(reel clicks) (gentle music) (dramatic music) (birds tweeting and chirping) (dog barking distantly) (train horn blasts) (train engine rumbles) (train horn blasts) (train horn blasts) ("Charade" by Henry Mancini) (light mid-tempo music) (uptempo orchestral music) (tense music) (light orchestral music plays over speakers) >> Oh, la.

>> Don't tell me.

You didn't know it was loaded.

Sylvie!

>> Oh.

>> Can't he do something constructive like start an avalanche or something?

(Sylvie speaks in foreign language) >> When you start to eat like this, something is the matter.

>> Sylvie, I'm getting a divorce.

>> What?

From Charles?

>> He's the only husband I have.

I've tried to make it work, really I have, but... >> But what?

>> Oh, I can't explain.

It's just that I'm too miserable to go on any longer like this.

>> It is infuriating that your unhappiness does not turn to fat.

But I don't understand.

Why do you want a divorce?

>> Because I don't love him, and he obviously doesn't love me.

>> That's no reason to get a divorce.

With a rich husband and this year's clothes, you won't find it difficult to make some new friends.

>> Look, I admit I came to Paris to escape American provincial, but that doesn't mean I'm ready for French traditional.

I loathe the whole 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 Charles, everything is secrecy and lies.

He's hiding something from me, Sylvie, something terrible, and it frightens me.

>> Peter: Does he belong to you?

>> Well, it's hers.

Where'd you find him, robbing a bank?

>> He was throwing snowballs at Baron Rothschild.

>> Oh, thank you.

>> Do we know each other?

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

>> I don't know, how would I know?

>> Because I already know an awful lot of people, and until one of them dies, I couldn't possibly meet anyone else.

>> Mm.

Well, if anyone goes on the critical list, let me know.

>> Mm.

Quitter.

>> Uh-huh?

>> You give up awfully easily, don't you?

>> Here, Jean-Louis, let us make a walk.

I've never seen a Rothschild before.

(gun squirts) (chuckles sarcastically) >> Clever fellow.

Almost missed me.

Thank you.

>> You're blocking my view.

>> Oh, which view would you prefer?

>> The one your blocking.

See it's my last chance.

I'm flying back to Paris this afternoon.

What's your name?

>> Peter Joshua.

>> Mine's Regina Lampert.

>> Is there a Mr. Lampert?

>> Yes.

>> Good for you.

>> No, it isn't, I'm getting a divorce.

>> Please, not on my account.

>> Oh, no, you see, I don't really love him.

>> Well, at least your honest.

>> Hmm, is there a Mrs. Joshua?

>> Yes, but we're divorced.

>> Oh, that wasn't a proposal.

I'm just curious.

>> Is your husband with you?

>> Oh, no, Charles is never with me.

What do people call you, Pete?

>> Mr. Joshua.

I've enjoyed talking with you.

>> Now you're angry.

>> No, I'm not angry.

I just have a lot of packing to do.

I'm going back to Paris, too.

>> Well, wasn't it Shakespeare who said, "When strangers do meet in far-off lands "they should ere long see each other again?"

>> Shakespeare never said that.

>> How do you know?

>> It's terrible you just made it up.

>> Well, it sounds right.

Are you going to call me?

>> Are you in the book?

>> Well, Charles is.

>> Is there only one Charles Lampert?

>> Hmm.

Lord, I hope so.

(breathes in sharply) (horns honking faintly) (engine idles) Goodbye, Sylvie, and thanks.

>> When you get your divorce, are you going back to America?

>> Well, don't you want me to stay?

>> Yes, of course, but if you went back and wrote me a letter-- >> You could have the stamps.

I'll get you some here, okay?

>> Okay.

>> Goodbye.

>> Merci.

(ominous music) >> Honorine?

Honorine?

(dramatic music) (screams) >> Madame Charles Lampert?

>> Yes.

>> I'm inspector Edouard Grandpierre of the police judiciaire.

Would you be so kind as to come with me please?

(dramatic music) Well, Madame?

You're positive?

You loved him?

>> I'm very cold.

(drawer bangs) >> We discovered your husband's body lying next to the tracks of the Paris-Bordeaux railroad line.

He was dressed only in his pajamas.

Do you know of any reason why he might have wanted to leave France?

>> Leave?

No.

>> Your husband possessed a ticket of passage on the Maranguape.

It sailed for Venezuela this morning at 7:00.

>> I'm very confused.

>> He was American, your husband?

>> Swiss.

>> Ah, Swiss.

His profession?

>> He didn't have one.

>> He was a wealthy man?

>> I suppose so, I don't know.

>> About how wealthy would you say?

>> I don't know.

>> Where did he keep his money?

>> I don't know.

>> Beside yourself, who is his nearest relative?

>> I don't know.

>> That's absurd, Madame.

(speaks in a foreign language) >> I know.

I'm sorry.

>> It is all right?

>> I wish you wouldn't.

(speaks in a foreign language) >> On Wednesday last, your husband sold the entire contents of the apartment at public auction, everything.

The gallery paid him 1,250,000 new francs.

In dollars, a quarter of a million.

The authorities in Bordeaux searched his compartment on the train.

They searched it thoroughly!

They did not find $250,000.

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.

One wallet containing 4,000 francs.

One agenda.

His last notation was made yesterday, Thursday, 5:00 p.m., Jardin des Champs-Elysees.

Why there?

>> I don't know.

Perhaps he met somebody.

>> Obviously.

One ticket of passage to South America.

One letter, stamped but unsealed, addressed to you.

>> May I see it, please?

"My Dear Regina, I hope you're enjoying your holiday.

"Megeve can be so lovely at 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."

Not much, is it?

>> We took the liberty of calling your dentist.

We thought perhaps we would learn something.

>> Did you?

>> Yes, your appointment has been changed.

(drawer slams) One key to your apartment, one comb, one fountain pen, one toothbrush, one tin of tooth powder that is all.

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

>> Is that all, may I leave now?

>> One more question.

Is this your husband's passport?

(light mysterious music) >> Yes.

>> And this?

>> I don't understand.

>> And this?

And this?

(slow piano music) (door creaks) (footsteps approach) (door creaks) >> Peter: Oh, I telephoned, but nobody answered.

>> Hello.

>> Peter: Hello.

I wanted to tell you how sorry I am, and see if there's anything I can do.

>> How did you find out?

>> Peter: It's in the afternoon papers.

I'm very sorry.

>> Regina: Thank you.

>> Uh, I pressed the bell, but it doesn't ring here, I guess.

>> Regina: I know, there's no electricity.

>> Well, where did everything go?

>> Charles sold it all at auction.

This is all I have left.

(sighs) I love this room, but Charles never really saw it, only the things in it.

I think, I prefer it this way.

>> What are you going to do?

>> Try and get my old job back at EURESCO, I suppose.

>> Peter: Doing what?

>> I'm a simultaneous translator, like Sylvie, only she's English into French, and I'm French into English.

That's what I was doing before I married Charles.

The police probably think I killed him.

>> Instant divorce, you mean?

>> Something like that.

It's terrible to end it this way, though, tossed off a train like a sack of third-class mail.

>> Well, come on, you can't stay here.

>> I don't know where to go.

>> We'll find you a hotel.

>> Nothing too expensive.

I'm not a lady of leisure anymore, you know.

>> Something clean and modest and near enough to EURESCO so that you can take a cab when it rains, okay?

>> Okay.

(soft orchestral music plays) Not a very large turn out, is it?

>> Didn't Charles have any friends?

>> Don't ask me I'm only the widow.

If Charles had died in bed, we wouldn't even have him.

>> At least he knows how to behave at funerals.

Have you no idea who could have done it?

>> Until two days ago, the only thing I really knew about Charles was his name.

Now it seems I didn't even know that.

(sneezes violently) >> He must have known Charles pretty well.

>> How can you tell?

>> He's allergic to him.

>> Bless you.

>> Do you know him?

>> Never seen him before.

(door creaks) >> Arrivederci, Charlie.

