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Vertigo (1958) screenplay

by Alec Coppel and Samuel A. Taylor, based on novel 'D'Entre Les Morts' by Pierre Boileau and Thomas Narcejac. Find more about trailer
 
EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

We see a close view of a roof parapet and the curved rail of 
a fire escape. In the bag, are large skyscrapers with all 
their windows fully lit in the late winter afternoon. This 
background is used for the CREDIT TITLES of the picture.  
After the last card has FADED OUT, we HOLD on to the empty 
parapet, when suddenly a man's hand reaches and grips the 
top of the rail. It is followed by another hand and, after a 
beat, we see the face of a man in his early 30's. He is an 
Italian type, with rough features. He turns quickly and looks 
below him and then turning back, springs up over the empty 
parapet and is lost from view. We STAY on the EMPTY SCENE 
for a second or two as we HEAR the scraping of boots on the 
iron ladder. Someone else is coming up. Presently, two more 
hands and the head of a uniformed policeman with cap and 
badge starts to climb over the parapet. The CAMERA PULLS 
BACK so that by the time he has completed his climb, he is 
in full figure. He dashes out of the picture drawing his 
gun.  Immediately following him over the parapet, a detective 
in plain clothes climbs over. This is JOHN FERGUSON, known 
as SCOTTIE. He too pulls a gun and dashes out of the picture.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

A vast panorama of the San Francisco skyline. Nearer to us 
are three tiny figures running and jumping over the roof 
tops. The man on the run, whom we first saw climb over the 
parapet, is dressed in a white shirt and light tan linen 
slacks, and wearing sneakers. The uniformed man is shooting 
at him. Scottie is dressed in medium grey clothes. The CAMERA 
SLOWLY PANS the group across the roof tops.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MED. SHOT

We now see a short gap between rooftops, with a drop below.  
The pursued man makes the leap successfully followed by the 
uniformed policeman. Scottie makes the same leap, but almost 
trips in taking off and is thrown off balance. He tries to 
recover, lands awkwardly on the opposite roof, and falls 
forward, prone, with a heavy impact that hurts and drives 
tile breath from his body. He tries to rise but raises his 
head with a look of pain -- one leg is doubled up under the 
other. The tiles give way, and he slides backwards, and his 
legs go over the edge of the roof, then his body. In his 
daze he grasps at the loose tiles, and as he goes over the 
edge he clutches on to the gutter, which gives way, and he 
swings off into space, looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

Scottie looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

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

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

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

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

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

			POLICEMAN
	Give me your hand!

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE UP

SCOTTIE'S HEAD. His hands grip the edge of the guttering.  
The tips of the fingers of policeman straining to reach 
Scottie, are at the top of screen. Scottie begins to open 
his grip but stares down, he quickly resumes his grip looking 
up hopelessly towards the helping hand. He looks down again.  
FROM SCOTTIE'S VIEWPOINT - the ground below still a long way 
away.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

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

			POLICEMAN
	What's the matter with you? Give me 
	your hand!

Policeman endeavors to stretch out his hand further.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK)

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

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

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

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

The policeman falling through space.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

Scottie stares down in horror.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

The body of the policeman sprawled on the ground below.  
People are running into the alleyway; they stare at the body, 
look up to where Scottie is hanging. We see the light on 
their upturned faces. And now we hear a police whistle blown 
shrilly, again and again.  Up to this moment the background 
music has had an excitement to match the scene, and now it 
cuts off, abruptly, leaving on the echo of the police whistle 
as the DISSOLVE begins. Then, in the DISSOLVE, we hear the 
gentle insistence of Scarlatti played by a chamber orchestra.

							 DISSOLVE TO:

INT. AN APARTMENT ON RUSSIAN HILL - (LATE AFTERNOON)

It is fresh, light, and simple, and crowded with books, 
phonograph records, pictures. The most striking feature of 
the apartment is the view: The rising hills of San Francisco 
framed by a large picture window. To one side of the window 
is the owner of the apartment, MAJORIE WOOD, called MIDGE, 
at a commercial drawing table concentrating with professional 
intensity on a drawing of a slim, a elongated woman with few 
features and fewer clothes. A brassiere sits on a table at 
Midge's elbow, and she studies it as she draws. Midge Wood 
is about thirty-seven, attractive, straight-forward, well-
but-simply-dressed; she wears glasses but does not whip them 
an and off as they do in the movies. The music comes from a 
gramophone. The other occupant of the room is Scottie. He 
sits in a big chair, with his feet stretched out on an ottoman 
and his head far back. There is a drink on a table nearby. 
He rouses himself to reach for it, and in doing so knocks 
over his walking stick that has been propped against the 
chair. He reaches out to catch it, and in the quickness of 
trying to keep it from falling, he wrenches his body around.

			SCOTTIE
	Ow!!

			MIDGE
		(Paying little 
		attention)
	I thought you said no more aches and 
	pains?

			SCOTTIE
	It's this darned corset. It binds.  
	He retrieves the stick.

			MIDGE
	No three-way stretch? How very un- 
	chic.

			SCOTTIE
	Well, you know those police department 
	doctors: no sense of style.
		(Sighs gratefully)
	Ah, tomorrow!

			MIDGE
	What's tomorrow?

			SCOTTIE
	Tomorrow... the corset comes off.  
	And this thing goes out the window.
		(He waves the stick)
	I shall be a free man. I shall wiggle 
	my behind... free and unconfined.

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

			SCOTTIE
	Midge, do you suppose many men wear 
	corsets?

			MIDGE
	More than you think.

			SCOTTIE
		(Interested)
	How do you know? Personal experience?

			MIDGE
	Please!
		(Then, impersonally)
	And what happens after tomorrow?

			SCOTTIE
	What do you mean?

			MIDGE
	What are you going to do? Now that 
	you've quit the police force?

			SCOTTIE
		(Gently)
	You sound so disapproving, Midge.

			MIDGE
	No, it's your life. But you were the 
	bright young lawyer who decided he 
	was going to be chief of police some 
	day.

			SCOTTIE
		(Gently)
	I had to quit, Midge.

			MIDGE
	Why?

			SCOTTIE
	I wake up at night seeing him fall 
	from the roof... and try to reach 
	out for him.

			MIDGE
	It wasn't your fault.

			SCOTTIE
	I know. Everybody tells me.

			MIDGE
	Johnny, the doctors explained --

			SCOTTIE
	I know. I have Acrophobia. What a 
	disease. A fear of heights. And what 
	a moment to find out I had it.

			MIDGE
	Well, you've got it. And there's no 
	losing it. And there's no one to 
	blame. So why quit?

			SCOTTIE
	And sit behind a desk?  Chairborne?

			MIDGE
	It's where you belong.

			SCOTTIE
		(With a grin)
	Not with my Acrophobia, Midge. If I 
	dropped a pencil on the floor and 
	bent down to pick it up, it could be 
	disastrous!

			MIDGE
		(Laughs)
	Ah, Johnny-O...

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

			MIDGE
		(Finally, as she works)
	Well?... what'll you do?

			SCOTTIE
	Nothing for a while. You forget, I'm 
	a man of independent means. Or fairly 
	independent.

			MIDGE
	Mmm. Why don't you go away for a 
	while?

			SCOTTIE
		(Grins)
	To forget? Don't be so motherly, 
	Midge. I'm not going to crack up.

			MIDGE
	Have you had any dizzy spells this 
	week?

			SCOTTIE
	I'm having one now.

She looks up sharply with quick apprehension.

			SCOTTIE
	From that music.

			MIDGE
	Oh!

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

			SCOTTIE
	What's this do-hickey here?

He turns the brassiere over with his stick

			MIDGE
	It's a brassiere. You know about 
	those things. You're a big boy, now.

			SCOTTIE
	I've never run across one like that.

			MIDGE
	It's brand new. Revolutionary uplift.  
	No shoulder straps, no back straps, 
	but does everything a brassiere should 
	do. It works on the principle of the 
	cantilever bridge.

			SCOTTIE
		(Impressed)
	Uh-huh!

			MIDGE
	An aircraft engineer down the 
	peninsula designed it. He worked it 
	out in his spare time.

			SCOTTIE
	What a pleasant hobby.

He wanders back to the chair and watches her work for a long 
moment. Then:

			SCOTTIE
	How's your love life, Midge?

			MIDGE
	That's following a train of thought.

			SCOTTIE
	Well?

			MIDGE
	Normal.

			SCOTTIE
	Aren't you ever going to get married?

			MIDGE
		(Lightly)
	You know there's only one man in the 
	world for me, Johnny-O.

			SCOTTIE
	Yeah, I'm a brute. We were engaged 
	once though, weren't we?

			MIDGE
	Three whole weeks.

			SCOTTIE
	Ah, sweet college days. But you're 
	the one who blew it. I'm still 
	available. Available Ferguson. Say, 
	Midge, do you remember a guy at 
	college named Gavin Elster?

			MIDGE
	Gavin? Gavin Elster? You'd think I'd 
	would. No.

			SCOTTIE
	I got a call from him today. Funny.  
	He dropped out of sight during the 
	war, and I'd heard he'd gone East. I 
	guess he's back.
		(he fishes out a slip 
		of paper)
	It's a Mission number.

			MIDGE
	That's Skid Row... isn't it?

			SCOTTIE
	Could be.

			MIDGE
	He's probably on the bum and wants 
	to touch you for the price of a drink.

			SCOTTIE
	Well, I'm on the bum; I'll buy him a 
	couple of drinks and tell him my 
	troubles. But not tonight. If you 
	won't drink with me, I'll drink alone, 
	tonight.
		(He rises to go)

			MIDGE
	Sorry, old man. Work.

			SCOTTIE
	Midge, what did you mean, there's no 
	losing it?

			MIDGE
	What.

			SCOTTIE
	My... the acrophobia.

			MIDGE
	I asked my doctor. He said only 
	another emotional shock could do it, 
	and probably wouldn't. And you're 
	not going to go diving off another 
	rooftop to find out.

			SCOTTIE
	I think I can lick it.

			MIDGE
	How?

			SCOTTIE
	I've got a theory. Look. If I can 
	get used to heights just a little at 
	a time... progressively see?

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

			SCOTTIE
	Here, I'll show you what I mean.  
	We'll start with this.

			MIDGE
	That!?!

			SCOTTIE
	What do you want me to start with --
	the Golden Gate Bridge?

He has stepped up on the footstool and stands there proudly 
looking up and down.

			SCOTTIE
	Now. I look up, I look down. I look 
	up, I look down. Nothing to it.

			MIDGE
		(Overlapping)
	Stop kidding. Wait a minute.

She dashes to the kitchen, returns quickly with a small 
aluminum household ladder.

			SCOTTIE
	Ah, that's my girl! Here?

He steps on the first step.

			MIDGE
	Step number two.

			SCOTTIE
	Okay.

He gets up on the second step and goes through the routine.

			SCOTTIE
	I look up, I look down. I look up, I 
	look down. I'm going to go right out 
	and buy me a nice, tall stepladder. 
	Here we go.

He gets on the top step.

			MIDGE
	Easy, now.

			SCOTTIE
	This is a cinch. I look up, I look 
	down. I look up --

And at this moment he makes the mistake of turning and looking 
out through the picture window.

FROM SCOTTIE'S VIEWPOINT

We see the depth down to the street below the window. The 
whole picture begins to weave.

INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - CLOSEUP

of Scottie -- expression of nausea.

FROM SCOTTIE'S VIEW POINT - LONG SHOT

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

INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - MEDIUM CLOSE

SHOT

Scottie's face distorted with agony -- his eyes close and he 
begins to slump. CAMERA PULLS BACK SLIGHTLY as Midge now 
comes into shot, putting up her hands to him to hold him, 
and his weight is on her and his head is slumped, and the 
joke is over.

			MIDGE
	Johnny!

			SCOTTIE
		(Muttering, his face 
		tight, his eyes shut)
	Oh, damn it! Damn it, damn it --

							 DISSOLVE:

EXT. A SHIPYARD - (DAY) - LONG SHOT

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

							 DISSOLVE TO:

INT. GAVIN ELSTER'S OFFICE - (DAY)

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

			SCOTTIE
	How'd you get into the shipbuilding 
	business, Gavin?

			ELSTER
	I married into it.

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

			SCOTTIE
	Interesting business.

			ELSTER
	No, to be honest, I find it dull.

			SCOTTIE
	You don't have to do it for a living.

			ELSTER
	No. But one assumes obligations. My 
	wife's family is all gone; someone 
	has to look after her interest. Her 
	father's partner runs the company 
	yard in the East -- Baltimore -- so 
	I decided as long as I had to work 
	at it, I'd come back here. I've always 
	liked it here.

			SCOTTIE
	How long have you been back?

			ELSTER
	Almost a year.

			SCOTTIE
	And you like it.

			ELSTER
	San Francisco's changed. The things 
	a that spell San Francisco to me are 
	disappearing fast.

  Scottie smiles at the old prints on the wall.

			SCOTTIE
	Like all this.

			ELSTER
		(Nodding)
	I'd like to have lived here then. 
	The color and excitement... the 
	power...  the freedom.

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

			ELSTER
	Shouldn't you be sitting down?

			SCOTTIE
	No, I'm all right.

			ELSTER
	I was sorry to read about that thing 
	in the papers.
		(No answer)
	And you've quit the force.
		(Scottie nods)
	A permanent physical disability?

			SCOTTIE
	No, Acrophobia isn't a crippling 
	thing. It just means I can't climb 
	steep stairs or go to high places, 
	like the bar at the Top-of-the-Mark.
	But --
		(Shrugs and smiles)
	-- there are plenty of street-level 
	bars In this town.

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

			ELSTER
	Would you like a drink now?

			SCOTTIE
	No... no, thanks. A bit early in the 
	day for spirits.
		(Pause)
	Well, I guess that about covers 
	everything, doesn't it? I never 
	married; I don't see much of the 
	"old college gang"; I'm a retired 
	detective -- and you're in the 
	shipbuilding business.
		(Pause)
	What's on your mind, Gavin?

A moment, then Elster rises from the desk casually, wanders 
across the room, looks out the window, gets out a handkerchief 
and blows his nose prosaically, finally turns and regards 
Scottie coolly and directly for a long moment.

			ELSTER
	I asked you to come up here, Scottie, 
	knowing that you had quit detective 
	works, but I wondered whether you 
	would go back on the job -- as a 
	special favor to me.

Scottie looks at him questioningly.

			ELSTER
	I want you to follow my wife.

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

			ELSTER
	Not what you think. We're very happily 
	married.

			SCOTTIE
	Then?

			ELSTER
	I'm afraid some harm may come to 
	her.

			SCOTTIE
	From whom?

			ELSTER
	Someone dead.

Scottie waits.

			ELSTER
	Scottie, do you believe that someone 
	out of the past, someone dead, can 
	enter and take possession of a living 
	being?

			SCOTTIE
	No.

			ELSTER
	If I told you I believe that his 
	happened to my wife, what would you 
	say?

			SCOTTIE
	I'd say you'd better take her to the 
	nearest psychiatrist, psychologist, 
	neurologist, psychoanalyst, or plain 
	family doctor. And have him check 
	you both.

			ELSTER
		(Defeated)
	Then you're of no use to me. I'm 
	sorry I wasted your time. Thank you 
	for coming in, Scottie.

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

			SCOTTIE
	I didn't mean to be that rough.

			ELSTER
	No, it sounds idiotic, I know. And 
	you're still the hard-headed Scot, 
	aren't you? Always were. Do you think 
	I'm making it up?

			SCOTTIE
	No.

			ELSTER
	I'm not making it up. I wouldn't 
	know how. She'll be talking to me 
	about something, nothing at all, and 
	suddenly the words fade into silence 
	and a cloud comes into her eyes and 
	they go blank... and she is somewhere 
	else, away from me... someone I don't 
	know. I call to her and she doesn't 
	hear. And then with a long sigh she 
	is back, and looks at me brightly, 
	and doesn't know she's been away... 
	can't tell me where... or why...

			SCOTTIE
	How often does this happen?

			ELSTER
	More and more in the past few weeks.  
	And she wanders. God knows where she 
	wanders. I followed her one day.

