A Tribute to Audrey Hepburn

Scripts
"It is infuriating that your unhappiness does not turn to fat!" - Sylvie (Scene 8 of Charade)
CHARADE
Script dated: 1 October 1962
Story by Peter Stone and Marc Behm
Screenplay by Peter Stone
Charade
Jump to: Scene 29
Charade
Jump to: Scene 77
Charade
Jump to: Scene 88
Charade
Jump to: Scene 433
CHARADE
        FADE IN (BEFORE TITLES)
   
1.      EXT. FRENCH COUNTRYSIDE -- DUSK
        Silence -- complete silence for the urbanite, though the
        oncoming darkness is punctuated by the sounds of farm
        country -- a few birds, a distant rumble of thunder from
        some heavy clouds on the horizon, a dog's barking.
 
        CAMERA PANS the green, squared-off flatland, lit only by
        a fine sunset in its final throes.  Then, gradually,
        starting from nothing, a rumble is heard, quickly growing
        louder and louder until the sound of a train can be
        recognized.
 
        CAMERA PANS quickly, discovering the railroad line atop a
        man-made rise of land, and the speeding passenger train is 
        upon us, flashing by with a roar.
 
        Then, as if from nowhere, the figure of a man hits the
        embankment and rolls crazily down to the bottom into the
        thick underbrush alongside the tracks.
 
2.      CLOSE SHOT -- BODY
        It lies in the bushes, still, unmoving -- dead.  CAMERA
        PANS AWAY to the quiet peaceful countryside as the sound
        of the train fades off until there is silence once more.
 
        TITLE MUSIC begins with a crash.
 
                               (MAIN TITLES)
 
3.)
4.)     DELETED
5.)
 
6.      FADE IN
        EXT. MEGEVE -- DAY
        A handsome and elegant hotel perched on the mountain-side
        overlooking the French resort town.  A large, open sun
        deck -- tables, gaily colored parasols, sun bathers.
 
        One of the latter is REGINA LAMPERT, a lovely young girl.
        She is, besides taking in the sun, involved in her favorite
        activity -- eating.
 
        Then -- a dark, ominous shape intrudes in the f.g.  FOCUS
        CHANGES to bring into sharp relief a revolver -- shining,
        black and ugly in the sunlight.
 
        REGGIE, unaware of her danger, continues to eat.
 
        The finger tightens around the trigger and finally the
        gun shoots -- a stream of water arcs, with unerring aim,
        straight into REGGIE's face.
 
7.      ANOTHER ANGLE
        Including JEAN-LOUIS, a French boy of six or so.  REGGIE
        looks at him sternly.
   
                               JEAN-LOUIS (in for trouble)
               Oh, la.
 
                               REGGIE 
               Don't tell me you didn't know it was loaded. 
               (calling) Sylvie! 
 
8.      WIDER ANGLE
        SYLVIE GAUDET, French, attractive, blonde, in her early
        thirties, comes from the railing of the sun deck to join
        REGGIE and JEAN-LOUIS. 
 
                               REGGIE 
               Isn't there something constructive he can
               do -- like start an avalanche? 
 
                               SYLVIE (to JEAN-LOUIS)
               Va jouer, mon ange.
 
        JEAN-LOUIS scampers off, content to have gotten off so 
        lightly.  SYLVIE notices REGGIE's lunch which consists of 
        cold chicken, potato salad, rolls and butter, wine and 
        coffee.
 
                               SYLVIE 
               When you start to eat like this something 
               is the matter. 
 
        No answer from REGGIE.  SYLVIE begins reading a magazine
        as REGGIE continues eating.
 
                               REGGIE 
               Sylvie -- I'm getting a divorce. 
 
                               SYLVIE 
               Ça alors!  From Charles? 
 
                               REGGIE 
               He's the only husband I've got.  I tried 
               to make it work, I really have -- but --
 
                               SYLVIE 
               But what? 
 
                               REGGIE 
               I don't know how to explain it.  I'm just 
               too miserable. 
 
        REGGIE picks up a chicken leg and starts off.  SYLVIE
        regards the devastated table before following.
 
                               SYLVIE 
               It is infuriating that your unhappiness 
               does not turn to fat! 
 
8A.     INT. SWIMMING POOL -- DAY
        A magnificent indoor, glass-enclosed pool, the vista of
        snow-covered mountains seen through the ceiling-high 
        windows beyond.  REGGIE and SYLVIE are passing through,
        their conversation continuing.
 
                               SYLVIE 
               But why do you want a divorce? 
 
                               REGGIE 
               Because I don't love him. 
 
                               SYLVIE 
               But that is no reason to get a divorce! 
 
8B.     EXT. HOTEL TERRACE -- DAY
        An open balcony running around two sides of the pool,
        sun-worshippers lying in deck-chairs.  REGGIE and SYLVIE
        appear, their conversation continuing.
 
                               SYLVIE 
               With a rich husband and this year's 
               clothes you will not find it difficult 
               to make some new friends. 
 
                               REGGIE (sitting)
               I admit I moved to Paris because I was
               tired of American Provincial, but that 
               doesn't mean I'm ready for French Traditional. 
               I loathe the idea of divorce, Sylvie,
               but -- if only Charles had been honest 
               with me -- that's all I ask of anybody
               -- the simple truth.  But with him,
               everything is secrecy and lies.  He's 
               hiding something -- something frightening
               -- something terrible -- and evil. 
 
        She stops as she is aware of a weird figure hovering over 
        her.  She wheels, terrified.
 
9.      CLOSE SHOT -- PERUVIAN SNOW-MASK
        A strange, grotesque knitted mask that completely covers
        the face except for eyes, nose and mouth.  The eyes inside
        this particular mask stare down at REGGIE.
 
                               MAN
               Does this belong to you? 
 
        CAMERA PANS down to include JEAN-LOUIS, his hand held
        firmly by the man in the mask.
 
