"VERTIGO" (1958)

VERTIGO

by

Alec Coppel and Samuel Taylor

Draft 9-12-1957

WeWesee a close view ofsee a close view ofa roof parapet and the curved raila roof parapet and the curved railofof aafire escape.fire escape.In theIn thebag, are large skyscrapers with allbag, are large skyscrapers with all their windows fully lit in the late winter afternoon.their windows fully lit in the late winter afternoon.ThisThis background is used forbackground is used forthe CREDIT TITLES of the picture.the CREDIT TITLES of the picture. After the last card has FADED OUT, we HOLD on to the emptyAfter the last card has FADED OUT, we HOLD on to the empty parapet, when suddenlyparapet, when suddenlya man's hand reaches and grips thea man's hand reaches and grips thetoptop ofofthe rail.the rail.It is followed by another hand and, after aIt is followed by another hand and, after a beat, we see the face of a man in his early 30's.beat, we see the face of a man in his early 30's.He is anHe is an Italian type, with rough features.Italian type, with rough features.He turns quickly andHe turns quickly and looks below him and then turning back, springs up over thelooks below him and then turning back, springs up over the empty parapet and is lost from view.empty parapet and is lost from view.We STAY on the EMPTYWe STAY on the EMPTY SCENE for a second or two as we HEAR the scraping of bootsSCENE for a second or two as we HEAR the scraping of bootsonon thetheiron ladder.iron ladder.Someone else is coming up.Someone else is coming up.Presently, twoPresently, two moremorehands and the head of a uniformed policeman with caphands and the head of a uniformed policeman with capandand badge starts to climb over the parapet.badge starts to climb over the parapet.The CAMERA PULLSThe CAMERA PULLS BACKBACKso that by the time he has completed his climb, he isso that by the time he has completed his climb, he isinin fullfullfigure.figure.He dashes out of the picture drawing his gun.He dashes out of the picture drawing his gun. Immediately following him over the parapet, a detective inImmediately following him over the parapet, a detective in plain clothes climbs over. This is JOHN FERGUSON, known asplain clothes climbs over. This is JOHN FERGUSON, known as SCOTTIE.SCOTTIE.He too pullsHe too pullsa gun and dashes out of the picture.a gun and dashes out of the picture.

AAvast panorama of thevast panorama of theSan Francisco skyline.San Francisco skyline.Nearer to usNearer to us arearethree tiny figuresthree tiny figuresrunning and jumping over the roofrunning and jumping over the roof tops.tops.The man on the run, whom we first saw climb over theThe man on the run, whom we first saw climb over the parapet, is dressed inparapet, is dressed ina white shirt and light tan linena white shirt and light tan linen slacks, and wearing sneakers.slacks, and wearing sneakers.The uniformed man is shootingThe uniformed man is shooting atathim.him.Scottie is dressed in medium grey clothes.Scottie is dressed in medium grey clothes.TheThe CAMERA SLOWLY PANS theCAMERA SLOWLY PANS thegroup across the roof tops.group across the roof tops.

WeWenow see a short gapnow see a short gapbetween rooftops, with a drop below.between rooftops, with a drop below. TheThepursued man makes the leap successfully followed by thepursued man makes the leap successfully followed by the uniformed policeman.uniformed policeman.Scottie makes the same leap, but almostScottie makes the same leap, but almost trips in taking off and is thrown off balance.trips in taking off and is thrown off balance.He tries toHe tries to recover, lands awkwardly on the opposite roof, and fallsrecover, lands awkwardly on the opposite roof, and falls forward, prone, with aforward, prone, with aheavy impact that hurts and drivesheavy impact that hurts and drives tiletilebreath from his body.breath from his body.He tries to rise but raises hisHe tries to rise but raises his headheadwith a look of pain -- one leg is doubled up under thewith a look of pain -- one leg is doubled up under the other.other.The tiles giveThe tiles giveway, and he slides backwards, and hisway, and he slides backwards, and his legslegsgo over the edge of the roof, then his body.go over the edge of the roof, then his body.In hisIn his dazedazehe grasps at the loose tiles, and as he goes over thehe grasps at the loose tiles, and as he goes over the edgeedgehe clutches on tohe clutches on tothe gutter, which gives way, and hethe gutter, which gives way, and he swings off into space,swings off into space,looking down.looking down.

Scottie looking down.Scottie looking down.

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From Scottie's viewpoint, the gap beneath the building andFrom Scottie's viewpoint, the gap beneath the building and thetheground below.ground below.It seems to treble its depth.It seems to treble its depth.

Scottie looking down with horror.Scottie looking down with horror.His eyes close as a waveHis eyes close as a wave ofofnausea overcomes him.nausea overcomes him.

InInthe distance the fleeing criminal.the distance the fleeing criminal.The policeman, seeingThe policeman, seeing what has happened to Scottie, returns to the slope of thewhat has happened to Scottie, returns to the slope of the roof and strains to reach down to Scottie.roof and strains to reach down to Scottie.

SCOTTIE'S HEAD.SCOTTIE'S HEAD.His hands grip the edge of the guttering.His hands grip the edge of the guttering. TheThetips of the fingers of policeman straining to reachtips of the fingers of policeman straining to reach Scottie, are at the top of screen.Scottie, are at the top of screen.Scottie begins to openScottie begins to open hishisgrip but stares down, he quickly resumes his grip lookinggrip but stares down, he quickly resumes his grip looking upuphopelessly towards the helping hand.hopelessly towards the helping hand.He looks down again.He looks down again.

FROM SCOTTIE'S VIEWPOINT - the ground below still a long wayFROM SCOTTIE'S VIEWPOINT - the ground below still a long way away.away.

TheThepoliceman's hand in foreground, his face beyond.policeman's hand in foreground, his face beyond.

Policeman endeavors to stretch out his hand further.Policeman endeavors to stretch out his hand further.

TheThetiles beneath the policeman's heel begin to give.tiles beneath the policeman's heel begin to give.TheThe Policeman starts to slide.Policeman starts to slide.He claws desperately at theHe claws desperately at the surface of the roof.surface of the roof.

Scottie, his eyes closed.Scottie, his eyes closed.He opens them as he hears a wildHe opens them as he hears a wild cry.cry.

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TheThepoliceman falling through space.policeman falling through space.

Scottie stares down in horror.Scottie stares down in horror.

TheThebody of the policeman sprawled on the ground below.body of the policeman sprawled on the ground below. People are running into the alleyway; they stare at the body,People are running into the alleyway; they stare at the body, look up to where Scottie is hanging.look up to where Scottie is hanging.We see the light onWe see the light on their upturned faces. And now we hear a police whistle blowntheir upturned faces. And now we hear a police whistle blown shrilly, again and again.shrilly, again and again.

UpUpto this moment the background music has had an excitementto this moment the background music has had an excitement totomatch the scene, and now it cuts off, abruptly, leavingmatch the scene, and now it cuts off, abruptly, leavingonon thetheecho of the police whistle as the DISSOLVE begins.echo of the police whistle as the DISSOLVE begins.Then,Then, ininthe DISSOLVE, we hear the gentle insistence of Scarlattithe DISSOLVE, we hear the gentle insistence of Scarlatti played by a chamber orchestra.played by a chamber orchestra.

DISSOLVE TO:DISSOLVE TO:

ItItis fresh, light, and simple, and crowded with books,is fresh, light, and simple, and crowded with books, phonograph records, pictures.phonograph records, pictures.The most striking feature ofThe most striking feature of thetheapartment is the view:apartment is the view:

TheTherising hills of San Francisco framed by a large picturerising hills of San Francisco framed by a large picture window.window.To one side of the window is the owner of theTo one side of the window is the owner of the apartment, MAJORIE WOOD, called MIDGE, at a commercialapartment, MAJORIE WOOD, called MIDGE, at a commercial drawing table concentrating with professional intensity ondrawing table concentrating with professional intensity onaa drawing of a slim, a elongated woman with few features anddrawing of a slim, a elongated woman with few features and fewer clothes.fewer clothes.A brassiere sits on a table at Midge's elbow,A brassiere sits on a table at Midge's elbow, andandshe studies it as she draws.she studies it as she draws.Midge Wood is about thirty-Midge Wood is about thirty- seven, attractive, straight-forward, well-but-simply-dressed;seven, attractive, straight-forward, well-but-simply-dressed; sheshewears glasses but does not whip them an and off as theywears glasses but does not whip them an and off as they dodoin the movies.in the movies.The music comes from a gramophone. TheThe music comes from a gramophone. The other occupant of the room is Scottie.other occupant of the room is Scottie.He sits in a bigHe sits in a big chair, with his feet stretched out on an ottoman and his headchair, with his feet stretched out on an ottoman and his head farfarback.back.There is a drink on a table nearby.There is a drink on a table nearby.He rousesHe rouses himself to reach for it, and in doing so knocks over hishimself to reach for it, and in doing so knocks over his walking stick that has been propped against the chair.walking stick that has been propped against the chair.HeHe reaches out to catch it, and in the quickness of trying toreaches out to catch it, and in the quickness of trying to keep it from falling, he wrenches his body around.keep it from falling, he wrenches his body around.

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HeHeretrieves the stick.retrieves the stick.

HeHeraises his eyebrows with a surprised and gratified smile.raises his eyebrows with a surprised and gratified smile. Midge looks over at him with a grimace.Midge looks over at him with a grimace.

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SheSheconsiders him for a moment, then goes back to her work.considers him for a moment, then goes back to her work. ByBynow he is up and wandering about with the help of thenow he is up and wandering about with the help of the stick.stick.

SheShelooks up sharply with quick apprehension.looks up sharply with quick apprehension.

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SheShegoes and turns off the gramophone.goes and turns off the gramophone.Scottie has wanderedScottie has wandered over to the drawing table.over to the drawing table.

HeHeturns the brassiere over with his stickturns the brassiere over with his stick

HeHewanders back to the chair and watches her work for a longwanders back to the chair and watches her work for a long moment. Then:moment. Then:

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HeHehas been looking about eagerly, sees a low footstool,has been looking about eagerly, sees a low footstool, drags it to the center of the room as he speaks.drags it to the center of the room as he speaks.

HeHehas stepped up on the footstool and stands there proudlyhas stepped up on the footstool and stands there proudly looking up and down.looking up and down.

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SheShedashes to the kitchen, returns quickly with a smalldashes to the kitchen, returns quickly with a small aluminum household ladder.aluminum household ladder.

HeHesteps on the first step.steps on the first step.

HeHegets up on the second step and goes through the routinegets up on the second step and goes through the routine..

HeHegets on the top step.gets on the top step.

AndAndat this moment he makes the mistake of turning andat this moment he makes the mistake of turning and looking out through the picture window.looking out through the picture window.

FROM SCOTTIE'S VIEWPOINTFROM SCOTTIE'S VIEWPOINT

WeWesee the depth down to the street below the window.see the depth down to the street below the window.TheThe whole picture begins to weave.whole picture begins to weave.

ofofScottieScottie-- expression of nausea.-- expression of nausea.

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FROM SCOTTIE'S VIEW POINT - LONG SHOTFROM SCOTTIE'S VIEW POINT - LONG SHOT

TheTheweaving view changes to the original scene where theweaving view changes to the original scene where the ground receded in a rush and the body of the policeman fellground receded in a rush and the body of the policeman fell into space.into space.

SHOTSHOT

Scottie's face distorted with agony -- his eyes close andScottie's face distorted with agony -- his eyes close andhehe begins to slump.begins to slump.CAMERA PULLS BACK SLIGHTLY as Midge nowCAMERA PULLS BACK SLIGHTLY as Midge now comes into shot, putting up her hands to him to hold him, andcomes into shot, putting up her hands to him to hold him, and hishisweight is on her and his head is slumped, and the jokeweight is on her and his head is slumped, and the jokeisis over.over.

DISSOLVE:DISSOLVE:

Boats up an ways, men swarming over, cranes moving.Boats up an ways, men swarming over, cranes moving.At theAt the gate, Scottie has paused to speak to the gateman.gate, Scottie has paused to speak to the gateman.TheThe gateman indicates a building in the distance, Scottie nods,gateman indicates a building in the distance, Scottie nods, goes past him, starts across the shipyard toward the building.goes past him, starts across the shipyard toward the building.

DISSOLVE TO:DISSOLVE TO:

AAwell-appointed office with a large window looking out uponwell-appointed office with a large window looking out upon aabusy shipyard.busy shipyard.There are a couple of models of modernThere are a couple of models of modern freighters in glass cases, but more important, on the wallsfreighters in glass cases, but more important, on the walls arearemany framed prints and posters and maps relating to earlymany framed prints and posters and maps relating to early California history; some from the Mexican days, many from theCalifornia history; some from the Mexican days, many from the Gold Rush days, many of San Francisco in the Seventies andGold Rush days, many of San Francisco in the Seventies and Eighties.Eighties.Behind the desk sits Gavin Elster, a man aboutBehind the desk sits Gavin Elster, a man about Scottie's age, huskily built, slightly balding, with cool,Scottie's age, huskily built, slightly balding, with cool, watchful eyes.watchful eyes.He is beautifully tailored, and gives theHe is beautifully tailored, and gives the sense of a man who relishes money and knows how to use it.sense of a man who relishes money and knows how to use it. HeHesits quietly watching Scottie, who stands staring out thesits quietly watching Scottie, who stands staring out the window at the activity of the shipyard.window at the activity of the shipyard.After a long moment:After a long moment:

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Scottie shoots him a small surprised smile of approval at hisScottie shoots him a small surprised smile of approval at his frankness, then looks out the window again.frankness, then looks out the window again.

Scottie smiles at the old prints on the wall.Scottie smiles at the old prints on the wall.

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Though be does not stress the word, the way be lingers softlyThough be does not stress the word, the way be lingers softly ononthe word "Freedom" makes Scottie look over at him again.the word "Freedom" makes Scottie look over at him again. Elster looks up and smiles companionably.Elster looks up and smiles companionably.

Elster considers the top of his desk for a moment, then looksElster considers the top of his desk for a moment, then looks up.up.

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AAmoment, than Elster rises from the desk casually, wandersmoment, than Elster rises from the desk casually, wanders across the room, looks out the window, gets out aacross the room, looks out the window, gets out a handkerchief and blows his nose prosaically, finally turnshandkerchief and blows his nose prosaically, finally turns andandregards Scottie coolly and directly for a long moment.regards Scottie coolly and directly for a long moment.

Scottie looks at him questioningly.Scottie looks at him questioningly.

Scottie does not change expression, and yet one can sense theScottie does not change expression, and yet one can sense the feeling of anti-climax within him, and the almostfeeling of anti-climax within him, and the almost imperceptible small cynical smile deep behind his eyes.imperceptible small cynical smile deep behind his eyes.

Scottie waits.Scottie waits.

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Seattle rises to go, awkwardly, puzzled, a bit apologetic.Seattle rises to go, awkwardly, puzzled, a bit apologetic.

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Elster almost ignores the question as he looks back to theElster almost ignores the question as he looks back to the day.day.

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Long pause.Long pause.

TheThelast part of this speech carries through the dissolve.last part of this speech carries through the dissolve.

DISSOLVE TO:DISSOLVE TO:

WeWeare in the upstairs room that, in mood and decor, takesare in the upstairs room that, in mood and decor, takesusus back to Bonanza Days.back to Bonanza Days.This is the way San Francisco was.This is the way San Francisco was. Scottie is at the bar, turned a little so that he faces intoScottie is at the bar, turned a little so that he faces into thethedining room, and as he drinks his eyes search the roomdining room, and as he drinks his eyes search the room slowly, carefully.slowly, carefully.

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TheTheCAMERA SEARCHES with him, passing over the many well-CAMERA SEARCHES with him, passing over the many well- dressed women, until it comes to rest on a table for twodressed women, until it comes to rest on a table for two against the far wall.against the far wall.Gavin Elster is seated there, diningGavin Elster is seated there, dining with his wife.with his wife.Scottie cannot get a clear look at her.Scottie cannot get a clear look at her.SheShe isisturned slightly away from him, and when she does turn herturned slightly away from him, and when she does turn her head in his direction there always seems to be a waiterhead in his direction there always seems to be a waiter passing to block the view.passing to block the view.And during all of this we hearAnd during all of this we hear Elster's voice, continuing from the previous scene.Elster's voice, continuing from the previous scene.

NowNowGavin Elster has signed the check, and he and his wifeGavin Elster has signed the check, and he and his wife rise and start for the door.rise and start for the door.Scottie still cannot get anScottie still cannot get an unobstructed view of her face, but we can see in flashes thatunobstructed view of her face, but we can see in flashes that shesheis young, in her twenties, with a mobile, attractive faceis young, in her twenties, with a mobile, attractive face andandgentle eyes that have warmth and intelligence and humor.gentle eyes that have warmth and intelligence and humor. Scottie is intent on her.Scottie is intent on her.At the doorway to the bar, onlyAt the doorway to the bar, only twotwofeet from him, she stops and waits as her husband pausesfeet from him, she stops and waits as her husband pauses behind her to speak to the headwaiter and thank him and tipbehind her to speak to the headwaiter and thank him and tip him.him.She looks about calmly, with sure, distant repose.She looks about calmly, with sure, distant repose.

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HerHereyes come to rest an Scottie for a moment, then move aneyes come to rest an Scottie for a moment, then move an with the small smile.with the small smile.

During all of the above, Elster's voice has gone on, withoutDuring all of the above, Elster's voice has gone on, without pauses, and his narration ends as the girl, Madeleine, comespauses, and his narration ends as the girl, Madeleine, comes totoa stop near Scottie and waits.a stop near Scottie and waits.

AsAsScottie stares at harp their eyes meet for a moment, andScottie stares at harp their eyes meet for a moment, and heheturns to reach for his drink.turns to reach for his drink.When he turns back, she isWhen he turns back, she is gone.gone.He looks about, slightly startled, then catches aHe looks about, slightly startled, then catches a glimpse of her as she turns the corner of the. upstairsglimpse of her as she turns the corner of the. upstairs lobby.lobby.His eyes grow thoughtful, and glow with the memoryHis eyes grow thoughtful, and glow with the memoryofof herherface.face.

DISSOLVE TO:DISSOLVE TO:

Scottie, seated in his car, a light grey sedan, is readingScottie, seated in his car, a light grey sedan, is reading thethemorning paper.morning paper.The car radio is going and we hearThe car radio is going and we hear conventional disc jockey music.conventional disc jockey music.He glances out through hisHe glances out through his windshield.windshield.

BROCKLEBANK APTS. - (DAY) - LONG SHOT FROM HIS POVBROCKLEBANK APTS. - (DAY) - LONG SHOT FROM HIS POV

WeWesee a large block of apartments with a stone pillaredsee a large block of apartments with a stone pillared entrance and a small car parked inside.entrance and a small car parked inside.Beyond it is theBeyond it is the door into the apartment building itself.door into the apartment building itself.There is noThere is no activity but for one businessman who emerges on foot andactivity but for one businessman who emerges on foot and makes his way out.makes his way out.

HeHeresumes his reading but does not Concentrate.resumes his reading but does not Concentrate.His eyesHis eyesgogo back to the apartment house.back to the apartment house.

AAslightly nearer view but still outside the stone entranceslightly nearer view but still outside the stone entrance ofofthe apartment house, we see the main entrance beyond.the apartment house, we see the main entrance beyond.ForFor some time, there is no activity at all - perhaps for asome time, there is no activity at all - perhaps for a quarter of a minute or so.quarter of a minute or so.Suddenly, we see Gavin's wife,Suddenly, we see Gavin's wife, MADELEINE, appear.MADELEINE, appear.

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SheSheis dressed in a smart light grey tailored suit.is dressed in a smart light grey tailored suit.SheShe stands for a moment looking about her.stands for a moment looking about her.

Scottie thrusts the paper aside and turns off the radio.Scottie thrusts the paper aside and turns off the radio.HeHe starts his car.starts his car.

HISHISVIEWPOINTVIEWPOINT

WeWesee Madeleine crossing the small courtyard to a pale greensee Madeleine crossing the small courtyard to a pale green Jaguar.Jaguar.She stands for a moment, opens her handbag and takesShe stands for a moment, opens her handbag and takes outouther car keys.her car keys.She gets in the car.She gets in the car.

Scottie begins to turn his car away gently from the curbstone.Scottie begins to turn his car away gently from the curbstone.

VIEWPOINTVIEWPOINT

Madeleine's car pulls out and turns down the side street.Madeleine's car pulls out and turns down the side street.

WeWesee him pull away, looking intently ahead.see him pull away, looking intently ahead.

Through the windshield over the hood of his car, we see theThrough the windshield over the hood of his car, we see the pale green Jaguar moving ahead of him, but the speed is quitepale green Jaguar moving ahead of him, but the speed is quite casual and not too fast.casual and not too fast.

Scottie watching ahead.Scottie watching ahead.

Through the windshield we see the green Jaguar turn theThrough the windshield we see the green Jaguar turn the corner and go down another street.corner and go down another street.

Scottie taking the same corner as we see him turn the wheel.Scottie taking the same corner as we see him turn the wheel.

LAP DISSOLVE TO:LAP DISSOLVE TO:

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Scottie anxiously looking ahead, fearing he might miss her.Scottie anxiously looking ahead, fearing he might miss her.

TheThegreen car slows up and begins to make a left-hand turngreen car slows up and begins to make a left-hand turn (or(orright-hand).right-hand).The two cars in front of Scottie's are ableThe two cars in front of Scottie's are able totopull out and pass the green car.pull out and pass the green car.We see the green carWe see the green car turn up an alleyway.turn up an alleyway.

Scottie's expression changes a little, surprised at theScottie's expression changes a little, surprised at the sudden turn-off.sudden turn-off.

InInthe left f.g., we see a large flower shop and beyond, atthe left f.g., we see a large flower shop and beyond, at thethecorner of the side alleyway, another store.corner of the side alleyway, another store.We see theWe see the grey sedan turn in.grey sedan turn in.

SHOOTING DOWN THE ALLEYWAYSHOOTING DOWN THE ALLEYWAY

TheThegrey sedan comes into the f.g. on the right, whilegrey sedan comes into the f.g. on the right, while further down the street, we see the green Jaguar coming tofurther down the street, we see the green Jaguar coming toaa stop outside a dingy doorway.stop outside a dingy doorway.

