FADE IN (BEFORE TITLES)
1. EXT. FRENCH COUNTRYSIDE -- DUSK
Silence -- complete silence for the urbanite, though the
oncoming darkness is punctuated by the sounds of farm
country -- a few birds, a distant rumble of thunder from
some heavy clouds on the horizon, a dog's barking.
CAMERA PANS the green, squared-off flatland, lit only by
a fine sunset in its final throes. Then, gradually,
starting from nothing, a rumble is heard, quickly growing
louder and louder until the sound of a train can be
recognized.
CAMERA PANS quickly, discovering the railroad line atop a
man-made rise of land, and the speeding passenger train is
upon us, flashing by with a roar.
Then, as if from nowhere, the figure of a man hits the
embankment and rolls crazily down to the bottom into the
thick underbrush alongside the tracks.
2. CLOSE SHOT -- BODY
It lies in the bushes, still, unmoving -- dead. CAMERA
PANS AWAY to the quiet peaceful countryside as the sound
of the train fades off until there is silence once more.
TITLE MUSIC begins with a crash.
(MAIN TITLES)
3.)
4.) DELETED
5.)
6. FADE IN
EXT. MEGEVE -- DAY
A handsome and elegant hotel perched on the mountain-side
overlooking the French resort town. A large, open sun
deck -- tables, gaily colored parasols, sun bathers.
One of the latter is REGINA LAMPERT, a lovely young girl.
She is, besides taking in the sun, involved in her favorite
activity -- eating.
Then -- a dark, ominous shape intrudes in the f.g. FOCUS
CHANGES to bring into sharp relief a revolver -- shining,
black and ugly in the sunlight.
REGGIE, unaware of her danger, continues to eat.
The finger tightens around the trigger and finally the
gun shoots -- a stream of water arcs, with unerring aim,
straight into REGGIE's face.
7. ANOTHER ANGLE
Including JEAN-LOUIS, a French boy of six or so. REGGIE
looks at him sternly.
JEAN-LOUIS (in for trouble)
Oh, la.
REGGIE
Don't tell me you didn't know it was loaded.
(calling) Sylvie!
8. WIDER ANGLE
SYLVIE GAUDET, French, attractive, blonde, in her early
thirties, comes from the railing of the sun deck to join
REGGIE and JEAN-LOUIS.
REGGIE
Isn't there something constructive he can
do -- like start an avalanche?
SYLVIE (to JEAN-LOUIS)
Va jouer, mon ange.
JEAN-LOUIS scampers off, content to have gotten off so
lightly. SYLVIE notices REGGIE's lunch which consists of
cold chicken, potato salad, rolls and butter, wine and
coffee.
SYLVIE
When you start to eat like this something
is the matter.
No answer from REGGIE. SYLVIE begins reading a magazine
as REGGIE continues eating.
REGGIE
Sylvie -- I'm getting a divorce.
SYLVIE
Ça alors! From Charles?
REGGIE
He's the only husband I've got. I tried
to make it work, I really have -- but --
SYLVIE
But what?
REGGIE
I don't know how to explain it. I'm just
too miserable.
REGGIE picks up a chicken leg and starts off. SYLVIE
regards the devastated table before following.
SYLVIE
It is infuriating that your unhappiness
does not turn to fat!
8A. INT. SWIMMING POOL -- DAY
A magnificent indoor, glass-enclosed pool, the vista of
snow-covered mountains seen through the ceiling-high
windows beyond. REGGIE and SYLVIE are passing through,
their conversation continuing.
SYLVIE
But why do you want a divorce?
REGGIE
Because I don't love him.
SYLVIE
But that is no reason to get a divorce!
8B. EXT. HOTEL TERRACE -- DAY
An open balcony running around two sides of the pool,
sun-worshippers lying in deck-chairs. REGGIE and SYLVIE
appear, their conversation continuing.
SYLVIE
With a rich husband and this year's
clothes you will not find it difficult
to make some new friends.
REGGIE (sitting)
I admit I moved to Paris because I was
tired of American Provincial, but that
doesn't mean I'm ready for French Traditional.
I loathe the idea of divorce, Sylvie,
but -- if only Charles had been honest
with me -- that's all I ask of anybody
-- the simple truth. But with him,
everything is secrecy and lies. He's
hiding something -- something frightening
-- something terrible -- and evil.
She stops as she is aware of a weird figure hovering over
her. She wheels, terrified.
9. CLOSE SHOT -- PERUVIAN SNOW-MASK
A strange, grotesque knitted mask that completely covers
the face except for eyes, nose and mouth. The eyes inside
this particular mask stare down at REGGIE.
MAN
Does this belong to you?
CAMERA PANS down to include JEAN-LOUIS, his hand held
firmly by the man in the mask.
10. WIDER ANGLE
Including REGGIE, MAN, SYLVIE and JEAN-LOUIS. REGGIE is
too terrified to answer. Realizing this, the man, PETER
JOSHUA, takes off the snow-mask to reveal a handsome,
tanned face.
