1
(PLAYING DRAMATIC OVERTURE)
(PEOPLE TALKING INDISTINCTLY)
Daddy, you're sure
I've never been
to Africa before?
It 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.
(LAUGHING)
(HORN HONKING)
Hey, look! A camel.
Uh-huh.
Of course this isn't
really Africa, honey.
It's the French Morocco.
Well, it's northern
Africa.
Still seems
like Las Vegas.
We're just
100 miles north of
the Sahara desert.
Do you realize
that, son?
I don't know.
In school, they call
this the dark continent.
This is twice
as bright as
Indianapolis.
Ah, you just wait till
we get to Marrakech.
Marrakech?
Sounds like a drink.
Hmm.
It sure does.
(CHUCKLES)
(HORN HONKING)
(TIRES SCREECHING)
(ALL TALKING INDISTINCTLY)
(SHOUTING IN ARABIC)
Wait a minute.
Wait a minute.
Hold on here.
What's the matter?
(BOTH SPEAKING ARABIC)
(ALL MURMURING)
Well, I 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: I 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?
It was just an accident.
But the Muslim
religion allows
for few accidents.
Yeah, I suppose so.
Oh.
May I...
Yeah, sit down right
in front of Jo there.
Oh, I thought
his name was Hank.
No, it's my wife's name.
You see, J-O. No "E."
How different.
It's short
for Josephine.
I've called her that so
long nobody knows her
by any other name.
Do they?
No.
I 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.
I see.
You mean they feed
intravenously?
No, Hank.
What a big word
for such a small boy.
(CHUCKLES) You see,
I'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.
(LAUGHING)
Where do you
practice, Doctor?
Indianapolis, Indiana.
Good Samaritan Hospital
out there.
What brings you
to Marrakech?
You see, we were
attending a medical
convention in Paris.
And I thought as much as
as we were in Europe,
I'd come down and
see Morocco again.
Daddy liberated
Africa.
Well, I was stationed
up in Casablanca
at an army field hospital
during the war.
Do you live in Morocco,
Mr. Bernard?
No.
I suppose you came
directly from Paris.
We looked in on
Lisbon and Rome.
HANK: And Casablanca.
And Casablanca.
I 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 I'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.
(LAUGHING)
That's all right.
We tried everything
to get rid of them.
We never thought
of a Frenchman.
(ALL LAUGHING)
(BICYCLE BELL RINGING)
(BUS HORN HONKING)
(PEOPLE TALKING INDISTINCTLY)
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,
I have some
business first.
Oh, I see.
What business
are you in,
Mr. Bernard?
However, I'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.
In that case,
I will take
you to dinner.
No, that's not fair.
But I know Marrakech.
I 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?
I'd love it.
(LAUGHS)
How would you prefer
to travel to the hotel?
By taxi, fiacre?
BEN: Gee, I don't know.
A wagon! I wanna
ride in a wagon!
Well, I guess
it's a wagon.
(LAUGHING)
See you later.
Au revoir.
I 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 TALKING)
(INDISTINCT)
(LAUGHING)
Well, I 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?
It 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 I
know about him?
I 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 Indianapolis, Indiana.
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.
I've got nothing to hide.
I have a feeling
that Mr. Bernard has.
Oh, honey.
I know this is
mysterious Morocco,
but we're not going to
lose our head, are we?
I know.
I 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.
(SPEAKING FRENCH)
Well, this eases
the pain.
What pain, Mommy?
It's just an
expression,
honey.
Hey, can you take
care of the driver?
Yes, sir.
My name is McKenna,
Dr. McKenna.
I'll take care of
everything, sir.
(SPEAKING FRENCH)
Come on.
We're being watched.
What? Oh, come on!
(JO VOCALIZING)
JO: (SINGING)
Que sera, sera
What will be, will be
HANK: (SINGING)
When I was just a little boy
I asked my mother
what will I be
He'll make
a fine doctor.
HANK: Will I be handsome?
Will I be rich?
Here's what she said to me
Come on, darling.