WeWesee Scottie looking out of his window, looking down thesee Scottie looking out of his window, looking down the street.street.

WeWesee Madeleine get out of the Jaguar and pass through asee Madeleine get out of the Jaguar and pass through a rather decrepit-looking door.rather decrepit-looking door.

Scottie alights from his car and we see him make his way downScottie alights from his car and we see him make his way down thethealley towards the Jaguar.alley towards the Jaguar.

TheTheCAMERA PANS Scottie past the Jaguar as he cautiouslyCAMERA PANS Scottie past the Jaguar as he cautiously enters the doorway.enters the doorway.

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WeWesee Scottie making his way down this passage.see Scottie making his way down this passage.He reachesHe reaches aadoor at the end.door at the end.

SCOTTIE'S SHOULDERSCOTTIE'S SHOULDER

HeHegently pushes open the door.gently pushes open the door.We see beyond him the brightWe see beyond him the bright lights and back part of the flower shop.lights and back part of the flower shop.

Scottie's surprised expression, as he peers through theScottie's surprised expression, as he peers through the partially open door.partially open door.Suddenly, he catches sight of:Suddenly, he catches sight of:

Madeleine is talking to one of the assistants, making someMadeleine is talking to one of the assistants, making some inquiry.inquiry.The assistant, who seems to know her, nods with aThe assistant, who seems to know her, nods with a smile and goes off to the side of the store.smile and goes off to the side of the store.Madeleine waitsMadeleine waits andandbegins to turn, looking around the store.begins to turn, looking around the store.She approachesShe approaches camera until she is again in profile - just as she was incamera until she is again in profile - just as she was in Ernie's Restaurant when Scottie first saw her.Ernie's Restaurant when Scottie first saw her.

Cautiously narrows the opening of the door.Cautiously narrows the opening of the door.

TheThefemale assistant returns.female assistant returns.She is carrying a smallShe is carrying a small nosegay of flowers.nosegay of flowers.Madeleine nods her approval and, as theMadeleine nods her approval and, as the assistant returns, we see Madeleine indicate she will takeassistant returns, we see Madeleine indicate she will takeitit asasit is.it is.Madeleine begins to open her purse as theMadeleine begins to open her purse as the assistant starts to write out the bill.assistant starts to write out the bill.

Cautiously, closes the door.Cautiously, closes the door.

WeWesee Scottie retreating from the door and hastening downsee Scottie retreating from the door and hastening down thethepassage towards the CAMERA.passage towards the CAMERA.He goes out left and as heHe goes out left and as he opens the door into the alleyway, the daylight streams in foropens the door into the alleyway, the daylight streams in for aamoment.moment.

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Scottie emerges from the doorway, passing the green Jaguar.Scottie emerges from the doorway, passing the green Jaguar. WeWeare far enough away to see the sign over the doorway,are far enough away to see the sign over the doorway, which tells us that it is the rear entrance to the flowerwhich tells us that it is the rear entrance to the flower shop, for customers' parking.shop, for customers' parking.

Scottie comes from the Jaguar across the alleyway to whereScottie comes from the Jaguar across the alleyway to where hishisown car is standing.own car is standing.He gets in.He gets in.After a moment or two,After a moment or two, wewesee Madeleine emerge in the distance and get into thesee Madeleine emerge in the distance and get into the Jaguar, carrying the nosegay.Jaguar, carrying the nosegay.There is a sound of theThere is a sound of the starter, and immediately, she is on her way. In the f.g., thestarter, and immediately, she is on her way. In the f.g., the grey sedan moves off at a cautious distance behind.grey sedan moves off at a cautious distance behind.

LAP DISSOLVE:LAP DISSOLVE:

WeWesee Scottie driving, looking ahead.see Scottie driving, looking ahead.

TheThegreen Jaguar driving ahead down the wide Dolores Avenue.green Jaguar driving ahead down the wide Dolores Avenue. ItItpresently comes to a stop outside the Mission.presently comes to a stop outside the Mission.We seeWe see Madeleine quickly get out.Madeleine quickly get out.Scottie's car enters the pictureScottie's car enters the picture andandbegins to slow up.begins to slow up.

AsAshe watches ahead, he slowly brings his car to a stop.he watches ahead, he slowly brings his car to a stop.

InInthe f.g., is the grey sedan.the f.g., is the grey sedan.Scottie emerges and,Scottie emerges and, slamming his car door shut, makes his way to the doorslamming his car door shut, makes his way to the door opposite which the green Jaguar is parked.opposite which the green Jaguar is parked.

WeWenow see for the first time the facade of the old Missionnow see for the first time the facade of the old Mission Dolores.Dolores.Scottie enters the picture from the right and makesScottie enters the picture from the right and makes hishisway to the small dark, open doorway.way to the small dark, open doorway.

Scottie passes through the small doorway.Scottie passes through the small doorway.On the wallOn the wall nearby, we get a quick glimpse of the plaque announcing thenearby, we get a quick glimpse of the plaque announcing the date of the establishment of the Mission.date of the establishment of the Mission.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 24.24.

WeWesee Scottie come through the door and towards the CAMERA.see Scottie come through the door and towards the CAMERA. HeHecomes to a stop in CLOSEUP.comes to a stop in CLOSEUP.

From his viewpoint, we see the center aisle and, in theFrom his viewpoint, we see the center aisle and, in the distance, the altar of the old Mission.distance, the altar of the old Mission.It is very darkIt is very dark except for the strong light around the altar.except for the strong light around the altar.The church isThe church is completely empty.completely empty.

Scottie half-turns as though to retrace his steps, them heScottie half-turns as though to retrace his steps, them he looks back again and leans to one side slightly.looks back again and leans to one side slightly.

Shooting on a slightly different angle, we see there is aShooting on a slightly different angle, we see there is a small door at the far end at the right-hand side of thesmall door at the far end at the right-hand side of the altar.altar.It is slowly closing.It is slowly closing.

Scottie immediately comes forward and exits the picture.Scottie immediately comes forward and exits the picture.

Scottie enters the f.g., and we see him hasten up the aisleScottie enters the f.g., and we see him hasten up the aisle towards the altar.towards the altar.

WeWeare much nearer to the altar.are much nearer to the altar.Scottie enters the pictureScottie enters the picture ononthe right and makes his way quickly towards the littlethe right and makes his way quickly towards the little side door.side door.As he opens it, a Shaft of bright sunlight comesAs he opens it, a Shaft of bright sunlight comes into the church.into the church.

WeWesee Scottie emerge from the church coming towards thesee Scottie emerge from the church coming towards the CAMERA, which DOLLIES BACK with him.CAMERA, which DOLLIES BACK with him.

From his viewpoint, the CAMERA TURNS the corner and makes itsFrom his viewpoint, the CAMERA TURNS the corner and makes its waywaytoward a small gateway in a wall.toward a small gateway in a wall.The CAMERA starts toThe CAMERA starts to gogothrough.through.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 25.25.

Scottie coming through the gateway.Scottie coming through the gateway.

TheTheCAMERA MOVES ACROSS the graveyard, and in the distance,CAMERA MOVES ACROSS the graveyard, and in the distance, wewesee Madeleine gazing down at a headstone, the posy stillsee Madeleine gazing down at a headstone, the posy still clutched in her hands.clutched in her hands.

Scottie looking towards Madeleine with an expression ofScottie looking towards Madeleine with an expression of slight surprise.slight surprise.He starts off out of the picture to theHe starts off out of the picture to the right.right.

WeWesee Scottie making his way down the side of the graveyard,see Scottie making his way down the side of the graveyard, with the Mission Church behind him.with the Mission Church behind him.The CAMERA PANS him allThe CAMERA PANS him all thetheway round to a position towards Madeleine.way round to a position towards Madeleine.He disappearsHe disappears from view.from view.

TheTheCAMERA PANS Scottie past Madeleine and he takes up aCAMERA PANS Scottie past Madeleine and he takes up a position behind a grotto where he can observe her.position behind a grotto where he can observe her.

Scottie watching Madeleine.Scottie watching Madeleine.

Through the foliage, from his viewpoint, we see the back viewThrough the foliage, from his viewpoint, we see the back view ofofMadeleine, her head bent down, still looking at the grave.Madeleine, her head bent down, still looking at the grave. SheShestarts to turn.starts to turn.

Scottie cautiously steps back a little.Scottie cautiously steps back a little.

TheTheCAMERA watching the corner of the grotto for a moment.CAMERA watching the corner of the grotto for a moment. Nothing happens, then we hear a few steps and Madeleine comesNothing happens, then we hear a few steps and Madeleine comes into view still carrying the posy of flowers.into view still carrying the posy of flowers.She is walkingShe is walking very slowly.very slowly.She comes to a stop opposite Scottie - untilShe comes to a stop opposite Scottie - until shesheis in full profile.is in full profile.She opens her purse and takes outShe opens her purse and takes outaa small handkerchief, than she moves on around the path towardssmall handkerchief, than she moves on around the path towards thetheexit.exit.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 26.26.

Scottie is watching bar depart.Scottie is watching bar depart.

Madeleine approaches a small door at the side of the missionMadeleine approaches a small door at the side of the mission Church.Church.She goes in.She goes in.

WeWesee Scottie hasten round from his hiding-place a back tosee Scottie hasten round from his hiding-place a back to thetheheadstone, where Madeleine had been standing.headstone, where Madeleine had been standing.

Scottie quickly takes an envelope from his pocket and alsoScottie quickly takes an envelope from his pocket and also takes out a pencil.takes out a pencil.He starts to write down something as heHe starts to write down something as he looks at the headstone.looks at the headstone.

INSERT - The name on the headstone reads: Carlotta Valdes.INSERT - The name on the headstone reads: Carlotta Valdes. Born December 3.Born December 3.1831.1831.Died March 5, 1857.Died March 5, 1857.

WeWesee Scottie hurry from the grave towards the exit door.see Scottie hurry from the grave towards the exit door. TheTheCAMERA PANS with him.CAMERA PANS with him.

DISSOLVE TO:DISSOLVE TO:

Once more his eyes are on the road ahead, as he followsOnce more his eyes are on the road ahead, as he follows Madeleine.Madeleine.

WeWesee the green Jaguar come out of l6th Street and crosssee the green Jaguar come out of l6th Street and cross Market Street and start to ascend the hill.Market Street and start to ascend the hill.

WeWesee both cars, one behind the other, moving uphill.see both cars, one behind the other, moving uphill.

LAP DISSOLVE TO:LAP DISSOLVE TO:

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 27.27.

TheThetwo cars move along the road through the entrance,two cars move along the road through the entrance, between the trees, and the Jaguar draws up before the Palacebetween the trees, and the Jaguar draws up before the Palace ofofthe Legion of Honor.the Legion of Honor.Scottie continues past as MadeleineScottie continues past as Madeleine gets out of her car and walks through the courtyard to thegets out of her car and walks through the courtyard to the entrance to the art gallery.entrance to the art gallery.Scottie parks his car fartherScottie parks his car farther along, and follows her in.along, and follows her in.

LAP DISSOLVE TO:LAP DISSOLVE TO:

Shooting through the foreground columns we see the gallery,Shooting through the foreground columns we see the gallery, soft lit from the top, completely empty, save for one person.soft lit from the top, completely empty, save for one person. ItItis Madeleine.is Madeleine.She is seated on the small wooden bench atShe is seated on the small wooden bench at thethefar end.far end.Her head is tilted in the upward direction,Her head is tilted in the upward direction, gazing at a large portrait.gazing at a large portrait.Slowly we see Scottie coming toSlowly we see Scottie coming to thetheleft f.g.left f.g.He watches her for a moment and then with aHe watches her for a moment and then with a carefully quiet stop, moves into the gallery and starts tocarefully quiet stop, moves into the gallery and starts to examine the pictures.examine the pictures.

TheTheCAMERA SHOOTING on the back of Scottie, TRAVELS, with himCAMERA SHOOTING on the back of Scottie, TRAVELS, with him asashe pretends to look at the pictures on the wall.he pretends to look at the pictures on the wall.HeHe barely stops at each one.barely stops at each one.Now and again he half furtivelyNow and again he half furtively glances over his shoulder.glances over his shoulder.Finally the CAMERA COMES TO AFinally the CAMERA COMES TO A STOP.STOP.Scottie cautiously turns around and looks across theScottie cautiously turns around and looks across the room.room.

From his viewpoint we get a complete picture of what he sees.From his viewpoint we get a complete picture of what he sees. TheTheback view of Madeleine, seated on the polished woodenback view of Madeleine, seated on the polished wooden bench, her right band is holding the nasegay, and beyond herbench, her right band is holding the nasegay, and beyond her aathree-quarter length portrait of a beautiful blonde woman,three-quarter length portrait of a beautiful blonde woman, dressed in 19th century costume.dressed in 19th century costume.She seems to be lookingShe seems to be looking down with an enigmatic smile.down with an enigmatic smile.

Scottie's eye catches sight of:Scottie's eye catches sight of:

TheThenosegay resting in Madeleine's hand on the polished woodnosegay resting in Madeleine's hand on the polished wood seat.seat.The CAMERA SLOWLY PANS UP and MOVES IN to a part ofThe CAMERA SLOWLY PANS UP and MOVES IN to a part of thethepicture.picture.It comes to rest on a nosegay held in theIt comes to rest on a nosegay held in the woman's hands.woman's hands.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 28.28.

Scottie's expression does not change.Scottie's expression does not change.His eyes move toHis eyes move to something else.something else.

SHOOTING on the back of Madeleine, we see her head andSHOOTING on the back of Madeleine, we see her head and shoulders only.shoulders only.The CAMERA MOVES IN until her bum of blondeThe CAMERA MOVES IN until her bum of blonde hair fills the screen.hair fills the screen.The CAMERA PANS up until we see theThe CAMERA PANS up until we see the head and shoulders of the woman in the portrait. She ishead and shoulders of the woman in the portrait. She is wearing a distinctive diamond pendant necklace.wearing a distinctive diamond pendant necklace.Then theThen the CAMERA SLOWLY MOVES IN and concentrate its attention at a bunCAMERA SLOWLY MOVES IN and concentrate its attention at a bun ofofhair resting on the nape of her neck.hair resting on the nape of her neck.

Scottie's eyes turn thoughtfully at the memory of hisScottie's eyes turn thoughtfully at the memory of his conversation with Gavin.conversation with Gavin.He looks up again.He looks up again.

Again, the enigmatic look of the woman wearing the diamondAgain, the enigmatic look of the woman wearing the diamond pendant necklace.pendant necklace.It seems as though she is almost lookingIt seems as though she is almost looking atatScottie.Scottie.

Scottie turns and makes his way carefully back down theScottie turns and makes his way carefully back down the gallery.gallery.

THETHECAMERA is now back in its original position, beyond theCAMERA is now back in its original position, beyond the columns of the entrance to the room.columns of the entrance to the room.We see Scottie comingWe see Scottie coming down toward the CAMERA.down toward the CAMERA.As he comes to us in CLOSER SHOT,As he comes to us in CLOSER SHOT,wewe seeseehim beckon to somebody off screen.him beckon to somebody off screen.

AAmale attendant is coming over towards the CAMERA.male attendant is coming over towards the CAMERA.He goesHe goes outoutof the picture.of the picture.

HeHecomes to where Scottie awaits him.comes to where Scottie awaits him.Scottie asks in a lowScottie asks in a low voice:voice:

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 29.29.

TheTheAttendant turns his head.Attendant turns his head.

Scottie nods his thanks as the attendant hands him aScottie nods his thanks as the attendant hands him a catalogue.catalogue.Scottie then turns back and looks into the room.Scottie then turns back and looks into the room. TheTheCAMERA MOVES IN past him, so that once more we are leftCAMERA MOVES IN past him, so that once more we are left alone with Madeleine seated, still looking at the portrait.alone with Madeleine seated, still looking at the portrait.

LAP DISSOLVE:LAP DISSOLVE:

InInthe f.g., Scottie is seated in his grey sedan.the f.g., Scottie is seated in his grey sedan.We seeWe see beyond him in the distance, the green Jaguar and the back-litbeyond him in the distance, the green Jaguar and the back-lit columns of the gallery courtyard.columns of the gallery courtyard.Presently, the smallPresently, the small figure of Madeleine appears.figure of Madeleine appears.She gets into her car andShe gets into her car and starts to drive off.starts to drive off.Scottie starts up his engine.Scottie starts up his engine.His carHis car moves across the screen.moves across the screen.

DISSOLVE TO:DISSOLVE TO:

TheThetwo cars moving along through a poorer section of Santwo cars moving along through a poorer section of San Francisco.Francisco.We see that the houses - many large - are all ofWe see that the houses - many large - are all of wood, shabby, run-down, some almost derelict.wood, shabby, run-down, some almost derelict.The occasionalThe occasional front yard is uncared for; the few people on the street arefront yard is uncared for; the few people on the street are cheaply dressed.cheaply dressed.There is a meanness of atmosphere.There is a meanness of atmosphere.

TheThegreen Jaguar comes to a stop outside a large house, whichgreen Jaguar comes to a stop outside a large house, which hashasseen grander days.seen grander days.Obviously an old San FranciscoObviously an old San Francisco residence, it is now become an apartment hotel.residence, it is now become an apartment hotel.A longA long flight of steps from the street, leads to the front door,flight of steps from the street, leads to the front door, which has a semicircular canopy supported by columns.which has a semicircular canopy supported by columns.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 30.30.

Madeleine gets out and ascends the stairs toward the hotelMadeleine gets out and ascends the stairs toward the hotel entrance; she is still carrying the posy of flowers.entrance; she is still carrying the posy of flowers.

Scottie's car pulls into the curb.Scottie's car pulls into the curb.He gets out and standsHe gets out and standsonon thethesidewalk and looks ahead of him.sidewalk and looks ahead of him.He walks forward outHe walks forward outofof thethepicture.picture.

WeWesee Scottie walking along the sidewalk casually.see Scottie walking along the sidewalk casually.TheThe green car is at the curb at the left of the stairs to thegreen car is at the curb at the left of the stairs to the hotel.hotel.He strolls up until he reaches the green car.He strolls up until he reaches the green car.

SHOOTING over the green car, we see Scottie hovering aroundSHOOTING over the green car, we see Scottie hovering around thethebottom of the steps.bottom of the steps.There is no sign of Madeleine.There is no sign of Madeleine.SheShe hashasobviously gone in by this time.obviously gone in by this time.Scottie turns andScottie turns and examines the facade of the hotel and over his shoulder, theexamines the facade of the hotel and over his shoulder, the CAMERA PANS up over the building where we see the name, inCAMERA PANS up over the building where we see the name, in worn black lettering under the top cornice.worn black lettering under the top cornice.

Scottie turns away from the hotel and glances in theScottie turns away from the hotel and glances in the direction of the car.direction of the car.He then turns and ponders what hisHe then turns and ponders what his next move should be.next move should be.No looks back at the hotel.No looks back at the hotel.Suddenly,Suddenly, hishiseye catches sight of something.eye catches sight of something.He hastens over toHe hastens over to conceal himself by the entrance wall, the CAMERA PANNING him.conceal himself by the entrance wall, the CAMERA PANNING him. HisHiseyes go up again.eyes go up again.

From his viewpoint, we see Madeleine appear in the cornerFrom his viewpoint, we see Madeleine appear in the corner second storey window.second storey window.She is glancing out casually, as sheShe is glancing out casually, as she takes off the jacket of her suit.takes off the jacket of her suit.She turns into the roomShe turns into the room again.again.

Scottie is really puzzled by this appearance.Scottie is really puzzled by this appearance.He thinks forHe thinks for aawhile and then, making up his mind, starts to go up thewhile and then, making up his mind, starts to go up the steps, the CAMERA PANNING him.steps, the CAMERA PANNING him.We see him reach the top stopWe see him reach the top stop andandmake for the front door.make for the front door.

Scottie waits a slight moment, and then, bracing him himself,Scottie waits a slight moment, and then, bracing him himself, opens the door and passes through.opens the door and passes through.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 31.31.

Scottie comes through the door closes it behind him.Scottie comes through the door closes it behind him.HeHe looks around.looks around.

From Scottie's viewpoint, we see most of the lobby.From Scottie's viewpoint, we see most of the lobby.ThereThereisis aasmall reception desk with a key rack to one side, but thesmall reception desk with a key rack to one side, but the strongest and most immediate impact is one of greenery, ofstrongest and most immediate impact is one of greenery, of foliage.foliage.Scattered about the lobby in profusion are tall-Scattered about the lobby in profusion are tall- standing patted rubber plants and philodendron.standing patted rubber plants and philodendron.ScottieScottie stands and stares.stands and stares.There is no one to be seen, no sign ofThere is no one to be seen, no sign of life.life.Then we see a leaf of a rubber plant move, and moveThen we see a leaf of a rubber plant move, and move again, a hand appears, seemingly caressing it, and then weagain, a hand appears, seemingly caressing it, and then we hear a woman's voice.hear a woman's voice.

Scottie looks in that direction, and the woman moves out fromScottie looks in that direction, and the woman moves out from behind the plant.behind the plant.She is a small, gentle, elderly lady withShe is a small, gentle, elderly lady with white hair, motherly and smiling, with bright, eager eyes.white hair, motherly and smiling, with bright, eager eyes.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 32.32.

ByBynow Scottie has got out his wallet and has shown hisnow Scottie has got out his wallet and has shown his badge, and the sight of it makes bar stop abruptly, and forbadge, and the sight of it makes bar stop abruptly, and for aamoment her face hardens and is not a bit motherly.moment her face hardens and is not a bit motherly.ButBut then she recovers her innocent brightness.then she recovers her innocent brightness.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 33.33.

AndAndhe turns away to go, wondering.he turns away to go, wondering.

Scottie whirls back on her.Scottie whirls back on her.

Scottie stares at her smiling, innocent face.Scottie stares at her smiling, innocent face.She looks overShe looks over atatthe key rack.the key rack.

SheSheputs down the can of olive oil and the sponge, and getsputs down the can of olive oil and the sponge, and gets outouther passkey.her passkey.She goes up the stairs.She goes up the stairs.Scottie watchesScottie watches herhergo, than stares down at the can of olive oil, stares atgo, than stares down at the can of olive oil, stares at thetherubber plant, and waits, and looks up the stairs.rubber plant, and waits, and looks up the stairs.

