"VERTIGO"

				       By

			Alec Coppel and Samuel Taylor

				Draft 9-12-1957

	 

	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