(SINGING)
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: (SINGING) When I was
just a child in school
I asked my teacher
what should I try
Catch.
Should I paint pictures?
Should I sing songs?
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
married couple!
All right.
All right.
All right, he's a heel.
I don't understand him,
but I'm beginning not
to like what he's doing
to our whole night.
(CLEARS THROAT)
I must do some shopping
in the market tomorrow.
I do hope it'll be fine.
Well, not too fine.
Of course, I know that
our English weather
is pretty awful,
but sometimes, you know,
I think we don't realize
when we're lucky.
All this sunshine
day after day,
well, it doesn't
seem natural somehow.
I want to get up.
Ben, don't.
I 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, I think I'll go
over and cancel out.
Now, Ben, sit down
and eat your dinner.
It's getting cold.
We'd love to go.
Oh, good, good.
We'd be delighted.
I don't know why
he gets so worked up
over unimportant things.
(MAN EXCLAIMS IN FRENCH)
Monsieur!
(SPEAKING FRENCH)
(INDISTINCT CHATTER)
(LIVELY MUSIC PLAYING)
(MEN EXCLAIMING)
(SPEAKING ARABIC)
What's he saying,
Mrs. Drayton?
He's the teller
of tales, Hank.
(SPEAKING ARABIC)
Isn't this exciting?
Just like the county
fair when I was a kid.
They got everything
but the balloon
ascension.
(LAUGHING)
What's so funny about
that? Did you ever see
a balloon ascension?
No, you know what
I was just thinking?
You know what's paying
for these three days
in Marrakech?
Me.
Mrs. Campbell's
gallstones.
Oh!
(LAUGHING)
You know the purse
I bought in Paris?
Yeah.
Bill Edward's tonsils.
(BOTH LAUGHING)
HANK: Mommy! Daddy!
Daddy, come with us!
We're gonna see the
medicine man.
Maybe you can learn
something, Daddy.
I wouldn't be
a bit surprised.
Anytime he starts
wearing you out...
Oh, I haven't enjoyed
the market so much.
Oh!
You know,
I never thought of
it that way before.
What?
I'm wearing Johnny
Matthews' appendix.
(CHUCKLING) 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)
(MUSIC CONTINUES)
(PEOPLE CHANTING)
Well, how are the
acrobats today?
Oh, wonderful.
Watch that kid that goes
clear to the top there.
He's great.
I'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?
(LAUGHING)
What would they say
if they heard us?
You know, one of
the reasons I came to
a place like Marrakech
is so we could say
things like that without
everybody hearing us.
Well, I'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 I've
ever heard the question.
Mommy, look!
Come here!
Look. Sewing machines.
Looks like
a television commercial.
Having a good time,
Hank?
I guess so.
Oh, he's delighted
with everything.
(WHISTLE BLOWING)
MAN: Coming through!
Coming through!
(PEOPLE TALKING INDISTINCTLY)
Hank! Hank,
come back here!
Hank!
Hank!
Hank!
It's best to keep
out of trouble, Hank.
What's going on?
LUCY: Looks like the police
are chasing somebody.
(PEOPLE SHOUTING)
(SHOUTING IN ARABIC)
(GRUNTS)
(INDISTINCT)
Hey.
Hey, look there.
(CROWD TALKING INDISTINCTLY)
You better stand back.
Go on. Stand back.
Monsieur McKenna.
I'm Louis Bernard.
(WHISPERS)
A man, a statesman,
he is to be killed,
assassinated,
in London.
Soon, very soon.
Tell them in London.
Ambrose Chappell.
(CROWD MURMURING)
Ben, who is he?
Louis Bernard.
You got something
to write on?
Louis Bernard?
He's dead.
(INDISTINCT CHATTER)
(WHISTLE BLOWING)
(MAN SPEAKING FRENCH)
(SPEAKING FRENCH)
He says,
"Do you know this man?"
Yes, we do know him.
He's Louis Bernard,
the...
Louis Bernard?