Scottie starts up the stairs on the ran.Scottie starts up the stairs on the ran.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 34.34.

TheTheManageress stands near the open door.Manageress stands near the open door.Scottie brushesScottie brushes past her and stands on the threshold.past her and stands on the threshold.

WeWeare looking at the room over the shoulders of Scottie andare looking at the room over the shoulders of Scottie and thethewoman.woman.It is empty.It is empty.Scottie crosses to the window andScottie crosses to the window and looks down.looks down.From his viewpoint we see the empty space at theFrom his viewpoint we see the empty space at the street curb where stood Madeleine's Jaguar.street curb where stood Madeleine's Jaguar.

HeHeturns a to look at her sweet, smiling face, then turnsturns a to look at her sweet, smiling face, then turns back to stare down out of the window in bewilderment.back to stare down out of the window in bewilderment.

DISSOLVE TO:DISSOLVE TO:

Scottie's sedan pulls up in the foreground, the building inScottie's sedan pulls up in the foreground, the building in thethedistance.distance.He looks across.He looks across.There, half concealed aroundThere, half concealed around thethecorner of the small car park, is the green Jaguar.corner of the small car park, is the green Jaguar. Scottie strolls over, inspects the cars, then looks inside.Scottie strolls over, inspects the cars, then looks inside. OnOnthe seat is the small nosegay bought at Podesta's andthe seat is the small nosegay bought at Podesta's and carried to the cemetery.carried to the cemetery.

DISSOLVE TO:DISSOLVE TO:

Midge is at work on a nightgown ad.Midge is at work on a nightgown ad.The phonograph isThe phonograph is playing softly: probably Bach, probably harpsichord, probablyplaying softly: probably Bach, probably harpsichord, probably Landowska.Landowska.Scottie walks in, and Midge looks up, startled.Scottie walks in, and Midge looks up, startled.

HeHewalks over and turns the phonograph off, either here orwalks over and turns the phonograph off, either here oraa bitbitlater.later.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 35.35.

Starts for the door fast.Starts for the door fast.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 36.36.

HeHelooks about for it.looks about for it.

SheShespeeds right on through the open door.speeds right on through the open door.

HeHeraces out after her.races out after her.

DISSOLVE TO:DISSOLVE TO:

ItItis old, it is misty, it is filled with old books, but theis old, it is misty, it is filled with old books, but the important thing to note is that it is filled with memorabiliaimportant thing to note is that it is filled with memorabilia ofofCalifornia pioneer days: on the walls are not only theCalifornia pioneer days: on the walls are not only the familiar old maps and prints but also, and more striking,familiar old maps and prints but also, and more striking, such things as framed old mining claims, posters describingsuch things as framed old mining claims, posters describing outlaws wanted by the law, Wells Fargo Pony Express Posters;outlaws wanted by the law, Wells Fargo Pony Express Posters; andandon the shelves, old whiskey bottles, gold-mining pans,on the shelves, old whiskey bottles, gold-mining pans, andandsuch.such.The proprietor, Pop Leibel, is staring with aThe proprietor, Pop Leibel, is staring with a nodding smile at the piece of paper Scottie has handed him,nodding smile at the piece of paper Scottie has handed him, andandScottie watches him keenly.Scottie watches him keenly.In the bag, Midge wandersIn the bag, Midge wanders about the shop, inspecting the prints on the wall, but alwaysabout the shop, inspecting the prints on the wall, but always listening.listening.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 37.37.

Scottie hangs on his words.Scottie hangs on his words.Pop looks up at him and smiles.Pop looks up at him and smiles.

TheThestore has darkened considerably and all the figures arestore has darkened considerably and all the figures are practically silhouettes.practically silhouettes.The CAMERA picks up a CLOSE SHOTThe CAMERA picks up a CLOSE SHOTOFOF MIDGE, listening intently, her head turned away from the wallMIDGE, listening intently, her head turned away from the wall toward the old man.toward the old man.And on the wall near her head is a printAnd on the wall near her head is a print ofofmission San Juan Bantista as it was in the old days.mission San Juan Bantista as it was in the old days.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 38.38.

Forgetting Midge, he turns and walks out of the store fast,Forgetting Midge, he turns and walks out of the store fast, deep in thought.deep in thought.

SheShedashes out after Scottie.dashes out after Scottie.

Midge catches up with Scottie and stops him by grabbing hisMidge catches up with Scottie and stops him by grabbing his arm.arm.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 39.39.

HeHestarts off with long strides, and Midge hurries after him.starts off with long strides, and Midge hurries after him.

DISSOLVE TO:DISSOLVE TO:

EVENING) - LONG SHOTEVENING) - LONG SHOT

Scottie's car draws up and comes to a stop.Scottie's car draws up and comes to a stop.

Scottie and Midge are looking straight ahead.Scottie and Midge are looking straight ahead.

Scottie is troubled, lost in thought.Scottie is troubled, lost in thought.Pause.Pause.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 40.40.

Midge looks up at him from the corners of her eyes.Midge looks up at him from the corners of her eyes.

SheSheopens the car door quickly and jumps out.opens the car door quickly and jumps out.

SheSheslams the car door and runs into the house.slams the car door and runs into the house.ScottieScottie glares after her for a moment, then his face relaxes, and heglares after her for a moment, then his face relaxes, and he isislost in thought.lost in thought.He reaches into the glove compartmentHe reaches into the glove compartmentofof thethecar and draws out the catalogue of the permanentcar and draws out the catalogue of the permanent collection of the Palace of the Legion of Honor.collection of the Palace of the Legion of Honor.He opensHe opensitit totoa page and stares down.a page and stares down.

INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA.INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA.

DISSOLVE TO:DISSOLVE TO:

Elster and Scottie are seated in the lounge of a SanElster and Scottie are seated in the lounge of a San Francisco Club - there are one or two members readingFrancisco Club - there are one or two members reading newspapers, etc., while a waiter moves by in the backgroundnewspapers, etc., while a waiter moves by in the background serving drinks.serving drinks.Elster is studying the reproduction of theElster is studying the reproduction of the portrait of Carlotta in the catalogue that Scottie procuredportrait of Carlotta in the catalogue that Scottie procured from the gallery.from the gallery.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 41.41.

TheThewaiter leans in and places two drinks before them.waiter leans in and places two drinks before them. Scottie watches Elster, waiting for him, to speak.Scottie watches Elster, waiting for him, to speak.Finally:Finally:

HeHeplaces a finger on the reproduction of the portrait toplaces a finger on the reproduction of the portrait to indicate the bun at the back of the neck.indicate the bun at the back of the neck.Scottie nods.Scottie nods.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 42.42.

TheThetwo men stare at each other directly, honestly.two men stare at each other directly, honestly.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 43.43.

Scottie raises his glass and drinks slowly, thoughtfully.Scottie raises his glass and drinks slowly, thoughtfully.

DISSOLVE TO:DISSOLVE TO:

TheThecolumns of the courtyard are back lit by the sun.columns of the courtyard are back lit by the sun.ThereThere isisno sign of life.no sign of life.Near the steps, standing alone andNear the steps, standing alone and empty, is the green Jaguar.empty, is the green Jaguar.

LAP DISSOLVE TO:LAP DISSOLVE TO:

SHOOTING through the columns in the foreground, our view ofSHOOTING through the columns in the foreground, our view of thetheroom is obscured momentarily by an elderly couple movingroom is obscured momentarily by an elderly couple moving toward the door.toward the door.They go by to reveal Scottie standing byThey go by to reveal Scottie standing byaa Rodin sculpture, looking into the room, and far beyond him,Rodin sculpture, looking into the room, and far beyond him, atatthe end of the room, Madeleine seated on the bench beforethe end of the room, Madeleine seated on the bench before thetheportrait staring at it.portrait staring at it.In her hand, resting at her sideIn her hand, resting at her side ononthe bench, is once again the nosegay.the bench, is once again the nosegay.Now she rises andNow she rises and approaches the portrait and stands before it, the nosegayapproaches the portrait and stands before it, the nosegay clasped in her two hands before her, and stares up almost asclasped in her two hands before her, and stares up almost as though in votive offering or in prayer.though in votive offering or in prayer.Finally she turnsFinally she turns andandstarts toward the entrance.starts toward the entrance.Scottie slips away out ofScottie slips away out of sight.sight.Madeleine walks slowly toward the CAMERA.Madeleine walks slowly toward the CAMERA.

LAP DISSOLVE TO:LAP DISSOLVE TO:

Madeleine approaches the green Jaguar, gets in, and the carMadeleine approaches the green Jaguar, gets in, and the car starts away.starts away.Scottie's car moves into the scene, following,Scottie's car moves into the scene, following,

DISSOLVE TO:DISSOLVE TO:

WeWesee the green Jaguar proceeding, the grey sedan at asee the green Jaguar proceeding, the grey sedan at a careful distance behind.careful distance behind.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 44.44.

Beyond, looking northeast we see the Golden Gate Bridge inBeyond, looking northeast we see the Golden Gate Bridge in thethelate afternoon sun, and Richmond and Berkeley in thelate afternoon sun, and Richmond and Berkeley in the distance.distance.

DISSOLVE TO:DISSOLVE TO:

Scottie carefully looking ahead.Scottie carefully looking ahead.

Madeleine's car approaches along the drive to the gates ofMadeleine's car approaches along the drive to the gates of thethePresidio, and passes through the gates and is swallowedPresidio, and passes through the gates and is swallowed bybythe trees.the trees.Scottie's car follows, and it, too, disappears.Scottie's car follows, and it, too, disappears.

DISSOLVE TO:DISSOLVE TO:

TheThetwo cars driving along the wooded road.two cars driving along the wooded road.

Scottie looking ahead.Scottie looking ahead.

DISSOLVE TO:DISSOLVE TO:

Scottie's car is traveling down the slope toward the juttingScottie's car is traveling down the slope toward the jutting point of old Fort Winfield Scott.point of old Fort Winfield Scott.It comes to a stop in theIt comes to a stop in the level clearing.level clearing.The green Jaguar stands there, empty.The green Jaguar stands there, empty.

Scottie gets out of his car and looks off out of picture.Scottie gets out of his car and looks off out of picture.

Madeleine walking away round the dockside.Madeleine walking away round the dockside.The vast bridgeThe vast bridge towers above her.towers above her.She carries the nosegay.She carries the nosegay.Scottie movesScottie moves into the f.g., and makes off in the same direction.into the f.g., and makes off in the same direction. Madeleine disappears round the corner of the old fort wall.Madeleine disappears round the corner of the old fort wall. NowNowshe is out of sight, we see Scottie quicken his pace asshe is out of sight, we see Scottie quicken his pace as heheapproaches the corner of the fort wall.approaches the corner of the fort wall.

SHOOTING back, we see Scottie approach the wall and peerSHOOTING back, we see Scottie approach the wall and peer cautiously around.cautiously around.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 45.45.

From his viewpoint, we see Madeleine standing at the waters'From his viewpoint, we see Madeleine standing at the waters' edge.edge.She is mechanically tearing off the lace-edged paperShe is mechanically tearing off the lace-edged paper from the nosegay.from the nosegay.

Scottie watching her curiously.Scottie watching her curiously.

Madeleine lets the paper drift away down to the water.Madeleine lets the paper drift away down to the water.SheShe proceeds to unwind the wire around the flowers and begins toproceeds to unwind the wire around the flowers and begins to scatter them an the water.scatter them an the water.

CLOSE SHOT OF FLOWERS FLOATING ON THE WATERCLOSE SHOT OF FLOWERS FLOATING ON THE WATER

Scottie watching Madeleine.Scottie watching Madeleine.

TheThefull figure of Madeleine, scattering the rest of thefull figure of Madeleine, scattering the rest of the flowers.flowers.Then she raises her head and stares up at the sky.Then she raises her head and stares up at the sky. AAmoment in which her body seem poised, and then she is gone,moment in which her body seem poised, and then she is gone, lost to view in the water.lost to view in the water.

Scottie dashes around the wall and the CAMERA PANS him to theScottie dashes around the wall and the CAMERA PANS him to the water's edge.water's edge.He is throwing his coat off.He is throwing his coat off.

SHOOTING down into the water, we see Madeleine's upturnedSHOOTING down into the water, we see Madeleine's upturned face as she floats away.face as she floats away.She disappears now and again.She disappears now and again.

SCOTTIE, running down the few stone steps towards the water.SCOTTIE, running down the few stone steps towards the water. When the water is up to his knees, he swims out towards her.When the water is up to his knees, he swims out towards her.

HerHereyes staring, sinks beneath the water.eyes staring, sinks beneath the water.She is surroundedShe is surrounded bybythe scattered flowers.the scattered flowers.Scottie swims in and grabs her.Scottie swims in and grabs her.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 46.46.

AsAshe holds her, the two heads are pressed together.he holds her, the two heads are pressed together.HeHe turns and starts to swim back with her.turns and starts to swim back with her.The screen is filledThe screen is filled with their two heads.with their two heads.Madeleine's staring eyes begin toMadeleine's staring eyes begin to close as she is moved away.close as she is moved away.

LAP DISSOLVE:LAP DISSOLVE:

WeWesee Scottie coming up some stone steps.see Scottie coming up some stone steps.He is staggeringHe is staggering with the weight of Madeleine's water-soaked body and clothes.with the weight of Madeleine's water-soaked body and clothes. HeHecarries her over towards the green Jaguar.carries her over towards the green Jaguar.

Resting her for a moment, he throws open the door on theResting her for a moment, he throws open the door on the passenger's side.passenger's side.

Scottie's head is close to hers.Scottie's head is close to hers.She is now breathingShe is now breathing heavily.heavily.

HerHereyes open slowlyeyes open slowly

HerHereyes show no sign of recognition or response; they moveeyes show no sign of recognition or response; they move past his face and stare out.past his face and stare out.The CAMERA SLOWLY MOVES INThe CAMERA SLOWLY MOVES IN until her head fills the screen.until her head fills the screen.She stares out as thoughShe stares out as thoughinin aatrance.trance.

DISSOLVE TO:DISSOLVE TO:

TheTheempty green Jaguar is drawn up at the curb before the redempty green Jaguar is drawn up at the curb before the red door of a small, well-kept house.door of a small, well-kept house.

DISSOLVE TO:DISSOLVE TO:

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 47.47.

WeWeare in the living room of a comfortable a bachelorare in the living room of a comfortable a bachelor apartment.apartment.There is a picture window that looks up to CoitThere is a picture window that looks up to Coit Tower on Telegraph Hill.Tower on Telegraph Hill.The room is softly lit.The room is softly lit.A fire isA fire is litlitin the fireplace; the logs are blazing well, Scottie, inin the fireplace; the logs are blazing well, Scottie, in aapair of grey trousers and an old sweater, is wanderingpair of grey trousers and an old sweater, is wandering about the room, trying to think things out.about the room, trying to think things out.Through an openThrough an open door we can see into a small kitchen where Madeleine'sdoor we can see into a small kitchen where Madeleine's clothes - all of them - hang, on a cord over the electricclothes - all of them - hang, on a cord over the electric stove, drying.stove, drying.And through another open door we can see intoAnd through another open door we can see into thethebedroom where Madeleine lies, in the larger-than-singlebedroom where Madeleine lies, in the larger-than-single bed, under the covers, asleep.bed, under the covers, asleep.She sighs and turnsShe sighs and turns restlessly, and Scottie glances at her from the living-roomrestlessly, and Scottie glances at her from the living-room asashe wanders, and then she turns again, and the sigh becomeshe wanders, and then she turns again, and the sigh becomes words, spoken in sleep, and he stops, and listens.words, spoken in sleep, and he stops, and listens.

Scottie waits, taut, but there is no more.Scottie waits, taut, but there is no more.He starts to turnHe starts to turn away and suddenly, still distant, but more clearly:away and suddenly, still distant, but more clearly:

Scottie stiffens with the shock of recognition and his eyesScottie stiffens with the shock of recognition and his eyes gogowide with apprehension staring at the lost, eye-closed,wide with apprehension staring at the lost, eye-closed, troubled woman in the bed.troubled woman in the bed.And at that moment the telephoneAnd at that moment the telephone ononthe bedside table rings sharply.the bedside table rings sharply.He makes a dash for it.He makes a dash for it. TheTheringing brings the woman to with a sharp start, and sheringing brings the woman to with a sharp start, and she instinctively clutches the bedclothes to her chin and raisesinstinctively clutches the bedclothes to her chin and raises upupa little and stares with wide-eyed fright at the mana little and stares with wide-eyed fright at the man running towards her.running towards her.Scottie takes the phone.Scottie takes the phone.

HeHehangs up, and tries to smile down at Madeleine, who hashangs up, and tries to smile down at Madeleine, who has notnotmoved, but has followed his every move with fright andmoved, but has followed his every move with fright and apprehension.apprehension.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 48.48.

NoNoanswer, only the eyes staring at him.answer, only the eyes staring at him.And then heAnd then he realizes, with some embarrassment, that she cannot move, thatrealizes, with some embarrassment, that she cannot move, that shesheis naked under the bedclothes, and he reaches across tois naked under the bedclothes, and he reaches across to thethedressing gown he has laid out for her on the bed, anddressing gown he has laid out for her on the bed, and moves it closer to her.moves it closer to her.

HeHegives her a reassuring nod and smile, straightens up andgives her a reassuring nod and smile, straightens up and goes to the door, and goes into the living room, closing thegoes to the door, and goes into the living room, closing the bedroom door behind him.bedroom door behind him.And she stares after him as he goes.And she stares after him as he goes.

InInthe living room, he moves to the fireplace, puts anotherthe living room, he moves to the fireplace, puts another loglogon, and watches it catch.on, and watches it catch.The bedroom door behind himThe bedroom door behind him opens, and he turns to face Madeleine.opens, and he turns to face Madeleine.

SheShehas the dressing gown belted tightly around the middlehas the dressing gown belted tightly around the middle andandholds it together with one band at her breast.holds it together with one band at her breast.And sheAnd she stands there staring at him nervously, frightened, notstands there staring at him nervously, frightened, not wanting to admit that she does not know how she came there,wanting to admit that she does not know how she came there, butbutwanting very much to know.wanting very much to know.And she cannot help herself:And she cannot help herself: knowing her own fears, she has to ask.knowing her own fears, she has to ask.

SheSheputs a hand slowly to her hair, understanding now why itputs a hand slowly to her hair, understanding now why it isiswet.wet.

AndAndnow, knowing that he dried her hair, she realizes thatnow, knowing that he dried her hair, she realizes thathehe must have taken her clothes off, too, and she looks down atmust have taken her clothes off, too, and she looks down at herherbody with deep awareness of her nakedness, and draws thebody with deep awareness of her nakedness, and draws the dressing gown more closely to her, and looks back at him withdressing gown more closely to her, and looks back at him with frightened embarrassment.frightened embarrassment.And her head begins to moveAnd her head begins to move quickly, the eyes darting about the apartment as thoughquickly, the eyes darting about the apartment as though seeking a way of escape, and she sees the clothes hanging inseeking a way of escape, and she sees the clothes hanging in thethekitchen.kitchen.And she looks back to Scottie appealingly.And she looks back to Scottie appealingly.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 49.49.

HeHepulls a low-stool over before the fire.pulls a low-stool over before the fire.Madeleine crossesMadeleine crosses slowly, keeping her eyes always on him, and sinks down on theslowly, keeping her eyes always on him, and sinks down on the stool.stool.He smiles a at her companionably.He smiles a at her companionably.

SheSheshakes her head.shakes her head.

SheSheshakes her head again.shakes her head again.He pours a cup of coffee andHe pours a cup of coffee and places it on the floor next to her, along with a bowl ofplaces it on the floor next to her, along with a bowl of sugar cubes.sugar cubes.

SheShelooks up at him.looks up at him.He nods.He nods.

HeHenods.nods.She gives him a small grateful smile.She gives him a small grateful smile.

Scottie is watching her intently.Scottie is watching her intently.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 50.50.

ForForthat one slight, imperceptible moments it may seem thatthat one slight, imperceptible moments it may seem that shesheis caught, but then she goes on.is caught, but then she goes on.

There is a quick moment of blankness in her eyes that sheThere is a quick moment of blankness in her eyes that she tries to hide, and then:tries to hide, and then:

AndAndScottie sighs inwardly, having proved something.Scottie sighs inwardly, having proved something.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 51.51.

HeHenods.nods.She smiles at him happily, enjoying the warmth andShe smiles at him happily, enjoying the warmth and thethecoffee, enjoying his presence, seemingly almost to havecoffee, enjoying his presence, seemingly almost to have forgotten her nearnessforgotten her nearnessto death.to death.And Scottie is fascinatedAnd Scottie is fascinated bybythis thing curled up before his fire.this thing curled up before his fire.

AAmoment, as Scottie takes a deep breath, and then he decidesmoment, as Scottie takes a deep breath, and then he decides totochance it and see the reaction.chance it and see the reaction.

AtAtthe words, "I've never been inside,"the words, "I've never been inside,"Scottie is startled.Scottie is startled. HeHestares at her, and she looks at him with naive, happystares at her, and she looks at him with naive, happy inquisitiveness, and their looks are joined.inquisitiveness, and their looks are joined.Finally sheFinally she drops her eyes and smiles timidly.drops her eyes and smiles timidly.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 52.52.

SheShereaches up to feel her hair.reaches up to feel her hair.

HeHecrosses the room swiftly, picks up an ash tray in whichcrosses the room swiftly, picks up an ash tray in whichhehe hadhaddeposited her hairpins, takes her handbag from a chair,deposited her hairpins, takes her handbag from a chair, andandbrings them to her.brings them to her.

SheSheproceeds to do up her hair.proceeds to do up her hair.He watches her, held by theHe watches her, held by the movement of her body under the dressing gown as she raisesmovement of her body under the dressing gown as she raises herherarms and deftly sets about putting her hair in order.arms and deftly sets about putting her hair in order.AtAt oneonepoint, as she works, she looks up and flashes him apoint, as she works, she looks up and flashes him a direct smile.direct smile.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 53.53.

HeHenods.nods.A cloud comes over her eyes.A cloud comes over her eyes.She looks away.She looks away.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 54.54.

Then she looks up with a small smile, and the cloud is goneThen she looks up with a small smile, and the cloud is gone from her eyes, and she speaks completely matter-of-factly.from her eyes, and she speaks completely matter-of-factly.

