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Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 8

 DISSOLVE TO:
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Jo stands watching something across the street.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
 
 From Jo's viewpoint, the exterior of Ambrose Chapel.
 An old building, silent and deserted. A faded sign
 outside identifies it.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
 
 A non-conformist Chapel. Empty, except for    one figure,
 a woman laying out music on the organ rack   in the front
 of the Chapel. The CAMERA MOVES IN on her,    and as she
 turns on her way to the hymn board, we see   that she is
 Mrs. Drayton. At the hymn board, she slips    into it a
 series of hymn numbers.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 The CAMERA THEN PANS her across the empty chapel to a
 side door. She goes through it.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 She comes up a flight of stairs, the CAMERA MOVING
 with her. She stops at a door on the first landing,
 takes a key out of her pocket, and unlocks the door.
 She enters.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Inside of a small, almost bare room, Mrs. Drayton closes
 the door behind her and stands with her back to it,
 watching. The CAMERA PANS SLIGHTLY to reveal the rest
 of the room. Sitting at a small table is a listless,
 young Hank McKenna. He is playing checkers with the
 woman we saw at the airport who was standing with the
 autograph hunters, watching Jo McKenna. The one with
 the dirty glasses, who made a phone call. Hank has
 caught the woman in a checker trap, and with obvious
 satisfaction jumps three of her men.
 
                       HANK
           Three men! You don't know much about
           checkers, do you?
 
                       MRS. DRAYTON
           It's time you went to bed, dear.    You'll
           get tired out.
 
                       HANK
           Can I finish? I'm winning?
 
                       MRS. DRAYTON
           Yes, you finish. Edna, see that he
           gets some milk and biscuits.
 
                       EDNA
           And he'd better have another sleeping
           pill...I've got to get downstairs --
 
                       MRS. DRAYTON
               (To Hank)
           You'll go to sleep, Hank, won't you?
 
                         HANK
           I guess so.
 
                       EDNA
           Hurry up if you want to finish this
           game.
 
                       MRS. DRAYTON
           Look it doesn't hurt to be kind. Yell
           out when you want me to open the door.
 
 Edna studies the board with a frown.   Mrs. Drayton
 smiles and goes out the door.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
 
 In the corridor once again Mrs. Drayton locks the door,
 and crosses the hall. The CAMERA PANNING her. She
 enters another door.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
 
 She enters a larger, more ornate room. The CAMERA
 PANS her in, and we see first Drayton, who is putting
 on a surplice -- and then the man who knocked on the
 McKennas' door in the Mamounia Hotel, looking for
 someone named Montgomery. He is putting on a tie and
 tuxedo. He wears a dangerous-looking revolver strapped
 underneath his armpit; Mrs. Drayton, without a word,
 sits down and lights a cigarette, exhaling with
 something close to fatigue. Then she speaks.
 
                       MRS. DRAYTON
           I wish it was tomorrow.
 
 Drayton turns, having finished his dressing.
 
                        DRAYTON
               (Coldly)
           That's not a very orthodox sentiment.
 
 He goes to a desk, and takes something out of a drawer.
 It is a small envelope. He turns to the man with the
 gun.
 
                        DRAYTON
           Two excellent tickets for the concert
           at the Albert Hall -- with my
           compliments.
 
 He hands them to Rien. Rien takes the envelope, glances
 at it briefly, then puts it into his pocket.
 
                       DRAYTON
           Your box is nicely placed, or shall we
           say strategically placed.
 
 He goes to a portable record player, which is open and
 has a record on it. He looks down at the phonograph.
 
                       DRAYTON
           Now for the most important part.
 
 He gestured towards the record.
 
                         RIEN
           What is it?
 
                       DRAYTON
           A record of the delightful Picco they
           will play tonight.
 
                       RIEN
           What about it?
 
                       DRAYTON
           Music is less in your line than
           marksmanship. If you will listen, my
           friend, I will play for you the exact
           moment at which you can shoot. Now
           listen carefully.
 
 Drayton plays the record.
 
                       DRAYTON
           Let me do it for you again.   Now listen
           for the cymbal crash.
 
 Drayton plays the record again and claps his hands
 together at the cymbal crash.
 
                       DRAYTON
           You see at such a moment your shot
           will not be heard. The listeners will
           not even be disturbed. I think the
           composer would have appreciated that.
           No one will know.
 
                       RIEN
           None except one you mean.
 
 The assassin smiles.
 
