英语剧本《迷中迷》
时间:2007-10-27 21:58:56来源: 作者:
Charade (1963)
by Peter Stone.
Draft script, 1 October 1962.
by Peter Stone.
Draft script, 1 October 1962.
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
莂 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-Elys閑s"
(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
Voil? As they say.
He puts away the lighter fluid in a desk drawer, smells
the hankie, passes on it, then sticks it in his pocket.
He opens another drawer and pulls out various sandwiches
wrapped in waxpaper, a salt and pepper shaker, a tube of
mustard, a bottle of red wine and two Dixie cups.
BARTHOLOMEW
Have some, please. I've got . . . (checking)
. . . liverwurst -- liverwurst -- chicken and --
liverwurst.
REGGIE
No thanks.
He uncorks the wine, fills a cup and begins eating.
BARTHOLOMEW
Do you know what C.I.A. is, Mrs. Lampert?
REGGIE
I don't suppose it's an airline, is it?
BARTHOLOMEW
Central Intelligence Agency -- C.I.A.
REGGIE (surprised)
You mean spies and things like that?
BARTHOLOMEW
Only we call them agents.
REGGIE
We? You mean you're --?
BARTHOLOMEW
Someone has to do it, Mrs. Lampert --
REGGIE
I'm sorry, it's just that I didn't think that
you people were supposed to admit --
BARTHOLOMEW
I'm not an agent, Mrs. Lampert -- I'm an administrator
-- a desk jockey -- trying to run a bureau
of overworked men with under-allocated funds.
Congress seems to think that all a spy needs --
REGGIE
Agent.
BARTHOLOMEW
Yes -- That all he needs is a code book and a
cyanide pill and he's in business.
REGGIE
What's all this got to do with me, Mr. Bartholomew?
BARTHOLOMEW (his mouth full)
Your husband was wanted by the U. S. government.
REGGIE (a pause)
May I have a sandwich, please?
He hands her a sandwich and fills a wine-cup for her.
BARTHOLOMEW
To be more specific, he was wanted by this agency.
REGGIE (eating)
So that was it.
BARTHOLOMEW
Yes. We knew him, of course, by his real name.
REGGIE (almost choking)
His -- real -- ?
BARTHOLOMEW
Voss -- Charles Voss. All right, Mrs. Voss --
(taking a photo from his desk) -- I'd like you
to look at this photograph, please -- by the
way, you saw this one, didn't you? (indicating
the kids on the desk) Scott, Cathy, and Ham, Jr.
REGGIE
Very sweet.
BARTHOLOMEW
Aren't they? Now look at this one, Mrs. Voss, and --
REGGIE
Stop calling me that! Lampert's the name on
the marriage license.
BARTHOLOMEW
Yes -- and tell me if you recognize anyone.
Just a moment. Have a good look.
He reaches back into the drawer and pulls out a glass which
he gives her.
73. CLOSE SHOT -- PHOTO
FOUR MEN, all in army uniform, sitting behind a table. The
glass is held over the first, magnifying the face.
74. CLOSER SHOT -- PHOTO
It's a photo of a young CHARLES LAMPERT.
REGGIE'S VOICE (o.s.)
It's Charles!
BARTHOLOMEW'S VOICE (o.s.)
Very good.
REGGIE'S VOICE (o.s.)
He looks so young -- when was this taken?
BARTHOLOMEW'S VOICE (o.s.)
1944. The next face, please.
The glass and CAMERA move to the next man -- a young TEX.
REGGIE'S VOICE (o.s.)
It's the man who came to the funeral
yesterday -- I'm sure of it -- a tall
man in a corduroy suit and string tie.
BARTHOLOMEW'S VOICE (o.s.)
Does the name Tex Penthollow mean
anything to you?
REGGIE'S VOICE (o.s.)
No.
BARTHOLOMEW'S VOICE (o.s.)
Next, please.
The glass and CAMERA move to the third face -- a young GIDEON.
REGGIE'S VOICE (o.s.)
Yes -- and he was there, too -- a little
fatter now -- and less hair -- but it's
the same one.
BARTHOLOMEW'S VOICE (o.s.)
Do you know him, Mrs. Vo -- Mrs. Lampert?
Leopold W. Gideon?
REGGIE'S VOICE (o.s.)
No.
BARTHOLOMEW'S VOICE (o.s.)
The last one, please.
The glass and CAMERA move to the fourth face -- a young
SCOBIE.
REGGIE'S VOICE (o.s.)
That's a face you don't forget -- he
was there too --
BARTHOLOMEW'S VOICE (o.s.)
Herman Scobie. And you've never seen
him before, either?
REGGIE'S VOICE (o.s.)
No, thank heaven.
75. MED. SHOT -- REGGIE AND BARTHOLOMEW
BARTHOLOMEW (a pause, regarding her)
Mrs. Lampert, I'm afraid you're in a great
deal of danger.
REGGIE
Danger? Why should I be in any danger?
BARTHOLOMEW
You're Charles Voss's wife -- now that he's
dead you're their only lead.
REGGIE
Mr. Bartholomew -- if you're trying to
frighten me you're doing a really first-
rate job! (she takes another sandwich).
BARTHOLOMEW
Please, do what we ask, Mrs. Lampert --
it's your only chance.
REGGIE (eating)
Gladly, only I don't know what you want!
You haven't told me.
BARTHOLOMEW
Oh, haven't I? The money -- Mrs. Lampert --
the money. The $250,000 Charles Voss
received from the auction. Those three
men want it, too -- they want it very badly.
REGGIE
But it's Charles's money, not theirs.
BARTHOLOMEW (laughing)
Oh, Mrs. Lampert! I'd love to see you
try and convince them of that! (drying
his eyes) Oh, dear.
REGGIE
Then whose is it? His or theirs?
BARTHOLOMEW
Ours.
REGGIE (she looks at him
for a moment). Oh, I see.
BARTHOLOMEW
And I'm afraid we want it back.
REGGIE
But I don't have it.
BARTHOLOMEW
That's impossible. You're the only one
who could have it.
REGGIE
I'm sorry it's impossible. It's the truth.
BARTHOLOMEW is silent for a moment, thinking.
BARTHOLOMEW
I believe you.
REGGIE
Thanks very much.
BARTHOLOMEW
Oh, you've got the money all right --
you just don't know you've got it.
REGGIE
Mr. Bartholomew -- if I had a quarter
of a million dollars, believe me, I'd know it.
BARTHOLOMEW
Nevertheless, Mrs Lampert -- you've got it.
REGGIE
You mean it's just lying around someplace --
all that cash?
BARTHOLOMEW
Or a safe deposit key, a certified check,
a baggage claim -- you look for it, Mrs. Lampert --
I'm quite sure you'll find it.
REGGIE
But --
BARTHOLOMEW
Look for it, Mrs. Lampert -- look just as hard
and as fast as you can. You may not have a
great deal of time. Those men know you have
it just as surely as we do. You won't be safe
until the money's in our hands. Is that clear?
REGGIE nods. He writes something on a pad of paper and
tears it off, handing it to her.
BARTHOLOMEW
Here's where you're to call me -- day or night.
It's a direct line to both my office and my apartment.
Don't lose it, Mrs. Lampert -- and please
don't tell anyone about coming to see me. It
could prove fatal for them as well as yourself.
REGGIE
Wait a minute -- you think those three
men killed Charles, don't you?
BARTHOLOMEW
We've no proof, of course, but we
rather think so, yes.
REGGIE
Well, there you are! Charles had the
money with him -- so whoever killed him
has it -- they have it!
BARTHOLOMEW shakes his head.
REGGIE
Why not?
BARTHOLOMEW (grimly)
Because they're still here.
REGGIE
Oh.
BARTHOLOMEW
Like I said, Mrs Lampert -- I'm afraid
you're in a great deal of danger.
Remember what happened to Charles.
REGGIE takes the last sandwich and begins eating furiously.
76. DELETED
77. EXT. ESPLANADE DES CHAMPS-ELY蒃S -- 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
蒫outez bien - les r鑗les sont tres simples
- the rules are very easy - deux 閝uipes --
two teams -- each with one orange -- une orange --
eine apfelsine -- un' arrancia -- held under
the chin, like so -- (does it) -- comme 鏰 --
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 voil? grips the
orange under his chin -- amid much cheering and congratulations
from members of his TEAM.
Now he turns to REGGIE and they face one another for a moment.
PETER
En garde.
REGGIE
Lay on, MacDuff.
They go at it, working their bodies together to make it all
possible. Then, for a moment, the game and the onlookers
seem less important than their proximity. But, alas, they
are too good despite themselves and the transfer is
accomplished -- again with appreciative cheers from the TEAM.
