Charade (1963) 
      
Directed by Stanley Donen
      
Screenplay by Peter Stone
      
Story by Marc Behm & Peter Stone




Cary Grant............................... Peter Joshua
Audrey Hepburn......................... Regina Lampert 
Walter Matthau................... Hamilton Bartholomew 
James Coburn........................... Tex Panthollow 
George Kennedy.......................... Herman Scobie 
Dominique Minot......................... Sylvie Gaudel 
Ned Glass.............................. Leopold Gideon 
Jacques Marin................... Inspector Grandpierre 
Paul Bonifas.................................... Felix 
Thomas Chelimsky.................... Jean-Louis Gaudel


                               CHARADE

     FADE IN (BEFORE TITLES)

 1   EXT. FRENCH COUNTRYSIDE -- DUSK                                1   

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

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

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

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

     CLOSE SHOT -- BODY

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

     TITLE MUSIC begins with a crash.

     (MAIN TITLES)

 2   DELETE                                                         2   

     FADE IN

 3   EXT. MEGEVE -- DAY                                             3   

     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.

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 2
     10-30-00                                                    


     REGGIE, unaware of her danger, continues to eat.

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

     ANOTHER ANGLE

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

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

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

     WIDER ANGLE

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

                           REGGIE (CONT'D)
               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 (CONT'D)
               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?

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 3
     10-30-00                                                    


                           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!

 4   INT. SWIMMING POOL -- DAY                                      4   

     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!

 5   EXT. HOTEL TERRACE -- DAY                                      5   

     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,
                           (MORE)

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 4
     10-30-00                                                    


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

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

     CLOSE SHOT -- PERUVIAN SNOW-MASK

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

                           MAN
               Does this belong to you?

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

     WIDER ANGLE

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

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

                           REGGIE
                    (indicating Sylvia)
               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?

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 5
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 6
     10-30-00                                                    


                           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?

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 7
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 8
     10-30-00                                                    


                           PETER
               Is there only one Charles Lampert?

     CLOSE SHOT -- REGGIE

     Her face clouding.

                           REGGIE
               Lord, I hope so.

 6   EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY             6   

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

     MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE

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

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

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

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

     MED. SHOT -- THE TAXI

     REGGIE looks at SYLVIE, surprised.

                           SYLVIE
               He knows everything.

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

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

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

                           JEAN-LOUIS
               Okay.

                                                       (CONTINUED)

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     Charade-EDITED                                          p. 9
     10-30-00                                                    


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

 7   DELETED                                                        7   

 8   INT. APARTMENT LANDING -- DAY                                  8   

     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 (V.O.) (CONT'D)
               Wonderful.

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

 9   INT. LAMPERT APARTMENT -- ENTRANCE HALL -- DAY                 9   

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

     She stops, her expression changing.

     REVERSE SHOT

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

     MED. SHOT -- REGGIE

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

10   INT. APARTMENT LANDING -- DAY                                 10   

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

     INSERT NAMEPLATE

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

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 10
     10-30-00                                                    


11   INT. APARTMENT LANDING -- DAY                                 11   

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

12   INT. LAMPERT APARTMENT -- DAY                                 12   

     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 (CONT'D)
               Charles -- !

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

     REGGIE screams.

     CLOSE SHOT -- INSPECTOR GRANDPIERRE

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

                           GRANDPIERRE
               Madame Charles Lampert?

     WIDER ANGLE

     Including REGGIE, in a state of near-shock.

                           REGGIE
               Yes.

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 11
     10-30-00                                                    


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

13   INT. MORGUE -- DAY                                            13   

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

     ANOTHER ANGLE -- OVERHEAD

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

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

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

     REVERSE SHOT

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

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

     She nods.

                           GRANDPIERRE (O.S.) (CONT'D)
               You are positive?

     She nods again.  GRANDPIERRE moves into the SHOT.

                           GRANDPIERRE (CONT'D)
               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.

14   INT. GRANDPIERRE'S OFFICE -- DAY                              14   

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

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 12
     10-30-00                                                    


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

     A hand reaches in and pulls it out.

     WIDER ANGLE

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

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

                           REGGIE
               Leave?

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

                           REGGIE (A PAUSE)
               I'm very confused.

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

                           GRANDPIERRE
               He was American?

                           REGGIE
               Swiss.

                           GRANDPIERRE
               Oh.  Swiss.  His profession?

                           REGGIE
               He didn't have one.

                           GRANDPIERRE
               He was a wealthy man?

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 13
     10-30-00                                                    


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 14
     10-30-00                                                    


                           GRANDPIERRE (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 15
     10-30-00                                                    


                           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) (CONT'D)
               "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 (CONT'D)
               If you will sign this list you may 
               take the things with you.

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 16
     10-30-00                                                    


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

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

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

     INSERT -- PASSPORT

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

     MED. SHOT -- REGGIE AND GRANDPIERRE

                           REGGIE
               Of course it is.

                           GRANDPIERRE
               And this?

     He hands her another passport.

     INSERT -- SECOND PASSPORT

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

     MED. SHOT -- REGGIE AND GRANDPIERRE

                           REGGIE
               I don't understand.

                           GRANDPIERRE
               And this?  And this?

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

     INSERT -- THIRD AND FOURTH PASSPORTS

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

     MED. SHOT -- REGGIE AND GRANDPIERRE

                           GRANDPIERRE (CONT'D)
               Have you nothing to say, Madame?

                                                       (CONTINUED)

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     Charade-EDITED                                         p. 17
     10-30-00                                                    


     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.

15   INT. LAMPERT APARTMENT -- DUSK                                15   

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

     Suddenly there is the noise of a DOOR OPENING.

     CLOSER SHOT -- REGGIE

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

     ANOTHER ANGLE

     As PETER enters.

                           REGGIE
                    (surprised)
               What are you doing here?

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

                           REGGIE
               How did you find out?

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

                           REGGIE
               Thank you.

     A silence.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 18
     10-30-00                                                    


     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 19
     10-30-00                                                    


                           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.

16   INT. FUNERAL CHAPEL -- DAY                                    16   

     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.

17   INT. FUNERAL CHAPEL -- DAY                                    17   

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

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

     CLOSE SHOT -- GRANDPIERRE

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

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

                           SYLVIE
               Didn't Charles have any friends?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 20
     10-30-00                                                    


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

                           SYLVIE
               At least he knows how to behave at 
               funerals.

     CLOSE SHOT -- GRANDPIERRE

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

     TWO SHOT -- SYLVIE AND REGGIE

                           SYLVIE (CONT'D)
               Have you no idea who could have done 
               it?

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

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

     MED. SHOT -- CHAPEL DOOR

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

     CLOSE SHOT -- GRANDPIERRE

     As he watches GIDEON.

     CLOSE SHOT -- REGGIE

     As she watches him.

     MED. SHOT -- THE BIER

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 21
     10-30-00                                                    


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

     TWO SHOT -- REGGIE AND SYLVIE

                           SYLVIE
               Do you know him?

                           REGGIE
               I've never seen him before.

                           SYLVIE
               He must have known Charles pretty 
               well.

                           REGGIE
               How can you tell?

                           SYLVIE
               He's allergic to him.

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

     MED. SHOT -- CHAPEL DOOR

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

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

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

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

     MED. SHOT -- THE BIER

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 22
     10-30-00                                                    


     CLOSE SHOT -- TEX

                           TEX
                    (heavy Texas accent)
               Ariva durchy, Charlie.

     WIDER ANGLE

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

                           TEX (CONT'D)
               Miz Lampert, ma'am . . .

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

                           TEX (CONT'D)
               Miz Lampert, ma'am . . .

                           REGGIE
               Yes?

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

                           REGGIE
               I don't understa--

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

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

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

     MED. SHOT -- CHAPEL DOOR

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

     CLOSER SHOT -- TEX

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

     MED. SHOT -- THE DOOR

     Closing the door, we see HERMAN SCOBIE, a heavy-weight -- 
     tall and wide, but not fat -- with black hair combed straight 
     back and heavy bushy eyebrows of a matching color, which 
     meet over his nose and join up.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 23
     10-30-00                                                    


     About the same age as the first two men, SCOBIE is dressed 
     in a battered raincoat, his hands thrust deep in the pockets.  
     He marches down the aisle.  looking straight ahead, CAMERA 
     PANNING with him.  He stops before the coffin and stares 
     into it.

     CLOSE SHOT -- SCOBIE

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

     CLOSE SHOT -- SCOBIE'S HAND

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

     CLOSE SHOT -- SCOBIE

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

     CLOSE SHOT -- REGGIE

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

     ANOTHER ANGLE

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

                           REGGIE (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 24
     10-30-00                                                    


                           REGGIE
               The American Embassy.

     She pulls out the letter and starts to read it.

     INSERT -- THE LETTER

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

     "Dear Mrs. Lampert:

     Please drop by my office tomorrow at noon-thirty. I am anxious 
     to discuss the matter of your late husband's death.

     Sincerely,

     Signed

     H. Bartholomew."

     TWO SHOT -- REGGIE AND SYLVIE

     SYLVIE has been reading over REGGIE's shoulder.

                           SYLVIE
               What is it about?

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

18   EXT. THE AMERICAN EMBASSY -- ESTABLISHING -- DAY              18   

     The fine old building in the Rue Gabriel.

19   INT. EMBASSY CORRIDOR -- DAY                                  19   

     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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 25
     10-30-00                                                    


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

     MED. SHOT -- DOOR

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

20   INT. BARTHOLOMEW'S OUTER OFFICE -- DAY                        20   

     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 (V.O.)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 26
     10-30-00                                                    


21   INT. BARTHOLOMEW'S PRIVATE OFFICE -- DAY                      21   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 27
     10-30-00                                                    


                           REGGIE
               No thanks.

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

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

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

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

                           REGGIE
               You mean spies and things like that?

                           BARTHOLOMEW
               Only we call them agents.

                           REGGIE
               We?  You mean you're --?

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

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

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

                           REGGIE
               Agent.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 28
     10-30-00                                                    


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

                           REGGIE
               May I have a sandwich, please?

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

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

                           REGGIE
                    (eating)
               So that was it.

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

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

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

                           REGGIE
               Very sweet.

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 29
     10-30-00                                                    


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

     CLOSE SHOT -- PHOTO

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

     CLOSER SHOT -- PHOTO

     It's a photo of a young CHARLES LAMPERT.

                           REGGIE (V.O.)
               It's Charles!

                           BARTHOLOMEW (V.O.)
               Very good.

                           REGGIE (V.O.)
               He looks so young -- when was this 
               taken?

                           BARTHOLOMEW (V.O.)
               1944.  The next face, please.

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

                           REGGIE (V.O.)
               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 (V.O.)
               Does the name Tex Penthollow mean 
               anything to you?

                           REGGIE (V.O.)
               No.

                           BARTHOLOMEW (V.O.)
               Next, please.

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 30
     10-30-00                                                    


                           REGGIE (V.O.)
               No.

                           BARTHOLOMEW (V.O.)
               The last one, please.

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

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

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

                           REGGIE (V.O.)
               No, thank heaven.

     MED. SHOT -- REGGIE AND BARTHOLOMEW

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

                           REGGIE
               Danger?  Why should I be in any 
               danger?

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

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 31
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 32
     10-30-00                                                    


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 33
     10-30-00                                                    


                           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 (CONT'D)
               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.

22   EXT. ESPLANADE DES CHAMPS-ELYÉES -- DAY                       22   

     MED. SHOT -- GUIGNOL.  

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

     VARIOUS CLOSE SHOTS -- THE CHILDREN

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

     MED. SHOT -- REGGIE

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 34
     10-30-00                                                    


                           PETER
               Reggie -- ?

     She turns and looks at him for a moment.

                           REGGIE
                    (vaguely)
               Hallo, Peter.

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

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

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

     MED. SHOT -- GUIGNOL

     PUNCH and JUDY are arguing loudly.

     TWO SHOT -- REGGIE AND PETER

                           PETER
               What's going on?

                           REGGIE
               Don't you understand French?

                           PETER
               I'm still having trouble with English.

                           REGGIE
               The man and the woman are married --

     CLOSE SHOT -- GUIGNOL STAGE

     PUNCH and JUDY are batting each other on the head.

                           PETER (V.O.)
               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 (V.O.) (CONT'D)
               Who's that with the hat?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 35
     10-30-00                                                    


     MED SHOT -- GRANDPIERRE

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

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

     CLOSE SHOT -- GUIGNOL STAGE

     JUDY and the POLICEMAN are batting one another.

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

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

                           PETER (V.O.)
               She did it, all right -- take it 
               from me.

                           REGGIE (V.O.)
               I believe her.

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

                           PETER (V.O.)
               Who was that?

                           REGGIE (V.O.)
               Punch, of course.

     TWO SHOT -- REGGIE AND PETER

                           PETER
               Of course?  I thought he was dead.

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

                           PETER
               I wish you'd let me help you.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 36
     10-30-00                                                    


                           PETER (CONT'D)
               Whatever it is, it doesn't sound 
               like the sort of thing that a woman 
               can handle all by herself.

     CLOSE SHOT -- GUIGNOL STAGE

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

     CLOSE SHOT -- GRANDPIERRE as he winces.

     TWO SHOT -- REGGIE AND PETER

                           PETER (CONT'D)
               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 (CONT'D)
               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?

23   INT. NIGHTCLUB -- NIGHT                                       23   

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

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

     MED. SHOT -- REGGIE AND PETER

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 37
     10-30-00                                                    


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

                           PETER
               What was all that?

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

                           PETER
               You mean you and me?

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

     She rises and pulls him along.

     WIDE ANGLE

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

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 38
     10-30-00                                                    


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

     VARIOUS SHOTS -- ORANGE GAME

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

     TWO SHOT -- PETER AND GIRL

     It is his turn to take the orange from a very short, but 
     quite shapely young girl in a strapless dress (held up by an 
     abundance of cantilever)

     PETER 'takes' when he sees the twin obstacles which might -- 
     and probably will -- encumber the game but increase his 
     worldly experience.

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

     CLOSE SHOT -- REGGIE

     She is enjoying it thoroughly.

     TWO SHOT -- PETER AND GIRL

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 39
     10-30-00                                                    


                           PETER
               En garde.

                           REGGIE
               Lay on, MacDuff.

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

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

     REGGIE starts to draw back but GIDEON holds her tightly.

