text / [United States] Ya Kopersa Taylor
/ Lin Ruiyi
outside scene, San Francisco roof, dusk, close up
We see a roof guard wall and the curved railing of the fire escape nearby. It was late in the afternoon in the late winter. In the tall skyscrapers in the background, all the windows were lit. This is the setting for the opening credits. After the subtitles were screened, the camera was aimed at the bare retaining wall. Suddenly, a man's hand grabbed Ding Rui on the railing of the fire escape, and then followed the other hand. Soon, we saw the face of a man in his early thirties. This is an Italian rough face. He quickly turned his head and looked down, then turned around, jumped over the bare retaining wall, and came out of the picture. The empty shot was held for a second or two. We heard the rustling of leather boots on the iron ladder. Someone else is going upstairs. Two other hands and a head immediately appeared on the screen. The policeman in uniform, hat and badge began to climb the retaining wall. When the camera was pulled back, he had crawled over, revealing his whole body. He raised his gun and ran out of the screen. A plainclothes detective followed him and crawled across the retaining wall. His name is John Ferguson, and everyone calls him Scotty. He also took the gun and rushed out of the screen.
The exterior scene, the roofs of San Francisco buildings, at dusk, the distant
sky reflects the broad outline of the San Francisco landscape. Closer to us, there are three small bodies running across the roof. The first person we saw was wearing a white shirt, light brown trousers and walking shoes. The man in the police uniform shot him. Scotty was wearing a medium-gray outfit, and the camera slowly panned the three people across the roof.
Exterior view, roof of San Francisco building, dusk, medium view
Now we see a narrow gap between the roofs; it can fall straight down to the ground. The escaped man jumped over, and the uniformed policeman jumped over. Scotty jumped the same way, but almost tripped and lost his balance. He managed to stabilize himself, kicked awkwardly on the opposite roof, and fell on his stomach. The violent impact made him sore that he could barely breathe. He tried to stand up, and when he raised his head, he showed a painful face, one leg pressed against the other. The tiles came loose, and he began to slide down, first his legs slipped out of the edge of the roof, and then his body also slipped down. In a panic, he grabbed the weak tile, and when he slid out of the edge, he grabbed the eaves, it fell off, and he hung in the neutral position and looked down.
Exterior view, the roof of a building in San Francisco, dusk, close-up view
Scotty looking down.
The exterior scene, the roof of a building in San Francisco, at dusk, the distant
scene was shot from Scotty's point of view of the empty space of the building and the ground below. This lens seems to double its depth.
Outside view, the roof of a building in San Francisco, at dusk, the feature
Scotty looked down in fear, he felt an unbearable nausea and dizziness, so he closed his eyes.
Exterior scene, the roof of a building in San Francisco, at dusk,
the fugitive is running in the distance in the middle scene . After seeing Scottie's situation, the policeman turned back to the slope of the roof and tried his best to reach for Rascottie.
Policeman: Give me your hand!
Exterior view, San Francisco's roof, dusk, close-up of
Scotty's head. His hands gripped the edge of the eaves tightly.
The upper part of the screen is the fingertips of the police going to Lascotti. Scotty let go of a hand, but he stopped and took a look, then immediately grasped it tightly, looking up at the rescue hand in despair. He looked down again.
Shot from Scotty's point of view, the ground is so far away from him, so far away.
Exterior scene, the roof of a building in San Francisco, at dusk, the middle scene with
the policeman's hand in the foreground. His face is at the top of the picture.
Police: What's the matter with you? Reach me out.
The police tried to stretch their hands further.
Outside view, the roof of a building in San Francisco
, the tiles under the heels of the police at dusk began to loosen and collapse. He also went down. He desperately grabbed the surface of the roof.
Exterior view, the roof of San Francisco, dusk, close-up
Scotty closed his eyes. He opened his eyes when he heard a terrible scream.
Exterior view, the roof of a building in San Francisco, dusk, distant view
that the policeman fell into the gap.
Exterior view, the roof of a building in San Francisco, at dusk, the close-up
Scotty looks down in horror.
Outside scene, the roof of a building in San Francisco, at dusk, in the distant scene,
the policeman was lying on the ground with his hands spread out. People rushed into the alley. They looked at the corpse in amazement, then looked up at the place where Scotty's feet were hanging in the air. We saw the light reflected on their faces when they looked up. Now we hear a sirens screaming repeatedly.
Until this time, the background music that had been excitedly cooperating with the picture came to an abrupt end. When the picture began to melt, only the echo of the police siren was heard. Then, in the process of transformation, we heard the beautiful and firm music of Scaladi (Note 1) played by the chamber band.
(Into)
Interior view, an apartment on Luxian Mountain, late in the afternoon
The apartment is fresh and lively, simple and generous, full of books, phonograph records and pictures. The most attractive feature of the apartment is the view of the slowly rising mountains of San Francisco through a large glass window. Next to the large glass window is Marjorie Wood, the owner of the apartment. Everyone called her Mickey. She sat at a commercial drawing table, drawing a slender, elongated girl with a strong sense of professionalism, with simple lines and thin clothes. There is a bra on the table next to Mickey's elbow, and she is studying it as she draws. Mickey Wood was about thirty-seven years old, full of charm, honest and frank, and elegantly dressed. She wears glasses, but she doesn't take them off and wear them like in other films. The music is played from a gramophone. The other person in the room is Scotty. He was sitting in a large armchair, with his legs stretched out on a low stool, and leaning back comfortably. There is a glass of wine on the nearby table. He straightened up to get the wine, and unexpectedly knocked down the crutches leaning on the chair. To prevent it from falling, he twisted his body quickly and stretched out his hand to help.
Scotty: Woo! !
Mickey (indifferently): I remember you said that there is no pain anymore?
Scotty: It's this hapless chest frame, which is strangled so hard. (He puts on the crutches again)
Mickey: Can't you stretch freely? How not chic.
Scotty: Well, you don't know the doctors in those police stations, they don't know how to be demeaned. (Sigh happily) Ah, tomorrow!
Mickey: What's going on tomorrow?
Scotty: Tomorrow... take off the chest frame. Throw this thing out of the window (he raised the crutch). I became a free man. I can wiggle my ass...free and unrestrained.
He raised his eyebrows and his face was unexpectedly happy. Mickey looked at him and made a face.
Scotty: Mickey, do you think many people have worn a chest frame?
Mickey: More than you think.
Scotty (inspired): How did you know? Personal experience?
Mickey: Excuse me! (Then, it doesn't matter to you) What are you going to do tomorrow and after?
Scotty: What do you mean?
Mickey: What are you going to do? Now you have been fired from the police station.
Scotty (tenderly): You are so dissatisfied.
Mickey: No, that's your life. But you used to be a promising young lawyer, and you are determined to become a police chief one day.
Scotty (tenderly): I have to resign, Mickey.