Mrs. Lampert, Ma'am?

Uh, Mrs. Lampert.

Charlie had no call to doing it that way.

No sirree.

(door bangs loudly) (gasps) (light orchestral music plays) (door slams loudly) >> (sighs) What next?

(breathes in sharply) >> Me pardon, Madame.

>> Merci.

>> Pardon.

Pardon.

Pardon.

Pardon.

>> Who's it from?

>> Regina: The American Embassy.

(engines revving on street) >> I bluffed the old man out of the last pot, with a pair of deuces.

>> What's so depressing about that?

>> Well, I mean, if I can do it, what are the Russians doing to him?

>> Hello?

Hello?

>> Hamilton: Is there anything wrong, Miss Tompkins?

>> Uh, Miss Tompkins isn't here.

>> Oh, I'm sorry.

My secretary must've gone to lunch.

You are, uh?

>> Mrs. Lampert, Mrs. Charles Lampert.

>> Oh, yes, please come in, Mrs. Lampert.

Excuse me for a moment, Mrs. Lampert.

It's a stubborn little devil.

Dry cleaning-wise, things are all fouled up.

I had a good man, a really excellent man, in the Rue Ponthieu, but HQ asked us to use the plant here in the building to ease the gold outflow.

>> Mr. Bartholomew, are you quite sure you know who I am?

>> You're Charles Lampert's widow, yes?

I'm very sorry.

Last time I sent out a tie, only the spot came back.

(laughs) Voila, as they say.

Won't you sit down, Mrs. Lampert?

I've got something here.

I've got liverwurst, liverwurst, chicken, and liverwurst.

>> No, thank you.

>> Mrs. Lampert, do you know what CIA is?

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

>> Central Intelligence Agency, CIA.

>> You mean spies and all that?

>> Only we call them agents.

>> We, you mean you?

>> Someone has to do it, Mrs. Lampert.

>> It's just that I didn't think people like you were supposed to admit-- >> Oh, I'm not an agent.

I'm an administrator, a desk jockey, trying to run a bureau of overworked men with under-allocated (cork pops) funds.

Congress seems to think that all a spy needs-- >> Agent.

>> Yes, that all he needs is a code book, a cyanide pill, and he's in business.

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

>> Your husband was wanted by the United States government.

>> May I have a sandwich, please?

>> Chicken or liverwurst?

>> Chicken.

>> To be more specific, Mrs. Lampert, your husband was wanted by this agency.

>> So that was it!

>> Yes.

We, of course, knew him by his real name: Voss, Charles Voss.

All right, Mrs. Voss, now I'd like you to look at this photograph here for a moment, please.

Tell us if you recognize... Oh, by the way, have you seen this one?

Scott, Kathy, and Ham Jr. >> Very sweet.

>> Aren't they?

All right, Mrs. Voss-- >> Please don't call me that.

Lampert's the name on the marriage license.

>> I'm terribly sorry.

Mrs. Lampert, would you look at that photograph, and tell me if you recognize anyone please.

Oh, just a moment, have a good look.

(light mysterious music) >> Regina: It's Charles!

>> Very good.

>> He looks so young.

When was this taken?

>> 1944.

Next, please.

>> The man who was at the funeral yesterday, a tall man in a corduroy suit.

>> Does the name Tex Panthollow mean anything to you?

>> No.

>> Would you like some wine?

>> No, thank you.

>> Next, please.

>> He was there, too.

A little less hair, but it's the same one.

>> Do you know him, Mrs. Lampert?

Leopold W. Gideon?

>> Regina: No.

>> The last one, please.

(breathes in sharply) >> That's a face you don't forget.

He was there, too.

>> Herman Scobie.

You've never seen him before either?

>> No, thank heaven.

>> Mrs. Lampert, I'm very much afraid that you are in a great deal of danger.

>> Why should I be in any danger?

>> You're Charles Voss' wife.

Now that he's dead, you're their only lead.

>> Mr. Bartholomew, if you're trying to frighten me, you're doing a first-rate job.

>> Hamilton: Please do what we ask, Mrs. Lampert.

It's your only chance.

>> Gladly, but I don't know what you want.

You haven't told me.

>> Oh?

I haven't?

Well, it's 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.

>> But that's Charles' money, not theirs.

>> Oh, Mrs. Lampert, I'd love to see you try and convince them of that, oh, boy.

>> But then whose is it, his or theirs?

>> Ours.

>> Oh.

>> Charles Voss stole $250,000 from the United States government.

I'm afraid we want it back.

>> But I don't have it.

>> That's impossible, Mrs. Lampert.

You're the only one who could have it.

>> Mr. Bartholomew, if I had a quarter of a million dollars, believe me, I'd know it.

>> Nevertheless, Mrs. Lampert, you've got it.

>> You mean, it's just lying around somewhere, all that cash?

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

>> But-- >> Look for it!

Look just as hard and as fast as you can.

You may not have a great deal of time.

Those three men know you've got the money just as surely as we do.

You won't be safe until the money's in our hands.

Is that clear?

Now here's where you're to call me, day or night.

It's a direct line to both my office (burps) and my apartment, and please don't tell anyone about coming to see us today.

It could prove fatal for them as well as yourself.

As I said, Mrs. Lampert, I'm afraid you're in a great deal of danger.

I regret very much having to say this, but please remember what happened to your husband.

(suspenseful frantic music) (children laughing) (children chattering) >> Hello.

>> Hello, Peter.

>> Now didn't you telephone me to meet you on that corner over there?

>> I'm sorry, I heard the children laughing.

(children laughing) Do you understand French?

>> Not a word.

I'm still having trouble with English.

>> Regina: The man and the woman are married.

>> Oh, I can see that.

They're batting each other over the head.

(puppet man screams) (children screaming) (police puppet shouts) Who's that with the hat?

>> That's the policeman.

He wants to arrest Judy for killing Punch.

(puppet woman shouts) >> What's she saying now?

>> That she's innocent.

She didn't do it.

>> Oh, she did it all right.

>> I believe her.

(puppets shouting) >> Well, who was that?

>> Regina: That's Punch, of course.

>> Punch of course?

I thought he was dead.

>> He's only pretending, to teach her a lesson.

Only he is dead, Peter, I saw him.

He's not pretending.

Somebody threw him off a train.

Charles was mixed up in something terrible.

What am I going to do?

>> I wish you'd let me help you.

It doesn't sound like the sort of thing a young woman can handle by herself.

(sticks clacking) (puppet shouting) How about making me vice president in charge of cheering you up?

>> Starting tonight?

(dramatic rum roll) >> Bon soir, Monsieur, Madame.

Good evening, ladies and gentlemen.

Buona sera, Senoras, Senores.

(speaking in foreign language) Step right up, ladies and gentlemen.

>> What's going on?

>> Fun and games, evidently, we're the floor show come on.

>> What, you and me?

>> (laughing) Everyone.

(slide whistle blows) (speaking in foreign language) There are two things.

(speaks in foreign language) For every team there is one orange.

(speaks in foreign language) (whistle blows) (slide whistle blows) (speaking in foreign language) You put the orange under the chin like so.

(speaking in foreign language) You pass the orange to the person behind you.

(speaks in foreign language) Without the use of your hands.

Are you ready?

(counts in foreign language) (whistle shrills) (fast-paced dance music plays) (people laughing) (people laughing) (crowd applauding) (Regina laughs) (fast-paced dance music plays) >> Leopold: Mrs. Lampert.

>> Who are you?

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

>> Tell me what?

>> It doesn't belong to you.

You do know that, don't you?

>> I don't know anything!

>> Mrs. Lampert!

Any morning now you could wake up dead, Mrs. Lampert.

>> Leave me alone.

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

>> Stop it!

>> Peter: What's the trouble?

>> He stepped on my foot.

>> Forgive me.

>> Wait here, I won't be long.

>> It was quite unintentional, I'm sure.

(lively dance music plays in hall) (people chatting softly in hall) (people applauding in dance hall) (sighs) >> Mr. Bartholomew, this is Regina Lampert.

