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Charade Movie Script

Writer(s) : Peter Stone

Genres : Comedy, Mystery, Romance, Thriller

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                                         CHARADE



                                        Written by

                                        Peter Stone



                                   Based on a story by

                                Peter Stone and Marc Behm



                                                            October 1st, 1962

                

               FADE IN (BEFORE TITLES)

               EXT. FRENCH COUNTRYSIDE -- DUSK

               Silence -- complete silence for the urbanite, though the 
               oncoming darkness is punctuated by the sounds of farm country -- 
               a few birds, a distant rumble of thunder from some heavy 
               clouds on the horizon, a dog's barking.

               CAMERA PANS the green, squared-off flatland, lit only by a 
               fine sunset in its final throes. Then, gradually, starting 
               from nothing, a rumble is heard, quickly growing louder and 
               louder until the sound of a train can be recognized.

               CAMERA PANS quickly, discovering the railroad line atop a 
               man-made rise of land, and the speeding passenger train is 
               upon us, flashing by with a roar.

               Then, as if from nowhere, the figure of a man hits the 
               embankment and rolls crazily down to the bottom into the 
               thick underbrush alongside the tracks.

               CLOSE SHOT -- BODY

               It lies in the bushes, still, unmoving -- dead. CAMERA PANS 
               AWAY to the quiet peaceful countryside as the sound of the 
               train fades off until there is silence once more.

               TITLE MUSIC begins with a crash.

                                      (MAIN TITLES)

               DELETED

               FADE IN:

               EXT. MEGEVE -- DAY

               A handsome and elegant hotel perched on the mountain-side 
               overlooking the French resort town. A large, open sun deck -- 
               tables, gaily colored parasols, sun bathers.

               One of the latter is REGINA LAMPERT, a lovely young girl.

               She is, besides taking in the sun, involved in her favorite 
               activity -- eating.

               Then -- a dark, ominous shape intrudes in the f.g. FOCUS 
               CHANGES to bring into sharp relief a revolver -- shining, 
               black and ugly in the sunlight.

               REGGIE, unaware of her danger, continues to eat.

               The finger tightens around the trigger and finally the gun 
               shoots -- a stream of water arcs, with unerring aim, straight 
               into REGGIE's face.

               ANOTHER ANGLE

               Including JEAN-LOUIS, a French boy of six or so. REGGIE looks 
               at him sternly.

                                     JEAN-LOUIS
                              (in for trouble)
                         Oh, la.

                                     REGGIE
                         Don't tell me you didn't know it was 
                         loaded.
                              (calling)
                         Sylvie!

               WIDER ANGLE

               SYLVIE GAUDET, French, attractive, blonde, in her early 
               thirties, comes from the railing of the sun deck to join 
               REGGIE and JEAN-LOUIS.

                                     REGGIE
                         Isn't there something constructive 
                         he can do -- like start an avalanche?

                                     SYLVIE
                              (to JEAN-LOUIS)
                         Va jouer, mon ange.

               JEAN-LOUIS scampers off, content to have gotten off so 
               lightly. SYLVIE notices REGGIE's lunch which consists of 
               cold chicken, potato salad, rolls and butter, wine and coffee.

                                     SYLVIE
                         When you start to eat like this 
                         something is the matter.

               No answer from REGGIE. SYLVIE begins reading a magazine as 
               REGGIE continues eating.

                                     REGGIE
                         Sylvie -- I'm getting a divorce.

                                     SYLVIE
                         �a alors! From Charles?

                                     REGGIE
                         He's the only husband I've got. I 
                         tried to make it work, I really have -- 
                         but --

                                     SYLVIE
                         But what?

                                     REGGIE
                         I don't know how to explain it. I'm 
                         just too miserable.

               REGGIE picks up a chicken leg and starts off. SYLVIE regards 
               the devastated table before following.

                                     SYLVIE
                         It is infuriating that your 
                         unhappiness does not turn to fat!

               INT. SWIMMING POOL -- DAY

               A magnificent indoor, glass-enclosed pool, the vista of snow-
               covered mountains seen through the ceiling-high windows 
               beyond. REGGIE and SYLVIE are passing through, their 
               conversation continuing.

                                     SYLVIE
                         But why do you want a divorce?

                                     REGGIE
                         Because I don't love him.

                                     SYLVIE
                         But that is no reason to get a 
                         divorce!

               EXT. HOTEL TERRACE -- DAY

               An open balcony running around two sides of the pool, sun-
               worshippers lying in deck-chairs. REGGIE and SYLVIE appear, 
               their conversation continuing.

                                     SYLVIE
                         With a rich husband and this year's 
                         clothes you will not find it difficult 
                         to make some new friends.

                                     REGGIE
                              (sitting)
                         I admit I moved to Paris because I 
                         was tired of American Provincial,

                                      
                         but that doesn't mean I'm ready for 
                         French Traditional. I loathe the 
                         idea of divorce, Sylvie, but -- if 
                         only Charles had been honest with me -- 
                         that's all I ask of anybody -- the 
                         simple truth. But with him, everything 
                         is secrecy and lies. He's hiding 
                         something -- something frightening -- 
                         something terrible -- and evil.

               She stops as she is aware of a weird figure hovering over 
               her. She wheels, terrified.

               CLOSE SHOT -- PERUVIAN SNOW-MASK

               A strange, grotesque knitted mask that completely covers the 
               face except for eyes, nose and mouth. The eyes inside this 
               particular mask stare down at REGGIE.

                                     MAN
                         Does this belong to you?

               CAMERA PANS down to include JEAN-LOUIS, his hand held firmly 
               by the man in the mask.

               WIDER ANGLE

               Including REGGIE, MAN, SYLVIE and JEAN-LOUIS. REGGIE is too 
               terrified to answer. Realizing this, the man, PETER JOSHUA, 
               takes off the snow-mask to reveal a handsome, tanned face.

                                     PETER
                         Oh, forgive me.
                              (indicating JEAN-LOUIS)
                         Is this yours?

                                     REGGIE
                              (indicating SYLVIE)
                         It's hers. Where'd you find him, 
                         robbing a bank?

                                     PETER
                         He was throwing snowballs at Baron 
                         Rothschild.
                              (a pause)
                         We don't know each other, do we?

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

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

                                     REGGIE
                         I'm afraid I already know a great 
                         many people. Until one of them dies 
                         I couldn't possibly meet anyone else.

                                     PETER
                              (smiling)
                         Yes, of course. But you will let me 
                         know if anyone goes on the critical 
                         list
                              (he starts off)

                                     REGGIE
                         Quitter.

                                     PETER
                              (turning)
                         How's that?

                                     REGGIE
                         You give up awfully easy, don't you?

               Eyeing one, then the other, SYLVIE sizes up the situation 
               and rises.

                                     SYLVIE
                         Viens, Jean-Louis, let us take a 
                         walk. I have never seen a Rothschild 
                         before.

               SYLVIE and JEAN-LOUIS start off, but not before the boy 
               squirts PETER with his pistol.

                                     PETER
                              (drying)
                         Clever fellow -- almost missed me.

                                     REGGIE
                         I'm afraid you're blocking my view.

                                     PETER
                              (moving)
                         Sorry. Which view would you like?

                                     REGGIE
                         The one you're blocking. This is the 
                         last chance I have -- I'm flying 
                         back to Paris this afternoon. What's 
                         your name?

                                     PETER
                         Peter Joshua.

                                     REGGIE
                         I'm Regina Lampert.

                                     PETER
                         Is there a Mr. Lampert?

                                     REGGIE
                         Yes.

                                     PETER
                         Good for you.

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

                                     PETER
                         Please, not on my account.

                                     REGGIE
                         No, you see, I don't really love 
                         him.

                                     PETER
                         Well, you're honest, anyway.

                                     REGGIE
                         Yes, I am -- I'm compulsive about it -- 
                         dishonesty infuriates me. Like when 
                         you go into a drugstore.

                                     PETER
                         I'm not sure I --

                                     REGGIE
                         Well, you go in and you ask for some 
                         toothpaste -- the small size -- and 
                         the man brings you the large size. 
                         You tell him you wanted the small 
                         size but he says the large size is 
                         the small size. I always thought the 
                         large size was the largest size, but 
                         he says that the family size, the 
                         economy size and the giant size are 
                         all larger than the large size -- 
                         that the large size is the smallest 
                         size there is.

                                     PETER
                         Oh. I guess.

                                     REGGIE
                         Is there a Mrs. Joshua?

                                     PETER
                         Yes, but we're divorced.

                                     REGGIE
                         That wasn't a proposal -- I was just 
                         curious.

                                     PETER
                         Is your husband with you?

                                     REGGIE
                         Oh, Charles is hardly ever with me. 
                         First it was separate rooms -- now 
                         we're trying it with cities. What do 
                         people call you -- Pete?

                                     PETER
                         Mr. Joshua.
                              (turning to go)
                         Well, I've enjoyed talking with you.

                                     REGGIE
                         Now you're angry.

                                     PETER
                         No, I'm not -- I've got some packing 
                         to do. I'm also going back to Paris 
                         today.

                                     REGGIE
                         Oh. Well, wasn't it Shakespeare who 
                         said: "When strangers do meet they 
                         should erelong see one another again"?

                                     PETER
                         Shakespeare never said that.

                                     REGGIE
                         How do you know?

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

                                     REGGIE
                         Well, the idea's right, anyway. Are 
                         you going to call me?

                                     PETER
                         Are you in the book?

                                     REGGIE
                         Charles is.

                                     PETER
                         Is there only one Charles Lampert?

               DELETED

               CLOSE SHOT -- REGGIE

               Her face clouding.

                                     REGGIE
                         Lord, I hope so.

               EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY

               The Arc de Triomphe at the far end of the Avenue. CAMERA 
               PANS to pick up a TAXI as it pulls up before the handsome 
               building. Inside are REGGIE, SYLVIE and JEAN-LOUIS.

               MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE

               As REGGIE climbs out and the DRIVER begins unloading her 
               suitcases.

                                     REGGIE
                         Goodbye, Sylvie, and thanks.
                              (She turns toward the 
                              house)

               JEAN-LOUIS sticks his head out of the taxi window.

                                     JEAN-LOUIS
                         When you get your divorce will you 
                         be going back to America?

               MED. SHOT -- THE TAXI

               REGGIE looks at SYLVIE, surprised.

                                     SYLVIE
                         He knows everything.

                                     REGGIE
                              (to JEAN-LOUIS)
                         Don't you want me to stay?

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

                                     REGGIE
                         -- you could have the stamps. I'll 
                         get you some here, okay?

                                     JEAN-LOUIS
                         Okay.

               REGGIE walks toward the house with the driver, who carries 
               her cases.  She presses the button that electrically opens 
               the front door.

               DELETED

               INT. APARTMENT LANDING -- DAY

               As the elevator rises REGGIE gets out, followed by the driver.  
               He puts down the bags in front of the apartment door.

                                     REGGIE
                              (handing him a tip)
                         Merci.

               The driver leaves. She goes to the door and presses the 
               minuterie, the button that turns on the time-light, and the 
               lights come on. Then she rings the doorbell. There is no 
               answer. She rings again. Still nothing. Sighing, she digs 
               out her keys and starts to fit it into the lock. At this 
               moment the minuterie expires, plunging the scene into 
               darkness.

                                     REGGIE'S VOICE
                         Wonderful.

               She finds the button and the light goes on again. She inserts 
               the key and turns it.

               INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY

               CLOSE SHOT -- DOOR as it opens and REGGIE steps into the 
               CLOSE SHOT.

               She stops, her expression changing.

               REVERSE SHOT

               From REGGIE's p.o.v. as CAMERA PANS the entrance hall. It is 
               bare -- no furniture, no rug, no pictures, no nothing.

               MED. SHOT -- REGGIE

               She stares for a moment, then goes back out into the landing.

               INT. APARTMENT LANDING -- DAY

               As REGGIE steps back outside. She looks at the nameplate 
               beside the door.

               INSERT NAMEPLATE

               It reads "MR. AND MRS. CHARLES LAMPERT."

               INT. APARTMENT LANDING -- DAY

               REGGIE looks at the plate in disbelief, then turns and hurries 
               back into the apartment.

               INT. LAMPERT APARTMENT -- DAY

               As REGGIE hurries into the entrance hall.

                                     REGGIE
                         Honorine -- !

               No answer.

               Now, CAMERA FOLLOWING, she goes into the Salon. It is also 
               empty -- stripped bare. There are squares of the wall's 
               original color where paintings used to hang, the hooks still 
               in the wall.

               She rushes now, going into the bedroom, CAMERA FOLLOWING 
               crazily, lurching and careening behind her. The bedroom, 
               too, is empty. She goes to the built-in wardrobe closets and 
               throws open all the doors. Only some hangers remain.

               She pulls open the drawers -- nothing!

                                     REGGIE
                         Charles -- !

               She turns, and running now, goes through another door to the 
               library, CAMERA FOLLOWING. The rows of shelves are as empty 
               as the rest of the apartment. She begins to turn in a circle, 
               looking for something, anything. In a panic she turns and 
               runs out, colliding suddenly with a MAN whom she (and we) 
               have not noticed until the moment of impact.

               REGGIE screams.

               CLOSE SHOT -- INSPECTOR GRANDPIERRE

               A heavy-set man of no particular age with tobacco-colored 
               hair, and thick glasses.

                                     GRANDPIERRE
                         Madame Charles Lampert?

               WIDER ANGLE

               Including REGGIE, in a state of near-shock.

                                     REGGIE
                         Yes.

                                     GRANDPIERRE
                         I am Inspector Edouard Grandpierre 
                         of the Police Judiciaire. Would you 
                         be so kind as to come with me, please?

               INT. MORGUE -- DAY

               We see a large metal drawer being opened and an all-too- 
               familiar shape outlined under a damp sheet of muslin.

               ANOTHER ANGLE -- OVERHEAD

               Looking straight down at the tops of REGGIE's, GRANDPIERRE's 
               and an ATTENDANT's head and smack into the open drawer.

               GRANDPIERRE lifts a corner of the sheet at the bottom and 
               reveals a bare foot with a ticket tied to its big toe.

               He stoops to read it. Satisfied, he recovers the foot, then 
               moves to the other end to uncover the head.  As the sheet 
               starts to lift:

               REVERSE SHOT

               REGGIE as she looks down into the CAMERA. She closes her 
               eyes for a moment, then looks again.

                                     GRANDPIERRE'S VOICE (O.S.)
                         Well, Madame -- ?

               She nods.

                                     GRANDPIERRE'S VOICE (O.S.)
                         You are positive?

               She nods again. GRANDPIERRE moves into the SHOT.

                                     GRANDPIERRE
                         You loved him?

                                     REGGIE
                         I'm very cold.

               GRANDPIERRE nods as he turns to the unseen ATTENDANT.

               CAMERA suddenly moves as the 'drawer' is slid back into the 
               wall. BLACKNESS comes with a loud clang and continues while 
               the echo dies.

               INT. GRANDPIERRE'S OFFICE -- DAY

               CLOSE SHOT -- DESK DRAWER (FROM ABOVE) as it is pulled open.

               A photograph of Charles Lampert lies face up in the drawer.

               A hand reaches in and pulls it out.

               WIDER ANGLE

               Including GRANDPIERRE sitting behind his desk, and REGGIE, 
               sitting across from him. The office is as bare as most 
               policemen's offices. GRANDPIERRE studies the photo.

                                     GRANDPIERRE
                         We discovered your husband's body 
                         lying next to the tracks of the Paris-
                         Bourdeaux railroad line. He was 
                         dressed only in his pajamas. Do you 
                         know of any reason why he might have 
                         wished to leave France?

                                     REGGIE
                         Leave?

                                     GRANDPIERRE
                         Your husband possessed a ticket of 
                         passage on the 'Maranguape.' It sailed 
                         from Bordeaux for Maracaibo this 
                         morning at seven.

                                     REGGIE
                              (a pause)
                         I'm very confused.

               She starts to rummage through her bag. GRANDPIERRE shoves a 
               package of French cigarettes across the desk to her. But she 
               pulls a package of nuts out of her bag. She begins separating 
               the shells with her thumb nail and eating the nuts, depositing 
               the shells in the ashtray. GRANDPIERRE watches this for an 
               instant.

                                     GRANDPIERRE
                         He was American?

                                     REGGIE
                         Swiss.

                                     GRANDPIERRE
                         Oh. Swiss. His profession?

                                     REGGIE
                         He didn't have one.

                                     GRANDPIERRE
                         He was a wealthy man?

                                     REGGIE
                         I don't know. I suppose so.

                                     GRANDPIERRE
                         About how wealthy would you say?

                                     REGGIE
                         I don't know.

                                     GRANDPIERRE
                         Where did he keep his money?

                                     REGGIE
                         I don't know.

                                     GRANDPIERRE
                         Besides yourself, who is his nearest 
                         relation?

                                     REGGIE
                         I don't know.

                                     GRANDPIERRE
                              (exploding)
                         C'est absurde, Madame. To-tale-ment 
                         absurde!

                                     REGGIE
                         I know.
                              (pause)
                         I'm sorry.

                                     GRANDPIERRE
                         It is all right.

               GRANDPIERRE sighs, puts down his pencil and pushes a button 
               on the desk. He removes a cigar from his desk and inserts it 
               into his mouth.

                                     GRANDPIERRE
                         Is it all right?

                                     REGGIE
                         I wish you wouldn't.

               He rips the cigar out of his mouth and slams it back into 
               the drawer, closing it fiercely. A UNIFORMED POLICEMAN sticks 
               his head in the door.

                                     GRANDPIERRE
                         Les effets de Lampert.

               The POLICEMAN leaves and closes the door.

                                     GRANDPIERRE
                         On Wednesday last your husband sold 
                         the entire contents of the apartment 
                         at public auction. Furniture, 
                         clothing, kitchenware -- everything. 
                         The gallery, in complying with his 
                         wishes, paid him in cash. One million 
                         two hundred and fifty thousand New 
                         Francs. In dollars, a quarter of a 
                         million. The authorities in Bordeaux 
                         have searched his compartment on the 
                         train. They have searched it 
                         thoroughly. They did not find 
                         $250,000, Madame.

               He opens the desk drawer, puts the cigar back in his mouth 
               and lights a match by scratching it against the glass desk-
               top before he remembers REGGIE's request. He puts it back in 
               the drawer again. The door opens and the POLICEMAN enters 
               again, this time carrying a wicker basket which he deposits 
               on GRANDPIERRE's desk, and leaves. GRANDPIERRE peers into 
               the basket.

                                     GRANDPIERRE
                         These few things are all that was 
                         found in the train compartment. There 
                         was no other baggage. Your husband 
                         must have been in a great hurry.

               He begins to take them out, placing them on the desk, 
               identifying each item as he does.

                                     GRANDPIERRE
                         One wallet containing four thousand 
                         francs -- one agenda --
                              (pausing, he opens 
                              the notebook)
                         -- his last notation was made 
                         yesterday -- Thursday --
                              (reading)
                         "Five p.m. -- Jardin des Champs-
                         Elys�es"
                              (looking up)
                         Why there?

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

                                     GRANDPIERRE
                              (dryly)
                         Obviously.
                              (returning to the 
                              items in the basket)
                         One ticket of passage to South America -- 
                         one letter, stamped but unsealed, 
                         addressed to you --

                                     REGGIE
                              (lighting up)
                         A letter? May I see it?

               GRANDPIERRE hands her the letter and watches her closely as 
               she reads it.

                                     REGGIE
                              (reading)
                         "My dear Regina: I hope you are 
                         enjoying your holiday. Megeve can be 
                         so lovely this time of year. The 
                         days pass very slowly and I hope to 
                         see you soon. As always, Charles. 
                         P.S. Your dentist called yesterday. 
                         Your appointment has been changed."
                              (she looks up, puzzled)
                         Not very much, is it?

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

                                     REGGIE
                         Did you?

                                     GRANDPIERRE
                         Yes. Your appointment has been 
                         changed.
                              (he smiles at his 
                              little joke, then 
                              returns to the basket)
                         One key to your apartment -- one 
                         comb -- one fountain pen --  one 
                         toothbrush -- one tin of tooth powder
                              (he looks up)
                         -- that is all.

               He slides a sheet of paper and pen across to her, then starts 
               to put the things back into the basket while he speaks:

                                     GRANDPIERRE
                         If you will sign this list you may 
                         take the things with you.

                                     REGGIE
                              (sighing)
                         Is that all? Can I go now?

                                     GRANDPIERRE
                         One more question. Is this your 
                         husband's passport?

               He reaches into the desk drawer and pulls out a passport 
               which he hands to her.

               INSERT -- PASSPORT

               The cover indicates that it is Swiss. REGGIE's hand opens it 
               to a picture of a man -- the man we saw in GRANDPIERRE's 
               photo. Under it is the name: "CHARLES LAMPERT."

               MED. SHOT -- REGGIE AND GRANDPIERRE

                                     REGGIE
                         Of course it is.

                                     GRANDPIERRE
                         And this?

               He hands her another passport.

               INSERT -- SECOND PASSPORT

               The cover is American. When it is opened, we see the identical 
               picture, but the name under it reads: "CHARLES VOSS."

               MED. SHOT -- REGGIE AND GRANDPIERRE

                                     REGGIE
                         I don't understand.

                                     GRANDPIERRE
                         And this? And this?

               He hands her, one at a time, two more passports.

               INSERT -- THIRD AND FOURTH PASSPORTS

               One is Italian which, when opened, shows the same photo with 
               the name "CARLO FABRI." The other is Venezuelan, the same 
               photo, and the name "CARLOS MORENO."

               MED. SHOT -- REGGIE AND GRANDPIERRE

                                     GRANDPIERRE
                         Have you nothing to say, Madame?

               REGGIE looks down at the four passports, then back to 
               GRANDPIERRE.

                                     REGGIE
                              (hopefully)
                         It's all right if you want to smoke 
                         your cigar now.

               INT. LAMPERT APARTMENT -- DUSK

               The house is empty as before. Now it is silent, the late 
               afternoon light coming from outside. REGGIE stands by a 
               window. A canvas airline bag rests on the floor nearby.

               Suddenly there is the noise of a DOOR OPENING.

               CLOSER SHOT -- REGGIE

               As her head turns, in alarm, toward the noise. There is a 
               moment of silence, then FOOTSTEPS are heard, coming closer.

               ANOTHER ANGLE

               As PETER enters.

                                     REGGIE
                              (surprised)
                         What are you doing here?

                                     PETER
                         I phoned but nobody answered. I wanted 
                         to tell you how sorry I am -- and to 
                         find out if there was anything I 
                         could do.

                                     REGGIE
                         How did you find out?

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

                                     REGGIE
                         Thank you.

               A silence.

                                     PETER
                         I rang the bell but I don't think 
                         it's working.

                                     REGGIE
                         Yes it is -- I heard it this morning.

               He looks around for the light switch, then goes to it and 
               flicks it on -- nothing happens. He flicks it a few more 
               times.

                                     REGGIE
                         They must have turned off the 
                         electricity.

               She shakes her head. PETER looks around.

                                     PETER
                         Where did everything go?

                                     REGGIE
                         Charles sold it all -- at auction.

                                     PETER
                         Do you know what you're going to do?

                                     REGGIE
                         Try and get my old job back at UNESCO, 
                         I suppose.

                                     PETER
                         Doing what?

                                     REGGIE
                         I'm a simultaneous translator -- 
                         like Sylvie, only she's English to 
                         French -- I'm French to English. 
                         That's what I did before I married 
                         Charles. The police probably think I 
                         killed him.

                                     PETER
                         Instant divorce you mean?

                                     REGGIE
                         Something like that. But I'm sorry 
                         it ended like this -- tossed off a 
                         train like a sack of third-class 
                         mail.

                                     PETER
                              (Taking her hand)
                         Come on. You can't stay here.

                                     REGGIE
                         I don't know where to go.

                                     PETER
                         We'll find you a hotel.

                                     REGGIE
                         Not too expensive -- I'm not a lady 
                         of leisure anymore.

                                     PETER
                         Something modest but clean -- and 
                         near enough to UNESCO so you can 
                         take a cab when it rains -- okay?

               She nods. He picks up the airlines bag and they start out.

               REGGIE stops at the door and looks back.

                                     REGGIE
                         I loved this room -- but Charles 
                         never saw it -- only what was in it. 
                         All those exquisite things --
                              (looking around)
                         I think I prefer it like this.

               INT. FUNERAL CHAPEL -- DAY

               CLOSE SHOT of a phonograph. A hand appears, starts the record 
               on it spinning, then places the arm at the beginning.

               An instant later ORGAN MUSIC starts with a roar.

               INT. FUNERAL CHAPEL -- DAY

               CLOSE SHOT of the coffin. It rests on a low platform, with a 
               bouquet or two of flowers near the head, the lid open.

               Inside, the face made up to look lifelike (but failing), lie 
               the remnants of Charles Lampert.

               CLOSE SHOT -- GRANDPIERRE

               The INSPECTOR sits quietly, eyes downcast, staring at his 
               hands in a prayer-like attitude. CAMERA PULLS BACK, revealing 
               row after row of empty wooden bench-like seats in the large, 
               dimly-lit, high-ceilinged room. Finally, in the first row, 
               REGGIE and SYLVIE are discovered. Besides GRANDPIERRE, they 
               are the only ones present. REGGIE turns around to look at 
               the empty room. They speak in whispers.

                                     REGGIE
                         It's not exactly what I'd call a 
                         large turn-out.

                                     SYLVIE
                         Didn't Charles have any friends?

                                     REGGIE
                         Don't ask me -- I'm only the widow.
                              (indicating GRANDPIERRE)
                         If Charles had died in bed we wouldn't 
                         even have him.

                                     SYLVIE
                         At least he knows how to behave at 
                         funerals.

               CLOSE SHOT -- GRANDPIERRE

               His eyes still lowered. CAMERA PANS DOWN to feature his hands -- 
               he is methodically trimming his nails with a small clipper.

               TWO SHOT -- SYLVIE AND REGGIE

                                     SYLVIE
                         Have you no idea who could have done 
                         it?

                                     REGGIE
                         Until two days ago all I really knew 
                         about Charles was his name -- now it 
                         turns out I didn't even know that.

               The front DOOR of the Chapel is heard opening and a shaft of 
               daylight streams in. The WOMEN turn.