                       DRAYTON
           Ah, yes -- if you are clever, my friend.
           Any questions musical or otherwise?
 
                         RIEN
           No.
 
                       DRAYTON
           There's's one comforting thought. It
           happens early in the evening. I hope
           I won't upset you if I say there's
           time for one shot only. If you need
           another, the risk is yours.
 
                       RIEN
           I do not take risks.
 
                       DRAYTON
           That's a comfort -- traipsing all the
           way down to Marrakesh to fetch you I
           should like you to do me credit.
 
 He looks at his watch.
 
                       DRAYTON
           Your distinguished target's on the way
           there now. A car is waiting for you
           downstairs at the back entrance. You
           will pick up a Miss Benson on your
           way. She will be your companion in
           the box. She's there to lend an air
           of respectability...if that's possible.
 
                       RIEN
           You will have the money when I return?
 
                       DRAYTON
           I think you can trust me.
 
                       RIEN
               (Looking him up and
                down)
           What is your English proverb -- a wolf
           in Sheep's clothing?
 
 Drayton laughs.
 
                          DRAYTON
           I think you    had better be going. It
           is impolite    to be late for a concert.
           It would be    awkward if they made you
           wait until    the first selection is over.
 
 He turns to his wife.
 
                       DRAYTON
           See him downstairs, my dear.
               (To Rien)
           I'm sorry you must sneak out the back
           way, but we have to preserve our
           respectable front.
 
 She exits with the assassin.    Drayton turns to the
 mirror and surveys himself.
 
 LAP DISSOLVE TO:
 
 EXT. REAR ENTRANCE AMBROSE CHAPEL - (DAY)
 
 In the distance Jo is seen pacing. To rear door of
 the chapel opens and Mrs. Drayton pushes Rien out. He
 crosses and enters a waiting car. The car drives off.
 
 EXT. AMBROSE STREET - (DAY) - MEDIUM SHOT
 
 The shadows of the day are lengthening as Ben gets out
 of a taxi and approaches Jo standing on the sidewalk.
 His fatigue of before seems to have vanished in his
 eagerness to meet Jo and find out what she knows.
 
 EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
 
 Ben comes up to her.   She grips his hands.
 
                          JO
           There it is.
 
                       BEN
           You may have just hit it right on the
           nose. You can't be farther wrong than
           I was with my Ambrose Chapel. Let's
           go.
 
                       JO
           Ben, should we get some help from the
           police?
 
                       BEN
           No, honey, please, no -- let's take a
           crack at this alone.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
 
 The Chapel as seen from their viewpoint. People are
 now entering it, but it seem as if the tag end of the
 congregation is entering, because the service is
 obviously under way, the sound of hymn singing coming
 across faintly to us.
 
 EXT. LONDON STREET - (DAY) - MEDIUM CLOSE SHOT
 
 Ben takes her hand, squeezes it affectionately.
 Together they cross the street, the CAMERA PANNING
 them up the steps of the chapel and to the entrance.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM   SHOT
 
 They enter the Chapel from the rear, looking around
 cautiously. A hymn is in progress. The Chapel holds
 about three hundred people. It is of the non-conformist
 type and the congregation consists mostly of middle-
 aged and elderly women. Although the McKennas are not
 aware of it, we notice that the organist is none other
 than Edna, the woman who observed Jo at the airport,
 and later took care of Hank.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 Carefully the McKennas find their way to a back row
 seat. One or two of the women in the back row turn to
 look at the new arrivals. Jo wants to whisper something
 to Ben, but with a gesture he silences her. Ben picks
 up hymnal, hands her one, finds the right page and
 begins to sing along with the hymn. But instead of
 following the words of the hymn, Ben makes up his own
 words to communicate with Jo, as he looks around at
 the chapel.
 
                       BEN
               (singing)
           This looks like mother wild goose chase.
 
                       JO
               (Singing them)
           Let's wait and look around...
 
 Some of the parishioners turn and listen to Jo's voice
 because it has a professional quality that rises above
 the rest. Whether they are watching her in suspicion,
 or admiration, is hard to tell. Jo turns her attention
 to the hymn book, trying to be unnoticed. Ben's eyes
 catch something coming down the aisle.
 
                       BEN
               (Singing)
           Look who's coming down the aisle.
 
