CHARADE


	FADE IN (BEFORE TITLES)
   
1.	EXT. FRENCH COUNTRYSIDE -- DUSK
	Silence -- complete silence for the urbanite, though the
	oncoming darkness is punctuated by the sounds of farm
	country -- a few birds, a distant rumble of thunder from
	some heavy clouds on the horizon, a dog's barking.

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

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

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

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

	TITLE MUSIC begins with a crash.

				(MAIN TITLES)

3.)
4.)	DELETED
5.)

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

	One of the latter is REGINA LAMPERT, a lovely young girl.
	She is, besides taking in the sun, involved in her favorite
	activity -- eating.

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

	REGGIE, unaware of her danger, continues to eat.

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

7.	ANOTHER ANGLE
	Including JEAN-LOUIS, a French boy of six or so.  REGGIE
	looks at him sternly.
   
				JEAN-LOUIS (in for trouble)
		Oh, la.

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

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

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

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

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

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

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

				REGGIE 
		Sylvie -- I'm getting a divorce. 

				SYLVIE 
		Ça alors!  From Charles? 

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

				SYLVIE 
		But what? 

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

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

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

8A.	INT. SWIMMING POOL -- DAY
	A magnificent indoor, glass-enclosed pool, the vista of
	snow-covered mountains seen through the ceiling-high 
	windows beyond.  REGGIE and SYLVIE are passing through,
	their conversation continuing.

				SYLVIE 
		But why do you want a divorce? 

				REGGIE 
		Because I don't love him. 

				SYLVIE 
		But that is no reason to get a divorce! 

8B.	EXT. HOTEL TERRACE -- DAY
	An open balcony running around two sides of the pool,
	sun-worshippers lying in deck-chairs.  REGGIE and SYLVIE
	appear, their conversation continuing.

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

				REGGIE (sitting)
		I admit I moved to Paris because I was
		tired of American Provincial, but that 
		doesn't mean I'm ready for French Traditional. 
		I loathe the idea of divorce, Sylvie,
		but -- if only Charles had been honest 
		with me -- that's all I ask of anybody
		-- the simple truth.  But with him,
		everything is secrecy and lies.  He's 
		hiding something -- something frightening
		-- something terrible -- and evil. 

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

9.	CLOSE SHOT -- PERUVIAN SNOW-MASK
	A strange, grotesque knitted mask that completely covers
	the face except for eyes, nose and mouth.  The eyes inside
	this particular mask stare down at REGGIE.

				MAN
		Does this belong to you? 

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

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

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

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

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

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

				PETER 
		I don't know -- how would I know? 
   
				REGGIE 
		I'm afraid I already know a great many 
		people.  Until one of them dies I couldn't 
		possibly meet anyone else.

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

				REGGIE 
		Quitter. 

				PETER (turning)
		How's that?

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

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

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

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

				PETER (drying)
		Clever fellow -- almost missed me. 
 
				REGGIE 
		I'm afraid you're blocking my view. 

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

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

				PETER 
		Is there a Mr. Lampert? 

				REGGIE 
		Yes. 

				PETER 
		Good for you. 
   
				REGGIE 
		No, it isn't.  I'm getting a divorce. 
   
				PETER 
		Please, not on my account. 
   
				REGGIE 
		No, you see, I don't really love him. 
   
				PETER 
		Well, you're honest, anyway. 

				REGGIE 
		Yes, I am -- I'm compulsive about it --
		dishonesty infuriates me.  Like when you go 
		into a drugstore.
   
				PETER 
		I'm not sure I --

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

				PETER 
		Oh.  I guess.

				REGGIE 
		Is there a Mrs. Joshua? 
   
				PETER 
		Yes, but we're divorced. 
   
				REGGIE 
		That wasn't a proposal -- I was just curious. 
   
				PETER 
		Is your husband with you? 
   
				REGGIE 
		Oh, Charles is hardly ever with me.  First it
		was separate rooms -- now we're trying it
		with cities.  What do people call you -- Pete? 
   
				PETER 
		Mr. Joshua. (turning to go)  Well, I've 
		enjoyed talking with you. 
   
				REGGIE  
		Now you're angry. 

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

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

				PETER 
		Shakespeare never said that.
   
				REGGIE 
		How do you know? 
   
				PETER 
		It's terrible -- you just made it up. 
   
				REGGIE 
		Well, the idea's right, anyway.  Are you 
		going to call me? 
   
				PETER 
		Are you in the book? 
   
				REGGIE 
		Charles is. 
   
				PETER 
		Is there only one Charles Lampert? 

10A.	DELETED

10B.	CLOSE SHOT -- REGGIE
	Her face clouding.
   
				REGGIE 
		Lord, I hope so. 

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

12.	MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE
	As REGGIE climbs out and the DRIVER begins unloading her 
	suitcases.
   
				REGGIE 
		Goodbye, Sylvie, and thanks. (She turns
		toward the house).

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

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

13.	MED. SHOT -- THE TAXI
	REGGIE looks at SYLVIE, surprised.

				SYLVIE
		He knows everything.

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

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

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

				JEAN-LOUIS 
		Okay. 

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

14.	DELETED

15.	INT. APARTMENT LANDING -- DAY
	As the elevator rises REGGIE gets out, followed by the 
	driver.  He puts down the bags in front of the apartment
	door.

				REGGIE (handing him a tip)
		Merci.

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

				REGGIE'S VOICE
		Wonderful.

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

16.	INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY
	CLOSE SHOT -- DOOR as it opens and REGGIE steps into the
	CLOSE SHOT.

	She stops, her expression changing.

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

18. 	MED. SHOT -- REGGIE
	She stares for a moment, then goes back out into the 
	landing.
  
19.	INT. APARTMENT LANDING -- DAY
	As REGGIE steps back outside.  She looks at the nameplate
	beside the door.

20.	INSERT NAMEPLATE
	It reads "MR. AND MRS. CHARLES LAMPERT."

21.	INT. APARTMENT LANDING -- DAY
	REGGIE looks at the plate in disbelief, then turns and
	hurries back into the apartment.

22.	INT. LAMPERT APARTMENT -- DAY
	As REGGIE hurries into the entrance hall.

				REGGIE 
		Honorine -- !

	No answer.

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

	She rushes now, going into the bedroom, CAMERA FOLLOWING
	crazily, lurching and careening behind her.  The bedroom,
	too, is empty.  She goes to the built-in wardrobe closets
	and throws open all the doors.  Only some hangers remain.
	She pulls open the drawers -- nothing!

				REGGIE 
		Charles -- !

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

23.	CLOSE SHOT -- INSPECTOR GRANDPIERRE
	A heavy-set man of no particular age with tobacco-colored
	hair, and thick glasses.

				GRANDPIERRE 
		Madame Charles Lampert? 

24.	WIDER ANGLE
	Including REGGIE, in a state of near-shock.

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

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

26.	ANOTHER ANGLE -- OVERHEAD
	Looking straight down at the tops of REGGIE's, GRANDPIERRE's
	and an ATTENDANT's head and smack into the open drawer.
	GRANDPIERRE lifts a corner of the sheet at the bottom and
	reveals a bare foot with a ticket tied to its big toe.
	He stoops to read it.  Satisfied, he recovers the foot,
	then moves to the other end to uncover the head.  As the 
	sheet starts to lift:

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

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

	She nods.

				GRANDPIERRE'S VOICE (o.s.) 
		You are positive?

	She nods again.  GRANDPIERRE moves into the SHOT.

				GRANDPIERRE
		You loved him? 

				REGGIE 
		I'm very cold. 

	GRANDPIERRE nods as he turns to the unseen ATTENDANT.
	CAMERA suddenly moves as the 'drawer' is slid back into
	the wall.  BLACKNESS comes with a loud clang and continues
	while the echo dies.

28.   INT. GRANDPIERRE'S OFFICE -- DAY
	CLOSE SHOT -- DESK DRAWER (FROM ABOVE) as it is pulled open.
	A photograph of Charles Lampert lies face up in the drawer.
	A hand reaches in and pulls it out.

29.	WIDER ANGLE
	Including GRANDPIERRE sitting behind his desk, and REGGIE,
	sitting across from him.  The office is as bare as most
	policemen's offices.  GRANDPIERRE studies the photo.
 
				GRANDPIERRE
		We discovered your husband's body lying next 
		to the tracks of the Paris-Bourdeaux railroad 
		line.  He was dressed only in his pajamas. 
		Do you know of any reason why he might have 
		wished to leave France? 

				REGGIE 
		Leave? 

				GRANDPIERRE 
		Your husband possessed a ticket of passage 
		on the 'Maranguape.'  It sailed from Bordeaux
		for Maracaibo this morning at seven.
 
				REGGIE (a pause)
		I'm very confused. 

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

				GRANDPIERRE 
		He was American? 

				REGGIE 
		Swiss. 

				GRANDPIERRE 
		Oh.  Swiss.  His profession? 

				REGGIE 
		He didn't have one. 

				GRANDPIERRE 
		He was a wealthy man? 

				REGGIE 
		I don't know.  I suppose so. 

				GRANDPIERRE 
		About how wealthy would you say? 

				REGGIE 
		I don't know. 

				GRANDPIERRE 
		Where did he keep his money? 

				REGGIE 
		I don't know. 

				GRANDPIERRE 
		Besides yourself, who is his nearest relation? 

				REGGIE 
		I don't know. 

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

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

				GRANDPIERRE 
		It is all right. 

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

				GRANDPIERRE
		Is it all right?

				REGGIE 
		I wish you wouldn't. 

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

				GRANDPIERRE
		Les effets de Lampert.

	The POLICEMAN leaves and closes the door.

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

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

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

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

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

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

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

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

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

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

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

				REGGIE 
		Did you? 

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

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

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

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

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

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

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

				REGGIE 
		Of course it is.
   
				GRANDPIERRE 
		And this? 

	He hands her another passport.

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

33.	MED. SHOT -- REGGIE AND GRANDPIERRE

				REGGIE 
		I don't understand. 

				GRANDPIERRE 
		And this?  And this?

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

34.	INSERT -- THIRD AND FOURTH PASSPORTS
	One is Italian which, when opened, shows the same photo
	with the name "CARLO FABRI."  The other is Venezuelan, the
	same photo, and the name "CARLOS MORENO."

35.	MED. SHOT -- REGGIE AND GRANDPIERRE

				GRANDPIERRE 
		Have you nothing to say, Madame?
	REGGIE looks down at the four passports, then back to
	GRANDPIERRE.

				REGGIE (hopefully)
		It's all right if you want to smoke your 
		cigar now.
	
36.	INT. LAMPERT APARTMENT -- DUSK
	The house is empty as before.  Now it is silent, the late
	afternoon light coming from outside.  REGGIE stands by a
	window.  A canvas airline bag rests on the floor nearby.

	Suddenly there is the noise of a DOOR OPENING.

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

38.	ANOTHER ANGLE
	As PETER enters.

				REGGIE (surprised)
		What are you doing here?

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

				REGGIE 
		How did you find out? 

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

				REGGIE 
		Thank you. 

	A silence.

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

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

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

				REGGIE 
		They must have turned off the electricity. 

	She shakes her head.  PETER looks around. 

				PETER 
		Where did everything go? 

				REGGIE 
		Charles sold it all -- at auction. 

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

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

				PETER 
		Doing what? 

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

				PETER 
		Instant divorce you mean? 

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

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

				REGGIE 
		I don't know where to go. 

				PETER 
		We'll find you a hotel. 

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

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

	She nods.  He picks up the airlines bag and they start out.
	REGGIE stops at the door and looks back.

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

38A.	INT. FUNERAL CHAPEL -- DAY
	CLOSE SHOT of a phonograph. A hand appears, starts the
	record on it spinning, then places the arm at the beginning.
	An instant later ORGAN MUSIC starts with a roar.

39.	INT. FUNERAL CHAPEL -- DAY
	CLOSE SHOT of the coffin.  It rests on a low platform, with
	a bouquet or two of flowers near the head, the lid open.
	Inside, the face made up to look lifelike (but failing),
	lie the remnants of Charles Lampert.

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

				REGGIE 
		It's not exactly what I'd call a large 
		turn-out.
 
				SYLVIE 
		Didn't Charles have any friends? 

				REGGIE 
		Don't ask me -- I'm only the widow. 
		(indicating GRANDPIERRE)  If Charles 
		had died in bed we wouldn't even have 
		him. 
 
				SYLVIE
		At least he knows how to behave at funerals. 

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

42.	TWO SHOT -- SYLVIE AND REGGIE

				SYLVIE
		Have you no idea who could have 
		done it? 

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

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

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

44.	CLOSE SHOT -- GRANDPIERRE
	As he watches GIDEON.

45.	CLOSE SHOT -- REGGIE
	As she watches him.

46.	MED. SHOT -- THE BIER
	GIDEON arrives at the coffin.  He stops, looks down at
	LAMPERT's body for a moment.  Then, suddenly, in rapid
	succession, he sneezes six times.  He takes a small bottle
	from his pocket, shakes a pill from it and swallows it dry.
	He turns and walks back up the aisle, looking for a place
	to sit.  He comes face to face with GRANDPIERRE, stops,
	turns to sit somewhere else.

47.	TWO SHOT -- REGGIE AND SYLVIE

				SYLVIE 
		Do you know him? 

				REGGIE 
		I've never seen him before. 

				SYLVIE 
		He must have known Charles pretty well. 

				REGGIE 
		How can you tell? 

				SYLVIE 
		He's allergic to him. 

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

48.	MED. SHOT -- CHAPEL DOOR
	Again the figure of a MAN is outlined in silhouette against
	the outside brightness.  When he closes the door we can see
	"TEX" PENTHOLLOW, a slim, rangy man with sandy-colored hair,
	a weatherbeaten face, washed-out blue-eyes -- also in his
	forties.  He wears a velvet-corduroy suit, string tie and a
	bright yellow flower in his lapel.  A bulldurham tag hangs
	from his outside breast pocket, dangling from its string.
	He starts down the aisle toward the bier, CAMERA LEADING
	him, and we notice his unsteady gait.  He turns to look at 
	the others present.

49.	TRAVELING SHOT -- TEX'S P.O.V.
	MOVING down the aisle.  GRANDPIERRE's face, then GIDEON's,
	then REGGIE's and SYLVIE's -- all staring at CAMERA.

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

51.	CLOSE SHOT -- TEX
	
				TEX (heavy Texas accent)
		Ariva durchy, Charlie.

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

				TEX
		Miz Lampert, ma'am . . .

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

				TEX
		Miz Lampert, ma'am . . .

				REGGIE
		Yes?

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

				REGGIE
		I don't understa--

	But TEX has nodded his head and moved off to find a seat.
	When he spots GIDEON, the two men stare at each other.
	Finally, TEX chooses a seat away from him and sits.

53.	MED. SHOT -- CHAPEL DOOR
	It flies open, this time with a bang, and the large MAN
	who appears almost fills the frame.

54.	CLOSER SHOT -- TEX
	As the loud noise awakens him with a snort, mid-snore.

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

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

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

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

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

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

				REGGIE 
		Merci, Monsieur.
 
				ATTENDANT
		Pas du tout, madame, pardon -- pardon -- pardon.

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

				SYLVIE 
		Who is it from? 

				REGGIE
		The American Embassy. 

	She pulls out the letter and starts to read it.

61.	INSERT -- THE LETTER
	It bears the Great Seal as a letterhead and the typed
	message reads:

		"Dear Mrs. Lampert: 
		Please drop by my office tomorrow 
		at noon-thirty. I am anxious to 
		discuss the matter of your late 
		husband's death. 
					Sincerely, 
		(signed)	   H. Bartholomew." 
   
62.	TWO SHOT -- REGGIE AND SYLVIE
	SYLVIE has been reading over REGGIE's shoulder.

				SYLVIE 
		What is it about?

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

63.	EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY
	The fine old building in the Rue Gabriel.

64.-	DELETED
68.

69.	INT. EMBASSY CORRIDOR -- DAY
	As REGGIE leaves the elevator two young DIPLOMATIC TYPES
	step in, immersed in conversation.

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

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

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

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

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

71.	INT. BARTHOLOMEW'S OUTER OFFICE -- DAY
	The office is empty, the typewriter on the secretary's desk
	is covered with its plastic shroud.  REGGIE enters, looks 
	for somebody, notices that the door to the private office is
	slightly ajar.
 
				REGGIE (tentatively) 
		Hello -- ? (there is no answer)  Hello? 

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

				REGGIE 
		Uh -- Miss Tompkins isn't here. 

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

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

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

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

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

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

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

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

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

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

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

				BARTHOLOMEW
		Voilà!  As they say. 

	He puts away the lighter fluid in a desk drawer, smells 
	the hankie, passes on it, then sticks it in his pocket.
	He opens another drawer and pulls out various sandwiches
	wrapped in waxpaper, a salt and pepper shaker, a tube of
	mustard, a bottle of red wine and two Dixie cups.

				BARTHOLOMEW
		Have some, please.  I've got . . .  (checking)
		. . . liverwurst -- liverwurst -- chicken and --
		liverwurst. 
		