(SPEAKING FRENCH)
(SIREN WAILING)
Monsieur and
Madame McKenna.
(SPEAKING FRENCH)
He wants you to go to
police headquarters
to make a statement.
Okay.
Our friends have to go
to the police station.
I think I better
go with them.
Yes, of course.
(SIREN WAILING)
(BRAKES SQUEALING)
(CROWD MURMURING)
You don't want your
little boy to go, do you?
(WHISTLE BLOWING)
(ENGINE REVVING)
But I want to go to
the police station.
I think it better
if I 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?
I'll bet he was a spy
or something like that.
What were you
writing down?
What was he telling you?
I'll tell you later.
(SIREN WAILING)
What is it?
I 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,
I'll do my best
to cut some of
the red tape.
Fine. Fine.
Well, I'm going
to stretch a bit.
I'm afraid
the questions will
go on till doomsday
if you admit
you knew this
chap Bernard before.
I 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.
It'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)
(SPEAKING 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.
I 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, I'm a surgeon,
a tourist and
American citizen.
Three good reasons
why you should have
nothing in common
with Louis Bernard.
I didn't have.
You were in Paris
recently?
Yes, I 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?
I 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.
Is that the
action of a casual
acquaintance, monsieur?
I know absolutely nothing
about Louis Bernard.
No. Not even, I suppose,
that he was an agent of
the Deuxime Bureau?
(STAMMERS)
What's that?
Perhaps you have
also never heard
of the American FBI?
Now, wait...
It 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 I'd never reveal
anything he said to me,
would I?
Even Americans, I suppose,
find it sometimes desirable
to betray a confidence.
Wait a minute.
Let's get some
things straight here.
I'm a tourist.
I'm traveling
for pleasure.
I somehow got involved
in this very
unfortunate incident.
I came here to make
a simple statement
of fact
and not be subjected
to a police grilling.
Monsieur,
I would like you...
No, you let me finish.
Now, let me finish.
(KNOCKING ON DOOR)
Entrez!
(BOTH SPEAKING FRENCH)
Wait a minute.
Wait a minute.
Did he say
I was wanted
on the telephone?
I'll take that call now.
And you just take it easy.
Hello.
MAN ON PHONE:
Dr. McKenna?
This is Dr. McKenna.
Who's this?
If 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.
(LINE CLICKS)
Hello?
(CLICKING)
Drayton?
Didn't you tell me
your wife was going
to take Hank
right straight back
to the hotel?
I 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.
(SPEAKING FRENCH)
Hotel Mamounia?
(SPEAKING FRENCH)
My wife doesn't answer.
(SPEAKING FRENCH)
Concierge?
(SPEAKING FRENCH)
What's your room number?
Four fourteen.
(SPEAKING FRENCH)
I 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.
It's so unlike my wife.
I'll take care of
the police and join
you as soon as I can.
Look here. Don't worry.
It's probably some
stupid misunderstanding.
If I find anything
out before you get back,
I'll telephone you here.
Just don't waste
any time.
Good-bye.
Who was it, Ben?
It 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, I thought so.
I told him if we
weren't back there
in 15 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.
I must request you
to sign a statement
of the facts.
If it doesn't take
too long, of course.
But a moment.
I will send for a typist.
(DIALING)
(HOOFBEATS)
Ben?
Yeah?
Ben, aren't you
going to let me
see the message?
(STAMMERS)
I don't...
I don't think
I should.
Darling, I'm not
the police inspector.
I'm your wife,
and I think that
I should see it.
Ben, why didn't you
give this to the police?
Because I didn't want to.
But, Ben,
a man's life...
Is at stake.
Yeah, I know.
I just...
I don't know what's
the right thing to do.
Look, I 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.
It's a horrible shock
to a little boy.
I know.
Why don't you take
that note, give it to
the American Consulate?
And let's not get any
more involved, please.
(INDISTINCT)
Why don't you get
the key? I'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.
(SIGHS) I don't
know about you,
but I'm exhausted.
I guess I'll call
Mrs. Drayton.