 Jo follows his glance, leaning forward a little and to
 one side.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
 
 Coming up the aisle with a collection basket, collecting
 money during the hymn is Mrs. Drayton. She is
 approaching the row in which the McKennas are standing.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 Jo looks towards Ben helplessly. Mrs. Drayton is
 between the two of them and any possible exit. Ben
 immediately eases his way along behind a column which
 hides him somewhat from the front, but not from the
 side. Jo endeavors to shrink her body behind a tall
 woman in front of her, but she is not entirely
 successful. We can see Mrs. Drayton getting closer to
 them.
 
 Jo looks toward Ben almost panicked. Suddenly Mrs.
 Drayton has reached the end of their row. She pushes
 forward her collection plate, and as she does so her
 face blanches. She instantly identifies the two.
 Ben, with little else to do, looks her straight in the
 eye and puts some coins into her plate.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 As the astonished Mrs. Drayton turns to go back down
 the aisle with her plate of coins and bills, we now
 see the surpliced Mr. Drayton ascending the pulpit.
 He looks down to his wife.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM SHOT
 
 From Mr. Drayton's viewpoint, as he notices his wife
 coming up the aisle with a startled expression on her
 face. She tries to  nod with her head to indicate
 something important lies behind her.
 
 INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
 
 Mr. Drayton, trying to puzzle out her alarm, studies
 her face, and then lifts his eyes to look beyond her.
 The expression on his face leaves no doubt that he
 cannot understand what she's trying to convey. The
 hymn has come an end, and the congregation starts
 seating itself.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 The McKennas take a seat along with the rest, and as
 yet they are relatively inconspicuous from the front
 of the chapel. Ben takes a piece of paper out of his
 pocket, examines it, and satisfied it is the right
 one, hands it to his wife. The congregation falls
 silent as Drayton is apparently about to begin his
 sermon.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 Drayton glances down to his Bible, opens it a certain
 page, and as he does so, he looks at his wife who is
 sitting near the organ. She half-turns to look up at
 him. She seems frightened. Drayton fumbles with the
 pages of the Bible, apparently trying to make something
 out of his wife's attitude. Failing, he looks up and
 begins his sermon. He speaks into a microphone.
 
                        DRAYTON
           Brothers and Sisters: The subject of
           my address this evening is adversity.
           The average life, yours and mine, is
           often harassed and perplexed by
           cruelties and disappointments beyond
           our control.
 
 Strangely enough, it is often the things beyond our
 control which help to make us better beings.
 
 Pain and tribulation are the testing ground of   life
 and let us be grateful for them. Let us bless    the
 disappointments and the frustrations and say a   prayer
 for the agony of the moment. Only thus shall    we confirm
 and re-confirm our own goodness and therefore   the
 essential goodness of all Mankind.
 
 INT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 Half-glancing at Drayton as he delivers his sermon.
 Ben talks to Jo. Their conversation is whispered.
 
                       BEN
           That's Buchanan's phone number. Go on
           out and call him and ask him to surround
           the place with police.
 
                       JO
           What if he asks me...
 
                       BEN
           Tell him...tell him everything. This
           is the time. I'm sure Hank is around
           here some place.
 
                       JO
           Ben, I don't want to leave you.
 
                       BEN
           I don't know how else to do it, honey.
 
 Ben gives her a gentle push. With a regretful look at
 him, she slides out of the seat.
 
 INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
 
 In the middle of his sermon, Drayton looks up. He
 almost falters and stops, as he sees Jo rise from her
 seat.
 
 The chapel as seen from Drayton's viewpoint. Jo has
 turned up the aisle and gone out the door at the back.
 
 INT. AMBROSE CHAPEL - (DAY) - CLOSE SHOT
 
 Drayton composes his face, but his eyes are serious.
 Without the slightest pause, he continues his sermon,
 shifting his ideas in mid-paragraph.
 
                       DRAYTON
           Few of us pause to think how life's
           adversities work in our behalf, to
           make better men and women of us.
                       (MORE)
 
                       DRAYTON (CONT'D)
           But I believe we should pause now to
           do a little stock-taking -- to look
           into our own hearts 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
           meditation. Until then, my blessing
           upon each and every one of you.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Ben watches Drayton, with little charity in his heart.
 There is a stir in the congregation when Drayton tells
 them to go home. They look at each other, uncertainly.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. SHOT
 
 Drayton closes the Bible, and begins to descend from
 the pulpit. The congregation comes to life. The
 members rise from their seats and begin filing out of
 the chapel. Occasionally they cast backward glances
 toward the pulpit, as if surprised at what they have
 heard.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 When Drayton reaches the two steps of the altar, he
 beckons the organist to him. She comes, and he whispers
 something to her. He then motions his wife nearer to
 him, and also whispers something to her. Mrs. Drayton
 goes off through a side door by the altar, while the
 organist makes her way down the aisle through the
 congregation to stand by the door.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 The CAMERA PANS Ben as he threads his way up through
 the women who are filing out. Drayton stands at the
 front of the chapel, waiting. Finally, after a slow
 and deliberate walk up the now nearly empty chapel,
 Ben comes face to face with Drayton. Drayton greets
 him with bland amiability.
 