10.     WIDER ANGLE
        Including REGGIE, MAN, SYLVIE and JEAN-LOUIS.  REGGIE is
        too terrified to answer.  Realizing this, the man, PETER
        JOSHUA, takes off the snow-mask to reveal a handsome,
        tanned face.
 
                               PETER
               Oh, forgive me. (indicating JEAN-LOUIS)
               Is this yours?
 
                               REGGIE (indicating SYLVIE)
               It's hers.  Where'd you find him, robbing 
               a bank? 
 
                               PETER 
               He was throwing snowballs at Baron 
               Rothschild.  (a pause)  We don't know 
               each other, do we? 
 
                               REGGIE 
               Why, do you think we're going to? 
 
                               PETER 
               I don't know -- how would I know? 
   
                               REGGIE 
               I'm afraid I already know a great many 
               people.  Until one of them dies I couldn't 
               possibly meet anyone else.
 
                               PETER (smiling)
               Yes, of course.  But you will let me know 
               if anyone goes on the critical list
               (he starts off).
 
                               REGGIE 
               Quitter. 
 
                               PETER (turning)
               How's that?
 
                               REGGIE 
               You give up awfully easy, don't you? 
 
        Eyeing one, then the other, SYLVIE sizes up the situation
        and rises.
 
                               SYLVIE 
               Viens, Jean-Louis, let us make a walk.
               I have never seen a Rothschild before.
 
        SYLVIE and JEAN-LOUIS start off, but not before the boy
        squirts PETER with his pistol. 
 
                               PETER (drying)
               Clever fellow -- almost missed me. 
 
                               REGGIE 
               I'm afraid you're blocking my view. 
 
                               PETER (moving)
               Sorry.  Which view would you like? 
 
                               REGGIE 
               The one you're blocking.  This is the last 
               chance I have -- I'm flying back to Paris 
               this afternoon.  What's your name? 
   
                               PETER 
               Peter Joshua.
 
                               REGGIE 
               I'm Regina Lampert. 
 
                               PETER 
               Is there a Mr. Lampert? 
 
                               REGGIE 
               Yes. 
 
                               PETER 
               Good for you. 
   
                               REGGIE 
               No, it isn't.  I'm getting a divorce. 
   
                               PETER 
               Please, not on my account. 
   
                               REGGIE 
               No, you see, I don't really love him. 
   
                               PETER 
               Well, you're honest, anyway. 
 
                               REGGIE 
               Yes, I am -- I'm compulsive about it --
               dishonesty infuriates me.  Like when you go 
               into a drugstore.
   
                               PETER 
               I'm not sure I --
 
                               REGGIE 
               Well, you go in and you ask for some
               toothpaste -- the small size -- and the man brings
               you the large size.  You tell him you wanted
               the small size but he says the large size is
               the small size.  I always thought the large 
               size was the largest size, but he says that
               the family size, the economy size and the
               giant size are all larger than the large size
               -- that the large size is the smallest size
               there is.
 
                               PETER 
               Oh.  I guess.
 
                               REGGIE 
               Is there a Mrs. Joshua? 
   
                               PETER 
               Yes, but we're divorced. 
   
                               REGGIE 
               That wasn't a proposal -- I was just curious. 
   
                               PETER 
               Is your husband with you? 
   
                               REGGIE 
               Oh, Charles is hardly ever with me.  First it
               was separate rooms -- now we're trying it
               with cities.  What do people call you -- Pete? 
   
                               PETER 
               Mr. Joshua. (turning to go)  Well, I've 
               enjoyed talking with you. 
   
                               REGGIE  
               Now you're angry. 
 
                               PETER 
               No, I'm not -- I've got some packing to do.  I'm 
               also going back to Paris today. 
 
                               REGGIE 
               Oh.  Well, wasn't it Shakespeare who said:
               "When strangers do meet they should erelong 
               see one another again"? 
 
                               PETER 
               Shakespeare never said that.
   
                               REGGIE 
               How do you know? 
   
                               PETER 
               It's terrible -- you just made it up. 
   
                               REGGIE 
               Well, the idea's right, anyway.  Are you 
               going to call me? 
   
                               PETER 
               Are you in the book? 
   
                               REGGIE 
               Charles is. 
   
                               PETER 
               Is there only one Charles Lampert? 
 
10A.    DELETED
 
10B.    CLOSE SHOT -- REGGIE
        Her face clouding.
   
                               REGGIE 
               Lord, I hope so. 
 
11.     EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY
        The Arc de Triomphe at the far end of the Avenue.  CAMERA 
        PANS to pick up a TAXI as it pulls up before the handsome
        building.  Inside are REGGIE, SYLVIE and JEAN-LOUIS.
 
12.     MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE
        As REGGIE climbs out and the DRIVER begins unloading her 
        suitcases.
   
                               REGGIE 
               Goodbye, Sylvie, and thanks. (She turns
               toward the house).
 
        JEAN-LOUIS sticks his head out of the taxi window.
 
                               JEAN-LOUIS 
               When you get your divorce will you be
               going back to America? 
 
13.     MED. SHOT -- THE TAXI
        REGGIE looks at SYLVIE, surprised.
 
                               SYLVIE
               He knows everything.
 
                               REGGIE (to JEAN-LOUIS)
               Don't you want me to stay? 
 
                               JEAN-LOUIS 
               Yes, of course -- but if you went back and 
               wrote me a letter -- 
 
                               REGGIE 
               -- you could have the stamps.  I'll get 
               you some here, okay? 
 
                               JEAN-LOUIS 
               Okay. 
 
        REGGIE walks toward the house with the driver, who carries 
        her cases.  She presses the button that electrically opens 
        the front door.
 
14.     DELETED
 
15.     INT. APARTMENT LANDING -- DAY
        As the elevator rises REGGIE gets out, followed by the 
        driver.  He puts down the bags in front of the apartment
        door.
 
