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Scripts: Vertigo (12/Sep/1957) - part 4

       INT. GAVIN ELSTER'S CLUB - (NIGHT)

       Elster and Scottie are seated in the lounge of a San Francisco 
       Club - there are one or two members reading newspapers, etc., 
       while a waiter moves by in the background serving drinks. 
       Elster is studying the reproduction of the portrait of 
       Carlotta in the catalogue that Scottie procured from the 
       gallery.

       The waiter leans in and places two drinks before them.  
       Scottie watches Elster, waiting for him, to speak. Finally:

                               ELSTER
                       (With a wan smile)
               You've done well, Scottie. You're 
               good at your job.

                               SCOTTIE
               That's Carlotta Valdes.

                               ELSTER
               Yes.

                               SCOTTIE
               There are things you didn't tell me.

                               ELSTER
               I didn't know where she was going to 
               lead you.

                               SCOTTIE
               But you knew about this.

                               ELSTER
               Oh, yes. You noticed the way she 
               does her hair.

       He places a finger on the reproduction of the portrait to 
       indicate the bun at the back of the neck. Scottie nods.

                               ELSTER
               Something else. My wife, Madeleine, 
               has several pieces of jewelry that 
               belonged to Carlotta. She inherited 
               them. Never wore them, they were too 
               old-fashioned... until now. Now, 
               when she is alone, she gets them out 
               and looks at them handles them gently, 
               curiously... puts them on and stares 
               at herself in the mirror... and goes 
               into that other world... is someone 
               else again.

                               SCOTTIE
               Carlotta Valdes was what: your wife's 
               grandmother?

                               ELSTER
               Great-grandmother. The child who was 
               taken from her whose loss drove 
               Carlotta mad and to her death - was 
               Madeleine's grandmother.

                               SCOTTIE
                       (Confidently)
               Well, that explains it. Anyone could 
               develop an obsession for the past, 
               with a background like that.

                               ELSTER
               But she doesn't know, about her 
               background.
                       (As Scottie stares, 
                       narrowly)
               She never heard of Carlotta Valdes.

                               SCOTTIE
               Knows nothing of a grave out at 
               Mission Dolores, or an old house an 
               Eddy Street, or a portrait at the 
               Palace of the Legion of Honor?

                               ELSTER
               Nothing.

                               SCOTTIE
               And when she goes to those places...

                               ELSTER
               She is not my wife.

       The two men stare at each other directly, honestly.

                               SCOTTIE
               How do you know all these things she 
               doesn't know?

                               ELSTER
               Her mother told me most of then before 
               she died. I dug out the rest for 
               myself, here.

                               SCOTTIE
               Why did she never tell her daughter?  

                               ELSTER
               Natural fear. Her grandmother went 
               insane and took her own life. And 
               the blood is in Madeleine.
                       (Pause)
               Scottie, I ask you to watch her 
               closely.

       Scottie raises his glass and drinks slowly, thoughtfully.

                                                                DISSOLVE TO:

       EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

       The columns of the courtyard are back lit by the sun. There 
       is no sign of life. Near the steps, standing alone and empty, 
       is the green Jaguar.

                                                         LAP DISSOLVE TO:

       INT. THE ART GALLERY - (LATE AFTERNOON)

       SHOOTING through the columns in the foreground, our view of 
       the room is obscured momentarily by an elderly couple moving 
       toward the door. They go by to reveal Scottie standing by a 
       Rodin sculpture, looking into the room, and far beyond him, 
       at the end of the room, Madeleine seated on the bench before 
       the portrait staring at it. In her hand, resting at her side 
       on the bench, is once again the nosegay. Now she rises and 
       approaches the portrait and stands before it, the nosegay 
       clasped in her two hands before her, and stares up almost as 
       though in votive offering or in prayer. Finally she turns 
       and starts toward the entrance. Scottie slips away out of 
       sight. Madeleine walks slowly toward the CAMERA.

                                                         LAP DISSOLVE TO:

       EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

       Madeleine approaches the green Jaguar, gets in, and the car 
       starts away. Scottie's car moves into the scene, following,

                                                                DISSOLVE TO:

       EXT. SEA CLIFF DRIVE - (LATE AFTERNOON)

       We see the green Jaguar proceeding, the grey sedan at a 
       careful distance behind.

       Beyond, looking northeast we see the Golden Gate Bridge in 
       the late afternoon sun, and Richmond and Berkeley in the 
       distance.

                                                                DISSOLVE TO:

       INT. SCOTTIE'S CAR - (SUNSET)

       Scottie carefully looking ahead.