                       DRAYTON
           Well this is a pleasant surprise,
           Doctor.
 
                       BEN
           Where's my boy, Drayton?
 
                       DRAYTON
           He's upstairs. As a matter of fact
           you've just come in time to help my
           wife with Hank's food. Seems Hank
           doesn't care much for English cooking.
 
 Drayton's eyes stray to the back of the church as he
 talks. Ben, noticing Drayton's eye movement, follows
 it cautiously. But before he can confirm his
 suspicions, there is a loud clang of a door closing
 that gives him his answer. He looks around quickly.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
 
 At the other end of the chapel, the woman, Edna, has
 just closed the door, and is in the process of locking
 the heavy iron lock with a large key. She extracts
 the key and puts it into her pocket.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Ben turns back to Drayton to find that his manner has
 changed somewhat. He grabs him quickly by the throat
 of his robes.
 
                       BEN
           What do you want? I'll give you money
           and keep my mouth shut. All I want is
           my boy.
 
                       DRAYTON
           And what about your wife? Did she go
           outside just to get some fresh air.
 
                       BEN
           Tell me what you want.   I'll do
           anything.
 
                       DRAYTON
           All right -- you'll see your boy in
           good time.
 
 With a sudden twist, he wrenches himself away from
 Ben. He reaches for a button on the altar, presses
 it. Instantly the door by the side of the altar opens
 and two rather strong men appear. Ben turns alertly
 to face them, backing of a little.
 
 INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 One of the men is obviously the chauffeur type, and
 the other one, a handyman type in his shirtsleeves.
 Ben takes this in, and notices the open door behind
 them. Ben maneuvers himself toward the pulpit, and
 suddenly dashes for the steps.
 
 He surprises them with his speed, and before anyone
 can stop him, he is in the pulpit. He grabs the
 microphone previously used by Drayton in his sermon.
 He yells into it.
 
                      BEN
           Hank! Hank McKenna!    Hank!   Where are
           you? Hank! Hank!
 
 As the sound roars through he chapel the two man dash
 for the pulpit, and at that mount we hear, faintly
 off, the voice of Hank:
 
                        HANK
           Daddy!   Daddy, I'm here!   Dad -
 
 His voice is choked off. Ben jumps down from the pulpit
 in an effort to make for the open door, but the two
 men throw themselves on top of him.
 
 INT. PHONE BOOTH - (DAY) - CLOSE SHOT
 
 Jo speaks into the phone with great urgency.
 
                       JO
           ...And Ben is in there now, watching
           the both of them!
 
 INT. SPECIAL BRANCH OFFICE - (DAY) - CLOSE SHOT
 
 Woburn, assistant to Buchanan, is listening intently
 on the phone. The office behind him is not handsomely
 appointed. Jo's voice is heard on filter.
 
                       J0
           He sent me out to call you -- so we
           could do something before they get
           away.
 
                       WOBURN
           I see, Mrs. McKenna -- and you believe
           your son is somewhere in the chapel?
 
                       JO
           I don't know, I don't know where he
           is...but at least these people will
           know -- the Draytons. If you'd only
           send somebody to get them.
 
                       WOBURN
           I'm afraid it isn't quite as easy as
           all that.
 
 INT. PHONE BOOTH - (DAY) - CLOSE SHOT
 
 Jo interrupts him, impatient with his caution.
 
                       J0
           Mr. Woburn, there isn't any time! My
           husband is sitting in that chapel
           waiting for me to bring some help.
           Can't I talk with Mr. Buchanan? He
           said when we needed him, to call.
 
 INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
 
 Woburn is concerned.
 
                       WOBURN
           I'm awfully sorry, but I simply can't
           get hold of him just now. He's gone
           to a rather important diplomatic affair --
           at the Albert Hall.
 
 INT. PHONE BOOTH - (DAY) - CLOSE SHOT
 
 Jo is tired of his talk.   She wants action.
 
