"VERTIGO" By Alec Coppel and Samuel Taylor Draft 9-12-1957 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT We see a close view of a roof parapet and the curved rail of a fire escape. In the bag, are large skyscrapers with all their windows fully lit in the late winter afternoon. This background is used for the CREDIT TITLES of the picture. After the last card has FADED OUT, we HOLD on to the empty parapet, when suddenly a man's hand reaches and grips the top of the rail. It is followed by another hand and, after a beat, we see the face of a man in his early 30's. He is an Italian type, with rough features. He turns quickly and looks below him and then turning back, springs up over the empty parapet and is lost from view. We STAY on the EMPTY SCENE for a second or two as we HEAR the scraping of boots on the iron ladder. Someone else is coming up. Presently, two more hands and the head of a uniformed policeman with cap and badge starts to climb over the parapet. The CAMERA PULLS BACK so that by the time he has completed his climb, he is in full figure. He dashes out of the picture drawing his gun. Immediately following him over the parapet, a detective in plain clothes climbs over. This is JOHN FERGUSON, known as SCOTTIE. He too pulls a gun and dashes out of the picture. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT A vast panorama of the San Francisco skyline. Nearer to us are three tiny figures running and jumping over the roof tops. The man on the run, whom we first saw climb over the parapet, is dressed in a white shirt and light tan linen slacks, and wearing sneakers. The uniformed man is shooting at him. Scottie is dressed in medium grey clothes. The CAMERA SLOWLY PANS the group across the roof tops. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MED. SHOT We now see a short gap between rooftops, with a drop below. The pursued man makes the leap successfully followed by the uniformed policeman. Scottie makes the same leap, but almost trips in taking off and is thrown off balance. He tries to recover, lands awkwardly on the opposite roof, and falls forward, prone, with a heavy impact that hurts and drives tile breath from his body. He tries to rise but raises his head with a look of pain -- one leg is doubled up under the other. The tiles give way, and he slides backwards, and his legs go over the edge of the roof, then his body. In his daze he grasps at the loose tiles, and as he goes over the edge he clutches on to the gutter, which gives way, and he swings off into space, looking down. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT Scottie looking down. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT From Scottie's viewpoint, the gap beneath the building and the ground below. It seems to treble its depth. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP Scottie looking down with horror. His eyes close as a wave of nausea overcomes him. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT In the distance the fleeing criminal. The policeman, seeing what has happened to Scottie, returns to the slope of the roof and strains to reach down to Scottie. POLICEMAN Give me your hand! EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE UP SCOTTIE'S HEAD. His hands grip the edge of the guttering. The tips of the fingers of policeman straining to reach Scottie, are at the top of screen. Scottie begins to open his grip but stares down, he quickly resumes his grip looking up hopelessly towards the helping hand. He looks down again. FROM SCOTTIE'S VIEWPOINT - the ground below still a long way away. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT The policeman's hand in foreground, his face beyond. POLICEMAN What's the matter with you? Give me your hand! Policeman endeavors to stretch out his hand further. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) The tiles beneath the policeman's heel begin to give. The Policeman starts to slide. He claws desperately at the surface of the roof. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP Scottie, his eyes closed. He opens them as he hears a wild cry. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT The policeman falling through space. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP Scottie stares down in horror. EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT The body of the policeman sprawled on the ground below. People are running into the alleyway; they stare at the body, look up to where Scottie is hanging. We see the light on their upturned faces. And now we hear a police whistle blown shrilly, again and again. Up to this moment the background music has had an excitement to match the scene, and now it cuts off, abruptly, leaving on the echo of the police whistle as the DISSOLVE begins. Then, in the DISSOLVE, we hear the gentle insistence of Scarlatti played by a chamber orchestra. DISSOLVE TO: INT. AN APARTMENT ON RUSSIAN HILL - (LATE AFTERNOON) It is fresh, light, and simple, and crowded with books, phonograph records, pictures. The most striking feature of the apartment is the view: The rising hills of San Francisco framed by a large picture window. To one side of the window is the owner of the apartment, MAJORIE WOOD, called MIDGE, at a commercial drawing table concentrating with professional intensity on a drawing of a slim, a elongated woman with few features and fewer clothes. A brassiere sits on a table at Midge's elbow, and she studies it as she draws. Midge Wood is about thirty-seven, attractive, straight-forward, well- but-simply-dressed; she wears glasses but does not whip them an and off as they do in the movies. The music comes from a gramophone. The other occupant of the room is Scottie. He sits in a big chair, with his feet stretched out on an ottoman and his head far back. There is a drink on a table nearby. He rouses himself to reach for it, and in doing so knocks over his walking stick that has been propped against the chair. He reaches out to catch it, and in the quickness of trying to keep it from falling, he wrenches his body around. SCOTTIE Ow!! MIDGE (Paying little attention) I thought you said no more aches and pains? SCOTTIE It's this darned corset. It binds. He retrieves the stick. MIDGE No three-way stretch? How very un- chic. SCOTTIE Well, you know those police department doctors: no sense of style. (Sighs gratefully) Ah, tomorrow! MIDGE What's tomorrow? SCOTTIE Tomorrow... the corset comes off. And this thing goes out the window. (He waves the stick) I shall be a free man. I shall wiggle my behind... free and unconfined. He raises his eyebrows with a surprised and gratified smile. Midge looks over at him with a grimace. SCOTTIE Midge, do you suppose many men wear corsets? MIDGE More than you think. SCOTTIE (Interested) How do you know? Personal experience? MIDGE Please! (Then, impersonally) And what happens after tomorrow? SCOTTIE What do you mean? MIDGE What are you going to do? Now that you've quit the police force? SCOTTIE (Gently) You sound so disapproving, Midge. MIDGE No, it's your life. But you were the bright young lawyer who decided he was going to be chief of police some day. SCOTTIE (Gently) I had to quit, Midge. MIDGE Why? SCOTTIE I wake up at night seeing him fall from the roof... and try to reach out for him. MIDGE It wasn't your fault. SCOTTIE I know. Everybody tells me. MIDGE Johnny, the doctors explained -- SCOTTIE I know. I have Acrophobia. What a disease. A fear of heights. And what a moment to find out I had it. MIDGE Well, you've got it. And there's no losing it. And there's no one to blame. So why quit? SCOTTIE And sit behind a desk? Chairborne? MIDGE It's where you belong. SCOTTIE (With a grin) Not with my Acrophobia, Midge. If I dropped a pencil on the floor and bent down to pick it up, it could be disastrous! MIDGE (Laughs) Ah, Johnny-O... She considers him for a moment, then goes back to her work. By now he is up and wandering about with the help of the stick. MIDGE (Finally, as she works) Well?... what'll you do? SCOTTIE Nothing for a while. You forget, I'm a man of independent means. Or fairly independent. MIDGE Mmm. Why don't you go away for a while? SCOTTIE (Grins) To forget? Don't be so motherly, Midge. I'm not going to crack up. MIDGE Have you had any dizzy spells this week? SCOTTIE I'm having one now. She looks up sharply with quick apprehension. SCOTTIE From that music. MIDGE Oh! She goes and turns off the gramophone. Scottie has wandered over to the drawing table. SCOTTIE What's this do-hickey here? He turns the brassiere over with his stick MIDGE It's a brassiere. You know about those things. You're a big boy, now. SCOTTIE I've never run across one like that. MIDGE It's brand new. Revolutionary uplift. No shoulder straps, no back straps, but does everything a brassiere should do. It works on the principle of the cantilever bridge. SCOTTIE (Impressed) Uh-huh! MIDGE An aircraft engineer down the peninsula designed it. He worked it out in his spare time. SCOTTIE What a pleasant hobby. He wanders back to the chair and watches her work for a long moment. Then: SCOTTIE How's your love life, Midge? MIDGE That's following a train of thought. SCOTTIE Well? MIDGE Normal. SCOTTIE Aren't you ever going to get married? MIDGE (Lightly) You know there's only one man in the world for me, Johnny-O. SCOTTIE Yeah, I'm a brute. We were engaged once though, weren't we? MIDGE Three whole weeks. SCOTTIE Ah, sweet college days. But you're the one who blew it. I'm still available. Available Ferguson. Say, Midge, do you remember a guy at college