Tell her we're back.
She can bring up Hank.
Just hold that
call a minute, Jo.
Why?
Because I asked you to!
Ben, are we about to
have our monthly fight?
I hope not.
JO: Well, then stop
acting like that.
I merely said
I was going to
call Mrs. Drayton.
BEN: Just a minute.
Wait a minute.
Just a minute.
Just a minute.
I want you
to take these.
They'll relax you.
Relax me?
I'm so relaxed I'm tired.
I think maybe
you need them.
These are for you, Jo.
Now, come on.
I'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 I 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.
I haven't!
Jo, I make my living
knowing when and how
to administer medicine.
Now I know you'll feel
better if you take these.
Why fight me on this?
All right,
you don't think
you will feel better.
I'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
I 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.
I'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?
I know. I know.
That's what I said.
You were right about him.
He was strange.
Yes, I 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.
It was a different
married couple.
Oh.
And he was killed
before he found them?
No, he found them.
He found them, all right.
It 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.
I think I'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 I 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.
I could kill you!
You gave me sedatives!
(CRYING)
Jo, sit down.
(SOBBING)
You did! Let go!
Why didn't you tell me?
I wasn't sure
until now.
You did! You did!
Jo, please! Please!
(WAILING)
Let go of me! Let go!
Ben!
Lie down, Jo.
Lie down, Jo.
Ben, let me find my baby!
Please.
Oh, dear God!
I want my boy!
Jo, please.
Please! Please.
Where is he, Ben?
Jo.
Forgive me, Jo.
Forgive me.
(MUEZZIN CALLING)
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.
I don't think
there's anything
we can do here, Jo.
I can't bring
the police in
on this thing.
I'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.
I'm going to London.
The Draytons had
a private airplane.
I found that out.
That's how they
got Hank out of here.
It 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,
I'm gonna offer him
every penny I have
to get Hank back.
The Chappell
guy's our only hope.
You understand that, Jo?
Now, I've got a car
waiting downstairs.
I'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.
(SOBBING)
(PEOPLE TALKING EXCITEDLY)
Would you just wait,
sir, for the press
photographers?
Will you come
this way, madam?
WOMAN: Jo, darling,
love from the fan club!
(FANS SHOUTING)
How could they
remember me
so well, Ben?
It's been four years
since I played London.
You're the kind of gal
they don't forget.
Who told them
we were coming?
Ben, you didn't.
All I did was wire your
friends, the Parnells,
to get us hotel rooms.
I never figured on
anything like this.
(CHEERING)
(WHISTLING)
Dr. And Mrs. McKenna,
I'm Inspector Edington
of the Criminal
Investigation 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!
(CHEERING)
(WHISTLING)
This way, please.
CROWD: (CHANTING)
We want Jo! We want Jo!
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.
(INAUDIBLE)
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?
I only wish
I 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, I 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, I...
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.
It'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.
Is that the idea?
Are we supposed to
just sit here and wait?
No, Mrs. McKenna.
If they consider your boy
a nuisance afterwards,
I'm afraid...
There's no need for you
to try and scare us,
Mr. Buchanan.
That's exactly what
I am trying to do,
scare you.
I'm trying to prevent
a man being murdered
here in London.
If 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 I 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 I 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,
I 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.
I'm sorry,
Mr. Buchanan,
we'd like to cooperate
with you on this thing,
but we just can't.
(PHONE RINGS)
Well, I've got
a son of my own.
I don't know what I'd do.
(KNOCKING ON DOOR)
Excuse me.
(INAUDIBLE)
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?
(WHISPERS) 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?
I expect you'd like
to speak to him,
wouldn't you?
(SOBBING)
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?
I'm a little scared, Mommy,
but I'm all right, I guess.
I miss you, Mommy.
I miss you so much!
Here. Hank.
Hank, this is Daddy.
(SOBBING)
Is Mommy crying?
Now, Hank, listen to me.
Where are you?
Where are you?
I didn't mean to
make her cry, Daddy,
but I'm scared,
and I want to see her.
