Charade Page #10

PETER:

What is it, Reggie -- what's he saying?

She shakes her head.

141. INT. PHONE BOOTH -- NIGHT

SCOBIE (on the phone)

Don't trust him -- don't tell him anything.

He's after the money.

He hangs up.

142.INT. REGGIE'S ROOM -- NIGHT

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 (a pause)

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?

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:

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.

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

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. 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.

144.INT. DYLE'S ROOM -- NIGHT

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.

145.INT. REGGIE'S ROOM -- NIGHT

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?

146.INT. BARTHOLOMEW'S APARTMENT -- NIGHT

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.

147.INT. REGGIE'S ROOM -- NIGHT

REGGIE (on the phone)

You mean he might have -- Mr. Bartholomew,

I'm catching the next plane out of here --

I'm not going to sit here and wait for

someone to make chopped liver out of me!

148.-

150.DELETED

151.INT. BARTHOLOMEW'S APARTMENT -- NIGHT

BARTHOLOMEW (on the phone)

Where are you now -- can you meet me?

Do you know Les Halles?

147.INT. REGGIE'S ROOM -- NIGHT

REGGIE (on the phone)

Yes, where? (a pause) -- in fifteen

minutes. I'll be there.

153.DELETED

154.INT. REGGIE'S ROOM -- NIGHT

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.

155.INT. DYLE'S ROOM -- NIGHT (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.

156.INT. REGGIE'S ROOM -- NIGHT

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.

157.INT. DYLE'S ROOM -- NIGHT

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.

158.WIDE ANGLE

Including DYLE as he reacts, his head wheeling to look

at the key. Snatching his coat, he runs for the door.

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

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.

160.INT. HOTEL LOBBY -- NIGHT

It is deserted, except for the sleeping NIGHT PORTER, as

REGGIE comes running down the stairs.

DYLE'S VOICE (o.s.)

Reggie . . . !

She turns, looking back towards the sound of his voice, but

does not slacken her speed. She runs out the front door.

161.EXT. HOTEL ENTRANCE -- NIGHT

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:

N'importe o� - 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 (pointing)

Follow that taxi.

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.

162.CLOSE SHOT -- REGGIE

In the shadows. She lifts her eyes in annoyance.

163.MED. SHOT -- TAXI

DYLE (finding the word)

Suivre -- el taxi!

DRIVER:

Ah! Oui, Monsieur.

164.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!

165.-

167.DELETED

168.EXT. LES HALLES -- NIGHT

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.

169.TWO SHOT -- REGGIE AND BARTHOLOMEW

CAMERA LEADING them as they walk.

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.

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