named Gavin Elster? MIDGE Gavin? Gavin Elster? You'd think I'd would. No. SCOTTIE I got a call from him today. Funny. He dropped out of sight during the war, and I'd heard he'd gone East. I guess he's back. (he fishes out a slip of paper) It's a Mission number. MIDGE That's Skid Row... isn't it? SCOTTIE Could be. MIDGE He's probably on the bum and wants to touch you for the price of a drink. SCOTTIE Well, I'm on the bum; I'll buy him a couple of drinks and tell him my troubles. But not tonight. If you won't drink with me, I'll drink alone, tonight. (He rises to go) MIDGE Sorry, old man. Work. SCOTTIE Midge, what did you mean, there's no losing it? MIDGE What. SCOTTIE My... the acrophobia. MIDGE I asked my doctor. He said only another emotional shock could do it, and probably wouldn't. And you're not going to go diving off another rooftop to find out. SCOTTIE I think I can lick it. MIDGE How? SCOTTIE I've got a theory. Look. If I can get used to heights just a little at a time... progressively see? He has been looking about eagerly, sees a low footstool, drags it to the center of the room as he speaks. SCOTTIE Here, I'll show you what I mean. We'll start with this. MIDGE That!?! SCOTTIE What do you want me to start with -- the Golden Gate Bridge? He has stepped up on the footstool and stands there proudly looking up and down. SCOTTIE Now. I look up, I look down. I look up, I look down. Nothing to it. MIDGE (Overlapping) Stop kidding. Wait a minute. She dashes to the kitchen, returns quickly with a small aluminum household ladder. SCOTTIE Ah, that's my girl! Here? He steps on the first step. MIDGE Step number two. SCOTTIE Okay. He gets up on the second step and goes through the routine. SCOTTIE I look up, I look down. I look up, I look down. I'm going to go right out and buy me a nice, tall stepladder. Here we go. He gets on the top step. MIDGE Easy, now. SCOTTIE This is a cinch. I look up, I look down. I look up -- And at this moment he makes the mistake of turning and looking out through the picture window. FROM SCOTTIE'S VIEWPOINT We see the depth down to the street below the window. The whole picture begins to weave. INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - CLOSEUP of Scottie -- expression of nausea. FROM SCOTTIE'S VIEW POINT - LONG SHOT The weaving view changes to the original scene where the ground receded in a rush and the body of the policeman fell into space. INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - MEDIUM CLOSE SHOT Scottie's face distorted with agony -- his eyes close and he begins to slump. CAMERA PULLS BACK SLIGHTLY as Midge now comes into shot, putting up her hands to him to hold him, and his weight is on her and his head is slumped, and the joke is over. MIDGE Johnny! SCOTTIE (Muttering, his face tight, his eyes shut) Oh, damn it! Damn it, damn it -- DISSOLVE: EXT. A SHIPYARD - (DAY) - LONG SHOT Boats up an ways, men swarming over, cranes moving. At the gate, Scottie has paused to speak to the gateman. The gateman indicates a building in the distance, Scottie nods, goes past him, starts across the shipyard toward the building. DISSOLVE TO: INT. GAVIN ELSTER'S OFFICE - (DAY) A well-appointed office with a large window looking out upon a busy shipyard. There are a couple of models of modern freighters in glass cases, but more important, on the walls are many framed prints and posters and maps relating to early California history; some from the Mexican days, many from the Gold Rush days, many of San Francisco in the Seventies and Eighties. Behind the desk sits Gavin Elster, a man about Scottie's age, huskily built, slightly balding, with cool, watchful eyes. He is beautifully tailored, and gives the sense of a man who relishes money and knows how to use it. He sits quietly watching Scottie, who stands staring out the window at the activity of the shipyard. After a long moment: SCOTTIE How'd you get into the shipbuilding business, Gavin? ELSTER I married into it. Scottie shoots him a small surprised smile of approval at his frankness, then looks out the window again. SCOTTIE Interesting business. ELSTER No, to be honest, I find it dull. SCOTTIE You don't have to do it for a living. ELSTER No. But one assumes obligations. My wife's family is all gone; someone has to look after her interest. Her father's partner runs the company yard in the East -- Baltimore -- so I decided as long as I had to work at it, I'd come back here. I've always liked it here. SCOTTIE How long have you been back? ELSTER Almost a year. SCOTTIE And you like it. ELSTER San Francisco's changed. The things a that spell San Francisco to me are disappearing fast. Scottie smiles at the old prints on the wall. SCOTTIE Like all this. ELSTER (Nodding) I'd like to have lived here then. The color and excitement... the power... the freedom. Though he does not stress the word, the way be lingers softly on the word "Freedom" makes Scottie look over at him again. Elster looks up and smiles companionably. ELSTER Shouldn't you be sitting down? SCOTTIE No, I'm all right. ELSTER I was sorry to read about that thing in the papers. (No answer) And you've quit the force. (Scottie nods) A permanent physical disability? SCOTTIE No, Acrophobia isn't a crippling thing. It just means I can't climb steep stairs or go to high places, like the bar at the Top-of-the-Mark. But -- (Shrugs and smiles) -- there are plenty of street-level bars In this town. Elster considers the top of his desk for a moment, then looks up. ELSTER Would you like a drink now? SCOTTIE No... no, thanks. A bit early in the day for spirits. (Pause) Well, I guess that about covers everything, doesn't it? I never married; I don't see much of the "old college gang"; I'm a retired detective -- and you're in the shipbuilding business. (Pause) What's on your mind, Gavin? A moment, then Elster rises from the desk casually, wanders across the room, looks out the window, gets out a handkerchief and blows his nose prosaically, finally turns and regards Scottie coolly and directly for a long moment. ELSTER I asked you to come up here, Scottie, knowing that you had quit detective works, but I wondered whether you would go back on the job -- as a special favor to me. Scottie looks at him questioningly. ELSTER I want you to follow my wife. Scottie does not change expression, and yet one can sense the feeling of anti-climax within him, and the almost imperceptible small cynical smile deep behind his eyes. ELSTER Not what you think. We're very happily married. SCOTTIE Then? ELSTER I'm afraid some harm may come to her. SCOTTIE From whom? ELSTER Someone dead. Scottie waits. ELSTER Scottie, do you believe that someone out of the past, someone dead, can enter and take possession of a living being? SCOTTIE No. ELSTER If I told you I believe that his happened to my wife, what would you say? SCOTTIE I'd say you'd better take her to the nearest psychiatrist, psychologist, neurologist, psychoanalyst, or plain family doctor. And have him check you both. ELSTER (Defeated) Then you're of no use to me. I'm sorry I wasted your time. Thank you for coming in, Scottie. Scottie rises to go, awkwardly, puzzled, a bit apologetic. SCOTTIE I didn't mean to be that rough. ELSTER No, it sounds idiotic, I know. And you're still the hard-headed Scot, aren't you? Always were. Do you think I'm making it up? SCOTTIE No. ELSTER I'm not making it up. I wouldn't know how. She'll be talking to me about something, nothing at all, and suddenly the words fade into silence and a cloud comes into her eyes and they go blank... and she is somewhere else, away from me... someone I don't know. I call to her and she doesn't hear. And then with a long sigh she is back, and looks at me brightly, and doesn't know she's been away... can't tell me where... or why... SCOTTIE How often does this happen? ELSTER More and more in the past few weeks. And she wanders. God knows where she wanders. I followed her one day. SCOTTIE Where'd she go? Elster almost ignores the question as he looks back to the day. ELSTER Watched her come out of the apartment, someone I didn't know... walking in a different way... holding her head in a way I didn't know; and get into her car, and drive out to... (He smiles grimly) Golden Gate Park. Five miles. She sat on a bench at the edge of the lake and stared across the water to the old pillars that stand an the far shore, the Portals of the Past. Sat there a long time, not moving... and I had to leave, to got to the office. That evening, when I came home, I asked what she'd done all day. She said she'd driven to Golden Gate Park and sat by the lake. That's all. SCOTTIE Well? ELSTER The speedometer of her car showed she had driven 94 miles that day. Where did she go? (Pause) I have to know, Scottie. Where she goes and what she does, before I got involved with doctors. SCOTTIE Have you talked to the doctors at all? ELSTER Yes, but carefully. I'd want to know more before committing her to that kind of care. (Anxiously) Scottie -- SCOTTIE (Quickly) I can get you a firm of private eyes to follow her for you. They're dependable, good boys -- ELSTER (Breaking in) I want you. SCOTTIE It's not my line. ELSTER Scottie, I need a friend! Someone I can trust! I'm in a panic about this! Long pause. SCOTTIE How can I see her, to know her? ELSTER We're going to an opening at the opera tonight. We'll dine at Ernie's first. Which is easier? SCOTTIE Ernie's. ELSTER All right. (Pause) You won't know what to look for at first, Scottie. Even I, who know her so well, cannot tell, sometimes, when the change has