Hank, son, now listen.
Tell me where you are.
Where are you?
Welbeck eight...
Yeah?
(AIRPLANE ENGINE ROARING)
Eight. Go on, Hank.
(LINE CLICKS)
Hank!
(ROARING GROWS LOUDER)
(SOBBING)
Ben, he was so scared.
It was a London
telephone exchange.
Public call box.
West One.
Do I have to
say any more?
Come on, dear.
You may change
your minds.
If 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.
It'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 6198."
What are you
going to say?
I'm gonna tell him
I'll keep my mouth shut
and offer him all
the money we have
for Hank.
Operator?
Operator,
I want Gulliver 6198.
(KNOCKING ON DOOR)
I'll get it.
Jo! You look wonderful!
Jo!
When we got your wire,
I 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,
I didn't know
you were there.
Dr. McKenna. Dr. McKenna.
Welcome to London town,
Doctor.
Oh, I am sorry.
I 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.
I do too. It means
when your mind gets
sick of your body,
it does something to it.
CINDY: Can't you see
the doctor's trying
to telephone?
Not at all.
It's just some business.
It's nothing.
Business is everything.
Shh!
BEN: Hello. Hello?
Ambrose Chappell.
I say, is this
Mr. Ambrose Chappell?
Well, my name's McKenna.
Dr. Benjamin McKenna.
I don't think
we need to be quiet.
Would you like a drink?
I was wondering if
you'd be at your address
for a little while.
I'd like to speak to
you for a few minutes.
Yes. Thank you.
I'll be right over.
I'd like all of you
to meet my husband.
I've heard so much
about you, Doctor.
It'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.
I'm Jan Peterson.
I sing almost as
well as your wife.
And, darling,
this is Cindy Fontaine
from Harrisburg, PA.
Oh, Harrisburg.
Been back home lately?
How can I?
They know me
there as Elva McDuff.
It doesn't quite
fit me anymore.
(LAUGHING)
Where's your boy?
I'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.
CINDY: Well, I hope
he looks like you and
has the doctor's brain.
(CHUCKLES)
These flowers
are really so lovely.
We thank you very much.
Well, I'll order
some drinks.
Okay, but dinner
tonight's on me,
a sort of welcome
home for Jo.
I wish I could persuade
her to stay a month.
JO: I wish I could,
Val, but I can't.
I'm terribly sorry,
but I have an appointment
I have to keep.
I wonder if you'd
order the drinks,
Mr. Parnell.
I'll be back
as soon as I can.
Excuse me, please.
Ben, please.
Ben, please.
It's got to be done.
Take me with you.
No, no, no. I can't.
I 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.
I'm going out through
the service entrance.
(FOOTSTEPS)
(FOOTSTEPS STOP)
(FOOTSTEPS CONTINUE)
(FOOTSTEPS GROW LOUDER)
(FOOTSTEPS QUICKEN)
(BELL RINGS)
Yes, sir?
Ambrose Chappell?
Come in.
(HAMMERING)
There's a gent
to see you, sir.
(COUGHING)
Good afternoon, sir.
I am Ambrose Chappell.
What can I do for you?
Well, I...
If you gave me your name,
that might be a start.
Yes, of course.
My name is McKenna.
Dr. Benjamin McKenna.
I phoned you.
Yes, yes.
You are Ambrose Chappell?
Well, I've been
Ambrose Chappell
for nearly 71 years.
But I think I understand
your problem.
You do?
Certainly.
It happens all the time.
You expected
someone else.
Just a moment.
Ambrose?
I think this gentleman
wants to talk to us.
Now, Father,
why don't you go
and have a nice rest?
Hmm? (CHUCKLES)
I have centuries
of rest ahead of me,
thank you.
Good day to you, sir.
Now, what can
I do for you?
I'm Dr. McKenna.
That name mean
anything to you?
No. No, I don't think so.
You've no idea
why I'm here?
My dear sir,
I haven't the
faintest idea.