               MED. SHOT -- CHAPEL DOOR

               The short, heavy-set figure of a MAN is outlined against the 
               bright outdoor light. He stands for a moment, then closes 
               the door after him. LEOPOLD GIDEON, short-sighted, bald, in 
               his middle forties, glances around nervously, like a barnyard 
               bird. Then he walks down one of the side aisles of the Chapel.

               CLOSE SHOT -- GRANDPIERRE

               As he watches GIDEON.

               CLOSE SHOT -- REGGIE

               As she watches him.

               MED. SHOT -- THE BIER

               GIDEON arrives at the coffin. He stops, looks down at 
               LAMPERT's body for a moment. Then, suddenly, in rapid 
               succession, he sneezes six times. He takes a small bottle 
               from his pocket, shakes a pill from it and swallows it dry.

               He turns and walks back up the aisle, looking for a place to 
               sit. He comes face to face with GRANDPIERRE, stops, turns to 
               sit somewhere else.

               TWO SHOT -- REGGIE AND SYLVIE

                                     SYLVIE
                         Do you know him?

                                     REGGIE
                         I've never seen him before.

                                     SYLVIE
                         He must have known Charles pretty 
                         well.

                                     REGGIE
                         How can you tell?

                                     SYLVIE
                         He's allergic to him.

               SYLVIE turns and glances at GIDEON. Again, the sound of the 
               DOOR opening interrupts them. They turn to look.

               MED. SHOT -- CHAPEL DOOR

               Again the figure of a MAN is outlined in silhouette against 
               the outside brightness. When he closes the door we can see 
               "TEX" PENTHOLLOW, a slim, rangy man with sandy-colored hair, 
               a weatherbeaten face, washed-out blue-eyes -- also in his 
               forties. He wears a velvet-corduroy suit, string tie and a 
               bright yellow flower in his lapel. A bulldurham tag hangs 
               from his outside breast pocket, dangling from its string.

               He starts down the aisle toward the bier, CAMERA LEADING 
               him, and we notice his unsteady gait. He turns to look at 
               the others present.

               TRAVELING SHOT -- TEX'S P.O.V.

               MOVING down the aisle. GRANDPIERRE's face, then GIDEON's, 
               then REGGIE's and SYLVIE's -- all staring at CAMERA.

               MED. SHOT -- THE BIER

               As TEX arrives. He stands staring at LAMPERT's body, swaying 
               on his feet until he reaches out and grabs the side of the 
               coffin to steady himself. Then he takes the flower from his 
               lapel and throws it into the open box.

               CLOSE SHOT -- TEX

                                     TEX
                              (heavy Texas accent)
                         Ariva durchy, Charlie.

               WIDER ANGLE

               As TEX turns away from the coffin and approaches REGGIE and 
               SYLVIE, addressing the latter -- after having first reached 
               for his hat which he discovers he isn't wearing.

                                     TEX
                         Miz Lampert, ma'am...

               SYLVIE points to REGGIE. Unruffled, TEX starts over. 
               addressing REGGIE this time.

                                     TEX
                         Miz Lampert, ma'am...

                                     REGGIE
                         Yes?

                                     TEX
                         Charlie had no call to handling it 
                         this-a-way. He sure didn't. No siree.

                                     REGGIE
                         I don't understa--

               But TEX has nodded his head and moved off to find a seat.

               When he spots GIDEON, the two men stare at each other.

               Finally, TEX chooses a seat away from him and sits.

               MED. SHOT -- CHAPEL DOOR

               It flies open, this time with a bang, and the large MAN who 
               appears almost fills the frame.

               CLOSER SHOT -- TEX

               As the loud noise awakens him with a snort, mid-snore.

               MED. SHOT -- THE DOOR

               Closing the door, we see HERMAN SCOBIE, a heavy-weight -- 
               tall and wide, but not fat -- with black hair combed straight 
               back and heavy bushy eyebrows of a matching color, which 
               meet over his nose and join up. About the same age as the 
               first two men, SCOBIE is dressed in a battered raincoat, his 
               hands thrust deep in the pockets. He marches down the aisle. 
               Looking straight ahead, CAMERA PANNING with him. He stops 
               before the coffin and stares into it.

               CLOSE SHOT -- SCOBIE

               As he stares down into the coffin, his tongue trying to 
               dislodge a bit of food caught in his teeth. He stares hard 
               at the body, squinting his eyes. Then he removes one hand 
               from his pocket, removes a pin from the inside of his lapel, 
               picks his teeth with it, then slowly lets the hand down, 
               into the coffin.

               CLOSE SHOT -- SCOBIE'S HAND

               The pin held between thumb and forefinger, he jabs it slowly 
               but positively deep into the back of one of the dead man's 
               hands. There is no reaction.

               CLOSE SHOT -- SCOBIE

               He watches the dead man carefully, still squinting. Then 
               finally satisfied, he returns the pin to his lapel and walks 
               back up the aisle and out of the door, slamming it after 
               him.

               CLOSE SHOT -- REGGIE

               Having watched SCOBIE exit. Suddenly a hand falls on her 
               shoulder. She jumps in alarm and utters a little cry of 
               fright.

               ANOTHER ANGLE

               Featuring a funeral ATTENDANT, a cadaverous type (aren't 
               they all) with a black cut-away coat and an over-solicitous, 
               unctuous manner. He is eternally bent at the waist, in a 
               sort of half bow. He offers REGGIE a letter which she takes.

                                     REGGIE
                         Merci, Monsieur.

                                     ATTENDANT
                         Pas du tout, madame, pardon -- pardon -- 
                         pardon.

               He backs off and is gone. REGGIE looks at the letter, back 
               and front, then starts to open it.

                                     SYLVIE
                         Who is it from?

                                     REGGIE
                         The American Embassy.

               She pulls out the letter and starts to read it.

               INSERT -- THE LETTER

               It bears the Great Seal as a letterhead and the typed message 
               reads:

               "Dear Mrs. Lampert: Please drop by my office tomorrow at 
               noon-thirty. I am anxious to discuss the matter of your late 
               husband's death. Sincerely, (signed) H. Bartholomew."

               TWO SHOT -- REGGIE AND SYLVIE

               SYLVIE has been reading over REGGIE's shoulder.

                                     SYLVIE
                         What is it about?

                                     REGGIE
                         I don't know.  But if this is a sample 
                         of American diplomacy I'm buying a 
                         fallout shelter.

               EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY

               The fine old building in the Rue Gabriel.

               DELETED

               INT. EMBASSY CORRIDOR -- DAY

               As REGGIE leaves the elevator two young DIPLOMATIC TYPES 
               step in, immersed in conversation.

                                     1ST DIPLOMATIC TYPE
                         I bluffed the Old Man out of the 
                         last pot -- with a pair of deuces.

                                     2ND DIPLOMATIC TYPE
                         What's so depressing about that?

                                     1ST DIPLOMATIC TYPE
                         If I can do it, what are the Russians 
                         doing to him?

               The elevator door closes on them. REGGIE reacts to this and 
               starts down the hall, finally stopping at the door.

               MED. SHOT -- DOOR

               It is marked "307-A  H. BARTHOLOMEW." REGGIE checks the 
               letter, then opens the door.

               INT. BARTHOLOMEW'S OUTER OFFICE -- DAY

               The office is empty, the typewriter on the secretary's desk 
               is covered with its plastic shroud. REGGIE enters, looks for 
               somebody, notices that the door to the private office is 
               slightly ajar.

                                     REGGIE
                              (tentatively)
                         Hello -- ?
                              (there is no answer)
                         Hello?

                                     BARTHOLOMEW'S VOICE (O.S.)
                              (from the private 
                              office)
                         Is there anything wrong, Miss 
                         Tompkins?

                                     REGGIE
                         Uh -- Miss Tompkins isn't here.

               BARTHOLOMEW comes to the door and looks in. He is a pale 
               grey-haired man who looks, on first examination, older than 
               his forty-odd years. Sickly would be the word that describes 
               him best -- pallid, consumptive-looking. He wears heavy 
               tortoise-framed glasses which fall down his nose and cause 
               him to push them back in place every so often with a quick 
               automatic motion.

                                     BARTHOLOMEW
                         I'm sorry -- my secretary must have 
                         gone to lunch. You are -- ?

                                     REGGIE
                         Mrs. Lampert -- Mrs. Charles Lampert.

                                     BARTHOLOMEW
                              (looking at his watch)
                         Come in, Mrs. Lampert. You're quite 
                         late.

               He motions for her to enter, standing aside to let her do 
               so.

               INT. BARTHOLOMEW'S PRIVATE OFFICE -- DAY

               A small cubicle -- there is a silver-framed photo of three 
               kids on the desk. BARTHOLOMEW indicates a chair, then goes 
               behind his desk and sits. A can of lighter fluid stands open 
               on the desk and a crumpled hankie beside it.

                                     BARTHOLOMEW
                         Excuse me for a moment, Mrs. Lampert -- 
                         it's a stubborn little devil.

               He works at a stain on his necktie with lighter fluid and 
               hankie.

                                     BARTHOLOMEW
                         Dry-cleaningwise, things are all 
                         fouled up. I had a good man -- an 
                         excellent man on the Rue Ponthieu, 
                         but H.Q. asked us to use the plant 
                         here in the building -- to ease the 
                         gold outflow.

                                     REGGIE
                         Mr. Bartholomew -- are you sure you 
                         know who I am?

                                     BARTHOLOMEW
                              (looking up)
                         Charles Lampert's widow -- yes?
                              (going back to the 
                              tie)
                         Last time I sent out a tie only the 
                         spot came back.

               He looks up at her, laughs silently, then goes back to his 
               tie.

                                     BARTHOLOMEW
                         Voil�! As they say.

               He puts away the lighter fluid in a desk drawer, smells the 
               hankie, passes on it, then sticks it in his pocket.

               He opens another drawer and pulls out various sandwiches 
               wrapped in waxpaper, a salt and pepper shaker, a tube of 
               mustard, a bottle of red wine and two Dixie cups.

                                     BARTHOLOMEW
                         Have some, please. I've got...
                              (checking)
                         ...liverwurst -- liverwurst -- chicken 
                         and -- liverwurst.

                                     REGGIE
                         No thanks.

               He uncorks the wine, fills a cup and begins eating.

                                     BARTHOLOMEW
                         Do you know what C.I.A. is, Mrs. 
                         Lampert?

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

                                     BARTHOLOMEW
                         Central Intelligence Agency -- C.I.A.

                                     REGGIE
                         You mean spies and things like that?

                                     BARTHOLOMEW
                         Only we call them agents.

                                     REGGIE
                         We? You mean you're --?

                                     BARTHOLOMEW
                         Someone has to do it, Mrs. Lampert --

                                     REGGIE
                         I'm sorry, it's just that I didn't 
                         think that you people were supposed 
                         to admit --

                                     BARTHOLOMEW
                         I'm not an agent, Mrs. Lampert -- 
                         I'm an administrator -- a desk jockey -- 
                         trying to run a bureau of overworked 
                         men with under-allocated funds. 
                         Congress seems to think that all a 
                         spy needs --

                                     REGGIE
                         Agent.

                                     BARTHOLOMEW
                         Yes -- That all he needs is a code 
                         book and a cyanide pill and he's in 
                         business.

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

                                     BARTHOLOMEW
                              (his mouth full)
                         Your husband was wanted by the U. S. 
                         government.

                                     REGGIE
                         May I have a sandwich, please?

               He hands her a sandwich and fills a wine-cup for her.

                                     BARTHOLOMEW
                         To be more specific, he was wanted 
                         by this agency.

                                     REGGIE
                              (eating)
                         So that was it.

                                     BARTHOLOMEW
                         Yes. We knew him, of course, by his 
                         real name.

                                     REGGIE
                              (almost choking)
                         His -- real -- ?

                                     BARTHOLOMEW
                         Voss -- Charles Voss. All right, 
                         Mrs. Voss --
                              (taking a photo from 
                              his desk)
                         -- I'd like you to look at this 
                         photograph, please -- by the way, 
                         you saw this one, didn't you?
                              (indicating the kids 
                              on the desk)
                         Scott, Cathy, and Ham, Jr.

                                     REGGIE
                         Very sweet.

                                     BARTHOLOMEW
                         Aren't they?  Now look at this one, 
                         Mrs. Voss, and --

                                     REGGIE
                         Stop calling me that! Lampert's the 
                         name on the marriage license.

                                     BARTHOLOMEW
                         Yes -- and tell me if you recognize 
                         anyone. Just a moment. Have a good 
                         look.

               He reaches back into the drawer and pulls out a glass which 
               he gives her.

               CLOSE SHOT -- PHOTO

               FOUR MEN, all in army uniform, sitting behind a table. The 
               glass is held over the first, magnifying the face.

               CLOSER SHOT -- PHOTO

               It's a photo of a young CHARLES LAMPERT.

                                     REGGIE'S VOICE (O.S.)
                         It's Charles!

                                     BARTHOLOMEW'S VOICE (O.S.)
                         Very good.

                                     REGGIE'S VOICE (O.S.)
                         He looks so young -- when was this 
                         taken?

                                     BARTHOLOMEW'S VOICE (O.S.)
                         1944. The next face, please.

               The glass and CAMERA move to the next man -- a young TEX.

                                     REGGIE'S VOICE (O.S.)
                         It's the man who came to the funeral 
                         yesterday -- I'm sure of it -- a 
                         tall man in a corduroy suit and string 
                         tie.

                                     BARTHOLOMEW'S VOICE (O.S.)
                         Does the name Tex Penthollow mean 
                         anything to you?

                                     REGGIE'S VOICE (O.S.)
                         No.

                                     BARTHOLOMEW'S VOICE (O.S.)
                         Next, please.

               The glass and CAMERA move to the third face -- a young GIDEON.

                                     REGGIE'S VOICE (O.S.)
                         Yes -- and he was there, too -- a 
                         little fatter now -- and less hair -- 
                         but it's the same one.

                                     BARTHOLOMEW'S VOICE (O.S.)
                         Do you know him, Mrs. Vo -- Mrs. 
                         Lampert? Leopold W. Gideon?

                                     REGGIE'S VOICE (O.S.)
                         No.

                                     BARTHOLOMEW'S VOICE (O.S.)
                         The last one, please.

               The glass and CAMERA move to the fourth face -- a young 
               SCOBIE.

                                     REGGIE'S VOICE (O.S.)
                         That's a face you don't forget -- he 
                         was there too --

                                     BARTHOLOMEW'S VOICE (O.S.)
                         Herman Scobie. And you've never seen 
                         him before, either?

                                     REGGIE'S VOICE (O.S.)
                         No, thank heaven.

               MED. SHOT -- REGGIE AND BARTHOLOMEW

                                     BARTHOLOMEW
                              (a pause, regarding 
                              her)
                         Mrs. Lampert, I'm afraid you're in a 
                         great deal of danger.

                                     REGGIE
                         Danger? Why should I be in any danger?

                                     BARTHOLOMEW
                         You're Charles Voss's wife -- now 
                         that he's dead you're their only 
                         lead.

                                     REGGIE
                         Mr. Bartholomew -- if you're trying 
                         to frighten me you're doing a really 
                         first-rate job!
                              (she takes another 
                              sandwich)

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

                                     REGGIE
                         Gladly, only I don't know what you 
                         want! You haven't told me.

                                     BARTHOLOMEW
                         Oh, haven't I? The money -- Mrs. 
                         Lampert -- the money. The $250,000 
                         Charles Voss received from the 
                         auction. Those three men want it, 
                         too -- they want it very badly.

                                     REGGIE
                         But it's Charles's money, not theirs.

                                     BARTHOLOMEW
                              (laughing)
                         Oh, Mrs. Lampert! I'd love to see 
                         you try and convince them of that!
                              (drying his eyes)
                         Oh, dear.

                                     REGGIE
                         Then whose is it? His or theirs?

                                     BARTHOLOMEW
                         Ours.

                                     REGGIE
                              (she looks at him for 
                              a moment)
                         Oh, I see.

                                     BARTHOLOMEW
                         And I'm afraid we want it back.

                                     REGGIE
                         But I don't have it.

                                     BARTHOLOMEW
                         That's impossible. You're the only 
                         one who could have it.

                                     REGGIE
                         I'm sorry it's impossible. It's the 
                         truth.

               BARTHOLOMEW is silent for a moment, thinking.

                                     BARTHOLOMEW
                         I believe you.

                                     REGGIE
                         Thanks very much.

                                     BARTHOLOMEW
                         Oh, you've got the money all right -- 
                         you just don't know you've got it.

                                     REGGIE
                         Mr. Bartholomew -- if I had a quarter 
                         of a million dollars, believe me, 
                         I'd know it.

                                     BARTHOLOMEW
                         Nevertheless, Mrs Lampert -- you've 
                         got it.

                                     REGGIE
                         You mean it's just lying around 
                         someplace -- all that cash?

                                     BARTHOLOMEW
                         Or a safe deposit key, a certified 
                         check, a baggage claim -- you look 
                         for it, Mrs. Lampert -- I'm quite 
                         sure you'll find it.

                                     REGGIE
                         But --

                                     BARTHOLOMEW
                         Look for it, Mrs. Lampert -- look 
                         just as hard and as fast as you can. 
                         You may not have a great deal of 
                         time. Those men know you have it 
                         just as surely as we do. You won't 
                         be safe until the money's in our 
                         hands. Is that clear?

               REGGIE nods. He writes something on a pad of paper and tears 
               it off, handing it to her.

                                     BARTHOLOMEW
                         Here's where you're to call me -- 
                         day or night. It's a direct line to 
                         both my office and my apartment. 
                         Don't lose it, Mrs. Lampert -- and 
                         please don't tell anyone about coming 
                         to see me. It could prove fatal for 
                         them as well as yourself.

                                     REGGIE
                         Wait a minute -- you think those 
                         three men killed Charles, don't you?

                                     BARTHOLOMEW
                         We've no proof, of course, but we 
                         rather think so, yes.

                                     REGGIE
                         Well, there you are! Charles had the 
                         money with him -- so whoever killed 
                         him has it -- they have it!

               BARTHOLOMEW shakes his head.

                                     REGGIE
                         Why not?

                                     BARTHOLOMEW
                              (grimly)
                         Because they're still here.

                                     REGGIE
                         Oh.

                                     BARTHOLOMEW
                         Like I said, Mrs Lampert -- I'm afraid 
                         you're in a great deal of danger. 
                         Remember what happened to Charles.

               REGGIE takes the last sandwich and begins eating furiously.

               DELETED

               EXT. ESPLANADE DES CHAMPS-ELY�ES -- DAY

               MED. SHOT -- GUIGNOL.

               One of the French Punch and Judy shows set up on certain 
               days in the small park alongside the broad avenue between 
               the Rond Point and the Place de la Concorde. At the moment, 
               Judy, as always, is beating Punch with a bat. The sound of 
               CHILDREN laughing and screaming can be heard.

               VARIOUS CLOSE SHOTS -- THE CHILDREN

               Sitting on small benches lined up to face the stage. Their 
               attention is fixed on the show, their belief totally suspended 
               by the play as only children's can be -- laughing at the 
               slapstick, booing the villain, frightened by the perils.

               MED. SHOT -- REGGIE

               Sitting on the last bench, next to some CHILDREN. They are 
               laughing but she isn't -- she just watches, her attention 
               caught up but her face void of emotion. The bench is too low 
               for her, forcing her knees up almost under her chin.

               After a moment, PETER comes up behind her and, stepping over 
               the benches, sits beside her. She doesn't seem to notice.

               [Throughout the following scene the CHILDREN and the ACTORS 
               can be heard in the b.g.]

                                     PETER
                         Reggie -- ?

               She turns and looks at him for a moment.

                                     REGGIE
                              (vaguely)
                         Hallo, Peter.

                                     PETER
                         You telephoned me to meet you. I've 
                         been standing on the corner back 
                         there -- waiting for you.

                                     REGGIE
                         I'm sorry -- I heard the children 
                         laughing.

               A ROAR from the CHILDREN. REGGIE and PETER turn toward the 
               stage.

               MED. SHOT -- GUIGNOL

               PUNCH and JUDY are arguing loudly.

               TWO SHOT -- REGGIE AND PETER

                                     PETER
                         What's going on?

                                     REGGIE
                         Don't you understand French?

                                     PETER
                         I'm still having trouble with English.

                                     REGGIE
                         The man and the woman are married --

               CLOSE SHOT -- GUIGNOL STAGE

               PUNCH and JUDY are batting each other on the head.

                                     PETER'S VOICE (O.S.)
                         Yes, I can see that -- they're batting 
                         each other over the head with clubs.

               Finally, JUDY knocks Punch out of sight and a PUPPET wearing 
               a three-cornered hat appears.

                                     PETER'S VOICE (O.S.)
                         Who's that with the hat?

               MED SHOT -- GRANDPIERRE

               Wearing a hat, he stands off in the background, watching.

                                     REGGIE'S VOICE (O.S.)
                         That's the policeman -- he wants to 
                         arrest Judy for killing Punch.

               CLOSE SHOT -- GUIGNOL STAGE

               JUDY and the POLICEMAN are batting one another.

                                     PETER'S VOICE (O.S.)
                         What's she saying now?

                                     REGGIE'S VOICE (O.S.)
                         That she's innocent -- she didn't do 
                         it.

                                     PETER'S VOICE (O.S.)
                         She did it, all right -- take it 
                         from me.

                                     REGGIE'S VOICE (O.S.)
                         I believe her.

               PUNCH's head appears on the other side of the stage, says 
               something, then ducks out.

                                     PETER'S VOICE (O.S.)
                         Who was that?

                                     REGGIE'S VOICE (O.S.)
                         Punch, of course.

               TWO SHOT -- REGGIE AND PETER

                                     PETER
                         Of course? I thought he was dead.

                                     REGGIE
                         He's only pretending, to teach her a 
                         lesson -- only --
                              (her face clouding)
                         only he is dead, Peter -- I saw him -- 
                         he's not pretending. Somebody threw 
                         him off a train. What am I going to 
                         do?

               Charles was mixed up in something terrible.

                                     PETER
                         I wish you'd let me help you. Whatever 
                         it is, it doesn't sound like the 
                         sort of thing that a woman can handle 
                         all by herself.

               CLOSE SHOT -- GUIGNOL STAGE

               JUDY has gotten the upper hand is now batting the POLICEMAN's 
               brains out.

               CLOSE SHOT -- GRANDPIERRE as he winces.

               TWO SHOT -- REGGIE AND PETER

                                     PETER
                         Have you got a mirror?
                              (she nods)
                         Give it to me.

               She hands it to him and he holds it in front of her face.

                                     PETER
                         Right there, between your eyes -- 
                         see? Worry lines. You're much too 
                         young and too pretty to have anything 
                         like that. How about making me vice-
                         president in charge of cheering you 
                         up?

                                     REGGIE
                              (jumping at the 
                              suggesting)
                         Starting tonight?

               INT. NIGHTCLUB -- NIGHT

               MED. SHOT -- EMCEE.

               He stands on the dance floor in front of a five piece Latin 
               dance band, a spotlight on him, wearing his professional 
               smile as he speaks into a mike.

                                     EMCEE
                         Bonsoir mesdames et messieurs, good 
                         evening ladies and gentlemen, guten 
                         Abend, meine Damen und Herren -- ce 
                         soir, comme tous les soirs, 
                         l'attraction ici, au Black Sheep 
                         Club, c'est vous! Venez, mesdames et 
                         messieurs, step right up, ladies and 
                         gentlemen, kommen Sie her, meine 
                         Damen en Herren, avanti, signore e 
                         signori -- avanti!

               MED. SHOT -- REGGIE AND PETER

               At their table. REGGIE is dressed in a lovely Givenchy dress.

                                     PETER
                         What was all that?

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

                                     PETER
                         You mean you and me?

                                     REGGIE
                         No, everyone. Come on -- avanti, 
                         avanti!

               She rises and pulls him along.

               WIDE ANGLE

               Including the dance floor as most of the patrons go to it, 
               laughing self-consciously and looking around.

                                     EMCEE
                         �coutez bien -- les r�gles sont tres 
                         simples -- the rules are very easy -- 
                         deux �quipes -- two teams -- each 
                         with one orange -- une orange -- 
                         eine apfelsine -- un' arrancia -- 
                         held under the chin, like so --
                              (does it)
                         comme �a -- and passed to the player 
                         behind you -- sans vous servir de 
                         vos mains -- using nothing but the 
                         chin -- no hands -- and keeping the 
                         orange at all costs from touching 
                         the floor. Commencez, Mesdames et 
                         Messieurs -- begin, ladies and 
                         gentlemen -- signore e signori, 
                         comminciate!

               The EMCEE now circulates, forming teams, telling the patrons 
               to line up, making sure there is a woman next to every man. 
               REGGIE and PETER are the second couple in their line.

               Then the EMCEE picks up a basket of oranges and places one 
               under the chin, held securely against the chest, of each man 
               at the head of the line. Blowing a whistle, a signal for the 
               game to begin and the band to play, the men turn to the women 
               behind them and attempt to transfer the oranges from under 
               their chins to under the chins of the women -- without using 
               their hands.

               (This maneuver can only be accomplished by embracing one's 
               partner passionately and firmly pressing the orange against 
               the partner's throat until he or she can grip it tightly 
               enough with the chin to turn and offer it to the person next 
               in line, where the process begins anew. However, the slightest 
               miscalculation, which can be brought about by any number of 
               human frailties -- haste, modesty, inhibition or lack of co-
               ordination -- will surely result in losing control of the 
               orange so that it either falls to the floor [where it can 
               only be picked up by the chin] or it starts to roll and slide 
               from its proper place to some other, less proper, spot on 
               the human anatomy, forcing the man or the woman to retrieve 
               it -- again, with the chin only. This latter is an activity 
               which can prove extremely satisfying to old friends, or even 
               new friends who wish to become old friends, but can only be 
               a torment for total strangers and/or the English).

               VARIOUS SHOTS -- ORANGE GAME

               Some of the couples in various states of confusion, 
               entanglement and intimacy -- all of them, naturally, 
               hilarious.

               TWO SHOT -- PETER AND GIRL

               It is his turn to take the orange from a very short, but 
               quite shapely young girl in a strapless dress (held up by an 
               abundance of cantilever). PETER 'takes' when he sees the 
               twin obstacles which might -- and probably will -- encumber 
               the game but increase his worldly experience.

               The contest begins: because of her stature he is forced to 
               move in low, making the ordinary embrace needed for success 
               difficult, if not impossible. Then, inexorably, the orange 
               starts to slip down the GIRL's front. Manfully he goes after 
               it.

               CLOSE SHOT -- REGGIE

               She is enjoying it thoroughly.

