Scripts: Vertigo (12/Sep/1957) - part 2
EXT. A SHIPYARD - (DAY) - LONG SHOT
Boats up an ways, men swarming over, cranes moving. At the
gate, Scottie has paused to speak to the gateman. The gateman
indicates a building in the distance, Scottie nods, goes
past him, starts across the shipyard toward the building.
DISSOLVE TO:
INT. GAVIN ELSTER'S OFFICE - (DAY)
A well-appointed office with a large window looking out upon
a busy shipyard. There are a couple of models of modern
freighters in glass cases, but more important, on the walls
are many framed prints and posters and maps relating to early
California history; some from the Mexican days, many from
the Gold Rush days, many of San Francisco in the Seventies
and Eighties. Behind the desk sits Gavin Elster, a man about
Scottie's age, huskily built, slightly balding, with cool,
watchful eyes. He is beautifully tailored, and gives the
sense of a man who relishes money and knows how to use it.
He sits quietly watching Scottie, who stands staring out the
window at the activity of the shipyard. After a long moment:
SCOTTIE
How'd you get into the shipbuilding
business, Gavin?
ELSTER
I married into it.
Scottie shoots him a small surprised smile of approval at
his frankness, then looks out the window again.
SCOTTIE
Interesting business.
ELSTER
No, to be honest, I find it dull.
SCOTTIE
You don't have to do it for a living.
ELSTER
No. But one assumes obligations. My
wife's family is all gone; someone
has to look after her interest. Her
father's partner runs the company
yard in the East -- Baltimore -- so
I decided as long as I had to work
at it, I'd come back here. I've always
liked it here.
SCOTTIE
How long have you been back?
ELSTER
Almost a year.
SCOTTIE
And you like it.
ELSTER
San Francisco's changed. The things
a that spell San Francisco to me are
disappearing fast.
Scottie smiles at the old prints on the wall.
SCOTTIE
Like all this.
ELSTER
(Nodding)
I'd like to have lived here then.
The color and excitement... the
power... the freedom.
Though he does not stress the word, the way be lingers softly
on the word "Freedom" makes Scottie look over at him again.
Elster looks up and smiles companionably.
ELSTER
Shouldn't you be sitting down?
SCOTTIE
No, I'm all right.
ELSTER
I was sorry to read about that thing
in the papers.
(No answer)
And you've quit the force.
(Scottie nods)
A permanent physical disability?
SCOTTIE
No, Acrophobia isn't a crippling
thing. It just means I can't climb
steep stairs or go to high places,
like the bar at the Top-of-the-Mark.
But --
(Shrugs and smiles)
-- there are plenty of street-level
bars In this town.
Elster considers the top of his desk for a moment, then looks
up.
ELSTER
Would you like a drink now?
SCOTTIE
No... no, thanks. A bit early in the
day for spirits.
(Pause)
Well, I guess that about covers
everything, doesn't it? I never
married; I don't see much of the
"old college gang"; I'm a retired
detective -- and you're in the
shipbuilding business.
(Pause)
What's on your mind, Gavin?
A moment, then Elster rises from the desk casually, wanders
across the room, looks out the window, gets out a handkerchief
and blows his nose prosaically, finally turns and regards
Scottie coolly and directly for a long moment.
ELSTER
I asked you to come up here, Scottie,
knowing that you had quit detective
works, but I wondered whether you
would go back on the job -- as a
special favor to me.
Scottie looks at him questioningly.
ELSTER
I want you to follow my wife.
Scottie does not change expression, and yet one can sense
the feeling of anti-climax within him, and the almost
imperceptible small cynical smile deep behind his eyes.
ELSTER
Not what you think. We're very happily
married.
SCOTTIE
Then?
ELSTER
I'm afraid some harm may come to
her.
SCOTTIE
From whom?
ELSTER
Someone dead.
Scottie waits.
ELSTER
Scottie, do you believe that someone
out of the past, someone dead, can
enter and take possession of a living
being?
SCOTTIE
No.
ELSTER
If I told you I believe that his
happened to my wife, what would you
say?
SCOTTIE
I'd say you'd better take her to the
nearest psychiatrist, psychologist,
neurologist, psychoanalyst, or plain
family doctor. And have him check
you both.
ELSTER
(Defeated)
Then you're of no use to me. I'm
sorry I wasted your time. Thank you
for coming in, Scottie.
Scottie rises to go, awkwardly, puzzled, a bit apologetic.
SCOTTIE
I didn't mean to be that rough.
