CHARADE
Written by
Peter Stone
Based on a story by
Peter Stone and Marc Behm
October 1st, 1962
FADE IN (BEFORE TITLES)
EXT. FRENCH COUNTRYSIDE -- DUSK
Silence -- complete silence for the urbanite, though the
oncoming darkness is punctuated by the sounds of farm country --
a few birds, a distant rumble of thunder from some heavy
clouds on the horizon, a dog's barking.
CAMERA PANS the green, squared-off flatland, lit only by a
fine sunset in its final throes. Then, gradually, starting
from nothing, a rumble is heard, quickly growing louder and
louder until the sound of a train can be recognized.
CAMERA PANS quickly, discovering the railroad line atop a
man-made rise of land, and the speeding passenger train is
upon us, flashing by with a roar.
Then, as if from nowhere, the figure of a man hits the
embankment and rolls crazily down to the bottom into the
thick underbrush alongside the tracks.
CLOSE SHOT -- BODY
It lies in the bushes, still, unmoving -- dead. CAMERA PANS
AWAY to the quiet peaceful countryside as the sound of the
train fades off until there is silence once more.
TITLE MUSIC begins with a crash.
(MAIN TITLES)
DELETED
FADE IN:
EXT. MEGEVE -- DAY
A handsome and elegant hotel perched on the mountain-side
overlooking the French resort town. A large, open sun deck --
tables, gaily colored parasols, sun bathers.
One of the latter is REGINA LAMPERT, a lovely young girl.
She is, besides taking in the sun, involved in her favorite
activity -- eating.
Then -- a dark, ominous shape intrudes in the f.g. FOCUS
CHANGES to bring into sharp relief a revolver -- shining,
black and ugly in the sunlight.
REGGIE, unaware of her danger, continues to eat.
The finger tightens around the trigger and finally the gun
shoots -- a stream of water arcs, with unerring aim, straight
into REGGIE's face.
ANOTHER ANGLE
Including JEAN-LOUIS, a French boy of six or so. REGGIE looks
at him sternly.
JEAN-LOUIS
(in for trouble)
Oh, la.
REGGIE
Don't tell me you didn't know it was
loaded.
(calling)
Sylvie!
WIDER ANGLE
SYLVIE GAUDET, French, attractive, blonde, in her early
thirties, comes from the railing of the sun deck to join
REGGIE and JEAN-LOUIS.
REGGIE
Isn't there something constructive
he can do -- like start an avalanche?
SYLVIE
(to JEAN-LOUIS)
Va jouer, mon ange.
JEAN-LOUIS scampers off, content to have gotten off so
lightly. SYLVIE notices REGGIE's lunch which consists of
cold chicken, potato salad, rolls and butter, wine and coffee.
SYLVIE
When you start to eat like this
something is the matter.
No answer from REGGIE. SYLVIE begins reading a magazine as
REGGIE continues eating.
REGGIE
Sylvie -- I'm getting a divorce.
SYLVIE
�a alors! From Charles?
REGGIE
He's the only husband I've got. I
tried to make it work, I really have --
but --
SYLVIE
But what?
REGGIE
I don't know how to explain it. I'm
just too miserable.
REGGIE picks up a chicken leg and starts off. SYLVIE regards
the devastated table before following.
SYLVIE
It is infuriating that your
unhappiness does not turn to fat!
INT. SWIMMING POOL -- DAY
A magnificent indoor, glass-enclosed pool, the vista of snow-
covered mountains seen through the ceiling-high windows
beyond. REGGIE and SYLVIE are passing through, their
conversation continuing.
SYLVIE
But why do you want a divorce?
REGGIE
Because I don't love him.
SYLVIE
But that is no reason to get a
divorce!
EXT. HOTEL TERRACE -- DAY
An open balcony running around two sides of the pool, sun-
worshippers lying in deck-chairs. REGGIE and SYLVIE appear,
their conversation continuing.
SYLVIE
With a rich husband and this year's
clothes you will not find it difficult
to make some new friends.
REGGIE
(sitting)
I admit I moved to Paris because I
was tired of American Provincial,
but that doesn't mean I'm ready for
French Traditional. I loathe the
idea of divorce, Sylvie, but -- if
only Charles had been honest with me --
that's all I ask of anybody -- the
simple truth. But with him, everything
is secrecy and lies. He's hiding
something -- something frightening --
something terrible -- and evil.
She stops as she is aware of a weird figure hovering over
her. She wheels, terrified.
CLOSE SHOT -- PERUVIAN SNOW-MASK
A strange, grotesque knitted mask that completely covers the
face except for eyes, nose and mouth. The eyes inside this
particular mask stare down at REGGIE.
MAN
Does this belong to you?
CAMERA PANS down to include JEAN-LOUIS, his hand held firmly
by the man in the mask.
WIDER ANGLE
Including REGGIE, MAN, SYLVIE and JEAN-LOUIS. REGGIE is too
terrified to answer. Realizing this, the man, PETER JOSHUA,
takes off the snow-mask to reveal a handsome, tanned face.
PETER
Oh, forgive me.
(indicating JEAN-LOUIS)
Is this yours?
REGGIE
(indicating SYLVIE)
It's hers. Where'd you find him,
robbing a bank?
PETER
He was throwing snowballs at Baron
Rothschild.
(a pause)
We don't know each other, do we?
REGGIE
Why, do you think we're going to?
PETER
I don't know -- how would I know?
REGGIE
I'm afraid I already know a great
many people. Until one of them dies
I couldn't possibly meet anyone else.
PETER
(smiling)
Yes, of course. But you will let me
know if anyone goes on the critical
list
(he starts off)
REGGIE
Quitter.
PETER
(turning)
How's that?
REGGIE
You give up awfully easy, don't you?
Eyeing one, then the other, SYLVIE sizes up the situation
and rises.
SYLVIE
Viens, Jean-Louis, let us take a
walk. I have never seen a Rothschild
before.
SYLVIE and JEAN-LOUIS start off, but not before the boy
squirts PETER with his pistol.
PETER
(drying)
Clever fellow -- almost missed me.
REGGIE
I'm afraid you're blocking my view.
PETER
(moving)
Sorry. Which view would you like?
REGGIE
The one you're blocking. This is the
last chance I have -- I'm flying
back to Paris this afternoon. What's
your name?
PETER
Peter Joshua.
REGGIE
I'm Regina Lampert.
PETER
Is there a Mr. Lampert?
REGGIE
Yes.
PETER
Good for you.
REGGIE
No, it isn't. I'm getting a divorce.
PETER
Please, not on my account.
REGGIE
No, you see, I don't really love
him.
PETER
Well, you're honest, anyway.
REGGIE
Yes, I am -- I'm compulsive about it --
dishonesty infuriates me. Like when
you go into a drugstore.
PETER
I'm not sure I --
REGGIE
Well, you go in and you ask for some
toothpaste -- the small size -- and
the man brings you the large size.
You tell him you wanted the small
size but he says the large size is
the small size. I always thought the
large size was the largest size, but
he says that the family size, the
economy size and the giant size are
all larger than the large size --
that the large size is the smallest
size there is.
PETER
Oh. I guess.
REGGIE
Is there a Mrs. Joshua?
PETER
Yes, but we're divorced.
REGGIE
That wasn't a proposal -- I was just
curious.
PETER
Is your husband with you?
REGGIE
Oh, Charles is hardly ever with me.
First it was separate rooms -- now
we're trying it with cities. What do
people call you -- Pete?
PETER
Mr. Joshua.
(turning to go)
Well, I've enjoyed talking with you.
REGGIE
Now you're angry.
PETER
No, I'm not -- I've got some packing
to do. I'm also going back to Paris
today.
REGGIE
Oh. Well, wasn't it Shakespeare who
said: "When strangers do meet they
should erelong see one another again"?
PETER
Shakespeare never said that.
REGGIE
How do you know?
PETER
It's terrible -- you just made it
up.
REGGIE
Well, the idea's right, anyway. Are
you going to call me?
PETER
Are you in the book?
REGGIE
Charles is.
PETER
Is there only one Charles Lampert?
DELETED
CLOSE SHOT -- REGGIE
Her face clouding.
REGGIE
Lord, I hope so.
EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY
The Arc de Triomphe at the far end of the Avenue. CAMERA
PANS to pick up a TAXI as it pulls up before the handsome
building. Inside are REGGIE, SYLVIE and JEAN-LOUIS.
MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE
As REGGIE climbs out and the DRIVER begins unloading her
suitcases.
REGGIE
Goodbye, Sylvie, and thanks.
(She turns toward the
house)
JEAN-LOUIS sticks his head out of the taxi window.
JEAN-LOUIS
When you get your divorce will you
be going back to America?
MED. SHOT -- THE TAXI
REGGIE looks at SYLVIE, surprised.
SYLVIE
He knows everything.
REGGIE
(to JEAN-LOUIS)
Don't you want me to stay?
JEAN-LOUIS
Yes, of course -- but if you went
back and wrote me a letter --
REGGIE
-- you could have the stamps. I'll
get you some here, okay?
JEAN-LOUIS
Okay.
REGGIE walks toward the house with the driver, who carries
her cases. She presses the button that electrically opens
the front door.
DELETED
INT. APARTMENT LANDING -- DAY
As the elevator rises REGGIE gets out, followed by the driver.
He puts down the bags in front of the apartment door.
REGGIE
(handing him a tip)
Merci.
The driver leaves. She goes to the door and presses the
minuterie, the button that turns on the time-light, and the
lights come on. Then she rings the doorbell. There is no
answer. She rings again. Still nothing. Sighing, she digs
out her keys and starts to fit it into the lock. At this
moment the minuterie expires, plunging the scene into
darkness.
REGGIE'S VOICE
Wonderful.
She finds the button and the light goes on again. She inserts
the key and turns it.
INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY
CLOSE SHOT -- DOOR as it opens and REGGIE steps into the
CLOSE SHOT.
She stops, her expression changing.
REVERSE SHOT
From REGGIE's p.o.v. as CAMERA PANS the entrance hall. It is
bare -- no furniture, no rug, no pictures, no nothing.
MED. SHOT -- REGGIE
She stares for a moment, then goes back out into the landing.
INT. APARTMENT LANDING -- DAY
As REGGIE steps back outside. She looks at the nameplate
beside the door.
INSERT NAMEPLATE
It reads "MR. AND MRS. CHARLES LAMPERT."
INT. APARTMENT LANDING -- DAY
REGGIE looks at the plate in disbelief, then turns and hurries
back into the apartment.
INT. LAMPERT APARTMENT -- DAY
As REGGIE hurries into the entrance hall.
REGGIE
Honorine -- !
No answer.
Now, CAMERA FOLLOWING, she goes into the Salon. It is also
empty -- stripped bare. There are squares of the wall's
original color where paintings used to hang, the hooks still
in the wall.
She rushes now, going into the bedroom, CAMERA FOLLOWING
crazily, lurching and careening behind her. The bedroom,
too, is empty. She goes to the built-in wardrobe closets and
throws open all the doors. Only some hangers remain.
She pulls open the drawers -- nothing!
REGGIE
Charles -- !
She turns, and running now, goes through another door to the
library, CAMERA FOLLOWING. The rows of shelves are as empty
as the rest of the apartment. She begins to turn in a circle,
looking for something, anything. In a panic she turns and
runs out, colliding suddenly with a MAN whom she (and we)
have not noticed until the moment of impact.
REGGIE screams.
CLOSE SHOT -- INSPECTOR GRANDPIERRE
A heavy-set man of no particular age with tobacco-colored
hair, and thick glasses.
GRANDPIERRE
Madame Charles Lampert?
WIDER ANGLE
Including REGGIE, in a state of near-shock.
REGGIE
Yes.
GRANDPIERRE
I am Inspector Edouard Grandpierre
of the Police Judiciaire. Would you
be so kind as to come with me, please?
INT. MORGUE -- DAY
We see a large metal drawer being opened and an all-too-
familiar shape outlined under a damp sheet of muslin.
ANOTHER ANGLE -- OVERHEAD
Looking straight down at the tops of REGGIE's, GRANDPIERRE's
and an ATTENDANT's head and smack into the open drawer.
GRANDPIERRE lifts a corner of the sheet at the bottom and
reveals a bare foot with a ticket tied to its big toe.
He stoops to read it. Satisfied, he recovers the foot, then
moves to the other end to uncover the head. As the sheet
starts to lift:
REVERSE SHOT
REGGIE as she looks down into the CAMERA. She closes her
eyes for a moment, then looks again.
GRANDPIERRE'S VOICE (O.S.)
Well, Madame -- ?
She nods.
GRANDPIERRE'S VOICE (O.S.)
You are positive?
She nods again. GRANDPIERRE moves into the SHOT.
GRANDPIERRE
You loved him?
REGGIE
I'm very cold.
GRANDPIERRE nods as he turns to the unseen ATTENDANT.
CAMERA suddenly moves as the 'drawer' is slid back into the
wall. BLACKNESS comes with a loud clang and continues while
the echo dies.
INT. GRANDPIERRE'S OFFICE -- DAY
CLOSE SHOT -- DESK DRAWER (FROM ABOVE) as it is pulled open.
A photograph of Charles Lampert lies face up in the drawer.
A hand reaches in and pulls it out.
WIDER ANGLE
Including GRANDPIERRE sitting behind his desk, and REGGIE,
sitting across from him. The office is as bare as most
policemen's offices. GRANDPIERRE studies the photo.
GRANDPIERRE
We discovered your husband's body
lying next to the tracks of the Paris-
Bourdeaux railroad line. He was
dressed only in his pajamas. Do you
know of any reason why he might have
wished to leave France?
REGGIE
Leave?
GRANDPIERRE
Your husband possessed a ticket of
passage on the 'Maranguape.' It sailed
from Bordeaux for Maracaibo this
morning at seven.
REGGIE
(a pause)
I'm very confused.
She starts to rummage through her bag. GRANDPIERRE shoves a
package of French cigarettes across the desk to her. But she
pulls a package of nuts out of her bag. She begins separating
the shells with her thumb nail and eating the nuts, depositing
the shells in the ashtray. GRANDPIERRE watches this for an
instant.
GRANDPIERRE
He was American?
REGGIE
Swiss.
GRANDPIERRE
Oh. Swiss. His profession?
REGGIE
He didn't have one.
GRANDPIERRE
He was a wealthy man?
REGGIE
I don't know. I suppose so.
GRANDPIERRE
About how wealthy would you say?
REGGIE
I don't know.
GRANDPIERRE
Where did he keep his money?
REGGIE
I don't know.
GRANDPIERRE
Besides yourself, who is his nearest
relation?
REGGIE
I don't know.
GRANDPIERRE
(exploding)
C'est absurde, Madame. To-tale-ment
absurde!
REGGIE
I know.
(pause)
I'm sorry.
GRANDPIERRE
It is all right.
GRANDPIERRE sighs, puts down his pencil and pushes a button
on the desk. He removes a cigar from his desk and inserts it
into his mouth.
GRANDPIERRE
Is it all right?
REGGIE
I wish you wouldn't.
He rips the cigar out of his mouth and slams it back into
the drawer, closing it fiercely. A UNIFORMED POLICEMAN sticks
his head in the door.
GRANDPIERRE
Les effets de Lampert.
The POLICEMAN leaves and closes the door.
GRANDPIERRE
On Wednesday last your husband sold
the entire contents of the apartment
at public auction. Furniture,
clothing, kitchenware -- everything.
The gallery, in complying with his
wishes, paid him in cash. One million
two hundred and fifty thousand New
Francs. In dollars, a quarter of a
million. The authorities in Bordeaux
have searched his compartment on the
train. They have searched it
thoroughly. They did not find
$250,000, Madame.
He opens the desk drawer, puts the cigar back in his mouth
and lights a match by scratching it against the glass desk-
top before he remembers REGGIE's request. He puts it back in
the drawer again. The door opens and the POLICEMAN enters
again, this time carrying a wicker basket which he deposits
on GRANDPIERRE's desk, and leaves. GRANDPIERRE peers into
the basket.
GRANDPIERRE
These few things are all that was
found in the train compartment. There
was no other baggage. Your husband
must have been in a great hurry.
He begins to take them out, placing them on the desk,
identifying each item as he does.
GRANDPIERRE
One wallet containing four thousand
francs -- one agenda --
(pausing, he opens
the notebook)
-- his last notation was made
yesterday -- Thursday --
(reading)
"Five p.m. -- Jardin des Champs-
Elys�es"
(looking up)
Why there?
REGGIE
I don't know. Perhaps he met somebody.
GRANDPIERRE
(dryly)
Obviously.
(returning to the
items in the basket)
One ticket of passage to South America --
one letter, stamped but unsealed,
addressed to you --
REGGIE
(lighting up)
A letter? May I see it?
GRANDPIERRE hands her the letter and watches her closely as
she reads it.
REGGIE
(reading)
"My dear Regina: I hope you are
enjoying your holiday. Megeve can be
so lovely this time of year. The
days pass very slowly and I hope to
see you soon. As always, Charles.
P.S. Your dentist called yesterday.
Your appointment has been changed."
(she looks up, puzzled)
Not very much, is it?
GRANDPIERRE
We took the liberty of calling your
dentist -- we thought, perhaps, we
would learn something.
REGGIE
Did you?
GRANDPIERRE
Yes. Your appointment has been
changed.
(he smiles at his
little joke, then
returns to the basket)
One key to your apartment -- one
comb -- one fountain pen -- one
toothbrush -- one tin of tooth powder
(he looks up)
-- that is all.
He slides a sheet of paper and pen across to her, then starts
to put the things back into the basket while he speaks:
GRANDPIERRE
If you will sign this list you may
take the things with you.
REGGIE
(sighing)
Is that all? Can I go now?
GRANDPIERRE
One more question. Is this your
husband's passport?
He reaches into the desk drawer and pulls out a passport
which he hands to her.
INSERT -- PASSPORT
The cover indicates that it is Swiss. REGGIE's hand opens it
to a picture of a man -- the man we saw in GRANDPIERRE's
photo. Under it is the name: "CHARLES LAMPERT."
MED. SHOT -- REGGIE AND GRANDPIERRE
REGGIE
Of course it is.
GRANDPIERRE
And this?
He hands her another passport.
INSERT -- SECOND PASSPORT
The cover is American. When it is opened, we see the identical
picture, but the name under it reads: "CHARLES VOSS."
MED. SHOT -- REGGIE AND GRANDPIERRE
REGGIE
I don't understand.
GRANDPIERRE
And this? And this?
He hands her, one at a time, two more passports.
INSERT -- THIRD AND FOURTH PASSPORTS
One is Italian which, when opened, shows the same photo with
the name "CARLO FABRI." The other is Venezuelan, the same
photo, and the name "CARLOS MORENO."
MED. SHOT -- REGGIE AND GRANDPIERRE
GRANDPIERRE
Have you nothing to say, Madame?
REGGIE looks down at the four passports, then back to
GRANDPIERRE.
REGGIE
(hopefully)
It's all right if you want to smoke
your cigar now.
INT. LAMPERT APARTMENT -- DUSK
The house is empty as before. Now it is silent, the late
afternoon light coming from outside. REGGIE stands by a
window. A canvas airline bag rests on the floor nearby.
Suddenly there is the noise of a DOOR OPENING.
CLOSER SHOT -- REGGIE
As her head turns, in alarm, toward the noise. There is a
moment of silence, then FOOTSTEPS are heard, coming closer.
ANOTHER ANGLE
As PETER enters.
REGGIE
(surprised)
What are you doing here?
PETER
I phoned but nobody answered. I wanted
to tell you how sorry I am -- and to
find out if there was anything I
could do.
REGGIE
How did you find out?
PETER
It's in all the afternoon papers.
I'm very sorry.
REGGIE
Thank you.
A silence.
PETER
I rang the bell but I don't think
it's working.
REGGIE
Yes it is -- I heard it this morning.
He looks around for the light switch, then goes to it and
flicks it on -- nothing happens. He flicks it a few more
times.
REGGIE
They must have turned off the
electricity.
She shakes her head. PETER looks around.
PETER
Where did everything go?
REGGIE
Charles sold it all -- at auction.
PETER
Do you know what you're going to do?
REGGIE
Try and get my old job back at UNESCO,
I suppose.
PETER
Doing what?
REGGIE
I'm a simultaneous translator --
like Sylvie, only she's English to
French -- I'm French to English.
That's what I did before I married
Charles. The police probably think I
killed him.
PETER
Instant divorce you mean?
REGGIE
Something like that. But I'm sorry
it ended like this -- tossed off a
train like a sack of third-class
mail.
PETER
(Taking her hand)
Come on. You can't stay here.
REGGIE
I don't know where to go.
PETER
We'll find you a hotel.
REGGIE
Not too expensive -- I'm not a lady
of leisure anymore.
PETER
Something modest but clean -- and
near enough to UNESCO so you can
take a cab when it rains -- okay?
She nods. He picks up the airlines bag and they start out.
REGGIE stops at the door and looks back.
REGGIE
I loved this room -- but Charles
never saw it -- only what was in it.
All those exquisite things --
(looking around)
I think I prefer it like this.
INT. FUNERAL CHAPEL -- DAY
CLOSE SHOT of a phonograph. A hand appears, starts the record
on it spinning, then places the arm at the beginning.
An instant later ORGAN MUSIC starts with a roar.
INT. FUNERAL CHAPEL -- DAY
CLOSE SHOT of the coffin. It rests on a low platform, with a
bouquet or two of flowers near the head, the lid open.
Inside, the face made up to look lifelike (but failing), lie
the remnants of Charles Lampert.
CLOSE SHOT -- GRANDPIERRE
The INSPECTOR sits quietly, eyes downcast, staring at his
hands in a prayer-like attitude. CAMERA PULLS BACK, revealing
row after row of empty wooden bench-like seats in the large,
dimly-lit, high-ceilinged room. Finally, in the first row,
REGGIE and SYLVIE are discovered. Besides GRANDPIERRE, they
are the only ones present. REGGIE turns around to look at
the empty room. They speak in whispers.
REGGIE
It's not exactly what I'd call a
large turn-out.
SYLVIE
Didn't Charles have any friends?
REGGIE
Don't ask me -- I'm only the widow.
(indicating GRANDPIERRE)
If Charles had died in bed we wouldn't
even have him.
SYLVIE
At least he knows how to behave at
funerals.
CLOSE SHOT -- GRANDPIERRE
His eyes still lowered. CAMERA PANS DOWN to feature his hands --
he is methodically trimming his nails with a small clipper.
TWO SHOT -- SYLVIE AND REGGIE
SYLVIE
Have you no idea who could have done
it?
REGGIE
Until two days ago all I really knew
about Charles was his name -- now it
turns out I didn't even know that.
The front DOOR of the Chapel is heard opening and a shaft of
daylight streams in. The WOMEN turn.
MED. SHOT -- CHAPEL DOOR
The short, heavy-set figure of a MAN is outlined against the
bright outdoor light. He stands for a moment, then closes
the door after him. LEOPOLD GIDEON, short-sighted, bald, in
his middle forties, glances around nervously, like a barnyard
bird. Then he walks down one of the side aisles of the Chapel.
