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.



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