			SCOTTIE
	Where'd she go?

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

			ELSTER
	Watched her come out of the apartment, 
	someone I didn't know... walking in 
	a different way... holding her head 
	in a way I didn't know; and get into 
	her car, and drive out to...
		(He smiles grimly)
	Golden Gate Park. Five miles. She 
	sat on a bench at the edge of the 
	lake and stared across the water to 
	the old pillars that stand an the 
	far shore, the Portals of the Past. 
	Sat there a long time, not moving... 
	and I had to leave, to got to the 
	office. That evening, when I came 
	home, I asked what she'd done all 
	day. She said she'd driven to Golden 
	Gate Park and sat by the lake. That's 
	all.

			SCOTTIE
	Well?

			ELSTER
	The speedometer of her car showed 
	she had driven 94 miles that day. 
	Where did she go?
		(Pause)
	I have to know, Scottie. Where she 
	goes and what she does, before I got 
	involved with doctors.

			SCOTTIE
	Have you talked to the doctors at 
	all?

			ELSTER
	Yes, but carefully. I'd want to know 
	more before committing her to that 
	kind of care.
		(Anxiously)
	Scottie --

			SCOTTIE
		(Quickly)
	I can get you a firm of private eyes 
	to follow her for you. They're 
	dependable, good boys --

			ELSTER
		(Breaking in)
	I want you.

			SCOTTIE
	It's not my line.

			ELSTER
	Scottie, I need a friend!  Someone I 
	can trust! I'm in a panic about this!

Long pause.

			SCOTTIE
	How can I see her, to know her?

			ELSTER
	We're going to an opening at the 
	opera tonight. We'll dine at Ernie's 
	first.  Which is easier?

			SCOTTIE
	Ernie's.

			ELSTER
	All right.
		(Pause)
	You won't know what to look for at 
	first, Scottie. Even I, who know her 
	so well, cannot tell, sometimes, 
	when the change has begun. She looks 
	so lovely and normal...

  The last part of this speech carries through the dissolve.

							 DISSOLVE TO:

INT. ERNIE'S RESTAURANT - (NIGHT)

We are in the upstairs room that, in mood and decor, takes 
us back to Bonanza Days. This is the way San Francisco was.  
Scottie is at the bar, turned a little so that he faces into 
the dining room, and as he drinks his eyes search the room 
slowly, carefully.

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

			ELSTER'S VOICE
	But I realize now that the deep change 
	began on the first day I brought her 
	to San Francisco. You know what San 
	Francisco does to people who have 
	never seen it before. All of it 
	happened to Madeleine, but with such 
	an intensity as to be almost 
	frightening. She was like a child 
	came home. Everything about the city 
	excited her: she had to walk all the 
	hills, explore the edge of the ocean, 
	see all the old houses and wander 
	the old streets: and when she came 
	upon something unchanged, something 
	that was as it had been, her delight 
	was so strong so fiercely possessive!  
	These things were hers. And yet she 
	had never been here before. She had 
	been born and raised in the East. I 
	liked it at first, of course. I love 
	this place; I wanted my bride to 
	love it.  But then it began to make 
	me uneasy.  Her delight was too 
	strong; her excitement was too 
	intense, it never faded; her laugh 
	was too loud, her eyes sparkled too 
	brightly; there was something feverish 
	about the way she embraced the city. 
	She possessed it.  And then one day 
	she changed again...  and a great 
	sigh settled on her, and the cloud 
	came into her eyes...

Now Gavin Elster has signed the check, and he and his wife 
rise and start for the door. Scottie still cannot get an 
unobstructed view of her face, but we can see in flashes 
that she is young, in her twenties, with a mobile, attractive 
face and gentle eyes that have warmth and intelligence and 
humor.  Scottie is intent on her. At the doorway to the bar, 
only two feet from him, she stops and waits as her husband 
pauses behind her to speak to the headwaiter and thank him 
and tip him. She looks about calmly, with sure, distant 
repose.  Her eyes come to rest an Scottie for a moment, then 
move an with the small smile.  During all of the above, 
Elster's voice has gone on, without pauses, and his narration 
ends as the girl, Madeleine, comes to a stop near Scottie 
and waits.

			ELSTER'S VOICE
	I don't know what happened that day: 
	where she went, what she saw, what 
	she did. But on that day, the search 
	was ended. She had found what she 
	was looking for, she had come home. 
	And something in the city possessed 
	her.

As Scottie stares at her, their eyes meet for a moment, and 
he turns to reach for his drink. When he turns back, she is 
gone. He looks about, slightly startled, then catches a 
glimpse of her as she turns the corner of the upstairs lobby. 
His eyes grow thoughtful, and glow with the memory of her 
face.

							 DISSOLVE TO:

EXT. BROCKLEBANK APARTMENTS - (DAY) - SEMI-CLOSEUP

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

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

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

INT. AUTOMOBILE - (DAY) - CLOSEUP SCOTTIE

He resumes his reading but does not Concentrate. His eyes go 
back to the apartment house.

EXT. BLOCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT

A slightly nearer view but still outside the stone entrance 
of the apartment house, we see the main entrance beyond. For 
some time, there is no activity at all - perhaps for a quarter 
of a minute or so. Suddenly, we see Gavin's wife, MADELEINE, 
appear.  She is dressed in a smart light grey tailored suit. 
She stands for a moment looking about her.

INT. AUTOMOBILE (DAY) - SEMI-CLOSEUP

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

EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT - FROM

HIS VIEWPOINT

We see Madeleine crossing the small courtyard to a pale green 
Jaguar. She stands for a moment, opens her handbag and takes 
out her car keys. She gets in the car.

EXT. BROCKLEBANK APTS. - (DAY) - MEDIUM SHOT

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

EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT FROM HIS

VIEWPOINT

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

INT. SCOTTIE'S CAR - SEMI-CLOSEUP

We see him pull away, looking intently ahead.

EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT

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

INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP

Scottie watching ahead.

EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-CLOSEUP

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

INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP

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

						  LAP DISSOLVE TO:

INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP

Scottie anxiously looking ahead, fearing he might miss her.

EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT

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

INT. SCOTTIE'S CAR - SEMI-CLOSEUP

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

EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT

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

EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT

SHOOTING DOWN THE ALLEYWAY

The grey sedan comes into the f.g. on the right, while further 
down the street, we see the green Jaguar coming to a stop 
outside a dingy doorway.

INT. SCOTTIE'S CAR - SEMI-CLOSEUP

We see Scottie looking out of his window, looking down the 
street.

EXT. ALLEYWAY - SEMI-LONG SHOT - FROM HIS VIEW P0INT

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

EXT. ALLEYWAY - (DAY) - SEMI-LONG SHOT

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

EXT. ALLEYWAY - MEDIUM SHOT

The CAMERA PANS Scottie past the Jaguar as he cautiously 
enters the doorway.

INT. DARK PASSAGE - (DAY) - MEDIUM SHOT

We see Scottie making his way down this passage. He reaches 
a door at the end.

INT. DARK PASSAGE - (DAY) SEMI-CLOSEUP - SHOOTING OVER

SCOTTIE'S SHOULDER

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

INT. FLOWER SHOP - (DAY) - CLOSEUP

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

INT. FLOWER SHOP - (DAY) - MEDIUM SHOT

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

INT. FLOWER SHOP - CLOSEUP - SCOTTIE

Cautiously narrows the opening of the door.

INT. FLOWER SH0P - (DAY) - MEDIUM SHOT

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

INT. FLOWER SHOP - (DAY) - CLOSEUP SCOTTIE

Cautiously, closes the door.

INT. PASSAGE - (DAY) - SEMI-LONG SHOT

We see Scottie retreating from the door and hastening down 
the passage towards the CAMERA. He goes out left and as he 
opens the door into the alleyway, the daylight streams in 
for a moment.

EXT. ALLEYWAY - (DAY) - MEDIUM SHOT

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

EXT. ALLEYWAY - (DAY) - LONG SHOT

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

LAP DISSOLVE:

INT. SCOTTIE'S CAR - (DAY) - MEDIUM SHOT

We see Scottie driving, looking ahead.

EXT. DOLORES AVENUE - (DAY) - LONG SHOT

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

INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP

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

EXT. DOLORES AVENUE - (DAY) - MEDIUM SHOT

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

EXT. DOLORES MISSION - (DAY) - LONG SHOT

We now see for the first time the facade of the old Mission 
Dolores. Scottie enters the picture from the right and makes 
his way to the small dark, open doorway.

EXT. MISSION DOLORES - (DAY) - MEDIUM SHOT

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

INT. MISSION DOLORES - (DAY) - MEDIUM SHOT

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

INT. MISSION DOLORES - (DAY) - LONG SHOT

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

INT. MISSION DOLORES - (DAY) - SEMI-CLOSEUP

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

INT. MISSION DOLORES - (DAY) - LONG SHOT

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

INT. MISSION DOLORES - (DAY) - CLOSEUP

Scottie immediately comes forward and exits the picture.

INT. MISSION DOLORES - (DAY) - LONG SHOT

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

INT. MISSION DOLORES - (DAY) - SEMI-LONG SHOT

We are much nearer to the altar. Scottie enters the picture 
on the right and makes his way quickly towards the little 
side door. As he opens it, a shaft of bright sunlight comes 
into the church.

EXT. GRAVEYARD - (DAY) - CLOSEUP

We see Scottie emerge from the church coming towards the 
CAMERA, which DOLLIES BACK with him.

EXT. GRAVEYARD - (DAY) - MEDIUM SHOT

From his viewpoint, the CAMERA TURNS the corner and makes 
its way toward a small gateway in a wall. The CAMERA starts 
to go through.

EXT. GRAVEYARD - (DAY) - CLOSEUP

Scottie coming through the gateway.

EXT. GRAVEYARD - (DAY) - LONG SHOT

The CAMERA MOVES ACROSS the graveyard, and in the distance, 
we see Madeleine gazing down at a headstone, the posy still 
clutched in her hands.

EXT. GRAVEYARD - (DAY) - CLOSEUP

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

EXT. GRAVEYARD - (DAY) - LONG SHOT

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

EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT

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

EXT. GRAVEYARD - (DAY) - SEMI-CLOSEUP

Scottie watching Madeleine.

EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT

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

EXT. GRAVEYARD - SEMI-CLOSEUP

Scottie cautiously steps back a little.

EXT. GRAVEYARD (DAY) - MEDIUM SHOT

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

EXT. GRAVEYARD - (DAY) SEMI-CLOSEUP

Scottie is watching her depart.

EXT. GRAVEYARD - (DAY) SEMI-LONG SHOT

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

EXT. GRAVEYARD - (DAY) - MEDIUM SHOT

We see Scottie hasten round from his hiding-place back to 
the headstone, where Madeleine had been standing.

EXT. GRAVEYARD - (DAY) - MEDIUM SHOT

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

EXT. GRAVEYARD - (DAY) - CLOSEUP

INSERT - The name on the headstone reads: Carlotta Valdes.  
Born December 3. 1831. Died March 5, 1857.

EXT. GRAVEYARD - (DAY) - MEDIUM SHOT

We see Scottie hurry from the grave towards the exit door.  
The CAMERA PANS with him.

							 DISSOLVE TO:

INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP

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

EXT. MARKET STREET - (DAY)

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

EXT. SAN FRANCISCO STREET - (DAY)

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

						  LAP DISSOLVE TO:

EXT. ENTRANCE TO LINCOLN PARK - (DAY)

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

						  LAP DISSOLVE TO:

INT. ART GALLERY - (AFTERNOON) - LONG SHOT

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

INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP

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

INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT

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

INT. GALLERY - (AFTERNOON) - CLOSEUP

Scottie's eye catches sight of:

INT. GALLERY - (AFTERNOON) - CLOSEUP

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

INT. GALLERY - (AFTERNOON) - CLOSEUP

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

INT. GALLERY - (AFTERNOON) - CLOSEUP

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

INT. GALLERY - (AFTERNOON) - CLOSEUP

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

INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP

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

INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP

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

INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT

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

INT. GALLERY - (AFTERNOON) - MEDIUM SHOT

A male attendant is coming over towards the CAMERA. He goes 
out of the picture.

INT. GALLERY - (AFTERNOON) - MEDIUM SHOT

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

			SCOTTIE
		(Nodding in the 
		direction of the 
		gallery)
	Who is the woman in the portrait?

The Attendant turns his head.

			SCOTTIE
	The one where the lady is sitting.

			ATTENDANT
	Oh, that's Carlotta, sir.
		(At Scottie's reaction)
	You'll find it in the catalogue: 
	"Portrait of Carlotta."

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

							LAP DISSOLVE:

EXT. ART GALLERY - (AFTERNOON) - MEDIUM SHOT

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

							 DISSOLVE TO:

EXT. A SAN FRANCISCO STREET - (DAY)

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

EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT

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

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

EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT

Scottie's car pulls into the curb. He gets out and stands on 
the sidewalk and looks ahead of him. He walks forward out of 
the picture.

EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT

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

EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT

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

EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP

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

EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT

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

EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP

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

EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT

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

INT. MCKITTRICK HOTEL LOBBY - (DAY) - SEMI-CLOSEUP

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

INT. MCKITTRICK HOTEL LOBBY - (DAY)

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

			MANAGERESS
	Yes?

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

			MANAGERESS
	Is there something I can do for you?

			SCOTTIE
	Yes... you run this hotel.

			MANAGERESS
	Oh, yes!

			SCOTTIE
	Would you tell me, who has the room 
	on the second floor in the corner, 
	that corner?

			MANAGERESS
		(Brightly)
	Oh, I'm afraid we couldn't give out 
	information of that sort. Our clients 
	are entitled to their privacy, you 
	know. And I do believe it's against 
	the law! Of course, I don't think 
	any of them would mind, really, but 
	still I would have to know who you 
	are, and ask --

By now Scottie has got out his wallet and has shown his badge, 
and the sight of it makes her stop abruptly, and for a moment 
her face hardens and is not a bit motherly. But then she 
recovers her innocent brightness.

			MANAGERESS
	Oh, dear! Has she done something 
	wrong?

			SCOTTIE
	Please answer my question.

			MANAGERESS
	I can't imagine that sweet girl with 
	that dear face --

			SCOTTIE
		(Urgently)
	What is her name?

			MANAGERESS
	Valdes. Miss Valdes.
		(Pause. Then, brightly)
	It's Spanish, you know.

			SCOTTIE
		(Slowly)
	Carlotta Valdes?

			MANAGERESS
	Yes, that's it. Sweet name, isn't 
	it?  Foreign. But sweet.

			SCOTTIE
		(Holding in)
	How long has she had the room?

			MANAGERESS
	Oh, it must be two weeks. Yes, the 
	rent's due tomorrow.

			SCOTTIE
	Does she sleep here? Ever?

			MANAGERESS
	No... she only comes to sit. Two or 
	three times a week. And I never ask 
	questions, you know. As long as 
	they're well behaved. I must say 
	that I've wondered --

			SCOTTIE
		(Cutting her off)
	When she comes down, don't say that 
	I've been here.

  And he turns away to go, wondering.

			MANAGERESS
		(Brightly)
	Oh, but she hasn't been here today.  
	Scottie whirls back on her.

			SCOTTIE
	I saw her come in five minutes. ago.

			MANAGERESS
	Oh, no! She hasn't been here at all!  
	I would have seen her, you know. 
	I've been right here all the time, 
	putting olive oil on my rubber plant 
	leaves!

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

			MANAGERESS
	And there! There you see? Her key is 
	on the rack!

			SCOTTIE
		(Heavily)
	Would you please go and look?

			MANAGERESS
	In her room? Well, yes, of course if 
	you ask. But it does seem silly...

She puts down the can of olive oil and the sponge, and gets 
out her passkey. She goes up the stairs. Scottie watches her 
go, then stares down at the can of olive oil, stares at the 
rubber plant, and waits, and looks up the stairs.

			MANAGERESS (O.S.)
		(Brightly)
	Oh, Mr. Detective! Would you like to 
	come and look?

Scottie starts up the stairs on the run.