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

     CLOSE TWO SHOT -- REGGIE AND GIDEON

     Her eyes show her fright as he whispers:

                           GIDEON
               Mrs. Lampert --

                           REGGIE
               What do you want?

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

                           REGGIE
               Tell me what?

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

                           REGGIE
               I don't know anything.

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

                           REGGIE
               Leave me alone -- !

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 40
     10-30-00                                                    


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

                           REGGIE
                    (shouting)
               Stop it!

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

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

     CLOSE SHOT -- GIDEON

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

     WIDER ANGLE

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

                           PETER
               Reggie -- what's the trouble?

     REGGIE realizes that GIDEON no longer offers any resistance.

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

                           REGGIE
               He -- he was stepping on my foot.

     CLOSE SHOT -- GIDEON

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

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

     WIDER ANGLE

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 41
     10-30-00                                                    


     CLOSE SHOT -- PETER

     Watching her go, a concerned look on his face.

24   INT. NIGHTCLUB LOUNGE -- NIGHT                                24   

     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.

25   INT. PHONE BOOTH -- NIGHT                                     25   

     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 (CONT'D)
               Hello -- Mr. Bartholomew -- it's me, 
               Regina Lam...

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

     REVERSE SHOT -- 'PHONE BOOTH -- NIGHT

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

                           TEX
               Howdy, Miz Lampert.

                           REGGIE
               Wha-- what do you want?

     TEX takes a book of matches from his pocket.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 42
     10-30-00                                                    


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

                           REGGIE
               No -- no, I 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 (CONT'D)
               What are you doing?

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

                           REGGIE (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               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!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 43
     10-30-00                                                    


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

     CLOSE SHOT -- REGGIE

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

                           REGGIE
               You're insane, absolutely insane!

     She looks up, then blinks her eyes.

26   INT. 'PHONE BOOTH OVER REGGIE'S SHOULDER                      26   

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

27   INT. NIGHTCLUB LOUNGE -- NIGHT                                27   

     As REGGIE looks around.  There is no one there.

     INT. PHONE BOOTH

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

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

                           PETER
               What are you doing in here?

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

28   INT. HOTEL LOBBY -- NIGHT                                     28   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 44
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 45
     10-30-00                                                    


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

29   INT. ELEVATOR -- NIGHT                                        29   

     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 (CONT'D)
               We're here.

                           REGGIE
               Where?

                           PETER
               On the street where you live.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 46
     10-30-00                                                    


                           REGGIE
               How about once more around the park?

     He reaches across her and opens the door.

                           PETER
               Out.

30   INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT                    30   

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

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

                           PETER
               How would you like a spanking?

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

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

                           REGGIE
               Do you know what's wrong with you?

                           PETER
               What?

                           REGGIE
               Nothing.  Good night.

                           PETER
               Good night.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 47
     10-30-00                                                    


31   INT. REGGIE'S ROOM -- NIGHT                                   31   

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

     ANOTHER ANGLE

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

     He starts slowly advancing toward REGGIE.

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

     CLOSE SHOT -- REGGIE

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

     She stops as she sees something.

     CLOSE SHOT -- SCOBIE'S HAND

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

     WIDER ANGLE

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

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

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

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

32   INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT                    32   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 48
     10-30-00                                                    


     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.

33   INT. REGGIE'S ROOM -- NIGHT                                   33   

     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.

34   INT. HOTEL CORRIDOR THIRD LANDING -- NIGHT                    34   

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

35   INT. REGGIE'S ROOM -- NIGHT                                   35   

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

     ANOTHER ANGLE

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

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

                           REGGIE (CONT'D)
               Peter -- are you all right?

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 49
     10-30-00                                                    


                           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.

36   EXT. HOTEL WINDOW THIRD FLOOR -- NIGHT                        36   

     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.

37   EXT. HOTEL SIDEWALK (FROM ABOVE) -- NIGHT                     37   

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

     MED. SHOT -- PETER -- BALCONY

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

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

     CLOSE SHOT -- PETER'S HAND

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

     MED. SHOT -- PETER

     As he straightens up and prepares to jump.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 50
     10-30-00                                                    


38   EXT. HOTEL FACADE -- NIGHT                                    38   

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

     MED. SHOT -- PETER

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

                           WOMAN (V.O.)                               *
               Oh!

     PETER leav1es 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 (V.O.)
               What is it now, Pamela?

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

                           MAN (V.O.)
               Bad luck, Pamela.

39   EXT. HOTEL FACADE -- NIGHT                                    39   

     From the GROUND as PETER jumps to the next balcony.

     MED. SHOT -- PETER

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

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

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 51
     10-30-00                                                    


40   INT. GIDEON'S HOTEL ROOM -- NIGHT                             40   

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

     They all turn toward the window.

     WIDER ANGLE

     As PETER climbs in through the window and joins them.

                           PETER (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 52
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 53
     10-30-00                                                    


                           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.

41   INT. REGGIE'S ROOM -- NIGHT                                   41   

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

                           REGGIE
               Who is it?

                           PETER (V.O.)
               It's me.  Peter.

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

                           PETER (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 54
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 55
     10-30-00                                                    


                           REGGIE
               Do you tell lies?

     A pause.  The phone rings. REGGIE answers it.

                           REGGIE (CONT'D)
                    (into the phone)
               Hello?

42   INT. OUTDOOR 'PHONE BOOTH -- NIGHT                            42   

     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 --

43   INT. REGGIE'S ROOM -- NIGHT                                   43   

                           REGGIE
                    (on the phone)
               What do you want?

                           PETER
                    (whispering)
               Who is it?

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

44   INT. PHONE BOOTH -- NIGHT                                     44   

                           SCOBIE
                    (ON THE PHONE)
               Is Dyle with you?

45   INT. REGGIE'S ROOM -- NIGHT                                   45   

     CLOSE SHOT -- REGGIE

                           REGGIE
               Who?

46   INT. PHONE BOOTH -- NIGHT                                     46   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 56
     10-30-00                                                    


47   INT. REGGIE'S ROOM -- NIGHT                                   47   

     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.

48   INT. PHONE BOOTH -- NIGHT                                     48   

                           SCOBIE
                    (ON THE PHONE)
               Don't trust him -- don't tell him 
               anything.  He's after the money.

     He hangs up.

49   INT. REGGIE'S ROOM -- NIGHT                                   49   

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

                           PETER
               What'd he say?

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

                           PETER
               I wouldn't take that too seriously.

                           REGGIE
               I believe what he said.

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

                           REGGIE
               How do you know what they're doing?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 57
     10-30-00                                                    


                           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 (CONT'D)
               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.

50   INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT                 50   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 58
     10-30-00                                                    


     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.

51   INT. DYLE'S ROOM -- NIGHT                                     51   

     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.

52   INT. REGGIE'S ROOM -- NIGHT                                   52   

     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?

53   INT. BARTHOLOMEW'S APARTMENT -- NIGHT                         53   

     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.

54   INT. REGGIE'S ROOM -- NIGHT                                   54   

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

55   DELETED                                                       55   

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 59
     10-30-00                                                    


56   INT. BARTHOLOMEW'S APARTMENT -- NIGHT                         56   

                           BARTHOLOMEW
                    (ON THE PHONE)
               Where are you now -- can you meet 
               me?

     Do you know Les Halles?

57   INT. REGGIE'S ROOM -- NIGHT                                   57   

                           REGGIE
                    (ON THE PHONE)
               Yes, where?
                    (a pause)
               -- in fifteen minutes.  I'll be there.

58   DELETED                                                       58   

59   INT. REGGIE'S ROOM -- NIGHT                                   59   

     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.

60   INT. DYLE'S ROOM -- NIGHT                                     60   

     (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.

61   INT. REGGIE'S ROOM -- NIGHT                                   61   

     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.

62   INT. DYLE'S ROOM -- NIGHT                                     62   

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

     WIDE ANGLE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 60
     10-30-00                                                    


63   INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT                 63   

     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.

64   INT. HOTEL LOBBY -- NIGHT                                     64   

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

                           DYLE (V.O.)
               Reggie . . . !

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

65   EXT. HOTEL ENTRANCE -- NIGHT                                  65   

     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 (CONT'D)
               N'importe où - vite!  Allez-y!

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

                           DYLE
               Taxi -- !  Taxi -- !

     It pulls up and DYLE opens the door.

                           DYLE (CONT'D)
                    (pointing)
               Follow that taxi.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 61
     10-30-00                                                    


                           DRIVER
               Comment?

                           DYLE
               Taxi!  Follow!

                           DRIVER
               Je ne comprends rien.

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

     CLOSE SHOT -- REGGIE

     In the shadows.  She lifts her eyes in annoyance.

     MED. SHOT -- TAXI

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

                           DRIVER
               Ah!  Oui, Monsieur.

     ANOTHER ANGLE

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

                           REGGIE
                    (to DRIVER)
               Aux Halles -- vite!

66   DELETED                                                       66   

67   EXT. LES HALLES -- NIGHT                                      67   

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

     TWO SHOT -- REGGIE AND BARTHOLOMEW

     CAMERA LEADING them as they walk.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 62
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 63
     10-30-00                                                    


                           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?

68   INT. LES HALLES BUTCHERS' SHED -- NIGHT                       68   

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

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

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

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 64
     10-30-00                                                    


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

69   INT. LES HALLES BISTRO -- NIGHT                               69   

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

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

                           REGGIE
               Barely, yes.

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

     A WAITER arrives.

                           WAITER
               Vous désirez?

                           REGGIE
                    (smiling)
               They always do that.

                           BARTHOLOMEW
                    (to the Waiter)
               Café.

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

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

                           REGGIE
               Can I at least keep the onion soup?

     BARTHOLOMEW shrugs.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 65
     10-30-00                                                    


                           REGGIE (CONT'D)
                    (to the Waiter)
               La soupe tout simplement.

     The WAITER nods and goes.

                           REGGIE (CONT'D)
                    (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 (CONT'D)
               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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 66
     10-30-00                                                    


                           BARTHOLOMEW (CONT'D)
               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 (CONT'D)
               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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 67
     10-30-00                                                    


                           BARTHOLOMEW (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 68
     10-30-00                                                    


                           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.

70   EXT. HOTEL (PLACE ST. ANDRÉ DES ARTS) -- LATE AFTERNOON       70   

     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.

71   EXT. PLACE ST. ANDRÉ DES ARTS -- LATE AFTERNOON               71   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 69
     10-30-00                                                    


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

     TWO SHOT -- REGGIE AND TOURIST

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

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

     REGGIE turns to look at DYLE.

     MED. SHOT -- DYLE

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

     TWO SHOT -- REGGIE AND TOURIST

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

72   EXT. PLACE ST. ANDRÉ DES ARTS -- LATE AFTERNOON               72   

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

     CLOSE SHOT -- PAINTING

     An abstract jumble, nothing recognizable.

     CLOSE SHOT -- REGGIE

     As she looks from the painting to reality.

73   EXT. PLACE ST. ANDRÉ DES ARTS -- LATE AFTERNOON               73   

     As the scene really looks.

     MED. SHOT -- REGGIE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 70
     10-30-00                                                    


                           TOURIST
                    (calling)
               Fraulein --

     REGGIE doesn't stop.

                           TOURIST (CONT'D)
               Fraulein --

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

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

     MED. SHOT -- DYLE

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

     MED. SHOT -- REGGIE

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

                           REGGIE (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 71
     10-30-00                                                    


     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 (CONT'D)
               Taxi -- !

74   INT. AMERICAN EXPRESS -- LATE AFTERNOON                       74   

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

     DELETED

75   INT. AMERICAN EXPRESS MAIL ROOM -- LATE AFTERNOON             75   

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

     "A - D."

     MED. SHOT -- STAIRS

     REGGIE comes down the stairs.  Suddenly she stops.

     MED. SHOT -- DYLE

     CAMERA ZOOMS in to sign on "D."

     CLOSE SHOT -- REGGIE

     A confused look on her face.

     MED. SHOT -- DYLE

     As his turn comes, he addresses the CLERK

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

                           CLERK
               Yes, Mr. Dyle.  I remember.

     CLOSE SHOT -- REGGIE

     Watching.

     MED. SHOT -- MAIL WINDOW

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 72
     10-30-00                                                    


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

                           CLERK (CONT'D)
               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
               Mr. Dyle, please -- you're wanted on 
               the telephone -- Mr. Dyle.  Cabin 4.

     DYLE stops in his tracks, pondering what to do.

                           VOICE (CONT'D)
               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.

76   SPLIT SCREEN: REGGIE'S CABIN / DYLE'S CABIN                   76   

     REGGIE on the phone / DYLE on the phone.

               REGGIE
     Good morning, Mr. Dyle.

                           DYLE
               Reggie?

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

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

                           REGGIE
               Why you lied to me.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 73
     10-30-00                                                    


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

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

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

                           REGGIE
               Carson Dyle is dead.

                           DYLE
               Yes, he is.  He was my brother.

                           REGGIE
               Your --

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

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

     She opens the door of the cabin and starts out.

     MED. SHOT -- PHONE CABINS

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 74
     10-30-00                                                    


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

     CLOSE SHOT -- EMPTY CABIN

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

     MED. SHOT -- REGGIE

     As she looks at it, confused.

77   INT. AMERICAN EXPRESS -- DAY                                  77   

     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.

78   DELETED                                                       78   

79   INT. TOP FLOOR LANDING -- LATE AFTERNOON                      79   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 75
     10-30-00                                                    


     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 (CONT'D)
               Sit down.

     Shrugging, DYLE sits on the third step.

                           DYLE
               What now?

                           SCOBIE
               We wait -- with our mouths shut.

80   INT. AMERICAN EXPRESS -- NIGHT                                80   

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

81   INT. TOP FLOOR LANDING -- NIGHT                               81   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 76
     10-30-00                                                    


                           SCOBIE (CONT'D)
               Keep going.

                           DYLE
               The view had better be worth it.

82   EXT. AMERICAN EXPRESS -- ROOFTOP -- NIGHT                     82   

     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 (CONT'D)
               Step back.

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

                           DYLE
               Back where?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 77
     10-30-00                                                    


                           SCOBIE
               That's the idea.

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

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

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

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

     CLOSE SHOT -- THEIR HANDS

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

     MED. SHOT -- DYLE AND SCOBIE

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

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

     CLOSE SHOT -- SCOBIE'S CLAW

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

     MED. SHOT -- SCOBIE

     As he slides over the edge and disappears.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 78
     10-30-00                                                    


     CLOSE SHOT -- DYLE

     As he watches, hypnotized.