Mickey: Why?
Scotty: I woke up at night and saw him fall from the roof... I wanted to reach out and grab him.
Mickey: It's not your fault.
Scotty: I know. Everyone said that to me.
Mickey: Johnny, the doctors said...
Scotty: I know. I have height phobia. What a nasty disease. Afraid of climbing. It happened at this time to prove that I have this disease.
Mickey: Ah, you have this disease, and you can't get to the root. No one can blame it. So why are you resigning?
Scotty: Then sit behind the table? Become an office guy?
Mickey: This is where you should stay.
Scotty (smiling): It's not possible to have height phobia, Mickey. If I drop a pencil on the ground and bend over to check it, it will be a disaster!
Mickey (laughs): Oh, Johnny—
she looked at him for a moment, then immersed herself in work. Now he was walking around the house on crutches.
Mickey (Finally speaks without stopping her work): Huh? ...What are you going to do?
Scotty: There is nothing to do right now. You forget that I am an independent person, or quite independent.
Mickey: Why don't you travel for a while?
Scotty (grins): To forget? Don't mother-in-law, Mickey. I won't be finished.
Mickey: Did you feel dizzy this week?
Scotty: I'm kind of a bit now.
She immediately understood, and looked up keenly.
Scotty: For that music.
Mickey: Oh!
She walked over and turned off the phonograph. Scotty walked to the picture table.
Scotty: What are the knick-knacks here? (He moves the bra with the cane)
Mickey: This is a bra. You know all these things. You are now an adult.
Scotty: I have never seen one like this.
Mickey: This is a new and innovative bra. There are no shoulder straps, no back buckles, but it has all the functions of a bra. Mainly the diagonal reinforcement skeleton works.
Scotty (impressively): Uh-ha!
Mickey: It was designed by an aviation mechanic on the peninsula. He did it in his spare time.
Scotty: This hobby is really interesting. (He walks back to the chair and observes her drawing for a long time. Then) How is your love life, Mickey?
Mickey: Follow a series of ideas.
Scotty: Huh?
Mickey: Normal.
Scotty: Don't you plan to get married again?
Mickey (easy): You know there is only one person in the world that suits my mind, Johnny
Scotty: Yes, I am a cruel person. We’ve been engaged before, haven’t we?
Mickey: Three full weeks.
Scotty: Ah, great college life. But you want to dissolve the marriage contract, I can still get it. Ferguson can be obtained. Oh, Mickey, do you remember that guy named Gavin Elster in college?
Mickey: Gavin? Gavin Elster? You thought I would remember, and forgot.
Scotty: I received a call from him today. Really funny. He disappeared during the war and heard that he was in the east. I guess he is back again. (He draws out a note) This is a phone call from a religious group.
Mickey: It's a slum, isn't it?
Scotty: It may be.
Mickey: He is probably idle. Let's ask you for a drink.
Scotty: Well, I'm just idle. I want to buy him a few drinks and tell my troubles. But not tonight. If you don't drink with me, I will drink it myself tonight. (He gets up to leave)
Mickey: I'm sorry, man, I have a job.
Scotty: Mickey, what did you mean by what you just said, can't get to the roots anymore?
Mickey: What's the matter?
Scotty: My... height phobia.
Mickey: I asked my doctor. He said that he can only be cured if he undergoes another emotional shock, and maybe it won't be cured. And you will not rush down another roof to prove that it can be cured.
Scotty: I think I can subdue it.
Mickey: How to subdue it?
Scotty: I have a theory. Look. If I get used to climbing little by little... Gradually climbing, understand?
He was looking for something eagerly. While talking, he looked down and saw a low stool and moved it into the room.
Scotty (continued): Here, I will show you what I mean. Let's start here.
Mickey: There! ?
Scotty: Where do you want me to start? Golden Gate Bridge?
He stepped onto the low stool and stood there proudly looking up and down.
Scotty: Now. I looked up, I looked down. I looked up, I looked down. did you see it? Good.
Mickey (at the same time): Stop playing around. Wait a minute.
She ran into the kitchen and immediately moved back to a small household aluminum ladder.
Scottie: Ah, what a dear of me! here? (He steps on the first level)
Mickey: Go to the second level.
Scotty: Okay.
He reached the second level and practiced again.
Scotty: I looked up, I looked down. I looked up, I looked down. I will buy a good high ladder right away, and then climb up. (He ascends to the highest level of the ladder)
Mickey: Don't be nervous now.
Scotty: It's a breeze, I look up, I look down. I look up—(At this moment, he turns and looks at the big glass window, making a big mistake)
From Scotty’s point of view,
we see the street under the big glass window. The whole scene began to sway.
interior. Mickey's apartment, late in the afternoon, featured
Scotty looking nauseous and uncomfortable.
Shooting from Scotty's point of view, the
erratic scenery in the distant view changed to the original scene, the ground suddenly shrank, and the policeman was falling down.
Interior view, Mickey's apartment. In the late afternoon,
Scotty's face was deformed in pain. He closed his eyes and fell down. The camera slowly pulled back, and now Mickey entered the screen, she raised her hands and hugged him, he dropped his head, leaning against her. The joke is over.
Mickey: Johnny!
Scotty (murmurs, he sullen his face, closes his eyes): Oh, hate it! hateful! Hateful--
(Into)
Exterior scene, dock, daytime, distant scene.
Several ships are parked on the slipway, people are bustling and cranes are moving. Scotty was intercepted at the gate explaining something to the janitor. The janitor pointed to a house nearby. Scotty nodded and walked from him across the dock to the house.
(Into)
Interior view, Gavin Elster's office, daytime
This is a well-equipped office with a large glass window overlooking the busy dock. There are a few models of new-style cargo ships in the glass frame, but more importantly, there are many framed photos and advertisements on the wall, as well as maps related to the early history of California. Some were during the Mexican rule, and some were during the gold rush. Yes, many of them are from San Francisco in the 1870s and 80s. Gavin Elster was sitting behind his desk, about the same age as Scotty, sturdy, a little shameless, and his eyes cold and alert. Wearing tailored clothes, he gives the impression of a person who loves money and knows how to spend it. He looked at Scotty silently, who was standing in front of the window watching the vibrant dock. After a long while-
Scotty: How did you get into the shipbuilding industry, Gavin?
Elster: Through marriage.
Scotty gave him a surprised smile, admiring his frankness, and turned his head to look out the window.
Scotty: Interesting business.
Elster: No, to be honest, I think it's boring and monotonous.
Scotty: You don't have to do this to make a living.
Elster: No. Just to assume obligations. Everyone in my wife's family has passed away, and someone must manage her property. Her father’s partner ran the company’s factory in Baltimore in the east, so I decided that since I had to do this, I might as well come back here. I have always liked this place.
Scotty: How long have you been back?
Elster: It's been almost a year.
Scotty: You like it here.
