1. Scottie drives a DeSoto. On his coffeetable he has a copy of People magazine.
2. In the final scene, Scottie keeps mixing tenses and pronouns … he talks about “her” and “you,” about Judy and Madeleine–“It’s too late now” and “I loved you so.” He can no longer determine if it’s all something that happened in the past or is still happening, if it’s about Judy or Madeleine or a composite. He has no bearings any longer. Past, present, reality, fantasy all co-exist in this final scene.
3. Ernie’s. CU Madeleine is turning her head, cut to CU Scottie turning his head, cut back to CU Madeleine, cut back to CU Scottie. This moment, this micro-moment, syncs the two in a powerful way that reverberates for the rest of the film. They’re meeting for the very first time, and this simple and elegant cutting strategy already shows them moving as one.