     CLOSE SHOT -- ROOF EDGE

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

     MED. SHOT -- DYLE

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

                           DYLE
               Herman?

     MED. SHOT -- SCOBIE

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

                           SCOBIE
               Yeah?

     MED. SHOT -- DYLE

     He finds it hard to believe.

                           DYLE
               How are you doing?

                           SCOBIE (V.O.)
               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.

83   INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT                 83   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 79
     10-30-00                                                    


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

     DYLE smiles, then enters his room.

84   INT. DYLE'S ROOM -- NIGHT                                     84   

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

85   INT. REGGIE'S ROOM -- NIGHT                                   85   

     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?

86   INT. DYLE'S ROOM -- NIGHT                                     86   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 80
     10-30-00                                                    


87   INT. REGGIE'S ROOM -- NIGHT                                   87   

     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 81
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 82
     10-30-00                                                    


                           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 (CONT'D)
               Sit down.

     He sits.

                           REGGIE (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 83
     10-30-00                                                    


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 84
     10-30-00                                                    


                           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 (CONT'D)
                    (on phone)
               Sorry -- I was just - uh - nibbling 
               on something.

88   INT. TEX'S ROOM -- NIGHT                                      88   

     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.

89   INT. REGGIE'S ROOM -- NIGHT                                   89   

     DYLE is watching her.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 85
     10-30-00                                                    


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

90   INT. TEX'S ROOM -- NIGHT                                      90   

                           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?

91   INT. REGGIE'S ROOM -- NIGHT                                   91   

     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.

92   INT. TEX'S ROOM -- NIGHT                                      92   

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

93   INT. REGGIE'S ROOM -- NIGHT                                   93   

     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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 86
     10-30-00                                                    


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

94   INT. TEX'S ROOM -- NIGHT                                      94   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 87
     10-30-00                                                    


                           SCOBIE
                    (glaring at Dyle)
               Who invited you?

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

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

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

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

                           REGGIE
               But his mother --

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

               TEX
     This ain't no game, Miz 
     Lampert.

                                             SCOBIE
                                   We want that money -- now!

                           DYLE
                    (forcefully)
               Be quiet, all of you!

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

                           DYLE (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 88
     10-30-00                                                    


                           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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 89
     10-30-00                                                    


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 90
     10-30-00                                                    


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

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

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

                           REGGIE
                    (to DYLE)
               What should we give him?

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

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

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

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

95   INT. REGGIE'S ROOM -- NIGHT                                   95   

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

                           GIDEON
                    (eyes on the bag)
               Tex?

     ANOTHER ANGLE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 91
     10-30-00                                                    


                           TEX
               What's that?

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

     INSERT - WALLET

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

                           TEX (V.O.) (CONT'D)
               Charlie's stuff?

                           GIDEON (V.O.)
               Looks like it.

     MED. SHOT -- TEX & GIDEON

                           TEX
               Mebbe we'd better call Herman.

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

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

                           TEX
               And if it is?

                           GIDEON
                    (a pause)
               Why bother him?

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

                           TEX
               You sure nuthin's missin'?

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 92
     10-30-00                                                    


                           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.

96   INT. SCOBIE'S ROOM -- NIGHT                                   96   

     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 93
     10-30-00                                                    


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

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

                           REGGIE
               Voilà what?

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

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

                           REGGIE
               You know something, cookie?  Why 
               not?

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

                           REGGIE (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 94
     10-30-00                                                    


     As he climbs off the chair, JEAN-LOUIS suddenly runs to the 
     door, unbolts it and runs into the hall, CAMERA PANNING with 
     him.

97   INT. HOTEL CORRIDOR - THIRD LANDING - NIGHT                   97   

     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 (CONT'D)
               We found it!

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

98   INT. SCOBIE'S ROOM -- NIGHT                                   98   

     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 (CONT'D)
               It's nothing, I tell you!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 95
     10-30-00                                                    


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

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

     GROUP SHOT

     As TEX finally springs the latches and opens the lid.

     CLOSE SHOT -- CASE

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

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

     GROUP SHOT -- THE THREE MEN

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

     WIDER ANGLE

     Including REGGIE and JEAN-LOUIS by the door.

                           REGGIE
               Where is he?

     The MEN look at one another.

                           TEX
               Hey, that's right!

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

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

                           JEAN-LOUIS
               What is the matter?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 96
     10-30-00                                                    


99   INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT                 99   

     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.

100   INT. DYLE'S ROOM -- NIGHT                                   100   

     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.

101   INT. BATH -- NIGHT                                          101   

     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.

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 97
     10-30-00                                                    


                           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 (CONT'D)
               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.

102   INT. SCOBIE'S ROOM -- DAY                                   102   

     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.

103   INT. GRANDPIERRE'S OFFICE -- LATE AFTERNOON                 103   

     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 (CONT'D)
               A man drowned in his bed -- 
               impossible!  And in his pajamas -- 
               the second one in his pajamas -- 
               c'est trop bête!  Stop lying to me --
                    (tapping the side of 
                    his nose)
               -- this nose tells me when you are 
               lying -- it is never mistaken, not 
               in twenty-three years -- this nose 
               will make me commissaire of police.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 98
     10-30-00                                                    


                           GRANDPIERRE (CONT'D)
                    (Tapping his fingers 
                    on his desk)
               Mr. Dyle or Mr. Joshua -- which is 
               it?

                           DYLE
               Dyle.

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

                           DYLE
               No, I didn't.

                           REGGIE
               It's done in America all the time.

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

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

104   DELETED                                                     104   

105   EXT. QUAI MONTEBELLO -- LATE AFTERNOON (TRAVELING)          105   

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

                           REGGIE
               Who do you think did it -- Gideon?

                           DYLE
               Maybe.

                           REGGIE
               Or Tex?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                         p. 99
     10-30-00                                                    


                           DYLE
               Maybe.

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

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

                           REGGIE (CONT'D)
                    (to the vendor)
               Vanille-chocolat.

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

                           REGGIE (CONT'D)
               I think Tex did it.

                           DYLE
               Why?

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

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

                           REGGIE
               What's so illogical about that?

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

     Gideon.

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

                           DYLE
               Who?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 100
     10-30-00                                                    


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

                           DYLE
               What -- like Scobie?

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

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

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

                           REGGIE
               I'm sorry.

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

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

                           DYLE
               No sense messing up the streets.

                           REGGIE
               Alex --

                           DYLE
               Hm?

                           REGGIE
               I'm scared.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 101
     10-30-00                                                    


     Resume walking.

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

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

                           DYLE
               Yes, I know.

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

                           DYLE
                    (surprised)
               What?  Assassinate somebody?

                           REGGIE
               No --

     ANOTHER ANGLE

     Including the Cathedral of NOTRE DAME in the background.

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

106   INT. HOTEL CORRIDOR -- THIRD LANDING -- LATE AFTERNOON      106   

     As REGGIE and DYLE step from the elevator.

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

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

     He goes into his room and she goes into hers.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 102
     10-30-00                                                    


107   INT. REGGIE'S ROOM -- LATE AFTERNOON                        107   

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

                           DYLE (V.O.)
               What do you want?

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

108   INT. DYLE'S ROOM -- LATE AFTERNOON                          108   

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

                           DYLE
               Lord, you're a pest.

                           REGGIE (V.O.)
               Can I come in?

                           DYLE
               I'd like to take a bath.

109   INT. REGGIE'S ROOM -- LATE AFTERNOON                        109   

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

                           DYLE (V.O.)
               What for?

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

110   INT. DYLE'S ROOM -- LATE AFTERNOON                          110   

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 103
     10-30-00                                                    


111   DELETED                                                     111   

112   INT. REGGIE'S ROOM -- LATE AFTERNOON                        112   

     As DYLE enters.

                           DYLE
               Reggie!

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

                           REGGIE
               Got you.

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

                           REGGIE
               The shower's in there.

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

                           DYLE
                    (warning)
               Reggie -- open the door.

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

                           DYLE
               Then I suggest you call one of them.

                           REGGIE
               I dare you.

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

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 104
     10-30-00                                                    


     Shoes off, DYLE starts for the bathroom, humming.

                           DYLE (CONT'D)
               I usually sing a medley of old 
               favorites when I bathe -- any 
               requests?

                           REGGIE
               Shut the door!

                           DYLE
               I don't think I know that one.

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

                           REGGIE
               What on earth are you doing?

113   INT. BATHROOM -- LATE AFTERNOON                             113   

     MED. SHOT -- DYLE.  In the shower, making sure his suit gets 
     uniformly soaked.

                           DYLE
                    (explaining pleasantly)
               Drip-dry!

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

                           DYLE (CONT'D)
               The suit needs it more than I do, 
               anyway.

                           REGGIE
               How often do you go through this 
               little ritual?

     As he takes out his handkerchief and rinses it.

                           DYLE
               Every day.  The manufacturer 
               recommends it.

                           REGGIE
               I don't believe it.

     He opens his coat and reads a label inside.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 105
     10-30-00                                                    


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

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

                           DYLE (CONT'D)
               Waterproof.

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

114   DELETED                                                     114   

115   INT. REGGIE'S ROOM -- LATE AFTERNOON                        115   

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

                           REGGIE
                    (into phone)
               Yes -- ?

116   INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON              116   

     CLOSE SHOT -- BARTHOLOMEW

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

117   INT. REGGIE'S ROOM -- LATE AFTERNOON                        117   

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

118   INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON              118   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 106
     10-30-00                                                    


119   INT. REGGIE'S ROOM -- LATE AFTERNOON                        119   

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

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

120   INT. BARTHOLOMEW'S APARTMENT -- LATE AFTERNOON              120   

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

121   INT. REGGIE'S ROOM -- LATE AFTERNOON                        121   

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

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

     She doesn't answer.

                           DYLE (CONT'D)
               Reggie -- is something wrong?

     She shakes her head.

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

     She turns and looks at him.

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

122   EXT. SEINE - BÂTEAU MOUCHE -- DUSK                          122   

     The large motor launch, moving along the river, gaily ablaze 
     with lights.

     MED. SHOT -- REGGIE AND DYLE (PROCESS)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 107
     10-30-00                                                    


     At a table for two by the rail, the city slowly passing in 
     the b.g.

                           DYLE
               Reggie -- you haven't spoken a word 
               in twenty minutes.

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

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

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

                           DYLE
               No -- not yet.

                           REGGIE
               But then if we sit back and wait, 
               the field should start narrowing 
               down, shouldn't it?  Hoever's left 
               alive at the end will pretty well 
               have sewn up the nomination, wouldn't 
               you say so?

                           DYLE
               Are you trying to say that I might 
               have killed Charles and Scobie?

     She doesn't answer.

                           DYLE (CONT'D)
               What do I have to do to satisfy you -- 
               become the next victim?

                           REGGIE
               It's a start, anyway.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 108
     10-30-00                                                    


                           REGGIE
               Carson Dyle didn't have a brother.

     WIDER ANGLE

     She rises from the table and walks away.  DYLE hesitates a 
     moment, then follows.

                           DYLE
               I can explain if you'll just listen.  
               Will you listen?

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

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

                           REGGIE
               Fiction or non-fiction?

                           DYLE
               Why don't you shut up!

                           REGGIE
               Well!

                           DYLE
               Are you going to listen?

                           REGGIE
               Go on.

                           DYLE
               After I graduated college I was all 
               set to go into my father business.  
               Umbrella frames -- that's what he 
               made.  It was a sensible business, I 
               suppose, but I didn't have the sense 
               to be interested in anything sensible.

                           REGGIE
               I suppose all this is leading 
               somewhere?

                           DYLE
               It led me away from umbrella frames, 
               for one thing.  But that left me 
               without any honest means of support.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 109
     10-30-00                                                    


                           REGGIE
               What do you mean?

                           DYLE
               When a man has no profession except 
               the one he loathes, what's left?  I 
               began looking for people with more 
               money than they'd ever need -- 
               including some they'd barely miss.

                           REGGIE
                    (astonished)
               You mean, you're a thief?

                           DYLE
               Well, it isn't exactly the term I'd 
               have chosen, but I suppose it captures 
               the spirit of the thing.

                           REGGIE
               I don't believe it.

                           DYLE
               Well, I can't really blame you -- 
               not now.

                           REGGIE
               But I do believe it - that's what I 
               don't believe.  So it's goodbye 
               Alexander Dyle -- Welcome home Peter 
               Joshua.

                           DYLE
               Sorry, the name's Adam Canfield.

                           REGGIE
               Adam Canfield.  Wonderful.  Do you 
               realize you've had three names in 
               the past two days?  I don't even 
               know who I'm talking to any more.

                           DYLE
                    (now called Adam)
               The man's the same, even if the name 
               isn't.

                           REGGIE
               No -- he's not the same.  Alexander 
               Dyle was interested in clearing up 
               his brother's death.   Adam Canfield 
               is a crook.  And with all the 
               advantages you've got -- brains, 
               charm, education, a handsome face --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 110
     10-30-00                                                    


                           ADAM
               Oh, come on!

                           REGGIE
               -- there has to be a darn good reason 
               for living the way you do.  I want 
               to know what it is.

                           ADAM
               It's simple.  I like what I do -- I 
               enjoy doing it.  There aren't many 
               men who love their work as much as I 
               do.  Look around some time.

                           REGGIE
               Is there a Mrs. Canfield?

                           ADAM
               Yes, but --

                           ADAM AND REGGIE
                    (together)
               -- we're divorced.

                           ADAM
               Right.  Now go eat your dinner.

     ANOTHER ANGLE

     They walk back to the table, where a WAITER is busy putting 
     food on it, mostly on REGGIE's side.

                           REGGIE
                    (miserably)
               I could eat a horse.

                           ADAM
                    (looking at all the 
                    food)
               I think that's what you ordered.

                           REGGIE
               Don't you dare to be civil with me!  
               All this time you were leading me on --

                           ADAM
               How was I leading you on?

                           REGGIE
               All that marvelous rejection -- you 
               knew I couldn't resist it.  Now it 
               turns out you were only interested 
               in the money.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 111
     10-30-00                                                    


                           ADAM
               That's right.

                           REGGIE
                    (hurt)
               Oh!

                           ADAM
               What would you like me to say -- 
               that a pretty girl with an outrageous 
               manner means more to an old pro like 
               me than a quarter of a million 
               dollars?

                           REGGIE
               No -- I guess not.

                           ADAM
               It's a toss-up, I can tell you that.