                               REGGIE (handing him a tip)
               Merci.
 
        The driver leaves.  She goes to the door and presses the
        minuterie, the button that turns on the time-light, and the
        lights come on.  Then she rings the doorbell.  There is no
        answer.  She rings again.  Still nothing.  Sighing, she
        digs out her keys and starts to fit it into the lock.  At
        this moment the minuterie expires, plunging the scene into
        darkness.
 
                               REGGIE'S VOICE
               Wonderful.
 
        She finds the button and the light goes on again.  She
        inserts the key and turns it.
 
16.     INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY
        CLOSE SHOT -- DOOR as it opens and REGGIE steps into the
        CLOSE SHOT.
 
        She stops, her expression changing.
 
17.     REVERSE SHOT 
        From REGGIE's p.o.v. as CAMERA PANS the entrance hall.  It
        is bare -- no furniture, no rug, no pictures, no nothing.
 
18.     MED. SHOT -- REGGIE
        She stares for a moment, then goes back out into the 
        landing.
  
19.     INT. APARTMENT LANDING -- DAY
        As REGGIE steps back outside.  She looks at the nameplate
        beside the door.
 
20.     INSERT NAMEPLATE
        It reads "MR. AND MRS. CHARLES LAMPERT."
 
21.     INT. APARTMENT LANDING -- DAY
        REGGIE looks at the plate in disbelief, then turns and
        hurries back into the apartment.
 
22.     INT. LAMPERT APARTMENT -- DAY
        As REGGIE hurries into the entrance hall.
 
                              REGGIE 
               Honorine -- !
 
        No answer.
 
        Now, CAMERA FOLLOWING, she goes into the Salon.  It is
        also empty -- stripped bare.  There are squares of the wall's
        original color where paintings used to hang, the hooks
        still in the wall.
 
        She rushes now, going into the bedroom, CAMERA FOLLOWING
        crazily, lurching and careening behind her.  The bedroom,
        too, is empty.  She goes to the built-in wardrobe closets
        and throws open all the doors.  Only some hangers remain.
        She pulls open the drawers -- nothing!
 
                               REGGIE 
               Charles -- !
 
        She turns, and running now, goes through another door to
        the library, CAMERA FOLLOWING.  The rows of shelves are
        as empty as the rest of the apartment.  She begins to turn
        in a circle, looking for something, anything.  In a panic
        she turns and runs out, colliding suddenly with a MAN whom
        she (and we) have not noticed until the moment of impact.
        REGGIE screams.
 
23.     CLOSE SHOT -- INSPECTOR GRANDPIERRE
        A heavy-set man of no particular age with tobacco-colored
        hair, and thick glasses.
 
                               GRANDPIERRE 
               Madame Charles Lampert? 
 
24.     WIDER ANGLE
        Including REGGIE, in a state of near-shock.
 
                               REGGIE 
               Yes.
 
                               GRANDPIERRE 
               I am Inspector Edouard Grandpierre
               of the Police Judiciaire.  Would you be 
               so kind as to come with me, please? 
 
25.     INT. MORGUE -- DAY
        We see a large metal drawer being opened and an all-too-
        familiar shape outlined under a damp sheet of muslin.
 
26.     ANOTHER ANGLE -- OVERHEAD
        Looking straight down at the tops of REGGIE's, GRANDPIERRE's
        and an ATTENDANT's head and smack into the open drawer.
        GRANDPIERRE lifts a corner of the sheet at the bottom and
        reveals a bare foot with a ticket tied to its big toe.
        He stoops to read it.  Satisfied, he recovers the foot,
        then moves to the other end to uncover the head.  As the 
        sheet starts to lift:
 
27.     REVERSE SHOT
        REGGIE as she looks down into the CAMERA.  She closes her
        eyes for a moment, then looks again.
 
                               GRANDPIERRE'S VOICE (o.s.) 
               Well, Madame -- ? 
 
        She nods.
 
                               GRANDPIERRE'S VOICE (o.s.) 
               You are positive?
 
        She nods again.  GRANDPIERRE moves into the SHOT.
 
                               GRANDPIERRE
               You loved him? 
 
                               REGGIE 
               I'm very cold. 
 
        GRANDPIERRE nods as he turns to the unseen ATTENDANT.
        CAMERA suddenly moves as the 'drawer' is slid back into
        the wall.  BLACKNESS comes with a loud clang and continues
        while the echo dies.
 
28.   INT. GRANDPIERRE'S OFFICE -- DAY
        CLOSE SHOT -- DESK DRAWER (FROM ABOVE) as it is pulled open.
        A photograph of Charles Lampert lies face up in the drawer.
        A hand reaches in and pulls it out.
 
29.     WIDER ANGLE
        Including GRANDPIERRE sitting behind his desk, and REGGIE,
        sitting across from him.  The office is as bare as most
        policemen's offices.  GRANDPIERRE studies the photo.
 
                               GRANDPIERRE
               We discovered your husband's body lying next 
               to the tracks of the Paris-Bourdeaux railroad 
               line.  He was dressed only in his pajamas. 
               Do you know of any reason why he might have 
               wished to leave France? 
 
                               REGGIE 
               Leave? 
 
                               GRANDPIERRE 
               Your husband possessed a ticket of passage 
               on the 'Maranguape.'  It sailed from Bordeaux
               for Maracaibo this morning at seven.
 
                               REGGIE (a pause)
               I'm very confused. 
 
        She starts to rummage through her bag.  GRANDPIERRE shoves
        a package of French cigarettes across the desk to her.  But
        she pulls a package of nuts out of her bag.  She begins
        separating the shells with her thumb nail and eating the
        nuts, depositing the shells in the ashtray.  GRANDPIERRE
        watches this for an instant.
 
                               GRANDPIERRE 
               He was American? 
 
                               REGGIE 
               Swiss. 
 