Mr. Bartholomew, I just saw one of those men.

Mr. Bartholomew, can you hear me?

(sighs softly) (coins clack) Mr. Bartholomew, this is Regina Lampert, I just... >> Howdy.

>> What do you want?

>> Now, you must be kidding.

>> No, I'm not.

>> Now, come on, now, Miss Lampert, you know what it is, and you're gonna get it for me, too, 'cause you know I ain't fooling around here.

No sirree, Bob.

>> Stop that, please stop!

>> Don't make too much noise, Miss Lampert.

It could get a whole lot worse, you know.

(Regina gasps deeply) >> Now it belongs to me, Miss Lampert, and you're gonna get it for me, or your life ain't gonna be worth the paper it's printed on.

>> Stop!

>> You savvy what I'm saying to you?

>> Stop, stop, please, stop!

>> Now you go home and think it over real careful-like now, you hear?

>> You're absolutely insane!

(crying and gasping) (door creaking) (screams loudly) (lively dance music plays in hall) >> What's the matter?

What are you doing in here?

>> I'm having a nervous breakdown.

(relaxing jazz music) >> Now hold it.

I've waited long enough.

What happened back there?

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

>> What does that mean?

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

>> Peter: Who said?

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

>> Now stop that nonsense.

>> Stop bullying me.

Everybody's bullying me.

>> I'm not bullying you.

>> Yes you were.

You said it was nonsense.

Being murdered in cold blood is not nonsense.

Why don't you try it sometime?

Would you mind seeing me to the door?

>> Peter: Of course not.

>> It's a good place for making friends.

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

>> How do you shave in there?

>> What was it?

>> What was what?

>> What your husband was mixed up in?

>> Look, I know it's asking you to stretch your imagination, but don't you think you could pretend just for a moment that I'm a woman-- >> Now, listen, I could already be arrested for transporting a minor above the first floor.

Here you are.

>> Where?

>> On the street where you live.

>> How about once more around the park?

>> How about getting out of here.

Come on, child, out.

>> Won't you come in for a minute?

>> No, I won't.

>> I don't bite, you know, unless it's called for.

>> How would you like a spanking?

>> How'd you like a punch in the nose?

Stop treating me like a child.

>> Well then, stop behaving like one.

Now if you want to tell me what's troubling you, fine.

If not, I'm tired, it's late, and I want to go home to bed.

(elevator whirs) >> Do you know what's wrong with you?

>> Peter: No, what?

>> Nothing.

(gentle music) (screams) >> Where is it, Lady?

>> I don't know.

(ominous menacing music) (breathing heavily) >> I want it.

Give it to me.

It's mine!

(screams) (hook rips through the door) >> Peter!

Peter!

A man tried to kill me!

>> What?

(punches landing) (men scuffling) >> Peter?

Peter?

Peter, are you all right?

(Peter groaning) Oh, Peter, are you hurt?

>> (groans) I sprained my pride.

How are you?

>> Scared.

>> You'll be all right.

Where did he go?

>> Regina: Out the window, I guess.

>> Well, lock the door, and don't let anyone in except me, and close these windows after me.

>> Regina: Be careful.

>> You just took the words right out of my mouth.

(dramatic music) (engines revving on street) >> Pamela: (gasps) Alistair!

>> Alistair: What is it now, Pamela?

>> Pamela: It happened again.

Another strange man peered in the window at me, and then went away.

>> Alistair: Bad luck, Pamela.

(dramatic music) (engines revving on street) >> That was a dumb move!

>> Screaming mad, and then some!

If you'd only let us known you was going up to her room, we could've done something to keep 'em busy.

Sneaking off up there that way by yourself.

Man, what did you expect him to do?

Walk up and shake you by that hand of yours?

>> A dumb move, Herman, a dumb move.

>> Yes, it was a dumb move, Herman.

What is the matter with you?

>> You want some more?

>> Nevermind that.

Did you get the money?

>> How could I with the three Marx brothers breathing down my neck?

I thought we had an agreement.

Now, the girl trusts me.

If she's got the money, I'll find out about it, but you just leave me alone.

>> We took all the chances.

The money belongs to us not to him.

>> Now don't be piggy, Herman.

A third of nothing is nothing.

Just think about that, but make up your mind.

She's waiting for me.

>> I don't see how another 24 hours could hurt anything.

>> Well, shoot, no, not after all these years.

>> Then he gets it out of your share.

Not mine.

Not mine.

>> Either one of you got the room next to her?

>> Yeah, I have, why?

>> Give me the key.

Get yourself another room.

I want to use it.

>> If you do find that money, you ain't gonna forget to tell your buddies about it, are you?

>> Don't worry.

>> (laughs) Oh, no, I ain't worrying.

But you see this little fella here?

Oh, he worries, and he's even meaner than I am.

(gentle uneasy music) >> Who is it?

>> It's me, Peter.

(gentle music) There was no trace of him.

Why don't you confide in me.

And tell me what this is all about?

>> There are three men.

He's one of them.

They think I have a quarter of a million dollars that belongs to them.

>> Go on.

>> That's all.

>> No, it isn't.

Where's the money?

>> I don't know.

They killed Charles to get it, but he must not have had it with him on the train.

>> So they think he left it with you.

>> But he didn't.

I've looked everywhere, and if I don't find it, they're gonna kill me.

>> No, they won't.

I won't let them.

>> Peter, help me you're the only one I can trust.

>> I'll help you.

I told you I would, come on.

>> Oh, I'm so hungry I could faint.

(sobs) And I've gotten your suit all wet.

>> That's all right, it's a drip dry.

(sighs) Wipe your eyes.

>> Promise me you'll never lie to me the way Charles did.

Why do people have to tell lies?

>> Usually it's because they want something.

They're afraid the truth won't get it for them.

>> Do you tell lies?

(telephone buzzes) (gentle music) Hello?

>> Mrs. Lampert, it's me, the man who was in your room a few minutes ago.

>> What do you want?

>> Who is it?

>> It's the man you had the fight with.

>> Is Dyle with you?

>> Who?

>> The man I had the fight with, Lady, Dyle!

That's his name.

What's wrong, is he still there?

>> Yes.

That's right.

>> What's he saying?

>> Don't trust him.

Don't tell him anything.

He's after the money.

(dark ominous music) >> What was all that about?

>> He said if I don't give him the money, he'll kill me.

>> Oh, don't take it seriously.

He's just trying to frighten you.

>> I believe what he said.

>> No, no, it's just a lot of words.

>> Words can hurt.

>> I know.

Try to get some sleep.

You'll feel better.

Don't worry.

I've arranged to take the room next door to you.

(cautious music) So you'll be all right.

If you want anything, just bang on the wall.

Better lock the door after me.

Good night.

(soft sneaky music) >> But I am calm, Mr. Bartholomew.

What I'm trying to say is that there's someone else.

>> What?

>> Someone who wasn't in that photograph you showed me today.

He says his name is Peter Joshua, but it isn't, it's Dyle.

Are you still there, Mr. Bartholomew?

>> Yes, yes, Mrs. Lampert.

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

>> You mean he might've?

Mr. Bartholomew, I'm catching the next plane out of here.

I'm not going to sit around for somebody to make chopped liver out of me.

>> Now, take it easy, Mrs. Lampert.

Take it easy.

Where are you now?

Can you meet me at the market?

>> At Les Halles?

>> Yes, opposite Saint-Eustache.

I'll meet you there in 15 minutes.

>> Regina: All right, I'll be there, in 15 minutes.

(dramatic music) (object clatters on the floor) (suspenseful music) (door creaking) (suspenseful music) (speaking in foreign language) (speaking in foreign language) >> Were you followed?

>> Yes, by Dyle, but I lost him.

I'm beginning to think women make the best spies.

>> Agents.

>> He has a gun, Mr. Bartholomew.

>> No.

>> But I saw it!

>> No, that's not Carson Dyle.

>> Carson?

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

>> You mean you've known about him all along?