                           REGGIE
               What?

                           ADAM
               Don't you know I'm having a tough 
               time keeping my eyes off of you?

     REGGIE reacts in surprise.

                           ADAM (CONT'D)
               Oh, you should see your face.

                           REGGIE
               What about it?

                           ADAM
                    (taking her hand, 
                    nicely)
               It's lovely.

     She looks at him with happy amazement, then pushes her plate 
     away.

                           ADAM (CONT'D)
               What's the matter?

                           REGGIE
               I'm not hungry -- isn't it glorious?

     The lights go out.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 112
     10-30-00                                                    


                           REGGIE (CONT'D)
                    (alarmed)
               Adam!

                           ADAM
               It's all right - look.

123   EXT. SEINE BÂTEAU MOUCHE -- NIGHT                           123   

     A searchlight near the boat's bridge has gone on and now 
     begins sweeping the river banks.  On benches by the water's 
     edge, lovers are surprised by the bright light which suddenly 
     and without warning discovers them in various attitudes of 
     mutual affection.  Some are embarrassed, some are amused and 
     some (the most intimate) damn annoyed.  One even shakes his 
     fist at the light.

     MED. SHOT -- REGGIE AND ADAM

     Who, like everyone else, leave the table and stand together 
     at the rail watching.

                           REGGIE
               You don't look so bad in this light.

                           ADAM
               Why do you think I brought you here?

                           REGGIE
                    (indicating the lovers)
               I thought maybe you wanted me to see 
               the kind of work the competition was 
               turning out.

                           ADAM
               Pretty good, huh?  I taught them 
               everything they do.

                           REGGIE
               Oh?  Did they do that sort of thing 
               way back in your day?

                           ADAM
               How do you think I got here?

     She rises on tip-toes and kisses him gently; his only reaction 
     is to look at her.

                           REGGIE
               Aren't you allowed to kiss back?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 113
     10-30-00                                                    


                           ADAM
               No.  The doctor said it would be bad 
               for my -- thermostat.

     She kisses him again.  He responds a little better.

                           ADAM (CONT'D)
               When you come on, you really come 
               on.

                           REGGIE
               Well -- come on.

     She starts to kiss him again, but he stops her.

                           REGGIE (CONT'D)
               I know why you're not taken -- no 
               one can catch up with you.

                           ADAM
               Relax -- you're gaining.

124   INT. GIDEON'S ROOM -- NIGHT                                 124   

     MED. SHOT -- GIDEON.  As he sits bolt upright in bed, 
     startled.

     The room is dark and the phone is ringing.  He switches on 
     the lamp, looks at the clock (it reads 3:30) and shakes his 
     head before picking up the receiver.

                           GIDEON
               Huh?  You must be crazy -- it's three-
               thirty in the morning -- you mean 
               now?  -- all right -- I'll be down 
               in a minute.

     He hangs up, swings his feet out of bed and spears his 
     slippers, reaching for his robe at the same time.  Then he 
     shuffles sleepily to the door.

125   INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT         125   

     As GIDEON comes out of his room and goes to the elevator.

     The cage is there.  He opens the door and enters.

126   INT. ELEVATOR -- NIGHT                                      126   

     GIDEON closes the sliding grill and presses a button.  The 
     cage starts down.  GIDEON begins sneezing.  Suddenly the 
     elevator stops between floors and the lights go out.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 114
     10-30-00                                                    


                           GIDEON
               Hey!  Turn on the lights!

     Just as suddenly the lights go back on and the elevator starts 
     moving down again.  GIDEON shakes his head and leans back, 
     whistling again.  The cage comes to his floor and starts 
     past it.  Seeing this, GIDEON looks confused.

127   INT. HOTEL LOBBY -- NIGHT                                   127   

     The NIGHT PORTER is asleep behind the desk.  The elevator, 
     GIDEON inside, keeps coming down.  It passes the lobby level 
     and keeps right on going, toward the basement.

                           GIDEON
               Hey!  How do you stop this thing?

     The elevator passes out of sight, still going down.  There 
     is a silence as the motor stops, and then a series of sneezes 
     that ends with a terrifying shriek.  The NIGHT PORTER, rudely 
     awakened, runs to the elevator shaft, his shoes squeaking 
     horribly.  He looks up, sees nothing, then looks down.  He 
     presses the call button and the motor starts.

     An instant later the cage appears and stops.  The NIGHT PORTER 
     opens the gate, pulls back the grill and the CAMERA RUSHES 
     PAST him to pick up GIDEON.  His body is sitting on the floor 
     of the cage, its grotesque sprawling attitude resembling a 
     puppet's with its strings cut.  Except that GIDEON has no 
     strings to cut -- only a throat.  From ear to ear.

128   INT. HOTEL CORRIDOR -- NIGHT                                128   

     CLOSE SHOT -- GRANDPIERRE.  He is now doubly apoplectic.

                           GRANDPIERRE
               Three of them -- all in their pajamas!

     C'est ridicule!  What is it, some new American fad?

     CAMERA PULLS BACK to reveal REGGIE and ADAM, in their 
     bathrobes.

                           GRANDPIERRE (CONT'D)
               And now your friend -- the one from 
               Texas -- he has disappeared -- checked 
               out -- pouf!  into thin air!  Where 
               is he?

                           ADAM
               I don't know.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 115
     10-30-00                                                    


                           GRANDPIERRE
               Madame?

     REGGIE shrugs.

                           GRANDPIERRE (CONT'D)
               Tell me, Mr. Dyle -- where were you 
               at three-thirty?

                           ADAM
               In my room, asleep.

                           GRANDPIERRE
               And you, Mrs. Lampert?

                           REGGIE
               I was, too.

                           GRANDPIERRE
               In Mr. Dyle's room?

                           REGGIE
                    (bitterly)
               No -- in my room.

                           GRANDPIERRE
                    (pause, lighting cigar)
               It stands to reason you are telling 
               the truth -- for why would you invent 
               such a ridiculous story?

     REGGIE and ADAM exchange looks.

                           GRANDPIERRE (CONT'D)
               And if I were you, I would not stay 
               in my pajamas.  Good night.

     GRANDPIERRE turns and leaves.  REGGIE and ADAM start down 
     the hall toward their own rooms.

                           ADAM
               That wraps it up -- Tex has the money.  
               Go back to bed -- I'll let you know 
               when I've found him.

                           REGGIE
               You're going to look for him -- now?

                           ADAM
               If the police find him first they're 
               not very likely to turn over a quarter 
               of a million dollars to us, are they?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 116
     10-30-00                                                    


                           REGGIE
               Adam --

                           ADAM
               There's no time -- I'll call you in 
               the morning.

     ADAM disappears into his own room.

129   INT. ADAM'S ROOM -- NIGHT                                   129   

     As ADAM enters, going to the closet to remove his suit.

     The phone rings.  He answers it.

                           ADAM
               Yes?

130   INT. PHONE BOOTH -- NIGHT                                   130   

     CLOSE SHOT -- TEX.  As he speaks on the phone.

                           TEX
               Now Dyle, you listen to me -- my 
               mama didn't raise no stupid children.  
               I know who's got the money 'n I ain't 
               disappearing till I got my share -- 
               'n' my share's growin' a whole lot 
               bigger ev'ry day.

131   INT. ADAM'S ROOM -- NIGHT                                   131   

                           ADAM
                    (on the phone)
               Where are you, ol' buddy?

132   INT. PHONE BOOTH -- NIGHT                                   132   

                           TEX
                    (on the phone)
                    (laughs)
               I'll tell you what, fella -- you 
               want t' find me, you jus' turn 'round -- 
               from now on I'll be right behind 
               you.
                    (hangs up)

133   INT. ADAM'S ROOM -- NIGHT                                   133   

     ADAM, before hanging up, reflects on TEX's words, then looks 
     behind him.  Smiling softly, he hangs up the phone and starts 
     for REGGIE's door.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 117
     10-30-00                                                    


134   INT. REGGIE'S ROOM -- NIGHT                                 134   

     REGGIE slips back into her robe and goes to the connecting 
     door.

                           REGGIE
               What is it?

                           ADAM
               Open up.

     She undoes the bolt and opens the door.  ADAM enters.

                           ADAM (CONT'D)
               I think we were wrong about Tex having 
               the money.

                           REGGIE
               Why?

                           ADAM
               I just heard from him -- he's still 
               hungry.  That means killing Gideon 
               didn't get it for him -- so he's 
               narrowed it down to us.  You've got 
               it.

                           REGGIE
               I've looked, Adam -- you know I have --

                           ADAM
               Where's that airlines bag?

                           REGGIE
               Lord, you're stubborn.

                           ADAM
               I sure am.  Get it.

     She goes to the closet and gets the bag.

                           ADAM (CONT'D)
               Charles must have had the money with 
               him on the train, and Tex missed it.

     He takes the bag to the bed where he dumps out the contents.

                           REGGIE
               But everyone and his Aunt Lilian's 
               been through that bag.  Somebody 
               would have seen it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 118
     10-30-00                                                    


                           ADAM
               Let's look anyway.

                           REGGIE
               Lord, you're stubborn.

                           ADAM
               I mean, it's there, Reggie.  If only 
               we could see it.  We're looking at 
               it right now.

     CLOSE SHOT -- BED WITH CHARLES' BELONGINGS

                           ADAM (V.O.) (CONT'D)
               Something on that bed is worth a 
               quarter of a million dollars.

                           REGGIE (V.O.)
               Yes, but what?

                           ADAM (V.O.)
               I don't know -- I just don't know.

     MED. SHOT -- REGGIE AND ADAM

     As ADAM begins to examine the items one by one.

                           ADAM (CONT'D)
               Electric razor -- comb -- steamship 
               ticket -- fountain pen -- four 
               passports -- toothbrush -- wallet --
                    (he goes through the 
                    wallet, finds nothing)
               -- key -- what about that?

                           REGGIE
               To the apartment -- it matches mine 
               perfectly.

                           ADAM
               The letter --

     He takes it out of the envelope and takes out his glasses 
     before reading it.

                           REGGIE
               I'll bet you don't really need those.

     He hands her the glasses and she looks through them.

                           REGGIE (CONT'D)
               You need them.
                    (She hands them back.)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 119
     10-30-00                                                    


                           ADAM
                    (reading the letter)
               It still doesn't make sense, but it 
               isn't worth any quarter of a million 
               either.  Have we forgotten anything?

                           REGGIE
               The tooth powder.  Wait a minute -- 
               could you recognize heroin just by 
               tasting it?

     He shakes some powder into his hand and tastes it.  REGGIE 
     watches expectantly.

                           ADAM
               Heroin -- peppermint-flavored heroin.

                           REGGIE
               Well, I guess that's it -- dead end.

                           ADAM
               Go to bed.  You've got to be at work 
               in the morning.  There's nothing 
               more we can do tonight.

                           REGGIE
                    (pause)
               I love you, Adam.

                           ADAM
               Yes, you told me.

                           REGGIE
               No -- last time I said "I love you, 
               Alex."

135   EXT. UNESCO BUILDING -- ESTABLISHING -- DAY                 135   

     The ultra-modern glass and concrete structure behind the 
     Ecole Militaire.

136   INT. UNESCO CONFERENCE ROOM -- DAY                          136   

     SEVERAL DELEGATES identified by little plaques in front of 
     them listing their respective nations, and their AIDES, sit 
     around the large table.  They are all wearing earphones.

     The ITALIAN DELEGATE is speaking.

                           ITALIAN DELEGATE
               -- di conseguenza, il Governo Italiano 
               è decisamente a favore per
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 120
     10-30-00                                                    


                           ITALIAN DELEGATE (CONT'D)
               l'incoraggiamento, in accordo con le 
               tradizioni etniche rispettive delle 
               culture basilari dei passi in via di 
               sviluppo.  Per esempio, pregare i 
               Vietnamiti di aggiungere alle loro 
               risaie ed ai loro campi di soja 
               tradizionali una raccolta di semola, 
               non solo sconvolgerebbe le loro 
               secolari tradizioni ma, oltre tutto, 
               e questo è molto importante per il 
               Governo che io ho l'onore di 
               rappresentare disturberebbe 
               l'esportazione delle derrate farinose 
               italiane in questa parte del mondo.  
               Signori Delegati vi ringrazio della 
               vostra attenzione.

137   INT. REGGIE'S BOOTH -- DAY                                  137   

     REGGIE, wearing her headset, is talking with SYLVIE.

                           REGGIE
               I hope Jean-Louis understands about 
               last night -- it's just not safe for 
               him to be around me right now.

                           SYLVIE
               Don't be silly -- he would not do 
               anything.  He is not yet old enough 
               to be interested in girls.  He says 
               collecting stamps is much more 
               satisfying to a man of his age.

                           REGGIE
               Hold it -- Italy just finished.  
               They're recognizing Great Britain.

                           SYLVIE
               Oh la vache!

     SYLVIE jumps up and rushes next door into her booth, shutting 
     the door after her.

138   INT. CONFERENCE ROOM -- DAY                                 138   

     The BRITISH DELEGATE rises to speak, continuing through the 
     next scene.

                           BRITISH DELEGATE
               Mr. Chairman, fellow delegates -- my 
               distinguished colleague from Italy.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 121
     10-30-00                                                    


                           BRITISH DELEGATE (CONT'D)
               Her Majesty's delegation has listened 
               with great patience to the Southern 
               European position on this problem, 
               and while we find it charmingly 
               stated, we cannot possibly agree 
               with its content.  In 1937, in the 
               British colonies of Kenya, Uganda 
               and Tanganyika -- and, if I'm not 
               mistaken, more or less in Somaliland --
               Programme of crop rotation was 
               instituted vis-à-vis arable land 
               which had never before known the 
               plough, beginning before the soil 
               was able to know the sort of fatigue 
               now plaguing most of Western Europe.  
               In 1937, therefore, Her Majesty's 
               Government -- at that time His 
               Majesty's Government -- was able to 
               properly assay the situation.  We 
               therefore oppose the resolution.

139   INT. REGGIE'S BOOTH -- DAY                                  139   

     The door from the hall opens and ADAM enters.

                           ADAM
               Reggie -- I think I've found --
                    (stopping)
               -- are you on?

                           REGGIE
               No, it's all right.  What's wrong, 
               Adam?

                           ADAM
               Nothing's wrong.  I think I found 
               something.  I was snooping around 
               Tex's room and I found this in the 
               waste basket.  I've stuck it back 
               together.