ELSTER
No, it sounds idiotic, I know. And
you're still the hard-headed Scot,
aren't you? Always were. Do you think
I'm making it up?
SCOTTIE
No.
ELSTER
I'm not making it up. I wouldn't
know how. She'll be talking to me
about something, nothing at all, and
suddenly the words fade into silence
and a cloud comes into her eyes and
they go blank... and she is somewhere
else, away from me... someone I don't
know. I call to her and she doesn't
hear. And then with a long sigh she
is back, and looks at me brightly,
and doesn't know she's been away...
can't tell me where... or why...
SCOTTIE
How often does this happen?
ELSTER
More and more in the past few weeks.
And she wanders. God knows where she
wanders. I followed her one day.
SCOTTIE
Where'd she go?
Elster almost ignores the question as he looks back to the
day.
ELSTER
Watched her come out of the apartment,
someone I didn't know... walking in
a different way... holding her head
in a way I didn't know; and get into
her car, and drive out to...
(He smiles grimly)
Golden Gate Park. Five miles. She
sat on a bench at the edge of the
lake and stared across the water to
the old pillars that stand an the
far shore, the Portals of the Past.
Sat there a long time, not moving...
and I had to leave, to got to the
office. That evening, when I came
home, I asked what she'd done all
day. She said she'd driven to Golden
Gate Park and sat by the lake. That's
all.
SCOTTIE
Well?
ELSTER
The speedometer of her car showed
she had driven 94 miles that day.
Where did she go?
(Pause)
I have to know, Scottie. Where she
goes and what she does, before I got
involved with doctors.
SCOTTIE
Have you talked to the doctors at
all?
ELSTER
Yes, but carefully. I'd want to know
more before committing her to that
kind of care.
(Anxiously)
Scottie --
SCOTTIE
(Quickly)
I can get you a firm of private eyes
to follow her for you. They're
dependable, good boys --
ELSTER
(Breaking in)
I want you.
SCOTTIE
It's not my line.
ELSTER
Scottie, I need a friend! Someone I
can trust! I'm in a panic about this!
Long pause.
SCOTTIE
How can I see her, to know her?
ELSTER
We're going to an opening at the
opera tonight. We'll dine at Ernie's
first. Which is easier?
SCOTTIE
Ernie's.
ELSTER
All right.
(Pause)
You won't know what to look for at
first, Scottie. Even I, who know her
so well, cannot tell, sometimes,
when the change has begun. She looks
so lovely and normal...
The last part of this speech carries through the dissolve.
DISSOLVE TO:
INT. ERNIE'S RESTAURANT - (NIGHT)
We are in the upstairs room that, in mood and decor, takes
us back to Bonanza Days. This is the way San Francisco was.
Scottie is at the bar, turned a little so that he faces into
the dining room, and as he drinks his eyes search the room
slowly, carefully.
The CAMERA SEARCHES with him, passing over the many well-
dressed women, until it comes to rest on a table for two
dressed against the far wall. Gavin Elster is seated there,
dining with his wife. Scottie cannot get a clear look at
her. She is turned slightly away from him, and when she does
turn her head in his direction there always seems to be a
waiter passing to block the view. And during all of this we
hear Elster's voice, continuing from the previous scene.
ELSTER'S VOICE
But I realize now that the deep change
began on the first day I brought her
to San Francisco. You know what San
Francisco does to people who have
never seen it before. All of it
happened to Madeleine, but with such
an intensity as to be almost
frightening. She was like a child
came home. Everything about the city
excited her: she had to walk all the
hills, explore the edge of the ocean,
see all the old houses and wander
the old streets: and when she came
upon something unchanged, something
that was as it had been, her delight
was so strong so fiercely possessive!
These things were hers. And yet she
had never been here before. She had
been born and raised in the East. I
liked it at first, of course. I love
this place; I wanted my bride to
love it. But then it began to make
me uneasy. Her delight was too
strong; her excitement was too
intense, it never faded; her laugh
was too loud, her eyes sparkled too
brightly; there was something feverish
about the way she embraced the city.
She possessed it. And then one day
she changed again... and a great
sigh settled on her, and the cloud
came into her eyes...
Now Gavin Elster has signed the check, and he and his wife
rise and start for the door. Scottie still cannot get an
unobstructed view of her face, but we can see in flashes
that she is young, in her twenties, with a mobile, attractive
face and gentle eyes that have warmth and intelligence and
humor. Scottie is intent on her. At the doorway to the bar,
only two feet from him, she stops and waits as her husband
pauses behind her to speak to the headwaiter and thank him
and tip him. She looks about calmly, with sure, distant
repose. Her eyes come to rest an Scottie for a moment, then
move an with the small smile. During all of the above,
Elster's voice has gone on, without pauses, and his narration
ends as the girl, Madeleine, comes to a stop near Scottie
and waits.