				REGGIE
		No thanks.

	He uncorks the wine, fills a cup and begins eating.
 
				BARTHOLOMEW 
		Do you know what C.I.A. is, Mrs. Lampert?
 
				REGGIE 
		I don't suppose it's an airline, is it? 

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

				REGGIE (surprised)
		You mean spies and things like that? 

				BARTHOLOMEW 
		Only we call them agents. 

				REGGIE 
		We?  You mean you're --? 

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

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

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

				REGGIE 
		Agent. 

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

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

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

				REGGIE (a pause)
		May I have a sandwich, please? 

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

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

				REGGIE (eating) 
		So that was it.
   
				BARTHOLOMEW 
		Yes.  We knew him, of course, by his real name.

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

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

				REGGIE 
	 	Very sweet. 

				BARTHOLOMEW 
		Aren't they?  Now look at this one, Mrs. Voss, and --
 
				REGGIE 
		Stop calling me that!  Lampert's the name on 
		the marriage license. 

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

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

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

74.	CLOSER SHOT -- PHOTO
	It's a photo of a young CHARLES LAMPERT.
 
   				REGGIE'S VOICE (o.s.)
		It's Charles! 

				BARTHOLOMEW'S VOICE (o.s.)
		Very good. 

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

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

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

				REGGIE'S VOICE (o.s.)
		It's the man who came to the funeral 
		yesterday -- I'm sure of it -- a tall 
		man in a corduroy suit and string tie.
 
				BARTHOLOMEW'S VOICE (o.s.)
		Does the name Tex Penthollow mean 
		anything to you? 

				REGGIE'S VOICE (o.s.)
		No.
	
				BARTHOLOMEW'S VOICE (o.s.)
		Next, please. 

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

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

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

				REGGIE'S VOICE (o.s.)
		No. 

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

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

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

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

				REGGIE'S VOICE (o.s.)
		No, thank heaven.

75.	MED. SHOT -- REGGIE AND BARTHOLOMEW

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

				REGGIE 
		Danger?  Why should I be in any danger? 

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

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

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

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

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

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

				BARTHOLOMEW (laughing)
		Oh, Mrs. Lampert!  I'd love to see you 
		try and convince them of that!  (drying
		his eyes)  Oh, dear.
 
				REGGIE 
		Then whose is it?  His or theirs? 

				BARTHOLOMEW 
		Ours. 

				REGGIE (she looks at him
		for a moment).  Oh, I see.
 
				BARTHOLOMEW 
		And I'm afraid we want it back. 

				REGGIE 
		But I don't have it. 

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

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

	BARTHOLOMEW is silent for a moment, thinking.

				BARTHOLOMEW
		I believe you.

				REGGIE 
		Thanks very much.

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

				REGGIE 
		Mr. Bartholomew -- if I had a quarter 
		of a million dollars, believe me, I'd know it.
 
				BARTHOLOMEW 
		Nevertheless, Mrs Lampert -- you've got it. 

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

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

				REGGIE 
		But --

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

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

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

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

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

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

	BARTHOLOMEW shakes his head.

				REGGIE 
		Why not?

				BARTHOLOMEW (grimly)
		Because they're still here.

				REGGIE 
		Oh.

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

	REGGIE takes the last sandwich and begins eating furiously.

76.	DELETED

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

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

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

	After a moment, PETER comes up behind her and, stepping over
	the benches, sits beside her.  She doesn't seem to notice. 
	[Throughout the following scene the CHILDREN and the
	ACTORS can be heard in the b.g.]

				PETER 
		Reggie -- ?
 
	She turns and looks at him for a moment.

				REGGIE (vaguely)
		Hallo, Peter. 

				PETER 
		You telephoned me to meet you.  I've
		been standing on the corner back 
		there -- waiting for you.
 
				REGGIE 
		I'm sorry -- I heard the children laughing.

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

79A.	MED. SHOT -- GUIGNOL
	PUNCH and JUDY are arguing loudly.

80.	TWO SHOT -- REGGIE AND PETER

				PETER
		What's going on?

				REGGIE 
		Don't you understand French? 

				PETER
		I'm still having trouble with English. 

				REGGIE 
		The man and the woman are married -- 

81.	CLOSE SHOT -- GUIGNOL STAGE
	PUNCH and JUDY are batting each other on the head.

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

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

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

82.	MED SHOT -- GRANDPIERRE
	Wearing a hat, he stands off in the background, watching.

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

83.	CLOSE SHOT -- GUIGNOL STAGE
	JUDY and the POLICEMAN are batting one another.

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

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

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

   				REGGIE'S VOICE (o.s.)
		I believe her. 

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

				PETER'S VOICE (o.s.)
		Who was that? 

   				REGGIE'S VOICE (o.s.)
		Punch, of course. 

84.	TWO SHOT -- REGGIE AND PETER

				PETER
		Of course?  I thought he was dead.

				REGGIE 
		He's only pretending, to teach her a lesson --
		only -- (her face clouding) -- only he is dead, 
		Peter -- I saw him -- he's not pretending. Somebody
		threw him off a train.  What am I going to do?  
		Charles was mixed up in something terrible. 
 
				PETER 
		I wish you'd let me help you.  Whatever it is,
		it doesn't sound like the sort of thing that
		a woman can handle all by herself. 

85.	CLOSE SHOT -- GUIGNOL STAGE
	JUDY has gotten the upper hand is now batting the
	POLICEMAN's brains out.

86.	CLOSE SHOT -- GRANDPIERRE as he winces.

87.	TWO SHOT -- REGGIE AND PETER

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

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

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

				REGGIE (jumping at the suggesting)
		Starting tonight? 
   
88.	INT. NIGHTCLUB -- NIGHT
	MED. SHOT -- EMCEE.  He stands on the dance floor in front
	of a five piece Latin dance band, a spotlight on him,
	wearing his professional smile as he speaks into a mike.

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

89.	MED. SHOT -- REGGIE AND PETER
	At their table.  REGGIE is dressed in a lovely Givenchy dress.

				PETER 
		What was all that?
 
				REGGIE 
		Fun and games. Evidently we're the 
		floorshow. 

				PETER 
		You mean you and me? 

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

	She rises and pulls him along.

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

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

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

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

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

91.	VARIOUS SHOTS -- ORANGE GAME
	Some of the couples in various states of confusion,
	entanglement and intimacy -- all of them, naturally,
	hilarious.

92.	TWO SHOT -- PETER AND GIRL
	It is his turn to take the orange from a very short, but
	quite shapely young girl in a strapless dress (held up by
	an abundance of cantilever).  PETER 'takes' when he sees 
	the twin obstacles which might -- and probably will --
	encumber the game but increase his worldly experience.
	The contest begins: because of her stature he is forced
	to move in low, making the ordinary embrace needed for
	success difficult, if not impossible.  Then, inexorably, the
	orange starts to slip down the GIRL's front.  Manfully he
	goes after it.

93.	CLOSE SHOT -- REGGIE
	She is enjoying it thoroughly.

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

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

				PETER
		En garde.

				REGGIE
		Lay on, MacDuff.

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

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

	REGGIE starts to draw back but GIDEON holds her tightly.
	Putting his chin around the orange he is able to speak 
	quietly in REGGIE's ear.

95.	CLOSE TWO SHOT -- REGGIE AND GIDEON
	Her eyes show her fright as he whispers:

				GIDEON  
		Mrs. Lampert --

				REGGIE 
		What do you want? 

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

				REGGIE 
		Tell me what? 

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

				REGGIE 
		I don't know anything.

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

				REGGIE 
		Leave me alone -- ! 

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

				REGGIE (shouting)
		Stop it! 

96.	CLOSE SHOT -- REGGIE'S AND GIDEON'S FEET
	As REGGIE hauls off and kicks GIDEON full in the shin.

97.	CLOSE SHOT -- GIDEON
	He stiffens as the pain registers.  Instead of shouting he
	merely closes his eyes.

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

				PETER 
		Reggie -- what's the trouble? 

	REGGIE realizes that GIDEON no longer offers any resistance.
	She steps back, leaving GIDEON holding the orange, foolishly,
	under his chin, his eyes still closed.  REGGIE stares at him
	for a moment.

				REGGIE
		He -- he was stepping on my foot. 

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

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

100.	WIDER ANGLE
	GIDEON turns to the woman behind him and the game resumes.

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

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

101.	CLOSE SHOT -- PETER
	Watching her go, a concerned look on his face.

102.	INT. NIGHTCLUB LOUNGE -- NIGHT
	A small, dimly lit area with a door to the combination
	men's-women's room and a 'phone cabin with a solid door.
	The music and shouting from upstairs float down.  REGGIE
	comes down the stairs and goes to the 'phone, flicking on
	the light and closing the door after her.

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

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

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

				REGGIE
		Hello -- Mr. Bartholomew -- it's me, Regina
		Lam . . .
	
	Suddenly the door of the booth opens and REGGIE wheels to
	look, slamming the receiver down as she does.

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

				TEX 
		Howdy, Miz Lampert. 

				REGGIE 
 		Wha-- what do you want? 

	TEX takes a book of matches from his pocket.

				TEX 
		You know what I want, Miz Lampert . . .
 
				REGGIE 
		No -- no, I'm don't. 

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

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

				REGGIE
		I don't know what --

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

				REGGIE 
		What are you doing?

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

				REGGIE 
		Stop that!

				TEX 
		Don't make too much noise, Miz Lampert --
 
	He lights another match and reaches out toward her hair with 
	it.  She shrinks back.   

				TEX 
		It could get a whole lot worse. 

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

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

				REGGIE 
		Please stop -- please! 

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

105.	CLOSE SHOT -- REGGIE
 	As she frantically beats out the matches, her eyes on her
	work.
				REGGIE
		You're insane, absolutely insane! 

	She looks up, then blinks her eyes.

106.	INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER
	There is no one there.  REGGIE rises and steps out of the
	booth.

107.	INT. NIGHTCLUB LOUNGE -- NIGHT
	As REGGIE looks around.  There is no one there.

107A.	INT. PHONE BOOTH
	As REGGIE returns, sits and starts to put another jeton into
	the slot.  She notices her hand is shaking.  She reaches back
	into her bag, removes a piece of candy, puts it into her mouth
	and leans her head back against the wall, closing her eyes.
	Suddenly the door opens and REGGIE shrieks -- but this time 
	it is PETER.

				PETER
		What are you doing in here? 

				REGGIE (a sigh of relief)
		Having a nervous breakdown. 
   
108.	INT. HOTEL LOBBY -- NIGHT
	REGGIE and PETER enter the deserted lobby.

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

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

				PETER 
		I don't think I follow you.

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

				PETER 
		Who said? 

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

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

				REGGIE 
		Stop bullying me.  Everybody's bullying me. 

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

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

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

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

				NIGHT CLERK
		Bonne nuit.

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

				PETER 
		Of course not. 
 
	They go to the elevator where he opens the door for her.

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

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

	He presses the button and the elevator starts to rise.

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

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

				REGGIE 
		What was what? 

				PETER 
		What your husband was mixed up in. 

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

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

	The elevator stops.

				PETER 
		We're here. 

				REGGIE 
		Where? 

				PETER 
		On the street where you live. 

				REGGIE 
		How about once more around the park? 

	He reaches across her and opens the door.

				PETER 
		Out. 

110.	INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
	As REGGIE leaves the elevator, followed by PETER.  They
	walk to her door.  There is a moment of silence as she
	looks at him.

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

				PETER 
		How would you like a spanking? 

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

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

   				REGGIE 
		Do you know what's wrong with you? 

				PETER 
		What? 

				REGGIE 
		Nothing.  Good night.

				PETER (smiling)
		Good night.

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

111.	INT. REGGIE'S ROOM -- NIGHT
	Featuring the door.  REGGIE enters, then stops abruptly,
	the doorknob still in her hand.

112.	ANOTHER ANGLE
	The room has been torn apart.  And standing in the center 
	is HERMAN SCOBIE, the large man in the battered raincoat.
	He starts slowly advancing toward REGGIE.

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

113.	CLOSE SHOT -- REGGIE

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

	She stops as she sees something.

114.	CLOSE SHOT -- SCOBIE'S HAND
	Instead of a human hand there is a twin-pronged metal one.

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

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

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

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

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

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

				REGGIE 
		A man -- he tried to kill me! 

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

118.	INT. REGGIE'S ROOM -- NIGHT
	Inside, PETER pulls back the door and slugs the startled
	SCOBIE full on the jaw.  His head bangs against the 
	wall but he manages to raise a foot and push PETER violently
	away, sending him sprawling back, toppling across the bed
	and over, head first, onto the floor on the other side,
	where he disappears.  Hurrying, SCOBIE puts his foot against 
	the door and pushes it away, ripping his metal hand free.
	He then rushes to the open window and climbs out.

119.	INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
	REGGIE waits anxiously.  When she hears nothing, she
	gingerly looks into the room.

120.	INT. REGGIE'S ROOM -- NIGHT

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

121.	ANOTHER ANGLE
	Showing the disarranged room, empty of people.  Then, slowly
	PETER's hand appears from behind the bed, shaking groggily.
	REGGIE rushes to him and helps him sit on the bed.

				REGGIE 
		Peter -- are you all right? 

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

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

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

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

				REGGIE 
		Be careful, Peter.
 
				PETER (one leg over the sill)
		You took the words right out of my mouth. 

	He climbs out.

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

123.	EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT
	SHOOTING STRAIGHT DOWN; there is no one on the street and
	it is too far to jump.

124.	MED. SHOT -- PETER -- BALCONY
	He now looks around.  REGGIE's is the last such balcony
	on one side, but there are two or three on the other.
	PETER climbs over the railing and, holding on to it with
	one hand, reaches for the railing on the next balcony.

125.	CLOSE SHOT -- PETER'S HAND
	As it stretches for the railing; it is several inches
	short of touching it.

126.	MED. SHOT -- PETER
	As he straightens up and prepares to jump.

127.	EXT. HOTEL FACADE -- NIGHT
	From the GROUND.  PETER, high above, jumps to the next
	balcony.

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

				WOMAN'S VOICE (o.s.)
		Oh!

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

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

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

				MAN'S VOICE (o.s.)
		Bad luck, Pamela.

129.	EXT. HOTEL FACADE -- NIGHT
	From the GROUND as PETER jumps to the next balcony.

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

131.	MED. SHOT -- WINDOW -- OVER PETER'S SHOULDER
	Inside the room are GIDEON, TEX, and SCOBIE in the midst of
	a heated discussion.

				GIDEON  
		That was a dumb move, Herman -- a dumb move.
 
				TEX 
		And then some.  If you'd only told us you 
		was goin' to her room we could've kept 'em 
		busy --

132.	INT. GIDEON'S HOTEL ROOM -- NIGHT

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

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

	They all turn toward the window.

133.	WIDER ANGLE
	As PETER climbs in through the window and joins them.

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

	SCOBIE shakes his head and turns away.

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

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

				SCOBIE (to GIDEON and TEX)
		We took all the chances.  The money belongs to 
		us, not him!
 
				TEX 
		Don't be un-neighborly-like, Herman --
		don't forget he done us a little ol' favor.

				SCOBIE
		Yeah?  What's that?

				TEX 
		He took care of Charlie for us.

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

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

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

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

				TEX 
		Shoot no, not after all these years.

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

	SCOBIE turns and storms out of the door, slamming it.
	GIDEON begins sneezing, takes a bottle of pills from his
	pocket and swallows two white tablets.
 
				GIDEON
		I suggest you get about your business --
		nothing soothes Herman like success.

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

				PETER 
		Who's got the room next to hers? 

				TEX 
		Me.  How come? 

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

	PETER starts for the door.

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

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

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

134.	INT. REGGIE'S ROOM -- NIGHT
	As she waits anxiously, smoking a cigarette.  There is a
	KNOCK at the door.

				REGGIE 
		Who is it? 

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

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

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

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

 				PETER
		What?

				REGGIE 
		A quarter of a million dollars.

	PETER is silent for a moment.

				PETER
		Go on. 

				REGGIE 
		That's all. 

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

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

				PETER 
		So they think he left it with you.

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

	She falls in his arms to be comforted.

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

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

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

	He takes out his handkerchief and dries her eyes.
 
				REGGIE 
		I'm so hungry I could faint. (trying to smile) 
		I've -- I've gotten your suit all wet. 

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

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

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

				REGGIE 
		Do you tell lies? 

	A pause.  The phone rings. REGGIE answers it. 

				REGGIE (into the phone)
		Hello? 

135.	INT. OUTDOOR 'PHONE BOOTH -- NIGHT
	SCOBIE holds the receiver in his metal hand.

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

136.	INT. REGGIE'S ROOM -- NIGHT

				REGGIE (on the phone)
		What do you want? 

				PETER (whispering)
		Who is it? 

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

137. 	INT. PHONE BOOTH -- NIGHT

				SCOBIE (on the phone)
		Is Dyle with you? 

138.	INT. REGGIE'S ROOM -- NIGHT
	CLOSE SHOT -- REGGIE

				REGGIE 
		Who? 

