
l want the child removed from this embassy and removed in such a way
that he won't be able to say anymore where he has been tonight.
Oh, no!
l'll see to it.
Drayton ! l trust that nothing will go wrong this time.
lt would be very unfortunate for you if. . .
(KNOCKlNG ON DOOR)
Yes, come in.
Your Excellency, the princess should be arriving at any moment.
l recognized him. He recognized me.
He tried to get away, made a jump for it. That was all.
Trying to liquidate one of their own big shots.
l wish they'd stick to their usual custom
and do it in their own country.
(PHONE RlNGS)
Yes?
Buchanan speaking.
Right. Thank you.
The Draytons are at the embassy.
The what?
How do you know?
We have means of finding out from the inside.
Well, look, if the Draytons are at the embassy,
then our boy's there too.
You're probably right, but we can't do anything.
What do you mean, you can't do anything?
Every embassy in a foreign country has extraterritorial rights.
What's that?
As far as we're concerned, this embassy stands on foreign soil.
So they can steal kids and get away with it? What is this?
BUCHANAN: We could have the Foreign Office
serve a writ on the Ambassador.
You know, l'm not responsible for the complications of international law.
lf only we had some positive proof that your boy really is in there.
Say, what's the phone number of that embassy?
You got it?
What are you thinking about?
Let me try something.
Grosvenor 01 44.
Grosvenor 01 44, please.
That fellow that got shot's a prime minister, isn't he?
Hello? Hello. l'd like to speak to the Prime Minister, please.
Yeah, yeah. No, look.
Just tell him the lady that saved his life would like to speak to him.
lt's very important. Yeah.
Ben, what do l say?
He wanted to visit with us so he could thank you.
Tell him you want to come over to the embassy right away, tonight,
'cause we're going to leave London tomorrow. You see?
Hello? Here you are.
Hello?
My dear lady, this is a charming surprise.
Uh-huh.
Delighted. Delighted, delighted.
The Ambassador too would be delighted.
Any friends of mine are friends of his.
He said all right.
So if he asks you, we're all set. You see?
But supposing they don't?
Honey, have we ever been to a party where they didn't ask you?
Now, your job is to hold their attention, right?
Good evening. lt's Dr. and Mrs. McKenna.
How very nice to see you.
The Prime Minister's waiting for you.
Do come this way, please.
Ah, madame.
Good evening, good evening.
Good evening.
This is the charming lady who saved my life at the concert.
Madam, you saved the life of the one man
who's irreplaceable in our country.
l hear you are the famous Jo Conway, madame.
Yes, l'm Jo Conway.
PRlME MlNlSTER: Perhaps we might. . .
l'm sure my wife would be delighted to sing for you.
Wouldn't you, dear?
Well, it's been quite some time.
l beg you, madame. A tranquil coda
to conclude a dramatic evening.
l'm very flattered.
Uh, Stanis? Would you put up some chairs? And hurry up, please.
Ladies and gentlemen,
the famous Jo Conway has gladly consented
to sing a few songs for us tonight.
Darling, would you see that the Prime Minister gets a very good seat?
Would you like to come to the piano?
Would you not like to sit down, sir?
No, thank you. l'll just stand over here.
(lNDlSTlNCT CHATTER)
(PLAYlNG PlANO)
(SlNGlNG) When l was just a little girl
l asked my mother what will l be
Will l be pretty? Will l be rich?
Here's what she said to me
Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
What will be, will be
When l was just a child in school
l asked my teacher what should l try
Should l paint pictures? Should l sing songs?
This was her wise reply
Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
What will be, will be
When l grew up and fell in love
l asked my sweetheart what lies ahead
Will we have rainbows day after day?
Here's what my sweetheart said
Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
That's my mother's voice!
That's my mother singing !
What?
Are you sure, Hank?
Are you quite sure?
That's her! l know it!
What's she doing here?
(SlNGlNG CONTlNUES)
Hank, can you whistle that song?
l guess so.
Then go on. Whistle it.
Whistle it as loud as you can.
(WHlSTLES)
Will we have rainbows day after day?
Here's what my sweetheart said
(HANK WHlSTLlNG SONG)
Ever will be, will be (WHlSTLlNG CONTlNUES)
The future's not ours to see
Que sera, sera
What will be, will be
Now l have children of my own (WHlSTLlNG STOPS)
They ask their mother what will l be
Will l be handsome? Will l be rich?
l tell them tenderly
Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
What will be, will be
You two wait in the mail room. l'll bring him down.
Give me about five minutes.
(SONG ENDS) (APPLAUSE)
(CRYlNG)
(FOOTSTEPS)
(JO SlNGlNG)
(FOOTSTEPS GROW LOUDER)
(FOOTSTEPS STOP)
(DOOR CLOSES)
(FOOTSTEPS RESUME)
No!
Oh, Daddy!
Take the boy. Go! But be quick. You must be quick!
Come on, son.
(JO SlNGlNG)
Go on !
Just a moment, please.
Don't touch him.
l don't think you're gonna do any shooting, Drayton,
not with these people downstairs and the police outside.
You're not in a very happy position yourself, you know.
You've got to let the boy go!
Precisely what l'm thinking, my dear.
Now l'm sure you're going to be sensible and help me out of here.
Don't ask me for help, you miserable. . .
You wouldn't want your father to get hurt, would you, Hank?
Now we're going to walk downstairs together
quite casually like three old friends.
Then we're going to take a little stroll
as far as the nearest taxi rank.
And l hope there won't be any emotional scenes on the way down.
Do as he says, Hank.
No, the other way.
Shall we be going?
All right, start down the hall, son.
Don't say anything.
(JO SlNGlNG)
(PlANO PLAYlNG)
JO: (SlNGlNG) Now it's good-bye
And we're facing such lonely tomorrows
So many sunsets
Till there's a sunset
When all at once, you'll be there
Then we'll kiss again
And again
(GASPS)
(CROWD MURMURlNG)
Come on, Hank.
Mother!
(SNORlNG)
l'm sorry we were gone so long,
but we had to go over and pick up Hank.