                       JO
           Well call him there, please!    Call
           him!
 
 INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
 
 As he talks, Woburn reaches for a pad d a pencil, and
 begins making some notes.
 
                       WOBURN
           He's on his way. I don't know quite --
 
                        JO
               (Filter)
           Then can't you do anything -- right
           away -- before we lose the Draytons?
 
                       WOBURN
           I assure you, I'll do all I cant as
           soon as I can.
 
 INT. PHONE BOOTH - (DAY) - CLOSE SHOT
 
 Jo is at the frantic point.
 
                       JO
           We don't have days to do this. It's a
           matter of minutes. Can't you send the
           police. Or do I have to go to the
           Albert Hall myself.
 
 INT. SPECIAL BRANCH OFFICE - (DAY) - MED. CLOSE SHOT
 
 Woburn finishes making his notes. He reaches for
 another phone with his left hand, and dials a number
 as he talks to Jo.
 
                        WOBURN
                (Efficiently)
            That won't be necessary. I'll see
            that the chapel is 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.
 
 He turns to the other phone.
 
                        WOBURN
            Woburn, Special Branch, hold on.
                (To the other phone)
            I must ring off now, Mrs. McKenna.
            Please believe me, I'll have everything
            laid on.
 
 INT. PHONE BOOTH - (DAY) - CLOSE SHOT
 
 With a feeling of frustration, Jo hangs up the phone
 as Woburn clicks off on the other end. She exits to
 the phone booth.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
 
 The   back door of the chapel opens and Drayton, Hank
 and   Mrs. Drayton emerge. Drayton locks chapel door
 and   crosses to a waiting car. They all get in and the
 car   moves off.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
 
 Jo hurries up the street towards Ambrose Chapel.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 Jo turns the corner heading for the chapel.    She looks.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
 
 The doors of the chapel are closed.   It seems strangely
 deserted.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM LONG SHOT
 
 Jo hurries across the street, and up the steps to the
 Chapel. She tries the door.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 The door locked. She tries it again. It does not
 give. She bangs her on the door. No one answers.
 Jo's face is puzzled and a frightened.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 The CAMERA PANS Jo to the right side of the Chapel.
 She looks down the length of it. No sign of anyone.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 The CAMERA PANS Jo to the right side of the Chapel.
 There is no sign of life down the whole side of it.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Jo returns to the front door, examines it, tries it
 again. Now there is definite panic in her face. There
 Is the sudden sound of a car pulling up quickly to the
 curb. She turns.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT
 
 A police car has pulled up to the curb.   There are
 four men in it.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. SHOT
 
 The CAMERA PANS Jo from the front of the Chapel down
 to the police car. Three men are getting out, leaving
 the driver inside.
 
 EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT
 
 Jo comes up to the three men.   One of them, in charge,
 does the talking.
 
                       JO
           There's nobody there!
 
                       PATTERSON
           Are you Mrs. McKenna?
 
                       JO
           Yes, but something's wrong. A few
           minutes ago the place was full of
           people, and now there's nobody!
 
 Two of the police move up toward the Chapel.    Patterson
 glances at it.
 
                       PATTERSON
           Our orders are to keep it under
           observation until a Scotland Yard car
           arrives.
 
                       JO
           My husband's in there. There must
           have been thirty or forty people...
           and now...
 
 Patterson looks at her carefully.
 
                       PATTERSON
           When was this?
 
                       JO
           It couldn't...it couldn't have been
           more than five minutes ago!
 
                       PATTERSON
               (Interrupting)
           Let's take a look.
 
                       JO
           I told Mr. Woburn he had to hurry.
 
 EXT. AMBROSE CHAPEL - (DAY) - MEDIUM CLOSE SHOT
 
 The CAMERA PANS the two of them up to the Chapel. The
 other police have gone down the sides for an inspection.
 Patterson and Jo go to the main door. Patterson tries
 it.
 
                       JO
           I tried that. It's looked, Let's force
           it open.
 
                       PATTERSON
           I'm sorry, madam, we can't break in.
               (Sympathetic)
           Requires a search warrant. It's the
           law, you see.
 
                       JO
           Couldn't you get one?
 
                       PATTERSON
           It all takes time. We'll have a look
           round, shall we? Matthews, you take
           the other end.
 
                        MATTHEWS
           All right.
 
 They start around the corner to inspect the sides of
 the Chapel.
 

...continue to part 9