UNIVERSAL PRESENTS

CARY GRANT AUDREY HEPBURN

in CHARADE

A STANLEY DONEN PRODUCTION

Co-starring WALTER MATTHAU With JAMES COBURN

GEORGE KENNEDY DOMINIQUE MINOT JACQUES MARIN THOMAS CHELIMSKY
NED GLASS PAUL BONIFAS

Director of Photography CHARLES LANG Jr, A.S.C.

Assistant Director Art Director Assistant Art Director Camera
Operator 2nd Unit Cameraman MARC MAURETTE JEAN
D'EAUBONNE AUGUSTE CAPELIER HENRI TIQUET HENRI PERSIN

Song 'CHARADE' Lyric: JOHNNY MERCER Music: HENRY MANCINI

Sound Mixers JACQUES CARRERE BOB JONES Make-Up ALBERTO de ROSSI
JOHN O'GORMAN Dubbing Editor ALLAN MORRISON

Production Manager Production Executive Editor LEOPOLD
SCHLOSBERG ARTHUR CARROLL JAMES CLERK

MISS HEPBURN'S CLOTHES BY Title Designed by Animation
GIVENCHY MAURICE BINDER ROBERT ELLIS TECHNICOLOR®

Music HENRY MANCINI

Associate Producer JAMES WARE

Screenplay by PETER STONE Story by PETER STONE and MARC BEHM

Produced and Directed by STANLEY DONEN

CHARADE TRANSCRIBED BY Graham (hepburn@unforgettable.com)

Somewhere in the country, France. A train approaches, closer and
closer. As it roars past, a person is thrown from it. The body
tumbles down the bank, and lands face up. The face is covered in
blood; the eyes staring into the sky, dead. Begin Credit
Sequence.

A resort in the French Alps. Regina Lampert is sat, eating, at a
table. A gloved hand holding a gun appears and fires a jet of
water into Regina's face, about to drink from her cup. She looks
up to see a little boy standing before her, smiling.

JEAN-LOUIS
Oo la!

REGINA
Don't tell me, you didn't know it was loaded? [Shouting]
Sylvie! [Sylie comes over to her table and sees the mess].

SYLVIE
Oh.

REGINA
Can't he do something constructive like start an
avalanche or something?

SYLVIE [says something to Jean-Louis in French. He runs off;
Sylvie sits down].
When you start to act like this something is
the matter.

REGINA
Sylvie, I'm getting a divorce.

SYLVIE
What? From Charles?

REGINA
He's the only husband I have. I've tried to make it work,
really I have, but—.

SYLVIE
But what?

REGINA
Oh, I can't explain it. It's just that I'm too miserable
to go on any longer like this. [She gets up and they walk across
the building to the viewing platform].

SYLVIE
It is infuriating that your unhappiness does not turn
into fat! But I don't understand: why do you want a divorce?

REGINA
Because I don't love him—and he obviously doesn't love
me.

SYLVIE
But that's no reason to get a divorce. With a rich
husband and this year's clothes, you won't find it difficult to
make some new friends.

REGINA
Look, I admit I came to Paris to escape American
provincial but that doesn't mean I'm ready for French
traditional. I loathe the whole idea of divorce, Sylvie; but if
only Charles had been honest with me—[Sylvie sits down] that's
all I ask of anybody: the simple truth. [She sits down at the
table]. But with Charles everything is secrecy and lies. He's
hiding something from me, Sylvie—something terrible, and it
frightens me.

PETER
Does he belong to you?

REGINA [She looks up at a man standing with Jean-Louis]
Umm, it's
hers. Where did you find him, robbing a bank?

PETER
He was throwing snowballs at Baron Rothschild.

SYLVIE [taking Jean-Louis]
Oh, thank you.

PETER
Do we know each other?

REGINA
Why, do you think we're going to?

PETER
I don't know; how would I know?

REGINA.
Because I already know an awful lot of people and until
one of them dies I couldn't possibly meet anyone else.

PETER
 Hmmm. Well, if anyone goes on the critical list, let me
know. [Turns, about to leave]

REGINA
Mmmm, quitter.

PETER [coming back]
Uh-huh.

REGINA [laughing]
You give up awfully easy, don't you?

SYLVIE [getting up; Jean-Louis follows her]
Vien, Jean-Louis, let us make a walk;
I've never seen a Rothschild before. 
[Jean-Louis turns back and squirts Peter full in the face with his water
pistol].

PETER
Clever fellow; almost missed me
[She gives him a handkerchief]
Thank you.
[He starts drying his face off].

REGINA
You're blocking my view.

PETER
Oh, er, oh, well, which view would you prefer?

REGINA
The one you're blocking. See it's my last chance: I'm
flying back to Paris this afternoon. What's your name?

PETER
Peter Joshua.

REGINA
Oh, mine's Regina Lampert.

PETER
Is there a Mr. Lampert?

REGINA
Yes.

PETER
Good for you.

REGINA
No, it isn't, I'm getting a divorce.

PETER
Please, not on my account.

REGINA
Oh, no, you see I don't really love him.

PETER
Well, at least you're honest.

REGINA
Is there a Mrs. Joshua?

PETER
Yes, but we're divorced.

REGINA
Oh, that was no proposal; I'm just curious.

PETER
Is your husband with you?

REGINA
Oh no, Charles is never with me. What do people call you:
Pete?

PETER
Mister Joshua.

REGINA
Oh.

PETER
I've enjoyed talking with you. 
[Starts to leave].

REGINA [stopping him]
Mmm, now you're angry.

PETER
No, no, I'm not angry—I just have a lot of packing to do;
I'm going back to Paris too.

REGINA
Well, wasn't is Shakespeare who said "when strangers do
meet in far off lands they should ne'er long see each other
again"?

PETER
Shakespeare never said that!

REGINA
How do you know?

PETER
It's terrible; you just made it up.

REGINA
Oh well, it sounds right. You gonna call me?

PETER
Are you in the book?

REGINA
Well, Charles is.

PETER
Is there only one Charles Lampert?

REGINA
Mmmm. Lord, I hope so. 
[Breathes in sharply, holding her
hand to her face].

Paris, a residential area. A car laden with luggage on the roof
pulls up. Regina gets out as the driver goes to unload the
luggage.

REGINA
Goodbye, Sylvie—and thanks.

JEAN-LOUIS [leaning out the window]
When you get your divorce, are you going back to America?

REGINA
Well, don't you want me to stay?

JEAN-LOUIS
Yes, of course, but if you went back and wrote me a letter—.

REGINA
You could have the stamps. I'll get you some here, ok?

JEAN-LOUIS
Ok.

REGINA
Goodbye. [She walks to the building, followed by the
driver carrying her luggage. Regina arrives at the front door,
upstairs, and the driver puts down her luggage. She pays him and
he leaves. Regina unlocks the door and opens it, revealing her
apartment: vacant and devoid of all furnishings. She stands in
the doorway bewildered, then enters calling out.]

REGINA
Honorine? Honorine?! She opens the double-doors to the
adjacent room, then walks in, looking over the empty shelves. She
rushes back across the main room to open the other set of doors.
Running in, she frantically opens the cupboard and wardrobe doors
in turn, but they are all empty. She runs back towards the front
door and runs into a French gentleman, letting out a shriek.

GRANDPIERRE
Madame * Lampert?

REGINA
Yes?

GRANDPIERRE
I'm Inspector Edward Grandpierre, 
[holding up his card]
of the Police Judiciere. Would you be so kind as to come with me, please?
[He points to the door and she obeys, followed by the Inspector].

A morgue drawer is opened, revealing a covered body. The
Inspector looks at the tag, tied to the man's big toe: it says
"LAMPERT Charles".

GRANDPIERRE [pulling away the cloth covering the man's face]
Well, Madame?
[She nods]
You are positive?
[Observing her unemotional reaction]
You loved him?

REGINA [impassively, looking down]
I'm very cold. The morgue
attendant slowly slides the drawer shut.

The Inspector's Office. Regina and the Inspector are sat facing
each other at his desk. The Inspector opens his drawer, revealing
some particulars of Regina's husband.

GRANDPIERRE
We discovered your husband's body lying next to the
tracks of the Paris-Bourdeau railroad line.
[He shuts the drawer then leans on the desk, clasping his hands]
He was dressed only in his pajamas. 
Do you know of any reason why he might have wanted to leave France?

REGINA [bewildered]
Leave? No.

GRANDPIERRE
Your husband possessed a ticket of passage on the
Maranguater. It sailed for Renage Villa this morning at seven.

REGINA
 I'm very confused
[she stands up, opening her handbag].

GRANDPIERRE
He was American, your husband?

REGINA
Swiss.

GRANDPIERRE
Ah, Swiss. His profession?

REGINA
He didn't have one.

GRANDPIERRE [to Regina, pacing in front of his desk, eating lollies]
He was a wealthy man?

REGINA
I suppose so; I don't know.

GRANDPIERRE
About how wealthy would you say?

REGINA
I don't know.

GRANDPIERRE
Where did he keep his money?

REGINA
I don't know.

GRANDPIERRE
Besides yourself, who is his nearest relative?

REGINA
I don't know.

GRANDPIERRE [standing up]
That's absurd madame!
[He says some French].

REGINA
I know. I'm sorry.

GRANDPIERRE
It is alright.

REGINA [to the Inspector, about to light a cigar]
I wish you wouldn't.

GRANDPIERRE [he picks up the phone and speaks a few French words
to it. He walks over to Regina]
On Wednesday last, your husband sold the entire contents 
of the apartment at public auction. Everything. 
The gallery paid him one million two hundred and
fifty thousand new francs; in dollars, a quarter of a million.
The authorities in Bordeau searched his compartment on the train.
They searched it thoroughly. They did not find two hundred and
fifty thousand dollars!
[A man comes in, carrying a basket containing a bag, which Grandpierre takes.
The man leaves and Grandpierre takes the bag over to his desk]
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
[Taking the items out in turn]
One wallet containing four thousand francs. One agenda.
[Opening the diary]
His last notation was made yesterday,
Thursday: five p.m. Jardin des Champs-Élysées.
Why there?

REGINA
I don't know. Perhaps he met somebody.

GRANDPIERRE [putting down the diary]
Obviously.
[Reaching into the bag again]
One ticket of passage to South America. One
letter, stamped but unsealed, addressed to you.

REGINA
May I see it, please?
[She takes and sits down, opening it]
"My dear Regina, I hope you are enjoying your holiday. Mare
Jeve* can be so lovely at 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." 
Not much, is it?

GRANDPIERRE
We took the liberty of calling your dentist. We
thought perhaps we would learn something.

REGINA
Did you?

GRANDPIERRE
Yes. Your appointment has been changed.
[Taking his cigar but remembering, he puts it back in his drawer, slamming
it. Taking items out of the bag again]
One key to your apartment;
one comb; one fountain pen; one toothbrush; one tin of tooth
powder. That is all. If you will sign this list you may take the
things with you.
[He hands it to her].

REGINA [signing the paper]
Is that all? May I leave now?

GRANDPIERRE
One more question. Is this your husband's passport?
[he holds it up to her].

REGINA
Yes.

GRANDPIERRE
And this? [holding up a different passport, with
Regina's husband's photo inside]

REGINA
I don't understand.

GRANDPIERRE [showing her another]
And this?
[And yet another]
And this.
[Regina stares, mouth open, into which she puts another sweet.]

Regina's apartment. She stands inside in the darkness of one of
the rooms of her apartment when the door is opened, lighting the
room.

PETER
Oh, I telephoned but nobody answered.

REGINA [she smiles, recognizing the silhouetted figure]
Hello.

PETER
Hello. I wanted to tell you how sorry I am; and see if
there's anything I can do.

REGINA
How did you find out?

PETER
It's in the afternoon papers. I'm very sorry.

REGINA
Thank you. 
[She walks to the door].

PETER
Er, er, I pressed the bell but it doesn't ring you, I guess.

REGINA. I know; there's no electricity.
[They walk into the main room].

PETER
Well, where did everything go?

REGINA
Charles sold it all at auction. This is all I have left
[she sits on her unopened luggage].
I love this room but Charles
never really saw it—only the things in it. I think I prefer it
this way.

PETER
What are you going to do?

REGINA
Try and get my old job back at EURESCO, I suppose.

PETER
Doing what?

REGINA
I'm a simultaneous translator, like Sylvie, only she's
English into French and I'm French into English. That's what I
was doing before I married Charles. Police probably think I
killed him.

PETER
Instant divorce, you mean?

REGINA
Something like that. It's terrible to end it this way
though: tossed off a train like a sack of third-class mail.

PETER
Well, come on, you can't stay here.

REGINA
I don't know where to go.

PETER
We'll find you a hotel.

REGINA [standing, with a smile] Nothing too expensive. I'm not a
lady of leisure anymore, you know.

PETER. Something clean and modest; and near enough to EURESCO so
that you can take a cab when it rains. Ok?

A record player comes on, playing violin music through a loud
speaker. The building is a church. Regina and Sylvie are sat at
the front row, Regina's husband laid out in front in an open
casket. Inspector Grandpierre is sat at the back.

REGINA [talking to Sylvie in loud whispers] 
Not a very large
turnout, is it?

SYLVIE
Didn't Charles have any friends?

