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