ELSTER'S VOICE
I don't know what happened that day:
where she went, what she saw, what
she did. But on that day, the search
was ended. She had found what she
was looking for, she had come home.
And something in the city possessed
her.
As Scottie stares at her, their eyes meet for a moment, and
he turns to reach for his drink. When he turns back, she is
gone. He looks about, slightly startled, then catches a
glimpse of her as she turns the corner of the upstairs lobby.
His eyes grow thoughtful, and glow with the memory of her
face.
DISSOLVE TO:
EXT. BROCKLEBANK APARTMENTS - (DAY) - SEMI-CLOSEUP
Scottie, seated in his car, a light grey sedan, is reading
the morning paper. The car radio is going and we hear
conventional disc jockey music. He glances out through his
windshield.
BROCKLEBANK APTS. - (DAY) - LONG SHOT FROM HIS POV
We see a large block of apartments with a stone pillared
entrance and a small car parked inside. Beyond it is the
door into the apartment building itself. There is no activity
but for one businessman who emerges on foot and makes his
way out.
INT. AUTOMOBILE - (DAY) - CLOSEUP SCOTTIE
He resumes his reading but does not Concentrate. His eyes go
back to the apartment house.
EXT. BLOCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT
A slightly nearer view but still outside the stone entrance
of the apartment house, we see the main entrance beyond. For
some time, there is no activity at all - perhaps for a quarter
of a minute or so. Suddenly, we see Gavin's wife, MADELEINE,
appear. She is dressed in a smart light grey tailored suit.
She stands for a moment looking about her.
INT. AUTOMOBILE (DAY) - SEMI-CLOSEUP
Scottie thrusts the paper aside and turns off the radio. He
starts his car.
EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT - FROM
HIS VIEWPOINT
We see Madeleine crossing the small courtyard to a pale green
Jaguar. She stands for a moment, opens her handbag and takes
out her car keys. She gets in the car.
EXT. BROCKLEBANK APTS. - (DAY) - MEDIUM SHOT
Scottie begins to turn his car away gently from the curbstone.
EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT FROM HIS
VIEWPOINT
Madeleine's car pulls out and turns down the side street.
INT. SCOTTIE'S CAR - SEMI-CLOSEUP
We see him pull away, looking intently ahead.
EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT
Through the windshield over the hood of his car, we see the
pale green Jaguar moving ahead of him, but the speed is quite
casual and not too fast.
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
Scottie watching ahead.
EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-CLOSEUP
Through the windshield we see the green Jaguar turn the corner
and go down another street.
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
Scottie taking the same corner as we see him turn the wheel.
LAP DISSOLVE TO:
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
Scottie anxiously looking ahead, fearing he might miss her.
EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT
The green car slows up and begins to make a left-hand turn
(or right-hand). The two cars in front of Scottie's are able
to pull out and pass the green car. We see the green car
turn up an alleyway.
INT. SCOTTIE'S CAR - SEMI-CLOSEUP
Scottie's expression changes a little, surprised at the sudden
turn-off.
EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT
In the left f.g., we see a large flower shop and beyond, at
the corner of the side alleyway, another store. We see the
grey sedan turn in.
EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT
SHOOTING DOWN THE ALLEYWAY
The grey sedan comes into the f.g. on the right, while further
down the street, we see the green Jaguar coming to a stop
outside a dingy doorway.
INT. SCOTTIE'S CAR - SEMI-CLOSEUP
We see Scottie looking out of his window, looking down the
street.
EXT. ALLEYWAY - SEMI-LONG SHOT - FROM HIS VIEW P0INT
We see Madeleine get out of the Jaguar and pass through a
rather decrepit-looking door.
EXT. ALLEYWAY - (DAY) - SEMI-LONG SHOT
Scottie alights from his car and we see him make his way
down the alley towards the Jaguar.
EXT. ALLEYWAY - MEDIUM SHOT
The CAMERA PANS Scottie past the Jaguar as he cautiously
enters the doorway.
INT. DARK PASSAGE - (DAY) - MEDIUM SHOT
We see Scottie making his way down this passage. He reaches
a door at the end.