REGINA
Don't ask me: I'm only the widow. If Charles had died in
bed we wouldn't even have him. [Grandpierre, aroused, looks up].

SYLVIE [looking back at Grandpierre, with his head down] 
At least he knows how to behave at funerals. 
[We see the Inspector close up, looking down, clipping his fingernails]. 
Have you no idea who could have done it?

REGINA
Until two days ago the only thing I really knew about
Charles was his name. Now it seems I didn't even know that. A
man opens the church door and takes off his hat. He is a short,
balding man (Leopold Gideon). He holds his hat to his chest as he
walks down the aisle to the coffin. He looks at the dead man's
face intently, then bursts into a spontaneous sneezing fit.

SYLVIE
He must have known Charles pretty well.

REGINA
How can you tell?

SYLVIE
He's allergic to him. 
[The man swallows a pill then turns
and walks back from the coffin].

REGINA [to the man as he passes] 
Bless you.

SYLVIE
Do you know him?

REGINA
Never seen him before. The man, still looking back
surprised at Regina, walks into Grandpierre. He then sits down a
few rows from the back. The church door creaks open loudly. A
second man enters, tall and slim (Tex Panthollow). Everyone
watches as he walks to the coffin, takes out a mirror and holds
it up to the corpse's nose for a few seconds. Looking at the
mirror satisfied, the man puts it back in his pocket.

TEX [placing a flower taken from his pocket on the dead man's chest]
  'riva derchy*, Charlie. 
[He walks up to Regina] 
Miss Lampert, ma'am? 
Er, Miss Lampert, ma'am: Charlie had no call to
doin' it that-a way. No siree. 
[He walks a few rows back, sitting
down directly behind Regina and Sylvie]. 
The door is thrown open more violently by a third man, 
quite tall and heavily built,
wearing a trench coat (Herman Scobie). 
They watch as he strides
to the front, hands in pockets. He takes out a pin from his lapel
and thrusts it into one of Charles Lampert's crossed hands.
Regina and Sylvie flinch at this and Regina inhales sharply.
Satisfied, the man takes the pin and tosses it in Charles's face,
then strides quickly back and straight out of the door of the
church, slamming the door behind him.

REGINA [sighs] 
What next? 
[She inhales sharply, wide-eyed, as a
hand is placed on her shoulder].

FRENCH MAN
Me pardon, madame. [He hands her a letter].

REGINA
Merci.

FRENCH MAN [walking backwards, bent in respect] 
Pardon; pardon;
pardon; pardon.

SYLVIE
Who's it from?

REGINA [looking at the opened letter, which is headed: "The
Foreign Service of the United States of America. From the office
of H. Bartholomew]. 
The American Embassy. The typed letter says:
"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, H. Bartholomew".

The American Embassy. Regina is standing in a lift, looking at
the letter. The doors open and as she gets out, two men enter.
She stands watching them engrossed in conversation.

EMBASSY MAN1
I bluffed the old man out of the last pot with a
pair of deuces.

EMBASSY MAN2
What's so depressing about that?

EMBASSY MAN1
Well, I mean if I can do it what are the Russians
doing to him? The lift door closes. Regina walks to the office,
tapping on the door.

REGINA [opening the door, leaning in tentatively] 
Hello? [Louder] Hello?

BARTHOLOMEW [speaking unseen from the next office]
 Is there anything wrong, Miss Tomkins?

REGINA
 Er, Miss Tomkins isn't here.

BARTHOLOMEW [appearing through the door] 
Oh, I'm sorry. My secretary must have gone to lunch. 
Er, you are, er...?

REGINA
Mrs. Lampert, Mrs. Charles Lampert.

BARTHOLOMEW
Oh yes, please er, come in, Mrs. Lampert. 
[She walks in] 
Excuse me for a moment Mrs. Lampert. 

[He closes the door. Pointing to his tie] 
It's a stubborn little devil. 
[Taking some cleaning fluid from a bottle]
 Dry cleaning-wise, things are all fouled-up. 
[He rubs his tie with a cloth]. 
I had a good man, a
really excellent man, on the Roue Pon* two, but H.Q. asked us to
use the plant here in the building to ease the gold outflow.

REGINA
Mr. Bartholomew: are you quite sure you know who I am?

BARTHOLOMEW
You're Charles Lampert's widow, yes? I'm very sorry.
Last time I sent out a tie only the spot came back. 'Voila', as
they say. Would you sit down, Mrs. Lampert? [She sits. He walks
to a cupboard] I've got something here [opening it, taking out a
dish of food]: I've got liverwurst, liverwurst, chicken, and
liverwurst.

REGINA [looking up at him holding the sandwiches] 
No, thank you.

BARTHOLOMEW [walking over to his desk, putting the sandwiches down] 
Mrs. Lampert: do you know what CIA. is?

REGINA
I don't suppose it's an airline, is it?

BARTHOLOMEW [opening the desk drawer]
 Central Intelligence Agency: CIA.

REGINA
You mean spies, and all that?

BARTHOLOMEW [taking a bottle from the drawer] 
Only we call them agents.

REGINA
We? You mean you're—.

BARTHOLOMEW [opening the bottle with a corkscrew] 
Someone has to
do it, Mrs. Lampert.

REGINA
It's just that I didn't think people like you were
supposed to admit—

BARTHOLOMEW
Oh, I'm not an agent. I'm an administrator—a desk
jockey; trying to run a bureau of overworked men with
underallocated [pops the cork] funds. Congress seems to think
that all a spy needs—.

REGINA
Agent.

BARTHOLOMEW
Yes. —That all he needs is a codebook, a cyanide
pill, and [pouring a glass] he's in business.

REGINA
What's all this got to do with me, Mr. Bartholomew?

BARTHOLOMEW
Your husband was wanted by the United States government.

REGINA
May I have a sandwich, please?

BARTHOLOMEW
Chicken or liverworst?

REGINA [firmly] Chicken!

BARTHOLOMEW
To be more specific, Mrs Lampert, your husband was
wanted by this agency [offering her a sandwich]

REGINA [taking a sandwich] 
So that was it?! 
[she starts eating it, listening intently to everything Bartholomew says].

BARTHOLOMEW
Yes. We of course knew him by his real name: Voss,
Charles Voss. Alright, Mrs. Voss, well, I'd like you to look at
this photograph, here, for a moment please. 
[Taking a photograph from the drawer]
Tell us if you recogni— oh, by the way, have you seen this one? 
[Taking a picture from the desk, holding it up for her] 
Scott, Kathy, and Ham, Junior.

REGINA
 They're very sweet.

BARTHOLOMEW
Aren't they? Alright, Mrs. Voss—.

REGINA
Please stop calling me that; Lampert's the name on the
marriage license.

BARTHOLOMEW
 Oh, I'm terribly sorry. Mrs. Lampert, er, will you
look at that photograph and tell me if you recognise anyone, please? 
[She takes it] 
Uh, just a moment; have a good look 
[He gives her a magnifying glass].

REGINA [looking through the glass at the picture—an old one of
men dressed in military uniform] 
It's Charles!

BARTHOLOMEW
 Very good.

REGINA
He looks so young. When was this taken?

BARTHOLOMEW
Nineteen forty-four. Next, please.

REGINA [looking at the next man in the photo] 
The man who was at the funeral yesterday; the tall man in a corduroy suit.

BARTHOLOMEW
 Does the name Tex Panthollow mean anything to you?

REGINA
No.

BARTHOLOMEW [offering her a cup] 
Would you like some wine?

REGINA
 No, thank you.

BARTHOLOMEW
 Next, please.

REGINA
He was there too—a little less hair but it's the same
one.

BARTHOLOMEW
 Do you him, Mrs. Lampert: Leopold W. Gideon?

REGINA
 No.

BARTHOLOMEW
The last one, please.

REGINA
That's a face you don't forget. He was there too!

BARTHOLOMEW
Herman Scobie. You never seen him before either?

REGINA
 No, thank heaven!

BARTHOLOMEW
Mrs. Lampert: I'm very much afraid that you are in a
great deal of danger.

REGINA
 Why should I be any danger?

BARTHOLOMEW [sitting down at his desk]
 You're Charles Voss's wife.
 Now that he's dead you're their only lead.

REGINA
Mr. Bartholomew: if you're trying to frighten me— you're
doing a first-rate job!

BARTHOLOMEW
Please do what we ask, Mrs. Lampert, it's your only
chance.

REGINA
Gladly, but I don't know what you want; you haven't told
me.

BARTHOLOMEW
 Oh? I haven't? W— it's the money, Mrs. Lampert, the
money: [chewing on a sandwich] 
the two hundred and fifty thousand
dollars Charles Voss received from the auction. Those three men
want it too—they want it very badly.

REGINA
But that's Charles's money, not theirs.

BARTHOLOMEW
Oh, Mrs. Lampert, I'd love to see you try and
convince them of that. Oh boy...

REGINA
Then whose is it: his or theirs?

BARTHOLOMEW
Ours.

REGINA
Oh...

BARTHOLOMEW
Charles Voss stole two hundred and fifty thousand
dollars from the United States government. I'm afraid we want it
back.

REGINA
But I don't have it.

BARTHOLOMEW [walking over to her]
That's impossible, Mrs Lampert.
You're the only one who could have it.

REGINA
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.

REGINA
You mean, it's just lying around somewhere—all that cash?

BARTHOLOMEW
Or, er, certified cheque, a safe deposit key,
baggage claim. You look for it, Mrs. Lampert, I'm quite sure
you'll (REGINA. but—) find it. Look for it! Look just as hard and
as fast as you can. You may not have a great deal of time.
[Walking over to behind the desk] Those three men know you've got
the money just as surely as we do; you won't be safe until the
money's in our hands. Is that clear? [She nods silently. Writing
a note for her] Now here's where you ought to call me, day or
night. It's a direct line to both my office [he burps] and my
apartment. [He hands her the note] And please don't tell anyone
about coming to see us today, it could prove fatal for them as
well as yourself. As I said, Mrs Lampert, I'm afraid you're in a
great deal of danger. I regret very much having to say this but
please remember what happened to your husband. [Regina looks him,
gravely.]

A Punch and Judy show outside for a group of kids. Regina is
watching unemotionally from the back, standing behind the
laughing children. Peter approaches her.

PETER
Hello.

REGINA [she turns to him, smiling]
Hello, Peter.

PETER
Now, didn't you telephone me to meet you on that corner,
there?

REGINA
I'm sorry, I heard the children laughing. Do you
understand French?

PETER
 Not a word. I'm still having trouble with English.

REGINA [they watch the performance] 
The man and the woman are married.

PETER
Oh, I can see that: they're batting each other over the head. 
[Motioning to the action onstage, as Grandpierre approaches
behind them, unnoticed] 
Who's that with the hat?

REGINA
 That's the Policeman. He wants to arrest Judy for killing
Punch.

PETER
What's she saying now?

REGINA
 That she's innocent. She didn't do it.

PETER [slyly; watching the show but talking to Regina] 
Oh, she did it, alright.

REGINA [firmly] I believe her.

PETER [still watching the show] Well, who was that?

REGINA
That's Punch, of course.

PETER
Punch, of course: I thought he was dead?

REGINA
He's only pretending: to teach her a lesson. Only he is
dead, Peter, I saw him; he's not pretending. Somebody threw him
off a train. Charles was mixed up in something terrible. [Turning
to Peter] What am I going to do?

PETER
I wish you'd let me help you: it doesn't sound the sort of
thing a young woman can handle by herself. [The Inspector, spying
from behind, appears engrossed in the performance as the
Policeman is attacked by the other puppets] How about making me
vice president in charge of cheering you up?

REGINA
 Starting tonight?

A drum roll. In a nightclub: the audience's attention is on the
stage and a spotlight falls on the announcer. He greets the
audience in French, English, and Spanish: Bonsoir, monsieurs et
'dames. Good evening, ladies and gentlemen. Buenos seiras,
senors, senoris. He continues for a time: "l'attraction, c'est
vous!", etc.

PETER [to Regina—they are sat at a table] What's going on?

REGINA
Fun and games. Evidently we're the floorshow.

PETER
You and me?

REGINA
 Come on.
 [She leads in onto the floor with some of the rest of the audience]. 
The announcer explains the rules to the
game in several languages, placing an orange under the chins of
two women from the audience: "There are two things for everything
that is one orange. Pass the orange to the person behind you,
without the use of your hands." He then says: "Are you ready?
Uno, dous, et treis" then blows on a whistle. The band starts
playing as the game gets underway. Peter has the task of
removing an orange from a large woman's chin. With some
difficulty he grasps it, almost losing it several times, and
transfers it to Reggie. The other audience members pass the other
orange between themselves. Grasping the orange between their two
bodies, Peter and Regina stop starring into each other's eyes,
smiling, then continue. Regina works the orange under her chin
and takes it over to the next man. It's the first man from the
funeral.

GIDEON
 Mrs. Lampert.

REGINA
Who are you?

GIDEON
Didn't Charles tell you, Mrs. Lampert?

REGINA [suddenly scared]
 Tell me what?

GIDEON
It doesn't belong to you—you do know that, don't you?

REGINA [growing frantic] 
I don't know anything—!