                               GRANDPIERRE 
               Oh.  Swiss.  His profession? 
 
                               REGGIE 
               He didn't have one. 
 
                               GRANDPIERRE 
               He was a wealthy man? 
 
                               REGGIE 
               I don't know.  I suppose so. 
 
                               GRANDPIERRE 
               About how wealthy would you say? 
 
                               REGGIE 
               I don't know. 
 
                               GRANDPIERRE 
               Where did he keep his money? 
 
                               REGGIE 
               I don't know. 
 
                               GRANDPIERRE 
               Besides yourself, who is his nearest relation? 
 
                               REGGIE 
               I don't know. 
 
                               GRANDPIERRE (exploding) 
               C'est absurde, Madame.  To-tale-ment absurde! 
 
                               REGGIE 
               I know.  (pause)  I'm sorry. 
 
                               GRANDPIERRE 
               It is all right. 
 
        GRANDPIERRE sighs, puts down his pencil and pushes a button
        on the desk.  He removes a cigar from his desk and inserts
        it into his mouth.
 
                               GRANDPIERRE
               Is it all right?
 
                               REGGIE 
               I wish you wouldn't. 
 
        He rips the cigar out of his mouth and slams it back into
        the drawer, closing it fiercely.  A UNIFORMED POLICEMAN
        sticks his head in the door.
 
                               GRANDPIERRE
               Les effets de Lampert.
 
        The POLICEMAN leaves and closes the door.
 
                               GRANDPIERRE 
               On Wednesday last your husband sold the entire 
               contents of the apartment at public auction. 
               Furniture, clothing, kitchenware -- everything. 
               The gallery, in complying with his wishes, paid 
               him in cash.  One million two hundred and fifty 
               thousand New Francs.  In dollars, a quarter 
               of a million.  The authorities in Bordeaux
               have searched his compartment on the train. 
               They have searched it thoroughly.  They did 
               not find $250,000, Madame.
 
        He opens the desk drawer, puts the cigar back in his mouth
        and lights a match by scratching it against the glass desk-top
        before he remembers REGGIE's request.  He puts it back in
        the drawer again.  The door opens and the POLICEMAN enters
        again, this time carrying a wicker basket which he deposits
        on GRANDPIERRE's desk, and leaves.  GRANDPIERRE peers into 
        the basket.
 
                               GRANDPIERRE 
               These few things are all that was found in the 
               train compartment.  There was no other baggage. 
               Your husband must have been in a great hurry. 
 
        He begins to take them out, placing them on the desk,
        identifying each item as he does.
 
                               GRANDPIERRE 
               One wallet containing four thousand francs --
               one agenda -- (pausing, he opens the notebook) --
               his last notation was made yesterday -- Thursday --
               (reading) "Five p.m. -- Jardin des Champs-Elysées"
               (looking up)  Why there? 
 
                               REGGIE 
               I don't know.  Perhaps he met somebody. 
 
                               GRANDPIERRE (dryly) 
               Obviously. (returning to the items in the
               basket)  One ticket of passage to South America
               -- one letter, stamped but unsealed, addressed 
               to you --
 
                               REGGIE (lighting up)
               A letter?  May I see it? 
 
        GRANDPIERRE hands her the letter and watches her closely
        as she reads it.
 
                               REGGIE (reading)
               "My dear Regina:  I hope you are enjoying your
               holiday.  Megeve can be so lovely this time of 
               year.  The days pass very slowly and I hope to 
               see you soon.  As always, Charles.  P.S. Your 
               dentist called yesterday.  Your appointment has 
               been changed."  (she looks up, puzzled)  Not 
               very much, is it? 
 
                               GRANDPIERRE 
               We took the liberty of calling your dentist -- 
               we thought, perhaps, we would learn something. 
 
                               REGGIE 
               Did you? 
 
                               GRANDPIERRE 
               Yes.  Your appointment has been changed. (he
               smiles at his little joke, then returns to the 
               basket).  One key to your apartment -- one comb --
                one fountain pen --  one toothbrush -- one tin of 
               tooth powder (he looks up) -- that is all. 
 
        He slides a sheet of paper and pen across to her, then
        starts to put the things back into the basket while he
        speaks:
 
                               GRANDPIERRE 
               If you will sign this list you may take the 
               things with you. 
 
                               REGGIE (sighing) 
               Is that all?  Can I go now? 
 
                               GRANDPIERRE 
               One more question.  Is this your husband's 
               passport? 
 
        He reaches into the desk drawer and pulls out a passport
        which he hands to her. 
 
30.     INSERT -- PASSPORT
        The cover indicates that it is Swiss.  REGGIE's hand opens
        it to a picture of a man -- the man we saw in GRANDPIERRE's
        photo.  Under it is the name: "CHARLES LAMPERT."
   
31.     MED. SHOT -- REGGIE AND GRANDPIERRE
 
                               REGGIE 
               Of course it is.
   
                               GRANDPIERRE 
               And this? 
 
        He hands her another passport.
 
32.     INSERT -- SECOND PASSPORT
        The cover is American.  When it is opened, we see the 
        identical picture, but the name under it reads: "CHARLES
        VOSS."
 
33.     MED. SHOT -- REGGIE AND GRANDPIERRE
 
                               REGGIE 
               I don't understand. 
 
                               GRANDPIERRE 
               And this?  And this?
 
        He hands her, one at a time, two more passports.
 
34.     INSERT -- THIRD AND FOURTH PASSPORTS
        One is Italian which, when opened, shows the same photo
        with the name "CARLO FABRI."  The other is Venezuelan, the
        same photo, and the name "CARLOS MORENO."
 
35.     MED. SHOT -- REGGIE AND GRANDPIERRE
 
                               GRANDPIERRE 
               Have you nothing to say, Madame?
        REGGIE looks down at the four passports, then back to
        GRANDPIERRE.
 
                               REGGIE (hopefully)
               It's all right if you want to smoke your 
               cigar now.
        