Elster: San Francisco has changed. What attracts me in San Francisco is disappearing fast.
Scotty: (smiling at the old photo on the wall): It's like these things.
Elster (nodding): I hope I can live here at that time. This tone, excitement...power...freedom.
Although he didn't emphasize the word, his energy softly staying in the word "freedom" made Scotty look at him again. Elster raised his head and smiled friendly.
Elster: Would you please sit down?
Scotty: No, I'm fine like this
Elschen: I am sorry to see that in the paper. (No response) You fired your job at the police station. (Scotty nods) Is it a permanent physical disability?
Scotty: No, height phobia is not disability. It's just that I can't climb ladders, can't climb high, such as the bar on top of Mark (Note 2). However, (shrugs, smiles)-there are many bars built on the ground in this city.
Elster looked at the desk for a moment, then looked up.
Elster: Do you want to have a drink now?
Scotty: No...no, thank you. It's too early to drink and refresh yourself. (Pause) Well, I guess I've talked about everything I should talk about, haven't I? I have never been married, I rarely meet with the "college baseball team", I am a retired detective, and you are in the shipbuilding industry. (Pause) What are you thinking about? Gavin?
Shao Qing, Elster left the seat inadvertently, walked across the room, looked out the window, took out a handkerchief and blew his nose boredly, finally turned around and stared at Scotty indifferently for a long time.
Elster: I invite you to come here, Scotty, knowing that you have quit your job as a detective, but I don't know if you can look back on me and return to my old business.
Scotty looked at him, knowing nothing.
Elster: I want you to follow my wife.
Scotty remained silent, but he could still feel the extremely disgusting meaning in his heart, and there was a somewhat imperceptible sneer hidden deep in his eyes.
Kanlster: It's not what you think. Our marriage is very happy.
Scotty: So?
Elster: I am worried that she will be hurt.
Scotty: Who hurt?
Elster: Someone who has passed away.
Scotty waited for him to continue.
Elster: Scotty, believe it or not, can a dead person rush in and take action against a living person?
Scotty: I don't believe it.
Elster: If I tell you that I believe my wife has encountered this kind of thing, what do you say?
Scotty: I would say that you'd better send her to the nearest psychiatrist, psychologist, neurologist, psychoanalyst, or find an ordinary family doctor and let him check you two.
Elster (plan frustrated): Then you are of no use to me. Sorry, I wasted your time. Thank you for coming, Scotty.
Scotty (stands up awkwardly and says goodbye, a little embarrassed, and a little apologetic): I didn't mean to be so reckless.
Elster: No, I know it sounds unreasonable. You are still a cool-headed person, Scotty, are you? You always do. Do you think I am making up?
Scotty: No.
Else: I didn't fabricate it. I don't know what's going on. When she was talking to me, she didn’t say anything important. Suddenly, her voice became quieter and silent, her eyes appeared shadowed, and her eyes became dull... Her heart was elsewhere and she left me. ...Became someone I didn't know. I called her, she couldn't hear it. Then she sighed and came back. Looking at me lively and wisely, I don't know that I've ever been to God... Can't tell what I thought,... Can't tell why...
Scotty: How often does she have an episode?
Elster: More and more frequent in the last few weeks. She wandered around. God knows where she went. I followed her one day.
Scotty: Where did she go?
When Elster reviewed the scene that day, he hardly paid attention to this question.
Elster: I watched her walk out of the apartment, like someone I don’t know... she walks in a different way... I’ve never seen her raise her head like that, she walked into her car and drove away... (He smiles gloomily) Golden Gate Park. Five miles. She sat on a chair by the lake, looking at the old pillars of the former Porter's house on the other side. She sat there for a long time, motionless... but I had to leave and go to the office. When I got home that night, I asked her what she did all day. She said she drove to Golden Gate Park to sit by the lake. Nothing else.
Scotty: Oh?
Elster: The odometer in her car indicated that she drove ninety-four miles that day. Where did she go? (Pause) I must know, Scotty. Before I deal with the doctor, I need to know where she has been and what she has done.
Scotty: Have you mentioned it to the doctor?
Elster: I mentioned it, but very careful. I want to know more about her before putting her in the care of others. (Anxiously) Scotty...
Scotty (swiftly): I can hire some private detectives to follow her for you. They are reliable and good...
Elster (interrupting him): I need you.
Scotty: This is not my business.
Elster: Scotty, I need a friend! I need someone I can trust! This incident made me lose the master!
There was a long silence.
Scotty: How can I meet her and know her?
Elster: Tonight, we are going to see the first opera performance. I will have dinner at the Ernie Hotel in advance. Where is more convenient?
Scotty: Ernie Hotel.
Elster: Okay. (Pause) You won't see any signs at the beginning, Scotty. Sometimes, even people who know her so well can't tell when she started to change. Her appearance is so cute, so normal...
The second half of this sentence and the process of transformation are carried out at the same time.
(Into)
Interior view, Ernie Hotel. At night,
we were in a restaurant upstairs. The decoration and atmosphere there brought us back to the era of happiness and prosperity. This is the way of life in San Francisco in the past. Scotty is sitting in the bar, slightly sideways, so he faces the restaurant. He scanned the dining room calmly while sipping a drink. The camera searched with him, shook many dressed ladies, and then shook to a double table by the wall in the distance before stopping. Gavin Elster sat at the table and had dinner with his wife. Scotty couldn't see her clearly. She was carrying him on her side a little, and whenever she turned her head, there always seemed to be a waiter just passing by, blocking his vision. In the process, we heard Elster's voice continuing to speak in the last scene.
Elster's voice (continued): However, I now find that this huge change started on the first day I took her to San Francisco. You know how people reacted when they first came to Jiubaoshan. Madeleine experienced it all, but her reaction was almost astonishing. She came home like a child. Everything in the city excites her: she has to walk all over every hillside, look carefully at the shore of the ocean, inspect all the old houses, wander all the old streets and alleys, when she sees something missing She was ecstatic when she changed things that remained the same! Think that those things belonged to her in the past. However, she had never been here before. She was born and raised in the east. Of course I liked her at first. Because I love this place, I want my bride to like it. But then it made me uncomfortable. Her joy was too strong, her excitement was too intense, and it never waned. Her laughter was too loud, her eyes flickered too brightly, and she was mixed with fanaticism in the way she was exposed to this city. She is obsessed with it. Then one day, she changed again... A deep sigh stabilized her, and the shadow covered her eyes...
Now, Gavin Elster has signed the bill, he and his wife Get up and leave the seat and walk towards the door. Scotty still couldn’t get a glimpse of her without being obscured, but we saw in a few short moments that she was young, only in her twenties, and she was smart and charming, with a pair of gentle, intelligent and rich. Humorous eyes. Scotty looked at her intently. She stood two feet away from the scene at the entrance of the bar, waiting for her husband who was stranded behind her to thank the foreman and pay the tip. She looked around peacefully, her eyes calm, indifferent and calm. Her gaze stayed on Scotty's face for a moment, and then she continued to move forward with a smile.
