Did you walk?" "Yes. I walked." "I know which exit you took. Which way did you head?" He was breathing quickly and I could hear the sounds of traffic and car horns in the background. "To the left." "Did you turn any corners after that?" "I don't think so. I don't know." I looked around for a server I could ask. "I'm in a restaurant. Italian. There's seating on the sidewalk...and a wrought iron fence. French doors...Jesus, Gideon, I-" He appeared, silhouetted in the entrance with the phone held to his ear. I knew him immediately, watched as he froze when he saw me seated against the wall toward the back. Shoving the phone into the pocket of jeans he'd had stored at the hotel, he strode past the hostess who'd starting speaking to him and headed straight for me. I barely managed to get to my feet before he hauled me against him and embraced me tightly. "God." He shook slightly and buried his face in my neck. "Eva." I hugged him back
Bergman wakes up in bed, hung over from their night of partying. Grant, standing in the doorway, orders her to drink a bubbly bromide to settle her stomach. It doesn't taste good but he makes her drink it anyway. It symbolizes the new energy of the adventure, which tastes like poison compared to the addictions she's been used to, but which ultimately will be good medicine for her. In this scene Grant leans in a doorway, silhouetted like some dark angel. From Bergman's point of view, this H e r a l d could be an angel or a devil. T h e devilish possi bility is suggested by his name, revealed for the first time as "Devlin." As he advances into the room to deliver the Call to Adventure, Hitchcock follows him in a dizzying point-of-view shot that reflects the hung-over state of the hero, Bergman, as she lies in bed. Grant seems to walk on the ceiling. In the symbolic language of film the
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