begun. She looks so lovely and normal... The last part of this speech carries through the dissolve. DISSOLVE TO: INT. ERNIE'S RESTAURANT - (NIGHT) We are in the upstairs room that, in mood and decor, takes us back to Bonanza Days. This is the way San Francisco was. Scottie is at the bar, turned a little so that he faces into the dining room, and as he drinks his eyes search the room slowly, carefully. The CAMERA SEARCHES with him, passing over the many well- dressed women, until it comes to rest on a table for two dressed against the far wall. Gavin Elster is seated there, dining with his wife. Scottie cannot get a clear look at her. She is turned slightly away from him, and when she does turn her head in his direction there always seems to be a waiter passing to block the view. And during all of this we hear Elster's voice, continuing from the previous scene. ELSTER'S VOICE But I realize now that the deep change began on the first day I brought her to San Francisco. You know what San Francisco does to people who have never seen it before. All of it happened to Madeleine, but with such an intensity as to be almost frightening. She was like a child came home. Everything about the city excited her: she had to walk all the hills, explore the edge of the ocean, see all the old houses and wander the old streets: and when she came upon something unchanged, something that was as it had been, her delight was so strong so fiercely possessive! These things were hers. And yet she had never been here before. She had been born and raised in the East. I liked it at first, of course. I love this place; I wanted my bride to love it. But then it began to make me uneasy. Her delight was too strong; her excitement was too intense, it never faded; her laugh was too loud, her eyes sparkled too brightly; there was something feverish about the way she embraced the city. She possessed it. And then one day she changed again... and a great sigh settled on her, and the cloud came into her eyes... Now Gavin Elster has signed the check, and he and his wife rise and start for the door. Scottie still cannot get an unobstructed view of her face, but we can see in flashes that she is young, in her twenties, with a mobile, attractive face and gentle eyes that have warmth and intelligence and humor. Scottie is intent on her. At the doorway to the bar, only two feet from him, she stops and waits as her husband pauses behind her to speak to the headwaiter and thank him and tip him. She looks about calmly, with sure, distant repose. Her eyes come to rest an Scottie for a moment, then move an with the small smile. During all of the above, Elster's voice has gone on, without pauses, and his narration ends as the girl, Madeleine, comes to a stop near Scottie and waits. ELSTER'S VOICE I don't know what happened that day: where she went, what she saw, what she did. But on that day, the search was ended. She had found what she was looking for, she had come home. And something in the city possessed her. As Scottie stares at her, their eyes meet for a moment, and he turns to reach for his drink. When he turns back, she is gone. He looks about, slightly startled, then catches a glimpse of her as she turns the corner of the upstairs lobby. His eyes grow thoughtful, and glow with the memory of her face. DISSOLVE TO: EXT. BROCKLEBANK APARTMENTS - (DAY) - SEMI-CLOSEUP Scottie, seated in his car, a light grey sedan, is reading the morning paper. The car radio is going and we hear conventional disc jockey music. He glances out through his windshield. BROCKLEBANK APTS. - (DAY) - LONG SHOT FROM HIS POV We see a large block of apartments with a stone pillared entrance and a small car parked inside. Beyond it is the door into the apartment building itself. There is no activity but for one businessman who emerges on foot and makes his way out. INT. AUTOMOBILE - (DAY) - CLOSEUP SCOTTIE He resumes his reading but does not Concentrate. His eyes go back to the apartment house. EXT. BLOCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT A slightly nearer view but still outside the stone entrance of the apartment house, we see the main entrance beyond. For some time, there is no activity at all - perhaps for a quarter of a minute or so. Suddenly, we see Gavin's wife, MADELEINE, appear. She is dressed in a smart light grey tailored suit. She stands for a moment looking about her. INT. AUTOMOBILE (DAY) - SEMI-CLOSEUP Scottie thrusts the paper aside and turns off the radio. He starts his car. EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT - FROM HIS VIEWPOINT We see Madeleine crossing the small courtyard to a pale green Jaguar. She stands for a moment, opens her handbag and takes out her car keys. She gets in the car. EXT. BROCKLEBANK APTS. - (DAY) - MEDIUM SHOT Scottie begins to turn his car away gently from the curbstone. EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT FROM HIS VIEWPOINT Madeleine's car pulls out and turns down the side street. INT. SCOTTIE'S CAR - SEMI-CLOSEUP We see him pull away, looking intently ahead. EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT Through the windshield over the hood of his car, we see the pale green Jaguar moving ahead of him, but the speed is quite casual and not too fast. INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP Scottie watching ahead. EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-CLOSEUP Through the windshield we see the green Jaguar turn the corner and go down another street. INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP Scottie taking the same corner as we see him turn the wheel. LAP DISSOLVE TO: INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP Scottie anxiously looking ahead, fearing he might miss her. EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT The green car slows up and begins to make a left-hand turn (or right-hand). The two cars in front of Scottie's are able to pull out and pass the green car. We see the green car turn up an alleyway. INT. SCOTTIE'S CAR - SEMI-CLOSEUP Scottie's expression changes a little, surprised at the sudden turn-off. EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT In the left f.g., we see a large flower shop and beyond, at the corner of the side alleyway, another store. We see the grey sedan turn in. EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT SHOOTING DOWN THE ALLEYWAY The grey sedan comes into the f.g. on the right, while further down the street, we see the green Jaguar coming to a stop outside a dingy doorway. INT. SCOTTIE'S CAR - SEMI-CLOSEUP We see Scottie looking out of his window, looking down the street. EXT. ALLEYWAY - SEMI-LONG SHOT - FROM HIS VIEW P0INT We see Madeleine get out of the Jaguar and pass through a rather decrepit-looking door. EXT. ALLEYWAY - (DAY) - SEMI-LONG SHOT Scottie alights from his car and we see him make his way down the alley towards the Jaguar. EXT. ALLEYWAY - MEDIUM SHOT The CAMERA PANS Scottie past the Jaguar as he cautiously enters the doorway. INT. DARK PASSAGE - (DAY) - MEDIUM SHOT We see Scottie making his way down this passage. He reaches a door at the end. INT. DARK PASSAGE - (DAY) SEMI-CLOSEUP - SHOOTING OVER SCOTTIE'S SHOULDER He gently pushes open the door. We see beyond him the bright lights and back part of the flower shop. INT. FLOWER SHOP - (DAY) - CLOSEUP Scottie's surprised expression, as he peers through the partially open door. Suddenly, he catches sight of: INT. FLOWER SHOP - (DAY) - MEDIUM SHOT Madeleine is talking to one of the assistants, making some inquiry. The assistant, who seems to know her, nods with a smile and goes off to the side of the store. Madeleine waits and begins to turn, looking around the store. She approaches camera until she is again in profile - just as she was in Ernie's Restaurant when Scottie first saw her. INT. FLOWER SHOP - CLOSEUP - SCOTTIE Cautiously narrows the opening of the door. INT. FLOWER SH0P - (DAY) - MEDIUM SHOT The female assistant returns. She is carrying a small nosegay of flowers. Madeleine nods her approval and, as the assistant returns, we see Madeleine indicate she will take it as it is. Madeleine begins to open her purse as the assistant starts to write out the bill. INT. FLOWER SHOP - (DAY) - CLOSEUP SCOTTIE Cautiously, closes the door. INT. PASSAGE - (DAY) - SEMI-LONG SHOT We see Scottie retreating from the door and hastening down the passage towards the CAMERA. He goes out left and as he opens the door into the alleyway, the daylight streams in for a moment. EXT. ALLEYWAY - (DAY) - MEDIUM SHOT Scottie emerges from the doorway, passing the green Jaguar. We are far enough away to see the sign over the doorway, which tells us that it is the rear entrance to the flower shop, for customers' parking. EXT. ALLEYWAY - (DAY) - LONG SHOT Scottie comes from the Jaguar across the alleyway to where his own car is standing. He gets in. After a moment or two, we see Madeleine emerge in the distance and get into the Jaguar, carrying the nosegay. There is a sound of the starter, and immediately, she is on her way. In the f.g., the grey sedan moves off at a cautious distance behind. LAP DISSOLVE: INT. SCOTTIE'S CAR - (DAY) - MEDIUM SHOT We see Scottie driving, looking ahead. EXT. DOLORES AVENUE - (DAY) - LONG SHOT The green Jaguar driving ahead down the wide Dolores Avenue. It presently comes to a stop outside the Mission. We see Madeleine quickly get out. Scottie's car enters the picture and begins to slow up. INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP As he watches ahead, he slowly brings