36.     INT. LAMPERT APARTMENT -- DUSK
        The house is empty as before.  Now it is silent, the late
        afternoon light coming from outside.  REGGIE stands by a
        window.  A canvas airline bag rests on the floor nearby.
 
        Suddenly there is the noise of a DOOR OPENING.
 
37.     CLOSER SHOT -- REGGIE
        As her head turns, in alarm, toward the noise.  There is a
        moment of silence, then FOOTSTEPS are heard, coming closer.
 
38.     ANOTHER ANGLE
        As PETER enters.
 
                               REGGIE (surprised)
               What are you doing here?
 
                               PETER 
               I phoned but nobody answered.  I wanted to 
               tell you how sorry I am -- and to find out
               if there was anything I could do. 
 
                               REGGIE 
               How did you find out? 
 
                               PETER 
               It's in all the afternoon papers.  I'm very 
               sorry. 
 
                               REGGIE 
               Thank you. 
 
        A silence.
 
                               PETER 
               I rang the bell but I don't think it's
               working. 
 
                               REGGIE 
               Yes it is -- I heard it this morning.
 
        He looks around for the light switch, then goes to it and
        flicks it on -- nothing happens.  He flicks it a few more 
        times.
 
                               REGGIE 
               They must have turned off the electricity. 
 
        She shakes her head.  PETER looks around. 
 
                               PETER 
               Where did everything go? 
 
                               REGGIE 
               Charles sold it all -- at auction. 
 
                               PETER 
               Do you know what you're going to do? 
 
                               REGGIE 
               Try and get my old job back at UNESCO, I 
               suppose. 
 
                               PETER 
               Doing what? 
 
                               REGGIE 
               I'm a simultaneous translator -- like Sylvie, 
               only she's English to French -- I'm French 
               to English.  That's what I did before I married 
               Charles.   The police probably think I killed 
               him. 
 
                               PETER 
               Instant divorce you mean? 
 
                               REGGIE 
               Something like that.  But I'm sorry it 
               ended like this -- tossed off a train like a 
               sack of third-class mail. 
 
                               PETER (taking her hand)
               Come on.  You can't stay here. 
 
                               REGGIE 
               I don't know where to go. 
 
                               PETER 
               We'll find you a hotel. 
 
                               REGGIE  
               Not too expensive -- I'm not a lady of 
               leisure anymore. 
 
                               PETER 
               Something modest but clean -- and near enough 
               to UNESCO so you can take a cab when it rains 
               -- okay? 
 
        She nods.  He picks up the airlines bag and they start out.
        REGGIE stops at the door and looks back.
 
                               REGGIE  
               I loved this room -- but Charles never 
               saw it -- only what was in it.  All those
               exquisite things -- (looking around)  I 
               think I prefer it like this. 
 
38A.    INT. FUNERAL CHAPEL -- DAY
        CLOSE SHOT of a phonograph. A hand appears, starts the
        record on it spinning, then places the arm at the beginning.
        An instant later ORGAN MUSIC starts with a roar.
 
39.     INT. FUNERAL CHAPEL -- DAY
        CLOSE SHOT of the coffin.  It rests on a low platform, with
        a bouquet or two of flowers near the head, the lid open.
        Inside, the face made up to look lifelike (but failing),
        lie the remnants of Charles Lampert.
 
40.     CLOSE SHOT -- GRANDPIERRE
        The INSPECTOR sits quietly, eyes downcast, staring at his
        hands in a prayer-like attitude.  CAMERA PULLS BACK,
        revealing row after row of empty wooden bench-like seats in
        the large, dimly-lit, high-ceilinged room.  Finally, in the
        first row, REGGIE and SYLVIE are discovered.  Besides
        GRANDPIERRE, they are the only ones present.  REGGIE turns
        around to look at the empty room.  They speak in whispers.
 
                               REGGIE 
               It's not exactly what I'd call a large 
               turn-out.
 
                               SYLVIE 
               Didn't Charles have any friends? 
 
                               REGGIE 
               Don't ask me -- I'm only the widow. 
               (indicating GRANDPIERRE)  If Charles 
               had died in bed we wouldn't even have 
               him. 
 
                               SYLVIE
               At least he knows how to behave at funerals. 
 
41.     CLOSE SHOT -- GRANDPIERRE
        His eyes still lowered.  CAMERA PANS DOWN to feature his 
        hands -- he is methodically trimming his nails with a 
        small clipper.
 
42.     TWO SHOT -- SYLVIE AND REGGIE
 
                               SYLVIE
               Have you no idea who could have 
               done it? 
 
                               REGGIE 
               Until two days ago all I really knew 
               about Charles was his name -- now it turns
               out I didn't even know that.
 
        The front DOOR of the Chapel is heard opening and a shaft
        of daylight streams in.  The WOMEN turn.
 
43.     MED. SHOT -- CHAPEL DOOR
        The short, heavy-set figure of a MAN is outlined against
        the bright outdoor light.  He stands for a moment, then
        closes the door after him.  LEOPOLD GIDEON, short-sighted, 
        bald, in his middle forties, glances around nervously,
        like a barnyard bird.  Then he walks down one of the side
        aisles of the Chapel.
 
44.     CLOSE SHOT -- GRANDPIERRE
        As he watches GIDEON.
 
45.     CLOSE SHOT -- REGGIE
        As she watches him.
 
46.     MED. SHOT -- THE BIER
        GIDEON arrives at the coffin.  He stops, looks down at
        LAMPERT's body for a moment.  Then, suddenly, in rapid
        succession, he sneezes six times.  He takes a small bottle
        from his pocket, shakes a pill from it and swallows it dry.
        He turns and walks back up the aisle, looking for a place
        to sit.  He comes face to face with GRANDPIERRE, stops,
        turns to sit somewhere else.
 
47.     TWO SHOT -- REGGIE AND SYLVIE
 
                               SYLVIE 
               Do you know him? 
 