As we watched the above details, Elster's voice continued non-stop, and only ended his narration when Madeleine walked to and waited near Scotty.
Elster's voice (continued): I don't know what happened that day. Where has she been, what has she seen, what has she done. But that day, her search ended. She had found what she was looking for, and she returned home. Something in this city controls her.
When Scotty stared at her, their eyes met, and he immediately turned to take his wine. When he turned around again, she had already left. He looked left and right with a little surprise, and caught a glimpse of her turning the corner of the upstairs hall. His eyes were thoughtful, and he gradually remembered her face.
(Into)
Exterior scene, Brockbank apartment. During the day, the shot was shot when
Scotty was sitting in his light gray car and reading a newspaper. The radio in the car was on and we heard the old pop music. He looked out through the windshield.
Exterior view, Budockbank Apartment. During the day, taking a distant view from Scotty's point of view,
we saw an apartment building with a stone courtyard gate and a car parked in the courtyard. Above it is the door to the apartment. There was no movement there, only a businessman looking like a businessman came out of the door and out of the yard.
Interior, car, daytime, Scotty's close-up.
He immersed himself in reading the newspaper, but did not concentrate. His eyes returned to the apartment.
Exterior view, Brockbank Apartment. During the day, the mid-to-far view
lens was a little closer, but it was still outside the stone courtyard door of the apartment, and we saw the main entrance above. For a while, maybe fifteen seconds, nothing happened. Suddenly, we saw Gavin's wife Madeleine appear. She was wearing a well-tailored set of light gray clothes, and she stood for a moment, looking around.
Interior scene, car, daytime, the
filmmaker Scotty stuffed the newspaper aside and turned off the radio. He started the car.
Exterior view, Brockbank apartment, daytime, mid-to-far view, Scotty’s point of view.
We saw Madeleine walking through the small courtyard and walking to a light green Jagger car. She stopped and opened her purse. , Take out the car key. She got in the car.
Exterior view, Brockbank Apartment. During the day,
Scotty began to slowly turn the car out of the road.
Exterior scene, Brockbank apartment, daytime, medium scene, Scotty's point of view,
Madeleine's car drove out of the yard and turned into the side street.
Interior shot, Scotty's car, in the close-up,
we saw him driving, watching the front closely.
Exterior view, street, San Francisco, daytime, mid-to-distance view.
We saw the light green Jagger driving in front of him through the windshield on the hood of his car, but the speed was quite normal and not too fast.
Interior scene, Scotty's car, during the daytime, a close-up
shot of Scotty staring ahead.
Location, street, San Francisco, daytime, close-up.
We saw the light green Jagger through the windshield turning a corner and driving onto another street.
Interior scene, Scotty's car. During the day, the close-up
shot Scotty still turned a corner, and we saw him turning the steering wheel.
(Dissolved)
Interior shot, Scotty's car. During the day, the close-up
shot Scotty looked forward anxiously, for fear of losing her.
Exterior view, street, San Francisco, daytime, mid-range view.
The green car slowed down and started to turn left (or right), so the two cars in front of Scotty were able to drive out and pass the green car. We saw the green car turning into an alley.
Interior scene, Scotty's car. In the close-up,
Scotty's expression changed a little, and he didn't understand why the car turned suddenly.
Exterior view, street, San Francisco, daytime. On
the left front of the mid-range view is a large flower shop, and there is another shop on the corner of the alley. We saw the gray car turning into the picture.
Exterior view, street, San Francisco, daytime, medium shot, overhead shot of the
gray car driving to the right in the foreground. At the same time, we saw the green Jagger parked in front of a black doorway at the other end of the street.
Interior scene, Scotty's car, in the close-up
we see Scotty looking out the street from the car window.
Location, alley, middle and long distance, Scotty's point of view
We saw Madeleine come out of Jagger and walk into a rather old door face.
Exterior scene, alley, daytime, mid-range scene
Scotty got out of the car. We saw him walking down the alley towards Jagger.
Location, alley, mid-range
shot Scotty walked past Jagger, he walked carefully into the black doorway.
Interior view, a black hole aisle, during the day,
we saw Scotty walking along the aisle in the middle shot , and he reached the door at the end.
Interior view, black hole aisle, daytime, close-up, shot from the shoulder of Sco's belt,
he gently opened the door. We saw the bright light and the second half of the flower shop from his shoulders.
Interior view, flower shop, daytime, a close-up of
Scotty's surprised expression when he peeks through the half-open door. He suddenly saw—
interior view, flower shop, during the day, mid-range
Madeleine was talking to a clerk, and she wanted to inquire about something. The clerk seemed to know her, smiled and nodded, and walked to the side of the store. Madeleine waited and turned to look at the store. She approached the camera and turned sideways again, just like when Scotty first saw her when she was at the Ernie Hotel.
Interior, flower shop, close-up of
Scolope, Scotty carefully narrowed the gap in the door.
Interior scene, flower shop, during the day,
the female clerk in the middle scene returns to the screen. She is holding a small bunch of flowers. Madeleine nodded approvingly. When the clerk came back, we saw Madeleine already expressing to buy this bunch of flowers. When the clerk began to write the bill, Madeleine began to open her wallet.
Interior, flower shop, daytime, a close-up of Scotty,
he carefully closed the door.
Interior, aisle, daytime, mid-to-long view.
We saw Scotty leave the door and hurriedly walk along the aisle facing the camera. He walked out of the picture to the left, and when he opened the door and walked into the alley, for a while, sunlight shot into the aisle.
Exterior scene, alley, daytime, middle scene
Scottie came out of the doorway and walked past the green Jagger. We are far enough to see the sign on the doorway, indicating that this is the back door of the flower shop and the parking place for customers.
Exterior scene, alley, daytime, distant scene
Scotty crossed the alley from Jagger, walked to the place where he parked, and boarded the car. After a while, I saw Madeleine entering the screen nearby, holding the bunch of flowers and boarding Jagger. We heard the noise of the engine, and she set off immediately. The gray car also carefully kept track of the distance.
(Dissolved)
Interior scene, Scotty's car, during the day, in the middle scene
we saw Scotty driving, looking ahead.
Exterior view, Dolores Avenue. During the day, the
green Jagger in the distant view is driving along the wide Dolores Avenue in front. It stopped outside the church again. We saw Madeleine get out of the car quickly. Scotty's car decelerated as soon as it entered the screen.
Interior scene, Scotty's car, during the daytime, in the middle of the
shot, he is looking forward while slowly stopping the car.
Exterior view, Dolores Avenue, during the day, with a medium
gray car in the foreground. Scotty got out of the car, slammed the door, and walked to a doorway opposite the green Jagger car park.