CLOSE SHOT -- GRANDPIERRE
As he watches GIDEON.
CLOSE SHOT -- REGGIE
As she watches him.
MED. SHOT -- THE BIER
GIDEON arrives at the coffin. He stops, looks down at
LAMPERT's body for a moment. Then, suddenly, in rapid
succession, he sneezes six times. He takes a small bottle
from his pocket, shakes a pill from it and swallows it dry.
He turns and walks back up the aisle, looking for a place to
sit. He comes face to face with GRANDPIERRE, stops, turns to
sit somewhere else.
TWO SHOT -- REGGIE AND SYLVIE
SYLVIE
Do you know him?
REGGIE
I've never seen him before.
SYLVIE
He must have known Charles pretty
well.
REGGIE
How can you tell?
SYLVIE
He's allergic to him.
SYLVIE turns and glances at GIDEON. Again, the sound of the
DOOR opening interrupts them. They turn to look.
MED. SHOT -- CHAPEL DOOR
Again the figure of a MAN is outlined in silhouette against
the outside brightness. When he closes the door we can see
"TEX" PENTHOLLOW, a slim, rangy man with sandy-colored hair,
a weatherbeaten face, washed-out blue-eyes -- also in his
forties. He wears a velvet-corduroy suit, string tie and a
bright yellow flower in his lapel. A bulldurham tag hangs
from his outside breast pocket, dangling from its string.
He starts down the aisle toward the bier, CAMERA LEADING
him, and we notice his unsteady gait. He turns to look at
the others present.
TRAVELING SHOT -- TEX'S P.O.V.
MOVING down the aisle. GRANDPIERRE's face, then GIDEON's,
then REGGIE's and SYLVIE's -- all staring at CAMERA.
MED. SHOT -- THE BIER
As TEX arrives. He stands staring at LAMPERT's body, swaying
on his feet until he reaches out and grabs the side of the
coffin to steady himself. Then he takes the flower from his
lapel and throws it into the open box.
CLOSE SHOT -- TEX
TEX
(heavy Texas accent)
Ariva durchy, Charlie.
WIDER ANGLE
As TEX turns away from the coffin and approaches REGGIE and
SYLVIE, addressing the latter -- after having first reached
for his hat which he discovers he isn't wearing.
TEX
Miz Lampert, ma'am...
SYLVIE points to REGGIE. Unruffled, TEX starts over.
addressing REGGIE this time.
TEX
Miz Lampert, ma'am...
REGGIE
Yes?
TEX
Charlie had no call to handling it
this-a-way. He sure didn't. No siree.
REGGIE
I don't understa--
But TEX has nodded his head and moved off to find a seat.
When he spots GIDEON, the two men stare at each other.
Finally, TEX chooses a seat away from him and sits.
MED. SHOT -- CHAPEL DOOR
It flies open, this time with a bang, and the large MAN who
appears almost fills the frame.
CLOSER SHOT -- TEX
As the loud noise awakens him with a snort, mid-snore.
MED. SHOT -- THE DOOR
Closing the door, we see HERMAN SCOBIE, a heavy-weight --
tall and wide, but not fat -- with black hair combed straight
back and heavy bushy eyebrows of a matching color, which
meet over his nose and join up. About the same age as the
first two men, SCOBIE is dressed in a battered raincoat, his
hands thrust deep in the pockets. He marches down the aisle.
Looking straight ahead, CAMERA PANNING with him. He stops
before the coffin and stares into it.
CLOSE SHOT -- SCOBIE
As he stares down into the coffin, his tongue trying to
dislodge a bit of food caught in his teeth. He stares hard
at the body, squinting his eyes. Then he removes one hand
from his pocket, removes a pin from the inside of his lapel,
picks his teeth with it, then slowly lets the hand down,
into the coffin.
CLOSE SHOT -- SCOBIE'S HAND
The pin held between thumb and forefinger, he jabs it slowly
but positively deep into the back of one of the dead man's
hands. There is no reaction.
CLOSE SHOT -- SCOBIE
He watches the dead man carefully, still squinting. Then
finally satisfied, he returns the pin to his lapel and walks
back up the aisle and out of the door, slamming it after
him.
CLOSE SHOT -- REGGIE
Having watched SCOBIE exit. Suddenly a hand falls on her
shoulder. She jumps in alarm and utters a little cry of
fright.
ANOTHER ANGLE
Featuring a funeral ATTENDANT, a cadaverous type (aren't
they all) with a black cut-away coat and an over-solicitous,
unctuous manner. He is eternally bent at the waist, in a
sort of half bow. He offers REGGIE a letter which she takes.
REGGIE
Merci, Monsieur.
ATTENDANT
Pas du tout, madame, pardon -- pardon --
pardon.
He backs off and is gone. REGGIE looks at the letter, back
and front, then starts to open it.
SYLVIE
Who is it from?
REGGIE
The American Embassy.
She pulls out the letter and starts to read it.
INSERT -- THE LETTER
It bears the Great Seal as a letterhead and the typed message
reads:
"Dear Mrs. Lampert: Please drop by my office tomorrow at
noon-thirty. I am anxious to discuss the matter of your late
husband's death. Sincerely, (signed) H. Bartholomew."
TWO SHOT -- REGGIE AND SYLVIE
SYLVIE has been reading over REGGIE's shoulder.
SYLVIE
What is it about?
REGGIE
I don't know. But if this is a sample
of American diplomacy I'm buying a
fallout shelter.
EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY
The fine old building in the Rue Gabriel.
DELETED
INT. EMBASSY CORRIDOR -- DAY
As REGGIE leaves the elevator two young DIPLOMATIC TYPES
step in, immersed in conversation.
1ST DIPLOMATIC TYPE
I bluffed the Old Man out of the
last pot -- with a pair of deuces.
2ND DIPLOMATIC TYPE
What's so depressing about that?
1ST DIPLOMATIC TYPE
If I can do it, what are the Russians
doing to him?
The elevator door closes on them. REGGIE reacts to this and
starts down the hall, finally stopping at the door.
MED. SHOT -- DOOR
It is marked "307-A H. BARTHOLOMEW." REGGIE checks the
letter, then opens the door.
INT. BARTHOLOMEW'S OUTER OFFICE -- DAY
The office is empty, the typewriter on the secretary's desk
is covered with its plastic shroud. REGGIE enters, looks for
somebody, notices that the door to the private office is
slightly ajar.
REGGIE
(tentatively)
Hello -- ?
(there is no answer)
Hello?
BARTHOLOMEW'S VOICE (O.S.)
(from the private
office)
Is there anything wrong, Miss
Tompkins?
REGGIE
Uh -- Miss Tompkins isn't here.
BARTHOLOMEW comes to the door and looks in. He is a pale
grey-haired man who looks, on first examination, older than
his forty-odd years. Sickly would be the word that describes
him best -- pallid, consumptive-looking. He wears heavy
tortoise-framed glasses which fall down his nose and cause
him to push them back in place every so often with a quick
automatic motion.
BARTHOLOMEW
I'm sorry -- my secretary must have
gone to lunch. You are -- ?
REGGIE
Mrs. Lampert -- Mrs. Charles Lampert.
BARTHOLOMEW
(looking at his watch)
Come in, Mrs. Lampert. You're quite
late.
He motions for her to enter, standing aside to let her do
so.
INT. BARTHOLOMEW'S PRIVATE OFFICE -- DAY
A small cubicle -- there is a silver-framed photo of three
kids on the desk. BARTHOLOMEW indicates a chair, then goes
behind his desk and sits. A can of lighter fluid stands open
on the desk and a crumpled hankie beside it.
BARTHOLOMEW
Excuse me for a moment, Mrs. Lampert --
it's a stubborn little devil.
He works at a stain on his necktie with lighter fluid and
hankie.
BARTHOLOMEW
Dry-cleaningwise, things are all
fouled up. I had a good man -- an
excellent man on the Rue Ponthieu,
but H.Q. asked us to use the plant
here in the building -- to ease the
gold outflow.
REGGIE
Mr. Bartholomew -- are you sure you
know who I am?
BARTHOLOMEW
(looking up)
Charles Lampert's widow -- yes?
(going back to the
tie)
Last time I sent out a tie only the
spot came back.
He looks up at her, laughs silently, then goes back to his
tie.
BARTHOLOMEW
Voil�! As they say.
He puts away the lighter fluid in a desk drawer, smells the
hankie, passes on it, then sticks it in his pocket.
He opens another drawer and pulls out various sandwiches
wrapped in waxpaper, a salt and pepper shaker, a tube of
mustard, a bottle of red wine and two Dixie cups.
BARTHOLOMEW
Have some, please. I've got...
(checking)
...liverwurst -- liverwurst -- chicken
and -- liverwurst.
REGGIE
No thanks.
He uncorks the wine, fills a cup and begins eating.
BARTHOLOMEW
Do you know what C.I.A. is, Mrs.
Lampert?
REGGIE
I don't suppose it's an airline, is
it?
BARTHOLOMEW
Central Intelligence Agency -- C.I.A.
REGGIE
You mean spies and things like that?
BARTHOLOMEW
Only we call them agents.
REGGIE
We? You mean you're --?
BARTHOLOMEW
Someone has to do it, Mrs. Lampert --
REGGIE
I'm sorry, it's just that I didn't
think that you people were supposed
to admit --
BARTHOLOMEW
I'm not an agent, Mrs. Lampert --
I'm an administrator -- a desk jockey --
trying to run a bureau of overworked
men with under-allocated funds.
Congress seems to think that all a
spy needs --
REGGIE
Agent.
BARTHOLOMEW
Yes -- That all he needs is a code
book and a cyanide pill and he's in
business.
REGGIE
What's all this got to do with me,
Mr. Bartholomew?
BARTHOLOMEW
(his mouth full)
Your husband was wanted by the U. S.
government.
REGGIE
May I have a sandwich, please?
He hands her a sandwich and fills a wine-cup for her.
BARTHOLOMEW
To be more specific, he was wanted
by this agency.
REGGIE
(eating)
So that was it.
BARTHOLOMEW
Yes. We knew him, of course, by his
real name.
REGGIE
(almost choking)
His -- real -- ?
BARTHOLOMEW
Voss -- Charles Voss. All right,
Mrs. Voss --
(taking a photo from
his desk)
-- I'd like you to look at this
photograph, please -- by the way,
you saw this one, didn't you?
(indicating the kids
on the desk)
Scott, Cathy, and Ham, Jr.
REGGIE
Very sweet.
BARTHOLOMEW
Aren't they? Now look at this one,
Mrs. Voss, and --
REGGIE
Stop calling me that! Lampert's the
name on the marriage license.
BARTHOLOMEW
Yes -- and tell me if you recognize
anyone. Just a moment. Have a good
look.
He reaches back into the drawer and pulls out a glass which
he gives her.
CLOSE SHOT -- PHOTO
FOUR MEN, all in army uniform, sitting behind a table. The
glass is held over the first, magnifying the face.
CLOSER SHOT -- PHOTO
It's a photo of a young CHARLES LAMPERT.
REGGIE'S VOICE (O.S.)
It's Charles!
BARTHOLOMEW'S VOICE (O.S.)
Very good.
REGGIE'S VOICE (O.S.)
He looks so young -- when was this
taken?
BARTHOLOMEW'S VOICE (O.S.)
1944. The next face, please.
The glass and CAMERA move to the next man -- a young TEX.
REGGIE'S VOICE (O.S.)
It's the man who came to the funeral
yesterday -- I'm sure of it -- a
tall man in a corduroy suit and string
tie.
BARTHOLOMEW'S VOICE (O.S.)
Does the name Tex Penthollow mean
anything to you?
REGGIE'S VOICE (O.S.)
No.
BARTHOLOMEW'S VOICE (O.S.)
Next, please.
The glass and CAMERA move to the third face -- a young GIDEON.
REGGIE'S VOICE (O.S.)
Yes -- and he was there, too -- a
little fatter now -- and less hair --
but it's the same one.
BARTHOLOMEW'S VOICE (O.S.)
Do you know him, Mrs. Vo -- Mrs.
Lampert? Leopold W. Gideon?
REGGIE'S VOICE (O.S.)
No.
BARTHOLOMEW'S VOICE (O.S.)
The last one, please.
The glass and CAMERA move to the fourth face -- a young
SCOBIE.
REGGIE'S VOICE (O.S.)
That's a face you don't forget -- he
was there too --
BARTHOLOMEW'S VOICE (O.S.)
Herman Scobie. And you've never seen
him before, either?
REGGIE'S VOICE (O.S.)
No, thank heaven.
MED. SHOT -- REGGIE AND BARTHOLOMEW
BARTHOLOMEW
(a pause, regarding
her)
Mrs. Lampert, I'm afraid you're in a
great deal of danger.
REGGIE
Danger? Why should I be in any danger?
BARTHOLOMEW
You're Charles Voss's wife -- now
that he's dead you're their only
lead.
REGGIE
Mr. Bartholomew -- if you're trying
to frighten me you're doing a really
first-rate job!
(she takes another
sandwich)
BARTHOLOMEW
Please, do what we ask, Mrs. Lampert --
it's your only chance.
REGGIE
Gladly, only I don't know what you
want! You haven't told me.
BARTHOLOMEW
Oh, haven't I? The money -- Mrs.
Lampert -- the money. The $250,000
Charles Voss received from the
auction. Those three men want it,
too -- they want it very badly.
REGGIE
But it's Charles's money, not theirs.
BARTHOLOMEW
(laughing)
Oh, Mrs. Lampert! I'd love to see
you try and convince them of that!
(drying his eyes)
Oh, dear.
REGGIE
Then whose is it? His or theirs?
BARTHOLOMEW
Ours.
REGGIE
(she looks at him for
a moment)
Oh, I see.
BARTHOLOMEW
And I'm afraid we want it back.
REGGIE
But I don't have it.
BARTHOLOMEW
That's impossible. You're the only
one who could have it.
REGGIE
I'm sorry it's impossible. It's the
truth.
BARTHOLOMEW is silent for a moment, thinking.
BARTHOLOMEW
I believe you.
REGGIE
Thanks very much.
BARTHOLOMEW
Oh, you've got the money all right --
you just don't know you've got it.
REGGIE
Mr. Bartholomew -- if I had a quarter
of a million dollars, believe me,
I'd know it.
BARTHOLOMEW
Nevertheless, Mrs Lampert -- you've
got it.
REGGIE
You mean it's just lying around
someplace -- all that cash?
BARTHOLOMEW
Or a safe deposit key, a certified
check, a baggage claim -- you look
for it, Mrs. Lampert -- I'm quite
sure you'll find it.
REGGIE
But --
BARTHOLOMEW
Look for it, Mrs. Lampert -- look
just as hard and as fast as you can.
You may not have a great deal of
time. Those men know you have it
just as surely as we do. You won't
be safe until the money's in our
hands. Is that clear?
REGGIE nods. He writes something on a pad of paper and tears
it off, handing it to her.
BARTHOLOMEW
Here's where you're to call me --
day or night. It's a direct line to
both my office and my apartment.
Don't lose it, Mrs. Lampert -- and
please don't tell anyone about coming
to see me. It could prove fatal for
them as well as yourself.
REGGIE
Wait a minute -- you think those
three men killed Charles, don't you?
BARTHOLOMEW
We've no proof, of course, but we
rather think so, yes.
REGGIE
Well, there you are! Charles had the
money with him -- so whoever killed
him has it -- they have it!
BARTHOLOMEW shakes his head.
REGGIE
Why not?
BARTHOLOMEW
(grimly)
Because they're still here.
REGGIE
Oh.
BARTHOLOMEW
Like I said, Mrs Lampert -- I'm afraid
you're in a great deal of danger.
Remember what happened to Charles.
REGGIE takes the last sandwich and begins eating furiously.
DELETED
EXT. ESPLANADE DES CHAMPS-ELY�ES -- DAY
MED. SHOT -- GUIGNOL.
One of the French Punch and Judy shows set up on certain
days in the small park alongside the broad avenue between
the Rond Point and the Place de la Concorde. At the moment,
Judy, as always, is beating Punch with a bat. The sound of
CHILDREN laughing and screaming can be heard.
VARIOUS CLOSE SHOTS -- THE CHILDREN
Sitting on small benches lined up to face the stage. Their
attention is fixed on the show, their belief totally suspended
by the play as only children's can be -- laughing at the
slapstick, booing the villain, frightened by the perils.
MED. SHOT -- REGGIE
Sitting on the last bench, next to some CHILDREN. They are
laughing but she isn't -- she just watches, her attention
caught up but her face void of emotion. The bench is too low
for her, forcing her knees up almost under her chin.
After a moment, PETER comes up behind her and, stepping over
the benches, sits beside her. She doesn't seem to notice.
[Throughout the following scene the CHILDREN and the ACTORS
can be heard in the b.g.]
PETER
Reggie -- ?
She turns and looks at him for a moment.
REGGIE
(vaguely)
Hallo, Peter.
PETER
You telephoned me to meet you. I've
been standing on the corner back
there -- waiting for you.
REGGIE
I'm sorry -- I heard the children
laughing.
A ROAR from the CHILDREN. REGGIE and PETER turn toward the
stage.
MED. SHOT -- GUIGNOL
PUNCH and JUDY are arguing loudly.
TWO SHOT -- REGGIE AND PETER
PETER
What's going on?
REGGIE
Don't you understand French?
PETER
I'm still having trouble with English.
REGGIE
The man and the woman are married --
CLOSE SHOT -- GUIGNOL STAGE
PUNCH and JUDY are batting each other on the head.
PETER'S VOICE (O.S.)
Yes, I can see that -- they're batting
each other over the head with clubs.
Finally, JUDY knocks Punch out of sight and a PUPPET wearing
a three-cornered hat appears.
PETER'S VOICE (O.S.)
Who's that with the hat?
MED SHOT -- GRANDPIERRE
Wearing a hat, he stands off in the background, watching.
REGGIE'S VOICE (O.S.)
That's the policeman -- he wants to
arrest Judy for killing Punch.
CLOSE SHOT -- GUIGNOL STAGE
JUDY and the POLICEMAN are batting one another.
PETER'S VOICE (O.S.)
What's she saying now?
REGGIE'S VOICE (O.S.)
That she's innocent -- she didn't do
it.
PETER'S VOICE (O.S.)
She did it, all right -- take it
from me.
REGGIE'S VOICE (O.S.)
I believe her.
PUNCH's head appears on the other side of the stage, says
something, then ducks out.
PETER'S VOICE (O.S.)
Who was that?
REGGIE'S VOICE (O.S.)
Punch, of course.
TWO SHOT -- REGGIE AND PETER
PETER
Of course? I thought he was dead.
REGGIE
He's only pretending, to teach her a
lesson -- only --
(her face clouding)
only he is dead, Peter -- I saw him --
he's not pretending. Somebody threw
him off a train. What am I going to
do?
Charles was mixed up in something terrible.
PETER
I wish you'd let me help you. Whatever
it is, it doesn't sound like the
sort of thing that a woman can handle
all by herself.
CLOSE SHOT -- GUIGNOL STAGE
JUDY has gotten the upper hand is now batting the POLICEMAN's
brains out.
CLOSE SHOT -- GRANDPIERRE as he winces.
TWO SHOT -- REGGIE AND PETER
PETER
Have you got a mirror?
(she nods)
Give it to me.
She hands it to him and he holds it in front of her face.
PETER
Right there, between your eyes --
see? Worry lines. You're much too
young and too pretty to have anything
like that. How about making me vice-
president in charge of cheering you
up?
REGGIE
(jumping at the
suggesting)
Starting tonight?
INT. NIGHTCLUB -- NIGHT
MED. SHOT -- EMCEE.
He stands on the dance floor in front of a five piece Latin
dance band, a spotlight on him, wearing his professional
smile as he speaks into a mike.
EMCEE
Bonsoir mesdames et messieurs, good
evening ladies and gentlemen, guten
Abend, meine Damen und Herren -- ce
soir, comme tous les soirs,
l'attraction ici, au Black Sheep
Club, c'est vous! Venez, mesdames et
messieurs, step right up, ladies and
gentlemen, kommen Sie her, meine
Damen en Herren, avanti, signore e
signori -- avanti!
MED. SHOT -- REGGIE AND PETER
At their table. REGGIE is dressed in a lovely Givenchy dress.
PETER
What was all that?
REGGIE
Fun and games. Evidently we're the
floorshow.
PETER
You mean you and me?
REGGIE
No, everyone. Come on -- avanti,
avanti!
She rises and pulls him along.
WIDE ANGLE
Including the dance floor as most of the patrons go to it,
laughing self-consciously and looking around.
EMCEE
�coutez bien -- les r�gles sont tres
simples -- the rules are very easy --
deux �quipes -- two teams -- each
with one orange -- une orange --
eine apfelsine -- un' arrancia --
held under the chin, like so --
(does it)
comme �a -- and passed to the player
behind you -- sans vous servir de
vos mains -- using nothing but the
chin -- no hands -- and keeping the
orange at all costs from touching
the floor. Commencez, Mesdames et
Messieurs -- begin, ladies and
gentlemen -- signore e signori,
comminciate!
The EMCEE now circulates, forming teams, telling the patrons
to line up, making sure there is a woman next to every man.
REGGIE and PETER are the second couple in their line.
Then the EMCEE picks up a basket of oranges and places one
under the chin, held securely against the chest, of each man
at the head of the line. Blowing a whistle, a signal for the
game to begin and the band to play, the men turn to the women
behind them and attempt to transfer the oranges from under
their chins to under the chins of the women -- without using
their hands.
(This maneuver can only be accomplished by embracing one's
partner passionately and firmly pressing the orange against
the partner's throat until he or she can grip it tightly
enough with the chin to turn and offer it to the person next
in line, where the process begins anew. However, the slightest
miscalculation, which can be brought about by any number of
human frailties -- haste, modesty, inhibition or lack of co-
ordination -- will surely result in losing control of the
orange so that it either falls to the floor [where it can
only be picked up by the chin] or it starts to roll and slide
from its proper place to some other, less proper, spot on
the human anatomy, forcing the man or the woman to retrieve
it -- again, with the chin only. This latter is an activity
which can prove extremely satisfying to old friends, or even
new friends who wish to become old friends, but can only be
a torment for total strangers and/or the English).
VARIOUS SHOTS -- ORANGE GAME
Some of the couples in various states of confusion,
entanglement and intimacy -- all of them, naturally,
hilarious.
TWO SHOT -- PETER AND GIRL
It is his turn to take the orange from a very short, but
quite shapely young girl in a strapless dress (held up by an
abundance of cantilever). PETER 'takes' when he sees the
twin obstacles which might -- and probably will -- encumber
the game but increase his worldly experience.
The contest begins: because of her stature he is forced to
move in low, making the ordinary embrace needed for success
difficult, if not impossible. Then, inexorably, the orange
starts to slip down the GIRL's front. Manfully he goes after
it.
