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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