Charade
FADE IN (BEFORE TITLES)
1. 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.
2. 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)
3.)
4.) DELETED
5.)
6. 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.
7. 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!
8. 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!
8A. 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!
8B. 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.
9. 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.
10. 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 make 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?
10A. DELETED
10B. CLOSE SHOT -- REGGIE
Her face clouding.
REGGIE
Lord, I hope so.
11. 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.
12. 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?
13. 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.
14. DELETED
15. 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.
16. INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY
CLOSE SHOT -- DOOR as it opens and REGGIE steps into the
CLOSE SHOT.
She stops, her expression changing.
17. 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.
18. MED. SHOT -- REGGIE
She stares for a moment, then goes back out into the
landing.
19. INT. APARTMENT LANDING -- DAY
As REGGIE steps back outside. She looks at the nameplate
beside the door.
20. INSERT NAMEPLATE
It reads "MR. AND MRS. CHARLES LAMPERT."
21. INT. APARTMENT LANDING -- DAY
REGGIE looks at the plate in disbelief, then turns and
hurries back into the apartment.
22. 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.
23. CLOSE SHOT -- INSPECTOR GRANDPIERRE
A heavy-set man of no particular age with tobacco-colored
hair, and thick glasses.
GRANDPIERRE
Madame Charles Lampert?
24. 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?
25. INT. MORGUE -- DAY
We see a large metal drawer being opened and an all-too-
familiar shape outlined under a damp sheet of muslin.
26. 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:
27. 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.
28. 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.
29. 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-ElysÈes"
(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.
30. 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."
31. MED. SHOT -- REGGIE AND GRANDPIERRE
REGGIE
Of course it is.
GRANDPIERRE
And this?
He hands her another passport.
32. INSERT -- SECOND PASSPORT
The cover is American. When it is opened, we see the
identical picture, but the name under it reads: "CHARLES
VOSS."
33. 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.
34. 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."
35. 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.
36. 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.
37. CLOSER SHOT -- REGGIE
As her head turns, in alarm, toward the noise. There is a
moment of silence, then FOOTSTEPS are heard, coming closer.
38. 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.
38A. 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.
39. 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.
40. 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.
41. CLOSE SHOT -- GRANDPIERRE
His eyes still lowered. CAMERA PANS DOWN to feature his
hands -- he is methodically trimming his nails with a
small clipper.
42. 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.
43. 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.
44. CLOSE SHOT -- GRANDPIERRE
As he watches GIDEON.
45. CLOSE SHOT -- REGGIE
As she watches him.
46. 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.
47. 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.
48. 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.
49. 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.
50. 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.
51. CLOSE SHOT -- TEX
TEX (heavy Texas accent)
Ariva durchy, Charlie.
52. 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.
53. MED. SHOT -- CHAPEL DOOR
It flies open, this time with a bang, and the large MAN
who appears almost fills the frame.
54. CLOSER SHOT -- TEX
As the loud noise awakens him with a snort, mid-snore.
55. 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.
56. 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.
57. 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.
58. 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.
59. 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.
60. 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.
61. 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."
62. 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.
63. EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY
The fine old building in the Rue Gabriel.
64.- DELETED
68.
69. 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.
70. MED. SHOT -- DOOR
It is marked "307-A H. BARTHOLOMEW." REGGIE checks the
letter, then opens the door.
71. 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.
72. 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
Voilý! 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 (surprised)
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 (a pause)
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.
73. CLOSE SHOT -- PHOTO
FOUR MEN, all in army uniform, sitting behind a table. The
glass is held over the first, magnifying the face.
74. 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.
75. 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 (eating)
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.
76. DELETED
77. 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.
78. 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.
79. 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.
79A. MED. SHOT -- GUIGNOL
PUNCH and JUDY are arguing loudly.
80. 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 --
81. 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?
82. 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.
83. 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.
84. 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.
85. CLOSE SHOT -- GUIGNOL STAGE
JUDY has gotten the upper hand is now batting the
POLICEMAN's brains out.
86. CLOSE SHOT -- GRANDPIERRE as he winces.
87. 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?
88. 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!
89. 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.
90. WIDE ANGLE
Including the dance floor as most of the patrons go to it,
laughing self-consciously and looking around.
EMCEE
…coutez bien - les rËgles sont tres simples
- the rules are very easy - deux Èquipes --
two teams -- each with one orange -- une orange --
eine apfelsine -- un' arrancia -- held under
the chin, like so -- (does it) -- comme Áa --
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).