CLOSE SHOT -- REGGIE
She is enjoying it thoroughly.
TWO SHOT -- PETER AND GIRL
Bending over backwards, in a sort of frontal half-nelson,
PETER makes a last valiant effort and voil�, grips the orange
under his chin -- amid much cheering and congratulations
from members of his TEAM.
Now he turns to REGGIE and they face one another for a moment.
PETER
En garde.
REGGIE
Lay on, MacDuff.
They go at it, working their bodies together to make it all
possible. Then, for a moment, the game and the onlookers
seem less important than their proximity. But, alas, they
are too good despite themselves and the transfer is
accomplished -- again with appreciative cheers from the TEAM.
REGGIE, with the orange now tucked firmly under her chin,
turns to the next team-member in line and is locked in an
embrace before she realizes her partner is LEOPOLD GIDEON,
the short, fat, balding man seen at the funeral and later in
BARTHOLOMEW's photo.
REGGIE starts to draw back but GIDEON holds her tightly.
Putting his chin around the orange he is able to speak quietly
in REGGIE's ear.
CLOSE TWO SHOT -- REGGIE AND GIDEON
Her eyes show her fright as he whispers:
GIDEON
Mrs. Lampert --
REGGIE
What do you want?
GIDEON
Didn't Charles tell you, Mrs. Lampert?
REGGIE
Tell me what?
GIDEON
It doesn't belong to you, Mrs. Lampert --
you do know that, don't you?
REGGIE
I don't know anything.
GIDEON
Mrs. Lampert, any morning now you
could wake up dead.
REGGIE
Leave me alone -- !
GIDEON
Dead, Mrs. Lampert -- like last week's
news -- like Charles, Mrs. Lampert --
REGGIE (SHOUTING)
Stop it!
CLOSE SHOT -- REGGIE'S AND GIDEON'S FEET
As REGGIE hauls off and kicks GIDEON full in the shin.
CLOSE SHOT -- GIDEON
He stiffens as the pain registers. Instead of shouting he
merely closes his eyes.
WIDER ANGLE
Including REGGIE and GIDEON and PETER standing by, as well
as some spectators. PETER comes quickly forward.
PETER
Reggie -- what's the trouble?
REGGIE realizes that GIDEON no longer offers any resistance.
She steps back, leaving GIDEON holding the orange, foolishly,
under his chin, his eyes still closed. REGGIE stares at him
for a moment.
REGGIE
He -- he was stepping on my foot.
CLOSE SHOT -- GIDEON
Slowly, his eyes open and tears stream from them, rolling
down his cheeks. He speaks while holding the orange.
GIDEON
Forgive me -- it was quite
unintentional, I'm sure.
WIDER ANGLE
GIDEON turns to the woman behind him and the game resumes.
REGGIE
(starting off)
Wait for me -- I won't be long.
She goes off toward the rear of the club and starts down a
flight of stairs.
CLOSE SHOT -- PETER
Watching her go, a concerned look on his face.
INT. NIGHTCLUB LOUNGE -- NIGHT
A small, dimly lit area with a door to the combination men's-
women's room and a 'phone cabin with a solid door.
The music and shouting from upstairs float down. REGGIE comes
down the stairs and goes to the 'phone, flicking on the light
and closing the door after her.
INT. PHONE BOOTH -- NIGHT
REGGIE takes a jeton ('phone token) from her bag and drops
it in the slot. Then she takes out a slip of paper (the one
given her by BARTHOLOMEW) and dials the number written on
it. She listens to it ring, then evidently he answers.
REGGIE
(into 'phone)
Mr. Bartholomew -- it's me, Reggie
Lampert -- listen Mr. Bartholomew:
I've seen one of the
(she stops)
Mr. Bartholomew? Can you hear me?
She realizes she has not pushed the button which takes her
coin and allows the party at the other end to hear her voice.
REGGIE
Hello -- Mr. Bartholomew -- it's me,
Regina Lam...
Suddenly the door of the booth opens and REGGIE wheels to
look, slamming the receiver down as she does.
REVERSE SHOT -- 'PHONE BOOTH -- NIGHT
TEX PENTHOLLOW, the second man from the funeral (and photo),
the man in the corduroy suit and string tie, stands in the
doorway, his face calm, a hand-rolled but unlit cigarette in
his mouth. He has put one foot up against the side of the
door so she can't leave. REGGIE stares at him, terrified.
TEX
Howdy, Miz Lampert.
REGGIE
Wha -- what do you want?
TEX takes a book of matches from his pocket.
TEX
You know what I want, Miz Lampert...
REGGIE
No -- no, I'm don't.
TEX
Come on now -- sure you do. An' you'd
better give it to me, Miz Lampert --
cuz I ain't foolin'. No sireebob!
He strikes a match and lights his cigarette, holding the
burning match in his hand afterward.
REGGIE
I don't know what --
TEX, without a word, throws the still-lit match into the
booth, onto REGGIE's lap. She beats it out frantically.
REGGIE
What are you doing?
TEX lights another match and throws it into her lap. She
beats this one out too.
REGGIE
Stop that!
TEX
Don't make too much noise, Miz Lampert --
He lights another match and reaches out toward her hair with
it. She shrinks back.
TEX
It could get a whole lot worse.
Then he throws it into her lap. As he continues to speak he
punctuates each phrase or so with another lit match. REGGIE
is too busy beating them out to do anything else.
TEX
It belongs to me, Miz Lampert -- an'
if you don't give it to me your life
ain't gonna be worth the paper it's
printed on. You savvy what I'm sayin',
Miz Lampert?
REGGIE
Please stop -- please!
TEX
You think on it real careful-like,
Miz Lampert -- y'hear?
CLOSE SHOT -- REGGIE
As she frantically beats out the matches, her eyes on her
work.
REGGIE
You're insane, absolutely insane!
She looks up, then blinks her eyes.
INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER
There is no one there. REGGIE rises and steps out of the
booth.
INT. NIGHTCLUB LOUNGE -- NIGHT
As REGGIE looks around. There is no one there.
INT. PHONE BOOTH
As REGGIE returns, sits and starts to put another jeton into
the slot. She notices her hand is shaking. She reaches back
into her bag, removes a piece of candy, puts it into her
mouth and leans her head back against the wall, closing her
eyes.
Suddenly the door opens and REGGIE shrieks -- but this time
it is PETER.
PETER
What are you doing in here?
REGGIE
(a sigh of relief)
Having a nervous breakdown.
INT. HOTEL LOBBY -- NIGHT
REGGIE and PETER enter the deserted lobby.
PETER
You haven't said a word since we
left the club -- what happened back
there?
REGGIE
I -- I'm not sure if I'm supposed to
tell you or not.
PETER
I don't think I follow you.
REGGIE
He said if I told anybody it could
prove fatal for them as well as me.
PETER
Who said?
REGGIE
That's what I'm not supposed to say.
PETER
Stop this nonsense! If you're in
some sort of trouble I want to know
about it.
REGGIE
Stop bullying me. Everybody's bullying
me.
PETER
I wasn't --
REGGIE
Yes, you were -- you called it
nonsense. Being murdered in cold
blood isn't nonsense. Wait until it
happens to you sometime.
She goes to the desk, followed by PETER, where the NIGHT
CLERK greets them sleepily.
NIGHT CLERK
Bonsoir.
REGGIE
Bonsoir. Quarante-deux, s'il vous
plait.
The NIGHT CLERK gets the key off a hook and hands it to
REGGIE.
NIGHT CLERK
Bonne nuit.
REGGIE
(to PETER)
Would you mind seeing me to the door?
PETER
Of course not.
They go to the elevator where he opens the door for her.
INT. ELEVATOR -- NIGHT
As REGGIE and PETER enter the small cage. It is somewhat
cramped, forcing them to stand close together.
REGGIE
This is quite a place for making
friends, isn't it?
He presses the button and the elevator starts to rise.
PETER
You said this afternoon that your
husband was mixed up in something.
REGGIE
(busy examining the
cleft in his chin)
How do you shave in there?
PETER
What was it?
REGGIE
What was what?
PETER
What your husband was mixed up in.
REGGIE
Look, I know it's asking you to
stretch your imagination, but can't
you pretend for a moment that I'm a
woman and that you're a --
PETER
Don't you know I could already be
arrested for transporting a minor
above the first floor?
The elevator stops.
PETER
We're here.
REGGIE
Where?
PETER
On the street where you live.
REGGIE
How about once more around the park?
He reaches across her and opens the door.
PETER
Out.
INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
As REGGIE leaves the elevator, followed by PETER. They walk
to her door. There is a moment of silence as she looks at
him.
REGGIE
(imitating PETER)
Him: 'Do you mind if I come in for a
nightcap, Reggie?' Her: 'Well -- it
is awfully late.' Him: 'Just one,
all right?' Her: 'Promise you'll
behave yourself.' Him: 'Sorry, baby,
I never make promises I can't keep.'
PETER
How would you like a spanking?
REGGIE
How would you like a punch in the
nose? Stop treating me like a child.
PETER
Then stop acting like one. If you're
really in some kind of trouble, I'd
like to hear about it. Otherwise,
it's late, I'm tired and I'm going
home to bed.
REGGIE
Do you know what's wrong with you?
PETER
What?
REGGIE
Nothing. Good night.
PETER
Good night.
He turns and leaves. She smiles slightly, then turns and
puts the key into the door and opens it.
INT. REGGIE'S ROOM -- NIGHT
Featuring the door. REGGIE enters, then stops abruptly, the
doorknob still in her hand.
ANOTHER ANGLE
The room has been torn apart. And standing in the center is
HERMAN SCOBIE, the large man in the battered raincoat.
He starts slowly advancing toward REGGIE.
SCOBIE
Where is it, lady -- where've you
got it?
CLOSE SHOT -- REGGIE
REGGIE
(terrified)
I don't know -- I don't know! I don't --
She stops as she sees something.
CLOSE SHOT -- SCOBIE'S HAND
Instead of a human hand there is a twin-pronged metal one.
WIDER ANGLE
SCOBIE sees where REGGIE is staring; looks down at it himself,
then lunges at her, raising the hand to strike.
SCOBIE
I want it -- give it to me -- it's
mine!
The hand is starting to come down. REGGIE, moving quickly,
turns and flies out.
REGGIE
(screaming)
Peter -- ! Peter -- !
INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
As REGGIE runs out, slamming the door after her, the metal
hand crashes against the wooden panel inside the door and
splinters through it, visible on this side now. Petrified
with fear, REGGIE can only stare dumbly at the protruding
claw.
ANOTHER ANGLE
As PETER comes running up to her. He sees the metal hand.
REGGIE
A man -- he tried to kill me!
Pulling her aside, PETER takes hold of the key (still in the
outside lock) and turns it slowly and quietly. Then, using
all his weight, he slams the door open as far as it will go,
making sure to hold it that way as he steps in.
INT. REGGIE'S ROOM -- NIGHT
Inside, PETER pulls back the door and slugs the startled
SCOBIE full on the jaw. His head bangs against the wall but
he manages to raise a foot and push PETER violently away,
sending him sprawling back, toppling across the bed and over,
head first, onto the floor on the other side, where he
disappears. Hurrying, SCOBIE puts his foot against the door
and pushes it away, ripping his metal hand free.
He then rushes to the open window and climbs out.
INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
REGGIE waits anxiously. When she hears nothing, she gingerly
looks into the room.
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(entering cautiously)
Peter -- ?
(alarmed)
Peter! Where are you?
ANOTHER ANGLE
Showing the disarranged room, empty of people. Then, slowly
PETER's hand appears from behind the bed, shaking groggily.
REGGIE rushes to him and helps him sit on the bed.
REGGIE
Peter -- are you all right?
PETER
I think I sprained my pride.
(He looks around)
Where'd he go?
REGGIE
Out of the window, I guess -- I didn't
see him.
PETER goes, unsteady on his feet, to the window and looks
out. He then turns back.
PETER
Lock the door and the window -- and
don't let anyone in except me. I'll
be back in a minute.
REGGIE
Be careful, Peter.
PETER
(one leg over the
sill)
You took the words right out of my
mouth.
He climbs out.
EXT. HOTEL WINDOW THIRD FLOOR -- NIGHT
Outside the window to REGGIE's room is a small, false balcony,
consisting mostly of railing, with barely enough room between
it and the building's facade for a man to stand. PETER appears
and looks down over the railing.
EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT
SHOOTING STRAIGHT DOWN; there is no one on the street and it
is too far to jump.
MED. SHOT -- PETER -- BALCONY
He now looks around. REGGIE's is the last such balcony on
one side, but there are two or three on the other.
PETER climbs over the railing and, holding on to it with one
hand, reaches for the railing on the next balcony.
CLOSE SHOT -- PETER'S HAND
As it stretches for the railing; it is several inches short
of touching it.
MED. SHOT -- PETER
As he straightens up and prepares to jump.
EXT. HOTEL FACADE -- NIGHT
From the GROUND. PETER, high above, jumps to the next balcony.
MED. SHOT -- PETER
As he climbs over the railing of the second balcony. He sees
a light coming through the window and looks in.
WOMAN'S VOICE (O.S.)
Oh!
PETER leaves the window quickly, climbing over the railing
on his way to the next balcony. As he does, the following
exchange is heard (in British English).
MAN'S VOICE (O.S.)
What is it now, Pamela?
WOMAN'S VOICE (O.S.)
It happened again, Henry -- another
strange man peered in the window at
me and then went away.
MAN'S VOICE (O.S.)
Bad luck, Pamela.
EXT. HOTEL FACADE -- NIGHT
From the GROUND as PETER jumps to the next balcony.
MED. SHOT -- PETER
As he climbs over the rail to the third balcony. There is a
light coming from this window, too. PETER looks in.
MED. SHOT -- WINDOW -- OVER PETER'S SHOULDER
Inside the room are GIDEON, TEX, and SCOBIE in the midst of
a heated discussion.
GIDEON
That was a dumb move, Herman -- a
dumb move.
TEX
And then some. If you'd only told us
you was goin' to her room we could've
kept 'em busy --
INT. GIDEON'S HOTEL ROOM -- NIGHT
TEX
-- but sneakin' in there on your own
that-a-way, why, man, you was bound
to get yore tokus kicked. I mean,
what'd you think he'd do -- walk up
'n' shake you by that hand o' yores?
PETER'S VOICE (O.S.)
That's right, Herman -- you didn't
leave me much choice.
They all turn toward the window.
WIDER ANGLE
As PETER climbs in through the window and joins them.
PETER
(to SCOBIE)
I didn't hurt you, did I?
SCOBIE shakes his head and turns away.
GIDEON
(eagerly)
Never mind that -- did you get the
money?
PETER
How could I with the three Marx
Brothers breathing down my neck? You
said you'd let me handle it alone --
! The girl trusts me. If she's got
it, I'll find out about it. But you've
got to leave me alone.
SCOBIE
(to GIDEON and TEX)
We took all the chances. The money
belongs to us, not him!
TEX
Don't be un-neighborly-like, Herman --
don't forget he done us a little ol'
favor.
SCOBIE
Yeah? What's that?
TEX
He took care of Charlie for us.
GIDEON
(to PETER)
We appreciate it, really we do.
SCOBIE
But who asked him? Three shares are
enough -- I'd say he's out!
PETER
A third of nothing is nothing, Herman.
Make up your minds -- she's waiting
for me.
GIDEON
(thoughtfully)
I don't see how another twenty-four
hours could hurt.
TEX
Shoot no, not after all these years.
SCOBIE
Then he gets it out of your share,
not mine! Not mine!
SCOBIE turns and storms out of the door, slamming it.
GIDEON begins sneezing, takes a bottle of pills from his
pocket and swallows two white tablets.
GIDEON
I suggest you get about your business --
nothing soothes Herman like success.
TEX
(chuckling)
That's right -- it's like ticklin' a
alligator's belly.
PETER
Who's got the room next to hers?
TEX
Me. How come?
PETER
Get another one, will you? I'm going
to need it.
PETER starts for the door.
TEX
If you do find the money -- you won't
forget t' tell us about it, will
you, fella?
PETER
(turning at the door)
Don't worry.
TEX
Oh, I ain't worryin' -- but see this
pudgy little fella here?
(indicating GIDEON)
He worries -- an' he's even meaner'n
I am.
INT. REGGIE'S ROOM -- NIGHT
As she waits anxiously, smoking a cigarette. There is a KNOCK
at the door.
REGGIE
Who is it?
PETER'S VOICE (O.S.)
It's me. Peter.
REGGIE unlocks the door and opens it. PETER enters and she
closes the door again --
PETER
There was no trace of him. All right,
Reggie -- suppose you tell me what
this is all about.
REGGIE
There are three men -- he's one of
them -- they think I have something
that belongs to them.
PETER
What?
REGGIE
A quarter of a million dollars.
PETER is silent for a moment.
PETER
Go on.
REGGIE
That's all.
PETER
No, it isn't -- where's the money?
REGGIE
I don't know. Those men killed
Charles to get it. But he must not
have had it with him on the train.
PETER
So they think he left it with you.
REGGIE
But he didn't! I've looked everywhere --
(tears welling)
And if I don't find it --
(wailing)
Those men going to kill me.
She falls in his arms to be comforted.
PETER
No, they won't -- I won't let them.
REGGIE
(sobbing)
Please help me, Peter -- you're the
only one I can trust.
PETER
Of course I'll help -- I told you I
would, didn't I? Come on now --
He takes out his handkerchief and dries her eyes.
REGGIE
I'm so hungry I could faint.
(trying to smile)
I've -- I've gotten your suit all
wet.
PETER
That's all right -- it's a drip-dry.
REGGIE
Peter, you've got to promise me
something. Promise you'll never lie
the way Charles did. Why do people
have to tell lies?
PETER
Usually it's because they want
something -- and they're afraid the
truth won't get it for them.
REGGIE
Do you tell lies?
A pause. The phone rings. REGGIE answers it.
REGGIE
(into the phone)
Hello?
INT. OUTDOOR 'PHONE BOOTH -- NIGHT
SCOBIE holds the receiver in his metal hand.
SCOBIE
Mrs. Lampert? -- it's me -- the man
who was in your room a few minutes
ago --
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
What do you want?
PETER
(whispering)
Who is it?
REGGIE
(covering the receiver)
The man you had the fight with.
INT. PHONE BOOTH -- NIGHT
SCOBIE
(on the phone)
Is Dyle with you?
INT. REGGIE'S ROOM -- NIGHT
CLOSE SHOT -- REGGIE
REGGIE
Who?
INT. PHONE BOOTH -- NIGHT
SCOBIE
(on the phone)
The man who hit me, lady -- Dyle --
that's his name. What's wrong -- is
he still there?
INT. REGGIE'S ROOM -- NIGHT
REGGIE's back is turned to PETER so he can't see her face.
He watches her.
REGGIE
(on the phone)
Yes -- that's right.
PETER
What is it, Reggie -- what's he
saying?
She shakes her head.
INT. PHONE BOOTH -- NIGHT
SCOBIE
(on the phone)
Don't trust him -- don't tell him
anything. He's after the money.
He hangs up.
INT. REGGIE'S ROOM -- NIGHT
Slowly, REGGIE lowers the 'phone from her ear and hangs it
up. She hesitates a moment.
PETER
What'd he say?
REGGIE
He -- he said if I didn't give the
money, he'll kill me.
PETER
I wouldn't take that too seriously.
REGGIE
I believe what he said.
PETER
They're only trying to scare you,
that's all.
REGGIE
How do you know what they're doing?
PETER
I don't -- but as long as they think
you have the money, or know where it
is, or have it without knowing where
it is, or don't even know you have
it --
REGGIE
What are you talking about?
PETER
You mustn't let what he said bother
you. It was only words.
REGGIE
(softly)
Words can hurt very much.
PETER
(a pause)
Go to sleep -- I'll see you in the
morning.
REGGIE
Don't put yourself out.
PETER
Hey -- I'm on your side. Remember
that.
REGGIE
Yes, I'll remember. Good night.
PETER
Good night.
He starts out, pausing by the door and examining the hole
SCOBIE made in it.
PETER
But if you'll take my advice --
(smiling)
You'll undress in the closet. Oh,
and if you need me, just bang on the
wall. I'll be next door.
INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
As PETER (now called DYLE) leaves REGGIE's room and closes
the door. He pauses for a moment, listening, hears nothing,
then bends down and starts pulling at a loose thread in one
of his socks. As usual, the thread unravels -- and unravels --
and unravels some more until it seems that the entire sock
has come unknit. Now, taking the long thread, he bends down
near the door and, taking his tie-pin, attaches one end of
the thread to the bottom of REGGIE's door. He then runs the
thread along the floor to his door (next door) and works it
underneath.
INT. DYLE'S ROOM -- NIGHT
As DYLE enters, the thread in his hand. He goes to a nearby
table where he attaches the thread to the heavy room key,
which he then balances on the extreme edge of the table.
INT. REGGIE'S ROOM -- NIGHT
REGGIE is on the phone.
REGGIE
(excited)
-- But I am calm, Mr. Bartholomew --
what I called to tell you was there's
someone else -- someone who wasn't
in that photograph you showed me. He
says his name is Peter Joshua -- but
it isn't -- it's Dyle.
(a pause)
Mr. Bartholomew? -- are you still
there?
INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW on the phone. He is silent for a moment, his
face troubled.
BARTHOLOMEW
I don't know who this Mr. Dyle is,
but it's just possible we were wrong
about who killed your husband.
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
You mean he might have -- Mr.
Bartholomew, I'm catching the next
plane out of here -- I'm not going
to sit here and wait for someone to
make chopped liver out of me!
DELETED
INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW
(on the phone)
Where are you now -- can you meet
me? Do you know Les Halles?
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
Yes, where?
(a pause)
-- in fifteen minutes. I'll be there.
DELETED
INT. REGGIE'S ROOM -- NIGHT
REGGIE hangs up the phone, picks up her bag, checks her hair
in the mirror, then starts for the door. She stops as she
notices the connecting door leading to the room next door,
DYLE's room. She goes to it, silently slips out the key and
bends to peer through the keyhole.
INT. DYLE'S ROOM -- NIGHT (THROUGH KEYHOLE)
DYLE is removing his coat. Before he lays it over a chair,
he takes a gun from the inside pocket, checks it, and tucks
it into his belt.
INT. REGGIE'S ROOM -- NIGHT
REGGIE reacts in surprise and fright, jumps quickly away
from the door. She hurries to the door leading to the hall
and reaches for the knob.
INT. DYLE'S ROOM -- NIGHT
CLOSE SHOT -- ROOM KEY. The thread attached to it is pulled
(by the action of REGGIE's door opening) and the key falls
to the floor with a clatter.
WIDE ANGLE
Including DYLE as he reacts, his head wheeling to look at
the key. Snatching his coat, he runs for the door.
INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
As REGGIE sneaks past DYLE's door. When she has passed, the
door opens and DYLE appears. REGGIE takes off on the run,
turning the corner and starting down the stairs.