               TWO SHOT -- PETER AND GIRL

               Bending over backwards, in a sort of frontal half-nelson, 
               PETER makes a last valiant effort and voil�, grips the orange 
               under his chin -- amid much cheering and congratulations 
               from members of his TEAM.

               Now he turns to REGGIE and they face one another for a moment.

                                     PETER
                         En garde.

                                     REGGIE
                         Lay on, MacDuff.

               They go at it, working their bodies together to make it all 
               possible. Then, for a moment, the game and the onlookers 
               seem less important than their proximity. But, alas, they 
               are too good despite themselves and the transfer is 
               accomplished -- again with appreciative cheers from the TEAM.

               REGGIE, with the orange now tucked firmly under her chin, 
               turns to the next team-member in line and is locked in an 
               embrace before she realizes her partner is LEOPOLD GIDEON, 
               the short, fat, balding man seen at the funeral and later in 
               BARTHOLOMEW's photo.

               REGGIE starts to draw back but GIDEON holds her tightly.

               Putting his chin around the orange he is able to speak quietly 
               in REGGIE's ear.

               CLOSE TWO SHOT -- REGGIE AND GIDEON

               Her eyes show her fright as he whispers:

                                     GIDEON
                         Mrs. Lampert --

                                     REGGIE
                         What do you want?

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

                                     REGGIE
                         Tell me what?

                                     GIDEON
                         It doesn't belong to you, Mrs. Lampert -- 
                         you do know that, don't you?

                                     REGGIE
                         I don't know anything.

                                     GIDEON
                         Mrs. Lampert, any morning now you 
                         could wake up dead.

                                     REGGIE
                         Leave me alone -- !

                                     GIDEON
                         Dead, Mrs. Lampert -- like last week's 
                         news -- like Charles, Mrs. Lampert --

                                     REGGIE (SHOUTING)
                         Stop it!

               CLOSE SHOT -- REGGIE'S AND GIDEON'S FEET

               As REGGIE hauls off and kicks GIDEON full in the shin.

               CLOSE SHOT -- GIDEON

               He stiffens as the pain registers. Instead of shouting he 
               merely closes his eyes.

               WIDER ANGLE

               Including REGGIE and GIDEON and PETER standing by, as well 
               as some spectators. PETER comes quickly forward.

                                     PETER
                         Reggie -- what's the trouble?

               REGGIE realizes that GIDEON no longer offers any resistance.

               She steps back, leaving GIDEON holding the orange, foolishly, 
               under his chin, his eyes still closed. REGGIE stares at him 
               for a moment.

                                     REGGIE
                         He -- he was stepping on my foot.

               CLOSE SHOT -- GIDEON

               Slowly, his eyes open and tears stream from them, rolling 
               down his cheeks. He speaks while holding the orange.

                                     GIDEON
                         Forgive me -- it was quite 
                         unintentional, I'm sure.

               WIDER ANGLE

               GIDEON turns to the woman behind him and the game resumes.

                                     REGGIE
                              (starting off)
                         Wait for me -- I won't be long.

               She goes off toward the rear of the club and starts down a 
               flight of stairs.

               CLOSE SHOT -- PETER

               Watching her go, a concerned look on his face.

               INT. NIGHTCLUB LOUNGE -- NIGHT

               A small, dimly lit area with a door to the combination men's-
               women's room and a 'phone cabin with a solid door.

               The music and shouting from upstairs float down. REGGIE comes 
               down the stairs and goes to the 'phone, flicking on the light 
               and closing the door after her.

               INT. PHONE BOOTH -- NIGHT

               REGGIE takes a jeton ('phone token) from her bag and drops 
               it in the slot. Then she takes out a slip of paper (the one 
               given her by BARTHOLOMEW) and dials the number written on 
               it. She listens to it ring, then evidently he answers.

                                     REGGIE
                              (into 'phone)
                         Mr. Bartholomew -- it's me, Reggie 
                         Lampert -- listen Mr. Bartholomew: 
                         I've seen one of the
                              (she stops)
                         Mr. Bartholomew? Can you hear me?

               She realizes she has not pushed the button which takes her 
               coin and allows the party at the other end to hear her voice.

                                     REGGIE
                         Hello -- Mr. Bartholomew -- it's me, 
                         Regina Lam...

               Suddenly the door of the booth opens and REGGIE wheels to 
               look, slamming the receiver down as she does.

               REVERSE SHOT -- 'PHONE BOOTH -- NIGHT

               TEX PENTHOLLOW, the second man from the funeral (and photo), 
               the man in the corduroy suit and string tie, stands in the 
               doorway, his face calm, a hand-rolled but unlit cigarette in 
               his mouth. He has put one foot up against the side of the 
               door so she can't leave. REGGIE stares at him, terrified.

                                     TEX
                         Howdy, Miz Lampert.

                                     REGGIE
                         Wha -- what do you want?

               TEX takes a book of matches from his pocket.

                                     TEX
                         You know what I want, Miz Lampert...

                                     REGGIE
                         No -- no, I'm don't.

                                     TEX
                         Come on now -- sure you do. An' you'd 
                         better give it to me, Miz Lampert -- 
                         cuz I ain't foolin'. No sireebob!

               He strikes a match and lights his cigarette, holding the 
               burning match in his hand afterward.

                                     REGGIE
                         I don't know what --

               TEX, without a word, throws the still-lit match into the 
               booth, onto REGGIE's lap. She beats it out frantically.

                                     REGGIE
                         What are you doing?

               TEX lights another match and throws it into her lap. She 
               beats this one out too.

                                     REGGIE
                         Stop that!

                                     TEX
                         Don't make too much noise, Miz Lampert --

               He lights another match and reaches out toward her hair with 
               it. She shrinks back.

                                     TEX
                         It could get a whole lot worse.

               Then he throws it into her lap. As he continues to speak he 
               punctuates each phrase or so with another lit match. REGGIE 
               is too busy beating them out to do anything else.

                                     TEX
                         It belongs to me, Miz Lampert -- an' 
                         if you don't give it to me your life 
                         ain't gonna be worth the paper it's 
                         printed on. You savvy what I'm sayin', 
                         Miz Lampert?

                                     REGGIE
                         Please stop -- please!

                                     TEX
                         You think on it real careful-like, 
                         Miz Lampert -- y'hear?

               CLOSE SHOT -- REGGIE

               As she frantically beats out the matches, her eyes on her 
               work.

                                     REGGIE
                         You're insane, absolutely insane!

               She looks up, then blinks her eyes.

               INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER

               There is no one there. REGGIE rises and steps out of the 
               booth.

               INT. NIGHTCLUB LOUNGE -- NIGHT

               As REGGIE looks around. There is no one there.

               INT. PHONE BOOTH

               As REGGIE returns, sits and starts to put another jeton into 
               the slot. She notices her hand is shaking. She reaches back 
               into her bag, removes a piece of candy, puts it into her 
               mouth and leans her head back against the wall, closing her 
               eyes.

               Suddenly the door opens and REGGIE shrieks -- but this time 
               it is PETER.

                                     PETER
                         What are you doing in here?

                                     REGGIE
                              (a sigh of relief)
                         Having a nervous breakdown.

               INT. HOTEL LOBBY -- NIGHT

               REGGIE and PETER enter the deserted lobby.

                                     PETER
                         You haven't said a word since we 
                         left the club -- what happened back 
                         there?

                                     REGGIE
                         I -- I'm not sure if I'm supposed to 
                         tell you or not.

                                     PETER
                         I don't think I follow you.

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

                                     PETER
                         Who said?

                                     REGGIE
                         That's what I'm not supposed to say.

                                     PETER
                         Stop this nonsense! If you're in 
                         some sort of trouble I want to know 
                         about it.

                                     REGGIE
                         Stop bullying me. Everybody's bullying 
                         me.

                                     PETER
                         I wasn't --

                                     REGGIE
                         Yes, you were -- you called it 
                         nonsense. Being murdered in cold 
                         blood isn't nonsense. Wait until it 
                         happens to you sometime.

               She goes to the desk, followed by PETER, where the NIGHT 
               CLERK greets them sleepily.

                                     NIGHT CLERK
                         Bonsoir.

                                     REGGIE
                         Bonsoir. Quarante-deux, s'il vous 
                         plait.

               The NIGHT CLERK gets the key off a hook and hands it to 
               REGGIE.

                                     NIGHT CLERK
                         Bonne nuit.

                                     REGGIE
                              (to PETER)
                         Would you mind seeing me to the door?

                                     PETER
                         Of course not.

               They go to the elevator where he opens the door for her.

               INT. ELEVATOR -- NIGHT

               As REGGIE and PETER enter the small cage. It is somewhat 
               cramped, forcing them to stand close together.

                                     REGGIE
                         This is quite a place for making 
                         friends, isn't it?

               He presses the button and the elevator starts to rise.

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

                                     REGGIE
                              (busy examining the 
                              cleft in his chin)
                         How do you shave in there?

                                     PETER
                         What was it?

                                     REGGIE
                         What was what?

                                     PETER
                         What your husband was mixed up in.

                                     REGGIE
                         Look, I know it's asking you to 
                         stretch your imagination, but can't 
                         you pretend for a moment that I'm a 
                         woman and that you're a --

                                     PETER
                         Don't you know I could already be 
                         arrested for transporting a minor 
                         above the first floor?

               The elevator stops.

                                     PETER
                         We're here.

                                     REGGIE
                         Where?

                                     PETER
                         On the street where you live.

                                     REGGIE
                         How about once more around the park?

               He reaches across her and opens the door.

                                     PETER
                         Out.

               INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT

               As REGGIE leaves the elevator, followed by PETER. They walk 
               to her door. There is a moment of silence as she looks at 
               him.

                                     REGGIE
                              (imitating PETER)
                         Him: 'Do you mind if I come in for a 
                         nightcap, Reggie?' Her: 'Well -- it 
                         is awfully late.' Him: 'Just one, 
                         all right?' Her: 'Promise you'll 
                         behave yourself.' Him: 'Sorry, baby, 
                         I never make promises I can't keep.'

                                     PETER
                         How would you like a spanking?

                                     REGGIE
                         How would you like a punch in the 
                         nose? Stop treating me like a child.

                                     PETER
                         Then stop acting like one. If you're 
                         really in some kind of trouble, I'd 
                         like to hear about it. Otherwise, 
                         it's late, I'm tired and I'm going 
                         home to bed.

                                     REGGIE
                         Do you know what's wrong with you?

                                     PETER
                         What?

                                     REGGIE
                         Nothing. Good night.

                                     PETER
                         Good night.

               He turns and leaves. She smiles slightly, then turns and 
               puts the key into the door and opens it.

               INT. REGGIE'S ROOM -- NIGHT

               Featuring the door. REGGIE enters, then stops abruptly, the 
               doorknob still in her hand.

               ANOTHER ANGLE

               The room has been torn apart. And standing in the center is 
               HERMAN SCOBIE, the large man in the battered raincoat.

               He starts slowly advancing toward REGGIE.

                                     SCOBIE
                         Where is it, lady -- where've you 
                         got it?

               CLOSE SHOT -- REGGIE

                                     REGGIE
                              (terrified)
                         I don't know -- I don't know! I don't --

               She stops as she sees something.

               CLOSE SHOT -- SCOBIE'S HAND

               Instead of a human hand there is a twin-pronged metal one.

               WIDER ANGLE

               SCOBIE sees where REGGIE is staring; looks down at it himself, 
               then lunges at her, raising the hand to strike.

                                     SCOBIE
                         I want it -- give it to me -- it's 
                         mine!

               The hand is starting to come down. REGGIE, moving quickly, 
               turns and flies out.

                                     REGGIE
                              (screaming)
                         Peter -- ! Peter -- !

               INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT

               As REGGIE runs out, slamming the door after her, the metal 
               hand crashes against the wooden panel inside the door and 
               splinters through it, visible on this side now. Petrified 
               with fear, REGGIE can only stare dumbly at the protruding 
               claw.

               ANOTHER ANGLE

               As PETER comes running up to her. He sees the metal hand.

                                     REGGIE
                         A man -- he tried to kill me!

               Pulling her aside, PETER takes hold of the key (still in the 
               outside lock) and turns it slowly and quietly. Then, using 
               all his weight, he slams the door open as far as it will go, 
               making sure to hold it that way as he steps in.

               INT. REGGIE'S ROOM -- NIGHT

               Inside, PETER pulls back the door and slugs the startled 
               SCOBIE full on the jaw. His head bangs against the wall but 
               he manages to raise a foot and push PETER violently away, 
               sending him sprawling back, toppling across the bed and over, 
               head first, onto the floor on the other side, where he 
               disappears. Hurrying, SCOBIE puts his foot against the door 
               and pushes it away, ripping his metal hand free.

               He then rushes to the open window and climbs out.

               INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT

               REGGIE waits anxiously. When she hears nothing, she gingerly 
               looks into the room.

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (entering cautiously)
                         Peter -- ?
                              (alarmed)
                         Peter! Where are you?

               ANOTHER ANGLE

               Showing the disarranged room, empty of people. Then, slowly 
               PETER's hand appears from behind the bed, shaking groggily.

               REGGIE rushes to him and helps him sit on the bed.

                                     REGGIE
                         Peter -- are you all right?

                                     PETER
                         I think I sprained my pride.
                              (He looks around)
                         Where'd he go?

                                     REGGIE
                         Out of the window, I guess -- I didn't 
                         see him.

               PETER goes, unsteady on his feet, to the window and looks 
               out. He then turns back.

                                     PETER
                         Lock the door and the window -- and 
                         don't let anyone in except me. I'll 
                         be back in a minute.

                                     REGGIE
                         Be careful, Peter.

                                     PETER
                              (one leg over the 
                              sill)
                         You took the words right out of my 
                         mouth.

               He climbs out.

               EXT. HOTEL WINDOW THIRD FLOOR -- NIGHT

               Outside the window to REGGIE's room is a small, false balcony, 
               consisting mostly of railing, with barely enough room between 
               it and the building's facade for a man to stand. PETER appears 
               and looks down over the railing.

               EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT

               SHOOTING STRAIGHT DOWN; there is no one on the street and it 
               is too far to jump.

               MED. SHOT -- PETER -- BALCONY

               He now looks around. REGGIE's is the last such balcony on 
               one side, but there are two or three on the other.

               PETER climbs over the railing and, holding on to it with one 
               hand, reaches for the railing on the next balcony.

               CLOSE SHOT -- PETER'S HAND

               As it stretches for the railing; it is several inches short 
               of touching it.

               MED. SHOT -- PETER

               As he straightens up and prepares to jump.

               EXT. HOTEL FACADE -- NIGHT

               From the GROUND. PETER, high above, jumps to the next balcony.

               MED. SHOT -- PETER

               As he climbs over the railing of the second balcony. He sees 
               a light coming through the window and looks in.

                                     WOMAN'S VOICE (O.S.)
                         Oh!

               PETER leaves the window quickly, climbing over the railing 
               on his way to the next balcony. As he does, the following 
               exchange is heard (in British English).

                                     MAN'S VOICE (O.S.)
                         What is it now, Pamela?

                                     WOMAN'S VOICE (O.S.)
                         It happened again, Henry -- another 
                         strange man peered in the window at 
                         me and then went away.

                                     MAN'S VOICE (O.S.)
                         Bad luck, Pamela.

               EXT. HOTEL FACADE -- NIGHT

               From the GROUND as PETER jumps to the next balcony.

               MED. SHOT -- PETER

               As he climbs over the rail to the third balcony. There is a 
               light coming from this window, too. PETER looks in.

               MED. SHOT -- WINDOW -- OVER PETER'S SHOULDER

               Inside the room are GIDEON, TEX, and SCOBIE in the midst of 
               a heated discussion.

                                     GIDEON
                         That was a dumb move, Herman -- a 
                         dumb move.

                                     TEX
                         And then some. If you'd only told us 
                         you was goin' to her room we could've 
                         kept 'em busy --

               INT. GIDEON'S HOTEL ROOM -- NIGHT

                                     TEX
                         -- but sneakin' in there on your own 
                         that-a-way, why, man, you was bound 
                         to get yore tokus kicked. I mean, 
                         what'd you think he'd do -- walk up 
                         'n' shake you by that hand o' yores?

                                     PETER'S VOICE (O.S.)
                         That's right, Herman -- you didn't 
                         leave me much choice.

               They all turn toward the window.

               WIDER ANGLE

               As PETER climbs in through the window and joins them.

                                     PETER
                              (to SCOBIE)
                         I didn't hurt you, did I?

               SCOBIE shakes his head and turns away.

                                     GIDEON
                              (eagerly)
                         Never mind that -- did you get the 
                         money?

                                     PETER
                         How could I with the three Marx 
                         Brothers breathing down my neck? You 
                         said you'd let me handle it alone --
                         ! The girl trusts me. If she's got 
                         it, I'll find out about it. But you've 
                         got to leave me alone.

                                     SCOBIE
                              (to GIDEON and TEX)
                         We took all the chances. The money 
                         belongs to us, not him!

                                     TEX
                         Don't be un-neighborly-like, Herman -- 
                         don't forget he done us a little ol' 
                         favor.

                                     SCOBIE
                         Yeah? What's that?

                                     TEX
                         He took care of Charlie for us.

                                     GIDEON
                              (to PETER)
                         We appreciate it, really we do.

                                     SCOBIE
                         But who asked him? Three shares are 
                         enough -- I'd say he's out!

                                     PETER
                         A third of nothing is nothing, Herman. 
                         Make up your minds -- she's waiting 
                         for me.

                                     GIDEON
                              (thoughtfully)
                         I don't see how another twenty-four 
                         hours could hurt.

                                     TEX
                         Shoot no, not after all these years.

                                     SCOBIE
                         Then he gets it out of your share, 
                         not mine! Not mine!

               SCOBIE turns and storms out of the door, slamming it.

               GIDEON begins sneezing, takes a bottle of pills from his 
               pocket and swallows two white tablets.

                                     GIDEON
                         I suggest you get about your business -- 
                         nothing soothes Herman like success.

                                     TEX
                              (chuckling)
                         That's right -- it's like ticklin' a 
                         alligator's belly.

                                     PETER
                         Who's got the room next to hers?

                                     TEX
                         Me. How come?

                                     PETER
                         Get another one, will you? I'm going 
                         to need it.

               PETER starts for the door.

                                     TEX
                         If you do find the money -- you won't 
                         forget t' tell us about it, will 
                         you, fella?

                                     PETER
                              (turning at the door)
                         Don't worry.

                                     TEX
                         Oh, I ain't worryin' -- but see this 
                         pudgy little fella here?
                              (indicating GIDEON)
                         He worries -- an' he's even meaner'n 
                         I am.

               INT. REGGIE'S ROOM -- NIGHT

               As she waits anxiously, smoking a cigarette. There is a KNOCK 
               at the door.

                                     REGGIE
                         Who is it?

                                     PETER'S VOICE (O.S.)
                         It's me. Peter.

               REGGIE unlocks the door and opens it. PETER enters and she 
               closes the door again --

                                     PETER
                         There was no trace of him. All right, 
                         Reggie -- suppose you tell me what 
                         this is all about.

                                     REGGIE
                         There are three men -- he's one of 
                         them -- they think I have something 
                         that belongs to them.

                                     PETER
                         What?

                                     REGGIE
                         A quarter of a million dollars.

               PETER is silent for a moment.

                                     PETER
                         Go on.

                                     REGGIE
                         That's all.

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

                                     REGGIE
                         I don't know.  Those men killed 
                         Charles to get it. But he must not 
                         have had it with him on the train.

                                     PETER
                         So they think he left it with you.

                                     REGGIE
                         But he didn't! I've looked everywhere --
                              (tears welling)
                         And if I don't find it --
                              (wailing)
                         Those men going to kill me.

               She falls in his arms to be comforted.

                                     PETER
                         No, they won't -- I won't let them.

                                     REGGIE
                              (sobbing)
                         Please help me, Peter -- you're the 
                         only one I can trust.

                                     PETER
                         Of course I'll help -- I told you I 
                         would, didn't I? Come on now --

               He takes out his handkerchief and dries her eyes.

                                     REGGIE
                         I'm so hungry I could faint.
                              (trying to smile)
                         I've -- I've gotten your suit all 
                         wet.

                                     PETER
                         That's all right -- it's a drip-dry.

                                     REGGIE
                         Peter, you've got to promise me 
                         something. Promise you'll never lie 
                         the way Charles did. Why do people 
                         have to tell lies?

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

                                     REGGIE
                         Do you tell lies?

               A pause. The phone rings. REGGIE answers it.

                                     REGGIE
                              (into the phone)
                         Hello?

               INT. OUTDOOR 'PHONE BOOTH -- NIGHT

               SCOBIE holds the receiver in his metal hand.

                                     SCOBIE
                         Mrs. Lampert? -- it's me -- the man 
                         who was in your room a few minutes 
                         ago --

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         What do you want?

                                     PETER
                              (whispering)
                         Who is it?

                                     REGGIE
                              (covering the receiver)
                         The man you had the fight with.

               INT. PHONE BOOTH -- NIGHT

                                     SCOBIE
                              (on the phone)
                         Is Dyle with you?

               INT. REGGIE'S ROOM -- NIGHT

               CLOSE SHOT -- REGGIE

                                     REGGIE
                         Who?

               INT. PHONE BOOTH -- NIGHT

                                     SCOBIE
                              (on the phone)
                         The man who hit me, lady -- Dyle -- 
                         that's his name. What's wrong -- is 
                         he still there?

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE's back is turned to PETER so he can't see her face.

               He watches her.

                                     REGGIE
                              (on the phone)
                         Yes -- that's right.

                                     PETER
                         What is it, Reggie -- what's he 
                         saying?

               She shakes her head.

               INT. PHONE BOOTH -- NIGHT

                                     SCOBIE
                              (on the phone)
                         Don't trust him -- don't tell him 
                         anything. He's after the money.

               He hangs up.

               INT. REGGIE'S ROOM -- NIGHT

               Slowly, REGGIE lowers the 'phone from her ear and hangs it 
               up.  She hesitates a moment.

                                     PETER
                         What'd he say?

                                     REGGIE
                         He -- he said if I didn't give the 
                         money, he'll kill me.

                                     PETER
                         I wouldn't take that too seriously.

                                     REGGIE
                         I believe what he said.

                                     PETER
                         They're only trying to scare you, 
                         that's all.

                                     REGGIE
                         How do you know what they're doing?

                                     PETER
                         I don't -- but as long as they think 
                         you have the money, or know where it 
                         is, or have it without knowing where 
                         it is, or don't even know you have 
                         it --

                                     REGGIE
                         What are you talking about?

                                     PETER
                         You mustn't let what he said bother 
                         you. It was only words.

                                     REGGIE
                              (softly)
                         Words can hurt very much.

                                     PETER
                              (a pause)
                         Go to sleep -- I'll see you in the 
                         morning.

                                     REGGIE
                         Don't put yourself out.

                                     PETER
                         Hey -- I'm on your side. Remember 
                         that.

                                     REGGIE
                         Yes, I'll remember. Good night.

                                     PETER
                         Good night.

               He starts out, pausing by the door and examining the hole 
               SCOBIE made in it.

                                     PETER
                         But if you'll take my advice --
                              (smiling)
                         You'll undress in the closet. Oh, 
                         and if you need me, just bang on the 
                         wall. I'll be next door.

               INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT

               As PETER (now called DYLE) leaves REGGIE's room and closes 
               the door. He pauses for a moment, listening, hears nothing, 
               then bends down and starts pulling at a loose thread in one 
               of his socks. As usual, the thread unravels -- and unravels -- 
               and unravels some more until it seems that the entire sock 
               has come unknit. Now, taking the long thread, he bends down 
               near the door and, taking his tie-pin, attaches one end of 
               the thread to the bottom of REGGIE's door. He then runs the 
               thread along the floor to his door (next door) and works it 
               underneath.

               INT. DYLE'S ROOM -- NIGHT

               As DYLE enters, the thread in his hand. He goes to a nearby 
               table where he attaches the thread to the heavy room key, 
               which he then balances on the extreme edge of the table.

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE is on the phone.

                                     REGGIE
                              (excited)
                         -- But I am calm, Mr. Bartholomew -- 
                         what I called to tell you was there's 
                         someone else -- someone who wasn't 
                         in that photograph you showed me. He 
                         says his name is Peter Joshua -- but 
                         it isn't -- it's Dyle.
                              (a pause)
                         Mr. Bartholomew? -- are you still 
                         there?

               INT. BARTHOLOMEW'S APARTMENT -- NIGHT

               BARTHOLOMEW on the phone. He is silent for a moment, his 
               face troubled.

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

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         You mean he might have -- Mr. 
                         Bartholomew, I'm catching the next 
                         plane out of here -- I'm not going 
                         to sit here and wait for someone to 
                         make chopped liver out of me!

               DELETED

               INT. BARTHOLOMEW'S APARTMENT -- NIGHT

                                     BARTHOLOMEW
                              (on the phone)
                         Where are you now -- can you meet 
                         me? Do you know Les Halles?

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         Yes, where?
                              (a pause)
                         -- in fifteen minutes. I'll be there.

               DELETED

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE hangs up the phone, picks up her bag, checks her hair 
               in the mirror, then starts for the door. She stops as she 
               notices the connecting door leading to the room next door, 
               DYLE's room. She goes to it, silently slips out the key and 
               bends to peer through the keyhole.

               INT. DYLE'S ROOM -- NIGHT (THROUGH KEYHOLE)

               DYLE is removing his coat. Before he lays it over a chair, 
               he takes a gun from the inside pocket, checks it, and tucks 
               it into his belt.

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE reacts in surprise and fright, jumps quickly away 
               from the door. She hurries to the door leading to the hall 
               and reaches for the knob.

               INT. DYLE'S ROOM -- NIGHT

               CLOSE SHOT -- ROOM KEY. The thread attached to it is pulled 
               (by the action of REGGIE's door opening) and the key falls 
               to the floor with a clatter.

               WIDE ANGLE

               Including DYLE as he reacts, his head wheeling to look at 
               the key. Snatching his coat, he runs for the door.

               INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT

               As REGGIE sneaks past DYLE's door. When she has passed, the 
               door opens and DYLE appears. REGGIE takes off on the run, 
               turning the corner and starting down the stairs.

                                     DYLE
                         Reggie -- !

               He starts after her.

               INT. HOTEL LOBBY -- NIGHT

               It is deserted, except for the sleeping NIGHT PORTER, as 
               REGGIE comes running down the stairs.

