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