DYLE
Reggie -- !
He starts after her.
INT. HOTEL LOBBY -- NIGHT
It is deserted, except for the sleeping NIGHT PORTER, as
REGGIE comes running down the stairs.
DYLE'S VOICE (O.S.)
Reggie... !
She turns, looking back towards the sound of his voice, but
does not slacken her speed. She runs out the front door.
EXT. HOTEL ENTRANCE -- NIGHT
As REGGIE runs out. She looks up the street, sees a TAXI and
hails it.
REGGIE
Taxi -- !
It pulls over to the curb. Looking once more over her shoulder
she takes a bill out of her pocket, opens the cab door, slams
it loudly without getting in and hands the bill to the driver.
REGGIE
N'importe o� -- vite! Allez-y!
She jumps back into the shadows of a nearby doorway as the
TAXI pulls away. At the same time DYLE runs out of the hotel.
Another TAXI is coming down the street. DYLE hails it
frantically.
DYLE
Taxi -- ! Taxi -- !
It pulls up and DYLE opens the door.
DYLE
(pointing)
Follow that taxi.
DRIVER
Comment?
DYLE
Taxi! Follow!
DRIVER
Je ne comprends rien.
Desperately, DYLE reaches into his coat pocket and pulls out
a small dictionary and begins flipping through the pages.
CLOSE SHOT -- REGGIE
In the shadows. She lifts her eyes in annoyance.
MED. SHOT -- TAXI
DYLE
(finding the word)
Suivre -- el taxi!
DRIVER
Ah! Oui, Monsieur.
ANOTHER ANGLE
REGGIE comes out of the shadows, looks after DYLE's taxi,
then hails another one which pulls up.
REGGIE
(to DRIVER)
Aux Halles -- vite!
DELETED
EXT. LES HALLES -- NIGHT
REGGIE and BARTHOLOMEW walking. The Central Market is teeming
with activity -- trucks creeping around other trucks, cases
of fruit and vegetables stacked on every inch of sidewalk,
WORKERS of all types milling around, unloading trucks and
stacking crates, little electric carts scooting in and out --
and nearby, one of the huge, high-roofed sheds where the
butchers work.
TWO SHOT -- REGGIE AND BARTHOLOMEW
CAMERA LEADING them as they walk.
BARTHOLOMEW
(looking around)
Incredible, isn't it? Zola called it
'le ventre de Paris' -- the womb of
Paris, the belly.
She takes a banana from a nearby stall.
REGGIE
(peeling it)
What did you want to see me about,
Mr. Bartholomew?
BARTHOLOMEW
(leaves a coin on the
crate)
Were you followed?
REGGIE
Yes, but I lost him. I really did it
quite brilliantly. I'm beginning to
think women make the best spies.
BARTHOLOMEW
Agents.
REGGIE
He has a gun, Mr. Bartholomew -- I
saw it.
BARTHOLOMEW
Who?
REGGIE
Dyle, or whatever his name is.
BARTHOLOMEW
What does your Mr. Dyle look like,
Mrs. Lampert?
REGGIE
He's hardly my Mr. Dyle.
BARTHOLOMEW
Describe him.
REGGIE
Well -- he's tall -- over six feet --
rather thin -- in good physical shape,
I'd say -- dark eyes -- quite
handsome, really.
BARTHOLOMEW
(shaking his head)
No.
REGGIE
No, what?
BARTHOLOMEW
That's not Carson Dyle.
REGGIE
(stopping)
Carson?
BARTHOLOMEW
There's only one Dyle connected with
this affair, Mrs. Lampert -- that's
Carson.
REGGIE
You mean you've known about him all
along? Why didn't you tell me?
BARTHOLOMEW looks at her for a moment, then glances around;
his attention is drawn inside the doorway.
BARTHOLOMEW
It's enough to make you a vegetarian,
isn't it?
INT. LES HALLES BUTCHERS' SHED -- NIGHT
Almost as far as the eye can see, row upon row of beef sides,
hung on hooks.
TWO SHOT -- REGGIE AND BARTHOLOMEW (TRAVELING)
As REGGIE looks at the hanging beef.
REGGIE
It's just lucky that I'm not hanging
next to one of those things right
now.
She shudders, throws away her banana and turns back to
BARTHOLOMEW.
REGGIE
Mr. Bartholomew -- why didn't you
tell me you knew about Dyle?
BARTHOLOMEW
I didn't see any point. Dyle's dead.
REGGIE
Dead? Mr. Bartholomew -- maybe you'd
better tell me what this thing's all
about.
DELETED
INT. LES HALLES BISTRO -- NIGHT
Lined up at a zinc bar are several BUTCHERS, their white
smocks stained with blood. REGGIE and BARTHOLOMEW sit at the
table.
BARTHOLOMEW
I suppose you're old enough to have
heard of World War Two?
REGGIE
Barely, yes.
BARTHOLOMEW
In 1944, five members of the O.S.S. --
the military espionage unit -- were
ordered behind the German lines for
the purpose of delivering $250,000
in gold to the French Underground.
The five men --
A WAITER arrives.
WAITER
Vous d�sirez?
REGGIE
(smiling)
They always do that.
BARTHOLOMEW
(to the WAITER)
Caf�.
REGGIE
Gratin�e, choucroute garnie, salade
de pommes -- et un ballon de rouge.
BARTHOLOMEW
Mrs. Lampert, I really hadn't planned
on spending the entire night here.
REGGIE
Can I at least keep the onion soup?
BARTHOLOMEW shrugs.
REGGIE
(to the WAITER)
La soupe tout simplement.
The WAITER nods and goes.
REGGIE
(anxiously)
Go on, please -- five men -- $250,000 --
the French Underground --
BARTHOLOMEW
Yes. The five men. They were, of
course, your husband, Charles, the
three men who showed up at his funeral
yesterday, and Carson Dyle. But
something went wrong and they were
unable to locate their contact. It
must have been at that point that
they decided to steal the money.
REGGIE
Steal it how?
BARTHOLOMEW
By burying it, and then reporting
that the Germans had captured it.
All they had to do was come back
after the war, dig it up and split
it five ways -- a quarter of a million
dollars with no questions asked.
REGGIE
(fascinated)
May I have a cigarette, please?
BARTHOLOMEW pulls out a package and she takes one, looks at
it and rips off the filter tip. He winces.
REGGIE
I hate these things -- it's like
drinking coffee through a veil.
She puts the other end in her mouth, then picks up the matches
and lights it.
BARTHOLOMEW
Everything went smoothly enough until
after the gold was buried -- then,
before they could get out, they were
ambushed by a German patrol. A machine
gun separated Scobie from his right
hand -- and caught Carson Dyle full
in the stomach.
REGGIE takes another cigarette from his pack, rips off the
filter (he winces again) and puts it into her mouth.
BARTHOLOMEW
What's wrong with that one?
He points to the cigarette she just lit, still practically
brand-new in the ashtray.
REGGIE
Oh. Nothing, I guess. What happened
then?
She hands over the newer one to BARTHOLOMEW, who sadly
examines its mutilated end while REGGIE returns to the first
cigarette.
BARTHOLOMEW
Have you any idea what these things
cost over here?
REGGIE
Please go on, Mr. Bartholomew --
what happened then?
BARTHOLOMEW
Scobie was able to travel, but Carson
Dyle was clearly dying, so they --
The WAITER returns with the coffee and onion soup.
WAITER
La soupe, c'est pour qui?
REGGIE
Pour moi. Go on, Mr. Bartholomew.
The WAITER puts down the cup and bowl and leaves.
BARTHOLOMEW
Carson was dying so they were forced
to leave him. They finally got back
to the base, made their report, and
waited for the war to end. Only
Charles couldn't wait quite as long
as the others. He beat them back to
the gold, took everything for himself
and disappeared. It's taken Gideon,
Tex and Scobie all this time to catch
up with him again.
REGGIE
But if they stole all that money --
why can't you arrest them?
BARTHOLOMEW
We know what happened from the bits
and pieces we were able to paste
together -- but we still have no
proof.
REGGIE
But what has all this got to do with
the C.I.O.?
BARTHOLOMEW
C.I.A., Mrs. Lampert. We're an
extension of the wartime O.S.S. It
was our money and we want it back.
REGGIE
I'm sorry, Mr. Bartholomew, but
nothing you've told me has changed
my mind. I still intend leaving Paris --
tonight.
BARTHOLOMEW
I wouldn't advise that, Mrs. Lampert.
You'd better consider what happened
to your husband when he tried to
leave. Those men won't be very far
away -- no matter where you go. In
fact, I don't even see any point in
your changing hotels. Please help
us, Mrs. Lampert. Your government is
counting on you.
REGGIE
Well, if I'm going to die, I might
as well do it for my country.
BARTHOLOMEW
That's the spirit.
REGGIE
Oh, stop it. What do you want me to
do?
BARTHOLOMEW
We're anxious to know who this man
is -- the one calling himself Dyle.
REGGIE
Maybe he really is Dyle. He could
still be alive.
BARTHOLOMEW
No, Mrs. Lampert.
REGGIE
But no one actually saw him die.
BARTHOLOMEW
No, Mrs. Lampert. His death is
registered with the War Department
in Washington.
REGGIE
Oh. Then who's this one?
BARTHOLOMEW
I don't know -- but I think you'd
better find out, don't you?
REGGIE
Me? Why me?
BARTHOLOMEW
You're in an ideal position -- he
trusts you.
(grinning)
Besides, you said yourself, women
make the best spies.
REGGIE
(resigned)
Agents.
EXT. HOTEL (PLACE ST. ANDR� DES ARTS) -- LATE AFTERNOON
DYLE leaves the hotel and turns into the Place. A moment
later, REGGIE comes cautiously from the hotel. As she watches
DYLE, a SANDWICH-MAN advertising a driving school passes the
hotel. REGGIE falls in behind him, his tall placard hiding
her from view.
EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON
First comes DYLE, passing a sidewalk cafe on the corner,
then the SANDWICH-MAN and REGGIE. The SANDWICH-MAN turns
off, leaving REGGIE out in the open. A moment later, DYLE
passes a GIRL painting a canvas, her easel set up in the
middle of the sidewalk. He stops when he has passed her and
turns to look at her work. REGGIE, not knowing what to do,
and afraid she will be seen by DYLE, who is now looking her
way, spins and sits at the sidewalk cafe's nearest table,
her back to DYLE. It is already occupied by a middle-aged
TOURIST.
TWO SHOT -- REGGIE AND TOURIST
The TOURIST, complete with camera, beret and guide book,
looks up from his coffee, surprised. He stares at REGGIE and
she stares back. Finally, not knowing what else to do, she
smiles, then takes a portion of his brioche and eats it.
He smiles back emptily, not knowing what to make of her.
REGGIE turns to look at DYLE.
MED. SHOT -- DYLE
He has made his judgment of the painting and now moves on.
TWO SHOT -- REGGIE AND TOURIST
The TOURIST has finally found the courage to speak. As he
opens his mouth to make a sound, REGGIE, her eyes on DYLE,
rises quickly from the table and goes, leaving a very confused
TOURIST with his mouth open. He blinks, then leaves some
money on the table and starts after her.
EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON
REGGIE following DYLE. As she passes the GIRL painting, she
cannot resist turning to see the work.
CLOSE SHOT -- PAINTING
An abstract jumble, nothing recognizable.
CLOSE SHOT -- REGGIE
As she looks from the painting to reality.
EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON
As the scene really looks.
MED. SHOT -- REGGIE
She shrugs, continues after DYLE. Now we see that the TOURIST,
in turn, is following her.
TOURIST
(calling)
Fraulein --
REGGIE doesn't stop.
TOURIST
Fraulein --
REGGIE
(turning but continuing)
What are you doing, following me?
Stop it -- we're going to look like
a parade.
She continues after DYLE. The TOURIST hesitates, then
continues after her.
MED. SHOT -- DYLE
He goes to the curb and starts to step off, attempting to
cross the Rue Danton, but finds the light against him. He
turns back in REGGIE's direction.
MED. SHOT -- REGGIE
Realizing she has to do something before DYLE spots her, she
turns and takes the TOURIST's arm and starts walking with
him back toward the cafe.
REGGIE
(smiling and rattling
on)
How are you? When did you arrive in
town? Are you enjoying Paris? It's
lovely, isn't it? So many wonderful
things to see and do, it makes one's
head spin to think of it.
She looks back over her shoulder and sees that DYLE is now
crossing the Rue Danton, heading for the platform of a bus
now stopped at the curb.
TOURIST
(smiling)
Fraulein --
REGGIE pulls away from him.
REGGIE
If you don't stop following me I'll
call the police.
She leaves him standing there, more confused than ever, as
she starts after DYLE again.
DYLE has hopped on the back of the bus as it pulls away.
REGGIE hurries across the street, hailing a taxi.
REGGIE
Taxi -- !
INT. AMERICAN EXPRESS -- LATE AFTERNOON
DYLE enters. CAMERA PANNING with him to the head of a stairway
leading downstairs, a sign indicating that it leads to the
"MAIL ROOM & TELEPHONES." CAMERA PANS back to the door as
REGGIE enters.
DELETED
INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON
DYLE walks to one of several windows. A sign over it reading:
"A - D."
MED. SHOT -- STAIRS
REGGIE comes down the stairs. Suddenly she stops.
MED. SHOT -- DYLE
CAMERA ZOOMS in to sign on "D."
CLOSE SHOT -- REGGIE
A confused look on her face.
MED. SHOT -- DYLE
As his turn comes, he addresses the CLERK
DYLE
Dyle, please... D - Y - L - E.
CLERK
Yes, Mr. Dyle. I remember.
CLOSE SHOT -- REGGIE
Watching.
MED. SHOT -- MAIL WINDOW
The CLERK takes out a bundle of letters and quickly sorts
through it.
CLERK
I'm sorry, Mr. Dyle -- nothing today.
DYLE
Thanks -- see you soon.
He turns and heads out, starting up the stairs where REGGIE
was but is no longer. As he reaches the fourth or fifth step,
a VOICE is heard over the loudspeaker.
VOICE (O.S.)
Mr. Dyle, please -- you're wanted on
the telephone -- Mr. Dyle. Cabin 4.
DYLE stops in his tracks, pondering what to do.
VOICE (O.S.)
Mr. Dyle. Cabin 4, please.
He stops and comes down the stairs, going to the back of the
room and into the cabin marked "4."
DYLE
(picking up the phone)
Yes?
CAMERA DOLLIES across an empty cabin to discover REGGIE in
the third one, on the phone.
INT. REGGIE'S CABIN
REGGIE on the phone.
INT. DYLE'S CABIN
DYLE on the phone.
REGGIE
Good morning, Mr. Dyle.
DYLE
Reggie?
REGGIE
It's the only name I've got. How
about you?
DYLE
No cat and mouse -- you've got me.
What do you want to know?
REGGIE
Why you lied to me.
DYLE
I had to -- for all I knew you could
have been in on the whole thing.
REGGIE
Well, you know now, so please tell
me who you are.
DYLE
But you know my name -- it's Dyle.
REGGIE
Carson Dyle is dead.
DYLE
Yes, he is. He was my brother.
REGGIE
Your --
DYLE
The army thinks he was killed in
action by the Germans, but I think
they did it -- Tex, Gideon and Scobie --
and your husband -- because he
wouldn't go along with their scheme
to steal the gold. I think he
threatened to turn them in and they
killed him. I'm trying to prove it.
They think I'm working with them.
But I'm not, and that's the truth.
I'm on your side, Reggie -- please
believe that.
REGGIE
How can I? You lied to me -- the way
Charles did -- and after promising
you wouldn't. Oh, I want to believe
you, Peter... oh, but I can't call
you that anymore, can I? It will
take me a while to get used to your
new name -- which I don't even know
yet. What is it?
(pause)
Aren't you going to tell me?
(pause)
Hello -- ?
She opens the door of the cabin and starts out.
MED. SHOT -- PHONE CABINS
As REGGIE steps out of her cabin and starts looking in the
others. They are all occupied except one and she looks inside
it.
CLOSE SHOT -- EMPTY CABIN
The receiver hangs by its cord, swinging back and forth.
MED. SHOT -- REGGIE
As she looks at it, confused.
INT. AMERICAN EXPRESS -- DAY
DYLE and SCOBIE stand together, waiting for the elevator,
SCOBIE clearly holding a gun in the pocket of his raincoat.
SCOBIE
(quietly)
If you do anything funny, or try to
talk to anyone, I'll kill you, Dyle --
here and now. Okay?
DYLE
You'll wreck your raincoat.
The self-service elevator doors open, one or two PASSENGERS
come out and DYLE and SCOBIE enter. A young GIRL starts in
after them.
SCOBIE
Next car, please.
He reaches out and presses the top button with his metal
hand. The doors close.
DELETED
INT. TOP FLOOR LANDING -- LATE AFTERNOON
As SCOBIE follows DYLE out of the elevator. SCOBIE looks
around -- there is an open door at the end of a short hall.
He and DYLE go to it, CAMERA FOLLOWING. Through the door,
which SCOBIE closes behind them, is a flight of stairs,
leading up to a second floor.
SCOBIE
Okay -- turn around.
DYLE turns to find SCOBIE's gun out of the pocket and pointing
at him. SCOBIE now transfers it to his metal hand and goes
to DYLE, where he proceeds to frisk him.
Finding the gun DYLE carries in his inside coat pocket, SCOBIE
removes it. During the following conversation he will shake
open the revolving magazine and let the bullets fall out
onto the floor before handing back the emptied gun to DYLE.
Then he will transfer his own gun back to his good hand.
SCOBIE
Sit down.
Shrugging, DYLE sits on the third step.
DYLE
What now?
SCOBIE
We wait -- with our mouths shut.
INT. AMERICAN EXPRESS -- NIGHT
The last EMPLOYEES leave the building as the WATCHMAN locks
the front door after them.
INT. TOP FLOOR LANDING -- NIGHT
In the semi-darkness, DYLE is still sitting on the third
step, SCOBIE still facing him with a gun.
DYLE
How long do you intend -- ?
SCOBIE
I said with the mouth shut.
DYLE yawns wide.
DYLE
Sorry about that.
SCOBIE
Okay -- up there.
DYLE gets to his feet and starts up the stairs, followed by
SCOBIE. DYLE stops at the door.
DYLE
Do I knock or something?
SCOBIE
Open it.
DYLE opens the door. The stairs continue up.
SCOBIE
Keep going.
DYLE
The view had better be worth it.
EXT. AMERICAN EXPRESS -- ROOFTOP -- NIGHT
A spectacular view of the Paris rooftops and the city lights
beyond. DYLE and SCOBIE come out onto a level portion of
roof. On the street side, the roof angles down abruptly into
a steep, slate-covered pitch, broken only by two widely
separated oval-shaped dormer windows.
Below these is a rain gutter, then nothing -- for seven
stories.
DYLE
Very pretty. Now what?
SCOBIE
I'll give you a chance, Dyle -- which
is more than you'd give me. Where's
the money?
DYLE
Is that why you dragged me all the
way up here -- to ask me that? She
has it -- you know that.
SCOBIE
And I say maybe you both have it!
One more time, Dyle -- where is it?
DYLE
Supposing I did have it -- which I
don't -- do you really think I'd
hand it over?
SCOBIE
You're out, Dyle -- right now!
SCOBIE aims the gun and starts advancing toward DYLE.
SCOBIE
Step back.
DYLE turns and looks -- there is nothing behind him but a
sheer drop to the street.
DYLE
Back where?
SCOBIE
That's the idea.
Moving quickly, DYLE lashes out and hacks SCOBIE's gun hand
with the side of his palm and the gun falls to the roof.
Following through, DYLE punches the large man full in the
jaw, but instead of falling, SCOBIE wraps his arm around
DYLE, holding on tightly until his head clears.
Then, to his amazement, DYLE is lifted into the air and,
unable to break the bear-hold, carried toward the edge of
the roof. Working his arms between their two bodies, DYLE
suddenly flails them out with all his strength and the hold
is broken, but at the price of his coat and the flesh on his
back as SCOBIE's metal claw rips through both, a wound
extending from the center of DYLE's back to his shoulder.
Both men look around for the gun, spot it simultaneously and
leap for it, both landing short of the mark. Now they grapple
with one another, each trying to break free and reach for
the gun.
CLOSE SHOT -- THEIR HANDS
Two hands, one real, one metal, inch toward the gun.
MED. SHOT -- DYLE AND SCOBIE
The battle is going to SCOBIE whose weight and strength are
beginning to tire DYLE, who is now on his back, trying to
stop SCOBIE from crawling over him. He has the large man by
both lapels of the raincoat in a last-ditch effort to hold
him. But SCOBIE, his face horribly distorted from the strain,
continues to inch forward toward the gun.
Suddenly, DYLE releases his hold. With nothing restraining
him, SCOBIE lurches forward, tumbling past the gun, his
momentum carrying him onto the sloping part of the roof,
where he begins sliding down. SCOBIE beats wildly at the the
slate with his claw, trying to gouge a grip.
CLOSE SHOT -- SCOBIE'S CLAW
As it slides across the slate, making a hideous scratching
sound and causing sparks to fly.
MED. SHOT -- SCOBIE
As he slides over the edge and disappears.
CLOSE SHOT -- DYLE
As he watches, hypnotized.
CLOSE SHOT -- ROOF EDGE
There appears to be no sign of SCOBIE. Then CAMERA ZOOMS IN
FOR A TIGHT CLOSE SHOT OF SCOBIE'S metal hand, gripping the
rain gutter at the very edge.
MED. SHOT -- DYLE
Having seen the claw, he rises and walks to the very edge of
the level part of the roof.
DYLE
Herman?
MED. SHOT -- SCOBIE
As he hangs, seven stories over the street, by his metal
hand.
SCOBIE
Yeah?
MED. SHOT -- DYLE
He finds it hard to believe.
DYLE
How are you doing?
SCOBIE'S VOICE (O.S.)
How do you think?
DYLE
If you get bored, try writing 'Love
thy neighbor' a hundred times on the
side of the building.
DYLE turns and leaves going down the stairs.
INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
The HOTEL MANAGER is busy taping a piece of cardboard over
the hole ripped in REGGIE's door by SCOBIE's metal hand the
night before. DYLE leaves the elevator and goes to his own
door. The MANAGER eyes him coldly. DYLE "takes" the look.
DYLE
I didn't do it.
MANAGER
The next time madame forgets her
key, there is another one at the
desk.
DYLE smiles, then enters his room.
INT. DYLE'S ROOM -- NIGHT
He closes the door and starts to remove his torn coat,
wincing.
INT. REGGIE'S ROOM -- NIGHT
REGGIE, smoking on the bed, sits up when she hears DYLE moving
about in his room. She goes to the connecting door, unlocks
her side, tries the knob, finds it still bolted from his
side and knocks.
REGGIE
Is that you?
INT. DYLE'S ROOM -- NIGHT
DYLE goes to the door, throws back the bolt and opens the
door. REGGIE enters.