his car to a stop. EXT. DOLORES AVENUE - (DAY) - MEDIUM SHOT In the f.g., is the grey sedan. Scottie emerges and, slamming his car door shut, makes his way to the door opposite which the green Jaguar is parked. EXT. DOLORES MISSION - (DAY) - LONG SHOT We now see for the first time the facade of the old Mission Dolores. Scottie enters the picture from the right and makes his way to the small dark, open doorway. EXT. MISSION DOLORES - (DAY) - MEDIUM SHOT Scottie passes through the small doorway. On the wall nearby, we get a quick glimpse of the plaque announcing the date of the establishment of the Mission. INT. MISSION DOLORES - (DAY) - MEDIUM SHOT We see Scottie come through the door and towards the CAMERA. He comes to a stop in CLOSEUP. INT. MISSION DOLORES - (DAY) - LONG SHOT From his viewpoint, we see the center aisle and, in the distance, the altar of the old Mission. It is very dark except for the strong light around the altar. The church is completely empty. INT. MISSION DOLORES - (DAY) - SEMI-CLOSEUP Scottie half-turns as though to retrace his steps, then he looks back again and leans to one side slightly. INT. MISSION DOLORES - (DAY) - LONG SHOT Shooting on a slightly different angle, we see there is a small door at the far end at the right-hand side of the altar. It is slowly closing. INT. MISSION DOLORES - (DAY) - CLOSEUP Scottie immediately comes forward and exits the picture. INT. MISSION DOLORES - (DAY) - LONG SHOT Scottie enters the f.g., and we see him hasten up the aisle towards the altar. INT. MISSION DOLORES - (DAY) - SEMI-LONG SHOT We are much nearer to the altar. Scottie enters the picture on the right and makes his way quickly towards the little side door. As he opens it, a shaft of bright sunlight comes into the church. EXT. GRAVEYARD - (DAY) - CLOSEUP We see Scottie emerge from the church coming towards the CAMERA, which DOLLIES BACK with him. EXT. GRAVEYARD - (DAY) - MEDIUM SHOT From his viewpoint, the CAMERA TURNS the corner and makes its way toward a small gateway in a wall. The CAMERA starts to go through. EXT. GRAVEYARD - (DAY) - CLOSEUP Scottie coming through the gateway. EXT. GRAVEYARD - (DAY) - LONG SHOT The CAMERA MOVES ACROSS the graveyard, and in the distance, we see Madeleine gazing down at a headstone, the posy still clutched in her hands. EXT. GRAVEYARD - (DAY) - CLOSEUP Scottie looking towards Madeleine with an expression of slight surprise. He starts off out of the picture to the right. EXT. GRAVEYARD - (DAY) - LONG SHOT We see Scottie making his way down the side of the graveyard, with the Mission Church behind him. The CAMERA PANS him all the way round to a position towards Madeleine. He disappears from view. EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT The CAMERA PANS Scottie past Madeleine and he takes up a position behind a grotto where he can observe her. EXT. GRAVEYARD - (DAY) - SEMI-CLOSEUP Scottie watching Madeleine. EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT Through the foliage, from his viewpoint, we see the back view of Madeleine, her head bent down, still looking at the grave. She starts to turn. EXT. GRAVEYARD - SEMI-CLOSEUP Scottie cautiously steps back a little. EXT. GRAVEYARD (DAY) - MEDIUM SHOT The CAMERA watching the corner of the grotto for a moment. Nothing happens, then we hear a few steps and Madeleine comes into view still carrying the posy of flowers. She is walking very slowly. She comes to a stop opposite Scottie - until she is in full profile. She opens her purse and takes out a small handkerchief, then she moves on around the path towards the exit. EXT. GRAVEYARD - (DAY) SEMI-CLOSEUP Scottie is watching her depart. EXT. GRAVEYARD - (DAY) SEMI-LONG SHOT Madeleine approaches a small door at the side of the mission Church. She goes in. EXT. GRAVEYARD - (DAY) - MEDIUM SHOT We see Scottie hasten round from his hiding-place back to the headstone, where Madeleine had been standing. EXT. GRAVEYARD - (DAY) - MEDIUM SHOT Scottie quickly takes an envelope from his pocket and also takes out a pencil. He starts to write down something as he looks at the headstone. EXT. GRAVEYARD - (DAY) - CLOSEUP INSERT - The name on the headstone reads: Carlotta Valdes. Born December 3. 1831. Died March 5, 1857. EXT. GRAVEYARD - (DAY) - MEDIUM SHOT We see Scottie hurry from the grave towards the exit door. The CAMERA PANS with him. DISSOLVE TO: INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP Once more his eyes are on the road ahead, as he follows Madeleine. EXT. MARKET STREET - (DAY) We see the green Jaguar come out of l6th Street and cross Market Street and start to ascend the hill. EXT. SAN FRANCISCO STREET - (DAY) We see both cars, one behind the other, moving uphill. LAP DISSOLVE TO: EXT. ENTRANCE TO LINCOLN PARK - (DAY) The two cars move along the road through the entrance, between the trees, and the Jaguar draws up before the Palace of the Legion of Honor. Scottie continues past as Madeleine gets out of her car and walks through the courtyard to the entrance to the art gallery. Scottie parks his car farther along, and follows her in. LAP DISSOLVE TO: INT. ART GALLERY - (AFTERNOON) - LONG SHOT Shooting through the foreground columns we see the gallery, soft lit from the top, completely empty, save for one person. It is Madeleine. She is seated on the small wooden bench at the far end. Her head is tilted in the upward direction, gazing at a large portrait. Slowly we see Scottie coming to the left f.g. He watches her for a moment and then with a carefully quiet stop, moves into the gallery and starts to examine the pictures. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP The CAMERA SHOOTING on the back of Scottie, TRAVELS, with him as he pretends to look at the pictures on the wall. He barely stops at each one. Now and again he half furtively glances over his shoulder. Finally the CAMERA COMES TO A STOP. Scottie cautiously turns around and looks across the room. INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT From his viewpoint we get a complete picture of what he sees. The back view of Madeleine, seated on the polished wooden bench, her right band is holding the nosegay, and beyond her a three-quarter length portrait of a beautiful blonde woman, dressed in 19th century costume. She seems to be looking down with an enigmatic smile. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's eye catches sight of: INT. GALLERY - (AFTERNOON) - CLOSEUP The nosegay resting in Madeleine's hand on the polished wood seat. The CAMERA SLOWLY PANS UP and MOVES IN to a part of the picture. It comes to rest on a nosegay held in the woman's hands. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's expression does not change. His eyes move to something else. INT. GALLERY - (AFTERNOON) - CLOSEUP SHOOTING on the back of Madeleine, we see her head and shoulders only. The CAMERA MOVES IN until her bun of blonde hair fills the screen. The CAMERA PANS up until we see the head and shoulders of the woman in the portrait. She is wearing a distinctive diamond pendant necklace. Then the CAMERA SLOWLY MOVES IN and concentrate its attention at a bun of hair resting on the nape of her neck. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's eyes turn thoughtfully at the memory of his conversation with Gavin. He looks up again. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP Again, the enigmatic look of the woman wearing the diamond pendant necklace. It seems as though she is almost looking at Scottie. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP Scottie turns and makes his way carefully back down the gallery. INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT THE CAMERA is now back in its original position, beyond the columns of the entrance to the room. We see Scottie coming down toward the CAMERA. As he comes to us in CLOSER SHOT, we see him beckon to somebody off screen. INT. GALLERY - (AFTERNOON) - MEDIUM SHOT A male attendant is coming over towards the CAMERA. He goes out of the picture. INT. GALLERY - (AFTERNOON) - MEDIUM SHOT He comes to where Scottie awaits him. Scottie asks in a low voice: SCOTTIE (Nodding in the direction of the gallery) Who is the woman in the portrait? The Attendant turns his head. SCOTTIE The one where the lady is sitting. ATTENDANT Oh, that's Carlotta, sir. (At Scottie's reaction) You'll find it in the catalogue: "Portrait of Carlotta." Scottie nods his thanks as the attendant hands him a catalogue. Scottie then turns back and looks into the room. The CAMERA MOVES IN past him, so that once more we are left alone with Madeleine seated, still looking at the portrait. LAP DISSOLVE: EXT. ART GALLERY - (AFTERNOON) - MEDIUM SHOT In the f.g., Scottie is seated in his grey sedan. We see beyond him in the distance, the green Jaguar and the back- lit columns of the gallery courtyard. Presently, the small figure of Madeleine appears. She gets into her car and starts to drive off. Scottie starts up his engine. His car moves across the screen. DISSOLVE TO: EXT. A SAN FRANCISCO STREET - (DAY) The two cars moving along through a poorer section of San Francisco. We see that the houses - many large - are all of wood, shabby, run-down, some almost derelict. The occasional front yard is uncared for; the few people on the street are cheaply dressed. There is a meanness of atmosphere. EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT The green Jaguar comes to a stop outside a large house, which has seen grander days. Obviously an old San Francisco residence, it is now become an apartment hotel. A