REGGIE, with the orange now tucked firmly under her chin,
turns to the next team-member in line and is locked in an
embrace before she realizes her partner is LEOPOLD GIDEON,
the short, fat, balding man seen at the funeral and later
in BARTHOLOMEW's photo.
REGGIE starts to draw back but GIDEON holds her tightly.
Putting his chin around the orange he is able to speak
quietly in REGGIE's ear.
95. CLOSE TWO SHOT -- REGGIE AND GIDEON
Her eyes show her fright as he whispers:
GIDEON
Mrs. Lampert --
REGGIE
What do you want?
GIDEON
Didn't Charles tell you, Mrs. Lampert?
REGGIE
Tell me what?
GIDEON
It doesn't belong to you, Mrs. Lampert
-- you do know that, don't you?
REGGIE
I don't know anything.
GIDEON
Mrs. Lampert, any morning now you could
wake up dead.
REGGIE
Leave me alone -- !
GIDEON
Dead, Mrs. Lampert -- like last week's news --
like Charles, Mrs. Lampert --
REGGIE (shouting)
Stop it!
96. CLOSE SHOT -- REGGIE'S AND GIDEON'S FEET
As REGGIE hauls off and kicks GIDEON full in the shin.
97. CLOSE SHOT -- GIDEON
He stiffens as the pain registers. Instead of shouting he
merely closes his eyes.
98. WIDER ANGLE
Including REGGIE and GIDEON and PETER standing by, as well
as some spectators. PETER comes quickly forward.
PETER
Reggie -- what's the trouble?
REGGIE realizes that GIDEON no longer offers any resistance.
She steps back, leaving GIDEON holding the orange, foolishly,
under his chin, his eyes still closed. REGGIE stares at him
for a moment.
REGGIE
He -- he was stepping on my foot.
99. CLOSE SHOT -- GIDEON
Slowly, his eyes open and tears stream from them, rolling
down his cheeks. He speaks while holding the orange.
GIDEON
Forgive me -- it was quite unintentional,
I'm sure.
100. WIDER ANGLE
GIDEON turns to the woman behind him and the game resumes.
REGGIE (starting off)
Wait for me -- I won't be long.
She goes off toward the rear of the club and starts down a
flight of stairs.
101. CLOSE SHOT -- PETER
Watching her go, a concerned look on his face.
102. INT. NIGHTCLUB LOUNGE -- NIGHT
A small, dimly lit area with a door to the combination
men's-women's room and a 'phone cabin with a solid door.
The music and shouting from upstairs float down. REGGIE
comes down the stairs and goes to the 'phone, flicking on
the light and closing the door after her.
103. INT. PHONE BOOTH -- NIGHT
REGGIE takes a jeton ('phone token) from her bag and drops
it in the slot. Then she takes out a slip of paper (the
one given her by BARTHOLOMEW) and dials the number written
on it. She listens to it ring, then evidently he answers.
REGGIE (into 'phone)
Mr. Bartholomew -- it's me, Reggie Lampert --
listen Mr. Bartholomew: I've seen one of
the (she stops) Mr. Bartholomew? Can you
hear me?
She realizes she has not pushed the button which takes her
coin and allows the party at the other end to hear her
voice.
REGGIE
Hello -- Mr. Bartholomew -- it's me, Regina
Lam . . .
Suddenly the door of the booth opens and REGGIE wheels to
look, slamming the receiver down as she does.
104. REVERSE SHOT -- 'PHONE BOOTH -- NIGHT
TEX PENTHOLLOW, the second man from the funeral (and photo),
the man in the corduroy suit and string tie, stands in the
doorway, his face calm, a hand-rolled but unlit cigarette
in his mouth. He has put one foot up against the side of the
door so she can't leave. REGGIE stares at him, terrified.
TEX
Howdy, Miz Lampert.
REGGIE
Wha-- what do you want?
TEX takes a book of matches from his pocket.
TEX
You know what I want, Miz Lampert . . .
REGGIE
No -- no, I'm don't.
TEX
Come on now -- sure you do. An' you'd better
give it to me, Miz Lampert -- cuz I ain't
foolin'. No sireebob!
He strikes a match and lights his cigarette, holding the
burning match in his hand afterward.
REGGIE
I don't know what --
TEX, without a word, throws the still-lit match into the
booth, onto REGGIE's lap. She beats it out frantically.
REGGIE
What are you doing?
TEX lights another match and throws it into her lap. She
beats this one out too.
REGGIE
Stop that!
TEX
Don't make too much noise, Miz Lampert --
He lights another match and reaches out toward her hair with
it. She shrinks back.
TEX
It could get a whole lot worse.
Then he throws it into her lap. As he continues to speak he
punctuates each phrase or so with another lit match. REGGIE
is too busy beating them out to do anything else.
TEX
It belongs to me, Miz Lampert -- an' if you
don't give it to me your life ain't
gonna be worth the paper it's printed on.
You savvy what I'm sayin', Miz Lampert?
REGGIE
Please stop -- please!
TEX
You think on it real careful-like, Miz Lampert
-- y'hear?
105. CLOSE SHOT -- REGGIE
As she frantically beats out the matches, her eyes on her
work.
REGGIE
You're insane, absolutely insane!
She looks up, then blinks her eyes.
106. INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER
There is no one there. REGGIE rises and steps out of the
booth.
107. INT. NIGHTCLUB LOUNGE -- NIGHT
As REGGIE looks around. There is no one there.
107A. INT. PHONE BOOTH
As REGGIE returns, sits and starts to put another jeton into
the slot. She notices her hand is shaking. She reaches back
into her bag, removes a piece of candy, puts it into her mouth
and leans her head back against the wall, closing her eyes.
Suddenly the door opens and REGGIE shrieks -- but this time
it is PETER.
PETER
What are you doing in here?
REGGIE (a sigh of relief)
Having a nervous breakdown.
108. INT. HOTEL LOBBY -- NIGHT
REGGIE and PETER enter the deserted lobby.
PETER
You haven't said a word since we left the
club -- what happened back there?
REGGIE
I -- I'm not sure if I'm supposed to tell you
or not.
PETER
I don't think I follow you.
REGGIE
He said if I told anybody it could prove
fatal for them as well as me.
PETER
Who said?
REGGIE
That's what I'm not supposed to say.
PETER
Stop this nonsense! If you're in some sort
of trouble I want to know about it.
REGGIE
Stop bullying me. Everybody's bullying me.
PETER
I wasn't --
REGGIE
Yes, you were -- you called it nonsense. Being
murdered in cold blood isn't nonsense. Wait
until it happens to you sometime.
She goes to the desk, followed by PETER, where the NIGHT
CLERK greets them sleepily.
NIGHT CLERK
Bonsoir.
REGGIE
Bonsoir. Quarante-deux, s'il vous plait.
The NIGHT CLERK gets the key off a hook and hands it to
REGGIE.
NIGHT CLERK
Bonne nuit.
REGGIE (to PETER)
Would you mind seeing me to the door?
PETER
Of course not.
They go to the elevator where he opens the door for her.
109. INT. ELEVATOR -- NIGHT
As REGGIE and PETER enter the small cage. It is somewhat
cramped, forcing them to stand close together.
REGGIE
This is quite a place for making friends,
isn't it?
He presses the button and the elevator starts to rise.
PETER
You said this afternoon that your husband was
mixed up in something.
REGGIE (busy examining the cleft
in his chin)
How do you shave in there?
PETER
What was it?
REGGIE
What was what?
PETER
What your husband was mixed up in.
REGGIE
Look, I know it's asking you to stretch your
imagination, but can't you pretend for a
moment that I'm a woman and that you're a --
PETER
Don't you know I could already be arrested
for transporting a minor above the first floor?
The elevator stops.
PETER
We're here.
REGGIE
Where?
PETER
On the street where you live.
REGGIE
How about once more around the park?
He reaches across her and opens the door.
PETER
Out.
110. INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
As REGGIE leaves the elevator, followed by PETER. They
walk to her door. There is a moment of silence as she
looks at him.
REGGIE (imitating PETER)
Him: 'Do you mind if I come in for a nightcap,
Reggie?' Her: 'Well -- it is awfully late.'
Him: 'Just one, all right?' Her: 'Promise
you'll behave yourself.' Him: 'Sorry, baby,
I never make promises I can't keep.'
PETER
How would you like a spanking?
REGGIE
How would you like a punch in the nose?
Stop treating me like a child
PETER
Then stop acting like one. If you're
really in some kind of trouble, I'd like
to hear about it. Otherwise, it's late, I'm
tired and I'm going home to bed.
REGGIE
Do you know what's wrong with you?
PETER
What?
REGGIE
Nothing. Good night.
PETER (smiling)
Good night.
He turns and leaves. She smiles slightly, then turns and
puts the key into the door and opens it.
111. INT. REGGIE'S ROOM -- NIGHT
Featuring the door. REGGIE enters, then stops abruptly,
the doorknob still in her hand.
