Vertigo Page #11

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!

Rate this script:4.7 / 3 votes