But your name
was given to me
by someone I happened
to meet in Marrakech.
Yes?
Yes.
Now, I 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 I do.
Now, I've come here
with a business
proposition.
I 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,
I haven't uttered one
word of what Bernard
told me before he died,
and I never will.
Frankly,
I'm not interested
in political intrigue.
I don't care who you
fellows are gonna
kill here in London.
All I want is that boy,
and I'll take
the next airplane
back to America.
Come on, please.
Listen to me, will you?
Honestly, if money
means anything to you,
I'll do...
Father,
call the police quick.
Now, sir, I 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?
I'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.
It's obvious I'm
in the wrong place.
Now, all right,
let go of me.
Come on.
(BEN SHOUTING)
Come on. Listen.
(GRUNTING)
Wait.
Come on.
(SHOUTING)
I 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 I 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.
It's not a man.
It's a place.
It'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,
17 Ambrose Street West Two.
17 Ambrose Street,
West Two.
17 Ambrose Street.
Look, darlings,
I have to go.
I'm very sorry.
Have another drink,
and I'll be back
as soon as I 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 I 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 I might dash off.
Ooh! What a temptation.
Can you fathom it,
though?
It's probably some
new American gag.
I'll have to ask
Danny about it.
(DOOR OPENS)
JAN: Well, hello again.
Oh!
I'm awfully sorry
I had to rush off,
but it was something
that had to be done.
Oh, boy,
I can use this.
Thank you.
Well, I...
Where's Jo?
She's gone to
Ambrose Chapel.
I just came
from there.
Hey, not your
Ambrose Chappell.
It isn't a he.
It's an it,
a building.
CINDY: She just left
20 minutes ago.
She... What?
What do you mean?
Where's the address?
I'll look it up again.
What is this?
You say it's
a building?
Yes, here it is.
Ambrose Chapel,
17 Ambrose Street,
Bayswater.
(PHONE RINGING)
Yes? Doctor! Doctor,
come back! It's Jo.
Jo?
Ben?
What happened?
Did you find anything?
No, it was
a wild goose chase.
Darling, it must
be the chapel.
I've found it.
It's just
a short way from here.
I know it was crazy
thing to do, but...
Honey, I know the address.
You wait there.
I'll be right over.
All right,
I'll meet you outside.
Bye, dear.
What did you say
that address was again?
17 Ambrose Street,
Bayswater.
I don't know
how to thank you.
(DOOR CLOSES)
(DOOR UNLOCKING)
Three men.
You don't know much
about checkers, do you?
You'd better go to bed, dear,
or you'll be overtired.
Can I finish?
I'm winning.
Yes, finish.
Edna, see he has
some milk and biscuits.
He'd better be put
to sleep again, honey.
I've got to get downstairs.
No, it's not necessary
tonight.
You'll sleep, Hank,
won't you?
I 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 I come in?
EDWARD: Yes.
I wish it was
tomorrow.
That's not a very
orthodox sentiment.
Before I 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.
If you listen,
I'm going to play you
the exact moment at
which you can shoot.
So listen carefully.
(CHOIR SINGING OPERA)
(CYMBALS CRASHING)
(MUSIC STOPS)
We'll have it once more.
Listen for the crash
of the cymbals.
(CHOIR SINGING OPERA)
(CYMBALS CRASHING)
(MUSIC STOPS)
You see?
At such a moment,
your shot will
never be heard.
Even the listeners
will be undisturbed.
I think the composer
would've appreciated
that, don't you?
No one will know.
No one except one.
That's right.
If you're clever,
my friend.
Now, any questions,
musical or otherwise?
No.
There's one
comforting thought.
It happens early
in the evening.
And I hope
I shan't upset you
if I tell you
you've only time
for one shot.
If you need another,
the risk is yours.
I don't take risks.
I'm very glad
to hear that.
Traipsing all the way
to Marrakech for you,
I 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 I return?
Don't you trust me?
What is your
English proverb?
"A wolf in
sheep's clothing."
A very clever disguise,
I must say.