>> Hamilton: It's enough to make you a vegetarian, isn't it?

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

Why didn't you tell me you knew about Dyle?

>> I didn't see any point, Dyle's dead.

>> Mr. Bartholomew, what is all this about?

>> In 1944, five members of the OSS, 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 were, of course, your husband Charles, the three men who showed up at his funeral yesterday, and Carson Dyle.

>> Oh.

>> But, instead of delivering the gold, they stole it.

>> How?

>> By burying it.

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.

>> May I have a cigarette, please?

I can't stand those things.

>> It's like drinking coffee through a veil.

>> Everything went smoothly enough until after the gold was buried.

Then, before they could get out, they were ambushed by a German patrol.

A machine gun separated Scobie from his right hand and caught Carson Dyle full in the stomach.

(stammers) What was wrong with that one?

>> Nothing, I guess.

What happened then?

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

>> Please go on, Mr. Bartholomew.

What happened then?

>> Carson Dyle was dead, but Scobie was able to travel.

(waiter speaks in foreign language) (answers waiter in foreign language) (lively music plays in restaurant) Where was I?

>> Carson Dyle was dead.

>> Yes, Carson Dyle was dead.

The others finally got back to the base and waited for the war to end.

Only Charles couldn't wait quite as long as the others.

He beat them back to the gold, took everything for himself, and disappeared.

It's taken Gideon, Tex, and Scobie all this time to catch up with him again.

>> But if they stole all that money, why can't you arrest them?

>> Shh, shh, shh.

We know what happened from the bits and pieces we were able to piece together.

We still have no proof.

>> What's this got to do with the CIO?

>> CIA, Mrs. Lampert.

It's an extension of the wartime OSS.

It's our money, and we want it back.

>> I'm sorry, Mr. Bartholomew, but nothing you've said has changed my mind.

I'm leaving Paris tonight.

>> I wouldn't advise that, Mrs. Lampert.

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.

Now please help us, Mrs. Lampert.

Your government is counting on you.

>> (sighs) Well, I suppose if I'm going to die, I might as well do it for my country.

>> That's the spirit.

Here's what I want you to do.

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

I want you to find out.

>> Why me?

>> You're in an ideal position.

He trusts you.

Besides, you yourself said, "Women make the best spies."

>> Agents.

(engines revving on street) >> Woman: Oh, pardon.

(upbeat music plays on street) (siren blaring faintly) >> Fraulein?

Fraulein?

>> What are you doing following me?

It's gonna look like a parade.

Stop it!

(car honking) How are you, how nice to see you.

When did you arrive?

It's a lovely time to stay.

Are you having a good time?

So many things to see.

(car tires squealing) >> Fraulein?

Fraulein?

>> If you don't stop following me, I'll call the police!

Taxi!

(telephones ringing) (people chattering) (tense ominous music) >> Dyle please, D-Y-L-E. >> Yes, Mr. Dyle, I remember.

No, I'm sorry, Mr. Dyle, nothing today.

>> Thank you.

>> Operator: Mr. Dyle, please you're wanted on the telephone.

Mr. Dyle, cabin four.

Mr. Dyle, cabin four, please.

>> Yes?

>> Regina: Good morning, Mr. Dyle.

>> Reggie?

>> It's the only name I've got, how about you?

>> Now no cat and mouse, you've got me.

What do you want to know?

>> Regina: Why you lied to me.

>> I had to.

For all I knew, you were in on the whole thing.

>> I'm trying to find out who you are.

>> But you know my name, it's Dyle.

>> Carson Dyle is dead.

>> Yes, he is.

He was my brother.

>> Your brother.

>> The Army thinks he was killed in action by the Germans, but I think they did it, Tex, Gideon, Scobie and your husband, because my brother wouldn't go along with their scheme to steal the gold.

I think he threatened to turn them in, and they killed him.

And I'm trying to prove it.

They think I'm working with them, but I'm not, Reggie.

I'm on your side, just believe that.

>> How can I you lied to me just the way Charles did, after promising you wouldn't.

Oh, I want to believe you, Peter.

I can't call you that anymore can I?

It'll take me a while to get used to your new name.

What is it?

Hmm?

Hello?

Hello?

(gentle mysterious music) (people chatting distantly) >> Do anything funny or try to talk to anyone, and I'll kill ya, Dyle.

>> You'll wreck your raincoat.

>> Take the next car, please.

(elevator whirs) >> Look out.

Too much you'll bump your head.

>> All right, get in there.

(elevator whirs) (gun cocking) All right, turn around.

(ominous music) (bullets hitting the floor) Now, sit down.

(gun thuds) >> Now what?

>> We wait, with our mouth shut.

(yawns) >> Oh, I'm sorry about that.

(lock clicks) >> Okay, up there.

(dramatic music) >> Do I knock or something?

>> No, open it.

And keep right on going.

>> The view, it better be worth it.

(suspenseful music) (engines revving on street) Very pretty.

Now what?

I was afraid of that.

>> I'll give you a chance, Dyle, which is more than you'd give me.

Where's the money?

>> Is that why you dragged me all the way up here, to ask me that?

She has it.

>> And I say maybe you both have it.

One more time, Dyle.

Where is it?

>> Supposing I had it, which I don't, do you really think I'd just hand it over to you?

>> Step back.

>> Back where?

>> That's the idea.

>> Mm.

Now, now, just a minute, take it easy.

(suspenseful music) (gun fires) (grunting) (struggling and groaning) (suit rips) (men groaning) (suspenseful music) (groans) (groans) (ominous music) (tense frantic music) (suspenseful music) (Herman screams) Herman?

>> What?

>> (chuckling) How are you doing?

>> How do you think?

>> If you get bored, try writing "love thy neighbor" a hundred times on the side of the building.

>> Monsieur, next time, please, use the keyhole, hmm?

(door creaking) >> Is that you?

>> Yeah.

>> You gonna open up?

>> Peter: Sure, wait a minute.

>> Don't you know it's impolite to leave someone holding the phone?

What happened?

>> Oh, I met a man with sharp nails.

>> (gasps) Scobie?

>> Mm-hmm.

I left him hanging around the American Express.

>> Come in.

I've got something that stings like crazy.

>> You're the kind of girl that'd have something like that.

>> Sit down.

>> Wait a minute.

What is that stuff?

>> Marvelous stuff.

It's gonna hurt you much more than it's gonna hurt me.

>> I'll bet.

(shirt rips) (Peter groans) Did you hear something rip?

>> No.

>> That's odd.

(groans) Listen, I only came in for an estimate.

>> Sit still.

It's not too bad.

You won't be able to lie on your back for a few days, but then you can lie from any position, can't you?

>> Oh, ho, ho, ho.

Ooh, no, no.

>> Does it hurt?

>> What, what?

>> Does it hurt?

>> Are you kidding?

Have you got a bullet I could bite like they do in the movies?

>> Are you really Carson Dyle's brother?

>> Well, if you'd like to see my passport?

>> Passport what kind of a proof is that?

>> Well, would you like to see where I was tattooed?

>> Yes.

>> All right.

We'll drive around that way.

(squeals in pain) >> You could at least tell me what your first name is these days.

>> Alexander.

>> Okay, Alexander.

You're done.

>> Good.

>> You're a new man.

>> I'm sorry the old one couldn't tell you the truth.

But I had to find out your part in all this.

>> Is there a Mrs. Dyle?

>> Alex: But we're divorced.

>> I thought that was Peter Joshua.

>> Alex: Just as difficult to live with as he was.

>> Alex, how can you tell if anyone's lying or not?

>> You can't.

>> There must be some way.

>> No, there's an old riddle about two tribes of Indians.

The white feet always tell the truth and the black feet always lie, so one day you meet an Indian.

You say, "Hey, Indian.

"What are you a truthful white foot or a lying black foot?"

He says, "I'm a truthful white foot," but which is he?

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

>> Because he's wearing moccasins.

>> Well then, he's a truthful white foot, of course.

>> Why not a lying black foot?

>> Which one are you?