139. 	INT. PHONE BOOTH -- NIGHT

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

140.	INT. REGGIE'S ROOM -- NIGHT
	REGGIE's back is turned to PETER so he can't see her face.
	He watches her.

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

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

	She shakes her head.

141. 	INT. PHONE BOOTH -- NIGHT

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

	He hangs up. 

142.	INT. REGGIE'S ROOM -- NIGHT
	Slowly, REGGIE lowers the 'phone from her ear and hangs it
	up.  She hesitates a moment.

				PETER 
		What'd he say? 

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

				PETER
		I wouldn't take that too seriously.
	
				REGGIE (a pause)
		I believe what he said. 

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

				REGGIE
		How do you know what they're doing?

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

				REGGIE
		What are you talking about?

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

				REGGIE (softly)
		Words can hurt very much. 

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

				REGGIE
		Don't put yourself out.

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

				REGGIE
		Yes,  I'll remember.  Good night.

				PETER 
		Good night.

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

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

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

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

145.	INT. REGGIE'S ROOM -- NIGHT
	REGGIE is on the phone.

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

146.	INT. BARTHOLOMEW'S APARTMENT -- NIGHT
	BARTHOLOMEW on the phone.  He is silent for a moment, his 
	face troubled.

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

147.	INT. REGGIE'S ROOM -- NIGHT

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

148.-
150.	DELETED

151.	INT. BARTHOLOMEW'S APARTMENT -- NIGHT

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

147.	INT. REGGIE'S ROOM -- NIGHT


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

153.	DELETED

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

155.	INT. DYLE'S ROOM -- NIGHT (THROUGH KEYHOLE)
	DYLE is removing his coat.  Before he lays it over a chair,
	he takes a gun from the inside pocket, checks it, and tucks
	it into his belt.

156.	INT. REGGIE'S ROOM -- NIGHT
	REGGIE reacts in surprise and fright, jumps quickly away
	from the door.  She hurries to the door leading to the hall
	and reaches for the knob.

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

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

159.	INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
	As REGGIE sneaks past DYLE's door.  When she has passed, the
	door opens and DYLE appears.  REGGIE takes off on the run,
	turning the corner and starting down the stairs.

				DYLE
		Reggie -- !

	He starts after her.

160.	INT. HOTEL LOBBY -- NIGHT
	It is deserted, except for the sleeping NIGHT PORTER, as 
	REGGIE comes running down the stairs.

				DYLE'S VOICE (o.s.)
		Reggie . . . !

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

161.	EXT. HOTEL ENTRANCE -- NIGHT
	As REGGIE runs out.  She looks up the street, sees a TAXI
	and hails it.

				REGGIE
		Taxi -- !

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

				REGGIE
		N'importe où - vite!  Allez-y!

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

				DYLE
		Taxi -- !  Taxi -- !

	It pulls up and DYLE opens the door.

				DYLE (pointing)
		Follow that taxi.

				DRIVER
		Comment?

				DYLE
		Taxi!  Follow! 

				DRIVER
		Je ne comprends rien.

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

162.	CLOSE SHOT -- REGGIE
	In the shadows.  She lifts her eyes in annoyance.

163.	MED. SHOT -- TAXI

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

				DRIVER
		Ah!  Oui, Monsieur.

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

				REGGIE (to DRIVER)
		Aux Halles -- vite!

165.-
167.	DELETED

168.	EXT. LES HALLES -- NIGHT
	REGGIE and BARTHOLOMEW walking.  The Central Market is
	teeming with activity -- trucks creeping around other
	trucks, cases of fruit and vegetables stacked on every
	inch of sidewalk, WORKERS of all types milling around,
	unloading trucks and stacking crates, little electric carts
	scooting in and out -- and nearby, one of the huge, high-roofed
	sheds where the butchers work.
 
169.	TWO SHOT -- REGGIE AND BARTHOLOMEW
	CAMERA LEADING them as they walk.

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

	She takes a banana from a nearby stall.

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

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

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

				BARTHOLOMEW 
		Agents. 

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

				BARTHOLOMEW 
		Who?
 
				REGGIE 
		Dyle, or whatever his name is.
 
				BARTHOLOMEW
		What does your Mr. Dyle look like, Mrs.
		Lampert?

				REGGIE 
		He's hardly my Mr. Dyle.

				BARTHOLOMEW
		Describe him.

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

				BARTHOLOMEW (shaking his head)
		No.

				REGGIE 
		No, what?

				BARTHOLOMEW
		That's not Carson Dyle. 

				REGGIE (stopping)
		Carson? 

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

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

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

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

170.	INT. LES HALLES BUTCHERS' SHED -- NIGHT
	Almost as far as the eye can see, row upon row of beef sides,
	hung on hooks.

171.	TWO SHOT -- REGGIE AND BARTHOLOMEW (TRAVELING)
	As REGGIE looks at the hanging beef.

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

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

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

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

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

172.)
    )
  to)	DELETED
    )
209.)

210.	INT. LES HALLES BISTRO -- NIGHT
	Lined up at a zinc bar are several BUTCHERS, their white
	smocks stained with blood. REGGIE and BARTHOLOMEW 
	sit at the table.

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

				REGGIE
		Barely, yes.

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

	A WAITER arrives.

				WAITER
		Vous désirez?

				REGGIE (smiling)
		They always do that.

				BARTHOLOMEW (to the WAITER)
		Café.

				REGGIE
		Gratinée, choucroute garnie, salade de
		pommes -- et un ballon de rouge.

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

				REGGIE
		Can I at least keep the onion soup?

	BARTHOLOMEW shrugs.

				REGGIE (to the WAITER)
		La soupe tout simplement.

	The WAITER nods and goes.

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

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

				REGGIE 
		Steal it how? 

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

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

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

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

	She puts the other end in her mouth, then picks up the matches
	and lights it.
 
				BARTHOLOMEW 
		Everything went smoothly enough until after 
		the gold was buried -- then, before they 
		could get out, they were ambushed by a 
		German patrol.  A machine gun separated 
		Scobie from his right hand -- and caught 
		Carson Dyle full in the stomach.

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

				BARTHOLOMEW
		What's wrong with that one? 

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

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

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

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

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

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

	The WAITER returns with the coffee and onion soup.

				WAITER
		La soupe, c'est pour qui?
 
				REGGIE 
		 Pour moi.  Go on, Mr. Bartholomew.

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

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

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

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

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

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

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

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

				BARTHOLOMEW 
		That's the spirit. 

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

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

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

				BARTHOLOMEW 
		No, Mrs. Lampert.

				REGGIE 
		But no one actually saw him die.

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

				REGGIE 
		Oh. Then who's this one?

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

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

				REGGIE (resigned)
		Agents. 

211.	EXT. HOTEL (PLACE ST. ANDRÉ DES ARTS) -- LATE AFTERNOON
	DYLE leaves the hotel and turns into the Place.  A moment
	later, REGGIE comes cautiously from the hotel.  As she
	watches DYLE, a SANDWICH-MAN advertising a driving school
	passes the hotel.  REGGIE falls in behind him, his tall
	placard hiding her from view.

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

213.	TWO SHOT -- REGGIE AND TOURIST
	The TOURIST, complete with camera, beret and guide book, 
	looks up from his coffee, surprised.  He stares at REGGIE and
	she stares back.  Finally, not knowing what else to do, she
	smiles, then takes a portion of his brioche and eats it.
	He smiles back emptily, not knowing what to make of her.
	REGGIE turns to look at DYLE.

214.	MED. SHOT -- DYLE
	He has made his judgment of the painting and now moves on.

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

216.	EXT. PLACE ST. ANDRÉ DES ARTS -- LATE AFTERNOON
	REGGIE following DYLE.  As she passes the GIRL painting,
	she cannot resist turning to see the work.

217.	CLOSE SHOT -- PAINTING
	An abstract jumble, nothing recognizable.

217A.	CLOSE SHOT -- REGGIE
	As she looks from the painting to reality.

217B.	EXT. PLACE ST. ANDRÉ DES ARTS -- LATE AFTERNOON
	As the scene really looks.

218.	MED. SHOT -- REGGIE
	She shrugs, continues after DYLE.  Now we see that the
	TOURIST, in turn, is following her.

				TOURIST (calling)
		Fraulein --

	REGGIE doesn't stop.

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

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

218A.	MED. SHOT -- DYLE
	He goes to the curb and starts to step off, attempting to
	cross the Rue Danton, but finds the light against him.  He
	turns back in REGGIE's direction.

218B.	MED. SHOT -- REGGIE
	Realizing she has to do something before DYLE spots her, she
	turns and takes the TOURIST's arm and starts walking with
	him back toward the cafe.

				REGGIE (smiling and rattling on) 
		How are you?  When did you arrive in town?  
		Are you enjoying Paris?  It's lovely, isn't 
		it?  So many wonderful things to see and do,
		it makes one's head spin to think of it.
	
	She looks back over her shoulder and sees that DYLE is now
	crossing the Rue Danton, heading for the platform of a bus
	now stopped at the curb.

				TOURIST (smiling)
		Fraulein --

	REGGIE pulls away from him.

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

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

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

	REGGIE hurries across the street, hailing a taxi.

				REGGIE 
		Taxi -- ! 

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

220.	DELETED

221.	INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON
	DYLE walks to one of several windows.  A sign over it reading:
	"A - D."

222.	MED. SHOT -- STAIRS
	REGGIE comes down the stairs.  Suddenly she stops.

223.	MED. SHOT -- DYLE
	CAMERA ZOOMS in to sign on "D."

224.	CLOSE SHOT -- REGGIE
	A confused look on her face.

225.	MED. SHOT -- DYLE
	As his turn comes, he addresses the CLERK

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

				CLERK
		Yes, Mr. Dyle.  I remember. 

226.	CLOSE SHOT -- REGGIE
	Watching.

227.	MED. SHOT -- MAIL WINDOW
	The CLERK takes out a bundle of letters and quickly sorts
	through it.

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

				DYLE 
		Thanks -- see you soon. 

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

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

	DYLE stops in his tracks, pondering what to do.

				VOICE (o.s.)
		Mr. Dyle.  Cabin 4, please. 

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

				DYLE (picking up the phone)
		Yes? 

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

228.	INT. REGGIE'S CABIN		INT. DYLE'S CABIN
	REGGIE on the phone.		DYLE on the phone.

		REGGIE 					DYLE
	Good morning, Mr. Dyle.
						Reggie?
	It's the only name I've got.		
	How about you? 			
						No cat and mouse -- you've
						got me. What do you want
						to know? 
	Why you lied to me.
						I had to -- for all I knew 
						you could have been in on 
						the whole thing. 
	Well, you know now, so
	please tell me who you are. 

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

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

	She opens the door of the cabin and starts out.

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

230.	CLOSE SHOT -- EMPTY CABIN
	The receiver hangs by its cord, swinging back and forth.

231.	MED. SHOT -- REGGIE
	As she looks at it, confused.

232.	INT. AMERICAN EXPRESS -- DAY
	DYLE and SCOBIE stand together, waiting for the elevator,
	SCOBIE clearly holding a gun in the pocket of his raincoat.
   
				SCOBIE (quietly)
		If you do anything funny, or try to talk 
		to anyone, I'll kill you, Dyle -- here and
		now. Okay?
 
				DYLE 
		You'll wreck your raincoat. 

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

				SCOBIE 
		Next car, please. 

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

233.	DELETED

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

				SCOBIE
		Okay -- turn around. 

	DYLE turns to find SCOBIE's gun out of the pocket and
	pointing at him.  SCOBIE now transfers it to his metal
	hand and goes to DYLE, where he proceeds to frisk him.
	Finding the gun DYLE carries in his inside coat pocket,
	SCOBIE removes it.  During the following conversation he
	will shake open the revolving magazine and let the bullets
	fall out onto the floor before handing back the emptied
	gun to DYLE.  Then he will transfer his own gun back to
	his good hand.

				SCOBIE
		Sit down. 

	Shrugging, DYLE sits on the third step.
 
				DYLE 
		What now?
 
				SCOBIE 
		We wait -- with our mouths shut. 

234A.	INT. AMERICAN EXPRESS -- NIGHT
	The last EMPLOYEES leave the building as the WATCHMAN
	locks the front door after them.

234B.	INT. TOP FLOOR LANDING -- NIGHT
	In the semi-darkness, DYLE is still sitting on the third
	step, SCOBIE still facing him with a gun.

				DYLE
		How long do you intend -- ?

				SCOBIE
		I said with the mouth shut.

	DYLE yawns wide.

				DYLE
		 Sorry about that. 

				SCOBIE 
		Okay -- up there. 

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

				DYLE 
 		Do I knock or something? 

   				SCOBIE 
		Open it. 

	DYLE opens the door.  The stairs continue up.

				SCOBIE
		Keep going. 

				DYLE 
		The view had better be worth it. 

235.	EXT. AMERICAN EXPRESS -- ROOFTOP -- NIGHT
	A spectacular view of the Paris rooftops and the city
	lights beyond.  DYLE and SCOBIE come out onto a level
	portion of roof.  On the street side, the roof angles
	down abruptly into a steep, slate-covered pitch, broken
	only by two widely separated oval-shaped dormer windows.
	Below these is a rain gutter, then nothing -- for seven 
	stories.

				DYLE
 		Very pretty.  Now what? 

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

				DYLE 
		Is that why you dragged me all the way up 
		here -- to ask me that?  She has it -- 
		you know that.
 
				SCOBIE 
		And I say maybe you both have it!  One 
		more time, Dyle -- where is it? 

				DYLE 
		Supposing I did have it -- which I don't --
		do you really think I'd hand it over?
 
				SCOBIE
		You're out, Dyle -- right now!

	SCOBIE aims the gun and starts advancing toward DYLE.

				SCOBIE 
		Step back. 

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

				DYLE 
		Back where? 

				SCOBIE 
		That's the idea. 

   	Moving quickly, DYLE lashes out and hacks SCOBIE's gun hand
	with the side of his palm and the gun falls to the roof.
	Following through, DYLE punches the large man full in the 
	jaw, but instead of falling, SCOBIE wraps his arm around 
	DYLE, holding on tightly until his head clears.

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

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

236.	CLOSE SHOT -- THEIR HANDS
	Two hands, one real, one metal, inch toward the gun.

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

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

238.	CLOSE SHOT -- SCOBIE'S CLAW
	As it slides across the slate, making a hideous scratching
	sound and causing sparks to fly.

239.	MED. SHOT -- SCOBIE
	As he slides over the edge and disappears.

240.	CLOSE SHOT -- DYLE
	As he watches, hypnotized.

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

242.	MED. SHOT -- DYLE
	Having seen the claw, he rises and walks to the very edge of 
	the level part of the roof.

				DYLE 
		Herman? 
 
243.	MED. SHOT -- SCOBIE
	As he hangs, seven stories over the street, by his metal
	hand.

				SCOBIE 
		Yeah? 
  
244.	MED. SHOT -- DYLE
	He finds it hard to believe.

				DYLE 
		How are you doing? 

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

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

	DYLE turns and leaves going down the stairs.
   
245.	INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
	The HOTEL MANAGER is busy taping a piece of cardboard over
	the hole ripped in REGGIE's door by SCOBIE's metal hand
	the night before.  DYLE leaves the elevator and goes to his 
	own door.  The MANAGER eyes him coldly.  DYLE "takes" the
	look.

				DYLE 
		I didn't do it.

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

	DYLE smiles, then enters his room. 

246.	INT. DYLE'S ROOM -- NIGHT
	He closes the door and starts to remove his torn coat,
	wincing.

247.	INT. REGGIE'S ROOM -- NIGHT
	REGGIE, smoking on the bed, sits up when she hears DYLE
	moving about in his room.  She goes to the connecting door,
	unlocks her side, tries the knob, finds it still bolted
	from his side and knocks.
 
				REGGIE 
		Is that you? 

247A.	INT. DYLE'S ROOM -- NIGHT
	DYLE goes to the door, throws back the bolt and opens the
	door.  REGGIE enters.

				REGGIE 
 		Didn't anyone ever tell you it's 
		impolite to -- (seeing his injured 
		back) -- what happened? 
   
				DYLE 
		I met a man with sharp nails. 
   
				REGGIE 
		Scobie? 

				DYLE 
		I left him hanging around the American 
		Express. 

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

	She leads him into her room.

247B.	INT. REGGIE'S ROOM -- NIGHT
	As REGGIE and DYLE enter from his room.  She leads him to
	the bed.

				REGGIE 
		Take off your shirt and lie down. 

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

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

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

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

				REGGIE (hopefully)
		Does it hurt? 

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

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

				REGGIE 
		Are you really Carson Dyle's brother? 

				DYLE
		Would you like to see my passport? 

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

				DYLE 
		Would you like to see where I was tattooed? 

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

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

				DYLE 
		Alexander. 

				REGGIE 
		Is there a Mrs. Dyle? 

				DYLE 
		Yes, but we're divorced. 

				REGGIE 
		I thought that was Peter Joshua. 