112. ANOTHER ANGLE
The room has been torn apart. And standing in the center
is HERMAN SCOBIE, the large man in the battered raincoat.
He starts slowly advancing toward REGGIE.
SCOBIE
Where is it, lady -- where've you got it?
113. CLOSE SHOT -- REGGIE
REGGIE (terrified)
I don't know -- I don't know! I don't --
She stops as she sees something.
114. CLOSE SHOT -- SCOBIE'S HAND
Instead of a human hand there is a twin-pronged metal one.
115. WIDER ANGLE
SCOBIE sees where REGGIE is staring; looks down at it
himself, then lunges at her, raising the hand to strike.
SCOBIE
I want it -- give it to me -- it's mine!
The hand is starting to come down. REGGIE, moving quickly,
turns and flies out.
REGGIE (screaming)
Peter -- ! Peter -- !
116. INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
As REGGIE runs out, slamming the door after her, the metal
hand crashes against the wooden panel inside the door and
splinters through it, visible on this side now. Petrified
with fear, REGGIE can only stare dumbly at the protruding
claw.
117. ANOTHER ANGLE
As PETER comes running up to her. He sees the metal hand.
REGGIE
A man -- he tried to kill me!
Pulling her aside, PETER takes hold of the key (still in
the outside lock) and turns it slowly and quietly. Then,
using all his weight, he slams the door open as far as it
will go, making sure to hold it that way as he steps in.
118. INT. REGGIE'S ROOM -- NIGHT
Inside, PETER pulls back the door and slugs the startled
SCOBIE full on the jaw. His head bangs against the
wall but he manages to raise a foot and push PETER violently
away, sending him sprawling back, toppling across the bed
and over, head first, onto the floor on the other side,
where he disappears. Hurrying, SCOBIE puts his foot against
the door and pushes it away, ripping his metal hand free.
He then rushes to the open window and climbs out.
119. INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT
REGGIE waits anxiously. When she hears nothing, she
gingerly looks into the room.
120. INT. REGGIE'S ROOM -- NIGHT
REGGIE (entering cautiously)
Peter -- ? (alarmed) Peter! Where are you?
121. ANOTHER ANGLE
Showing the disarranged room, empty of people. Then, slowly
PETER's hand appears from behind the bed, shaking groggily.
REGGIE rushes to him and helps him sit on the bed.
REGGIE
Peter -- are you all right?
PETER
I think I sprained my pride. (He looks around)
Where'd he go?
REGGIE
Out of the window, I guess -- I didn't see him.
PETER goes, unsteady on his feet, to the window and looks
out. He then turns back.
PETER
Lock the door and the window -- and don't
let anyone in except me. I'll be back in
a minute.
REGGIE
Be careful, Peter.
PETER (one leg over the sill)
You took the words right out of my mouth.
He climbs out.
122. EXT. HOTEL WINDOW THIRD FLOOR -- NIGHT
Outside the window to REGGIE's room is a small, false
balcony, consisting mostly of railing, with barely enough
room between it and the building's facade for a man to
stand. PETER appears and looks down over the railing.
123. EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT
SHOOTING STRAIGHT DOWN; there is no one on the street and
it is too far to jump.
124. MED. SHOT -- PETER -- BALCONY
He now looks around. REGGIE's is the last such balcony
on one side, but there are two or three on the other.
PETER climbs over the railing and, holding on to it with
one hand, reaches for the railing on the next balcony.
125. CLOSE SHOT -- PETER'S HAND
As it stretches for the railing; it is several inches
short of touching it.
126. MED. SHOT -- PETER
As he straightens up and prepares to jump.
127. EXT. HOTEL FACADE -- NIGHT
From the GROUND. PETER, high above, jumps to the next
balcony.
128. MED. SHOT -- PETER
As he climbs over the railing of the second balcony. He
sees a light coming through the window and looks in.
WOMAN'S VOICE (o.s.)
Oh!
PETER leaves the window quickly, climbing over the railing
on his way to the next balcony. As he does, the following
exchange is heard (in British English).
MAN'S VOICE (o.s.)
What is it now, Pamela?
WOMAN'S VOICE (o.s.)
It happened again, Henry -- another strange
man peered in the window at me and then went
away.
MAN'S VOICE (o.s.)
Bad luck, Pamela.
129. EXT. HOTEL FACADE -- NIGHT
From the GROUND as PETER jumps to the next balcony.
130. MED. SHOT -- PETER
As he climbs over the rail to the third balcony. There
is a light coming from this window, too. PETER looks in.
131. MED. SHOT -- WINDOW -- OVER PETER'S SHOULDER
Inside the room are GIDEON, TEX, and SCOBIE in the midst of
a heated discussion.
GIDEON
That was a dumb move, Herman -- a dumb move.
TEX
And then some. If you'd only told us you
was goin' to her room we could've kept 'em
busy --
132. INT. GIDEON'S HOTEL ROOM -- NIGHT
TEX
-- but sneakin' in there on your own that-a-way,
why, man, you was bound to get yore tokus
kicked. I mean, what'd you think he'd do -- walk
up 'n' shake you by that hand o' yores?
PETER'S VOICE (o.s.)
That's right, Herman -- you didn't leave me
much choice.
They all turn toward the window.
133. WIDER ANGLE
As PETER climbs in through the window and joins them.
PETER (to SCOBIE)
I didn't hurt you, did I?
SCOBIE shakes his head and turns away.
GIDEON (eagerly)
Never mind that -- did you get the money?
PETER
How could I with the three Marx Brothers
breathing down my neck? You said you'd
let me handle it alone --! The girl trusts
me. If she's got it, I'll find out about
it. But you've got to leave me alone.
SCOBIE (to GIDEON and TEX)
We took all the chances. The money belongs to
us, not him!
TEX
Don't be un-neighborly-like, Herman --
don't forget he done us a little ol' favor.
SCOBIE
Yeah? What's that?
TEX
He took care of Charlie for us.
GIDEON (to PETER)
We appreciate it, really we do.
SCOBIE
But who asked him? Three shares are
enough -- I'd say he's out!
PETER
A third of nothing is nothing, Herman.
Make up your minds -- she's waiting for me.
GIDEON (thoughtfully)
I don't see how another twenty-four hours
could hurt.
TEX
Shoot no, not after all these years.
SCOBIE
Then he gets it out of your share, not mine!
Not mine!
SCOBIE turns and storms out of the door, slamming it.
GIDEON begins sneezing, takes a bottle of pills from his
pocket and swallows two white tablets.
GIDEON
I suggest you get about your business --
nothing soothes Herman like success.
TEX (chuckling)
That's right -- it's like ticklin' a
alligator's belly.
PETER
Who's got the room next to hers?
TEX
Me. How come?
PETER
Get another one, will you? I'm going
to need it.
PETER starts for the door.
TEX
If you do find the money -- you won't forget
t' tell us about it, will you, fella?
PETER (turning at the door)
Don't worry.
TEX
Oh, I ain't worryin' -- but see this pudgy
little fella here? (indicating GIDEON)
He worries -- an' he's even meaner'n I am.
134. INT. REGGIE'S ROOM -- NIGHT
As she waits anxiously, smoking a cigarette. There is a
KNOCK at the door.
REGGIE
Who is it?
PETER'S VOICE (o.s.)
It's me. Peter.
REGGIE unlocks the door and opens it. PETER enters and
she closes the door again --
PETER
There was no trace of him. All right, Reggie
-- suppose you tell me what this is all about.
REGGIE
There are three men -- he's one of them --
they think I have something that belongs
to them.
PETER
What?
REGGIE
A quarter of a million dollars.
PETER is silent for a moment.
PETER
Go on.
REGGIE
That's all.
PETER
No, it isn't -- where's the money?
REGGIE
I don't know. Those men killed Charles
to get it. But he must not have had it
with him on the train.
PETER
So they think he left it with you.
REGGIE
But he didn't! I've looked everywhere
(tears welling) -- and if I don't find it --
(wailing) -- those men going to kill me.
She falls in his arms to be comforted.
PETER
No, they won't -- I won't let them.
REGGIE (sobbing)
Please help me, Peter -- you're the only
one I can trust.
PETER
Of course I'll help -- I told you I would,
didn't I? Come on now --
He takes out his handkerchief and dries her eyes.
REGGIE
I'm so hungry I could faint. (trying to smile)
I've -- I've gotten your suit all wet.
PETER
That's all right -- it's a drip-dry.
REGGIE
Peter, you've got to promise me something.
Promise you'll never lie the way Charles
did. Why do people have to tell lies?
PETER
Usually it's because they want something --
and they're afraid the truth won't get it
for them.
REGGIE
Do you tell lies?
A pause. The phone rings. REGGIE answers it.