REGGIE
Didn't anyone ever tell you it's
impolite to --
(seeing his injured
back)
What happened?
DYLE
I met a man with sharp nails.
REGGIE
Scobie?
DYLE
I left him hanging around the American
Express.
REGGIE
Come on -- I've got something that
stings like crazy.
She leads him into her room.
INT. REGGIE'S ROOM -- NIGHT
As REGGIE and DYLE enter from his room. She leads him to the
bed.
REGGIE
Take off your shirt and lie down.
As REGGIE goes to the bathroom, DYLE takes off his torn shirt,
revealing a torn and bloody T-shirt. He lies face downwards
on the bed. REGGIE returns, carrying cotton, gauze, tape,
scissors, and disinfectant. She sits next to him and lifts
up his T-shirt to examine the wound.
DYLE
(wincing)
Listen -- all I really want is an
estimate.
REGGIE
It's not so bad. You may not be able
to lie on your back for a few days --
but, then, you can lie from any
position, can't you?
She wets the cotton with disinfectant and begins cleaning
the wound. He winces.
REGGIE
Does it hurt?
DYLE
Haven't you got a bullet I can bite?
She continues working on his back, cleaning it, then bandaging
it while they talk.
REGGIE
Are you really Carson Dyle's brother?
DYLE
Would you like to see my passport?
REGGIE
Your passport! What kind of a proof
is that?
DYLE
Would you like to see where I was
tattooed?
REGGIE
Sure.
DYLE
Okay, I'll drive you around there
some day.
(his back stinging)
Ouch!
REGGIE
Ha ha. You could at least tell me
what your first name is these days.
DYLE
Alexander.
REGGIE
Is there a Mrs. Dyle?
DYLE
Yes, but we're divorced.
REGGIE
I thought that was Peter Joshua.
DYLE
(smiling)
I'm no easier to live with than he
was.
REGGIE
(finishing the bandage)
There -- you're a new man.
As they continue talking, he rises from the bed and goes
into his own room. REGGIE remains on the bed, watching him
through the open door as he puts on a fresh T-shirt and shirt.
DYLE
I'm sorry I couldn't tell you the
truth, but I had to find out your
part in all this.
REGGIE
Alex -- how can you tell if someone
is lying or not?
DYLE
You can't.
REGGIE
There must be some way.
DYLE
There's an old riddle about two tribes
of Indians -- the Whitefeet always
tell the truth and the Blackfeet
always lie. So one day you meet an
Indian, you ask him if he's a truthful
Whitefoot or a lying Blackfoot? He
tells you he's a truthful Whitefoot,
but which one is he?
REGGIE
Why couldn't you just look at his
feet?
DYLE
Because he's wearing moccasins.
REGGIE
Oh. Well, then he's a truthful
Whitefoot, of course.
DYLE
Why not a lying Blackfoot?
REGGIE
(confused)
Which one are you?
DYLE
(entering, smiling)
Whitefoot, of course.
REGGIE
Come here.
He goes to the bed.
REGGIE
Sit down.
He sits.
REGGIE
I hope it turns out you're a
Whitefoot, Alex -- I could be very
happy hanging around the tepee.
DYLE
Reggie -- listen to me --
REGGIE
Oh-oh -- here it comes. The fatherly
talk. You forget I'm already a widow.
DYLE
So was Juliet -- at fifteen.
REGGIE
I'm not fifteen.
DYLE
Well, there's your trouble right
there -- you're too old for me.
REGGIE
Why can't you be serious?
DYLE
There, you said it.
REGGIE
Said what?
DYLE
Serious. When a man gets to be my
age that's the last word he ever
wants to hear. I don't want to be
serious -- and I especially don't
want you to be.
REGGIE
Okay -- I'll tell you what -- we'll
just sit around all day long being
frivolous -- how about that?
She starts kissing him on the neck, on the chin, on the cheek.
DYLE
Now please, Reggie -- cut it out.
REGGIE
(pulling back)
Okay.
DYLE
What are you doing?
REGGIE
Cutting it out.
DYLE
Who told you to do that?
REGGIE
You did.
DYLE
But I'm not through complaining yet.
REGGIE
Oh.
(She starts kissing
him again)
DYLE
Now please, Reggie -- cut it out.
REGGIE
I think I love you, Alex --
She kisses him on the mouth. The phone rings. He tries to
talk as she continues kissing him.
DYLE
(mumbling)
The phone's ringing --
REGGIE
Whoever it is won't give up -- and
neither will I.
The phone continues to ring and she continues to kiss him.
Finally, REGGIE reaches out to the bedstand and takes the
phone off the hook. She brings the receiver up to their mouths
and mumbles into it.
REGGIE
(on phone)
Sorry -- I was just -- uh -- nibbling
on something.
INT. TEX'S ROOM -- NIGHT
TEX speaks into the phone.
TEX
Miz Lampert, my buddies 'n me, we'd
oblige it mighty highly if you could
mosey on across the hall 'n chew the
fat with us for a spell.
INT. REGGIE'S ROOM -- NIGHT
DYLE is watching her.
REGGIE
(on the phone)
Can you give me one good reason why
I should?
INT. TEX'S ROOM -- NIGHT
TEX
(on the phone)
Yes, ma'am. A little one -- 'bout
seven or eight years old. Th' little
tyke keeps callin' you his Aunt Reggie --
ain't that cute?
INT. REGGIE'S ROOM -- NIGHT
She covers the phone and turns to DYLE in alarm.
REGGIE
They've got Jean-Louis!
DYLE
That sounds like their problem.
REGGIE
(into the phone)
I'll be right there.
INT. TEX'S ROOM -- NIGHT
TEX
(on the phone)
We'll be waitin' in room forty-seven,
Miz Lampert -- so you just wiggle on
over.
INT. REGGIE'S ROOM -- NIGHT
As REGGIE hangs up.
REGGIE
What day is it?
DYLE
Tuesday.
REGGIE
Lord, I forgot all about it -- Sylvie
works late Tuesday nights -- she
always leaves him with me. They
wouldn't do anything to a little
boy, would they?
DYLE
I don't know -- it depends on whether
or not they've already eaten.
INT. TEX'S ROOM -- NIGHT
CLOSE SHOT -- JEAN-LOUIS. He looks around, uncertainly, first
one way, then the other. CAMERA PULLS BACK to show him sitting
on SCOBIE's knee, the large man holding him with his good
hand, the metal one in his pocket. TEX sits next to them
while GIDEON nervously paces the floor. When GIDEON begins
sneezing he takes the small bottle of pills from his pocket
and downs one or two, swallowing some water.
SCOBIE
Hey, Tex -- move the kid to the other
knee or something, will you? My leg's
going to sleep.
TEX lifts JEAN-LOUIS and puts him down on SCOBIE's other
knee.
TEX
Upsy-daisy.
JEAN-LOUIS
Are you a real cowboy?
TEX
Sure am.
JEAN-LOUIS
Then where is your gun?
TEX
(taking out his gun)
Right here -- see?
GIDEON
Will you put that thing away!
A KNOCK at the door. GIDEON goes to open it. REGGIE and DYLE
enter. She sees JEAN-LOUIS and TEX's gun.
REGGIE
Jean-Louis!
She snatches him off SCOBIE's lap.
TEX
Howdy, Miz Lampert.
SCOBIE
(glaring at DYLE)
Who invited you?
DYLE
Hello, Herman, it was a happy landing,
I see.
REGGIE
I'd better call Sylvie -- she must
be frantic.
She starts for the door with JEAN-LOUIS. GIDEON blocks her
way.
GIDEON
I'm afraid that will have to wait,
Mrs. Lampert.
REGGIE
But his mother --
GIDEON
She isn't going to be anybody's mother
unless you answer some questions.
TEX
This ain't no game,
Miz Lampert.
SCOBIE
We want that money -- now!
DYLE
(forcefully)
Be quiet, all of you!
The THREE MEN look at him, surprised by his tone.
DYLE
And stop threatening that boy. He
doesn't have the money. Mrs. Lampert
doesn't either.
SCOBIE
Then who does?
DYLE
I don't know, Herman -- maybe you
do.
SCOBIE
Me?
DYLE
(to TEX)
Or you --
(to GIDEON)
Or you --
GIDEON, TEX & SCOBIE
(together)
That's the most ridiculous -- !
You gone loco?
Listen to the man!
DYLE
Slowly. Suppose one of you found
Charles here in Paris, followed him,
cornered him on the train, threw him
out the window and took the money.
SCOBIE
(after a pause)
That's a crock! If one of us did
that he wouldn't hang around here
waiting for the other two to wise
up.
DYLE
But he'd have to. If he left he'd be
admitting his guilt -- and the others
would know what happened. Whoever it
is has to wait here, pretending to
look for the money, waiting for the
rest of us to give up and go home.
That's when he'll be safe and not a
minute before.
A pause as the THREE MEN look at one another.
GIDEON
Up till now we always figured she
had the money -- but you know so
much about it, maybe you've got it.
DYLE
Then what am I doing here? You didn't
know anything about me -- I'm the
only one who could have taken it and
kept right on going.
SCOBIE
He's just tryin' to throw us off!
They've got it, I tell you! Why don't
we search their rooms?
DYLE
(exchanging looks
with REGGIE)
It's all right with us --
TEX
(rising)
What are we wastin' time for? Let's
go.
DYLE
And while we're waiting, we might as
well go through yours.
SCOBIE
(stopping)
Not my room!
DYLE
What's wrong, Herman -- have you got
something to hide?
(a pause, then smiling)
Then I take it there are no
objections.
The THREE MEN look at one another unhappily.
DYLE
We'd better exchange keys. Here's
mine.
SCOBIE
I'll take that.
He takes DYLE's key and gives DYLE his. GIDEON goes to REGGIE,
takes her key and gives her his own.
TEX
Mine's in the door. Ariva durchy,
y'all.
The THREE MEN file out. DYLE and REGGIE exchange looks.
DYLE
Come on -- let's get busy. Who gets
your vote?
REGGIE
Scobie -- he's the one that objected.
DYLE
(handing her the boy)
He's all yours. I'll do Tex and
Gideon. Take Jean-Louis with you --
and make sure you bolt the door from
inside.
REGGIE
Viens, Jean-Louis -- we're going to
have a treasure hunt.
JEAN-LOUIS
(joining them)
Oh, la! If I find the treasure, will
I win a prize?
REGGIE
(to DYLE)
What should we give him?
DYLE
How about $25,000? Or do you think
it would spoil him?
She smiles, takes JEAN-LOUIS' hand and leaves. DYLE turns to
survey TEX's room.
He goes first to the drawer in the night table -- empty; and
the bed, looking in it and under it. Then he goes to the
desk and opens the drawers -- also empty. The bureau is next --
he opens all three double drawers and they, too, are
completely empty. Frowning, he goes to the armoire and opens
it -- shelves and hanging bar are likewise bare.
Then, CAMERA PANNING DOWN, he sees the only thing he's found
so far in the room -- a pair of fine cowboy boots.
INT. REGGIE'S ROOM -- NIGHT
CLOSE SHOT -- AIRLINES BAG. CAMERA PULLS BACK to include
GIDEON, staring down at it as it lies on the table in the
center of the room.
GIDEON
(eyes on the bag)
Tex?
ANOTHER ANGLE
Including TEX, busy going through the bureau. He looks up,
then joins GIDEON.
TEX
What's that?
GIDEON empties the contents of the bag on the table, then
starts examining the various items. He opens the wallet.
INSERT - WALLET
Inside, the initials "C.L." are printed in gold.
TEX'S VOICE (O.S.)
Charlie's stuff?
GIDEON'S VOICE (O.S.)
Looks like it.
MED. SHOT -- TEX & GIDEON
TEX
Mebbe we'd better call Herman.
GIDEON has put the wallet aside and now picks up the letter,
removing it from the envelope and reading it.
GIDEON
What for? If it's not here, why bother
him?
TEX
And if it is?
GIDEON
(a pause)
Why bother him?
A broad grin from TEX. They continue going through the items
from the bag.
TEX
You sure nuthin's missin'?
GIDEON
No. The police have kindly provided
us with a list.
TEX takes the list, examines it, then folds it and puts it
in his pocket. They finish with the items from the bag.
TEX
There sure ain't nothin' here worth
no quarter of a million.
GIDEON
Not unless we're blind.
TEX
(staring at GIDEON)
You think that mebbe we're fishin'
the wrong stream?
GIDEON
Meaning what?
TEX
You don't s'pose one o' us has it,
like the man said -- I mean, that'd
be pretty distasteful -- us bein'
vet'rans o' the same war 'n' all.
GIDEON
(very sincerely)
You know I'd tell you if I had it.
TEX
Nachurly. Jus' like I'd tell you.
GIDEON
Nachurly. And that goes for Herman,
too.
TEX & GIDEON
(together)
Nachurly!
The TWO MEN look at one another, then smile -- then laugh.
DELETED
INT. SCOBIE'S ROOM -- NIGHT
REGGIE on the phone, JEAN-LOUIS standing by.
REGGIE
-- He's all right, Sylvie, honestly.
Just hurry up and get here.
She hangs up and turns to JEAN-LOUIS.
REGGIE
Come on, now -- if you wanted to
hide something, where would you put
it?
JEAN-LOUIS
I know. I would bury it in the garden.
REGGIE
Swell -- only this man doesn't have
a garden.
JEAN-LOUIS
Oh.
(Afterthought)
Neither do I.
(Seeing something)
Voil�!
REGGIE
Voil� what?
JEAN-LOUIS
(pointing)
Up there! I would put it up there!
REGGIE looks to where JEAN-LOUIS is pointing -- to the top
of the high armoire.
REGGIE
You know something, cookie? Why not?
Taking one of the straight chairs to the armoire, she stands
on it. Although she is still not high enough to see anything,
by standing on tip-toes she is able to reach with her hand
over the top and grope around blindly.
REGGIE
I hope I don't find any little hairy
things living up here -- wait! There
is something! If I can just -- yes,
I'm getting it -- a case of some
sort -- it's heavy.
JEAN-LOUIS
(jumping up and down)
I found it! I found it!
REGGIE
If you think you're getting credit
for this, you're crazy.
JEAN-LOUIS
(ecstatic)
We won! We won!
REGGIE has finally managed to pull down the case -- a
rectangular black bag about the size and shape of a trombone
case. As he climbs off the chair, JEAN-LOUIS suddenly runs
to the door, unbolts it and runs into the hall, CAMERA PANNING
with him.
INT. HOTEL CORRIDOR - THIRD LANDING - NIGHT
As JEAN-LOUIS runs out into the hall, shouting.
JEAN-LOUIS
We found it! We found it!
DYLE is the first one to appear, coming out of GIDEON's room.
TEX has also appeared from REGGIE's room, followed by GIDEON.
JEAN-LOUIS
We found it!
The THREE MEN rush by JEAN-LOUIS and squeeze simultaneously
into SCOBIE's room.
INT. SCOBIE'S ROOM -- NIGHT
As DYLE, TEX and GIDEON enter, REGGIE is placing the little
straight black chair to its original position. There is no
sign of the black case.
DYLE
Reggie -- ? Did you find it?
REGGIE
No.
GIDEON
What do you mean, no?
TEX
The kid said --
JEAN-LOUIS
(pointing atop the
armoire)
Up there! It is up there!
REGGIE
No, Jean-Louis.
TEX grabs the chair and moves it to the armoire, climbing up
on it and grabbing the bag.
REGGIE
It's nothing, I tell you!
He brings it to the table as DYLE and GIDEON crowd around
him, anxious to see.
CLOSE SHOTS (PANNING)
The ring of faces, one at a time. TEX, his jaw muscles working
feverishly; DYLE, his eyes unblinking, a slight smile on his
lips; GIDEON, his mouth open greedily.
GROUP SHOT
As TEX finally springs the latches and opens the lid.
CLOSE SHOT -- CASE
Inside, neatly packed in velvet fittings, like the parts of
a musical instrument, are various portions of and attachments
for a metal artificial hand.
TEX'S VOICE (O.S.)
Jumpin' frejoles -- it's Herman's
spare.
GROUP SHOT -- THE THREE MEN
As they stare at the case, surprised and just a little
embarrassed. Slowly TEX lowers the lid. The MEN avoid looking
at one another.
WIDER ANGLE
Including REGGIE and JEAN-LOUIS by the door.
REGGIE
Where is he?
The MEN look at one another.
TEX
Hey, that's right!
DYLE
(already running)
He's in my room.
The THREE MEN hurry past REGGIE and JEAN-LOUIS and out of
the door.
JEAN-LOUIS
What is the matter?
INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
DYLE, TEX, and GIDEON, followed by REGGIE and JEAN-LOUIS
cross the hall to DYLE's room. DYLE turns the key which is
still in the door. He enters, followed by the others.
INT. DYLE'S ROOM -- NIGHT
DYLE, TEX and GIDEON stand in the center of the room, looking
around. REGGIE and JEAN-LOUIS wait in the open doorway. The
room looks like a cyclone hit the place, but there is no
sign of SCOBIE. The sound of running water can be heard coming
from behind the closed door to the bathroom and DYLE is the
first to notice the water beginning to leak out from under
the door.
DYLE
Reggie -- you and the boy better
wait here.
INT. BATH -- NIGHT
SCOBIE, still dressed in his raincoat, lies face up, his
head submerged in the filled tub, the water now pouring over
the edge. His face is distorted. DYLE's hand appears and
turns off the water.
DELETED
REVERSE SHOT
DYLE, TEX and GIDEON staring at CAMERA.
TEX
Now who'da done a mean thing like
that?
DYLE
(looking carefully at
both)
I'm not quite sure.
TEX
This ain't my room.
GIDEON
Mine, either.
DYLE
(considering the
situation)
The police aren't going to like this
one bit.
GIDEON
(helpful)
We could dry him off and take him
down the hall to his own room.
(looking at the body)
He really doesn't look so bad.
TEX
We could put him to bed 'n let one
o' them fem-de-chambers find him in
the mornin'.
DYLE and GIDEON look at one another.
TEX
Poor ol' Herman -- him 'n good luck
always was strangers. Maybe now he'll
meet up with his other hand someplace --
but I sure hope it ain't waitin' for
him in Heaven.
INT. SCOBIE'S ROOM -- DAY
CLOSE SHOT -- SCOBIE. The dead man's eyes are open, his jaw
hanging, his head lying crazily on the pillow.
CAMERA PULLS BACK to show him lying in bed, dressed in his
pajamas. CAMERA WHIRLS for a TIGHT CLOSE SHOT of a MAID, her
eyes widening as the realization that the man is dead strikes
her. Then she screams.
INT. GRANDPIERRE'S OFFICE -- LATE AFTERNOON
CLOSE SHOT -- GRANDPIERRE. The policeman is apoplectic.
GRANDPIERRE
No! No! No! No!
CAMERA PULLS BACK to include, REGGIE, DYLE, TEX and GIDEON,
all sitting silently in the INSPECTOR's office.
GRANDPIERRE
A man drowned in his bed --
impossible! And in his pajamas --
the second one in his pajamas --
c'est trop b�te! Stop lying to me --
(Tapping the side of
his nose)
this nose tells me when you are lying --
it is never mistaken, not in twenty-
three years -- this nose will make
me commissaire of police.
(Tapping his fingers
on his desk)
Mr. Dyle or Mr. Joshua -- which is
it?
DYLE
Dyle.
GRANDPIERRE
And yet you registered in Megeve as
Mr. Joshua. Do you know it is against
the law to register under an assumed
name?
DYLE
No, I didn't.
REGGIE
It's done in America all the time.
GRANDPIERRE raps for silence on his desk. During the pause,
he looks into each face in turn.
GRANDPIERRE
None of you will be permitted to
leave Paris -- until this matter is
cleared up. Only I warn you -- I
will be watching. We use the
guillotine in this country -- I have
always suspected that the blade coming
down causes no more than a slight
tickling sensation on the back of
the neck. It is only a guess, of
course -- I hope none of you ever
finds out for certain.
DELETED
EXT. QUAI MONTEBELLO -- LATE AFTERNOON (TRAVELING)
REGGIE and DYLE walking along the quai, next to the Seine,
CAMERA LEADING.
REGGIE
Who do you think did it -- Gideon?
DYLE
Maybe.
REGGIE
Or Tex?
DYLE
Maybe.
REGGIE
You're a big help. Can I have one of
those?
They have passed an ice-cream wagon on the corner of the
Pont au Double. DYLE shrugs.
REGGIE
(to the VENDOR)
Vanille-chocolat.
During the following, the VENDOR makes a double-decker cone
and hands it to REGGIE. DYLE pays and they resume their walk --
all with no break in the dialogue.
REGGIE
I think Tex did it.
DYLE
Why?
REGGIE
Because I really suspect Gideon --
and it is always the person you don't
suspect.
DYLE
Do women think it's feminine to be
so illogical -- or can't they help
it?
REGGIE
What's so illogical about that?
DYLE
A) It's always the person you don't
suspect; B) that means you think
it's Tex because you really suspect
Gideon; therefore C) if you think
it's Tex, it has to be someone else --
Gideon.
REGGIE
Oh. I guess they just can't help it.
DYLE
Who?
REGGIE
Women. You know, I can't help feeling
rather sorry for Scobie.
(a pause)
Wouldn't it be nice if we were like
that?
DYLE
What -- like Scobie?
REGGIE
No -- Gene Kelly. Remember the way
he danced down there next to the
river in 'American in Paris' --
without a care in the world? This is
good, want some?
She offers him her cone, thrusting it forward with enough
force to dislodge the ice-cream. It lands right next to his
lapel, over his outside breast pocket.
DYLE
(frowning)
I'd love some, thanks.
REGGIE
I'm sorry.
He pulls open the pocket with two sticky fingers and looks
inside, then shakes his head sadly at what he sees. REGGIE
still holds the empty cone, not knowing what to do with it.
Seeing this, he takes it and sticks it into his pocket.
DYLE
No sense messing up the streets.
REGGIE
Alex --
DYLE
Hm?
REGGIE
I'm scared.
DYLE
Don't worry, I'm not going to hit
you.
REGGIE
No, about Scobie, I mean. I can't
think of any reason why he was killed.
They resume walking.
DYLE
Maybe somebody felt that four shares
were too many --
REGGIE
What makes you think that this
somebody will be satisfied with three?
He wants it all, Alex -- that means
we're in his way, too.
DYLE
Yes, I know.
REGGIE
First your brother, then Charles,
now Scobie -- we've got to do
something! Any minute now we could
be assassinated! Would you do anything
like that?
DYLE
(surprised)
What? Assassinate somebody?
REGGIE
No --
ANOTHER ANGLE
Including the Cathedral of NOTRE DAME in the background.
REGGIE
-- swing down from there on a rope
to save the woman you love -- like
Charles Laughton in 'The Hunchback
of Notre Dame'?
INT. HOTEL CORRIDOR -- THIRD LANDING -- LATE AFTERNOON
As REGGIE and DYLE step from the elevator.