91. VARIOUS SHOTS -- ORANGE GAME
Some of the couples in various states of confusion,
entanglement and intimacy -- all of them, naturally,
hilarious.
92. 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.
93. CLOSE SHOT -- REGGIE
She is enjoying it thoroughly.
94. TWO SHOT -- PETER AND GIRL
Bending over backwards, in a sort of frontal half-nelson,
PETER makes a last valiant effort and voilý, 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.
95. 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!
96. CLOSE SHOT -- REGGIE'S AND GIDEON'S FEET
As REGGIE hauls off and kicks GIDEON full in the shin.
97. CLOSE SHOT -- GIDEON
He stiffens as the pain registers. Instead of shouting he
merely closes his eyes.
98. 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.
99. 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.
100. 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.
101. CLOSE SHOT -- PETER
Watching her go, a concerned look on his face.
102. 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.
103. 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.
104. 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?
105. 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.
106. INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER
There is no one there. REGGIE rises and steps out of the
booth.
107. INT. NIGHTCLUB LOUNGE -- NIGHT
As REGGIE looks around. There is no one there.
107A. 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.
108. 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.
109. 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.
110. 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 (smiling)
Good night.
He turns and leaves. She smiles slightly, then turns and
puts the key into the door and opens it.
111. INT. REGGIE'S ROOM -- NIGHT
Featuring the door. REGGIE enters, then stops abruptly,
the doorknob still in her hand.
112. 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?
113. CLOSE SHOT -- REGGIE
REGGIE (terrified)
I don't know -- I don't know! I don't --
She stops as she sees something.
114. CLOSE SHOT -- SCOBIE'S HAND
Instead of a human hand there is a twin-pronged metal one.
115. 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 -- !
116. 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.
117. 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.
118. 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.
119. INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
REGGIE waits anxiously. When she hears nothing, she
gingerly looks into the room.
120. INT. REGGIE'S ROOM -- NIGHT
REGGIE (entering cautiously)
Peter -- ? (alarmed) Peter! Where are you?
121. 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.
122. 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.
123. EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT
SHOOTING STRAIGHT DOWN; there is no one on the street and
it is too far to jump.
124. 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.
125. CLOSE SHOT -- PETER'S HAND
As it stretches for the railing; it is several inches
short of touching it.
126. MED. SHOT -- PETER
As he straightens up and prepares to jump.
127. EXT. HOTEL FACADE -- NIGHT
From the GROUND. PETER, high above, jumps to the next
balcony.
128. 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.
129. EXT. HOTEL FACADE -- NIGHT
From the GROUND as PETER jumps to the next balcony.
130. 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.
131. 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 --
132. 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.
133. 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.
134. 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?
135. 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 --
136. 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.
137. INT. PHONE BOOTH -- NIGHT
SCOBIE (on the phone)
Is Dyle with you?
138. INT. REGGIE'S ROOM -- NIGHT
CLOSE SHOT -- REGGIE
REGGIE
Who?
139. 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?
140. 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.
141. 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.
142. 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 (a pause)
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.
143. 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.
144. 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.
145. 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?
146. 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.
147. 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!
148.-
150. DELETED
151. INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW (on the phone)
Where are you now -- can you meet me?
Do you know Les Halles?
147. INT. REGGIE'S ROOM -- NIGHT
REGGIE (on the phone)
Yes, where? (a pause) -- in fifteen
minutes. I'll be there.
153. DELETED
154. 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.
155. 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.
156. 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.
157. 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.
158. WIDE ANGLE
Including DYLE as he reacts, his head wheeling to look
at the key. Snatching his coat, he runs for the door.
159. 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.
160. 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.
161. 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.
162. CLOSE SHOT -- REGGIE
In the shadows. She lifts her eyes in annoyance.
163. MED. SHOT -- TAXI
DYLE (finding the word)
Suivre -- el taxi!
DRIVER
Ah! Oui, Monsieur.
164. 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!
165.-
167. DELETED
168. 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.
169. 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?
170. INT. LES HALLES BUTCHERS' SHED -- NIGHT
Almost as far as the eye can see, row upon row of beef sides,
hung on hooks.
171. 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.
172.)
)
to) DELETED
)
209.)
210. 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 dÈsirez?
REGGIE (smiling)
They always do that.
BARTHOLOMEW (to the WAITER)
CafÈ.
REGGIE
GratinÈe, 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.
211. 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.
212. 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.
213. 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.