>> A truthful white foot.

>> Come in.

Sit down.

>> Why, you wanna look at my feet?

>> Yes.

(gentle music) >> Oh, hey, knock it off.

Now, come on, Reggie, listen to me.

>> Here it comes, the fatherly talk.

You forget I'm already a widow.

>> So was Juliet at 15.

>> Hmm, I'm not 15.

>> Now that's your trouble, you're too old for me.

>> Can't you be serious?

>> Oh, you just said an horrible word.

>> (laughing) What did I say?

>> "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.

>> Okay, we'll just sit around all day long being frivolous.

How about that?

>> Reggie, cut it out.

>> Okay.

>> Well, now what are you doing?

>> Cutting it out.

>> Who told you to do that?

>> You did.

>> Oh, I'm not through complaining, yet.

>> Oh.

(gentle music) >> Now cut it out.

>> Alex, I think, I love you.

(telephone buzzes) >> Hey, the telephone's ringing.

>> Nevermind.

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

>> Just a minute, here.

Come on, take it.

>> Hello.

I'm sorry, I was just nibbling on something.

>> Say I'd appreciate it mighty highly if you'd a wiggle on over to room 46 and chew the fat for a spell.

>> Could you give me one good reason why I should?

>> Yeah, a little one about six or seven, keeps calling for Aunt Reggie.

(scoffs) Ain't that cute?

>> They've got Jean-Louis.

I'll be right there.

>> Hey, Tex, do something with this kid, will you?

My whole leg's going to sleep.

>> Ups-a-daisy.

>> Are you a real cowboy?

>> Yeah, sure I am, kid.

>> So where's your gun?

>> Will you put that thing away!

>> Jean-Louis!

>> Howdy, Miss Lampert.

>> Who invited him?

>> Well, Herman, see you had a happy landing.

>> I must call Sylvie right away I... >> I'm afraid that'll have to wait, Mrs. Lampert.

>> But his mother.

>> She won't be anybody's mother unless you answer some questions!

>> This ain't no game, Miss Lampert.

>> We want that money now.

>> Why don't you keep quiet, and stop threatening the child.

He hasn't got the money and neither has Mrs. Lampert.

>> Then who does?

>> I don't know, Herman.

Maybe you do.

>> Me?

>> Or you?

>> Oh.

>> Or him?

>> Why, that's the most ridiculous thing I-- >> Listen to this man.

>> The man's gone loco.

>> Now hold it.

Suppose one of you found Charles here in Paris, even bumped into him by accident, followed him when he tried to run out again, cornered him on the train, threw him out the window, and without bothering to tell the other two, took all the money for yourself.

>> If one of us did that, he wouldn't hang around here waiting for the other two to figure it out.

>> But he'd have to, don't you see?

If he left, he'd be admitting his guilt.

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.

>> He's just trying to throw us off.

(scoffs) They've got it I tell you.

>> Tex: Why don't we search their rooms?

>> That's all right with us.

>> Well, then what are we wasting time for, let's go.

>> And while we're waiting, we'll search yours.

>> Not my room!

>> Well, Herman, you have something to hide?

Then there are no objections.

All right, here's my key.

>> I'll take that.

>> My room's open.

>> Hey, wait a minute.

>> Now you two just make yourselves to home here.

>> Well, let's get busy.

Come on, Jean-Louis.

Come on.

(groans) That's fine.

Who gets your vote?

>> Scobie, he's the one who objected.

>> All right, I'll take Tex's room here and Gideon's.

You take Jean-Louis with you and bolt the door from inside.

>> Come on, Jean-Louis, we'll have a treasure hunt, okay?

>> Come on.

>> Tex?

>> Man, it's Charlie's stuff.

>> Looks like it.

>> Think we ought to call Herman?

>> What for?

If it's not here, why bother him.

>> And if it is?

>> Why bother him?

(chuckles) >> Sure there's nothing missing here?

>> No, everything's here.

The police have kindly provided us with a list.

>> Sure ain't nothing here worth no quarter of a million dollars.

>> Not unless we're blind.

I keep telling myself we've stolen a great deal of money, but up to now, I've yet to see a penny of it.

>> You think maybe we're fishing up the wrong stream?

>> Meaning what?

>> Suppose one of us has it, you know, like the man says?

Now that'd be mighty distasteful, us being veterans of the same war and all.

>> Well, you know I'd tell you if I had it.

>> Oh, naturally, just like I'd tell you if I had it.

>> Naturally.

And that goes for Herman, too.

>> Naturally.

(laughing) >> He's all right Sylvie, honestly.

Just hurry over as soon as you can.

Okay, goodbye.

Now, if you had a treasure, where would you hide it?

>> I would bury it in the garden.

>> Well, swell, but this man doesn't have a garden.

>> Oh, neither do I.

>> You don't?

Well, if you had to hide it in this room, where would you put it?

>> Jean-Louis: Up there.

>> On top of that cupboard?

You know something, you may be right!

Oh, I hope I don't find any hairy little things living up here.

Hey, there is something, and it's heavy.

>> I found it, I found it, I found it, I found it!

>> If you think you're getting credit for this, you're crazy.

>> We won, we won, we won!

We won, we won, we won, we won, we won!

We found it, we found it!

>> Did you find it?

>> No.

>> What do you mean, no?

>> Yeah, the kid was yelling there.

>> Up there, it's up there.

>> Believe me, there's nothing up there.

>> Yeah?

(suspenseful music) Oh, jumping free holy, it's Herman's spare.

>> Where is he?

>> He's over in my room.

(soft curious music) (water splashing) (ominous music) You'd better take the boy out in the hall.

>> Oh, now who would've done a mean thing like that?

>> I'm not quite sure.

>> Well, this ain't my room.

>> Mine neither.

>> Oh, the police aren't gonna like this a bit.

>> We could dry him off and take him down the hall to his own room.

He really doesn't look too bad.

>> Poor old Herman.

Seems like him and good luck always was strangers.

Well, maybe now he'll meet up with his other hand someplace.

(dramatic music) (screams) >> A man drowned in his bed?

Impossible.

And in his pajamas?

The second one in his pajamas.

(speaking in foreign language) Stop lying to me.

This nose tells me when you are lying.

It is never mistaken, not in 23 years.

This nose will make me commissioner of police.

Mr. Dyle or Mr. Joshua, which is it?

>> Dyle.

>> And yet, you registered in Megeve as Mr. Joshua.

Didn't you know it was against the law to register under an assumed name?

>> No, I didn't.

>> It's done in America all the time.

>> None of you will be permitted to leave Paris until this matter is cleaned 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.

(sneezes violently) (gentle music) >> Who do you think did it?

Gideon?

>> Possibly.

>> Or Tex?

>> Possibly.

>> You're a fat lot of help.

>> That's right.

>> Can I have one of those?

>> One of what?

>> I think Tex did it?

>> Oh.

(speaking in foreign language) >> Why'd you think Tex did it?

>> Because I really suspect Gideon, and it's always the person you don't suspect.

>> Do women think it feminine to be so illogical, or can't they help it?

>> What's so illogical about that?

>> Well, you just said that it's always the one you don't suspect, but you suspect Gideon.

So, therefore, it must be Tex.

But on the other hand, if you suspect Tex, it must be the other fella, Gideon, ha, ha ha.

>> I guess, they just can't help it.

>> Huh, who?

>> Women.

>> Oh.

>> You know, I can't help feeling rather sorry for Scobie.

Wouldn't it be nice if we were like that?

>> What, like Scobie?

>> No, Gene Kelly.

Do you remember when he danced down here by the river in "American in Paris" without a care in the world?

>> Hmm.

>> You know, this is good.

Want some?

>> Uh.

(laughing) No, thanks.

>> Oh.

(laughing) >> And I guess you don't, do you?

Here give me that.

>> I'm sorry.

Alex, I'm scared.

>> Yes, I know.

>> I can't think of any reason why he was killed.

>> Well, perhaps someone thought the four shares were too many.

>> What makes you think that this someone is going to be satisfied with three?

