Scripts: Vertigo (12/Sep/1957) - part 3
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP Once more his eyes are on the road ahead, as he follows Madeleine. EXT. MARKET STREET - (DAY) We see the green Jaguar come out of l6th Street and cross Market Street and start to ascend the hill. EXT. SAN FRANCISCO STREET - (DAY) We see both cars, one behind the other, moving uphill. LAP DISSOLVE TO: EXT. ENTRANCE TO LINCOLN PARK - (DAY) The two cars move along the road through the entrance, between the trees, and the Jaguar draws up before the Palace of the Legion of Honor. Scottie continues past as Madeleine gets out of her car and walks through the courtyard to the entrance to the art gallery. Scottie parks his car farther along, and follows her in. LAP DISSOLVE TO: INT. ART GALLERY - (AFTERNOON) - LONG SHOT Shooting through the foreground columns we see the gallery, soft lit from the top, completely empty, save for one person. It is Madeleine. She is seated on the small wooden bench at the far end. Her head is tilted in the upward direction, gazing at a large portrait. Slowly we see Scottie coming to the left f.g. He watches her for a moment and then with a carefully quiet stop, moves into the gallery and starts to examine the pictures. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP The CAMERA SHOOTING on the back of Scottie, TRAVELS, with him as he pretends to look at the pictures on the wall. He barely stops at each one. Now and again he half furtively glances over his shoulder. Finally the CAMERA COMES TO A STOP. Scottie cautiously turns around and looks across the room. INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT From his viewpoint we get a complete picture of what he sees. The back view of Madeleine, seated on the polished wooden bench, her right band is holding the nosegay, and beyond her a three-quarter length portrait of a beautiful blonde woman, dressed in 19th century costume. She seems to be looking down with an enigmatic smile. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's eye catches sight of: INT. GALLERY - (AFTERNOON) - CLOSEUP The nosegay resting in Madeleine's hand on the polished wood seat. The CAMERA SLOWLY PANS UP and MOVES IN to a part of the picture. It comes to rest on a nosegay held in the woman's hands. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's expression does not change. His eyes move to something else. INT. GALLERY - (AFTERNOON) - CLOSEUP SHOOTING on the back of Madeleine, we see her head and shoulders only. The CAMERA MOVES IN until her bun of blonde hair fills the screen. The CAMERA PANS up until we see the head and shoulders of the woman in the portrait. She is wearing a distinctive diamond pendant necklace. Then the CAMERA SLOWLY MOVES IN and concentrate its attention at a bun of hair resting on the nape of her neck. INT. GALLERY - (AFTERNOON) - CLOSEUP Scottie's eyes turn thoughtfully at the memory of his conversation with Gavin. He looks up again. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP Again, the enigmatic look of the woman wearing the diamond pendant necklace. It seems as though she is almost looking at Scottie. INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP Scottie turns and makes his way carefully back down the gallery. INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT THE CAMERA is now back in its original position, beyond the columns of the entrance to the room. We see Scottie coming down toward the CAMERA. As he comes to us in CLOSER SHOT, we see him beckon to somebody off screen. INT. GALLERY - (AFTERNOON) - MEDIUM SHOT A male attendant is coming over towards the CAMERA. He goes out of the picture. INT. GALLERY - (AFTERNOON) - MEDIUM SHOT He comes to where Scottie awaits him. Scottie asks in a low voice: SCOTTIE (Nodding in the direction of the gallery) Who is the woman in the portrait? The Attendant turns his head. SCOTTIE The one where the lady is sitting. ATTENDANT Oh, that's Carlotta, sir. (At Scottie's reaction) You'll find it in the catalogue: "Portrait of Carlotta." Scottie nods his thanks as the attendant hands him a catalogue. Scottie then turns back and looks into the room. The CAMERA MOVES IN past him, so that once more we are left alone with Madeleine seated, still looking at the portrait. LAP DISSOLVE: EXT. ART GALLERY - (AFTERNOON) - MEDIUM SHOT In the f.g., Scottie is seated in his grey