214. MED. SHOT -- DYLE
He has made his judgment of the painting and now moves on.
215. 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.
216. 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.
217. CLOSE SHOT -- PAINTING
An abstract jumble, nothing recognizable.
217A. CLOSE SHOT -- REGGIE
As she looks from the painting to reality.
217B. EXT. PLACE ST. ANDR… DES ARTS -- LATE AFTERNOON
As the scene really looks.
218. 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.
218A. 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.
218B. 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 -- !
219. 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.
220. DELETED
221. INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON
DYLE walks to one of several windows. A sign over it reading:
"A - D."
222. MED. SHOT -- STAIRS
REGGIE comes down the stairs. Suddenly she stops.
223. MED. SHOT -- DYLE
CAMERA ZOOMS in to sign on "D."
224. CLOSE SHOT -- REGGIE
A confused look on her face.
225. MED. SHOT -- DYLE
As his turn comes, he addresses the CLERK
DYLE
Dyle, please . . . D - Y - L - E.
CLERK
Yes, Mr. Dyle. I remember.
226. CLOSE SHOT -- REGGIE
Watching.
227. 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.
228. INT. REGGIE'S CABIN INT. DYLE'S CABIN
REGGIE on the phone. DYLE on the phone.
REGGIE DYLE
Good morning, Mr. Dyle.
Reggie?
It's the only name I've got.
How about you?
No cat and mouse -- you've
got me. What do you want
to know?
Why you lied to me.
I had to -- for all I knew
you could have been in on
the whole thing.
Well, you know now, so
please tell me who you are.
But you know my name --
it's Dyle.
Carson Dyle is dead.
Yes, he is. He was my
brother.
Your --
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.
229. 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.
230. CLOSE SHOT -- EMPTY CABIN
The receiver hangs by its cord, swinging back and forth.
231. MED. SHOT -- REGGIE
As she looks at it, confused.
232. 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.
233. DELETED
234. 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.
234A. INT. AMERICAN EXPRESS -- NIGHT
The last EMPLOYEES leave the building as the WATCHMAN
locks the front door after them.
234B. 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.
235. 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.
236. CLOSE SHOT -- THEIR HANDS
Two hands, one real, one metal, inch toward the gun.
237. 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.
238. CLOSE SHOT -- SCOBIE'S CLAW
As it slides across the slate, making a hideous scratching
sound and causing sparks to fly.
239. MED. SHOT -- SCOBIE
As he slides over the edge and disappears.
240. CLOSE SHOT -- DYLE
As he watches, hypnotized.
241. 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.
242. MED. SHOT -- DYLE
Having seen the claw, he rises and walks to the very edge of
the level part of the roof.
DYLE
Herman?
243. MED. SHOT -- SCOBIE
As he hangs, seven stories over the street, by his metal
hand.
SCOBIE
Yeah?
244. 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.
245. 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.
246. INT. DYLE'S ROOM -- NIGHT
He closes the door and starts to remove his torn coat,
wincing.
247. 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?
247A. 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.
247B. 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 (hopefully)
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.
248. 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.
249. INT. REGGIE'S ROOM -- NIGHT
DYLE is watching her.
REGGIE (on the phone)
Can you give me one good reason why I should?
250. 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?
250A. 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.
250B. 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.
251. 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.
252. 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 SCOBIE
This ain't no game, We want that money -- now!
Miz Lampert.
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.
253. 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.
254. 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?
255. 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.
256. 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.
257. 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.
258.)
259.) DELETED
260.)
261.)
262. 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) Voilý!
REGGIE
Voilý 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.
263. 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.
264. 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.
265. 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.
266. GROUP SHOT
As TEX finally springs the latches and opens the lid.
267. 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.
268. 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.
269. 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?
270. 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.
271. 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.
272. 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.
273. DELETED
274. 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.
275. 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.
276. INT. GRANDPIERRE'S OFFICE -- LATE AFTERNOON
277. 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 bÍte! 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.
278. DELETED
279. 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 (smiling)
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.
Seein 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 --
280. 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'?
281. 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.
282.)
283.)
284.) DELETED
285.)
286.)
287. 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?
288. 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.
289. 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.
290. 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.
291. DELETED
292. 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?
293. 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 (fascinated)
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.
294./
295. DELETED
296. 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 -- ?
297. INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
CLOSE SHOT -- BARTHOLOMEW
BARTHOLOMEW (on the phone)
Mrs. Lampert? -- Bartholomew. I've spoken
to Washington, Mrs. Lampert --
298. INT. REGGIE'S ROOM -- LATE AFTERNOON
REGGIE (on the phone)
Go ahead, Mr. Bartholomew - I'm listening.