REGGIE (into the phone)
Hello?
135. INT. OUTDOOR 'PHONE BOOTH -- NIGHT
SCOBIE holds the receiver in his metal hand.
SCOBIE
Mrs. Lampert? -- it's me -- the man who was
in your room a few minutes ago --
136. INT. REGGIE'S ROOM -- NIGHT
REGGIE (on the phone)
What do you want?
PETER (whispering)
Who is it?
REGGIE (covering the receiver)
The man you had the fight with.
137. INT. PHONE BOOTH -- NIGHT
SCOBIE (on the phone)
Is Dyle with you?
138. INT. REGGIE'S ROOM -- NIGHT
CLOSE SHOT -- REGGIE
REGGIE
Who?
139. INT. PHONE BOOTH -- NIGHT
SCOBIE (on the phone)
The man who hit me, lady -- Dyle -- that's
his name. What's wrong -- is he still there?
140. INT. REGGIE'S ROOM -- NIGHT
REGGIE's back is turned to PETER so he can't see her face.
He watches her.
REGGIE (on the phone)
Yes -- that's right.
PETER
What is it, Reggie -- what's he saying?
She shakes her head.
141. INT. PHONE BOOTH -- NIGHT
SCOBIE (on the phone)
Don't trust him -- don't tell him anything.
He's after the money.
He hangs up.
142. INT. REGGIE'S ROOM -- NIGHT
Slowly, REGGIE lowers the 'phone from her ear and hangs it
up. She hesitates a moment.
PETER
What'd he say?
REGGIE
He -- he said if I didn't give the money,
he'll kill me.
PETER
I wouldn't take that too seriously.
REGGIE (a pause)
I believe what he said.
PETER
They're only trying to scare you, that's
all.
REGGIE
How do you know what they're doing?
PETER
I don't -- but as long as they think you
have the money, or know where it is, or have
it without knowing where it is, or don't even
know you have it --
REGGIE
What are you talking about?
PETER
You mustn't let what he said bother you.
It was only words.
REGGIE (softly)
Words can hurt very much.
PETER (a pause)
Go to sleep -- I'll see you in the morning.
REGGIE
Don't put yourself out.
PETER
Hey -- I'm on your side. Remember that.
REGGIE
Yes, I'll remember. Good night.
PETER
Good night.
He starts out, pausing by the door and examining the hole
SCOBIE made in it.
PETER
But if you'll take my advice -- (smiling) --
you'll undress in the closet. Oh, and if
you need me, just bang on the wall. I'll
be next door.
143. INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
As PETER (now called DYLE) leaves REGGIE's room and closes
the door. He pauses for a moment, listening, hears nothing,
then bends down and starts pulling at a loose thread in one
of his socks. As usual, the thread unravels -- and unravels --
and unravels some more until it seems that the entire sock
has come unknit. Now, taking the long thread, he bends
down near the door and, taking his tie-pin, attaches one
end of the thread to the bottom of REGGIE's door. He then
runs the thread along the floor to his door (next door) and
works it underneath.
144. INT. DYLE'S ROOM -- NIGHT
As DYLE enters, the thread in his hand. He goes to a nearby
table where he attaches the thread to the heavy room key,
which he then balances on the extreme edge of the table.
145. INT. REGGIE'S ROOM -- NIGHT
REGGIE is on the phone.
REGGIE (excited)
-- But I am calm, Mr. Bartholomew -- what I
called to tell you was there's someone else --
someone who wasn't in that photograph you
showed me. He says his name is Peter Joshua --
but it isn't -- it's Dyle. (a pause) Mr.
Bartholomew? -- are you still there?
146. INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW on the phone. He is silent for a moment, his
face troubled.
BARTHOLOMEW
I don't know who this Mr. Dyle is, but it's
just possible we were wrong about who killed
your husband.
147. INT. REGGIE'S ROOM -- NIGHT
REGGIE (on the phone)
You mean he might have -- Mr. Bartholomew,
I'm catching the next plane out of here --
I'm not going to sit here and wait for
someone to make chopped liver out of me!
148.-
150. DELETED
151. INT. BARTHOLOMEW'S APARTMENT -- NIGHT
BARTHOLOMEW (on the phone)
Where are you now -- can you meet me?
Do you know Les Halles?
147. INT. REGGIE'S ROOM -- NIGHT
REGGIE (on the phone)
Yes, where? (a pause) -- in fifteen
minutes. I'll be there.
153. DELETED
154. INT. REGGIE'S ROOM -- NIGHT
REGGIE hangs up the phone, picks up her bag, checks her hair
in the mirror, then starts for the door. She stops as she
notices the connecting door leading to the room next door,
DYLE's room. She goes to it, silently slips out the key and
bends to peer through the keyhole.
155. INT. DYLE'S ROOM -- NIGHT (THROUGH KEYHOLE)
DYLE is removing his coat. Before he lays it over a chair,
he takes a gun from the inside pocket, checks it, and tucks
it into his belt.
156. INT. REGGIE'S ROOM -- NIGHT
REGGIE reacts in surprise and fright, jumps quickly away
from the door. She hurries to the door leading to the hall
and reaches for the knob.
157. INT. DYLE'S ROOM -- NIGHT
CLOSE SHOT -- ROOM KEY. The thread attached to it is pulled
(by the action of REGGIE's door opening) and the key falls
to the floor with a clatter.
158. WIDE ANGLE
Including DYLE as he reacts, his head wheeling to look
at the key. Snatching his coat, he runs for the door.
159. INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
As REGGIE sneaks past DYLE's door. When she has passed, the
door opens and DYLE appears. REGGIE takes off on the run,
turning the corner and starting down the stairs.
DYLE
Reggie -- !
He starts after her.
160. INT. HOTEL LOBBY -- NIGHT
It is deserted, except for the sleeping NIGHT PORTER, as
REGGIE comes running down the stairs.
DYLE'S VOICE (o.s.)
Reggie . . . !
She turns, looking back towards the sound of his voice, but
does not slacken her speed. She runs out the front door.
161. EXT. HOTEL ENTRANCE -- NIGHT
As REGGIE runs out. She looks up the street, sees a TAXI
and hails it.
REGGIE
Taxi -- !
It pulls over to the curb. Looking once more over her shoulder
she takes a bill out of her pocket, opens the cab door, slams
it loudly without getting in and hands the bill to the
driver.
REGGIE
N'importe o?- vite! Allez-y!
She jumps back into the shadows of a nearby doorway as the
TAXI pulls away. At the same time DYLE runs out of the
hotel. Another TAXI is coming down the street. DYLE
hails it frantically.
DYLE
Taxi -- ! Taxi -- !
It pulls up and DYLE opens the door.
DYLE (pointing)
Follow that taxi.
DRIVER
Comment?
DYLE
Taxi! Follow!
DRIVER
Je ne comprends rien.
Desperately, DYLE reaches into his coat pocket and pulls out
a small dictionary and begins flipping through the pages.
162. CLOSE SHOT -- REGGIE
In the shadows. She lifts her eyes in annoyance.
163. MED. SHOT -- TAXI
DYLE (finding the word)
Suivre -- el taxi!
DRIVER
Ah! Oui, Monsieur.
164. ANOTHER ANGLE
REGGIE comes out of the shadows, looks after DYLE's taxi,
then hails another one which pulls up.
REGGIE (to DRIVER)
Aux Halles -- vite!
165.-
167. DELETED
168. EXT. LES HALLES -- NIGHT
REGGIE and BARTHOLOMEW walking. The Central Market is
teeming with activity -- trucks creeping around other
trucks, cases of fruit and vegetables stacked on every
inch of sidewalk, WORKERS of all types milling around,
unloading trucks and stacking crates, little electric carts
scooting in and out -- and nearby, one of the huge, high-roofed
sheds where the butchers work.
169. TWO SHOT -- REGGIE AND BARTHOLOMEW
CAMERA LEADING them as they walk.
BARTHOLOMEW (looking around)
Incredible, isn't it? Zola called it 'le
ventre de Paris' -- the womb of Paris, the belly.
She takes a banana from a nearby stall.
REGGIE (peeling it)
What did you want to see me about, Mr.
Bartholomew?
BARTHOLOMEW (leaves a coin on the crate)
Were you followed?
REGGIE
Yes, but I lost him. I really did it quite
brilliantly. I'm beginning to think women
make the best spies.
BARTHOLOMEW
Agents.
REGGIE
He has a gun, Mr. Bartholomew -- I saw it.
BARTHOLOMEW
Who?
REGGIE
Dyle, or whatever his name is.
BARTHOLOMEW
What does your Mr. Dyle look like, Mrs.
Lampert?
REGGIE
He's hardly my Mr. Dyle.
BARTHOLOMEW
Describe him.