Location, Dolores Church, daytime, distant view
Now we see the facade of the old Dolores Church for the first time. Scotty entered the screen from the right and walked towards the open, small, dark doorway.
Exterior scene, Dolores Church, during the day, middle scene
Scotty walks through the small doorway. We caught a glimpse of a plaque on a nearby wall, which recorded the date when the church was built.
Interior shot, Dolores Church, during the day, in the middle shot
we saw Scotty go through the door and walk towards the camera. He stopped (close-up).
Interior view, Dolores Church, daytime, distant
view. From Scotty's point of view , we see the middle road, and in the distance is the altar of the old church. Except for the strong light around the altar, the room was very dim, and there was no one in the church.
Interior view, Dolores Church. During the day, the photographer Scottillo turned sideways
, as if he was about to go back the same way. However, he glanced back again and flashed aside.
Interior view, Dolores Church. During the day, the perspective of the
lens changed slightly. We saw a small door at the right end of the altar, slowly closing it.
Interior view, Dolores Church, during the day, the feature
Scottie immediately walked forward and painted.
Interior view, Dolores Church, daytime, distant view
Scotty enters the foreground. We saw him walking quickly from Fu Dao towards the altar.
Interior view, Dolores church, during the day,
we are much closer to the altar in the middle view . Scotty entered the screen from the right and walked quickly to the small side door. When he opened the door, a strong sunlight plunged into the church.
Location, cemetery, daytime, close-up
We saw Scotty coming out of the church, facing the camera following him.
Location, cemetery, during the day, the medium
shot turned a corner with his point of view, facing a small doorway in a stack of walls. The camera begins to cross the doorway.
Location, cemetery, daytime, close-up of
Scotty walking through the doorway.
Location, cemetery, daytime, the distant view
lens shifts to the cemetery. We saw Madeleine looking down at a monument in the distance, still holding the bunch of flowers in her hand.
Location, cemetery, daytime, close-up
Scotty looked at Madeleine, a little surprised. He draws from the right.
Exterior scene, cemetery, daytime, distant scene.
We saw Scotty walking along the side of the cemetery. The back scene was the church of the church. The camera panned him all the way, turning to where it faced Madeleine. He can no longer be seen on the screen.
Location, cemetery, daytime, mid-to-distance
lens panning Scotty walked past Madeleine, he found a place to observe her after a shrine.
Location, cemetery, daytime, close-up
Scotty was observing Madeleine.
Location, cemetery, daytime, mid-
range view. From his point of view, we saw Madeleine's back through the leaves. She was still looking down at the tomb. She began to turn around.
Location, cemetery, daytime, the close-up shot
Scotty stepped back cautiously.
Location, cemetery, during the day, the middle
shot is facing the corner of the shrine for a moment. At first there was no movement, and then I heard footsteps, and then I saw Madeleine enter the picture, still holding the bunch of flowers in her hand. She walked very slowly. When she walked in the opposite direction to Scotty, she stopped and stood in profile. She opened her purse, took out a small handkerchief, and then walked around the path to the exit.
Location, cemetery, during the day, the
filmmaker Scotty sent her away.
Location, cemetery, daytime, mid-to-distance scene
Madeleine walked toward a small door on the side of the church church, and she walked in.
Location, cemetery, during the day, mid-range
Scotty hurriedly walked from his hiding place to the tombstone where Madeleine once stood.
Location, cemetery, during the day, middle shot
Scotty quickly took out an envelope and a pencil from his pocket. Write while looking at the tombstone.
Location, cemetery, daytime, close-up
of the text inserted on the tombstone: "Carlotta Valdes, born on December 3, 1831, died on March 5, 1857."
Location, cemetery, daytime, middle shot of
us Scotty was seen hurriedly walking from the cemetery to the exit. The camera pans. (Into)
Interior scene, Scotty's car, during the daytime, the close-up feature when
he is following Madelyn, his eyes are again looking at the road ahead.
Location, Market Road. During the day,
we saw the green Jagger coming out of Sixteenth Street, crossing Market Road and driving uphill.
Location, San Francisco streets, during the day
we saw the two cars follow each other uphill.
(Dissolved)
Exterior view, the entrance of the Lincoln Principality,
where the two cars drive along the forest road during the day . Jagger parked in front of the Palace of Honor. When Madeleine got out of the car and walked across the courtyard to the art gallery, Scotty continued to drive forward. Scotty parked the car far away and followed her in.
(Dissolve)
Interior, art gallery. In the afternoon, the distant
shot was taken from the column in the foreground. We saw the art gallery ceiling light sprinkled with soft light, and the hall was empty with only one person. This is Madeleine. She was sitting on a small wooden bench at the far end. She looked up, staring at a giant portrait intently. Gradually, we saw Scotty entering the painting from the left foreground. He looked at her for a moment, then quietly and carefully walked into the art gallery and began to look at the paintings.
Interior, art gallery, in the afternoon, a semi-close-up
shot against Scotty's back. When he pretended to look at the painting on the wall, he moved to shoot. He hardly stopped before any paintings. From time to time, he looked back silently. The camera finally stopped. Scotty turned cautiously and looked at the other end of the exhibition hall.
Interior view, art gallery, afternoon, mid-range view,
we can see the full view of his vision from his point of view. Madeleine (back view) is sitting on a painted bench with the bunch of flowers in her right hand. Above her is a half-length portrait of a blonde beauty, wearing a 19th-century costume. She seemed to be staring down, with an inscrutable smile on her face.
Interior view, art gallery, in the afternoon, close-up of
Scotty’s eyes seeing-
interior view, art gallery, in the afternoon, close-up of
Madeleine’s hand holding the bouquet resting on the painted stool. The camera slowly pans up and zooms in to take part of the portrait. The camera stops on the bouquet in the hands of the person in the painting.
Interior view, art gallery, in the afternoon, the close-up of
Scotty is indistinguishable. He shifted his eyes.
Interior view, art gallery, afternoon, medium close-up
The camera shot Madeleine's back, we only saw her head and shoulders. The camera zooms in close to the curls of her blonde hair that fills the frame. Picking up on the camera, we see the head and shoulders of the woman in the painting. She wore a luxurious necklace with diamonds. Afterwards, the camera slowly zoomed in, mainly shooting the curls on her neck.
Interior view, art gallery, in the afternoon, feature
Scotty thoughtfully recalling his conversation with Gavin. He looked up again.
In the interior, the art gallery, in the afternoon, the close-up is
again with the unpredictable gaze of the woman wearing a diamond pendant necklace. It was almost looking at Scotty.
Interior view, art gallery, in the afternoon, the
photographer Scotty turned around and carefully exited the art gallery.
Interior view, art gallery, afternoon, mid-to-far view.
Now, the camera returns to its original position. Above the column at the entrance of the room, we see the Sco tape approaching the camera. When we got closer, we saw him greeting someone outside the painting.