PETER
Oh, forgive me. (indicating JEAN-LOUIS)
Is this yours?
REGGIE (indicating SYLVIE)
It's hers. Where'd you find him, robbing
a bank?
PETER
He was throwing snowballs at Baron
Rothschild. (a pause) We don't know
each other, do we?
REGGIE
Why, do you think we're going to?
PETER
I don't know -- how would I know?
REGGIE
I'm afraid I already know a great many
people. Until one of them dies I couldn't
possibly meet anyone else.
PETER (smiling)
Yes, of course. But you will let me know
if anyone goes on the critical list
(he starts off).
REGGIE
Quitter.
PETER (turning)
How's that?
REGGIE
You give up awfully easy, don't you?
Eyeing one, then the other, SYLVIE sizes up the situation
and rises.
SYLVIE
Viens, Jean-Louis, let us make a walk.
I have never seen a Rothschild before.
SYLVIE and JEAN-LOUIS start off, but not before the boy
squirts PETER with his pistol.
PETER (drying)
Clever fellow -- almost missed me.
REGGIE
I'm afraid you're blocking my view.
PETER (moving)
Sorry. Which view would you like?
REGGIE
The one you're blocking. This is the last
chance I have -- I'm flying back to Paris
this afternoon. What's your name?
PETER
Peter Joshua.
REGGIE
I'm Regina Lampert.
PETER
Is there a Mr. Lampert?
REGGIE
Yes.
PETER
Good for you.
REGGIE
No, it isn't. I'm getting a divorce.
PETER
Please, not on my account.
REGGIE
No, you see, I don't really love him.
PETER
Well, you're honest, anyway.
REGGIE
Yes, I am -- I'm compulsive about it --
dishonesty infuriates me. Like when you go
into a drugstore.
PETER
I'm not sure I --
REGGIE
Well, you go in and you ask for some
toothpaste -- the small size -- and the man brings
you the large size. You tell him you wanted
the small size but he says the large size is
the small size. I always thought the large
size was the largest size, but he says that
the family size, the economy size and the
giant size are all larger than the large size
-- that the large size is the smallest size
there is.
PETER
Oh. I guess.
REGGIE
Is there a Mrs. Joshua?
PETER
Yes, but we're divorced.
REGGIE
That wasn't a proposal -- I was just curious.
PETER
Is your husband with you?
REGGIE
Oh, Charles is hardly ever with me. First it
was separate rooms -- now we're trying it
with cities. What do people call you -- Pete?
PETER
Mr. Joshua. (turning to go) Well, I've
enjoyed talking with you.
REGGIE
Now you're angry.
PETER
No, I'm not -- I've got some packing to do. I'm
also going back to Paris today.
REGGIE
Oh. Well, wasn't it Shakespeare who said:
"When strangers do meet they should erelong
see one another again"?
PETER
Shakespeare never said that.
REGGIE
How do you know?
PETER
It's terrible -- you just made it up.
REGGIE
Well, the idea's right, anyway. Are you
going to call me?
PETER
Are you in the book?
REGGIE
Charles is.
PETER
Is there only one Charles Lampert?
10A. DELETED
10B. CLOSE SHOT -- REGGIE
Her face clouding.
REGGIE
Lord, I hope so.
11. EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY
The Arc de Triomphe at the far end of the Avenue. CAMERA
PANS to pick up a TAXI as it pulls up before the handsome
building. Inside are REGGIE, SYLVIE and JEAN-LOUIS.
12. MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE
As REGGIE climbs out and the DRIVER begins unloading her
suitcases.
REGGIE
Goodbye, Sylvie, and thanks. (She turns
toward the house).
JEAN-LOUIS sticks his head out of the taxi window.
JEAN-LOUIS
When you get your divorce will you be
going back to America?
13. MED. SHOT -- THE TAXI
REGGIE looks at SYLVIE, surprised.
SYLVIE
He knows everything.
REGGIE (to JEAN-LOUIS)
Don't you want me to stay?
JEAN-LOUIS
Yes, of course -- but if you went back and
wrote me a letter --
REGGIE
-- you could have the stamps. I'll get
you some here, okay?
JEAN-LOUIS
Okay.
REGGIE walks toward the house with the driver, who carries
her cases. She presses the button that electrically opens
the front door.
14. DELETED
15. INT. APARTMENT LANDING -- DAY
As the elevator rises REGGIE gets out, followed by the
driver. He puts down the bags in front of the apartment
door.
REGGIE (handing him a tip)
Merci.
The driver leaves. She goes to the door and presses the
minuterie, the button that turns on the time-light, and the
lights come on. Then she rings the doorbell. There is no
answer. She rings again. Still nothing. Sighing, she
digs out her keys and starts to fit it into the lock. At
this moment the minuterie expires, plunging the scene into
darkness.
REGGIE'S VOICE
Wonderful.
She finds the button and the light goes on again. She
inserts the key and turns it.
16. INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY
CLOSE SHOT -- DOOR as it opens and REGGIE steps into the
CLOSE SHOT.
She stops, her expression changing.
17. REVERSE SHOT
From REGGIE's p.o.v. as CAMERA PANS the entrance hall. It
is bare -- no furniture, no rug, no pictures, no nothing.
18. MED. SHOT -- REGGIE
She stares for a moment, then goes back out into the
landing.
19. INT. APARTMENT LANDING -- DAY
As REGGIE steps back outside. She looks at the nameplate
beside the door.
20. INSERT NAMEPLATE
It reads "MR. AND MRS. CHARLES LAMPERT."
21. INT. APARTMENT LANDING -- DAY
REGGIE looks at the plate in disbelief, then turns and
hurries back into the apartment.
22. INT. LAMPERT APARTMENT -- DAY
As REGGIE hurries into the entrance hall.
REGGIE
Honorine -- !
No answer.
Now, CAMERA FOLLOWING, she goes into the Salon. It is
also empty -- stripped bare. There are squares of the wall's
original color where paintings used to hang, the hooks
still in the wall.
She rushes now, going into the bedroom, CAMERA FOLLOWING
crazily, lurching and careening behind her. The bedroom,
too, is empty. She goes to the built-in wardrobe closets
and throws open all the doors. Only some hangers remain.
She pulls open the drawers -- nothing!
REGGIE
Charles -- !
She turns, and running now, goes through another door to
the library, CAMERA FOLLOWING. The rows of shelves are
as empty as the rest of the apartment. She begins to turn
in a circle, looking for something, anything. In a panic
she turns and runs out, colliding suddenly with a MAN whom
she (and we) have not noticed until the moment of impact.
REGGIE screams.
23. CLOSE SHOT -- INSPECTOR GRANDPIERRE
A heavy-set man of no particular age with tobacco-colored
hair, and thick glasses.
GRANDPIERRE
Madame Charles Lampert?
24. WIDER ANGLE
Including REGGIE, in a state of near-shock.
REGGIE
Yes.
GRANDPIERRE
I am Inspector Edouard Grandpierre
of the Police Judiciaire. Would you be
so kind as to come with me, please?
25. INT. MORGUE -- DAY
We see a large metal drawer being opened and an all-too-
familiar shape outlined under a damp sheet of muslin.
26. ANOTHER ANGLE -- OVERHEAD
Looking straight down at the tops of REGGIE's, GRANDPIERRE's
and an ATTENDANT's head and smack into the open drawer.
GRANDPIERRE lifts a corner of the sheet at the bottom and
reveals a bare foot with a ticket tied to its big toe.
He stoops to read it. Satisfied, he recovers the foot,
then moves to the other end to uncover the head. As the
sheet starts to lift:
27. REVERSE SHOT
REGGIE as she looks down into the CAMERA. She closes her
eyes for a moment, then looks again.
GRANDPIERRE'S VOICE (o.s.)
Well, Madame -- ?
She nods.
GRANDPIERRE'S VOICE (o.s.)
You are positive?
She nods again. GRANDPIERRE moves into the SHOT.
GRANDPIERRE
You loved him?
REGGIE
I'm very cold.
GRANDPIERRE nods as he turns to the unseen ATTENDANT.
CAMERA suddenly moves as the 'drawer' is slid back into
the wall. BLACKNESS comes with a loud clang and continues
while the echo dies.
28. INT. GRANDPIERRE'S OFFICE -- DAY
CLOSE SHOT -- DESK DRAWER (FROM ABOVE) as it is pulled open.
A photograph of Charles Lampert lies face up in the drawer.
A hand reaches in and pulls it out.
29. WIDER ANGLE
Including GRANDPIERRE sitting behind his desk, and REGGIE,
sitting across from him. The office is as bare as most
policemen's offices. GRANDPIERRE studies the photo.
GRANDPIERRE
We discovered your husband's body lying next
to the tracks of the Paris-Bourdeaux railroad
line. He was dressed only in his pajamas.
Do you know of any reason why he might have
wished to leave France?
REGGIE
Leave?
GRANDPIERRE
Your husband possessed a ticket of passage
on the 'Maranguape.' It sailed from Bordeaux
for Maracaibo this morning at seven.
REGGIE (a pause)
I'm very confused.
She starts to rummage through her bag. GRANDPIERRE shoves
a package of French cigarettes across the desk to her. But
she pulls a package of nuts out of her bag. She begins
separating the shells with her thumb nail and eating the
nuts, depositing the shells in the ashtray. GRANDPIERRE
watches this for an instant.
GRANDPIERRE
He was American?
REGGIE
Swiss.
GRANDPIERRE
Oh. Swiss. His profession?
REGGIE
He didn't have one.
GRANDPIERRE
He was a wealthy man?
REGGIE
I don't know. I suppose so.
GRANDPIERRE
About how wealthy would you say?
REGGIE
I don't know.