       EXT. PRESIDIO DRIVE - (SUNSET)

       Madeleine's car approaches along the drive to the gates of 
       the Presidio, and passes through the gates and is swallowed 
       by the trees. Scottie's car follows, and it, too, disappears.

                                                                DISSOLVE TO:

       EXT. PRESIDIO - (SUNSET)

       The two cars driving along the wooded road.

       INT. SCOTTIE'S CAR - (SUNSET)

       Scottie looking ahead.

                                                                DISSOLVE TO:

       EXT. FORT POINT - (SUNSET)

       Scottie's car is traveling down the slope toward the jutting 
       point of old Fort Winfield Scott. It comes to a stop in the 
       level clearing. The green Jaguar stands there, empty.

       EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

       Scottie gets out of his car and looks off out of picture.

       EXT. BRIDGE - (SUNSET) - LONG SHOT

       Madeleine walking away round the dockside. The vast bridge 
       towers above her. She carries the nosegay. Scottie moves 
       into the f.g., and makes off in the same direction.  Madeleine 
       disappears round the corner of the old fort wall.  Now she 
       is out of sight, we see Scottie quicken his pace as he 
       approaches the corner of the fort wall.

       EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

       SHOOTING back, we see Scottie approach the wall and peer 
       cautiously around.

       EXT. BRIDGE - (SUNSET) - SEMI-LONG SHOT

       From his viewpoint, we see Madeleine standing at the waters' 
       edge. She is mechanically tearing off the lace-edged paper 
       from the nosegay.

       EXT. BRIDGE - (SUNSET) - CLOSEUP

       Scottie watching her curiously.

       EXT. BRIDGE - (SUNSET) - SEMI-CLOSEUP

       Madeleine lets the paper drift away down to the water. She 
       proceeds to unwind the wire around the flowers and begins to 
       scatter them an the water.

       CLOSE SHOT OF FLOWERS FLOATING ON THE WATER

       EXT. BRIDGE - (SUNSET) - CLOSEUP

       Scottie watching Madeleine.

       EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

       The full figure of Madeleine, scattering the rest of the 
       flowers. Then she raises her head and stares up at the sky.  
       A moment in which her body seem poised, and then she is gone, 
       lost to view in the water.

       EXT. DOCKSIDE - (SUNSET) - LONG SHOT

       Scottie dashes around the wall and the CAMERA PANS him to 
       the water's edge. He is throwing his coat off.

       EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

       SHOOTING down into the water, we see Madeleine's upturned 
       face as she floats away. She disappears now and again.

       EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

       SCOTTIE, running down the few stone steps towards the water.  
       When the water is up to his knees, he swims out towards her.

       EXT. DOCKSIDE - (SUNSET) - CLOSEUP MADELEINE

       Her eyes staring, sinks beneath the water. She is surrounded 
       by the scattered flowers. Scottie swims in and grabs her.  

       EXT. DOCKSIDE - (SUNSET) - CLOSEUP

       As he holds her, the two heads are pressed together. He turns 
       and starts to swim back with her. The screen is filled with 
       their two heads. Madeleine's staring eyes begin to close as 
       she is moved away.

                                                               LAP DISSOLVE:

       EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

       We see Scottie coming up some stone steps. He is staggering 
       with the weight of Madeleine's water-soaked body and clothes.  
       He carries her over towards the green Jaguar.

       EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

       Resting her for a moment, he throws open the door on the 
       passenger's side.

       EXT. DOCKSIDE - (SUNSET)

       Scottie's head is close to hers. She is now breathing heavily.

                               SCOTTIE
                       (whispering)
               Are you all right?

         Her eyes open slowly.

                               SCOTTIE
                       (Calling softly)
               Madeleine...

       Her eyes show no sign of recognition or response; they move 
       past his face and stare out.  The CAMERA SLOWLY MOVES IN 
       until her head fills the screen. She stares out as though in 
       a trance.

                                                                DISSOLVE TO:

       EXT.SCOTTIE'S APARTMENT - (DUSK)

       The empty green Jaguar is drawn up at the curb before the 
       red door of a small, well-kept house.