REGGIE
Well -- he's tall -- over six feet -- rather
thin -- in good physical shape, I'd say --
dark eyes -- quite handsome, really.
BARTHOLOMEW (shaking his head)
No.
REGGIE
No, what?
BARTHOLOMEW
That's not Carson Dyle.
REGGIE (stopping)
Carson?
BARTHOLOMEW
There's only one Dyle connected with this
affair, Mrs. Lampert -- that's Carson.
REGGIE
You mean you've known about him all along?
Why didn't you tell me?
BARTHOLOMEW looks at her for a moment, then glances around;
his attention is drawn inside the doorway.
BARTHOLOMEW
It's enough to make you a vegetarian,
isn't it?
170. INT. LES HALLES BUTCHERS' SHED -- NIGHT
Almost as far as the eye can see, row upon row of beef sides,
hung on hooks.
171. TWO SHOT -- REGGIE AND BARTHOLOMEW (TRAVELING)
As REGGIE looks at the hanging beef.
REGGIE
It's just lucky that I'm not hanging next to
one of those things right now.
She shudders, throws away her banana and turns back to
BARTHOLOMEW.
REGGIE
Mr. Bartholomew -- why didn't you tell me
you knew about Dyle?
BARTHOLOMEW
I didn't see any point. Dyle's dead.
REGGIE
Dead? Mr. Bartholomew -- maybe you'd
better tell me what this thing's all about.
172.)
)
to) DELETED
)
209.)
210. INT. LES HALLES BISTRO -- NIGHT
Lined up at a zinc bar are several BUTCHERS, their white
smocks stained with blood. REGGIE and BARTHOLOMEW
sit at the table.
BARTHOLOMEW
I suppose you're old enough to have heard
of World War Two?
REGGIE
Barely, yes.
BARTHOLOMEW
In 1944, five members of the O.S.S. -- the
military espionage unit -- were ordered
behind the German lines for the purpose of
delivering $250,000 in gold to the French
Underground. The five men --
A WAITER arrives.
WAITER
Vous d閟irez?
REGGIE (smiling)
They always do that.
BARTHOLOMEW (to the WAITER)
Caf?
REGGIE
Gratin閑, choucroute garnie, salade de
pommes -- et un ballon de rouge.
BARTHOLOMEW
Mrs. Lampert, I really hadn't planned on
spending the entire night here.
REGGIE
Can I at least keep the onion soup?
BARTHOLOMEW shrugs.
REGGIE (to the WAITER)
La soupe tout simplement.
The WAITER nods and goes.
REGGIE (anxiously)
Go on, please -- five men -- $250,000
-- the French Underground --
BARTHOLOMEW
Yes. The five men. They were, of course,
your husband, Charles, the three men who
showed up at his funeral yesterday, and
Carson Dyle. But something went wrong and
they were unable to locate their contact.
It must have been at that point that they
decided to steal the money.
REGGIE
Steal it how?
BARTHOLOMEW
By burying it, and then reporting that the
Germans had captured it. All they had to
do was come back after the war, dig it up
and split it five ways -- a quarter of a
million dollars with no questions asked.
REGGIE (fascinated)
May I have a cigarette, please?
BARTHOLOMEW pulls out a package and she takes one, looks at
it and rips off the filter tip. He winces.
REGGIE
I hate these things -- it's like drinking
coffee through a veil.
She puts the other end in her mouth, then picks up the matches
and lights it.
BARTHOLOMEW
Everything went smoothly enough until after
the gold was buried -- then, before they
could get out, they were ambushed by a
German patrol. A machine gun separated
Scobie from his right hand -- and caught
Carson Dyle full in the stomach.
REGGIE takes another cigarette from his pack, rips off the
filter (he winces again) and puts it into her mouth.
BARTHOLOMEW
What's wrong with that one?
He points to the cigarette she just lit, still practically
brand-new in the ashtray.
REGGIE
Oh. Nothing, I guess. What happened then?
She hands over the newer one to BARTHOLOMEW, who sadly
examines its mutilated end while REGGIE returns to the first
cigarette.
BARTHOLOMEW
Have you any idea what these things cost over here?
REGGIE
Please go on, Mr. Bartholomew -- what
happened then?
BARTHOLOMEW
Scobie was able to travel, but Carson Dyle
was clearly dying, so they --
The WAITER returns with the coffee and onion soup.
WAITER
La soupe, c'est pour qui?
REGGIE
Pour moi. Go on, Mr. Bartholomew.
The WAITER puts down the cup and bowl and leaves.
BARTHOLOMEW
Carson was dying so they were forced to
leave him. They finally got back to the
base, made their report, and waited for the
war to end. Only Charles couldn't wait
quite as long as the others. He beat them
back to the gold, took everything for himself
and disappeared. It's taken Gideon, Tex
and Scobie all this time to catch up with
him again.
REGGIE
But if they stole all that money -- why can't
you arrest them?
BARTHOLOMEW
We know what happened from the bits and
pieces we were able to paste together --
but we still have no proof.
REGGIE
But what has all this got to do with the
C.I.O.?
BARTHOLOMEW
C.I.A., Mrs. Lampert. We're an extension of
the wartime O.S.S. It was our money and we
want it back.
REGGIE
I'm sorry, Mr. Bartholomew, but nothing you've
told me has changed my mind. I still intend
leaving Paris -- tonight.
BARTHOLOMEW
I wouldn't advise that, Mrs. Lampert. You'd
better consider what happened to your husband
when he tried to leave. Those men won't be
very far away -- no matter where you go. In
fact, I don't even see any point in your
changing hotels. Please help us, Mrs. Lampert.
Your government is counting on you.
REGGIE
Well, if I'm going to die, I might as well
do it for my country.
BARTHOLOMEW
That's the spirit.
REGGIE
Oh, stop it. What do you want me to do?
BARTHOLOMEW
We're anxious to know who this man is -- the
one calling himself Dyle.
REGGIE
Maybe he really is Dyle. He could still be
alive.
BARTHOLOMEW
No, Mrs. Lampert.
REGGIE
But no one actually saw him die.
BARTHOLOMEW
No, Mrs. Lampert. His death is registered
with the War Department in Washington.
REGGIE
Oh. Then who's this one?
BARTHOLOMEW
I don't know -- but I think you'd better find
out, don't you?
REGGIE
Me? Why me?
BARTHOLOMEW
You're in an ideal position -- he trusts you.
(grinning) Besides, you said yourself, women
make the best spies.
REGGIE (resigned)
Agents.
211. EXT. HOTEL (PLACE ST. ANDR?DES ARTS) -- LATE AFTERNOON
DYLE leaves the hotel and turns into the Place. A moment
later, REGGIE comes cautiously from the hotel. As she
watches DYLE, a SANDWICH-MAN advertising a driving school
passes the hotel. REGGIE falls in behind him, his tall
placard hiding her from view.
212. EXT. PLACE ST. ANDR?DES ARTS -- LATE AFTERNOON
First comes DYLE, passing a sidewalk cafe on the corner, then
the SANDWICH-MAN and REGGIE. The SANDWICH-MAN turns off,
leaving REGGIE out in the open. A moment later, DYLE
passes a GIRL painting a canvas, her easel set up in the
middle of the sidewalk. He stops when he has passed her and
turns to look at her work. REGGIE, not knowing what to do,
and afraid she will be seen by DYLE, who is now looking her
way, spins and sits at the sidewalk cafe's nearest table, her
back to DYLE. It is already occupied by a middle-aged
TOURIST.
213. TWO SHOT -- REGGIE AND TOURIST
The TOURIST, complete with camera, beret and guide book,
looks up from his coffee, surprised. He stares at REGGIE and
she stares back. Finally, not knowing what else to do, she
smiles, then takes a portion of his brioche and eats it.
He smiles back emptily, not knowing what to make of her.
REGGIE turns to look at DYLE.
214. MED. SHOT -- DYLE
He has made his judgment of the painting and now moves on.
215. TWO SHOT -- REGGIE AND TOURIST
The TOURIST has finally found the courage to speak. As
he opens his mouth to make a sound, REGGIE, her eyes on
DYLE, rises quickly from the table and goes, leaving a very
confused TOURIST with his mouth open. He blinks, then
leaves some money on the table and starts after her.
216. EXT. PLACE ST. ANDR?DES ARTS -- LATE AFTERNOON
REGGIE following DYLE. As she passes the GIRL painting,
she cannot resist turning to see the work.
217. CLOSE SHOT -- PAINTING
An abstract jumble, nothing recognizable.
217A. CLOSE SHOT -- REGGIE
As she looks from the painting to reality.
217B. EXT. PLACE ST. ANDR?DES ARTS -- LATE AFTERNOON
As the scene really looks.
218. MED. SHOT -- REGGIE
She shrugs, continues after DYLE. Now we see that the
TOURIST, in turn, is following her.