GRANDPIERRE
Where did he keep his money?
REGGIE
I don't know.
GRANDPIERRE
Besides yourself, who is his nearest relation?
REGGIE
I don't know.
GRANDPIERRE (exploding)
C'est absurde, Madame. To-tale-ment absurde!
REGGIE
I know. (pause) I'm sorry.
GRANDPIERRE
It is all right.
GRANDPIERRE sighs, puts down his pencil and pushes a button
on the desk. He removes a cigar from his desk and inserts
it into his mouth.
GRANDPIERRE
Is it all right?
REGGIE
I wish you wouldn't.
He rips the cigar out of his mouth and slams it back into
the drawer, closing it fiercely. A UNIFORMED POLICEMAN
sticks his head in the door.
GRANDPIERRE
Les effets de Lampert.
The POLICEMAN leaves and closes the door.
GRANDPIERRE
On Wednesday last your husband sold the entire
contents of the apartment at public auction.
Furniture, clothing, kitchenware -- everything.
The gallery, in complying with his wishes, paid
him in cash. One million two hundred and fifty
thousand New Francs. In dollars, a quarter
of a million. The authorities in Bordeaux
have searched his compartment on the train.
They have searched it thoroughly. They did
not find $250,000, Madame.
He opens the desk drawer, puts the cigar back in his mouth
and lights a match by scratching it against the glass desk-top
before he remembers REGGIE's request. He puts it back in
the drawer again. The door opens and the POLICEMAN enters
again, this time carrying a wicker basket which he deposits
on GRANDPIERRE's desk, and leaves. GRANDPIERRE peers into
the basket.
GRANDPIERRE
These few things are all that was found in the
train compartment. There was no other baggage.
Your husband must have been in a great hurry.
He begins to take them out, placing them on the desk,
identifying each item as he does.
GRANDPIERRE
One wallet containing four thousand francs --
one agenda -- (pausing, he opens the notebook) --
his last notation was made yesterday -- Thursday --
(reading) "Five p.m. -- Jardin des Champs-Elysées"
(looking up) Why there?
REGGIE
I don't know. Perhaps he met somebody.
GRANDPIERRE (dryly)
Obviously. (returning to the items in the
basket) One ticket of passage to South America
-- one letter, stamped but unsealed, addressed
to you --
REGGIE (lighting up)
A letter? May I see it?
GRANDPIERRE hands her the letter and watches her closely
as she reads it.
REGGIE (reading)
"My dear Regina: I hope you are enjoying your
holiday. Megeve can be so lovely this time of
year. The days pass very slowly and I hope to
see you soon. As always, Charles. P.S. Your
dentist called yesterday. Your appointment has
been changed." (she looks up, puzzled) Not
very much, is it?
GRANDPIERRE
We took the liberty of calling your dentist --
we thought, perhaps, we would learn something.
REGGIE
Did you?
GRANDPIERRE
Yes. Your appointment has been changed. (he
smiles at his little joke, then returns to the
basket). One key to your apartment -- one comb --
one fountain pen -- one toothbrush -- one tin of
tooth powder (he looks up) -- that is all.
He slides a sheet of paper and pen across to her, then
starts to put the things back into the basket while he
speaks:
GRANDPIERRE
If you will sign this list you may take the
things with you.
REGGIE (sighing)
Is that all? Can I go now?
GRANDPIERRE
One more question. Is this your husband's
passport?
He reaches into the desk drawer and pulls out a passport
which he hands to her.
30. INSERT -- PASSPORT
The cover indicates that it is Swiss. REGGIE's hand opens
it to a picture of a man -- the man we saw in GRANDPIERRE's
photo. Under it is the name: "CHARLES LAMPERT."
31. MED. SHOT -- REGGIE AND GRANDPIERRE
REGGIE
Of course it is.
GRANDPIERRE
And this?
He hands her another passport.
32. INSERT -- SECOND PASSPORT
The cover is American. When it is opened, we see the
identical picture, but the name under it reads: "CHARLES
VOSS."
33. MED. SHOT -- REGGIE AND GRANDPIERRE
REGGIE
I don't understand.
GRANDPIERRE
And this? And this?
He hands her, one at a time, two more passports.
34. INSERT -- THIRD AND FOURTH PASSPORTS
One is Italian which, when opened, shows the same photo
with the name "CARLO FABRI." The other is Venezuelan, the
same photo, and the name "CARLOS MORENO."
35. MED. SHOT -- REGGIE AND GRANDPIERRE
GRANDPIERRE
Have you nothing to say, Madame?
REGGIE looks down at the four passports, then back to
GRANDPIERRE.
REGGIE (hopefully)
It's all right if you want to smoke your
cigar now.
36. INT. LAMPERT APARTMENT -- DUSK
The house is empty as before. Now it is silent, the late
afternoon light coming from outside. REGGIE stands by a
window. A canvas airline bag rests on the floor nearby.
Suddenly there is the noise of a DOOR OPENING.