                                     DYLE'S VOICE (O.S.)
                         Reggie... !

               She turns, looking back towards the sound of his voice, but 
               does not slacken her speed. She runs out the front door.

               EXT. HOTEL ENTRANCE -- NIGHT

               As REGGIE runs out. She looks up the street, sees a TAXI and 
               hails it.

                                     REGGIE
                         Taxi -- !

               It pulls over to the curb. Looking once more over her shoulder 
               she takes a bill out of her pocket, opens the cab door, slams 
               it loudly without getting in and hands the bill to the driver.

                                     REGGIE
                         N'importe o� -- vite! Allez-y!

               She jumps back into the shadows of a nearby doorway as the 
               TAXI pulls away. At the same time DYLE runs out of the hotel.  
               Another TAXI is coming down the street. DYLE hails it 
               frantically.

                                     DYLE
                         Taxi -- ! Taxi -- !

               It pulls up and DYLE opens the door.

                                     DYLE
                              (pointing)
                         Follow that taxi.

                                     DRIVER
                         Comment?

                                     DYLE
                         Taxi! Follow!

                                     DRIVER
                         Je ne comprends rien.

               Desperately, DYLE reaches into his coat pocket and pulls out 
               a small dictionary and begins flipping through the pages.

               CLOSE SHOT -- REGGIE

               In the shadows. She lifts her eyes in annoyance.

               MED. SHOT -- TAXI

                                     DYLE
                              (finding the word)
                         Suivre -- el taxi!

                                     DRIVER
                         Ah! Oui, Monsieur.

               ANOTHER ANGLE

               REGGIE comes out of the shadows, looks after DYLE's taxi, 
               then hails another one which pulls up.

                                     REGGIE
                              (to DRIVER)
                         Aux Halles -- vite!

               DELETED

               EXT. LES HALLES -- NIGHT

               REGGIE and BARTHOLOMEW walking. The Central Market is teeming 
               with activity -- trucks creeping around other trucks, cases 
               of fruit and vegetables stacked on every inch of sidewalk, 
               WORKERS of all types milling around, unloading trucks and 
               stacking crates, little electric carts scooting in and out -- 
               and nearby, one of the huge, high-roofed sheds where the 
               butchers work.

               TWO SHOT -- REGGIE AND BARTHOLOMEW

               CAMERA LEADING them as they walk.

                                     BARTHOLOMEW
                              (looking around)
                         Incredible, isn't it? Zola called it 
                         'le ventre de Paris' -- the womb of 
                         Paris, the belly.

               She takes a banana from a nearby stall.

                                     REGGIE
                              (peeling it)
                         What did you want to see me about, 
                         Mr. Bartholomew?

                                     BARTHOLOMEW
                              (leaves a coin on the 
                              crate)
                         Were you followed?

                                     REGGIE
                         Yes, but I lost him. I really did it 
                         quite brilliantly. I'm beginning to 
                         think women make the best spies.

                                     BARTHOLOMEW
                         Agents.

                                     REGGIE
                         He has a gun, Mr. Bartholomew -- I 
                         saw it.

                                     BARTHOLOMEW
                         Who?

                                     REGGIE
                         Dyle, or whatever his name is.

                                     BARTHOLOMEW
                         What does your Mr. Dyle look like, 
                         Mrs. Lampert?

                                     REGGIE
                         He's hardly my Mr. Dyle.

                                     BARTHOLOMEW
                         Describe him.

                                     REGGIE
                         Well -- he's tall -- over six feet -- 
                         rather thin -- in good physical shape, 
                         I'd say -- dark eyes -- quite 
                         handsome, really.

                                     BARTHOLOMEW
                              (shaking his head)
                         No.

                                     REGGIE
                         No, what?

                                     BARTHOLOMEW
                         That's not Carson Dyle.

                                     REGGIE
                              (stopping)
                         Carson?

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

                                     REGGIE
                         You mean you've known about him all 
                         along? Why didn't you tell me?

               BARTHOLOMEW looks at her for a moment, then glances around; 
               his attention is drawn inside the doorway.

                                     BARTHOLOMEW
                         It's enough to make you a vegetarian, 
                         isn't it?

               INT. LES HALLES BUTCHERS' SHED -- NIGHT

               Almost as far as the eye can see, row upon row of beef sides, 
               hung on hooks.

               TWO SHOT -- REGGIE AND BARTHOLOMEW (TRAVELING)

               As REGGIE looks at the hanging beef.

                                     REGGIE
                         It's just lucky that I'm not hanging 
                         next to one of those things right 
                         now.

               She shudders, throws away her banana and turns back to 
               BARTHOLOMEW.

                                     REGGIE
                         Mr. Bartholomew -- why didn't you 
                         tell me you knew about Dyle?

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

                                     REGGIE
                         Dead? Mr. Bartholomew -- maybe you'd 
                         better tell me what this thing's all 
                         about.

               DELETED

               INT. LES HALLES BISTRO -- NIGHT

               Lined up at a zinc bar are several BUTCHERS, their white 
               smocks stained with blood. REGGIE and BARTHOLOMEW sit at the 
               table.

                                     BARTHOLOMEW
                         I suppose you're old enough to have 
                         heard of World War Two?

                                     REGGIE
                         Barely, yes.

                                     BARTHOLOMEW
                         In 1944, five members of the O.S.S. -- 
                         the military espionage unit -- were 
                         ordered behind the German lines for 
                         the purpose of delivering $250,000 
                         in gold to the French Underground. 
                         The five men --

               A WAITER arrives.

                                     WAITER
                         Vous d�sirez?

                                     REGGIE
                              (smiling)
                         They always do that.

                                     BARTHOLOMEW
                              (to the WAITER)
                         Caf�.

                                     REGGIE
                         Gratin�e, choucroute garnie, salade 
                         de pommes -- et un ballon de rouge.

                                     BARTHOLOMEW
                         Mrs. Lampert, I really hadn't planned 
                         on spending the entire night here.

                                     REGGIE
                         Can I at least keep the onion soup?

               BARTHOLOMEW shrugs.

                                     REGGIE
                              (to the WAITER)
                         La soupe tout simplement.

               The WAITER nods and goes.

                                     REGGIE
                              (anxiously)
                         Go on, please -- five men -- $250,000 -- 
                         the French Underground --

                                     BARTHOLOMEW
                         Yes. The five men. They were, of 
                         course, your husband, Charles, the 
                         three men who showed up at his funeral 
                         yesterday, and Carson Dyle. But 
                         something went wrong and they were 
                         unable to locate their contact. It 
                         must have been at that point that 
                         they decided to steal the money.

                                     REGGIE
                         Steal it how?

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

                                     REGGIE
                              (fascinated)
                         May I have a cigarette, please?

               BARTHOLOMEW pulls out a package and she takes one, looks at 
               it and rips off the filter tip. He winces.

                                     REGGIE
                         I hate these things -- it's like 
                         drinking coffee through a veil.

               She puts the other end in her mouth, then picks up the matches 
               and lights it.

                                     BARTHOLOMEW
                         Everything went smoothly enough until 
                         after the gold was buried -- then, 
                         before they could get out, they were 
                         ambushed by a German patrol. A machine 
                         gun separated Scobie from his right 
                         hand -- and caught Carson Dyle full 
                         in the stomach.

               REGGIE takes another cigarette from his pack, rips off the 
               filter (he winces again) and puts it into her mouth.

                                     BARTHOLOMEW
                         What's wrong with that one?

               He points to the cigarette she just lit, still practically 
               brand-new in the ashtray.

                                     REGGIE
                         Oh. Nothing, I guess. What happened 
                         then?

               She hands over the newer one to BARTHOLOMEW, who sadly 
               examines its mutilated end while REGGIE returns to the first 
               cigarette.

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

                                     REGGIE
                         Please go on, Mr. Bartholomew -- 
                         what happened then?

                                     BARTHOLOMEW
                         Scobie was able to travel, but Carson 
                         Dyle was clearly dying, so they --

               The WAITER returns with the coffee and onion soup.

                                     WAITER
                         La soupe, c'est pour qui?

                                     REGGIE
                         Pour moi. Go on, Mr. Bartholomew.

               The WAITER puts down the cup and bowl and leaves.

                                     BARTHOLOMEW
                         Carson was dying so they were forced 
                         to leave him. They finally got back 
                         to the base, made their report, and 
                         waited for the war to end. Only 
                         Charles couldn't wait quite as long 
                         as the others. He beat them back to 
                         the gold, took everything for himself 
                         and disappeared. It's taken Gideon, 
                         Tex and Scobie all this time to catch 
                         up with him again.

                                     REGGIE
                         But if they stole all that money -- 
                         why can't you arrest them?

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

                                     REGGIE
                         But what has all this got to do with 
                         the C.I.O.?

                                     BARTHOLOMEW
                         C.I.A., Mrs. Lampert. We're an 
                         extension of the wartime O.S.S. It 
                         was our money and we want it back.

                                     REGGIE
                         I'm sorry, Mr. Bartholomew, but 
                         nothing you've told me has changed 
                         my mind. I still intend leaving Paris -- 
                         tonight.

                                     BARTHOLOMEW
                         I wouldn't advise that, Mrs. Lampert.  
                         You'd better consider what happened 
                         to your husband when he tried to 
                         leave. Those men won't be very far 
                         away -- no matter where you go. In 
                         fact, I don't even see any point in 
                         your changing hotels. Please help 
                         us, Mrs. Lampert. Your government is 
                         counting on you.

                                     REGGIE
                         Well, if I'm going to die, I might 
                         as well do it for my country.

                                     BARTHOLOMEW
                         That's the spirit.

                                     REGGIE
                         Oh, stop it. What do you want me to 
                         do?

                                     BARTHOLOMEW
                         We're anxious to know who this man 
                         is -- the one calling himself Dyle.

                                     REGGIE
                         Maybe he really is Dyle. He could 
                         still be alive.

                                     BARTHOLOMEW
                         No, Mrs. Lampert.

                                     REGGIE
                         But no one actually saw him die.

                                     BARTHOLOMEW
                         No, Mrs. Lampert. His death is 
                         registered with the War Department 
                         in Washington.

                                     REGGIE
                         Oh. Then who's this one?

                                     BARTHOLOMEW
                         I don't know -- but I think you'd 
                         better find out, don't you?

                                     REGGIE
                         Me? Why me?

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

                                     REGGIE
                              (resigned)
                         Agents.

               EXT. HOTEL (PLACE ST. ANDR� DES ARTS) -- LATE AFTERNOON

               DYLE leaves the hotel and turns into the Place. A moment 
               later, REGGIE comes cautiously from the hotel. As she watches 
               DYLE, a SANDWICH-MAN advertising a driving school passes the 
               hotel. REGGIE falls in behind him, his tall placard hiding 
               her from view.

               EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON

               First comes DYLE, passing a sidewalk cafe on the corner, 
               then the SANDWICH-MAN and REGGIE. The SANDWICH-MAN turns 
               off, leaving REGGIE out in the open. A moment later, DYLE 
               passes a GIRL painting a canvas, her easel set up in the 
               middle of the sidewalk. He stops when he has passed her and 
               turns to look at her work. REGGIE, not knowing what to do, 
               and afraid she will be seen by DYLE, who is now looking her 
               way, spins and sits at the sidewalk cafe's nearest table, 
               her back to DYLE. It is already occupied by a middle-aged 
               TOURIST.

               TWO SHOT -- REGGIE AND TOURIST

               The TOURIST, complete with camera, beret and guide book, 
               looks up from his coffee, surprised. He stares at REGGIE and 
               she stares back. Finally, not knowing what else to do, she 
               smiles, then takes a portion of his brioche and eats it.

               He smiles back emptily, not knowing what to make of her.

               REGGIE turns to look at DYLE.

               MED. SHOT -- DYLE

               He has made his judgment of the painting and now moves on.

               TWO SHOT -- REGGIE AND TOURIST

               The TOURIST has finally found the courage to speak. As he 
               opens his mouth to make a sound, REGGIE, her eyes on DYLE, 
               rises quickly from the table and goes, leaving a very confused 
               TOURIST with his mouth open. He blinks, then leaves some 
               money on the table and starts after her.

               EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON

               REGGIE following DYLE. As she passes the GIRL painting, she 
               cannot resist turning to see the work.

               CLOSE SHOT -- PAINTING

               An abstract jumble, nothing recognizable.

               CLOSE SHOT -- REGGIE

               As she looks from the painting to reality.

               EXT. PLACE ST. ANDR� DES ARTS -- LATE AFTERNOON

               As the scene really looks.

               MED. SHOT -- REGGIE

               She shrugs, continues after DYLE. Now we see that the TOURIST, 
               in turn, is following her.

                                     TOURIST
                              (calling)
                         Fraulein --

               REGGIE doesn't stop.

                                     TOURIST
                         Fraulein --

                                     REGGIE
                              (turning but continuing)
                         What are you doing, following me? 
                         Stop it -- we're going to look like 
                         a parade.

               She continues after DYLE. The TOURIST hesitates, then 
               continues after her.

               MED. SHOT -- DYLE

               He goes to the curb and starts to step off, attempting to 
               cross the Rue Danton, but finds the light against him. He 
               turns back in REGGIE's direction.

               MED. SHOT -- REGGIE

               Realizing she has to do something before DYLE spots her, she 
               turns and takes the TOURIST's arm and starts walking with 
               him back toward the cafe.

                                     REGGIE
                              (smiling and rattling 
                              on)
                         How are you? When did you arrive in 
                         town? Are you enjoying Paris? It's 
                         lovely, isn't it? So many wonderful 
                         things to see and do, it makes one's 
                         head spin to think of it.

               She looks back over her shoulder and sees that DYLE is now 
               crossing the Rue Danton, heading for the platform of a bus 
               now stopped at the curb.

                                     TOURIST
                              (smiling)
                         Fraulein --

               REGGIE pulls away from him.

                                     REGGIE
                         If you don't stop following me I'll 
                         call the police.

               She leaves him standing there, more confused than ever, as 
               she starts after DYLE again.

               DYLE has hopped on the back of the bus as it pulls away.

               REGGIE hurries across the street, hailing a taxi.

                                     REGGIE
                         Taxi -- !

               INT. AMERICAN EXPRESS -- LATE AFTERNOON

               DYLE enters. CAMERA PANNING with him to the head of a stairway 
               leading downstairs, a sign indicating that it leads to the 
               "MAIL ROOM & TELEPHONES." CAMERA PANS back to the door as 
               REGGIE enters.

               DELETED

               INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON

               DYLE walks to one of several windows. A sign over it reading:

                                         "A - D."

               MED. SHOT -- STAIRS

               REGGIE comes down the stairs. Suddenly she stops.

               MED. SHOT -- DYLE

               CAMERA ZOOMS in to sign on "D."

               CLOSE SHOT -- REGGIE

               A confused look on her face.

               MED. SHOT -- DYLE

               As his turn comes, he addresses the CLERK

                                     DYLE
                         Dyle, please... D - Y - L - E.

                                     CLERK
                         Yes, Mr. Dyle. I remember.

               CLOSE SHOT -- REGGIE

               Watching.

               MED. SHOT -- MAIL WINDOW

               The CLERK takes out a bundle of letters and quickly sorts 
               through it.

                                     CLERK
                         I'm sorry, Mr. Dyle -- nothing today.

                                     DYLE
                         Thanks -- see you soon.

               He turns and heads out, starting up the stairs where REGGIE 
               was but is no longer. As he reaches the fourth or fifth step, 
               a VOICE is heard over the loudspeaker.

                                     VOICE (O.S.)
                         Mr. Dyle, please -- you're wanted on 
                         the telephone -- Mr. Dyle. Cabin 4.

               DYLE stops in his tracks, pondering what to do.

                                     VOICE (O.S.)
                         Mr. Dyle. Cabin 4, please.

               He stops and comes down the stairs, going to the back of the 
               room and into the cabin marked "4."

                                     DYLE
                              (picking up the phone)
                         Yes?

               CAMERA DOLLIES across an empty cabin to discover REGGIE in 
               the third one, on the phone.

               INT. REGGIE'S CABIN

               REGGIE on the phone. 

               INT. DYLE'S CABIN

               DYLE on the phone.

                                     REGGIE
                         Good morning, Mr. Dyle.

                                     DYLE
                         Reggie?

                                     REGGIE
                         It's the only name I've got. How 
                         about you?

                                     DYLE
                         No cat and mouse -- you've got me. 
                         What do you want to know?

                                     REGGIE
                         Why you lied to me.

                                     DYLE
                         I had to -- for all I knew you could 
                         have been in on the whole thing.

                                     REGGIE
                         Well, you know now, so please tell 
                         me who you are.

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

                                     REGGIE
                         Carson Dyle is dead.

                                     DYLE
                         Yes, he is. He was my brother.

                                     REGGIE
                         Your --

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

                                     REGGIE
                         How can I? You lied to me -- the way 
                         Charles did -- and after promising 
                         you wouldn't. Oh, I want to believe 
                         you, Peter... oh, but I can't call 
                         you that anymore, can I? It will 
                         take me a while to get used to your 
                         new name -- which I don't even know 
                         yet. What is it?
                              (pause)
                         Aren't you going to tell me?
                              (pause)
                         Hello -- ?

               She opens the door of the cabin and starts out.

               MED. SHOT -- PHONE CABINS

               As REGGIE steps out of her cabin and starts looking in the 
               others. They are all occupied except one and she looks inside 
               it.

               CLOSE SHOT -- EMPTY CABIN

               The receiver hangs by its cord, swinging back and forth.

               MED. SHOT -- REGGIE

               As she looks at it, confused.

               INT. AMERICAN EXPRESS -- DAY

               DYLE and SCOBIE stand together, waiting for the elevator, 
               SCOBIE clearly holding a gun in the pocket of his raincoat.

                                     SCOBIE
                              (quietly)
                         If you do anything funny, or try to 
                         talk to anyone, I'll kill you, Dyle -- 
                         here and now. Okay?

                                     DYLE
                         You'll wreck your raincoat.

               The self-service elevator doors open, one or two PASSENGERS 
               come out and DYLE and SCOBIE enter. A young GIRL starts in 
               after them.

                                     SCOBIE
                         Next car, please.

               He reaches out and presses the top button with his metal 
               hand. The doors close.

               DELETED

               INT. TOP FLOOR LANDING -- LATE AFTERNOON

               As SCOBIE follows DYLE out of the elevator. SCOBIE looks 
               around -- there is an open door at the end of a short hall. 
               He and DYLE go to it, CAMERA FOLLOWING. Through the door, 
               which SCOBIE closes behind them, is a flight of stairs, 
               leading up to a second floor.

                                     SCOBIE
                         Okay -- turn around.

               DYLE turns to find SCOBIE's gun out of the pocket and pointing 
               at him. SCOBIE now transfers it to his metal hand and goes 
               to DYLE, where he proceeds to frisk him.

               Finding the gun DYLE carries in his inside coat pocket, SCOBIE 
               removes it. During the following conversation he will shake 
               open the revolving magazine and let the bullets fall out 
               onto the floor before handing back the emptied gun to DYLE.  
               Then he will transfer his own gun back to his good hand.

                                     SCOBIE
                         Sit down.

               Shrugging, DYLE sits on the third step.

                                     DYLE
                         What now?

                                     SCOBIE
                         We wait -- with our mouths shut.

               INT. AMERICAN EXPRESS -- NIGHT

               The last EMPLOYEES leave the building as the WATCHMAN locks 
               the front door after them.

               INT. TOP FLOOR LANDING -- NIGHT

               In the semi-darkness, DYLE is still sitting on the third 
               step, SCOBIE still facing him with a gun.

                                     DYLE
                         How long do you intend -- ?

                                     SCOBIE
                         I said with the mouth shut.

               DYLE yawns wide.

                                     DYLE
                         Sorry about that.

                                     SCOBIE
                         Okay -- up there.

               DYLE gets to his feet and starts up the stairs, followed by 
               SCOBIE. DYLE stops at the door.

                                     DYLE
                         Do I knock or something?

                                     SCOBIE
                         Open it.

               DYLE opens the door. The stairs continue up.

                                     SCOBIE
                         Keep going.

                                     DYLE
                         The view had better be worth it.

               EXT. AMERICAN EXPRESS -- ROOFTOP -- NIGHT

               A spectacular view of the Paris rooftops and the city lights 
               beyond. DYLE and SCOBIE come out onto a level portion of 
               roof. On the street side, the roof angles down abruptly into 
               a steep, slate-covered pitch, broken only by two widely 
               separated oval-shaped dormer windows.

               Below these is a rain gutter, then nothing -- for seven 
               stories.

                                     DYLE
                         Very pretty. Now what?

                                     SCOBIE
                         I'll give you a chance, Dyle -- which 
                         is more than you'd give me. Where's 
                         the money?

                                     DYLE
                         Is that why you dragged me all the 
                         way up here -- to ask me that? She 
                         has it -- you know that.

                                     SCOBIE
                         And I say maybe you both have it! 
                         One more time, Dyle -- where is it?

                                     DYLE
                         Supposing I did have it -- which I 
                         don't -- do you really think I'd 
                         hand it over?

                                     SCOBIE
                         You're out, Dyle -- right now!

               SCOBIE aims the gun and starts advancing toward DYLE.

                                     SCOBIE
                         Step back.

               DYLE turns and looks -- there is nothing behind him but a 
               sheer drop to the street.

                                     DYLE
                         Back where?

                                     SCOBIE
                         That's the idea.

               Moving quickly, DYLE lashes out and hacks SCOBIE's gun hand 
               with the side of his palm and the gun falls to the roof.

               Following through, DYLE punches the large man full in the 
               jaw, but instead of falling, SCOBIE wraps his arm around 
               DYLE, holding on tightly until his head clears.

               Then, to his amazement, DYLE is lifted into the air and, 
               unable to break the bear-hold, carried toward the edge of 
               the roof. Working his arms between their two bodies, DYLE 
               suddenly flails them out with all his strength and the hold 
               is broken, but at the price of his coat and the flesh on his 
               back as SCOBIE's metal claw rips through both, a wound 
               extending from the center of DYLE's back to his shoulder.

               Both men look around for the gun, spot it simultaneously and 
               leap for it, both landing short of the mark. Now they grapple 
               with one another, each trying to break free and reach for 
               the gun.

               CLOSE SHOT -- THEIR HANDS

               Two hands, one real, one metal, inch toward the gun.

               MED. SHOT -- DYLE AND SCOBIE

               The battle is going to SCOBIE whose weight and strength are 
               beginning to tire DYLE, who is now on his back, trying to 
               stop SCOBIE from crawling over him. He has the large man by 
               both lapels of the raincoat in a last-ditch effort to hold 
               him. But SCOBIE, his face horribly distorted from the strain, 
               continues to inch forward toward the gun.

               Suddenly, DYLE releases his hold. With nothing restraining 
               him, SCOBIE lurches forward, tumbling past the gun, his 
               momentum carrying him onto the sloping part of the roof, 
               where he begins sliding down. SCOBIE beats wildly at the the 
               slate with his claw, trying to gouge a grip.

               CLOSE SHOT -- SCOBIE'S CLAW

               As it slides across the slate, making a hideous scratching 
               sound and causing sparks to fly.

               MED. SHOT -- SCOBIE

               As he slides over the edge and disappears.

               CLOSE SHOT -- DYLE

               As he watches, hypnotized.

               CLOSE SHOT -- ROOF EDGE

               There appears to be no sign of SCOBIE. Then CAMERA ZOOMS IN 
               FOR A TIGHT CLOSE SHOT OF SCOBIE'S metal hand, gripping the 
               rain gutter at the very edge.

               MED. SHOT -- DYLE

               Having seen the claw, he rises and walks to the very edge of 
               the level part of the roof.

                                     DYLE
                         Herman?

               MED. SHOT -- SCOBIE

               As he hangs, seven stories over the street, by his metal 
               hand.

                                     SCOBIE
                         Yeah?

               MED. SHOT -- DYLE

               He finds it hard to believe.

                                     DYLE
                         How are you doing?

                                     SCOBIE'S VOICE (O.S.)
                         How do you think?

                                     DYLE
                         If you get bored, try writing 'Love 
                         thy neighbor' a hundred times on the 
                         side of the building.

               DYLE turns and leaves going down the stairs.

               INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT

               The HOTEL MANAGER is busy taping a piece of cardboard over 
               the hole ripped in REGGIE's door by SCOBIE's metal hand the 
               night before. DYLE leaves the elevator and goes to his own 
               door. The MANAGER eyes him coldly. DYLE "takes" the look.

                                     DYLE
                         I didn't do it.

                                     MANAGER
                         The next time madame forgets her 
                         key, there is another one at the 
                         desk.

               DYLE smiles, then enters his room.

               INT. DYLE'S ROOM -- NIGHT

               He closes the door and starts to remove his torn coat, 
               wincing.

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE, smoking on the bed, sits up when she hears DYLE moving 
               about in his room. She goes to the connecting door, unlocks 
               her side, tries the knob, finds it still bolted from his 
               side and knocks.

                                     REGGIE
                         Is that you?

               INT. DYLE'S ROOM -- NIGHT

               DYLE goes to the door, throws back the bolt and opens the 
               door. REGGIE enters.

                                     REGGIE
                         Didn't anyone ever tell you it's 
                         impolite to --
                              (seeing his injured 
                              back)
                         What happened?

                                     DYLE
                         I met a man with sharp nails.

                                     REGGIE
                         Scobie?

                                     DYLE
                         I left him hanging around the American 
                         Express.

                                     REGGIE
                         Come on -- I've got something that 
                         stings like crazy.

               She leads him into her room.

               INT. REGGIE'S ROOM -- NIGHT

               As REGGIE and DYLE enter from his room. She leads him to the 
               bed.

                                     REGGIE
                         Take off your shirt and lie down.

               As REGGIE goes to the bathroom, DYLE takes off his torn shirt, 
               revealing a torn and bloody T-shirt. He lies face downwards 
               on the bed. REGGIE returns, carrying cotton, gauze, tape, 
               scissors, and disinfectant. She sits next to him and lifts 
               up his T-shirt to examine the wound.

                                     DYLE
                              (wincing)
                         Listen -- all I really want is an 
                         estimate.

                                     REGGIE
                         It's not so bad. You may not be able 
                         to lie on your back for a few days -- 
                         but, then, you can lie from any 
                         position, can't you?

               She wets the cotton with disinfectant and begins cleaning 
               the wound. He winces.