He wants it all, Alex.

That means we're in his way, too.

>> That's right.

>> We've got to do something.

I mean, any minute now, we could be assassinated.

Would you do anything like that?

>> What assassinate someone?

>> No, swing down from there on a rope to save the woman you love?

Like "The Hunchback of Notre Dame"?

>> Huh?

(church bell chimes) Oh, who put that there?

>> Hurry up and change.

I'm starved.

>> Let me know what you want to eat, so that I can pick out a suit that matches.

Ha, ha, ha, ha.

(gentle music) >> Uh, uh.

What do you want?

>> It's the house detective, why don't you have a girl in there?

>> Lord, you're a pest.

>> Regina: Can I come in?

>> No, I'm going to take a bath.

What for?

>> Well, I wouldn't wanna use that tub.

And anyway, I don't wanna be alone.

I'm afraid.

>> You're only next door.

If anything happens, holler.

(screams) (suspenseful music) Reggie?

>> Got you.

(laughs) >> Did you ever hear the story of the boy who cried wolf?

>> The shower's in there.

>> Alex: Oh, come on, Reggie, open the door.

>> This is a ludicrous situation.

I can think of a dozen men who are just longing to use my shower.

>> Why don't you call one of them.

>> I dare you.

>> You're a nut.

>> What are you doing?

>> Taking off my shoes.

What do you think I'm doing?

Did you ever hear of anyone taking a shower with their shoes on?

(Alex humming) I usually sing a medley of old favorites when I'm in the shower.

Oh, any requests?

>> Shut the door.

>> Oh, I'm afraid I don't know that one, Miss.

Well.

(gentle music) >> Shut the door!

>> Why, come in and watch.

(care-free singing) Drip-dry.

>> How often do you go through this little ritual?

>> Oh, every day the manufacturer recommends it!

>> I don't believe it.

>> Oh, yes, wait a minute.

Here's the label look at the small print.

(Regina laughing) "Wearing this suit during washing "helps protect its shape."

(bright music) (Peter singing carefree) Waterproof.

Ah, ha, ha.

Wait.

Acro-nylon, fibrous resistant, plastic, rustproof, fly proof.

(telephone buzzes) Proof proof.

>> You're the nut.

>> Nut proof.

(laughing) >> Yes?

>> Mrs. Lampert, Bartholomew.

I spoke to Washington, Mrs. Lampert.

>> Go ahead, Mr. Bartholomew, I'm listening.

>> Well, I told 'em 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.

Carson Dyle had no brother.

(dramatic music) Mrs. Lampert?

>> Are you sure there's no mistake?

>> None whatsoever.

Please be careful, Mrs. Lampert.

Bye.

>> I left all my drip-dry dripping.

Is that all right?

What's the matter, is something wrong?

Oh, you're probably weak from hunger.

You've only eaten five times today.

I'll get someone to fix up my suit quickly and take you out to dinner.

>> Let's go somewhere crowded.

I feel like a lot of people.

(soft romantic music) >> Hey, you know this thing is still damp?

You haven't spoken a word for 20 minutes.

>> I was thinking about Charles and Scobie, and who's going to be next.

Me?

I don't suppose you know who the murder is, do you?

>> No, not yet.

>> Whoever's left alive at the end will pretty much have sewn up the nomination, don't you think?

>> What are you trying to say?

That I might've killed Charles and Scobie?

What do I have to do to satisfy you?

Become the next victim?

>> It's a start, anyway.

>> Oh.

I can't understand you at all.

One minute you're chasing me around the shower room, and the next minute you're accusing me of murder.

>> Carson Dyle had no brother.

>> Alex: Oh, I can explain that, if you'll just listen.

>> Well, I can't very well leave without a pair of water wings, can I?

>> All right, get set for the story of my life.

>> Fiction or nonfiction?

>> Why don't you shut up.

>> Well!

>> Are you gonna listen?

>> Go on.

>> All right.

Now, when I was a young man, my father expected me to go into his business.

Umbrella frames that's what he made.

Well, a sensible business, I suppose, but I didn't have the sense in those days to be sensible.

>> I suppose all this is leading somewhere?

>> Well, it led me away from umbrella frames for one thing.

But that left me without any honest means of support.

>> Regina: What do you mean?

>> Well, in this highly-competitive world, when a man has no profession, there isn't much choice, so I began looking for people who had more money than they needed, including some they'd barely miss.

>> You mean you're a thief?

>> Well, that's not exactly the term I'd have chosen, but it sort of catches the spirit of the thing.

>> I don't believe it.

>> I can't really blame you now.

>> But I do believe it.

That's what I don't believe.

So, it's goodbye Alexander Dyle, and welcome home Peter Joshua.

>> Uh-uh, sorry the name's Adam Canfield.

>> Adam Canfield!

>> Mm-hmm.

>> Wonderful.

Do you realize you've had three names in the past two days?

I don't even know who I'm talking to anymore.

>> Well, the man's the same, even if the name isn't.

>> No, he isn't the same.

Adam Canfield is a crook, and I want to know why.

>> Well, it's simple I like what I do.

I enjoy my work.

There aren't many men in the world who love their work as much as I do.

Now you look around sometime.

>> Is there a Mrs. Canfield?

>> Yes, but we're divorced.

>> But we're divorced.

>> Both: Hmm.

>> That's right, now go and eat your dinner.

>> Oh, I could eat a horse.

>> I think that's what you ordered.

>> Don't you dare be civil with me after leading me on like this.

>> How did I lead you on?

>> Oh, all that marvelous rejection.

You knew I couldn't resist it, and now it turns out all you're interested in is the money.

>> That's right.

>> Oh.

>> Well, 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?

>> I don't suppose so.

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

>> Hmm.

What?

>> Hasn't it occurred to you that I'm having a tough time keeping my hands off you?

(soft romantic music) Oh, you should see your face.

>> What's the matter with it?

>> It's lovely.

(sighs) Now what's the trouble?

>> I'm not hungry anymore.

Isn't it glorious?

♪ And in a blaze of light ♪ >> Adam!

>> It's all right.

Come and look.

♪ For you ♪ ♪ Romeo came ♪ ♪ And it was closing night ♪ ♪ The ending of the play ♪ >> Hey, you don't look so bad in this light.

>> Why do you think I brought you here?

>> I thought maybe you wanted me to see the kind of work the competition was turning out.

>> Pretty good, huh?

>> Mm.

>> I taught them everything they do.

>> Oh, did they do that kind of thing way back in your day?

>> Sure, how'd you think I got here?

♪ My dearest day ♪ >> Not allowed to kiss back, huh?

>> Oh no, doctor said it was bad for my thermostat.

♪ Charade ♪ >> Well, when you come on, you come on, don't you?

>> Well, come on.

(gentle music) (telephone buzzing) >> Yeah.

Hmm?

In the lobby?

Are you out of your mind of something?

It's 3:30 in the morning!

You mean it?

(sneezes) All right.

All right, I'll be right down.

Wait a minute.

(dramatic music) (elevator whirs) Hey, hey, turn on the lights!

Hey, how do you stop this thing?

(Leopold sneezing) (Leopold screams) (elevator thuds) (suspenseful music) >> Three of them all in their pajamas.

(speaking in foreign language) What is it some new American fad?

And now your friend who lives here, the one from Texas, he's disappeared.

Whoop, into thin air.

Where is he?

>> I wish I knew.

>> Madame?

Tell me, Mr. Dyle, where were you at 3:30 a.m.?

>> In my room, asleep.

>> And you, Mrs. Lampert?

>> I was, too.

>> In Mr. Dyle's room?

>> No, in my room.

>> Obviously, you're telling the truth.

For why would you invent such a ridiculous story?

And if I were you, I wouldn't stay in my pajamas.

Good night.

>> Well, that wraps it up.

Tex has the money.

You go to bed.

I'll let you know when I've found him.

>> You going to go looking for him now?

>> Well, if the police find him first, they're not going to turn over that quarter of a million dollars to us.

