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Scripts: Vertigo (12/Sep/1957) - part 2

       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


...continue to part 3