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

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

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

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

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

				DYLE 
		You can't. 
   
				REGGIE 
		There must be some way. 
   
				DYLE 
		There's an old riddle about two tribes 
		of Indians -- the Whitefeet always tell
		the truth and the Blackfeet always lie. 
		So one day you meet an Indian, you ask
		him if he's a truthful Whitefoot or a 
		lying Blackfoot?  He tells you he's a 
		truthful Whitefoot, but which one is he? 

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

				DYLE 
		Because he's wearing moccasins. 

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

				DYLE 
		Why not a lying Blackfoot? 

				REGGIE (confused)
		Which one are you? 

   				DYLE (entering, smiling) 
		Whitefoot, of course. 

				REGGIE 
		Come here. 

	He goes to the bed.

				REGGIE 
		Sit down. 

	He sits.

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

				DYLE 
		Reggie -- listen to me --
 
				REGGIE 
		Oh-oh -- here it comes.  The fatherly 
		talk.  You forget I'm already a widow. 

				DYLE 
		So was Juliet -- at fifteen. 

				REGGIE 
		I'm not fifteen. 

				DYLE 
		Well, there's your trouble right there -- 
		you're too old for me. 
   
				REGGIE 
		Why can't you be serious? 

				DYLE 
		There, you said it. 

				REGGIE 
		Said what? 

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

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

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

				DYLE 
		Now please, Reggie -- cut it out. 

				REGGIE (pulling back)
		Okay.
 
				DYLE 
		What are you doing? 

				REGGIE 
		Cutting it out. 

				DYLE 
		Who told you to do that? 

				REGGIE 
		You did. 

				DYLE 
		But I'm not through complaining yet. 

				REGGIE 
 		Oh.  (She starts kissing him again)

				DYLE 
		Now please, Reggie -- cut it out. 
 
				REGGIE 
		I think I love you, Alex -- 

	She kisses him on the mouth.  The phone rings.  He tries
	to talk as she continues kissing him.
 
				DYLE (mumbling)
		The phone's ringing --

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

	The phone continues to ring and she continues to kiss him.
	Finally, REGGIE reaches out to the bedstand and takes the
	phone off the hook.  She brings the receiver up to their
	mouths and mumbles into it.

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

248.	INT. TEX'S ROOM -- NIGHT
	TEX speaks into the phone.

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

249.	INT. REGGIE'S ROOM -- NIGHT
	DYLE is watching her.

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

250.	INT. TEX'S ROOM -- NIGHT

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

250A.	INT. REGGIE'S ROOM -- NIGHT
	She covers the phone and turns to DYLE in alarm.

				REGGIE
		They've got Jean-Louis! 

				DYLE
		That sounds like their problem.

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

250B.	INT. TEX'S ROOM -- NIGHT

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

251.	INT. REGGIE'S ROOM -- NIGHT
	As REGGIE hangs up.

				REGGIE
		What day is it?

				DYLE
		Tuesday.

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

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

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

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

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

				TEX
		Upsy-daisy. 

				JEAN-LOUIS 
		Are you a real cowboy? 

				TEX 
		Sure am. 

				JEAN-LOUIS 
		Then where is your gun? 

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

   				GIDEON  
		Will you put that thing away! 

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

				REGGIE 
		Jean-Louis! 

	She snatches him off SCOBIE's lap.

				TEX 
		Howdy, Miz Lampert. 

   				SCOBIE (glaring at DYLE)
		Who invited you?
 
				DYLE 
		Hello, Herman, it was a happy landing, I see. 

				REGGIE 
		I'd better call Sylvie -- she must be frantic.
 
	She starts for the door with JEAN-LOUIS.  GIDEON blocks 
	her way.

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

				REGGIE 
		But his mother -- 

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

		TEX 					SCOBIE
	This ain't no game, 		We want that money -- now!
	Miz Lampert. 

				DYLE (forcefully)
		Be quiet, all of you!

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

				DYLE 
		And stop threatening that boy.  He doesn't have 
		the money.  Mrs. Lampert doesn't either.
 
				SCOBIE 
		Then who does? 

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

				SCOBIE 
		Me? 

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

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

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

				SCOBIE (after a pause)
		That's a crock!  If one of us did that he 
		wouldn't hang around here waiting for the 
		other two to wise up.
 
				DYLE 
		But he'd have to.  If he left he'd be 
		admitting his guilt -- and the others would 
		know what happened.  Whoever it is has to 
		wait here, pretending to look for the 
		money, waiting for the rest of us to give 
		up and go home.  That's when he'll be safe 
		and not a minute before.

	A pause as the THREE MEN look at one another.

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

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

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

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

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

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

				SCOBIE (stopping)
		Not my room! 

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

	The THREE MEN look at one another unhappily.

				DYLE 
		We'd better exchange keys.  Here's mine.
 
				SCOBIE 
		I'll take that. 

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

				TEX
		Mine's in the door.  Ariva durchy, y'all.
	
	The THREE MEN file out.  DYLE and REGGIE exchange looks.

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

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

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

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

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

				REGGIE (to DYLE)
		What should we give him?

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

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

253.	He goes first to the drawer in the night table -- empty;
	and the bed, looking in it and under it.  Then he goes to
	the desk and opens the drawers -- also empty.  The bureau
	is next -- he opens all three double drawers and they, too, 
	are completely empty.  Frowning, he goes to the armoire
	and opens it -- shelves and hanging bar are likewise bare.
	Then, CAMERA PANNING DOWN, he sees the only thing he's 
	found so far in the room -- a pair of fine cowboy boots.

254.	INT. REGGIE'S ROOM -- NIGHT
	CLOSE SHOT -- AIRLINES BAG.  CAMERA PULLS BACK to include
	GIDEON, staring down at it as it lies on the table in the
	center of the room.

				GIDEON (eyes on the bag)  
		Tex? 
   
255.	ANOTHER ANGLE
	Including TEX, busy going through the bureau.  He looks up,
	then joins GIDEON.

				TEX 
		What's that?

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

256.	INSERT - WALLET
	Inside, the initials "C.L." are printed in gold.

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

   				GIDEON'S VOICE (o.s.)  
		Looks like it.

257.	MED. SHOT -- TEX & GIDEON
 
				TEX 
		Mebbe we'd better call Herman.

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

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

				TEX 
		And if it is? 

				GIDEON (a pause) 
		Why bother him? 

	A broad grin from TEX.  They continue going through the
	items from the bag.
 
				TEX 
		You sure nuthin's missin'? 

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

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

				TEX 
		There sure ain't nothin' here worth no 
		quarter of a million.
 
				GIDEON
		Not unless we're blind. 

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

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

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

				TEX 
		Nachurly.  Jus' like I'd tell you.
 
				GIDEON
		Nachurly.  And that goes for Herman, too. 

				TEX & GIDEON  (together)
		Nachurly! 

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

258.)
259.)	DELETED
260.)
261.)

262.	INT. SCOBIE'S ROOM -- NIGHT
	REGGIE on the phone, JEAN-LOUIS standing by.

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

	She hangs up and turns to JEAN-LOUIS.

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

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

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

				JEAN-LOUIS 
		Oh. (afterthought)  Neither do I. (Seeing
		something)  Voilà!

				REGGIE
		Voilà what?

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

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

				REGGIE
		You know something, cookie?  Why not?

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

				REGGIE 
		I hope I don't find any little hairy things 
		living up here -- wait!  There is something! 
		If I can just -- yes, I'm getting it -- a case
		of some sort -- it's heavy.
 
				JEAN-LOUIS (jumping up and down) 
		I found it!  I found it! 
 
				REGGIE 
		If you think you're getting credit for this, 
		you're crazy. 

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

263.	INT. HOTEL CORRIDOR - THIRD LANDING - NIGHT
	As JEAN-LOUIS runs out into the hall, shouting.

				JEAN-LOUIS 	
		We found it!  We found it!

	DYLE is the first one to appear, coming out of GIDEON's room.
	TEX has also appeared from REGGIE's room, followed by GIDEON.

				JEAN-LOUIS 	
		We found it! 

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

264.	INT. SCOBIE'S ROOM -- NIGHT
	As DYLE, TEX and GIDEON enter, REGGIE is placing the little
	straight black chair to its original position.  There is no
	sign of the black case.

				DYLE 
		Reggie -- ?  Did you find it? 

				REGGIE 
		No.
 
				GIDEON  
		What do you mean, no? 

				TEX 
		The kid said --

				JEAN-LOUIS (pointing atop the armoire) 
		Up there!  It is up there!
 
				REGGIE 
		No, Jean-Louis.

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

				REGGIE
		It's nothing, I tell you!

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

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

266.	GROUP SHOT
	As TEX finally springs the latches and opens the lid.

267.	CLOSE SHOT -- CASE
	Inside, neatly packed in velvet fittings, like the parts of
	a musical instrument, are various portions of and attachments
	for a metal artificial hand.
   
				TEX'S VOICE (o.s.) 
		Jumpin' frejoles -- it's Herman's spare. 

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

269.	WIDER ANGLE
	Including REGGIE and JEAN-LOUIS by the door.

				REGGIE 
		Where is he? 

	The MEN look at one another.

				TEX
		Hey, that's right!

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

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

				JEAN-LOUIS
		What is the matter?

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

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

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

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

273.	DELETED

274.	REVERSE SHOT 
	DYLE, TEX and GIDEON staring at CAMERA.

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

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

				TEX 
		This ain't my room. 

				GIDEON  
		Mine, either. 

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

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

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

	DYLE and GIDEON look at one another.

				TEX 
		Poor ol' Herman -- him 'n good luck always 
		was strangers.  Maybe now he'll meet up with 
		his other hand someplace -- but I sure hope
		it ain't waitin' for him in Heaven.
 
275.	INT. SCOBIE'S ROOM -- DAY
	CLOSE SHOT -- SCOBIE.  The dead man's eyes are open,
	his jaw hanging, his head lying crazily on the pillow.
	CAMERA PULLS BACK to show him lying in bed, dressed in
	his pajamas.  CAMERA WHIRLS for a TIGHT CLOSE SHOT of a
	MAID, her eyes widening as the realization that the man
	is dead strikes her.  Then she screams.

276.	INT. GRANDPIERRE'S OFFICE -- LATE AFTERNOON

277.	CLOSE SHOT -- GRANDPIERRE.  The policeman is apoplectic.

				GRANDPIERRE
		No!  No!  No!  No!

	CAMERA PULLS BACK to include, REGGIE, DYLE, TEX and
	GIDEON, all sitting silently in the INSPECTOR's office.
   
				GRANDPIERRE 
		A man drowned in his bed -- impossible!  And 
		in his pajamas -- the second one in his 
		pajamas -- c'est trop bête!  Stop lying to me
		-- (tapping the side of his nose) -- this 
		nose tells me when you are lying -- it is 
		never mistaken, not in twenty-three years
		-- this nose will make me commissaire of 
		police.  (Tapping his fingers on his desk).
		Mr. Dyle or Mr. Joshua -- which is it? 

				DYLE 
		Dyle. 

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

				DYLE 
		No, I didn't. 
   
				REGGIE 
		It's done in America all the time. 
   
	GRANDPIERRE raps for silence on his desk.  During the
	pause, he looks into each face in turn.

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

278.	DELETED

279.	EXT. QUAI MONTEBELLO -- LATE AFTERNOON (TRAVELING)
	REGGIE and DYLE walking along the quai, next to the 
	Seine, CAMERA LEADING.
   
				REGGIE 
		Who do you think did it -- Gideon? 

				DYLE 
		Maybe. 

				REGGIE 
		Or Tex? 
   
				DYLE 
		Maybe. 

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

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

				REGGIE (to the VENDOR) 
		Vanille-chocolat.
	
	During the following, the VENDOR makes a double-decker cone
	and hands it to REGGIE.  DYLE pays and they resume their
	walk -- all with no break in the dialogue.
   
				REGGIE 
		I think Tex did it. 

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

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

				REGGIE 
		What's so illogical about that? 

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

				DYLE 
		Who? 

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

				DYLE 
		What -- like Scobie? 

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

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

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

				REGGIE
		I'm sorry.

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

				DYLE
		No sense messing up the streets.   

				REGGIE 
		Alex --

				DYLE
		Hm?

				REGGIE
		I'm scared. 

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

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

	They resume walking.

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

				DYLE 
		Yes, I know.

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

				DYLE (surprised)
		What?  Assassinate somebody? 

				REGGIE 
		No --

280.	ANOTHER ANGLE
	Including the Cathedral of NOTRE DAME in the background.


				REGGIE 
		 -- swing down from there on a rope to save 
		the woman you love -- like Charles Laughton
		in 'The Hunchback of Notre Dame'?
 
281.	INT. HOTEL CORRIDOR -- THIRD LANDING -- LATE AFTERNOON
	As REGGIE and DYLE step from the elevator.

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

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

	He goes into his room and she goes into hers.

282.)
283.)
284.)	DELETED
285.)
286.)

287.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	She enters, fixes her hair in the mirror, then goes to the
	door connecting her room with DYLE's.  She unlocks it, tries
	to open it, but finds it locked.  Disappointed, she knocks.
	
				DYLE'S VOICE (o.s.) 
		What do you want? 

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

288.	INT. DYLE'S ROOM -- LATE AFTERNOON
	He calls to her through the closed door as he empties his
	pockets.

				DYLE 
		Lord, you're a pest. 
 
   				REGGIE'S VOICE (o.s.)  
		Can I come in? 

				DYLE 
		I'd like to take a bath. 

289.	INT. REGGIE'S ROOM -- LATE AFTERNOON

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

				DYLE'S VOICE (o.s.) 
		What for? 
   
				REGGIE 
		I wouldn't want to use that tub. 
		Besides, I don't want to be alone. 
		I'm afraid. 

290.	INT. DYLE'S ROOM -- LATE AFTERNOON

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

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

291.	DELETED

292.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	As DYLE enters.

				DYLE 
		Reggie!

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

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

				REGGIE 
		The shower's in there. 

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

				DYLE (warning)
		Reggie -- open the door.
 
   				REGGIE 
		This is a ludicrous situation.  There must
		be dozens of men dying to use my shower. 

				DYLE 
		Then I suggest you call one of them.

				REGGIE 
		I dare you. 

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

				REGGIE (has she gone too far?)
		What are you doing? 
   
				DYLE 
		Have you ever heard of anyone taking a 
		shower with his shoes on?  (to himself)
		What a nut.

	Shoes off, DYLE starts for the bathroom, humming.

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

				REGGIE 
		Shut the door!
 
   				DYLE 
		I don't think I know that one.

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

				REGGIE 
		What on earth are you doing?

293.	INT. BATHROOM -- LATE AFTERNOON
	MED. SHOT -- DYLE.  In the shower, making sure his suit gets 
	uniformly soaked.

   				DYLE (explaining pleasantly)
		Drip-dry! 

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

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

				REGGIE (fascinated)
		How often do you go through this 
		little ritual? 

	As he takes out his handkerchief and rinses it.

				DYLE 
		Every day.  The manufacturer recommends it. 

				REGGIE 
		I don't believe it. 
   
	He opens his coat and reads a label inside.

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

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

				DYLE 
		Waterproof. 

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

294./
295.	DELETED

296.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	As REGGIE goes to the armoire to select a dress.  The PHONE
	rings and she answers it.

				REGGIE (into phone) 
		Yes -- ?

297.	INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON
	CLOSE SHOT -- BARTHOLOMEW

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

298.	INT. REGGIE'S ROOM -- LATE AFTERNOON

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

299.	INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON

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

300.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	CLOSE SHOT -- REGGIE on the phone, looking like the rug
	has been pulled out from under her.

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

301.	INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON

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

302.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	REGGIE slowly lowers the phone to its cradle, a worried
	expression on her face.  Then the bathroom door opens and
	DYLE appears dressed in a large bath towel.  Her back is
	to him.

				DYLE 
 		I left all my drip-dry dripping --
		is it all right? 

	She doesn't answer.

				DYLE 
		Reggie -- is something wrong? 

	She shakes her head.

				DYLE 
		You're probably weak from hunger.  You've only 
		had five meals today.  Hurry up and we'll go 
		out.

	She turns and looks at him.   

				REGGIE 
		Do you mind if we go someplace crowded?  I --
		I feel like lots of people tonight. 

303.	EXT. SEINE - BÂTEAU MOUCHE -- DUSK
	The large motor launch, moving along the river, gaily
	ablaze with lights.

304.	MED. SHOT -- REGGIE AND DYLE (PROCESS)
	At a table for two by the rail, the city slowly passing in 
	the b.g.
   
				DYLE
		Reggie -- you haven't spoken a word in
 		twenty minutes. 

				REGGIE 
		I keep thinking about Charles and Scobie --
		and the one who's going to be next -- me? 

				DYLE
		Nothing's going to happen to you while
		I'm around -- I want you to believe that.

				REGGIE 
		How can I believe it when you don't even know
		who the killer is?  I've got that right, 
		haven't I?  You don't know who did it.

   				DYLE 
		No -- not yet. 