Interior view, art gallery. In the afternoon,
a male waiter walks towards the camera in the middle shot. He walked out of the picture.
Interior view, art gallery. In the afternoon, the mid-range
waiter walked to the place where Scotty was waiting for him. Scotty whispered to him.
Scotty (nodding to the art gallery): Who is the lady in the painting? (The waiter turns his head) It's where the lady is sitting.
Waiter: Oh, that's Carlotta, sir. (See Scotty but still don't understand) You can find "Portrait of Carlotta" in the catalog.
When the waiter gave him a catalog, Scotty thanked him. Scotty looked back inside. The camera moved forward and passed him, so we saw Madeleine sitting there again, still concentrating on the portrait.
(Dissolve)
Exterior scene, art gallery, afternoon, middle scene
In the foreground is Scotty sitting in his gray car. We saw the green Jagger and the backlit column behind the courtyard of the art museum at the upper end in the distance. After a while, Madeleine's petite figure entered the screen, she boarded her car, started the engine, and drove away. Scotty started his car. His car traversed the picture.
(Into)
Location, a street
in San Francisco . During the day, these two cars are driving in a relatively poor area of San Francisco. We saw many large wooden houses that were in disrepair and dilapidated, some of which were almost abandoned. The occasional courtyard is also neglected, the streets are sparsely crowded, and the clothes are shabby. There was a sad and withered sight.
Exterior view, McKittrick Inn. During the day, the
green Jagger in the distant view stopped in front of a big house that had seen the world. This is obviously a mansion in San Francisco in the past, but now it has become an apartment hotel. There was a staircase leading from the street to the front door, and there was a semicircular canopy supported by several pillars at the door. Madeleine got out of the car, climbed the stairs, and walked towards the entrance of the hotel. She still holds the bunch of flowers.
Exterior view, McKittrick Inn. During the day, mid-range
Scotty parked the car on the side of the road. After getting out of the car, he stood on the sidewalk and looked ahead. He stepped forward out of the picture.
Location, McKittrick Inn. During the day,
we saw Scotty wandering casually on the sidewalk. The green Jagger stopped on the right side of the hotel stairs. He sneaked up to the green car.
Exterior scene, McKittrick Inn. During the day, the medium shot
shot over the roof of the green car, and Scotty hovered at the bottom of the stairs. Madeleine could not be seen. She was obviously already in at this time. Sliotti turned and looked at the appearance of the hotel. The camera shook up to the house over his shoulder. We saw the sign of the hotel under the eaves. The black letters were old and faded.
Exterior view, McKittrick Spinning Store, daytime, close-up
Scotty turned and left the hotel, looking in the direction of the car. He turned around again to consider what to do next. He looked back at the hotel. Suddenly, his eyes were attracted by something. He hurriedly hides by the wall of the entrance, the camera pans, and he looks up again.
Exterior view, McKittrick Inn. During the day, distant
view. From his point of view , we saw the shadow of Madeleine appearing on the corner window on the second floor. She looked into the distance carelessly, taking off the top of her suit. She went back to the room again.
Exterior view, McKittrick Inn. During the day, the close-up
Scottie was really confused by the sight. He thought for a moment, then made up his mind, and started up the stairs, the camera panning. We saw him walk up to the highest level of the stairs, and then walk towards the front door.
Exterior view, McKittrick Inn. During the day,
Scotty paused for a while, then calmed down, opened the door and walked in.
Interior view, in the foyer of Ankitrick Inn. During the day, the filmmaker
Scotty walked in and brought the door behind him . He looked around.
Interior view, the foyer of McKittrick Inn.
From Scotty's point of view during the day , we can see most of the foyer. There is a small reception desk with a key holder beside it. But the most striking thing is the green leaves. The tall potted rubber trees are scattered around the hall, and there are yellow tillers. Scotty stood there staring. There was no one in the room, it was lifeless. Later we saw a rubber leaf swayed, swayed again, and stretched out a hand, as if it was taking care of the tree, and then we heard a woman's voice.
Female manager: Is there anything wrong?
Scotty looked in that direction, and the female manager walked out from behind the rubber tree. She is a little older, with gray hair, short stature, gentle and polite, kind eyes, piercing eyes, and a lot of smiles on her face.
Manageress: Can I do something for you?
Scotty: Yes...you run this hotel.
Female manager: Oh yes!
Scotty: Please tell me, who lives in the corner of the second floor, in the room in that corner, okay?
Female manager (heartyly): Oh, I'm afraid we can't provide this kind of information. You see, our customers have the right to protect their private affairs. And I do believe that this is against the law. Of course, I don’t think any of them really care. Besides, I have to know who you are, and at the same
time, at this point, Scotty has already paid out his money. Clip, showing his badge, she glanced at it and then shut her mouth. She immediately lowered her face, not at all merciful. But she regained her innocent vigor.
Female manager: Oh, my goodness! Did she do something wrong?
Scotty: Please answer my question.
Female manager: I can't imagine that lovely lady with such a pretty face...
Scottie (urging): What's her name?
Female manager: Valdes. Miss Valdes. (Pause, then lively) You know, this is a Spanish name.
Scotty (slowly): Carlota Valdes?
Female manager: Yes, that's her, a nice name, right? Foreign, but it sounds nice.
Scotty (draws Xiang Ti back): How long has she used this room?
Manageress: Oh, I'm afraid it's been two weeks. By the way, the lease is until tomorrow.
Scotty: Is she staying here for the night? Have you ever lived?
Manageress: No... She just sits here. Two or three times a week. You know, I never ask any questions. As long as they are all behaving properly. I should say, I had suspected—
Scotty (interrupting her): Don't say I was here when she came down.
He turned and walked away, with a suspicious look on his face.
Manageress (frankly): Oh, but she didn't come here today.
Scotty (turning back to face her quickly): I saw her come in five minutes ago!
Manageress: Oh, no, she didn't come here at all! Otherwise, I should see her. I've been staying here and rubbing olive oil on the rubber leaves I'm looking for!
Scotty stared at her innocent smiling face. She looked at the key holder.
Manageress: Look there! Did you see that? Her keys are on the shelf!
Scotty (heavy): Would you please... go and see?
Female manager: Look at her room? Oh, well, of course, if you ask. But it was weird to do this...
She put down the jar of olive oil and sponge, and took out her master key. She went up the stairs. Scotty watched her walk away, then looked down at the jar of olive oil, at the rubber tree, waited, and looked up at the stairs.
The female manager's voice (lively): Oh, Mr. Detective! Would you like to come and see?
Scotty ran upstairs.
Interior view, at the top of the stairs on the second floor, the
female manager is standing near the open door during the day . Scotty brushed past her and stood in the doorway.
Interior view, hotel bedroom,
we looked at the room over the shoulders of Scottie and the weeping manageress during the day . There was no one in the room. Scotty walked to the window and looked down. From his point of view, he saw that the side of the road where the Madeleine's Jagger car was parked was empty.
