got the body out over that part of the roof...

"You know, whoever did it was probably still in the room while we were there.  Probably hiding in the closet."

LARRY
Make sure and tell me that just before I go to sleep, tonight.  That'll be good for me.

CAROL
But you know, that probably means he saw us.

LARRY
Great, I'll never get my eyes closed.  You know, I mean, what do you want me to do?  I'm petrified.  Not only that, but I'm a little drunk.

CAROL
I wonder who was cremated.  Who was it?

LARRY
Well, it was...  Well...  You know, obviously, it wasn't Mr. House, because he has an alibi.

CAROL
Well, yeah, but I don't buy that.

LARRY
She doesn't buy that.  She doesn't buy the alibi.  Let's get out of here.  I want to go home.

EXT.  Street / Waldron Hotel - Night

FULL SHOT of Carol and Larry walking toward us.  It is very dark and the sidewalks are wet from a recent rain.

LARRY
Jesus, it's starting to rain again.  Can you believe that?

CAROL
Oh, God.  If only Ted were with us, he'd have a million theories about this, I'll tell you that.

LARRY
Yeah, I know.  I know.  Ted's got a mind like a steel sieve.

CAROL
Oh, right.

                              They reach their car, and Carol walks around to passenger side.

LARRY
You know what I think?  I think it's possible.  That hotel room was on the, on the ext--  That end of the hall.

                           CAMERA TILTS up on the hotel.

CAROL
(voice over)
What?  Yeah?

LARRY
(voice over)
It's right up there.  That's the room.

CAROL
I know.

LARRY
Well, what if they got the body out over that little roof?  You know, that would be a possibility.  Why would --

                              The two windows Larry is pointing at --  suddenly lights go on.

CAROL
Oohhh!  What are the -- lights...

LARRY
Oh, Jesus.

                            They are standing by their car.

CAROL
Larry, the lights!

LARRY
Yeah, that's eerie, isn't it?

CAROL
My God.  This gave me the chills, honey.

LARRY
Yeah, well, let's call the police.

CAROL
I mean...  Oh, no, no, no.  Come on.  Let's go over there now.  Let's check it out.  Come on.  We don't have time.

LARRY
Check it out?

CAROL
Yes.

LARRY
What, are you nuts?  No, I'm not gonna check that out.

CAROL
No, but look at it, Larry.  Look at that.  There's lights going on, there.

LARRY
Yeah, I know, I know.  That's crazy.  Look, look.  Why don't we go home and nap, and we'll call the police, and they can check it out while we're home in the...

                                   Carol walks away from the car toward the hotel.

CAROL
Oh no, the police are red tape.  Come on.  This is my case, honey.

                               He catches up to her.

LARRY
What do you mean, it's your case?

CAROL
Yes, it's my case.

LARRY
Hey, come here.  I don't want to do this.

CAROL
No, come on.

LARRY
No.

CAROL
Oh, God.  If only Ted were with us.

LARRY
Hey, don't give me Ted.  Ted would be shaking in his boots.

CAROL
Ted...  Oh, God.

LARRY
I'm at least just trembling like a leaf.

                                They have reached the hotel and they go up the front steps to the entrance.

MED. CLOSE SHOT on a grilled window in the hotel lobby.  Behind the window, the night clerk is sorting some paper.

CAROL
Um, excuse me.  We're with the police department.  We'd like to, uh, check out room, uh, six-eleven, please?

                         Larry tries to look like a relaxed policeman on a routine errand.

CLERK
You were here before.

CAROL
Uh, that's right.  Yes.  Mm-hm.  Yeah.

CLERK
You are police?

CAROL
Ee... Ooh, um, just, uh-uh...  Show him your card.

LARRY
My what?

CAROL
Your-your card.  Your - your police identification card.

LARRY
Yeah, I-I...

CAROL
Your card, you know.  Your card.  He's got his card.

                          Larry goes through the pockets of his jacket and gets the business card the police officer gave him.  He shows it to the clerk and then slides it through a small rectangular hole at the bottom of the window.  The clerk takes it and looks at it.

CAROL
Yeah.  See?

CLERK
Okay.

                           The clerk gives the card back to Carol.

CAROL
Thank you very much.  Six-eleven?  Okay.  Great.

                         The clerk goes and gets the key for the room.  He gives it to Carol, who drops the card on the small counter under the window.

CLERK
Is there any trouble?

LARRY
No, no, no, no, no.  I-m-I'm-I'm-I'm jus--  I'm-I'm ju -- um -- I'm a detective.  They-they-they lowered the height requirements, so I...  I'll take this card back.  They - r - they're...

                   He takes the card from the counter and puts it back in the inside pocket of his jacket.

CAROL
Come on.

LARRY
...expensive.

                            Carol walks toward the elevator and Larry follows her.

INT.  Sixth floor

At the far end of the corridor, Larry and Carol at Room 611.  Larry keeps looking around while Carol is opening the door.

INT.  Room 611

The door is opening slowly.  Carol enters, followed by Larry.

CAROL
Okay.

LARRY
Be careful.

CAROL
Telling me to be careful.  Now, just don't upset anything.  Okay, Larry?

                               Larry closes the door.

LARRY
I'm not upsetting anything.  I just, you know, I'm just gonna leave a- a set of fingerprints around, so if there's a trial, we can get trapped.

                            The CAMERA follows Carol and Larry moving around the room.

CAROL
All right, now look.  The murderer must have, like, hid in this closet, right?

                                Carol opens a closet.

LARRY
I don't like this.

--------------------------------------------------------

{Manhattan Murder Mystery.  Directed by Woody Allen.  Produced by Robert Greenhut.  Written by Woody Allen and Marshall Brickman.  
     Cinematography by Carlo Di Palma.  TriStar Pictures.  Release date:  August 18, 1993.}

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