Scripts: Vertigo (12/Sep/1957) - part 9
INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT) The room is filled with diners; waiters come and go. There is a sound of chatter and a slight clatter of dishes at a side table. We are looking from the bar, and at a table against the far wall we see Judy and Scottie, dining. They are talking amiable; Scottie is being genial and companionable, but there is no particular sense of intimacy. Judy looks about quite a bit, obviously admiring the room, and the food and the clothes of the people about her. She is dressed neatly, but more simply and more cheaply than are the other women in the room, and she is conscious of it, and keeps fiddling with the shoulders at her dress. During this, a party of diners enters, is greeted by the captain, and is led across the room toward an empty table near Judy and Scottie. We go with them winding among the tables. As we get very close to Scottie, he looks up and becomes rigid, and stares. A woman has just gone by him to take seat at the neighboring table. Her hair is blonde and is done exactly as was Madeleine's; from the rear she could easily be Madeleine. But then she turns and sits down, glancing at Scottie as she does, and we see that it is not Madeleine. A moment, then Scottie looks away. Judy is staring at him anxiously. It is her first defeat and her first victory: defeat, in that although he is with her he is still searching; victory, in that she is sure, now, that he does not think she is Madeleine. DISSOLVE TO: EXT. JUDY'S HOTEL - (NIGHT) Scottie's car drives up and comes to a stop. He gets out, comes around and opens the other door and helps Judy out. They stand there for a moment, then start for the front door. DISSOLVE TO: INT. JUDY HOTEL, UPSTAIRS CORRIDOR - (NIGHT) Judy opens her door, flicks the light switch, and turns to Scottie in the doorway. JUDY Thank you again. Good-night. SCOTTIE Can I see you tomorrow? JUDY Tomorrow night? Well -- SCOTTIE Tomorrow morning. JUDY Tomorrow m -- but I have to go to work. I've got a job. SCOTTIE Don't go. JUDY (Smiling) And what will I live on? My oil wells in Texas? SCOTTIE I'll take care of you. JUDY (Flatly) Oh, Well, thank very much. But no thanks. SCOTTIE No, Judy, you don't understand. JUDY Oh, I understand, all right. I've been understanding since I was seventeen. And the next step is, as long as you're going to see me tomorrow, why don't you stay the night. SCOTTIE No. JUDY No? Then what? SCOTTIE I just want to see you as much as I can! JUDY As friends? We'd just see a lot of each other as friends, and you'd "take care of me"? SCOTTIE Yes. JUDY Why? (No answer) Because I remind you of someone? (No answer) That's not very complimentary. (Pause) And nothing would... happen... SCOTTIE No. JUDY That's not very complimentary, either. She turns away and wanders into the room toward the window. She sits down in the chair to think it over, looking straight ahead, in profile to Scottie and to the window. Scottie stares at her, then suddenly reaches out and snaps off the light. JUDY (Frightened) Listen, what'd you do that for?!?! She starts to rise. SCOTTIE (Quickly) No, Judy, I'm not going to move! Please! Stay in the chair! JUDY Why?! SCOTTIE Please! And don't look at me. She subsides in the chair, and obeys, looking straight ahead again, holding very still, apprehensive. The only light in the room is from the street lamp outside, and it silhouettes Judy in profile, robbing her of hair-color, robbing her of makeup, and Scottie stares across at her, unsure, wishing he could persuade himself. SCOTTIE (Softly) Will you, Judy? JUDY (Slowly, anxiously) I suppose I could phone the store in the morning, and say I'm sick. Another pause. SCOTTIE (Gently) Good night, Judy. He goes out, closing the door. Judy sits still, staring straight ahead. She raises a hand slowly and rubs the side of her face. DISSOLVE TO: EXT. GOLDEN GATE PARK - (DAY) It is a bright, sunny day. On a lovely green slope, young couples are stretched out making love. We see a pretty young girl sitting, and her young man lying on the grass at right angles with his head on her lap. She is playing with his hair. She bends down and kisses him. The CAMERA MOVES ON, searching for Scottie and Judy, and comes upon another couple in a close embrace. The CAMERA MOVES ON and discovers Scottie and Judy strolling along the path at the foot of the slope. Judy is looking at the loving couples with wistful envy. Scottie is admiring the scenery in other direction. He holds a bag of popcorn. Judy looks up at him with gentle longing. He glances down at her and smiles companionably, and offers her the popcorn. She takes some and smiles back as well as she can. DISSOLVE TO: INT. DANCE FLOOR, FAIRMONT HOTEL - (NIGHT) The lighting in the room is low, the orchestra is playing "Isn't It Romantic", there are many couples on the floor, dancing romantically. It's romantic as hell. We find Scottie and Judy dancing, nicely, but rather sedately. Judy looks up at him once in a while, wishing she could get a bit closer, although he is not by any means keeping her at a distance. DISSOLVE TO: EXT. POST STREET, OUTSIDE GUMPS - (DAY) There is a flower stand - known to all San Franciscans -- at the curb opposite the main entrance to Gumps, and Scottie and Judy have stopped there to pick a flower for her to