				REGGIE 
		But then if we sit back and wait, the field
		should start narrowing down, shouldn't it? 
		Whoever's left alive at the end will pretty 
		well have sewn up the nomination, wouldn't 
		you say so?
 
   				DYLE 
		Are you trying to say that I might have 
		killed Charles and Scobie? 

	She doesn't answer.

   				DYLE 
		What do I have to do to satisfy you -- become 
		the next victim? 

				REGGIE 
		It's a start, anyway. 

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

				REGGIE 
		Carson Dyle didn't have a brother.

304A.	WIDER ANGLE
	She rises from the table and walks away.  DYLE hesitates a
	moment, then follows.
 
				DYLE 
 		I can explain if you'll just listen. 
		Will you listen?

				REGGIE (looking at the river)
		I can't very well leave without a pair of 
		water wings.

				DYLE 
		Okay.  Then get set for the story of my life
		-- not that it would ever make the best-seller
		list.

   				REGGIE 
		Fiction or non-fiction? 
   
				DYLE 
		Why don't you shut up!

   				REGGIE 
		Well!
 
   				DYLE 
		Are you going to listen? 
   
				REGGIE 
		Go on. 
   
				DYLE 
		After I graduated college I was all set to go
		into my father business.  Umbrella frames --
 		that's what he made.  It was a sensible 
		business, I suppose, but I didn't have the 
		sense to be interested in anything sensible. 

				REGGIE 
		I suppose all this is leading somewhere? 

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

				REGGIE 
		What do you mean? 

				DYLE 
		When a man has no profession except the one 
		he loathes, what's left?  I began looking for 
		people with more money than they'd ever need
		-- including some they'd barely miss. 

				REGGIE (astonished)
		You mean, you're a thief? 

   				DYLE 
		Well, it isn't exactly the term I'd have 
		chosen, but I suppose it captures the spirit 
		of the thing.   

				REGGIE (a pause)
		I don't believe it. 

				DYLE 
		Well, I can't really blame you -- not now. 

				REGGIE 
		But I do believe it - that's what I don't 
		believe.  So it's goodbye Alexander Dyle --
		Welcome home Peter Joshua. 

				DYLE 
		Sorry, the name's Adam Canfield. 

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

				DYLE (now called ADAM)
		The man's the same, even if the name isn't. 

				REGGIE 
		No -- he's not the same.  Alexander Dyle was
		interested in clearing up his brother's 
		death.   Adam Canfield is a crook.  And with
		all the advantages you've got -- brains,
		charm, education, a handsome face --

				ADAM 
		Oh, come on!

				REGGIE 
		-- there has to be a darn good reason for
		living the way you do.  I want to know what
		it is.

				ADAM 
		It's simple.  I like what I do -- I enjoy 
		doing it.  There aren't many men who love 
		their work as much as I do.  Look around 
		some time. 

		   		REGGIE 
		Is there a Mrs. Canfield? 

				ADAM 
		Yes, but --

				ADAM AND REGGIE (together) 
		-- we're divorced. 

				ADAM 
		Right.  Now go eat your dinner. 

304B.	ANOTHER ANGLE
	They walk back to the table, where a WAITER is busy putting
	food on it, mostly on REGGIE's side.

				REGGIE (miserably)
		I could eat a horse. 

				ADAM (looking at all the food)
		I think that's what you ordered. 

				REGGIE 
		Don't you dare to be civil with me!  All this
		time you were leading me on --

				ADAM 
		How was I leading you on? 

				REGGIE 
		All that marvelous rejection -- you knew I 
		couldn't resist it.  Now it turns out you
		were only interested in the money. 

				ADAM 
		That's right. 

				REGGIE (hurt) 
		Oh!
 
				ADAM 
		What would you like me to say -- that a 
		pretty girl with an outrageous manner means 
		more to an old pro like me than a quarter of 
		a million dollars? 

				REGGIE 
		No -- I guess not. 

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

				REGGIE 
	 	What? 

				ADAM 
		Don't you know I'm having a tough 
		time keeping my eyes off of you? 

	REGGIE reacts in surprise.

				ADAM 
		Oh, you should see your face. 

				REGGIE 
		What about it? 

				ADAM (taking her hand, nicely)
		It's lovely. 

	She looks at him with happy amazement, then pushes her plate
	away.

				ADAM 
	 	What's the matter? 

				REGGIE
		I'm not hungry -- isn't it glorious? 

	The lights go out.

				REGGIE (alarmed)
		Adam! 
   
				ADAM 
		It's all right - look. 

304C.	EXT. SEINE BÂTEAU MOUCHE -- NIGHT
	A searchlight near the boat's bridge has gone on and now
	begins sweeping the river banks.  On benches by the water's
	edge, lovers are surprised by the bright light which suddenly
	and without warning discovers them in various attitudes of
	mutual affection.  Some are embarrassed, some are amused and
	some (the most intimate) damn annoyed.  One even shakes his
	fist at the light.

304D.	MED. SHOT -- REGGIE AND ADAM
	Who, like everyone else, leave the table and stand together at
	the rail watching.

   				REGGIE 
		You don't look so bad in this light. 

				ADAM 
		Why do you think I brought you here? 

				REGGIE (indicating the lovers)
		I thought maybe you wanted me to see the kind 
		of work the competition was turning out. 

				ADAM 
		Pretty good, huh?  I taught them everything 
		they do. 

				REGGIE 
		Oh?  Did they do that sort of thing way back 
		in your day? 

				ADAM 
		How do you think I got here? 

	She rises on tip-toes and kisses him gently; his only
	reaction is to look at her.

				REGGIE 
		Aren't you allowed to kiss back? 

				ADAM 
		No.  The doctor said it would be bad for my 
		-- thermostat.

	She kisses him again.  He responds a little better.

				ADAM 
		When you come on, you really come on.
 
   				REGGIE 
		Well -- come on. 

	She starts to kiss him again, but he stops her.

   				REGGIE 
		I know why you're not taken -- no one can
		catch up with you.

				ADAM 
		Relax -- you're gaining.   

305.)
306.)	DELETED
307.)
308.)

309.	INT. GIDEON'S ROOM -- NIGHT
	MED. SHOT -- GIDEON.  As he sits bolt upright in bed, startled.
	The room is dark and the phone is ringing.  He switches on 
	the lamp, looks at the clock (it reads 3:30) and shakes his
	head before picking up the receiver.

				GIDEON
		Huh?  You must be crazy -- it's three-thirty 
		in the morning -- you mean now?  -- all right
		-- I'll be down in a minute. 

	He hangs up, swings his feet out of bed and spears his
	slippers, reaching for his robe at the same time.  Then he
	shuffles sleepily to the door.

310.	INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT
	As GIDEON comes out of his room and goes to the elevator.
	The cage is there.  He opens the door and enters.

311.	INT. ELEVATOR -- NIGHT
	GIDEON closes the sliding grill and presses a button.  The
	cage starts down.  GIDEON begins sneezing.  Suddenly the
	elevator stops between floors and the lights go out.

				GIDEON
		Hey!  Turn on the lights! 

	Just as suddenly the lights go back on and the elevator
	starts moving down again.  GIDEON shakes his head and leans
	back, whistling again.  The cage comes to his floor and 
	starts past it.  Seeing this, GIDEON looks confused.

312.	INT. HOTEL LOBBY -- NIGHT
	The NIGHT PORTER is asleep behind the desk.  The elevator,
	GIDEON inside, keeps coming down.  It passes the lobby level
	and keeps right on going, toward the basement.

				GIDEON 
		Hey!  How do you stop this thing? 

	The elevator passes out of sight, still going down.  There
	is a silence as the motor stops, and then a series of 
	sneezes that ends with a terrifying shriek.  The NIGHT PORTER,
	rudely awakened, runs to the elevator shaft, his shoes
	squeaking horribly.  He looks up, sees nothing, then looks
	down.  He presses the call button and the motor starts.
	An instant later the cage appears and stops.  The NIGHT
	PORTER opens the gate, pulls back the grill and the CAMERA
	RUSHES PAST him to pick up GIDEON.  His body is sitting on
	the floor of the cage, its grotesque sprawling attitude
	resembling a puppet's with its strings cut.  Except that
	GIDEON has no strings to cut -- only a throat.  From ear to
	ear.

313.	INT. HOTEL CORRIDOR -- NIGHT
	CLOSE SHOT -- GRANDPIERRE.  He is now doubly apoplectic.

				GRANDPIERRE 
		Three of them -- all in their pajamas! 
		C'est ridicule!  What is it, some new 
		American fad? 

	CAMERA PULLS BACK to reveal REGGIE and ADAM, in their 
	bathrobes.

				GRANDPIERRE 
		And now your friend -- the one from Texas -- 
		he has disappeared -- checked out -- pouf!
		into thin air!  Where is he? 

				ADAM 
		I don't know. 

				GRANDPIERRE 
 		Madame? 

	REGGIE shrugs.

				GRANDPIERRE 
		Tell me, Mr. Dyle -- where were you at 
		three-thirty? 

				ADAM 
		In my room, asleep. 

				GRANDPIERRE 
		And you, Mrs. Lampert? 
   
				REGGIE 
		I was, too. 

				GRANDPIERRE 
		In Mr. Dyle's room? 

				REGGIE (bitterly) 
		No -- in my room. 

				GRANDPIERRE (pause, lighting cigar)
		It stands to reason you are telling the 
		truth -- for why would you invent such a 
		ridiculous story? 

	REGGIE and ADAM exchange looks.

				GRANDPIERRE 
		And if I were you, I would not stay in my 
		pajamas.  Good night.

	GRANDPIERRE turns and leaves.  REGGIE and ADAM start down
	the hall toward their own rooms.

				ADAM 
		That wraps it up -- Tex has the money. 
		Go back to bed -- I'll let you know 
		when I've found him. 

				REGGIE 
		You're going to look for him -- now? 

				ADAM 
		If the police find him first they're 
		not very likely to turn over a quarter
 		of a million dollars to us, are they?

				REGGIE 
		Adam -- 

				ADAM 
		There's no time -- I'll call you in the 
		morning.

	ADAM disappears into his own room.

313A.	INT. ADAM'S ROOM -- NIGHT
	As ADAM enters, going to the closet to remove his suit.
	The phone rings.  He answers it. 

				ADAM 
		Yes? 

313B.	INT. PHONE BOOTH -- NIGHT
	CLOSE SHOT -- TEX.  As he speaks on the phone.

				TEX 
 		Now Dyle, you listen to me -- my mama 
		didn't raise no stupid children.  I know 
		who's got the money 'n I ain't disappearing
		till I got my share -- 'n' my share's 
 		growin' a whole lot bigger ev'ry day. 

313BB	INT. ADAM'S ROOM -- NIGHT

				ADAM (on the phone)
		Where are you, ol' buddy? 


313C.	INT. PHONE BOOTH -- NIGHT

				TEX (on the phone)
		(laughs) I'll tell you what, fella -- you want
		t' find me, you jus' turn 'round -- from 
		now on I'll be right behind you. (hangs up) 

313CC	INT. ADAM'S ROOM -- NIGHT
	ADAM, before hanging up, reflects on TEX's words, then
	looks behind him.  Smiling softly, he hangs up the phone
	and starts for REGGIE's door.

313D.	INT. REGGIE'S ROOM -- NIGHT
	REGGIE slips back into her robe and goes to the connecting
	door.

				REGGIE
		What is it?

   				ADAM 
		Open up. 

	She undoes the bolt and opens the door.  ADAM enters.

				ADAM
		I think we were wrong about Tex having the 
		money. 

				REGGIE 
		Why? 

				ADAM 
		I just heard from him -- he's still hungry. 
		That means killing Gideon didn't get it 
		for him -- so he's narrowed it down to us. 
		You've got it. 

				REGGIE 
		I've looked, Adam -- you know I have --
 
				ADAM 
		Where's that airlines bag?

				REGGIE 
		Lord, you're stubborn.
 
				ADAM 
		I sure am.  Get it. 

	She goes to the closet and gets the bag.

   				ADAM 
		Charles must have had the money with him 
		on the train, and Tex missed it. 

	He takes the bag to the bed where he dumps out the contents.

				REGGIE 
		But everyone and his Aunt Lilian's been
		through that bag.  Somebody would
		have seen it.
 
				ADAM 
		Let's look anyway.   

				REGGIE 
		Lord, you're stubborn.
   
				ADAM 
		I mean, it's there, Reggie.  If only we could 
		see it.  We're looking at it right now. 

313E.	CLOSE SHOT -- BED WITH CHARLES' BELONGINGS

				ADAM'S VOICE (o.s.)
		Something on that bed is worth a quarter of 
		a million dollars. 

				REGGIE'S VOICE (o.s.)
		Yes, but what? 

				ADAM'S VOICE (o.s.)
		I don't know -- I just don't know. 

313F.	MED. SHOT -- REGGIE AND ADAM
	As ADAM begins to examine the items one by one.

				ADAM
		Electric razor -- comb -- steamship ticket --
		fountain pen -- four passports -- toothbrush 
		-- wallet -- (he goes through the wallet,
		finds nothing) -- key -- what about that?
 
				REGGIE 
		To the apartment -- it matches mine 
		perfectly.  

				ADAM 
		The letter --

	He takes it out of the envelope and takes out his glasses 
	before reading it.  

   				REGGIE 
		I'll bet you don't really need those. 

	He hands her the glasses and she looks through them.

   				REGGIE 
		You need them. (She hands them back.)
 
				ADAM (reading the letter)
		It still doesn't make sense, but it isn't 
		worth any quarter of a million either. 
		Have we forgotten anything?

				REGGIE 
		The tooth powder.  Wait a minute -- could 
		you recognize heroin just by tasting it?

	He shakes some powder into his hand and tastes it.  REGGIE 
	watches expectantly.

				ADAM  
		Heroin -- peppermint-flavored heroin. 

				REGGIE 
		Well, I guess that's it -- dead end. 

				ADAM 
		Go to bed.  You've got to be at work in the 
		morning.  There's nothing more we can do
		tonight. 

				REGGIE (pause)
		I love you, Adam. 

				ADAM 
		Yes, you told me. 

				REGGIE 
		No -- last time I said "I love you, Alex."

314.	EXT. UNESCO BUILDING -- ESTABLISHING -- DAY
	The ultra-modern glass and concrete structure behind the
	Ecole Militaire.

315.	INT. UNESCO CONFERENCE ROOM -- DAY
	SEVERAL DELEGATES identified by little plaques in front of
	them listing their respective nations, and their AIDES, sit
	around the large table.  They are all wearing earphones.
	The ITALIAN DELEGATE is speaking.

				ITALIAN DELEGATE
		-- di conseguenza, il Governo Italiano è
		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 è molto
		importante per il Governo che io ho l'onore di
		rappresentare disturberebbe l'esportazione
		delle derrate farinose italiane in questa parte
		del mondo.  Signori Delegati vi ringrazio della
		vostra attenzione.

316.	INT. REGGIE'S BOOTH -- DAY
	REGGIE, wearing her headset, is talking with SYLVIE.

				REGGIE
		I hope Jean-Louis understands about last
		night -- it's just not safe for him to be
		around me right now.

				SYLVIE
		Don't be silly -- he would not do anything.
		He is not yet old enough to be interested
		in girls.  He says collecting stamps is much
		more satisfying to a man of his age.

				REGGIE 
		Hold it -- Italy just finished.  They're 
		recognizing Great Britain. 

				SYLVIE
		Oh la vache!

	SYLVIE jumps up and rushes next door into her booth, shutting 
	the door after her.

316A.	INT. CONFERENCE ROOM -- DAY
	The BRITISH DELEGATE rises to speak, continuing through the
	next scene.

				BRITISH DELEGATE
		Mr. Chairman, fellow delegates -- my distinguished 
		colleague from Italy.  Her Majesty's delegation 
		has listened with great patience to the Southern 
		European position on this problem, and while we
		find it charmingly stated, we cannot possibly
		agree with its content.  In 1937, in the British
		colonies of Kenya, Uganda and Tanganyika -- and,
		if I'm not mistaken, more or less in Somaliland --
		a programme of crop rotation was instituted vis-
		à-vis arable land which had never before known
		the plough, beginning before the soil was able
		to know the sort of fatigue now plaguing most
		of Western Europe.  In 1937, therefore, Her
		Majesty's Government -- at that time His Majesty's
		Government -- was able to properly assay the
		situation.  We therefore oppose the resolution.

316B.	INT. REGGIE'S BOOTH -- DAY
	The door from the hall opens and ADAM enters. 

				ADAM 
		Reggie -- I think I've found -- (stopping)
		-- are you on? 

				REGGIE 
		No, it's all right.  What's wrong, Adam? 

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

	He hands her a paper.

317.	INSERT -- POLICE RECEIPT
	The one GRANDPIERRE gave REGGIE.  It has been torn in half
	and scotch-taped back together.
 
				REGGIE'S VOICE (o.s.)
		It's the receipt Inspector Grandpierre gave
		me -- for Charles's things.  I don't see how 
		that's going to -- 

318.	MED. SHOT -- REGGIE AND ADAM

				ADAM 
		You didn't look. Last night, when we went 
		through the airlines bag, something was 
		missing.  See -- ?  (showing her the list) 
		"One agenda."  It wasn't there. 