Scottie nods almost imperceptibly with his eyes.Scottie nods almost imperceptibly with his eyes.He looksHe looksatat herherfor a long moment.for a long moment.Then:Then:

SheShelaughs with relief, for it seemed to her, for a quicklaughs with relief, for it seemed to her, for a quick moment, that he was going to say "falling in love".moment, that he was going to say "falling in love".

AndAndthey laugh together, with genuine warmth and friendlinessthey laugh together, with genuine warmth and friendliness inintheir eyes, and it is obvious they are very much takentheir eyes, and it is obvious they are very much taken with each other.with each other.And as they laugh, simultaneously, sheAnd as they laugh, simultaneously, she reaches for the cup of coffee, to take another sip, and hereaches for the cup of coffee, to take another sip, and he reaches for it, meaning to take it and refill it.reaches for it, meaning to take it and refill it.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 55.55.

AndAndhis hand falls on her outstretched arm and stays there,his hand falls on her outstretched arm and stays there, andandwith the contact made, the laughter dies suddenly, andwith the contact made, the laughter dies suddenly, andhehe isislooking down at her intently, and their eyes have met, andlooking down at her intently, and their eyes have met, and hers are anxious and wondering.hers are anxious and wondering.And at that moment, theAnd at that moment, the telephone rings sharply.telephone rings sharply.Scottie races into the bedroom,Scottie races into the bedroom, closing the door behind him, and gets to the phone.closing the door behind him, and gets to the phone.

There is a long silence.There is a long silence.

Another long silence.Another long silence.

AndAndnow it is Scottie's turn to be silent.now it is Scottie's turn to be silent.He hangs upHe hangs up slowly and moves across the room to the door.slowly and moves across the room to the door.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 56.56.

Scottie enters from the bedroom, and stops, surprised.Scottie enters from the bedroom, and stops, surprised.TheThe room is empty.room is empty.The clothes are gone from the in the kitchen.The clothes are gone from the in the kitchen.

AAcar is moving down the hill on the opposite side of thecar is moving down the hill on the opposite side of the street.street.It begins to turn in toward the sidewalk and thenIt begins to turn in toward the sidewalk and then comes to a sudden stop.comes to a sudden stop.

Midge is behind the wheel.Midge is behind the wheel.She is staring out of the sideShe is staring out of the sideofof thethewindow and we see what has made her come to a sudden stop.window and we see what has made her come to a sudden stop.

From Midge's point of view; Madeleine, outside Scottie'sFrom Midge's point of view; Madeleine, outside Scottie's door, hurries to the green Jaguar.door, hurries to the green Jaguar.

Midge watches Madeleine almost wistfully, and there is aMidge watches Madeleine almost wistfully, and there is a small look of hurt in her eyes.small look of hurt in her eyes.But even to herself she hasBut even to herself she has totocover, and she smiles ironically.cover, and she smiles ironically.

TheTheJaguar pulls away and passes out of view.Jaguar pulls away and passes out of view.

Midge is still staring across at Scottie's house, and theMidge is still staring across at Scottie's house, and the soft smile on her lips covers the hurt well.soft smile on her lips covers the hurt well.But there isBut there is still a shadow of it in her eyes.still a shadow of it in her eyes.

Then she suddenly changes expression.Then she suddenly changes expression.

SheShetakes her foot off the brake, and turning hard on thetakes her foot off the brake, and turning hard on the wheel, straightens the car up and drives on.wheel, straightens the car up and drives on.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 57.57.

TheThedoor to Scottie's apartment has opened, and Scottiedoor to Scottie's apartment has opened, and Scottie stands in the doorway looking up and down the street for thestands in the doorway looking up and down the street for the Jaguar, his tall frame silhouetted in the light streamingJaguar, his tall frame silhouetted in the light streaming from the room.from the room.

DISSOLVE TO:DISSOLVE TO:

TheTheCAMERA is SHOOTING through the stone gateway across theCAMERA is SHOOTING through the stone gateway across the small courtyard toward the front door of the apartments.small courtyard toward the front door of the apartments.WeWe seeseeMadeleine emerge.Madeleine emerge.She is dressed completely differentShe is dressed completely different from the night before.from the night before.She makes her way down to the JaguarShe makes her way down to the Jaguar ininthe f.g.the f.g.She gets in, starts up and swings the car roundShe gets in, starts up and swings the car round toward the CAMERA.toward the CAMERA.She passes out of the picture.She passes out of the picture.

Across the street, we see Scottie's sedan pull out and alsoAcross the street, we see Scottie's sedan pull out and also approach the CAMERA.approach the CAMERA.It too, passes out of the picture.It too, passes out of the picture.

Scottie sitting at the wheel driving ahead.Scottie sitting at the wheel driving ahead.His eyes areHis eyes are satisfied.satisfied.They hold Madeleine's car in view.They hold Madeleine's car in view.

WeWesee the Jaguar ahead.see the Jaguar ahead.It turns a left down anotherIt turns a left down another street.street.It goes for a block and turns right.It goes for a block and turns right.Then it turnsThen it turns left again, than it turns right, then it turns left again.left again, than it turns right, then it turns left again.

Scottie looks a little dizzy with the constant turning.Scottie looks a little dizzy with the constant turning.WeWe stay with him a little while and we can see from the scenestay with him a little while and we can see from the scene behind him, that we are still turning left and right.behind him, that we are still turning left and right.

TheTheJaguar speeds up.Jaguar speeds up.It's going down a street, not turningIt's going down a street, not turning anyanymore.more.A few blocks off, we can see the Coit Tower comingA few blocks off, we can see the Coit Tower coming into view.into view.

Scottie seem a little mystified now, as the direction inScottie seem a little mystified now, as the direction in which she is going.which she is going.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 58.58.

TheTheJaguar turns right into a narrow curving street andJaguar turns right into a narrow curving street and finally comes to a sudden stop ahead.finally comes to a sudden stop ahead.

Scottie now wears a look of great astonishment, as he pullsScottie now wears a look of great astonishment, as he pulls upuphurriedly in the middle of the street.hurriedly in the middle of the street.

From his viewpoints, we see the reason for his astonishment.From his viewpoints, we see the reason for his astonishment. Madeleine has alighted and is approaching, of all places,Madeleine has alighted and is approaching, of all places, toward his own red front door.toward his own red front door.

Scottie pulls his car over to the curb and gets out.Scottie pulls his car over to the curb and gets out.TheThe CAMERA PANS him down.CAMERA PANS him down.He stops short just before he reachesHe stops short just before he reaches Madeleine, to see her take a letter from her handbag and putMadeleine, to see her take a letter from her handbag and put ititinto his letter box.into his letter box.He moves up to her.He moves up to her.

Madeleine turns quickly, startled, and then sees who it is,Madeleine turns quickly, startled, and then sees who it is, andandsmiles.smiles.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 59.59.

AndAndhe stops short, now truly embarrassed, and she looks athe stops short, now truly embarrassed, and she looks at himhimwith wide eyes, waiting for him to go on.with wide eyes, waiting for him to go on.

AnAnawkward pause.awkward pause.Scottie turns abruptly to the door,Scottie turns abruptly to the door, getting out his key.getting out his key.

HeHeopens the door and bends down to pick up the letter.opens the door and bends down to pick up the letter.AsAs heheis reaching for it, he turns his head and speaks almostis reaching for it, he turns his head and speaks almost without thinking.without thinking.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 60.60.

SheShesays it so impulsively, and with such young vehemence,says it so impulsively, and with such young vehemence, that they both start to laugh.that they both start to laugh.He straightens up and opensHe straightens up and opens thetheletter.letter.

HeHereads the letter as she watches him.reads the letter as she watches him.He looks up.He looks up.

They smile at one another, and there is a nice moment ofThey smile at one another, and there is a nice moment of silent rapport.silent rapport.Then:Then:

SheSheturns and goes to her car as he stands watching her, andturns and goes to her car as he stands watching her, and gets in behind the wheel.gets in behind the wheel.

AndAndhe races to the car and leans in the window.he races to the car and leans in the window.She watchesShe watches him, open-mouthed, as he crosses the sidewalk.him, open-mouthed, as he crosses the sidewalk.Then:Then:

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 61.61.

AndAndshe waits with a small smile.she waits with a small smile.

AndAndnow henow hewaits, hopefully.waits, hopefully.

HeHeturns his head, startled and annoyed, than makes a dashturns his head, startled and annoyed, than makes a dash forforthe door.the door.As he goes, he turns his head to call back toAs he goes, he turns his head to call back to her.her.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 62.62.

AndAndhe hurries on to the door.he hurries on to the door.She watches him go, and weShe watches him go, and we areareclose on her face to see her genuine amusement, and thenclose on her face to see her genuine amusement, and then thethelaughter fades a little, and a troubled look comes intolaughter fades a little, and a troubled look comes into herhereyes, a touch of concern.eyes, a touch of concern.

DISSOLVE TO:DISSOLVE TO:

TheThegreen Jaguar moving south.green Jaguar moving south.

Madeleine is at the wheel, her eyes intent on the road, aMadeleine is at the wheel, her eyes intent on the road, a sort, happy smile on her lips.sort, happy smile on her lips.Scottie is at her side,Scottie is at her side, relaxed.relaxed.He keeps looking at her as often as he can withoutHe keeps looking at her as often as he can without seeming obvious.seeming obvious.

SheSheflashes a quick smile of innocence at him, then returnsflashes a quick smile of innocence at him, then returns herhereyes to the road.eyes to the road.He looks at her profile, wondering.He looks at her profile, wondering.

TheThecar turns a bend and approaches dark woods and moves intocar turns a bend and approaches dark woods and moves into thetheblackness and is swallowed up.blackness and is swallowed up.

DISSOLVE TO:DISSOLVE TO:

BIGBIGBASIN REDWOODS STATE PARK - (DAY)BASIN REDWOODS STATE PARK - (DAY)

TheTheempty Jaguar in the foreground.empty Jaguar in the foreground.The CAMERA MOVES to aThe CAMERA MOVES to a long view of the grove of redwoods.long view of the grove of redwoods.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 63.63.

InInthe distance we see the figures of Madeleine and Scottiethe distance we see the figures of Madeleine and Scottie wandering among the towering trees.wandering among the towering trees.

DISSOLVE TO:DISSOLVE TO:

Madeleine and Scottie near the massive trunk of a tree.Madeleine and Scottie near the massive trunk of a tree. Beyond them, the small stream, bridged by a wide flattenedBeyond them, the small stream, bridged by a wide flattened redwood log.redwood log.

Scottie nods and watches her, wondering, as she looks aboutScottie nods and watches her, wondering, as she looks about thoughtfully.thoughtfully.

SheSheshakes her head, lost in thought as she lets her gazeshakes her head, lost in thought as she lets her gaze wander among the trees.wander among the trees.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 64.64.

SheShelooks up at him with a shy, embarrassed smile.looks up at him with a shy, embarrassed smile.Then,Then, seeing the wandering look in his eyes, she brightens quickly.seeing the wandering look in his eyes, she brightens quickly.

SheSheleaves him and moves quickly out onto the bridge andleaves him and moves quickly out onto the bridge and loans on the railing to watch the water rippling below.loans on the railing to watch the water rippling below.AndAnd then, as he approaches her, she turns and looks at him, wide-then, as he approaches her, she turns and looks at him, wide- eyed.eyed.

SheShelistens intensely for a long moment, and looks at himlistens intensely for a long moment, and looks at him anxiously.anxiously.

SheSheturns away with gentle, somber, self-contained wonder,turns away with gentle, somber, self-contained wonder, andandthey cross back to the path in silence, and wander onthey cross back to the path in silence, and wander on along the path in silence.along the path in silence.We watch them move away in theWe watch them move away in the distance, disappear behind a tree, then come into view again,distance, disappear behind a tree, then come into view again, andandnow there comes into view the cross-section of a redwoodnow there comes into view the cross-section of a redwood tree that is on exhibit, with certain of its rings marked totree that is on exhibit, with certain of its rings marked to show what it has lived through, and they approach it.show what it has lived through, and they approach it.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 65.65.

Scottie moves to the small upright drinking fountain asScottie moves to the small upright drinking fountain as Madeleine approaches the tree section and stands before itMadeleine approaches the tree section and stands before it andandstudies it.studies it.Scottie gets a drink of water, then comesScottie gets a drink of water, then comesupup behind Madeleine and stands, and she is seemingly unaware ofbehind Madeleine and stands, and she is seemingly unaware of hishispresence.presence.Their backs are to the CAMERA.Their backs are to the CAMERA.

INSERT OF RINGS on the tree, marked with dates, beginning,INSERT OF RINGS on the tree, marked with dates, beginning, near the center with the date 909 A.D. and ending withnear the center with the date 909 A.D. and ending with 1930 - tree cut down.1930 - tree cut down.

WeWesee the two profiles: Madeleine staring at the tree,see the two profiles: Madeleine staring at the tree, Scottie staring at Madeleine.Scottie staring at Madeleine.She raises one gloved hand andShe raises one gloved hand and almost idly begins to trace a finger up along the white linealmost idly begins to trace a finger up along the white line that is marked: 1776 DECLARATION OF INDEPENDENCE.that is marked: 1776 DECLARATION OF INDEPENDENCE.And as theAnd as the hand moves a little to the left, Madeleine begins to speak,hand moves a little to the left, Madeleine begins to speak, almost vacantly, oblivious of all but this piece of tree, andalmost vacantly, oblivious of all but this piece of tree, and herself.herself.

SheSheturns her head to him, only now aware of his presence,turns her head to him, only now aware of his presence, andandstares at him without expression.stares at him without expression.Then slowly she turnsThen slowly she turns andandwalks away, and the CAMERA, PANNING HER SLIGHTLY, bringswalks away, and the CAMERA, PANNING HER SLIGHTLY, brings thethehead and shoulders of Scottie into the foreground, andhead and shoulders of Scottie into the foreground, andhehe watches her, wondering anxiously, trying to put thingswatches her, wondering anxiously, trying to put things together in his mind.together in his mind.Madeleine walks on until sheMadeleine walks on until she disappears behind one of the distant redwoods.disappears behind one of the distant redwoods.

Scottie moves over, watching her.Scottie moves over, watching her.

TheTheCAMERA MOVES OVER as though it is Scottie looking.CAMERA MOVES OVER as though it is Scottie looking.ItIt MOVES far enough to reveal that Madeleine is no longer there.MOVES far enough to reveal that Madeleine is no longer there. SheSheseems to have disappeared.seems to have disappeared.

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Scottie comes forward, the CAMERA PANNING him, to get aScottie comes forward, the CAMERA PANNING him, to get a better view of where Madeleine went.better view of where Madeleine went.

TheTheCAMERA in Scottie's position, moving around, shows thatCAMERA in Scottie's position, moving around, shows that there is no sign of Madeleine whatsoever.there is no sign of Madeleine whatsoever.

TheTheCAMERA DOLLIES Scottie down toward the trees.CAMERA DOLLIES Scottie down toward the trees.

CAMERA is now among the trees where Madeleine was last seen.CAMERA is now among the trees where Madeleine was last seen. AsAsit TRAVELS across them, it finally brings her into view.it TRAVELS across them, it finally brings her into view. She's leaning against a tree with her head bent back.She's leaning against a tree with her head bent back.

Scottie comes to a stop as he sees her.Scottie comes to a stop as he sees her.

Madeleine leaning against the tree.Madeleine leaning against the tree.Her eyes are closed andHer eyes are closed and shesheis breathing heavily.is breathing heavily.In the background we see ScottieIn the background we see Scottie approaching her.approaching her.As he comes up to her, the CAMERA EASESAs he comes up to her, the CAMERA EASES BACK and MOVES AROUND until it faces her and Scottie.BACK and MOVES AROUND until it faces her and Scottie.

SheSheopens her eyes slowly, and looks at him, recognizing him,opens her eyes slowly, and looks at him, recognizing him, andandyet not quite, as though she were slightly hypnotized.yet not quite, as though she were slightly hypnotized. Scottie speaks gently.Scottie speaks gently.

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SheSheshakes her head.shakes her head.

SheSheshakes her head.shakes her head.

HerHerhead continues to move back and forth, gently denying.head continues to move back and forth, gently denying. HisHisvoice is more positive, now, more urgently demanding.voice is more positive, now, more urgently demanding.

TheThehead moves more rapidly, now, as though denying somehead moves more rapidly, now, as though denying some inner compulsion.inner compulsion.

TheTherapidly moving head stops short, and her eyes open wide,rapidly moving head stops short, and her eyes open wide, andandshe cries out:she cries out:

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They are both speaking quickly, now, the words cascadingThey are both speaking quickly, now, the words cascading without pause.without pause.

SheSheis fighting it strongly, yet pathetically.is fighting it strongly, yet pathetically.

AndAndher head drops, and she sags, and Scottie stands quietlyher head drops, and she sags, and Scottie stands quietly watching her, knowing he can push it no further.watching her, knowing he can push it no further.

HeHetakes her arm.takes her arm.She looks up at him with a tired smile.She looks up at him with a tired smile.

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HeHelooks down at her somberly, promising and refusinglooks down at her somberly, promising and refusing nothing.nothing.They start walking, holding together, and the twoThey start walking, holding together, and the two figures become small in the distance, moving away through thefigures become small in the distance, moving away through the tall trees.tall trees.

DISSOLVE TO:DISSOLVE TO:

Below the point of land, the sea pounds against the rocks.Below the point of land, the sea pounds against the rocks. Madeleine stands alone, silhouetted against the sky.Madeleine stands alone, silhouetted against the sky.ScottieScottie sits in the car, watching her.sits in the car, watching her.She does not move.She does not move.ThenThen slowly she starts to walk toward the sea, and as he watchesslowly she starts to walk toward the sea, and as he watches hehesenses, without being sure, that her pace is increasing,senses, without being sure, that her pace is increasing, andandsuddenly he opens the car door and jumps out and slamssuddenly he opens the car door and jumps out and slams thethedoor and begins to run.door and begins to run.But then he sees something, andBut then he sees something, and slows down quickly and walks, for Madeleine has stopped andslows down quickly and walks, for Madeleine has stopped and turned and is waiting for him.turned and is waiting for him.There is a gentle, apologeticThere is a gentle, apologetic smile in her eyes.smile in her eyes.She waits, and he comes to a stop beforeShe waits, and he comes to a stop before her.her.

HeHelooks down at her searchingly.looks down at her searchingly.

HeHewaits.waits.She looks down.She looks down.

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SheShenods.nods.

SheSheshakes her head.shakes her head.

SheSheshakes her head.shakes her head.

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SheShelooks up at him, rebuffed, desperately lost, and her eyeslooks up at him, rebuffed, desperately lost, and her eyes well with tears.well with tears.Scottie is looking away, lost in thought.Scottie is looking away, lost in thought.

Scottie looks at her, and her eyes are big with fright andScottie looks at her, and her eyes are big with fright and despair and a plea for denial, and suddenly she breaks, anddespair and a plea for denial, and suddenly she breaks, and thethetears flow, and she turns her head away sharply and turnstears flow, and she turns her head away sharply and turns andandruns toward the edge of the land.runs toward the edge of the land.

HeHeraces after her and catches her and holds her, and she israces after her and catches her and holds her, and she is against him, clinging tightly, deep in his embrace, andagainst him, clinging tightly, deep in his embrace, and sobbing fiercely.sobbing fiercely.

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HerHerface is close to his and they are clinging tightlyface is close to his and they are clinging tightly together.together.He shakes his head, and then suddenly his mouthHe shakes his head, and then suddenly his mouthisis ononhers, and they are deep in a kiss.hers, and they are deep in a kiss.Their lips part, butTheir lips part, but remain close together.remain close together.

They kiss again, passionately.They kiss again, passionately.And the wind blows and theAnd the wind blows and the waves dash against the rocks, throwing up a curtain of spray.waves dash against the rocks, throwing up a curtain of spray.

DISSOLVE TO:DISSOLVE TO:

Outside the terrace darkness is falling, and the lights ofOutside the terrace darkness is falling, and the lights of thethecity have come on.city have come on.In Midge's apartment the lights areIn Midge's apartment the lights are ononand soft music comes from the radio (possibly "progressiveand soft music comes from the radio (possibly "progressive jazz" of the gentle George Shearing kind).jazz" of the gentle George Shearing kind).Midge is paintingMidge is painting atata standing easel; She has a palette; obviously she isa standing easel; She has a palette; obviously she is painting in oils.painting in oils.We cannot see what she is painting; theWe cannot see what she is painting; the canvas on stretchers has its back to us. Its size is aboutcanvas on stretchers has its back to us. Its size is about thirty by forty inches.thirty by forty inches.Whatever it is, it seems to pleaseWhatever it is, it seems to please her: she pauses in her work, picks up a highball from a tableher: she pauses in her work, picks up a highball from a table nearby, drinks and stares at the painting and giggles anearby, drinks and stares at the painting and giggles a little to herself than applies a few more daubs.little to herself than applies a few more daubs.Now sheNow she hears the outside gate slam.hears the outside gate slam.She puts down the brush and theShe puts down the brush and the drink, moves the easel a bit so that the canvas cannot bedrink, moves the easel a bit so that the canvas cannot be seen from the front door, picks up a water tumbler thatseen from the front door, picks up a water tumbler that contains a small nosegay, and hurries out to the kitchen withcontains a small nosegay, and hurries out to the kitchen with it.it.The door to the apartment slams.The door to the apartment slams.

Midge hurries out of the kitchen.Midge hurries out of the kitchen.

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SheSheimmediately goes to the small sideboard or table on whichimmediately goes to the small sideboard or table on which arearebottles, glasses, and ice, and mixes him a highball.bottles, glasses, and ice, and mixes him a highball. Scottie is at ease.Scottie is at ease.He drops his hat on a chair near theHe drops his hat on a chair near the door and wanders into the room.door and wanders into the room.

SheShehands him the drink.hands him the drink.He takes a long pull at it as sheHe takes a long pull at it as she watches him.watches him.

SheShecrosses the room to get her own drink, giving a flick ofcrosses the room to get her own drink, giving a flick of aaglance at the canvas as she goes.glance at the canvas as she goes.Scottie watches her,Scottie watches her, slightly amused, knowing that her curiosity is working likeslightly amused, knowing that her curiosity is working like mad.mad.