sedan. We see beyond him in the distance, the green Jaguar and the back- lit columns of the gallery courtyard. Presently, the small figure of Madeleine appears. She gets into her car and starts to drive off. Scottie starts up his engine. His car moves across the screen. DISSOLVE TO: EXT. A SAN FRANCISCO STREET - (DAY) The two cars moving along through a poorer section of San Francisco. We see that the houses - many large - are all of wood, shabby, run-down, some almost derelict. The occasional front yard is uncared for; the few people on the street are cheaply dressed. There is a meanness of atmosphere. EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT The green Jaguar comes to a stop outside a large house, which has seen grander days. Obviously an old San Francisco residence, it is now become an apartment hotel. A long flight of steps from the street, leads to the front door, which has a semicircular canopy supported by columns. Madeleine gets out and ascends the stairs toward the hotel entrance; she is still carrying the posy of flowers. EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT Scottie's car pulls into the curb. He gets out and stands on the sidewalk and looks ahead of him. He walks forward out of the picture. EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT We see Scottie walking along the sidewalk casually. The green car is at the curb at the left of the stairs to the hotel. He strolls up until he reaches the green car. EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT SHOOTING over the green car, we see Scottie hovering around the bottom of the steps. There is no sign of Madeleine. She has obviously gone in by this time. Scottie turns and examines the facade of the hotel and over his shoulder, the CAMERA PANS up over the building where we see the name, in worn black lettering under the top cornice. EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP Scottie turns away from the hotel and glances in the direction of the car. He then turns and ponders what his next move should be. No looks back at the hotel. Suddenly, his eye catches sight of something. He hastens over to conceal himself by the entrance wall, the CAMERA PANNING him. His eyes go up again. EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT From his viewpoint, we see Madeleine appear in the corner second story window. She is glancing out casually, as she takes off the jacket of her suit. She turns into the room again. EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP Scottie is really puzzled by this appearance. He thinks for a while and then, making up his mind, starts to go up the steps, the CAMERA PANNING him. We see him reach the top stop and make for the front door. EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT Scottie waits a slight moment, and then, bracing him himself, opens the door and passes through. INT. MCKITTRICK HOTEL LOBBY - (DAY) - SEMI-CLOSEUP Scottie comes through the door closes it behind him. He looks around. INT. MCKITTRICK HOTEL LOBBY - (DAY) From Scottie's viewpoint, we see most of the lobby. There is a small reception desk with a key rack to one side, but the strongest and most immediate impact is one of greenery, of foliage. Scattered about the lobby in profusion are tall- standing potted rubber plants and philodendron. Scottie stands and stares. There is no one to be seen, no sign of life. Then we see a leaf of a rubber plant move, and move again, a hand appears, seemingly caressing it, and then we hear a woman's voice. MANAGERESS Yes? Scottie looks in that direction, and the woman moves out from behind the plant. She is a small, gentle, elderly lady with white hair, motherly and smiling, with bright, eager eyes. MANAGERESS Is there something I can do for you? SCOTTIE Yes... you run this hotel. MANAGERESS Oh, yes! SCOTTIE Would you tell me, who has the room on the second floor in the corner, that corner? MANAGERESS (Brightly) Oh, I'm afraid we couldn't give out information of that sort. Our clients are entitled to their privacy, you know. And I do believe it's against the law! Of course, I don't think any of them would mind, really, but still I would have to know who you are, and ask -- By now Scottie has got out his wallet and has shown his badge, and the sight of it makes her stop abruptly, and for a moment her face hardens and is not a bit motherly. But