                               REGGIE 
               I've never seen him before. 
 
                               SYLVIE 
               He must have known Charles pretty well. 
 
                               REGGIE 
               How can you tell? 
 
                               SYLVIE 
               He's allergic to him. 
 
        SYLVIE turns and glances at GIDEON.  Again, the sound of
        the DOOR opening interrupts them.  They turn to look.
 
48.     MED. SHOT -- CHAPEL DOOR
        Again the figure of a MAN is outlined in silhouette against
        the outside brightness.  When he closes the door we can see
        "TEX" PENTHOLLOW, a slim, rangy man with sandy-colored hair,
        a weatherbeaten face, washed-out blue-eyes -- also in his
        forties.  He wears a velvet-corduroy suit, string tie and a
        bright yellow flower in his lapel.  A bulldurham tag hangs
        from his outside breast pocket, dangling from its string.
        He starts down the aisle toward the bier, CAMERA LEADING
        him, and we notice his unsteady gait.  He turns to look at 
        the others present.
 
49.     TRAVELING SHOT -- TEX'S P.O.V.
        MOVING down the aisle.  GRANDPIERRE's face, then GIDEON's,
        then REGGIE's and SYLVIE's -- all staring at CAMERA.
 
50.     MED. SHOT -- THE BIER
        As TEX arrives.  He stands staring at LAMPERT's body,
        swaying on his feet until he reaches out and grabs the 
        side of the coffin to steady himself.  Then he takes the
        flower from his lapel and throws it into the open box.
 
51.     CLOSE SHOT -- TEX
        
                               TEX (heavy Texas accent)
               Ariva durchy, Charlie.
 
52.     WIDER ANGLE
        As TEX turns away from the coffin and approaches REGGIE and 
        SYLVIE, addressing the latter -- after having first reached 
        for his hat which he discovers he isn't wearing.
 
                               TEX
               Miz Lampert, ma'am . . .
 
        SYLVIE points to REGGIE.  Unruffled, TEX starts over.
        addressing REGGIE this time.
 
                               TEX
               Miz Lampert, ma'am . . .
 
                               REGGIE
               Yes?
 
                               TEX
                Charlie had no call to handling it this-a-way. 
               He sure didn't.  No siree. 
 
                               REGGIE
               I don't understa--
 
        But TEX has nodded his head and moved off to find a seat.
        When he spots GIDEON, the two men stare at each other.
        Finally, TEX chooses a seat away from him and sits.
 
53.     MED. SHOT -- CHAPEL DOOR
        It flies open, this time with a bang, and the large MAN
        who appears almost fills the frame.
 
54.     CLOSER SHOT -- TEX
        As the loud noise awakens him with a snort, mid-snore.
 
55.     MED. SHOT -- THE DOOR
        Closing the door, we see HERMAN SCOBIE, a heavy-weight --
        tall and wide, but not fat -- with black hair combed straight
        back and heavy bushy eyebrows of a matching color, which
        meet over his nose and join up.  About the same age as the
        first two men, SCOBIE is dressed in a battered raincoat, his
        hands thrust deep in the pockets.  He marches down the aisle.
        looking straight ahead, CAMERA PANNING with him.  He stops
        before the coffin and stares into it.
 
56.     CLOSE SHOT -- SCOBIE
        As he stares down into the coffin, his tongue trying to 
        dislodge a bit of food caught in his teeth.  He stares hard
        at the body, squinting his eyes.  Then he removes one hand 
        from his pocket, removes a pin from the inside of his lapel,
        picks his teeth with it, then slowly lets the hand down,
        into the coffin.
 
57.     CLOSE SHOT -- SCOBIE'S HAND
        The pin held between thumb and forefinger, he jabs it slowly 
        but positively deep into the back of one of the dead man's
        hands.  There is no reaction.
 
58.     CLOSE SHOT -- SCOBIE
        He watches the dead man carefully, still squinting.  Then
        finally satisfied, he returns the pin to his lapel and walks
        back up the aisle and out of the door, slamming it after him.
 
59.     CLOSE SHOT -- REGGIE
        Having watched SCOBIE exit.  Suddenly a hand falls on her
        shoulder.  She jumps in alarm and utters a little cry of
        fright.
 
60.     ANOTHER ANGLE
        Featuring a funeral ATTENDANT, a cadaverous type (aren't
        they all) with a black cut-away coat and an over-solicitous,
        unctuous manner.  He is eternally bent at the waist, in a 
        sort of half bow.  He offers REGGIE a letter which she takes.
 
                               REGGIE 
               Merci, Monsieur.
 
                               ATTENDANT
               Pas du tout, madame, pardon -- pardon -- pardon.
 
        He backs off and is gone.   REGGIE looks at the letter, back
        and front, then starts to open it.
 
                               SYLVIE 
               Who is it from? 
 
                               REGGIE
               The American Embassy. 
 
        She pulls out the letter and starts to read it.
 
61.     INSERT -- THE LETTER
        It bears the Great Seal as a letterhead and the typed
        message reads:
 
               "Dear Mrs. Lampert: 
               Please drop by my office tomorrow 
               at noon-thirty. I am anxious to 
               discuss the matter of your late 
               husband's death. 
                                      Sincerely, 
               (signed)          H. Bartholomew." 
   
62.     TWO SHOT -- REGGIE AND SYLVIE
        SYLVIE has been reading over REGGIE's shoulder.
 
                               SYLVIE 
               What is it about?
 
                               REGGIE
               I don't know.  But if this is a sample of
               American diplomacy I'm buying a fallout shelter.
 
63.     EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY
        The fine old building in the Rue Gabriel.
 
64.-    DELETED
68.
 
69.     INT. EMBASSY CORRIDOR -- DAY
        As REGGIE leaves the elevator two young DIPLOMATIC TYPES
        step in, immersed in conversation.
 
