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Scripts: Vertigo (12/Sep/1957) - part 6

       INT. MIDGE'S APARTMENT - (NIGHT)

       Outside the terrace darkness is falling, and the lights of 
       the city have come on. In Midge's apartment the lights are 
       on and soft music comes from the radio (possibly "progressive 
       jazz" of the gentle George Shearing kind). Midge is painting 
       at a standing easel; She has a palette; obviously she is 
       painting in oils. We cannot see what she is painting; the 
       canvas on stretchers has its back to us. Its size is about 
       thirty by forty inches. Whatever it is, it seems to please 
       her: she pauses in her work, picks up a highball from a table 
       nearby, drinks and stares at the painting and giggles a little 
       to herself than applies a few more daubs. Now she hears the 
       outside gate slam. She puts down the brush and the drink, 
       moves the easel a bit so that the canvas cannot be seen from 
       the front door, picks up a water tumbler that contains a 
       small nosegay, and hurries out to the kitchen with it. The 
       door to the apartment slams.

                               SCOTTIE
                       (Calling)
               Midge?

       Midge hurries out of the kitchen.

                               MIDGE
               Hi, Johnny! Did you get my message?

       She immediately goes to the small sideboard or table on which 
       are bottles, glasses, and ice, and mixes him a highball.  
       Scottie is at ease. He drops his hat on a chair near the 
       door and wanders into the room.

                               SCOTTIE
               I did. Since when do you go about 
               slipping notes under men's doors?

                               MIDGE
               Since I stopped being able to get 
               them on the phone. For a man who has 
               nothing to do, you're certainly a 
               busy little bee. Where do you go, 
               these days?

                               SCOTTIE
               Just wander.

                               MIDGE
               Where?

                               SCOTTIE
               Around.

                               MIDGE
               Oh?

       She hands him the drink. He takes a long pull at it as she 
       watches him.

                               SCOTTIE
               Mm. Better.

                               MIDGE
               Did you need it?

                               SCOTTIE
               Yeah.

                               MIDGE
               Oh?

       She crosses the room to get her own drink, giving a flick of 
       a glance at the canvas as she goes. Scottie watches her, 
       slightly amused, knowing that her curiosity is working like 
       mad.

                               SCOTTIE
               What was this desperate urge to see 
               me?

                               MIDGE
               All I said in the note was: "Where 
               are you?" That doesn't sound desperate 
               to me.

                               SCOTTIE
               Well, I detected an undercurrent.

                               MIDGE
               I just thought if I gave you a drink 
               and fed you some dinner, you'd be so 
               grateful you'd take me to a movie.

                               SCOTTIE
               Fair enough. What'll we talk about 
               at dinner?

                               MIDGE
               Oh... this and that.

                               SCOTTIE
               What I've been doing?

                               MIDGE
               If you want to. Naturally, we won't 
               talk about anything you don't want 
               to talk about.

                               SCOTTIE
               Naturally.

       Pause.

                               MIDGE
                       (Innocently)
               What have you been doing?

                               SCOTTIE
                       (With small grin)
               Wandering.

       He takes another long pull and wanders over and sweetens the 
       drink. Midge moves a little to block his view of the easel 
       and canvas.

                               SCOTTIE
               What have you been doing?

       He wanders back into the room.

                               MIDGE
               Oh, I'm having a wonderful time!  
               I've gone back to my first love...  
               painting.

                               SCOTTIE
               Good. I've always said you were 
               wasting your time in the underwear 
               department.

                               MIDGE
               Well, it's a living. But I'm excited 
               about this.

                               SCOTTIE
               What is it, a still life?

                               MIDGE
               No, not exactly. Want to see?

       Scottie moves toward the easel and Midge backs away, so that 
       as he comes around to face the canvas she in beyond him, in 
       back of him. As he moves toward the easel:

                               MIDGE
               As a matter of fact, I thought I 
               might give it to you.

                               SCOTTIE
                       (smiling, surprised)
               Oh?