				REGGIE 
		You're right.  I remember Grandpierre looking 
		through it.  But there was nothing in it -- at 
		least, nothing that the police thought was very 
		important. 

				ADAM 
		Can you remember anything at all? 

				REGGIE 
		Grandpierre asked me about an appointment 
		Charles had -- on the day he was killed.

   				ADAM 
		With whom?  Where? 

				REGGIE 
		I think it only said where -- but I can't --
 
				ADAM
		Think, Reggie, you've got to think -- it 
		may be what we're looking for.

   				REGGIE 
		That money's not ours, Adam -- if we keep it, 
		we'll be breaking the law.

				ADAM 
		Nonsense.  We didn't steal it.  There's 
		no law against stealing stolen money. 

				REGGIE 
		Of course there is! 

				ADAM 
		There is?  Well, I can't say I think very
		much of a silly law like that.  Think, Reggie
		-- please think -- what was written in Charles'
		notebook? 

				REGGIE 
		Well -- it was a place -- a street corner, I 
		think.  But I don't -- (hearing something
		through her earpiece)  Hold it.  I'm on. 

	She turns back to the conference, flips a switch and starts
	speaking into her headset.

				REGGIE (translating)
		Mr. Chairman, fellow delegates -- my distinguished 
		colleague from Great Britain --

319.	INT. CONFERENCE ROOM -- DAY
	The FRENCH DELEGATE is speaking.

				FRENCH DELEGATE
		Monsieur le Président, Messieurs les délégués
		-- mon distingué collègue de la Grande
		Bretagne -- le problème 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, après tout, un pays
		agricole, n'est-ce pas?  La position française,
		ainsi que nous l'avons soulignée dans
		le rapport numéro trente-neuf bar oblique
		cinquante-deux de la Conférence de l'hémisphère
		occidental qui a eu lieu le 22 mars --

320.	INT. REGGIE'S BOOTH -- DAY
	REGGIE is busy translating.

				REGGIE
		-- as outlined in report number three-nine-
		stroke-five-two of the Western Hemisphere 
		Conference held on March 22 -- (She stops)
		-- no wait!  It was last Thursday, five 
		o'clock at the Jardin des Champs-Élysées!
		Adam -- that was it!  The garden! 

				ADAM 
		It's Thursday today -- and it's almost five --
		come on!

321.	MED. SHOT -- CONFERENCE TABLE
	From REGGIE'S and ADAM'S ANGLE.  All the DELEGATES and
	their AIDES suddenly turn, surprised, and look at CAMERA.

322.	REVERSE SHOT -- WINDOW
	From the DELEGATE'S ANGLE.  Inside the booth, REGGIE and
	ADAM can be seen heading for the door in a hurry.

323.	MED. SHOT -- CONFERENCE TABLE
	As the DELEGATES look at one another, confused.

324.	EXT. GUIGNOL -- LATE AFTERNOON

325.	TWO SHOT -- REGGIE AND ADAM
	By the locked gate.

				REGGIE 
		Now what? 

				ADAM 
		Five o'clock -- Thursday -- the Garden -- it's
		got to be something around here. 

				REGGIE 
		But Charles' appointment was last week, not --
 
				ADAM 
		I know, but this is all we've got left. 

				REGGIE 
		Well, you're right there.  Ten minutes ago I 
		had a job. 

				ADAM 
		Stop grousing.  If we find the money I'll buy
		you an international conference all your own.
 		Now start looking.  You take this side and 
		I'll poke around over there. 

326.	VARIOUS SHOTS -- WHAT THEY SEE
	A quick succession of shots showing:
	1. Children's Merry-go-round
	2. Rond Point de Champs-Elysées with fountains playing
	3. Children's swings
	4. Restaurant Laurent
	5. Balloon salesman

327.	EXT. FOUNTAIN -- LATE AFTERNOON
	ADAM stands by the large fountain, staring off at something
	as REGGIE joins him.
	
				REGGIE 
		It's hopeless -- I don't even know what we're 
		looking for.

				ADAM 
		It's all right -- I don't think Tex does,
		 either. 

				REGGIE 
		Tex?  You mean he's here, too? 

				ADAM 
		Look.

328.	MED. SHOT -- TEX
	He stands near the merry-go-round, looking at something in
	his hand: Charles' agenda.  Now he closes it and moves off,
	disappearing behind a hedge.

329.	TWO SHOT -- REGGIE AND ADAM

				ADAM 
		I'd better see what he's up to.  Stay here --
		I won't be long.

	ADAM starts off.
 
				REGGIE (concerned)
		Be careful, Adam -- please.  He's already 
		killed three men. 

330.	DELETED

331.	EXT. RUE GABRIEL -- LATE AFTERNOON
	Between the curb and the Jardin, several temporary wooden
	booths have been set up.  They have collected quite a 
	CROWD.  Into this area comes TEX, followed at a safe 
	distance by ADAM.  Suddenly TEX stops.

332.)	DELETED
333.)

334.	CLOSE SHOT -- TEX
	As he stares wide-eyed at something.

335.	CLOSE SHOT -- STAMPS
	Neatly displayed on a counter of one of the booths.

336. 	CLOSE SHOT -- TEX
	As he wheels to look at another booth.

337.	CLOSE SHOT -- MORE STAMPS
	In another arrangement.

338.	CLOSE SHOT -- TEX
	He turns crazily to look at another booth, then another.

339.	CLOSE SHOT -- EVEN MORE STAMPS
	Various FLASH SHOTS of stamps of all sizes, shapes and colors.

340.	MED. SHOT -- TEX
	As he understands.  He turns to rush off and bumps smack 
	into ADAM.  TEX is startled.

				TEX
		Sorry, fella --

	He rushes off past ADAM, who watches him for a moment,
	confused, then turns toward the booth, not yet having seen
	the stamps.

341.	MED. SHOT -- BOOTH
	From ADAM's angle.  There are one or two persons standing 
	at the booth.  CAMERA ZOOMS in on the display of stamps.

342.	CLOSE SHOT -- ADAM

				ADAM (amazed)
		The letter.

	He quickly turns to find TEX.

343.	MED. SHOT -- TEX
	As he hops into the back of a TAXI and it pulls away from
	the curb.  ADAM runs toward another TAXI.

				ADAM
		Taxi! -- Taxi!

344.	DELETED

345.	INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- LATE AFTERNOON
	As ADAM comes up the stairs and goes to REGGIE's door.
	Whipping out his gun, he flings open the door.

346.	INT. REGGIE'S ROOM -- LATE AFTERNOON
	From ADAM's angle.  TEX sits in the armchair, staring at
	CAMERA.  Next to him is the airlines bag, its contents
	dumped on the floor.

347.	ANOTHER ANGLE
	Including ADAM as he enters, his gun trained on TEX.  Without
	speaking he goes to the airlines bag, then stoops down to go
	through the spilled contents, keeping one eye all the time on
	TEX.  But he can't find what he's looking for.
 
				ADAM (quietly) 
		All right -- where's the letter? 

				TEX 
		The letter?  The letter ain't worth nuthin'. 

				ADAM 
		You know what I mean -- the envelope with 
		the stamps.  I want it. 

				TEX (a pause, then beginning to laugh)
		You greenhorn -- you half-witted, thick-skulled, 
		hare-brained, greenhorn!  They wuz both too smart
		for us!
 
				ADAM 
		What are you talking about? 

				TEX 
		First her husband, now her -- she hoodwinked
		you!  She batted all them big eyes and you 
		went 'n fell for it - like a egg from a tall 
		chicken!  Here! (holding out the envelope) 
		You want?  Here -- it's yours!

	ADAM takes it and looks at it.

348.	INSERT -- ENVELOPE
	The corner containing the stamps is missing, torn off.

349.	MED. SHOT -- ADAM AND TEX
	TEX sees the expression on ADAM's face and begins laughing,
	hysterically.

				TEX
		Look at you!  Horn-swoggled by a purty face 
		'n all them sweet words!  You killed all 
		three of 'em for nothin'!  You greenhorn! 
		You block-headed jackass!  You clod --
		-- you booby -- you nincompoop -- ! 

350.	EXT. ROND POINT -- LATE AFTERNOON
	REGGIE is looking around for ADAM.  She sees something
	across the street.  CAMERA SPINS AROUND to discover
	SYLVIE, sitting alone on a bench near the stamp market,
	reading a newspaper.

351.	MED. SHOT -- SYLVIE
	As REGGIE approaches her.
   
				REGGIE 
		Sylvie -- ?  What are you doing here? 

				SYLVIE (looking up)
		Hello, Reggie -- I am waiting for Jean-Louis. 

				REGGIE (looking around)
		What's he up to? 

				SYLVIE 
		He was so excited -- when he got the stamps 
		you gave him this morning.  He said he had 
		never seen any like them. 

				REGGIE 
		I'm glad.  But what's all this? 

				SYLVIE 
		The stamp market, of course -- it is here 
		every Thursday afternoon.  This is where 
		Jean-Louis trades his --
 
				REGGIE (as it dawns)
		Good Lord!  The stamps!  Where is he? 
		Sylvie -- we've got to find him!

				SYLVIE 
		What's the matter, chérie? 

				REGGIE 
		Those stamps -- they're worth a fortune! 

				SYLVIE (jumping up)
		What? 

				REGGIE 
		A fortune!  Hurry -- we've got to find him!

	They rush off into the market.

352.	TWO SHOT -- REGGIE AND SYLVIE
	As they stop among the booths, looking around.

				REGGIE 
		I don't see him. 

				SYLVIE 
		We will separate -- you look over there. 

	They go off in opposite directions.

353.	MED. SHOT -- REGGIE
	As she hurries along a row of stalls, weaving around small
	groups of MEN standing together, showing each other stamps.

354.	MED. SHOT -- SYLVIE
	Searching in another section of the market.

				SYLVIE (calling)
		Jean-Louis -- ? 


355.	MED. SHOT -- REGGIE
	Spotting a BOY, she runs to him and spins him around.

				REGGIE 
		Jean-Louis!

	But it isn't.

356.	MED. SHOT -- SYLVIE
	Looking everywhere.  Suddenly she sees something.

357.	CLOSE SHOT -- GROUP OF MEN -- THEIR LEGS
	Only a small boy's elbow and part of his arm show, the
	rest hidden by all the legs.

358.	MED. SHOT -- SYLVIE
	She recognizes him from these fragments.

				SYLVIE 
		Jean-Louis! 

	She rushes to him, CAMERA PANNING WITH HER.  JEAN-LOUIS
	stands looking at some stamps.  SYLVIE grabs him.

				SYLVIE 
		Jean-Louis -- les timbrés -- où sont-ils?

	Smiling, JEAN-LOUIS holds up an enormous sack of assorted
	stamps -- hundreds of them.

				SYLVIE 
		Oh, zut!  (calling)  Reggie -- Reggie -- ! 

	REGGIE runs up and joins them.

   				REGGIE 
 		Jean-Louis -- thank heavens!  Do you 
		have -- ! (spotting the sack of stamps)
		What's that? 

				JEAN-LOUIS 
		A man traded with me -- all those for only 
		four. 

				REGGIE 
		Oh no!  What man, Jean-Louis --  where? 

	JEAN-LOUIS looks in one direction, then in the other,
	trying to remember.

				SYLVIE 
		Vite, mon ange -- vite! 

				JEAN-LOUIS (pointing)
		Là bas -- Monsieur Félix.

	They all run off down the line of booths.  JEAN-LOUIS
	stops and points off.

				JEAN-LOUIS
		Il est là!

359.	MED. SHOT -- STAMP BOOTH
	Closed, deserted, empty.

360.	MED. SHOT -- REGGIE, SYLVIE AND JEAN-LOUIS

				JEAN-LOUIS
		But he is gone. 

				REGGIE 
		I don't blame him.  Jean-Louis -- do you
		know where this Monsieur Félix 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 Théophile -

				THÉOPHILE
		Oui, jeune homme?

				JEAN-LOUIS
		Monsieur Félix, où habite-il?

				THÉOPHILE
		A Montmartre -- demande à Monsieur August
		au Bar des Artistes -- Place Blanche.

				JEAN-LOUIS
		Merci, Monsieur Théophile.  (returning
		to REGGIE and SYLVIE)  He says to ask
		Monsieur August at the --

	Before he can finish, SYLVIE, who has heard THÉOPHILE, has
	JEAN-LOUIS by the hand, dragging him off at full
	speed, REGGIE right alongside.

361.-	DELETED
363.

364.	INT. FÉLIX'S ROOM -- DUSK
	A bare, unkempt little room.  FÉLIX, 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.

 				FÉLIX 
		Entrez. 

	The door opens and REGGIE, followed by SYLVIE and JEAN-LOUIS,
	enters. 

				REGGIE 
		Monsieur Félix -- ? 

				FÉLIX (without looking up)
		I was expecting you.  You are American too,
		of course.

				REGGIE (looking at SYLVIE)
		Yes.

				FÉLIX  
		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.

				FÉLIX 
		Look at them, Madame. 

365.	INSERT -- STAMPS
	Four of them -- a red, a yellow, a blue, and a green, still
	attached to the portion of the torn envelope.

				FÉLIX (o.s.)
		Have you ever, in your entire life, seen 
		anything so beautiful? 

366.	MED. SHOT -- REGGIE, FÉLIX, SYLVIE AND JEAN-LOUIS

				REGGIE 
		I'm -- I'm sorry -- I don't know anything 
		about stamps. 

				FÉLIX 
		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? 

				FÉLIX 
		The money is unimportant. 

				REGGIE 
		I'm afraid it is important. 

				FÉLIX (shrugging)
		In your money, perhaps $65,000. 

				REGGIE (astonished)
		Do you mind if I sit down? (she sits)
		What about the blue one? 

				FÉLIX 
		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? 

				FÉLIX
		In human life?  In greed?  In suffering?

				REGGIE 
		In money.

				FÉLIX 
		Forty-five thousand. 

				REGGIE (to SYLVIE)
		Do you have anything to eat?  (to FÉLIX)
		And the orange one -- what about the orange 
		one?

				FÉLIX 
		A two-penny Mauritius -- issued in 1856.
		Not so rare as the others -- $30,000
		perhaps.

				REGGIE 
		And the last one? 

				FÉLIX 
		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 Félix -- are they for 
		sale now? 
   
				FÉLIX (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.

	FÉLIX goes to his wallet for the change.

				REGGIE 
		Please keep it.

				FÉLIX
		I am a tradesman, Madame, not a doorman.
		And don't forget these. 

	He hands her the four stamps and her change.

				REGGIE 
		I'm -- I'm sorry. 

367.	CLOSE SHOT -- FÉLIX

				FÉLIX (shrugging) 
		No.  For a few minutes they were mine --
 		that is enough. 
   
368.	INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT
	As REGGIE comes hurrying up the stairs.  She goes first to
	ADAM's room and knocks.
   
				REGGIE 
		Adam?  Adam?  It's me, Reggie -- !

	There is no answer.  She goes to her own door and, to her
	surprise, finds it an inch or two ajar.

369.	INT. REGGIE'S ROOM -- NIGHT
	As REGGIE enters.  She freezes, having seen something on 
	the floor.

370.	MED. SHOT -- TEX
	His dead body lies on the floor, the wrists of his extended 
	arms tied to the leg of the bed, his ankles to the steam 
	radiator.  And tied around his head is a plastic, transparent 
	bag, inside of which the suffocated man's face, the eyes 
	bulging against the plastic clinging tight to his features,
	can be seen all too clearly.  REGGIE enters the shot, bending
	down to see if he's alive.  Then she sees something beside
	his hands near the leg of the bed.

371.	CLOSE SHOT -- CARPET
	With his dying effort, TEX has traced a name against the 
	grain of the maroon carpet -- 'DYLE.' 

372.	CLOSE SHOT -- REGGIE
	Astonished and horrified.

				REGGIE (gasping)
		Dyle --

373.	WIDER ANGLE
	As she gets to her feet and hurries to the phone.

				REGGIE (on the phone)
		Hell -- Balzac 30-04, s'il vous plait --
		(waiting) -- Mr. Bartholomew!  Thank God
		you're there!  Tex is dead, Mr. Bartholomew -- 
		smothered -- and Adam did it -- he killed them 
		all!

374.	INT. BARTHOLOMEW'S APARTMENT -- NIGHT
	BARTHOLOMEW, his face lathered for a shaving, is on the phone.

				BARTHOLOMEW 
		Just a minute, Mrs. Lampert -- you'd
		better give that to me slowly.  Who's
		Adam?
 
375.	INT. REGGIE'S ROOM -- NIGHT

				REGGIE (on the phone)
		The one who said he was Dyle's brother --
		of course I'm sure -- Tex wrote the word 
		'Dyle' before he died.  He's the murderer 
		I tell you -- he's the only one left!
		You've got to do something!