TOURIST (calling)
Fraulein --
REGGIE doesn't stop.
TOURIST
Fraulein --
REGGIE (turning but continuing)
What are you doing, following me? Stop it --
we're going to look like a parade.
She continues after DYLE. The TOURIST hesitates, then
continues after her.
218A. MED. SHOT -- DYLE
He goes to the curb and starts to step off, attempting to
cross the Rue Danton, but finds the light against him. He
turns back in REGGIE's direction.
218B. MED. SHOT -- REGGIE
Realizing she has to do something before DYLE spots her, she
turns and takes the TOURIST's arm and starts walking with
him back toward the cafe.
REGGIE (smiling and rattling on)
How are you? When did you arrive in town?
Are you enjoying Paris? It's lovely, isn't
it? So many wonderful things to see and do,
it makes one's head spin to think of it.
She looks back over her shoulder and sees that DYLE is now
crossing the Rue Danton, heading for the platform of a bus
now stopped at the curb.
TOURIST (smiling)
Fraulein --
REGGIE pulls away from him.
REGGIE
If you don't stop following me I'll call
the police.
She leaves him standing there, more confused than ever, as
she starts after DYLE again.
DYLE has hopped on the back of the bus as it pulls away.
REGGIE hurries across the street, hailing a taxi.
REGGIE
Taxi -- !
219. INT. AMERICAN EXPRESS -- LATE AFTERNOON
DYLE enters. CAMERA PANNING with him to the head of a
stairway leading downstairs, a sign indicating that it leads
to the "MAIL ROOM & TELEPHONES." CAMERA PANS back to the door
as REGGIE enters.
220. DELETED
221. INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON
DYLE walks to one of several windows. A sign over it reading:
"A - D."
222. MED. SHOT -- STAIRS
REGGIE comes down the stairs. Suddenly she stops.
223. MED. SHOT -- DYLE
CAMERA ZOOMS in to sign on "D."
224. CLOSE SHOT -- REGGIE
A confused look on her face.
225. MED. SHOT -- DYLE
As his turn comes, he addresses the CLERK
DYLE
Dyle, please . . . D - Y - L - E.
CLERK
Yes, Mr. Dyle. I remember.
226. CLOSE SHOT -- REGGIE
Watching.
227. MED. SHOT -- MAIL WINDOW
The CLERK takes out a bundle of letters and quickly sorts
through it.
CLERK
I'm sorry, Mr. Dyle -- nothing today.
DYLE
Thanks -- see you soon.
He turns and heads out, starting up the stairs where REGGIE
was but is no longer. As he reaches the fourth or fifth
step, a VOICE is heard over the loudspeaker.
VOICE (o.s.)
Mr. Dyle, please -- you're wanted on the
telephone -- Mr. Dyle. Cabin 4.
DYLE stops in his tracks, pondering what to do.
VOICE (o.s.)
Mr. Dyle. Cabin 4, please.
He stops and comes down the stairs, going to the back of
the room and into the cabin marked "4."
DYLE (picking up the phone)
Yes?
CAMERA DOLLIES across an empty cabin to discover REGGIE in
the third one, on the phone.
228. INT. REGGIE'S CABIN INT. DYLE'S CABIN
REGGIE on the phone. DYLE on the phone.
REGGIE DYLE
Good morning, Mr. Dyle.
Reggie?
It's the only name I've got.
How about you?
No cat and mouse -- you've
got me. What do you want
to know?
Why you lied to me.
I had to -- for all I knew
you could have been in on
the whole thing.
Well, you know now, so
please tell me who you are.
But you know my name --
it's Dyle.
Carson Dyle is dead.
Yes, he is. He was my
brother.
Your --
The army thinks he was killed
in action by the Germans, but
I think they did it -- Tex,
Gideon and Scobie -- and your
husband -- because he wouldn't
go along with their scheme to
steal the gold. I think he
threatened to turn them in
and they killed him. I'm
trying to prove it. They
think I'm working with them.
But I'm not, and that's the
truth. I'm on your side,
Reggie -- please believe that.
REGGIE
How can I? You lied to me -- the way
Charles did -- and after promising you
wouldn't. Oh, I want to believe you, Peter
. . . oh, but I can't call you that
anymore, can I? It will take me a while
to get used to your new name -- which
I don't even know yet. What is it?
(pause) Aren't you going to tell me?
(pause) Hello -- ?
She opens the door of the cabin and starts out.
229. MED. SHOT -- PHONE CABINS
As REGGIE steps out of her cabin and starts looking in the
others. They are all occupied except one and she looks
inside it.
230. CLOSE SHOT -- EMPTY CABIN
The receiver hangs by its cord, swinging back and forth.
231. MED. SHOT -- REGGIE
As she looks at it, confused.
232. INT. AMERICAN EXPRESS -- DAY
DYLE and SCOBIE stand together, waiting for the elevator,
SCOBIE clearly holding a gun in the pocket of his raincoat.
SCOBIE (quietly)
If you do anything funny, or try to talk
to anyone, I'll kill you, Dyle -- here and
now. Okay?
DYLE
You'll wreck your raincoat.
The self-service elevator doors open, one or two PASSENGERS
come out and DYLE and SCOBIE enter. A young GIRL starts in
after them.
SCOBIE
Next car, please.
He reaches out and presses the top button with his metal
hand. The doors close.
233. DELETED
234. INT. TOP FLOOR LANDING -- LATE AFTERNOON
As SCOBIE follows DYLE out of the elevator. SCOBIE looks
around -- there is an open door at the end of a short
hall. He and DYLE go to it, CAMERA FOLLOWING. Through the
door, which SCOBIE closes behind them, is a flight of
stairs, leading up to a second floor.
SCOBIE
Okay -- turn around.
DYLE turns to find SCOBIE's gun out of the pocket and
pointing at him. SCOBIE now transfers it to his metal
hand and goes to DYLE, where he proceeds to frisk him.
Finding the gun DYLE carries in his inside coat pocket,
SCOBIE removes it. During the following conversation he
will shake open the revolving magazine and let the bullets
fall out onto the floor before handing back the emptied
gun to DYLE. Then he will transfer his own gun back to
his good hand.
SCOBIE
Sit down.
Shrugging, DYLE sits on the third step.
DYLE
What now?
SCOBIE
We wait -- with our mouths shut.
234A. INT. AMERICAN EXPRESS -- NIGHT
The last EMPLOYEES leave the building as the WATCHMAN
locks the front door after them.
234B. INT. TOP FLOOR LANDING -- NIGHT
In the semi-darkness, DYLE is still sitting on the third
step, SCOBIE still facing him with a gun.
DYLE
How long do you intend -- ?
SCOBIE
I said with the mouth shut.
DYLE yawns wide.
DYLE
Sorry about that.
SCOBIE
Okay -- up there.
DYLE gets to his feet and starts up the stairs, followed
by SCOBIE. DYLE stops at the door.
DYLE
Do I knock or something?
SCOBIE
Open it.
DYLE opens the door. The stairs continue up.
SCOBIE
Keep going.
DYLE
The view had better be worth it.
235. EXT. AMERICAN EXPRESS -- ROOFTOP -- NIGHT
A spectacular view of the Paris rooftops and the city
lights beyond. DYLE and SCOBIE come out onto a level
portion of roof. On the street side, the roof angles
down abruptly into a steep, slate-covered pitch, broken
only by two widely separated oval-shaped dormer windows.
Below these is a rain gutter, then nothing -- for seven
stories.
DYLE
Very pretty. Now what?
SCOBIE
I'll give you a chance, Dyle -- which is
more than you'd give me. Where's the money?
DYLE
Is that why you dragged me all the way up
here -- to ask me that? She has it --
you know that.
SCOBIE
And I say maybe you both have it! One
more time, Dyle -- where is it?
DYLE
Supposing I did have it -- which I don't --
do you really think I'd hand it over?
SCOBIE
You're out, Dyle -- right now!
SCOBIE aims the gun and starts advancing toward DYLE.
SCOBIE
Step back.
DYLE turns and looks -- there is nothing behind him but a
sheer drop to the street.
DYLE
Back where?
SCOBIE
That's the idea.
Moving quickly, DYLE lashes out and hacks SCOBIE's gun hand
with the side of his palm and the gun falls to the roof.
Following through, DYLE punches the large man full in the
jaw, but instead of falling, SCOBIE wraps his arm around
DYLE, holding on tightly until his head clears.
Then, to his amazement, DYLE is lifted into the air and,
unable to break the bear-hold, carried toward the edge of
the roof. Working his arms between their two bodies,
DYLE suddenly flails them out with all his strength and
the hold is broken, but at the price of his coat
and the flesh on his back as SCOBIE's metal claw
rips through both, a wound extending from the center of
DYLE's back to his shoulder.