GIDEON [firmly] 
Mrs. Lampert! Any morning now you could wake up
dead, Mrs Lampert.

REGINA
 Leave me alone!

GIDEON [firmly] 
Dead, Mrs. Lampert, like last weeks' news—like
Charles, Mrs. Lampert.

REGINA [angrily and scared] 
Stop it! [She kicks him hard in the shin].

PETER
 What's the trouble?

REGINA [putting on her top]
 He stepped on my foot.

GIDEON [grimacing in pain, still holding the orange under his chin] 
Forgive me.

REGINA [taking her handbag]
 Wait here; I won't be long.

GIDEON [as Reggie runs past him toward an exit] 
It was quite unintentional, I'm sure.
Running down the stairs outside the
club, she finds a phone booth. She goes inside and dials a
number.

REGINA [still calming down]
Mr. Bartholomew: this is Regina
Lampert; Mr. Bartholomew: I just saw one of those men—. Mr.
Bartholomew: can you hear me? [She presses a button on the phone]
Mr. Bartholomew: this is Regina Lampert; I just—. [She stops as
the door of the booth opens. There is a man standing in the
doorway (the second from the funeral), cigarette in mouth. She
tries to leave but he blocks her way.

TEX [smiling] 
Howdie.

REGINA [scared]
 What do you want?

TEX 
Now you must be kiddin'.

REGINA
 No, I'm not.

TEX
 Now, come on now, Miss Lampert. You know what it is? [Taking
out a match from the box he places on top of the phone beside
her] And you're gonna get it for me too. 'Cause you know I ain't
foolin' around here. [He lights the match then his cigarette. He
holds the match towards her face] No siree, Bob. Regina stands
against the rear of the phone terrified as Tex pushes the match
closer. He suddenly drops the match which lands on her clothing.
Regina frantically puts it out.

REGINA
 No—! that—! please stop!

TEX
 Now don't make too much noise, Miss Lampert.

REGINA [Regina screams as Tex strikes another match]
 Ah!

TEX [putting the match near her face, wavering it along her cheek] 
It could get a whole lot worse, you know. [He drops it and
she brushes it off her] Now, it belongs to me, Miss Lampert;
[lighting another match] and you gonna get it for me [dropping it
on her, immediately lighting another] or your life ain't gonna be
worth the [dropping it] paper it's printed on.

REGINA [frantically brushing the matches away] 
Stop! Ah—!

TEX [lighting them faster] 
You understand what I'm sayin' to you?
[lighting and dropping another].

REGINA [as she keeps brushing them off her] 
Stop! stop! please stop!

TEX [he keeps dropping on her, relentlessly] 
Now you go home and
think it over real careful right now, you here?

REGINA [screaming in panic as she brushes the matches away]
You're insane! You're absolutely insane! 
[Tex has opened the door
and, smiling at her quivering in the booth, 
closes the door behind him]. 
Regina shakily puts a cigarette in her mouth. She
screams as the door opens again.

PETER
 What's the matter? What are you doing in here?

REGINA [her voice shivering with fright] 
I'm having a nervous breakdown.

Regina and Peter are returning to her hotel, the attendant
asleep in a chair. Regina takes her key from the rack and turns
back, stopped by Peter.

PETER
Now, hold it. I've waited long enough—what happened back
there?

REGINA
I'm not sure if I'm supposed to tell or not.

PETER
 What does that mean?

REGINA
He said if I told anybody it could prove fatal for them
as well for me.

PETER
 Who said?

REGINA
 That's what I'm not supposed to say!

PETER
 Er—[she walks past him to leave] Now stop that nonsense!

REGINA
Stop bullying me; everybody's bullying me.

PETER
 I'm not bullying you—.

REGINA [stopping at the lift door to face him]
 Yes, you were; you said it was nonsense.
 Being murdered in cold blood is not
nonsense. Why don't you try it sometime? [She opens the door and
turns back to him] Would you mind seeing me to the door?

PETER
 Of course not. [He follows her in].

REGINA
 It's a good place for making friends. [The lift starts
upwards].

PETER
 You said this afternoon your husband was mixed up in
something.

REGINA [playfully running a finger down the front of his chin]
How do you shave in there?

PETER
What was it?

REGINA
What was what?

PETER
 What your husband was mixed up in.

REGINA
Look, I know it's asking you to stretch your imagination
but, don't you think you could pretend just for a moment that I'm
a woman?

PETER
Now listen, I could already be arrested for transporting a
minor above the first floor.
[The lift reaches the top and Peter open the door] 
Here you are.

REGINA
Where?

PETER
On the street where you live.

REGINA
How about once more around the park?

PETER
How about getting out of here? Come on, child, out. [She
walks out, he follows].

REGINA
 Won't you come in for a minute?

PETER
No, I won't. [Shuts the door behind him].

REGINA [walking to her door]
 I don't bite, you know—unless it's called for 
[turning to him].

PETER
 How would you like a spanking?

REGINA
 How'd you like a punch in the nose? Stop treating me like
a child!

PETER
 Well, then, stop behaving like one. Now if you want to
tell me what's troubling you, fine; if not, I'm tired, it's late,
and I want to go home to bed. 
[He turns his head to see the lift start its way back down]
Oh—.

REGINA
 Do you know what's wrong with you?

PETER
 No, what?

REGINA [leaning towards him]
 Nothing.

Regina goes into her
apartment, closes the door and turns on the light. She sees the
room and screams. The room is in a mess and the third man from
the funeral stands beside the bed.

SCOBIE [angrily] 
Where is it, lady?

REGINA [bewildered and scared]
 I don't know.
 [She back away as he comes slowly towards her.
 She looks, frightened, at the hook on
his right arm].

SCOBIE
 I want it. Give it to me; it's mine! Regina screams as
the man raises the hook threateningly. She escapes through the
door as the hook crashes through the wood.

REGINA [running, screaming down the stairs after Peter] 
Peter! Peter! 
[As he runs up]
A man tried to kill me! Peter opens the
door and enters with an aggressive yell. Regina stares towards
the room, hearing shouts as the two men struggle. After silence
she tentatively enters the room.

REGINA
 Peter? Peter? 
[Looking around the apparently empty apartment] 
Peter, are you alright? 
[Hearing a slight groan she
turns round to see Peter lifting himself up from behind the bed]
Oh, Peter, are you hurt?

PETER
 I sprained my pride. How are you?

REGINA
 Scared.

PETER
 You'll be alright. Where did he go?

REGINA
 Out the window.

PETER [climing over the bed to the open window] 
Well, lock the door and don't let anyone in except me.
 And close these windows after me.

REGINA [as he walks out onto the platform] 
Be careful!

PETER
 You just took the words right out of my mouth. Peter
springs from the balcony outside her window to the next. A shadow
moves inside the lit room as he passes by. It retreats further
inside.

ENGLISH WOMAN [panicked] 
Alistair!

ENGLISH MAN
 What is it now, Pamela?

ENGLISH WOMAN
 It happened again: another strange man peered in
the window at me and then went away.

ENGLISH MAN
 Bad luck, Pamela! Peter jumps to the next balcony.
The three villains are talking inside the room. Peter stays
outside, listening, peering around the side of the window.

GIDEON
 That was a dumb move!

TEX
 Herman: man, and then some! If you'd only let us know you
was goin' up to her room we coulda done somethin' to keep her
busy! Sneakin' off at her thataway by yourself. Man, what did you
expect him to do: walk up and shake you by that hand o' yours?

GIDEON
 It was a dumb move, Herman, a dumb move!

PETER [walking into the room]
 Yes: it was a dumb move, Herman.
What is the matter with you?

SCOBIE [threateningly] 
You want some more?

GIDEON
 Never mind that! Did you get the money?

PETER
 How could I with the three Marx brothers breathing down my
neck. I thought we had an agreement. Now, the girl trusts me. If
she's got the money, I'll find out about it—but you just leave me
alone.

SCOBIE
 We took all the chances. The money belongs to us, not to
him.

PETER
Now don't be piggy, Herman. A third of nothing is nothing—
just think about that. But make up your mind—she's waiting for
me.

GIDEON
 I don't see how another twenty-four hours could hurt
anything.

PETER
 If she'd been holdin' out* after all these years then he
gets it out of your share, not mine. [He opens the door, standing
in it] Not mine. [He leaves].

PETER
 Either one of you got the room next to her?

TEX
 Yeah, I have; why?

PETER
Give me the key. Get yourself another room, I want to use it.

TEX
 Mmm. [He reaches inside a pocket and gives it to him. To
Peter as he goes to the door]
 But if you do find that money, you
ain't gonna forget to tell your buddies about it, are you?

PETER
Don't worry.

TEX [with a laugh]
 Oh, no, I ain't worryin'.
 [Putting his arm on Gideon's shoulder] 
You see this little fella here? Oh he worries,
and he's even meaner than I am. Peter goes out the door and
walks along the corridor to Regina's door. He knocks.

REGINA
 Who is it?

PETER
 It's me, Peter. 
[Regina opens the door and he enters. She
quickly closes it behind him and hugs him for comfort. She walks
back into the room and resumes her cleanup].
There was no trace of him. [Picking up a loose sheet 
as she tucks one in on the bed]
Why don't you confide in me, and tell me what this is all about?

REGINA [turning to him]
 There's three men; he's one of them. They
think I have a quarter of a million dollars that belongs to them.
[She carries on].

PETER
 Go on. [Puts the sheet on the dresser, sitting against the
table].

REGINA
 That's all.

PETER
 No, it isn't: where's the money?

REGINA
 I don't know! They 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?

REGINA
 But he didn't; I've looked everywhere and if I don't find
it they're going to kill me.
 [She sits on the bed].

PETER [going over to her] 
No, they won't; I won't let them.

REGINA
 Peter: help me—you're the only one I can trust.

PETER [putting his hand around her, sitting on the bed]
 I'll help you.
 [Holding her to close, her head on his shoulder] 
I told you I would. Come on.

REGINA
 Oh, I'm so hungry I could faint.
 [Sitting up, tears in her eyes] 
And I've gotten your suit all wet.

PETER
 That's alright, it's a drip-dry 
[he reaches in a pocket and gives her a handkerchief].
 Wipe your eyes.

REGINA
 Promise me you'll never lie to me like Charles did; why
do people have to tell lies?

PETER
Usually because they want something and are afraid the
truth won't get it for them.

REGINA
Do you tell lies? The phone rings. Regina walks over and
answers it.

REGINA
Hello?

SCOBIE [calling from a public phone, probably in a cafe/restaurant] 
Mrs. Lampert: it's me—the man who was in your
room a few minutes ago.

REGINA
What do you want?

PETER
 Who is it?

REGINA
 It's the man you had the fight with.

SCOBIE
Is Dyle with you?

REGINA
Who?

SCOBIE
 The man I had the fight with, lady—Dyle, that's his name.
What's wrong, is he still there?

REGINA [she looks up at Peter then turns with her back to him]
Yes, that's right.

PETER
 What's he saying?

SCOBIE
Don't trust him; don't tell him anything. He's after the
money. [He hangs up]. Regina puts the phone down and turns
around to face Dyle.

DYLE [standing up] 
What was all that about?

REGINA
 He- he said if I don't give him the money, he'll kill me.

DYLE [walking towards her; Regina's eyes widen in fear] 
Oh, don't take it seriously. He's just trying to frighten you.

REGINA
 I believe what he said.

DYLE
No, no, it's just a lot of words.

REGINA
 Words can hurt.

DYLE
 I know. 
[Holding her] 
Try to get some sleep; you'll feel
better. And don't worry, I've arranged to take the room next door to you 
[Regina blinks].
 So you'll be alright. 
[Walking to the door] 
If you want anything, bang on the wall. Better lock the door after me. 
[With a wave] 
Goodnight 
[he closes the door].
Outside, Dyle takes out a string, attaching one end to his door,
and running it tight close to the floor to Regina's door.

REGINA [talking on the phone in a loud whisper] 
But I am calm, Mr. Bartholomew. 
What I'm trying to say is that- is that there's someone else.

BARTHOLOMEW [talking to the phone from his bed] 
What?

REGINA
 Someone who wasn't in that photograph you showed me
today. He says his name is Peter Joshua but it isn't—it's Dyle.
[Bartholomew pauses] 
Are you still there, Mr. Bartholomew?

BARTHOLOMEW
 Er yes, yes, Mrs. Lampert. Er, I don't know who this
Mr. Dyle is but it's just possible we were wrong about who killed
your husband.

REGINA [wide-eyed] 
You mean... he might have? Mr. Bartholomew,
I'm catching the next plane out of here. I- I- I'm not going to
sit around for someone to make chopped liver out of me.

BARTHOLOMEW [quickly, sitting up a bit] 
Now, take it easy, Mrs. Lampert, take it easy.
 Er, where are you now?—Can you meet me,
er, at the market?

REGINA
At Laialles?

BARTHOLOMEW
 Yes, opposite San Eustache. I'll meet you there in
fifteen minutes.