                                     REGGIE
                         Does it hurt?

                                     DYLE
                         Haven't you got a bullet I can bite?

               She continues working on his back, cleaning it, then bandaging 
               it while they talk.

                                     REGGIE
                         Are you really Carson Dyle's brother?

                                     DYLE
                         Would you like to see my passport?

                                     REGGIE
                         Your passport! What kind of a proof 
                         is that?

                                     DYLE
                         Would you like to see where I was 
                         tattooed?

                                     REGGIE
                         Sure.

                                     DYLE
                         Okay, I'll drive you around there 
                         some day.
                              (his back stinging)
                         Ouch!

                                     REGGIE
                         Ha ha. You could at least tell me 
                         what your first name is these days.

                                     DYLE
                         Alexander.

                                     REGGIE
                         Is there a Mrs. Dyle?

                                     DYLE
                         Yes, but we're divorced.

                                     REGGIE
                         I thought that was Peter Joshua.

                                     DYLE
                              (smiling)
                         I'm no easier to live with than he 
                         was.

                                     REGGIE
                              (finishing the bandage)
                         There -- you're a new man.

               As they continue talking, he rises from the bed and goes 
               into his own room. REGGIE remains on the bed, watching him 
               through the open door as he puts on a fresh T-shirt and shirt.

                                     DYLE
                         I'm sorry I couldn't tell you the 
                         truth, but I had to find out your 
                         part in all this.

                                     REGGIE
                         Alex -- how can you tell if someone 
                         is lying or not?

                                     DYLE
                         You can't.

                                     REGGIE
                         There must be some way.

                                     DYLE
                         There's an old riddle about two tribes 
                         of Indians -- the Whitefeet always 
                         tell the truth and the Blackfeet 
                         always lie. So one day you meet an 
                         Indian, you ask him if he's a truthful 
                         Whitefoot or a lying Blackfoot? He 
                         tells you he's a truthful Whitefoot, 
                         but which one is he?

                                     REGGIE
                         Why couldn't you just look at his 
                         feet?

                                     DYLE
                         Because he's wearing moccasins.

                                     REGGIE
                         Oh. Well, then he's a truthful 
                         Whitefoot, of course.

                                     DYLE
                         Why not a lying Blackfoot?

                                     REGGIE
                              (confused)
                         Which one are you?

                                     DYLE
                              (entering, smiling)
                         Whitefoot, of course.

                                     REGGIE
                         Come here.

               He goes to the bed.

                                     REGGIE
                         Sit down.

               He sits.

                                     REGGIE
                         I hope it turns out you're a 
                         Whitefoot, Alex -- I could be very 
                         happy hanging around the tepee.

                                     DYLE
                         Reggie -- listen to me --

                                     REGGIE
                         Oh-oh -- here it comes. The fatherly 
                         talk. You forget I'm already a widow.

                                     DYLE
                         So was Juliet -- at fifteen.

                                     REGGIE
                         I'm not fifteen.

                                     DYLE
                         Well, there's your trouble right 
                         there -- you're too old for me.

                                     REGGIE
                         Why can't you be serious?

                                     DYLE
                         There, you said it.

                                     REGGIE
                         Said what?

                                     DYLE
                         Serious. When a man gets to be my 
                         age that's the last word he ever 
                         wants to hear. I don't want to be 
                         serious -- and I especially don't 
                         want you to be.

                                     REGGIE
                         Okay -- I'll tell you what -- we'll 
                         just sit around all day long being 
                         frivolous -- how about that?

               She starts kissing him on the neck, on the chin, on the cheek.

                                     DYLE
                         Now please, Reggie -- cut it out.

                                     REGGIE
                              (pulling back)
                         Okay.

                                     DYLE
                         What are you doing?

                                     REGGIE
                         Cutting it out.

                                     DYLE
                         Who told you to do that?

                                     REGGIE
                         You did.

                                     DYLE
                         But I'm not through complaining yet.

                                     REGGIE
                         Oh.
                              (She starts kissing 
                              him again)
                          

                                     DYLE
                         Now please, Reggie -- cut it out.

                                     REGGIE
                         I think I love you, Alex --

               She kisses him on the mouth. The phone rings. He tries to 
               talk as she continues kissing him.

                                     DYLE
                              (mumbling)
                         The phone's ringing --

                                     REGGIE
                         Whoever it is won't give up -- and 
                         neither will I.

               The phone continues to ring and she continues to kiss him.

               Finally, REGGIE reaches out to the bedstand and takes the 
               phone off the hook. She brings the receiver up to their mouths 
               and mumbles into it.

                                     REGGIE
                              (on phone)
                         Sorry -- I was just -- uh -- nibbling 
                         on something.

               INT. TEX'S ROOM -- NIGHT

               TEX speaks into the phone.

                                     TEX
                         Miz Lampert, my buddies 'n me, we'd 
                         oblige it mighty highly if you could 
                         mosey on across the hall 'n chew the 
                         fat with us for a spell.

               INT. REGGIE'S ROOM -- NIGHT

               DYLE is watching her.

                                     REGGIE
                              (on the phone)
                         Can you give me one good reason why 
                         I should?

               INT. TEX'S ROOM -- NIGHT

                                     TEX
                              (on the phone)
                         Yes, ma'am. A little one -- 'bout 
                         seven or eight years old. Th' little 
                         tyke keeps callin' you his Aunt Reggie -- 
                         ain't that cute?

               INT. REGGIE'S ROOM -- NIGHT

               She covers the phone and turns to DYLE in alarm.

                                     REGGIE
                         They've got Jean-Louis!

                                     DYLE
                         That sounds like their problem.

                                     REGGIE
                              (into the phone)
                         I'll be right there.

               INT. TEX'S ROOM -- NIGHT

                                     TEX
                              (on the phone)
                         We'll be waitin' in room forty-seven, 
                         Miz Lampert -- so you just wiggle on 
                         over.

               INT. REGGIE'S ROOM -- NIGHT

               As REGGIE hangs up.

                                     REGGIE
                         What day is it?

                                     DYLE
                         Tuesday.

                                     REGGIE
                         Lord, I forgot all about it -- Sylvie 
                         works late Tuesday nights -- she 
                         always leaves him with me. They 
                         wouldn't do anything to a little 
                         boy, would they?

                                     DYLE
                         I don't know -- it depends on whether 
                         or not they've already eaten.

               INT. TEX'S ROOM -- NIGHT

               CLOSE SHOT -- JEAN-LOUIS. He looks around, uncertainly, first 
               one way, then the other. CAMERA PULLS BACK to show him sitting 
               on SCOBIE's knee, the large man holding him with his good 
               hand, the metal one in his pocket. TEX sits next to them 
               while GIDEON nervously paces the floor. When GIDEON begins 
               sneezing he takes the small bottle of pills from his pocket 
               and downs one or two, swallowing some water.

                                     SCOBIE
                         Hey, Tex -- move the kid to the other 
                         knee or something, will you? My leg's 
                         going to sleep.

               TEX lifts JEAN-LOUIS and puts him down on SCOBIE's other 
               knee.

                                     TEX
                         Upsy-daisy.

                                     JEAN-LOUIS
                         Are you a real cowboy?

                                     TEX
                         Sure am.

                                     JEAN-LOUIS
                         Then where is your gun?

                                     TEX
                              (taking out his gun)
                         Right here -- see?

                                     GIDEON
                         Will you put that thing away!

               A KNOCK at the door. GIDEON goes to open it. REGGIE and DYLE 
               enter. She sees JEAN-LOUIS and TEX's gun.

                                     REGGIE
                         Jean-Louis!

               She snatches him off SCOBIE's lap.

                                     TEX
                         Howdy, Miz Lampert.

                                     SCOBIE
                              (glaring at DYLE)
                         Who invited you?

                                     DYLE
                         Hello, Herman, it was a happy landing, 
                         I see.

                                     REGGIE
                         I'd better call Sylvie -- she must 
                         be frantic.

               She starts for the door with JEAN-LOUIS. GIDEON blocks her 
               way.

                                     GIDEON
                         I'm afraid that will have to wait, 
                         Mrs. Lampert.

                                     REGGIE
                         But his mother --

                                     GIDEON
                         She isn't going to be anybody's mother 
                         unless you answer some questions.

                         TEX
                 This ain't no game, 
                 Miz Lampert.

                                                       SCOBIE
                                               We want that money -- now!

                                     DYLE
                              (forcefully)
                         Be quiet, all of you!

               The THREE MEN look at him, surprised by his tone.

                                     DYLE
                         And stop threatening that boy. He 
                         doesn't have the money. Mrs. Lampert 
                         doesn't either.

                                     SCOBIE
                         Then who does?

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

                                     SCOBIE
                         Me?

                                     DYLE
                              (to TEX)
                         Or you --
                              (to GIDEON)
                         Or you --

                                     GIDEON, TEX & SCOBIE
                              (together)
                         That's the most ridiculous -- !
                         You gone loco?
                         Listen to the man!

                                     DYLE
                         Slowly. Suppose one of you found 
                         Charles here in Paris, followed him, 
                         cornered him on the train, threw him 
                         out the window and took the money.

                                     SCOBIE
                              (after a pause)
                         That's a crock! If one of us did 
                         that he wouldn't hang around here 
                         waiting for the other two to wise 
                         up.

                                     DYLE
                         But he'd have to. If he left he'd be 
                         admitting his guilt -- and the others 
                         would know what happened. Whoever it 
                         is has to wait here, pretending to 
                         look for the money, waiting for the 
                         rest of us to give up and go home. 
                         That's when he'll be safe and not a 
                         minute before.

               A pause as the THREE MEN look at one another.

                                     GIDEON
                         Up till now we always figured she 
                         had the money -- but you know so 
                         much about it, maybe you've got it.

                                     DYLE
                         Then what am I doing here? You didn't 
                         know anything about me -- I'm the 
                         only one who could have taken it and 
                         kept right on going.

                                     SCOBIE
                         He's just tryin' to throw us off! 
                         They've got it, I tell you! Why don't 
                         we search their rooms?

                                     DYLE
                              (exchanging looks 
                              with REGGIE)
                         It's all right with us --

                                     TEX
                              (rising)
                         What are we wastin' time for? Let's 
                         go.

                                     DYLE
                         And while we're waiting, we might as 
                         well go through yours.

                                     SCOBIE
                              (stopping)
                         Not my room!

                                     DYLE
                         What's wrong, Herman -- have you got 
                         something to hide?
                              (a pause, then smiling)
                         Then I take it there are no 
                         objections.

               The THREE MEN look at one another unhappily.

                                     DYLE
                         We'd better exchange keys. Here's 
                         mine.

                                     SCOBIE
                         I'll take that.

               He takes DYLE's key and gives DYLE his. GIDEON goes to REGGIE, 
               takes her key and gives her his own.

                                     TEX
                         Mine's in the door. Ariva durchy, 
                         y'all.

               The THREE MEN file out. DYLE and REGGIE exchange looks.

                                     DYLE
                         Come on -- let's get busy. Who gets 
                         your vote?

                                     REGGIE
                         Scobie -- he's the one that objected.

                                     DYLE
                              (handing her the boy)
                         He's all yours. I'll do Tex and 
                         Gideon. Take Jean-Louis with you -- 
                         and make sure you bolt the door from 
                         inside.

                                     REGGIE
                         Viens, Jean-Louis -- we're going to 
                         have a treasure hunt.

                                     JEAN-LOUIS
                              (joining them)
                         Oh, la! If I find the treasure, will 
                         I win a prize?

                                     REGGIE
                              (to DYLE)
                         What should we give him?

                                     DYLE
                         How about $25,000? Or do you think 
                         it would spoil him?

               She smiles, takes JEAN-LOUIS' hand and leaves. DYLE turns to 
               survey TEX's room.

               He goes first to the drawer in the night table -- empty; and 
               the bed, looking in it and under it. Then he goes to the 
               desk and opens the drawers -- also empty. The bureau is next -- 
               he opens all three double drawers and they, too, are 
               completely empty. Frowning, he goes to the armoire and opens 
               it -- shelves and hanging bar are likewise bare.

               Then, CAMERA PANNING DOWN, he sees the only thing he's found 
               so far in the room -- a pair of fine cowboy boots.

               INT. REGGIE'S ROOM -- NIGHT

               CLOSE SHOT -- AIRLINES BAG. CAMERA PULLS BACK to include 
               GIDEON, staring down at it as it lies on the table in the 
               center of the room.

                                     GIDEON
                              (eyes on the bag)
                         Tex?

               ANOTHER ANGLE

               Including TEX, busy going through the bureau. He looks up, 
               then joins GIDEON.

                                     TEX
                         What's that?

               GIDEON empties the contents of the bag on the table, then 
               starts examining the various items. He opens the wallet.

               INSERT - WALLET

               Inside, the initials "C.L." are printed in gold.

                                     TEX'S VOICE (O.S.)
                         Charlie's stuff?

                                     GIDEON'S VOICE (O.S.)
                         Looks like it.

               MED. SHOT -- TEX & GIDEON

                                     TEX
                         Mebbe we'd better call Herman.

               GIDEON has put the wallet aside and now picks up the letter, 
               removing it from the envelope and reading it.

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

                                     TEX
                         And if it is?

                                     GIDEON
                              (a pause)
                         Why bother him?

               A broad grin from TEX. They continue going through the items 
               from the bag.

                                     TEX
                         You sure nuthin's missin'?

                                     GIDEON
                         No. The police have kindly provided 
                         us with a list.

               TEX takes the list, examines it, then folds it and puts it 
               in his pocket. They finish with the items from the bag.

                                     TEX
                         There sure ain't nothin' here worth 
                         no quarter of a million.

                                     GIDEON
                         Not unless we're blind.

                                     TEX
                              (staring at GIDEON)
                         You think that mebbe we're fishin' 
                         the wrong stream?

                                     GIDEON
                         Meaning what?

                                     TEX
                         You don't s'pose one o' us has it, 
                         like the man said -- I mean, that'd 
                         be pretty distasteful -- us bein' 
                         vet'rans o' the same war 'n' all.

                                     GIDEON
                              (very sincerely)
                         You know I'd tell you if I had it.

                                     TEX
                         Nachurly. Jus' like I'd tell you.

                                     GIDEON
                         Nachurly. And that goes for Herman, 
                         too.

                                     TEX & GIDEON
                              (together)
                         Nachurly!

               The TWO MEN look at one another, then smile -- then laugh.

               DELETED

               INT. SCOBIE'S ROOM -- NIGHT

               REGGIE on the phone, JEAN-LOUIS standing by.

                                     REGGIE
                         -- He's all right, Sylvie, honestly. 
                         Just hurry up and get here.

               She hangs up and turns to JEAN-LOUIS.

                                     REGGIE
                         Come on, now -- if you wanted to 
                         hide something, where would you put 
                         it?

                                     JEAN-LOUIS
                         I know. I would bury it in the garden.

                                     REGGIE
                         Swell -- only this man doesn't have 
                         a garden.

                                     JEAN-LOUIS
                         Oh.
                              (Afterthought)
                         Neither do I.
                              (Seeing something)
                         Voil�!

                                     REGGIE
                         Voil� what?

                                     JEAN-LOUIS
                              (pointing)
                         Up there! I would put it up there!

               REGGIE looks to where JEAN-LOUIS is pointing -- to the top 
               of the high armoire.

                                     REGGIE
                         You know something, cookie? Why not?

               Taking one of the straight chairs to the armoire, she stands 
               on it. Although she is still not high enough to see anything, 
               by standing on tip-toes she is able to reach with her hand 
               over the top and grope around blindly.

                                     REGGIE
                         I hope I don't find any little hairy 
                         things living up here -- wait! There 
                         is something! If I can just -- yes, 
                         I'm getting it -- a case of some 
                         sort -- it's heavy.

                                     JEAN-LOUIS
                              (jumping up and down)
                         I found it! I found it!

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

                                     JEAN-LOUIS
                              (ecstatic)
                         We won! We won!

               REGGIE has finally managed to pull down the case -- a 
               rectangular black bag about the size and shape of a trombone 
               case. As he climbs off the chair, JEAN-LOUIS suddenly runs 
               to the door, unbolts it and runs into the hall, CAMERA PANNING 
               with him.

               INT. HOTEL CORRIDOR - THIRD LANDING - NIGHT

               As JEAN-LOUIS runs out into the hall, shouting.

                                     JEAN-LOUIS
                         We found it! We found it!

               DYLE is the first one to appear, coming out of GIDEON's room.

               TEX has also appeared from REGGIE's room, followed by GIDEON.

                                     JEAN-LOUIS
                         We found it!

               The THREE MEN rush by JEAN-LOUIS and squeeze simultaneously 
               into SCOBIE's room.

               INT. SCOBIE'S ROOM -- NIGHT

               As DYLE, TEX and GIDEON enter, REGGIE is placing the little 
               straight black chair to its original position. There is no 
               sign of the black case.

                                     DYLE
                         Reggie -- ? Did you find it?

                                     REGGIE
                         No.

                                     GIDEON
                         What do you mean, no?

                                     TEX
                         The kid said --

                                     JEAN-LOUIS
                              (pointing atop the 
                              armoire)
                         Up there! It is up there!

                                     REGGIE
                         No, Jean-Louis.

               TEX grabs the chair and moves it to the armoire, climbing up 
               on it and grabbing the bag.

                                     REGGIE
                         It's nothing, I tell you!

               He brings it to the table as DYLE and GIDEON crowd around 
               him, anxious to see.

               CLOSE SHOTS (PANNING)

               The ring of faces, one at a time. TEX, his jaw muscles working 
               feverishly; DYLE, his eyes unblinking, a slight smile on his 
               lips; GIDEON, his mouth open greedily.

               GROUP SHOT

               As TEX finally springs the latches and opens the lid.

               CLOSE SHOT -- CASE

               Inside, neatly packed in velvet fittings, like the parts of 
               a musical instrument, are various portions of and attachments 
               for a metal artificial hand.

                                     TEX'S VOICE (O.S.)
                         Jumpin' frejoles -- it's Herman's 
                         spare.

               GROUP SHOT -- THE THREE MEN

               As they stare at the case, surprised and just a little 
               embarrassed. Slowly TEX lowers the lid. The MEN avoid looking 
               at one another.

               WIDER ANGLE

               Including REGGIE and JEAN-LOUIS by the door.

                                     REGGIE
                         Where is he?

               The MEN look at one another.

                                     TEX
                         Hey, that's right!

                                     DYLE
                              (already running)
                         He's in my room.

               The THREE MEN hurry past REGGIE and JEAN-LOUIS and out of 
               the door.

                                     JEAN-LOUIS
                         What is the matter?

               INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT

               DYLE, TEX, and GIDEON, followed by REGGIE and JEAN-LOUIS 
               cross the hall to DYLE's room. DYLE turns the key which is 
               still in the door. He enters, followed by the others.

               INT. DYLE'S ROOM -- NIGHT

               DYLE, TEX and GIDEON stand in the center of the room, looking 
               around. REGGIE and JEAN-LOUIS wait in the open doorway. The 
               room looks like a cyclone hit the place, but there is no 
               sign of SCOBIE. The sound of running water can be heard coming 
               from behind the closed door to the bathroom and DYLE is the 
               first to notice the water beginning to leak out from under 
               the door.

                                     DYLE
                         Reggie -- you and the boy better 
                         wait here.

               INT. BATH -- NIGHT

               SCOBIE, still dressed in his raincoat, lies face up, his 
               head submerged in the filled tub, the water now pouring over 
               the edge. His face is distorted. DYLE's hand appears and 
               turns off the water.

               DELETED

               REVERSE SHOT

               DYLE, TEX and GIDEON staring at CAMERA.

                                     TEX
                         Now who'da done a mean thing like 
                         that?

                                     DYLE
                              (looking carefully at 
                              both)
                         I'm not quite sure.

                                     TEX
                         This ain't my room.

                                     GIDEON
                         Mine, either.

                                     DYLE
                              (considering the 
                              situation)
                         The police aren't going to like this 
                         one bit.

                                     GIDEON
                              (helpful)
                         We could dry him off and take him 
                         down the hall to his own room.
                              (looking at the body)
                         He really doesn't look so bad.

                                     TEX
                         We could put him to bed 'n let one 
                         o' them fem-de-chambers find him in 
                         the mornin'.

               DYLE and GIDEON look at one another.

                                     TEX
                         Poor ol' Herman -- him 'n good luck 
                         always was strangers. Maybe now he'll 
                         meet up with his other hand someplace -- 
                         but I sure hope it ain't waitin' for 
                         him in Heaven.

               INT. SCOBIE'S ROOM -- DAY

               CLOSE SHOT -- SCOBIE. The dead man's eyes are open, his jaw 
               hanging, his head lying crazily on the pillow.

               CAMERA PULLS BACK to show him lying in bed, dressed in his 
               pajamas. CAMERA WHIRLS for a TIGHT CLOSE SHOT of a MAID, her 
               eyes widening as the realization that the man is dead strikes 
               her. Then she screams.

               INT. GRANDPIERRE'S OFFICE -- LATE AFTERNOON

               CLOSE SHOT -- GRANDPIERRE. The policeman is apoplectic.

                                     GRANDPIERRE
                         No! No! No! No!

               CAMERA PULLS BACK to include, REGGIE, DYLE, TEX and GIDEON, 
               all sitting silently in the INSPECTOR's office.

                                     GRANDPIERRE
                         A man drowned in his bed -- 
                         impossible! And in his pajamas -- 
                         the second one in his pajamas -- 
                         c'est trop b�te! Stop lying to me --
                              (Tapping the side of 
                              his nose)
                         this nose tells me when you are lying --
                         it is never mistaken, not in twenty-
                         three years -- this nose will make 
                         me commissaire of police.
                              (Tapping his fingers 
                              on his desk)
                         Mr. Dyle or Mr. Joshua -- which is 
                         it?

                                     DYLE
                         Dyle.

                                     GRANDPIERRE
                         And yet you registered in Megeve as 
                         Mr. Joshua. Do you know it is against 
                         the law to register under an assumed 
                         name?

                                     DYLE
                         No, I didn't.

                                     REGGIE
                         It's done in America all the time.

               GRANDPIERRE raps for silence on his desk. During the pause, 
               he looks into each face in turn.

                                     GRANDPIERRE
                         None of you will be permitted to 
                         leave Paris -- until this matter is 
                         cleared up. Only I warn you -- I 
                         will be watching. We use the 
                         guillotine in this country -- I have 
                         always suspected that the blade coming 
                         down causes no more than a slight 
                         tickling sensation on the back of 
                         the neck. It is only a guess, of 
                         course -- I hope none of you ever 
                         finds out for certain.

               DELETED

               EXT. QUAI MONTEBELLO -- LATE AFTERNOON (TRAVELING)

               REGGIE and DYLE walking along the quai, next to the Seine, 
               CAMERA LEADING.

                                     REGGIE
                         Who do you think did it -- Gideon?

                                     DYLE
                         Maybe.

                                     REGGIE
                         Or Tex?

                                     DYLE
                         Maybe.

                                     REGGIE
                         You're a big help. Can I have one of 
                         those?

               They have passed an ice-cream wagon on the corner of the 
               Pont au Double. DYLE shrugs.

                                     REGGIE
                              (to the VENDOR)
                         Vanille-chocolat.

               During the following, the VENDOR makes a double-decker cone 
               and hands it to REGGIE. DYLE pays and they resume their walk -- 
               all with no break in the dialogue.

                                     REGGIE
                         I think Tex did it.

                                     DYLE
                         Why?

                                     REGGIE
                         Because I really suspect Gideon -- 
                         and it is always the person you don't 
                         suspect.

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

                                     REGGIE
                         What's so illogical about that?

                                     DYLE
                         A) It's always the person you don't 
                         suspect; B) that means you think 
                         it's Tex because you really suspect 
                         Gideon; therefore C) if you think 
                         it's Tex, it has to be someone else -- 
                         Gideon.

                                     REGGIE
                         Oh. I guess they just can't help it.

                                     DYLE
                         Who?

                                     REGGIE
                         Women. You know, I can't help feeling 
                         rather sorry for Scobie.
                              (a pause)
                         Wouldn't it be nice if we were like 
                         that?

                                     DYLE
                         What -- like Scobie?

                                     REGGIE
                         No -- Gene Kelly. Remember the way 
                         he danced down there next to the 
                         river in 'American in Paris' -- 
                         without a care in the world? This is 
                         good, want some?

               She offers him her cone, thrusting it forward with enough 
               force to dislodge the ice-cream. It lands right next to his 
               lapel, over his outside breast pocket.

                                     DYLE
                              (frowning)
                         I'd love some, thanks.

                                     REGGIE
                         I'm sorry.

               He pulls open the pocket with two sticky fingers and looks 
               inside, then shakes his head sadly at what he sees. REGGIE 
               still holds the empty cone, not knowing what to do with it.

               Seeing this, he takes it and sticks it into his pocket.

                                     DYLE
                         No sense messing up the streets.

                                     REGGIE
                         Alex --

                                     DYLE
                         Hm?

                                     REGGIE
                         I'm scared.

                                     DYLE
                         Don't worry, I'm not going to hit 
                         you.

                                     REGGIE
                         No, about Scobie, I mean. I can't 
                         think of any reason why he was killed.

               They resume walking.

                                     DYLE
                         Maybe somebody felt that four shares 
                         were too many --

                                     REGGIE
                         What makes you think that this 
                         somebody will be satisfied with three? 
                         He wants it all, Alex -- that means 
                         we're in his way, too.

                                     DYLE
                         Yes, I know.

                                     REGGIE
                         First your brother, then Charles, 
                         now Scobie -- we've got to do 
                         something! Any minute now we could 
                         be assassinated! Would you do anything 
                         like that?

                                     DYLE
                              (surprised)
                         What? Assassinate somebody?

                                     REGGIE
                         No --

               ANOTHER ANGLE

               Including the Cathedral of NOTRE DAME in the background.

                                     REGGIE
                         -- swing down from there on a rope 
                         to save the woman you love -- like 
                         Charles Laughton in 'The Hunchback 
                         of Notre Dame'?

               INT. HOTEL CORRIDOR -- THIRD LANDING -- LATE AFTERNOON

               As REGGIE and DYLE step from the elevator.

                                     REGGIE
                         Hurry up and change -- I'm starved.

                                     DYLE
                         Let me know what you want -- I'll 
                         pick a suit that matches.

               He goes into his room and she goes into hers.

               DELETED

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               She enters, fixes her hair in the mirror, then goes to the 
               door connecting her room with DYLE's. She unlocks it, tries 
               to open it, but finds it locked. Disappointed, she knocks.