then she recovers her innocent brightness. MANAGERESS Oh, dear! Has she done something wrong? SCOTTIE Please answer my question. MANAGERESS I can't imagine that sweet girl with that dear face -- SCOTTIE (Urgently) What is her name? MANAGERESS Valdes. Miss Valdes. (Pause. Then, brightly) It's Spanish, you know. SCOTTIE (Slowly) Carlotta Valdes? MANAGERESS Yes, that's it. Sweet name, isn't it? Foreign. But sweet. SCOTTIE (Holding in) How long has she had the room? MANAGERESS Oh, it must be two weeks. Yes, the rent's due tomorrow. SCOTTIE Does she sleep here? Ever? MANAGERESS No... she only comes to sit. Two or three times a week. And I never ask questions, you know. As long as they're well behaved. I must say that I've wondered -- SCOTTIE (Cutting her off) When she comes down, don't say that I've been here. And he turns away to go, wondering. MANAGERESS (Brightly) Oh, but she hasn't been here today. Scottie whirls back on her. SCOTTIE I saw her come in five minutes. ago. MANAGERESS Oh, no! She hasn't been here at all! I would have seen her, you know. I've been right here all the time, putting olive oil on my rubber plant leaves! Scottie stares at her smiling, innocent face. She looks over at the key rack. MANAGERESS And there! There you see? Her key is on the rack! SCOTTIE (Heavily) Would you please go and look? MANAGERESS In her room? Well, yes, of course if you ask. But it does seem silly... She puts down the can of olive oil and the sponge, and gets out her passkey. She goes up the stairs. Scottie watches her go, then stares down at the can of olive oil, stares at the rubber plant, and waits, and looks up the stairs. MANAGERESS (O.S.) (Brightly) Oh, Mr. Detective! Would you like to come and look? Scottie starts up the stairs on the run. INT. LANDING OF SECOND FLOOR - (DAY) The Manageress stands near the open door. Scottie brushes past her and stands on the threshold. INT. HOTEL BEDROOM - (DAY) We are looking at the room over the shoulders of Scottie and the woman. It is empty. Scottie crosses to the window and looks down. From his viewpoint we see the empty space at the street curb where stood Madeleine's Jaguar. SCOTTIE Her car is gone. MANAGERESS What car? He turns to look at her sweet, smiling face, then turns back to stare down out of the window in bewilderment. DISSOLVE TO: EXT. BROCKLEBANK APARTMENTS - (DAY) Scottie's sedan pulls up in the foreground, the building in the distance. He looks across. There, half concealed around the corner of the small car park, is the green Jaguar. Scottie strolls over, inspects the cars, then looks inside. On the seat is the small nosegay bought at Podesta's and carried to the cemetery. DISSOLVE TO: INT. MIDGE'S APARTMENT - (DAY) Midge is at work on a nightgown ad. The phonograph is playing softly: probably Bach, probably harpsichord, probably Landowska. Scottie walks in, and Midge looks up, startled. SCOTTIE Midge, who do you know that's an authority an San Francisco history? He walks over and turns the phonograph off, either here or a bit later. MIDGE Now, that's the kind of greeting a girl likes. None of this "hello you look wonderful" stuff. Just a good straight "who do you know" -- SCOTTIE (breaking in) Well, who? Come on, you know everybody. MIDGE Professor Saunders, over in Berkeley. SCOTTIE Not that kind of history. The small stuff! About people you never heard of! MIDGE Oh! You mean Gay Old Bohemian Days of Gay Old San Francisco! The juicy stories? Like who shot who in the Embarcadero August, 1879? SCOTTIE Yeah. MIDGE Pop Leibel. SCOTTIE Who? MIDGE Pop Leibel owns the Argosy Book Shop. What do you want to know? SCOTTIE Who shot who in the Embarcadero in August, 1879. Starts for the door fast. MIDGE Wait a minute! You're not a detective any more. What's going on? SCOTTIE (Pausing) Do you know him well? MIDGE Pop Leibel? Sure. SCOTTIE All right, come on. Introduce me. Where is your hat? He looks about for it. MIDGE (Speeding to the door) I don't need a hat. Johnny, what's it about? She speeds right on through the open door. SCOTTIE I'll tell you later. Wait a minute! He races out after her. DISSOLVE TO: INT. ARGOSY BOOK SHOP - (DUSK) It is old, it is misty, it is filled with old books, but the important thing to note is that it is filled with memorabilia of California pioneer days: on the walls are not only the familiar old maps and prints but also, and more