REGINA
 Alright, I'll be there; in fifteen minutes. Regina hangs
up and goes over to the door, putting her ear against it. She
bends down to look through the keyhole into the next room where
Dyle is placing his jacket on a chair. Regina picks up her
handbag and goes out the front door. The door pulls the string
and a key attached to the end is pulled along Dyle's room's
floor. Peter gets up, taking his jacket. As Regina goes down the
stairs she hears Peter open the door so she hurries down. Peter
puts on his jacket as he follows her. Downstairs, Regina runs
outside and around the side of a waiting taxi, and in French
tells the driver to go. Regina waits for the next taxi behind to
pull into place. Dyle runs out through the lobby and outside and,
seeing the taxi leaving, tells the driver: "Suivez le taxi!" He
gets in and it pulls away, revealing Regina hiding behind it. She
watches it leave, relieved.

Later and Regina is walking down a street through a market area.
It is after hours and people are moving goods around.

BARTHOLOMEW
 Were you followed?

REGINA
 Yes, by Dyle, but I lost him. I'm beginning to think
women make the best spies.

BARTHOLOMEW [correcting her] 
Agents.

REGINA [seriously] 
He has a gun, Mr. Bartholomew.

BARTHOLOMEW
No.

REGINA
 But I saw it!

BARTHOLOMEW
 No, that's not Carson Dyle.

REGINA
 Carson?

BARTHOLOMEW
 There's only one Carson connected with this affair,
Mrs. Lampert, that's Carson Dyle.

REGINA [to Bartholomew as he stops, turning to the side] 
You mean you've known about him all along?

BARTHOLOMEW [he nods then motions past her to what he's looking
at: a meat house] 
It's enough to make you a vegetarian, isn't it?

REGINA
 It's just lucky that I'm not hanging next to one of those
things right now. 
[They continue on] Why didn't you tell me you
knew about Dyle?

BARTHOLOMEW
 I didn't see any point: Dyle's dead.

REGINA [she stop and he turns back at her]
 Mr. Bartholomew: what
is all this about? Bartholomew is sitting down, looking at
Regina as he talks. They are inside a restaurant.

BARTHOLOMEW [talking in a slow confidential tone] 
In nineteen fourty-four, five members of the OSS.—the military espionage
unit—were ordered behind German lines for the purpose of
delivering two hundred and fifty thousand dollars in gold to the
French underground. The five men were, of course, your husband
Charles; the three men who showed up at his funeral yesterday;
and Carson Dyle.

REGINA
 Oh.

BARTHOLOMEW
Instead of delivering the gold, they stole it.

REGINA
 How?

BARTHOLOMEW [continuing slowly]
 By burying it then reporting that
the Germans had captured it. All they had to do was come back
after the war, dig it up, split it five ways. Quarter of a
million dollars with no questions asked.

REGINA
May I have a cigarette, please? 
[As she takes one and puts it in her mouth] 
I can't stand those things; it's like
drinking coffee through a veil. 
[Bartholomew lights her cigarette].

BARTHOLOMEW
 Everything went smoothly enough until after the gold
was buried. Then, before they could get out they were ambushed by
a German patrol [Regina's expression turns serious]. A machine
gun separated Scobie from his right hand, caught Carson Dyle full
in the stomach. [Regina nervously gives him her cigarette and
takes another one] What was wrong with that one?

REGINA
 Nothing, I guess. What happened then?

BARTHOLOMEW
 Have you any idea what these things cost over here?

REGINA
 Please go on, Mr. Bartholomew: what happened then?

BARTHOLOMEW
 Carson Dyle was dead but Scobie was able to travel,
so—. The waiter comes over, saying something in French.

REGINA [to the waiter] 
Pour moi. 
[The waiter gives her something
and Bartholomew a cup of coffee. The waiter leaves].

BARTHOLOMEW
 Where was I?

REGINA
 Carson Dyle was dead.

BARTHOLOMEW
Yes, Carson Dyle was dead. The others finally got
back to the base 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.

REGINA [loudly] 
But if they stole all that money, why can't you
arrest them?

BARTHOLOMEW
 Ssshhhh. We know what happened from the bits and
pieces we were able to piece together. We still have no proof.

REGINA
 What's this got to do with the CIO.?

BARTHOLOMEW
 CIA., Mrs. Lampert. It's an extension of the
wartime OSS. It's our money and we want it back.

REGINA
 I'm sorry, Mr. Bartholomew, but nothing you've said has
changed my mind. I'm leaving Paris tonight.

BARTHOLOMEW
 Wouldn't advise that, Mrs. Lampert. 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
see any point in your changing hotels. Now, please help us, Mrs.
Lampert; your government is counting on you.

REGINA [she sighs] 
Well, I suppose if I'm going to die I'd might
as well do it for my country.

BARTHOLOMEW
That's the spirit. Here's what I want you to do:
we're anxious to know who this man is, the one calling himself
Dyle. I want you to find out.

REGINA
 Why me?

BARTHOLOMEW
 You're in an ideal position; he trusts you. Besides,
you yourself said women make the best spies.

REGINA
 Agents.

The next day. Dyle is leaving the hotel, watched inconspicuously
by Regina from a window adjacent to the hotel entrance. As he
leaves she runs around to the front but stops suddenly, almost
running into Dyle. He has stopped by a window where a woman is
shaking the dust out of a mat, cleaning the dust out of his eyes.

WOMAN [seeing Dyle standing there]
 Oh, pardon. From the door,
Regina watches him continue, and after putting on her dark
glasses follows him. Later, Regina follows him along a busy
street. He walks by a sidewalk cafe and turns back to look at the
painting someone is working on on the pavement. Regina quickly
ducks, sitting down at one of the cafe tables, where a man is sat
reading a book. He sits up and looks at her eagerly. Dyle
continues and Regina gets up to continue. The man gets up after
her.

CAFE PATRON
 Frauline. Frauline!

REGINA [hardly taking her eyes off Dyle]
 What are you doing
following me, it's gonna look like a parade! Stop it! Dyle
starts to cross the road but has to step back to avoid a car,
beeping its horn. Regina turns round quickly, walking back and
taking the arm of the man on his way back to his table.

REGINA[very friendly, talking quickly] 
How are you? How nice to
see you. When did you arrive? It's a lovely town to stay. Are you
having a good time? [They sit at the table] So many things to
see... The lights change for Dyle and he continues on. Regina
looks towards him and she gets up quickly to follow.

CAFE PATRON [running to follow her] 
Frauline. Frauline!

REGINA [stopping; firmly] 
If you don't stop following me I'll
call the police!
 [the man stands bewildered. She sees Dyle
running to catch a moving bus] 
Taxi! 
[Dyle jumps on the bus and then her taxi pulls up].

 Dyle enters the American Express post
office building, followed by Regina. He walks down the stairs to
the next floor and she takes off her glass to follow. Regina
looks at a sign on the counter: "A to D". Dyle talks to the clerk
at the counter.

DYLE
  Dyle, please: D, Y, L, E.

WOMAN AT DESK
 Yes, Mr. Dyle, I remember. 
[Regina looks on from where she is watching then walks somewhere else] 
No, I'm sorry, Mr. Dyle; nothing today.

DYLE
 Thank you. 
[He is on his way to the exit when the speaker
announces his name].

SPEAKER
 Mr. Dyle, please. You're wanted on the telephone. Mr.
Dyle, cabin four. Mr. Dyle, cabin four, please. He goes into
booth four on the end, two away from Regina.

DYLE [picks up the phone]
 Yes?

REGINA
 Good morning, Mr. Dyle.

DYLE
 Reggie?

REGINA
 The only name I've got—how about you?

DYLE
 Now, no cat and mouse; you've got me. What do you want to
know?

REGINA
 Why you lied to me!

DYLE
 I had to. For all I knew you were in on the whole thing.

REGINA
 I'm trying to find out who you are.

DYLE
 But you know my name: it's Dyle.

REGINA
 Carson Dyle is dead.

DYLE
 Yes, he is. He was my brother.

REGINA
 Your brother?

DYLE
 The army thinks he was killed in action by the Germans; but
I think they did it: Tex, Gideon, Scobie, and your husband
because my brother wouldn't go along with their scheme to steal
the gold. I think he threatened to turn them in and they killed
him, and I'm trying to prove it. They think I'm working with
them; but I'm not, Reggie. I'm on your side. Just believe that.

REGINA
 How can I? You lied to me just the way Charles did—after
promising you wouldn't. Oh, I want to believe you, Peter— I can't
call you that anymore, can I? Take me a while to get used to your
new name. What is it? [she waits] Hmm? Hello? Hello??? She gets
out of the booth and walks to Dyle's booth, where the phone is
hanging off the hook. She stands looking about the room, but
doesn't see him.

Scobie has caught up with Dyle. He is holding a gun, pointed at
him through his pocket. Scobie points him towards a lift.

SCOBIE
 Do anything funny or try to talk to anyone and I'll kill
you, Dyle [he waves his gun threatenlingly].

DYLE
 You'll wreck your raincoat. They go into the lift and a
woman tries to join them.

SCOBIE
 Take the next car, please.
 [The woman sees what he is pointing at Dyle and backs away immediately]. 

Scobie selects a floor as the lift doors close. 
The lift starts its way up and the
stare at each other. The lift stops at the sixth floor (the
highest on the panel) and Dyle gets out, followed by Scobie.

DYLE
 Look out. Didn't want you to bump your head.

SCOBIE [looks around then motions to a door] 
Now, get in there.
[He closes the door behind them, taking out his gun and holding
it in his hook] 
Alright, turn around. 
[He turns round slowly.
Scobie frisks Dyle's jacket, taking out his gun] Now sit down.
[Dyle sits on the stair, watched by Scobie].

DYLE
 Now what?

SCOBIE
 We wait. With our mouths shut.

DYLE [he yawns, mouth wide open]
 Oh, I'm sorry about that. Later
on, outside in the dark, a man locks up. Scobie and Dyle are
still in their respective positions. Scobie hears the jingle of
the man's keys outside.

SCOBIE
 Ok, up there.

DYLE [he walks up the few steps to the door, followed behind by
Scobie] 
Do I knock or something?

SCOBIE
 No, open it. And keep right on goin'.

DYLE [he opens the door and enters, talking back to Scobie] 
The view, it better be worth it.
 [They walk out onto the roof of the
building, where a large neon sign stands on the sloped edge].
Very pretty. Now what? 
[Scobie motions towards the edge].
 I was afraid of that.

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.

SCOBIE
 And I say maybe you both have it. One more time, Dyle.
Where is it?

DYLE
 Supposing I had it—which I don't—do you really think I'd
just hand it over to you?

SCOBIE
 Step back.

DYLE [looking down past the slope past the huge American Express
sign.] 
Back where?

SCOBIE
 That's the idea.

DYLE
 Hmmm. Now, now just a minute; take it easy. Dyle suddenly
kicks, knocking Scobie's hand holding the gun skywards. Dyle
rushes to grab it and it fires. Dyle punches Scobie several
times, knocking him backwards and dropping the gun. The both dive
for it but Scobie knocks it away with his hooked hand before Dyle
can reach it. It slides down the side of the building out of
reach. They get up and Scobie pushes Dyle backwards, holding him
at the edge as Dyle wrestles with him, trying to keep his hook
away from his face. Dyle throws him back with all his strength
and they wrestle but Scobie picks him up as Dyle struggles. Dyle
manages to hold on to a support but Scobie pushes him away,
ripping Dyle's jacket. Scobie holds his face in pain as Dyle
tries to stop himself falling down the side. Scobie comes at Dyle
again and they wrestle further, Scobie pushing him into a wall
and Dyle jumping on him, knocking him to the ground. Scobie
throws him off and Dyle rolls down the side, holding on to the
edge by his fingers. As Scobie tries to kick him down Dyle grabs
his leg, throwing him off-balance, backwards. Dyle climbs back
up, making for the door but Scobie blocks him, lunging with his
hook, but Dyle evades his swings. As Scobies thrusts again, Dyle
dodges, but Scobie has already lost his balance and falls,
sliding down the side: Aaaaaaaaaaaaaaaaaaaaaaaah! Sparks fly from
his hook as he trys in vain to stop himself. He disappears in the
blackness. Dyle peers over the side, kneeling on the ground.

DYLE
Herman?

SCOBIE [he is hanging from the side of the building by his hook]
What?

DYLE [chuckles] 
How are you doing?

SCOBIE
 How do you think?!

DYLE
 If you get bored, try writing love thy neighbour a hundred
times on the side of the building. Dyle leaves Scobie hanging on
the side of the building.

Dyle gets out of the lift, on the floor of his and Regina's
apartments. There is a man fixing the holes in Regina's door from
Scobie's hook the night before.

REPAIRMAN
 Monsieur, next time, please, use the keyhole. Dyle
unlocks the Regina's door and goes in. Inside, Regina gets off
her bed and runs over to the door of her room—her head against
it, listening.

REGINA
 Is that you?

DYLE
 Yeah.

REGINA
 You gonna open up?

DYLE
Sure, wait a minute.

REGINA [the lock clicks and the door opens] 
Don't you know it's
impolite to leave someone holding...
[she sees the rip in his jackets he's holding] 
the phone. What happened?

DYLE
 Oh, I met a man with sharp nails.

REGINA [she turns him round, looking at his back]
  Scobie?

DYLE
 Mmm-hmm. I left him hanging around the American Express.

REGINA
 Come in; 
[going into the next room] 
I've got something that stings like crazy.

DYLE
 Yeah, you're the kind of girl who'd have something like
that.