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PAUSEPAUSE

HeHetakes another long pull and wanders over and sweetens thetakes another long pull and wanders over and sweetens the drink.drink.Midge moves a little to block his view of the easelMidge moves a little to block his view of the easel andandcanvas.canvas.

HeHewanders back into the room.wanders back into the room.

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Scottie moves toward the easel and Midge backs away, so thatScottie moves toward the easel and Midge backs away, so that asashe comes around to face the canvas she in beyond him, inhe comes around to face the canvas she in beyond him, in back of him.back of him.As he moves toward the easel:As he moves toward the easel:

AndAndnow he comes around to face the easel and stops to look.now he comes around to face the easel and stops to look. Beyond him Midge's face has a great smile of anticipation.Beyond him Midge's face has a great smile of anticipation. AndAndnow we see what he sees.now we see what he sees.The CAMERA RESTS on the lowerThe CAMERA RESTS on the lower half of the canvas and we see the folds of the blue and goldhalf of the canvas and we see the folds of the blue and gold gown, and the two hands, one holding the nosegay.gown, and the two hands, one holding the nosegay.The CAMERAThe CAMERA PANS UP to reveal that it is a hasty but quite creditablePANS UP to reveal that it is a hasty but quite creditable copy of the "Portrait of Carlotta", half size, but there iscopy of the "Portrait of Carlotta", half size, but there is oneonedifference.difference.The face is Midge's face.The face is Midge's face.

Scottie staring at the portrait.Scottie staring at the portrait.Beyond him, Midge smilingBeyond him, Midge smiling with anticipation.with anticipation.Scottie's face is drained andScottie's face is drained and expressionless, and a deep look of sadness and regret comesexpressionless, and a deep look of sadness and regret comes into his eyes.into his eyes.PAUSE.PAUSE.

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Midge's smile fades.Midge's smile fades.She is puzzled and surprised.She is puzzled and surprised.ScottieScottie puts down his drink gently and without looking at her, startsputs down his drink gently and without looking at her, starts forforthe door.the door.

Scottie takes his hat from the chair and moves on to theScottie takes his hat from the chair and moves on to the door.door.Midge, completely taken aback, starts for him.Midge, completely taken aback, starts for him.

SheShebreaks off as he turns his head to look at her.breaks off as he turns his head to look at her.He's notHe's not atatall angry, but disturbed inside and sorry it happened.all angry, but disturbed inside and sorry it happened.

AndAndhe goes out the door and closes it behind him.he goes out the door and closes it behind him.

AndAndshe stares at the door with a "Well-I'll-be-damned"she stares at the door with a "Well-I'll-be-damned" expression.expression.And now, abruptly, she gets angry at herself.And now, abruptly, she gets angry at herself.

SheSheturns away and moves toward the canvasturns away and moves toward the canvas

SheShestops before the canvas and stares at her face in thestops before the canvas and stares at her face in the portrait.portrait.And all her anger at herself comes out in oneAnd all her anger at herself comes out in one great blast of scorn.great blast of scorn.

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AndAndshe picks up a brush and with three vicious daubs paintsshe picks up a brush and with three vicious daubs paints aamoustache and a board on her image.moustache and a board on her image.Than she throws theThan she throws the brush out the window.brush out the window.

DISSOLVE TO:DISSOLVE TO:

ItItis about 3 a.m.is about 3 a.m.The Square is deserted -- perhaps an oddThe Square is deserted -- perhaps an odd taxi or car drives by.taxi or car drives by.We see Scottie, a solitary figure,We see Scottie, a solitary figure, walking.walking.By his attitude, head down, handsBy his attitude, head down, handsthrust into histhrust into his pockets, we see that he is lost in thought wrestling with hispockets, we see that he is lost in thought wrestling with his problem.problem.

DISSOLVE TO:DISSOLVE TO:

Scottie is in the easy chair facing the fire asleep.Scottie is in the easy chair facing the fire asleep.His tieHis tie isisloosened, his shirt is open at the neck.loosened, his shirt is open at the neck.It is clear thatIt is clear that hehefell asleep while sitting there thinking of Madeleine, andfell asleep while sitting there thinking of Madeleine, and slept through the night.slept through the night.The fire is almost out.The fire is almost out.ThroughThrough thethewindow we can barely distinguish Coit Tower in thewindow we can barely distinguish Coit Tower in the beginning of a grey dawn.beginning of a grey dawn.

TheThedoorbell begins to ring instantly.doorbell begins to ring instantly.There is a knockingThere is a knocking ononthe door.the door.Scottie awakens sharply, gathers himselfScottie awakens sharply, gathers himself together, hurries to the door and opens it.together, hurries to the door and opens it.Madeleine standsMadeleine stands there, looking shaken and white and frightened.there, looking shaken and white and frightened.She isShe is wearing a black suede jacket and black slacks.wearing a black suede jacket and black slacks.Behind her,Behind her, fingers of mist swirl in the lightening day.fingers of mist swirl in the lightening day.She standsShe stands there staring at him pleadingly.there staring at him pleadingly.

HeHedraws her in and closes the door and leads her into thedraws her in and closes the door and leads her into the room.room.

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SheSheis trembling, and he holds her closely.is trembling, and he holds her closely.

HeHebreaks away to a small cupboard nearby.breaks away to a small cupboard nearby.

HeHegets out a bottle of brandy and a small glass and uncorksgets out a bottle of brandy and a small glass and uncorks thethebottle and pours the brandy as he comes back to her.bottle and pours the brandy as he comes back to her.

SheShetakes a sip and puts the glass away.takes a sip and puts the glass away.

SheSheis still shaking.is still shaking.

HeHegently pushes her down in the easy chair, turns swiftlygently pushes her down in the easy chair, turns swiftly andandkicks up the fire and throws some wood on.kicks up the fire and throws some wood on.He pulls theHe pulls the lowlowstool up before her, sits on it, and takes her hands.stool up before her, sits on it, and takes her hands.

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Scottie has been listening intently with growing awareness,Scottie has been listening intently with growing awareness, andandnow as she mentions the livery stable, his eyes glow withnow as she mentions the livery stable, his eyes glow with thetheexcitement of recognition.excitement of recognition.

Pause, as she stares at him, puzzled, anxious.Pause, as she stares at him, puzzled, anxious.

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Long pause as they stare at each other, he desperately tryingLong pause as they stare at each other, he desperately trying totothink It through, she moved and frightened.think It through, she moved and frightened.He rises andHe rises and moves away, anxious and shaken.moves away, anxious and shaken.

HeHeshakes his head angrily, fighting the idea.shakes his head angrily, fighting the idea.MadeleineMadeleine watches him anxiously.watches him anxiously.

HeHeturns on Madeleine almost desperately.turns on Madeleine almost desperately.

SheSheshakes her head frantically, hopelessly, close to tears.shakes her head frantically, hopelessly, close to tears. PAUSE.PAUSE.

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SheShelooks at him, frightened again by the memory.looks at him, frightened again by the memory.He goesHe goestoto herherreassuringly.reassuringly.

SheShelooks up at him and tries to smile.looks up at him and tries to smile.

SheShenods.nods.

HeHeraises her to her feet.raises her to her feet.She smiles up at him gratefully.She smiles up at him gratefully.

They stand there for a moment, looking at each other.They stand there for a moment, looking at each other.

DISSOLVE TO:DISSOLVE TO:

Tall trees line the road on both sides and arch across toTall trees line the road on both sides and arch across to meet high above, forming a long shadowy tunnel shot throughmeet high above, forming a long shadowy tunnel shot through with streamers of sunlight.with streamers of sunlight.We are as though in the frontWe are as though in the front seat, of a car, traveling fast, looking up and ahead to theseat, of a car, traveling fast, looking up and ahead to the distant end of the tunnel, and the trees flash by.distant end of the tunnel, and the trees flash by.

Another angle to show the green Jaguar traveling along theAnother angle to show the green Jaguar traveling along the road through the tunnel of trees.road through the tunnel of trees.

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Madeleine and Scottie; he is at the wheel, staring straightMadeleine and Scottie; he is at the wheel, staring straight ahead, lost in thought.ahead, lost in thought.Madeleine, now smartly-dressed inMadeleine, now smartly-dressed in herhergrey suit, is staring up at the tunnel of trees.grey suit, is staring up at the tunnel of trees.ScottieScottie glances at her.glances at her.She smiles at him timidly.She smiles at him timidly.

SHOOTING down the road toward the end of the tunnel of trees,SHOOTING down the road toward the end of the tunnel of trees, andandthe Jaguar moving away fast.the Jaguar moving away fast.It sets clear of the treesIt sets clear of the trees andandinto daylight.into daylight.

DISSOLVE TO:DISSOLVE TO:

Side angle SHOT of the Jaguar as it turns off onto a sideSide angle SHOT of the Jaguar as it turns off onto a side road.road.The CAMERA PANS the car, then loses it as it goes outThe CAMERA PANS the car, then loses it as it goes out ofofthe SHOT, and HOLDS on a road sign that reads:the SHOT, and HOLDS on a road sign that reads:

MISSION SAN JUAN BAUTISTAMISSION SAN JUAN BAUTISTA 3 MILES3 MILES

WeWeare looking along the cloisters, down the long corridorare looking along the cloisters, down the long corridorofof arches.arches.In the foreground a small sign a standard reads:In the foreground a small sign a standard reads:

EL CAMINO REALEL CAMINO REAL MISSION SAN JUAN BAUTISTAMISSION SAN JUAN BAUTISTA FOUNDED JUNE 24, 1797FOUNDED JUNE 24, 1797

TheThemusic of the Mission theme, mingled with Carlotta'smusic of the Mission theme, mingled with Carlotta's theme, begins to drifttheme, begins to driftin, an evocation of the past; ain, an evocation of the past; a sighing that grows endsighing that grows endseem to have behind it the echo ofseem to have behind it the echo of lost voices calling.lost voices calling.The CAMERA MOVES AND EASES AROUND A BITThe CAMERA MOVES AND EASES AROUND A BIT totolook through the arches across the green toward the openlook through the arches across the green toward the open side and the valley and the hills beyond.side and the valley and the hills beyond.A lone nun isA lone nun is crossing the green to the church.crossing the green to the church.A clock strikes the halfA clock strikes the half hour.hour.The CAMERA PANSThe CAMERA PANSto look at the large wooden two-storyto look at the large wooden two-story house on the far side of the green, then the little garden,house on the far side of the green, then the little garden, then the Plaza Livery Stable, and the road alongside.then the Plaza Livery Stable, and the road alongside.TheThe Jaguar stands there empty.Jaguar stands there empty.The CAMERA CONTINUES TO PAN alongThe CAMERA CONTINUES TO PAN along thethewhitewashed stone Castro House, sees the pepper tree,whitewashed stone Castro House, sees the pepper tree, MOVES along the Plaza Hotel, and comes to REST SHOOTING atMOVES along the Plaza Hotel, and comes to REST SHOOTING at thethesaloon that forms the far corner of the hotel.saloon that forms the far corner of the hotel.ThreeThree tourists exit from thetourists exit from theentrance of the hotel, get into theirentrance of the hotel, get into their car.car.The car moves toward the CAMERA, and goes past, and outThe car moves toward the CAMERA, and goes past, and out ofofthe SHOT.the SHOT.The CAMERA DOLLIES IN to the front door of theThe CAMERA DOLLIES IN to the front door of the saloon.saloon.Over the doorOver the dooris a sign: PLAZA HOTEL BAR ROOM.is a sign: PLAZA HOTEL BAR ROOM.

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OnOneither side of the door are posters proclaiming rewardseither side of the door are posters proclaiming rewards forforthe apprehension of bandits who have held up Wells Fargothe apprehension of bandits who have held up Wells Fargo Express Wagons.Express Wagons.The CAMERA SHOOTS THROUGH the open door.The CAMERA SHOOTS THROUGH the open door.

Empty, silent; old pool tables in the foreground, the bar inEmpty, silent; old pool tables in the foreground, the bar in thethebackground.background.As the CAMERA SCANS the room:As the CAMERA SCANS the room:

DISSOLVE TO:DISSOLVE TO:

ItIttoo is silent and deserted.too is silent and deserted.In the far wall, a fireplace,In the far wall, a fireplace, with an old clock on the mantel.with an old clock on the mantel.In one corner, small oldIn one corner, small old organ, with a hymnal open on the rack; in the other corner,organ, with a hymnal open on the rack; in the other corner, aaVictorian sofa.Victorian sofa.The flowered rug is faded, the furnitureThe flowered rug is faded, the furniture isisshabby.shabby.

DISSOLVE TO:DISSOLVE TO:

Looking toward the lovely pepper tree and the whitewashedLooking toward the lovely pepper tree and the whitewashed stone Castro Rouse, and the tall eucalyptus tree beyond.stone Castro Rouse, and the tall eucalyptus tree beyond.TheThe CAMERA PANS SLOWLY past the empty Jaguar and come to REST onCAMERA PANS SLOWLY past the empty Jaguar and come to REST on thethedark opening of the Livery Stable and MOVES SLOWLY towarddark opening of the Livery Stable and MOVES SLOWLY toward it.it.

DISSOLVE TO:DISSOLVE TO:

TheThedark interior of the Livery Stable.dark interior of the Livery Stable.The figures ofThe figures of Scottie and Madeleine are seen a little way in.Scottie and Madeleine are seen a little way in.MadeleineMadeleineisis seated in a surrey, while Scottie stands by her.seated in a surrey, while Scottie stands by her.

Madeleine's eyes are closed.Madeleine's eyes are closed.Scottie, leaning against theScottie, leaning against the surrey, looks up at her intently.surrey, looks up at her intently.After moment he calls toAfter moment he calls to herhersoftly.softly.

SheSheopens her eyes and looks down at him.opens her eyes and looks down at him.

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SheShesmiles at him gently.smiles at him gently.

SheShelooks down at him with, a worried, regretful smile,looks down at him with, a worried, regretful smile, wishing she could help him.wishing she could help him.Then she looks away into theThen she looks away into the distance, and speaks almost at irrelevantly.distance, and speaks almost at irrelevantly.

Scottie looks up at her in desperation, then looks about theScottie looks up at her in desperation, then looks about the stable for help.stable for help.His look scans the carriages and wagonsHis look scans the carriages and wagons lined against the wall, goes past the old fire truck on whichlined against the wall, goes past the old fire truck on which there is a placard proclaiming the world's championship ofthere is a placard proclaiming the world's championship of 1884, and finally stops at a small buggy -- a Bike Wagon --1884, and finally stops at a small buggy -- a Bike Wagon -- totowhich is hitched a full-sized model of a handsome greywhich is hitched a full-sized model of a handsome grey horse.horse.

HeHeraces to the horse.races to the horse.On it hangs a sign: "GreyhoundOn it hangs a sign: "Greyhound World's Greatest Trotter."World's Greatest Trotter."

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HeHelooks across to Madeleine eagerly.looks across to Madeleine eagerly.She is staring ahead,She is staring ahead, lost in the past.lost in the past.

NoNoanswer.answer.The music is more insistent, now, a pullingThe music is more insistent, now, a pulling wind,, and the faint voices call more clearly. Madeleinewind,, and the faint voices call more clearly. Madeleine slowly rises to her feet as though sensing the call.slowly rises to her feet as though sensing the call.ScottieScottie moves back to her and stands there looking up.moves back to her and stands there looking up.He raises hisHe raises his arms, she puts her bands on his shoulders and slips to thearms, she puts her bands on his shoulders and slips to the ground with his help, and he is holding her.ground with his help, and he is holding her.Their heads areTheir heads are close together.close together.

With a small movement, their lips come together, and theyWith a small movement, their lips come together, and they kiss; not impulsively, as before, but with deep, sure lovekiss; not impulsively, as before, but with deep, sure love andandhunger for each other.hunger for each other.Their lips part, but he stillTheir lips part, but he still holds her tightly, his head pressed down against hers, andholds her tightly, his head pressed down against hers, and shesheis looking past him, her eyes wide with anxiety.is looking past him, her eyes wide with anxiety.And aAnd a clock strikes the three-quarter hour.clock strikes the three-quarter hour.

HeHeholds her gently, now; brushes his lips along her to herholds her gently, now; brushes his lips along her to her eyes, down to her mouth.eyes, down to her mouth.

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AndAndthey kiss again. As they part:they kiss again. As they part:

SheShelooks up at him with deep regret and wonder in her eyeslooks up at him with deep regret and wonder in her eyes then suddenly breaks from him and runs out the door.then suddenly breaks from him and runs out the door.HeHe stands still, startled for a moment, then runs after her.stands still, startled for a moment, then runs after her.

Madeleine is running across the grass toward the church.Madeleine is running across the grass toward the church. Scottie catches up with her.Scottie catches up with her.

Scottie swings her around to face him.Scottie swings her around to face him.

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SheShepulls away and turns and walks swiftly toward the church,pulls away and turns and walks swiftly toward the church, herherhead bowed.head bowed.CAMERA DOLLIES with her.CAMERA DOLLIES with her.She is frightened,She is frightened, andandclose to tears.close to tears.Scottie follows her a half-step behind.Scottie follows her a half-step behind. TheThelivery stable drops away out of the SHOT, and the twolivery stable drops away out of the SHOT, and the two heads fill the screen with only the sky an background.heads fill the screen with only the sky an background.

NoNoanswer.answer.They keep walking, and then suddenly with headThey keep walking, and then suddenly with head bowed, she begins to run again, and runs out of the SHOT.bowed, she begins to run again, and runs out of the SHOT.AA moment, then he runs after her.moment, then he runs after her.

WeWesee Madeleine running toward the Cloisters, Scottie aftersee Madeleine running toward the Cloisters, Scottie after her.her.Finally he stops her once again.Finally he stops her once again.

Scottie grabs her by the arm.Scottie grabs her by the arm.

TheThestruggle ceases.struggle ceases.She remains limp in his grasp for aShe remains limp in his grasp for a long moment, then slowly raises her head to look at him.long moment, then slowly raises her head to look at him.HerHer eyes study his face searchingly.eyes study his face searchingly.

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PAUSE.PAUSE.

HeHestares at her, sees the pleading look in her eyes, andstares at her, sees the pleading look in her eyes, and lets go.lets go.She turns and walks away toward the church, slowly,She turns and walks away toward the church, slowly, herherhead bowed.head bowed.He watches her go and starts to move afterHe watches her go and starts to move after her.her.Then slowly, as she goes, her head begins to go upThen slowly, as she goes, her head begins to go up until finally, as she walks, she is staring high above her.until finally, as she walks, she is staring high above her. AndAndthen, suddenly, she breaks into a broken run.then, suddenly, she breaks into a broken run.

Scottie jerks his head up to see what she was looking at.Scottie jerks his head up to see what she was looking at.

From Scottie's viewpoint: the high church tower.From Scottie's viewpoint: the high church tower.

Scottie, immediately alarmed, brings his eyes down and looksScottie, immediately alarmed, brings his eyes down and looks toward the church entrance.toward the church entrance.

From Scottie's viewpoint: Madeleine runs through the openFrom Scottie's viewpoint: Madeleine runs through the open front door of the church, and vanishes.front door of the church, and vanishes.

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Scottie starts to run toward the church.Scottie starts to run toward the church.

HeHeruns to the church door and runs in.runs to the church door and runs in.

Scottie runs in and looks around frantically.Scottie runs in and looks around frantically.The church isThe church is empty.empty.A moment, then he hears the sound of footstepsA moment, then he hears the sound of footsteps running up wooden steps.running up wooden steps.He turns in the direction of theHe turns in the direction of the sound, sees a door standing open at the side of the church,sound, sees a door standing open at the side of the church, andandthrough the door the beginning of a flight of steps.through the door the beginning of a flight of steps.HeHe runs to the open door and goes through.runs to the open door and goes through.

Scottie runs in, stops at the foot of the steps, hears theScottie runs in, stops at the foot of the steps, hears the running footsteps, and looks up.running footsteps, and looks up.From his viewpoint we seeFrom his viewpoint we see Madeleine running up the open stairway that spirals up alongMadeleine running up the open stairway that spirals up along thethewalls of the high tower.walls of the high tower.She is already well on her way.She is already well on her way.

Scottie is immediately stricken by vertigo, and the tallScottie is immediately stricken by vertigo, and the tall tower seems to slide away from him.tower seems to slide away from him.He makes an attempt toHe makes an attempt to start up the stairs, flattens himself against the wall andstart up the stairs, flattens himself against the wall and struggles up.struggles up.He claws his way up, crosses over to the hand-He claws his way up, crosses over to the hand- railing and uses it to pull his body up the steps, one by onerailing and uses it to pull his body up the steps, one by one struggling for breath, unable to call, though he tries.struggling for breath, unable to call, though he tries.AndAnd Madeleine keeps running.Madeleine keeps running.

Madeleine reaches the top goes through a small wooden door.Madeleine reaches the top goes through a small wooden door. WeWesee it slam, hear it locked.see it slam, hear it locked.

Scottie, struggling up, reaches a landing next to a smallScottie, struggling up, reaches a landing next to a small open arch that looks out on the back garden, and has to stopopen arch that looks out on the back garden, and has to stop tototight his nausea.tight his nausea.

There is a scream from above.There is a scream from above.Through the arch he sees aThrough the arch he sees a body fall.body fall.He calls "Madeleine"!, and looks down through theHe calls "Madeleine"!, and looks down through the arch.arch.

Figure of the dead Madeleine.Figure of the dead Madeleine.Her body is lying on the roofHer body is lying on the roof ofofthe cloister.the cloister.

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TheThevertigo hits Scottie again and the body and the root ofvertigo hits Scottie again and the body and the root of thethecloister move and fall away into space, and thiscloister move and fall away into space, and this DISSOLVES THROUGH TO:DISSOLVES THROUGH TO:

TheThebody of the policeman falling from the rooftop, tumblingbody of the policeman falling from the rooftop, tumbling through space to the street below.through space to the street below.

Scottie has to look away in desperate horror.Scottie has to look away in desperate horror.He hearsHe hears voices, looks through the arch again, and sees two nunsvoices, looks through the arch again, and sees two nuns hurrying across the garden from the dormitory at the back,hurrying across the garden from the dormitory at the back, looking up at the roof of the cloister.looking up at the roof of the cloister.

