Vertigo Page #4

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.

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