                                                                DISSOLVE TO:

       INT. SCOTTIE'S APARTMENT - (NIGHT)

       We are in the living room of a comfortable a bachelor 
       apartment. There is a picture window that looks up to Coit 
       Tower on Telegraph Hill. The room is softly lit. A fire is 
       lit in the fireplace; the logs are blazing well, Scottie, in 
       a pair of grey trousers and an old sweater, is wandering 
       about the room, trying to think things out. Through an open 
       door we can see into a small kitchen where Madeleine's clothes - 
       all of them - hang, on a cord over the electric stove, drying. 
       And through another open door we can see into the bedroom 
       where Madeleine lies, in the larger-than-single bed, under 
       the covers, asleep. She sighs and turns restlessly, and 
       Scottie glances at her from the living-room as he wanders, 
       and then she turns again, and the sigh becomes words, spoken 
       in sleep, and he stops, and listens.

                               MADELEINE
                       (Faintly, distantly)
               Please... thank you... please...

       Scottie waits, taut, but there is no more. He starts to turn 
       away and suddenly, still distant, but more clearly:

                               MADELEINE
                       (Appealingly)
               Where is my child?... have you seen 
               my child...?

       Scottie stiffens with the shock of recognition and his eyes 
       go wide with apprehension staring at the lost, eye-closed, 
       troubled woman in the bed. And at that moment the telephone 
       on the bedside table rings sharply. He makes a dash for it.  
       The ringing brings the woman to with a sharp start, and she 
       instinctively clutches the bedclothes to her chin and raises 
       up a little and stares with wide-eyed fright at the man 
       running towards her. Scottie takes the phone.

                               SCOTTIE
               Yes?... No, it's all right; I'll 
               call you back. Yes. Yes!

       He hangs up, and tries to smile down at Madeleine, who has 
       not moved, but has followed his every move with fright and 
       apprehension.

                               SCOTTIE
               Are you all right?

       No answer, only the eyes staring at him. And then he realizes, 
       with some embarrassment, that she cannot move, that she is 
       naked under the bedclothes, and he reaches across to the 
       dressing gown he has laid out for her on the bed, and moves 
       it closer to her.

                               SCOTTIE
               Oh... you'll want this...

       He gives her a reassuring nod and smile, straightens up and 
       goes to the door, and goes into the living room, closing the 
       bedroom door behind him. And she stares after him as he goes.  
       In the living room, he moves to the fireplace, puts another 
       log on, and watches it catch. The bedroom door behind him 
       opens, and he turns to face Madeleine.  She has the dressing 
       gown belted tightly around the middle and holds it together 
       with one band at her breast. And she stands there staring at 
       him nervously, frightened, not wanting to admit that she 
       does not know how she came there, but wanting very much to 
       know. And she cannot help herself: knowing her own fears, 
       she has to ask.

                               MADELEINE
               Why am I here? What happened?

                               SCOTTIE
               You...
                       (Then, not liking the 
                       sound of the truth)
               ...fell into the Bay.

       She puts a hand slowly to her hair, understanding now why it 
       is wet.

                               SCOTTIE
               I dried your hair as well as I could.  
               But you'd better come here by the 
               fire.

       And now, knowing that he dried her hair, she realizes that 
       he must have taken her clothes off, too, and she looks down 
       at her body with deep awareness of her nakedness, and draws 
       the dressing gown more closely to her, and looks back at him 
       with frightened embarrassment. And her head begins to move 
       quickly, the eyes darting about the apartment as though 
       seeking a way of escape, and she sees the clothes hanging in 
       the kitchen. And she looks back to Scottie appealingly.  

                               SCOTTIE
               They're almost at dry. Here. Why 
               don't you come over here?

       He pulls a low-stool over before the fire. Madeleine crosses 
       slowly, keeping her eyes always on him, and sinks down on 
       the stool. He smiles a at her companionably.

                               SCOTTIE
               Would you like some coffee?

       She shakes her head.

                               SCOTTIE
               You'd better have some. Or would you 
               rather have a drink?

       She shakes her head again. He pours a cup of coffee and places 
       it on the floor next to her, along with a bowl of sugar cubes.

                               MADELEINE
                       (Wonderingly)
               ...fell into the bay...

       She looks up at him. He nods.

                               MADELEINE
               ...and you fished me out...

       He nods. She gives him a small grateful smile.

                               MADELEINE
               Thank you.

       Scottie is watching her intently.

                               SCOTTIE
               You don't remember.

                               MADELEINE
               No...

                               SCOTTIE
               Do you remember where you were?

                               MADELEINE
                       (Childishly surprised)
               Oh, of course I remember that!  But 
               then I must have had a dizzy spell, 
               and fainted!

                               SCOTTIE
                       (Quickly)
               Where were you?

                               MADELEINE
               At...

       For that one slight, imperceptible moments it may seem that 
       she is caught, but then she goes on.