I think you'd better be
going. It'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.
I'm sorry you
have to sneak out
by the back way,
but we must preserve
a respectable front.
(CHOIR SINGING OPERA)
(CYMBALS CRASHING)
(ENGINE STARTS)
There it is.
Yeah. You just
may have hit it
right on the nose.
And you can't be farther
wrong than I 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.
(CONGREGATION SINGING)
(SINGING LOUDLY)
Ben.
Shh, shh.
(SINGING CONTINUES)
(SINGING) This is just
another wild goose chase
Let's wait
And look around
Look who's coming
down the aisle
(SINGING CONTINUES)
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...
(WHISPERS)
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.
I'm sure Hank's
around here someplace.
But I don't want
to leave you.
I know. I know.
I 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 I 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,
I 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, I shall
discuss the fruits
of our meditations.
Until then,
my blessing upon each
and every one of you.
(ALL MURMURING)
(INAUDIBLE)
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.
It seems Hank
doesn't care very much
for our English cooking.
What do you want?
I'll give you money.
I'll keep my mouth shut.
All I 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.
I'll do anything.
All right,
you'll see your boy
all in good time.
Hank! Hank McKenna!
HANK: (FAINTLY) Daddy?
Daddy! Daddy! Daddy!
(BANGING)
I'm here, Daddy! I'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.
I'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 I speak to
Mr. Buchanan?
He told me to call
him if I needed him,
and I need him right now.
I'm awfully sorry.
But I 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.
I don't know quite how...
Mr. Woburn,
it isn't a matter of days.
It's a matter of minutes.
Now, you've got
to send some...
You've got to send
the police right away!
Or do I have to go
to Albert Hall myself?
That won't be necessary.
I'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.
I must ring off now,
Mrs. McKenna.
Please believe me.
I'll have everything
laid on.
(LINE CLICKS)
(TIRES 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?
It was no more
than five minutes ago.
Let's take a look.
I've tried the door.
It's locked.
We'll have to
force it open.
I'm sorry, madam.
We can't break in.
Requires a search warrant.
It'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.
(BANGING ON DOOR)
There's no one there.
Are you quite certain
this place was
full of people
only a few minutes ago?
Of course I'm certain.
I was there myself
sitting next to my husband.
He sent me out to
call Scotland Yard.
Look, I'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 RADIO:
Report back here.
I 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.
I'm afraid the Albert
Hall's a little bit
off our beat.
Suppose we drop you
at the nearest taxi rank?
All right.
(ENGINE STARTS)
Wait here.
They're here.
Wait till I clear
the kitchen.
(INAUDIBLE)
Everybody out! Come on.
Into the corridor.
Five minutes only!
Come on!
(ALL PROTESTING)
Do as he tells you.
Come on. It'll only
take a minute.
Come on. All of you out.
Why? Why?
(ALL MURMURING)
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 RINGING)
(RINGING CONTINUES)
Please, may I
see the manager?
I'm sorry, madam.
The manager's on
duty in the lobby.
So is his assistant.
I 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.
Is that the
Prime Minister?
WOMAN: No, that's only
the Ambassador.
His Prime Minister's
the one with the
bald head.
Your ticket, madam?
I'm sorry.
I'm looking for someone.
(APPLAUSE)
(APPLAUSE STOPS)
(ORCHESTRA PLAYS
DRAMATIC MUSIC)
(SOMBER MUSIC)
(MELANCHOLIC MUSIC)
(SINGING OPERA)
(CHOIR SINGING)
(TENSE MUSIC)
(CHOIR SINGING)
(SINGING)
(CHOIR SINGING)
(SINGING FADES)
(DRAMATIC MUSIC)
(INAUDIBLE)
(CHOIR SINGING)
(INAUDIBLE)
(DRAMATIC MUSIC)
(CHOIR SINGING)
(SINGING STOPS)
(SINGING RESUMES)
(SINGING STOPS)
(SCREAMS)
(SINGING RESUMES)
(ALL SCREAMING)
(INDISTINCT CHATTER)
(INAUDIBLE)
I saw the gun.