     He hands her a paper.

     INSERT -- POLICE RECEIPT

     The one GRANDPIERRE gave REGGIE.  It has been torn in half 
     and scotch-taped back together.

                           REGGIE (V.O.)
               It's the receipt Inspector Grandpierre 
               gave me -- for Charles's things.  I 
               don't see how that's going to --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 122
     10-30-00                                                    


     MED. SHOT -- REGGIE AND ADAM

                           ADAM
               You didn't look. Last night, when we 
               went through the airlines bag, 
               something was missing.  See -- ?
                    (showing her the list)
               "One agenda."  It wasn't there.

                           REGGIE
               You're right.  I remember Grandpierre 
               looking through it.  But there was 
               nothing in it -- at least, nothing 
               that the police thought was very 
               important.

                           ADAM
               Can you remember anything at all?

                           REGGIE
               Grandpierre asked me about an 
               appointment Charles had -- on the 
               day he was killed.

                           ADAM
               With whom?  Where?

                           REGGIE
               I think it only said where -- but I 
               can't --

                           ADAM
               Think, Reggie, you've got to think -- 
               it may be what we're looking for.

                           REGGIE
               That money's not ours, Adam -- if we 
               keep it, we'll be breaking the law.

                           ADAM
               Nonsense.  We didn't steal it.  
               There's no law against stealing stolen 
               money.

                           REGGIE
               Of course there is!

                           ADAM
               There is?  Well, I can't say I think 
               very much of a silly law like that.  
               Think, Reggie -- please think -- 
               what was written in Charles' notebook?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 123
     10-30-00                                                    


                           REGGIE
               Well -- it was a place -- a street 
               corner, I think.  But I don't --
                    (hearing something 
                    through her earpiece)
               Hold it.  I'm on.

     She turns back to the conference, flips a switch and starts 
     speaking into her headset.

                           REGGIE (CONT'D)
                    (translating)
               Mr. Chairman, fellow delegates -- my 
               distinguished colleague from Great 
               Britain --

140   INT. CONFERENCE ROOM -- DAY                                 140   

     The FRENCH DELEGATE is speaking.

                           FRENCH DELEGATE
               Monsieur le Président, Messieurs les 
               délégués -- mon distingué collègue 
               de la Grande Bretagne -- le problème 
               vu par mon Gouvernement n'est pas 
               aussi simple que nos amis les Anglais 
               voudraient nous le faire croire.  
               Mais leur pays n'est pas, après tout, 
               un pays agricole, n'est-ce pas?  La 
               position française, ainsi que nous 
               l'avons soulignée dans le rapport 
               numéro trente-neuf bar oblique 
               cinquante-deux de la Conférence de 
               l'hémisphère occidental qui a eu 
               lieu le 22 mars --

141   INT. REGGIE'S BOOTH -- DAY                                  141   

     REGGIE is busy translating.

                           REGGIE
               As outlined in report number three-
               nine-stroke-five-two of the Western 
               Hemisphere Conference held on March 
               22 --
                    (She stops)
               -- no wait!  It was last Thursday, 
               five o'clock at the Jardin des Champs-
               Élysées!  Adam -- that was it!  The 
               garden!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 124
     10-30-00                                                    


                           ADAM
               It's Thursday today -- and it's almost 
               five -- come on!

     MED. SHOT -- CONFERENCE TABLE

     From REGGIE'S and ADAM'S ANGLE.  All the DELEGATES and their 
     AIDES suddenly turn, surprised, and look at CAMERA.

     REVERSE SHOT -- WINDOW

     From the DELEGATE'S ANGLE.  Inside the booth, REGGIE and 
     ADAM can be seen heading for the door in a hurry.

     MED. SHOT -- CONFERENCE TABLE

     As the DELEGATES look at one another, confused.

142   EXT. GUIGNOL -- LATE AFTERNOON                              142   

     TWO SHOT -- REGGIE AND ADAM

     By the locked gate.

                           REGGIE
               Now what?

                           ADAM
               Five o'clock -- Thursday -- the Garden -- 
               it's got to be something around here.

                           REGGIE
               But Charles' appointment was last 
               week, not --

                           ADAM
               I know, but this is all we've got 
               left.

                           REGGIE
               Well, you're right there.  Ten minutes 
               ago I had a job.

                           ADAM
               Stop grousing.  If we find the money 
               I'll buy you an international 
               conference all your own.  Now start 
               looking.  You take this side and 
               I'll poke around over there.

     VARIOUS SHOTS -- WHAT THEY SEE

     A quick succession of shots showing:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 125
     10-30-00                                                    


     1. Children's Merry-go-round 2. Rond Point de Champs-Elysées 
     with fountains playing 3. Children's swings 4. Restaurant 
     Laurent 5. Balloon salesman

143   EXT. FOUNTAIN -- LATE AFTERNOON                             143   

     ADAM stands by the large fountain, staring off at something 
     as REGGIE joins him.

                           REGGIE
               It's hopeless -- I don't even know 
               what we're looking for.

                           ADAM
               It's all right -- I don't think Tex 
               does, either.

                           REGGIE
               Tex?  You mean he's here, too?

                           ADAM
               Look.

     MED. SHOT -- TEX

     He stands near the merry-go-round, looking at something in 
     his hand: Charles' agenda.  Now he closes it and moves off, 
     disappearing behind a hedge.

     TWO SHOT -- REGGIE AND ADAM

                           ADAM (CONT'D)
               I'd better see what he's up to.  
               Stay here -- I won't be long.

     ADAM starts off.

                           REGGIE
                    (concerned)
               Be careful, Adam -- please.  He's 
               already killed three men.

     DELETED

144   EXT. RUE GABRIEL -- LATE AFTERNOON                          144   

     Between the curb and the Jardin, several temporary wooden 
     booths have been set up.  They have collected quite a CROWD.  
     Into this area comes TEX, followed at a safe distance by 
     ADAM.  Suddenly TEX stops.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 126
     10-30-00                                                    


     CLOSE SHOT -- TEX

     As he stares wide-eyed at something.

     CLOSE SHOT -- STAMPS

     Neatly displayed on a counter of one of the booths.

     CLOSE SHOT -- TEX

     As he wheels to look at another booth.

     CLOSE SHOT -- MORE STAMPS

     In another arrangement.

     CLOSE SHOT -- TEX

     He turns crazily to look at another booth, then another.

     CLOSE SHOT -- EVEN MORE STAMPS

     Various FLASH SHOTS of stamps of all sizes, shapes and colors.

     MED. SHOT -- TEX

     As he understands.  He turns to rush off and bumps smack 
     into ADAM.  TEX is startled.

                           TEX
               Sorry, fella --

     He rushes off past ADAM, who watches him for a moment, 
     confused, then turns toward the booth, not yet having seen 
     the stamps.

     MED. SHOT -- BOOTH

     From ADAM's angle.  There are one or two persons standing at 
     the booth.  CAMERA ZOOMS in on the display of stamps.

     CLOSE SHOT -- ADAM

                           ADAM
                    (amazed)
               The letter.

     He quickly turns to find TEX.

     MED. SHOT -- TEX

     As he hops into the back of a TAXI and it pulls away from 
     the curb.  ADAM runs toward another TAXI.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 127
     10-30-00                                                    


                           ADAM (CONT'D)
               Taxi! -- Taxi!

145   INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- LATE AFTERNOON145   

     As ADAM comes up the stairs and goes to REGGIE's door.

     Whipping out his gun, he flings open the door.

146   INT. REGGIE'S ROOM -- LATE AFTERNOON                        146   

     From ADAM's angle.  TEX sits in the armchair, staring at 
     CAMERA.  Next to him is the airlines bag, its contents dumped 
     on the floor.

     ANOTHER ANGLE

     Including ADAM as he enters, his gun trained on TEX.  Without 
     speaking he goes to the airlines bag, then stoops down to go 
     through the spilled contents, keeping one eye all the time 
     on TEX.  But he can't find what he's looking for.

                           ADAM
                    (quietly)
               All right -- where's the letter?

                           TEX
               The letter?  The letter ain't worth 
               nuthin'.

                           ADAM
               You know what I mean -- the envelope 
               with the stamps.  I want it.

                           TEX
                    (a pause, then 
                    beginning to laugh)
               You greenhorn -- you half-witted, 
               thick-skulled, hare-brained, 
               greenhorn!  They wuz both too smart 
               for us!

                           ADAM
               What are you talking about?

                           TEX
               First her husband, now her -- she 
               hoodwinked you!  She batted all them 
               big eyes and you went 'n fell for it - 
               like a egg from a tall chicken!  
               Here!
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 128
     10-30-00                                                    


                           TEX (CONT'D)
                    (holding out the 
                    envelope)
               You want?  Here -- it's yours!

     ADAM takes it and looks at it.

     INSERT -- ENVELOPE

     The corner containing the stamps is missing, torn off.

     MED. SHOT -- ADAM AND TEX

     TEX sees the expression on ADAM's face and begins laughing, 
     hysterically.

                           TEX (CONT'D)
               Look at you!  Horn-swoggled by a 
               purty face 'n all them sweet words!  
               You killed all three of 'em for 
               nothin'!  You greenhorn!  You block-
               headed jackass!  You clod -- -- you 
               booby -- you nincompoop -- !

147   EXT. ROND POINT -- LATE AFTERNOON                           147   

     REGGIE is looking around for ADAM.  She sees something across 
     the street.  CAMERA SPINS AROUND to discover SYLVIE, sitting 
     alone on a bench near the stamp market, reading a newspaper.

     MED. SHOT -- SYLVIE

     As REGGIE approaches her.

                           REGGIE
               Sylvie -- ?  What are you doing here?

                           SYLVIE
                    (looking up)
               Hello, Reggie -- I am waiting for 
               Jean-Louis.

                           REGGIE
                    (looking around)
               What's he up to?

                           SYLVIE
               He was so excited -- when he got the 
               stamps you gave him this morning.  
               He said he had never seen any like 
               them.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 129
     10-30-00                                                    


                           REGGIE
               I'm glad.  But what's all this?

                           SYLVIE
               The stamp market, of course -- it is 
               here every Thursday afternoon.  This 
               is where Jean-Louis trades his --

                           REGGIE
                    (as it dawns)
               Good Lord!  The stamps!  Where is 
               he?  Sylvie -- we've got to find 
               him!

                           SYLVIE
               What's the matter, chérie?

                           REGGIE
               Those stamps -- they're worth a 
               fortune!

                           SYLVIE
                    (jumping up)
               What?

                           REGGIE
               A fortune!  Hurry -- we've got to 
               find him!

     They rush off into the market.

     TWO SHOT -- REGGIE AND SYLVIE

     As they stop among the booths, looking around.

                           REGGIE (CONT'D)
               I don't see him.

                           SYLVIE
               We will separate -- you look over 
               there.

     They go off in opposite directions.

     MED. SHOT -- REGGIE

     As she hurries along a row of stalls, weaving around small 
     groups of MEN standing together, showing each other stamps.

     MED. SHOT -- SYLVIE

     Searching in another section of the market.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 130
     10-30-00                                                    


                           SYLVIE (CONT'D)
                    (calling)
               Jean-Louis -- ?

     MED. SHOT -- REGGIE

     Spotting a BOY, she runs to him and spins him around.

                           REGGIE
               Jean-Louis!

     But it isn't.

     MED. SHOT -- SYLVIE

     Looking everywhere.  Suddenly she sees something.

     CLOSE SHOT -- GROUP OF MEN -- THEIR LEGS

     Only a small boy's elbow and part of his arm show, the rest 
     hidden by all the legs.

     MED. SHOT -- SYLVIE

     She recognizes him from these fragments.

                           SYLVIE
               Jean-Louis!

     She rushes to him, CAMERA PANNING WITH HER.  JEAN-LOUIS stands 
     looking at some stamps.  SYLVIE grabs him.

                           SYLVIE (CONT'D)
               Jean-Louis -- les timbrés -- où sont-
               ils?

     Smiling, JEAN-LOUIS holds up an enormous sack of assorted 
     stamps -- hundreds of them.

                           SYLVIE (CONT'D)
               Oh, zut!
                    (calling)
               Reggie -- Reggie -- !

     REGGIE runs up and joins them.

                           REGGIE
               Jean-Louis -- thank heavens!  Do you 
               have -- !
                    (spotting the sack of 
                    stamps)
               What's that?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 131
     10-30-00                                                    


                           JEAN-LOUIS
               A man traded with me -- all those 
               for only four.

                           REGGIE
               Oh no!  What man, Jean-Louis --  
               where?

     JEAN-LOUIS looks in one direction, then in the other, trying 
     to remember.

                           SYLVIE
               Vite, mon ange -- vite!

                           JEAN-LOUIS
               Là bas -- Monsieur Félix.

     They all run off down the line of booths.  JEAN-LOUIS stops 
     and points off.

                           JEAN-LOUIS (CONT'D)
               Il est là!

     MED. SHOT -- STAMP BOOTH

     Closed, deserted, empty.

     MED. SHOT -- REGGIE, SYLVIE AND JEAN-LOUIS

                           JEAN-LOUIS (CONT'D)
               But he is gone.

                           REGGIE
               I don't blame him.  Jean-Louis -- do 
               you know where this Monsieur Félix 
               lives?

                           JEAN-LOUIS
               No -- but I will ask.

     He goes to the closest booth and shakes the coat sleeve of 
     the proprietor.

                           JEAN-LOUIS (CONT'D)
               Monsieur Théophile -

                           THÉOPHILE
               Oui, jeune homme?

                           JEAN-LOUIS
               Monsieur Félix, où habite-il?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 132
     10-30-00                                                    


                           THÉOPHILE
               A Montmartre -- demande à Monsieur 
               August au Bar des Artistes -- Place 
               Blanche.

                           JEAN-LOUIS
               Merci, Monsieur Théophile.
                    (returning to REGGIE 
                    and SYLVIE)
               He says to ask Monsieur August at 
               the --

     Before he can finish, SYLVIE, who has heard THÉOPHILE, has 
     JEAN-LOUIS by the hand, dragging him off at full speed, REGGIE 
     right alongside.

148   DELETED                                                     148   

149   INT. FÉLIX'S ROOM -- DUSK                                   149   

     A bare, unkempt little room.  FÉLIX, a man in his sixties, 
     sits at a table, smoking a pipe.  There are stamps and albums 
     everywhere.  He holds a magnifying glass in his hand, busy 
     studying something on the table.  There is a KNOCK.  He looks 
     up.  Another KNOCK.