       And now he comes around to face the easel and stops to look.  
       Beyond him Midge's face has a great smile of anticipation.  
       And now we see what he sees. The CAMERA RESTS on the lower 
       half of the canvas and we see the folds of the blue and gold 
       gown, and the two hands, one holding the nosegay. The CAMERA 
       PANS UP to reveal that it is a hasty but quite creditable 
       copy of the "Portrait of Carlotta", half size, but there is 
       one difference. The face is Midge's face.

       INT. MIDGE'S APARTMENT - (NIGHT)

       Scottie staring at the portrait. Beyond him, Midge smiling 
       with anticipation. Scottie's face is drained and 
       expressionless, and a deep look of sadness and regret comes 
       into his eyes.

       Pause.

                               SCOTTIE
                       (Softly)
               Not funny, Midge.

       Midge's smile fades. She is puzzled and surprised. Scottie 
       puts down his drink gently and without looking at her, starts 
       for the door.

                               MIDGE
               Johnny!

       Scottie takes his hat from the chair and moves on to the 
       door. Midge, completely taken aback, starts for him.

                               MIDGE
               But Johnny, I thought you would --

       She breaks off as he turns his head to look at her. He's not 
       at all angry, but disturbed inside and sorry it happened.

                               SCOTTIE
                       (Nicely)
               We'll make that movie some other 
               night, huh?

       And he goes out the door and closes it behind him.

                               MIDGE
                       (Desperately apologetic)
               But Johnny...!!!

       And she stares at the door with a "Well-I'll-be-damned" 
       expression. And now, abruptly, she gets angry at herself.

                               MIDGE
               Ah, no!!

       She turns away and moves toward the canvas

                               MIDGE
               Oh! Marjorie Wood!! You fool!!

       She stops before the canvas and stares at her face in the 
       portrait. And all her anger at herself comes out in one great 
       blast of scorn.

                               MIDGE
                       (At the portrait)
               OH!!!!!

       And she picks up a brush and with three vicious daubs paints 
       a moustache and a beard on her image.  Then she throws the 
       brush out the window.

                                                                DISSOLVE TO:

       EXT. UNION SQUARE - (NIGHT)

       It is about 3 a.m. The Square is deserted -- perhaps an odd 
       taxi or car drives by. We see Scottie, a solitary figure, 
       walking. By his attitude, head down, hands thrust into his 
       pockets, we see that he is lost in thought wrestling with 
       his problem.

                                                                DISSOLVE TO:

       INT. SCOTTIE'S APARTMENT - (EARLY DAWN)

       Scottie is in the easy chair facing the fire asleep. His tie 
       is loosened, his shirt is open at the neck. It is clear that 
       he fell asleep while sitting there thinking of Madeleine, 
       and slept through the night. The fire is almost out. Through 
       the window we can barely distinguish Coit Tower in the 
       beginning of a grey dawn.  The doorbell begins to ring 
       instantly. There is a knocking on the door. Scottie awakens 
       sharply, gathers himself together, hurries to the door and 
       opens it. Madeleine stands there, looking shaken and white 
       and frightened. She is wearing a black suede jacket and black 
       slacks. Behind her, fingers of mist swirl in the lightening 
       day. She stands there staring at him pleadingly.

                               SCOTTIE
               What's the matter?... What time is 
               it?... Madeleine, what's happened?

       He draws her in and closes the door and leads her into the 
       room.

                               MADELEINE
                       (Barely)
               I should have phoned... but I wanted 
               to see you... be with you...

                               SCOTTIE
               Why? What's happened?

                               MADELEINE
               I had the dream. The dream came back 
               again...

       She is trembling, and he holds her closely.

                               SCOTTIE
               It's all right. You're all right, 
               I'll get you some brandy.

       He breaks away to a small cupboard nearby.

                               MADELEINE
                       (Sharply)
               No, don't go away!

                               SCOTTIE
               Only this far.

       He gets out a bottle of brandy and a small glass and uncorks 
       the bottle and pours the brandy as he comes back to her.

                               SCOTTIE
               Here. Straight down, it's medicine.

       She takes a sip and puts the glass away.