                                     DYLE'S VOICE (O.S.)
                         What do you want?

                                     REGGIE
                         It's the house detective -- why 
                         haven't you got a girl in there?

               INT. DYLE'S ROOM -- LATE AFTERNOON

               He calls to her through the closed door as he empties his 
               pockets.

                                     DYLE
                         Lord, you're a pest.

                                     REGGIE'S VOICE (O.S.)
                         Can I come in?

                                     DYLE
                         I'd like to take a bath.

               INT. REGGIE'S ROOM -- LATE AFTERNOON

                                     REGGIE
                         Wouldn't it be better if you did it 
                         in my room?

                                     DYLE'S VOICE (O.S.)
                         What for?

                                     REGGIE
                         I wouldn't want to use that tub. 
                         Besides, I don't want to be alone. 
                         I'm afraid.

               INT. DYLE'S ROOM -- LATE AFTERNOON

                                     DYLE
                         I'm only next door -- if anything 
                         happens, holler.

               He sits down to take off his shoes, but is interrupted by 
               the sound of REGGIE screaming. He races for the connecting 
               door, pulls back the bolt and rushes in.

               DELETED

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               As DYLE enters.

                                     DYLE
                         Reggie!

               He wheels as the door is slammed and REGGIE, who had been 
               standing behind it, locks it and pockets the key.

                                     REGGIE
                         Got you.

                                     DYLE
                         Did you ever hear the story of the 
                         boy who cried wolf?

                                     REGGIE
                         The shower's in there.

               He goes to the door leading to the hall and finds that locked 
               as well. She smiles at him.

                                     DYLE
                              (warning)
                         Reggie -- open the door.

                                     REGGIE
                         This is a ludicrous situation. There 
                         must be dozens of men dying to use 
                         my shower.

                                     DYLE
                         Then I suggest you call one of them.

                                     REGGIE
                         I dare you.

               DYLE looks at her, then sits down and starts to remove his 
               shoes.

                                     REGGIE
                              (has she gone too 
                              far?)
                         What are you doing?

                                     DYLE
                         Have you ever heard of anyone taking 
                         a shower with his shoes on?
                              (to himself)
                         What a nut.

               Shoes off, DYLE starts for the bathroom, humming.

                                     DYLE
                         I usually sing a medley of old 
                         favorites when I bathe -- any 
                         requests?

                                     REGGIE
                         Shut the door!

                                     DYLE
                         I don't think I know that one.

               Testing the water with his hand, he now steps in fully 
               dressed. REGGIE can't believe her eyes. She goes to the open 
               door for a closer look.

                                     REGGIE
                         What on earth are you doing?

               INT. BATHROOM -- LATE AFTERNOON

               MED. SHOT -- DYLE

               In the shower, making sure his suit gets uniformly soaked.

                                     DYLE
                              (explaining pleasantly)
                         Drip-dry!

               He takes the soap and begins washing as if he were washing 
               himself without the suit.

                                     DYLE
                         The suit needs it more than I do, 
                         anyway.

                                     REGGIE
                         How often do you go through this 
                         little ritual?

               As he takes out his handkerchief and rinses it.

                                     DYLE
                         Every day. The manufacturer recommends 
                         it.

                                     REGGIE
                         I don't believe it.

               He opens his coat and reads a label inside.

                                     DYLE
                         "Wearing this suit during washing 
                         will help protect its shape."

               He flicks a little water in her face, then takes the nail-
               brush and scrubs his watch and watch-band. He holds up his 
               wrist so she can see the watch.

                                     DYLE
                         Waterproof.

               He begins unbuttoning his suit. She turns and leaves, slamming 
               the door after her.

               DELETED

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               As REGGIE goes to the armoire to select a dress. The PHONE 
               rings and she answers it.

                                     REGGIE
                              (into phone)
                         Yes -- ?

               INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON

               CLOSE SHOT -- BARTHOLOMEW

                                     BARTHOLOMEW
                              (on the phone)
                         Mrs. Lampert? -- Bartholomew. I've 
                         spoken to Washington, Mrs. Lampert --

               INT. REGGIE'S ROOM -- LATE AFTERNOON

                                     REGGIE
                              (on the phone)
                         Go ahead, Mr. Bartholomew -- I'm 
                         listening.

               INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON

                                     BARTHOLOMEW
                              (on the phone)
                         I told them what you said -- about 
                         this man being Carson Dyle's brother. 
                         I asked them what they knew about it 
                         and they told me -- you're not gonna 
                         like this, Mrs. Lampert -- they told 
                         me Carson Dyle has no brother.

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               CLOSE SHOT -- REGGIE on the phone, looking like the rug has 
               been pulled out from under her.

                                     REGGIE
                              (pause, quietly)
                         Are you sure there's no mistake?

               INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON

                                     BARTHOLOMEW
                              (on the phone)
                         None whatsoever. Please, Mrs. Lampert -- 
                         be careful.

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               REGGIE slowly lowers the phone to its cradle, a worried 
               expression on her face. Then the bathroom door opens and 
               DYLE appears dressed in a large bath towel. Her back is to 
               him.

                                     DYLE
                         I left all my drip-dry dripping -- 
                         is it all right?

               She doesn't answer.

                                     DYLE
                         Reggie -- is something wrong?

               She shakes her head.

                                     DYLE
                         You're probably weak from hunger. 
                         You've only had five meals today. 
                         Hurry up and we'll go out.

               She turns and looks at him.

                                     REGGIE
                         Do you mind if we go someplace 
                         crowded? I -- I feel like lots of 
                         people tonight.

               EXT. SEINE - B�TEAU MOUCHE -- DUSK

               The large motor launch, moving along the river, gaily ablaze 
               with lights.

               MED. SHOT -- REGGIE AND DYLE (PROCESS)

               At a table for two by the rail, the city slowly passing in 
               the b.g.

                                     DYLE
                         Reggie -- you haven't spoken a word 
                         in twenty minutes.

                                     REGGIE
                         I keep thinking about Charles and 
                         Scobie -- and the one who's going to 
                         be next -- me?

                                     DYLE
                         Nothing's going to happen to you 
                         while I'm around -- I want you to 
                         believe that.

                                     REGGIE
                         How can I believe it when you don't 
                         even know who the killer is? I've 
                         got that right, haven't I? You don't 
                         know who did it.

                                     DYLE
                         No -- not yet.

                                     REGGIE
                         But then if we sit back and wait, 
                         the field should start narrowing 
                         down, shouldn't it? Whoever's left 
                         alive at the end will pretty well 
                         have sewn up the nomination, wouldn't 
                         you say so?

                                     DYLE
                         Are you trying to say that I might 
                         have killed Charles and Scobie?

               She doesn't answer.

                                     DYLE
                         What do I have to do to satisfy you -- 
                         become the next victim?

                                     REGGIE
                         It's a start, anyway.

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

                                     REGGIE
                         Carson Dyle didn't have a brother.

               WIDER ANGLE

               She rises from the table and walks away. DYLE hesitates a 
               moment, then follows.

                                     DYLE
                         I can explain if you'll just listen. 
                         Will you listen?

                                     REGGIE
                              (looking at the river)
                         I can't very well leave without a 
                         pair of water wings.

                                     DYLE
                         Okay. Then get set for the story of 
                         my life -- not that it would ever 
                         make the best-seller list.

                                     REGGIE
                         Fiction or non-fiction?

                                     DYLE
                         Why don't you shut up!

                                     REGGIE
                         Well!

                                     DYLE
                         Are you going to listen?

                                     REGGIE
                         Go on.

                                     DYLE
                         After I graduated college I was all 
                         set to go into my father business. 
                         Umbrella frames -- that's what he 
                         made. It was a sensible business, I 
                         suppose, but I didn't have the sense 
                         to be interested in anything sensible.

                                     REGGIE
                         I suppose all this is leading 
                         somewhere?

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

                                     REGGIE
                         What do you mean?

                                     DYLE
                         When a man has no profession except 
                         the one he loathes, what's left? I 
                         began looking for people with more 
                         money than they'd ever need -- 
                         including some they'd barely miss.

                                     REGGIE
                              (astonished)
                         You mean, you're a thief?

                                     DYLE
                         Well, it isn't exactly the term I'd 
                         have chosen, but I suppose it captures 
                         the spirit of the thing.

                                     REGGIE
                         I don't believe it.

                                     DYLE
                         Well, I can't really blame you -- 
                         not now.

                                     REGGIE
                         But I do believe it -- that's what I 
                         don't believe. So it's goodbye 
                         Alexander Dyle -- Welcome home Peter 
                         Joshua.

                                     DYLE
                         Sorry, the name's Adam Canfield.

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

                                     DYLE
                              (now called ADAM)
                         The man's the same, even if the name 
                         isn't.

                                     REGGIE
                         No -- he's not the same. Alexander 
                         Dyle was interested in clearing up 
                         his brother's death. Adam Canfield 
                         is a crook. And with all the 
                         advantages you've got -- brains, 
                         charm, education, a handsome face --

                                     ADAM
                         Oh, come on!

                                     REGGIE
                         -- there has to be a darn good reason 
                         for living the way you do. I want to 
                         know what it is.

                                     ADAM
                         It's simple. I like what I do -- I 
                         enjoy doing it. There aren't many 
                         men who love their work as much as I 
                         do. Look around some time.

                                     REGGIE
                         Is there a Mrs. Canfield?

                                     ADAM
                         Yes, but --

                                     ADAM AND REGGIE
                              (together)
                         -- we're divorced.

                                     ADAM
                         Right. Now go eat your dinner.

               ANOTHER ANGLE

               They walk back to the table, where a WAITER is busy putting 
               food on it, mostly on REGGIE's side.

                                     REGGIE
                              (miserably)
                         I could eat a horse.

                                     ADAM
                              (looking at all the 
                              food)
                         I think that's what you ordered.

                                     REGGIE
                         Don't you dare to be civil with me!  
                         All this time you were leading me on --

                                     ADAM
                         How was I leading you on?

                                     REGGIE
                         All that marvelous rejection -- you 
                         knew I couldn't resist it. Now it 
                         turns out you were only interested 
                         in the money.

                                     ADAM
                         That's right.

                                     REGGIE (HURT)
                         Oh!

                                     ADAM
                         What would you like me to say -- 
                         that a pretty girl with an outrageous 
                         manner means more to an old pro like 
                         me than a quarter of a million 
                         dollars?

                                     REGGIE
                         No -- I guess not.

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

                                     REGGIE
                         What?

                                     ADAM
                         Don't you know I'm having a tough 
                         time keeping my eyes off of you?

               REGGIE reacts in surprise.

                                     ADAM
                         Oh, you should see your face.

                                     REGGIE
                         What about it?

                                     ADAM
                              (taking her hand, 
                              nicely)
                         It's lovely.

               She looks at him with happy amazement, then pushes her plate 
               away.

                                     ADAM
                         What's the matter?

                                     REGGIE
                         I'm not hungry -- isn't it glorious?

               The lights go out.

                                     REGGIE
                              (alarmed)
                         Adam!

                                     ADAM
                         It's all right -- look.

               EXT. SEINE B�TEAU MOUCHE -- NIGHT

               A searchlight near the boat's bridge has gone on and now 
               begins sweeping the river banks. On benches by the water's 
               edge, lovers are surprised by the bright light which suddenly 
               and without warning discovers them in various attitudes of 
               mutual affection. Some are embarrassed, some are amused and 
               some (the most intimate) damn annoyed. One even shakes his 
               fist at the light.

               MED. SHOT -- REGGIE AND ADAM

               Who, like everyone else, leave the table and stand together 
               at the rail watching.

                                     REGGIE
                         You don't look so bad in this light.

                                     ADAM
                         Why do you think I brought you here?

                                     REGGIE
                              (indicating the lovers)
                         I thought maybe you wanted me to see 
                         the kind of work the competition was 
                         turning out.

                                     ADAM
                         Pretty good, huh? I taught them 
                         everything they do.

                                     REGGIE
                         Oh? Did they do that sort of thing 
                         way back in your day?

                                     ADAM
                         How do you think I got here?

               She rises on tip-toes and kisses him gently; his only reaction 
               is to look at her.

                                     REGGIE
                         Aren't you allowed to kiss back?

                                     ADAM
                         No. The doctor said it would be bad 
                         for my -- thermostat.

               She kisses him again. He responds a little better.

                                     ADAM
                         When you come on, you really come 
                         on.

                                     REGGIE
                         Well -- come on.

               She starts to kiss him again, but he stops her.

                                     REGGIE
                         I know why you're not taken -- no 
                         one can catch up with you.

                                     ADAM
                         Relax -- you're gaining.

               DELETED

               INT. GIDEON'S ROOM -- NIGHT

               MED. SHOT -- GIDEON. As he sits bolt upright in bed, startled.

               The room is dark and the phone is ringing. He switches on 
               the lamp, looks at the clock (it reads 3:30) and shakes his 
               head before picking up the receiver.

                                     GIDEON
                         Huh? You must be crazy -- it's three-
                         thirty in the morning -- you mean 
                         now?  -- all right -- I'll be down 
                         in a minute.

               He hangs up, swings his feet out of bed and spears his 
               slippers, reaching for his robe at the same time. Then he 
               shuffles sleepily to the door.

               INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT

               As GIDEON comes out of his room and goes to the elevator.

               The cage is there. He opens the door and enters.

               INT. ELEVATOR -- NIGHT

               GIDEON closes the sliding grill and presses a button. The 
               cage starts down. GIDEON begins sneezing. Suddenly the 
               elevator stops between floors and the lights go out.

                                     GIDEON
                         Hey! Turn on the lights!

               Just as suddenly the lights go back on and the elevator starts 
               moving down again. GIDEON shakes his head and leans back, 
               whistling again. The cage comes to his floor and starts past 
               it. Seeing this, GIDEON looks confused.

               INT. HOTEL LOBBY -- NIGHT

               The NIGHT PORTER is asleep behind the desk. The elevator, 
               GIDEON inside, keeps coming down. It passes the lobby level 
               and keeps right on going, toward the basement.

                                     GIDEON
                         Hey! How do you stop this thing?

               The elevator passes out of sight, still going down. There is 
               a silence as the motor stops, and then a series of sneezes 
               that ends with a terrifying shriek. The NIGHT PORTER, rudely 
               awakened, runs to the elevator shaft, his shoes squeaking 
               horribly. He looks up, sees nothing, then looks down. He 
               presses the call button and the motor starts.

               An instant later the cage appears and stops. The NIGHT PORTER 
               opens the gate, pulls back the grill and the CAMERA RUSHES 
               PAST him to pick up GIDEON. His body is sitting on the floor 
               of the cage, its grotesque sprawling attitude resembling a 
               puppet's with its strings cut. Except that GIDEON has no 
               strings to cut -- only a throat. From ear to ear.

               INT. HOTEL CORRIDOR -- NIGHT

               CLOSE SHOT -- GRANDPIERRE. He is now doubly apoplectic.

                                     GRANDPIERRE
                         Three of them -- all in their pajamas! 
                         C'est ridicule! What is it, some new 
                         American fad?

               CAMERA PULLS BACK to reveal REGGIE and ADAM, in their 
               bathrobes.

                                     GRANDPIERRE
                         And now your friend -- the one from 
                         Texas -- he has disappeared -- checked 
                         out -- pouf! into thin air! Where is 
                         he?

                                     ADAM
                         I don't know.

                                     GRANDPIERRE
                         Madame?

               REGGIE shrugs.

                                     GRANDPIERRE
                         Tell me, Mr. Dyle -- where were you 
                         at three-thirty?

                                     ADAM
                         In my room, asleep.

                                     GRANDPIERRE
                         And you, Mrs. Lampert?

                                     REGGIE
                         I was, too.

                                     GRANDPIERRE
                         In Mr. Dyle's room?

                                     REGGIE
                              (bitterly)
                         No -- in my room.

                                     GRANDPIERRE
                              (pause, lighting cigar)
                         It stands to reason you are telling 
                         the truth -- for why would you invent 
                         such a ridiculous story?

               REGGIE and ADAM exchange looks.

                                     GRANDPIERRE
                         And if I were you, I would not stay 
                         in my pajamas. Good night.

               GRANDPIERRE turns and leaves. REGGIE and ADAM start down the 
               hall toward their own rooms.

                                     ADAM
                         That wraps it up -- Tex has the money. 
                         Go back to bed -- I'll let you know 
                         when I've found him.

                                     REGGIE
                         You're going to look for him -- now?

                                     ADAM
                         If the police find him first they're 
                         not very likely to turn over a quarter 
                         of a million dollars to us, are they?

                                     REGGIE
                         Adam --

                                     ADAM
                         There's no time -- I'll call you in 
                         the morning.

               ADAM disappears into his own room.

               INT. ADAM'S ROOM -- NIGHT

               As ADAM enters, going to the closet to remove his suit.

               The phone rings. He answers it.

                                     ADAM
                         Yes?

               INT. PHONE BOOTH -- NIGHT

               CLOSE SHOT -- TEX. As he speaks on the phone.

                                     TEX
                         Now Dyle, you listen to me -- my 
                         mama didn't raise no stupid children. 
                         I know who's got the money 'n I ain't 
                         disappearing till I got my share -- 
                         'n' my share's growin' a whole lot 
                         bigger ev'ry day.

               INT. ADAM'S ROOM -- NIGHT

                                     ADAM
                              (on the phone)
                         Where are you, ol' buddy?

               INT. PHONE BOOTH -- NIGHT

                                     TEX
                              (on the phone)
                              (laughs)
                         I'll tell you what, fella -- you 
                         want t' find me, you jus' turn 'round --
                         from now on I'll be right behind 
                         you.
                              (hangs up)

               INT. ADAM'S ROOM -- NIGHT

               ADAM, before hanging up, reflects on TEX's words, then looks 
               behind him. Smiling softly, he hangs up the phone and starts 
               for REGGIE's door.

               INT. REGGIE'S ROOM -- NIGHT

               REGGIE slips back into her robe and goes to the connecting 
               door.

                                     REGGIE
                         What is it?

                                     ADAM
                         Open up.

               She undoes the bolt and opens the door. ADAM enters.

                                     ADAM
                         I think we were wrong about Tex having 
                         the money.

                                     REGGIE
                         Why?

                                     ADAM
                         I just heard from him -- he's still 
                         hungry. That means killing Gideon 
                         didn't get it for him -- so he's 
                         narrowed it down to us. You've got 
                         it.

                                     REGGIE
                         I've looked, Adam -- you know I have --

                                     ADAM
                         Where's that airlines bag?

                                     REGGIE
                         Lord, you're stubborn.

                                     ADAM
                         I sure am. Get it.

               She goes to the closet and gets the bag.

                                     ADAM
                         Charles must have had the money with 
                         him on the train, and Tex missed it.

               He takes the bag to the bed where he dumps out the contents.

                                     REGGIE
                         But everyone and his Aunt Lilian's 
                         been through that bag. Somebody would 
                         have seen it.

                                     ADAM
                         Let's look anyway.

                                     REGGIE
                         Lord, you're stubborn.

                                     ADAM
                         I mean, it's there, Reggie. If only 
                         we could see it. We're looking at it 
                         right now.

               CLOSE SHOT -- BED WITH CHARLES' BELONGINGS

                                     ADAM'S VOICE (O.S.)
                         Something on that bed is worth a 
                         quarter of a million dollars.

                                     REGGIE'S VOICE (O.S.)
                         Yes, but what?

                                     ADAM'S VOICE (O.S.)
                         I don't know -- I just don't know.

               MED. SHOT -- REGGIE AND ADAM

               As ADAM begins to examine the items one by one.

                                     ADAM
                         Electric razor -- comb -- steamship 
                         ticket -- fountain pen -- four 
                         passports -- toothbrush -- wallet --
                              (He goes through the 
                              wallet, finds nothing)
                         key -- what about that?

                                     REGGIE
                         To the apartment -- it matches mine 
                         perfectly.

                                     ADAM
                         The letter --

               He takes it out of the envelope and takes out his glasses 
               before reading it.

                                     REGGIE
                         I'll bet you don't really need those.

               He hands her the glasses and she looks through them.

                                     REGGIE
                         You need them.
                              (She hands them back)
                          

                                     ADAM
                              (reading the letter)
                         It still doesn't make sense, but it 
                         isn't worth any quarter of a million 
                         either. Have we forgotten anything?

                                     REGGIE
                         The tooth powder. Wait a minute -- 
                         could you recognize heroin just by 
                         tasting it?

               He shakes some powder into his hand and tastes it. REGGIE 
               watches expectantly.

                                     ADAM
                         Heroin -- peppermint-flavored heroin.

                                     REGGIE
                         Well, I guess that's it -- dead end.

                                     ADAM
                         Go to bed. You've got to be at work 
                         in the morning. There's nothing more 
                         we can do tonight.

                                     REGGIE
                              (pause)
                         I love you, Adam.

                                     ADAM
                         Yes, you told me.

                                     REGGIE
                         No -- last time I said "I love you, 
                         Alex."

               EXT. UNESCO BUILDING -- ESTABLISHING -- DAY

               The ultra-modern glass and concrete structure behind the 
               Ecole Militaire.

               INT. UNESCO CONFERENCE ROOM -- DAY

               SEVERAL DELEGATES identified by little plaques in front of 
               them listing their respective nations, and their AIDES, sit 
               around the large table. They are all wearing earphones.

               The ITALIAN DELEGATE is speaking.

                                     ITALIAN DELEGATE
                         -- di conseguenza, il Governo Italiano 
                         � decisamente a favore per 
                         l'incoraggiamento, in accordo con le 
                         tradizioni etniche rispettive delle 
                         culture basilari dei passi in via di 
                         sviluppo. Per esempio, pregare i 
                         Vietnamiti di aggiungere alle loro 
                         risaie ed ai loro campi di soja 
                         tradizionali una raccolta di semola, 
                         non solo sconvolgerebbe le loro 
                         secolari tradizioni ma, oltre tutto, 
                         e questo � molto importante per il 
                         Governo che io ho l'onore di 
                         rappresentare disturberebbe 
                         l'esportazione delle derrate farinose 
                         italiane in questa parte del mondo. 
                         Signori Delegati vi ringrazio della 
                         vostra attenzione.

               INT. REGGIE'S BOOTH -- DAY

               REGGIE, wearing her headset, is talking with SYLVIE.

                                     REGGIE
                         I hope Jean-Louis understands about 
                         last night -- it's just not safe for 
                         him to be around me right now.

                                     SYLVIE
                         Don't be silly -- he would not do 
                         anything. He is not yet old enough 
                         to be interested in girls. He says 
                         collecting stamps is much more 
                         satisfying to a man of his age.

                                     REGGIE
                         Hold it -- Italy just finished. 
                         They're recognizing Great Britain.

                                     SYLVIE
                         Oh la vache!

               SYLVIE jumps up and rushes next door into her booth, shutting 
               the door after her.

               INT. CONFERENCE ROOM -- DAY

               The BRITISH DELEGATE rises to speak, continuing through the 
               next scene.

                                     BRITISH DELEGATE
                         Mr. Chairman, fellow delegates -- my 
                         distinguished colleague from Italy. 
                         Her Majesty's delegation has listened 
                         with great patience to the Southern 
                         European position on this problem, 
                         and while we find it charmingly 
                         stated, we cannot possibly agree 
                         with its content. In 1937, in the 
                         British colonies of Kenya, Uganda 
                         and Tanganyika -- and, if I'm not 
                         mistaken, more or less in Somaliland -- 
                         a programme of crop rotation was 
                         instituted vis-�-vis arable land 
                         which had never before known the 
                         plough, beginning before the soil 
                         was able to know the sort of fatigue 
                         now plaguing most of Western Europe. 
                         In 1937, therefore, Her Majesty's 
                         Government -- at that time His 
                         Majesty's Government -- was able to 
                         properly assay the situation. We 
                         therefore oppose the resolution.

               INT. REGGIE'S BOOTH -- DAY

               The door from the hall opens and ADAM enters.

                                     ADAM
                         Reggie -- I think I've found --
                              (stopping)
                         are you on?

                                     REGGIE
                         No, it's all right. What's wrong, 
                         Adam?

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

               He hands her a paper.

               INSERT -- POLICE RECEIPT

               The one GRANDPIERRE gave REGGIE. It has been torn in half 
               and scotch-taped back together.

                                     REGGIE'S VOICE (O.S.)
                         It's the receipt Inspector Grandpierre 
                         gave me -- for Charles's things. I 
                         don't see how that's going to --

               MED. SHOT -- REGGIE AND ADAM

                                     ADAM
                         You didn't look. Last night, when we 
                         went through the airlines bag, 
                         something was missing. See -- ?
                              (showing her the list)
                         "One agenda." It wasn't there.

                                     REGGIE
                         You're right. I remember Grandpierre 
                         looking through it. But there was 
                         nothing in it -- at least, nothing 
                         that the police thought was very 
                         important.

                                     ADAM
                         Can you remember anything at all?

                                     REGGIE
                         Grandpierre asked me about an 
                         appointment Charles had -- on the 
                         day he was killed.

                                     ADAM
                         With whom? Where?

                                     REGGIE
                         I think it only said where -- but I 
                         can't --

                                     ADAM
                         Think, Reggie, you've got to think -- 
                         it may be what we're looking for.

                                     REGGIE
                         That money's not ours, Adam -- if we 
                         keep it, we'll be breaking the law.

                                     ADAM
                         Nonsense. We didn't steal it. There's 
                         no law against stealing stolen money.

                                     REGGIE
                         Of course there is!

                                     ADAM
                         There is? Well, I can't say I think 
                         very much of a silly law like that. 
                         Think, Reggie -- please think -- 
                         what was written in Charles' notebook?

                                     REGGIE
                         Well -- it was a place -- a street 
                         corner, I think. But I don't --
                              (hearing something 
                              through her earpiece)
                         Hold it. I'm on.

               She turns back to the conference, flips a switch and starts 
               speaking into her headset.

                                     REGGIE
                              (translating)
                         Mr. Chairman, fellow delegates -- my 
                         distinguished colleague from Great 
                         Britain --

               INT. CONFERENCE ROOM -- DAY

               The FRENCH DELEGATE is speaking.