37. CLOSER SHOT -- REGGIE
As her head turns, in alarm, toward the noise. There is a
moment of silence, then FOOTSTEPS are heard, coming closer.
38. ANOTHER ANGLE
As PETER enters.
REGGIE (surprised)
What are you doing here?
PETER
I phoned but nobody answered. I wanted to
tell you how sorry I am -- and to find out
if there was anything I could do.
REGGIE
How did you find out?
PETER
It's in all the afternoon papers. I'm very
sorry.
REGGIE
Thank you.
A silence.
PETER
I rang the bell but I don't think it's
working.
REGGIE
Yes it is -- I heard it this morning.
He looks around for the light switch, then goes to it and
flicks it on -- nothing happens. He flicks it a few more
times.
REGGIE
They must have turned off the electricity.
She shakes her head. PETER looks around.
PETER
Where did everything go?
REGGIE
Charles sold it all -- at auction.
PETER
Do you know what you're going to do?
REGGIE
Try and get my old job back at UNESCO, I
suppose.
PETER
Doing what?
REGGIE
I'm a simultaneous translator -- like Sylvie,
only she's English to French -- I'm French
to English. That's what I did before I married
Charles. The police probably think I killed
him.
PETER
Instant divorce you mean?
REGGIE
Something like that. But I'm sorry it
ended like this -- tossed off a train like a
sack of third-class mail.
PETER (taking her hand)
Come on. You can't stay here.
REGGIE
I don't know where to go.
PETER
We'll find you a hotel.
REGGIE
Not too expensive -- I'm not a lady of
leisure anymore.
PETER
Something modest but clean -- and near enough
to UNESCO so you can take a cab when it rains
-- okay?
She nods. He picks up the airlines bag and they start out.
REGGIE stops at the door and looks back.
REGGIE
I loved this room -- but Charles never
saw it -- only what was in it. All those
exquisite things -- (looking around) I
think I prefer it like this.
38A. INT. FUNERAL CHAPEL -- DAY
CLOSE SHOT of a phonograph. A hand appears, starts the
record on it spinning, then places the arm at the beginning.
An instant later ORGAN MUSIC starts with a roar.
39. INT. FUNERAL CHAPEL -- DAY
CLOSE SHOT of the coffin. It rests on a low platform, with
a bouquet or two of flowers near the head, the lid open.
Inside, the face made up to look lifelike (but failing),
lie the remnants of Charles Lampert.
40. CLOSE SHOT -- GRANDPIERRE
The INSPECTOR sits quietly, eyes downcast, staring at his
hands in a prayer-like attitude. CAMERA PULLS BACK,
revealing row after row of empty wooden bench-like seats in
the large, dimly-lit, high-ceilinged room. Finally, in the
first row, REGGIE and SYLVIE are discovered. Besides
GRANDPIERRE, they are the only ones present. REGGIE turns
around to look at the empty room. They speak in whispers.
REGGIE
It's not exactly what I'd call a large
turn-out.
SYLVIE
Didn't Charles have any friends?
REGGIE
Don't ask me -- I'm only the widow.
(indicating GRANDPIERRE) If Charles
had died in bed we wouldn't even have
him.
SYLVIE
At least he knows how to behave at funerals.
41. CLOSE SHOT -- GRANDPIERRE
His eyes still lowered. CAMERA PANS DOWN to feature his
hands -- he is methodically trimming his nails with a
small clipper.
42. TWO SHOT -- SYLVIE AND REGGIE
SYLVIE
Have you no idea who could have
done it?
REGGIE
Until two days ago all I really knew
about Charles was his name -- now it turns
out I didn't even know that.
The front DOOR of the Chapel is heard opening and a shaft
of daylight streams in. The WOMEN turn.
43. MED. SHOT -- CHAPEL DOOR
The short, heavy-set figure of a MAN is outlined against
the bright outdoor light. He stands for a moment, then
closes the door after him. LEOPOLD GIDEON, short-sighted,
bald, in his middle forties, glances around nervously,
like a barnyard bird. Then he walks down one of the side
aisles of the Chapel.
44. CLOSE SHOT -- GRANDPIERRE
As he watches GIDEON.
45. CLOSE SHOT -- REGGIE
As she watches him.
46. MED. SHOT -- THE BIER
GIDEON arrives at the coffin. He stops, looks down at
LAMPERT's body for a moment. Then, suddenly, in rapid
succession, he sneezes six times. He takes a small bottle
from his pocket, shakes a pill from it and swallows it dry.
He turns and walks back up the aisle, looking for a place
to sit. He comes face to face with GRANDPIERRE, stops,
turns to sit somewhere else.
47. TWO SHOT -- REGGIE AND SYLVIE
SYLVIE
Do you know him?
REGGIE
I've never seen him before.
SYLVIE
He must have known Charles pretty well.
REGGIE
How can you tell?
SYLVIE
He's allergic to him.
SYLVIE turns and glances at GIDEON. Again, the sound of
the DOOR opening interrupts them. They turn to look.