INT. LANDING OF SECOND FLOOR - (DAY)

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

INT. HOTEL BEDROOM - (DAY)

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

			SCOTTIE
	Her car is gone.

			MANAGERESS
	What car?

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

							 DISSOLVE TO:

EXT. BROCKLEBANK APARTMENTS - (DAY)

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

							 DISSOLVE TO:

INT. MIDGE'S APARTMENT - (DAY)

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

			SCOTTIE
	Midge, who do you know that's an 
	authority an San Francisco history?

He walks over and turns the phonograph off, either here or a 
bit later.

			MIDGE
	Now, that's the kind of greeting a 
	girl likes.  None of this "hello you 
	look wonderful" stuff. Just a good 
	straight "who do you know" --

			SCOTTIE
		(breaking in)
	Well, who? Come on, you know 
	everybody.

			MIDGE
	Professor Saunders, over in Berkeley.

			SCOTTIE
	Not that kind of history. The small 
	stuff! About people you never heard 
	of!

			MIDGE
	Oh!  You mean Gay Old Bohemian Days 
	of Gay Old San Francisco!  The juicy 
	stories? Like who shot who in the 
	Embarcadero August, 1879?

			SCOTTIE
	Yeah.

			MIDGE
	Pop Leibel.

			SCOTTIE
	Who?

			MIDGE
	Pop Leibel owns the Argosy Book Shop.  
	What do you want to know?

			SCOTTIE
	Who shot who in the Embarcadero in 
	August, 1879.

Starts for the door fast.

			MIDGE
	Wait a minute! You're not a detective 
	any more. What's going on?

			SCOTTIE
		(Pausing)
	Do you know him well?

			MIDGE
	Pop Leibel? Sure.

			SCOTTIE
	All right, come on. Introduce me.  
	Where is your hat?

He looks about for it.

			MIDGE
		(Speeding to the door)
	I don't need a hat. Johnny, what's 
	it about?

She speeds right on through the open door.

			SCOTTIE
	I'll tell you later. Wait a minute!

He races out after her.

							 DISSOLVE TO:

INT. ARGOSY BOOK SHOP - (DUSK)

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

			POP LEIBEL
	Yes... the Beautiful Carlotta... the 
	Sad Carlotta...

			SCOTTIE
	What does a big old wooden house on 
	the corner of Eddy and Gough Street 
	have to do with her?

			POP LEIBEL
	It was hers. It was built for her.  
	Many years ago.

			SCOTTIE
	By whom?

			POP LEIBEL
	By... no... the name I do not 
	remember. A rich man, a powerful 
	man.  It is not an unusual story. 
	She came from somewhere small, to 
	the south of the city... some say 
	from a mission settlement... young, 
	yes; very young.  And she was found 
	singing and dancing in a cabaret by 
	the man... wait... wait... Ives!  
	His name was Ives!  Yes. And he took 
	her and built for her this great 
	house in the Western Addition... and 
	there was a child. Yes. This was it. 
	The child.

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

			POP LEIBEL
	And now, fragments, you understand.  
	I cannot tell you how much time 
	passed, or how much happiness there 
	was. But then he threw her away. He 
	had no other children; his wife had 
	no children. He kept the child and 
	threw her away. Men could do that in 
	those days. They had the power... 
	and the freedom. And she became the 
	Sad Carlotta. Alone in the great 
	house... walking the streets alone, 
	her clothes becoming old and patched 
	and dirty... the Mad Carlotta... 
	stopping people in the streets to 
	ask, "Where is my child?... have you 
	seen my child?".

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

			MIDGE
	The poor thing....

			SCOTTIE
	And she died...

			POP LEIBEL
	She died.

			SCOTTIE
	How?

			POP LEIBEL
	By her own hand.
		(Pause. Smiles as 
		sadly)
	There are many such stories.

			SCOTTIE
	Thank you, Mr. Leibel. Thank you 
	very much.

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

			MIDGE
	Hey, wait a minute! So long, Pop!  
	Thanks a lot!  She dashes out after 
	Scottie.

EXT. SIDEWALK OUTSIDE ARGOSY BOOK SHOP - (DUSK)

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

			MIDGE
	Now then, Johnny-O; pay me.

			SCOTTIE
	For what?

			MIDGE
	For bringing you here. Come on, tell!

			SCOTTIE
	Nothing to tell.

			MIDGE
	You'll tell, or you'll be back in 
	that corset! Come on!

			SCOTTIE
	I'll take you home.

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

							 DISSOLVE TO:

EXT. STREET OUTSIDE MIDGE'S APARTMENT - (EARLY EVENING) - 
LONG SHOT

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

INT. SCOTTIE'S CAR - (EARLY EVENING) - MEDIUM TWO SHOT

Scottie and Midge are looking straight ahead.

			SCOTTIE
	Here you are.

			MIDGE
	You haven't told me everything.

			SCOTTIE
	I've told you enough.

			MIDGE
	Who's the guy, who's the wife?

			SCOTTIE
	Out. I've got things to do.

			MIDGE
	I know. The one who phoned. Your old 
	college chum, Elster.

			SCOTTIE
	Out!

			MIDGE
	And the idea is that the Beautiful 
	Mad Carlotta has come back from the 
	dead, to take possession of Elster's 
	wife?  Ah, Johnny! Come on!

			SCOTTIE
		(Angrily)
	I'm not telling you what I think! 
	I'm telling you what he thinks!

			MIDGE
	Think?  Well, what do you think?

Scottie is troubled, lost in thought.

Pause.

			MIDGE
	Is she pretty?

			SCOTTIE
	Carlotta?

			MIDGE
		(Evenly)
	No, not Carlotta. Elster's wife.

			SCOTTIE
	Mmm, yeah, I guess...

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

			MIDGE
		(Wickedly)
	I think I'll go take a look at that 
	portrait.
		(With a bright smile)
	Bye!

She opens the car door quickly and jumps out.

			SCOTTIE
		(Outraged)
	Midge!

			MIDGE
	Bye-bye!

She slams the car door and runs into the house. Scottie glares 
after her for a moment, then his face relaxes, and he is 
lost in thought. He reaches into the glove compartment of 
the car and draws out the catalogue of the permanent 
collection of the Palace of the Legion of Honor. He opens it 
to a page and stares down.

INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA.

							 DISSOLVE TO:

INT. GAVIN ELSTER'S CLUB - (NIGHT)

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

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

			ELSTER
		(With a wan smile)
	You've done well, Scottie. You're 
	good at your job.

			SCOTTIE
	That's Carlotta Valdes.

			ELSTER
	Yes.

			SCOTTIE
	There are things you didn't tell me.

			ELSTER
	I didn't know where she was going to 
	lead you.

			SCOTTIE
	But you knew about this.

			ELSTER
	Oh, yes. You noticed the way she 
	does her hair.

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

			ELSTER
	Something else. My wife, Madeleine, 
	has several pieces of jewelry that 
	belonged to Carlotta. She inherited 
	them. Never wore them, they were too 
	old-fashioned... until now. Now, 
	when she is alone, she gets them out 
	and looks at them handles them gently, 
	curiously... puts them on and stares 
	at herself in the mirror... and goes 
	into that other world... is someone 
	else again.

			SCOTTIE
	Carlotta Valdes was what: your wife's 
	grandmother?

			ELSTER
	Great-grandmother. The child who was 
	taken from her whose loss drove 
	Carlotta mad and to her death - was 
	Madeleine's grandmother.

			SCOTTIE
		(Confidently)
	Well, that explains it. Anyone could 
	develop an obsession for the past, 
	with a background like that.

			ELSTER
	But she doesn't know, about her 
	background.
		(As Scottie stares, 
		narrowly)
	She never heard of Carlotta Valdes.

			SCOTTIE
	Knows nothing of a grave out at 
	Mission Dolores, or an old house an 
	Eddy Street, or a portrait at the 
	Palace of the Legion of Honor?

			ELSTER
	Nothing.

			SCOTTIE
	And when she goes to those places...

			ELSTER
	She is not my wife.

The two men stare at each other directly, honestly.

			SCOTTIE
	How do you know all these things she 
	doesn't know?

			ELSTER
	Her mother told me most of then before 
	she died. I dug out the rest for 
	myself, here.

			SCOTTIE
	Why did she never tell her daughter?  

			ELSTER
	Natural fear. Her grandmother went 
	insane and took her own life. And 
	the blood is in Madeleine.
		(Pause)
	Scottie, I ask you to watch her 
	closely.

Scottie raises his glass and drinks slowly, thoughtfully.

							 DISSOLVE TO:

EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

The columns of the courtyard are back lit by the sun. There 
is no sign of life. Near the steps, standing alone and empty, 
is the green Jaguar.

						  LAP DISSOLVE TO:

INT. THE ART GALLERY - (LATE AFTERNOON)

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

						  LAP DISSOLVE TO:

EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

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

							 DISSOLVE TO:

EXT. SEA CLIFF DRIVE - (LATE AFTERNOON)

We see the green Jaguar proceeding, the grey sedan at a 
careful distance behind.

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

							 DISSOLVE TO:

INT. SCOTTIE'S CAR - (SUNSET)

Scottie carefully looking ahead.

EXT. PRESIDIO DRIVE - (SUNSET)

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

							 DISSOLVE TO:

EXT. PRESIDIO - (SUNSET)

The two cars driving along the wooded road.

INT. SCOTTIE'S CAR - (SUNSET)

Scottie looking ahead.

							 DISSOLVE TO:

EXT. FORT POINT - (SUNSET)

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

EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

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

EXT. BRIDGE - (SUNSET) - LONG SHOT

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

EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

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

EXT. BRIDGE - (SUNSET) - SEMI-LONG SHOT

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

EXT. BRIDGE - (SUNSET) - CLOSEUP

Scottie watching her curiously.

EXT. BRIDGE - (SUNSET) - SEMI-CLOSEUP

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

CLOSE SHOT OF FLOWERS FLOATING ON THE WATER

EXT. BRIDGE - (SUNSET) - CLOSEUP

Scottie watching Madeleine.

EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

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

EXT. DOCKSIDE - (SUNSET) - LONG SHOT

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

EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

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

EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

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

EXT. DOCKSIDE - (SUNSET) - CLOSEUP MADELEINE

Her eyes staring, sinks beneath the water. She is surrounded 
by the scattered flowers. Scottie swims in and grabs her.  

EXT. DOCKSIDE - (SUNSET) - CLOSEUP

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

							LAP DISSOLVE:

EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

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

EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

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

EXT. DOCKSIDE - (SUNSET)

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

			SCOTTIE
		(whispering)
	Are you all right?

  Her eyes open slowly.

			SCOTTIE
		(Calling softly)
	Madeleine...

Her eyes show no sign of recognition or response; they move 
past his face and stare out.  The CAMERA SLOWLY MOVES IN 
until her head fills the screen. She stares out as though in 
a trance.

							 DISSOLVE TO:

EXT.SCOTTIE'S APARTMENT - (DUSK)

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

							 DISSOLVE TO:

INT. SCOTTIE'S APARTMENT - (NIGHT)

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

			MADELEINE
		(Faintly, distantly)
	Please... thank you... please...

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

			MADELEINE
		(Appealingly)
	Where is my child?... have you seen 
	my child...?

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

			SCOTTIE
	Yes?... No, it's all right; I'll 
	call you back. Yes. Yes!

He hangs up, and tries to smile down at Madeleine, who has 
not moved, but has followed his every move with fright and 
apprehension.

			SCOTTIE
	Are you all right?

No answer, only the eyes staring at him. And then he realizes, 
with some embarrassment, that she cannot move, that she is 
naked under the bedclothes, and he reaches across to the 
dressing gown he has laid out for her on the bed, and moves 
it closer to her.

			SCOTTIE
	Oh... you'll want this...

He gives her a reassuring nod and smile, straightens up and 
goes to the door, and goes into the living room, closing the 
bedroom door behind him. And she stares after him as he goes.  
In the living room, he moves to the fireplace, puts another 
log on, and watches it catch. The bedroom door behind him 
opens, and he turns to face Madeleine.  She has the dressing 
gown belted tightly around the middle and holds it together 
with one band at her breast. And she stands there staring at 
him nervously, frightened, not wanting to admit that she 
does not know how she came there, but wanting very much to 
know. And she cannot help herself: knowing her own fears, 
she has to ask.

			MADELEINE
	Why am I here? What happened?

			SCOTTIE
	You...
		(Then, not liking the 
		sound of the truth)
	...fell into the Bay.

She puts a hand slowly to her hair, understanding now why it 
is wet.

			SCOTTIE
	I dried your hair as well as I could.  
	But you'd better come here by the 
	fire.

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

			SCOTTIE
	They're almost at dry. Here. Why 
	don't you come over here?

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

			SCOTTIE
	Would you like some coffee?

She shakes her head.

			SCOTTIE
	You'd better have some. Or would you 
	rather have a drink?

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

			MADELEINE
		(Wonderingly)
	...fell into the bay...

She looks up at him. He nods.

			MADELEINE
	...and you fished me out...

He nods. She gives him a small grateful smile.

			MADELEINE
	Thank you.

Scottie is watching her intently.

			SCOTTIE
	You don't remember.

			MADELEINE
	No...

			SCOTTIE
	Do you remember where you were?

			MADELEINE
		(Childishly surprised)
	Oh, of course I remember that!  But 
	then I must have had a dizzy spell, 
	and fainted!

			SCOTTIE
		(Quickly)
	Where were you?

			MADELEINE
	At...

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

			MADELEINE
		(Triumphantly)
	...Old Port Point!  Out at the 
	Presidio! Of course I remember! I 
	often go there!

			SCOTTIE
	Why?

			MADELEINE
		(Almost naively)
	Because I love it so. It's beautiful 
	there. Especially at sunset.
		(She leans her head 
		back sensually to 
		the warmth)
	Ah... thank you for the fire.

			SCOTTIE
	Where had you been before?

			MADELEINE
	When?

			SCOTTIE
	This afternoon.

			MADELEINE
	Oh... wandering about.

			SCOTTIE
	Before?  Where?  Where had you been?

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

			MADELEINE
		(Positively)
	Downtown, shopping.

And Scottie sighs inwardly, having proved something.

			SCOTTIE
	Please drink your coffee.

			MADELEINE
	I will. You're terribly direct in 
	your questions.

			SCOTTIE
	I'm sorry. I didn't mean to be rude.

			MADELEINE
	You're not. Merely direct. What were 
	you doing there? At Old Fort Point?

			SCOTTIE
	Wandering about.

			MADELEINE
	You like it, too.

He nods. She smiles at him happily, enjoying the warmth and 
the coffee, enjoying his presence, seemingly almost to have 
forgotten her nearness to death. And Scottie is fascinated 
by this thing curled up before his fire.

			MADELEINE
		(Then with a wicked 
		smile)
	And where had you been?... just 
	before?

A moment, as Scottie takes a deep breath, and then he decides 
to chance it and see the reaction.

			SCOTTIE
	The Palace of the Legion of honor.  
	The Art Gallery.

			MADELEINE
		(Enthusiastically)
	Oh, that's a lovely spot, isn't it?  
	I've never been inside. But it looks 
	so lovely, driving past.

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

			MADELEINE
		(Softly)
	Lucky for me you were wandering about.
	Thank you again. I've been terrible 
	bother to you.

			SCOTTIE
	No.

She reaches up to feel her hair.

			MADELEINE
	When you...
		(And suddenly conscious 
		of her nakedness 
		again, and embarrassed)
	There were pins in my hair...

			SCOTTIE
	Oh! Yes! Here!

He crosses the room swiftly, picks up an ash tray in which 
he had deposited her hairpins, takes her handbag from a chair, 
and brings them to her.

			MADELEINE
	Thank you.

She proceeds to do up her hair. He watches her, held by the 
movement of her body under the dressing gown as she raises 
her arms and deftly sets about putting her hair in order. At 
one point, as she works, she looks up and flashes him a direct 
smile.

			MADELEINE
	You shouldn't have brought me here, 
	you know.

			SCOTTIE
	I... didn't know where you lived.

			MADELEINE
	You could have looked in my car. Oh, 
	but you didn't know my car, did you?