299. 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.
300. 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?
301. INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
BARTHOLOMEW (on the phone)
None whatsoever. Please, Mrs. Lampert --
be careful.
302. 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.
303. EXT. SEINE - B¬TEAU MOUCHE -- DUSK
The large motor launch, moving along the river, gaily
ablaze with lights.
304. 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.
304A. 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 (a pause)
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.
304B. 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.
304C. 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.
304D. 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.
305.)
306.) DELETED
307.)
308.)
309. 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.
310. 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.
311. 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.
312. 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.
313. 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.
313A. INT. ADAM'S ROOM -- NIGHT
As ADAM enters, going to the closet to remove his suit.
The phone rings. He answers it.
ADAM
Yes?
313B. 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.
313BB INT. ADAM'S ROOM -- NIGHT
ADAM (on the phone)
Where are you, ol' buddy?
313C. 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)
313CC 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.
313D. 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.
313E. 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.
313F. 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."
314. EXT. UNESCO BUILDING -- ESTABLISHING -- DAY
The ultra-modern glass and concrete structure behind the
Ecole Militaire.
315. 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 Ë
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 Ë 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.
316. 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.
316A. 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-
ý-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.
316B. 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.
317. 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 --
318. 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 --
319. INT. CONFERENCE ROOM -- DAY
The FRENCH DELEGATE is speaking.
FRENCH DELEGATE
Monsieur le PrÈsident, Messieurs les dÈlÈguÈs
-- mon distinguÈ collËgue de la Grande
Bretagne -- le problËme 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, aprËs tout, un pays
agricole, n'est-ce pas? La position franÁaise,
ainsi que nous l'avons soulignÈe dans
le rapport numÈro trente-neuf bar oblique
cinquante-deux de la ConfÈrence de l'hÈmisphËre
occidental qui a eu lieu le 22 mars --
320. 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-…lysÈes!
Adam -- that was it! The garden!
ADAM
It's Thursday today -- and it's almost five --
come on!
321. MED. SHOT -- CONFERENCE TABLE
From REGGIE'S and ADAM'S ANGLE. All the DELEGATES and
their AIDES suddenly turn, surprised, and look at CAMERA.
322. REVERSE SHOT -- WINDOW
From the DELEGATE'S ANGLE. Inside the booth, REGGIE and
ADAM can be seen heading for the door in a hurry.
323. MED. SHOT -- CONFERENCE TABLE
As the DELEGATES look at one another, confused.
324. EXT. GUIGNOL -- LATE AFTERNOON
325. 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.
326. VARIOUS SHOTS -- WHAT THEY SEE
A quick succession of shots showing:
1. Children's Merry-go-round
2. Rond Point de Champs-ElysÈes with fountains playing
3. Children's swings
4. Restaurant Laurent
5. Balloon salesman
327. 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.
328. 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.
329. 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.
330. DELETED
331. 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.
332.) DELETED
333.)
334. CLOSE SHOT -- TEX
As he stares wide-eyed at something.
335. CLOSE SHOT -- STAMPS
Neatly displayed on a counter of one of the booths.
336. CLOSE SHOT -- TEX
As he wheels to look at another booth.
337. CLOSE SHOT -- MORE STAMPS
In another arrangement.
338. CLOSE SHOT -- TEX
He turns crazily to look at another booth, then another.
339. CLOSE SHOT -- EVEN MORE STAMPS
Various FLASH SHOTS of stamps of all sizes, shapes and colors.
340. 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.
341. 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.
342. CLOSE SHOT -- ADAM
ADAM (amazed)
The letter.
He quickly turns to find TEX.
343. 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!
344. DELETED
345. 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.
346. 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.
347. 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.
348. INSERT -- ENVELOPE
The corner containing the stamps is missing, torn off.
349. 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 -- !
350. 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.
351. 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, chÈrie?
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.
352. 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.
353. MED. SHOT -- REGGIE
As she hurries along a row of stalls, weaving around small
groups of MEN standing together, showing each other stamps.
354. MED. SHOT -- SYLVIE
Searching in another section of the market.
SYLVIE (calling)
Jean-Louis -- ?
355. MED. SHOT -- REGGIE
Spotting a BOY, she runs to him and spins him around.
REGGIE
Jean-Louis!
But it isn't.
356. MED. SHOT -- SYLVIE
Looking everywhere. Suddenly she sees something.
