Charade Page #9

PETER:

I think I sprained my pride. (He looks around)

Where'd he go?

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.

122.EXT. HOTEL WINDOW THIRD FLOOR -- NIGHT

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.

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

SHOOTING STRAIGHT DOWN; there is no one on the street and

it is too far to jump.

124.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.

125.CLOSE SHOT -- PETER'S HAND

As it stretches for the railing; it is several inches

short of touching it.

126.MED. SHOT -- PETER

As he straightens up and prepares to jump.

127.EXT. HOTEL FACADE -- NIGHT

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

balcony.

128. 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'S VOICE (o.s.)

Oh!

PETER leaves 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'S VOICE (o.s.)

What is it now, Pamela?

WOMAN'S VOICE (o.s.)

It happened again, Henry -- another strange

man peered in the window at me and then went

away.

MAN'S VOICE (o.s.)

Bad luck, Pamela.

129.EXT. HOTEL FACADE -- NIGHT

From the GROUND as PETER jumps to the next balcony.

130.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.

131.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 --

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

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'S VOICE (o.s.)

That's right, Herman -- you didn't leave me

much choice.

They all turn toward the window.

133.WIDER ANGLE

As PETER climbs in through the window and joins them.

PETER (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.

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.

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.

134.INT. REGGIE'S ROOM -- NIGHT

As she waits anxiously, smoking a cigarette. There is a

KNOCK at the door.

REGGIE:

Who is it?

PETER'S VOICE (o.s.)

It's me. Peter.

REGGIE unlocks the door and opens it. PETER enters and

she closes the door again --

PETER:

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.

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.

REGGIE:

Do you tell lies?

A pause. The phone rings. REGGIE answers it.

REGGIE (into the phone)

Hello?

135.INT. OUTDOOR 'PHONE BOOTH -- NIGHT

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 --

136.INT. REGGIE'S ROOM -- NIGHT

REGGIE (on the phone)

What do you want?

PETER (whispering)

Who is it?

REGGIE (covering the receiver)

The man you had the fight with.

137. INT. PHONE BOOTH -- NIGHT

SCOBIE (on the phone)

Is Dyle with you?

138.INT. REGGIE'S ROOM -- NIGHT

CLOSE SHOT -- REGGIE

REGGIE:

Who?

139. INT. PHONE BOOTH -- NIGHT

SCOBIE (on the phone)

The man who hit me, lady -- Dyle -- that's

his name. What's wrong -- is he still there?

140.INT. REGGIE'S ROOM -- NIGHT

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.

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