                           FÉLIX
               Entrez.

     The door opens and REGGIE, followed by SYLVIE and JEAN-LOUIS, 
     enters.

                           REGGIE
               Monsieur Félix -- ?

                           FÉLIX
                    (without looking up)
               I was expecting you.  You are American 
               too, of course.

                           REGGIE
                    (looking at Sylvie)
               Yes.

                           FÉLIX
               The man who bought them last week 
               was American.  I did not see him but 
               I heard.  I knew you would come.

     He gestures for REGGIE to come closer.  Together with SYLVIE 
     and JEAN-LOUIS, she goes to the table and looks at the stamps.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 133
     10-30-00                                                    


                           FÉLIX (CONT'D)
               Look at them, Madame.

     INSERT -- STAMPS

     Four of them -- a red, a yellow, a blue, and a green, still 
     attached to the portion of the torn envelope.

                           FÉLIX (CONT'D)
               Have you ever, in your entire life, 
               seen anything so beautiful?

     MED. SHOT -- REGGIE, FÉLIX, SYLVIE AND JEAN-LOUIS

                           REGGIE
               I'm -- I'm sorry -- I don't know 
               anything about stamps.

                           FÉLIX
               I know them as one knows his own 
               face, even though I have never seen 
               them.  This yellow one -- a Swedish 
               four shilling -- called 'De Gula 
               Fyraskillingen' -- issued in 1854.

                           REGGIE
               How much is it worth?

                           FÉLIX
               The money is unimportant.

                           REGGIE
               I'm afraid it is important.

                           FÉLIX
                    (shrugging)
               In your money, perhaps $65,000.

                           REGGIE
               Do you mind if I sit down?
                    (she sits)
               What about the blue one?

                           FÉLIX
               It is called 'The Hawaiian Blue' and 
               there are only seven left. In 1894 
               the owner of one was murdered by a 
               rival collector who was obsessed to 
               own it.

                           REGGIE
               What's its value today?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 134
     10-30-00                                                    


                           FÉLIX
               In human life?  In greed?  In 
               suffering?

                           REGGIE
               In money.

                           FÉLIX
               Forty-five thousand.

                           REGGIE
                    (to SYLVIE)
               Do you have anything to eat?
                    (to FÉLIX)
               And the orange one -- what about the 
               orange one?

                           FÉLIX
               A two-penny Mauritius -- issued in 
               1856.  Not so rare as the others -- 
               $30,000 perhaps.

                           REGGIE
               And the last one?

                           FÉLIX
               The best for the last -- le chef-
               d'oeuvre de la collection.  The 
               masterpiece.  It is the most valuable 
               stamp in the world.  It is called 
               'The Gazette Guyanne.'  It was printed 
               by hand on colored paper in 1852 and 
               marked with the initials of the 
               printer.
                    (looking at it through 
                    the glass)
               Today it has a value of $100,000.
                    (a pause)
               Eh, bien -- I am not a thief.  I 
               knew there was some mistake.  Take 
               them.

                           REGGIE
                    (hesitating)
               You gave the boy quite a lot of stamps 
               in return, Monsieur Félix -- are 
               they for sale now?

                           FÉLIX
                    (looking at the large 
                    bag)
               Let me see.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 135
     10-30-00                                                    


                           FÉLIX (CONT'D)
               There are 350 European, 200 Asian, 
               175 American, 100 African and twelve 
               Princess Grace commemorative -- which 
               comes to nine francs fifty.

                           REGGIE
                    (fishing money from 
                    her purse)
               Here's ten.

     FÉLIX goes to his wallet for the change.

                           REGGIE (CONT'D)
               Please keep it.

                           FÉLIX
               I am a tradesman, Madame, not a 
               doorman.  And don't forget these.

     He hands her the four stamps and her change.

                           REGGIE
               I'm -- I'm sorry.

     CLOSE SHOT -- FÉLIX

                           FÉLIX
               No.  For a few minutes they were 
               mine -- that is enough.

150   INT. HOTEL CORRIDOR -- THIRD FLOOR LANDING -- NIGHT         150   

     As REGGIE comes hurrying up the stairs.  She goes first to 
     ADAM's room and knocks.

                           REGGIE
               Adam?  Adam?  It's me, Reggie -- !

     There is no answer.  She goes to her own door and, to her 
     surprise, finds it an inch or two ajar.

151   INT. REGGIE'S ROOM -- NIGHT                                 151   

     As REGGIE enters.  She freezes, having seen something on the 
     floor.

     MED. SHOT -- TEX

     His dead body lies on the floor, the wrists of his extended 
     arms tied to the leg of the bed, his ankles to the steam 
     radiator.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 136
     10-30-00                                                    


     And tied around his head is a plastic, transparent bag, inside 
     of which the suffocated man's face, the eyes bulging against 
     the plastic clinging tight to his features, can be seen all 
     too clearly.  REGGIE enters the shot, bending down to see if 
     he's alive.  Then she sees something beside his hands near 
     the leg of the bed.

     CLOSE SHOT -- CARPET

     With his dying effort, TEX has traced a name against the 
     grain of the maroon carpet -- 'DYLE.'

     CLOSE SHOT -- REGGIE

     Astonished and horrified.

                           REGGIE
                    (gasping)
               Dyle --

                           WIDER ANGLE
               As she gets to her feet and hurries 
               to the phone.

                           REGGIE
                    (on the phone)
               Hell -- Balzac 30-04, s'il vous plait --
                    (waiting)
               -- Mr. Bartholomew!  Thank God you're 
               there!  Tex is dead, Mr. Bartholomew -- 
               smothered -- and Adam did it -- he 
               killed them all!

152   INT. BARTHOLOMEW'S APARTMENT -- NIGHT                       152   

     BARTHOLOMEW, his face lathered for a shaving, is on the phone.

                           BARTHOLOMEW
               Just a minute, Mrs. Lampert -- you'd 
               better give that to me slowly.  Who's 
               Adam?

153   INT. REGGIE'S ROOM -- NIGHT                                 153   

                           REGGIE
                    (on the phone)
               The one who said he was Dyle's brother -- 
               of course I'm sure -- Tex wrote the 
               word 'Dyle' before he died.  He's 
               the murderer I tell you -- he's the 
               only one left!  You've got to do 
               something!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 137
     10-30-00                                                    


154   INT. BARTHOLOMEW'S APARTMENT -- NIGHT                       154   

                           BARTHOLOMEW
                    (on the phone)
               Calm down, Mrs. Lampert -- please.  
               Does he have the money?

155   INT. REGGIE'S ROOM -- NIGHT                                 155   

                           REGGIE
                    (on the phone)
               No, I do -- it was the stamps on 
               that letter Charles had with him on 
               the train.  They were in plain sight 
               all the time, but no one ever bothered 
               looking at the envelope.

156   INT. BARTHOLOMEW'S APARTMENT -- NIGHT                       156   

                           BARTHOLOMEW
                    (on the phone)
               The envelope -- imagine that.  Mrs. 
               Lampert, listen to me -- you're not 
               safe as long as you've got these 
               stamps.  Go to the Embassy right 
               away -- wait, I'd better meet you 
               halfway -- it's quicker.  Now, let's 
               see -- do you know the center garden 
               at the Palais Royal? -- yes, by the 
               colonnade -- as soon as you can get 
               there.  Hurry, Mrs. Lampert.

157   INT. REGGIE'S ROOM -- NIGHT                                 157   

                           REGGIE
                    (on the phone)
               Yes, I'm leaving now -- goodbye.

     She hangs up, looks briefly at TEX's body, shudders, then 
     hurries to the door.

158   INT. HOTEL CORRIDOR -- THIRD LANDING -- NIGHT               158   

     As REGGIE leaves her room and goes to the elevator.  She 
     presses the button, then notices it is in use.  She goes to 
     the stairs and starts down.

159   INT. HOTEL STAIRCASE -- NIGHT                               159   

     Between the landings.  The stairs curve around the open 
     elevator shaft.  As REGGIE comes down the stairs, the cage 
     rises into view.  Inside is ADAM.  For a moment, she stops 
     and their eyes meet.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 138
     10-30-00                                                    


                           ADAM
               Reggie -- the stamps -- what've you 
               done with --?

     REGGIE starts running downstairs.

                           ADAM (CONT'D)
               Where are you going?  Wait!

     ADAM pushes the emergency stop button and then starts the 
     cage down.

                           ADAM (CONT'D)
               Reggie!

160   INT. HOTEL CORRIDOR -- SECOND LANDING -- NIGHT              160   

     As REGGIE comes off the stairs, passes the elevator gate and 
     starts down toward the lobby, the cage a few feet behind 
     her.

                           ADAM
               Reggie!

161   INT. HOTEL CORRIDOR -- FIRST LANDING -- NIGHT               161   

     As REGGIE continues to run.

162   INT. HOTEL STAIRWAY -- NIGHT                                162   

     Between the first landing and the lobby.  REGGIE running, 
     the elevator following.

                           ADAM
               Reggie -- stop!

                           REGGIE
               Why?  So you can kill me too?  Tex 
               is dead, I've seen him!  He said 
               Dyle did it!

                           ADAM
               I'm not Dyle -- you know that!

                           REGGIE
               But Tex didn't -- he still thought!

                           ADAM
               Don't be an idiot!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 139
     10-30-00                                                    


163   INT. HOTEL LOBBY -- NIGHT                                   163   

     REGGIE reaches the lobby first and, without hesitation, races 
     toward the front door and out.  The confused hotel MANAGER 
     behind the desk can only stare in surprise.  The elevator, 
     ADAM inside, has not yet reached the bottom.

                           ADAM
               Reggie -- !  I want those stamps!

164   EXT. HOTEL LOBBY -- NIGHT                                   164   

     A taxi stands by the curb.  REGGIE leaves the hotel and runs 
     to it.

                           REGGIE
                    (indicating the 
                    direction)
               Palais Royal -- vite!

     Calmly, the DRIVER points to the little printed sign on his 
     windshield reading "ITALIE."

                           DRIVER
                    (pointing the other 
                    way)
               Porte d'Italie, moi.

                           REGGIE
               Mais c'est très vite!  On veut me 
               teur!

                           DRIVER
                    (shaking his head)
               Italie.

     She looks around and sees ADAM come out of the hotel and 
     straight toward her.  She turns and runs off toward the Place 
     St. Michel.

165   EXT. PLACE ST. MICHEL -- NIGHT                              165   

     As REGGIE comes to the corner.  She stops, sees the Métro 
     station ("St. Michel") and rushes to it, scampering down the 
     stairs.  ADAM is behind her.

166   INT. ST. MICHEL MÉTRO STATION -- NIGHT                      166   

     REGGIE comes flying down the stairs and runs past the ticket 
     booth, fishing in her bag for her carnet (booklet of tickets), 
     casting a quick look behind her.  CAMERA PANS QUICKLY TO 
     ADAM just coming off the stairs, who runs after her.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 140
     10-30-00                                                    


167   DELETED                                                     167   

168   INT. MÉTRO TICKET GATE -- NIGHT                             168   

     REGGIE gets to the gate ahead of ADAM and manages to crowd 
     in front of some OTHERS about to pass through.  Barely 
     stopping, she holds out her ticket to the GUARD to be punched, 
     then heads down the platform, still running.  ADAM gets to 
     the gate but the GUARD stops him as he tries to pass through.

                           GUARD
               Billet, Monsieur.

                           ADAM
                    (breathless)
               I don't want to go anywhere -- I'm 
               only trying --

                           GUARD
                    (pointing off)
               Billet, Monsieur.

     ADAM tries to look past him, to see REGGIE, but gives it up 
     and goes back toward the ticket booth, on the run.

169   INT. MÉTRO PASSAGEWAY -- NIGHT                              169   

     CAMERA LEADING REGGIE as she runs -- the passageway is nearly 
     empty.  Her footsteps echo against the tile and concrete 
     walls.

     CLOSE SHOT -- PASSAGEWAY WALL (TRAVELING)

     The jumble of advertising posters as it passes rapidly, 
     forming a moving band of letters, women, cartoons and colors.

170   INT. MÉTRO PASSAGEWAY -- NIGHT                              170   

     REGGIE stops and pauses for a moment at a sign indicating 
     two different directions, an arrow for each.

     "DIRECTION: 

     Pte D'ORLÉANS

     Pte DE CLIGNANCOURT-------"

     Choosing "Clignancourt," she runs off.  CAMERA PANS SHARPLY, 
     180 degrees, to pick up ADAM rounding the corner in hot 
     pursuit.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 141
     10-30-00                                                    


171   INT. MÉTRO PLATFORM -- NIGHT                                171   

     REGGIE starts down the platform, looking behind her every 
     few steps.  Suddenly she looks up in surprise -- there, across 
     the tracks on the opposite platform is ADAM.  He has evidently 
     made the wrong turn back in the passageway.

     They stare at each other for a moment.  Then the bell rings, 
     announcing the arrival of a train.  ADAM turns, running back 
     through the exit behind him.  Not knowing what to do, REGGIE 
     looks into the darkness of the tunnel.  The approaching train 
     can be heard.

                           REGGIE
                    (to herself)
               Come on -- please --

     She turns to look at the gate -- slowly, the pneumatic door 
     starts to close.  As it does, the train roars into the 
     station.

172   INT. MÉTRO PASSAGEWAY -- NIGHT                              172   

     The gate can be seen slowly closing.  ADAM runs to it, tries 
     to force it back but cannot.  Finally, he jumps up and, 
     commando style, vaults over it.

173   INT. MÉTRO PLATFORM -- NIGHT                                173   

     REGGIE is just entering the red center car (the two on either 
     side are dark green).  ADAM runs for the red car and just 
     manages to make it as the doors shut in unison, the latches 
     falling with a concerted click and the little whistle blowing 
     to inform the motor-man to depart.  The train starts to move.

174   INT. MÉTRO CAR -- NIGHT                                     174   

     The entire length of the car separates ADAM and REGGIE.

     For a moment, their eyes meet, then ADAM starts to weave his 
     way past the other PASSENGERS, on his way to her.

     Suddenly, he is stopped.  ADAM turns to see a TRAIN GUARD.

                           TRAIN GUARD
               Billet, Monsieur.

     ADAM shows him his yellow ticket and starts past him, but 
     again the TRAIN GUARD stops him.

                           TRAIN GUARD (CONT'D)
               Vous êtes dans le premier classe, 
               Monsieur.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 142
     10-30-00                                                    


                           ADAM
               What?