376.	INT. BARTHOLOMEW'S APARTMENT -- NIGHT

				BARTHOLOMEW (on the phone)
		Calm down, Mrs. Lampert -- please.  Does 
		he have the money?

377.	INT. REGGIE'S ROOM -- NIGHT

				REGGIE (on the phone)
		No, I do -- it was the stamps on that letter 
		Charles had with him on the train.  They 
		were in plain sight all the time, but no 
		one ever bothered looking at the envelope. 

378.	INT. BARTHOLOMEW'S APARTMENT -- NIGHT

				BARTHOLOMEW (on the phone)
		The envelope -- imagine that.  Mrs. Lampert, 
		listen to me -- you're not safe as long as 
		you've got these stamps.  Go to the Embassy
		right away -- wait, I'd better meet you halfway
		-- it's quicker.  Now, let's see -- do you 
		know the center garden at the Palais Royal? 
		-- yes, by the colonnade -- as soon as you can 
		get there.  Hurry, Mrs. Lampert. 

379.	INT. REGGIE'S ROOM -- NIGHT

				REGGIE (on the phone)
		Yes, I'm leaving now -- goodbye. 

	She hangs up, looks briefly at TEX's body, shudders, then
	hurries to the door.

380.	INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
	As REGGIE leaves her room and goes to the elevator.  She 
	presses the button, then notices it is in use.  She goes 
	to the stairs and starts down.
 
381.	INT. HOTEL STAIRCASE -- NIGHT
	Between the landings.  The stairs curve around the open
	elevator shaft.  As REGGIE comes down the stairs, the
	cage rises into view.  Inside is ADAM.  For a moment, she 
	stops and their eyes meet.

   				ADAM  
		Reggie -- the stamps -- what've you 
		done with --? 

	REGGIE starts running downstairs.

   				ADAM  
		Where are you going?  Wait! 

	ADAM pushes the emergency stop button and then starts the
	cage down.

   				ADAM  
		Reggie!

382.	INT. HOTEL CORRIDOR -- SECOND LANDING -- NIGHT
	As REGGIE comes off the stairs, passes the elevator gate
	and starts down toward the lobby, the cage a few feet 
	behind her.

   				ADAM  
		Reggie!

382A.	INT. HOTEL CORRIDOR -- FIRST LANDING -- NIGHT
	As REGGIE continues to run.

383.	INT. HOTEL STAIRWAY -- NIGHT
	Between the first landing and the lobby.  REGGIE running,
	the elevator following.

   				ADAM  
		Reggie -- stop!

				REGGIE 
		Why?  So you can kill me too?  Tex is 
		dead, I've seen him!  He said Dyle did 
		it!
 
				ADAM 
		I'm not Dyle -- you know that! 

				REGGIE 
		But Tex didn't -- he still thought -- !

				ADAM 
		Don't be an idiot!

384.	INT. HOTEL LOBBY -- NIGHT
	REGGIE reaches the lobby first and, without hesitation,
	races toward the front door and out.  The confused hotel
	MANAGER behind the desk can only stare in surprise.  The
	elevator, ADAM inside, has not yet reached the bottom.

				ADAM 
 		Reggie -- !  I want those stamps! 

385.	EXT. HOTEL LOBBY -- NIGHT
	A taxi stands by the curb.  REGGIE leaves the hotel and 
	runs to it.

				REGGIE (indicating the direction) 
		Palais Royal -- vite!

	Calmly, the DRIVER points to the little printed sign on
	his windshield reading "ITALIE."

				DRIVER (pointing the other way)
		Porte d'Italie, moi.

				REGGIE
		Mais c'est très vite!  On veut me teur!

				DRIVER (shaking his head)
		Italie.

	She looks around and sees ADAM come out of the hotel and
	straight toward her.  She turns and runs off toward the
	Place St. Michel.

386.	EXT. PLACE ST. MICHEL -- NIGHT
	As REGGIE comes to the corner.  She stops, sees the Métro
	station ("St. Michel") and rushes to it, scampering down
	the stairs.  ADAM is behind her.

387.	INT. ST. MICHEL MÉTRO STATION -- NIGHT
	REGGIE comes flying down the stairs and runs past the 
	ticket booth, fishing in her bag for her carnet (booklet
	of tickets), casting a quick look behind her.  CAMERA PANS 
	QUICKLY TO ADAM just coming off the stairs, who runs after
	her.

388.-	DELETED
389.

390.	INT. MÉTRO TICKET GATE -- NIGHT
	REGGIE gets to the gate ahead of ADAM and manages to crowd
	in front of some OTHERS about to pass through.  Barely 
	stopping, she holds out her ticket to the GUARD to be punched,
	then heads down the platform, still running.  ADAM gets to 
	the gate but the GUARD stops him as he tries to pass through.

				GUARD 
		Billet, Monsieur.

				ADAM (breathless)
		I don't want to go anywhere -- I'm only
		trying --

				GUARD (pointing off)
		Billet, Monsieur.

	ADAM tries to look past him, to see REGGIE, but gives it up
	and goes back toward the ticket booth, on the run.

391.	INT. MÉTRO PASSAGEWAY -- NIGHT
	CAMERA LEADING REGGIE as she runs -- the passageway is 
	nearly empty.  Her footsteps echo against the tile and
	concrete walls.

392.	CLOSE SHOT -- PASSAGEWAY WALL (TRAVELING)
	The jumble of advertising posters as it passes rapidly,
	forming a moving band of letters, women, cartoons and
	colors.

393.	INT. MÉTRO PASSAGEWAY -- NIGHT
	REGGIE stops and pauses for a moment at a sign indicating
	two different directions, an arrow for each.

				"DIRECTION:
				------- Pte D'ORLÉANS
				Pte DE CLIGNANCOURT-------"

	Choosing "Clignancourt," she runs off.  CAMERA PANS SHARPLY,
	180 degrees, to pick up ADAM rounding the corner in hot
	pursuit.

394.	INT. MÉTRO PLATFORM -- NIGHT
	REGGIE starts down the platform, looking behind her every
	few steps.  Suddenly she looks up in surprise -- there,
	across the tracks on the opposite platform is ADAM.  He
	has evidently made the wrong turn back in the passageway.
	They stare at each other for a moment.  Then the bell rings,
	announcing the arrival of a train.  ADAM turns, running
	back through the exit behind him.  Not knowing what to do,
 	REGGIE looks into the darkness of the tunnel.  The approaching
	train can be heard.

				REGGIE (to herself)
		Come on -- please --

	She turns to look at the gate -- slowly, the pneumatic door
	starts to close.  As it does, the train roars into the 
	station.

394.	INT. MÉTRO PASSAGEWAY -- NIGHT
	The gate can be seen slowly closing.  ADAM runs to it, tries
	to force it back but cannot.  Finally, he jumps up and,
	commando style, vaults over it.

395.	INT. MÉTRO PLATFORM -- NIGHT
	REGGIE is just entering the red center car (the two on either
	side are dark green).  ADAM runs for the red car and just
	manages to make it as the doors shut in unison, the
	latches falling with a concerted click and the little whistle
	blowing to inform the motor-man to depart.  The train starts
	to move.

396.	INT. MÉTRO 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 êtes dans le premier classe, Monsieur.

				ADAM
		What?

				TRAIN GUARD (heavy accent)
		This car is for first class only -- you
		have a second-class ticket.

				ADAM
		But that's what they gave me.

	He tries to pull away from the TRAIN GUARD and finds himself
	staring into the serious face of a GENDARME.

				GENDARME
		Monsieur -- ?

	ADAM looks at the GENDARME, then at REGGIE.

397.	INT. "PALAIS-ROYAL" MÉTRO PLATFORM -- NIGHT
	As the TRAIN pulls in and comes to a stop.

398.	INT. MÉTRO CAR -- NIGHT
	The GENDARME opens the door for ADAM and escorts him out.
	ADAM turns once more to look at REGGIE as he goes.  She
	remains in the car.

399.	INT. MÉTRO PLATFORM -- NIGHT
	The GENDARME gestures for ADAM to enter the green, second-
	class car behind the red, first-class one.  Reluctantly, 
	ADAM does.

400.	INT. MÉTRO CAR -- NIGHT
	As ADAM enters and goes to the door through which he can
	see REGGIE in the car ahead.  She is gone.  Moving quickly,
	he returns to the exit door and looks at the platform.

401.	INT. MÉTRO PLATFORM -- NIGHT
	From ADAM'S P.O.V.  She is hurrying toward an exit marked
	"SORTIE."

402.	ANOTHER ANGLE
	Featuring ADAM as he hurries from the car.  He finds his
	way blocked by FIVE NUNS in large, white butterfly hats.
	It takes him a few precious seconds to work his way around 
	them.

403.-	DELETED
414.

415.	INT. MÉTRO 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 "FERMÉ LES WEEKENDS."  She turns, desperately looking
	for some way out.

416.	INT. MÉTRO PLATFORM -- NIGHT
	ADAM is off the train.  He stands on the platform as the 
	train doors slam shut, the latches click, the whistle blows 
	and the train pulls out.  He looks around in all directions,
	looking for some sign of REGGIE.  He spots the exit marked
 	"SORTIE" (the same one used by REGGIE) and starts toward it.

417.	INT. MÉTRO SORTIE -- NIGHT
	As ADAM enters the deserted area.  There is, miraculously, no
	sign of REGGIE.  He goes to the locked grill and tries it, 
	testing the padlock.  CAMERA PANS to a phone booth (solid
	door with a window in the upper half) and we see REGGIE's hand
	reaching up to dial a number.

418.	INT. PHONE BOOTH -- NIGHT
	REGGIE sits on the floor of the booth, dialing.

				REGGIE (to herself, as she dials)
		Balzac 3 - 0 - 0 - 4.

	She holds the receiver to her ear.  The number can be heard
	ringing but no one answers.  She hangs up and reaches for
	the phone book, leafing through its pages.

				REGGIE
		Embassies -- embassies --

419.	INT. MÉTRO SORTIE -- NIGHT
	ADAM stands for a minute, looking around, not knowing what
	to do.

420.	INT. PHONE BOOTH -- NIGHT
	REGGIE has finished dialing her number and now pushes the 
	button.  It clicks loudly.

				REGGIE 
		Shh. (into the phone, whispering)  American 
		Embassy?  Mr. Bartholomew's office, please --
		Mr. Bartholomew's office --

420A.	INT. EMBASSY SWITCHBOARD -- NIGHT
	An OPERATOR speaking into a headset.

				OPERATOR
		Could you speak out, please?  I can't quite
		hear you.

420B.	INT. PHONE BOOTH -- NIGHT

				REGGIE (on the phone)
		No, I can't speak any louder -- Hamilton 
		Bartholomew -- B as in -- uh -- Bartholomew --
		that's right, and the rest as in Bartholomew!

421.	INT. EMBASSY SWITCHBOARD -- NIGHT

				OPERATOR (on the phone)
		I'm sorry, but Mr. Bartholomew has left for 
		the day. 

422.	INT. PHONE BOOTH -- NIGHT

				REGGIE (on the phone)
		But someone's trying to kill me -- you've 
		got to send word to him -- in the center
		garden of the Palais Royal, by the colonnade
		-- tell him I'm trapped in a phone 
		booth, below him in the Métro station.  And 
		my name's Lampert. 

423.	INT. EMBASSY SWITCHBOARD -- NIGHT

				OPERATOR (on the phone)
		All right, Mrs. Lampert -- I'll see what
		I can do.  Goodbye.

	She unplugs the call, plugs in another one and dials
	quickly.

				OPERATOR 
		Hello, Mr. Bartholomew? -- there was a 
		call for you just now, Mr. Bartholomew -- 
		it sounded quite urgent -- a Mrs. Lampert. 

424.	INT. BARTHOLOMEW'S STUDY -- NIGHT
	It is a man we've never seen before, the physical opposite
	of the old BARTHOLOMEW.

				REAL BARTHOLOMEW 
		Lampert?  I don't know any Mrs. Lampert --
		trapped in a Métro station?  Who does she 
		think I am, the C.I.A.?  All right, you'd 
		better call the French police. 

425.	INT. MÉTRO SORTIE -- NIGHT
	MED. SHOT -- PHONE BOOTH.  As REGGIE's head appears, peeking
	cautiously over the bottom of the window.

426.	REVERSE SHOT
	From inside the phone booth.  Through the glass ADAM can
	be seen, leaving the Sortie area.

427.	MED. SHOT -- PHONE BOOTH
	Carefully, REGGIE opens the door and comes out.  She goes
	to the corner and looks around it.

428.	INT. MÉTRO PLATFORM -- NIGHT
	From REGGIE'S P.O.V. as ADAM walks away from CAMERA, down
	the platform.  CAMERA PANS TO REGGIE, peeking around the
	corner.  She looks the opposite way, sees another exit at
	the other end of the platform (also marked "SORTIE").  She
	looks back once more at ADAM, then makes up her mind and
	starts running towards the exit.

429.	MED. SHOT -- ADAM
	As the bell rings announcing the next train.  He turns to 
	look and sees REGGIE.

				ADAM (calling)
		Reggie -- !

	He takes off, running after her.

430.	MED. SHOT -- REGGIE
	As she runs, ADAM several yards behind her.

				ADAM (in b.g., calling)
		Reggie -- wait!

	She turns into the exit.

431.	INT. MÉTRO STAIRWAY -- NIGHT
	As REGGIE starts up the long, steep flight of stone steps
	leading to the street level.  ADAM appears behind
	her, climbing two at a time and gaining.

				ADAM (calling)
		Reggie -- why won't you listen?

				REGGIE 
		I'm through listening to you!

	He is rapidly closing the gap between them.  It is clear
	that REGGIE is tiring.

				ADAM
		But I didn't kill anybody.

				REGGIE 
		Then who did?  You're the only one
		left.

	PASSERSBY, descending the stairs, stand aside to let the 
	two strange Americans pass, watching in wonderment.  ADAM
	is only a few steps behind now.

				ADAM
		Reggie -- please believe me!

				REGGIE 
		No!

	As REGGIE wearily gains the top, ADAM lunges for her.  He
	manages to grab her foot as he falls forward, but all he
	winds up with is a shoe which has come loose in his hand.
	REGGIE shrieks, then regaining her balance, continues
	running, limping in her one shoe.  ADAM scrambles to his 
	feet and starts after her again.

432.	INT. MÉTRO TICKET BOOTH AREA -- NIGHT

	As REGGIE, still hobbling, runs through and toward the
	stairs, leading to the street.  CAMERA PANS TO ADAM, as
	he, too, runs through.  He is again several yards behind 
	her.

433.	EXT. PLACE PALAIS ROYAL -- NIGHT
	As REGGIE comes up the stairs from the Métro.  She stops
	long enough to kick off her other shoe, then runs across
	the street, ignoring the traffic, toward the Rue de Valois
	(which forms one side of the Palais Royal).  ADAM is 
	gaining on her again.

434.	EXT. PALAIS ROYAL COURTYARD -- COLONNADE -- NIGHT
	The smaller court at the Comédie-Française end of the
	Palais gardens, separated from the larger garden by a double
	peristyle consisting of two twin rows (these separated from
	each other by a small marble court) of twenty columns each --
	in all, eighty columns.  The only person in sight is the 
	man we have known as BARTHOLOMEW, waiting at the far end
	of the columns, looking at his watch impatiently.

	Then, from the Rue de Valois side of the Palais, REGGIE 
	runs into the court.  She spots "BARTHOLOMEW" and fishes 
	in her bag for the stamps as she runs, taking them out and
	waving them.

				REGGIE 
		Mr. Bartholomew -- he's chasing me! 

	ADAM has run into the court and now skids to a stop at the
	near end of the colonnade as he spots "BARTHOLOMEW."  REGGIE,
	still running, is halfway between the two men.  "BARTHOLOMEW"
	draws his gun but can't get a shot at ADAM, who has ducked in
	among the columns.

				ADAM 
		Reggie -- stop!  That's Carson Dyle!

	This news hits REGGIE hard and she stops, in alarm. 

				REGGIE (breathless)
		Carson -- ?

	She looks at "BARTHOLOMEW," then back at ADAM, who has drawn
	his own gun.

	(NOTE: Both "BARTHOLOMEW" and ADAM are in among the stone
	columns at opposite ends of the colonnade, keeping out of 
	each other's sight.  REGGIE stands out in the open, the
	stamps in her hand, confused as to which man she should go to).

				"BARTHOLOMEW" (calmly)
		We all know Carson Dyle is dead, Mrs. 
		Lampert. 

				ADAM 
		It's Carson Dyle, I tell you! 
   
				"BARTHOLOMEW" 
		You're not going to believe him, Mrs.
		Lampert -- it's too fantastic.  He's 
		trying to trick you again. 

	REGGIE looks at one, then the other, not knowing what to 
	do.

				ADAM 
		Tex recognized him -- that's why he 
		said Dyle.  If you give him those
		stamps, he'll kill you too! 

	REGGIE takes a step toward ADAM.
 
				"BARTHOLOMEW" 
	 	Mrs. Lampert -- if I'm who he said, what's 
		preventing me from killing you right now? 