Scotty: Her car drove away.
Manageress: What car?
He turned around to look at her smiling face, then turned his head and looked under the window, helpless.
(Into)
Exterior scene, Brockbank leaves,
Scotty's car parked in the foreground during the day , and the apartment building in the distance. He looked across. The green Jagger car was half-hidden in the corner of the small parking lot. Scotty wandered over, inspected the car, and looked inside. On the seat is the bunch of flowers bought from the Posta flower shop and taken to the cemetery.
(Into)
Interior scene, Mickey's public house, Mickey
is drawing an advertisement for evening dress during the day . The phonograph played soft music, which could be Bach's harpsichord or Landuska's music. Scotty enters the screen, and Mickey looks up, startled.
Scotty: Mickey, do you know who is the authority on the history of San Francisco?
He walked over and turned off the phonograph without hesitation.
Mickey: Oh, this is the way girls like to say hello. Without saying: "Hey, you look so energetic" or something like nonsense, I couldn't help but say: "Who do you
know-- " Scotty (interrupting her): Hey, who? Hurry up, you know everyone.
Mickey: Professor Sanders of Berkeley.
Scotty: Not that kind of history. It is trivial material. Not a classic character.
Mickey: Oh, you mean the jovial Bohemians in the golden age of San Francisco, those exciting stories? Just like who killed whom in Embarcadero in August 1879?
Scotty: Yes.
Mickey: Pop Libel.
Scotty: Who?
Mickey: The owner of Pope Libel Algosi Bookstore. What do you want to know?
Scotty: Who killed whom in Embarcadero in August 1879. (He walks to the door quickly)
Mickey: Wait, you are no longer a detective. What happened?
Scotty (hesitating): Are you familiar with him?
Mickey: Pop Libel? certainly.
Scotty: Okay, let me introduce it quickly. Where is your hat?
He looked around for a hat.
Mickey (walking to the door quickly): I don't need a hat. Johnny, what is it? (She immediately rushes out of the open door).
Scotty: I will tell you later. and many more!
He chased her.
(Into)
Interior view, Algosi Bookstore, dusk
The bookstore is old and musty, filled with old books everywhere, but it is worth noting that the bookstore is full of nostalgia for the pioneering era of California. Not only are common old maps and photos hung on the walls, but there are also more exciting examples such as framed old applications for mining rights, notices describing the faces of gangsters being hunted down, and advertisements by the Wells Fargo Fast Horse Post. There are things like old whiskey bottles and gold pans on the shelves. Pop Libel, the owner of the bookstore, nodded and smiled carefully at the piece of paper Scotty handed him, and Scotty looked at him eagerly. Mickey wandered around in the background, looking at the pictures on the wall, but also listening to their conversations.
Pope Libel: Yes...that beautiful Carlotta...sad Carlotta...
Scotty: What does the old big wooden house on the corner of Eddie and Gough Street have with him? relation?
Pop Libel: That is her house, it was built for her. This happened many years ago.
Scotty: Who built it?
Pope Libel: Yes...no...I can't remember the name. A rich man. A powerful man. This is not an extraordinary story. She came from a small place south of the city...someone said it was the territory of a parish...young, yes; very young. That man he found her when he was a showgirl in a bar... wait... wait... Ives! His name is Ives! correct. He took her away and built that big house for her in the Western Expansion Area...with a child. Yes. That's it. That child.
Scotty waited for him to answer. Popper looked up at him and smiled.
Pope Libel: And now, the jade and the stone are burned, you understand. I can’t tell how long it has been, or how much joy there has been. But he later abandoned her. He has no other children, and his wife has never had children. He took the child away and abandoned her. At that time men would do this. They have rights...and freedom. She became the sad Carlotta. Living alone in that house...walking alone in the street, her clothes are old, torn and dirty...the madman Carlotta...stops people on the street and asks: "Where is my child?... Have you seen my child?"...
The shop is quite dark, and all the people are actually silhouettes. The lens takes a close-up shot of Mickey. She listened attentively, no longer looking at the wall, and turned to face the old man. On the wall near her head is a painting from the church of San Juan Bautista.
Mickey: This poor man...
Scotty: Then she died...
Pop Libel: She died.
Scotty: How did you die?
Pop Libel: Suicide. (Pause. Laughing sadly) There are many such things.
Scotty: Thank you, Mr. Libel. thank you very much.
He forgot about Mickey, turned around and walked out of the bookstore quickly, lost in thought.
Mickey: Hi, wait a minute, goodbye! Pop! thanks! (She
rushes out to chase Scotty) Location, on the sidewalk outside the Algosi Bookstore, at dusk Mitch
catches up with Scotty, grabbing his arm to make him stop.
Mickey: Hey, Johnny, pay me.
Scotty: Why?
Mickey: To bring you here. Come on, go ahead,
Scotty: No comment.
Mickey: You have to say, or you have to put on that chest frame! hurry up!
Scotty: I will take you home.
He strode away, and Mickey followed closely.
(Into)
Exterior view, the street outside Mickey's apartment. At dusk, the distant view
Scotty's car drove into the screen and stopped.
Interior view, Scotty's car, dusk, double mid-range shot
Scotty and Mickey looking straight ahead.
Scotty: You are here.
Mickey: You didn't tell me everything.
Scotty: I have said enough to you.
Mickey: Who is that guy? Who is that wife?
Scotty: Get out of the car. I still have something.
Mickey: I know. It's the person who called. Elster, your old friend in college.
Scotty: Get off!
Mickey: Means that the beautiful madman Carlotta came back from the dead, attached to Elster's wife? Ah, Johnny! Say it!
Scotty (annoyed): I didn't tell you what I thought, what I told you was his thoughts!
Mickey: So what do you think?
Scotty was questioned, in a daze. silence.
Mickey: Is she pretty?
Scotty: Carlotta?
Mitch (calmly): No, it's not Carlotta. Elster's wife.
Scotty: Hmm, pretty, I guess...
Mitch raised her eyes to look at Scotty.
Mickey (seriously): I think I'm going to see that portrait. (Yanran smiles) Goodbye!
She quickly opened the car door and jumped out of the car.
Scotty (feeling ridiculed): Mickey!
Mickey: Goodbye!
She slammed the car door and ran into the house. Scotty stared for a moment, no longer stern, lost in thought. He reached into the small storage box on the dashboard to retrieve the catalog of permanent paintings in the Palace of Honor. He turned to a page and looked down.
Insert lens: a copy of Carlotta's portrait.
Interior view, Gavin Elster's club. At night,
Elster and Scotty are sitting in the lobby of a San Francisco club. There are one or two people reading the newspaper and a waiter serving drinks in the background. Elster was looking at a copy of Carlotta's portrait on the catalog that Scotty had retrieved from the Museum of Art. The waiter respectfully put down two glasses of wine in front of them. Scotty observed
Elster and waited for him to speak, finally— Elster (smiling dismal): You did a good job, Scotty. You are good at it.