long flight of steps from the street, leads to the front door, which has a semicircular canopy supported by columns. Madeleine gets out and ascends the stairs toward the hotel entrance; she is still carrying the posy of flowers. EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT Scottie's car pulls into the curb. He gets out and stands on the sidewalk and looks ahead of him. He walks forward out of the picture. EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT We see Scottie walking along the sidewalk casually. The green car is at the curb at the left of the stairs to the hotel. He strolls up until he reaches the green car. EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT SHOOTING over the green car, we see Scottie hovering around the bottom of the steps. There is no sign of Madeleine. She has obviously gone in by this time. Scottie turns and examines the facade of the hotel and over his shoulder, the CAMERA PANS up over the building where we see the name, in worn black lettering under the top cornice. EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP Scottie turns away from the hotel and glances in the direction of the car. He then turns and ponders what his next move should be. No looks back at the hotel. Suddenly, his eye catches sight of something. He hastens over to conceal himself by the entrance wall, the CAMERA PANNING him. His eyes go up again. EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT From his viewpoint, we see Madeleine appear in the corner second story window. She is glancing out casually, as she takes off the jacket of her suit. She turns into the room again. EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP Scottie is really puzzled by this appearance. He thinks for a while and then, making up his mind, starts to go up the steps, the CAMERA PANNING him. We see him reach the top stop and make for the front door. EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT Scottie waits a slight moment, and then, bracing him himself, opens the door and passes through. INT. MCKITTRICK HOTEL LOBBY - (DAY) - SEMI-CLOSEUP Scottie comes through the door closes it behind him. He looks around. INT. MCKITTRICK HOTEL LOBBY - (DAY) From Scottie's viewpoint, we see most of the lobby. There is a small reception desk with a key rack to one side, but the strongest and most immediate impact is one of greenery, of foliage. Scattered about the lobby in profusion are tall- standing potted rubber plants and philodendron. Scottie stands and stares. There is no one to be seen, no sign of life. Then we see a leaf of a rubber plant move, and move again, a hand appears, seemingly caressing it, and then we hear a woman's voice. MANAGERESS Yes? Scottie looks in that direction, and the woman moves out from behind the plant. She is a small, gentle, elderly lady with white hair, motherly and smiling, with bright, eager eyes. MANAGERESS Is there something I can do for you? SCOTTIE Yes... you run this hotel. MANAGERESS Oh, yes! SCOTTIE Would you tell me, who has the room on the second floor in the corner, that corner? MANAGERESS (Brightly) Oh, I'm afraid we couldn't give out information of that sort. Our clients are entitled to their privacy, you know. And I do believe it's against the law! Of course, I don't think any of them would mind, really, but still I would have to know who you are, and ask -- By now Scottie has got out his wallet and has shown his badge, and the sight of it makes her stop abruptly, and for a moment her face hardens and is not a bit motherly. But then she recovers her innocent brightness. MANAGERESS Oh, dear! Has she done something wrong? SCOTTIE Please answer my question. MANAGERESS I can't imagine that sweet girl with that dear face -- SCOTTIE (Urgently) What is her name? MANAGERESS Valdes. Miss Valdes. (Pause. Then, brightly) It's Spanish, you know. SCOTTIE (Slowly) Carlotta Valdes? MANAGERESS Yes, that's it. Sweet name, isn't it? Foreign. But sweet. SCOTTIE (Holding in) How long has she had the room? MANAGERESS Oh, it must be two weeks. Yes, the rent's due tomorrow. SCOTTIE Does she sleep here? Ever? MANAGERESS No... she only comes to sit. Two or three times a week. And I never ask questions, you know. As long as they're well behaved. I must say that I've wondered -- SCOTTIE (Cutting her off) When she comes down, don't say that I've been here. And he turns away to go, wondering. MANAGERESS (Brightly) Oh, but she hasn't been here today. Scottie whirls back on her. SCOTTIE I saw her come in five minutes. ago. MANAGERESS Oh, no! She hasn't been here at all! I would have seen her, you know. I've been right here all the time, putting olive oil on my rubber plant leaves! Scottie stares at her smiling, innocent face. She looks over at the key rack. MANAGERESS And there! There you see? Her key is on the rack! SCOTTIE (Heavily) Would you please go and look? MANAGERESS In her room? Well, yes, of course if you ask. But it does seem silly... She puts down the can of olive oil and the sponge, and gets out her passkey. She goes up the stairs. Scottie watches her go, then stares down at the can of olive oil, stares at the rubber plant, and waits, and looks up the stairs. MANAGERESS (O.S.) (Brightly) Oh, Mr. Detective! Would you like to come and look? Scottie starts up the stairs on the run. INT. LANDING OF SECOND FLOOR - (DAY) The Manageress stands near the open door. Scottie brushes past her and stands on the threshold. INT. HOTEL BEDROOM - (DAY) We are looking at the room over the shoulders of Scottie and the woman. It is empty. Scottie crosses to the window and looks down. From his viewpoint we see the empty space at the street curb where stood Madeleine's Jaguar. SCOTTIE Her car is gone. MANAGERESS What car? He turns to look at her sweet, smiling face, then turns back to stare down out of the window in bewilderment. DISSOLVE TO: EXT. BROCKLEBANK APARTMENTS - (DAY) Scottie's sedan pulls up in the foreground, the building in the distance. He looks across. There, half concealed around the corner of the small car park, is the green Jaguar. Scottie strolls over, inspects the cars, then looks inside. On the seat is the small nosegay bought at Podesta's and carried to the cemetery. DISSOLVE TO: INT. MIDGE'S APARTMENT - (DAY) Midge is at work on a nightgown ad. The phonograph is playing softly: probably Bach, probably harpsichord, probably Landowska. Scottie walks in, and Midge looks up, startled. SCOTTIE Midge, who do you know that's an authority an San Francisco history? He walks over and turns the phonograph off, either here or a bit later. MIDGE Now, that's the kind of greeting a girl likes. None of this "hello you look wonderful" stuff. Just a good straight "who do you know" -- SCOTTIE (breaking in) Well, who? Come on, you know everybody. MIDGE Professor Saunders, over in Berkeley. SCOTTIE Not that kind of history. The small stuff! About people you never heard of! MIDGE Oh! You mean Gay Old Bohemian Days of Gay Old San Francisco! The juicy stories? Like who shot who in the Embarcadero August, 1879? SCOTTIE Yeah. MIDGE Pop Leibel. SCOTTIE Who? MIDGE Pop Leibel owns the Argosy Book Shop. What do you want to know? SCOTTIE Who shot who in the Embarcadero in August, 1879. Starts for the door fast. MIDGE Wait a minute! You're not a detective any more. What's going on? SCOTTIE (Pausing) Do you know him well? MIDGE Pop Leibel? Sure. SCOTTIE All right, come on. Introduce me. Where is your hat? He looks about for it. MIDGE (Speeding to the door) I don't need a hat. Johnny, what's it about? She speeds right on through the open door. SCOTTIE I'll tell you later. Wait a minute! He races out after her. DISSOLVE TO: INT. ARGOSY BOOK SHOP - (DUSK) It is old, it is misty, it is filled with old books, but the important thing to note is that it is filled with memorabilia of California pioneer days: on the walls are not only the familiar old maps and prints but also, and more striking, such things as framed old mining claims, posters describing outlaws wanted by the law, Wells Fargo Pony Express Posters; and on the shelves, old whiskey bottles, gold-mining pans, and such. The proprietor, Pop Leibel, is staring with a nodding smile at the piece of paper Scottie has handed him, and Scottie watches him keenly. In the bag, Midge wanders about the shop, inspecting the prints on the wall, but always listening. POP LEIBEL Yes... the Beautiful Carlotta... the Sad Carlotta... SCOTTIE What does a big old wooden house on the corner of Eddy and Gough Street have to do with her? POP LEIBEL It was hers. It was built for her. Many years ago. SCOTTIE By whom? POP LEIBEL By... no... the name I do not remember. A rich man, a powerful man. It is not an unusual story. She came from somewhere small, to the south of the city... some say from a mission settlement... young, yes; very young. And she was found singing and dancing in a cabaret by the man... wait... wait... Ives! His name was Ives! Yes. And he took her and built for her this great house in the Western Addition... and there was a child. Yes. This was it. The child. Scottie hangs on his words. Pop looks up at him and smiles. POP LEIBEL And now, fragments, you understand. I cannot tell you how much time passed, or how much happiness there was. But then he threw her away. He had no other children; his wife had no children. He kept the child and threw her away. Men could do that in those days. They had the power... and the freedom. And she became the Sad Carlotta. Alone in the great house... walking the streets alone, her clothes becoming old and patched