			SCOTTIE
	Yes, I knew which one it was. It's 
	out there, now. But I didn't think 
	you'd want to be brought home that 
	way.

			MADELEINE
	No, you are right,
		(Pause, as she works)
	I'm glad you didn't take me home...  
	I wouldn't have known you, to thank 
	you...
		(Suddenly appalled)
	Oh, but I don't know you! And you 
	don't know me! My name is Madeleine 
	Elster.

			SCOTTIE
	My name is John Ferguson.

			MADELEINE
	That's a good, strong name. Do your 
	friends call you John? Or Jack.

			SCOTTIE
	John. Old friends. Acquaintances 
	call me Scottie.

			MADELEINE
		(Smiling)
	I shall call you Mr. Ferguson.

			SCOTTIE
		(Grinning)
	No, I wouldn't like that. And after 
	what happened today I should think 
	you could call me Scottie. Or even 
	John.

			MADELEINE
	I prefer John. There, that's done.
		(The hair is in order)
	And what do you do, John?

			SCOTTIE
	Wander about.

			MADELEINE
	That's a good occupation. And live 
	here... alone?

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

			MADELEINE
		(softly)
	One shouldn't live alone.

			SCOTTIE
	Some people prefer it.

			MADELEINE
	No... it's wrong.

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

			MADELEINE
		(Simply)
	I'm married, you know.

Scottie nods almost imperceptibly with his eyes. He looks at 
her for a long moment. Then:

			SCOTTIE
	Will you tell me something? Has this 
	ever happened to you before?

			MADELEINE
		(startled)
	What?

			SCOTTIE
	...Falling... into San Francisco 
	Bay?

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

			MADELEINE
	No, never before. I've fallen into 
	lakes, out of rowboats, when I was a 
	little girl. And I fell into a river, 
	once, trying to leap from one stone 
	to another. But I've never fallen 
	into San Francisco Bay. Have you? 
	Ever before?

			SCOTTIE
		(Grinning)
	No... this is the first time for me, 
	too.

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

			SCOTTIE
	Here, let me give you a lit --

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

			SCOTTIE
	Hello.

			ELSTER'S VOICE
	Scottie, what happened? She's not 
	home, yet.

			SCOTTIE
	No, she's all right. She's still 
	here. But I'll get her home soon.

			ELSTER'S VOICE
	What happened?

			SCOTTIE
	She... went into the Bay.

There is a long silence.

			SCOTTIE
	Hello?

			ELSTER'S VOICE
	Did she hurt herself?

			SCOTTIE
	No. She's in fine shape. Nothing to 
	worry about. But she doesn't know.  
	You understand that. She doesn't 
	know what she did.

Another long silence.

			ELSTER'S VOICE
	Scottie... Madeleine is twenty-six.  
	Carlotta Valdes committed suicide 
	when she was twenty-six.

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

INT. THE LIVING ROOM - (NIGHT)

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

EXT. STREET OUTSIDE SCOTTIE'S APARTMENT - (NIGHT)

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

EXT. SCOTTIE'S APARTMENT - (NIGHT) - CLOSEUP

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

EXT. SCOTTIE'S APARTMENT - (NIGHT)

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

INT. MIDGE'S CAR - (NIGHT)

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

EXT. SCOTTIE'S APARTMENT - (NIGHT)

The Jaguar pulls away and passes out of view.

INT. MIDGE'S CAR - (NIGHT)

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

			MIDGE
		(Softly)
	Well, now, Johnny-O... Was it a 
	ghost?... And was it fun?...

Then she suddenly changes expression.

			MIDGE
	Oops!

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

EXT. SCOTTIE'S APARTMENT - (NIGHT)

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

							 DISSOLVE TO:

EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT

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

EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT

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

INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

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

EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

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

INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

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

EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

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

INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

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

EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

The Jaguar turns right into a narrow curving street and 
finally comes to a sudden stop ahead.

INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

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

EXT. SAN FRANCISCO STREET - (DAY) - SEMI-LONG SHOT

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

EXT. SAN FRANCISCO STREET - (DAY) - MEDIUM SHOT

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

			SCOTTIE
	Is that for me?

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

			MADELEINE
	Oh! Yes. Hello.

			SCOTTIE
	Good morning. I worried about you, 
	last night. You shouldn't have run 
	like that.

			MADELEINE
		(Embarrassed)
	I... suddenly felt such a fool.

			SCOTTIE
	I wanted to drive you home. Are you 
	all right?

			MADELEINE
		(Flashing a smile)
	Oh, yes. Fine. No after effects.
		(Then, ruefully)
	But as I remember now, that water 
	was cold, wasn't it?
		(He nods. She looks 
		away)
	What a terrible thing to do... and 
	you were so kind...
		(With a gesture)
	It's a formal thank-you letter. And 
	a great big apology.

			SCOTTIE
	You've nothing to apologize for.

			MADELEINE
	Oh, yes! The whole thing must have 
	been so embarrassing for you!

			SCOTTIE
	Not at all, I enjoyed --

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

			SCOTTIE
	-- talking to you...

			MADELEINE
		(With small, contained 
		amusement)
	I enjoyed talking to you.

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

			SCOTTIE
	I'll get my mail...

He opens the door and bends down to pick up the letter. As 
he is reaching for it, he turns his head and speaks almost 
without thinking.

			SCOTTIE
	Would you like some coffee?

			MADELEINE
		(Quickly)
	No! No, thank you!

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

			MADELEINE
	I couldn't mail it; I didn't know 
	your address. But I had a landmark.  
	I remembered Coit Tower and it led 
	me straight to you.

			SCOTTIE
	The first time I've been grateful 
	for Coit Tower.

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

			SCOTTIE
	I hope we will, too.

			MADELEINE
	What?

			SCOTTIE
	Meet again, sometime.

			MADELEINE
	We have.

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

			MADELEINE
	Good-bye.

			SCOTTIE
	Good-bye.

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

			SCOTTIE
		(Suddenly walking)
	Where are you going?

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

			MADELEINE
	I don't know.

			SCOTTIE
	Shopping?

			MADELEINE
	No.

			SCOTTIE
	Well... anywhere in particular?

			MADELEINE
	No, I Just thought I'd wander.

			SCOTTIE
	Ah.
		(Then)
	That's what I was going to do.

			MADELEINE
	Oh, yes, I forgot: It's your 
	occupation, isn't it?

And she waits with a small smile.

			SCOTTIE
	Don't you think it's sort of a waste 
	for the two of us to...

			MADELEINE
	Wander separately? Ah, but only one 
	is a wanderer. Two, together, are 
	always going somewhere.

			SCOTTIE
	No... no, I don't think that's 
	necessarily true.

And now he waits, hopefully.

			MADELEINE
		(With a smiling nod)
	You left your door open.

He turns his head, startled and annoyed, than makes a dash 
for the door. As he goes, he turns his head to call back to 
her.

			SCOTTIE
	Don't move!

And he hurries on to the door. She watches him go, and we 
are close on her face to see her genuine amusement, and then 
the laughter fades a little, and a troubled look comes into 
her eyes, a touch of concern.

							 DISSOLVE TO:

EXT. ALONG SKYLINE - (DAY) - LONG SHOT

The green Jaguar moving south.

INT. THE JAGUAR - (DAY)

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

			SCOTTIE
		(Finally)
	Do you know where you're going?

			MADELEINE
	Of course not! I'm a wanderer!
		(Pause. Then brightly)
	I'd like to go somewhere I've never 
	been!

			SCOTTIE
	How can you be sure?

			MADELEINE
	If I've been there? That's silly!  
	Either you've been to a place or you 
	haven't.

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

EXT. SKYLINE DRIVE - (DAY) - HIGH SHOT

The car turns a bend and approaches dark woods and moves 
into the blackness and is swallowed up.

							 DISSOLVE TO:

BIG BASIN REDWOODS STATE PARK - (DAY)

The empty Jaguar in the foreground. The CAMERA MOVES to a 
long view of the grove of redwoods. In the distance we see 
the figures of Madeleine and Scottie wandering among the 
towering trees.

							 DISSOLVE TO:

EXT. THE REDWOODS - (DAY)

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

			MADELEINE
	How old?

			SCOTTIE
	Oh... some, two thousand years, or 
	more.

			MADELEINE
	The oldest living things?

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

			SCOTTIE
	You've never been here before.

She shakes her head, lost in thought as she lets her gaze 
wander among the trees.

			SCOTTIE
	What are you thinking?

			MADELEINE
		(Searching)
	Of all the people who have been 
	born... and have died... while the 
	trees went on living.

			SCOTTIE
		(Agreeing)
	Their true name is Sequoia 
	Sempervirens: always green, ever-
	living.

			MADELEINE
		(Flatly)
	I don't like them.

			SCOTTIE
	Why?

			MADELEINE
		(Simply)
	Knowing I have to die...

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

			MADELEINE
	But I like the stream! It's a lovely 
	stream!

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

			MADELEINE
	But it makes no sound! Listen!

She listens intensely for a long moment, and looks at him 
anxiously.

			MADELEINE
	Do you hear anything?

			SCOTTIE
		(Shaking his head)
	Only silence. It's always like this.

			MADELEINE
		(Wondering)
	And no birds sing.

			SCOTTIE
	No birds live here.

			MADELEINE
	No.

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

			SCOTTIE
	Would you like a drink of water?  

			MADELEINE
	No, thank you.

Scottie moves to the small upright drinking fountain as 
Madeleine approaches the tree section and stands before it 
and studies it. Scottie gets a drink of water, then comes up 
behind Madeleine and stands, and she is seemingly unaware of 
his presence. Their backs are to the CAMERA.  INSERT OF RINGS 
on the tree, marked with dates, beginning, near the center 
with the date 909 A.D. and ending with 1930 - tree cut down.

EXT. RED WOODS - (DAY) - CLOSE SHOT

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

			MADELEINE
	Somewhere in here I was born... and 
	here I died and it was only a moment 
	for you... you took no notice...

			SCOTTIE
		(Almost sharply)
	Madeleine!

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

EXT. RED WOODS - (DAY) - MEDIUM SHOT

Scottie moves over, watching her.

EXT. RED WOODS - (DAY) - LONG SHOT

The CAMERA MOVES OVER as though it is Scottie looking. It 
MOVES far enough to reveal that Madeleine is no longer there.  
She seems to have disappeared.

EXT. RED WOODS - (DAY) - MEDIUM SHOT

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

EXT. RED WOODS - (DAY) - SEMI-LONG SHOT

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

EXT. RED WOODS - (DAY) - MEDIUM SHOT

The CAMERA DOLLIES Scottie down toward the trees.

EXT. RED WOODS - (DAY) - SEMI-LONG SHOT

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

EXT. RED WOODS - (DAY) - CLOSEUP

Scottie comes to a stop as he sees her.

EXT. RED WOODS - (DAY) - CLOSEUP

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

			SCOTTIE
		(Gently)
	Madeleine...

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

			SCOTTIE
	Where are you now?

			MADELEINE
		(Softly, distantly)
	Here with you.

			SCOTTIE
	Where?

			MADELEINE
	The tall trees...

			SCOTTIE
	Have you been here before?

			MADELEINE
	Yes...

			SCOTTIE
	When?

She shakes her head.

			SCOTTIE
	Where were you born?

			MADELEINE
	Long ago...

			SCOTTIE
	Where?

She shakes her head.

			SCOTTIE
	When?

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

			SCOTTIE
	Tell me.

The head moves more rapidly, now, as though denying some 
inner compulsion.

			SCOTTIE
	Madeleine! Tell me!

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

			MADELEINE
	No!... No!

			SCOTTIE
		(Low and urgent)
	Tell me what it is. Where do you go?  
	What takes you away?

			MADELEINE
	No, don't ask me!

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

			SCOTTIE
	When you jumped in the bay, you didn't 
	know where you were. You guessed but 
	you didn't know.

			MADELEINE
	I didn't jump, I fell! You told me I 
	fell!

			SCOTTIE
	Why did you jump?

			MADELEINE
	No!

			SCOTTIE
	What was it inside that told you to 
	jump?

She is fighting it strongly, yet pathetically.

			MADELEINE
	No, I can't tell you!

			SCOTTIE
	What?!

			MADELEINE
		(Strongly)
	No! Please! Please, please, please, 
	please, don't ask me!

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

			MADELEINE
		(Softly, tired)
	Take me away from here?

			SCOTTIE
	Home?

			MADELEINE
	...somewhere in the light.

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

			MADELEINE
	And promise you won't ask me again.  
	Please promise me that.

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

							 DISSOLVE TO:

EXT. CYPRESS POINT OR POINT LOBOS - (DAY) SAME DAY.

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

			MADELEINE
	Why did you run?

He looks down at her searchingly.

			SCOTTIE
		(Finally, quietly)
	I'm responsible for you now, you 
	know.  The Chinese say that once you 
	have saved someone's life, you are 
	responsible for it forever. And so 
	I'm committed. And I have to know.

			MADELEINE
	And you'll go on saving me? Again 
	and again?

He waits. She looks down.

			MADELEINE
	There is so little I know. It is as 
	though I were walking down a long 
	corridor that once was mirrored, and 
	fragments of mirror still hang there, 
	dark and shadowy, reflecting a dark 
	image of me... and yet not me...  
	someone else, in other clothes, of 
	another time, doing things I have 
	never done... but still me... And I 
	can't stop to ask why, I must keep 
	on walking. At the and of the corridor 
	there is nothing but darkness, and I 
	know when I walk into the darkness, 
	I'll die.
		(Pause; she looks up)
	But I've never come to the and; I've 
	always come back, before then. Except 
	once.

			SCOTTIE
	Yesterday.

She nods.

			SCOTTIE
	And you didn't know. You didn't know 
	what happened. Until you found 
	yourself there with me.

She shakes her head.

			SCOTTIE
	You don't know where you were.

She shakes her head.

			SCOTTIE
	But the small scenes, the fragments 
	in the mirror: you remember them.

			MADELEINE
	Vaguely...

			SCOTTIE
	What do you remember?

			MADELEINE
		(Searching)
	A room... there is a room, and I sit 
	there alone... always alone...  

			SCOTTIE
	Would you know the room?

			MADELEINE
	No... it's in shadow.

			SCOTTIE
	What else?

			MADELEINE
	A grave...

			SCOTTIE
	Where?

			MADELEINE
	I don't know. An open grave. I stand 
	by the gravestone looking down into 
	it. And it's my grave.

			SCOTTIE
	How do you know?

			MADELEINE
	I know.

			SCOTTIE
	There's a name on the gravestone.

			MADELEINE
	No. It's new and clean, and waiting.

			SCOTTIE
		(Beginning to feel 
		lost)
	What else?

			MADELEINE
		(Searching)
	This part is dream, I think. There 
	is a tower and a bell and... a garden 
	below... but it seems to be in 
	Spain... a village in Spain. And 
	then it clicks off, and is gone.

			SCOTTIE
	A portrait? Do you ever see a 
	portrait?

			MADELEINE
	No.

			SCOTTIE
	Of the woman in the mirror. Would 
	you know her if you saw her?

			MADELEINE
	But I'm the woman in the mirror!

			SCOTTIE
		(Desperately)
	No!

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

			SCOTTIE
		(To himself)
	If I could find the key... find the 
	beginning put it together...

			MADELEINE
		(Quietly, lost)
	And so explain it away?  But there 
	is a way to explain it, you see. If 
	I'm mad? That would explain it, 
	wouldn't it?

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

			SCOTTIE
	Madeleine!!

He races after her and catches her and holds her, and she is 
against him, clinging tightly, deep in his embrace, and 
sobbing fiercely.

			MADELEINE
		(Muffled, against his 
		breast)
	I'm not mad. I'm not mad. And I don't 
	want to die, but there's someone 
	inside me, there's a somebody else, 
	and she says I must die... Scottie, 
	don't let me go!

			SCOTTIE
	I'm here, I've got you...

			MADELEINE
	I'm so afraid...
		(She looks up)
	...you won't let it happen...

Her face is close to his and they are clinging tightly 
together. He shakes his head, and then suddenly his mouth is 
on hers, and they are deep in a kiss. Their lips part, but 
remain close together.