Scotty: That's Carlota Valdes.
Elster: Yes.
Scotty: There are some things you haven't told me.
Elster: I don't know where she will lead you.
Scotty: But you know about it.
Elster: Oh, yes. You notice her hairstyle.
He pointed to the curls on the neck fossa on the reproduction of the portrait. Scotty nodded.
Elster: There are other things. My wife Madeleine has a few pieces of jewelry that originally belonged to Carlotta. She inherited. She never wears it before, the style is too old. Now when she was alone, she took out the jewelry and looked at them...slowly and fiddled with them...wearing them curiously, staring into the mirror...into another world...it was another person.
Scotty: Who is Carlota Valdes, your wife's grandmother?
Elster: Great-grandmother. Carlotta died madly because of the loss of her child, and the child who was snatched away was Madeleine's grandmother.
Scotty: (quite confidently): Well, this makes sense. Anyone with this background can have a fascination with the past.
Elster: But she doesn't know... her life experience. (He reluctantly when Scotty stares at him) She has never heard of Carlota Valdes.
Scotty: You don’t know anything about the inscriptions on the tombstone of the Dolores Church, an old house on Eddie Avenue, and the portrait of the Palace of the Honorable Soldiers?
Elster: I don't know anything.
Scotty: So when she goes to those places...?
Elster: She is not my wife anymore.
The two men looked at each other frankly and sincerely.
Scotty: How do you know all these things she doesn't know?
Elster: Most of what her mother said to me before she died. I investigated the rest.
Scotty: Why didn't she tell her daughter?
Elster: Natural fear. Her great-grandmother committed suicide after going crazy. The blood is in Madeleine's body. (Pause) Scotty, I ask you to watch her closely.
Scotty picked up the glass and drank slowly thoughtfully.
(Into)
Exterior view, the Palace of Honor, with
sunlight shining from behind on the columns in the courtyard in the late afternoon . No one on the screen. The green Jagger parked alone near the steps, no one inside.
(Dissolve)
Interior, art gallery in the afternoon. Later in the afternoon, the
camera was shot from the empty space of the foreground column. Our sight of the room was briefly blocked by a pair of old people walking towards the door. After they walked away, it was seen that Scotty was standing next to a sculpture by Rodin (Note 3), observing the interior of the room. At the end of the room far away from him, Madeleine sitting on a bench was watching. Portrait in front. She put one hand on the bench, still holding the bunch of flowers. Right now she stood up, walked to the painting and stopped, holding the bouquet in front of her chest with both hands, and looking up, as if she was grateful and wishing, but also as if she was praying. Finally she turned around and walked towards the exit. Scotty flashed a picture. Madeleine walked slowly towards the camera.
(Dissolved)
Location, Palace
of Honor. Madeleine walked towards the green Jagger in the late afternoon and got in the car and drove away. Scotty's car drove into the frame and followed behind.
(Into)
Exterior scene, seaside cliff road, late in the afternoon
we saw the green Jaluo water driving, the gray car carefully keeping track of the distance, we saw the Golden Gate Bridge in the northwestern direction bathed in the sunset, in the distance is Richmond and Berkeley.
(Into)
Interior, Scotty's car,
Scotty looked carefully in front of him at sunset .
Exterior view, Presidio Avenue. At sunset,
Madeleine's car drove down the driveway to the gate of Presidio, entering the gate, which was covered by trees. Scoshi's car followed, and it disappeared among the trees.
(Into)
Interior view, Presidio,
these two cars are driving along the tree-lined road at sunset .
Interior view, Scotty's car, Scotty looking forward at sunset
.
(Into)
Location, fortress,
Scotty's car drove downhill towards Winfield Scott's old fortress at sunset . His car stopped in a gentle open space, and the green Jagger stopped there with no one in the car.
Exterior scene, bridge, at sunset, middle scene
Scotty got out of the car and looked outside the painting.
Exterior view, bridge, at sunset, distant view
Madeleine walked to the pier on foot. Above her is a huge bridge. She is holding the bunch of flowers. Scotty walked into the foreground and then exited the screen in the same direction. Madeleine went around the corner of the old fortress wall and disappeared. She was out of sight at the moment, and we saw Scotty walking towards the corner of the fortress wall.
Exterior scene, bridge, at sunset, the middle
shot was reversed, and we saw Scotty walking towards the wall and looking around carefully.
Location, bridge, at sunset, mid-
range view. From his point of view, we saw Madeleine standing by the water, and she mechanically tore off the lace paper from the bouquet.
Exterior scene, bridge, at sunset, close-up
Scotty looked at her curiously.
Location, bridge, at sunset, the
filmmaker Madeleine throws confetti into the water. She untied the bunch of flowers and began to throw the flowers into the water. A close-up view of flowers drifting with the waves.
Exterior view, bridge, at sunset, close-up
Scotty observing Madeleine.
Outside scene, by the dock, at sunset,
Madeleine's whole body can be seen in the mid-to-distance scene, she threw the remaining flowers into the water, and then looked up at the sky. For a while, her body seemed to maintain balance, and then disappeared in the water.
Outside scene, by the dock, at sunset, the distant
scene Scotty rushed along the wall, and the camera panned him to the water's edge. He dumped his shirt.
Location, on the side of the dock, at sunset, the mid-to-distance
lens was overhead and we saw Madeleine drifting away on her back. She appears from time to time.
Exterior view, pier, at sunset, medium shot
Scotty ran down several stone steps leading to the surface of the water. When the water reached his knees, he swam towards her.
Location, by the pier, at sunset, a close-up of Madeleine
she sank into the water with staring eyes, surrounded by floating flowers. Scotty swam over to catch her.
Location, by the pier, at sunset, close-up of
their heads close together when he hugs her. He began to turn around and swim with her back to the shore. Their heads fill the picture. When Madeleine was taken away, she closed her staring eyes.
(Dissolved)
Exterior scene, by the pier, at sunset, in the middle scene.
We saw Scotty climb several steps. He was shaken by her soaked body and clothes. He hugged her to the green Jagger Over the car.
Outside scene, by the dock, at sunset, in the middle scene,
he put her down for a moment, and then opened the door beside the passenger seat.
Location, by the dock,
Scotty's head is next to her at sunset . She was panting now.
Scotty (softly): Are you okay?
She opened her eyes slowly.
Scotty (calling in a low voice): Madeleine...
Her eyes didn't acknowledge or react. She glanced over his face, then looked away. The camera zooms in and her head fills the frame. She looked out of the painting, as if in a lethargic state.
(Into)
Exterior scene, Scotty's apartment, the
empty green Jagger parked at dusk by the roadside outside the red door of a well-maintained small house
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