                                     FRENCH DELEGATE
                         Monsieur le Pr�sident, Messieurs les 
                         d�l�gu�s -- mon distingu� coll�gue 
                         de la Grande Bretagne -- le probl�me 
                         vu par mon Gouvernement n'est pas 
                         aussi simple que nos amis les Anglais 
                         voudraient nous le faire croire. 
                         Mais leur pays n'est pas, apr�s tout, 
                         un pays agricole, n'est-ce pas? La 
                         position fran�aise, ainsi que nous 
                         l'avons soulign�e dans le rapport 
                         num�ro trente-neuf bar oblique 
                         cinquante-deux de la Conf�rence de 
                         l'h�misph�re occidental qui a eu 
                         lieu le 22 mars --

               INT. REGGIE'S BOOTH -- DAY

               REGGIE is busy translating.

                                     REGGIE
                         as outlined in report number three-
                         nine-stroke-five-two of the Western 
                         Hemisphere Conference held on March 
                         22 --
                              (she stops)
                         no wait! It was last Thursday, five 
                         o'clock at the Jardin des Champs-
                         �lys�es! Adam -- that was it! The 
                         garden!

                                     ADAM
                         It's Thursday today -- and it's almost 
                         five -- come on!

               MED. SHOT -- CONFERENCE TABLE

               From REGGIE'S and ADAM'S ANGLE. All the DELEGATES and their 
               AIDES suddenly turn, surprised, and look at CAMERA.

               REVERSE SHOT -- WINDOW

               From the DELEGATE'S ANGLE. Inside the booth, REGGIE and ADAM 
               can be seen heading for the door in a hurry.

               MED. SHOT -- CONFERENCE TABLE

               As the DELEGATES look at one another, confused.

               EXT. GUIGNOL -- LATE AFTERNOON

               TWO SHOT -- REGGIE AND ADAM

               By the locked gate.

                                     REGGIE
                         Now what?

                                     ADAM
                         Five o'clock -- Thursday -- the Garden -- 
                         it's got to be something around here.

                                     REGGIE
                         But Charles' appointment was last 
                         week, not --

                                     ADAM
                         I know, but this is all we've got 
                         left.

                                     REGGIE
                         Well, you're right there. Ten minutes 
                         ago I had a job.

                                     ADAM
                         Stop grousing. If we find the money 
                         I'll buy you an international 
                         conference all your own. Now start 
                         looking. You take this side and I'll 
                         poke around over there.

               VARIOUS SHOTS -- WHAT THEY SEE

               A quick succession of shots showing:

               1. Children's Merry-go-round 2. Rond Point de Champs-Elys�es 
               with fountains playing 3. Children's swings 4. Restaurant 
               Laurent 5. Balloon salesman

               EXT. FOUNTAIN -- LATE AFTERNOON

               ADAM stands by the large fountain, staring off at something 
               as REGGIE joins him.

                                     REGGIE
                         It's hopeless -- I don't even know 
                         what we're looking for.

                                     ADAM
                         It's all right -- I don't think Tex 
                         does, either.

                                     REGGIE
                         Tex? You mean he's here, too?

                                     ADAM
                         Look.

               MED. SHOT -- TEX

               He stands near the merry-go-round, looking at something in 
               his hand: Charles' agenda. Now he closes it and moves off, 
               disappearing behind a hedge.

               TWO SHOT -- REGGIE AND ADAM

                                     ADAM
                         I'd better see what he's up to.  
                         Stay here -- I won't be long.

               ADAM starts off.

                                     REGGIE
                              (concerned)
                         Be careful, Adam -- please. He's 
                         already killed three men.

               DELETED

               EXT. RUE GABRIEL -- LATE AFTERNOON

               Between the curb and the Jardin, several temporary wooden 
               booths have been set up. They have collected quite a CROWD. 
               Into this area comes TEX, followed at a safe distance by 
               ADAM. Suddenly TEX stops.

               DELETED

               CLOSE SHOT -- TEX

               As he stares wide-eyed at something.

               CLOSE SHOT -- STAMPS

               Neatly displayed on a counter of one of the booths.

               CLOSE SHOT -- TEX

               As he wheels to look at another booth.

               CLOSE SHOT -- MORE STAMPS

               In another arrangement.

               CLOSE SHOT -- TEX

               He turns crazily to look at another booth, then another.

               CLOSE SHOT -- EVEN MORE STAMPS

               Various FLASH SHOTS of stamps of all sizes, shapes and colors.

               MED. SHOT -- TEX

               As he understands. He turns to rush off and bumps smack into 
               ADAM. TEX is startled.

                                     TEX
                         Sorry, fella --

               He rushes off past ADAM, who watches him for a moment, 
               confused, then turns toward the booth, not yet having seen 
               the stamps.

               MED. SHOT -- BOOTH

               From ADAM's angle. There are one or two persons standing at 
               the booth. CAMERA ZOOMS in on the display of stamps.

               CLOSE SHOT -- ADAM

                                     ADAM
                              (amazed)
                         The letter.

               He quickly turns to find TEX.

               MED. SHOT -- TEX

               As he hops into the back of a TAXI and it pulls away from 
               the curb. ADAM runs toward another TAXI.

                                     ADAM
                         Taxi! -- Taxi!

               DELETED

               INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- LATE AFTERNOON

               As ADAM comes up the stairs and goes to REGGIE's door.

               Whipping out his gun, he flings open the door.

               INT. REGGIE'S ROOM -- LATE AFTERNOON

               From ADAM's angle. TEX sits in the armchair, staring at 
               CAMERA. Next to him is the airlines bag, its contents dumped 
               on the floor.

               ANOTHER ANGLE

               Including ADAM as he enters, his gun trained on TEX. Without 
               speaking he goes to the airlines bag, then stoops down to go 
               through the spilled contents, keeping one eye all the time 
               on TEX. But he can't find what he's looking for.

                                     ADAM
                              (quietly)
                         All right -- where's the letter?

                                     TEX
                         The letter? The letter ain't worth 
                         nuthin'.

                                     ADAM
                         You know what I mean -- the envelope 
                         with the stamps. I want it.

                                     TEX
                              (a pause, then 
                              beginning to laugh)
                         You greenhorn -- you half-witted, 
                         thick-skulled, hare-brained, 
                         greenhorn! They wuz both too smart 
                         for us!

                                     ADAM
                         What are you talking about?

                                     TEX
                         First her husband, now her -- she 
                         hoodwinked you! She batted all them 
                         big eyes and you went 'n fell for it - 
                         like a egg from a tall chicken!  
                         Here!
                              (holding out the 
                              envelope)
                         You want? Here -- it's yours!

               ADAM takes it and looks at it.

               INSERT -- ENVELOPE

               The corner containing the stamps is missing, torn off.

               MED. SHOT -- ADAM AND TEX

               TEX sees the expression on ADAM's face and begins laughing, 
               hysterically.

                                     TEX
                         Look at you! Horn-swoggled by a purty 
                         face 'n all them sweet words! You 
                         killed all three of 'em for nothin'!  
                         You greenhorn! You block-headed 
                         jackass! You clod -- you booby -- 
                         you nincompoop -- !

               EXT. ROND POINT -- LATE AFTERNOON

               REGGIE is looking around for ADAM. She sees something across 
               the street. CAMERA SPINS AROUND to discover SYLVIE, sitting 
               alone on a bench near the stamp market, reading a newspaper.

               MED. SHOT -- SYLVIE

               As REGGIE approaches her.

                                     REGGIE
                         Sylvie -- ? What are you doing here?

                                     SYLVIE
                              (looking up)
                         Hello, Reggie -- I am waiting for 
                         Jean-Louis.

                                     REGGIE
                              (looking around)
                         What's he up to?

                                     SYLVIE
                         He was so excited -- when he got the 
                         stamps you gave him this morning. He 
                         said he had never seen any like them.

                                     REGGIE
                         I'm glad. But what's all this?

                                     SYLVIE
                         The stamp market, of course -- it is 
                         here every Thursday afternoon. This 
                         is where Jean-Louis trades his --

                                     REGGIE
                              (as it dawns)
                         Good Lord! The stamps! Where is he? 
                         Sylvie -- we've got to find him!

                                     SYLVIE
                         What's the matter, ch�rie?

                                     REGGIE
                         Those stamps -- they're worth a 
                         fortune!

                                     SYLVIE
                              (jumping up)
                         What?

                                     REGGIE
                         A fortune! Hurry -- we've got to 
                         find him!

               They rush off into the market.

               TWO SHOT -- REGGIE AND SYLVIE

               As they stop among the booths, looking around.

                                     REGGIE
                         I don't see him.

                                     SYLVIE
                         We will separate -- you look over 
                         there.

               They go off in opposite directions.

               MED. SHOT -- REGGIE

               As she hurries along a row of stalls, weaving around small 
               groups of MEN standing together, showing each other stamps.

               MED. SHOT -- SYLVIE

               Searching in another section of the market.

                                     SYLVIE
                              (calling)
                         Jean-Louis -- ?

               MED. SHOT -- REGGIE

               Spotting a BOY, she runs to him and spins him around.

                                     REGGIE
                         Jean-Louis!

               But it isn't.

               MED. SHOT -- SYLVIE

               Looking everywhere. Suddenly she sees something.

               CLOSE SHOT -- GROUP OF MEN -- THEIR LEGS

               Only a small boy's elbow and part of his arm show, the rest 
               hidden by all the legs.

               MED. SHOT -- SYLVIE

               She recognizes him from these fragments.

                                     SYLVIE
                         Jean-Louis!

               She rushes to him, CAMERA PANNING WITH HER. JEAN-LOUIS stands 
               looking at some stamps. SYLVIE grabs him.

                                     SYLVIE
                         Jean-Louis -- les timbr�s -- o� sont-
                         ils?

               Smiling, JEAN-LOUIS holds up an enormous sack of assorted 
               stamps -- hundreds of them.

                                     SYLVIE
                         Oh, zut!
                              (calling)
                         Reggie -- Reggie -- !

               REGGIE runs up and joins them.

                                     REGGIE
                         Jean-Louis -- thank heavens! Do you 
                         have -- !
                              (spotting the sack of 
                              stamps)
                         What's that?

                                     JEAN-LOUIS
                         A man traded with me -- all those 
                         for only four.

                                     REGGIE
                         Oh no! What man, Jean-Louis --  where?

               JEAN-LOUIS looks in one direction, then in the other, trying 
               to remember.

                                     SYLVIE
                         Vite, mon ange -- vite!

                                     JEAN-LOUIS
                         L� bas -- Monsieur F�lix.

               They all run off down the line of booths. JEAN-LOUIS stops 
               and points off.

                                     JEAN-LOUIS
                         Il est l�!

               MED. SHOT -- STAMP BOOTH

               Closed, deserted, empty.

               MED. SHOT -- REGGIE, SYLVIE AND JEAN-LOUIS

                                     JEAN-LOUIS
                         But he is gone.

                                     REGGIE
                         I don't blame him. Jean-Louis -- do 
                         you know where this Monsieur F�lix 
                         lives?

                                     JEAN-LOUIS
                         No -- but I will ask.

               He goes to the closest booth and shakes the coat sleeve of 
               the proprietor.

                                     JEAN-LOUIS
                         Monsieur Th�ophile --

                                     TH�OPHILE
                         Oui, jeune homme?

                                     JEAN-LOUIS
                         Monsieur F�lix, o� habite-il?

                                     TH�OPHILE
                         A Montmartre -- demande � Monsieur 
                         August au Bar des Artistes -- Place 
                         Blanche.

                                     JEAN-LOUIS
                         Merci, Monsieur Th�ophile.
                              (returning to REGGIE 
                              and SYLVIE)
                         He says to ask Monsieur August at 
                         the --

               Before he can finish, SYLVIE, who has heard TH�OPHILE, has 
               JEAN-LOUIS by the hand, dragging him off at full speed, REGGIE 
               right alongside.

               DELETED

               INT. F�LIX'S ROOM -- DUSK

               A bare, unkempt little room. F�LIX, a man in his sixties, 
               sits at a table, smoking a pipe. There are stamps and albums 
               everywhere. He holds a magnifying glass in his hand, busy 
               studying something on the table. There is a KNOCK. He looks 
               up. Another KNOCK.

                                     F�LIX
                         Entrez.

               The door opens and REGGIE, followed by SYLVIE and JEAN-LOUIS, 
               enters.

                                     REGGIE
                         Monsieur F�lix -- ?

                                     F�LIX
                              (without looking up)
                         I was expecting you. You are American 
                         too, of course.

                                     REGGIE
                              (looking at SYLVIE)
                         Yes.

                                     F�LIX
                         The man who bought them last week 
                         was American. I did not see him but 
                         I heard. I knew you would come.

               He gestures for REGGIE to come closer. Together with SYLVIE 
               and JEAN-LOUIS, she goes to the table and looks at the stamps.

                                     F�LIX
                         Look at them, Madame.

               INSERT -- STAMPS

               Four of them -- a red, a yellow, a blue, and a green, still 
               attached to the portion of the torn envelope.

                                     F�LIX (O.S.)
                         Have you ever, in your entire life, 
                         seen anything so beautiful?

                MED. SHOT -- REGGIE, F�LIX, SYLVIE AND JEAN-LOUIS

                                     REGGIE
                         I'm -- I'm sorry -- I don't know 
                         anything about stamps.

                                     F�LIX
                         I know them as one knows his own 
                         face, even though I have never seen 
                         them. This yellow one -- a Swedish 
                         four shilling -- called 'De Gula 
                         Fyraskillingen' -- issued in 1854.

                                     REGGIE
                         How much is it worth?

                                     F�LIX
                         The money is unimportant.

                                     REGGIE
                         I'm afraid it is important.

                                     F�LIX
                              (shrugging)
                         In your money, perhaps $65,000.

                                     REGGIE
                         Do you mind if I sit down?
                              (she sits)
                         What about the blue one?

                                     F�LIX
                         It is called 'The Hawaiian Blue' and 
                         there are only seven left. In 1894 
                         the owner of one was murdered by a 
                         rival collector who was obsessed to 
                         own it.

                                     REGGIE
                         What's its value today?

                                     F�LIX
                         In human life? In greed? In suffering?

                                     REGGIE
                         In money.

                                     F�LIX
                         Forty-five thousand.

                                     REGGIE
                              (to SYLVIE)
                         Do you have anything to eat?
                              (to F�LIX)
                         And the orange one -- what about the 
                         orange one?

                                     F�LIX
                         A two-penny Mauritius -- issued in 
                         1856. Not so rare as the others -- 
                         $30,000 perhaps.

                                     REGGIE
                         And the last one?

                                     F�LIX
                         The best for the last -- le chef-
                         d'oeuvre de la collection. The 
                         masterpiece. It is the most valuable 
                         stamp in the world. It is called 
                         'The Gazette Guyanne.' It was printed 
                         by hand on colored paper in 1852 and 
                         marked with the initials of the 
                         printer.
                              (looking at it through 
                              the glass)
                         Today it has a value of $100,000.
                              (a pause)
                         Eh, bien -- I am not a thief. I knew 
                         there was some mistake. Take them.

                                     REGGIE
                              (hesitating)
                         You gave the boy quite a lot of stamps 
                         in return, Monsieur F�lix -- are 
                         they for sale now?

                                     F�LIX
                              (looking at the large 
                              bag)
                         Let me see. There are 350 European, 
                         200 Asian, 175 American, 100 African 
                         and twelve Princess Grace 
                         commemorative -- which comes to nine 
                         francs fifty.

                                     REGGIE
                              (fishing money from 
                              her purse)
                         Here's ten.

               F�LIX goes to his wallet for the change.

                                     REGGIE
                         Please keep it.

                                     F�LIX
                         I am a tradesman, Madame, not a 
                         doorman. And don't forget these.

               He hands her the four stamps and her change.

                                     REGGIE
                         I'm -- I'm sorry.

               CLOSE SHOT -- F�LIX

                                     F�LIX
                         No. For a few minutes they were mine -- 
                         that is enough.

               INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT

               As REGGIE comes hurrying up the stairs. She goes first to 
               ADAM's room and knocks.

                                     REGGIE
                         Adam? Adam? It's me, Reggie -- !

               There is no answer. She goes to her own door and, to her 
               surprise, finds it an inch or two ajar.

               INT. REGGIE'S ROOM -- NIGHT

               As REGGIE enters. She freezes, having seen something on the 
               floor.

               MED. SHOT -- TEX

               His dead body lies on the floor, the wrists of his extended 
               arms tied to the leg of the bed, his ankles to the steam 
               radiator. And tied around his head is a plastic, transparent 
               bag, inside of which the suffocated man's face, the eyes 
               bulging against the plastic clinging tight to his features, 
               can be seen all too clearly. REGGIE enters the shot, bending 
               down to see if he's alive. Then she sees something beside 
               his hands near the leg of the bed.

               CLOSE SHOT -- CARPET

               With his dying effort, TEX has traced a name against the 
               grain of the maroon carpet -- 'DYLE.'

               CLOSE SHOT -- REGGIE

               Astonished and horrified.

                                     REGGIE
                              (gasping)
                         Dyle --

               WIDER ANGLE

               As she gets to her feet and hurries to the phone.

                                     REGGIE
                              (on the phone)
                         Hello -- Balzac 30-04, s'il vous 
                         plait --
                              (waiting)
                         Mr. Bartholomew! Thank God you're 
                         there! Tex is dead, Mr. Bartholomew -- 
                         smothered -- and Adam did it -- he 
                         killed them all!

               INT. BARTHOLOMEW'S APARTMENT -- NIGHT

               BARTHOLOMEW, his face lathered for a shaving, is on the phone.

                                     BARTHOLOMEW
                         Just a minute, Mrs. Lampert -- you'd 
                         better give that to me slowly. Who's 
                         Adam?

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         The one who said he was Dyle's brother -- 
                         of course I'm sure -- Tex wrote the 
                         word 'Dyle' before he died. He's the 
                         murderer I tell you -- he's the only 
                         one left! You've got to do something!

               INT. BARTHOLOMEW'S APARTMENT -- NIGHT

                                     BARTHOLOMEW
                              (on the phone)
                         Calm down, Mrs. Lampert -- please. 
                         Does he have the money?

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         No, I do -- it was the stamps on 
                         that letter Charles had with him on 
                         the train. They were in plain sight 
                         all the time, but no one ever bothered 
                         looking at the envelope.

               INT. BARTHOLOMEW'S APARTMENT -- NIGHT

                                     BARTHOLOMEW
                              (on the phone)
                         The envelope -- imagine that.  Mrs. 
                         Lampert, listen to me -- you're not 
                         safe as long as you've got these 
                         stamps. Go to the Embassy right away -- 
                         wait, I'd better meet you halfway -- 
                         it's quicker. Now, let's see -- do 
                         you know the center garden at the 
                         Palais Royal? -- yes, by the colonnade -- 
                         as soon as you can get there. Hurry, 
                         Mrs. Lampert.

               INT. REGGIE'S ROOM -- NIGHT

                                     REGGIE
                              (on the phone)
                         Yes, I'm leaving now -- goodbye.

               She hangs up, looks briefly at TEX's body, shudders, then 
               hurries to the door.

               INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT

               As REGGIE leaves her room and goes to the elevator. She 
               presses the button, then notices it is in use. She goes to 
               the stairs and starts down.

               INT. HOTEL STAIRCASE -- NIGHT

               Between the landings. The stairs curve around the open 
               elevator shaft. As REGGIE comes down the stairs, the cage 
               rises into view. Inside is ADAM. For a moment, she stops and 
               their eyes meet.

                                     ADAM
                         Reggie -- the stamps -- what've you 
                         done with --?

               REGGIE starts running downstairs.

                                     ADAM
                         Where are you going? Wait!

               ADAM pushes the emergency stop button and then starts the 
               cage down.

                                     ADAM
                         Reggie!

               INT. HOTEL CORRIDOR -- SECOND LANDING -- NIGHT

               As REGGIE comes off the stairs, passes the elevator gate and 
               starts down toward the lobby, the cage a few feet behind 
               her.

                                     ADAM
                         Reggie!

               INT. HOTEL CORRIDOR -- FIRST LANDING -- NIGHT

               As REGGIE continues to run.

               INT. HOTEL STAIRWAY -- NIGHT

               Between the first landing and the lobby. REGGIE running, the 
               elevator following.

                                     ADAM
                         Reggie -- stop!

                                     REGGIE
                         Why? So you can kill me too? Tex is 
                         dead, I've seen him! He said Dyle 
                         did it!

                                     ADAM
                         I'm not Dyle -- you know that!

                                     REGGIE
                         But Tex didn't -- he still thought -- 
                         !

                                     ADAM
                         Don't be an idiot!

               INT. HOTEL LOBBY -- NIGHT

               REGGIE reaches the lobby first and, without hesitation, races 
               toward the front door and out. The confused hotel MANAGER 
               behind the desk can only stare in surprise. The elevator, 
               ADAM inside, has not yet reached the bottom.

                                     ADAM
                         Reggie -- ! I want those stamps!

               EXT. HOTEL LOBBY -- NIGHT

               A taxi stands by the curb. REGGIE leaves the hotel and runs 
               to it.

                                     REGGIE
                              (indicating the 
                              direction)
                         Palais Royal -- vite!

               Calmly, the DRIVER points to the little printed sign on his 
               windshield reading "ITALIE."

                                     DRIVER
                              (pointing the other 
                              way)
                         Porte d'Italie, moi.

                                     REGGIE
                         Mais c'est tr�s vite! On veut me 
                         teur!

                                     DRIVER
                              (shaking his head)
                         Italie.

               She looks around and sees ADAM come out of the hotel and 
               straight toward her. She turns and runs off toward the Place 
               St. Michel.

               EXT. PLACE ST. MICHEL -- NIGHT

               As REGGIE comes to the corner. She stops, sees the M�tro 
               station ("St. Michel") and rushes to it, scampering down the 
               stairs. ADAM is behind her.

               INT. ST. MICHEL M�TRO STATION -- NIGHT

               REGGIE comes flying down the stairs and runs past the ticket 
               booth, fishing in her bag for her carnet (booklet of tickets), 
               casting a quick look behind her. CAMERA PANS QUICKLY TO ADAM 
               just coming off the stairs, who runs after her.

               DELETED

               INT. M�TRO TICKET GATE -- NIGHT

               REGGIE gets to the gate ahead of ADAM and manages to crowd 
               in front of some OTHERS about to pass through. Barely 
               stopping, she holds out her ticket to the GUARD to be punched, 
               then heads down the platform, still running. ADAM gets to 
               the gate but the GUARD stops him as he tries to pass through.

                                     GUARD
                         Billet, Monsieur.

                                     ADAM
                              (breathless)
                         I don't want to go anywhere -- I'm 
                         only trying --

                                     GUARD
                              (pointing off)
                         Billet, Monsieur.

               ADAM tries to look past him, to see REGGIE, but gives it up 
               and goes back toward the ticket booth, on the run.

               INT. M�TRO PASSAGEWAY -- NIGHT

               CAMERA LEADING REGGIE as she runs -- the passageway is nearly 
               empty. Her footsteps echo against the tile and concrete walls.

               CLOSE SHOT -- PASSAGEWAY WALL (TRAVELING)

               The jumble of advertising posters as it passes rapidly, 
               forming a moving band of letters, women, cartoons and colors.

               INT. M�TRO PASSAGEWAY -- NIGHT

               REGGIE stops and pauses for a moment at a sign indicating 
               two different directions, an arrow for each.

               "DIRECTION: Pte D'ORL�ANS Pte DE CLIGNANCOURT-------"

               Choosing "Clignancourt," she runs off. CAMERA PANS SHARPLY, 
               180 degrees, to pick up ADAM rounding the corner in hot 
               pursuit.

               INT. M�TRO PLATFORM -- NIGHT

               REGGIE starts down the platform, looking behind her every 
               few steps.  Suddenly she looks up in surprise -- there, across 
               the tracks on the opposite platform is ADAM.  He has evidently 
               made the wrong turn back in the passageway.

               They stare at each other for a moment.  Then the bell rings, 
               announcing the arrival of a train. ADAM turns, running back 
               through the exit behind him. Not knowing what to do, REGGIE 
               looks into the darkness of the tunnel. The approaching train 
               can be heard.

                                     REGGIE
                              (to herself)
                         Come on -- please --

               She turns to look at the gate -- slowly, the pneumatic door 
               starts to close. As it does, the train roars into the station.

               INT. M�TRO PASSAGEWAY -- NIGHT

               The gate can be seen slowly closing. ADAM runs to it, tries 
               to force it back but cannot. Finally, he jumps up and, 
               commando style, vaults over it.

               INT. M�TRO PLATFORM -- NIGHT

               REGGIE is just entering the red center car (the two on either 
               side are dark green). ADAM runs for the red car and just 
               manages to make it as the doors shut in unison, the latches 
               falling with a concerted click and the little whistle blowing 
               to inform the motor-man to depart. The train starts to move.

               INT. M�TRO CAR -- NIGHT

               The entire length of the car separates ADAM and REGGIE.

               For a moment, their eyes meet, then ADAM starts to weave his 
               way past the other PASSENGERS, on his way to her.

               Suddenly, he is stopped. ADAM turns to see a TRAIN GUARD.

                                     TRAIN GUARD
                         Billet, Monsieur.

               ADAM shows him his yellow ticket and starts past him, but 
               again the TRAIN GUARD stops him.

                                     TRAIN GUARD
                         Vous �tes dans le premier classe, 
                         Monsieur.

                                     ADAM
                         What?

                                     TRAIN GUARD
                              (heavy accent)
                         This car is for first class only -- 
                         you have a second-class ticket.

                                     ADAM
                         But that's what they gave me.

               He tries to pull away from the TRAIN GUARD and finds himself 
               staring into the serious face of a GENDARME.

                                     GENDARME
                         Monsieur -- ?

               ADAM looks at the GENDARME, then at REGGIE.

               INT. "PALAIS-ROYAL" M�TRO PLATFORM -- NIGHT

               As the TRAIN pulls in and comes to a stop.

               INT. M�TRO CAR -- NIGHT

               The GENDARME opens the door for ADAM and escorts him out.

               ADAM turns once more to look at REGGIE as he goes. She remains 
               in the car.

               INT. M�TRO PLATFORM -- NIGHT

               The GENDARME gestures for ADAM to enter the green, second- 
               class car behind the red, first-class one. Reluctantly, ADAM 
               does.

               INT. M�TRO CAR -- NIGHT

               As ADAM enters and goes to the door through which he can see 
               REGGIE in the car ahead. She is gone. Moving quickly, he 
               returns to the exit door and looks at the platform.

               INT. M�TRO PLATFORM -- NIGHT

               From ADAM'S P.O.V. She is hurrying toward an exit marked 
               "SORTIE."