                               1ST DIPLOMATIC TYPE
               I bluffed the Old Man out of the last pot --
               with a pair of deuces. 
 
                               2ND DIPLOMATIC TYPE
               What's so depressing about that? 
 
                               1ST DIPLOMATIC TYPE
               If I can do it, what are the Russians 
               doing to him? 
 
        The elevator door closes on them.  REGGIE reacts to this and
        starts down the hall, finally stopping at the door.
 
70.     MED. SHOT -- DOOR
        It is marked "307-A  H. BARTHOLOMEW."  REGGIE checks the
        letter, then opens the door.
 
71.     INT. BARTHOLOMEW'S OUTER OFFICE -- DAY
        The office is empty, the typewriter on the secretary's desk
        is covered with its plastic shroud.  REGGIE enters, looks 
        for somebody, notices that the door to the private office is
        slightly ajar.
 
                               REGGIE (tentatively) 
               Hello -- ? (there is no answer)  Hello? 
 
                               BARTHOLOMEW'S VOICE (o.s.) 
               (from the private office)  Is there anything 
               wrong, Miss Tompkins? 
 
                               REGGIE 
               Uh -- Miss Tompkins isn't here. 
 
        BARTHOLOMEW comes to the door and looks in.  He is a pale
        grey-haired man who looks, on first examination, older than
        his forty-odd years.  Sickly would be the word that describes
        him best -- pallid, consumptive-looking.  He wears heavy
        tortoise-framed glasses which fall down his nose and cause
        him to push them back in place every so often with a quick
        automatic motion.
 
                               BARTHOLOMEW 
               I'm sorry -- my secretary must have gone 
               to lunch.  You are -- ?
 
                               REGGIE 
               Mrs. Lampert -- Mrs. Charles Lampert. 
 
                               BARTHOLOMEW (looking at his watch) 
               Come in, Mrs. Lampert. You're quite late.
 
        He motions for her to enter, standing aside to let her do so.
 
72.     INT. BARTHOLOMEW'S PRIVATE OFFICE -- DAY
        A small cubicle -- there is a silver-framed photo of three
        kids on the desk.  BARTHOLOMEW indicates a chair, then
        goes behind his desk and sits.  A can of lighter fluid
        stands open on the desk and a crumpled hankie beside it.
 
                               BARTHOLOMEW
               Excuse me for a moment, Mrs. Lampert --
               it's a stubborn little devil. 
 
        He works at a stain on his necktie with lighter fluid and 
        hankie.
 
                               BARTHOLOMEW
               Dry-cleaningwise, things are all fouled
               up.  I had a good man - an excellent 
               man on the Rue Ponthieu, but H.Q. asked us to 
               use the plant here in the building -- to ease the 
               gold outflow. 
 
                               REGGIE 
               Mr. Bartholomew -- are you sure you know 
               who I am? 
 
                               BARTHOLOMEW (looking up)
               Charles Lampert's widow -- yes?  (going back 
               to the tie)  Last time I sent out a tie 
               only the spot came back. 
 
        He looks up at her, laughs silently, then goes back to his
        tie.
 
                               BARTHOLOMEW
               Voilà!  As they say. 
 
        He puts away the lighter fluid in a desk drawer, smells 
        the hankie, passes on it, then sticks it in his pocket.
        He opens another drawer and pulls out various sandwiches
        wrapped in waxpaper, a salt and pepper shaker, a tube of
        mustard, a bottle of red wine and two Dixie cups.
 
                               BARTHOLOMEW
               Have some, please.  I've got . . .  (checking)
               . . . liverwurst -- liverwurst -- chicken and --
               liverwurst. 
               
                               REGGIE
               No thanks.
 
        He uncorks the wine, fills a cup and begins eating.
 
                               BARTHOLOMEW 
                Do you know what C.I.A. is, Mrs. Lampert?
 
                               REGGIE 
               I don't suppose it's an airline, is it? 
 
                               BARTHOLOMEW
               Central Intelligence Agency -- C.I.A. 
 
                               REGGIE (surprised)
               You mean spies and things like that? 
 
                               BARTHOLOMEW 
               Only we call them agents. 
 
                               REGGIE 
               We?  You mean you're --? 
 
                               BARTHOLOMEW 
               Someone has to do it, Mrs. Lampert --
 
                               REGGIE 
               I'm sorry, it's just that I didn't think that
               you people were supposed to admit --
 
                               BARTHOLOMEW
               I'm not an agent, Mrs. Lampert -- I'm an administrator
               -- a desk jockey -- trying to run a bureau 
               of overworked men with under-allocated funds. 
               Congress seems to think that all a spy needs --
 
                               REGGIE 
               Agent. 
 
                               BARTHOLOMEW
               Yes -- That all he needs is a code book and a 
               cyanide pill and he's in business. 
 
                               REGGIE 
               What's all this got to do with me, Mr. Bartholomew? 
 
                               BARTHOLOMEW (his mouth full)
               Your husband was wanted by the U. S. government. 
 
                               REGGIE (a pause)
               May I have a sandwich, please? 
 
        He hands her a sandwich and fills a wine-cup for her.
 
                               BARTHOLOMEW 
               To be more specific, he was wanted by this agency.
 
                               REGGIE (eating) 
               So that was it.
   
                               BARTHOLOMEW 
               Yes.  We knew him, of course, by his real name.
 
                               REGGIE (almost choking)
               His -- real -- ?
 
                               BARTHOLOMEW 
               Voss -- Charles Voss.  All right, Mrs. Voss --
               (taking a photo from his desk) -- I'd like you 
               to look at this photograph, please -- by the 
                way, you saw this one, didn't you? (indicating 
               the kids on the desk) Scott, Cathy, and Ham, Jr. 
 
                               REGGIE 
                Very sweet. 
 