                               MADELEINE
                       (Triumphantly)
               ...Old Port Point!  Out at the 
               Presidio! Of course I remember! I 
               often go there!

                               SCOTTIE
               Why?

                               MADELEINE
                       (Almost naively)
               Because I love it so. It's beautiful 
               there. Especially at sunset.
                       (She leans her head 
                       back sensually to 
                       the warmth)
               Ah... thank you for the fire.

                               SCOTTIE
               Where had you been before?

                               MADELEINE
               When?

                               SCOTTIE
               This afternoon.

                               MADELEINE
               Oh... wandering about.

                               SCOTTIE
               Before?  Where?  Where had you been?

       There is a quick moment of blankness in her eyes that she 
       tries to hide, and then:

                               MADELEINE
                       (Positively)
               Downtown, shopping.

       And Scottie sighs inwardly, having proved something.

                               SCOTTIE
               Please drink your coffee.

                               MADELEINE
               I will. You're terribly direct in 
               your questions.

                               SCOTTIE
               I'm sorry. I didn't mean to be rude.

                               MADELEINE
               You're not. Merely direct. What were 
               you doing there? At Old Fort Point?

                               SCOTTIE
               Wandering about.

                               MADELEINE
               You like it, too.

       He nods. She smiles at him happily, enjoying the warmth and 
       the coffee, enjoying his presence, seemingly almost to have 
       forgotten her nearness to death. And Scottie is fascinated 
       by this thing curled up before his fire.

                               MADELEINE
                       (Then with a wicked 
                       smile)
               And where had you been?... just 
               before?

       A moment, as Scottie takes a deep breath, and then he decides 
       to chance it and see the reaction.

                               SCOTTIE
               The Palace of the Legion of honor.  
               The Art Gallery.

                               MADELEINE
                       (Enthusiastically)
               Oh, that's a lovely spot, isn't it?  
               I've never been inside. But it looks 
               so lovely, driving past.

       At the words, "I've never been inside," Scottie is startled.  
       He stares at her, and she looks at him with naive, happy 
       inquisitiveness, and their looks are joined. Finally she 
       drops her eyes and smiles timidly.

                               MADELEINE
                       (Softly)
               Lucky for me you were wandering about.
               Thank you again. I've been terrible 
               bother to you.

                               SCOTTIE
               No.

       She reaches up to feel her hair.

                               MADELEINE
               When you...
                       (And suddenly conscious 
                       of her nakedness 
                       again, and embarrassed)
               There were pins in my hair...

                               SCOTTIE
               Oh! Yes! Here!

       He crosses the room swiftly, picks up an ash tray in which 
       he had deposited her hairpins, takes her handbag from a chair, 
       and brings them to her.

                               MADELEINE
               Thank you.

       She proceeds to do up her hair. He watches her, held by the 
       movement of her body under the dressing gown as she raises 
       her arms and deftly sets about putting her hair in order. At 
       one point, as she works, she looks up and flashes him a direct 
       smile.

                               MADELEINE
               You shouldn't have brought me here, 
               you know.

                               SCOTTIE
               I... didn't know where you lived.

                               MADELEINE
               You could have looked in my car. Oh, 
               but you didn't know my car, did you?

                               SCOTTIE
               Yes, I knew which one it was. It's 
               out there, now. But I didn't think 
               you'd want to be brought home that 
               way.

                               MADELEINE
               No, you are right,
                       (Pause, as she works)
               I'm glad you didn't take me home...  
               I wouldn't have known you, to thank 
               you...
                       (Suddenly appalled)
               Oh, but I don't know you! And you 
               don't know me! My name is Madeleine 
               Elster.

                               SCOTTIE
               My name is John Ferguson.

                               MADELEINE
               That's a good, strong name. Do your 
               friends call you John? Or Jack.

                               SCOTTIE
               John. Old friends. Acquaintances 
               call me Scottie.

                               MADELEINE
                       (Smiling)
               I shall call you Mr. Ferguson.

                               SCOTTIE
                       (Grinning)
               No, I wouldn't like that. And after 
               what happened today I should think 
               you could call me Scottie. Or even 
               John.

                               MADELEINE
               I prefer John. There, that's done.
                       (The hair is in order)
               And what do you do, John?

                               SCOTTIE
               Wander about.

                               MADELEINE
               That's a good occupation. And live 
               here... alone?

       He nods. A cloud comes over her eyes. She looks away.

                               MADELEINE
                       (softly)
               One shouldn't live alone.

                               SCOTTIE
               Some people prefer it.