and dirty... the Mad Carlotta... stopping people in the streets to ask, "Where is my child?... have you seen my child?". The store has darkened considerably and all the figures are practically silhouettes. The CAMERA picks up a CLOSE SHOT OF MIDGE, listening intently, her head turned away from the wall toward the old man. And on the wall near her head is a print of mission San Juan Bantista as it was in the old days. MIDGE The poor thing.... SCOTTIE And she died... POP LEIBEL She died. SCOTTIE How? POP LEIBEL By her own hand. (Pause. Smiles as sadly) There are many such stories. SCOTTIE Thank you, Mr. Leibel. Thank you very much. Forgetting Midge, he turns and walks out of the store fast, deep in thought. MIDGE Hey, wait a minute! So long, Pop! Thanks a lot! She dashes out after Scottie. EXT. SIDEWALK OUTSIDE ARGOSY BOOK SHOP - (DUSK) Midge catches up with Scottie and stops him by grabbing his arm. MIDGE Now then, Johnny-O; pay me. SCOTTIE For what? MIDGE For bringing you here. Come on, tell! SCOTTIE Nothing to tell. MIDGE You'll tell, or you'll be back in that corset! Come on! SCOTTIE I'll take you home. He starts off with long strides, and Midge hurries after him. DISSOLVE TO: EXT. STREET OUTSIDE MIDGE'S APARTMENT - (EARLY EVENING) - LONG SHOT Scottie's car draws up and comes to a stop. INT. SCOTTIE'S CAR - (EARLY EVENING) - MEDIUM TWO SHOT Scottie and Midge are looking straight ahead. SCOTTIE Here you are. MIDGE You haven't told me everything. SCOTTIE I've told you enough. MIDGE Who's the guy, who's the wife? SCOTTIE Out. I've got things to do. MIDGE I know. The one who phoned. Your old college chum, Elster. SCOTTIE Out! MIDGE And the idea is that the Beautiful Mad Carlotta has come back from the dead, to take possession of Elster's wife? Ah, Johnny! Come on! SCOTTIE (Angrily) I'm not telling you what I think! I'm telling you what he thinks! MIDGE Think? Well, what do you think? Scottie is troubled, lost in thought. Pause. MIDGE Is she pretty? SCOTTIE Carlotta? MIDGE (Evenly) No, not Carlotta. Elster's wife. SCOTTIE Mmm, yeah, I guess... Midge looks up at him from the corners of her eyes. MIDGE (Wickedly) I think I'll go take a look at that portrait. (With a bright smile) Bye! She opens the car door quickly and jumps out. SCOTTIE (Outraged) Midge! MIDGE Bye-bye! She slams the car door and runs into the house. Scottie glares after her for a moment, then his face relaxes, and he is lost in thought. He reaches into the glove compartment of the car and draws out the catalogue of the permanent collection of the Palace of the Legion of Honor. He opens it to a page and stares down. INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA. DISSOLVE TO: INT. GAVIN ELSTER'S CLUB - (NIGHT) Elster and Scottie are seated in the lounge of a San Francisco Club - there are one or two members reading newspapers, etc., while a waiter moves by in the background serving drinks. Elster is studying the reproduction of the portrait of Carlotta in the catalogue that Scottie procured from the gallery. The waiter leans in and places two drinks before them. Scottie watches Elster, waiting for him, to speak. Finally: ELSTER (With a wan smile) You've done well, Scottie. You're good at your job. SCOTTIE That's Carlotta Valdes. ELSTER Yes. SCOTTIE There are things you didn't tell me. ELSTER I didn't know where she was going to lead you. SCOTTIE But you knew about this. ELSTER Oh, yes. You noticed the way she does her hair. He places a finger on the reproduction of the portrait to indicate the bun at the back of the neck. Scottie nods. ELSTER Something else. My wife, Madeleine, has several pieces of jewelry that belonged to Carlotta. She inherited them. Never wore them, they were too old-fashioned... until now. Now, when she is alone, she gets them out and looks at them handles them gently, curiously... puts them on and stares at herself in the mirror... and goes into that other world... is someone else again. SCOTTIE Carlotta Valdes was what: your wife's grandmother? ELSTER Great-grandmother. The child who was taken from her whose loss drove Carlotta mad and to her death - was Madeleine's grandmother. SCOTTIE (Confidently) Well, that explains it. Anyone could develop an obsession for the past, with a background like that. ELSTER But she doesn't know, about her background. (As Scottie stares, narrowly) She never heard of Carlotta Valdes. SCOTTIE Knows nothing of a grave out at Mission Dolores, or an old house an Eddy Street, or a portrait at the Palace of the Legion of Honor? ELSTER Nothing. SCOTTIE And when she goes to those places... ELSTER She is not my wife. The two men stare at each other directly, honestly. SCOTTIE How do you know all these things she doesn't know? ELSTER Her mother told me most of then before she died. I dug out the rest for myself, here. SCOTTIE Why did she never tell her daughter? ELSTER Natural fear. Her grandmother went insane and took her own life. And the blood is in Madeleine. (Pause) Scottie, I ask you to watch her closely. Scottie raises his glass and drinks slowly, thoughtfully. DISSOLVE TO: EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON) The columns of the courtyard are back lit by the sun. There is no sign of life. Near the steps, standing alone and empty, is the green Jaguar. LAP DISSOLVE TO: INT. THE ART GALLERY - (LATE AFTERNOON) SHOOTING through the columns in the foreground, our view of the room is obscured momentarily by an elderly couple moving toward the door. They go by to reveal Scottie standing by a Rodin sculpture, looking into the room, and far beyond him, at the end of the room, Madeleine seated on the bench before the portrait staring at it. In her hand, resting at her side on the bench, is once again the nosegay. Now she rises and approaches the portrait and stands before it, the nosegay clasped in her two hands before her, and stares up almost as though in votive offering or in prayer. Finally she turns and starts toward the entrance. Scottie slips away out of sight. Madeleine walks slowly toward the CAMERA. LAP DISSOLVE TO: EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON) Madeleine approaches the green Jaguar, gets in, and the car starts away. Scottie's car moves into the scene, following, DISSOLVE TO: EXT. SEA CLIFF DRIVE - (LATE AFTERNOON) We see the green Jaguar proceeding, the grey sedan at a careful distance behind. Beyond, looking northeast we see the Golden Gate Bridge in the late afternoon sun, and Richmond and Berkeley in the distance. DISSOLVE TO: INT. SCOTTIE'S CAR - (SUNSET) Scottie carefully looking ahead. EXT. PRESIDIO DRIVE - (SUNSET) Madeleine's car approaches along the drive to the gates of the Presidio, and passes through the gates and is swallowed by the trees. Scottie's car follows, and it, too, disappears. DISSOLVE TO: EXT. PRESIDIO - (SUNSET) The two cars driving along the wooded road. INT. SCOTTIE'S CAR - (SUNSET) Scottie looking ahead. DISSOLVE TO: EXT. FORT POINT - (SUNSET) Scottie's car is traveling down the slope toward the jutting point of old Fort Winfield Scott. It comes to a stop in the level clearing. The green Jaguar stands there, empty. EXT. BRIDGE - (SUNSET) - MEDIUM SHOT Scottie gets out of his car and looks off out of picture. EXT. BRIDGE - (SUNSET) - LONG SHOT Madeleine walking away round the dockside. The vast bridge towers above her. She carries the nosegay. Scottie moves into the f.g., and makes off in the same direction. Madeleine disappears round the corner of the old fort wall. Now she is out of sight, we see Scottie quicken his pace as he approaches the corner of the fort wall. EXT. BRIDGE - (SUNSET) - MEDIUM SHOT SHOOTING back, we see Scottie approach the wall and peer cautiously around. EXT. BRIDGE - (SUNSET) - SEMI-LONG SHOT From his viewpoint, we see Madeleine standing at the waters' edge. She is mechanically tearing off the lace-edged paper from the nosegay. EXT. BRIDGE - (SUNSET) - CLOSEUP Scottie watching her curiously. EXT. BRIDGE - (SUNSET) - SEMI-CLOSEUP Madeleine lets the paper drift away down to the water. She proceeds to unwind the wire around the flowers and begins to scatter them an the water. CLOSE SHOT OF FLOWERS FLOATING ON THE WATER EXT. BRIDGE - (SUNSET) - CLOSEUP Scottie watching Madeleine. EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT The full figure of Madeleine, scattering the rest of the flowers. Then she raises her head and stares up at the sky. A moment in which her body seem poised, and then she is gone, lost to view in the water. EXT. DOCKSIDE - (SUNSET) - LONG SHOT Scottie dashes around the wall and the CAMERA PANS him to the water's edge. He is throwing his coat off. EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT SHOOTING down into the water, we see Madeleine's upturned face as she floats away. She disappears now and again. EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT SCOTTIE, running down the few stone steps towards the water. When the water is up to his knees, he swims out towards her. EXT. DOCKSIDE - (SUNSET) - CLOSEUP MADELEINE Her eyes staring, sinks beneath the water. She is surrounded by the scattered flowers. Scottie swims in and grabs her. EXT. DOCKSIDE - (SUNSET) - CLOSEUP As he holds her, the two heads are pressed together. He turns and starts to swim back with her. The screen is filled with their two heads. Madeleine's staring eyes begin to close as she is moved away. LAP DISSOLVE: EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT We see Scottie coming up some stone steps. He is staggering with the weight of Madeleine's water-soaked