357. 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.
358. 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 timbrÈs -- 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 (pointing)
Lý bas -- Monsieur FÈlix.
They all run off down the line of booths. JEAN-LOUIS
stops and points off.
JEAN-LOUIS
Il est lý!
359. MED. SHOT -- STAMP BOOTH
Closed, deserted, empty.
360. 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 FÈlix 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 ThÈophile -
TH…OPHILE
Oui, jeune homme?
JEAN-LOUIS
Monsieur FÈlix, o* habite-il?
TH…OPHILE
A Montmartre -- demande ý Monsieur August
au Bar des Artistes -- Place Blanche.
JEAN-LOUIS
Merci, Monsieur ThÈophile. (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.
361.- DELETED
363.
364. 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 FÈlix -- ?
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.
365. 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?
366. 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 (astonished)
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 FÈlix -- 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.
367. CLOSE SHOT -- F…LIX
F…LIX (shrugging)
No. For a few minutes they were mine --
that is enough.
368. 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.
369. INT. REGGIE'S ROOM -- NIGHT
As REGGIE enters. She freezes, having seen something on
the floor.
370. 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.
371. CLOSE SHOT -- CARPET
With his dying effort, TEX has traced a name against the
grain of the maroon carpet -- 'DYLE.'
372. CLOSE SHOT -- REGGIE
Astonished and horrified.
REGGIE (gasping)
Dyle --
373. WIDER ANGLE
As she gets to her feet and hurries to the phone.
REGGIE (on the phone)
Hell -- 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!
374. 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?
375. 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!
376. INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW (on the phone)
Calm down, Mrs. Lampert -- please. Does
he have the money?
377. 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.
378. 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.
379. 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.
380. 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.
381. 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!
382. 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!
382A. INT. HOTEL CORRIDOR -- FIRST LANDING -- NIGHT
As REGGIE continues to run.
383. 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!
384. 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!
385. 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 trËs 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.
386. EXT. PLACE ST. MICHEL -- NIGHT
As REGGIE comes to the corner. She stops, sees the MÈtro
station ("St. Michel") and rushes to it, scampering down
the stairs. ADAM is behind her.
387. 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.
388.- DELETED
389.
390. 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.
391. 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.
392. CLOSE SHOT -- PASSAGEWAY WALL (TRAVELING)
The jumble of advertising posters as it passes rapidly,
forming a moving band of letters, women, cartoons and
colors.
393. 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.
394. 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.
394. 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.
395. 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.
396. 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 Ítes 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.
397. INT. "PALAIS-ROYAL" M…TRO PLATFORM -- NIGHT
As the TRAIN pulls in and comes to a stop.
398. 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.
399. 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.
400. 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.
401. INT. M…TRO PLATFORM -- NIGHT
From ADAM'S P.O.V. She is hurrying toward an exit marked
"SORTIE."
402. 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.
403.- DELETED
414.
415. 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.
416. 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.
417. 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.
418. 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 --
419. INT. M…TRO SORTIE -- NIGHT
ADAM stands for a minute, looking around, not knowing what
to do.
420. 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 --
420A. INT. EMBASSY SWITCHBOARD -- NIGHT
An OPERATOR speaking into a headset.
OPERATOR
Could you speak out, please? I can't quite
hear you.
420B. 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!
421. INT. EMBASSY SWITCHBOARD -- NIGHT
OPERATOR (on the phone)
I'm sorry, but Mr. Bartholomew has left for
the day.
422. 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 MÈtro station. And
my name's Lampert.
423. 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.
424. 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 MÈtro station? Who does she
think I am, the C.I.A.? All right, you'd
better call the French police.
425. INT. M…TRO SORTIE -- NIGHT
MED. SHOT -- PHONE BOOTH. As REGGIE's head appears, peeking
cautiously over the bottom of the window.
426. REVERSE SHOT
From inside the phone booth. Through the glass ADAM can
be seen, leaving the Sortie area.
427. MED. SHOT -- PHONE BOOTH
Carefully, REGGIE opens the door and comes out. She goes
to the corner and looks around it.
428. 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.
429. 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.
430. MED. SHOT -- REGGIE
As she runs, ADAM several yards behind her.
ADAM (in b.g., calling)
Reggie -- wait!
She turns into the exit.
431. 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 (calling)
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.
432. 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.
433. EXT. PLACE PALAIS ROYAL -- NIGHT
As REGGIE comes up the stairs from the MÈtro. 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.