	REGGIE stops, turns back to "BARTHOLOMEW." 

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

				"BARTHOLOMEW" 
		What's the matter with you, Mrs. Lampert?
		Are you going to believe every lie he tells
		you?   He wants the money for himself --
		that's all he's ever wanted. 

				REGGIE (to ADAM, explaining) 
		He's -- with the C.I.A. -- I've seen him at 
		the Embassy. 

				ADAM 
		Don't be a fool!  He's Carson Dyle! 

				"BARTHOLOMEW" 
		That's right, Mrs. Lampert -- I'm a dead 
		man -- look at me.

				REGGIE 	
		I don't know who anybody is any more! 

				ADAM 
		Reggie -- listen to me!

				REGGIE 	
		You lied to me so many times --

				ADAM (gently) 
		Reggie -- trust me once more -- please. 

				REGGIE 
		Can I really believe you this time, Adam?
 
				ADAM (a pause)
		There's not a reason on earth why you should. 

	She looks toward ADAM for a moment, then back to "BARTHOLOMEW",
	then slowly starts toward ADAM. 

				REGGIE 
		All right, Adam.

				"BARTHOLOMEW" 
		Stop right now, Mrs. Lampert, or I'll kill 
		you.

	REGGIE stops in alarm.

				ADAM 
		It won't get you the stamps, Dyle -- 
		You'll have to come out to get them, 
		and I'm not likely to miss at this  range. 
   
				"BARTHOLOMEW" (now called CARSON) 
 		Maybe not -- but it takes a lot of bullets to 
		kill me.  They left me there with five of them 
		in my legs and my stomach -- they knew I was still 
		alive but they left me.  I spent ten months 
		in a German camp -- with nothing to stop the 
		pain and no food -- they were willing to take 
		all these chances for the money, but not for 
		me.  They deserved to die! 

435.	MED. SHOT -- ADAM
	During the following, he looks around, looking for some 
	way out.

				REGGIE'S VOICE (o.s.)
		But I didn't have anything to do with --

				CARSON'S VOICE (o.s.) 
		You've got the money.  It belongs to me
		now!  Please believe me, Mrs. Lampert -- 
		I'll kill you -- a little more blood won't 
		matter.

	During this ADAM has moved out from behind the columns,
	creeping cautiously across the open space between the two
	colonnades and finally, behind the second.

436.	MED. SHOT -- REGGIE AND CARSON

				CARSON
		I'll give you five to make up your mind, 
		Mrs. Lampert.

	She has seen ADAM's move from her angle, but doesn't know 
	quite what to do.

				REGGIE 
		Wait, please!  I need some time to think! 

				CARSON
		One --

437.	MED. SHOT -- ADAM
	As he slowly moves along behind the second colonnade, his
	gun ready, trying to get an angle on CARSON.

				CARSON'S VOICE (o.s.)
		-- two --

	Suddenly ADAM stops -- he has caught sight of CARSON through
	the columns.  But he will have a difficult shot.

				CARSON'S VOICE (o.s.)
		-- three --

438.	CLOSE SHOT -- CARSON

				CARSON
		-- four --

	CAMERA PANS DOWN to his gun.  As his finger tightens on the
	trigger and the hammer moves slowly back.

439.	CLOSE SHOT -- REGGIE

				REGGIE (terrified)
		Adam -- please!

440.	MED. SHOT -- ADAM
	As he aims carefully and fires.

441.	CLOSE SHOT -- COLUMN
	As the bullet creases it.

442.	CLOSE SHOT -- CARSON
	As the deflected bullet rips the shoulder of his coat,
	leaving him unharmed.  He wheels.

443.	MED. SHOT -- ADAM
	With CARSON in the b.g., who fires at him.  ADAM ducks
	behind the column as the bullet hits it and screams off.
	Quickly, he peers back out and throws another shot.

444.	MED. SHOT -- REGGIE
	Seeing CARSON otherwise occupied, she turns and runs toward
	the open stage door of the Comédie Française behind her.
	(Beside the door is a poster announcing the forthcoming
	schedule of presentations.)

445.	ANOTHER ANGLE
	Including CARSON who, seeing REGGIE running to the door,
	turns and fires at her.  But he is too late -- she is 
	safely inside.  CARSON looks quickly back toward ADAM, then
	takes off after REGGIE.

446.	MED. SHOT -- ADAM
	Over his shoulder we see a broken picture of CARSON running
	toward the theatre door, flashing by the near and far 
	columns.  ADAM tries to get a shot at him, but can't.
	Finally he runs after him.

447.	INT. COMÉDIE FRANÇAISE -- BACKSTAGE -- NIGHT
	As CARSON enters and slams the door behind him, locking it.

448.	INT. COMÉDIE FRANÇAISE -- STAGE DOOR -- NIGHT
	ADAM arriving at the door, bangs on it, then looks around,
	frustrated.  Several yards away he sees a short stairway
	leading down to a door below the street level.  He runs to
	it, tries the door and enters.

449.	INT. COMÉDIE FRANÇAISE -- ORCHESTRA -- NIGHT
	As CARSON enters the auditorium and looks around.

450.	CARSON'S P.O.V.
	As the CAMERA SWEEPS the magnificent old theatre -- boxes,
	seats, stage, but there is no sign of REGGIE.

451.	ANOTHER ANGLE
	As CARSON walks up the aisle checking between the rows of
	seats.

452.	INT. COMÉDIE FRANÇAISE -- TRAPROOM -- NIGHT
	A large room, lit by a single bare bulb, under the stage.
	ADAM appears, moving cautiously, gun ready.  He creeps
	along next to the wall, looking around at all the various
	scenic pieces which fill the room.

453.	INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT
	As CARSON moves carefully across the darkened stage near the
	footlights, looking for REGGIE.  At mid-stage, CAMERA PANS 
	DOWN to his feet, only a few inches from the prompter's
	box.  Inside, huddling down, is a terrified REGGIE, holding
	her breath as she watches him.

454.	ANOTHER ANGLE
	As CARSON moves into the opposite wings, sees the light board 
	and throws on all the switches.  The stage is bathed in light.
	He returns to the stage.

455.	INT. TRAPROOM -- NIGHT
	ADAM is looking up, having heard the footsteps on the stage
	over his head -- and hearing them now.  He looks around
	and sees a narrow, curving staircase leading up.  He goes to
	it, and, starting up, finds a door.  He tries the knob -- the 
	door is locked.

456.	INT. PROMPTER'S BOX -- NIGHT
	REGGIE, cringing back from the bright light, notices the
	doorknob turning.  It makes a slight clicking sound.

457.	INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT
	CARSON, upstage, looking behind a piece of classic scenery,
	hears the doorknob and turns suddenly.

458.	CARSON'S P.O.V.
	We catch a quick glimpse of REGGIE as she ducks down out of
	sight.  Too late.

459.	CLOSE SHOT -- CARSON
	
				CARSON
		All right, Mrs. Lampert.  The game's 
		over.  Come out of there.

460.	WIDER ANGLE
	REGGIE does not appear.

				CARSON
		I don't want to kill you, Mrs. Lampert -- 
		but I will --

461.	INT. TRAPROOM -- NIGHT
	ADAM comes down the stairs from the prompter's box and
	looks up at the ceiling.

462.	MED. SHOT -- CEILING
	It is divided into thirty-six square sections, each numbered
	and lettered -- from 1A to 6F.  They are trapdoors.

463.	MED. SHOT -- ADAM
	He looks from the ceiling to a row of levers on one wall.

464.	CLOSE SHOT -- LEVERS
	Thirty-six of them, numbered and lettered to correspond to
	the traps.

465.	INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT
	As CARSON takes a few steps towards the prompter's box,
	his gun ready.

				CARSON
		Did you hear me, Mrs. Lampert -- ? 

466.	INT. PROMPTER'S BOX -- NIGHT
	REGGIE huddled inside.

467.	INT. TRAPROOM -- NIGHT
	ADAM is listening carefully, trying to figure out where
	CARSON is standing, watching the ceiling.

468.	CLOSE SHOT -- TRAP
	It is marked C-4.

				CARSON'S VOICE (o.s.)
		I won't wait much longer, Mrs. Lampert   

469.	MED. SHOT -- ADAM
	As he turns to the levers and reaches for the one marked
	C-4.  He is about to pull it.

470.	INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT
	CARSON takes a few more steps forward.

471.	INT. TRAPROOM -- NIGHT
	ADAM stops himself from pulling the lever just in time.  He
	lets his held breath escape.  He looks back at the ceiling.

472.	CLOSE SHOT -- TRAP
	The one marked C-4.  As CARSON's voice is heard, CAMERA
	MOVES to the next trap, marked D-4.

				CARSON'S VOICE (o.s.)
		I know you're in there, Mrs. Lampert --

473.	MED. SHOT -- ADAM
	He looks at the lever marked D-4.  He is perspiring heavily.
	Now he slowly reaches for the lever.

474.	INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT
	CARSON is about to move closer to the prompter's box when
	suddenly the stage under him opens and he plummets through
	out of sight.  At the same time we hear a shot.

475.	CLOSE SHOT -- PROMPTER'S BOX
	As REGGIE slowly peers out.

476.	REGGIE'S P.O.V.
	The empty stage, without being able to see the open trap from
	this low angle.

477.	MED. SHOT -- REGGIE
	As she climbs out of the booth and, seeing the open trap now,
	runs to it, looking down through it.

478.	MED. SHOT -- OPEN TRAP
	FROM ABOVE, over REGGIE's head.  She can see CARSON sprawled
	on the floor below, face down and dead.  ADAM stands beside
	the body, looking up at REGGIE and smiling.

479.	ANOTHER ANGLE
	As GRANDPIERRE and his TWO ASSISTANTS, guns drawn, walk onto
	the stage from the wings.  They go to the open trap and look
	down at ADAM.

				GRANDPIERRE
		Mr. Dyle -- you are under arrest for
		the murders of Charles Lampert, Herman
		Scobie, Joseph Penthollow, Leopold Gideon,
		and whoever that is down there.

	ADAM is surprised, then shakes his head.

				ADAM 
		Reggie -- you'd better tell him.  He
		wouldn't dare hit a girl.
	
480.	EXT. RUE DE RIVOLI -- NIGHT
	As a TAXI rolls by the arcades, CAMERA PANNING with it.

481.	INT. TAXI -- NIGHT (PROCESS)
	REGGIE and ADAM in the rear of the cab.  REGGIE has one
	of her feet in her hand, shoe off, rubbing it.

				REGGIE 
		You didn't have to chase me so hard -- 

				ADAM 
		Here, give it to me.

	He starts to take the foot but she pulls it back and offers
	him the other one.

				REGGIE
		That one's done -- start on this one. 

	He takes the foot and begins rubbing it. 

				REGGIE 
		I'm sorry I thought you were the murderer,
		Adam -- how did I know that he was as big 
		a liar as you are? 

				ADAM 
		And that's all the gratitude I get for 
		saving your hide.
   
				REGGIE 
		The truth, now -- was it my hide -- or the 
		stamps? 

				ADAM 
		What a terrible thing to say.  How could 
		you even think that? 

				REGGIE 
		All right, prove it to me -- tell me to go 
		to the Embassy first thing in the morning 
		and turn in those stamps. 

	ADAM says nothing.

				REGGIE
		I said, tell me to go to the -- 

				ADAM 
		I heard you, I heard you. 

				REGGIE 
		Then say it. 

				ADAM 
		Reggie -- listen to me --

   				REGGIE 
		Never mind -- I'll go by myself. 

				ADAM 
		What makes you think they're even 
		interested?  It's only a quarter of 
		a million -- it'll cost more than that 
		to fix up their bookkeeping.  As a 
		taxpayer --

482.	EXT. AMERICAN EMBASSY -- MAIN ENTRANCE -- DAY
	As REGGIE and ADAM approach the MARINE in full-dress uniform
	always on guard at the Embassy.
   
				REGGIE (to ADAM)
		Who's a taxpayer?  Crooks don't pay 
		taxes.  Excuse me, soldier --

				MARINE
		Marine, ma'am. 

				REGGIE 
		Forgive me.  Whom would I see regarding 
		the return of stolen Government money? 

				MARINE
		You might try the Treasury Department, 
		ma'am -- Room 216, second floor, Mr. 
		Cruikshank. 

				REGGIE 
		Cruikshank, 216.  Thank you, Marine. 

483.	INT. EMBASSY CORRIDOR -- DAY
	Featuring a door marked "216."  REGGIE and ADAM appear.

				ADAM 
		Do you mind if I wait out here?  The 
		sight of all that money being given 
		away might make me break out. 

484.	INT. EMBASSY TREASURY OFFICE -- DAY
	A SECRETARY sits behind a desk.  She looks up as REGGIE
	enters.

				REGGIE 
 		Mr. Cruikshank, please -- my name is Lampert. 

	The SECRETARY picks up her phone and presses a button.

				SECRETARY. 
		Mr. Cruikshank, a Miss --
 
				REGGIE 
		Mrs. 

				SECRETARY
		-- a Mrs. Lampert to see you -- yes sir. 
		(to REGGIE)  Go right in. 

	REGGIE goes to the door leading to the private office.

485.	INT. CRUIKSHANK'S OFFICE -- DAY
	Featuring the door as REGGIE enters.  She stops suddenly.

486.	ANOTHER ANGLE
	Featuring the desk.  Behind it sits ADAM (now CRUIKSHANK).
	REGGIE stares at him, unbelievingly, then looks around,
	confused.  By way of explanation he indicates the door to
	the hall.

				REGGIE (blowing up)
		Well, of all the mean, rotten, contemptible, 
		crooked --

				CRUIKSHANK 
		Crooked?  I should think you'd be glad to 
		find out I wasn't crooked. 

				REGGIE 
		You couldn't even be honest about being 
		dishonest.  Why didn't you say something? 

				CRUIKSHANK 
		We're not allowed to tell.  May I have
 		the stamps, please?
 
				REGGIE (reaching into her bag)
		Here -- (hesitating) -- Wait a minute -- how 
		did Carson Dyle get an office in here, 
		anyway? 

				CRUIKSHANK 
		When did you see him -- what time, I mean? 

				REGGIE 
		Around one. 

				CRUIKSHANK 
		The lunch hour.  He probably worked it out 
		in advance.  He found an office that was
		usually left open and just moved in for the 
		time you were here. 

				REGGIE 
		Then how do I know this is your office? 

				CRUIKSHANK (picking up the phone)
		Mrs. Foster -- send a memo to Bartholomew at 
		Security recommending that -- 

				REGGIE 
		Bartholomew?

				CRUIKSHANK 
		-- recommending that all Embassy offices be 
		locked during the lunch hour. 

				REGGIE 
		Starting with his own. 

				CRUIKSHANK (hanging up)
		Okay, now -- hand over those stamps. 

				REGGIE 
		What's your first name today? 

				CRUIKSHANK 
		Brian. 

				REGGIE 
		Brian Cruikshank -- it would serve me right 
		if I got stuck with that one. 

				CRUIKSHANK 
		Who asked you to get stuck with any of them? 

   				REGGIE 
		Is there a Mrs. Cruikshank? 

				CRUIKSHANK 
		Yes. 

				REGGIE 
		But you're -- divorced?

				CRUIKSHANK 
		No. 

				REGGIE (crestfallen)
		Oh.
 
				CRUIKSHANK 
 		My mother -- she lives in Detroit.  Come on
		now -- give me those stamps. 

				REGGIE 
 		Only if you can prove to me that you're 
		really Brian Cruikshank. 

				CRUIKSHANK 
		How about if next week some time I put it on 
		a marriage license -- that ought to --
 
				REGGIE 
		Quit stalling -- I want to see some 
		identification -- now!

				CRUIKSHANK 
		I wouldn't lie on a thing like that -- I
		could go to jail.
 
				REGGIE 
		You'd lie about anything.

				CRUIKSHANK 
		Well, maybe we'd better forget about it, then.

				REGGIE 
		You can't prove it, can you?  You're still 
		trying to -- (the coin drops into the slot) --
 		marriage license!  Did you say -- ? 

				CRUIKSHANK 
		I didn't say anything.  Will you give me 
		those stamps?
 
				REGGIE
		You did too say it -- I heard you.  Oh, I 
		love you Adam -- I mean Alex -- er, Peter --
	 	Brian.  I hope we have lots of boys -- we can 
		name them all after you. 

				CRUIKSHANK 
		Before we start on that, do you mind handing 
		over the stamps? 
	
							FADE OUT

				THE END






Script dated: 1 October 1962
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BONUS ITEM -- Lyrics to the theme song of the film:




				CHARADE 
		(Music by Henry Mancini, Words by Johnny Mercer)

	When we played our Charade we were like children posing,
	Playing at games, acting out names, guessing the parts we played.

	Oh, what a hit we made.  We came on next to closing
	Best on the bill, lovers until love left the masquerade.

	Fate seemed to pull the strings, I turned and you were gone.
	While from the darkened wings the music box played on.

	Sad little serenade, song of my heart's composing,
	I hear it still, I always will, best on the bill Charade.