[Quick Summary: After her husband steals a fortune from five thieves, a widow falls for one of the men pursuing her.]
If nailing the tone in a romantic comedies is tricky, it's exponentially harder when mixing in another genre. How does one balance them??Let's look at this script, which is:
- a mystery (puzzle)
- with the spine of a rom-com (two people become a couple).
I think these two things keep this script balanced:
1) The essential question for a romcom is, "What is keeping the couple apart?"
- Here, it is the mystery of the location of the stolen money.
- Also, the subtext to this mystery is motive, "What does she/he want?".
- HER: Does he want me, or the money?
- HIM: Is she more important to me, or the money?
2) MORE TIME THAN YOU THINK. For a kiss to feel earned, there needs to be a closeness, a shared vulnerability. It's not a secret this only happens with time.
The scene belong is long, but shows how balance works:
- Note the tone never falls to ALL mystery or ALL romcom.
- They're talking about the mystery, but the subtext is "me or the money."
- After they've revealed vulnerabilities, she feels secure enough for a kiss.
- Note: He lied to her, saying he was the brother of one of the thieves (Dyle).
EXT. SEINE - BATEAU MOUCHE -- DUSK
... DYLE: Are you trying to say that I might have killed Charles and Scobie?
She doesn't answer.
DYLE: What do I have to do to satisfy you -- become the next victim?
REGGIE: It's a start, anyway.
DYLE: I don't understand you at all -- one minute you're chasing me around the shower room and the next you're accusing me of murder.
REGGIE: Carson Dyle didn't have a brother.
WIDER ANGLE
She rises from the table and walks away. DYLE hesitates a moment, then follows.
DYLE: I can explain if you'll just listen. Will you listen? [He begins to open up.]
REGGIE (looking at river): I can't very well leave without a pair of water wings.
DYLE: Okay. Then get set for the story of my life -- not that it would ever make the best-seller list.
REGGIE: Fiction or non-fiction?
DYLE: Why don't you shut up!
REGGIE: Well!
DYLE: Are you going to listen?
REGGIE: Go on.
DYLE: After I graduated college I was all set to go into my father business. Umbrella frames -- that's what he made. It was a sensible business, I suppose, but I didn't have the sense to be interested in anything sensible. [He's sharing his story, but it may be a lie.]
REGGIE: I suppose all this is leading somewhere?
DYLE: It led me away from umbrella frames, for one thing. But that left me without any honest means of support.
REGGIE: What do you mean?
DYLE: When a man has no profession except the one he loathes, what's left? I began looking for people with more money than they'd ever need -- including some they'd barely miss.
REGGIE: (astonished): You mean, you're a thief?
DYLE: Well, it isn't exactly the term I'd have chosen, but I suppose it captures the spirit of the thing.
REGGIE: I don't believe it.
DYLE: Well, I can't really blame you -- not now.
REGGIE: But I do believe it -- that's what I don't believe. So it's goodbye Alexander Dye -- Welcome home Peter Joshua. [She allows herself to believe.]
DYLE: Sorry, the name's Adam Canfield.
REGGIE: Adam Canfield. Wonderful. Do you realize you've had three names in the past two days? I don't even know who I'm talking to any more.
DYLE (now called ADAM): The man's the same, even if the name isn't.
REGGIE: No -- he's not the same. Alexander Dyle was interested in clearing up his brother's death. Adam Canfied is a crook. And with all the advantages you've got -- brains, charm, education, a handsome face -- [She admits to feelings.]
ADAM: Oh, come on!
REGGIE: -- there has to be a darn good reason for living the way you do. I want to know what it is.
ADAM: It's simple. I like what I do -- I enjoy doing it. There aren't many men who love their work as much as I do. Look around some time.
REGGIE: Is there a Mrs. Canfield?
ADAM: Yes, but --
ADAM REGGIE (together): -- we're divorced. [More personal revelations.]
ADAM: Right. Now go eat your dinner.
ANOTHER ANGLE
They walk back to the table, where a WAITER is busy putting food on it, mostly on REGGIE's side.
REGGIE (miserably): I could eat a horse.
ADAM (looking at all the food): I think that's what you ordered.
REGGIE: Don't you dare to be civil with me! All this time you were leading me on --
ADAM: How was I leading you on?
REGGIE: All that marvelous rejection -- you know I couldn't resist it. Now it turns out you were only interested in the money. [She admits he got to her.]
ADAM: That's right.
REGGIE (HURT): Oh! [Her vulnerable moment.]
ADAM: What would you like me to say -- that a pretty girl with an outrageous manner means more to an old pro like me than a quarter of a million dollars? [His vulnerable moment.]
REGGIE: No -- I guess not.
ADAM: It's a toss-up, I can tell you that.
REGGIE: What?
ADAM: Don't you know I'm having a tough time keeping my eyes off of you? [Vulnerable moment.]
REGGIE reacts in surprise.
ADAM: Oh, you should see your face. [Moment of shared humor.]
REGGIE: What about it?
ADAM (taking her hand, nicely): It's lovely. [Sincere compliment.]
She looks at him with happy amazement, then pushes her plate away.
ADAM: What's the matter?
REGGIE: I'm not hungry -- isn't it glorious? [She is finally secure.]
The lights go out.
REGGIE (alarmed): Adam!
ADAM: It's all right -- look.
EXT. SEINE BATEAU MOUCHE - NIGHT
A searchlight near the boat's bridge has gone on and now begins sweeping the river banks. On benches by the water's edge, lovers are surprised by the bright light which suddenly and without warning discovers them in various attitudes of mutual affection. Some are embarrassed, some are amused and some (the most intimate) damn annoyed. One even shakes his fist at the light.
MED. SHOT -- REGGIE AND ADAM
Who, like everyone else, leave the table and stand together at the rail watching.
REGGIE: You don't look so bad in this light.
ADAM: Why do you think I brought you here?
REGGIE (indicating the lovers): I thought maybe you wanted me to see the kind of work the competition was turning out.
ADAM: Pretty good, huh? I taught them everything they do.
REGGIE: Oh? Did they do that sort of thing way back in your day?
ADAM: How do you think I got here?
She rises on tip-toes and kisses him gently; his only reaction is to look at her. [She makes the first move!]
REGGIE: Aren't you allowed to kiss back?
ADAM: No. The doctor said it would be bad for my -- thermostat.
She kisses him again. He responds a little better.
ADAM: When you come on, you really come on.
REGGIE: Well -- come on.
She starts to kiss him again, but he stops her.
REGGIE: I know why you're not taken -- no one can catch up with you.
ADAM: Relax -- you're gaining.
WHAT I'VE LEARNED: 1) Put the mystery between the lovers; 2) An excellent subtext of a mystery is "me or the money." 3) Truthful intimacy will take time on the page.
Charade (1963)(10/1/62 draft)
by Peter Stone
Based on a story by Peter Stone and Marc Behm
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