			MADELEINE
		(Whispering)
	Don't leave me... stay with me...

			SCOTTIE
	All the time.

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

							 DISSOLVE TO:

INT. MIDGE'S APARTMENT - (NIGHT)

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

			SCOTTIE
		(Calling)
	Midge?

Midge hurries out of the kitchen.

			MIDGE
	Hi, Johnny! Did you get my message?

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

			SCOTTIE
	I did. Since when do you go about 
	slipping notes under men's doors?

			MIDGE
	Since I stopped being able to get 
	them on the phone. For a man who has 
	nothing to do, you're certainly a 
	busy little bee. Where do you go, 
	these days?

			SCOTTIE
	Just wander.

			MIDGE
	Where?

			SCOTTIE
	Around.

			MIDGE
	Oh?

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

			SCOTTIE
	Mm. Better.

			MIDGE
	Did you need it?

			SCOTTIE
	Yeah.

			MIDGE
	Oh?

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

			SCOTTIE
	What was this desperate urge to see 
	me?

			MIDGE
	All I said in the note was: "Where 
	are you?" That doesn't sound desperate 
	to me.

			SCOTTIE
	Well, I detected an undercurrent.

			MIDGE
	I just thought if I gave you a drink 
	and fed you some dinner, you'd be so 
	grateful you'd take me to a movie.

			SCOTTIE
	Fair enough. What'll we talk about 
	at dinner?

			MIDGE
	Oh... this and that.

			SCOTTIE
	What I've been doing?

			MIDGE
	If you want to. Naturally, we won't 
	talk about anything you don't want 
	to talk about.

			SCOTTIE
	Naturally.

Pause.

			MIDGE
		(Innocently)
	What have you been doing?

			SCOTTIE
		(With small grin)
	Wandering.

He takes another long pull and wanders over and sweetens the 
drink. Midge moves a little to block his view of the easel 
and canvas.

			SCOTTIE
	What have you been doing?

He wanders back into the room.

			MIDGE
	Oh, I'm having a wonderful time!  
	I've gone back to my first love...  
	painting.

			SCOTTIE
	Good. I've always said you were 
	wasting your time in the underwear 
	department.

			MIDGE
	Well, it's a living. But I'm excited 
	about this.

			SCOTTIE
	What is it, a still life?

			MIDGE
	No, not exactly. Want to see?

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

			MIDGE
	As a matter of fact, I thought I 
	might give it to you.

			SCOTTIE
		(smiling, surprised)
	Oh?

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

INT. MIDGE'S APARTMENT - (NIGHT)

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

Pause.

			SCOTTIE
		(Softly)
	Not funny, Midge.

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

			MIDGE
	Johnny!

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

			MIDGE
	But Johnny, I thought you would --

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

			SCOTTIE
		(Nicely)
	We'll make that movie some other 
	night, huh?

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

			MIDGE
		(Desperately apologetic)
	But Johnny...!!!

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

			MIDGE
	Ah, no!!

She turns away and moves toward the canvas

			MIDGE
	Oh! Marjorie Wood!! You fool!!

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

			MIDGE
		(At the portrait)
	OH!!!!!

And she picks up a brush and with three vicious daubs paints 
a moustache and a beard on her image.  Then she throws the 
brush out the window.

							 DISSOLVE TO:

EXT. UNION SQUARE - (NIGHT)

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

							 DISSOLVE TO:

INT. SCOTTIE'S APARTMENT - (EARLY DAWN)

Scottie is in the easy chair facing the fire asleep. His tie 
is loosened, his shirt is open at the neck. It is clear that 
he fell asleep while sitting there thinking of Madeleine, 
and slept through the night. The fire is almost out. Through 
the window we can barely distinguish Coit Tower in the 
beginning of a grey dawn.  The doorbell begins to ring 
instantly. There is a knocking on the door. Scottie awakens 
sharply, gathers himself together, hurries to the door and 
opens it. Madeleine stands there, looking shaken and white 
and frightened. She is wearing a black suede jacket and black 
slacks. Behind her, fingers of mist swirl in the lightening 
day. She stands there staring at him pleadingly.

			SCOTTIE
	What's the matter?... What time is 
	it?... Madeleine, what's happened?

He draws her in and closes the door and leads her into the 
room.

			MADELEINE
		(Barely)
	I should have phoned... but I wanted 
	to see you... be with you...

			SCOTTIE
	Why? What's happened?

			MADELEINE
	I had the dream. The dream came back 
	again...

She is trembling, and he holds her closely.

			SCOTTIE
	It's all right. You're all right, 
	I'll get you some brandy.

He breaks away to a small cupboard nearby.

			MADELEINE
		(Sharply)
	No, don't go away!

			SCOTTIE
	Only this far.

He gets out a bottle of brandy and a small glass and uncorks 
the bottle and pours the brandy as he comes back to her.

			SCOTTIE
	Here. Straight down, it's medicine.

She takes a sip and puts the glass away.

			SCOTTIE
	Where's your husband?

			MADELEINE
	I didn't wake him. I don't want him 
	to know...

She is still shaking.

			SCOTTIE
	Here, now, it's going to be all right. 
	Here.

He gently pushes her down in the easy chair, turns swiftly 
and kicks up the fire and throws some wood on. He pulls the 
low stool up before her, sits on it, and takes her hands.

			SCOTTIE
	It was a dream, you're awake, you're 
	all right, now. Can you tell me?

			MADELEINE
	It was the tower again... and the 
	bell, and the old Spanish village...

			SCOTTIE
	Yes --

			MADELEINE
	But clear... so very clear... for 
	the first time... all of it...

			SCOTTIE
	Tell me.

			MADELEINE
	There was a village square, a green 
	with trees... and an old whitewashed 
	Spanish church with a cloister.  
	Across the green: a big, grey, wooden 
	house with a porch and shutters and 
	a balcony above... a small garden, 
	and next to it, a livery stable... 
	with old carriages lined up inside.

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

			SCOTTIE
	Go on.

			MADELEINE
	At the end of the green there was a 
	whitewashed stone house with a lovely 
	pepper tree at the corner --

			SCOTTIE
		(Finishing it)
	-- and an old wooden hotel of the 
	old California days, and a saloon... 
	dark... low-ceilinged... with hanging 
	oil lamps.

			MADELEINE
	Yes?! But --

			SCOTTIE
		(Gently)
	It's all there. It's no dream.

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

			SCOTTIE
	You've been there before. You've 
	seen it.

			MADELEINE
	No, never!

			SCOTTIE
	Madeleine, a hundred miles south of 
	San Francisco there's an old Spanish 
	Mission, Mission San Juan Bautista.  
	It's been preserved exactly as it 
	was a hundred years ago as a museum. 
	Now, think hard, darling. You've 
	been there before. You've seen it!

			MADELEINE
		(Frightened)
	No, never! I've never been there!  
	Scottie, what is it? I've never been 
	there!

Long pause as they stare at each other, he desperately trying 
to think it through, shes moved and frightened. He rises and 
moves away, anxious and shaken.

			SCOTTIE
		(To himself)
	Carlotta...

He shakes his head angrily, fighting the idea. Madeleine 
watches him anxiously.

			SCOTTIE
	What was it he said?  She came from 
	somewhere south of the city... some 
	say a mission settlement...

He turns on Madeleine almost desperately.

			SCOTTIE
	Madeleine, think hard!!

She shakes her head frantically, hopelessly, close to tears.

Pause.

			SCOTTIE
		(Quietly)
	Go on with your dream. What was it 
	that frightened you?

			MADELEINE
	I stood alone on the green, searching 
	for something, and I started to walk 
	to the church. But then the darkness 
	closed in, I was alone in the dark, 
	being pulled into darkness, and I 
	fought to wake up...

She looks at him, frightened again by the memory. He goes to 
her reassuringly.

			SCOTTIE
	You're going to be all right now, 
	Madeleine. I've got something to 
	work on now. I'm going to take you 
	there -- to the Mission -- this 
	afternoon. And when you see it, you'll 
	remember when you saw it before, and 
	that will finish your dream and 
	destroy it. I promise.  You'll be 
	free.

She looks up at him and tries to smile.

			SCOTTIE
	All right?

She nods.

			SCOTTIE
	I'll take you home. If your husband 
	is awake, say you couldn't sleep and 
	went out for some air. And come back 
	to me about noon. Come along.

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

			MADELEINE
	No, I'll go alone. I'm all right.

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

							 DISSOLVE TO:

EXT. HIGHWAY SOUTH OF SAY FRANCISCO - (DAY)

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

EXT. THE HIGHWAY - (DAY)

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

INT. THE JAGUAR - (DAY)

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

EXT. THE HIGHWAY - (DAY)

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

							 DISSOLVE TO:

EXT. THE HIGHWAY: A ROAD JUNCTION - (DAY)

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

MISSION SAN JUAN BAUTISTA 3 MILES

EXT. MISSION SAN JUAN BAUTISTA - (DAY)

We are looking along the cloisters, down the long corridor 
of arches. In the foreground a small sign a standard reads:

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

The music of the Mission theme, mingled with Carlotta's theme, 
begins to drift in, an evocation of the past; a sighing that 
grows end seem to have behind it the echo of lost voices 
calling. The CAMERA MOVES AND EASES AROUND A BIT to look 
through the arches across the green toward the open side and 
the valley and the hills beyond. A lone nun is crossing the 
green to the church. A clock strikes the half hour. The CAMERA 
PANS to look at the large wooden two-story house on the far 
side of the green, then the little garden, then the Plaza 
Livery Stable, and the road alongside. The Jaguar stands 
there empty. The CAMERA CONTINUES TO PAN along the whitewashed 
stone Castro House, sees the pepper tree, MOVES along the 
Plaza Hotel, and comes to REST SHOOTING at the saloon that 
forms the far corner of the hotel. Three tourists exit from 
the entrance of the hotel, get into their car. The car moves 
toward the CAMERA, and goes past, and out of the SHOT. The 
CAMERA DOLLIES IN to the front door of the saloon. Over the 
door is a sign: PLAZA HOTEL BAR ROOM.

On either side of the door are posters proclaiming rewards 
for the apprehension of bandits who have held up Wells Fargo 
Express Wagons. The CAMERA SHOOTS THROUGH the open door.

INT. PLAZA HOTEL BAR ROOM - (DAY)

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

							 DISSOLVE TO:

INT. PLAZA HOTEL FRONT PARLOR - (DAY)

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

							 DISSOLVE TO:

EXT. PLAZA HOTEL - (DAY)

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

							 DISSOLVE TO:

INT. LIVERY STABLE - (DAY)

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

INT. LIVERY STABLE - (DAY)

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

			SCOTTIE
	Madeleine...?

She opens her eyes and looks down at him.

			SCOTTIE
	Where are you now?

She smiles at him gently.

			MADELEINE
		(Softly)
	Here with you.

			SCOTTIE
	And it's a all real.

			MADELEINE
	Yes.

			SCOTTIE
		(Firmly)
	Not merely as it was a hundred years 
	ago. As it was a year ago, or six 
	months ago, whenever you were here 
	to see it.
		(Pressing)
	Madeleine, think of when you were 
	here!

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

			MADELEINE
		(Dreamily)
	There were not so many carriages, 
	then. And there were horses in the 
	stalls; a bay, two black, and a grey.  
	It was her favorite place, but we 
	were forbidden to play here, and 
	Sister Teresa would scold us...

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

			SCOTTIE
	Well, now, here!

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

			SCOTTIE
	Here's your grey horse!  Course he'd 
	have a tough time getting in and out 
	of a stall without being pushed, but 
	still... You see?  There's an answer 
	for everything!

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

			SCOTTIE
	Madeleine! Try!

No answer. The music is more insistent, now, a pulling wind,, 
and the faint voices call more clearly. Madeleine slowly 
rises to her feet as though sensing the call. Scottie moves 
back to her and stands there looking up. He raises his arms, 
she puts her bands on his shoulders and slips to the ground 
with his help, and he is holding her. Their heads are close 
together.

			SCOTTIE
	Madeleine, try... for me...

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

			SCOTTIE
	My love... because I love you.

			MADELEINE
		(Whispering)
	I love you too... too late... too 
	late...

			SCOTTIE
	No... we're together...

			MADELEINE
	Too late... there's something I must 
	do...

He holds her gently, now; brushes his lips along her to her 
eyes, down to her mouth.

			SCOTTIE
		(murmuring)
	Nothing you must do... no one 
	possesses you... you're safe with 
	me... my love...

And they kiss again. As they part:

			MADELEINE
	Too late...

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

EXT. LIVERY STABLE - (DAY)

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

EXT. LIVERY STABLE - (DAY) - REVERSE ANGLE

Scottie swings her around to face him.

			SCOTTIE
		(Firmly)
	There are things I have to tell you, 
	about how we met, and why we are 
	together. But they can wait. The 
	only important thing now is that I 
	love you and I'm going to keep you 
	safe.

			MADELEINE
		(Trembling)
	You can't.

			SCOTTIE
	Why?

			MADELEINE
	Let me go.

			SCOTTIE
	Where?

			MADELEINE
	To the church, I must go there.

			SCOTTIE
	Madeleine --

			MADELEINE
	Please let me go.

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

			SCOTTIE
	Madeleine, don't fight me off, don't 
	put me away. You've been fighting 
	alone, and you're lost, but no more.  
	Hold on to me. Be sure of me, always.  
	And whatever it is, we'll lick it. I 
	promise.

No answer. They keep walking, and then suddenly with head 
bowed, she begins to run again, and runs out of the SHOT. A 
moment, then he runs after her.

EXT. THE MISSION AND CLOISTERS - (DAY) - SEMI-LONG SHOT

We see Madeleine running toward the Cloisters, Scottie after 
her. Finally he stops her once again.

EXT. THE CLOISTERS - (DAY) - MEDIUM SHOT

Scottie grabs her by the arm.

			MADELEINE
		(Head low, brokenly)
	It's not fair, it's too late. It 
	wasn't supposed to happen this way, 
	it shouldn't have happened...!

			SCOTTIE
	It had to. We're in love. That's all 
	that counts. Madeleine --

			MADELEINE
		(Frantic, struggling)
	Let me go! Let me go!!

			SCOTTIE
		(Holding her; sharply)
	Madeleine!!

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

			MADELEINE
	You believe that I love you?

			SCOTTIE
	Yes.

			MADELEINE
	And if you lose me, you'll know that 
	I loved you and wanted to go on loving 
	you.

			SCOTTIE
	I won't lose you.

Pause.

			MADELEINE
	Let me go into the church alone.

			SCOTTIE
	Why?

			MADELEINE
	Please. Because I love you.  He stares 
	at her, sees the pleading look in 
	her eyes, and lets go. She turns and 
	walks away toward the church, slowly, 
	her head bowed. He watches her go 
	and starts to move after her. Then 
	slowly, as she goes, her head begins 
	to go up until finally, as she walks, 
	she is staring high above her.  And 
	then, suddenly, she breaks into a 
	broken run.

EXT. CLOISTERS - (DAY)

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

EXT. CLOISTERS - (DAY)

From Scottie's viewpoint: the high church tower.

EXT. CLOISTERS - (DAY)

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

EXT. CLOISTERS - (DAY)

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

EXT. CLOISTERS - (DAY)

Scottie starts to run toward the church.

			SCOTTIE
	Madeleine!!!

He runs to the church door and runs in.

INT. CHURCH, SAN JUAN BAUTISTA - (DAY)

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

INT. CHURCH TOWER - (DAY)

Scottie runs in, stops at the foot of the steps, hears the 
running footsteps, and looks up. From his viewpoint we see 
Madeleine running up the open stairway that spirals up along 
the walls of the high tower. She is already well on her way.  
Scottie is immediately stricken by vertigo, and the tall 
tower seems to slide away from him. He makes an attempt to 
start up the stairs, flattens himself against the wall and 
struggles up. He claws his way up, crosses over to the hand- 
handrailing and uses it to pull his body up the steps, one 
by one railing struggling for breath, unable to call, though 
he tries. And Madeleine keeps running.  Madeleine reaches 
the top goes through a small wooden door.  We see it slam, 
hear it locked.  Scottie, struggling up, reaches a landing 
next to a small open arch that looks out on the back garden, 
and has to stop to tight his nausea.  There is a scream from 
above. Through the arch he sees a body fall. He calls 
"Madeleine"!, and looks down through the arch.