REGGIE
Hurry up and change -- I'm starved.
DYLE
Let me know what you want -- I'll
pick a suit that matches.
He goes into his room and she goes into hers.
DELETED
INT. REGGIE'S ROOM -- LATE AFTERNOON
She enters, fixes her hair in the mirror, then goes to the
door connecting her room with DYLE's. She unlocks it, tries
to open it, but finds it locked. Disappointed, she knocks.
DYLE'S VOICE (O.S.)
What do you want?
REGGIE
It's the house detective -- why
haven't you got a girl in there?
INT. DYLE'S ROOM -- LATE AFTERNOON
He calls to her through the closed door as he empties his
pockets.
DYLE
Lord, you're a pest.
REGGIE'S VOICE (O.S.)
Can I come in?
DYLE
I'd like to take a bath.
INT. REGGIE'S ROOM -- LATE AFTERNOON
REGGIE
Wouldn't it be better if you did it
in my room?
DYLE'S VOICE (O.S.)
What for?
REGGIE
I wouldn't want to use that tub.
Besides, I don't want to be alone.
I'm afraid.
INT. DYLE'S ROOM -- LATE AFTERNOON
DYLE
I'm only next door -- if anything
happens, holler.
He sits down to take off his shoes, but is interrupted by
the sound of REGGIE screaming. He races for the connecting
door, pulls back the bolt and rushes in.
DELETED
INT. REGGIE'S ROOM -- LATE AFTERNOON
As DYLE enters.
DYLE
Reggie!
He wheels as the door is slammed and REGGIE, who had been
standing behind it, locks it and pockets the key.
REGGIE
Got you.
DYLE
Did you ever hear the story of the
boy who cried wolf?
REGGIE
The shower's in there.
He goes to the door leading to the hall and finds that locked
as well. She smiles at him.
DYLE
(warning)
Reggie -- open the door.
REGGIE
This is a ludicrous situation. There
must be dozens of men dying to use
my shower.
DYLE
Then I suggest you call one of them.
REGGIE
I dare you.
DYLE looks at her, then sits down and starts to remove his
shoes.
REGGIE
(has she gone too
far?)
What are you doing?
DYLE
Have you ever heard of anyone taking
a shower with his shoes on?
(to himself)
What a nut.
Shoes off, DYLE starts for the bathroom, humming.
DYLE
I usually sing a medley of old
favorites when I bathe -- any
requests?
REGGIE
Shut the door!
DYLE
I don't think I know that one.
Testing the water with his hand, he now steps in fully
dressed. REGGIE can't believe her eyes. She goes to the open
door for a closer look.
REGGIE
What on earth are you doing?
INT. BATHROOM -- LATE AFTERNOON
MED. SHOT -- DYLE
In the shower, making sure his suit gets uniformly soaked.
DYLE
(explaining pleasantly)
Drip-dry!
He takes the soap and begins washing as if he were washing
himself without the suit.
DYLE
The suit needs it more than I do,
anyway.
REGGIE
How often do you go through this
little ritual?
As he takes out his handkerchief and rinses it.
DYLE
Every day. The manufacturer recommends
it.
REGGIE
I don't believe it.
He opens his coat and reads a label inside.
DYLE
"Wearing this suit during washing
will help protect its shape."
He flicks a little water in her face, then takes the nail-
brush and scrubs his watch and watch-band. He holds up his
wrist so she can see the watch.
DYLE
Waterproof.
He begins unbuttoning his suit. She turns and leaves, slamming
the door after her.
DELETED
INT. REGGIE'S ROOM -- LATE AFTERNOON
As REGGIE goes to the armoire to select a dress. The PHONE
rings and she answers it.
REGGIE
(into phone)
Yes -- ?
INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
CLOSE SHOT -- BARTHOLOMEW
BARTHOLOMEW
(on the phone)
Mrs. Lampert? -- Bartholomew. I've
spoken to Washington, Mrs. Lampert --
INT. REGGIE'S ROOM -- LATE AFTERNOON
REGGIE
(on the phone)
Go ahead, Mr. Bartholomew -- I'm
listening.
INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
BARTHOLOMEW
(on the phone)
I told them what you said -- about
this man being Carson Dyle's brother.
I asked them what they knew about it
and they told me -- you're not gonna
like this, Mrs. Lampert -- they told
me Carson Dyle has no brother.
INT. REGGIE'S ROOM -- LATE AFTERNOON
CLOSE SHOT -- REGGIE on the phone, looking like the rug has
been pulled out from under her.
REGGIE
(pause, quietly)
Are you sure there's no mistake?
INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
BARTHOLOMEW
(on the phone)
None whatsoever. Please, Mrs. Lampert --
be careful.
INT. REGGIE'S ROOM -- LATE AFTERNOON
REGGIE slowly lowers the phone to its cradle, a worried
expression on her face. Then the bathroom door opens and
DYLE appears dressed in a large bath towel. Her back is to
him.
DYLE
I left all my drip-dry dripping --
is it all right?
She doesn't answer.
DYLE
Reggie -- is something wrong?
She shakes her head.
DYLE
You're probably weak from hunger.
You've only had five meals today.
Hurry up and we'll go out.
She turns and looks at him.
REGGIE
Do you mind if we go someplace
crowded? I -- I feel like lots of
people tonight.
EXT. SEINE - B�TEAU MOUCHE -- DUSK
The large motor launch, moving along the river, gaily ablaze
with lights.
MED. SHOT -- REGGIE AND DYLE (PROCESS)
At a table for two by the rail, the city slowly passing in
the b.g.
DYLE
Reggie -- you haven't spoken a word
in twenty minutes.
REGGIE
I keep thinking about Charles and
Scobie -- and the one who's going to
be next -- me?
DYLE
Nothing's going to happen to you
while I'm around -- I want you to
believe that.
REGGIE
How can I believe it when you don't
even know who the killer is? I've
got that right, haven't I? You don't
know who did it.
DYLE
No -- not yet.
REGGIE
But then if we sit back and wait,
the field should start narrowing
down, shouldn't it? Whoever's left
alive at the end will pretty well
have sewn up the nomination, wouldn't
you say so?
DYLE
Are you trying to say that I might
have killed Charles and Scobie?
She doesn't answer.
DYLE
What do I have to do to satisfy you --
become the next victim?
REGGIE
It's a start, anyway.
DYLE
I don't understand you at all -- one
minute you're chasing me around the
shower room and the next you're
accusing me of murder.
REGGIE
Carson Dyle didn't have a brother.
WIDER ANGLE
She rises from the table and walks away. DYLE hesitates a
moment, then follows.
DYLE
I can explain if you'll just listen.
Will you listen?
REGGIE
(looking at the river)
I can't very well leave without a
pair of water wings.
DYLE
Okay. Then get set for the story of
my life -- not that it would ever
make the best-seller list.
REGGIE
Fiction or non-fiction?
DYLE
Why don't you shut up!
REGGIE
Well!
DYLE
Are you going to listen?
REGGIE
Go on.
DYLE
After I graduated college I was all
set to go into my father business.
Umbrella frames -- that's what he
made. It was a sensible business, I
suppose, but I didn't have the sense
to be interested in anything sensible.
REGGIE
I suppose all this is leading
somewhere?
DYLE
It led me away from umbrella frames,
for one thing. But that left me
without any honest means of support.
REGGIE
What do you mean?
DYLE
When a man has no profession except
the one he loathes, what's left? I
began looking for people with more
money than they'd ever need --
including some they'd barely miss.
REGGIE
(astonished)
You mean, you're a thief?
DYLE
Well, it isn't exactly the term I'd
have chosen, but I suppose it captures
the spirit of the thing.
REGGIE
I don't believe it.
DYLE
Well, I can't really blame you --
not now.
REGGIE
But I do believe it -- that's what I
don't believe. So it's goodbye
Alexander Dyle -- Welcome home Peter
Joshua.
DYLE
Sorry, the name's Adam Canfield.
REGGIE
Adam Canfield. Wonderful. Do you
realize you've had three names in
the past two days? I don't even know
who I'm talking to any more.
DYLE
(now called ADAM)
The man's the same, even if the name
isn't.
REGGIE
No -- he's not the same. Alexander
Dyle was interested in clearing up
his brother's death. Adam Canfield
is a crook. And with all the
advantages you've got -- brains,
charm, education, a handsome face --
ADAM
Oh, come on!
REGGIE
-- there has to be a darn good reason
for living the way you do. I want to
know what it is.
ADAM
It's simple. I like what I do -- I
enjoy doing it. There aren't many
men who love their work as much as I
do. Look around some time.
REGGIE
Is there a Mrs. Canfield?
ADAM
Yes, but --
ADAM AND REGGIE
(together)
-- we're divorced.
ADAM
Right. Now go eat your dinner.
ANOTHER ANGLE
They walk back to the table, where a WAITER is busy putting
food on it, mostly on REGGIE's side.
REGGIE
(miserably)
I could eat a horse.
ADAM
(looking at all the
food)
I think that's what you ordered.
REGGIE
Don't you dare to be civil with me!
All this time you were leading me on --
ADAM
How was I leading you on?
REGGIE
All that marvelous rejection -- you
knew I couldn't resist it. Now it
turns out you were only interested
in the money.
ADAM
That's right.
REGGIE (HURT)
Oh!
ADAM
What would you like me to say --
that a pretty girl with an outrageous
manner means more to an old pro like
me than a quarter of a million
dollars?
REGGIE
No -- I guess not.
ADAM
It's a toss-up, I can tell you that.
REGGIE
What?
ADAM
Don't you know I'm having a tough
time keeping my eyes off of you?
REGGIE reacts in surprise.
ADAM
Oh, you should see your face.
REGGIE
What about it?
ADAM
(taking her hand,
nicely)
It's lovely.
She looks at him with happy amazement, then pushes her plate
away.
ADAM
What's the matter?
REGGIE
I'm not hungry -- isn't it glorious?
The lights go out.
REGGIE
(alarmed)
Adam!
ADAM
It's all right -- look.
EXT. SEINE B�TEAU MOUCHE -- NIGHT
A searchlight near the boat's bridge has gone on and now
begins sweeping the river banks. On benches by the water's
edge, lovers are surprised by the bright light which suddenly
and without warning discovers them in various attitudes of
mutual affection. Some are embarrassed, some are amused and
some (the most intimate) damn annoyed. One even shakes his
fist at the light.
MED. SHOT -- REGGIE AND ADAM
Who, like everyone else, leave the table and stand together
at the rail watching.
REGGIE
You don't look so bad in this light.
ADAM
Why do you think I brought you here?
REGGIE
(indicating the lovers)
I thought maybe you wanted me to see
the kind of work the competition was
turning out.
ADAM
Pretty good, huh? I taught them
everything they do.
REGGIE
Oh? Did they do that sort of thing
way back in your day?
ADAM
How do you think I got here?
She rises on tip-toes and kisses him gently; his only reaction
is to look at her.
REGGIE
Aren't you allowed to kiss back?
ADAM
No. The doctor said it would be bad
for my -- thermostat.
She kisses him again. He responds a little better.
ADAM
When you come on, you really come
on.
REGGIE
Well -- come on.
She starts to kiss him again, but he stops her.
REGGIE
I know why you're not taken -- no
one can catch up with you.
ADAM
Relax -- you're gaining.
DELETED
INT. GIDEON'S ROOM -- NIGHT
MED. SHOT -- GIDEON. As he sits bolt upright in bed, startled.
The room is dark and the phone is ringing. He switches on
the lamp, looks at the clock (it reads 3:30) and shakes his
head before picking up the receiver.
GIDEON
Huh? You must be crazy -- it's three-
thirty in the morning -- you mean
now? -- all right -- I'll be down
in a minute.
He hangs up, swings his feet out of bed and spears his
slippers, reaching for his robe at the same time. Then he
shuffles sleepily to the door.
INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT
As GIDEON comes out of his room and goes to the elevator.
The cage is there. He opens the door and enters.
INT. ELEVATOR -- NIGHT
GIDEON closes the sliding grill and presses a button. The
cage starts down. GIDEON begins sneezing. Suddenly the
elevator stops between floors and the lights go out.
GIDEON
Hey! Turn on the lights!
Just as suddenly the lights go back on and the elevator starts
moving down again. GIDEON shakes his head and leans back,
whistling again. The cage comes to his floor and starts past
it. Seeing this, GIDEON looks confused.
INT. HOTEL LOBBY -- NIGHT
The NIGHT PORTER is asleep behind the desk. The elevator,
GIDEON inside, keeps coming down. It passes the lobby level
and keeps right on going, toward the basement.
GIDEON
Hey! How do you stop this thing?
The elevator passes out of sight, still going down. There is
a silence as the motor stops, and then a series of sneezes
that ends with a terrifying shriek. The NIGHT PORTER, rudely
awakened, runs to the elevator shaft, his shoes squeaking
horribly. He looks up, sees nothing, then looks down. He
presses the call button and the motor starts.
An instant later the cage appears and stops. The NIGHT PORTER
opens the gate, pulls back the grill and the CAMERA RUSHES
PAST him to pick up GIDEON. His body is sitting on the floor
of the cage, its grotesque sprawling attitude resembling a
puppet's with its strings cut. Except that GIDEON has no
strings to cut -- only a throat. From ear to ear.
INT. HOTEL CORRIDOR -- NIGHT
CLOSE SHOT -- GRANDPIERRE. He is now doubly apoplectic.
GRANDPIERRE
Three of them -- all in their pajamas!
C'est ridicule! What is it, some new
American fad?
CAMERA PULLS BACK to reveal REGGIE and ADAM, in their
bathrobes.
GRANDPIERRE
And now your friend -- the one from
Texas -- he has disappeared -- checked
out -- pouf! into thin air! Where is
he?
ADAM
I don't know.
GRANDPIERRE
Madame?
REGGIE shrugs.
GRANDPIERRE
Tell me, Mr. Dyle -- where were you
at three-thirty?
ADAM
In my room, asleep.
GRANDPIERRE
And you, Mrs. Lampert?
REGGIE
I was, too.
GRANDPIERRE
In Mr. Dyle's room?
REGGIE
(bitterly)
No -- in my room.
GRANDPIERRE
(pause, lighting cigar)
It stands to reason you are telling
the truth -- for why would you invent
such a ridiculous story?
REGGIE and ADAM exchange looks.
GRANDPIERRE
And if I were you, I would not stay
in my pajamas. Good night.
GRANDPIERRE turns and leaves. REGGIE and ADAM start down the
hall toward their own rooms.
ADAM
That wraps it up -- Tex has the money.
Go back to bed -- I'll let you know
when I've found him.
REGGIE
You're going to look for him -- now?
ADAM
If the police find him first they're
not very likely to turn over a quarter
of a million dollars to us, are they?
REGGIE
Adam --
ADAM
There's no time -- I'll call you in
the morning.
ADAM disappears into his own room.
INT. ADAM'S ROOM -- NIGHT
As ADAM enters, going to the closet to remove his suit.
The phone rings. He answers it.
ADAM
Yes?
INT. PHONE BOOTH -- NIGHT
CLOSE SHOT -- TEX. As he speaks on the phone.
TEX
Now Dyle, you listen to me -- my
mama didn't raise no stupid children.
I know who's got the money 'n I ain't
disappearing till I got my share --
'n' my share's growin' a whole lot
bigger ev'ry day.
INT. ADAM'S ROOM -- NIGHT
ADAM
(on the phone)
Where are you, ol' buddy?
INT. PHONE BOOTH -- NIGHT
TEX
(on the phone)
(laughs)
I'll tell you what, fella -- you
want t' find me, you jus' turn 'round --
from now on I'll be right behind
you.
(hangs up)
INT. ADAM'S ROOM -- NIGHT
ADAM, before hanging up, reflects on TEX's words, then looks
behind him. Smiling softly, he hangs up the phone and starts
for REGGIE's door.
INT. REGGIE'S ROOM -- NIGHT
REGGIE slips back into her robe and goes to the connecting
door.
REGGIE
What is it?
ADAM
Open up.
She undoes the bolt and opens the door. ADAM enters.
ADAM
I think we were wrong about Tex having
the money.
REGGIE
Why?
ADAM
I just heard from him -- he's still
hungry. That means killing Gideon
didn't get it for him -- so he's
narrowed it down to us. You've got
it.
REGGIE
I've looked, Adam -- you know I have --
ADAM
Where's that airlines bag?
REGGIE
Lord, you're stubborn.
ADAM
I sure am. Get it.
She goes to the closet and gets the bag.
ADAM
Charles must have had the money with
him on the train, and Tex missed it.
He takes the bag to the bed where he dumps out the contents.
REGGIE
But everyone and his Aunt Lilian's
been through that bag. Somebody would
have seen it.
ADAM
Let's look anyway.
REGGIE
Lord, you're stubborn.
ADAM
I mean, it's there, Reggie. If only
we could see it. We're looking at it
right now.
CLOSE SHOT -- BED WITH CHARLES' BELONGINGS
ADAM'S VOICE (O.S.)
Something on that bed is worth a
quarter of a million dollars.
REGGIE'S VOICE (O.S.)
Yes, but what?
ADAM'S VOICE (O.S.)
I don't know -- I just don't know.
MED. SHOT -- REGGIE AND ADAM
As ADAM begins to examine the items one by one.
ADAM
Electric razor -- comb -- steamship
ticket -- fountain pen -- four
passports -- toothbrush -- wallet --
(He goes through the
wallet, finds nothing)
key -- what about that?
REGGIE
To the apartment -- it matches mine
perfectly.
ADAM
The letter --
He takes it out of the envelope and takes out his glasses
before reading it.
REGGIE
I'll bet you don't really need those.
He hands her the glasses and she looks through them.
REGGIE
You need them.
(She hands them back)
ADAM
(reading the letter)
It still doesn't make sense, but it
isn't worth any quarter of a million
either. Have we forgotten anything?
REGGIE
The tooth powder. Wait a minute --
could you recognize heroin just by
tasting it?
He shakes some powder into his hand and tastes it. REGGIE
watches expectantly.
ADAM
Heroin -- peppermint-flavored heroin.
REGGIE
Well, I guess that's it -- dead end.
ADAM
Go to bed. You've got to be at work
in the morning. There's nothing more
we can do tonight.
REGGIE
(pause)
I love you, Adam.
ADAM
Yes, you told me.
REGGIE
No -- last time I said "I love you,
Alex."
EXT. UNESCO BUILDING -- ESTABLISHING -- DAY
The ultra-modern glass and concrete structure behind the
Ecole Militaire.
INT. UNESCO CONFERENCE ROOM -- DAY
SEVERAL DELEGATES identified by little plaques in front of
them listing their respective nations, and their AIDES, sit
around the large table. They are all wearing earphones.
The ITALIAN DELEGATE is speaking.
ITALIAN DELEGATE
-- di conseguenza, il Governo Italiano
� decisamente a favore per
l'incoraggiamento, in accordo con le
tradizioni etniche rispettive delle
culture basilari dei passi in via di
sviluppo. Per esempio, pregare i
Vietnamiti di aggiungere alle loro
risaie ed ai loro campi di soja
tradizionali una raccolta di semola,
non solo sconvolgerebbe le loro
secolari tradizioni ma, oltre tutto,
e questo � molto importante per il
Governo che io ho l'onore di
rappresentare disturberebbe
l'esportazione delle derrate farinose
italiane in questa parte del mondo.
Signori Delegati vi ringrazio della
vostra attenzione.
INT. REGGIE'S BOOTH -- DAY
REGGIE, wearing her headset, is talking with SYLVIE.
REGGIE
I hope Jean-Louis understands about
last night -- it's just not safe for
him to be around me right now.
SYLVIE
Don't be silly -- he would not do
anything. He is not yet old enough
to be interested in girls. He says
collecting stamps is much more
satisfying to a man of his age.
REGGIE
Hold it -- Italy just finished.
They're recognizing Great Britain.
SYLVIE
Oh la vache!
SYLVIE jumps up and rushes next door into her booth, shutting
the door after her.
INT. CONFERENCE ROOM -- DAY
The BRITISH DELEGATE rises to speak, continuing through the
next scene.
BRITISH DELEGATE
Mr. Chairman, fellow delegates -- my
distinguished colleague from Italy.
Her Majesty's delegation has listened
with great patience to the Southern
European position on this problem,
and while we find it charmingly
stated, we cannot possibly agree
with its content. In 1937, in the
British colonies of Kenya, Uganda
and Tanganyika -- and, if I'm not
mistaken, more or less in Somaliland --
a programme of crop rotation was
instituted vis-�-vis arable land
which had never before known the
plough, beginning before the soil
was able to know the sort of fatigue
now plaguing most of Western Europe.
In 1937, therefore, Her Majesty's
Government -- at that time His
Majesty's Government -- was able to
properly assay the situation. We
therefore oppose the resolution.
INT. REGGIE'S BOOTH -- DAY
The door from the hall opens and ADAM enters.
ADAM
Reggie -- I think I've found --
(stopping)
are you on?
REGGIE
No, it's all right. What's wrong,
Adam?
ADAM
Nothing's wrong. I think I found
something. I was snooping around
Tex's room and I found this in the
waste basket. I've stuck it back
together.
He hands her a paper.
INSERT -- POLICE RECEIPT
The one GRANDPIERRE gave REGGIE. It has been torn in half
and scotch-taped back together.
REGGIE'S VOICE (O.S.)
It's the receipt Inspector Grandpierre
gave me -- for Charles's things. I
don't see how that's going to --
MED. SHOT -- REGGIE AND ADAM
ADAM
You didn't look. Last night, when we
went through the airlines bag,
something was missing. See -- ?
(showing her the list)
"One agenda." It wasn't there.
REGGIE
You're right. I remember Grandpierre
looking through it. But there was
nothing in it -- at least, nothing
that the police thought was very
important.
ADAM
Can you remember anything at all?
REGGIE
Grandpierre asked me about an
appointment Charles had -- on the
day he was killed.
ADAM
With whom? Where?
REGGIE
I think it only said where -- but I
can't --
ADAM
Think, Reggie, you've got to think --
it may be what we're looking for.
REGGIE
That money's not ours, Adam -- if we
keep it, we'll be breaking the law.
ADAM
Nonsense. We didn't steal it. There's
no law against stealing stolen money.
REGGIE
Of course there is!
ADAM
There is? Well, I can't say I think
very much of a silly law like that.
Think, Reggie -- please think --
what was written in Charles' notebook?
REGGIE
Well -- it was a place -- a street
corner, I think. But I don't --
(hearing something
through her earpiece)
Hold it. I'm on.
She turns back to the conference, flips a switch and starts
speaking into her headset.
REGGIE
(translating)
Mr. Chairman, fellow delegates -- my
distinguished colleague from Great
Britain --
INT. CONFERENCE ROOM -- DAY
The FRENCH DELEGATE is speaking.