                               BARTHOLOMEW 
               Aren't they?  Now look at this one, Mrs. Voss, and --
 
                               REGGIE 
               Stop calling me that!  Lampert's the name on 
               the marriage license. 
 
                               BARTHOLOMEW 
               Yes -- and tell me if you recognize anyone.
               Just a moment.  Have a good look.
 
        He reaches back into the drawer and pulls out a glass which 
        he gives her.
 
73.     CLOSE SHOT -- PHOTO
        FOUR MEN, all in army uniform, sitting behind a table.  The
        glass is held over the first, magnifying the face.
 
74.     CLOSER SHOT -- PHOTO
        It's a photo of a young CHARLES LAMPERT.
 
                               REGGIE'S VOICE (o.s.)
               It's Charles! 
 
                               BARTHOLOMEW'S VOICE (o.s.)
               Very good. 
 
                               REGGIE'S VOICE (o.s.)
               He looks so young -- when was this taken? 
 
                               BARTHOLOMEW'S VOICE (o.s.)
               1944.  The next face, please. 
 
        The glass and CAMERA move to the next man -- a young TEX.
 
                               REGGIE'S VOICE (o.s.)
               It's the man who came to the funeral 
               yesterday -- I'm sure of it -- a tall 
               man in a corduroy suit and string tie.
 
                               BARTHOLOMEW'S VOICE (o.s.)
               Does the name Tex Penthollow mean 
               anything to you? 
 
                               REGGIE'S VOICE (o.s.)
               No.
        
                               BARTHOLOMEW'S VOICE (o.s.)
               Next, please. 
 
        The glass and CAMERA move to the third face -- a young GIDEON.
 
                               REGGIE'S VOICE (o.s.)
               Yes -- and he was there, too -- a little 
               fatter now -- and less hair -- but it's 
               the same one. 
 
                               BARTHOLOMEW'S VOICE (o.s.)
               Do you know him, Mrs. Vo -- Mrs. Lampert? 
               Leopold W. Gideon? 
 
                               REGGIE'S VOICE (o.s.)
               No. 
 
                               BARTHOLOMEW'S VOICE (o.s.)
               The last one, please. 
 
        The glass and CAMERA move to the fourth face -- a young
        SCOBIE.
 
                               REGGIE'S VOICE (o.s.)
               That's a face you don't forget -- he 
               was there too -- 
 
                               BARTHOLOMEW'S VOICE (o.s.)
               Herman Scobie.  And you've never seen 
               him before, either? 
 
                               REGGIE'S VOICE (o.s.)
               No, thank heaven.
 
75.     MED. SHOT -- REGGIE AND BARTHOLOMEW
 
                               BARTHOLOMEW (a pause, regarding her)
               Mrs. Lampert, I'm afraid you're in a great 
               deal of danger. 
 
                               REGGIE 
               Danger?  Why should I be in any danger? 
 
                               BARTHOLOMEW
               You're Charles Voss's wife -- now that he's 
               dead you're their only lead. 
 
                               REGGIE 
               Mr. Bartholomew -- if you're trying to 
               frighten me you're doing a really first-
               rate job!  (she takes another sandwich).
 
                               BARTHOLOMEW 
               Please, do what we ask, Mrs. Lampert --
               it's your only chance. 
 
                               REGGIE (eating)
               Gladly, only I don't know what you want! 
               You haven't told me. 
 
                               BARTHOLOMEW 
               Oh, haven't I?  The money -- Mrs. Lampert -- 
               the money.  The $250,000 Charles Voss 
               received from the auction.  Those three 
               men want it, too -- they want it very badly. 
 
                               REGGIE 
               But it's Charles's money, not theirs. 
 
                               BARTHOLOMEW (laughing)
               Oh, Mrs. Lampert!  I'd love to see you 
               try and convince them of that!  (drying
               his eyes)  Oh, dear.
 
                               REGGIE 
               Then whose is it?  His or theirs? 
 
                               BARTHOLOMEW 
               Ours. 
 
                               REGGIE (she looks at him
               for a moment).  Oh, I see.
 
                               BARTHOLOMEW 
               And I'm afraid we want it back. 
 
                               REGGIE 
               But I don't have it. 
 
                               BARTHOLOMEW
               That's impossible.  You're the only one 
               who could have it. 
 
                               REGGIE 
               I'm sorry it's impossible.  It's the truth.
 
        BARTHOLOMEW is silent for a moment, thinking.
 
                               BARTHOLOMEW
               I believe you.
 
                               REGGIE 
               Thanks very much.
 
                               BARTHOLOMEW
               Oh, you've got the money all right --
               you just don't know you've got it.
 
                               REGGIE 
               Mr. Bartholomew -- if I had a quarter 
               of a million dollars, believe me, I'd know it.
 
                               BARTHOLOMEW 
               Nevertheless, Mrs Lampert -- you've got it. 
 
                               REGGIE 
               You mean it's just lying around someplace --
               all that cash? 
 
                               BARTHOLOMEW 
               Or a safe deposit key, a certified check, 
               a baggage claim -- you look for it, Mrs. Lampert --
               I'm quite sure you'll find it. 
 
                               REGGIE 
               But --
 
                               BARTHOLOMEW 
               Look for it, Mrs. Lampert -- look just as hard 
               and as fast as you can.  You may not have a 
               great deal of time.  Those men know you have 
               it just as surely as we do.  You won't be safe 
               until the money's in our hands.  Is that clear? 
 
        REGGIE nods.  He writes something on a pad of paper and
        tears it off, handing it to her.
 
                               BARTHOLOMEW 
               Here's where you're to call me -- day or night. 
               It's a direct line to both my office and my apartment. 
               Don't lose it, Mrs. Lampert -- and please 
               don't tell anyone about coming to see me.  It
               could prove fatal for them as well as yourself. 
 
                               REGGIE 
               Wait a minute -- you think those three 
               men killed Charles, don't you?
 
                               BARTHOLOMEW 
               We've no proof,