EXT. ROOF - (DAY) - LONG SHOT

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

INT. CHURCH TOWER - (DAY)

The vertigo hits Scottie again and the body and the root of 
the cloister move and fall away into space, and this

					  DISSOLVES THROUGH TO:

The body of the policeman falling from the rooftop, tumbling 
through space to the street below.  Scottie has to look away 
in desperate horror. He hears voices, looks through the arch 
again, and sees two nuns hurrying across the garden from the 
dormitory at the back, looking up at the roof of the cloister.  
He turns and gazes down the great height he now has to 
descend, flattens himself against the wall, and with 
trancelike desperation tries to start moving.

							 FADE OUT:

FADE IN:

EXT. MISSION SAN JUAN BAUTISTA - (DAY)

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

EXT. MISSION SAW JUAN BAUTISTA - (DAY) - LONG SHOT

Before Plaza Hall, the large grey wooden building next to 
the Livery Stable, and on its front porch, groups of citizens 
are gathered, talking. Some people glance up to the second 
floor, where the windows are open, and from which a droning 
voice can faintly be heard.  The CAMERA ZOOMS UP to the open 
window, and as it does, the voice of the speaker becomes 
louder and the words more intelligible.

INT. PLAZA HALL ROOM, SAN JUAN BAUTISTA - (DAY)

The Coroner's Inquest is in session. The Jury of twelve local 
people is at one side. Among the people assembled we see: 
the two nuns, escorted by a priest; Gavin Elster with

his attorney; some State Patrolmen; and, of course, Scottie.  
Next to him is a burly man in his fifties in civilian clothes; 
almost obviously a detective and obviously Scottie's one 
friend there. He is Detective Captain Fred Hansen of the San 
Francisco Police.

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

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

			OFFICIAL
	Mr. Elster, suspecting that all was 
	not well with his wife's mental state, 
	took the preliminary precaution of 
	having her watched by Mr. Ferguson 
	lest any harm befall her, and you 
	have heard that Mr. Elster was 
	prepared to take his wife to an 
	institution where her mental health 
	would have been in the hand of 
	qualified specialists.  And Mr. 
	Ferguson, being an ex-detective, 
	would have seemed the proper choice 
	for the role of watchdog and 
	protector. As you have learned, it 
	was an unfortunate choice.
		(pause)
	However, I think you will agree that 
	no blame can be attached to the 
	husband. His delay in putting his 
	wife under medical care was due only 
	to the need information as to her 
	behavior that he expected to get 
	from Mr. Ferguson. He had taken every 
	precaution to protect his wife. He 
	could not have anticipated that Mr.  
	Ferguson's "weakness" his "fear of 
	heights", called "acrophobia", would 
	make him powerless when he was most 
	needed.
		(pause)
	As to Mr. Ferguson: you have heard 
	his former superior, Detective Captain 
	Hansen, from that great city to the 
	north, testify as to his character 
	and ability. Captain Hansen was most 
	enthusiastic. The fact that Mr.  
	Ferguson once before, under similar 
	circumstances, allowed a police 
	colleague to tall to his death, 
	Captain Hansen dismissed as an 
	"unfortunate Incident."

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

			OFFICIAL
	Of course Mr. Ferguson is to be 
	congratulated for having once saved 
	the woman's life when, in a previous 
	fit of aberration, she threw herself 
	into the Bay. It is a pity that 
	knowing her suicidal tendencies he 
	did not make a greater effort the 
	second time. But we are not here to 
	pass judgment on Mr. Ferguson's lack 
	of initiative. He did nothing, and 
	the law has little to say on the 
	subject of things left undone.
		(pause)
	Nor does his strange behavior after 
	he saw the body fall have any bearing 
	on your verdict. He did not remain 
	at the scone of the death. He ran 
	away.  He claims he suffered a mental 
	blackout and knew nothing more until 
	he found himself back in his own 
	apartment in San Francisco several 
	hours later. You may accept that or 
	not. Or, you may believe that, having 
	once again allowed someone to die, 
	he could not face the tragic result 
	of his own weakness, and ran away. 
	That has nothing to do with your 
	verdict.  It is a matter between him 
	and his conscience.
		(pause)
	Now. From the evidence of the mind 
	of Madeleine Elster prior to her 
	death, from the manner of her death, 
	and from the Postmortem examination 
	of the body showing the actual cause 
	of her death, you should have no 
	difficulty in reaching your verdict. 
	Gentlemen, you may retire.

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

			FOREMAN
	We've reached the verdict.

			OFFICIAL
	And what is your verdict.

			FOREMAN
	We find that Madeleine Elster 
	committed suicide while being out of -- 
	while being out of unsound mind.

			OFFICIAL
	Your verdict will be so recorded.  
	Dismissed.

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

			HANSEN
	Let's go, Scottie.
		(Glares over at the 
		Official grimly)
	The son of a --

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

			ELSTER
	Do you mind if I speak to him for a 
	minute?

Receiving no answers he takes Scottie by the elbow.

			ELSTER
	Scottie --

He leads Scottie away toward the window. They stop.

			ELSTER
	Scottie, I'm sorry. That was rough.

Scottie finally looks up at him.

			ELSTER
	He had no right to say that. It was 
	my responsibility. You didn't know 
	her. I shouldn't have got you 
	involved.

			SCOTTIE
		(struggling)
	I -- I --

			ELSTER
	No, there's nothing you have to say 
	to me. I'm getting out, Scottie. For 
	good. I can't stay here. I'm winding 
	up her affairs, and mine. I'm going 
	to get as far away as I can. Probably 
	Europe. And I'll probably never come 
	back.
		(Extends his hand)
	Good-bye, Scottie. If there's anything 
	I can do for you before I go...

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

			ELSTER
	There was no way for them to 
	understand. But you and I know who 
	killed Madeleine.

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

							 DISSOLVE TO:

EXT. A CEMETERY SOUTH OF SAN FRANCISCO - ( DAY)

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

EXT. A CEMETERY SOUTH OF SAN FRANCISCO - (DAY) - MEDIUM

SHOT

A closer view brings him to a stop before the grave, and he 
stares down at it impassively. The gravestone tells us it is 
Madeleine's grave.

							 DISSOLVE TO:

EXT. SAN FRANCISCO - (NIGHT)

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

INT. SCOTTIE'S BEDROOM - (NIGHT)

Scottie in bed, sleeping restlessly. His head fills the 
screen, rolls from, side to side. In a SLOW DISSOLVE while 
his head remains on the screen, there comes into focus and 
is superimposed as it gets closer the head and shoulders of 
the portrait of Carlotta. The CAMERA PANS DOWN until it 
reveals the nosegay.  The portrait is cleared from the screen, 
a new image is superimposed; the final scene at the inquest 
between Scottie and Gavin Elster. But this time, though it 
is not distinct, a woman's head can be discerned on Elster's 
shoulder. Elster turns to the woman and says: "Tell him he's 
not to blame; tell him." The woman turns her head to smile 
at Scottie. It is Carlotta Valdes again, dressed as in the 
portrait, with the necklace at her throats, and she is alive. 
The picture fades away. Scottie's restless head is alone on 
the screen again.

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

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

							 DISSOLVE TO:

INT. SANITARIUM BEDROOM - (DAY)

We see a portable phonograph with a record on, and we hear 
Mozart at his gayest, most incisive, most sparkling.  And 
then we find Midge standing nearby, smiling across at Scottie, 
who is seated in a wheelchair wearing a dressing gown over 
pajamas. His face is gaunt and expressionless. We are in a 
light and pleasant bed-sitting room. Through the window we 
can see a lovely garden, and a few patients accompanied by 
nurses strolling along the paths.

			MIDGE
		(Brightly)
	It's Mozart. Wolfgang Amadeus. I had 
	a long talk with the lady in musical 
	therapy, and she said Mozart's the 
	boy for you, Johnny. The broom that 
	sweeps the cobwebs away. That's what 
	the lady said. You know, it's 
	wonderful how they've got it all 
	taped now, John. They've got music 
	for melancholiacs, and music for 
	dipsomaniacs, and music for 
	nymphomaniacs... I wonder what would 
	happen if somebody mixed up their 
	files?

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

			MIDGE
	But I brought you a lot of other 
	things. You can see what you like.  
	And the thing shuts off automatically.

She crosses to him swiftly kneels beside him.

			MIDGE
	Ah, Johnny, please try. Johnny, try!  
	You're not lost. Mother's here.

No reaction. Long pause. Then we hear the door open.

Scottie does not seem to hear, but Midge turns her head. A 
nurse is looking in, with a significant look at Midge.

			MIDGE
	Time? Okay.

The nurse goes out. Midge rises.

			MIDGE
	I'll be in again, John. Do you want 
	me to shut that off? It shuts off 
	automatically.

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

			MIDGE
		(Softly)
	Ah, Johnny-O... you don't know I'm 
	here, do you?

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

			MIDGE
	But I'm here.

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

INT. CORRIDOR OUTSIDE SCOTTIE'S ROOM - (DAY)

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

			MIDGE
	Could I see the doctor for a moment?

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

			NURSE
	Doctor...?

The Doctor looks up and sees Midge in the doorway.

			DOCTOR
	Oh. Yes, Miss Wood?

The nurse continues on up the corridor. Midge remains in the 
doorway.

			MIDGE
	Doctor, how long is it going to take 
	you to pull him out of this?

			DOCTOR
	It is hard to say. Six months, at 
	least. Perhaps a year. It depends to 
	a certain extent on him.

			MIDGE
	He won't talk.

			DOCTOR
	No. We have ways of digging out 
	knowledge. But it takes longer. He 
	is suffering from acute melancholia, 
	together with a guilt complex. He 
	blames himself for what happened to 
	the woman. And we know little of the 
	background.

			MIDGE
	I can give you one thing: he was in 
	love with her.

			DOCTOR
	Ah? That complicates the problem.

			MIDGE
	I'll give you another complication: 
	he still is.

The Doctor studies her carefully.

			MIDGE
	And you know something, Doctor?  I 
	don't think Mozart's going to help 
	at all.

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

							 FADE OUT:

FADE IN:

EXT. SCOTTIE'S APARTMENT - (NIGHT)

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

							 DISSOLVE TO:

INT. SCOTTIE'S APARTMENT - (NIGHT)

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

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

							 DISSOLVE TO:

INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT)

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

							 DISSOLVE TO:

EXT. BROCKLEBANK APARTMENTS - (DAY)

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

			SCOTTIE
	Where did you get this car?!

			THE WOMAN
		(Startled by his 
		vehemence)
	I beg your pardon?

			SCOTTIE
	This car...!!

			THE WOMAN
	Oh!  Why... I bought it from a man 
	who used to live here, in this 
	apartment building. Mister Gavin 
	Elster. I bought it from him when he 
	moved away.

As Scottie stares at her, she grasps the connection.

			THE WOMAN
	0h! You know him! And his wife? The 
	poor thing. I didn't know her. Tell 
	me -- is it true that she really 
	believed --

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

							 DISSOLVE TO:

EXT. PALACE OF THE LEGION OF HONOR - (DAY)

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

INT. PALACE OF THE LEGION OF HONOR - (DAY)

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

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

			SCOTTIE
	I'm sorry.

He turns away. The woman walks on.

							 DISSOLVE TO:

EXT. PODESTA, BALDOCCHI - (LATE AFTERNOON)

Scottie stands before the window looking at the floral 
display. In the foreground is a group of madeup nosegays and 
one of them is exactly like the nosegay Madeleine carried to 
the grave, to the portrait, to the moment she threw herself 
into the Bay. A porter closes the shop door and locks it.  A 
moment, then Scottie turns away to move down Grant Avenue.  
He stops short. Coming up Grant Avenue, headed for Sutter 
Street, is a group of shopgirls who have just come out of 
work, and among them is one who -- again -- must surely be 
Madeleine. Scottie watches them come closer, trying to get a 
clear view through the crowd of passersby, catching sight of 
the girl only in glimpses, and as the girls come abreast of 
him they stop to make their farewells.  The one nearest to 
Scottie, seen in profile, might have the same features as 
Madeleine. He cannot be sure. This girl's hair is dark, where 
Madeleine's was light; her features on closer inspection 
seem heavier, and she wears much more makeup. And yet there 
is something about the way she carries herself. The other 
girls cross the street while the one nearest to Scottie goes 
on alone. He instinctively turns and follows.

							 DISSOLVE TO:

EXT. SUTTER STREET NEAR LEAVENWORTH - (LATE AFTERNOON)

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

He waits, and then, in much the same way it happened to him 
long ago at the McKittrick Hotel, his attention is attracted 
to a window on the second floor.  The girl appears and opens 
the window about eight inches, then pulls down the blind.  
Scottie stares at the window, calculates in his mind the 
geographical position of the room, then starts across the 
street.

							 DISSOLVE TO:

INT. UPSTAIRS HALL JUDY'S HOTEL - (DUSK)

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

			JUDY
	Well? What is it?

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

			SCOTTIE
	Could I ask you a couple of questions?

			JUDY
	What for? Who are you?

			SCOTTIE
	My name is John Ferguson, and --

			JUDY
	Is this some kind of Gallup Poll, or 
	something?

			SCOTTIE
	No, there are just a few things I 
	want to ask you, and --

			JUDY
	Do you live here in the hotel?

			SCOTTIE
	No, I happened to see you come in, 
	and I thought --

			JUDY
	0h, I thought so! A pick-up!  Well, 
	you've got a nerve, following me 
	right into the hotel and up to my 
	room! You beat it! Go on! Beat it!

And she starts to close the door on him hard. Scottie holds 
it open against her.

			SCOTTIE
	No, please! I Just want to talk to 
	you!

			JUDY
		(Pushing on the door)
	Listen, I'm going to yell in a minute!

			SCOTTIE
	I'm not going to hurt you! I promise!  
	Please!

She hesitates, impressed by the urgency in his voice.

			SCOTTIE
	Just let me talk to you.

			JUDY
		(Hesitating)
	What about?

			SCOTTIE
	You.

			JUDY
	Why?

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

			SCOTTIE
	Because you remind me of someone.

She laughs a short, ironic, skeptical laugh.

			JUDY
	I've heard that one before, too. I 
	remind you of someone you used to be 
	madly in love with, but she ditched 
	you for another guy, and you've been 
	carrying the torch ever since, and 
	then you saw me and something clicked.
		(scornfully)
	Huh!

			SCOTTIE
		(With a rueful smile)
	You're not far wrong.

			JUDY
	Well, it's not going to work. So 
	you'd better go.

			SCOTTIE
	Let me come in.

Her mouth drops open with shock at his effrontery.

			SCOTTIE
	You can leave the door open. Please.  
	I want to talk to you.

A moment, then she backs into the room a little, and he 
follows.

			JUDY
	I warn you, I can yell awfully loud.

			SCOTTIE
	You won't have to.

			JUDY
		(Doubtfully)
	Well... you don't look very much 
	like Jack the Ripper...

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

			JUDY
	What do you want to know?

			SCOTTIE
	Your name. And --

			JUDY
	Judy Barton.

			SCOTTIE
	Who you are --

			JUDY
	Just a girl, I work at Magnin's --

			SCOTTIE
	-- and how you happen to be living 
	here.

			JUDY
	It's a place to live, that's all.

			SCOTTIE
	But you haven't lived here long.

			JUDY
	About three years.

			SCOTTIE
	No, a year ago! Where did you live a 
	year ago!!?

			JUDY
		(Puzzled)
	I told you! Right here!

			SCOTTIE
		(Strongly)
	But before! Where did you live 
	before!?!

			JUDY
	Salina, Kansas!

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

			JUDY
	Listen, what is this? What do you 
	want?

			SCOTTIE
	I want to know who you are.

			JUDY
	I told you! My name is Judy Barton!  
	I come from Salina Kansas. I work at 
	Magnin's! I live here! My gosh, do I 
	have to prove it?