>> Oh, Adam.

>> Do as I tell you.

Go to bed and bolt your door.

(telephone buzzes) Yeah?

>> Now you listen to me, Dyle.

Look, I know who's got that money, man, and I want my share.

Seems to be growing and growing every day.

Well, I ain't disappearing till I get it.

>> Where are you, Tex?

>> Come on, man.

Look my mama didn't raise no stupid children.

I'll tell you what.

You wanna find me, well, you just look over your shoulder.

'Cause from now on I'm gonna be right behind you.

>> Open up.

I think, I was wrong about Tex having the money.

>> Why?

>> 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.

>> But I've looked everywhere.

You know I have.

>> Where's the airlines bag?

>> In the wardrobe?

>> Get it.

>> Lord, you're obstinate.

>> Charles must have had it with him on the train when Tex killed him.

Thanks.

>> Everybody and his Aunt Lillian's been through that bag, including me.

>> Okay, we'll do it again.

>> I've been into it at least once a day.

Somebody would have seen it.

>> It's there, Reggie.

We're looking at it right now.

Something on that bed is worth a quarter of a million dollars.

>> But what?

>> I don't know.

Four passports, no.

Steamship ticket.

Anything in there?

>> Regina: Nothing.

>> Wallet.

Comb.

No.

Fountain pen.

What about that key?

>> To the apartment matches mine exactly.

>> Well.

I bet you don't really need those.

You need them.

>> Well, it still doesn't make sense, but it isn't worth a quarter of a million dollars either.

>> Wait a minute.

>> What?

>> The tooth powder?

>> What about it?

>> Could you recognize heroin just by the taste of it?

>> Heroin!

Peppermint-flavored heroin!

>> Mm.

Well, I guess that's it.

Dead end.

>> Well, go to bed.

You've gotta get up and go to work in the morning.

There's nothing more we can do tonight.

>> I love you, Adam.

>> Yes, you told me.

>> No, the last time I said I love you, Alex.

>> Oh.

Oh.

(man speaking in a foreign language) >> Hold it, they're recognizing Great Britain.

>> Oh, my gosh!

>> Mr. Chairman, fellow delegates, my distinguished colleague from Italy, her majesty's delegation has listened with great patience to the Southern European.

>> Are you on?

>> No, it's all right.

What's wrong, Adam?

>> Nothing's wrong, I think I found something.

I was snooping around Tex's room and came across this in the waste basket.

I stuck it together again.

>> That's the receipt Grandpierre gave me for Charles' things.

I don't see how that's going to help.

>> No, you're not looking.

Last night when we went through the airlines bag, something was missing.

An agenda.

That's an appointment book, isn't it?

It wasn't there.

>> That's right.

I remember Grandpierre looking through it, but there was nothing in it.

At least nothing the police thought was very important.

>> Can you remember anything in it at all?

>> Well it did say something about Charles' last appointment.

>> With whom, where?

>> I think it only said where.

>> No, come on, Reggie, think, think.

This may be what we're looking for.

>> Adam, that money doesn't belong to us!

If we keep it, we'll be breaking the law.

>> Nonsense, we didn't steal it.

There's no law against stealing stolen money.

>> Of course, there is!

>> There is?

>> Yes.

>> When did they pass such a silly law?

Now think, Reggie, what was in that appointment book?

>> It was a place or a street corner or something.

Watch it, I'm on.

(speaking in foreign language) Of the Western Hemisphere Conference.

Of the Western Hemisphere Conference held on March 22... No wait!

It was last Thursday five o'clock Jardin des Champs Elysees.

That's it, Adam, the garden!

>> Well, it's Thursday today, and it's almost five o'clock.

So, come on.

Oh, it's all right, gentlemen, carry on.

(bright carousel music) >> Now what?

>> Five o'clock Thursday the gardens.

Must be something around here.

>> Charles' appointment was last week.

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

>> You're not kidding.

Ten minutes ago, I had a job.

>> But now you've got another job, so stop grumbling and start looking.

I'll take that side.

You poke around over here.

(bright carousel music) (children chattering and laughing) (dog barking distantly) (horn honking) >> It's hopeless I don't even know what we're looking for.

>> I don't think Tex does either.

>> Tex, is he here?

>> Look.

I'm going to see what he's up to.

You stay here.

>> Be careful, Adam, he's already killed three men!

(children laughing) (people chattering) (suspenseful frantic music) (suspenseful frantic music) >> Wait, wait!

Taxi!

Look out.

(bright carousel music) All right, where's the letter?

>> The letter, huh?

It ain't worth nothing.

>> You know what I mean.

The envelope with the stamps on it I want it.

>> (laughs) You greenhorn.

Why you thick-skulled, hair-brained, half-witted greenhorn.

And they was both too smart for us!

>> What are you talking about?

>> First, her husband, now her!

She batted all of them big eyes at you, and you fell for it like an egg from a tall chicken.

You want the envelope.

There you take it.

It's all yours.

(laughing) You kill all three of 'em for nothing!

(laughing loudly) You greenhorn, you block-headed jackass!

You nincompoop!

(bright carousel music) >> Sylvie, what are you doing here?

>> I'm waiting for Jean-Louis.

>> Oh.

What's he up to?

>> He was so excited when he got the stamps you gave him this morning.

He said he'd never seen any like them.

>> I'm glad.

What's all this?

>> The stamp market.

It's there every Thursday afternoon.

That's where Jean-Louis trades his stamps.

>> Good Lord, where is he?

>> What's a matter, Cherie?

>> The stamps they're worth a fortune.

>> What?

>> A fortune, come on!

(people chattering) Oh, I don't see him anywhere.

>> We separate.

You look over there.

>> Okay.

>> Jean-Louis!

Jean-Louis!

>> Jean-Louis!

>> Jean-Louis.

Jean-Louis.

Reggie!

Reggie!

>> Jean-Louis, thank heaven!

Do you have the... What's this?

>> A man gave me all those for only three.

>> A man, oh, no, Jean-Louis!

Who, where?

(speaking in foreign language) Come on.

(people chattering) >> Oh, but he's gone.

>> I don't blame him.

(soft knocking on door) >> Entree.

>> Monsieur Felix?

>> Oui.

I was expecting you.

I knew you would come.

Look at them, Madame.

Have you ever in your entire life seen anything so beautiful?

>> I'm sorry, I don't know anything about stamps.

>> I know them as one knows his own face, though I'd never seen them.

This one, a Swedish four shilling, called the Gul Fyra Skilling, printed in 1854.

>> What is it worth?

>> Oh, the money is unimportant.

>> I'm afraid it's very important.

>> In your money perhaps $85,000.

>> May I sit down?

>> Felix: Yes.

>> And the blue one?

>> It's called the Hawaiian Blue.

In 1894, the owner was murdered by a rival collector who was obsessed to own it.

>> And what is its value today?

>> Sixty-five thousand.

>> And the last one?

>> The best for last.

(speaking in foreign language).

The masterpiece.

The most valuable stamp in the world.

It's called the Gazette Maldive.

It was printed by hand on colored paper and marked with the initials of the printer.

Today it has a value of $100,000.

I'm not a thief, Madame.

I knew there was some mistake.

>> You gave the boy a great many stamps in return.

Are they for sale now?

>> Oh, let me see, 350 European, 200 Asian, 175 American, 100 African, and 12 Princess Grace commemorative, which comes to 10 francs.

And don't forget these.

>> Thank you.

I'm sorry.

>> No, for a few minutes they were mine.

That is enough.

>> Adam?

Adam?

(tense music) (dramatic music) (telephone rings) >> Hello?

>> Mr. Bartholomew?

>> Hamilton: Yes.

>> Tex is dead.

Smothered.

And Adam did it.

He killed 'em all.

>> Are you sure?

>> Yes, I'm sure.

Tex wrote the word "Dyle" before he died.

He's the murderer, I tell you.

>> Now wait a minute, just a minute, Mrs. Lampert.

You better give that to me again.

>> It was the stamps on the letter Charles had with him on the train.