48. MED. SHOT -- CHAPEL DOOR
Again the figure of a MAN is outlined in silhouette against
the outside brightness. When he closes the door we can see
"TEX" PENTHOLLOW, a slim, rangy man with sandy-colored hair,
a weatherbeaten face, washed-out blue-eyes -- also in his
forties. He wears a velvet-corduroy suit, string tie and a
bright yellow flower in his lapel. A bulldurham tag hangs
from his outside breast pocket, dangling from its string.
He starts down the aisle toward the bier, CAMERA LEADING
him, and we notice his unsteady gait. He turns to look at
the others present.
49. TRAVELING SHOT -- TEX'S P.O.V.
MOVING down the aisle. GRANDPIERRE's face, then GIDEON's,
then REGGIE's and SYLVIE's -- all staring at CAMERA.
50. MED. SHOT -- THE BIER
As TEX arrives. He stands staring at LAMPERT's body,
swaying on his feet until he reaches out and grabs the
side of the coffin to steady himself. Then he takes the
flower from his lapel and throws it into the open box.
51. CLOSE SHOT -- TEX
TEX (heavy Texas accent)
Ariva durchy, Charlie.
52. WIDER ANGLE
As TEX turns away from the coffin and approaches REGGIE and
SYLVIE, addressing the latter -- after having first reached
for his hat which he discovers he isn't wearing.
TEX
Miz Lampert, ma'am . . .
SYLVIE points to REGGIE. Unruffled, TEX starts over.
addressing REGGIE this time.
TEX
Miz Lampert, ma'am . . .
REGGIE
Yes?
TEX
Charlie had no call to handling it this-a-way.
He sure didn't. No siree.
REGGIE
I don't understa--
But TEX has nodded his head and moved off to find a seat.
When he spots GIDEON, the two men stare at each other.
Finally, TEX chooses a seat away from him and sits.
53. MED. SHOT -- CHAPEL DOOR
It flies open, this time with a bang, and the large MAN
who appears almost fills the frame.
54. CLOSER SHOT -- TEX
As the loud noise awakens him with a snort, mid-snore.
55. MED. SHOT -- THE DOOR
Closing the door, we see HERMAN SCOBIE, a heavy-weight --
tall and wide, but not fat -- with black hair combed straight
back and heavy bushy eyebrows of a matching color, which
meet over his nose and join up. About the same age as the
first two men, SCOBIE is dressed in a battered raincoat, his
hands thrust deep in the pockets. He marches down the aisle.
looking straight ahead, CAMERA PANNING with him. He stops
before the coffin and stares into it.
56. CLOSE SHOT -- SCOBIE
As he stares down into the coffin, his tongue trying to
dislodge a bit of food caught in his teeth. He stares hard
at the body, squinting his eyes. Then he removes one hand
from his pocket, removes a pin from the inside of his lapel,
picks his teeth with it, then slowly lets the hand down,
into the coffin.
57. CLOSE SHOT -- SCOBIE'S HAND
The pin held between thumb and forefinger, he jabs it slowly
but positively deep into the back of one of the dead man's
hands. There is no reaction.
58. CLOSE SHOT -- SCOBIE
He watches the dead man carefully, still squinting. Then
finally satisfied, he returns the pin to his lapel and walks
back up the aisle and out of the door, slamming it after him.
59. CLOSE SHOT -- REGGIE
Having watched SCOBIE exit. Suddenly a hand falls on her
shoulder. She jumps in alarm and utters a little cry of
fright.
60. ANOTHER ANGLE
Featuring a funeral ATTENDANT, a cadaverous type (aren't
they all) with a black cut-away coat and an over-solicitous,
unctuous manner. He is eternally bent at the waist, in a
sort of half bow. He offers REGGIE a letter which she takes.
REGGIE
Merci, Monsieur.
ATTENDANT
Pas du tout, madame, pardon -- pardon -- pardon.
He backs off and is gone. REGGIE looks at the letter, back
and front, then starts to open it.
SYLVIE
Who is it from?
REGGIE
The American Embassy.
She pulls out the letter and starts to read it.
61. INSERT -- THE LETTER
It bears the Great Seal as a letterhead and the typed
message reads:
"Dear Mrs. Lampert:
Please drop by my office tomorrow
at noon-thirty. I am anxious to
discuss the matter of your late
husband's death.
Sincerely,
(signed) H. Bartholomew."
62. TWO SHOT -- REGGIE AND SYLVIE
SYLVIE has been reading over REGGIE's shoulder.
SYLVIE
What is it about?
REGGIE
I don't know. But if this is a sample of
American diplomacy I'm buying a fallout shelter.
63. EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY
The fine old building in the Rue Gabriel.
64.- DELETED
68.
69. INT. EMBASSY CORRIDOR -- DAY
As REGGIE leaves the elevator two young DIPLOMATIC TYPES
step in, immersed in conversation.