wear. It is a bright, fresh morning. There is a display of corsages, made up, ready to wear. The Vendor stands beside them as they pick and choose. They seem quite happy. JUDY I like that one. SCOTTIE No, there. There's a good one. Do you like that? JUDY Yes -- The one Scottie has pointed out is remarkably like the nosegay in the portrait, though smaller and not an exact copy. SCOTTIE We'll take that one. VENDOR Very nice. And fresh. I just made it up. He pins the nosegay on Judy. VENDOR That'll be a dollar four. Scottie pays him JUDY It's beautiful. SCOTTIE Okay. Now we're going to buy you some clothes. JUDY Honest? He has started her across the middle of the street in the midst of traffic, and they have to run. SCOTTIE There's Ransohoff's. Nothing but the best. Come on. JUDY (Happy and breathless) But Scottie, you don't have to! SCOTTIE I want to! Come on! They go dodging across the street. DISSOLVE TO: INT. RANSOHOFF'S - (DAY) A spacious room on the second floor. Judy and Scottie are being waited on by a middle-aged saleswoman. A girl Assistant stands nearby. Draped about on neighboring chairs are several suits. Scottie looks tense. His jaw is set. Judy looks at him wonderingly. A model enters wearing a grey tweed suit, and parades before them. SCOTTIE No, that's not it. Nothing like it. SALESWOMAN But you said grey, sir. SCOTTIE Not tweed -- it's a smoother material, with a larger collar and belted. (Indicates with hands) He puts his hands to his waist. JUDY But I like that one, Scottie. SCOTTIE No, it's not right. SALESWOMAN (Cheerfully) The gentleman seems to know what he wants. (To the model) All right. Well, we'll find it. She goes and whispers to the Assistant, during the following, and the Assistant follows the model out. JUDY (Slightly apprehensive) Scottie, what are you doing? SCOTTIE I'm trying to buy you a suit. JUDY But I loved the second one she wore. And this one -- (She touches a suit on the chair) -- is beautiful. SCOTTIE They're none of them right. JUDY But why? The saleswoman has a sudden thought. SALESWOMAN Oh!! I think I know the suit you mean! We had it -- oh, it must be sometime ago! Let me go see. We may still have the model. And she hurries away into the back room. Judy looks at Scottie with wondering, understanding eyes. JUDY You're looking for the suit she wore! For me?!? Scottie looks at her anxiously, not wanting an argument. JUDY (Repelled) You want me to dress like her? SCOTTIE Judy, I just want you to look nice. And I know what kind of suit would look well on you. JUDY Ah, no!!! I don't want to be dressed like someone dead! SCOTTIE Judy -- JUDY It's a horrible idea! Is that what I'm here for? To make you feel that you're with someone that's dead? She has risen from her chair, appalled, and close to tears. The Saleswoman enters briskly. SALESWOMAN She'll be out in a moment. SCOTTIE Now, Judy, it isn't anything to get -- JUDY No, I won't do it!! She walks away. Scottie follows her. SCOTTIE Judy!! The saleswoman watches the altercation with interest. The two are out of earshot, now, but what they're seems pretty evident. Scottie is being urgently persuasive, Judy is staring at the floor, shaking her head, fighting the tears. The following is distant and blurred. SCOTTIE Judy, it can't make much difference to you. I just want to see how you'd look and I know it won't be the same, but -- JUDY No, I don't want any clothes! I don't want anything! I want to get out of here! SCOTTIE (strongly) Judy, you've got to do this for me! Please! She looks up at him, frightened, and at that moment he sees the model enter, wearing the grey suit. SCOTTIE Yes! That's it! SALESWOMAN I thought so! JUDY I don't like it! SCOTTIE We'll take it! Will it fit? SALESWOMAN Oh, yes! It may need some slight alterations, but it is madam's size. (To the model) All right, dear. (To Judy) We'll have it for you to try in a moment. SCOTTIE How soon can it be altered? SALESWOMAN Well... SCOTTIE Can we have it by tonight? SALESWOMAN Well, if it's absolutely necessary... SCOTTIE Yes, it is. Now, I want to look at an evening dress, a dinner dress, black -- short -- long sleeves -- with a neck cut this... (Indicates square neck) ...and the skirt out. (Indicates full skirt with his hands) JUDY (Appealing) Scottie -- He whirls on her with blazing eyes and stares at her commandingly, and Judy shrinks a little. SALESWOMAN (Laughs, embarrassed) My, you certainly do know what you want, sir. I'll see what we have. She goes into the back room. Judy and Scottie remains as they were, their eyes fixed on each other. But Judy is cowed. DISSOLVE T0: INT. RANSOHOFF'S, SHOE SALON - (DAY) Open on a SHOT of Judy's legs, standing in new, high-heeled brown shoes. On the floor around her are other shoes and shoe boxes scattered haphazardly. SCOTTIE'S VOICE All right. Walk. The legs start to walk, and the scene opens up as Judy walks away from the CAMERA, and we find Scottie seated, watching, and a shoe salesman in attendance. Judy sways a bit on the high heels in a way that could be reminiscent of Madeleine. She stops and turns, and stands staring at Scottie, without expression. SCOTTIE All right. That's it. Do you have in black, too? SALESMAN Yes, we have. SCOTTIE All right. He looks at Judy and meets her gaze steadfastly. DISSOLVE TO: INT. SCOTTIE'S APARTMENT - (NIGHT)
...continue to part 10