                               MADELEINE
               No... it's wrong.

       Then she looks up with a small smile, and the cloud is gone 
       from her eyes, and she speaks completely matter-of-factly.

                               MADELEINE
                       (Simply)
               I'm married, you know.

       Scottie nods almost imperceptibly with his eyes. He looks at 
       her for a long moment. Then:

                               SCOTTIE
               Will you tell me something? Has this 
               ever happened to you before?

                               MADELEINE
                       (startled)
               What?

                               SCOTTIE
               ...Falling... into San Francisco 
               Bay?

       She laughs with relief, for it seemed to her, for a quick 
       moment, that he was going to say "falling in love".

                               MADELEINE
               No, never before. I've fallen into 
               lakes, out of rowboats, when I was a 
               little girl. And I fell into a river, 
               once, trying to leap from one stone 
               to another. But I've never fallen 
               into San Francisco Bay. Have you? 
               Ever before?

                               SCOTTIE
                       (Grinning)
               No... this is the first time for me, 
               too.

       And they laugh together, with genuine warmth and friendliness 
       in their eyes, and it is obvious they are very much taken 
       with each other. And as they laugh, simultaneously, she 
       reaches for the cup of coffee, to take another sip, and he 
       reaches for it, meaning to take it and refill it.

                               SCOTTIE
               Here, let me give you a lit --

       And his hand falls on her outstretched arm and stays there, 
       and with the contact made, the laughter dies suddenly, and 
       he is looking down at her intently, and their eyes have met, 
       and hers are anxious and wondering. And at that moment, the 
       telephone rings sharply. Scottie races into the bedroom, 
       closing the door behind him, and gets to the phone.

                               SCOTTIE
               Hello.

                               ELSTER'S VOICE
               Scottie, what happened? She's not 
               home, yet.

                               SCOTTIE
               No, she's all right. She's still 
               here. But I'll get her home soon.

                               ELSTER'S VOICE
               What happened?

                               SCOTTIE
               She... went into the Bay.

       There is a long silence.

                               SCOTTIE
               Hello?

                               ELSTER'S VOICE
               Did she hurt herself?

                               SCOTTIE
               No. She's in fine shape. Nothing to 
               worry about. But she doesn't know.  
               You understand that. She doesn't 
               know what she did.

       Another long silence.

                               ELSTER'S VOICE
               Scottie... Madeleine is twenty-six.  
               Carlotta Valdes committed suicide 
               when she was twenty-six.

       And now it is Scottie's turn to be silent. He hangs up slowly 
       and moves across the room to the door.

       INT. THE LIVING ROOM - (NIGHT)

       Scottie enters from the bedroom, and stops, surprised. The 
       room is empty. The clothes are gone from the in the kitchen.

       EXT. STREET OUTSIDE SCOTTIE'S APARTMENT - (NIGHT)

       A car is moving down the hill on the opposite side of the 
       street. It begins to turn in toward the sidewalk and then 
       comes to a sudden stop.

       EXT. SCOTTIE'S APARTMENT - (NIGHT) - CLOSEUP

       Midge is behind the wheel. She is staring out of the side of 
       the window and we see what has made her come to a sudden 
       stop.

       EXT. SCOTTIE'S APARTMENT - (NIGHT)

       From Midge's point of view; Madeleine, outside Scottie's 
       door, hurries to the green Jaguar.

       INT. MIDGE'S CAR - (NIGHT)

       Midge watches Madeleine almost wistfully, and there is a 
       small look of hurt in her eyes. But even to herself she has 
       to cover, and she smiles ironically.

       EXT. SCOTTIE'S APARTMENT - (NIGHT)

       The Jaguar pulls away and passes out of view.

       INT. MIDGE'S CAR - (NIGHT)

       Midge is still staring across at Scottie's house, and the 
       soft smile on her lips covers the hurt well. But there is 
       still a shadow of it in her eyes.

                               MIDGE
                       (Softly)
               Well, now, Johnny-O... Was it a 
               ghost?... And was it fun?...

       Then she suddenly changes expression.

                               MIDGE
               Oops!

       She takes her foot off the brake, and turning hard on the 
       wheel, straightens the car up and drives on.

       EXT. SCOTTIE'S APARTMENT - (NIGHT)

       The door to Scottie's apartment has opened, and Scottie stands 
       in the doorway looking up and down the street for the Jaguar, 
       his tall frame silhouetted in the light streaming from the 
       room.

                                                                DISSOLVE TO:

       EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT

...continue to part 5