Both men look around for the gun, spot it simultaneously
and leap for it, both landing short of the mark. Now they
grapple with one another, each trying to break free and
reach for the gun.
236. CLOSE SHOT -- THEIR HANDS
Two hands, one real, one metal, inch toward the gun.
237. MED. SHOT -- DYLE AND SCOBIE
The battle is going to SCOBIE whose weight and strength are
beginning to tire DYLE, who is now on his back, trying to
stop SCOBIE from crawling over him. He has the large man
by both lapels of the raincoat in a last-ditch effort to hold
him. But SCOBIE, his face horribly distorted from the strain,
continues to inch forward toward the gun.
Suddenly, DYLE releases his hold. With nothing restraining
him, SCOBIE lurches forward, tumbling past the gun, his
momentum carrying him onto the sloping part of the roof,
where he begins sliding down. SCOBIE beats wildly at the
the slate with his claw, trying to gouge a grip.
238. CLOSE SHOT -- SCOBIE'S CLAW
As it slides across the slate, making a hideous scratching
sound and causing sparks to fly.
239. MED. SHOT -- SCOBIE
As he slides over the edge and disappears.
240. CLOSE SHOT -- DYLE
As he watches, hypnotized.
241. CLOSE SHOT -- ROOF EDGE
There appears to be no sign of SCOBIE. Then CAMERA ZOOMS
IN FOR A TIGHT CLOSE SHOT OF SCOBIE'S metal hand, gripping
the rain gutter at the very edge.
242. MED. SHOT -- DYLE
Having seen the claw, he rises and walks to the very edge of
the level part of the roof.
DYLE
Herman?
243. MED. SHOT -- SCOBIE
As he hangs, seven stories over the street, by his metal
hand.
SCOBIE
Yeah?
244. MED. SHOT -- DYLE
He finds it hard to believe.
DYLE
How are you doing?
SCOBIE'S VOICE (o.s.)
How do you think?
DYLE
If you get bored, try writing 'Love thy
neighbor' a hundred times on the side
of the building.
DYLE turns and leaves going down the stairs.
245. INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT
The HOTEL MANAGER is busy taping a piece of cardboard over
the hole ripped in REGGIE's door by SCOBIE's metal hand
the night before. DYLE leaves the elevator and goes to his
own door. The MANAGER eyes him coldly. DYLE "takes" the
look.
DYLE
I didn't do it.
MANAGER
The next time madame forgets her key,
there is another one at the desk.
DYLE smiles, then enters his room.
246. INT. DYLE'S ROOM -- NIGHT
He closes the door and starts to remove his torn coat,
wincing.
247. INT. REGGIE'S ROOM -- NIGHT
REGGIE, smoking on the bed, sits up when she hears DYLE
moving about in his room. She goes to the connecting door,
unlocks her side, tries the knob, finds it still bolted
from his side and knocks.
REGGIE
Is that you?
247A. INT. DYLE'S ROOM -- NIGHT
DYLE goes to the door, throws back the bolt and opens the
door. REGGIE enters.
REGGIE
Didn't anyone ever tell you it's
impolite to -- (seeing his injured
back) -- what happened?
DYLE
I met a man with sharp nails.
REGGIE
Scobie?
DYLE
I left him hanging around the American
Express.
REGGIE
Come on -- I've got something that
stings like crazy.
She leads him into her room.
247B. INT. REGGIE'S ROOM -- NIGHT
As REGGIE and DYLE enter from his room. She leads him to
the bed.
REGGIE
Take off your shirt and lie down.
As REGGIE goes to the bathroom, DYLE takes off his torn
shirt, revealing a torn and bloody T-shirt. He lies face
downwards on the bed. REGGIE returns, carrying cotton,
gauze, tape, scissors, and disinfectant. She sits next to
him and lifts up his T-shirt to examine the wound.
DYLE (wincing)
Listen -- all I really want is an estimate.
REGGIE
It's not so bad. You may not be able to
lie on your back for a few days -- but,
then, you can lie from any position, can't you?
She wets the cotton with disinfectant and begins cleaning
the wound. He winces.
REGGIE (hopefully)
Does it hurt?
DYLE
Haven't you got a bullet I can bite?
She continues working on his back, cleaning it, then bandaging
it while they talk.
REGGIE
Are you really Carson Dyle's brother?
DYLE
Would you like to see my passport?
REGGIE
Your passport! What kind of a proof is that?
DYLE
Would you like to see where I was tattooed?
REGGIE
Sure.
DYLE
Okay, I'll drive you around there some day.
(his back stinging) Ouch!
REGGIE
Ha ha. You could at least tell me what
your first name is these days.
DYLE
Alexander.
REGGIE
Is there a Mrs. Dyle?
DYLE
Yes, but we're divorced.
REGGIE
I thought that was Peter Joshua.
DYLE (smiling)
I'm no easier to live with than he was.
REGGIE (finishing the bandage)
There -- you're a new man.
As they continue talking, he rises from the bed and goes
into his own room. REGGIE remains on the bed, watching
him through the open door as he puts on a fresh T-shirt
and shirt.
DYLE
I'm sorry I couldn't tell you the truth,
but I had to find out your part in all this.
REGGIE
Alex -- how can you tell if someone is
lying or not?
DYLE
You can't.
REGGIE
There must be some way.
DYLE
There's an old riddle about two tribes
of Indians -- the Whitefeet always tell
the truth and the Blackfeet always lie.
So one day you meet an Indian, you ask
him if he's a truthful Whitefoot or a
lying Blackfoot? He tells you he's a
truthful Whitefoot, but which one is he?
REGGIE
Why couldn't you just look at his feet?
DYLE
Because he's wearing moccasins.
REGGIE
Oh. Well, then he's a truthful Whitefoot,
of course.
DYLE
Why not a lying Blackfoot?
REGGIE (confused)
Which one are you?
DYLE (entering, smiling)
Whitefoot, of course.
REGGIE
Come here.
He goes to the bed.
REGGIE
Sit down.
He sits.
REGGIE
I hope it turns out you're a Whitefoot,
Alex -- I could be very happy hanging
around the tepee.
DYLE
Reggie -- listen to me --
REGGIE
Oh-oh -- here it comes. The fatherly
talk. You forget I'm already a widow.
DYLE
So was Juliet -- at fifteen.
REGGIE
I'm not fifteen.
DYLE
Well, there's your trouble right there --
you're too old for me.
REGGIE
Why can't you be serious?
DYLE
There, you said it.
REGGIE
Said what?
DYLE
Serious. When a man gets to be my age
that's the last word he ever wants to hear.
I don't want to be serious -- and I
especially don't want you to be.
REGGIE
Okay -- I'll tell you what -- we'll just
sit around all day long being frivolous --
how about that?
She starts kissing him on the neck, on the chin, on the cheek.
DYLE
Now please, Reggie -- cut it out.
REGGIE (pulling back)
Okay.
DYLE
What are you doing?
REGGIE
Cutting it out.
DYLE
Who told you to do that?
REGGIE
You did.
DYLE
But I'm not through complaining yet.
REGGIE
Oh. (She starts kissing him again)
DYLE
Now please, Reggie -- cut it out.
REGGIE
I think I love you, Alex --
She kisses him on the mouth. The phone rings. He tries
to talk as she continues kissing him.
DYLE (mumbling)
The phone's ringing --
REGGIE
Whoever it is won't give up -- and neither
will I.
The phone continues to ring and she continues to kiss him.
Finally, REGGIE reaches out to the bedstand and takes the
phone off the hook. She brings the receiver up to their
mouths and mumbles into it.
REGGIE (on phone)
Sorry -- I was just - uh - nibbling on something.
248. INT. TEX'S ROOM -- NIGHT
TEX speaks into the phone.
TEX
Miz Lampert, my buddies 'n me, we'd oblige it
mighty highly if you could mosey on across
the hall 'n chew the fat with us for a spell.
249. INT. REGGIE'S ROOM -- NIGHT
DYLE is watching her.
REGGIE (on the phone)
Can you give me one good reason why I should?
250. INT. TEX'S ROOM -- NIGHT
TEX (on the phone)
Yes, ma'am. A little one -- 'bout seven or eight
years old. Th' little tyke keeps callin' you
his Aunt Reggie -- ain't that cute?
250A. INT. REGGIE'S ROOM -- NIGHT
She covers the phone and turns to DYLE in alarm.
REGGIE
They've got Jean-Louis!
DYLE
That sounds like their problem.
REGGIE (into the phone)
I'll be right there.
250B. INT. TEX'S ROOM -- NIGHT
TEX (on the phone)
We'll be waitin' in room forty-seven,
Miz Lampert -- so you just wiggle on over.
251. INT. REGGIE'S ROOM -- NIGHT
As REGGIE hangs up.
REGGIE
What day is it?
