Vertigo Page #6

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 --

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