For the unfamiliar, a "reveal" in screenwriting parlance is the placement of key, revelatory information in a story. Most times, the last reveal is the most important revelation of all.
The curtains have been pulled over the porthole, and it is semi-dark. In bed is a youngish couple. They are motionless, naked, and covered up to their necks with a sheet. On the night-table is a tray with three empty champagne bottles, two glasses, and a couple of swizzle-sticks. On the dresser is a bridal bouquet, a bit wilted by now, and a grey top hat. Against the wall is an open steamer trunk, plastered with labels from various hotels. Male and female clothes are strewn around.
Can I have some more champagne?
This just in!!! I hadn't re-read Meyer's book in over three years, so I'd forgotten details from it. But in flipping through it, lo and behold, I find a character in the book in the Vienna sections named "Hugo Von Hofmannsthal." So, in 1969 Wilder and Diamond write a movie with a German character named Ilse von Hoffmanstal. And four years later Nicholas Meyer publishes a book using an idea described in the 1969 script and 1970 complete version of the movie with a German character with an almost identical last name. Unless this name has a deeper pedigree from the Holmes stories themselves, this is hard to ignore as a mere coincidence. Curiouser and curiouser.