                               SCOTTIE
               Where's your husband?

                               MADELEINE
               I didn't wake him. I don't want him 
               to know...

       She is still shaking.

                               SCOTTIE
               Here, now, it's going to be all right. 
               Here.

       He gently pushes her down in the easy chair, turns swiftly 
       and kicks up the fire and throws some wood on. He pulls the 
       low stool up before her, sits on it, and takes her hands.

                               SCOTTIE
               It was a dream, you're awake, you're 
               all right, now. Can you tell me?

                               MADELEINE
               It was the tower again... and the 
               bell, and the old Spanish village...

                               SCOTTIE
               Yes --

                               MADELEINE
               But clear... so very clear... for 
               the first time... all of it...

                               SCOTTIE
               Tell me.

                               MADELEINE
               There was a village square, a green 
               with trees... and an old whitewashed 
               Spanish church with a cloister.  
               Across the green: a big, grey, wooden 
               house with a porch and shutters and 
               a balcony above... a small garden, 
               and next to it, a livery stable... 
               with old carriages lined up inside.

       Scottie has been listening intently with growing awareness, 
       and now as she mentions the livery stable, his eyes glow 
       with the excitement of recognition.

                               SCOTTIE
               Go on.

                               MADELEINE
               At the end of the green there was a 
               whitewashed stone house with a lovely 
               pepper tree at the corner --

                               SCOTTIE
                       (Finishing it)
               -- and an old wooden hotel of the 
               old California days, and a saloon... 
               dark... low-ceilinged... with hanging 
               oil lamps.

                               MADELEINE
               Yes?! But --

                               SCOTTIE
                       (Gently)
               It's all there. It's no dream.

       Pause, as she stares at him, puzzled, anxious.

                               SCOTTIE
               You've been there before. You've 
               seen it.

                               MADELEINE
               No, never!

                               SCOTTIE
               Madeleine, a hundred miles south of 
               San Francisco there's an old Spanish 
               Mission, Mission San Juan Bautista.  
               It's been preserved exactly as it 
               was a hundred years ago as a museum. 
               Now, think hard, darling. You've 
               been there before. You've seen it!

                               MADELEINE
                       (Frightened)
               No, never! I've never been there!  
               Scottie, what is it? I've never been 
               there!

       Long pause as they stare at each other, he desperately trying 
       to think it through, shes moved and frightened. He rises and 
       moves away, anxious and shaken.

                               SCOTTIE
                       (To himself)
               Carlotta...

       He shakes his head angrily, fighting the idea. Madeleine 
       watches him anxiously.

                               SCOTTIE
               What was it he said?  She came from 
               somewhere south of the city... some 
               say a mission settlement...

       He turns on Madeleine almost desperately.

                               SCOTTIE
               Madeleine, think hard!!

       She shakes her head frantically, hopelessly, close to tears.

       Pause.

                               SCOTTIE
                       (Quietly)
               Go on with your dream. What was it 
               that frightened you?

                               MADELEINE
               I stood alone on the green, searching 
               for something, and I started to walk 
               to the church. But then the darkness 
               closed in, I was alone in the dark, 
               being pulled into darkness, and I 
               fought to wake up...

       She looks at him, frightened again by the memory. He goes to 
       her reassuringly.

                               SCOTTIE
               You're going to be all right now, 
               Madeleine. I've got something to 
               work on now. I'm going to take you 
               there -- to the Mission -- this 
               afternoon. And when you see it, you'll 
               remember when you saw it before, and 
               that will finish your dream and 
               destroy it. I promise.  You'll be 
               free.

       She looks up at him and tries to smile.

                               SCOTTIE
               All right?

       She nods.

                               SCOTTIE
               I'll take you home. If your husband 
               is awake, say you couldn't sleep and 
               went out for some air. And come back 
               to me about noon. Come along.

       He raises her to her feet. She smiles up at him gratefully.

                               MADELEINE
               No, I'll go alone. I'm all right.

       They stand there for a moment, looking at each other.