1ST DIPLOMATIC TYPE
I bluffed the Old Man out of the last pot --
with a pair of deuces.
2ND DIPLOMATIC TYPE
What's so depressing about that?
1ST DIPLOMATIC TYPE
If I can do it, what are the Russians
doing to him?
The elevator door closes on them. REGGIE reacts to this and
starts down the hall, finally stopping at the door.
70. MED. SHOT -- DOOR
It is marked "307-A H. BARTHOLOMEW." REGGIE checks the
letter, then opens the door.
71. INT. BARTHOLOMEW'S OUTER OFFICE -- DAY
The office is empty, the typewriter on the secretary's desk
is covered with its plastic shroud. REGGIE enters, looks
for somebody, notices that the door to the private office is
slightly ajar.
REGGIE (tentatively)
Hello -- ? (there is no answer) Hello?
BARTHOLOMEW'S VOICE (o.s.)
(from the private office) Is there anything
wrong, Miss Tompkins?
REGGIE
Uh -- Miss Tompkins isn't here.
BARTHOLOMEW comes to the door and looks in. He is a pale
grey-haired man who looks, on first examination, older than
his forty-odd years. Sickly would be the word that describes
him best -- pallid, consumptive-looking. He wears heavy
tortoise-framed glasses which fall down his nose and cause
him to push them back in place every so often with a quick
automatic motion.
BARTHOLOMEW
I'm sorry -- my secretary must have gone
to lunch. You are -- ?
REGGIE
Mrs. Lampert -- Mrs. Charles Lampert.
BARTHOLOMEW (looking at his watch)
Come in, Mrs. Lampert. You're quite late.
He motions for her to enter, standing aside to let her do so.
72. INT. BARTHOLOMEW'S PRIVATE OFFICE -- DAY
A small cubicle -- there is a silver-framed photo of three
kids on the desk. BARTHOLOMEW indicates a chair, then
goes behind his desk and sits. A can of lighter fluid
stands open on the desk and a crumpled hankie beside it.
BARTHOLOMEW
Excuse me for a moment, Mrs. Lampert --
it's a stubborn little devil.
He works at a stain on his necktie with lighter fluid and
hankie.
BARTHOLOMEW
Dry-cleaningwise, things are all fouled
up. I had a good man - an excellent
man on the Rue Ponthieu, but H.Q. asked us to
use the plant here in the building -- to ease the
gold outflow.
REGGIE
Mr. Bartholomew -- are you sure you know
who I am?
BARTHOLOMEW (looking up)
Charles Lampert's widow -- yes? (going back
to the tie) Last time I sent out a tie
only the spot came back.
He looks up at her, laughs silently, then goes back to his
tie.
BARTHOLOMEW
Voilà! As they say.
He puts away the lighter fluid in a desk drawer, smells
the hankie, passes on it, then sticks it in his pocket.
He opens another drawer and pulls out various sandwiches
wrapped in waxpaper, a salt and pepper shaker, a tube of
mustard, a bottle of red wine and two Dixie cups.
BARTHOLOMEW
Have some, please. I've got . . . (checking)
. . . liverwurst -- liverwurst -- chicken and --
liverwurst.
REGGIE
No thanks.
He uncorks the wine, fills a cup and begins eating.
BARTHOLOMEW
Do you know what C.I.A. is, Mrs. Lampert?
REGGIE
I don't suppose it's an airline, is it?
BARTHOLOMEW
Central Intelligence Agency -- C.I.A.
REGGIE (surprised)
You mean spies and things like that?
BARTHOLOMEW
Only we call them agents.
REGGIE
We? You mean you're --?
BARTHOLOMEW
Someone has to do it, Mrs. Lampert --
REGGIE
I'm sorry, it's just that I didn't think that
you people were supposed to admit --
BARTHOLOMEW
I'm not an agent, Mrs. Lampert -- I'm an administrator
-- a desk jockey -- trying to run a bureau
of overworked men with under-allocated funds.
Congress seems to think that all a spy needs --
REGGIE
Agent.
BARTHOLOMEW
Yes -- That all he needs is a code book and a
cyanide pill and he's in business.
REGGIE
What's all this got to do with me, Mr. Bartholomew?
BARTHOLOMEW (his mouth full)
Your husband was wanted by the U. S. government.
REGGIE (a pause)
May I have a sandwich, please?
He hands her a sandwich and fills a wine-cup for her.
BARTHOLOMEW
To be more specific, he was wanted by this agency.
REGGIE (eating)
So that was it.
BARTHOLOMEW
Yes. We knew him, of course, by his real name.
REGGIE (almost choking)
His -- real -- ?
BARTHOLOMEW
Voss -- Charles Voss. All right, Mrs. Voss --
(taking a photo from his desk) -- I'd like you
to look at this photograph, please -- by the
way, you saw this one, didn't you? (indicating
the kids on the desk) Scott, Cathy, and Ham, Jr.
REGGIE
Very sweet.