434. EXT. PALAIS ROYAL COURTYARD -- COLONNADE -- NIGHT
The smaller court at the ComÈdie-FranÁaise 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!
435. 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.
436. 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 --
437. 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 --
438. CLOSE SHOT -- CARSON
CARSON
-- four --
CAMERA PANS DOWN to his gun. As his finger tightens on the
trigger and the hammer moves slowly back.
439. CLOSE SHOT -- REGGIE
REGGIE (terrified)
Adam -- please!
440. MED. SHOT -- ADAM
As he aims carefully and fires.
441. CLOSE SHOT -- COLUMN
As the bullet creases it.
442. CLOSE SHOT -- CARSON
As the deflected bullet rips the shoulder of his coat,
leaving him unharmed. He wheels.
443. 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.
444. MED. SHOT -- REGGIE
Seeing CARSON otherwise occupied, she turns and runs toward
the open stage door of the ComÈdie FranÁaise behind her.
(Beside the door is a poster announcing the forthcoming
schedule of presentations.)
445. 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.
446. 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.
447. INT. COM…DIE FRAN«AISE -- BACKSTAGE -- NIGHT
As CARSON enters and slams the door behind him, locking it.
448. 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.
449. INT. COM…DIE FRAN«AISE -- ORCHESTRA -- NIGHT
As CARSON enters the auditorium and looks around.
450. CARSON'S P.O.V.
As the CAMERA SWEEPS the magnificent old theatre -- boxes,
seats, stage, but there is no sign of REGGIE.
451. ANOTHER ANGLE
As CARSON walks up the aisle checking between the rows of
seats.
452. 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.
453. 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.
454. 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.
455. 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.
456. INT. PROMPTER'S BOX -- NIGHT
REGGIE, cringing back from the bright light, notices the
doorknob turning. It makes a slight clicking sound.
457. INT. COM…DIE FRAN«AISE -- STAGE -- NIGHT
CARSON, upstage, looking behind a piece of classic scenery,
hears the doorknob and turns suddenly.
458. CARSON'S P.O.V.
We catch a quick glimpse of REGGIE as she ducks down out of
sight. Too late.
459. CLOSE SHOT -- CARSON
CARSON
All right, Mrs. Lampert. The game's
over. Come out of there.
460. WIDER ANGLE
REGGIE does not appear.
CARSON
I don't want to kill you, Mrs. Lampert --
but I will --
461. INT. TRAPROOM -- NIGHT
ADAM comes down the stairs from the prompter's box and
looks up at the ceiling.
462. MED. SHOT -- CEILING
It is divided into thirty-six square sections, each numbered
and lettered -- from 1A to 6F. They are trapdoors.
463. MED. SHOT -- ADAM
He looks from the ceiling to a row of levers on one wall.
464. CLOSE SHOT -- LEVERS
Thirty-six of them, numbered and lettered to correspond to
the traps.
465. 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 -- ?
466. INT. PROMPTER'S BOX -- NIGHT
REGGIE huddled inside.
467. INT. TRAPROOM -- NIGHT
ADAM is listening carefully, trying to figure out where
CARSON is standing, watching the ceiling.
468. CLOSE SHOT -- TRAP
It is marked C-4.
CARSON'S VOICE (o.s.)
I won't wait much longer, Mrs. Lampert
469. MED. SHOT -- ADAM
As he turns to the levers and reaches for the one marked
C-4. He is about to pull it.
470. INT. COM…DIE FRAN«AISE -- STAGE -- NIGHT
CARSON takes a few more steps forward.
471. 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.
472. 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 --
473. MED. SHOT -- ADAM
He looks at the lever marked D-4. He is perspiring heavily.
Now he slowly reaches for the lever.
474. 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.
475. CLOSE SHOT -- PROMPTER'S BOX
As REGGIE slowly peers out.
476. REGGIE'S P.O.V.
The empty stage, without being able to see the open trap from
this low angle.
477. MED. SHOT -- REGGIE
As she climbs out of the booth and, seeing the open trap now,
runs to it, looking down through it.
478. 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.
479. 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.
480. EXT. RUE DE RIVOLI -- NIGHT
As a TAXI rolls by the arcades, CAMERA PANNING with it.
481. 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 --
482. 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.
483. 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.
484. 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.
485. INT. CRUIKSHANK'S OFFICE -- DAY
Featuring the door as REGGIE enters. She stops suddenly.
486. 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
Screenplay by Peter Stone
Script dated: 1 October 1962
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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.