They were there in plain view all the time, but no one bothered to look at the envelope.

>> Now, Mrs. Lampert, listen to me.

You're not safe as long as you have these stamps.

Let's see.

Do you know the center garden at the Palais Royale?

>> Yes, the colonnade?

>> Yes, by the colonnade.

As fast as you can get there.

Hurry, Mrs. Lampert!

>> I'm leaving right away, goodbye.

("Charade") >> Reggie, the stamps, where are they!

Reggie, wait!

>> Why, so you can kill me, too?

Tex is dead he wrote "Dyle" on the carpet!

>> I'm not Dyle, you know that!

>> But Tex didn't know it!

You're a murderer!

>> Adam: Reggie, I want those stamps!

>> Palais Royale.

(speaking in foreign language) (suspenseful music) (shouts in foreign language) (suspenseful music) (slow foreboding music) Please come on.

(engine rumbles) (train hisses) (dramatic music) (train hissing) (travelers chattering) (engines revving on street) (tense curious music) (telephone buzzes) >> American Embassy.

>> Hello, American Embassy?

Mr. Bartholomew's office, please.

>> Would you speak a little louder, please?

>> I can't speak any louder.

Mr. Hamilton Bartholomew.

>> I'm sorry, Mr. Bartholomew, has left for the day.

(sighs) >> But someone's trying to kill me.

>> Operator: What?

>> Kill me!

You've got to get word to him right away.

He's in the center garden of the Palais Royale near the colonnade.

Tell him I'm trapped in a phone booth right below him in the metro station, and the name's Lampert!

(suspenseful music) (telephone rings) >> Hello?

>> Operator: Hello, Mr. Bartholomew?

>> Yes.

>> There was a call for you just now, Mr. Bartholomew.

It sounded quite urgent, a Mrs. Lampert.

>> Lampert?

I don't know any Mrs. Lampert.

>> She said she's trapped in metro station, and someone's trying to kill her.

>> Trying to kill her?

Who does she think I am, the CIA?

All right, I guess you'd better call the French police.

(tense foreboding music) (train hisses) (suspenseful chase music) >> Regina: Mr. Bartholomew!

Mr. Bartholomew!

Help me!

>> Reggie, stop!

That man is Carson Dyle!

>> We all know Carson Dyle is dead, Mrs. Lampert!

>> I tell you, he's Carson Dyle.

>> Oh, you're not gonna believe him.

Just bring those stamps over here.

He's trying to trick you again.

>> Tex recognized him!

That's why he wrote "Dyle!

If you take him those stamps, he'll kill you, too.

>> Mrs. Lampert, if I'm who he says I am, what's preventing me from killing you right now?

>> Adam: Because he'd have to come out to get the stamps, and he knows he'll never make it.

>> Mrs. Lampert, he wants the money for himself.

That's all he's ever wanted.

>> He's with the CIA.

I saw him at the embassy.

>> I tell you, he's Carson Dyle.

>> That's right, Mrs. Lampert, that's right.

I'm a dead man, look at me.

>> Oh, I don't know who anybody is!

>> Reggie, I beg you.

Just trust me once more.

>> Why should I!

>> I can't think of a reason in the world why you should.

>> Stop right now, Mrs. Lampert, or I'll kill you!

>> It won't get the stamps, Dyle.

You'll still have to come out to get them.

And I'm not likely to miss at this range.

>> Maybe not, but it takes a lot of bullets to kill me.

They left me there with five of them in my Legs and my stomach.

Mrs. Lampert, they knew that I was still alive, but they left me there.

I spent 10 months in a German prison camp with nothing to stop the pain.

They left me there, Mrs. Lampert.

They deserved to die.

>> But I had nothing to do with it!

>> You've got the money now!

It belongs to me!

Mrs. Lampert, they knew I was still alive, but they left me there.

That's why I had to kill them, all four of them.

Please believe me, Mrs. Lampert.

I'll kill you, too.

It won't make any difference.

It's no use.

You're running out of time.

I've come too far to turn back.

I swear I'll kill you!

Make up your mind, Mrs. Lampert, now!

>> Adam!

(guns fire) (suspenseful chase music) (dramatic ominous music) (floorboards creaking) (footsteps shuffling) (footsteps approaching) (suspenseful music) (knob rattles) >> All right, I know you're in there, Mrs. Lampert.

Come on out.

(dark ominous music) Do you hear me come on out!

I don't want to kill you, but I will.

(footsteps echoing) Come on out.

(footsteps echoing) (dark ominous music) (footsteps echoing) The game is over, Mrs. Lampert.

(suspenseful music) (trap door clatters) (Carson screams) (gentle music) >> You didn't have to chase me so hard.

That one's done do this one.

>> No.

>> I'm sorry I thought you were the murderer.

How was I to know he was as big a liar as you are?

>> Is that all the gratitude I get for saving your hide?

Here, rub your own blinking foot.

>> The truth now, was it my hide or those stamps?

>> Well, what a terrible thing to say.

How could you think that?

>> Then prove it to me.

Tell me to go to the embassy first thing in the morning and turn in those stamps.

(gentle music) I said tell me to go the embassy first thing-- >> I heard you, I heard you, I heard you, I heard you.

>> Then say it.

>> Now, Reggie, listen to me.

There's something I'd like to explain-- >> Nevermind, I'll go by myself.

>> Well, what makes you think they're even interested?

It's only a quarter of a million dollars.

It'll cost more than that for them to fix up their bookkeeping.

Now as a taxpayer-- >> Who's a taxpayer?

Crooks don't pay taxes.

Excuse me, Soldier?

>> Marine, Ma'am.

>> Oh, forgive me.

Who would I see regarding the return of stolen government money?

>> Well, you might try the treasury department, Ma'am.

Room 217, second floor, Mr. Cruikshank.

>> 217, thank you, Marine.

(gentle music) >> Uh, do you mind if I don't go in with you?

The sight of all that money being given away might make me breakout.

>> Mr. Cruikshank, please.

My name is Lampert.

>> Yes.

Mr. Cruikshank?

A Miss Lamp-- >> Mrs. >> Mrs. Lampert to see you.

Yes, sir.

Go right in.

>> Thank you.

(bright music) (silly lighthearted music) (gentle music) Of all the mean, rotten, contemptible, crooked!

>> Crooked?

I should think you'd be glad to find out I'm not crooked.

>> You can't even be honest about being dishonest.

Why didn't you say something?

>> We're not allowed to tell.

Now, come on, give me the stamps.

>> Hmm.

Wait a minute, how did Carson Dyle get an office in this building, anyway?

>> When did you meet him?

What time of day, I mean?

>> About 1:00.

>> Hmm, the lunch hour.

Probably worked it out in advance.

Found an office usually left open, and just moved in for the time you were here.

>> Then how do I know this is your office?

>> Mrs. Foster, take a memo to Bartholomew, in security recommending that-- >> Bartholomew.

>> Recommending that embassy offices be kept locked during the lunch hour.

>> Hmm, starting with his own.

>> Now give me the stamps, come on.

>> What's your first name today?

>> Brian.

>> Brian Cruikshank.

Serves me right if I get stuck with that one.

>> Who asked you to get stuck with any of them, come on.

>> Is there a Mrs. Cruikshank?

>> Yes.

>> But we're divorced.

>> No.

>> Oh.

>> My mother she lives in Detroit.

You'd like her, she'd like you, too.

Come on, give me those stamps.

>> Not until you prove to me that you're really Brian Cruikshank.

>> All right, one day next week, I'll put it on the marriage license, how about that?

>> Quit stalling I want some identification now!

>> I wouldn't lie on a license.

>> You can't prove it to me can you still trying to...

Marriage license.

Did you say marriage license?

>> Now, don't change the subject give me the stamps.

>> Oh, I love you Adam, Alex, Peter, Brian, whatever your name is.

Oh, I love you.

I hope we have a lot of boys, and we can name them all after you.

>> Well, before we start that, may I have the stamps?

(bright theatrical music)