REGINA
 Sit down.

DYLE [reaching for the chair, turning to look at what she has
brought in] 
Er, wait, wait, wait, wait a moment, wh- what is that
stuff?

REGINA [she takes out some cotton wool as he sits on the chair,
in reverse] 
Marvellous stuff. It's gonna hurt you much more than
it's gonna hurt me.

DYLE
 I'll bet—[as Regina rips his shirt open at the back] oh!
Did you hear something rip?

REGINA
 No.

DYLE
 Oh, that's odd. 
[In pain as she dabs the antiseptic on] 
Oh! Listen, I- I only came here for an estimate.

REGINA
 Sit still. It's not too bad.

DYLE
 Oh.

REGINA
 You won't be able to lie on your back for a few days; but
then you can lie from any position, can't you?

DYLE
 Oh, oh...

REGINA
 Does it hurt?

DYLE
 No, no...—What, what?

REGINA
 Does it hurt?

DYLE
 Oh, are you kidding? Have you got a bullet I can bite, like
they do in the movies?

REGINA
 Are you really Carson Dyle's brother?

DYLE [loosening his tie]
 Well, would you like to see my passport?

REGINA
 Passport—what kind of a proof is that?

DYLE
 No? Would you like to see where I was tattooed?

REGINA
 Yes.

DYLE
 Alright, we'll drive around that way.

REGINA
 Could at least tell me what your first name is these
days.

DYLE
 Alexander.

REGINA
 Ok, Alexander: you're done.

DYLE
 Good.

REGINA [as he gets up] 
You're a new man.

DYLE [walking to his room via the connecting door]
 I'm sorry the
old one couldn't tell you the truth but I had to find out your
part in all this.

REGINA [sitting down]
Is there a Mrs. Dyle?

DYLE
 Yes. But we're divorced.

REGINA
 I thought that was Peter Joshua?

DYLE
 I'm just as difficult to live with as he was.

REGINA
 Alex: how can you tell if someone's lying or not?

DYLE [coming back in, putting on a new shirt] 
You can't.

REGINA
 There must be some way.

DYLE
 Now, now, there's an old ridle about two tribes of Indians.
[Buttoning his cuffs] 
The whitefeet always tell the truth and the
blackfeet always lie. So one day you meet an Indian. You say:
Hey, Indian, what are you: a truthful whitefoot or a lying
blackfoot? He says, I'm a truthful whitefoot. Well, which is he?

REGINA
 Well, why couldn't you just look at his feet?

DYLE
 Because he's wearing mocassins.

REGINA
 Well, then, he's a truthful whitefoot, of course.

DYLE
 Well, why not a lying blackfoot?

REGINA. Which one are you

DYLE [buttoning his shirt]
 A truthful whitefoot.

REGINA
 Come in. Sit down.

DYLE
 Why, do you want to look at my feet? [he goes to sit down].

REGINA
 Yes [she walks over to him and sits on his lap].

DYLE
 Uh-oh, oh... hey, knock it off, knock it off. Now, come on,
Reggie, listen to me.

REGINA
 Ah, here it comes: the fatherly talk. You forget I'm
already a widow.

DYLE
 So was Juliet at fifteen.

REGINA
 Mmm, but I'm not fifteen.

DYLE
 Well, that's your trouble: you're too old for me.

REGINA
 Can't you be serious?

DYLE
 Oh, you just said an horrible word.

REGINA [laughing] 
What did I say?

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. I especially
don't want you to be.

REGINA
 Ok, we'll just sit around all day long being frivolous;
how about that? Hmm? [she starts kissing him on his cheek].

DYLE
 Reggie: cut it out.

REGINA [she stops and sits up]
 Ok.

DYLE
 Well, now what are you doing?

REGINA
Cutting it out.

DYLE
Who told you to do that?

REGINA
 You did.

DYLE
 Oh, I'm not through complaining yet.

REGINA [smiling; sexily] 
Oh... 
[she leans forward and starts to kiss him again]

DYLE
 Now, cut it out.

REGINA
 Alex, I think I love you.
 [They kiss and then the telephone starts ringing].

DYLE
Hey, the telephone's ringing.

REGINA [continuing to kiss him] 
Mmm, never mind. Whoever it is won't give up. And neither will I.

DYLE [reaching for the phone] 
Just a minute, here. 
[Handing her the receiver]
 Come on, take it.

REGINA [to the phone] 
Hello. I'm sorry, er... 
[still kissing him]
I was just, er... nibbling on something.

TEX [lying in bed, watched over by Gideon] 
Say, I'd appreciate it
mighty highly if you'd, er, wiggle on over to room forty-six and
chew the fat for a spell.

REGINA
 Could you give me one good reason why I should?

TEX
Yeah: a little one; about six or seven. Keeps calling for Aunt Reggie.
 [Laughs] 
Ain't that cute?

REGINA [covering the receiver] 
They've got Jean-Louis! 
[To the phone] 
I'll be right there. In one of the villains' rooms Scobie
has Jean-Louis sitting on his lap.

SCOBIE
 Hey, Tex, do somethin' with this kid, will ya'? my whole
leg's goin' to sleep.

TEX [lifting Jean-Louis and onto the drawers] 
Oopsy daisy.

JEAN-LOUIS
 Are you a real cowboy?

TEX
 Huh, yeah, sure am, kid.

JEAN-LOUIS
 So where's your gun? 
[Tex takes it out and twirls it around].

GIDEON
 Will you put that thing away?!

 Regina enters, followed
by Dyle.

REGINA.
Jean-Louis!

TEX
 Howdy, Miss Lampert.

SCOBIE
 Now, who invited him?

DYLE [still tucking his shirt in] 
Well, Herman, see you had a happy landing.

REGINA
 I must call Sylvie right away, I—.

GIDEON [slams the door shut] 
I'm afraid that'll have to wait, Mrs. Lampert.

REGINA
 It's his mother.

GIDEON
She won't be anybody's mother unless you answer some
questions!

TEX
 'S ain't no game, Mrs. Lampert.

SCOBIE
 We want that money now!

DYLE
 Why don't you keep quiet and stop threatening the child? He
hasn't got the money. And neither has Mrs. Lampert.

SCOBIE
 Then who does?

DYLE
 I don't know, Herman; maybe you do.

SCOBIE
 Me?

DYLE
 Or you.

TEX
 Oh...

DYLE
 Or him.

GIDEON
 Why, that's the most ridiculous thing I ever—.

SCOBIE [to the other two] 
Listen to this man.

TEX
 Man's goin' to loco*.

DYLE
 Now hold it. Suppose one of you found Charles here in
Paris—even bumped into him by accident; followed him when he
tried to run out again; cornered him on the train; threw him out
the window and without bothering to tell the other two took all
the money for yourself.

SCOBIE
 If one of us did that he wouldn't hang around here
waitin' for the other two to figure it out.

DYLE
 But he'd have to, don't you see? If he left, he'd be
admitting his guilt. 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.

SCOBIE
He's just tryin' to throw us off. They got it, I tell ya.
Why don't we search the rooms?

DYLE
 That's alright with us.

TEX [tucking his gun back in]
 Well then, what are we wastin' time
for; let's go.

DYLE
 While we're waiting, we'll search yours.

SCOBIE
 Not my room!

DYLE
 Well, Herman. You have something to hide? Then there are no
objections. Alright, here's my key.

SCOBIE [snatching it from him as he leaves] 
I'll take that.

REGINA
My room's open.

DYLE [stopping Gideon on his way out] Hey, wait a minute—. 
[He motions for him to hand over his key].

TEX [on his way out; holding his hands up, surrendering] 
Now, you two just make yourselves to home here.

DYLE
 Well, let's get busy. Come on, Jean-Louis, come along.
[Lifting him up] 
Oh, that's fine. Who gets your vote?

REGINA [as Dyle puts Jean-Louis down on the bed] 
Scobie—he's the one that objected.

DYLE
 Alright, I'll take Tex's room here and Gideon's. You take
Jean-Louis with you and bolt the door from inside.

REGINA [her arm around Jean-Louis]
 Come on, Jean-Louis, we'll have a treasure hunt, ok? 
[she takes his hand to lead him out].

In Regina's room, Gideon is opening a Lufthansa travel bag while
Tex goes through the drawers.

GIDEON
 Tex?

TEX [looking at the materials he takes out of the bag] 
Man, it's Charlie's stuff.

GIDEON
 Looks like, eh?

TEX
 You gonna call Herman?

GIDEON
 What for? If it's not here why bother 'im?

TEX
 And if it is?

GIDEON
 Why bother 'im?
[Tex laughs and Gideon chuckles with him].

TEX
 Sure there's nothin' missin'?

GIDEON [opening an envelope from the bag and looking at the paper] 
No, everything's here: the police have kindly provided us
with a list.

TEX
 Sure ain't nothin' here worth no quarter of a million
dollars.

GIDEON
 Not unless we're blind. [Going over to the wardrobe] I
keep tellin' myself: we've stolen a great deal of money, but up
to now I'm yet to see a penny of it.

TEX
 You think maybe we're fishin' up the wrong stream?

GIDEON
 Meanin' what?

TEX
 Suppose one of us has it, you know, like the man says? Now,
that'd be mighty distasteful, us bein' veterans of the war same
war, an' all.

GIDEON [walking over, face to face with Tex] 
Well, you know I'd
tell you if I had it.

TEX
 Oh, naturally; just like I'd tell you if I had it.

GIDEON
 Naturally. And that goes for Herman too.

TEX & GIDEON
 Naturally! Regina lies on a bed with Jean-Louis in
her lap, talking on the phone.

REGINA
 He's alright, Sylvie, honestly. Just hurry over as soon
as you can. Ok, goodbye [she puts the phone down]. Now: if you
had a treasure, where would you hide it?

JEAN-LOUIS
I would bury it in the garden.

REGINA
 Swell, but this man doesn't have a garden.

JEAN-LOUIS
 Oh, neither do I.

REGINA
 You don't? Well, if you'd hide it in this room where
would you put it?

JEAN-LOUIS [they look around] 
Up there.

REGINA
 On top of that cupboard? You know something: you may be
right! [She goes over to the cupboard, taking a chair and
climbing on to reach the top] Oh, I hope I don't find any hairy
little things living up here. Hey, there is something! and it's
heavy. [Regina pulls a suitcase into view].

JEAN-LOUIS [jumping up and down] 
I found it, I found it, I found it, I found it.

REGINA
 If you think you're getting credit for this, you're
crazy.

JEAN-LOUIS [running out into the hall]
 We won, we won, we won. We
won, we won, we won. 
[To the men as they run out of their rooms:
Dyle, then Tex, then Gideon] 
We found it, we found it.

DYLE
 Did you find it?

REGINA [Regina stands against the wall]
 No.

GIDEON
 What d'you mean, no?

TEX
 Yeah, the kid was yellin' there—.

JEAN-LOUIS [jumping, pointing to the top of the cupboard]
 Up there, it's up there.

REGINA
 Believe me, there's nothing up there.

TEX [taking the chair over]
 Oh yeah? 
[He climbs on and peers over the top, seeing the case] 
Oh! 
[He looks at Gideon, smiling, then
takes the case down, puts it on the bed, and opens it. 
It contains a hook] 
Jumpin' freehole, these are Herman's spare.
[Gideon looks on, disappointed].

REGINA
 Where is he?

DYLE
 He's over in my room. [They look at each other in silence
then go out and across the hall into Dyle's room. There's a
puddle of water forming outside the bathroom door, the sound of
rushing water inside]. You'd better take the boy out in the hall.
Dyle opens the door and they look inside: Scobie is lying in the
bath completely submerged, his eyes open.

TEX [as Dyle turns off the taps]
 Oh, now who would have done a
mean thing like that?

DYLE
 I'm not quite sure.

TEX
 Well, this ain't my room.

GIDEON
 Mine neither.

DYLE
 Oh, the police aren't gonna like this a bit. 
[He shakes his head, tutting, as he goes out. 
The other two go in for a closer
look].

GIDEON
 We- we could dry him off and take him down the hall to
his own room. He really doesn't look too bad.

TEX [looking at the body] 
Oh, poor ol' Herman. Seems like him and
good luck always was strangers. Well, maybe now he'll meet up
with his other hand someplace. In the morning the cleaning woman
comes up, carrying a rag and mop. She looks into the room, her
eyes fixed on something, and screams. It is Scobie's body, dried
off and lying in bed, his eyes fixed on the ceiling.

Grandpierre's office. Grandpierre sits at his desk, facing
Regina and Dyle. Tex looks on next to them, standing; Gideon in a
chair round the side of the desk.

GRANDPIERRE
 A man, drowned in his bed? Impossible. And in his
pyjamas—the second one in his pyjamas. C'est trop stupid. Stop
lying to me. 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. Mr. Dyle or Mr. Joshua: which is it?

DYLE
 Dyle.

GRANDPIERRE
 And yet you registered in measure as Mr. Joshua.
Don't you know it was against the law to register under an
assumed name?

DYLE
 No, I didn't.

REGINA
 It's done in America all the time.

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. Gideon
sneezes loudly.

Later on and Dyle and Regina are walking down by the Seine.

REGINA
 Who do you think did it? Gideon?

DYLE
 Possibly.

