Charade

FADE IN (BEFORE TITLES)

1.EXT. FRENCH COUNTRYSIDE -- DUSK

Silence -- complete silence for the urbanite, though the

oncoming darkness is punctuated by the sounds of farm

country -- a few birds, a distant rumble of thunder from

some heavy clouds on the horizon, a dog's barking.

CAMERA PANS the green, squared-off flatland, lit only by

a fine sunset in its final throes. Then, gradually,

starting from nothing, a rumble is heard, quickly growing

louder and louder until the sound of a train can be

recognized.

CAMERA PANS quickly, discovering the railroad line atop a

man-made rise of land, and the speeding passenger train is

upon us, flashing by with a roar.

Then, as if from nowhere, the figure of a man hits the

embankment and rolls crazily down to the bottom into the

thick underbrush alongside the tracks.

2.CLOSE SHOT -- BODY

It lies in the bushes, still, unmoving -- dead. CAMERA

PANS AWAY to the quiet peaceful countryside as the sound

of the train fades off until there is silence once more.

TITLE MUSIC begins with a crash.

(MAIN TITLES)

3.)

4.)DELETED

5.)

6.FADE IN

EXT. MEGEVE -- DAY

A handsome and elegant hotel perched on the mountain-side

overlooking the French resort town. A large, open sun

deck -- tables, gaily colored parasols, sun bathers.

One of the latter is REGINA LAMPERT, a lovely young girl.

She is, besides taking in the sun, involved in her favorite

activity -- eating.

Then -- a dark, ominous shape intrudes in the f.g. FOCUS

CHANGES to bring into sharp relief a revolver -- shining,

black and ugly in the sunlight.

REGGIE, unaware of her danger, continues to eat.

The finger tightens around the trigger and finally the

gun shoots -- a stream of water arcs, with unerring aim,

straight into REGGIE's face.

7.ANOTHER ANGLE

Including JEAN-LOUIS, a French boy of six or so. REGGIE

looks at him sternly.

JEAN-LOUIS (in for trouble)

Oh, la.

REGGIE:

Don't tell me you didn't know it was loaded.

(calling) Sylvie!

8.WIDER ANGLE

SYLVIE GAUDET, French, attractive, blonde, in her early

thirties, comes from the railing of the sun deck to join

REGGIE and JEAN-LOUIS.

REGGIE:

Isn't there something constructive he can

do -- like start an avalanche?

SYLVIE (to JEAN-LOUIS)

Va jouer, mon ange.

JEAN-LOUIS scampers off, content to have gotten off so

lightly. SYLVIE notices REGGIE's lunch which consists of

cold chicken, potato salad, rolls and butter, wine and

coffee.

SYLVIE:

When you start to eat like this something

is the matter.

No answer from REGGIE. SYLVIE begins reading a magazine

as REGGIE continues eating.

REGGIE:

Sylvie -- I'm getting a divorce.

SYLVIE:

�a alors! From Charles?

REGGIE:

He's the only husband I've got. I tried

to make it work, I really have -- but --

SYLVIE:

But what?

REGGIE:

I don't know how to explain it. I'm just

too miserable.

REGGIE picks up a chicken leg and starts off. SYLVIE

regards the devastated table before following.

SYLVIE:

It is infuriating that your unhappiness

does not turn to fat!

8A.INT. SWIMMING POOL -- DAY

A magnificent indoor, glass-enclosed pool, the vista of

snow-covered mountains seen through the ceiling-high

windows beyond. REGGIE and SYLVIE are passing through,

their conversation continuing.

SYLVIE:

But why do you want a divorce?

REGGIE:

Because I don't love him.

SYLVIE:

But that is no reason to get a divorce!

8B.EXT. HOTEL TERRACE -- DAY

An open balcony running around two sides of the pool,

sun-worshippers lying in deck-chairs. REGGIE and SYLVIE

appear, their conversation continuing.

SYLVIE:

With a rich husband and this year's

clothes you will not find it difficult

to make some new friends.

REGGIE (sitting)

I admit I moved to Paris because I was

tired of American Provincial, but that

doesn't mean I'm ready for French Traditional.

I loathe the idea of divorce, Sylvie,

but -- if only Charles had been honest

with me -- that's all I ask of anybody

-- the simple truth. But with him,

everything is secrecy and lies. He's

hiding something -- something frightening

-- something terrible -- and evil.

She stops as she is aware of a weird figure hovering over

her. She wheels, terrified.

9.CLOSE SHOT -- PERUVIAN SNOW-MASK

A strange, grotesque knitted mask that completely covers

the face except for eyes, nose and mouth. The eyes inside

this particular mask stare down at REGGIE.

MAN:

Does this belong to you?

CAMERA PANS down to include JEAN-LOUIS, his hand held

firmly by the man in the mask.

10.WIDER ANGLE

Including REGGIE, MAN, SYLVIE and JEAN-LOUIS. REGGIE is

too terrified to answer. Realizing this, the man, PETER

JOSHUA, takes off the snow-mask to reveal a handsome,

tanned face.

PETER:

Oh, forgive me. (indicating JEAN-LOUIS)

Is this yours?

REGGIE (indicating SYLVIE)

It's hers. Where'd you find him, robbing

a bank?

PETER:

He was throwing snowballs at Baron

Rothschild. (a pause) We don't know

each other, do we?

REGGIE:

Why, do you think we're going to?

PETER:

I don't know -- how would I know?

REGGIE:

I'm afraid I already know a great many

people. Until one of them dies I couldn't

possibly meet anyone else.

PETER (smiling)

Yes, of course. But you will let me know

if anyone goes on the critical list

(he starts off).

REGGIE:

Quitter.

PETER (turning)

How's that?

REGGIE:

You give up awfully easy, don't you?

Eyeing one, then the other, SYLVIE sizes up the situation

and rises.

SYLVIE:

Viens, Jean-Louis, let us make a walk.

I have never seen a Rothschild before.

SYLVIE and JEAN-LOUIS start off, but not before the boy

squirts PETER with his pistol.

PETER (drying)

Clever fellow -- almost missed me.

REGGIE:

I'm afraid you're blocking my view.

PETER (moving)

Sorry. Which view would you like?

REGGIE:

The one you're blocking. This is the last

chance I have -- I'm flying back to Paris

this afternoon. What's your name?

PETER:

Peter Joshua.

REGGIE:

I'm Regina Lampert.

PETER:

Is there a Mr. Lampert?

REGGIE:

Yes.

PETER:

Good for you.

REGGIE:

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

PETER:

Please, not on my account.

REGGIE:

No, you see, I don't really love him.

PETER:

Well, you're honest, anyway.

REGGIE:

Yes, I am -- I'm compulsive about it --

dishonesty infuriates me. Like when you go

into a drugstore.

PETER:

I'm not sure I --

REGGIE:

Well, you go in and you ask for some

toothpaste -- the small size -- and the man brings

you the large size. You tell him you wanted

the small size but he says the large size is

the small size. I always thought the large

size was the largest size, but he says that

the family size, the economy size and the

giant size are all larger than the large size

-- that the large size is the smallest size

there is.

PETER:

Oh. I guess.

REGGIE:

Is there a Mrs. Joshua?

PETER:

Yes, but we're divorced.

REGGIE:

That wasn't a proposal -- I was just curious.

PETER:

Is your husband with you?

REGGIE:

Oh, Charles is hardly ever with me. First it

was separate rooms -- now we're trying it

with cities. What do people call you -- Pete?

PETER:

Mr. Joshua. (turning to go) Well, I've

enjoyed talking with you.

REGGIE:

Now you're angry.

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