striking, such things as framed old mining claims, posters describing outlaws wanted by the law, Wells Fargo Pony Express Posters; and on the shelves, old whiskey bottles, gold-mining pans, and such. The proprietor, Pop Leibel, is staring with a nodding smile at the piece of paper Scottie has handed him, and Scottie watches him keenly. In the bag, Midge wanders about the shop, inspecting the prints on the wall, but always listening. POP LEIBEL Yes... the Beautiful Carlotta... the Sad Carlotta... SCOTTIE What does a big old wooden house on the corner of Eddy and Gough Street have to do with her? POP LEIBEL It was hers. It was built for her. Many years ago. SCOTTIE By whom? POP LEIBEL By... no... the name I do not remember. A rich man, a powerful man. It is not an unusual story. She came from somewhere small, to the south of the city... some say from a mission settlement... young, yes; very young. And she was found singing and dancing in a cabaret by the man... wait... wait... Ives! His name was Ives! Yes. And he took her and built for her this great house in the Western Addition... and there was a child. Yes. This was it. The child. Scottie hangs on his words. Pop looks up at him and smiles. POP LEIBEL And now, fragments, you understand. I cannot tell you how much time passed, or how much happiness there was. But then he threw her away. He had no other children; his wife had no children. He kept the child and threw her away. Men could do that in those days. They had the power... and the freedom. And she became the Sad Carlotta. Alone in the great house... walking the streets alone, her clothes becoming old and patched and dirty... the Mad Carlotta... stopping people in the streets to ask, "Where is my child?... have you seen my child?". The store has darkened considerably and all the figures are practically silhouettes. The CAMERA picks up a CLOSE SHOT OF MIDGE, listening intently, her head turned away from the wall toward the old man. And on the wall near her head is a print of mission San Juan Bantista as it was in the old days. MIDGE The poor thing.... SCOTTIE And she died... POP LEIBEL She died. SCOTTIE How? POP LEIBEL By her own hand. (Pause. Smiles as sadly) There are many such stories. SCOTTIE Thank you, Mr. Leibel. Thank you very much. Forgetting Midge, he turns and walks out of the store fast, deep in thought. MIDGE Hey, wait a minute! So long, Pop! Thanks a lot! She dashes out after Scottie. EXT. SIDEWALK OUTSIDE ARGOSY BOOK SHOP - (DUSK) Midge catches up with Scottie and stops him by grabbing his arm. MIDGE Now then, Johnny-O; pay me. SCOTTIE For what? MIDGE For bringing you here. Come on, tell! SCOTTIE Nothing to tell. MIDGE You'll tell, or you'll be back in that corset! Come on! SCOTTIE I'll take you home. He starts off with long strides, and Midge hurries after him. DISSOLVE TO: EXT. STREET OUTSIDE MIDGE'S APARTMENT - (EARLY EVENING) - LONG SHOT Scottie's car draws up and comes to a stop. INT. SCOTTIE'S CAR - (EARLY EVENING) - MEDIUM TWO SHOT Scottie and Midge are looking straight ahead. SCOTTIE Here you are. MIDGE You haven't told me everything. SCOTTIE I've told you enough. MIDGE Who's the guy, who's the wife? SCOTTIE Out. I've got things to do. MIDGE I know. The one who phoned. Your old college chum, Elster. SCOTTIE Out! MIDGE And the idea is that the Beautiful Mad Carlotta has come back from the dead, to take possession of Elster's wife? Ah, Johnny! Come on! SCOTTIE (Angrily) I'm not telling you what I think! I'm telling you what he thinks! MIDGE Think? Well, what do you think? Scottie is troubled, lost in thought. Pause. MIDGE Is she pretty? SCOTTIE Carlotta? MIDGE (Evenly) No, not Carlotta. Elster's wife. SCOTTIE Mmm, yeah, I guess... Midge looks up at him from the corners of her eyes. MIDGE (Wickedly) I think I'll go take a look at that portrait. (With a bright smile) Bye! She opens the car door quickly and jumps out. SCOTTIE (Outraged) Midge! MIDGE Bye-bye! She slams the car door and runs into the house. Scottie glares after her for a moment, then his face relaxes, and he is lost in thought. He reaches into the glove compartment of the car and draws out the catalogue of the permanent collection of the Palace of the Legion of Honor. He opens it to a page and stares down. INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA. DISSOLVE TO: INT. GAVIN ELSTER'S CLUB - (NIGHT)
...continue to part 4