HeHeturns and gazes down the great height he now has toturns and gazes down the great height he now has to descend, flattens himself against the wall, and withdescend, flattens himself against the wall, and with trancelike desperation tries to start moving.trancelike desperation tries to start moving.

FADE OUT:FADE OUT:

FADE IN:FADE IN:

Once again we see the whole of the square, but now, in sharpOnce again we see the whole of the square, but now, in sharp contrast, it is filled with cars parked along the roadwaycontrast, it is filled with cars parked along the roadway that encircles the green.that encircles the green.

Before Plaza Hall, the large grey wooden building next to theBefore Plaza Hall, the large grey wooden building next to the Livery Stable, and on its front porch, groups of citizens areLivery Stable, and on its front porch, groups of citizens are gathered, talking.gathered, talking.Some people glance up to the secondSome people glance up to the second floor, where the windows are open, and from which a droningfloor, where the windows are open, and from which a droning voice can faintly be heard.voice can faintly be heard.

TheTheCAMERA ZOOMS UP to the open window, and as it does, theCAMERA ZOOMS UP to the open window, and as it does, the voice of the speaker becomes louder and the words morevoice of the speaker becomes louder and the words more intelligible.intelligible.

TheTheCoroner's Inquest is in session.Coroner's Inquest is in session.The Jury of twelveThe Jury of twelve local people is at one side.local people is at one side.Among the people assembled weAmong the people assembled we see: the two nuns, escorted by a priest; Gavin Elster withsee: the two nuns, escorted by a priest; Gavin Elster with hishisattorney; some State Patrolmen; and, of course, Scottie.attorney; some State Patrolmen; and, of course, Scottie. Next to him is a burly man in his fifties in civilianNext to him is a burly man in his fifties in civilian clothes; almost obviously a detective and obviously Scottie'sclothes; almost obviously a detective and obviously Scottie's oneonefriend there.friend there.He is Detective Captain Fred Hansen of theHe is Detective Captain Fred Hansen of the SanSanFrancisco Police.Francisco Police.

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AtAtthe front of the room is the Official who is speaking, athe front of the room is the Official who is speaking, a rather testy old man.rather testy old man.Behind him, on the wall are an old,Behind him, on the wall are an old, crudely hand-made American Flag from the last century, andcrudely hand-made American Flag from the last century, andaa California Bear Flag.California Bear Flag.

(NOTE: THE FIRST PARAGRAPH OF THE FOLLOWING SPEECH COVERS(NOTE: THE FIRST PARAGRAPH OF THE FOLLOWING SPEECH COVERS THETHERISE AND ENTRANCE OF THE CAMERA AND BECOMESRISE AND ENTRANCE OF THE CAMERA AND BECOMES INTELLIGIBLE ONLY AT ITS END.)INTELLIGIBLE ONLY AT ITS END.)

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Captain Hansen's eyes narrow and his face reddens.Captain Hansen's eyes narrow and his face reddens.ScottieScottie stares at the floor dully, oblivious to what is being said.stares at the floor dully, oblivious to what is being said.

TheTheForeman of the jury leans across to his colleagues, andForeman of the jury leans across to his colleagues, and they go into a huddle.they go into a huddle.After a short whispered consultationAfter a short whispered consultation there is a general nodding of heads, then the Foreman stands.there is a general nodding of heads, then the Foreman stands.

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People start to rise.People start to rise.There is a general exodus toward theThere is a general exodus toward the doorway and the stairs leading down to the ground floor.doorway and the stairs leading down to the ground floor. Scottie remains impassive, still staring at the floor.Scottie remains impassive, still staring at the floor. People stare at him curiously as they move past him and away.People stare at him curiously as they move past him and away. Detective Hansen rises, takes him by the arm, and helps himDetective Hansen rises, takes him by the arm, and helps him totohis feet.his feet.

HeHepurses his lips and starts Scottie toward the door.purses his lips and starts Scottie toward the door.GavinGavin Elster moves toward them, and they meet, and have to stop.Elster moves toward them, and they meet, and have to stop. Hansen looks at Elster impassively.Hansen looks at Elster impassively.

Receiving no answers he takes Scottie by the elbow.Receiving no answers he takes Scottie by the elbow.

HeHeleads Scottie away toward the window.leads Scottie away toward the window.They stop.They stop.

Scottie finally looks up at him.Scottie finally looks up at him.

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Scottie looks at the outstretched hand, then looks up at theScottie looks at the outstretched hand, then looks up at the man's face, wanting very much to tell him how he felt aboutman's face, wanting very much to tell him how he felt about thethedead woman.dead woman.But the words won't come.But the words won't come.Elster drops hisElster drops his hand with a sympathetic half-smile, and touches Scottiehand with a sympathetic half-smile, and touches Scottie comfortingly on the arm.comfortingly on the arm.

Elster and Scottie look at each other for a moment.Elster and Scottie look at each other for a moment.ThenThen Elster nods somberly and turns away and goes down the stairsElster nods somberly and turns away and goes down the stairs with his attorney.with his attorney.The room is empty, now, but for HansenThe room is empty, now, but for Hansen andandScottie.Scottie.Hansen, waiting near the doorway looks acrossHansen, waiting near the doorway looks across totoScottie standing alone by the window.Scottie standing alone by the window.Beyond Scottie,Beyond Scottie, through the window, we can see the cloister across the green.through the window, we can see the cloister across the green.

DISSOLVE TO:DISSOLVE TO:

ItItis grey and deserted.is grey and deserted.In the distance a figure comes intoIn the distance a figure comes into views walking slowly, approaching a grave.views walking slowly, approaching a grave.It is Scottie.It is Scottie.

SHOTSHOT

AAcloser view brings him to a stop before the grave, and hecloser view brings him to a stop before the grave, and he stares down at it impassively.stares down at it impassively.The gravestone tells us itThe gravestone tells us itisis Madeleine's grave.Madeleine's grave.

DISSOLVE TO:DISSOLVE TO:

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AAfoggy night, the city hidden in mist.foggy night, the city hidden in mist.The flash ofThe flash of beacons; fingers of fog; the spasmodic growls and ories ofbeacons; fingers of fog; the spasmodic growls and ories of fogfoghorns.horns.

Scottie in bed, sleeping restlessly.Scottie in bed, sleeping restlessly.His head fills theHis head fills the screen, rolls from, side to side.screen, rolls from, side to side.In a SLOW DISSOLVE whileIn a SLOW DISSOLVE while hishishead remains on the screen, there comes into focus andhead remains on the screen, there comes into focus andisis superimposed as it gets closer the head and shoulders of thesuperimposed as it gets closer the head and shoulders of the portrait of Carlotta.portrait of Carlotta.The CAMERA PANS DOWN until it revealsThe CAMERA PANS DOWN until it reveals thethenosegay.nosegay.

TheTheportrait is cleared from the screen, a new image isportrait is cleared from the screen, a new image is superimposed; the final scene at the inquest between Scottiesuperimposed; the final scene at the inquest between Scottie andandGavin Elster.Gavin Elster.But this time, though it is not distinct,But this time, though it is not distinct, aawoman's head can be discerned on Elster's shoulder.woman's head can be discerned on Elster's shoulder.ElsterElster turns to the woman and says: "Tell him he's not to blame;turns to the woman and says: "Tell him he's not to blame; tell him."tell him."The woman turns her head to smile at Scottie.The woman turns her head to smile at Scottie.ItIt isisCarlotta Valdes again, dressed as in the portrait, withCarlotta Valdes again, dressed as in the portrait, with thethenecklace at her throats, and she is alive.necklace at her throats, and she is alive.The pictureThe picture fades away.fades away.Scottie's restless head is alone on the screenScottie's restless head is alone on the screen again.again.

Another scene dissolves to the screen: the graveyard atAnother scene dissolves to the screen: the graveyard at Mission Dolores.Mission Dolores.The CAMERA IS APPROACHING the grave ofThe CAMERA IS APPROACHING the grave of Carlotta Valdes.Carlotta Valdes.Now we see Scottie approaching the grave.Now we see Scottie approaching the grave. NowNowthe CAMERA REVERSES, MOVING closer to the grave.the CAMERA REVERSES, MOVING closer to the grave.It isIt is open; there is a great black abyss, with the headstone toopen; there is a great black abyss, with the headstone to mark it.mark it.

AACLOSEUP OF SCOTTIE coming to a stop as he stares down.CLOSEUP OF SCOTTIE coming to a stop as he stares down.TheThe black depths of the grave fill the screen, and now, suddenlyblack depths of the grave fill the screen, and now, suddenly wewestart to fall.start to fall.A BIG CLOSEUP OF SCOTTIE, his hairA BIG CLOSEUP OF SCOTTIE, his hair windswept, staring down in horror as he falls.windswept, staring down in horror as he falls.REVERSEREVERSE ANGLE: he is still falling, but now from the tower of theANGLE: he is still falling, but now from the tower of the Mission at San Juan onto the roof where Madeleine fell, andMission at San Juan onto the roof where Madeleine fell, and atatthe moment of impact the picture clears, and Scottie isthe moment of impact the picture clears, and Scottie is sitting up in bed, staring ahead in horror, awakened by thesitting up in bed, staring ahead in horror, awakened by the sound of his own scream.sound of his own scream.The scream is echoed by a fog hornThe scream is echoed by a fog horn ininthe distance.the distance.

DISSOLVE TO:DISSOLVE TO:

WeWesee a portable phonograph with a record on, and we hearsee a portable phonograph with a record on, and we hear Mozart at his gayest, most incisive, most sparkling.Mozart at his gayest, most incisive, most sparkling.

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AndAndthen we find Midge standing nearby, smiling across atthen we find Midge standing nearby, smiling across at Scottie, who is seated in a wheelchair wearing a dressingScottie, who is seated in a wheelchair wearing a dressing gown over pajamas.gown over pajamas.His face is gaunt and expressionless.His face is gaunt and expressionless.WeWe arearein a light and pleasant bed-sitting room.in a light and pleasant bed-sitting room.Through theThrough the window we can see a lovely garden, and a few patientswindow we can see a lovely garden, and a few patients accompanied by nurses strolling along the paths.accompanied by nurses strolling along the paths.

There is no reaction on Scottie's face, and Midge makes aThere is no reaction on Scottie's face, and Midge makes a grimace of dissatisfaction at the weakness of her joke.grimace of dissatisfaction at the weakness of her joke.SheShe looks across at him uncertainly.looks across at him uncertainly.

SheShecrosses to him swiftly kneels beside him.crosses to him swiftly kneels beside him.

NoNoreaction.reaction.Long pause.Long pause.Then we hear the door open.Then we hear the door open. Scottie does not seem to hear, but Midge turns her head.Scottie does not seem to hear, but Midge turns her head.AA nurse is looking in, with a significant look at Midge.nurse is looking in, with a significant look at Midge.

TheThenurse goes out.nurse goes out.Midge rises.Midge rises.

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HerHereyes crinkle with anxiety.eyes crinkle with anxiety.She nods and goes to theShe nods and goes to the phonograph and shuts it off.phonograph and shuts it off.She comes back to him slowly,She comes back to him slowly, andandstands behind him, and puts her hands on his shoulders.stands behind him, and puts her hands on his shoulders.

SheSheleans down and kisses him lightly on the top of the head,leans down and kisses him lightly on the top of the head, andandsmiles gently.smiles gently.

SheShemoves to the door, going out of the SHOT, and we hear themoves to the door, going out of the SHOT, and we hear the door open and close.door open and close.Scottie has not moved, his face doesScottie has not moved, his face does notnotchange expression.change expression.His head bends down, and his gaze isHis head bends down, and his gaze is fixed on the floor.fixed on the floor.

Midge, walking down the corridor, meets the nurse near theMidge, walking down the corridor, meets the nurse near the open door of an office.open door of an office.

TheThenurse backs up a step and looks in the open doorway.nurse backs up a step and looks in the open doorway.

TheTheDoctor looks up and sees Midge in the doorway.Doctor looks up and sees Midge in the doorway.

TheThenurse continues on up the corridor.nurse continues on up the corridor.Midge remains in theMidge remains in the doorway.doorway.

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TheTheDoctor studies her carefully.Doctor studies her carefully.

SheSheattempts a bright, gay smile but it comes out wrong.attempts a bright, gay smile but it comes out wrong.SheShe turns and walks away down the corridor.turns and walks away down the corridor.

FADE OUT.FADE OUT.

FADE IN:FADE IN:

Once again a foggy night.Once again a foggy night.The street lights ringed in theThe street lights ringed in the mist, and Coit Tower barely discernible in the distance.mist, and Coit Tower barely discernible in the distance.TheThe fogfoghorns sound.horns sound.

DISSOLVE TO:DISSOLVE TO:

TheTheliving room, is mostly in shadow.living room, is mostly in shadow.One light in a farOne light in a far corner is lit.corner is lit.There is a fire in the fireplace, but it isThere is a fire in the fireplace, but it is almost burnt out, and casts only a faint glow.almost burnt out, and casts only a faint glow.

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AnAneasy chair has been drawn up before the fire, and next toeasy chair has been drawn up before the fire, and next to ititis a small table on which is a bottle of whiskey, theis a small table on which is a bottle of whiskey, the remains of a highball, and an ashtray full of cigaretteremains of a highball, and an ashtray full of cigarette butts.butts.There is no sign of life in the apartment.There is no sign of life in the apartment.TheThe telephone rings in the bedroom.telephone rings in the bedroom.It continues to ring.It continues to ring.

DISSOLVE TO:DISSOLVE TO:

Scottie is seated at the bar, exactly as he was the firstScottie is seated at the bar, exactly as he was the first time he saw Madeleine.time he saw Madeleine.The dinning room is crowded.The dinning room is crowded. Scottie's glance wanders about the room as he drinks, but heScottie's glance wanders about the room as he drinks, but he does not seem to be so much searching as waiting.does not seem to be so much searching as waiting.And thenAnd then hehestiffens.stiffens.From somewhere across the room a man and aFrom somewhere across the room a man and a woman are making their way among the tables toward the exit,woman are making their way among the tables toward the exit, andandtheir relative positions as they move recall exactly thetheir relative positions as they move recall exactly the waywayMadeleine and Gavin Elster moved toward him on thatMadeleine and Gavin Elster moved toward him on that night.night.And as the woman moves toward him, difficult to seeAnd as the woman moves toward him, difficult to see clearly because of the movements of the waiters crossing herclearly because of the movements of the waiters crossing her path, he could swear that it is Madeleine, and so could we.path, he could swear that it is Madeleine, and so could we. Although she does not wear an evening dress.Although she does not wear an evening dress.Scottie stares,Scottie stares, fearing and hoping as the woman gets closer and closer.fearing and hoping as the woman gets closer and closer.AndAnd then she is there, and pauses near him to wait for the man,then she is there, and pauses near him to wait for the man, exactly as Madeleine did -- but it is not Madeleine.exactly as Madeleine did -- but it is not Madeleine.

DISSOLVE TO:DISSOLVE TO:

Scottie in the foreground, and across the street theScottie in the foreground, and across the street the apartment building from which Madeleine used to emerge, withapartment building from which Madeleine used to emerge, with thetheforecourt of cars.forecourt of cars.A long moment, then a man emerges andA long moment, then a man emerges and crosses the street and walks toward the Fairmont Hotel.crosses the street and walks toward the Fairmont Hotel. Another wait, and then a woman comes out of the apartmentAnother wait, and then a woman comes out of the apartment house.house.She has Madeleine's figure and Madeleine's style.She has Madeleine's figure and Madeleine's style. Scottie freezes.Scottie freezes.The woman crosses the forecourt toward aThe woman crosses the forecourt toward a carcarout of our sight.out of our sight.Scottie moves to follow the course ofScottie moves to follow the course of thethewoman, and we move with him, and now the car comes intowoman, and we move with him, and now the car comes into sight, it is the green Jaguar.sight, it is the green Jaguar.The woman opens the car door.The woman opens the car door. Scottie races across the street and into the forecourt.Scottie races across the street and into the forecourt.ByBy thethetime he gets to the Jaguar, the woman is in behind thetime he gets to the Jaguar, the woman is in behind the wheel and has the motor started.wheel and has the motor started.Scottie races up to her,Scottie races up to her, then stops short.then stops short.The woman is not like Madeleine inThe woman is not like Madeleine in features, and is a good deal older.features, and is a good deal older.She looks up startledShe looks up startledasas Scottie comes to a stop by the open car window.Scottie comes to a stop by the open car window.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 101.101.

AsAsScottie stares at her, she grasps the connection.Scottie stares at her, she grasps the connection.

ButButby this time Scottie has turned and walked away, and sheby this time Scottie has turned and walked away, and she stares after him, a bit taken aback.stares after him, a bit taken aback.

DISSOLVE TO:DISSOLVE TO:

Framed in the columns of the forecourt, Scottie wanders upFramed in the columns of the forecourt, Scottie wanders up thethefront walk and passes through the doors into the Artfront walk and passes through the doors into the Art Gallery.Gallery.

Scottie wanders to the entrance of the room in which hangsScottie wanders to the entrance of the room in which hangs thethePortrait of Carlotta, and stops and looks towards the farPortrait of Carlotta, and stops and looks towards the far corner.corner.Some people pass before him, but then as the vistaSome people pass before him, but then as the vista clears he sees walking toward him from Carlotta's corner aclears he sees walking toward him from Carlotta's corner a woman who must surely be Madeleine.woman who must surely be Madeleine.He stares, rigid, as sheHe stares, rigid, as she comes closer, and then she passes out of view as she headscomes closer, and then she passes out of view as she heads forforthe exit.the exit.Scottie turns to keep her in sight, and as sheScottie turns to keep her in sight, and as she passes through the doors to go out to the courtyard she turnspasses through the doors to go out to the courtyard she turns aajust a bit so that she is silhouetted slightly in profilejust a bit so that she is silhouetted slightly in profile against the cuter light, and once again surely it isagainst the cuter light, and once again surely it is Madeleine.Madeleine.Scottie heads for the door fast, pushes throughScottie heads for the door fast, pushes through thethecourtyard.courtyard.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 102.102.

HeHebreaks into a run and catches up with her and puts out hisbreaks into a run and catches up with her and puts out his hand to take her arm, and as he does she turns, startled byhand to take her arm, and as he does she turns, startled by hishissudden appearance at her side -- and they both stop andsudden appearance at her side -- and they both stop and stare at each other.stare at each other.It is not Madeleine.It is not Madeleine.A moment, as theA moment, as the woman stares at him, frightened.woman stares at him, frightened.

HeHeturns away.turns away.The woman walks on.The woman walks on.

DISSOLVE TO:DISSOLVE TO:

Scottie stands before the window looking at the floralScottie stands before the window looking at the floral display.display.In the foreground is a group of madeup nosegays andIn the foreground is a group of madeup nosegays and oneoneof them is exactly like the nosegay Madeleine carried toof them is exactly like the nosegay Madeleine carried to thethegrave, to the portrait, to the moment she threw herselfgrave, to the portrait, to the moment she threw herself into the Bay.into the Bay.A porter closes the shop door and locks it.A porter closes the shop door and locks it. AAmoment, then Scottie turns away to move down Grant Avenue.moment, then Scottie turns away to move down Grant Avenue.

HeHestops short.stops short.Coming up Grant Avenue, headed for SutterComing up Grant Avenue, headed for Sutter Street, is a group of shopgirls who have just come out ofStreet, is a group of shopgirls who have just come out of work, and among them is one who -- again -- must surely bework, and among them is one who -- again -- must surely be Madeleine.Madeleine.Scottie watches them come closer, trying to getScottie watches them come closer, trying to get aaclear view through the crowd of passersby, catching sightclear view through the crowd of passersby, catching sight ofofthe girl only in glimpses, and as the girls come abreastthe girl only in glimpses, and as the girls come abreast ofofhim they stop to make their farewells.him they stop to make their farewells.

TheTheone nearest to Scottie, seen in profile, might have theone nearest to Scottie, seen in profile, might have the same features as Madeleine.same features as Madeleine.He cannot be sure.He cannot be sure.This girl'sThis girl's hair is dark, where Madeleine's was light; her features onhair is dark, where Madeleine's was light; her features on closer inspection seem heavier, and she wears much morecloser inspection seem heavier, and she wears much more makeup.makeup.And yet there is something about the way she carriesAnd yet there is something about the way she carries herself.herself.The other girls cross the street while the oneThe other girls cross the street while the one nearest to Scottie goes on alone.nearest to Scottie goes on alone.He Instinctively turns andHe Instinctively turns and follows.follows.

DISSOLVE TO:DISSOLVE TO:

AAtrolley coach passes, heading west.trolley coach passes, heading west.The girl starts toThe girl starts to cross the street in the middle of the block, waits forcross the street in the middle of the block, waits for another trolley coach to pass, continues to the oppositeanother trolley coach to pass, continues to the opposite side, and goes into the Empire Hotel, one of the typicalside, and goes into the Empire Hotel, one of the typical inexpensive residential hotels of that neighborhood.inexpensive residential hotels of that neighborhood.ScottieScottie remains on the opposite side of the street, watching,remains on the opposite side of the street, watching, wondering what to do next.wondering what to do next.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 103.103.

HeHewaits, and then, in much the same way it happened to himwaits, and then, in much the same way it happened to him long ago at the McKittrick Hotel, his attention is attractedlong ago at the McKittrick Hotel, his attention is attracted totoa window on the second floor.a window on the second floor.

TheThegirl appears and opens the window about eight inches,girl appears and opens the window about eight inches, then pulls down the blind.then pulls down the blind.

Scottie stares at the window, calculates in his mind theScottie stares at the window, calculates in his mind the geographical position of the room, then starts across thegeographical position of the room, then starts across the street.street.

DISSOLVE TO:DISSOLVE TO:

Scottie moves down the hall counting doors and comes to aScottie moves down the hall counting doors and comes to a stop.stop.He knocks.He knocks.The door opens, and the girl stands andThe door opens, and the girl stands and looks at him, and waits.looks at him, and waits.Scottie stares at her, searchingScottie stares at her, searching forfora sign of recognition, but there is none.a sign of recognition, but there is none.