FRENCH DELEGATE
Monsieur le Pr�sident, Messieurs les
d�l�gu�s -- mon distingu� coll�gue
de la Grande Bretagne -- le probl�me
vu par mon Gouvernement n'est pas
aussi simple que nos amis les Anglais
voudraient nous le faire croire.
Mais leur pays n'est pas, apr�s tout,
un pays agricole, n'est-ce pas? La
position fran�aise, ainsi que nous
l'avons soulign�e dans le rapport
num�ro trente-neuf bar oblique
cinquante-deux de la Conf�rence de
l'h�misph�re occidental qui a eu
lieu le 22 mars --
INT. REGGIE'S BOOTH -- DAY
REGGIE is busy translating.
REGGIE
as outlined in report number three-
nine-stroke-five-two of the Western
Hemisphere Conference held on March
22 --
(she stops)
no wait! It was last Thursday, five
o'clock at the Jardin des Champs-
�lys�es! Adam -- that was it! The
garden!
ADAM
It's Thursday today -- and it's almost
five -- come on!
MED. SHOT -- CONFERENCE TABLE
From REGGIE'S and ADAM'S ANGLE. All the DELEGATES and their
AIDES suddenly turn, surprised, and look at CAMERA.
REVERSE SHOT -- WINDOW
From the DELEGATE'S ANGLE. Inside the booth, REGGIE and ADAM
can be seen heading for the door in a hurry.
MED. SHOT -- CONFERENCE TABLE
As the DELEGATES look at one another, confused.
EXT. GUIGNOL -- LATE AFTERNOON
TWO SHOT -- REGGIE AND ADAM
By the locked gate.
REGGIE
Now what?
ADAM
Five o'clock -- Thursday -- the Garden --
it's got to be something around here.
REGGIE
But Charles' appointment was last
week, not --
ADAM
I know, but this is all we've got
left.
REGGIE
Well, you're right there. Ten minutes
ago I had a job.
ADAM
Stop grousing. If we find the money
I'll buy you an international
conference all your own. Now start
looking. You take this side and I'll
poke around over there.
VARIOUS SHOTS -- WHAT THEY SEE
A quick succession of shots showing:
1. Children's Merry-go-round 2. Rond Point de Champs-Elys�es
with fountains playing 3. Children's swings 4. Restaurant
Laurent 5. Balloon salesman
EXT. FOUNTAIN -- LATE AFTERNOON
ADAM stands by the large fountain, staring off at something
as REGGIE joins him.
REGGIE
It's hopeless -- I don't even know
what we're looking for.
ADAM
It's all right -- I don't think Tex
does, either.
REGGIE
Tex? You mean he's here, too?
ADAM
Look.
MED. SHOT -- TEX
He stands near the merry-go-round, looking at something in
his hand: Charles' agenda. Now he closes it and moves off,
disappearing behind a hedge.
TWO SHOT -- REGGIE AND ADAM
ADAM
I'd better see what he's up to.
Stay here -- I won't be long.
ADAM starts off.
REGGIE
(concerned)
Be careful, Adam -- please. He's
already killed three men.
DELETED
EXT. RUE GABRIEL -- LATE AFTERNOON
Between the curb and the Jardin, several temporary wooden
booths have been set up. They have collected quite a CROWD.
Into this area comes TEX, followed at a safe distance by
ADAM. Suddenly TEX stops.
DELETED
CLOSE SHOT -- TEX
As he stares wide-eyed at something.
CLOSE SHOT -- STAMPS
Neatly displayed on a counter of one of the booths.
CLOSE SHOT -- TEX
As he wheels to look at another booth.
CLOSE SHOT -- MORE STAMPS
In another arrangement.
CLOSE SHOT -- TEX
He turns crazily to look at another booth, then another.
CLOSE SHOT -- EVEN MORE STAMPS
Various FLASH SHOTS of stamps of all sizes, shapes and colors.
MED. SHOT -- TEX
As he understands. He turns to rush off and bumps smack into
ADAM. TEX is startled.
TEX
Sorry, fella --
He rushes off past ADAM, who watches him for a moment,
confused, then turns toward the booth, not yet having seen
the stamps.
MED. SHOT -- BOOTH
From ADAM's angle. There are one or two persons standing at
the booth. CAMERA ZOOMS in on the display of stamps.
CLOSE SHOT -- ADAM
ADAM
(amazed)
The letter.
He quickly turns to find TEX.
MED. SHOT -- TEX
As he hops into the back of a TAXI and it pulls away from
the curb. ADAM runs toward another TAXI.
ADAM
Taxi! -- Taxi!
DELETED
INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- LATE AFTERNOON
As ADAM comes up the stairs and goes to REGGIE's door.
Whipping out his gun, he flings open the door.
INT. REGGIE'S ROOM -- LATE AFTERNOON
From ADAM's angle. TEX sits in the armchair, staring at
CAMERA. Next to him is the airlines bag, its contents dumped
on the floor.
ANOTHER ANGLE
Including ADAM as he enters, his gun trained on TEX. Without
speaking he goes to the airlines bag, then stoops down to go
through the spilled contents, keeping one eye all the time
on TEX. But he can't find what he's looking for.
ADAM
(quietly)
All right -- where's the letter?
TEX
The letter? The letter ain't worth
nuthin'.
ADAM
You know what I mean -- the envelope
with the stamps. I want it.
TEX
(a pause, then
beginning to laugh)
You greenhorn -- you half-witted,
thick-skulled, hare-brained,
greenhorn! They wuz both too smart
for us!
ADAM
What are you talking about?
TEX
First her husband, now her -- she
hoodwinked you! She batted all them
big eyes and you went 'n fell for it -
like a egg from a tall chicken!
Here!
(holding out the
envelope)
You want? Here -- it's yours!
ADAM takes it and looks at it.
INSERT -- ENVELOPE
The corner containing the stamps is missing, torn off.
MED. SHOT -- ADAM AND TEX
TEX sees the expression on ADAM's face and begins laughing,
hysterically.
TEX
Look at you! Horn-swoggled by a purty
face 'n all them sweet words! You
killed all three of 'em for nothin'!
You greenhorn! You block-headed
jackass! You clod -- you booby --
you nincompoop -- !
EXT. ROND POINT -- LATE AFTERNOON
REGGIE is looking around for ADAM. She sees something across
the street. CAMERA SPINS AROUND to discover SYLVIE, sitting
alone on a bench near the stamp market, reading a newspaper.
MED. SHOT -- SYLVIE
As REGGIE approaches her.
REGGIE
Sylvie -- ? What are you doing here?
SYLVIE
(looking up)
Hello, Reggie -- I am waiting for
Jean-Louis.
REGGIE
(looking around)
What's he up to?
SYLVIE
He was so excited -- when he got the
stamps you gave him this morning. He
said he had never seen any like them.
REGGIE
I'm glad. But what's all this?
SYLVIE
The stamp market, of course -- it is
here every Thursday afternoon. This
is where Jean-Louis trades his --
REGGIE
(as it dawns)
Good Lord! The stamps! Where is he?
Sylvie -- we've got to find him!
SYLVIE
What's the matter, ch�rie?
REGGIE
Those stamps -- they're worth a
fortune!
SYLVIE
(jumping up)
What?
REGGIE
A fortune! Hurry -- we've got to
find him!
They rush off into the market.
TWO SHOT -- REGGIE AND SYLVIE
As they stop among the booths, looking around.
REGGIE
I don't see him.
SYLVIE
We will separate -- you look over
there.
They go off in opposite directions.
MED. SHOT -- REGGIE
As she hurries along a row of stalls, weaving around small
groups of MEN standing together, showing each other stamps.
MED. SHOT -- SYLVIE
Searching in another section of the market.
SYLVIE
(calling)
Jean-Louis -- ?
MED. SHOT -- REGGIE
Spotting a BOY, she runs to him and spins him around.
REGGIE
Jean-Louis!
But it isn't.
MED. SHOT -- SYLVIE
Looking everywhere. Suddenly she sees something.
CLOSE SHOT -- GROUP OF MEN -- THEIR LEGS
Only a small boy's elbow and part of his arm show, the rest
hidden by all the legs.
MED. SHOT -- SYLVIE
She recognizes him from these fragments.
SYLVIE
Jean-Louis!
She rushes to him, CAMERA PANNING WITH HER. JEAN-LOUIS stands
looking at some stamps. SYLVIE grabs him.
SYLVIE
Jean-Louis -- les timbr�s -- o� sont-
ils?
Smiling, JEAN-LOUIS holds up an enormous sack of assorted
stamps -- hundreds of them.
SYLVIE
Oh, zut!
(calling)
Reggie -- Reggie -- !
REGGIE runs up and joins them.
REGGIE
Jean-Louis -- thank heavens! Do you
have -- !
(spotting the sack of
stamps)
What's that?
JEAN-LOUIS
A man traded with me -- all those
for only four.
REGGIE
Oh no! What man, Jean-Louis -- where?
JEAN-LOUIS looks in one direction, then in the other, trying
to remember.
SYLVIE
Vite, mon ange -- vite!
JEAN-LOUIS
L� bas -- Monsieur F�lix.
They all run off down the line of booths. JEAN-LOUIS stops
and points off.
JEAN-LOUIS
Il est l�!
MED. SHOT -- STAMP BOOTH
Closed, deserted, empty.
MED. SHOT -- REGGIE, SYLVIE AND JEAN-LOUIS
JEAN-LOUIS
But he is gone.
REGGIE
I don't blame him. Jean-Louis -- do
you know where this Monsieur F�lix
lives?
JEAN-LOUIS
No -- but I will ask.
He goes to the closest booth and shakes the coat sleeve of
the proprietor.
JEAN-LOUIS
Monsieur Th�ophile --
TH�OPHILE
Oui, jeune homme?
JEAN-LOUIS
Monsieur F�lix, o� habite-il?
TH�OPHILE
A Montmartre -- demande � Monsieur
August au Bar des Artistes -- Place
Blanche.
JEAN-LOUIS
Merci, Monsieur Th�ophile.
(returning to REGGIE
and SYLVIE)
He says to ask Monsieur August at
the --
Before he can finish, SYLVIE, who has heard TH�OPHILE, has
JEAN-LOUIS by the hand, dragging him off at full speed, REGGIE
right alongside.
DELETED
INT. F�LIX'S ROOM -- DUSK
A bare, unkempt little room. F�LIX, a man in his sixties,
sits at a table, smoking a pipe. There are stamps and albums
everywhere. He holds a magnifying glass in his hand, busy
studying something on the table. There is a KNOCK. He looks
up. Another KNOCK.
F�LIX
Entrez.
The door opens and REGGIE, followed by SYLVIE and JEAN-LOUIS,
enters.
REGGIE
Monsieur F�lix -- ?
F�LIX
(without looking up)
I was expecting you. You are American
too, of course.
REGGIE
(looking at SYLVIE)
Yes.
F�LIX
The man who bought them last week
was American. I did not see him but
I heard. I knew you would come.
He gestures for REGGIE to come closer. Together with SYLVIE
and JEAN-LOUIS, she goes to the table and looks at the stamps.
F�LIX
Look at them, Madame.
INSERT -- STAMPS
Four of them -- a red, a yellow, a blue, and a green, still
attached to the portion of the torn envelope.
F�LIX (O.S.)
Have you ever, in your entire life,
seen anything so beautiful?
MED. SHOT -- REGGIE, F�LIX, SYLVIE AND JEAN-LOUIS
REGGIE
I'm -- I'm sorry -- I don't know
anything about stamps.
F�LIX
I know them as one knows his own
face, even though I have never seen
them. This yellow one -- a Swedish
four shilling -- called 'De Gula
Fyraskillingen' -- issued in 1854.
REGGIE
How much is it worth?
F�LIX
The money is unimportant.
REGGIE
I'm afraid it is important.
F�LIX
(shrugging)
In your money, perhaps $65,000.
REGGIE
Do you mind if I sit down?
(she sits)
What about the blue one?
F�LIX
It is called 'The Hawaiian Blue' and
there are only seven left. In 1894
the owner of one was murdered by a
rival collector who was obsessed to
own it.
REGGIE
What's its value today?
F�LIX
In human life? In greed? In suffering?
REGGIE
In money.
F�LIX
Forty-five thousand.
REGGIE
(to SYLVIE)
Do you have anything to eat?
(to F�LIX)
And the orange one -- what about the
orange one?
F�LIX
A two-penny Mauritius -- issued in
1856. Not so rare as the others --
$30,000 perhaps.
REGGIE
And the last one?
F�LIX
The best for the last -- le chef-
d'oeuvre de la collection. The
masterpiece. It is the most valuable
stamp in the world. It is called
'The Gazette Guyanne.' It was printed
by hand on colored paper in 1852 and
marked with the initials of the
printer.
(looking at it through
the glass)
Today it has a value of $100,000.
(a pause)
Eh, bien -- I am not a thief. I knew
there was some mistake. Take them.
REGGIE
(hesitating)
You gave the boy quite a lot of stamps
in return, Monsieur F�lix -- are
they for sale now?
F�LIX
(looking at the large
bag)
Let me see. There are 350 European,
200 Asian, 175 American, 100 African
and twelve Princess Grace
commemorative -- which comes to nine
francs fifty.
REGGIE
(fishing money from
her purse)
Here's ten.
F�LIX goes to his wallet for the change.
REGGIE
Please keep it.
F�LIX
I am a tradesman, Madame, not a
doorman. And don't forget these.
He hands her the four stamps and her change.
REGGIE
I'm -- I'm sorry.
CLOSE SHOT -- F�LIX
F�LIX
No. For a few minutes they were mine --
that is enough.
INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT
As REGGIE comes hurrying up the stairs. She goes first to
ADAM's room and knocks.
REGGIE
Adam? Adam? It's me, Reggie -- !
There is no answer. She goes to her own door and, to her
surprise, finds it an inch or two ajar.
INT. REGGIE'S ROOM -- NIGHT
As REGGIE enters. She freezes, having seen something on the
floor.
MED. SHOT -- TEX
His dead body lies on the floor, the wrists of his extended
arms tied to the leg of the bed, his ankles to the steam
radiator. And tied around his head is a plastic, transparent
bag, inside of which the suffocated man's face, the eyes
bulging against the plastic clinging tight to his features,
can be seen all too clearly. REGGIE enters the shot, bending
down to see if he's alive. Then she sees something beside
his hands near the leg of the bed.
CLOSE SHOT -- CARPET
With his dying effort, TEX has traced a name against the
grain of the maroon carpet -- 'DYLE.'
CLOSE SHOT -- REGGIE
Astonished and horrified.
REGGIE
(gasping)
Dyle --
WIDER ANGLE
As she gets to her feet and hurries to the phone.
REGGIE
(on the phone)
Hello -- Balzac 30-04, s'il vous
plait --
(waiting)
Mr. Bartholomew! Thank God you're
there! Tex is dead, Mr. Bartholomew --
smothered -- and Adam did it -- he
killed them all!
INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW, his face lathered for a shaving, is on the phone.
BARTHOLOMEW
Just a minute, Mrs. Lampert -- you'd
better give that to me slowly. Who's
Adam?
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
The one who said he was Dyle's brother --
of course I'm sure -- Tex wrote the
word 'Dyle' before he died. He's the
murderer I tell you -- he's the only
one left! You've got to do something!
INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW
(on the phone)
Calm down, Mrs. Lampert -- please.
Does he have the money?
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
No, I do -- it was the stamps on
that letter Charles had with him on
the train. They were in plain sight
all the time, but no one ever bothered
looking at the envelope.
INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW
(on the phone)
The envelope -- imagine that. Mrs.
Lampert, listen to me -- you're not
safe as long as you've got these
stamps. Go to the Embassy right away --
wait, I'd better meet you halfway --
it's quicker. Now, let's see -- do
you know the center garden at the
Palais Royal? -- yes, by the colonnade --
as soon as you can get there. Hurry,
Mrs. Lampert.
INT. REGGIE'S ROOM -- NIGHT
REGGIE
(on the phone)
Yes, I'm leaving now -- goodbye.
She hangs up, looks briefly at TEX's body, shudders, then
hurries to the door.
INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
As REGGIE leaves her room and goes to the elevator. She
presses the button, then notices it is in use. She goes to
the stairs and starts down.
INT. HOTEL STAIRCASE -- NIGHT
Between the landings. The stairs curve around the open
elevator shaft. As REGGIE comes down the stairs, the cage
rises into view. Inside is ADAM. For a moment, she stops and
their eyes meet.
ADAM
Reggie -- the stamps -- what've you
done with --?
REGGIE starts running downstairs.
ADAM
Where are you going? Wait!
ADAM pushes the emergency stop button and then starts the
cage down.
ADAM
Reggie!
INT. HOTEL CORRIDOR -- SECOND LANDING -- NIGHT
As REGGIE comes off the stairs, passes the elevator gate and
starts down toward the lobby, the cage a few feet behind
her.
ADAM
Reggie!
INT. HOTEL CORRIDOR -- FIRST LANDING -- NIGHT
As REGGIE continues to run.
INT. HOTEL STAIRWAY -- NIGHT
Between the first landing and the lobby. REGGIE running, the
elevator following.
ADAM
Reggie -- stop!
REGGIE
Why? So you can kill me too? Tex is
dead, I've seen him! He said Dyle
did it!
ADAM
I'm not Dyle -- you know that!
REGGIE
But Tex didn't -- he still thought --
!
ADAM
Don't be an idiot!
INT. HOTEL LOBBY -- NIGHT
REGGIE reaches the lobby first and, without hesitation, races
toward the front door and out. The confused hotel MANAGER
behind the desk can only stare in surprise. The elevator,
ADAM inside, has not yet reached the bottom.
ADAM
Reggie -- ! I want those stamps!
EXT. HOTEL LOBBY -- NIGHT
A taxi stands by the curb. REGGIE leaves the hotel and runs
to it.
REGGIE
(indicating the
direction)
Palais Royal -- vite!
Calmly, the DRIVER points to the little printed sign on his
windshield reading "ITALIE."
DRIVER
(pointing the other
way)
Porte d'Italie, moi.
REGGIE
Mais c'est tr�s vite! On veut me
teur!
DRIVER
(shaking his head)
Italie.
She looks around and sees ADAM come out of the hotel and
straight toward her. She turns and runs off toward the Place
St. Michel.
EXT. PLACE ST. MICHEL -- NIGHT
As REGGIE comes to the corner. She stops, sees the M�tro
station ("St. Michel") and rushes to it, scampering down the
stairs. ADAM is behind her.
INT. ST. MICHEL M�TRO STATION -- NIGHT
REGGIE comes flying down the stairs and runs past the ticket
booth, fishing in her bag for her carnet (booklet of tickets),
casting a quick look behind her. CAMERA PANS QUICKLY TO ADAM
just coming off the stairs, who runs after her.
DELETED
INT. M�TRO TICKET GATE -- NIGHT
REGGIE gets to the gate ahead of ADAM and manages to crowd
in front of some OTHERS about to pass through. Barely
stopping, she holds out her ticket to the GUARD to be punched,
then heads down the platform, still running. ADAM gets to
the gate but the GUARD stops him as he tries to pass through.
GUARD
Billet, Monsieur.
ADAM
(breathless)
I don't want to go anywhere -- I'm
only trying --
GUARD
(pointing off)
Billet, Monsieur.
ADAM tries to look past him, to see REGGIE, but gives it up
and goes back toward the ticket booth, on the run.
INT. M�TRO PASSAGEWAY -- NIGHT
CAMERA LEADING REGGIE as she runs -- the passageway is nearly
empty. Her footsteps echo against the tile and concrete walls.
CLOSE SHOT -- PASSAGEWAY WALL (TRAVELING)
The jumble of advertising posters as it passes rapidly,
forming a moving band of letters, women, cartoons and colors.
INT. M�TRO PASSAGEWAY -- NIGHT
REGGIE stops and pauses for a moment at a sign indicating
two different directions, an arrow for each.
"DIRECTION: Pte D'ORL�ANS Pte DE CLIGNANCOURT-------"
Choosing "Clignancourt," she runs off. CAMERA PANS SHARPLY,
180 degrees, to pick up ADAM rounding the corner in hot
pursuit.
INT. M�TRO PLATFORM -- NIGHT
REGGIE starts down the platform, looking behind her every
few steps. Suddenly she looks up in surprise -- there, across
the tracks on the opposite platform is ADAM. He has evidently
made the wrong turn back in the passageway.
They stare at each other for a moment. Then the bell rings,
announcing the arrival of a train. ADAM turns, running back
through the exit behind him. Not knowing what to do, REGGIE
looks into the darkness of the tunnel. The approaching train
can be heard.
REGGIE
(to herself)
Come on -- please --
She turns to look at the gate -- slowly, the pneumatic door
starts to close. As it does, the train roars into the station.
INT. M�TRO PASSAGEWAY -- NIGHT
The gate can be seen slowly closing. ADAM runs to it, tries
to force it back but cannot. Finally, he jumps up and,
commando style, vaults over it.
INT. M�TRO PLATFORM -- NIGHT
REGGIE is just entering the red center car (the two on either
side are dark green). ADAM runs for the red car and just
manages to make it as the doors shut in unison, the latches
falling with a concerted click and the little whistle blowing
to inform the motor-man to depart. The train starts to move.
INT. M�TRO CAR -- NIGHT
The entire length of the car separates ADAM and REGGIE.
For a moment, their eyes meet, then ADAM starts to weave his
way past the other PASSENGERS, on his way to her.
Suddenly, he is stopped. ADAM turns to see a TRAIN GUARD.
TRAIN GUARD
Billet, Monsieur.
ADAM shows him his yellow ticket and starts past him, but
again the TRAIN GUARD stops him.
TRAIN GUARD
Vous �tes dans le premier classe,
Monsieur.
ADAM
What?
TRAIN GUARD
(heavy accent)
This car is for first class only --
you have a second-class ticket.
ADAM
But that's what they gave me.
He tries to pull away from the TRAIN GUARD and finds himself
staring into the serious face of a GENDARME.
GENDARME
Monsieur -- ?
ADAM looks at the GENDARME, then at REGGIE.
INT. "PALAIS-ROYAL" M�TRO PLATFORM -- NIGHT
As the TRAIN pulls in and comes to a stop.
INT. M�TRO CAR -- NIGHT
The GENDARME opens the door for ADAM and escorts him out.
ADAM turns once more to look at REGGIE as he goes. She remains
in the car.
INT. M�TRO PLATFORM -- NIGHT
The GENDARME gestures for ADAM to enter the green, second-
class car behind the red, first-class one. Reluctantly, ADAM
does.
INT. M�TRO CAR -- NIGHT
As ADAM enters and goes to the door through which he can see
REGGIE in the car ahead. She is gone. Moving quickly, he
returns to the exit door and looks at the platform.
INT. M�TRO PLATFORM -- NIGHT
From ADAM'S P.O.V. She is hurrying toward an exit marked
"SORTIE."
ANOTHER ANGLE
Featuring ADAM as he hurries from the car. He finds his way
blocked by FIVE NUNS in large, white butterfly hats.
It takes him a few precious seconds to work his way around
them.