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

			JUDY
	You've got to prove you're alive 
	these days! All right, Mister. My 
	Kansas driver's license. Judy Barton.  
	Number Z296794. Four-Twenty-Five 
	Maple Avenue, Salina, Kansas.

She pulls out another card: a California license. She hands 
it to him.

			JUDY
	There! See the address on this one?  
	This place here! California License 
	issued May 25, 1954! Want to check 
	my thumb print? Satisfied.
		(Pulls the card away)
	And whether you're satisfied or not, 
	you can just beat it!

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

			JUDY
		(Gently)
	Gee, you have got it bad, haven't 
	you?  Do I really look like her?

He stares at her with an intensity that makes her crinkle 
her eyes in embarrassment.

			JUDY
	She's dead, isn't she.

An almost imperceptible nod.

			JUDY
	I'm sorry. And I'm sorry I yelled at 
	you.

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

			JUDY
	Yes, that's me. With my mother.

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

			JUDY
	That's my father. He's dead. My mother 
	got married again... I didn't like 
	the guy.
		(Smiles, wistfully)
	So... I decided to see what it was 
	like in sunny California.
		(Pause)
	I've been here three years.
		(she grins)
	Honest!

He smiles back at her, liking her directness.

			SCOTTIE
	Will you have dinner with me?

			JUDY
		(Immediately wary, 
		the smile fading)
	Why?

			SCOTTIE
	Well, I feel I owe you something for 
	all this...

			JUDY
	No, you don't owe me anything.

			SCOTTIE
	Then will you for me?

			JUDY
		(Warily)
	Dinner... and what else?

			SCOTTIE
	Just dinner.

			JUDY
	Because I remind you of her?

			SCOTTIE
	Because I'd like to have dinner with 
	you.

She smiles, pleased with the gallantry of his answer, and 
regards him thoughtfully.

			JUDY
		(Slowly)
	Well... I've been on blind dates 
	before... Matter of fact, to be 
	honest, I've been picked up before.
		(Grins)
	Okay.

			SCOTTIE
	I'll get my car and be back in half 
	an hour.

			JUDY
	Oh, no! Give me time to change and 
	get fixed up!

			SCOTTIE
	An hour?

			JUDY
	Mmm.

			SCOTTIE
	Okay.

  He flashes her a smile and goes, closing the door. She 
stares after him for a long moment, then moves slowly and 
sits down on the edge of the bed. She stares straight ahead, 
thinking, her face an impassive mask.  The CAMERA MOVES IN 
until her head fills the screen, and her eyes are deep with 
dark memory. We DISSOLVE THROUGH to what she sees: THE MOMENT 
IN THE TOWER OF THE MISSION. MADELEINE IS RUNNING UP THE 
STAIRS OF THE TOWER: SCOTTIE STRUGGLING DESPERATELY AFTER 
HER. SHE REACHES THE TOP, OPENS THE DOOR, DARTS INTO THE 
BELL TOWER, SLAMS THE DOOR BEHIND HER AND LOCKS IT. SHE TURNS. 
GAVIN ELSTER STANDS NEAR THE OPEN ARCH, HOLDING HIS WIFE 
FAST; SHE IS DRESSED IN A GREY SUIT EXACTLY LIKE THE ONE 
MADELEINE WEARS.  HER BODY IS LIMP. SHE IS OBVIOUSLY DEAD 
ALREADY. ELSTER LOOKS AT MADELEINE, THEN PUSHES HIS WIFE OUT 
THROUGH THE ARCH. MADELEINE MAKES A FUTILE GESTURE TO STOP 
HIM, AND SCREAMS. ELSTER COMES TO QUICKLY, PUTS HIS HAND 
ACROSS HER MOUTH, AND DRAWS HER BACK INTO THE SHADOW BEHIND 
A MASONRY ABUTMENT. THEY ARE LOST FROM SIGHT...

DISSOLVE THROUGH to Judy, seated on the edge of her bed, 
staring with the memory of the horror of the moment.  She 
sits very still. Then slowly she rises and moves to the 
window. She looks out, watching Scottie go down the street.  
She turns away and goes to the closet and opens the door.  
She pushes some clothes along the rack. We see the grey suit. 
She reaches into the closet and brings out a suitcase, lets 
it lie there, just outside the closet, and stares down at 
it. Then she turns back, goes to the writing desk sits down, 
and takes a sheet of paper. She picks up a ball point pen, 
clicks out the Point, stares ahead for a moment, then begins 
to write. As she writes, we hear her voice.

			JUDY'S VOICE
	Dearest Scottie ... and so you've 
	found me. This is the moment I dreaded 
	and hoped for, -- wondering what I 
	would say and do if ever I saw you 
	again, I wanted so to see you again. 
	Just once. Now I'll go and you can 
	give up your search.
		(pause)
	I want you to have peace of mind.  
	You've nothing to blame yourself 
	for.  You were the victim. I was the 
	tool, you were the victim of a man's 
	plan to murder his wife. He chose me 
	to play the part because I looked 
	like her; he dressed me up like her. 
	He was quite safe because she lived 
	in the country and rarely came to 
	town. He chose you to be the witness. 
	The Carlotta story was part real, 
	part invented to make you testify 
	that Madeleine wanted to kill herself. 
	He knew of your illness; he knew you 
	would never get up the stairs of the 
	tower. He planned it so well; he 
	made no mistakes.
		(pause)
	I made the mistake. I fell in love.  
	That wasn't part of the plan. I'm 
	still in love with you, and I want 
	you so to love me. If I had the nerve, 
	I would stay and lie, hoping that I 
	could make you love me again, as I 
	am for myself... and so forget the 
	other and forget the past. But I 
	haven't the nerve to try...

She pauses and looks up and thinks, and wonders, and tries 
to see into the future, and as she does, the fear in her 
eyes dissolve into anxious hope, and then resolve.

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

							 DISSOLVE TO:

INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT)

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

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

							 DISSOLVE TO:

EXT. JUDY'S HOTEL - (NIGHT)

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

							 DISSOLVE TO:

INT. JUDY HOTEL, UPSTAIRS CORRIDOR - (NIGHT)

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

			JUDY
	Thank you again. Good-night.

			SCOTTIE
	Can I see you tomorrow?

			JUDY
	Tomorrow night? Well --

			SCOTTIE
	Tomorrow morning.

			JUDY
	Tomorrow m -- but I have to go to 
	work. I've got a job.

			SCOTTIE
	Don't go.

			JUDY
		(Smiling)
	And what will I live on? My oil wells 
	in Texas?

			SCOTTIE
	I'll take care of you.

			JUDY
		(Flatly)
	Oh, Well, thank very much. But no 
	thanks.

			SCOTTIE
	No, Judy, you don't understand.

			JUDY
	Oh, I understand, all right. I've 
	been understanding since I was 
	seventeen. And the next step is, as 
	long as you're going to see me 
	tomorrow, why don't you stay the 
	night.

			SCOTTIE
	No.

			JUDY
	No? Then what?

			SCOTTIE
	I just want to see you as much as I 
	can!

			JUDY
	As friends? We'd just see a lot of 
	each other as friends, and you'd 
	"take care of me"?

			SCOTTIE
	Yes.

			JUDY
	Why?
		(No answer)
	Because I remind you of someone?
		(No answer)
	That's not very complimentary.
		(Pause)
	And nothing would... happen...

			SCOTTIE
	No.

			JUDY
	That's not very complimentary, either.

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

			JUDY
		(Frightened)
	Listen, what'd you do that for?!?!

She starts to rise.

			SCOTTIE
		(Quickly)
	No, Judy, I'm not going to move!  
	Please! Stay in the chair!

			JUDY
	Why?!

			SCOTTIE
	Please! And don't look at me.

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

			SCOTTIE
		(Softly)
	Will you, Judy?

			JUDY
		(Slowly, anxiously)
	I suppose I could phone the store in 
	the morning, and say I'm sick.

Another pause.

			SCOTTIE
		(Gently)
	Good night, Judy.

He goes out, closing the door. Judy sits still, staring 
straight ahead. She raises a hand slowly and rubs the side 
of her face.

							 DISSOLVE TO:

EXT. GOLDEN GATE PARK - (DAY)

It is a bright, sunny day. On a lovely green slope, young 
couples are stretched out making love. We see a pretty young 
girl sitting, and her young man lying on the grass at right 
angles with his head on her lap. She is playing with his 
hair. She bends down and kisses him.

The CAMERA MOVES ON, searching for Scottie and Judy, and 
comes upon another couple in a close embrace.  The CAMERA 
MOVES ON and discovers Scottie and Judy strolling along the 
path at the foot of the slope. Judy is looking at the loving 
couples with wistful envy. Scottie is admiring the scenery 
in other direction. He holds a bag of popcorn.  Judy looks 
up at him with gentle longing. He glances down at her and 
smiles companionably, and offers her the popcorn.  She takes 
some and smiles back as well as she can.

							 DISSOLVE TO:

INT. DANCE FLOOR, FAIRMONT HOTEL - (NIGHT)

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

							 DISSOLVE TO:

EXT. POST STREET, OUTSIDE GUMPS - (DAY)

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

			JUDY
	I like that one.

			SCOTTIE
	No, there. There's a good one. Do 
	you like that?

			JUDY
	Yes --

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

			SCOTTIE
	We'll take that one.

			VENDOR
	Very nice. And fresh. I just made it 
	up.

He pins the nosegay on Judy.

			VENDOR
	That'll be a dollar four.  Scottie 
	pays him

			JUDY
	It's beautiful.

			SCOTTIE
	Okay. Now we're going to buy you 
	some clothes.

			JUDY
	Honest?

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

			SCOTTIE
	There's Ransohoff's. Nothing but the 
	best. Come on.

			JUDY
		(Happy and breathless)
	But Scottie, you don't have to!

			SCOTTIE
	I want to! Come on!

They go dodging across the street.

							 DISSOLVE TO:

INT. RANSOHOFF'S - (DAY)

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

			SCOTTIE
	No, that's not it. Nothing like it.

			SALESWOMAN
	But you said grey, sir.

			SCOTTIE
	Not tweed -- it's a smoother material, 
	with a larger collar and belted.
		(Indicates with hands)

He puts his hands to his waist.

			JUDY
	But I like that one, Scottie.

			SCOTTIE
	No, it's not right.

			SALESWOMAN
		(Cheerfully)
	The gentleman seems to know what he 
	wants.
		(To the model)
	All right. Well, we'll find it.

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

			JUDY
		(Slightly apprehensive)
	Scottie, what are you doing?

			SCOTTIE
	I'm trying to buy you a suit.

			JUDY
	But I loved the second one she wore.
	And this one --
		(She touches a suit 
		on the chair)
	-- is beautiful.

			SCOTTIE
	They're none of them right.

			JUDY
	But why?

The saleswoman has a sudden thought.

			SALESWOMAN
	Oh!!  I think I know the suit you 
	mean!  We had it -- oh, it must be 
	sometime ago!  Let me go see. We may 
	still have the model.

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

			JUDY
	You're looking for the suit she wore!  
	For me?!?

Scottie looks at her anxiously, not wanting an argument.

			JUDY
		(Repelled)
	You want me to dress like her?

			SCOTTIE
	Judy, I just want you to look nice.  
	And I know what kind of suit would 
	look well on you.

			JUDY
	Ah, no!!! I don't want to be dressed 
	like someone dead!

			SCOTTIE
	Judy --

			JUDY
	It's a horrible idea! Is that what 
	I'm here for? To make you feel that 
	you're with someone that's dead?

She has risen from her chair, appalled, and close to tears.  
The Saleswoman enters briskly.

			SALESWOMAN
	She'll be out in a moment.

			SCOTTIE
	Now, Judy, it isn't anything to get --

			JUDY
	No, I won't do it!!

She walks away. Scottie follows her.

			SCOTTIE
	Judy!!

The saleswoman watches the altercation with interest. The 
two are out of earshot, now, but what they're seems pretty 
evident. 

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

			SCOTTIE
	Judy, it can't make much difference 
	to you. I just want to see how you'd 
	look and I know it won't be the same, 
	but --

			JUDY
	No, I don't want any clothes! I don't 
	want anything! I want to get out of 
	here!

			SCOTTIE
		(strongly)
	Judy, you've got to do this for me!  
	Please!

She looks up at him, frightened, and at that moment he sees 
the model enter, wearing the grey suit.

			SCOTTIE
	Yes! That's it!

			SALESWOMAN
	I thought so!

			JUDY
	I don't like it!

			SCOTTIE
	We'll take it! Will it fit?

			SALESWOMAN
	Oh, yes! It may need some slight 
	alterations, but it is madam's size.
		(To the model)
	All right, dear.
		(To Judy)
	We'll have it for you to try in a 
	moment.

			SCOTTIE
	How soon can it be altered?

			SALESWOMAN
	Well...

			SCOTTIE
	Can we have it by tonight?

			SALESWOMAN
	Well, if it's absolutely necessary...

			SCOTTIE
	Yes, it is. Now, I want to look at 
	an evening dress, a dinner dress, 
	black -- short -- long sleeves -- 
	with a neck cut this...
		(Indicates square 
		neck)
	...and the skirt out.
		(Indicates full skirt 
		with his hands)

			JUDY
		(Appealing)
	Scottie --

He whirls on her with blazing eyes and stares at her 
commandingly, and Judy shrinks a little.

			SALESWOMAN
		(Laughs, embarrassed)
	My, you certainly do know what you 
	want, sir. I'll see what we have.

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

							 DISSOLVE T0:

INT. RANSOHOFF'S, SHOE SALON - (DAY)

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

			SCOTTIE'S VOICE
	All right. Walk.

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

			SCOTTIE
	All right. That's it. Do you have in 
	black, too?

			SALESMAN
	Yes, we have.

			SCOTTIE
	All right.

He looks at Judy and meets her gaze steadfastly.

							 DISSOLVE TO:

INT. SCOTTIE'S APARTMENT - (NIGHT)

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

			SCOTTIE
	Here, Judy. Take it straight down.  
	It's medicine.

Judy raises her tear-streaked face.

			JUDY
		(Pleading)
	Why are you doing this? What good 
	will it do?

She takes the glass from his outstretched hand.

			SCOTTIE
	I don't know. No good, I guess. But 
	I don't know.

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

			JUDY
		(Tearfully)
	I wish you'd leave me alone. I want 
	to go away.

			SCOTTIE
	You can.

			JUDY
	No, you wouldn't let me.
		(Then, almost to 
		herself)
	And I don't want to go...

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

			SCOTTIE
	Judy, I want to tell you: these few 
	days have been the first happy days 
	I've had in a year.

			JUDY
		(Sadly)
	I know. Because I remind you of her.  
	The one that's dead. And not even 
	that, very much.

			SCOTTIE
		(Meaning it)
	No, it's you too, Judy. Something in 
	you.

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

			JUDY
		(Dully)
	You don't even want to touch me.

			SCOTTIE
		(Grimly)
	Yes. Yes, I do.

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

			JUDY
	Couldn't you like me, just me, the 
	way I am?! When we first started out 
	it was so good! We had fun! And you 
	started on the clothes! I'll wear 
	the darned clothes if you want me 
	to! If you just like me!

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

			SCOTTIE
		(Studying)
	The color of your hair...

			JUDY
	Ah, no!

			SCOTTIE
	Judy, please it can't matter to you...

She shrinks a little, and is defeated.

			JUDY
	The trouble is, I'm gone now. For 
	you. And I can't do anything about 
	it. I want you to love me. If I let 
	you change me, will that do it? If I 
	do what you tell me, will you love 
	me?

			SCOTTIE
	Yes.

			JUDY
	All right. Then I'll do it. Because 
	I don't care about me anymore. I 
	just want you to love me.

Long pause.

			SCOTTIE
		(Gently)
	I'll take you home.

							 DISSOLVE TO:

INT. ELIZABETH ARDEN SALON - (DAY)

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

			OPERATOR
	I'm afraid it's going to be several 
	hours. The young lady thought perhaps 
	you'd like to go home, and she'll 
	come there as soon as she's finished.

			SCOTTIE
	Oh!  Well... no. Tell her I'll go to 
	her hotel, and wait for her there.