HerHervoice is flat and slightly nasal, in sharp contrast tovoice is flat and slightly nasal, in sharp contrast to Madeleine's low, husky voice.Madeleine's low, husky voice.Scottie winces slightly at theScottie winces slightly at the sound of it.sound of it.He keeps staring at her for a moment. Then:He keeps staring at her for a moment. Then:

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AndAndshe starts to close the door on him hard.she starts to close the door on him hard.Scottie holdsScottie holds ititopen against her.open against her.

SheShehesitates, impressed by the urgency in his voice.hesitates, impressed by the urgency in his voice.

SheSheis still holding on to the door, ready to slam it.is still holding on to the door, ready to slam it.

SheShelaughs a short, ironic, skeptical laugh.laughs a short, ironic, skeptical laugh.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 105.105.

HerHermouth drops open with shock at his effrontery.mouth drops open with shock at his effrontery.

AAmoment, then she backs into the room a little, and hemoment, then she backs into the room a little, and he follows.follows.

ButButstill she moves until she is next to the phone, her handstill she moves until she is next to the phone, her hand almost touching it.almost touching it.She eyes him carefully.She eyes him carefully.

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AndAndthat stops him dead, and he stares at her, denying.that stops him dead, and he stares at her, denying.

SheShemoves swiftly to the dresser and rummages in her bag.moves swiftly to the dresser and rummages in her bag.

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SheShepulls out another card: a California license.pulls out another card: a California license.She handsShe hands ititto him.to him.

AAlong moment as he stands before her, sagging a littlelong moment as he stands before her, sagging a little defeated.defeated.She becomes remorseful and sympathetic.She becomes remorseful and sympathetic.

HeHestares at her with an intensity that makes her crinkle herstares at her with an intensity that makes her crinkle her eyes in embarrassment.eyes in embarrassment.

AnAnalmost imperceptible nod.almost imperceptible nod.

HeHeturns away slowly toward the door.turns away slowly toward the door.His eyes fall on someHis eyes fall on some framed photographs on the dresser and he pauses, then movesframed photographs on the dresser and he pauses, then moves closer to see them clearly.closer to see them clearly.One is of a girl about sixteenOne is of a girl about sixteen standing with a woman in her late thirties; they have theirstanding with a woman in her late thirties; they have their arms about each other; they both have dark hair.arms about each other; they both have dark hair.ScottieScottie stares at it, then glances at Judy.stares at it, then glances at Judy.

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Scottie's eyes move to another photograph, of a man in hisScottie's eyes move to another photograph, of a man in his early forties standing before a store.early forties standing before a store.Above the store aAbove the store a sign says:sign says:A. M. BARTON, HARDWARES.A. M. BARTON, HARDWARES.

HeHesmiles back at her, liking her directness.smiles back at her, liking her directness.

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SheShesmiles, pleased with the gallantry of his answer, andsmiles, pleased with the gallantry of his answer, and regards him thoughtfully.regards him thoughtfully.

HeHeflashes her a smile and goes, closing the door.flashes her a smile and goes, closing the door.SheShe stares after him for a long moment, then moves slowly andstares after him for a long moment, then moves slowly and sits down on the edge of the bed.sits down on the edge of the bed.She stares straight ahead,She stares straight ahead, thinking, her face an impassive mask.thinking, her face an impassive mask.

TheTheCAMERA MOVES IN until her head fills the screen, and herCAMERA MOVES IN until her head fills the screen, and her eyes are deep with dark memory.eyes are deep with dark memory.We DISSOLVE THROUGH to whatWe DISSOLVE THROUGH to what sheshesees: THE MOMENT IN THE TOWER OF THE MISSION.sees: THE MOMENT IN THE TOWER OF THE MISSION.MADELEINEMADELEINE ISISRUNNING UP THE STAIRS OF THE TOWER: SCOTTIE STRUGGLINGRUNNING UP THE STAIRS OF THE TOWER: SCOTTIE STRUGGLING DESPERATELY AFTER HER.DESPERATELY AFTER HER.SHE REACHES THE TOP, OPENS THE DOOR,SHE REACHES THE TOP, OPENS THE DOOR, DARTS INTO THE BELL TOWER, SLAMS THE DOOR BEHIND HER ANDDARTS INTO THE BELL TOWER, SLAMS THE DOOR BEHIND HER AND LOCKS IT.LOCKS IT.SHE TURNS.SHE TURNS.GAVIN ELSTER STANDS NEAR THE OPENGAVIN ELSTER STANDS NEAR THE OPEN ARCH, HOLDING HIS WIFE FAST; SHE IS DRESSED IN A GREY SUITARCH, HOLDING HIS WIFE FAST; SHE IS DRESSED IN A GREY SUIT EXACTLY LIKE THE ONE MADELEINE WEARS.EXACTLY LIKE THE ONE MADELEINE WEARS.HER BODY IS LIMP.HER BODY IS LIMP.SHESHE ISISOBVIOUSLY DEAD ALREADY.OBVIOUSLY DEAD ALREADY.ELSTER LOOKS AT MADELEINE, THENELSTER LOOKS AT MADELEINE, THEN PUSHES HIS WIFE OUT THROUGH THE ARCH.PUSHES HIS WIFE OUT THROUGH THE ARCH.MADELEINE MAKES AMADELEINE MAKES A FUTILE GESTURE TO STOP HIM, AND SCREAMS.FUTILE GESTURE TO STOP HIM, AND SCREAMS.ELSTER COMES TOELSTER COMES TO QUICKLY, PUTS HIS HAND ACROSS HER MOUTH, AND DRAWS HER BACKQUICKLY, PUTS HIS HAND ACROSS HER MOUTH, AND DRAWS HER BACK INTO THE SHADOW BEHIND A MASONRY ABUTMENT.INTO THE SHADOW BEHIND A MASONRY ABUTMENT.THEY ARE LOSTTHEY ARE LOST FROM SIGHT...FROM SIGHT...

DISSOLVE THROUGH to Judy, seated on the edge of her bed,DISSOLVE THROUGH to Judy, seated on the edge of her bed, staring with the memory of the horror of the moment.staring with the memory of the horror of the moment.

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SheShesits very still.sits very still.Then slowly she rises and moves to theThen slowly she rises and moves to the window.window.She looks out, watching Scottie go down the street.She looks out, watching Scottie go down the street. SheSheturns away and goes to the closet and opens the door.turns away and goes to the closet and opens the door. SheShepushes some clothes along the rack.pushes some clothes along the rack.We see the greyWe see the grey suit.suit.She reaches into the closet and brings out a suitcase,She reaches into the closet and brings out a suitcase, lets it lie there, just outside the closet, and stares downlets it lie there, just outside the closet, and stares down atatit.it.Then she turns back, goes to the writing desk sitsThen she turns back, goes to the writing desk sits down, and takes a sheet of paper.down, and takes a sheet of paper.She picks up a ball pointShe picks up a ball point pen, clicks out the Point, stares ahead for a moment, thenpen, clicks out the Point, stares ahead for a moment, then begins to write.begins to write.As she writes, we hear her voice.As she writes, we hear her voice.

SheShepauses and looks up and thinks, and wonders, and triespauses and looks up and thinks, and wonders, and triestoto seeseeinto the future, and as she does, the fear in her eyesinto the future, and as she does, the fear in her eyes dissolve into anxious hope, and then resolve.dissolve into anxious hope, and then resolve.

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SheSheputs the pen down, rises slowly, takes up the letter andputs the pen down, rises slowly, takes up the letter and tears it into small pieces and drops the pieces into thetears it into small pieces and drops the pieces into the wastebasket.wastebasket.She turns to the closet, pushes the suitcaseShe turns to the closet, pushes the suitcase back in with the toe of her foot, pushes the grey suit farback in with the toe of her foot, pushes the grey suit far back into darkness, and closes the closet door.back into darkness, and closes the closet door.She walksShe walkstoto thethedresser, and stares at herself in the mirror.dresser, and stares at herself in the mirror.She opensShe opens aacandy box in which we see trinkets and pieces of junkcandy box in which we see trinkets and pieces of junk jewelry, and takes out two plain hoop earrings.jewelry, and takes out two plain hoop earrings.She putsShe puts them on and looks to see how much change they make.them on and looks to see how much change they make.SheShe takes up an eyebrow pencil and slightly exaggerates the archtakes up an eyebrow pencil and slightly exaggerates the arch ofofher brows.her brows.She stares at herself impassively for a longShe stares at herself impassively for a long time.time.

DISSOLVE TO:DISSOLVE TO:

TheTheroom is filled with diners; waiters come and go.room is filled with diners; waiters come and go.ThereThere isisa sound of chatter and a slight clatter of dishes at aa sound of chatter and a slight clatter of dishes at a side table.side table.We are looking from the bar, and at a tableWe are looking from the bar, and at a table against the far wall we see Judy and Scottie, dining.against the far wall we see Judy and Scottie, dining.TheyThey arearetalking amiable; Scottie is being genial andtalking amiable; Scottie is being genial and companionable, but there is no particular sense of intimacy.companionable, but there is no particular sense of intimacy. Judy looks about quite a bit, obviously admiring the room,Judy looks about quite a bit, obviously admiring the room, andandthe food and the clothes of the people about her.the food and the clothes of the people about her.SheSheisis dressed neatly, but more simply and more cheaply than are thedressed neatly, but more simply and more cheaply than are the other women in the room, and she is conscious of it, andother women in the room, and she is conscious of it, and keeps fiddling with the shoulders at her dress.keeps fiddling with the shoulders at her dress.

During this, a party of diners enters, is greeted by theDuring this, a party of diners enters, is greeted by the captain, and is led across the room toward an empty tablecaptain, and is led across the room toward an empty table near Judy and Scottie.near Judy and Scottie.We go with them winding among theWe go with them winding among the tables.tables.As we get very close to Scottie, he looks up andAs we get very close to Scottie, he looks up and becomes rigid, and stares.becomes rigid, and stares.A woman has just gone by him toA woman has just gone by him to take seat at the neighboring table.take seat at the neighboring table.Her hair is blonde andHer hair is blonde and isisdone exactly as was Madeleine's; from the rear she coulddone exactly as was Madeleine's; from the rear she could easily be Madeleine.easily be Madeleine.But then she turns and sits down,But then she turns and sits down, glancing at Scottie as she does, and we see that it is notglancing at Scottie as she does, and we see that it is not Madeleine.Madeleine.A moment, then Scottie looks away.A moment, then Scottie looks away.Judy isJudy is staring at him anxiously.staring at him anxiously.It is her first defeat and herIt is her first defeat and her first victory: defeat, in that although he is with her he isfirst victory: defeat, in that although he is with her he is still searching; victory, in that she is sure, now, that hestill searching; victory, in that she is sure, now, that he does not think she is Madeleine.does not think she is Madeleine.

DISSOLVE TO:DISSOLVE TO:

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Scottie's car drives up and comes to a stop.Scottie's car drives up and comes to a stop.He gets out,He gets out, comes around and opens the other door and helps Judy out.comes around and opens the other door and helps Judy out. They stand there for a moment, then start for the front door.They stand there for a moment, then start for the front door.

DISSOLVE TO:DISSOLVE TO:

Judy opens her door, flicks the light switch, and turns toJudy opens her door, flicks the light switch, and turns to Scottie in the doorway.Scottie in the doorway.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 113.113.

SheSheturns away and wanders into the room toward the window.turns away and wanders into the room toward the window. SheShesits down in the chair to think it over, looking straightsits down in the chair to think it over, looking straight ahead, in profile to Scottie and to the window.ahead, in profile to Scottie and to the window.ScottieScottie stares at her, then suddenly reaches out and snaps off thestares at her, then suddenly reaches out and snaps off the light.light.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 114.114.

SheShestarts to rise.starts to rise.

SheShesubsides in the chair, and obeys, looking straight aheadsubsides in the chair, and obeys, looking straight ahead again, holding very still, apprehensive.again, holding very still, apprehensive.The only light inThe only light in thetheroom is from the street lamp outside, and it silhouettesroom is from the street lamp outside, and it silhouettes Judy in profile, robbing her of hair-color, robbing her ofJudy in profile, robbing her of hair-color, robbing her of makeup, and Scottie stares across at her, unsure, wishing hemakeup, and Scottie stares across at her, unsure, wishing he could persuade himself.could persuade himself.

ANOTHER PAUSE.ANOTHER PAUSE.

HeHegoes out, closing the door.goes out, closing the door.Judy sits still, staringJudy sits still, staring straight ahead.straight ahead.She raises a hand slowly and rubs the sideShe raises a hand slowly and rubs the side ofofher face.her face.

DISSOLVE TO:DISSOLVE TO:

ItItis a bright, sunny day.is a bright, sunny day.On a lovely green slope, youngOn a lovely green slope, young couples are stretched out making love.couples are stretched out making love.We see a Pretty youngWe see a Pretty young girl sitting, and her young man lying on the grass at rightgirl sitting, and her young man lying on the grass at right angles with his head on her lap.angles with his head on her lap.She is playing with hisShe is playing with his hair.hair.She bends down and kisses him.She bends down and kisses him.The CAMERA MOVES ON,The CAMERA MOVES ON, searching for Scottie and Judy, and comes upon another couplesearching for Scottie and Judy, and comes upon another couple inina close embrace.a close embrace.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 115.115.

TheTheCAMERA MOVES ON and discovers Scottie and Judy strollingCAMERA MOVES ON and discovers Scottie and Judy strolling along the path at the foot of the slope.along the path at the foot of the slope.Judy is looking atJudy is looking at thetheloving couples with wistful envy.loving couples with wistful envy.Scottie is admiringScottie is admiring thethescenery in other direction.scenery in other direction.He holds a bag of popcorn.He holds a bag of popcorn. Judy looks up at him with gentle longing.Judy looks up at him with gentle longing.He glances downHe glances downatat herherand smiles companionably, and offers her the popcorn.and smiles companionably, and offers her the popcorn. SheShetakes some and smiles back as well as she can.takes some and smiles back as well as she can.

DISSOLVE TO:DISSOLVE TO:

TheThelighting in the room is low, the orchestra is playinglighting in the room is low, the orchestra is playing "Isn't It Romantic", there are many couples on the floor,"Isn't It Romantic", there are many couples on the floor, dancing romantically.dancing romantically.It's romantic as hell.It's romantic as hell.We findWe find Scottie and Judy dancing, nicely, but rather sedately. JudyScottie and Judy dancing, nicely, but rather sedately. Judy looks up at him once in a while, wishing she could get a bitlooks up at him once in a while, wishing she could get a bit closer, although he is not by any means keeping her at acloser, although he is not by any means keeping her at a distance.distance.

DISSOLVE TO:DISSOLVE TO:

There is a flower stand - known to all San Franciscans -- atThere is a flower stand - known to all San Franciscans -- at thethecurb opposite the main entrance to Gumps, and Scottie andcurb opposite the main entrance to Gumps, and Scottie and Judy have stopped there to pick a flower for her to wear.Judy have stopped there to pick a flower for her to wear.ItIt isisa bright, fresh morning.a bright, fresh morning.There is a display of corsages,There is a display of corsages, made up, ready to wear.made up, ready to wear.The Vendor stands beside them asThe Vendor stands beside them as they pick and choose.they pick and choose.They seem quite happy.They seem quite happy.

TheTheone Scottie has pointed out is remarkably like theone Scottie has pointed out is remarkably like the nosegay in the portrait, though smaller and not an exact copy.nosegay in the portrait, though smaller and not an exact copy.

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HeHepins the nosegay on Judy.pins the nosegay on Judy.

Scottie pays himScottie pays him

HeHehas started her across the middle of the street in thehas started her across the middle of the street in the midst of traffic, and they have to run.midst of traffic, and they have to run.

They go dodging across the street.They go dodging across the street.

DISSOLVE TO:DISSOLVE TO:

AAspacious room on the second floor.spacious room on the second floor.Judy and Scottie areJudy and Scottie are being waited on by a middle-aged saleswoman.being waited on by a middle-aged saleswoman.A girlA girl Assistant stands nearby.Assistant stands nearby.Draped about on neighboring chairsDraped about on neighboring chairs areareseveral suits. Scottie looks tense.several suits. Scottie looks tense.His jaw is set.His jaw is set. Judy looks at him wonderingly.Judy looks at him wonderingly.A model enters wearing a greyA model enters wearing a grey tweed suit, and parades before them.tweed suit, and parades before them.

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HeHeputs his hands to his waist.puts his hands to his waist.

SheShegoes and whispers to the Assistant, during the following,goes and whispers to the Assistant, during the following, andandthe Assistant follows the model out.the Assistant follows the model out.

TheThesaleswoman has a sudden thought.saleswoman has a sudden thought.

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AndAndshe hurries away into the back room.she hurries away into the back room.Judy looks atJudy looks at Scottie with wondering, understanding eyes.Scottie with wondering, understanding eyes.

Scottie looks at her anxiously, not wanting an argument.Scottie looks at her anxiously, not wanting an argument.

SheShehas risen from her chair, appalled, and close to tears.has risen from her chair, appalled, and close to tears. TheTheSaleswoman enters briskly.Saleswoman enters briskly.

SheShewalks away.walks away.Scottie follows her.Scottie follows her.

TheThesaleswoman watches the altercation with interest.saleswoman watches the altercation with interest.TheThe twotwoare out of earshot, now, but what they're seems prettyare out of earshot, now, but what they're seems pretty evident.evident.

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Scottie is being urgently persuasive, Judy is staring at theScottie is being urgently persuasive, Judy is staring at the floor, shaking her head, fighting the tears.floor, shaking her head, fighting the tears.The followingThe following isisdistant and blurred.distant and blurred.

SheShelooks up at him, frightened, and at that moment he seeslooks up at him, frightened, and at that moment he sees thethemodel enter, wearing the grey suit.model enter, wearing the grey suit.

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HeHewhirls on her with blazing eyes and stares at herwhirls on her with blazing eyes and stares at her commandingly, and Judy shrinks a little.commandingly, and Judy shrinks a little.

SheShegoes into the back room.goes into the back room.Judy and Scottie remains asJudy and Scottie remains as they were, their eyes fixed on each other.they were, their eyes fixed on each other.But Judy is cowed.But Judy is cowed.

DISSOLVE T0:DISSOLVE T0:

Open on a SHOT of Judy's legs, standing in new, high-heeledOpen on a SHOT of Judy's legs, standing in new, high-heeled brown shoes.brown shoes.On the floor around her are other shoes andOn the floor around her are other shoes and shoe boxes scattered haphazardly.shoe boxes scattered haphazardly.

TheThelegs start to walk, and the scene opens up as Judy walkslegs start to walk, and the scene opens up as Judy walks away from the CAMERA, and we find Scottie seated, watching,away from the CAMERA, and we find Scottie seated, watching, andanda shoe salesman in attendance.a shoe salesman in attendance.Judy sways a bit on theJudy sways a bit on the high heels in a way that could be reminiscent of Madeleine.high heels in a way that could be reminiscent of Madeleine. SheShestops and turns, and stands staring at Scottie, withoutstops and turns, and stands staring at Scottie, without expression.expression.

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HeHelooks at Judy and meets her gaze steadfastly.looks at Judy and meets her gaze steadfastly.

DISSOLVE TO:DISSOLVE TO:

InInthe living room.the living room.There is a fire in the fireplace.There is a fire in the fireplace.JudyJudy isisseated on the floor before the fire, bent forward with herseated on the floor before the fire, bent forward with her head and arms buried in the seat of the easy chair.head and arms buried in the seat of the easy chair.She'sShe's been crying.been crying.Scottie enters from the kitchen carrying aScottie enters from the kitchen carrying a bottle of cognac and two glasses.bottle of cognac and two glasses.He looks down at Judy,He looks down at Judy, then pours cognac into the two glasses and sets the bottlethen pours cognac into the two glasses and sets the bottle down.down.

Judy raises her tear-streaked face.Judy raises her tear-streaked face.

SheShetakes the glass from his outstretched hand.takes the glass from his outstretched hand.

SheShetakes a large sip of cognac, makes a face, and puts thetakes a large sip of cognac, makes a face, and puts the glass away.glass away.As she does:As she does:

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 122.122.

Scottie comes down to her and puts his hands on her arms andScottie comes down to her and puts his hands on her arms and holds her and looks into her eyes intently.holds her and looks into her eyes intently.

SheShelooks at him with a new spark of hope, and her eyes arelooks at him with a new spark of hope, and her eyes are almost willing him to kiss her.almost willing him to kiss her.But then he drops his handsBut then he drops his hands from her arms, and the glow fades from her eyes, and shefrom her arms, and the glow fades from her eyes, and she looks away.looks away.

HeHerises and walks away toward the window.rises and walks away toward the window.She looks afterShe looks after him, then rises and almost runs to him.him, then rises and almost runs to him.

VERTIGOVERTIGODraft 9-12-1957Draft 9-12-1957 123.123.

They are face to face, and Scottie is studying her somberly.They are face to face, and Scottie is studying her somberly. Beyond them, through the window, we can see that magnificentBeyond them, through the window, we can see that magnificent symbol, the Coit Tower.symbol, the Coit Tower.

SheSheshrinks a little, and is defeated.shrinks a little, and is defeated.

LONG PAUSE.LONG PAUSE.

DISSOLVE TO:DISSOLVE TO:

TheThefirst impact is of SOUND, of the buzz of hair dryers andfirst impact is of SOUND, of the buzz of hair dryers and thetheshrill cacophony of female voices talking and laughing.shrill cacophony of female voices talking and laughing. Scottie is leaning at the doorway leading into the innerScottie is leaning at the doorway leading into the inner salon.salon.The CAMERA PANS AWAY from him through another doorThe CAMERA PANS AWAY from him through another door andandcomes to REST on a big head of Judy, covered with, soapcomes to REST on a big head of Judy, covered with, soap suds, bent over a basin.suds, bent over a basin.One of the beauty operators looksOne of the beauty operators looks outouttoward Scottie then walks out to him.toward Scottie then walks out to him.

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SheShestarts to turns away.starts to turns away.Scottie stops her.Scottie stops her.

HeHewaves a hand over his face.waves a hand over his face.

HeHeturns away after a last glance toward Judy.turns away after a last glance toward Judy.The last weThe last we seeseeof the salon is Judy's head, as she turns to try to seeof the salon is Judy's head, as she turns to try to see through soap suds to where Scottie has been standing.through soap suds to where Scottie has been standing.