               ANOTHER ANGLE

               Featuring ADAM as he hurries from the car. He finds his way 
               blocked by FIVE NUNS in large, white butterfly hats.

               It takes him a few precious seconds to work his way around 
               them.

               DELETED

               INT. M�TRO SORTIE -- NIGHT

               REGGIE has entered an area leading to the exit. But as she 
               reaches the stairway leading up to the street level, she is 
               confronted with an iron grill barring her way. She tries to 
               open it, but it is firmly padlocked. A sign hung on it reads 
               "FERM� LES WEEKENDS." She turns, desperately looking for 
               some way out.

               INT. M�TRO PLATFORM -- NIGHT

               ADAM is off the train. He stands on the platform as the train 
               doors slam shut, the latches click, the whistle blows and 
               the train pulls out. He looks around in all directions, 
               looking for some sign of REGGIE. He spots the exit marked 
               "SORTIE" (the same one used by REGGIE) and starts toward it.

               INT. M�TRO SORTIE -- NIGHT

               As ADAM enters the deserted area. There is, miraculously, no 
               sign of REGGIE. He goes to the locked grill and tries it, 
               testing the padlock. CAMERA PANS to a phone booth (solid 
               door with a window in the upper half) and we see REGGIE's 
               hand reaching up to dial a number.

               INT. PHONE BOOTH -- NIGHT

               REGGIE sits on the floor of the booth, dialing.

                                     REGGIE
                              (to herself, as she 
                              dials)
                         Balzac 3 - 0 - 0 - 4.

               She holds the receiver to her ear. The number can be heard 
               ringing but no one answers. She hangs up and reaches for the 
               phone book, leafing through its pages.

                                     REGGIE
                         Embassies -- embassies --

               INT. M�TRO SORTIE -- NIGHT

               ADAM stands for a minute, looking around, not knowing what 
               to do.

               INT. PHONE BOOTH -- NIGHT

               REGGIE has finished dialing her number and now pushes the 
               button. It clicks loudly.

                                     REGGIE
                         Shh.
                              (into the phone, 
                              whispering)
                         American Embassy? Mr. Bartholomew's 
                         office, please -- Mr. Bartholomew's 
                         office --

               INT. EMBASSY SWITCHBOARD -- NIGHT

               An OPERATOR speaking into a headset.

                                     OPERATOR
                         Could you speak out, please? I can't 
                         quite hear you.

               INT. PHONE BOOTH -- NIGHT

                                     REGGIE
                              (on the phone)
                         No, I can't speak any louder -- 
                         Hamilton Bartholomew -- B as in -- 
                         uh -- Bartholomew -- that's right, 
                         and the rest as in Bartholomew!

               INT. EMBASSY SWITCHBOARD -- NIGHT

                                     OPERATOR
                              (on the phone)
                         I'm sorry, but Mr. Bartholomew has 
                         left for the day.

               INT. PHONE BOOTH -- NIGHT

                                     REGGIE
                              (on the phone)
                         But someone's trying to kill me -- 
                         you've got to send word to him -- in 
                         the center garden of the Palais Royal, 
                         by the colonnade -- tell him I'm 
                         trapped in a phone booth, below him 
                         in the M�tro station. And my name's 
                         Lampert.

               INT. EMBASSY SWITCHBOARD -- NIGHT

                                     OPERATOR
                              (on the phone)
                         All right, Mrs. Lampert -- I'll see 
                         what I can do. Goodbye.

               She unplugs the call, plugs in another one and dials quickly.

                                     OPERATOR
                         Hello, Mr. Bartholomew? -- there was 
                         a call for you just now, Mr. 
                         Bartholomew -- it sounded quite urgent -- 
                         a Mrs. Lampert.

               INT. BARTHOLOMEW'S STUDY -- NIGHT

               It is a man we've never seen before, the physical opposite 
               of the old BARTHOLOMEW.

                                     REAL BARTHOLOMEW
                         Lampert? I don't know any Mrs. Lampert -- 
                         trapped in a M�tro station? Who does 
                         she think I am, the C.I.A.? All right, 
                         you'd better call the French police.

               INT. M�TRO SORTIE -- NIGHT

               MED. SHOT -- PHONE BOOTH. As REGGIE's head appears, peeking 
               cautiously over the bottom of the window.

               REVERSE SHOT

               From inside the phone booth. Through the glass ADAM can be 
               seen, leaving the Sortie area.

               MED. SHOT -- PHONE BOOTH

               Carefully, REGGIE opens the door and comes out. She goes to 
               the corner and looks around it.

               INT. M�TRO PLATFORM -- NIGHT

               From REGGIE'S P.O.V. as ADAM walks away from CAMERA, down

               the platform. CAMERA PANS TO REGGIE, peeking around the 
               corner. She looks the opposite way, sees another exit at the 
               other end of the platform (also marked "SORTIE"). She looks 
               back once more at ADAM, then makes up her mind and starts 
               running towards the exit.

               MED. SHOT -- ADAM

               As the bell rings announcing the next train. He turns to 
               look and sees REGGIE.

                                     ADAM
                              (calling)
                         Reggie -- !

               He takes off, running after her.

               MED. SHOT -- REGGIE

               As she runs, ADAM several yards behind her.

                                     ADAM
                              (in b.g., calling)
                         Reggie -- wait!

               She turns into the exit.

               INT. M�TRO STAIRWAY -- NIGHT

               As REGGIE starts up the long, steep flight of stone steps 
               leading to the street level. ADAM appears behind her, climbing 
               two at a time and gaining.

                                     ADAM
                         Reggie -- why won't you listen?

                                     REGGIE
                         I'm through listening to you!

               He is rapidly closing the gap between them. It is clear that 
               REGGIE is tiring.

                                     ADAM
                         But I didn't kill anybody.

                                     REGGIE
                         Then who did? You're the only one 
                         left.

               PASSERSBY, descending the stairs, stand aside to let the two 
               strange Americans pass, watching in wonderment. ADAM is only 
               a few steps behind now.

                                     ADAM
                         Reggie -- please believe me!

                                     REGGIE
                         No!

               As REGGIE wearily gains the top, ADAM lunges for her. He 
               manages to grab her foot as he falls forward, but all he 
               winds up with is a shoe which has come loose in his hand.

               REGGIE shrieks, then regaining her balance, continues running, 
               limping in her one shoe. ADAM scrambles to his feet and starts 
               after her again.

               INT. M�TRO TICKET BOOTH AREA -- NIGHT

               As REGGIE, still hobbling, runs through and toward the stairs, 
               leading to the street. CAMERA PANS TO ADAM, as he, too, runs 
               through. He is again several yards behind her.

               EXT. PLACE PALAIS ROYAL -- NIGHT

               As REGGIE comes up the stairs from the M�tro. She stops long 
               enough to kick off her other shoe, then runs across the 
               street, ignoring the traffic, toward the Rue de Valois (which 
               forms one side of the Palais Royal). ADAM is gaining on her 
               again.

               EXT. PALAIS ROYAL COURTYARD -- COLONNADE -- NIGHT

               The smaller court at the Com�die-Fran�aise end of the Palais 
               gardens, separated from the larger garden by a double 
               peristyle consisting of two twin rows (these separated from 
               each other by a small marble court) of twenty columns each -- 
               in all, eighty columns. The only person in sight is the man 
               we have known as BARTHOLOMEW, waiting at the far end of the 
               columns, looking at his watch impatiently.

               Then, from the Rue de Valois side of the Palais, REGGIE runs 
               into the court. She spots "BARTHOLOMEW" and fishes in her 
               bag for the stamps as she runs, taking them out and waving 
               them.

                                     REGGIE
                         Mr. Bartholomew -- he's chasing me!

               ADAM has run into the court and now skids to a stop at the 
               near end of the colonnade as he spots "BARTHOLOMEW." REGGIE, 
               still running, is halfway between the two men. "BARTHOLOMEW" 
               draws his gun but can't get a shot at ADAM, who has ducked 
               in among the columns.

                                     ADAM
                         Reggie -- stop! That's Carson Dyle!

               This news hits REGGIE hard and she stops, in alarm.

                                     REGGIE
                              (breathless)
                         Carson -- ?

               She looks at "BARTHOLOMEW," then back at ADAM, who has drawn 
               his own gun.

               (NOTE: Both "BARTHOLOMEW" and ADAM are in among the stone 
               columns at opposite ends of the colonnade, keeping out of 
               each other's sight. REGGIE stands out in the open, the stamps 
               in her hand, confused as to which man she should go to).

                                     "BARTHOLOMEW"
                              (calmly)
                         We all know Carson Dyle is dead, 
                         Mrs. Lampert.

                                     ADAM
                         It's Carson Dyle, I tell you!

                                     "BARTHOLOMEW"
                         You're not going to believe him, 
                         Mrs. Lampert -- it's too fantastic. 
                         He's trying to trick you again.

               REGGIE looks at one, then the other, not knowing what to do.

                                     ADAM
                         Tex recognized him -- that's why he 
                         said Dyle. If you give him those 
                         stamps, he'll kill you too!

               REGGIE takes a step toward ADAM.

                                     "BARTHOLOMEW"
                         Mrs. Lampert -- if I'm who he said, 
                         what's preventing me from killing 
                         you right now?

               REGGIE stops, turns back to "BARTHOLOMEW."

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

                                     "BARTHOLOMEW"
                         What's the matter with you, Mrs. 
                         Lampert? Are you going to believe 
                         every lie he tells you? He wants the 
                         money for himself -- that's all he's 
                         ever wanted.

                                     REGGIE
                              (to ADAM, explaining)
                         He's -- with the C.I.A. -- I've seen 
                         him at the Embassy.

                                     ADAM
                         Don't be a fool! He's Carson Dyle!

                                     "BARTHOLOMEW"
                         That's right, Mrs. Lampert -- I'm a 
                         dead man -- look at me.

                                     REGGIE
                         I don't know who anybody is any more!

                                     ADAM
                         Reggie -- listen to me!

                                     REGGIE
                         You lied to me so many times --

                                     ADAM
                              (gently)
                         Reggie -- trust me once more -- 
                         please.

                                     REGGIE
                         Can I really believe you this time, 
                         Adam?

                                     ADAM
                              (a pause)
                         There's not a reason on earth why 
                         you should.

               She looks toward ADAM for a moment, then back to 
               "BARTHOLOMEW", then slowly starts toward ADAM.

                                     REGGIE
                         All right, Adam.

                                     "BARTHOLOMEW"
                         Stop right now, Mrs. Lampert, or 
                         I'll kill you.

               REGGIE stops in alarm.

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

                                     "BARTHOLOMEW"
                              (now called CARSON)
                         Maybe not -- but it takes a lot of 
                         bullets to kill me. They left me 
                         there with five of them in my legs 
                         and my stomach -- they knew I was 
                         still alive but they left me. I spent 
                         ten months in a German camp -- with 
                         nothing to stop the pain and no food -- 
                         they were willing to take all these 
                         chances for the money, but not for 
                         me. They deserved to die!

               MED. SHOT -- ADAM

               During the following, he looks around, looking for some way 
               out.

                                     REGGIE'S VOICE (O.S.)
                         But I didn't have anything to do 
                         with --

                                     CARSON'S VOICE (O.S.)
                         You've got the money. It belongs to 
                         me now! Please believe me, Mrs. 
                         Lampert -- I'll kill you -- a little 
                         more blood won't matter.

               During this ADAM has moved out from behind the columns, 
               creeping cautiously across the open space between the two 
               colonnades and finally, behind the second.

               MED. SHOT -- REGGIE AND CARSON

                                     CARSON
                         I'll give you five to make up your 
                         mind, Mrs. Lampert.

               She has seen ADAM's move from her angle, but doesn't know 
               quite what to do.

                                     REGGIE
                         Wait, please! I need some time to 
                         think!

                                     CARSON
                         One --

               MED. SHOT -- ADAM

               As he slowly moves along behind the second colonnade, his 
               gun ready, trying to get an angle on CARSON.

                                     CARSON'S VOICE (O.S.)
                         -- two --

               Suddenly ADAM stops -- he has caught sight of CARSON through 
               the columns. But he will have a difficult shot.

                                     CARSON'S VOICE (O.S.)
                         -- three --

               CLOSE SHOT -- CARSON

                                     CARSON
                         -- four --

               CAMERA PANS DOWN to his gun. As his finger tightens on the 
               trigger and the hammer moves slowly back.

               CLOSE SHOT -- REGGIE

                                     REGGIE
                         Adam -- please!

               MED. SHOT -- ADAM

               As he aims carefully and fires.

               CLOSE SHOT -- COLUMN

               As the bullet creases it.

               CLOSE SHOT -- CARSON

               As the deflected bullet rips the shoulder of his coat, leaving 
               him unharmed. He wheels.

               MED. SHOT -- ADAM

               With CARSON in the b.g., who fires at him. ADAM ducks behind 
               the column as the bullet hits it and screams off.

               Quickly, he peers back out and throws another shot.

               MED. SHOT -- REGGIE

               Seeing CARSON otherwise occupied, she turns and runs toward 
               the open stage door of the Com�die Fran�aise behind her.

               (Beside the door is a poster announcing the forthcoming 
               schedule of presentations.)

               ANOTHER ANGLE

               Including CARSON who, seeing REGGIE running to the door, 
               turns and fires at her. But he is too late -- she is safely 
               inside. CARSON looks quickly back toward ADAM, then takes 
               off after REGGIE.

               MED. SHOT -- ADAM

               Over his shoulder we see a broken picture of CARSON running 
               toward the theatre door, flashing by the near and far columns.  
               ADAM tries to get a shot at him, but can't.

               Finally he runs after him.

               INT. COM�DIE FRAN�AISE -- BACKSTAGE -- NIGHT

               As CARSON enters and slams the door behind him, locking it.

               INT. COM�DIE FRAN�AISE -- STAGE DOOR -- NIGHT

               ADAM arriving at the door, bangs on it, then looks around, 
               frustrated. Several yards away he sees a short stairway 
               leading down to a door below the street level. He runs to 
               it, tries the door and enters.

               INT. COM�DIE FRAN�AISE -- ORCHESTRA -- NIGHT

               As CARSON enters the auditorium and looks around.

               CARSON'S P.O.V.

               As the CAMERA SWEEPS the magnificent old theatre -- boxes, 
               seats, stage, but there is no sign of REGGIE.

               ANOTHER ANGLE

               As CARSON walks up the aisle checking between the rows of 
               seats.

               INT. COM�DIE FRAN�AISE -- TRAPROOM -- NIGHT

               A large room, lit by a single bare bulb, under the stage.

               ADAM appears, moving cautiously, gun ready. He creeps along 
               next to the wall, looking around at all the various scenic 
               pieces which fill the room.

               INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT

               As CARSON moves carefully across the darkened stage near the 
               footlights, looking for REGGIE. At mid-stage, CAMERA PANS 
               DOWN to his feet, only a few inches from the prompter's box.  
               Inside, huddling down, is a terrified REGGIE, holding her 
               breath as she watches him.

               ANOTHER ANGLE

               As CARSON moves into the opposite wings, sees the light board 
               and throws on all the switches. The stage is bathed in light.

               He returns to the stage.

               INT. TRAPROOM -- NIGHT

               ADAM is looking up, having heard the footsteps on the stage 
               over his head -- and hearing them now. He looks around and 
               sees a narrow, curving staircase leading up. He goes to it, 
               and, starting up, finds a door. He tries the knob -- the 
               door is locked.

               INT. PROMPTER'S BOX -- NIGHT

               REGGIE, cringing back from the bright light, notices the 
               doorknob turning. It makes a slight clicking sound.

               INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT

               CARSON, upstage, looking behind a piece of classic scenery, 
               hears the doorknob and turns suddenly.

               CARSON'S P.O.V.

               We catch a quick glimpse of REGGIE as she ducks down out of 
               sight.  Too late.

               CLOSE SHOT -- CARSON

                                     CARSON
                         All right, Mrs. Lampert. The game's 
                         over. Come out of there.

               WIDER ANGLE

               REGGIE does not appear.

                                     CARSON
                         I don't want to kill you, Mrs. Lampert --
                         but I will --

               INT. TRAPROOM -- NIGHT

               ADAM comes down the stairs from the prompter's box and looks 
               up at the ceiling.

               MED. SHOT -- CEILING

               It is divided into thirty-six square sections, each numbered 
               and lettered -- from 1A to 6F. They are trapdoors.

               MED. SHOT -- ADAM

               He looks from the ceiling to a row of levers on one wall.

               CLOSE SHOT -- LEVERS

               Thirty-six of them, numbered and lettered to correspond to 
               the traps.

               INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT

               As CARSON takes a few steps towards the prompter's box, his 
               gun ready.

                                     CARSON
                         Did you hear me, Mrs. Lampert -- ?

               INT. PROMPTER'S BOX -- NIGHT

               REGGIE huddled inside.

               INT. TRAPROOM -- NIGHT

               ADAM is listening carefully, trying to figure out where CARSON 
               is standing, watching the ceiling.

               CLOSE SHOT -- TRAP

               It is marked C-4.

                                     CARSON'S VOICE (O.S.)
                         I won't wait much longer, Mrs. Lampert

               MED. SHOT -- ADAM

               As he turns to the levers and reaches for the one marked C-
               4. He is about to pull it.

               INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT

               CARSON takes a few more steps forward.

               INT. TRAPROOM -- NIGHT

               ADAM stops himself from pulling the lever just in time. He 
               lets his held breath escape. He looks back at the ceiling.

               CLOSE SHOT -- TRAP

               The one marked C-4. As CARSON's voice is heard, CAMERA MOVES 
               to the next trap, marked D-4.

                                     CARSON'S VOICE (O.S.)
                         I know you're in there, Mrs. Lampert --

               MED. SHOT -- ADAM

               He looks at the lever marked D-4. He is perspiring heavily.

               Now he slowly reaches for the lever.

               INT. COM�DIE FRAN�AISE -- STAGE -- NIGHT

               CARSON is about to move closer to the prompter's box when 
               suddenly the stage under him opens and he plummets through 
               out of sight. At the same time we hear a shot.

               CLOSE SHOT -- PROMPTER'S BOX

               As REGGIE slowly peers out.

               REGGIE'S P.O.V.

               The empty stage, without being able to see the open trap 
               from this low angle.

               MED. SHOT -- REGGIE

               As she climbs out of the booth and, seeing the open trap 
               now, runs to it, looking down through it.

               MED. SHOT -- OPEN TRAP

               FROM ABOVE, over REGGIE's head. She can see CARSON sprawled 
               on the floor below, face down and dead. ADAM stands beside 
               the body, looking up at REGGIE and smiling.

               ANOTHER ANGLE

               As GRANDPIERRE and his TWO ASSISTANTS, guns drawn, walk onto 
               the stage from the wings. They go to the open trap and look 
               down at ADAM.

                                     GRANDPIERRE
                         Mr. Dyle -- you are under arrest for 
                         the murders of Charles Lampert, Herman 
                         Scobie, Joseph Penthollow, Leopold 
                         Gideon, and whoever that is down 
                         there.

               ADAM is surprised, then shakes his head.

                                     ADAM
                         Reggie -- you'd better tell him. He 
                         wouldn't dare hit a girl.

               EXT. RUE DE RIVOLI -- NIGHT

               As a TAXI rolls by the arcades, CAMERA PANNING with it.

               INT. TAXI -- NIGHT (PROCESS)

               REGGIE and ADAM in the rear of the cab. REGGIE has one of 
               her feet in her hand, shoe off, rubbing it.

                                     REGGIE
                         You didn't have to chase me so hard --

                                     ADAM
                         Here, give it to me.

               He starts to take the foot but she pulls it back and offers 
               him the other one.

                                     REGGIE
                         That one's done -- start on this 
                         one.

               He takes the foot and begins rubbing it.

                                     REGGIE
                         I'm sorry I thought you were the 
                         murderer, Adam -- how did I know 
                         that he was as big a liar as you 
                         are?

                                     ADAM
                         And that's all the gratitude I get 
                         for saving your hide.

                                     REGGIE
                         The truth, now -- was it my hide -- 
                         or the stamps?

                                     ADAM
                         What a terrible thing to say. How 
                         could you even think that?

                                     REGGIE
                         All right, prove it to me -- tell me 
                         to go to the Embassy first thing in 
                         the morning and turn in those stamps.

               ADAM says nothing.

                                     REGGIE
                         I said, tell me to go to the --

                                     ADAM
                         I heard you, I heard you.

                                     REGGIE
                         Then say it.

                                     ADAM
                         Reggie -- listen to me --

                                     REGGIE
                         Never mind -- I'll go by myself.

                                     ADAM
                         What makes you think they're even 
                         interested? It's only a quarter of a 
                         million -- it'll cost more than that 
                         to fix up their bookkeeping. As a 
                         taxpayer --

               EXT. AMERICAN EMBASSY -- MAIN ENTRANCE -- DAY

               As REGGIE and ADAM approach the MARINE in full-dress uniform 
               always on guard at the Embassy.

                                     REGGIE
                              (to ADAM)
                         Who's a taxpayer? Crooks don't pay
                         taxes.  Excuse me, soldier --

                                     MARINE
                         Marine, ma'am.

                                     REGGIE
                         Forgive me. Whom would I see regarding 
                         the return of stolen Government money?

                                     MARINE
                         You might try the Treasury Department, 
                         ma'am -- Room 216, second floor, Mr. 
                         Cruikshank.

                                     REGGIE
                         Cruikshank, 216. Thank you, Marine.

               INT. EMBASSY CORRIDOR -- DAY

               Featuring a door marked "216." REGGIE and ADAM appear.

                                     ADAM
                         Do you mind if I wait out here? The 
                         sight of all that money being given 
                         away might make me break out.

               INT. EMBASSY TREASURY OFFICE -- DAY

               A SECRETARY sits behind a desk. She looks up as REGGIE enters.

                                     REGGIE
                         Mr. Cruikshank, please -- my name is 
                         Lampert.

               The SECRETARY picks up her phone and presses a button.

                                     SECRETARY
                         Mr. Cruikshank, a Miss --

                                     REGGIE
                         Mrs.

                                     SECRETARY
                         -- a Mrs. Lampert to see you -- yes 
                         sir.
                              (to REGGIE)
                         Go right in.

               REGGIE goes to the door leading to the private office.

               INT. CRUIKSHANK'S OFFICE -- DAY

               Featuring the door as REGGIE enters. She stops suddenly.

               ANOTHER ANGLE

               Featuring the desk. Behind it sits ADAM (now CRUIKSHANK).

               REGGIE stares at him, unbelievingly, then looks around, 
               confused. By way of explanation he indicates the door to the 
               hall.

                                     REGGIE
                              (blowing up)
                         Well, of all the mean, rotten, 
                         contemptible, crooked --

                                     CRUIKSHANK
                         Crooked? I should think you'd be 
                         glad to find out I wasn't crooked.

                                     REGGIE
                         You couldn't even be honest about 
                         being dishonest. Why didn't you say 
                         something?

                                     CRUIKSHANK
                         We're not allowed to tell. May I 
                         have the stamps, please?

                                     REGGIE
                              (reaching into her 
                              bag)
                         Here --
                              (hesitating)
                         Wait a minute -- how did Carson Dyle 
                         get an office in here, anyway?

                                     CRUIKSHANK
                         When did you see him -- what time, I 
                         mean?

                                     REGGIE
                         Around one.

                                     CRUIKSHANK
                         The lunch hour. He probably worked 
                         it out in advance. He found an office 
                         that was usually left open and just 
                         moved in for the time you were here.

                                     REGGIE
                         Then how do I know this is your 
                         office?

                                     CRUIKSHANK
                              (picking up the phone)
                         Mrs. Foster -- send a memo to 
                         Bartholomew at Security recommending 
                         that --

                                     REGGIE
                         Bartholomew?

                                     CRUIKSHANK
                         -- recommending that all Embassy 
                         offices be locked during the lunch 
                         hour.

                                     REGGIE
                         Starting with his own.

                                     CRUIKSHANK
                              (hanging up)
                         Okay, now -- hand over those stamps.

                                     REGGIE
                         What's your first name today?

                                     CRUIKSHANK
                         Brian.

                                     REGGIE
                         Brian Cruikshank -- it would serve 
                         me right if I got stuck with that 
                         one.

                                     CRUIKSHANK
                         Who asked you to get stuck with any 
                         of them?

                                     REGGIE
                         Is there a Mrs. Cruikshank?

                                     CRUIKSHANK
                         Yes.

                                     REGGIE
                         But you're -- divorced?

                                     CRUIKSHANK
                         No.

                                     REGGIE
                              (crestfallen)
                         Oh.

                                     CRUIKSHANK
                         My mother -- she lives in Detroit. 
                         Come on now -- give me those stamps.

                                     REGGIE
                         Only if you can prove to me that 
                         you're really Brian Cruikshank.

                                     CRUIKSHANK
                         How about if next week some time I 
                         put it on a marriage license -- that 
                         ought to --

                                     REGGIE
                         Quit stalling -- I want to see some 
                         identification -- now!

                                     CRUIKSHANK
                         I wouldn't lie on a thing like that -- 
                         I could go to jail.

                                     REGGIE
                         You'd lie about anything.

                                     CRUIKSHANK
                         Well, maybe we'd better forget about 
                         it, then.

                                     REGGIE
                         You can't prove it, can you? You're 
                         still trying to --
                              (the coin drops into 
                              the slot)
                         marriage license! Did you say -- ?

                                     CRUIKSHANK
                         I didn't say anything. Will you give 
                         me those stamps?

                                     REGGIE
                         You did too say it -- I heard you.  
                         Oh, I love you Adam -- I mean Alex -- 
                         er, Peter -- Brian. I hope we have 
                         lots of boys -- we can name them all 
                         after you.

                                     CRUIKSHANK
                         Before we start on that, do you mind 
                         handing over the stamps?

                                                                  FADE OUT:

                                         THE END

                

               BONUS ITEM -- Lyrics to the theme song of the film:

                

                                         CHARADE

                      Music by Henry Mancini, Words by Johnny Mercer

               When we played our Charade we were like children posing, 
               Playing at games, acting out names, guessing the parts we 
               played.

               Oh, what a hit we made. We came on next to closing Best on 
               the bill, lovers until love left the masquerade.

               Fate seemed to pull the strings, I turned and you were gone.

               While from the darkened wings the music box played on.

               Sad little serenade, song of my heart's composing, I hear it 
               still, I always will, best on the bill Charade.