body and clothes. He carries her over towards the green Jaguar. EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT Resting her for a moment, he throws open the door on the passenger's side. EXT. DOCKSIDE - (SUNSET) Scottie's head is close to hers. She is now breathing heavily. SCOTTIE (whispering) Are you all right? Her eyes open slowly. SCOTTIE (Calling softly) Madeleine... Her eyes show no sign of recognition or response; they move past his face and stare out. The CAMERA SLOWLY MOVES IN until her head fills the screen. She stares out as though in a trance. DISSOLVE TO: EXT.SCOTTIE'S APARTMENT - (DUSK) The empty green Jaguar is drawn up at the curb before the red door of a small, well-kept house. DISSOLVE TO: INT. SCOTTIE'S APARTMENT - (NIGHT) We are in the living room of a comfortable a bachelor apartment. There is a picture window that looks up to Coit Tower on Telegraph Hill. The room is softly lit. A fire is lit in the fireplace; the logs are blazing well, Scottie, in a pair of grey trousers and an old sweater, is wandering about the room, trying to think things out. Through an open door we can see into a small kitchen where Madeleine's clothes - all of them - hang, on a cord over the electric stove, drying. And through another open door we can see into the bedroom where Madeleine lies, in the larger-than-single bed, under the covers, asleep. She sighs and turns restlessly, and Scottie glances at her from the living-room as he wanders, and then she turns again, and the sigh becomes words, spoken in sleep, and he stops, and listens. MADELEINE (Faintly, distantly) Please... thank you... please... Scottie waits, taut, but there is no more. He starts to turn away and suddenly, still distant, but more clearly: MADELEINE (Appealingly) Where is my child?... have you seen my child...? Scottie stiffens with the shock of recognition and his eyes go wide with apprehension staring at the lost, eye-closed, troubled woman in the bed. And at that moment the telephone on the bedside table rings sharply. He makes a dash for it. The ringing brings the woman to with a sharp start, and she instinctively clutches the bedclothes to her chin and raises up a little and stares with wide-eyed fright at the man running towards her. Scottie takes the phone. SCOTTIE Yes?... No, it's all right; I'll call you back. Yes. Yes! He hangs up, and tries to smile down at Madeleine, who has not moved, but has followed his every move with fright and apprehension. SCOTTIE Are you all right? No answer, only the eyes staring at him. And then he realizes, with some embarrassment, that she cannot move, that she is naked under the bedclothes, and he reaches across to the dressing gown he has laid out for her on the bed, and moves it closer to her. SCOTTIE Oh... you'll want this... He gives her a reassuring nod and smile, straightens up and goes to the door, and goes into the living room, closing the bedroom door behind him. And she stares after him as he goes. In the living room, he moves to the fireplace, puts another log on, and watches it catch. The bedroom door behind him opens, and he turns to face Madeleine. She has the dressing gown belted tightly around the middle and holds it together with one band at her breast. And she stands there staring at him nervously, frightened, not wanting to admit that she does not know how she came there, but wanting very much to know. And she cannot help herself: knowing her own fears, she has to ask. MADELEINE Why am I here? What happened? SCOTTIE You... (Then, not liking the sound of the truth) ...fell into the Bay. She puts a hand slowly to her hair, understanding now why it is wet. SCOTTIE I dried your hair as well as I could. But you'd better come here by the fire. And now, knowing that he dried her hair, she realizes that he must have taken her clothes off, too, and she looks down at her body with deep awareness of her nakedness, and draws the dressing gown more closely to her, and looks back at him with frightened embarrassment. And her head begins to move quickly, the eyes darting about the apartment as though seeking a way of escape, and she sees the clothes hanging in the kitchen. And she looks back to Scottie appealingly. SCOTTIE They're almost at dry. Here. Why don't you come over here? He pulls a low-stool over before the fire. Madeleine crosses slowly, keeping her eyes always on him, and sinks down on the stool. He smiles a at her companionably. SCOTTIE Would you like some coffee? She shakes her head. SCOTTIE You'd better have some. Or would you rather have a drink? She shakes her head again. He pours a cup of coffee and places it on the floor next to her, along with a bowl of sugar cubes. MADELEINE (Wonderingly) ...fell into the bay... She looks up at him. He nods. MADELEINE ...and you fished me out... He nods. She gives him a small grateful smile. MADELEINE Thank you. Scottie is watching her intently. SCOTTIE You don't remember. MADELEINE No... SCOTTIE Do you remember where you were? MADELEINE (Childishly surprised) Oh, of course I remember that! But then I must have had a dizzy spell, and fainted! SCOTTIE (Quickly) Where were you? MADELEINE At... For that one slight, imperceptible moments it may seem that she is caught, but then she goes on. MADELEINE (Triumphantly) ...Old Port Point! Out at the Presidio! Of course I remember! I often go there! SCOTTIE Why? MADELEINE (Almost naively) Because I love it so. It's beautiful there. Especially at sunset. (She leans her head back sensually to the warmth) Ah... thank you for the fire. SCOTTIE Where had you been before? MADELEINE When? SCOTTIE This afternoon. MADELEINE Oh... wandering about. SCOTTIE Before? Where? Where had you been? There is a quick moment of blankness in her eyes that she tries to hide, and then: MADELEINE (Positively) Downtown, shopping. And Scottie sighs inwardly, having proved something. SCOTTIE Please drink your coffee. MADELEINE I will. You're terribly direct in your questions. SCOTTIE I'm sorry. I didn't mean to be rude. MADELEINE You're not. Merely direct. What were you doing there? At Old Fort Point? SCOTTIE Wandering about. MADELEINE You like it, too. He nods. She smiles at him happily, enjoying the warmth and the coffee, enjoying his presence, seemingly almost to have forgotten her nearness to death. And Scottie is fascinated by this thing curled up before his fire. MADELEINE (Then with a wicked smile) And where had you been?... just before? A moment, as Scottie takes a deep breath, and then he decides to chance it and see the reaction. SCOTTIE The Palace of the Legion of honor. The Art Gallery. MADELEINE (Enthusiastically) Oh, that's a lovely spot, isn't it? I've never been inside. But it looks so lovely, driving past. At the words, "I've never been inside," Scottie is startled. He stares at her, and she looks at him with naive, happy inquisitiveness, and their looks are joined. Finally she drops her eyes and smiles timidly. MADELEINE (Softly) Lucky for me you were wandering about. Thank you again. I've been terrible bother to you. SCOTTIE No. She reaches up to feel her hair. MADELEINE When you... (And suddenly conscious of her nakedness again, and embarrassed) There were pins in my hair... SCOTTIE Oh! Yes! Here! He crosses the room swiftly, picks up an ash tray in which he had deposited her hairpins, takes her handbag from a chair, and brings them to her. MADELEINE Thank you. She proceeds to do up her hair. He watches her, held by the movement of her body under the dressing gown as she raises her arms and deftly sets about putting her hair in order. At one point, as she works, she looks up and flashes him a direct smile. MADELEINE You shouldn't have brought me here, you know. SCOTTIE I... didn't know where you lived. MADELEINE You could have looked in my car. Oh, but you didn't know my car, did you? SCOTTIE Yes, I knew which one it was. It's out there, now. But I didn't think you'd want to be brought home that way. MADELEINE No, you are right, (Pause, as she works) I'm glad you didn't take me home... I wouldn't have known you, to thank you... (Suddenly appalled) Oh, but I don't know you! And you don't know me! My name is Madeleine Elster. SCOTTIE My name is John Ferguson. MADELEINE That's a good, strong name. Do your friends call you John? Or Jack. SCOTTIE John. Old friends. Acquaintances call me Scottie. MADELEINE (Smiling) I shall call you Mr. Ferguson. SCOTTIE (Grinning) No, I wouldn't like that. And after what happened today I should think you could call me Scottie. Or even John. MADELEINE I prefer John. There, that's done. (The hair is in order) And what do you do, John? SCOTTIE Wander about. MADELEINE That's a good occupation. And live here... alone? He nods. A cloud comes over her eyes. She looks away. MADELEINE (softly) One shouldn't live alone. SCOTTIE Some people prefer it. MADELEINE No... it's wrong. Then she looks up with a small smile, and the cloud is gone from her eyes, and she speaks completely matter-of-factly. MADELEINE (Simply) I'm married, you know. Scottie nods almost imperceptibly with his eyes. He looks at her for a long moment. Then: SCOTTIE Will you tell me something? Has this ever happened to you before? MADELEINE (startled) What? SCOTTIE ...Falling... into San Francisco Bay? She laughs with relief, for it seemed to her, for a quick moment, that he was going to say "falling in love". MADELEINE No, never before. I've fallen into lakes, out of rowboats, when I was a little girl. And I fell into a river, once, trying to leap from one stone to another. But I've never fallen into San Francisco