CHARADE

    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
  莂 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.

    PETER
  No, I'm not -- I've got some packing to do.  I'm
  also going back to Paris today.

    REGGIE
  Oh.  Well, wasn't it Shakespeare who said:
  "When strangers do meet they should erelong
  see one another again"?

    PETER
  Shakespeare never said that.
  
    REGGIE
  How do you know?
  
    PETER
  It's terrible -- you just made it up.
  
    REGGIE
  Well, the idea's right, anyway.  Are you
  going to call me?
  
    PETER
  Are you in the book?
  
    REGGIE
  Charles is.
  
    PETER
  Is there only one Charles Lampert?

10A. DELETED

10B. CLOSE SHOT -- REGGIE
 Her face clouding.
  
    REGGIE
  Lord, I hope so.

11. EXT. AVENUE FOCH -- LAMPERT APARTMENT HOUSE -- DAY
 The Arc de Triomphe at the far end of the Avenue.  CAMERA
 PANS to pick up a TAXI as it pulls up before the handsome
 building.  Inside are REGGIE, SYLVIE and JEAN-LOUIS.

12. MED. SHOT -- TAXI -- LAMPERT APARTMENT HOUSE
 As REGGIE climbs out and the DRIVER begins unloading her
 suitcases.
  
    REGGIE
  Goodbye, Sylvie, and thanks. (She turns
  toward the house).

 JEAN-LOUIS sticks his head out of the taxi window.

    JEAN-LOUIS
  When you get your divorce will you be
  going back to America?

13. MED. SHOT -- THE TAXI
 REGGIE looks at SYLVIE, surprised.

    SYLVIE
  He knows everything.

    REGGIE (to JEAN-LOUIS)
  Don't you want me to stay?