Vertigo Page #5

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.

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