BARTHOLOMEW
Aren't they? Now look at this one, Mrs. Voss, and --
REGGIE
Stop calling me that! Lampert's the name on
the marriage license.
BARTHOLOMEW
Yes -- and tell me if you recognize anyone.
Just a moment. Have a good look.
He reaches back into the drawer and pulls out a glass which
he gives her.
73. CLOSE SHOT -- PHOTO
FOUR MEN, all in army uniform, sitting behind a table. The
glass is held over the first, magnifying the face.
74. CLOSER SHOT -- PHOTO
It's a photo of a young CHARLES LAMPERT.
REGGIE'S VOICE (o.s.)
It's Charles!
BARTHOLOMEW'S VOICE (o.s.)
Very good.
REGGIE'S VOICE (o.s.)
He looks so young -- when was this taken?
BARTHOLOMEW'S VOICE (o.s.)
1944. The next face, please.
The glass and CAMERA move to the next man -- a young TEX.
REGGIE'S VOICE (o.s.)
It's the man who came to the funeral
yesterday -- I'm sure of it -- a tall
man in a corduroy suit and string tie.
BARTHOLOMEW'S VOICE (o.s.)
Does the name Tex Penthollow mean
anything to you?
REGGIE'S VOICE (o.s.)
No.
BARTHOLOMEW'S VOICE (o.s.)
Next, please.
The glass and CAMERA move to the third face -- a young GIDEON.
REGGIE'S VOICE (o.s.)
Yes -- and he was there, too -- a little
fatter now -- and less hair -- but it's
the same one.
BARTHOLOMEW'S VOICE (o.s.)
Do you know him, Mrs. Vo -- Mrs. Lampert?
Leopold W. Gideon?
REGGIE'S VOICE (o.s.)
No.
BARTHOLOMEW'S VOICE (o.s.)
The last one, please.
The glass and CAMERA move to the fourth face -- a young
SCOBIE.
REGGIE'S VOICE (o.s.)
That's a face you don't forget -- he
was there too --
BARTHOLOMEW'S VOICE (o.s.)
Herman Scobie. And you've never seen
him before, either?
REGGIE'S VOICE (o.s.)
No, thank heaven.
75. MED. SHOT -- REGGIE AND BARTHOLOMEW
BARTHOLOMEW (a pause, regarding her)
Mrs. Lampert, I'm afraid you're in a great
deal of danger.
REGGIE
Danger? Why should I be in any danger?
BARTHOLOMEW
You're Charles Voss's wife -- now that he's
dead you're their only lead.
REGGIE
Mr. Bartholomew -- if you're trying to
frighten me you're doing a really first-
rate job! (she takes another sandwich).
BARTHOLOMEW
Please, do what we ask, Mrs. Lampert --
it's your only chance.
REGGIE (eating)
Gladly, only I don't know what you want!
You haven't told me.
BARTHOLOMEW
Oh, haven't I? The money -- Mrs. Lampert --
the money. The $250,000 Charles Voss
received from the auction. Those three
men want it, too -- they want it very badly.
REGGIE
But it's Charles's money, not theirs.
BARTHOLOMEW (laughing)
Oh, Mrs. Lampert! I'd love to see you
try and convince them of that! (drying
his eyes) Oh, dear.
REGGIE
Then whose is it? His or theirs?
BARTHOLOMEW
Ours.
REGGIE (she looks at him
for a moment). Oh, I see.
BARTHOLOMEW
And I'm afraid we want it back.
REGGIE
But I don't have it.
BARTHOLOMEW
That's impossible. You're the only one
who could have it.
REGGIE
I'm sorry it's impossible. It's the truth.
BARTHOLOMEW is silent for a moment, thinking.
BARTHOLOMEW
I believe you.
REGGIE
Thanks very much.
BARTHOLOMEW
Oh, you've got the money all right --
you just don't know you've got it.
REGGIE
Mr. Bartholomew -- if I had a quarter
of a million dollars, believe me, I'd know it.
BARTHOLOMEW
Nevertheless, Mrs Lampert -- you've got it.
REGGIE
You mean it's just lying around someplace --
all that cash?
BARTHOLOMEW
Or a safe deposit key, a certified check,
a baggage claim -- you look for it, Mrs. Lampert --
I'm quite sure you'll find it.
REGGIE
But --
BARTHOLOMEW
Look for it, Mrs. Lampert -- look just as hard
and as fast as you can. You may not have a
great deal of time. Those men know you have
it just as surely as we do. You won't be safe
until the money's in our hands. Is that clear?
REGGIE nods. He writes something on a pad of paper and
tears it off, handing it to her.
BARTHOLOMEW
Here's where you're to call me -- day or night.
It's a direct line to both my office and my apartment.
Don't lose it, Mrs. Lampert -- and please
don't tell anyone about coming to see me. It
could prove fatal for them as well as yourself.
REGGIE
Wait a minute -- you think those three
men killed Charles, don't you?
BARTHOLOMEW
We've no proof,