                           TRAIN GUARD
                    (heavy accent)
               This car is for first class only -- 
               you have a second-class ticket.

                           ADAM
               But that's what they gave me.

     He tries to pull away from the TRAIN GUARD and finds himself 
     staring into the serious face of a GENDARME.

                           GENDARME
               Monsieur -- ?

     ADAM looks at the GENDARME, then at REGGIE.

175   INT. "PALAIS-ROYAL" MÉTRO PLATFORM -- NIGHT                 175   

     As the TRAIN pulls in and comes to a stop.

176   INT. MÉTRO CAR -- NIGHT                                     176   

     The GENDARME opens the door for ADAM and escorts him out.

     ADAM turns once more to look at REGGIE as he goes.  She 
     remains in the car.

177   INT. MÉTRO PLATFORM -- NIGHT                                177   

     The Gendarme gestures for Adam to enter the green, second- 
     class car behind the red, first-class one.  Reluctantly, 
     Adam does.

178   INT. MÉTRO CAR -- NIGHT                                     178   

     As ADAM enters and goes to the door through which he can see 
     REGGIE in the car ahead.  She is gone.  Moving quickly, he 
     returns to the exit door and looks at the platform.

179   INT. MÉTRO PLATFORM -- NIGHT                                179   

     From Adam's p.O.V.  She is hurrying toward an exit marked 
     "SORTIE."

     ANOTHER ANGLE

     Featuring ADAM as he hurries from the car.  He finds his way 
     blocked by FIVE NUNS in large, white butterfly hats.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 143
     10-30-00                                                    


     It takes him a few precious seconds to work his way around 
     them.

     DELETED

180   INT. MÉTRO SORTIE -- NIGHT                                  180   

     REGGIE has entered an area leading to the exit.  But as she 
     reaches the stairway leading up to the street level, she is 
     confronted with an iron grill barring her way.  She tries to 
     open it, but it is firmly padlocked.  A sign hung on it reads 
     "FERMÉ LES WEEKENDS."  She turns, desperately looking for 
     some way out.

181   INT. MÉTRO PLATFORM -- NIGHT                                181   

     ADAM is off the train.  He stands on the platform as the 
     train doors slam shut, the latches click, the whistle blows 
     and the train pulls out.  He looks around in all directions, 
     looking for some sign of REGGIE.  He spots the exit marked 
     "SORTIE"  (the same one used by REGGIE) and starts toward 
     it.

182   INT. MÉTRO SORTIE -- NIGHT                                  182   

     As ADAM enters the deserted area.  There is, miraculously, 
     no sign of REGGIE.  He goes to the locked grill and tries 
     it, testing the padlock.  CAMERA PANS to a phone booth (solid 
     door with a window in the upper half) and we see REGGIE's 
     hand reaching up to dial a number.

183   INT. PHONE BOOTH -- NIGHT                                   183   

     REGGIE sits on the floor of the booth, dialing.

                           REGGIE
                    (to herself, as she 
                    dials)
               Balzac 3 - 0 - 0 - 4.

     She holds the receiver to her ear.  The number can be heard 
     ringing but no one answers.  She hangs up and reaches for 
     the phone book, leafing through its pages.

                           REGGIE (CONT'D)
               Embassies -- embassies --

184   INT. MÉTRO SORTIE -- NIGHT                                  184   

     ADAM stands for a minute, looking around, not knowing what 
     to do.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 144
     10-30-00                                                    


185   INT. PHONE BOOTH -- NIGHT                                   185   

     REGGIE has finished dialing her number and now pushes the 
     button.  It clicks loudly.

                           REGGIE
               Shh.
                    (into the phone, 
                    whispering)
               American Embassy?  Mr. Bartholomew's 
               office, please -- Mr. Bartholomew's 
               office --

186   INT. EMBASSY SWITCHBOARD -- NIGHT                           186   

     An OPERATOR speaking into a headset.

                           OPERATOR
               Could you speak out, please?  I can't 
               quite hear you.

187   INT. PHONE BOOTH -- NIGHT                                   187   

                           REGGIE
                    (on the phone)
               No, I can't speak any louder -- 
               Hamilton Bartholomew -- B as in -- 
               uh -- Bartholomew -- that's right, 
               and the rest as in Bartholomew!

188   INT. EMBASSY SWITCHBOARD -- NIGHT                           188   

                           OPERATOR
                    (on the phone)
               I'm sorry, but Mr. Bartholomew has 
               left for the day.

189   INT. PHONE BOOTH -- NIGHT                                   189   

                           REGGIE
                    (on the phone)
               But someone's trying to kill me -- 
               you've got to send word to him -- in 
               the center garden of the Palais Royal, 
               by the colonnade -- tell him I'm 
               trapped in a phone booth, below him 
               in the Métro station.  And my name's 
               Lampert.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 145
     10-30-00                                                    


190   INT. EMBASSY SWITCHBOARD -- NIGHT                           190   

                           OPERATOR
                    (on the phone)
               All right, Mrs. Lampert -- I'll see 
               what I can do.  Goodbye.

     She unplugs the call, plugs in another one and dials quickly.

                           OPERATOR (CONT'D)
               Hello, Mr. Bartholomew?  -- there 
               was a call for you just now, Mr. 
               Bartholomew -- it sounded quite urgent -- 
               a Mrs. Lampert.

191   INT. BARTHOLOMEW'S STUDY -- NIGHT                           191   

     It is a man we've never seen before, the physical opposite 
     of the old BARTHOLOMEW.

                           REAL BARTHOLOMEW
               Lampert?  I don't know any Mrs. 
               Lampert -- trapped in a Métro station?  
               Who does she think I am, the C.I.A.?  
               All right, you'd better call the 
               French police.

192   INT. MÉTRO SORTIE -- NIGHT                                  192   

     MED. SHOT -- PHONE BOOTH.  As REGGIE's head appears, peeking 
     cautiously over the bottom of the window.

     REVERSE SHOT

     From inside the phone booth.  Through the glass ADAM can be 
     seen, leaving the Sortie area.

     MED. SHOT -- PHONE BOOTH

     Carefully, REGGIE opens the door and comes out.  She goes to 
     the corner and looks around it.

193   INT. MÉTRO PLATFORM -- NIGHT                                193   

     From Reggie's p.O.V. As Adam walks away from camera, down 
     the platform.  Camera pans to Reggie, peeking around the 
     corner.  She looks the opposite way, sees another exit at 
     the other end of the platform (also marked "SORTIE").  She 
     looks back once more at ADAM, then makes up her mind and 
     starts running towards the exit.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 146
     10-30-00                                                    


     MED. SHOT -- ADAM

     As the bell rings announcing the next train.  He turns to 
     look and sees REGGIE.

                           ADAM
                    (calling)
               Reggie -- !

     He takes off, running after her.

     MED. SHOT -- REGGIE

     As she runs, ADAM several yards behind her.

                           ADAM (CONT'D)
                    (in b.g., Calling)
               Reggie -- wait!

     She turns into the exit.

194   INT. MÉTRO STAIRWAY -- NIGHT                                194   

     As REGGIE starts up the long, steep flight of stone steps 
     leading to the street level.  ADAM appears behind her, 
     climbing two at a time and gaining.

                           ADAM
               Reggie -- why won't you listen?

                           REGGIE
               I'm through listening to you!

     He is rapidly closing the gap between them.  It is clear 
     that REGGIE is tiring.

                           ADAM
               But I didn't kill anybody.

                           REGGIE
               Then who did?  You're the only one 
               left.

     PASSERSBY, descending the stairs, stand aside to let the two 
     strange Americans pass, watching in wonderment.  ADAM is 
     only a few steps behind now.

                           ADAM
               Reggie -- please believe me!

                           REGGIE
               No!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 147
     10-30-00                                                    


     As REGGIE wearily gains the top, ADAM lunges for her.  He 
     manages to grab her foot as he falls forward, but all he 
     winds up with is a shoe which has come loose in his hand.

     REGGIE shrieks, then regaining her balance, continues running, 
     limping in her one shoe.  ADAM scrambles to his feet and 
     starts after her again.

195   INT. MÉTRO TICKET BOOTH AREA -- NIGHT                       195   

     As REGGIE, still hobbling, runs through and toward the stairs, 
     leading to the street.  CAMERA PANS TO ADAM, as he, too, 
     runs through.  He is again several yards behind her.

196   EXT. PLACE PALAIS ROYAL -- NIGHT                            196   

     As REGGIE comes up the stairs from the Métro.  She stops 
     long enough to kick off her other shoe, then runs across the 
     street, ignoring the traffic, toward the Rue de Valois (which 
     forms one side of the Palais Royal).  ADAM is gaining on her 
     again.

197   EXT. PALAIS ROYAL COURTYARD -- COLONNADE -- NIGHT           197   

     The smaller court at the Comédie-Française end of the Palais 
     gardens, separated from the larger garden by a double 
     peristyle consisting of two twin rows (these separated from 
     each other by a small marble court) of twenty columns each -- 
     in all, eighty columns.  The only person in sight is the man 
     we have known as BARTHOLOMEW, waiting at the far end of the 
     columns, looking at his watch impatiently.

     Then, from the Rue de Valois side of the Palais, REGGIE runs 
     into the court.  She spots BARTHOLOMEW and fishes in her bag 
     for the stamps as she runs, taking them out and waving them.

                           REGGIE
               Mr. Bartholomew -- he's chasing me!

     ADAM has run into the court and now skids to a stop at the 
     near end of the colonnade as he spots BARTHOLOMEW.  REGGIE, 
     still running, is halfway between the two men.  BARTHOLOMEW 
     draws his gun but can't get a shot at ADAM, who has ducked 
     in among the columns.

                           ADAM
               Reggie -- stop!  That's Carson Dyle!

     This news hits REGGIE hard and she stops, in alarm.

                           REGGIE
                    (breathless)
               Carson -- ?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 148
     10-30-00                                                    


     She looks at "BARTHOLOMEW," then back at ADAM, who has drawn 
     his own gun.

     (NOTE: Both BARTHOLOMEW and ADAM are in among the stone 
     columns at opposite ends of the colonnade, keeping out of 
     each other's sight.  REGGIE stands out in the open, the stamps 
     in her hand, confused as to which man she should go to).

                           BARTHOLOMEW
                    (calmly)
               We all know Carson Dyle is dead, 
               Mrs. Lampert.

                           ADAM
               It's Carson Dyle, I tell you!

                           BARTHOLOMEW
               You're not going to believe him, 
               Mrs. Lampert -- it's too fantastic.  
               He's trying to trick you again.

     REGGIE looks at one, then the other, not knowing what to do.

                           ADAM
               Tex recognized him -- that's why he 
               said Dyle.  If you give him those 
               stamps, he'll kill you too!

     REGGIE takes a step toward ADAM.

                           BARTHOLOMEW
               Mrs. Lampert -- if I'm who he said, 
               what's preventing me from killing 
               you right now?

     REGGIE stops, turns back to "BARTHOLOMEW."

                           ADAM
               Because he'd have to come out to get 
               the stamps -- he knows he'd never 
               make it.

                           BARTHOLOMEW
               What's the matter with you, Mrs. 
               Lampert?  Are you going to believe 
               every lie he tells you?   He wants 
               the money for himself -- that's all 
               he's ever wanted.

                           REGGIE
                    (to Adam, explaining)
               He's -- with the C.I.A. -- I've seen 
               him at the Embassy.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 149
     10-30-00                                                    


                           ADAM
               Don't be a fool!  He's Carson Dyle!

                           BARTHOLOMEW
               That's right, Mrs. Lampert -- I'm a 
               dead man -- look at me.

                           REGGIE
               I don't know who anybody is any more!

                           ADAM
               Reggie -- listen to me!

                           REGGIE
               You lied to me so many times --

                           ADAM
                    (gently)
               Reggie -- trust me once more -- 
               please.

                           REGGIE
               Can I really believe you this time, 
               Adam?

                           ADAM
                    (a pause)
               There's not a reason on earth why 
               you should.

     She looks toward ADAM for a moment, then back to 
     "BARTHOLOMEW," then slowly starts toward ADAM.

                           REGGIE
               All right, Adam.

                           BARTHOLOMEW
               Stop right now, Mrs. Lampert, or 
               I'll kill you.

     REGGIE stops in alarm.

                           ADAM
               It won't get you the stamps, Dyle -- 
               you'll have to come out to get them, 
               and I'm not likely to miss at this  
               range.

                           BARTHOLOMEW
                    (now called CARSON)
               Maybe not -- but it takes a lot of 
               bullets to kill me.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 150
     10-30-00                                                    


                           BARTHOLOMEW (CONT'D)
               They left me there with five of them 
               in my legs and my stomach -- they 
               knew I was still alive but they left 
               me.  I spent ten months in a German 
               camp -- with nothing to stop the 
               pain and no food -- they were willing 
               to take all these chances for the 
               money, but not for me.  They deserved 
               to die!

     MED. SHOT -- ADAM

     During the following, he looks around, looking for some way 
     out.

                           REGGIE (V.O.)
               But I didn't have anything to do 
               with --

                           CARSON (V.O.)
               You've got the money.  It belongs to 
               me now!  Please believe me, Mrs. 
               Lampert -- I'll kill you -- a little 
               more blood won't matter.

     During this ADAM has moved out from behind the columns, 
     creeping cautiously across the open space between the two 
     colonnades and finally, behind the second.

     MED. SHOT -- REGGIE AND CARSON

                           CARSON (CONT'D)
               I'll give you five to make up your 
               mind, Mrs. Lampert.

     She has seen ADAM's move from her angle, but doesn't know 
     quite what to do.

                           REGGIE
               Wait, please!  I need some time to 
               think!

                           CARSON
               One --

     MED. SHOT -- ADAM

     As he slowly moves along behind the second colonnade, his 
     gun ready, trying to get an angle on CARSON.

                           CARSON (V.O.) (CONT'D)
               -- two --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 151
     10-30-00                                                    


     Suddenly ADAM stops -- he has caught sight of CARSON through 
     the columns.  But he will have a difficult shot.

                           CARSON (V.O.) (CONT'D)
               -- three --

     CLOSE SHOT -- CARSON

                           CARSON (CONT'D)
               -- four --

     CAMERA PANS DOWN to his gun.  As his finger tightens on the 
     trigger and the hammer moves slowly back.

     CLOSE SHOT -- REGGIE

                           REGGIE
               Adam -- please!