                                                                DISSOLVE TO:

       EXT. HIGHWAY SOUTH OF SAY FRANCISCO - (DAY)

       Tall trees line the road on both sides and arch across to 
       meet high above, forming a long shadowy tunnel shot through 
       with streamers of sunlight. We are as though in the front 
       seat, of a car, traveling fast, looking up and ahead to the 
       distant end of the tunnel, and the trees flash by.

       EXT. THE HIGHWAY - (DAY)

       Another angle to show the green Jaguar traveling along the 
       road through the tunnel of trees.

       INT. THE JAGUAR - (DAY)

       Madeleine and Scottie; he is at the wheel, staring straight 
       ahead, lost in thought. Madeleine, now smartly-dressed in 
       her grey suit, is staring up at the tunnel of trees. Scottie 
       glances at her. She smiles at him timidly.

       EXT. THE HIGHWAY - (DAY)

       SHOOTING down the road toward the end of the tunnel of trees, 
       and the Jaguar moving away fast. It sets clear of the trees 
       and into daylight.

                                                                DISSOLVE TO:

       EXT. THE HIGHWAY: A ROAD JUNCTION - (DAY)

       Side angle SHOT of the Jaguar as it turns off onto a side 
       road. The CAMERA PANS the car, then loses it as it goes out 
       of the SHOT, and HOLDS on a road sign that reads:

       MISSION SAN JUAN BAUTISTA 3 MILES

       EXT. MISSION SAN JUAN BAUTISTA - (DAY)

       We are looking along the cloisters, down the long corridor 
       of arches. In the foreground a small sign a standard reads:

                               EL CAMINO REAL
               MISSION SAN JUAN BAUTISTA FOUNDED 
               JUNE 24, 1797

       The music of the Mission theme, mingled with Carlotta's theme, 
       begins to drift in, an evocation of the past; a sighing that 
       grows end seem to have behind it the echo of lost voices 
       calling. The CAMERA MOVES AND EASES AROUND A BIT to look 
       through the arches across the green toward the open side and 
       the valley and the hills beyond. A lone nun is crossing the 
       green to the church. A clock strikes the half hour. The CAMERA 
       PANS to look at the large wooden two-story house on the far 
       side of the green, then the little garden, then the Plaza 
       Livery Stable, and the road alongside. The Jaguar stands 
       there empty. The CAMERA CONTINUES TO PAN along the whitewashed 
       stone Castro House, sees the pepper tree, MOVES along the 
       Plaza Hotel, and comes to REST SHOOTING at the saloon that 
       forms the far corner of the hotel. Three tourists exit from 
       the entrance of the hotel, get into their car. The car moves 
       toward the CAMERA, and goes past, and out of the SHOT. The 
       CAMERA DOLLIES IN to the front door of the saloon. Over the 
       door is a sign: PLAZA HOTEL BAR ROOM.

       On either side of the door are posters proclaiming rewards 
       for the apprehension of bandits who have held up Wells Fargo 
       Express Wagons. The CAMERA SHOOTS THROUGH the open door.

       INT. PLAZA HOTEL BAR ROOM - (DAY)

       Empty, silent; old pool tables in the foreground, the bar in 
       the background. As the CAMERA SCANS the room:

                                                                DISSOLVE TO:

       INT. PLAZA HOTEL FRONT PARLOR - (DAY)

       It too is silent and deserted. In the far wall, a fireplace, 
       with an old clock on the mantel. In one corner, small old 
       organ, with a hymnal open on the rack; in the other corner, 
       a Victorian sofa. The flowered rug is faded, the furniture 
       is shabby.

                                                                DISSOLVE TO:

       EXT. PLAZA HOTEL - (DAY)

       Looking toward the lovely pepper tree and the whitewashed 
       stone Castro Rouse, and the tall eucalyptus tree beyond. The 
       CAMERA PANS SLOWLY past the empty Jaguar and come to REST on 
       the dark opening of the Livery Stable and MOVES SLOWLY toward 
       it.

                                                                DISSOLVE TO:

       INT. LIVERY STABLE - (DAY)


...continue to part 7