REGINA
 Or Tex?

DYLE
 Possibly.

REGINA
 You're a fat lot of help.

DYLE
 Mmm, that's right.

REGINA [stopping as they pass an icecream stand] 
Can I have one
of those?

DYLE
 One of what?

REGINA
 I think Tex did it.

DYLE [as they go to the icecream stand]
 Oh. [Regina asks the
icecream seller in French for an icecream]. Why do you think Tex
did it?

REGINA
 Because I really suspect Gideon and it's always the
person you don't suspect.

DYLE
 Do women think it feminine to be so illogical or can't they
help it?

REGINA
 What's so illogical about that?

DYLE
 Well, you just said that it's always the one you don't
suspect and you suspect Gideon so it must be Tex. But on the
other hand if you suspect Tex it must be the other fellow,
Gideon.

REGINA
 I guess they just can't help it.

DYLE [as they continue, Regina licking her icecream] 
Hmm? who?

REGINA
 Women.

DYLE
 Oh.

REGINA
 You know, I can't help feeling rather sorry for Scobie.
Wouldn't it be nice if we were like that?

DYLE
 What, like Scobie?

REGINA
 No, Gene Kelly. You remember when he danced down here by
the river in An American in Paris without a care in the world?

DYLE
 Hmm.

REGINA
 You know, this is good. Want some? [she waves the
icecream at him but the top come off, landing on his jacket.
Regina laughs].

DYLE
 No thanks. And I guess you don't, do you? Now give me that.
[He takes the icecream].

REGINA
 I'm sorry. [Dyle drops what's left into the river,
licking a finger clean. Turning serious] Alex: I'm scared.

DYLE [wiping his glasses]
Yes, I know.

REGINA
 I can't think of any reason why he was killed.

DYLE
 Well, perhaps someone thought the four shares too many.

REGINA
 What makes you think this someone is going to be
satisfied with three? He wants it all, Alex—that means we're in
his way too.

DYLE
 That's right.

REGINA
 We've got to do something! I mean, any minute now we
could be assassinated. Would you do anything like that?

DYLE
 What, assassinate someone?

REGINA
 No: swing down from there on a rope to save the woman you
love. Like the Hunchback of Notre Dame.

DYLE
 Er— huh? [Looking up at Notre Dame cathedral] Oh, who put
that there? Later at the hotel. They exit the lift outside their
rooms.

REGINA
 Hurry up and change; I'm starved.

DYLE
 Let me know what you wanna eat so I can pick out a suit
that matches [laughs, comicly. They go inside]. Regina goes
inside, taking off her hat in front of the mirror. She goes to
the connecting door, trying to open it but it's locked.

DYLE [loosening his tie] 
What do you want?

REGINA [taking off her gloves]
 It's the house detective: why
don't you have a girl in there?

DYLE
 God, you're a pest. [Goes over to the bathroom].

REGINA
 Can I come in?

DYLE
 No! I'm gonna take a bath.

REGINA
 Ooh, wouldn't it better if you did it in here?

DYLE
 What for?

REGINA
 Well, I wouldn't want to use that tub. And anyway, I
don't want to be alone; I'm afraid.

DYLE
 You're only next door; if anything happens, holler. [He
goes into the bathroom]. Regina stands behind the door and
screams at the top of her voice. Dyle runs from the bathroom into
her room.

DYLE [running in] Reggie?

REGINA [she closes the door behind him, locking it] 
Gotcha! 
[she laughs].

DYLE [turning round] 
Did you ever hear the story of the boy who
cried wolf?

REGINA
 The shower's in there.

DYLE [walking to the door] 
Oh. Come on, Reggie, open the door
[she doesn't move].

REGINA
 This is a ludicrous situation: I think of a dozen men who
are just longing to use my shower.

DYLE
 Well, why don't you call one of them?

REGINA
 I dare you.

DYLE
 Oh, you're a nut [he sits down, untying his shoes].

REGINA
 What are you doing?

DYLE
 Taking off my shoes; what do you think I'm doing? Did you
ever hear of anyone taking a shower with their shoes on? [Starts
humming, going to the bathroom] I usually sing a medley of old
favourites when I'm in the shower. [Stopping as he goes in] Oh:
any requests?

REGINA
 Shut the door.

DYLE
 Oh, I'm afraid I don't know that one, Miss. [Continuing on]
Well...

REGINA
 Shut the door!

DYLE
 Why? Come in and watch. [He turns on the shower and gets
in, fully clothed. He sings, "do-de-do"ing, as he rubs himself
down with soap. Regina stands agape] Drip-dry!

REGINA
 How often do you go through this little ritual?

DYLE
 Oh, every day; the manufacturer recommends it.

REGINA
 I don't believe it.

DYLE
 Oh yes, it's— wait a minute. Read the label... look, look
at the small print: "Wearing this suit during washing helps
protect its shape". Waterproof. [Pulling off his belt, holding it
up] Acronylon, * resistant, plastic, [the phone rings] rust-
proof, fly-proof, proo-proof*!

REGINA
 You're the nut! [she shuts the door and, laughing, goes
to answer the phone]. Yes?

BARTHOLOMEW [in a room, probably a library, doing exercises:
kneeling down then standing up, repeatedly, as he speaks]
 Mrs. Lampert: Bartholomew. I spoke to Washington, Mrs. Lampert.

REGINA
 Go ahead, Mr. Bartholomew, I'm listening.

BARTHOLOMEW
 Well, I er, told them what you said about this man
being Carson Dyle's brother. [He stops the exercise] I asked them
what they knew about it and they told me. You're not gonna like
this, Mrs. Lampert: Carson Dyle had no brother. [Regina pauses]
Mrs. Lampert?

REGINA [grim-faced] 
Are you sure there's no mistake?

BARTHOLOMEW
 None whatsoever. Please be careful, Mrs. Lampert.
Bye. [Regina puts down the phone].

DYLE [coming into the room in a white dressing-gown] 
I left all my drip-dry dripping—is that alright? What's the matter, is
something wrong?
 [Seeing her expression unchanged] Oh, you're
probably weak from hunger—you've only eaten five times today.
I'll get someone to fix up my suit quickly and take you out to
dinner.

REGINA
Let's go somewhere crowded; I feel like a lot of people.
Nighttime, on a restaurant barge on the Seine. They sit at a
table, Regina still grim-faced.

DYLE
 Hey, you know this thing is still damp? You haven't spoken
a word for twenty minutes.

REGINA
 I was thinking about Charles and Scobie and who's going
to be next—Me? I don't suppose you know who the murderer is, do
you?

DYLE
 No, not yet.

REGINA
 Whoever's left alive at the end will pretty much have
sewn up the nomination, don't you think?

DYLE
 What are you trying to say: that I might have killed
Charles and Scobie? What do I have to do to satisfy you—become
the next victim?

REGINA
 It's a start anyway.

DYLE
 I can't understand you at all. One minute you're chasing me
around the shower room and the next minute you're accusing me of
murder.

REGINA
 Carson Dyle had no brother
[she gets up, sitting against
the table and looking out across the river].

DYLE [getting up, leaning on the rail] 
Oh, I can explain that if
you'll just listen.

REGINA
 Well, I can't very well leave without a pair of water
wings, can I?

DYLE
 Alright, get set for the story of my life.

REGINA
 Fiction or non-fiction?

DYLE
 Er— Why don't you shut up?

REGINA
 Well...

DYLE
 Are you going to listen?

REGINA
 Go on.

DYLE
 Alright. Now, when I was a young man my father expected me
to go into his business—umbrella frames, that's what he made. Oh,
a sensible business, I suppose, but I didn't have the sense in
those days to be sensible.

REGINA
 I suppose all this is leading somewhere?

DYLE
 Well, it led me away from umbrella frames, for one thing.
But that left me without any honest means of support.

REGINA
 What do you mean?

DYLE
 Well, in this highly competitive world, when a man has no
profession there isn't much choice, so I began looking for people
who had more money than they needed, including some they barely
miss.

REGINA
 You mean, you're a thief?

DYLE
 Well, that's not exactly the term I'd have chosen but it
sort of captures the spirit of the thing [he smiles at her].

REGINA
 I don't believe it.

DYLE
I can't really blame you now.

REGINA
 But I do believe it—that's what I don't believe. So it's
goodbye Alexander Dyle and welcome home Peter Joshua.

DYLE
 Hmm—Sorry, the name's Adam Canfield.

REGINA [amazed]
 Adam Canfield??? Wonderful... Do you realise
you've had three names in the past two days? I don't even know
who I'm talking to any more.

ADAM
 Well, the man's the same even if the name isn't.

REGINA
 No, he isn't the same: Adam Canfield is a crook and I
want to know why.

ADAM
 Well, it's simple: I like what I do, I enjoy my work. There
aren't many men in the world who love their work as much as I do.
Now, you look around sometime.

REGINA
 Is there a Mrs. Canfield?

ADAM
Yes, (& REGINA) but we're divorced. Mmmm, that's right, now
go and eat your dinner.

REGINA. Oh, I could eat a horse.

ADAM [sitting down after her]
 I think that's what you ordered.

REGINA
 Don't you dare be civil with me after leading me on like
this.

ADAM
 How did I lead you on?

REGINA [placing food on her plate] 
Oh, all that marvellous
rejection—you knew I couldn't resist it. And now it turns out all
you're interested in is the money.

ADAM
That's right.

REGINA [shocked at his honesty] 
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?

REGINA
 I don't suppose so.

ADAM
 Mmm, it's a toss-up, I can tell you that.

REGINA
 Mmmm. [Realising what he said] What?

ADAM
 Hasn't it occurred to you that I'm having a tough time
keeping my hands off of you? Oh, you should see your face.

REGINA
 What's the matter with it?

ADAM
It's lovely. [Regina drops her fork]. 
Now what's the
trouble?

REGINA [smiling]
 I'm not hungry anymore, isn't it glorious? [The
barge lights go out suddenly] Adam!

ADAM
 It's alright; come and look. 
[Someone on the boat turns on
a spotlight and shines it at various couples kissing on the
riverbank].

REGINA
 Here you don't look so bad in this light.

ADAM
 Well, why do you think I brought you here?

REGINA
 I thought maybe you wanted me to see the kind of work the
competition was turning out.

ADAM
 Oh... Pretty good, huh?

REGINA
 Mmmm.

ADAM
 I taught them everything they do.

REGINA
 Oh, do they do that kind of thing way back in your day?

ADAM
 Sure. How do you think I got here?

REGINA [she kisses him] 
Not allowed to kiss back, huh?

ADAM
 Oh no. Doctor said it was bad for my thermostat. [They kiss
each other]. Well, when you come on, you come on, don't you?

REGINA
 Well, come on. The barge sails on down the river.

In a bedroom. A phone is ringing. The man in bed wakes up—it's
Gideon. He answers it.

GIDEON
Yeah. Hmmm? In the lobby?
 [Putting on his glasses] 
I—
[seeing the time on the clock]
 Are you out of your mind or
something, it's three-thirty in the morning?! You mean it?
Alright, alright, I'll be right down. Wait a minute. 
[He gets up,
taking his nightgown. He goes outside and walks down the hallway,
putting his nightgown on. The lift comes up to meet him. It goes
down a floor and the light goes off.] 
Hey! hey, hey! Turn on the lights! 
[The lift continues on it's way again] 
Hey, how do you stop this thing? 
[The lift reaches the bottom and Gideon starts
sneezing repeatedly. Suddenly, he screams]. 
Aaaaaaaah! The hotel
porter, in his chair, wakes and goes over to the lift. He presses
the button and it comes up to his floor. Gideon's body lies dead
in it. Later. Inspector Grandpierre is in Gideon's room. He has
been inspecting the body which lies covered on the bed.

GRANDPIERRE [walking towards Dyle and Regina, who are waiting at
the doorway dressed in their bedclothes]
 Three of them. All in their pajamas? 
C'est ridicule. What is it—some new American fad?
And, ah, your friend who lives here... erm, the one from Texas,
he has disappeared—hawoomph—into thin air. Where is he?

ADAM [him and Regina are in their bedclothes] 
I wish I knew.

GRANDPIERRE [to Regina] 
Madame? Tell me, Mr. Dyle: where were you
at three-thirty a.m.?

ADAM
 In my room. Asleep.

GRANDPIERRE
 And you, Mrs. Lampert?

ADAM
 I was too.

GRANDPIERRE
In Mr. Dyle's room?

ADAM
 No, in my room.

GRANDPIERRE
 Obviously you're telling the truth, for why would
you invent such a ridiculous story? And if I were you, I wouldn't
stay in my pajamas. Goodnight. [He leaves].

ADAM
 Well, that wraps it up. Tex has the money. [Taking her arm,
motioning her to her apartment] You go to bed; I'll let you know
when I've found him.

REGINA
 You're going to go looking for him now?

ADAM [walking with her to their rooms]
 Well, if the police find
him first they're not going to turn over that quarter of a
million dollars to us.

REGINA [standing outside her door]
 Oh, Adam!

ADAM [taking off his bedrobe]
 Do as I tell you: go to bed and bolt your door. 
[They go into their rooms].
 Adam's phone is ringing. He answers it.

ADAM
Yeah?