     MED. SHOT -- ADAM

     As he aims carefully and fires.

     CLOSE SHOT -- COLUMN

     As the bullet creases it.

     CLOSE SHOT -- CARSON

     As the deflected bullet rips the shoulder of his coat, leaving 
     him unharmed.  He wheels.

     MED. SHOT -- ADAM

     With CARSON in the b.g., who fires at him.  ADAM ducks behind 
     the column as the bullet hits it and screams off.

     Quickly, he peers back out and throws another shot.

     MED. SHOT -- REGGIE

     Seeing CARSON otherwise occupied, she turns and runs toward 
     the open stage door of the Comédie Française behind her.

     (Beside the door is a poster announcing the forthcoming 
     schedule of presentations.)

     ANOTHER ANGLE

     Including CARSON who, seeing REGGIE running to the door, 
     turns and fires at her.  But he is too late -- she is safely 
     inside.  CARSON looks quickly back toward ADAM, then takes 
     off after REGGIE.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 152
     10-30-00                                                    


     MED. SHOT -- ADAM

     Over his shoulder we see a broken picture of CARSON running 
     toward the theatre door, flashing by the near and far columns.  
     ADAM tries to get a shot at him, but can't.

     Finally he runs after him.

198   INT. COMÉDIE FRANÇAISE -- BACKSTAGE -- NIGHT                198   

     As CARSON enters and slams the door behind him, locking it.

199   INT. COMÉDIE FRANÇAISE -- STAGE DOOR -- NIGHT               199   

     ADAM arriving at the door, bangs on it, then looks around, 
     frustrated.  Several yards away he sees a short stairway 
     leading down to a door below the street level.  He runs to 
     it, tries the door and enters.

200   INT. COMÉDIE FRANÇAISE -- ORCHESTRA -- NIGHT                200   

     As CARSON enters the auditorium and looks around.

     CARSON'S P.O.V.

     As the CAMERA SWEEPS the magnificent old theatre -- boxes, 
     seats, stage, but there is no sign of REGGIE.

     ANOTHER ANGLE

     As CARSON walks up the aisle checking between the rows of 
     seats.

201   INT. COMÉDIE FRANÇAISE -- TRAPROOM -- NIGHT                 201   

     A large room, lit by a single bare bulb, under the stage.

     ADAM appears, moving cautiously, gun ready.  He creeps along 
     next to the wall, looking around at all the various scenic 
     pieces which fill the room.

202   INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT                    202   

     As CARSON moves carefully across the darkened stage near the 
     footlights, looking for REGGIE.  At mid-stage, CAMERA PANS 
     DOWN to his feet, only a few inches from the prompter's box.  
     Inside, huddling down, is a terrified REGGIE, holding her 
     breath as she watches him.

     ANOTHER ANGLE

     As CARSON moves into the opposite wings, sees the light board 
     and throws on all the switches.  The stage is bathed in light.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 153
     10-30-00                                                    


     He returns to the stage.

203   INT. TRAPROOM -- NIGHT                                      203   

     ADAM is looking up, having heard the footsteps on the stage 
     over his head -- and hearing them now.  He looks around and 
     sees a narrow, curving staircase leading up.  He goes to it, 
     and, starting up, finds a door.  He tries the knob -- the 
     door is locked.

204   INT. PROMPTER'S BOX -- NIGHT                                204   

     REGGIE, cringing back from the bright light, notices the 
     doorknob turning.  It makes a slight clicking sound.

205   INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT                    205   

     CARSON, upstage, looking behind a piece of classic scenery, 
     hears the doorknob and turns suddenly.

     CARSON'S P.O.V.

     We catch a quick glimpse of REGGIE as she ducks down out of 
     sight.  Too late.

     CLOSE SHOT -- CARSON

                           CARSON
               All right, Mrs. Lampert.  The game's 
               over.  Come out of there.

                           WIDER ANGLE
               REGGIE does not appear.

                           CARSON
               I don't want to kill you, Mrs. Lampert -- 
               but I will --

206   INT. TRAPROOM -- NIGHT                                      206   

     ADAM comes down the stairs from the prompter's box and looks 
     up at the ceiling.

     MED. SHOT -- CEILING

     It is divided into thirty-six square sections, each numbered 
     and lettered -- from 1A to 6F.  They are trapdoors.

     MED. SHOT -- ADAM

     He looks from the ceiling to a row of levers on one wall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 154
     10-30-00                                                    


     CLOSE SHOT -- LEVERS

     Thirty-six of them, numbered and lettered to correspond to 
     the traps.

207   INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT                    207   

     As CARSON takes a few steps towards the prompter's box, his 
     gun ready.

                           CARSON
               Did you hear me, Mrs. Lampert -- ?

208   INT. PROMPTER'S BOX -- NIGHT                                208   

     REGGIE huddled inside.

209   INT. TRAPROOM -- NIGHT                                      209   

     ADAM is listening carefully, trying to figure out where CARSON 
     is standing, watching the ceiling.

     CLOSE SHOT -- TRAP

     It is marked C-4.

                           CARSON (V.O.)
               I won't wait much longer, Mrs. Lampert

     MED. SHOT -- ADAM

     As he turns to the levers and reaches for the one marked C-
     4.  He is about to pull it.

210   INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT                    210   

     CARSON takes a few more steps forward.

211   INT. TRAPROOM -- NIGHT                                      211   

     ADAM stops himself from pulling the lever just in time.  He 
     lets his held breath escape.  He looks back at the ceiling.

     CLOSE SHOT -- TRAP

     The one marked C-4.  As CARSON's voice is heard, CAMERA MOVES 
     to the next trap, marked D-4.

                           CARSON (V.O.)
               I know you're in there, Mrs. Lampert --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Charade-EDITED                                        p. 155
     10-30-00                                                    


     MED. SHOT -- ADAM

     He looks at the lever marked D-4.  He is perspiring heavily.

     Now he slowly reaches for the lever.

212   INT. COMÉDIE FRANÇAISE -- STAGE -- NIGHT                    212   

     CARSON is about to move closer to the prompter's box when 
     suddenly the stage under him opens and he plummets through 
     out of sight.  At the same time we hear a shot.

     CLOSE SHOT -- PROMPTER'S BOX

     As REGGIE slowly peers out.

     REGGIE'S P.O.V.

     The empty stage, without being able to see the open trap 
     from this low angle.

     MED. SHOT -- REGGIE

     As she climbs out of the booth and, seeing the open trap 
     now, runs to it, looking down through it.

     MED. SHOT -- OPEN TRAP

     FROM ABOVE, over REGGIE's head.  She can see CARSON sprawled 
     on the floor below, face down and dead.  ADAM stands beside 
     the body, looking up at REGGIE and smiling.

     ANOTHER ANGLE

     As GRANDPIERRE and his TWO ASSISTANTS, guns drawn, walk onto 
     the stage from the wings.  They go to the open trap and look 
     down at ADAM.

                           GRANDPIERRE
               Mr. Dyle -- you are under arrest for 
               the murders of Charles Lampert, Herman 
               Scobie, Joseph Penthollow, Leopold 
               Gideon, and whoever that is down 
               there.

     ADAM is surprised, then shakes his head.

                           ADAM
               Reggie -- you'd better tell him.  He 
               wouldn't dare hit a girl.

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 156
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213   EXT. RUE DE RIVOLI -- NIGHT                                 213   

     As a TAXI rolls by the arcades, CAMERA PANNING with it.

214   INT. TAXI -- NIGHT (PROCESS)                                214   

     REGGIE and ADAM in the rear of the cab.  REGGIE has one of 
     her feet in her hand, shoe off, rubbing it.

                           REGGIE
               You didn't have to chase me so hard --

                           ADAM
               Here, give it to me.

     He starts to take the foot but she pulls it back and offers 
     him the other one.

                           REGGIE
               That one's done -- start on this 
               one.

     He takes the foot and begins rubbing it.

                           REGGIE (CONT'D)
               I'm sorry I thought you were the 
               murderer, Adam -- how did I know 
               that he was as big a liar as you 
               are?

                           ADAM
               And that's all the gratitude I get 
               for saving your hide.

                           REGGIE
               The truth, now -- was it my hide -- 
               or the stamps?

                           ADAM
               What a terrible thing to say.  How 
               could you even think that?

                           REGGIE
               All right, prove it to me -- tell me 
               to go to the Embassy first thing in 
               the morning and turn in those stamps.

     ADAM says nothing.

                           REGGIE (CONT'D)
               I said, tell me to go to the --

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 157
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                           ADAM
               I heard you, I heard you.

                           REGGIE
               Then say it.

                           ADAM
               Reggie -- listen to me --

                           REGGIE
               Never mind -- I'll go by myself.

                           ADAM
               What makes you think they're even 
               interested?  It's only a quarter of 
               a million -- it'll cost more than 
               that to fix up their bookkeeping.  
               As a taxpayer --

215   EXT. AMERICAN EMBASSY -- MAIN ENTRANCE -- DAY               215   

     As REGGIE and ADAM approach the MARINE in full-dress uniform 
     always on guard at the Embassy.

                           REGGIE
                    (to ADAM)
               Who's a taxpayer?  Crooks don't pay 
               taxes.  Excuse me, soldier --

                           MARINE
               Marine, ma'am.

                           REGGIE
               Forgive me.  Whom would I see 
               regarding the return of stolen 
               Government money?

                           MARINE
               You might try the Treasury Department, 
               ma'am -- Room 216, second floor, Mr. 
               Cruikshank.

                           REGGIE
               Cruikshank, 216.  Thank you, Marine.

216   INT. EMBASSY CORRIDOR -- DAY                                216   

     Featuring a door marked "216."  REGGIE and ADAM appear.

                           ADAM
               Do you mind if I wait out here?  The 
               sight of all that money being given 
               away might make me break out.

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 158
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217   INT. EMBASSY TREASURY OFFICE -- DAY                         217   

     A SECRETARY sits behind a desk.  She looks up as REGGIE 
     enters.

                           REGGIE
               Mr. Cruikshank, please -- my name is 
               Lampert.

     The SECRETARY picks up her phone and presses a button.

                           SECRETARY
               Mr. Cruikshank, a Miss --

                           REGGIE
               Mrs.

                           SECRETARY
               -- a Mrs. Lampert to see you -- yes 
               sir.
                    (to REGGIE)
               Go right in.

     REGGIE goes to the door leading to the private office.

218   INT. CRUIKSHANK'S OFFICE -- DAY                             218   

     Featuring the door as REGGIE enters.  She stops suddenly.

     ANOTHER ANGLE

     Featuring the desk.  Behind it sits ADAM now CRUIKSHANK.

     REGGIE stares at him, unbelievingly, then looks around, 
     confused.  By way of explanation he indicates the door to 
     the hall.

                           REGGIE
                    (blowing up)
               Well, of all the mean, rotten, 
               contemptible, crooked --

                           CRUIKSHANK
               Crooked?  I should think you'd be 
               glad to find out I wasn't crooked.

                           REGGIE
               You couldn't even be honest about 
               being dishonest.  Why didn't you say 
               something?

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 159
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                           CRUIKSHANK
               We're not allowed to tell.  May I 
               have the stamps, please?

                           REGGIE
                    (reaching into her 
                    bag)
               Here --
                    (hesitating)
               -- Wait a minute -- how did Carson 
               Dyle get an office in here, anyway?

                           CRUIKSHANK
               When did you see him -- what time, I 
               mean?

                           REGGIE
               Around one.

                           CRUIKSHANK
               The lunch hour.  He probably worked 
               it out in advance.  He found an office 
               that was usually left open and just 
               moved in for the time you were here.

                           REGGIE
               Then how do I know this is your 
               office?

                           CRUIKSHANK
                    (picking up the phone)
               Mrs. Foster -- send a memo to 
               Bartholomew at Security recommending 
               that --

                           REGGIE
               Bartholomew?

                           CRUIKSHANK
               -- recommending that all Embassy 
               offices be locked during the lunch 
               hour.

                           REGGIE
               Starting with his own.

                           CRUIKSHANK
                    (hanging up)
               Okay, now -- hand over those stamps.

                           REGGIE
               What's your first name today?

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 160
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                           CRUIKSHANK
               Brian.

                           REGGIE
               Brian Cruikshank -- it would serve 
               me right if I got stuck with that 
               one.

                           CRUIKSHANK
               Who asked you to get stuck with any 
               of them?

                           REGGIE
               Is there a Mrs. Cruikshank?

                           CRUIKSHANK
               Yes.

                           REGGIE
               But you're -- divorced?

                           CRUIKSHANK
               No.

                           REGGIE
                    (crestfallen)
               Oh.

                           CRUIKSHANK
               My mother -- she lives in Detroit.  
               Come on now -- give me those stamps.

                           REGGIE
               Only if you can prove to me that 
               you're really Brian Cruikshank.

                           CRUIKSHANK
               How about if next week some time I 
               put it on a marriage license -- that 
               ought to --

                           REGGIE
               Quit stalling -- I want to see some 
               identification -- now!

                           CRUIKSHANK
               I wouldn't lie on a thing like that -- 
               I could go to jail.

                           REGGIE
               You'd lie about anything.

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 161
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                           CRUIKSHANK
               Well, maybe we'd better forget about 
               it, then.

                           REGGIE
               You can't prove it, can you?  You're 
               still trying to --
                    (the coin drops into 
                    the slot)
               -- marriage license!  Did you say?

                           CRUIKSHANK
               I didn't say anything.  Will you 
               give me those stamps?

                           REGGIE
               You did too say it -- I heard you.  
               Oh, I love you Adam -- I mean Alex -- 
               er, Peter -- Brian.  I hope we have 
               lots of boys -- we can name them all 
               after you.

                           CRUIKSHANK
               Before we start on that, do you mind 
               handing over the stamps?

                                                         FADE OUT

                               THE END

     SCRIPT DATED: 1 OCTOBER 
     *************************************************** 
     *************************************************** 
     *************************************************** 
     *************************************************** 
     *************************************************** 
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     BONUS ITEM -- Lyrics to the theme song of the film:

     CHARADE

     Music by Henry Mancini, Words by Johnny Mercer

      

     When we played our Charade we were like children posing, 

     Playing at games, acting out names, guessing the parts we 
     played.

     Oh, what a hit we made.  We came on next to closing 

                                                       (CONTINUED)

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     Charade-EDITED                                        p. 162
     10-30-00                                                    


     Best on the bill, lovers until love left the masquerade.