DELETED
INT. M�TRO SORTIE -- NIGHT
REGGIE has entered an area leading to the exit. But as she
reaches the stairway leading up to the street level, she is
confronted with an iron grill barring her way. She tries to
open it, but it is firmly padlocked. A sign hung on it reads
"FERM� LES WEEKENDS." She turns, desperately looking for
some way out.
INT. M�TRO PLATFORM -- NIGHT
ADAM is off the train. He stands on the platform as the train
doors slam shut, the latches click, the whistle blows and
the train pulls out. He looks around in all directions,
looking for some sign of REGGIE. He spots the exit marked
"SORTIE" (the same one used by REGGIE) and starts toward it.
INT. M�TRO SORTIE -- NIGHT
As ADAM enters the deserted area. There is, miraculously, no
sign of REGGIE. He goes to the locked grill and tries it,
testing the padlock. CAMERA PANS to a phone booth (solid
door with a window in the upper half) and we see REGGIE's
hand reaching up to dial a number.
INT. PHONE BOOTH -- NIGHT
REGGIE sits on the floor of the booth, dialing.
REGGIE
(to herself, as she
dials)
Balzac 3 - 0 - 0 - 4.
She holds the receiver to her ear. The number can be heard
ringing but no one answers. She hangs up and reaches for the
phone book, leafing through its pages.
REGGIE
Embassies -- embassies --
INT. M�TRO SORTIE -- NIGHT
ADAM stands for a minute, looking around, not knowing what
to do.
INT. PHONE BOOTH -- NIGHT
REGGIE has finished dialing her number and now pushes the
button. It clicks loudly.
REGGIE
Shh.
(into the phone,
whispering)
American Embassy? Mr. Bartholomew's
office, please -- Mr. Bartholomew's
office --
INT. EMBASSY SWITCHBOARD -- NIGHT
An OPERATOR speaking into a headset.
OPERATOR
Could you speak out, please? I can't
quite hear you.
INT. PHONE BOOTH -- NIGHT
REGGIE
(on the phone)
No, I can't speak any louder --
Hamilton Bartholomew -- B as in --
uh -- Bartholomew -- that's right,
and the rest as in Bartholomew!
INT. EMBASSY SWITCHBOARD -- NIGHT
OPERATOR
(on the phone)
I'm sorry, but Mr. Bartholomew has
left for the day.
INT. PHONE BOOTH -- NIGHT
REGGIE
(on the phone)
But someone's trying to kill me --
you've got to send word to him -- in
the center garden of the Palais Royal,
by the colonnade -- tell him I'm
trapped in a phone booth, below him
in the M�tro station. And my name's
Lampert.
INT. EMBASSY SWITCHBOARD -- NIGHT
OPERATOR
(on the phone)
All right, Mrs. Lampert -- I'll see
what I can do. Goodbye.
She unplugs the call, plugs in another one and dials quickly.
OPERATOR
Hello, Mr. Bartholomew? -- there was
a call for you just now, Mr.
Bartholomew -- it sounded quite urgent --
a Mrs. Lampert.
INT. BARTHOLOMEW'S STUDY -- NIGHT
It is a man we've never seen before, the physical opposite
of the old BARTHOLOMEW.
REAL BARTHOLOMEW
Lampert? I don't know any Mrs. Lampert --
trapped in a M�tro station? Who does
she think I am, the C.I.A.? All right,
you'd better call the French police.
INT. M�TRO SORTIE -- NIGHT
MED. SHOT -- PHONE BOOTH. As REGGIE's head appears, peeking
cautiously over the bottom of the window.
REVERSE SHOT
From inside the phone booth. Through the glass ADAM can be
seen, leaving the Sortie area.
MED. SHOT -- PHONE BOOTH
Carefully, REGGIE opens the door and comes out. She goes to
the corner and looks around it.
INT. M�TRO PLATFORM -- NIGHT
From REGGIE'S P.O.V. as ADAM walks away from CAMERA, down
the platform. CAMERA PANS TO REGGIE, peeking around the
corner. She looks the opposite way, sees another exit at the
other end of the platform (also marked "SORTIE"). She looks
back once more at ADAM, then makes up her mind and starts
running towards the exit.
MED. SHOT -- ADAM
As the bell rings announcing the next train. He turns to
look and sees REGGIE.
ADAM
(calling)
Reggie -- !
He takes off, running after her.
MED. SHOT -- REGGIE
As she runs, ADAM several yards behind her.
ADAM
(in b.g., calling)
Reggie -- wait!
She turns into the exit.
INT. M�TRO STAIRWAY -- NIGHT
As REGGIE starts up the long, steep flight of stone steps
leading to the street level. ADAM appears behind her, climbing
two at a time and gaining.
ADAM
Reggie -- why won't you listen?
REGGIE
I'm through listening to you!
He is rapidly closing the gap between them. It is clear that
REGGIE is tiring.
ADAM
But I didn't kill anybody.
REGGIE
Then who did? You're the only one
left.
PASSERSBY, descending the stairs, stand aside to let the two
strange Americans pass, watching in wonderment. ADAM is only
a few steps behind now.
ADAM
Reggie -- please believe me!
REGGIE
No!
As REGGIE wearily gains the top, ADAM lunges for her. He
manages to grab her foot as he falls forward, but all he
winds up with is a shoe which has come loose in his hand.
REGGIE shrieks, then regaining her balance, continues running,
limping in her one shoe. ADAM scrambles to his feet and starts
after her again.
INT. M�TRO TICKET BOOTH AREA -- NIGHT
As REGGIE, still hobbling, runs through and toward the stairs,
leading to the street. CAMERA PANS TO ADAM, as he, too, runs
through. He is again several yards behind her.
EXT. PLACE PALAIS ROYAL -- NIGHT
As REGGIE comes up the stairs from the M�tro. She stops long
enough to kick off her other shoe, then runs across the
street, ignoring the traffic, toward the Rue de Valois (which
forms one side of the Palais Royal). ADAM is gaining on her
again.
EXT. PALAIS ROYAL COURTYARD -- COLONNADE -- NIGHT
The smaller court at the Com�die-Fran�aise end of the Palais
gardens, separated from the larger garden by a double
peristyle consisting of two twin rows (these separated from
each other by a small marble court) of twenty columns each --
in all, eighty columns. The only person in sight is the man
we have known as BARTHOLOMEW, waiting at the far end of the
columns, looking at his watch impatiently.
Then, from the Rue de Valois side of the Palais, REGGIE runs
into the court. She spots "BARTHOLOMEW" and fishes in her
bag for the stamps as she runs, taking them out and waving
them.
REGGIE
Mr. Bartholomew -- he's chasing me!
ADAM has run into the court and now skids to a stop at the
near end of the colonnade as he spots "BARTHOLOMEW." REGGIE,
still running, is halfway between the two men. "BARTHOLOMEW"
draws his gun but can't get a shot at ADAM, who has ducked
in among the columns.
ADAM
Reggie -- stop! That's Carson Dyle!
This news hits REGGIE hard and she stops, in alarm.
REGGIE
(breathless)
Carson -- ?
She looks at "BARTHOLOMEW," then back at ADAM, who has drawn
his own gun.
(NOTE: Both "BARTHOLOMEW" and ADAM are in among the stone
columns at opposite ends of the colonnade, keeping out of
each other's sight. REGGIE stands out in the open, the stamps
in her hand, confused as to which man she should go to).
"BARTHOLOMEW"
(calmly)
We all know Carson Dyle is dead,
Mrs. Lampert.
ADAM
It's Carson Dyle, I tell you!
"BARTHOLOMEW"
You're not going to believe him,
Mrs. Lampert -- it's too fantastic.
He's trying to trick you again.
REGGIE looks at one, then the other, not knowing what to do.
ADAM
Tex recognized him -- that's why he
said Dyle. If you give him those
stamps, he'll kill you too!
REGGIE takes a step toward ADAM.
"BARTHOLOMEW"
Mrs. Lampert -- if I'm who he said,
what's preventing me from killing
you right now?
REGGIE stops, turns back to "BARTHOLOMEW."
ADAM
Because he'd have to come out to get
the stamps -- he knows he'd never
make it.
"BARTHOLOMEW"
What's the matter with you, Mrs.
Lampert? Are you going to believe
every lie he tells you? He wants the
money for himself -- that's all he's
ever wanted.
REGGIE
(to ADAM, explaining)
He's -- with the C.I.A. -- I've seen
him at the Embassy.
ADAM
Don't be a fool! He's Carson Dyle!
"BARTHOLOMEW"
That's right, Mrs. Lampert -- I'm a
dead man -- look at me.
REGGIE
I don't know who anybody is any more!
ADAM
Reggie -- listen to me!
REGGIE
You lied to me so many times --
ADAM
(gently)
Reggie -- trust me once more --
please.
REGGIE
Can I really believe you this time,
Adam?
ADAM
(a pause)
There's not a reason on earth why
you should.
She looks toward ADAM for a moment, then back to
"BARTHOLOMEW", then slowly starts toward ADAM.
REGGIE
All right, Adam.
"BARTHOLOMEW"
Stop right now, Mrs. Lampert, or
I'll kill you.
REGGIE stops in alarm.
ADAM
It won't get you the stamps, Dyle --
You'll have to come out to get them,
and I'm not likely to miss at this
range.
"BARTHOLOMEW"
(now called CARSON)
Maybe not -- but it takes a lot of
bullets to kill me. They left me
there with five of them in my legs
and my stomach -- they knew I was
still alive but they left me. I spent
ten months in a German camp -- with
nothing to stop the pain and no food --
they were willing to take all these
chances for the money, but not for
me. They deserved to die!
MED. SHOT -- ADAM
During the following, he looks around, looking for some way
out.
REGGIE'S VOICE (O.S.)
But I didn't have anything to do
with --
CARSON'S VOICE (O.S.)
You've got the money. It belongs to
me now! Please believe me, Mrs.
Lampert -- I'll kill you -- a little
more blood won't matter.
During this ADAM has moved out from behind the columns,
creeping cautiously across the open space between the two
colonnades and finally, behind the second.
MED. SHOT -- REGGIE AND CARSON
CARSON
I'll give you five to make up your
mind, Mrs. Lampert.
She has seen ADAM's move from her angle, but doesn't know
quite what to do.
REGGIE
Wait, please! I need some time to
think!
CARSON
One --
MED. SHOT -- ADAM
As he slowly moves along behind the second colonnade, his
gun ready, trying to get an angle on CARSON.
CARSON'S VOICE (O.S.)
-- two --
Suddenly ADAM stops -- he has caught sight of CARSON through
the columns. But he will have a difficult shot.
CARSON'S VOICE (O.S.)
-- three --
CLOSE SHOT -- CARSON
CARSON
-- four --
CAMERA PANS DOWN to his gun. As his finger tightens on the
trigger and the hammer moves slowly back.
CLOSE SHOT -- REGGIE
REGGIE
Adam -- please!
MED. SHOT -- ADAM
As he aims carefully and fires.
CLOSE SHOT -- COLUMN
As the bullet creases it.
CLOSE SHOT -- CARSON
As the deflected bullet rips the shoulder of his coat, leaving
him unharmed. He wheels.
MED. SHOT -- ADAM
With CARSON in the b.g., who fires at him. ADAM ducks behind
the column as the bullet hits it and screams off.
Quickly, he peers back out and throws another shot.
MED. SHOT -- REGGIE
Seeing CARSON otherwise occupied, she turns and runs toward
the open stage door of the Com�die Fran�aise behind her.
(Beside the door is a poster announcing the forthcoming
schedule of presentations.)
ANOTHER ANGLE
Including CARSON who, seeing REGGIE running to the door,
turns and fires at her. But he is too late -- she is safely
inside. CARSON looks quickly back toward ADAM, then takes
off after REGGIE.
MED. SHOT -- ADAM
Over his shoulder we see a broken picture of CARSON running
toward the theatre door, flashing by the near and far columns.
ADAM tries to get a shot at him, but can't.
Finally he runs after him.
INT. COM�DIE FRAN�AISE -- BACKSTAGE -- NIGHT
As CARSON enters and slams the door behind him, locking it.
INT. COM�DIE FRAN�AISE -- STAGE DOOR -- NIGHT
ADAM arriving at the door, bangs on it, then looks around,
frustrated. Several yards away he sees a short stairway
leading down to a door below the street level. He runs to
it, tries the door and enters.
INT. COM�DIE FRAN�AISE -- ORCHESTRA -- NIGHT
As CARSON enters the auditorium and looks around.
CARSON'S P.O.V.
As the CAMERA SWEEPS the magnificent old theatre -- boxes,
seats, stage, but there is no sign of REGGIE.
ANOTHER ANGLE
As CARSON walks up the aisle checking between the rows of
seats.
INT. COM�DIE FRAN�AISE -- TRAPROOM -- NIGHT
A large room, lit by a single bare bulb, under the stage.
ADAM appears, moving cautiously, gun ready. He creeps along
next to the wall, looking around at all the various scenic
pieces which fill the room.
INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT
As CARSON moves carefully across the darkened stage near the
footlights, looking for REGGIE. At mid-stage, CAMERA PANS
DOWN to his feet, only a few inches from the prompter's box.
Inside, huddling down, is a terrified REGGIE, holding her
breath as she watches him.
ANOTHER ANGLE
As CARSON moves into the opposite wings, sees the light board
and throws on all the switches. The stage is bathed in light.
He returns to the stage.
INT. TRAPROOM -- NIGHT
ADAM is looking up, having heard the footsteps on the stage
over his head -- and hearing them now. He looks around and
sees a narrow, curving staircase leading up. He goes to it,
and, starting up, finds a door. He tries the knob -- the
door is locked.
INT. PROMPTER'S BOX -- NIGHT
REGGIE, cringing back from the bright light, notices the
doorknob turning. It makes a slight clicking sound.
INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT
CARSON, upstage, looking behind a piece of classic scenery,
hears the doorknob and turns suddenly.
CARSON'S P.O.V.
We catch a quick glimpse of REGGIE as she ducks down out of
sight. Too late.
CLOSE SHOT -- CARSON
CARSON
All right, Mrs. Lampert. The game's
over. Come out of there.
WIDER ANGLE
REGGIE does not appear.
CARSON
I don't want to kill you, Mrs. Lampert --
but I will --
INT. TRAPROOM -- NIGHT
ADAM comes down the stairs from the prompter's box and looks
up at the ceiling.
MED. SHOT -- CEILING
It is divided into thirty-six square sections, each numbered
and lettered -- from 1A to 6F. They are trapdoors.
MED. SHOT -- ADAM
He looks from the ceiling to a row of levers on one wall.
CLOSE SHOT -- LEVERS
Thirty-six of them, numbered and lettered to correspond to
the traps.
INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT
As CARSON takes a few steps towards the prompter's box, his
gun ready.
CARSON
Did you hear me, Mrs. Lampert -- ?
INT. PROMPTER'S BOX -- NIGHT
REGGIE huddled inside.
INT. TRAPROOM -- NIGHT
ADAM is listening carefully, trying to figure out where CARSON
is standing, watching the ceiling.
CLOSE SHOT -- TRAP
It is marked C-4.
CARSON'S VOICE (O.S.)
I won't wait much longer, Mrs. Lampert
MED. SHOT -- ADAM
As he turns to the levers and reaches for the one marked C-
4. He is about to pull it.
INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT
CARSON takes a few more steps forward.
INT. TRAPROOM -- NIGHT
ADAM stops himself from pulling the lever just in time. He
lets his held breath escape. He looks back at the ceiling.
CLOSE SHOT -- TRAP
The one marked C-4. As CARSON's voice is heard, CAMERA MOVES
to the next trap, marked D-4.
CARSON'S VOICE (O.S.)
I know you're in there, Mrs. Lampert --
MED. SHOT -- ADAM
He looks at the lever marked D-4. He is perspiring heavily.
Now he slowly reaches for the lever.
INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT
CARSON is about to move closer to the prompter's box when
suddenly the stage under him opens and he plummets through
out of sight. At the same time we hear a shot.
CLOSE SHOT -- PROMPTER'S BOX
As REGGIE slowly peers out.
REGGIE'S P.O.V.
The empty stage, without being able to see the open trap
from this low angle.
MED. SHOT -- REGGIE
As she climbs out of the booth and, seeing the open trap
now, runs to it, looking down through it.
MED. SHOT -- OPEN TRAP
FROM ABOVE, over REGGIE's head. She can see CARSON sprawled
on the floor below, face down and dead. ADAM stands beside
the body, looking up at REGGIE and smiling.
ANOTHER ANGLE
As GRANDPIERRE and his TWO ASSISTANTS, guns drawn, walk onto
the stage from the wings. They go to the open trap and look
down at ADAM.
GRANDPIERRE
Mr. Dyle -- you are under arrest for
the murders of Charles Lampert, Herman
Scobie, Joseph Penthollow, Leopold
Gideon, and whoever that is down
there.
ADAM is surprised, then shakes his head.
ADAM
Reggie -- you'd better tell him. He
wouldn't dare hit a girl.
EXT. RUE DE RIVOLI -- NIGHT
As a TAXI rolls by the arcades, CAMERA PANNING with it.
INT. TAXI -- NIGHT (PROCESS)
REGGIE and ADAM in the rear of the cab. REGGIE has one of
her feet in her hand, shoe off, rubbing it.
REGGIE
You didn't have to chase me so hard --
ADAM
Here, give it to me.
He starts to take the foot but she pulls it back and offers
him the other one.
REGGIE
That one's done -- start on this
one.
He takes the foot and begins rubbing it.
REGGIE
I'm sorry I thought you were the
murderer, Adam -- how did I know
that he was as big a liar as you
are?
ADAM
And that's all the gratitude I get
for saving your hide.
REGGIE
The truth, now -- was it my hide --
or the stamps?
ADAM
What a terrible thing to say. How
could you even think that?
REGGIE
All right, prove it to me -- tell me
to go to the Embassy first thing in
the morning and turn in those stamps.
ADAM says nothing.
REGGIE
I said, tell me to go to the --
ADAM
I heard you, I heard you.
REGGIE
Then say it.
ADAM
Reggie -- listen to me --
REGGIE
Never mind -- I'll go by myself.
ADAM
What makes you think they're even
interested? It's only a quarter of a
million -- it'll cost more than that
to fix up their bookkeeping. As a
taxpayer --
EXT. AMERICAN EMBASSY -- MAIN ENTRANCE -- DAY
As REGGIE and ADAM approach the MARINE in full-dress uniform
always on guard at the Embassy.
REGGIE
(to ADAM)
Who's a taxpayer? Crooks don't pay
taxes. Excuse me, soldier --
MARINE
Marine, ma'am.
REGGIE
Forgive me. Whom would I see regarding
the return of stolen Government money?
MARINE
You might try the Treasury Department,
ma'am -- Room 216, second floor, Mr.
Cruikshank.
REGGIE
Cruikshank, 216. Thank you, Marine.
INT. EMBASSY CORRIDOR -- DAY
Featuring a door marked "216." REGGIE and ADAM appear.
ADAM
Do you mind if I wait out here? The
sight of all that money being given
away might make me break out.
INT. EMBASSY TREASURY OFFICE -- DAY
A SECRETARY sits behind a desk. She looks up as REGGIE enters.
REGGIE
Mr. Cruikshank, please -- my name is
Lampert.
The SECRETARY picks up her phone and presses a button.
SECRETARY
Mr. Cruikshank, a Miss --
REGGIE
Mrs.
SECRETARY
-- a Mrs. Lampert to see you -- yes
sir.
(to REGGIE)
Go right in.
REGGIE goes to the door leading to the private office.
INT. CRUIKSHANK'S OFFICE -- DAY
Featuring the door as REGGIE enters. She stops suddenly.
ANOTHER ANGLE
Featuring the desk. Behind it sits ADAM (now CRUIKSHANK).
REGGIE stares at him, unbelievingly, then looks around,
confused. By way of explanation he indicates the door to the
hall.
REGGIE
(blowing up)
Well, of all the mean, rotten,
contemptible, crooked --
CRUIKSHANK
Crooked? I should think you'd be
glad to find out I wasn't crooked.
REGGIE
You couldn't even be honest about
being dishonest. Why didn't you say
something?
CRUIKSHANK
We're not allowed to tell. May I
have the stamps, please?
REGGIE
(reaching into her
bag)
Here --
(hesitating)
Wait a minute -- how did Carson Dyle
get an office in here, anyway?
CRUIKSHANK
When did you see him -- what time, I
mean?
REGGIE
Around one.
CRUIKSHANK
The lunch hour. He probably worked
it out in advance. He found an office
that was usually left open and just
moved in for the time you were here.
REGGIE
Then how do I know this is your
office?
CRUIKSHANK
(picking up the phone)
Mrs. Foster -- send a memo to
Bartholomew at Security recommending
that --
REGGIE
Bartholomew?
CRUIKSHANK
-- recommending that all Embassy
offices be locked during the lunch
hour.
REGGIE
Starting with his own.
CRUIKSHANK
(hanging up)
Okay, now -- hand over those stamps.
REGGIE
What's your first name today?
CRUIKSHANK
Brian.
REGGIE
Brian Cruikshank -- it would serve
me right if I got stuck with that
one.
CRUIKSHANK
Who asked you to get stuck with any
of them?
REGGIE
Is there a Mrs. Cruikshank?
CRUIKSHANK
Yes.
REGGIE
But you're -- divorced?
CRUIKSHANK
No.
REGGIE
(crestfallen)
Oh.
CRUIKSHANK
My mother -- she lives in Detroit.
Come on now -- give me those stamps.
REGGIE
Only if you can prove to me that
you're really Brian Cruikshank.
CRUIKSHANK
How about if next week some time I
put it on a marriage license -- that
ought to --
REGGIE
Quit stalling -- I want to see some
identification -- now!
CRUIKSHANK
I wouldn't lie on a thing like that --
I could go to jail.
REGGIE
You'd lie about anything.
CRUIKSHANK
Well, maybe we'd better forget about
it, then.
REGGIE
You can't prove it, can you? You're
still trying to --
(the coin drops into
the slot)
marriage license! Did you say -- ?
CRUIKSHANK
I didn't say anything. Will you give
me those stamps?
REGGIE
You did too say it -- I heard you.
Oh, I love you Adam -- I mean Alex --
er, Peter -- Brian. I hope we have
lots of boys -- we can name them all
after you.
CRUIKSHANK
Before we start on that, do you mind
handing over the stamps?
FADE OUT:
THE END
BONUS ITEM -- Lyrics to the theme song of the film:
CHARADE
Music by Henry Mancini, Words by Johnny Mercer
When we played our Charade we were like children posing,
Playing at games, acting out names, guessing the parts we
played.
Oh, what a hit we made. We came on next to closing Best on
the bill, lovers until love left the masquerade.
Fate seemed to pull the strings, I turned and you were gone.
While from the darkened wings the music box played on.
Sad little serenade, song of my heart's composing, I hear it
still, I always will, best on the bill Charade.