TEX [speaking from a public phone, somewhere]
 Now, you listen to
me, Dyle: Look, I know who's got that money, man, and I want my
share—seems to be growin' and growin' every day. Well, I ain't
disappearin' until I get it.

ADAM
 Where are you, Tex?

TEX
Come on, man; look, my moma didn't raise no stupid children.
Look, I'll tell you what: you wanna find me, well you just look
over your shoulder cause from now on I'm gonna be right behind
you. [He hangs up]. Dyle puts the phone down and goes over and
knocks on the connecting door to Regina's room.

ADAM
Open up.
 [Regina opens the door]. 
I think I was wrong about Tex having the money.

REGINA
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.

REGINA
But I've looked everywhere—you know I have, I—

ADAM
 Let me have the airlines bag.

REGINA
In the wardrobe?

ADAM
 Get in.

REGINA [going to the wardrobe] 
Lord, you're obstinate.

ADAM
Charles must have had it with him on the train when Tex
killed him. 
[Taking the bag] 
Thanks.

REGINA
 Everybody and his Aunt Lilian's been through that bag—
including me.

ADAM [spilling the contents on the bed]
 Ok, we do it again.

REGINA
I've been into it at least once a day. Somebody would
have seen it.

ADAM
It's there, Reggie. We're looking at it right now.
Something on that bed is worth a quarter of a million dollars.

REGINA
 But what?

ADAM
I don't know, I don't know. [Inspecting the items] Four
passports. Steamship ticket. Anything in there?

REGINA [giving him the wallet] 
Nothing.

ADAM
Wallet. Comb? Give me the fountain pen.
 What about that key?

REGINA
To the apartment—matches mine exactly. [Hands it to him].

ADAM
 Oh... [He takes out his glasses to read what's in the
envelope but Regina takes them off him].

REGINA 
I'll bet you don't really need those.
 [Trying them on]
 You need them.
 [She gives them back].

ADAM [putting them on; looking at the letter] 
Well, it still doesn't make sense, 
but it isn't worth a quarter of a million
dollars either.

REGINA [looking at the tin] 
Wait a minute.

ADAM
What?

REGINA
The toothpowder... [gives it to him].

ADAM [shaking it by his ear] 
What about it?

REGINA
Could you recognise heroin just by the taste of it?

ADAM [opens the bottle, puts a bit on his finger and tastes it]
Heroin, peppermint-flavoured heroine.

REGINA
 Well, I guess that's it: dead end.

ADAM
Well, go to bed. You've got to get up and go to work in the
morning; there's nothing more we can do tonight. [He turns to
leave with the bag].

REGINA
I love you, Adam.

ADAM [turning back to her] 
Yes, you told me.

REGINA
No. The last time I said "I love you, Alex".

ADAM
Oh. [Remembering] Oh. [He goes into his room].

The next day, at EURESCO. A few people are sat at the front of a
room, with many others sitting facing them. At the rear of the
room are several glass-covered booths in one of which are Regina,
sat with Sylvie. A man stands up and speaks for a while in
Spanish and then sits down.

REGINA [to Sylvie; sat down with a headset held to her ear]
 Hold it; they're recognising Great Britain. Sylvie says something in
French in a panic and rushes back to her booth, putting on her
headset. A man at the front of the main room stands up and
address the company.

ENGLISH MAN
Mr. Chairman, fellow delegates, my distinguished
colleague from Italy: Her Majesty's delegation has listened with
great patience to the Southern European... Adam rushes into
Regina's booth.

ADAM
Oh, are you on?

REGINA
No, it's alright. What's wrong, Adam?

ADAM
 Nothing's wrong: I think I found something. I was snooping
around Tex's room and came across this in the waste basket. I
stuck it together again.

REGINA [looking at the piece of paper on the desk] 
Well, that's the receipt Grandpierre gave me for Charles's things. 
I don't see how that's going to help.

ADAM
No, you're not looking. Last night when we went through the
airlines bag something was missing: an agenda. That's an
appointment book, isn't it? It wasn't there.

REGINA
That's 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 in it at all?

REGINA
He did say something about Charles's last appointment.

ADAM
With whom? where?

REGINA
I think it only said where.

ADAM
Now, now come on, Reggie: think, think! this may be what
we're looking for!

REGINA
Adam! that money doesn't belong to us! 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.

REGINA
Of course there is!

ADAM
There is?

REGINA
Yes!

ADAM
When did they pass such a silly law? Now think, Reggie:
what was in that appointment book?

REGINA
Oh— it was a place, or a street corner, or something.
Watch it, I'm on. [She presses a button on the panel in front of
her] A French man in the main group stands up to address the
people. Regina starts translating, speaking into the microphone,
behind the soundproof glass. Adam says something in her ear and
she almost forgets herself, quickly returning to the microphone.

REGINA
...of, of the western hemisphere conference... 
[Adam kisses her neck]
 O- Of the western hemisphere conference held on
March twenty-second...—no wait! [The people in the main room
stir, turning round to look at the booth] It was last Thursday,
five o'clock at Jardin des Champs-Élysées. That's it, Adam: the
garden!

ADAM [looking at his watch] 
Well, it's Thursday today and it's almost five o'clock! so come on! 
[They get up and Adam leans down to the microphone] 
No, it's alright, gentlemen: carry on. Regina
and Adam arrive at the garden, near to the Punch and Judy stage,
which is shut.

REGINA
Now what?

ADAM [checking his watch]
Five o'clock, Thursday, the gardens;
must be something around here.

REGINA
Charles's appointment was last week.

ADAM [they start walking, looking around]
 Yes, I know, but this is all we've got left.

REGINA
You're not kidding. Just ten minutes ago I had a job.

ADAM
But now you've got another job so stop groaning and start
looking. [Stopping, pointing] I'll take that side; you poke
around over here. Adam looks around. Carnival music is playing
and the place is busy. Regina looks but doesn't see anything
either. They look around a bit longer but Adam stops, looking at
something just when Regina arrives to meet him.

REGINA
It's hopeless; I don't even know what we're looking for!

ADAM
 I don't think Tex does either.

REGINA
Tex? is he here?

ADAM
Look [she follows his eyes].
 I'm going to see what he's up to. You stay here.

REGINA
Be careful, Adam; he's already killed three men. Adam
follows Tex, who mingles with the crowd at a stamp fair,
searching for something. Suddenly, Tex realises something: he
looks at the stamps around him in understanding. He runs off,
pushing into Adam as he goes past who is inconspicuously looking
at a stall. Adam, perplexed by Tex's sudden reaction looks around
the fair himself, seeing the stamps, then runs off after Tex. Tex
steals someone's taxi as Adam arrives.

ADAM
Wait! wait! Taxi! 
[Adam steals the taxi from the stranger again]. 
Regina arrives at where Adam was a moment ago, looking
around in despair.

Adam runs up the stairs to the hotel room, holding his gun. He
goes into his room, finding Tex there.

ADAM [pointing his gun at Tex, who is casually sitting on the
bed] 
Alright, where's the letter?

TEX
The letter, huh? It ain't worth nothin'.

ADAM
You know what I mean: the envelope with the stamps on it—I
want it.

TEX
You greenhorn. Why, you think-skulled, hare-brained, half-
witted greenhorn! And they was both too smart for us.

ADAM
What are you talking about?

TEX
Well, first her husband, now her. She batted all o' them big
eyes at you and you fell for it like a— an egg from a tall
chicken! You want that envelope: [giving it to him, the stamps
ripped out] there, you take it; it's all yours. You killed all
three of 'em for nothin'! You greenhorn! you blocked-headed
jackass! You ninkompoop!!!

Regina sees Sylvie sitting down reading a magazine.

REGINA
Sylvie: what are you doing here?

SYLVIE [standing up] 
I'm waiting for Jean-Louis.

REGINA
Oh. What's he up to?

SYLVIE
Oh, he was so excited when he got the stamps you gave him
this morning; he said he'd never seen any like them.

REGINA
I'm glad. [Looking at the stalls] What's all this?

SYLVIE
The stamp market. It's there every Thursday afternoon.
That's where Jean-Louis trades his stamps.

REGINA. Good Lord! where is he?

SYLVIE
What's the matter, cherie?

REGINA
The stamps! They're worth a fortune!

SYLVIE. What?

REGINA
A fortune! Come on! 
[She takes Sylvie's hand and they run
into the crowd].

REGINA
Oh, I don't see him anywhere.

SYLVIE
We separate; you look over there.

REGINA
Ok.

SYLVIE
 Jean-Louis! Jean-Louis?

REGINA [seeing a child at a stall] 
Jean-Louis!
 [He turns around but it isn't Jean-Louis].

SYLVIE
Jean-Louis! [Finding him] Jean-Louis. Reggie! Reggie!

REGINA [running to them, bending down to him]
 Jean-Louis, thank heaven; do you have the—
[Seeing the packet he is carrying] 
What's this?

JEAN-LOUIS
A man gave me all those for only three.

REGINA
A man? Oh no, Jean-Louis! Who? Where?

SYLVIE [to Jean-Louis who is looking around] 
Vite, mon cheri, vite. 
[Jean-Louis says something, pointing]

REGINA
Come on!

SYLVIE [they arrive at a stall which says it belongs to a M.
Felix, but it has been closed up]
 Oh, but he's gone.

REGINA
I don't blame him. An old man is looking through a
magnifying glass. There is a knock at the door.

FELIX
Entrez. Regina, Sylvie and Jean-Louis enter the small
office.

REGINA
Monsieur Felix?

FELIX
Oui. [They walk to his desk where he sits] I was expecting
you; I knew you would come. [Presenting the stamps to him] Look
at them, madame. Have you ever in your entire life seen anything
so beautiful?

REGINA
I'm sorry, I don't know anything about stamps.

FELIX
I know them as one knows his own face though I had never
seen them. This one: a Swedish four shilling—called the *,
printed in eighteen fifty-four.

REGINA
What is it worth?

FELIX
Oh, the money is unimportant.

REGINA
I'm afraid it's very important.

FELIX
Well, in your money, perhaps eighty-five thousand dollars.

REGINA
May I sit down?

FELIX
Yes.

REGINA [sitting down] 
And the blue one?

FELIX
Oh, it's called the Hawaiian blue. In eighteen ninety-four
the owner was murdered by a rival collector who was obsessed to
own it.

REGINA
And what is its value today?

FELIX
Sixty-five thousand.

REGINA
 And the last one?

FELIX
Ah, the best for last. The * de la collection; the
masterpiece. It's the most valuable stamp in the world. It's
called the Gazette Mauldives. It was printed by hand on coloured
paper and marked with the initials of the printer. Today it has a
value of a hundred thousand dollars. I'm not a thief, madame. I
knew there was some mistake.

REGINA [she gets up] 
You gave the boy a great many stamps in
return—are they for sale now? 
[She hands him the Jean-Louis's
packet].

FELIX
Oh, let me see. Yes: three hundred and fifty European, two
hundred Asian, a hundred and seventy-five American, a hundred
African, and twelve Princess Grace commemorative—which comes to
ten francs. [She hands him the money] And don't forget these.

REGINA [taking the envelope portion from Felix] 
Thank you. I'm sorry.

FELIX
Oh no: for a few minutes they were mine; that is enough.

Regina runs up the stairs of the hotel.

REGINA [knocking and listening at Adam's door] 
Adam? Adam? 
She goes to her room and the door is open. She goes in and sees Tex
tied by the feet to the radiator and by the hands to the bed; he
has a plastic bag over his face, his mouth open in contortion.
She rushes over but can't do anything for him. She sees Tex's
hand next to the letters DYLE spelt out on the carpet. Wide-eyed
and shocked, not able to take her eyes off the corpse, Regina
walks back and takes the phone. The phone rings at Bartholomew's
home. He is wearing a bedrobe and his face is covered in shaving
cream. He answers the phone.

BARTHOLOMEW
Hello.

REGINA
Mr. Bartholomew?

BARTHOLOMEW
Yes.

REGINA [barely suppressing her distress] 
Tex is dead; smothered.
And Adam did it. He killed them all!

BARTHOLOMEW
 Are you sure?

REGINA
Yes, I'm sure. Tex wrote the word 'Dyle' before he died.
He's the murderer, I tell you!

BARTHOLOMEW
Now, wait a minute; just minute, Mrs. Lampert. Er,
you better give that to me again.

REGINA
It was the stamps on the letter Charles had with him on
the train. There were there in plain view all the time but no one
bothered to look at the envelope.

BARTHOLOMEW
Now, Mrs. Lampert, listen to me: you're not safe so
long as you have these stamps. Let's see, erm... Do you know the
Cinegarden at the Palais Royale?

REGINA
Yes; the colonade?

BARTHOLOMEW
Yes, by the colonade—as fast as you can get there.
Hurry, Mrs. Lampert.

REGINA
I'm leaving right away. Goodbye. 
[She hangs up, goes out of her room and down the stairs].

ADAM [shouting; on his way up in the lift] 
Reggie! The stamps! where are they? 
[The lift reaches the top] 
Reggie: wait! 
[The lift starts down again].

REGINA
Why? so you can kill me too? Tex is dead; he wrote 'Dyle'
on the carpet.

ADAM
I'm not Dyle! you know that!

REGINA
But Tex didn't know it. You're a murderer!