She starts to turns away. Scottie stops her.

			SCOTTIE
	Oh! You're sure about the color of 
	the hair.

			OPERATOR
	0h, yes. It's an easy color.

			SCOTTIE
	And the rest of --

He waves a hand over his face.

			OPERATOR
	Yes, sir. We know what you want.

			SCOTTIE
	All right. Thanks.

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

							 DISSOLVE TO:

INT. JUDY'S BEDROOM, THE HOTEL - (DAY)

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

EXT. THE STREET - (DAY)

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

INT. BEDROOM - (DAY)

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

INT. HOTEL CORRIDOR -(DAY)

Scottie looks along the corridor.

FROM HIS VIEWPOINT

The corridor is empty.

SCOTTIE

tensely waiting.

FROM HIS VIEWPOINT

Judy turns the corner, moving towards him.

AS SCOTTIE WATCHES CRITICALLY

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

INT. HOTEL BEDROOM - (DAY)

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

			JUDY
	Well?

			SCOTTIE
	It should be back from your face --
	with a bun at the neck. I told them.  
	I told you.

			JUDY
	We tried it. It didn't suit me.

Scottie abruptly goes to her, takes her hanging hair with 
both hands pulls it to the back so that her ears show.  Judy 
looks at him, half-angry, half-scared.

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

			SCOTTIE
	I'm sorry.

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

			SCOTTIE
	Judy -- please --

Judy doesn't answer for a moment, then she draws a deep 
breath, and turns resignedly away. She crosses to the mirror 
over a chest of drawers. Scottie matches as she picks up a 
couple of pins from a glass tray, and scoops up a handful of 
hair.  Scottie stands watching in silence. His eyes follow 
every move. We hear the tinkle of pins of the glass tray.

FROM SCOTTIE'S VIEWPOINT

Judy slowly turns from the mirror to face him. She looks 
exactly like Madeleine -- her hair pulled back and done in a 
bun at the back of the neck. She stands there looking at 
him.  SCOTTIE looks at her in wonder, his eyes shining.  
JUDY takes a step towards him, rewarded by his expression.  
SCOTTIE moves over and takes Judy in his arms.

BIG HEADS

of the two of them, together. The CAMERA MOVES AROUND the 
big heads. Scottie holds her tighter and tighter.  He looks 
past her shoulder and we see that his eyes are closed, because 
at last he holds Madeleine in his arms once more.  He opens 
his eyes -- the CAMERA SWIMS AROUND the room.

WE ARE NOW IN THE LIVERY STABLE AT SAN JUAN BAUTISTA

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

						DISSOLVES AWAY T0:

BACK IN THE HOTEL ROOM

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

							 DISSOLVE T0:

INT. JUDY'S BEDROOM - (EARLY EVENING)

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

			JUDY
	Where shall we go for dinner?

			SCOTTIE
	Wherever you'd like...

			JUDY
	Ernie's?

			SCOTTIE
	You've got a thing about Ernie's, 
	haven't you?

			JUDY
	Well, after all, it's "our place."

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

			JUDY
	Hello, my love. Like me?

He regards her admiringly with a small, contented grin.

			SCOTTIE
	Mmmm.

			JUDY
	Is that the best you can do?

She turns to the mirror over the dresser.

			SCOTTIE
	Come here.

			JUDY
	Oh, no. You'll muss me.

			SCOTTIE
	That's what I had in mind.

			JUDY
	Too late. I've got my face on.

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

			JUDY
	I'm suddenly hungry. Would you rather 
	go somewhere else?

			SCOTTIE
	No, Ernie's is fine.

			JUDY
	I'm going to have one of those big 
	beautiful steaks.  And... let's see... 
	to start...

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

			JUDY
	Oh! Help me with this, will you?

She backs up a step, still holding the necklace in place, 
and Scottie rises from his chair and comes up in back of 
her. He takes the ends of the necklace from her.

			SCOTTIE
	I've got it.  He bends down and bites 
	the back of her neck.

			JUDY
	Oh! You're supposed to fasten it!  

			SCOTTIE
	All in good time.

He bites her again.

			JUDY
	Scottie!

			SCOTTIE
	How does it work?

			JUDY
	Can't you see?

			SCOTTIE
	Oh, yeah. There.

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

			JUDY'S VOICE
	Thank you, darling. Now I'm just 
	about ready; I just have to find my 
	lipstick. Where did I put it? I had 
	it a minute ago.
		(Her voice fading)
	Did I leave it in here? Oh, yes, 
	here it is!
		(Her voice fading in)
	All right, I'm ready.

His eyes move in the direction of the voice, and now we see 
her, standing a few feet from him, smiling at him. She walks 
to him with a loving smile.

			JUDY
	But first... muss me a little.

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

			JUDY
	Ah, Scottie... I do have you, now...

He raises his arms as though to embrace her, moves his hands 
to her shoulders, and one senses for a moment that he is 
going to press her too hard or that he may move his hands to 
her throat. But then he lays his hands gently on her back, 
and closes his eyes wearily, and rests his head on the top 
of hers.

			SCOTTIE
		(Softly)
	How would you like to go somewhere 
	out of town for dinner?  Drive down 
	the peninsula, somewhere?

She moves her head, and he raises his and opens his eyes, 
and she smiles up at him.

			JUDY
	All right, if you'd like.

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

							 DISSOLVE TO:

EXT: HIGHWAY 101 - (NIGHT) - LONG SHOT

Scottie's car headed south, in brilliant moonlight.

INT. SCOTTIE'S CAR - (MOONLIGHT)

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

			JUDY
	We're going awfully far.

			SCOTTIE
	I feel like driving. Are you terrible 
	hungry?

			JUDY
	No, it's all right.

							 DISSOLVE TO:

EXT. HIGHWAY 101 - (NIGHT)

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

INT. SCOTTIE'S CAR - (MOONLIGHT)

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

INT. SCOTTIE'S CAR - (MOONLIGHT)

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

INT. SCOTTIE'S CAR - (MOONLIGHT)

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

INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

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

INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

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

INT. SCOTTIE'S CAR - (MOONLIGHT)

Judy looking at Scottie, puzzled and slightly apprehensive.

			JUDY
	Where are you going?

			SCOTTIE
		(wryly)
	To complete my cure.

He glances at her and smiles nicely.

			SCOTTIE
	One final thing I have to do, and 
	then I'll be rid of the past, forever.

He looks ahead thoughtfully.

							 DISSOLVE TO:

EXT: MISSION SAN BAUTISTA - (NIGHT) - LONG HIGH SHOT

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

INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

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

EXT. SAN JUAN BAUTISTA - (NIGHT)

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

			JUDY
	Scottie, why are we here?

			SCOTTIE
	I told you. I have to go back into 
	the past. Once more. For the last 
	time.

			JUDY
	But why? Why here?

			SCOTTIE
	Madeleine died here.

Pause.

He holds out his hand. She shrinks, frightened.

			JUDY
	No, I don't want to go. I want to 
	stay here.

			SCOTTIE
	I need you.

			JUDY
	Why?

			SCOTTIE
	I can't do it alone. I need you, to 
	be Madeleine for a while. Then, when 
	it's done, we'll both be free.

He draws her out of the car.

			JUDY
	I'm scared.

			SCOTTIE
	So am I, But it has to be done. I 
	have to tell you about Madeleine, 
	now.

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

			SCOTTIE
	There...

He points to the Livery Stable, bathed in moonlight.

			SCOTTIE
	...We stood there and I kissed her 
	for the last time. And she said, "If 
	lose me, you'll know that I loved 
	you --

			JUDY
		(Pleading)
	Scottie --

			SCOTTIE
		(Going right on)
	-- and wanted to go on loving you." 
	And I said, "I won't lose you."
		(pause)
	But I did.

He turns slowly, and Judy with him, and he looks up. Her 
eyes follow his.

FROM THEIR ANGLE

The high church tower in the moonlight.

			SCOTTIE'S VOICE
	She turned and ran... into the 
	Church...

SCOTTIE AND JUDY

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

EXT. CHURCH, SAN JUAN BAUTISTA - (MOONLIGHT)

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

			SCOTTIE
	...And when I followed her, it was 
	too late...

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

			JUDY
		(Frightened)
	I don't want to go in there!

Scottie pushes the door open.

			SCOTTIE
	...too late...

He pushes her into the church with gentle firmness.

INT. CHURCH, SAN JUAN BAUTISTA - (NIGHT)

The darkness is relieved by shafts of moonlight. Scottie 
impels Judy toward the foot of the tower.

			SCOTTIE
	I couldn't find her. Then I heard 
	her footsteps on the stairs, she was 
	running up the tower.

INT. CHURCH TOWER - (NIGHT)

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

FROM SCOTTIE'S ANGLE:

the open stairway spiraling upward.

			SCOTTIE'S VOICE
	She ran up those stairs... and through 
	the door at the top of the tower, 
	and locked it behind her. Then she 
	jumped.

BACK TO SCOTTIE AND JUDY

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

			SCOTTIE
	And I couldn't follow her.
		(He closes his eyes 
		in the agony of 
		remembering)
	God knows I tried.
		(He glances down)
	One doesn't often get a second chance.  
	I want to stop being haunted. You're 
	my second chances, Judy.

			JUDY
		(A frightened whisper)
	Take me away...

			SCOTTIE
	You look like Madeleine, now. Go up 
	the stairs.

			JUDY
	No!

			SCOTTIE
	Go up the stairs, Judy.
		(Pushing her to the 
		step)
	I'll follow.

She starts up slowly, unwillingly. Scottie follows behind 
her, fighting to keep the impending vertigo under control, 
trying to keep his eyes fixed on her back to avoid looking 
up into space. They move up in silence, and in shadow, their 
faces occasionally lit by the shafts of moonlight that stream 
through the open arches of the tower. Judy's eyes are wide 
and staring; her face and body are stiff with the struggle 
to keep from breaking under the strain of remembering the 
last time she went up these stairs. And Scottie fights his 
way up behind her.

Judy slows down and comes to a halt at the landing that 
Scottie barely reached the last time, at the moment of death.  
She leans her back against the wall for support. Scottie 
struggles up and comes to a halt near her.

PAUSE, as he gathers himself for the last assault.

			SCOTTIE
		(Quietly)
	This was as far as I could get. But 
	you went on. Remember?

She stiffens and stares at him.

			SCOTTIE
	The necklace, Madeleine. That was 
	the slip. I remembered the necklace.

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

			SCOTTIE
	We're going up the tower, Madeleine.

			JUDY
	No! Let me go!

			SCOTTIE
	We're going up the tower.

			JUDY
	You can't. You're afraid!

			SCOTTIE
	I'm going to. It's my second chance.

He starts to drag her up the stairs and she fights it, close 
to hysteria.

			JUDY
	Scottie, please...!

			SCOTTIE
	But you knew, that day, that I 
	wouldn't be able to follow you didn't 
	you. Who was at the top when you got 
	there? Elster? With his wife?

			JUDY
	Yes!

			SCOTTIE
	And she was the one who died. Not 
	you.  The real wife.  You were the 
	copy, you were the counterfeit. Was 
	she dead or alive when you got there?

			JUDY
	Dead. He'd broken her neck.

			SCOTTIE
	Took no chances, did he?  And when 
	you got there, he pushed her off the 
	tower, was that it? But you were the 
	one who screamed. Why did you scream?

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

			SCOTTIE
	Why? Since you'd tricked me so well 
	up to then?!! You played his wife so 
	well, Judy! He made you over, didn't 
	he? Just as I've done. But better!  
	Not just the hair and the clothes!  
	the look! the manner! the words!  
	Those beautiful phony trances! That 
	jump into the Bay! I'll bet you're 
	really a strong swimmer, aren't you!  
	Aren't you!!

The blind, frantic nodding of her head as she struggles 
against him is his affirmation.

			SCOTTIE
	Did he train you? Rehearse you?  
	Teach you what to say and what to 
	do?

			JUDY
	Yes!

			SCOTTIE
	And you were such an apt pupil! What 
	fun you two must have had, playing 
	games with me! Why me? Why did he 
	pick on me?!!

			JUDY
	Your accident...

			SCOTTIE
	Ah, yes! I was a set-up. I was the 
	made-to-order witness. Where is he 
	now?

			JUDY
	I don't know... Switzerland?

			SCOTTIE
	We'll find him.

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

			SCOTTIE
	I made it.

			JUDY
		(Apprehensive)
	What are you going to do?

			SCOTTIE
	Look at the scene of the crime. Go 
	on in.

He pushes the door open. She shrinks back.

			SCOTTIE
	Go on!

He pushes her through and follows her in.

INT. BELL TOWER - (NIGHT)

The black shadows are cut by shafts of moonlight. Heavy beams 
support the great bell hanging at the center. There are 
additional temporary support beams. Judy backs up against 
the stonework as Scottie looks about.

			SCOTTIE
	You both hid behind there, mmm?...  
	'til everything was clear... then 
	sneaked down and drove back to the 
	city.
		(Glances at her)
	And then? You were his girl. What 
	happened to you?

She stares at him, wide-eyed with apprehension.

			SCOTTIE
	Did he ditch you?

An almost imperceptible nod from her. Scottie almost laughs.

			SCOTTIE
	Oh, Judy!! When he had all her money, 
	and the freedom and the power...  he 
	ditched you? What a shame! But he 
	knew he was safe. You couldn't talk.  
	Didn't he give you anything?

			JUDY
		(Faintly)
	Some money.

			SCOTTIE
	And the necklace. Carlotta's necklace. 
	That was your mistake, Judy. One 
	shouldn't keep souvenirs of a killing.  
	You shouldn't have been that 
	sentimental.

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

			JUDY
		(Apprehensive)
	What are you going to do?

			SCOTTIE
	I loved you, Madeleine.

			JUDY
		(Desperately)
	I was safe when you found me, there 
	was nothing you could prove! But 
	when I saw you again I couldn't run 
	away, I loved you so! I walked into 
	danger and let you change me again 
	because I loved you and wanted you!
		(She throws herself 
		into his arms)
	Scottie, please! You love me now!  
	Love me! Keep me safe!

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

			JUDY
		(softly, pleading)
	Love me... keep me safe...

			SCOTTIE
		(Whispering)
	Too late... too late... there's no 
	bringing her back.

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

FROM JUDY'S POINT OF VIEW

The figure of a woman draped in black stands motionless in 
the shadows by the door.

JUDY, IN SCOTTIE'S ARMS, TRANSFIXED

FROM JUDY'S POINT OF VIEW

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

JUDY

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

			JUDY
		(Whispering)
	No... no...

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

FROM SCOTTIE'S POINT OF VIEW

The black figure advances into a shaft of moonlight. It is a 
nun.

			THE NUN
		(Simply)
	I heard voices...

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

			THE NUN
	God have mercy...

She reaches out for the bell cord.

INT. THE BELL TOWER - (NIGHT)

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

							 DISSOLVE TO:

INT. MIDGE APARTMENT - (NIGHT)

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

			THE RADIO
	-- was last heard of living, but is 
	now thought to be residing somewhere 
	in the south of France. Captain Hansen 
	states that he anticipated no trouble 
	in having Elster extradited once he 
	is found. Other news on the local 
	front: in Berkeley three university 
	of California sophomores found 
	themselves in a rather embarrassing 
	position tonight when they were 
	discovered by Police Officer William 
	Fogarty leading a cow up the steps 
	of --

By now Midge has heard the NOISE outside, has uncoiled from 
the chair and shut the radio. She listens again for a moment, 
then moves quickly to the table on which are bottles, glasses 
and ice. She starts to mix a strong highball and does not 
turn as she hears the front door open. Scottie enters and 
closes the door behind him. His face is a mask.

He moves slowly across the room and stands by the window, 
with the view of San Francisco beyond him, and looks straight 
ahead, thinking. Midge picks up the highball, glances over 
at him, picks up the bottle and pours in another slug. Then 
moves across the room and holds out the drink. Scottie takes 
it. Midge moves away, picks up her own drink, sits down and 
looks across the room. Scottie stands quietly, immobile, 
then raises the glass and takes a long pull at the drink. He 
stares out at the city.

				FADE OUT:

				 THE END

 
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