DISSOLVE TO:DISSOLVE TO:

Scottie is wandering impatiently, smoking.Scottie is wandering impatiently, smoking.Some of theSome of the Ransohoff boxes are piled in a corner.Ransohoff boxes are piled in a corner.Then, abruptly heThen, abruptly he strides to the window.strides to the window.He looks, and becomes tense.He looks, and becomes tense.

From Scottie's viewpoint.From Scottie's viewpoint.Judy is walking up the street.Judy is walking up the street. SheShewears the grey suit from Ransohoff's the high-heeledwears the grey suit from Ransohoff's the high-heeled black shoes, and her hair is now blonde.black shoes, and her hair is now blonde.But it hangs aboutBut it hangs about herherface in the usual way.face in the usual way.She does not look up.She does not look up.She turnsShe turns into the entrance of the hotel.into the entrance of the hotel.

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Scottie watches her until he loses sight of her directlyScottie watches her until he loses sight of her directly below as she goes in the front door.below as she goes in the front door.He turns and looksHe turns and looks looks toward the bedroom door and waits.looks toward the bedroom door and waits.Then, impatiently,Then, impatiently, hehestrides to the door and goes out into the corridor.strides to the door and goes out into the corridor.

Scottie looks along the corridor.Scottie looks along the corridor.

FROM HIS VIEWPOINTFROM HIS VIEWPOINT

TheThecorridor is empty.corridor is empty.

SCOTTIESCOTTIE

tensely waiting.tensely waiting.

FROM HIS VIEWPOINTFROM HIS VIEWPOINT

Judy turns the corner, moving towards him.Judy turns the corner, moving towards him.

ASASSCOTTIE WATCHES CRITICALLYSCOTTIE WATCHES CRITICALLY

Judy comes up to him.Judy comes up to him.He backs into the room, Judy following.He backs into the room, Judy following.

AsAsJudy comes into the room, Scottie closes the door withoutJudy comes into the room, Scottie closes the door without taking his eyes from her.taking his eyes from her.She looks at him gravely -- andShe looks at him gravely -- and holds out her hand, as though hoping for praise for theholds out her hand, as though hoping for praise for the transformation.transformation.Her eyebrows have been plucked, her makeupHer eyebrows have been plucked, her makeup lightened, her lipstick changed and she now bears much morelightened, her lipstick changed and she now bears much more ofofa resemblance to Madeleine.a resemblance to Madeleine.

Scottie abruptly goes to her, takes her hanging hair withScottie abruptly goes to her, takes her hanging hair with both hands pulls it to the back so that her ears show.both hands pulls it to the back so that her ears show.

Judy looks at him, half-angry, half-scared.Judy looks at him, half-angry, half-scared.

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Scottie, seeing the look in her eyes, takes his hands away.Scottie, seeing the look in her eyes, takes his hands away. TheThehair falls forward again.hair falls forward again.

They look at one another for a moment.They look at one another for a moment.Then Scottie asks,Then Scottie asks, almost humbly:almost humbly:

Judy doesn't answer for a moment, then she draws a deepJudy doesn't answer for a moment, then she draws a deep breath, and turns resignedly away.breath, and turns resignedly away.She crosses to the mirrorShe crosses to the mirror over a chest of drawers.over a chest of drawers.Scottie matches as she picks up aScottie matches as she picks up a couple of pins from a glass tray, and scoops up a handful ofcouple of pins from a glass tray, and scoops up a handful of hair.hair.

Scottie stands watching in silence.Scottie stands watching in silence.His eyes follow everyHis eyes follow every move.move.We hear the tinkle of pins of the glass tray.We hear the tinkle of pins of the glass tray.

FROM SCOTTIE'S VIEWPOINTFROM SCOTTIE'S VIEWPOINT

Judy slowly turns from the mirror to face him.Judy slowly turns from the mirror to face him.She looksShe looks exactly like Madeleine -- her hair pulled back and done inexactly like Madeleine -- her hair pulled back and done inaa bunbunat the back of the neck.at the back of the neck.She stands there looking at him.She stands there looking at him.

SCOTTIESCOTTIElooks at her in wonder, his eyes shining.looks at her in wonder, his eyes shining.

JUDY takes a step towards him, rewarded by his expression.JUDY takes a step towards him, rewarded by his expression.

SCOTTIESCOTTIE moves over andmoves over andtakes Judy in his arms.takes Judy in his arms.

BIGBIGHEADSHEADS

ofofthe two of them, together.the two of them, together.The CAMERA MOVES AROUND theThe CAMERA MOVES AROUND the bigbigheads.heads.Scottie holds her tighter and tighter.Scottie holds her tighter and tighter.He looksHe looks pastpasther shoulder and we see that his eyes are closed,her shoulder and we see that his eyes are closed, because at last he holds Madeleine in his arms once more.because at last he holds Madeleine in his arms once more.

HeHeopens his eyes -- the CAMERA SWIMS AROUND the room.opens his eyes -- the CAMERA SWIMS AROUND the room.

WEWEARE NOW IN THE LIVERY STABLE AT SAN JUAN BAUTISTAARE NOW IN THE LIVERY STABLE AT SAN JUAN BAUTISTA

withwithScottie holding Madeleine tight in his arms, kissingScottie holding Madeleine tight in his arms, kissing her.her.We see this for only the briefest moment before itWe see this for only the briefest moment before it

DISSOLVES AWAY T0:DISSOLVES AWAY T0:

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BACK IN THE HOTEL ROOMBACKIN THE HOTEL ROOM

Scottie kisses her as he did in the livery stables.Scottie kisses her as he did in the livery stables.As heAs he kisses her, and she turns his kiss, the CAMERA PULLS BACKkisses her, and she turns his kiss, the CAMERA PULLS BACK SLOWLY and their two figures are held in the center of theSLOWLY and their two figures are held in the center of the room.room.

DISSOLVE T0:DISSOLVE T0:

TheThewindow shades are drawn, the lights in the room have beenwindow shades are drawn, the lights in the room have been lit.lit.Scottie is sitting, relaxed, thumbing through aScottie is sitting, relaxed, thumbing through a magazine idly.magazine idly.The jacket of his suit is hung over the backThe jacket of his suit is hung over the back ofofa chair.a chair.The bathroom door is open.The bathroom door is open.There is a fullThere is a full length mirror on the back of the bathroom door, and we catchlength mirror on the back of the bathroom door, and we catch occasional glimpses of Judy as she moves about inside.occasional glimpses of Judy as she moves about inside. Scottie looks up as she calls to him.Scottie looks up as she calls to him.Her voice is light andHer voice is light and happy.happy.

SheShecomes out of the bathroom happy and contented.comes out of the bathroom happy and contented.She wearsShe wears thetheblack cocktail dress, her blonde hair is done up in theblack cocktail dress, her blonde hair is done up in the Madeleine way.Madeleine way.She stops to pose and show off the dress andShe stops to pose and show off the dress and smiles across at him lovingly.smiles across at him lovingly.

HeHeregards her admiringly with a small, contented grin.regards her admiringly with a small, contented grin.

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SheSheturns to the mirror over the dresser.turns to the mirror over the dresser.

SheShehas opened the candy box, rummages around in the jewelry,has opened the candy box, rummages around in the jewelry, comes up with some earrings, holds one up to her ear to seecomes up with some earrings, holds one up to her ear to see what it looks like, decides against it, finds some otherwhat it looks like, decides against it, finds some other earrings, small and neat, and puts them on.earrings, small and neat, and puts them on.During this:During this:

During this she has taken a necklace out of the box, and isDuring this she has taken a necklace out of the box, and is trying to fasten it around her neck.trying to fasten it around her neck.But the clasp won'tBut the clasp won't work.work.

SheShebacks up a step, still holding the necklace in place, andbacks up a step, still holding the necklace in place, and Scottie rises from his chair and comes up in back of her.Scottie rises from his chair and comes up in back of her.HeHe takes the ends of the necklace from her.takes the ends of the necklace from her.

HeHebends down and bites the back of her neck.bends down and bites the back of her neck.

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HeHebites her again.bites her again.

AsAshe is fastening it he glances into the mirror and sees thehe is fastening it he glances into the mirror and sees the necklace clearly for the first time.necklace clearly for the first time.His eyes areHis eyes are immediately startled with the shock of recognition, and heimmediately startled with the shock of recognition, and he stares, wondering why.stares, wondering why.The CAMERA ZOOMS IN to a closeup ofThe CAMERA ZOOMS IN to a closeup of thethenecklace in the mirror; then, with a click, the closeupnecklace in the mirror; then, with a click, the closeup changes to a closeup of the necklace painted on canvas.changes to a closeup of the necklace painted on canvas.TheThe CAMERA DRAWS BACK to show the necklace around the neck ofCAMERA DRAWS BACK to show the necklace around the neck of Carlotta in the portrait, the same necklace.Carlotta in the portrait, the same necklace.Now the CAMERANow the CAMERA DRAWS BACK to show the Art Gallery, with the Portrait ofDRAWS BACK to show the Art Gallery, with the Portrait of Carlotta on the far wall.Carlotta on the far wall.The scene click-changes to a BIGThe scene click-changes to a BIG HEAD of SCOTTIE, staring, and during this we hear JudyHEAD of SCOTTIE, staring, and during this we hear Judy chattering away.chattering away.

HisHiseyes move in the direction of the voice, and now we seeeyes move in the direction of the voice, and now we see her, standing a few feet from him, smiling at him.her, standing a few feet from him, smiling at him.She walksShe walks totohim with a loving smile.him with a loving smile.

SheSheputs her arms around him and presses against him, andputs her arms around him and presses against him, and lays her head against his chest with a happy sigh.lays her head against his chest with a happy sigh.

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HeHeraises his arms as though to embrace her, moves his handsraises his arms as though to embrace her, moves his hands totoher shoulders, and one senses for a moment that he isher shoulders, and one senses for a moment that he is going to press her too hard or that he may move his hands togoing to press her too hard or that he may move his hands to herherthroat.throat.But then he lays his hands gently on her back,But then he lays his hands gently on her back, andandcloses his eyes wearily, and rests his head on the topcloses his eyes wearily, and rests his head on the topofof hers.hers.

SheShemoves her head, and he raises his and opens his eyes, andmoves her head, and he raises his and opens his eyes, and sheshesmiles up at him.smiles up at him.

SheShereaches up and kisses him briefly on the mouth.reaches up and kisses him briefly on the mouth.HeHe smiles a small, enigmatic smile.smiles a small, enigmatic smile.

DISSOLVE TO:DISSOLVE TO:

Scottie's car headed south, in brilliant moonlight.Scottie's car headed south, in brilliant moonlight.

Scottie at the wheel, Judy alongside.Scottie at the wheel, Judy alongside.She glances at him,She glances at him, wondering.wondering.

DISSOLVE TO:DISSOLVE TO:

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Scottie's car enters the avenue of tall trees we saw onceScottie's car enters the avenue of tall trees we saw once before along this road.before along this road.They look sinister in the moonlight.They look sinister in the moonlight.

Shooting forward, we are as though in the front seat ofShooting forward, we are as though in the front seat of Scottie's car, traveling fast, looking up and ahead to theScottie's car, traveling fast, looking up and ahead to the distant end of the tunnel, and the tall trees flashing by.distant end of the tunnel, and the tall trees flashing by.

Scottie is staring straight ahead, concentrating on hisScottie is staring straight ahead, concentrating on his driving.driving.Judy is staring up at the tall trees, wondering,Judy is staring up at the tall trees, wondering, herherbrow furrowed.brow furrowed.Her memory is stirred, but she can'tHer memory is stirred, but she can't think why.think why.

Shooting forward and up through the windshield.Shooting forward and up through the windshield.The tops ofThe tops of thethetall trees flashing past.tall trees flashing past.Judy's face, highlighted fromJudy's face, highlighted from thethedash lights below, faintly reflected.dash lights below, faintly reflected.

Judy turns her gaze from the flashing tree tops and looks offJudy turns her gaze from the flashing tree tops and looks off atatScottie.Scottie.

Scottie, still concentrating on his driving, and lookingScottie, still concentrating on his driving, and looking straight ahead.straight ahead.

Judy looking at Scottie, puzzled and slightly apprehensive.Judy looking at Scottie, puzzled and slightly apprehensive.

HeHeglances at her and smiles nicely.glances at her and smiles nicely.

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HeHelooks ahead thoughtfully.looks ahead thoughtfully.

DISSOLVE TO:DISSOLVE TO:

Quiet, empty, sinister, bathed in moonlight.Quiet, empty, sinister, bathed in moonlight.Far below weFar below we seeseeScottie's car crawl into the square and pass along theScottie's car crawl into the square and pass along the road around the green and come to a stop near the entranceroad around the green and come to a stop near the entrancetoto thethechurch.church.A distant church clock chimes the half-hour.A distant church clock chimes the half-hour.

Judy's face, rigid, frightened, her eyes filled withJudy's face, rigid, frightened, her eyes filled with apprehension.apprehension.Then, with an effort, she composes herself andThen, with an effort, she composes herself and glances at Scottie with calm questioning.glances at Scottie with calm questioning.But he is turnedBut he is turned away from her, opening his door to get out.away from her, opening his door to get out.

Scottie comes around the car and opens Judy's door.Scottie comes around the car and opens Judy's door.

Pause.Pause.He holds out his hand.He holds out his hand.She shrinks, frightened.She shrinks, frightened.

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HeHedraws her out of the car.draws her out of the car.

HeHecloses the car door and leads her slightly away, and theycloses the car door and leads her slightly away, and they stop and look across the green toward the Livery Stable.stop and look across the green toward the Livery Stable.

HeHepoints to the Livery Stable, bathed in moonlight.points to the Livery Stable, bathed in moonlight.

HeHeturns slowly, and Judy with him, and he looks up.turns slowly, and Judy with him, and he looks up.HerHer eyes follow his.eyes follow his.

FROM THEIR ANGLEFROM THEIR ANGLE

TheThehigh church tower in the moonlight.high church tower in the moonlight.

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SCOTTIE AND JUDYSCOTTIE AND JUDY

HeHeputs his arm around her protectively but firmly, andputs his arm around her protectively but firmly, and begins to impel her gently to the church.begins to impel her gently to the church.

SHOOTING from the door.SHOOTING from the door.Scottie impels Judy to the door.Scottie impels Judy to the door.

TheTheCAMERA PULLS AROUND as his tree hand goes to try the door.CAMERA PULLS AROUND as his tree hand goes to try the door.

Scottie pushes the door open.Scottie pushes the door open.

HeHepushes her into the church with gentle firmness.pushes her into the church with gentle firmness.

TheThedarkness is relieved by shafts of moonlight.darkness is relieved by shafts of moonlight.ScottieScottie impels Judy toward the foot of the tower.impels Judy toward the foot of the tower.

ItItis lit by shafts of moonlight through the slit window.is lit by shafts of moonlight through the slit window. Scottie comes into the area holding Judy.Scottie comes into the area holding Judy.He looks up.He looks up.

FROM SCOTTIE'S ANGLE:FROM SCOTTIE'S ANGLE:

thetheopen stairway spiraling upward.open stairway spiraling upward.

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BACK TO SCOTTIE AND JUDYBACK TO SCOTTIE AND JUDY

HeHeis still staring up.is still staring up.Judy is rigid with fright and theJudy is rigid with fright and the memory of that moment.memory of that moment.

SheShestarts up slowly, unwillingly.starts up slowly, unwillingly.Scottie follows behindScottie follows behind her, fighting to keep the impending vertigo under control,her, fighting to keep the impending vertigo under control, trying to keep his eyes fixed on her back to avoid lookingtrying to keep his eyes fixed on her back to avoid lookingupup into space.into space.They move up in silence, and in shadow, theirThey move up in silence, and in shadow, their faces occasionally lit by the shafts of moonlight that streamfaces occasionally lit by the shafts of moonlight that stream through the open arches of the tower.through the open arches of the tower.Judy's eyes are wideJudy's eyes are wide andandstaring; her face and body are stiff with the strugglestaring; her face and body are stiff with the struggletoto keep from breaking under the strain of remembering the lastkeep from breaking under the strain of remembering the last time she went up these stairs.time she went up these stairs.And Scottie fights his wayAnd Scottie fights his wayupup behind her.behind her.

Judy slows down and comes to a halt at the landing thatJudy slows down and comes to a halt at the landing that Scottie barely reached the last time, at the moment of death.Scottie barely reached the last time, at the moment of death. SheSheleans her back against the wall for support.leans her back against the wall for support.ScottieScottie struggles up and comes to a halt near her.struggles up and comes to a halt near her.PAUSE, as hePAUSE, as he gathers himself for the last assault.gathers himself for the last assault.

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SheShestiffens and stares at him.stiffens and stares at him.

AAmoment, then suddenly she ducks and tries to run past him,moment, then suddenly she ducks and tries to run past him, down the stairs.down the stairs.He grabs her wrist and holds on.He grabs her wrist and holds on.

HeHestarts to drag her up the stairs and she fights it, closestarts to drag her up the stairs and she fights it, close totohysteria.hysteria.

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IIwanted to stop it, I ran up to stop it --wanted to stop it, I ran up to stop it --

TheTheblind, frantic nodding of her head as she strugglesblind, frantic nodding of her head as she struggles against him is his affirmation.against him is his affirmation.

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They have reached the door to the tower and he stops, withThey have reached the door to the tower and he stops, withaa grim, almost triumphant smile.grim, almost triumphant smile.

HeHepushes the door open.pushes the door open.She shrinks back.She shrinks back.

HeHepushes her through and follows her in.pushes her through and follows her in.

TheTheblack shadows are cut by shafts of moonlight.black shadows are cut by shafts of moonlight.HeavyHeavy beams support the great bell hanging at the center.beams support the great bell hanging at the center.ThereThere areareadditional temporary support beams.additional temporary support beams.Judy backs upJudy backs up against the stonework as Scottie looks about.against the stonework as Scottie looks about.

SheShestares at him, wide-eyed with apprehension.stares at him, wide-eyed with apprehension.

AnAnalmost imperceptible nod from her.almost imperceptible nod from her.Scottie almost laughs.Scottie almost laughs.

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AAmoment, as he stares at her, then he advances on her slowly.moment, as he stares at her, then he advances on her slowly.

AndAndshe is in his arms, pressing tightly against him inshe is in his arms, pressing tightly against him in desperation, and he holds her tight, and they kiss, deeply,desperation, and he holds her tight, and they kiss, deeply, passionately.passionately.The kiss ends but they remain together,The kiss ends but they remain together, holding together, and Scottie's eyes are tight with pain andholding together, and Scottie's eyes are tight with pain and thetheemotion of hating her and hating himself for loving her.emotion of hating her and hating himself for loving her.

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Suddenly Judy's eyes, looking past him, go wide with horror.Suddenly Judy's eyes, looking past him, go wide with horror.

FROM JUDY'S POINT OF VIEWFROM JUDY'S POINT OF VIEW

TheThefigure of a woman draped in black stands motionless infigure of a woman draped in black stands motionless in thetheshadows by the door.shadows by the door.

JUDY, IN SCOTTIE'S ARMS, TRANSFIXEDJUDY, IN SCOTTIE'S ARMS, TRANSFIXED

FROM JUDY'S POINT OF VIEWFROM JUDY'S POINT OF VIEW

TheTheblack figure moves forward, seems to merge with theblack figure moves forward, seems to merge with the shadow and become part of them.shadow and become part of them.

JUDYJUDY

Pulls out of Scottie's arms and backs away, terrified.Pulls out of Scottie's arms and backs away, terrified.

SheSheis backing perilously close to the edge of the dropis backing perilously close to the edge of the drop below.below.Scottie stares at her for a moment, then swingsScottie stares at her for a moment, then swings around to see what she is looking at.around to see what she is looking at.

FROM SCOTTIE'S POINT OF VIEWFROM SCOTTIE'S POINT OF VIEW

TheTheblack figure advances into a shaft of moonlight.black figure advances into a shaft of moonlight.It isIt is aanun.nun.

There is a terrible scream.There is a terrible scream.

Scottie swings around again, steps quickly to the edge andScottie swings around again, steps quickly to the edge and looks down.looks down.He backs away, his face tight with horror andHe backs away, his face tight with horror and holds the stonework for support.holds the stonework for support.The nun comes into theThe nun comes into the SHOT.SHOT.She steels herself to look below.She steels herself to look below.She crosses herself.She crosses herself.

SheShereaches out for the bell cord.reaches out for the bell cord.

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TheThechurch bell is tolling.church bell is tolling.It swings in and out of theIt swings in and out of the picture.picture.Through the archway we can see the Mission gardenThrough the archway we can see the Mission garden below.below.Figures are hurrying across toward the church.Figures are hurrying across toward the church.

DISSOLVE TO:DISSOLVE TO:

Midge is huddled in a chair, listening to the radio.Midge is huddled in a chair, listening to the radio.BeyondBeyond her, San Francisco at night.her, San Francisco at night.

ByBynow Midge has heard the NOISE outside, has uncoiled fromnow Midge has heard the NOISE outside, has uncoiled from thethechair and shut the radio.chair and shut the radio.She listens again for aShe listens again for a moment, then moves quickly to the table on which are bottles,moment, then moves quickly to the table on which are bottles, glasses and ice.glasses and ice.She starts to mix a strong highball andShe starts to mix a strong highball and does not turn as she hears the front door open.does not turn as she hears the front door open.ScottieScottie enters and closes the door behind him.enters and closes the door behind him.His face is a mask.His face is a mask. HeHemoves slowly across the room and stands by the window,moves slowly across the room and stands by the window, with the view of San Francisco beyond him, and looks straightwith the view of San Francisco beyond him, and looks straight ahead, thinking.ahead, thinking.Midge picks up the highball, glances overMidge picks up the highball, glances over atathim, picks up the bottle and pours in another slug.him, picks up the bottle and pours in another slug.ThenThen moves across the room and holds out the drink.moves across the room and holds out the drink.Scottie takesScottie takes it.it.Midge moves away, picks up her own drink, sits down andMidge moves away, picks up her own drink, sits down and looks across the room.looks across the room.Scottie stands quietly, immobile,Scottie stands quietly, immobile, then raises the glass and takes a long pull at the drink.then raises the glass and takes a long pull at the drink.HeHe stares out at the city.stares out at the city.

FADE OUT.FADE OUT.

THE ENDTHE END