ADAM [from inside the hotel as Regina runs outside] 
Reggie: I want those stamps!

REGINA [to a taxi driver parked outside] 
Palais Royale; vite.
The driver responds in some French, shaking his head meaning she
can't have the taxi. She responds in French but he repeats his
answer. Regina takes off down the street, Adam running after
her. Regina goes down the steps into the subway, pushing past
another person to pay for her ticket. She runs on. Adam follows
after, hurriedly paying for his. Regina gives her ticket to the
ticketman down the next flight of steps. Adam follows,
overshooting the box in his hurry.

TICKETMAN [grabbing Adam by the arm, stopping him] 
Wo-ho! The
ticketman says something in French. Adam stops to have his ticket
processed. Regina runs down a flight of steps onto the subway
plaform (St. Jacques). She sees Adam across the tracks on the
other side. He holds up his hand to indicate her to stop and runs
back the way he came. Regina waits, looking down the tunnel
impatiently. The train arrives and she gets on as Adam starts
down the stairs. Regina crouches on her seat behind the one in
front. As the train doors close, Adam forces them apart and
squeezes through onto the train. Regina sighs with relief, not
seeing him get on. Adam walks through the carriage, looking for
her, and they spot each other through the glass between her
carriage and his. He tries to open it but fails. She stays put in
her seat, waiting for the next station as Adam stands
impatiently, his eye on her. The train slows for the next
station and Regina gets up to leave. The doors open and she gets
out and runs up the steps. Adam rushes out, looking for her,
running into some nuns then follows up the steps. At the next
level he doesn't see any sign of her and runs off down the
corridor. Regina watches him leave from the phone booth in which
she is hiding. She dials a number. A secretary answers.

SECRETARY
American Embassy.

REGINA [whispering] 
American Embassy? Er, Mr. Bartholomew's
office, please.

SECRETARY
Would you speak a little louder, please?

REGINA
I can't speak any louder. Mr. Hamilton Bartholomew.

SECRETARY
I'm sorry, Mr. Bartholomew has left for the day.

REGINA [sighs in despair] 
But someone's trying to kill me.

SECRETARY
What?

REGINA [whispering as loudly as she can]
 Kill me! You've got to
get to him, right away. He's- he's in the centre garden of the
Palais Royale, near the colonade. Tell him I'm trapped in a phone
booth, right below him in the Metro station, and the name's
Lampert! Adam has been running down the corridor buts meets a
dead end. He backtracks to the area with the phone and Regina
hears him, cowering below the level of the phone booth windows.
Adam looks around in despair, returning to look down the stairs.
While his back is turned, Regina creeps out. Adam looks back down
at the bottom of the stairs for her on the plaform. Regina runs
to the exit, however the way is barred.

A phone rings. It is answered by a man we haven't seen before.

SECRETARY
Hello, Mr. Bartholomew?

MR. BARTHOLOMEW
Yes.

SECRETARY
There was a call for you just now, Mr. Bartholomew. It
sounded quite urgent; a Mrs. Lampert.

MR. BARTHOLOMEW
Lampert? I don't any Mrs. Lampert.

SECRETARY
She says she's trapped in a Metro station and
someone's trying to kill her.

MR. BARTHOLOMEW
Trying to kill her? Who does she think I am, the
C.I.A.? Alright, I guess you better call the French police.

The centre garden of the Palais Royale, lined with pillars.
Barholomew is waiting there. Meanwhile, back on the plaform, Adam
continues to look for Regina. Regina peers down the stairs
towards him and creeps down. As she reaches the bottom, Adam's
back to her, he suddenly turns around. She runs firther along the
platform up a different set of stairs, followed again by Adam,
and then out into the street. Adam follows her across the road to
the Palais Royale. She sees Bartholomew standing in front by the
pillars.

REGINA [running towards him] 
Mr. Bartholomew! Mr. Bartholomew!
Help me!

ADAM
Reggie: [stopping, pulls out his gun] stop! That man is
Carson Dyle. Bartholomew looks, frightened, at Adam, and pulls
his gun, hiding behind a pillar. Regina stops, standing in the
open betweeen the two of them.

BARTHOLOMEW
We all know Carson Dyle is dead, Mrs. Lampert.

ADAM
I tell you, he's Carson Dyle.

BARTHOLOMEW
Now, you're not going to believe him. Just bring
those stamps over here; he's trying to trick you again.

ADAM [Regina reaches into her handbag] 
Tex recognized him: that's
why he wrote 'Dyle'. If you take him those stamps, he'll kill you
too. Regina stands perplexed, looking from one man to the other,
each holding his gun.

BARTHOLOMEW
Mrs. Lampert: if I am who he says I am, what's
preventing me from killing you right now?

ADAM
Because he'd have to come out to get the stamps and he
knows he'll never make.

BARTHOLOMEW
Mrs. Lampert: he wants the money for himself—that's
all he's ever wanted.

REGINA [to Adam] 
He's with the C.I.A.; I saw him at the Embassy.

ADAM [emphatically] 
I tell you, he's Carson Dyle!

BARTHOLOMEW [sarcastically] 
That's right, Mrs. Lampert, that's
right: I'm a dead man—look at me!

REGINA [she looks between the two men distressed and in total
confusion] 
Oh! I don't know who anybody is!

ADAM
Reggie: I beg you, just trust me once more.

REGINA [crying out] 
Why should I?!

ADAM
I can't think of a reason in the world why you should.
Regina looks at him for a moment, her expression changing. She
makes a step towards him.

CARLSON DYLE
Stop right now, Mrs. Lampert, or I'll kill you!
Regina freezes.

ADAM
It won't get you the stamps, Dyle: you'll still have to
come out to get them and I'm not likely to miss at this range!

CARLSON DYLE
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. Mrs. Lampert: they knew I was still alive but they left
me there. I spent ten months in a German prison camp with nothing
to stop the pain. They left me there, Mrs. Lampert, they deserved
to die!

REGINA
But I had nothing to do with it!

CARLSON DYLE
You've got the money now! It belongs to me!
[Cautiously, Adam moves away from behind the pillar to the other
side, towards Dyle] 
Mrs. Lampert: they knew I was still alive but
they left me there. That's why I had to kill them—all four of
them. Please believe me, Mrs. Lampert, I'll kill you to, it won't
make any difference. 
[Regina stands terrified] 
It's no use,
you're running out of time. I've come too far to turn back. I
swear I'll kill you!
 [Adam takes aim at Dyle from behind a pillar] 
Make up your mind, Mrs. Lampert, now!

REGINA [screaming] 
Adam! Adam fires, hitting the pillar. They
exchange shots as Regina runs away. Dyle follows and Adam fires
as he runs away, and misses twice. Adam takes off after them.
Regina finds a door and goes through, followed soon after by Dyle
who locks the door. Dyle finds himself in a theatre, Regina
nowhere to be seen. Adam reaches the locked door but has to run
to find another way in. In the theatre Dyle walks down an aisle
toward the stage, peering behind the curtain and, on finding the
lighting box, turns on the stage lights. Adam finds a way in,
entering the theatre in a backstage area. Dyle walks across the
stage, watched by a terrified Regina from the prompter's box. Not
seeing her, Dyle searches around the side of the stage as Adam
walks down the steps to a large room below the stage. He hears
the floorboards creak far above as Dyle walks around stage area.
Knowing where Dyle is, he runs back up the stairs to another
door, but finds it locked. Regina peers across the stage and
ducks down when she hears the noise of Adam trying the door. Her
movement catches the eye of Dyle, searching at the back of the
stage.

CARLSON DYLE
Alright: I know you're in there, Mrs. Lampert; come on out. 
[He starts towards her. Underneath the stage, Adam see a
rack of levers corresponding to the marks on the ceiling marking
out portions of the stage and rushes back down the stairs to them]. 
Do you hear me? Come on out! 
[Adam arrives at where the levers are]. 
I don't want to kill you, but I will. 
[Adam studies the markings 
on the ceiling and then the levers. 
Dyle walks closer to Regina] 
Come on out! 
[Adam puts his hand on a lever,
looks back at the ceiling, listening to Dyle's footsteps then
looks back at the levers, moving his hand to another one. Dyle
stops, his gun trained on where Regina is hiding, terrified] 
Game is over, Mrs. Lampert. 
[Adam fingers the lever, looking up at
where Dyle is. With a quick pull on the lever the section of the
stage where Dyle is standing opens and he falls straight through]
Nooooooooooooo......! 
[He hits the ground hard, dead]. 
Regina peers up in relief and Adam walks over to inspect the body.

Adam and Regina are sitting on the back seat of a taxi driving
through Paris. Adam massages her feet.

REGINA [tired] 
You didn't have to chase me so hard. That one's
done, do this one.

ADAM
Oh [takes her other foot].

REGINA
I'm sorry I thought you were the murderer. But how was I
to know he was as big a liar as you are?

ADAM
Is that all the gratitude I get for saving your hide?
[Putting her foot down, annoyed] 
Here, rub your own big * foot.

REGINA
The truth now: was it my hide or those stamps?

ADAM
Well, what a terrible thing to say; how could you think
that?

REGINA
Then prove it to me. Tell me to go to the Embassy first
thing in the morning and turn in those stamps. [She gets no
reaction] I said, tell me to go to the Embassy first thing in
the—.

ADAM
I heard you, I heard you, I heard you, I heard you.

REGINA
Then say it.

ADAM
Now, Reggie: listen to me, there's something I'd like to
explain—.

REGINA
Never mind; I'll go by myself.

ADAM
Well, what makes you think they're even interested? It's
only a quarter of a million dollars; it'll cost more than that
for them to fix up their book-keeping. Now, as a taxpayer—.

The next day. Adam and Regina are walking to the Embassy.

REGINA
Who's a taxpayer?—crooks don't pay taxes! 
[To a man on guard duty] 
Excuse me, soldier.

MARINE
Marine, ma'am.

REGINA
Oh, forgive me. Who would I see regarding the return of
stolen government money?

MARINE
Well, you might try the treasury department, ma'am: room
two-seventeen, second floor; Mr. Crookshank.

REGINA
Two seventeen—thank you, Marine. In the Embassy. They
get out of the lift. Adam stops her on the way to the door.

ADAM
Er, er, do you mind if I don't go in with you? The sight of
all that money being given away might make me break out. She
shakes her head at him and goes in.

REGINA [addressing the secretary] 
Mr. Crookshank, please; my name
is Lampert.

CROOKSHANK'S SECRETARY
Yes. 
[Taking the phone] 
Mr. Crookshank? 
A Miss—.

REGINA
Mrs.

CROOKSHANK'S SECRETARY
Mrs. Lampert to see you. Yes sir.
[Putting the phone down] Go right in.

REGINA
Thank you. 
[Regina goes through the door into the office.
Her expression turns to surprise when she sees Adam sitting at
the desk. He pulls his face at her playfully. She walks to his
desk] 
Of all the mean, rotten, contemptible, crooked—!

ADAM [offended] 
Crooked? I should think you'd be glad to find out
I'm not crooked.

REGINA
You can't even be honest about being dishonest! Why
didn't you say something?

ADAM
We're not allowed to tell. Now, come on, give me the
stamps.

REGINA
Mmm [goes to take the stamps out and stops] Wait a
minute: How did Carson Dyle get an office in this building
anyway?

ADAM
Oh, when did you meet him?—what time of day, I mean?

REGINA
About one.

ADAM
Hmm, the lunch hour. Probably worked it out in advance:
found an office usually left open and just moved in for the time
you were here.

REGINA
Then how do I know this is your office?

ADAM
Mrs Foster: take a memo to Bartholomew in security
recommending that—.

REGINA [realising] 
Bartholomew...

ADAM
Recommending that Embassy offices be kept locked during
the lunch hour.

REGINA [sitting down]
 Mmm, starting with his own.

ADAM [he gets up, walking to her] 
Mmm-mmm. Now give me the
stamps; come on.

REGINA
And what's your first name, today?

ADAM
Brian.

REGINA [as he sits on the desk]
 Brian Crookshank. Serves me right
if I get stuck with that one.

BRIAN
Well, who asked you to get stuck with any of them?
[Reaching for her handbag] Come on...

REGINA
Is there a Mrs. Crookshank?

BRIAN. Yes.

REGINA
But we're divorced.

BRIAN
No.

REGINA
 Oh.

BRIAN [he takes out his wallet, taking out a photo to show her]
My mother. She lives in Detroit. You'd like her—she'd like you
too. Come on, give me those stamps.

REGINA [crossing her arms] 
Not until you prove to me that you're
really Brian Crookshank.

BRIAN
Alright, one day next week I'll put it on the marriage
license; how about that, if you—.

REGINA
Quit stalling: I want some identification now.

BRIAN
I wouldn't lie on a license—.

REGINA
You can't prove it to me, can you? you're still trying
to—. [Her expression turns to joy] Marriage license! Did you say
marriage license?

BRIAN [as Regina gets up] 
Now, don't change the subject, just
give me the stamps.

REGINA [putting her arms around his neck] 
Oh, I love you Adam,
Alex, Peter, Brian—whatever your name is. Oh, I love you. I hope
we have a lot of boys and we can name them all after you.

BRIAN
Well, alright, but before we start that, may I have the
stamps? She kisses him and they embrace.