DYLE
Tuesday.
REGGIE
Lord, I forgot all about it -- Sylvie works
late Tuesday nights -- she always leaves
him with me. They wouldn't do anything to
a little boy, would they?
DYLE
I don't know -- it depends on whether or
not they've already eaten.
252. INT. TEX'S ROOM -- NIGHT
CLOSE SHOT -- JEAN-LOUIS. He looks around, uncertainly, first
one way, then the other. CAMERA PULLS BACK to show him sitting
on SCOBIE's knee, the large man holding him with his good
hand, the metal one in his pocket. TEX sits next to them while
GIDEON nervously paces the floor. When GIDEON begins
sneezing he takes the small bottle of pills from his pocket
and downs one or two, swallowing some water.
SCOBIE
Hey, Tex -- move the kid to the other knee or
something, will you? My leg's going to sleep.
TEX lifts JEAN-LOUIS and puts him down on SCOBIE's other knee.
TEX
Upsy-daisy.
JEAN-LOUIS
Are you a real cowboy?
TEX
Sure am.
JEAN-LOUIS
Then where is your gun?
TEX (taking out his gun)
Right here -- see?
GIDEON
Will you put that thing away!
A KNOCK at the door. GIDEON goes to open it. REGGIE and
DYLE enter. She sees JEAN-LOUIS and TEX's gun.
REGGIE
Jean-Louis!
She snatches him off SCOBIE's lap.
TEX
Howdy, Miz Lampert.
SCOBIE (glaring at DYLE)
Who invited you?
DYLE
Hello, Herman, it was a happy landing, I see.
REGGIE
I'd better call Sylvie -- she must be frantic.
She starts for the door with JEAN-LOUIS. GIDEON blocks
her way.
GIDEON
I'm afraid that will have to wait, Mrs. Lampert.
REGGIE
But his mother --
GIDEON
She isn't going to be anybody's mother unless
you answer some questions.
TEX SCOBIE
This ain't no game, We want that money -- now!
Miz Lampert.
DYLE (forcefully)
Be quiet, all of you!
The THREE MEN look at him, surprised by his tone.
DYLE
And stop threatening that boy. He doesn't have
the money. Mrs. Lampert doesn't either.
SCOBIE
Then who does?
DYLE
I don't know, Herman -- maybe you do.
SCOBIE
Me?
DYLE (to TEX)
Or you -- (to GIDEON) -- or you --
GIDEON, TEX & SCOBIE (together)
That's the most ridiculous -- !
You gone loco?
Listen to the man!
DYLE
Slowly. Suppose one of you found Charles
here in Paris, followed him, cornered him
on the train, threw him out the window
and took the money.
SCOBIE (after a pause)
That's a crock! If one of us did that he
wouldn't hang around here waiting for the
other two to wise up.
DYLE
But he'd have to. If he left he'd be
admitting his guilt -- and the others would
know what happened. Whoever it is has to
wait here, pretending to look for the
money, waiting for the rest of us to give
up and go home. That's when he'll be safe
and not a minute before.
A pause as the THREE MEN look at one another.
GIDEON
Up till now we always figured she had the
money -- but you know so much about it,
maybe you've got it.
DYLE
Then what am I doing here? You didn't
know anything about me -- I'm the only one
who could have taken it and kept right on
going.
SCOBIE
He's just tryin' to throw us off! They've
got it, I tell you! Why don't we search
their rooms?
DYLE (exchanging looks with REGGIE)
It's all right with us --
TEX (rising)
What are we wastin' time for? Let's go.
DYLE
And while we're waiting, we might as well
go through yours.
SCOBIE (stopping)
Not my room!
DYLE
What's wrong, Herman -- have you got something
to hide? (a pause, then smiling) Then I take
it there are no objections.
The THREE MEN look at one another unhappily.
DYLE
We'd better exchange keys. Here's mine.
SCOBIE
I'll take that.
He takes DYLE's key and gives DYLE his. GIDEON goes to
REGGIE, takes her key and gives her his own.
TEX
Mine's in the door. Ariva durchy, y'all.
The THREE MEN file out. DYLE and REGGIE exchange looks.
DYLE
Come on -- let's get busy. Who gets your vote?
REGGIE
Scobie -- he's the one that objected.
DYLE (handing her the boy)
He's all yours. I'll do Tex and Gideon.
Take Jean-Louis with you -- and make sure
you bolt the door from inside.
REGGIE
Viens, Jean-Louis -- we're going to have a
treasure hunt.
JEAN-LOUIS (joining them)
Oh, la! If I find the treasure, will I
win a prize?
REGGIE (to DYLE)
What should we give him?
DYLE
How about $25,000? Or do you think it
would spoil him?
She smiles, takes JEAN-LOUIS' hand and leaves. DYLE turns
to survey TEX's room.
253. He goes first to the drawer in the night table -- empty;
and the bed, looking in it and under it. Then he goes to
the desk and opens the drawers -- also empty. The bureau
is next -- he opens all three double drawers and they, too,
are completely empty. Frowning, he goes to the armoire
and opens it -- shelves and hanging bar are likewise bare.
Then, CAMERA PANNING DOWN, he sees the only thing he's
found so far in the room -- a pair of fine cowboy boots.
254. INT. REGGIE'S ROOM -- NIGHT
CLOSE SHOT -- AIRLINES BAG. CAMERA PULLS BACK to include
GIDEON, staring down at it as it lies on the table in the
center of the room.
GIDEON (eyes on the bag)
Tex?
255. ANOTHER ANGLE
Including TEX, busy going through the bureau. He looks up,
then joins GIDEON.
TEX
What's that?
GIDEON empties the contents of the bag on the table, then
starts examining the various items. He opens the wallet.
256. INSERT - WALLET
Inside, the initials "C.L." are printed in gold.
TEX'S VOICE (o.s.)
Charlie's stuff?
GIDEON'S VOICE (o.s.)
Looks like it.
257. MED. SHOT -- TEX & GIDEON
TEX
Mebbe we'd better call Herman.
GIDEON has put the wallet aside and now picks up the letter,
removing it from the envelope and reading it.
GIDEON
What for? If it's not here, why bother him?
TEX
And if it is?
GIDEON (a pause)
Why bother him?
A broad grin from TEX. They continue going through the
items from the bag.
TEX
You sure nuthin's missin'?
GIDEON
No. The police have kindly provided us
with a list.
TEX takes the list, examines it, then folds it and puts it
in his pocket. They finish with the items from the bag.
TEX
There sure ain't nothin' here worth no
quarter of a million.
GIDEON
Not unless we're blind.
TEX (staring at GIDEON)
You think that mebbe we're fishin'
the wrong stream?
GIDEON
Meaning what?
TEX
You don't s'pose one o' us has it, like
the man said -- I mean, that'd be pretty
distasteful -- us bein' vet'rans o' the
same war 'n' all.
GIDEON (very sincerely)
You know I'd tell you if I had it.
TEX
Nachurly. Jus' like I'd tell you.
GIDEON
Nachurly. And that goes for Herman, too.
TEX & GIDEON (together)
Nachurly!
The TWO MEN look at one another, then smile -- then laugh.
258.)
259.) DELETED
260.)
261.)
262. INT. SCOBIE'S ROOM -- NIGHT
REGGIE on the phone, JEAN-LOUIS standing by.
REGGIE
-- He's all right, Sylvie, honestly.
Just hurry up and get here.
She hangs up and turns to JEAN-LOUIS.
REGGIE
Come on, now -- if you wanted to hide
something, where would you put it?
JEAN-LOUIS
I know. I would bury it in the garden.
REGGIE
Swell -- only this man doesn't have a
garden.
JEAN-LOUIS
Oh. (afterthought) Neither do I. (Seeing
something) Voil?
REGGIE
Voil?what?
JEAN-LOUIS (pointing)
Up there! I would put it up there!
REGGIE looks to where JEAN-LOUIS is pointing -- to the top
of the high armoire.
REGGIE
You know something, cookie? Why not?
Taking one of the straight chairs to the armoire, she
stands on it. Although she is still not high enough to see
anything, by standing on tip-toes she is able to reach with
her hand over the top and grope around blindly.
REGGIE
I hope I don't find any little hairy things
living up here -- wait! There is something!
If I can just -- yes, I'm getting it -- a case
of some sort -- it's heavy.
JEAN-LOUIS (jumping up and down)
I found it! I found it!
REGGIE
If you think you're getting credit for this,
you're crazy.
JEAN-LOUIS (ecstatic)
We won! We won!
REGGIE has finally managed to pull down the case -- a
rectangular black bag about the size and shape of a trombone
case. As he climbs off the chair, JEAN-LOUIS suddenly runs
to the door, unbolts it and runs into the hall, CAMERA
PANNING with him.
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 b阾e! 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 certai