Bay. Have you? Ever before? SCOTTIE (Grinning) No... this is the first time for me, too. And they laugh together, with genuine warmth and friendliness in their eyes, and it is obvious they are very much taken with each other. And as they laugh, simultaneously, she reaches for the cup of coffee, to take another sip, and he reaches for it, meaning to take it and refill it. SCOTTIE Here, let me give you a lit -- And his hand falls on her outstretched arm and stays there, and with the contact made, the laughter dies suddenly, and he is looking down at her intently, and their eyes have met, and hers are anxious and wondering. And at that moment, the telephone rings sharply. Scottie races into the bedroom, closing the door behind him, and gets to the phone. SCOTTIE Hello. ELSTER'S VOICE Scottie, what happened? She's not home, yet. SCOTTIE No, she's all right. She's still here. But I'll get her home soon. ELSTER'S VOICE What happened? SCOTTIE She... went into the Bay. There is a long silence. SCOTTIE Hello? ELSTER'S VOICE Did she hurt herself? SCOTTIE No. She's in fine shape. Nothing to worry about. But she doesn't know. You understand that. She doesn't know what she did. Another long silence. ELSTER'S VOICE Scottie... Madeleine is twenty-six. Carlotta Valdes committed suicide when she was twenty-six. And now it is Scottie's turn to be silent. He hangs up slowly and moves across the room to the door. INT. THE LIVING ROOM - (NIGHT) Scottie enters from the bedroom, and stops, surprised. The room is empty. The clothes are gone from the in the kitchen. EXT. STREET OUTSIDE SCOTTIE'S APARTMENT - (NIGHT) A car is moving down the hill on the opposite side of the street. It begins to turn in toward the sidewalk and then comes to a sudden stop. EXT. SCOTTIE'S APARTMENT - (NIGHT) - CLOSEUP Midge is behind the wheel. She is staring out of the side of the window and we see what has made her come to a sudden stop. EXT. SCOTTIE'S APARTMENT - (NIGHT) From Midge's point of view; Madeleine, outside Scottie's door, hurries to the green Jaguar. INT. MIDGE'S CAR - (NIGHT) Midge watches Madeleine almost wistfully, and there is a small look of hurt in her eyes. But even to herself she has to cover, and she smiles ironically. EXT. SCOTTIE'S APARTMENT - (NIGHT) The Jaguar pulls away and passes out of view. INT. MIDGE'S CAR - (NIGHT) Midge is still staring across at Scottie's house, and the soft smile on her lips covers the hurt well. But there is still a shadow of it in her eyes. MIDGE (Softly) Well, now, Johnny-O... Was it a ghost?... And was it fun?... Then she suddenly changes expression. MIDGE Oops! She takes her foot off the brake, and turning hard on the wheel, straightens the car up and drives on. EXT. SCOTTIE'S APARTMENT - (NIGHT) The door to Scottie's apartment has opened, and Scottie stands in the doorway looking up and down the street for the Jaguar, his tall frame silhouetted in the light streaming from the room. DISSOLVE TO: EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT The CAMERA is SHOOTING through the stone gateway across the small courtyard toward the front door of the apartments. We see Madeleine emerge. She is dressed completely different from the night before. She makes her way down to the Jaguar in the f.g. She gets in, starts up and swings the car round toward the CAMERA. She passes out of the picture. EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT Across the street, we see Scottie's sedan pull out and also approach the CAMERA. It too, passes out of the picture. INT. SCOTTIE'S CAR - (DAY) - CLOSEUP Scottie sitting at the wheel driving ahead. His eyes are satisfied. They hold Madeleine's car in view. EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT We see the Jaguar ahead. It turns a left down another street. It goes for a block and turns right. Then it turns left again, than it turns right, then it turns left again. INT. SCOTTIE'S CAR - (DAY) - CLOSEUP Scottie looks a little dizzy with the constant turning. We stay with him a little while and we can see from the scene behind him, that we are still turning left and right. EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT The Jaguar speeds up. It's going down a street, not turning any more. A few blocks off, we can see the Coit Tower coming into view. INT. SCOTTIE'S CAR - (DAY) - CLOSEUP Scottie seem a little mystified now, as the direction in which she is going. EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT The Jaguar turns right into a narrow curving street and finally comes to a sudden stop ahead. INT. SCOTTIE'S CAR - (DAY) - CLOSEUP Scottie now wears a look of great astonishment, as he pulls up hurriedly in the middle of the street. EXT. SAN FRANCISCO STREET - (DAY) - SEMI-LONG SHOT From his viewpoints, we see the reason for his astonishment. Madeleine has alighted and is approaching, of all places, toward his own red front door. EXT. SAN FRANCISCO STREET - (DAY) - MEDIUM SHOT Scottie pulls his car over to the curb and gets out. The CAMERA PANS him down. He stops short just before he reaches Madeleine, to see her take a letter from her handbag and put it into his letter box. He moves up to her. SCOTTIE Is that for me? Madeleine turns quickly, startled, and then sees who it is, and smiles. MADELEINE Oh! Yes. Hello. SCOTTIE Good morning. I worried about you, last night. You shouldn't have run like that. MADELEINE (Embarrassed) I... suddenly felt such a fool. SCOTTIE I wanted to drive you home. Are you all right? MADELEINE (Flashing a smile) Oh, yes. Fine. No after effects. (Then, ruefully) But as I remember now, that water was cold, wasn't it? (He nods. She looks away) What a terrible thing to do... and you were so kind... (With a gesture) It's a formal thank-you letter. And a great big apology. SCOTTIE You've nothing to apologize for. MADELEINE Oh, yes! The whole thing must have been so embarrassing for you! SCOTTIE Not at all, I enjoyed -- And he stops short, now truly embarrassed, and she looks at him with wide eyes, waiting for him to go on. SCOTTIE -- talking to you... MADELEINE (With small, contained amusement) I enjoyed talking to you. An awkward pause. Scottie turns abruptly to the door, getting out his key. SCOTTIE I'll get my mail... He opens the door and bends down to pick up the letter. As he is reaching for it, he turns his head and speaks almost without thinking. SCOTTIE Would you like some coffee? MADELEINE (Quickly) No! No, thank you! She says it so impulsively, and with such young vehemence, that they both start to laugh. He straightens up and opens the letter. MADELEINE I couldn't mail it; I didn't know your address. But I had a landmark. I remembered Coit Tower and it led me straight to you. SCOTTIE The first time I've been grateful for Coit Tower. He reads the letter as she watches him. He looks up. SCOTTIE I hope we will, too. MADELEINE What? SCOTTIE Meet again, sometime. MADELEINE We have. They smile at one another, and there is a nice moment of silent rapport. Then: MADELEINE Good-bye. SCOTTIE Good-bye. She turns and goes to her car as he stands watching her, and gets in behind the wheel. SCOTTIE (Suddenly walking) Where are you going? And he races to the car and leans in the window. She watches him, open-mouthed, as he crosses the sidewalk. Then: MADELEINE I don't know. SCOTTIE Shopping? MADELEINE No. SCOTTIE Well... anywhere in particular? MADELEINE No, I Just thought I'd wander. SCOTTIE Ah. (Then) That's what I was going to do. MADELEINE Oh, yes, I forgot: It's your occupation, isn't it? And she waits with a small smile. SCOTTIE Don't you think it's sort of a waste for the two of us to... MADELEINE Wander separately? Ah, but only one is a wanderer. Two, together, are always going somewhere. SCOTTIE No... no, I don't think that's necessarily true. And now he waits, hopefully. MADELEINE (With a smiling nod) You left your door open. He turns his head, startled and annoyed, than makes a dash for the door. As he goes, he turns his head to call back to her. SCOTTIE Don't move! And he hurries on to the door. She watches him go, and we are close on her face to see her genuine amusement, and then the laughter fades a little, and a troubled look comes into her eyes, a touch of concern. DISSOLVE TO: EXT. ALONG SKYLINE - (DAY) - LONG SHOT The green Jaguar moving south. INT. THE JAGUAR - (DAY) Madeleine is at the wheel, her eyes intent on the road, a sort, happy smile on her lips. Scottie is at her side, relaxed. He keeps looking at her as often as he can without seeming obvious. SCOTTIE (Finally) Do you know where you're going? MADELEINE Of course not! I'm a wanderer! (Pause. Then brightly) I'd like to go somewhere I've never been! SCOTTIE How can you be sure? MADELEINE If I've been there? That's silly! Either you've been to a place or you haven't. She flashes a quick smile of innocence at him, then returns her eyes to the road. He looks at her profile, wondering. EXT. SKYLINE DRIVE - (DAY) - HIGH SHOT The car turns a bend and approaches dark woods and moves into the blackness and is swallowed up. DISSOLVE TO: BIG BASIN REDWOODS STATE PARK - (DAY) The empty Jaguar in the foreground. The CAMERA MOVES to a long view of the grove of redwoods. In the distance we see the figures of Madeleine and Scottie wandering among the towering trees. DISSOLVE TO: EXT. THE REDWOODS - (DAY) Madeleine and Scottie near the massive trunk of a tree. Beyond them, the small stream, bridged by a wide flattened redwood log. MADELEINE How old? SCOTTIE Oh... some, two thousand years, or more. MADELEINE The oldest living things? S