He was pointing it
at the Prime Minister.
He was going to kill him,
and I realized that
I had to scream.
Well, then he
didn't kill him?
Your wife saved him.
It's only a small
flesh wound.
There they are.
Do please come over
and let the Prime Minister
thank you personally,
would you?
I'm sure he'd like to.
It won't take very long.
Would you come
along with me?
Don't be nervous.
(INDISTINCT)
Prime Minister,
this is the young lady.
Dear lady,
I'm forever
in your debt.
WOBURN:
This is her husband.
(INAUDIBLE)
I trust you'll
permit me to wait
upon you tomorrow.
And to express
to you the depth
of my gratitude.
It wasn't...
But it was,
my dear lady.
It was.
Will you excuse us?
Excuse me,
but I have to go.
I 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.
I 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.
I'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,
I suppose.
Yes. All right.
Excuse me, sir. I have
a lot to explain to you.
Something very
unusual has happened.
I 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.
I don't see how
you can blame me
for that, sir.
He was warmly recommended
by our people in Marrakech.
I'm glad that you
are able to treat
the matter so lightly.
I'm holding a reception
here this evening.
In a few moments,
I have to welcome
our Prime Minister
as my guest of honor
when I hoped and expected
that he would be totally
unable to attend.
That amuses you,
no doubt.
I don't know
what to say.
No.
But I 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 I 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?
I didn't think.
I 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.
I'll think of something.
Only give me time.
Time. (SCOFFS)
I 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!
I'll see to it.
Drayton! I trust that
nothing will go wrong
this time.
It would be very
unfortunate for you if...
(KNOCKING ON DOOR)
Yes, come in.
Your Excellency,
the princess should be
arriving at any moment.
I 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.
I wish they'd stick
to their usual custom
and do it in
their own country.
(PHONE RINGS)
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, I'm not responsible
for the complications
of international law.
If 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 0144.
Grosvenor 0144,
please.
That fellow that got
shot's a prime minister,
isn't he?
Hello? Hello.
I'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.
It's very important.
Yeah.
Ben, what do I 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.
It'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.
I hear you are the
famous Jo Conway,
madame.
Yes, I'm Jo Conway.
PRIME MINISTER:
Perhaps we might...
I'm sure my wife
would be delighted
to sing for you.
Wouldn't you, dear?
Well, it's been
quite some time.
I beg you, madame.
A tranquil coda
to conclude
a dramatic evening.
I'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.
I'll just stand
over here.
(INDISTINCT CHATTER)
(PLAYING PIANO)
(SINGING)
When I was just
a little girl
I asked my mother
what will I be
Will I be pretty?
Will I 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 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
Que sera, sera
Whatever will be, will be
The future's not ours to see
Que sera, sera
What will be, will be
When I grew up
and fell in love
I 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! I know it!
What's she doing here?
(SINGING CONTINUES)
Hank, can you
whistle that song?
I guess so.
Then go on.
Whistle it.
Whistle it
as loud as you can.
(WHISTLES)
Will we have rainbows
day after day?
Here's what my sweetheart said
(HANK WHISTLING SONG)
Ever will be, will be
(WHISTLING CONTINUES)
The future's not ours to see
Que sera, sera
What will be, will be
Now I have children of my own
(WHISTLING STOPS)
They ask their mother
what will I be
Will I be handsome?
Will I be rich?
I 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.
I'll bring him down.
Give me about
five minutes.
(SONG ENDS)
(APPLAUSE)
(CRYING)
(FOOTSTEPS)
(JO SINGING)
(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 SINGING)
Go on!
Just a moment,
please.
Don't touch him.
I 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 I'm
thinking, my dear.
Now I'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 I 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 SINGING)
(PIANO PLAYING)
JO: (SINGING)
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 MURMURING)
Come on, Hank.
Mother!
(SNORING)
I'm sorry we
were gone so long,
but we had to go over
and pick up Hank.