INT. DARK PASSAGE - (DAY) SEMI-CLOSEUP - SHOOTING OVER
SCOTTIE'S SHOULDER
He gently pushes open the door. We see beyond him the bright
lights and back part of the flower shop.
INT. FLOWER SHOP - (DAY) - CLOSEUP
Scottie's surprised expression, as he peers through the
partially open door. Suddenly, he catches sight of:
INT. FLOWER SHOP - (DAY) - MEDIUM SHOT
Madeleine is talking to one of the assistants, making some
inquiry. The assistant, who seems to know her, nods with a
smile and goes off to the side of the store. Madeleine waits
and begins to turn, looking around the store. She approaches
camera until she is again in profile - just as she was in
Ernie's Restaurant when Scottie first saw her.
INT. FLOWER SHOP - CLOSEUP - SCOTTIE
Cautiously narrows the opening of the door.
INT. FLOWER SH0P - (DAY) - MEDIUM SHOT
The female assistant returns. She is carrying a small nosegay
of flowers. Madeleine nods her approval and, as the assistant
returns, we see Madeleine indicate she will take it as it
is. Madeleine begins to open her purse as the assistant starts
to write out the bill.
INT. FLOWER SHOP - (DAY) - CLOSEUP SCOTTIE
Cautiously, closes the door.
INT. PASSAGE - (DAY) - SEMI-LONG SHOT
We see Scottie retreating from the door and hastening down
the passage towards the CAMERA. He goes out left and as he
opens the door into the alleyway, the daylight streams in
for a moment.
EXT. ALLEYWAY - (DAY) - MEDIUM SHOT
Scottie emerges from the doorway, passing the green Jaguar.
We are far enough away to see the sign over the doorway,
which tells us that it is the rear entrance to the flower
shop, for customers' parking.
EXT. ALLEYWAY - (DAY) - LONG SHOT
Scottie comes from the Jaguar across the alleyway to where
his own car is standing. He gets in. After a moment or two,
we see Madeleine emerge in the distance and get into the
Jaguar, carrying the nosegay. There is a sound of the starter,
and immediately, she is on her way. In the f.g., the grey
sedan moves off at a cautious distance behind.
LAP DISSOLVE:
INT. SCOTTIE'S CAR - (DAY) - MEDIUM SHOT
We see Scottie driving, looking ahead.
EXT. DOLORES AVENUE - (DAY) - LONG SHOT
The green Jaguar driving ahead down the wide Dolores Avenue.
It presently comes to a stop outside the Mission. We see
Madeleine quickly get out. Scottie's car enters the picture
and begins to slow up.
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
As he watches ahead, he slowly brings his car to a stop.
EXT. DOLORES AVENUE - (DAY) - MEDIUM SHOT
In the f.g., is the grey sedan. Scottie emerges and, slamming
his car door shut, makes his way to the door opposite which
the green Jaguar is parked.
EXT. DOLORES MISSION - (DAY) - LONG SHOT
We now see for the first time the facade of the old Mission
Dolores. Scottie enters the picture from the right and makes
his way to the small dark, open doorway.
EXT. MISSION DOLORES - (DAY) - MEDIUM SHOT
Scottie passes through the small doorway. On the wall nearby,
we get a quick glimpse of the plaque announcing the date of
the establishment of the Mission.
INT. MISSION DOLORES - (DAY) - MEDIUM SHOT
We see Scottie come through the door and towards the CAMERA.
He comes to a stop in CLOSEUP.
INT. MISSION DOLORES - (DAY) - LONG SHOT
From his viewpoint, we see the center aisle and, in the
distance, the altar of the old Mission. It is very dark except
for the strong light around the altar. The church is
completely empty.
INT. MISSION DOLORES - (DAY) - SEMI-CLOSEUP
Scottie half-turns as though to retrace his steps, then he
looks back again and leans to one side slightly.
INT. MISSION DOLORES - (DAY) - LONG SHOT
Shooting on a slightly different angle, we see there is a
small door at the far end at the right-hand side of the altar.
It is slowly closing.
INT. MISSION DOLORES - (DAY) - CLOSEUP
Scottie immediately comes forward and exits the picture.
INT. MISSION DOLORES - (DAY) - LONG SHOT
Scottie enters the f.g., and we see him hasten up the aisle
towards the altar.
INT. MISSION DOLORES - (DAY) - SEMI-LONG SHOT
We are much nearer to the altar. Scottie enters the picture
on the right and makes his way quickly towards the little
side door. As he opens it, a shaft of bright sunlight comes
into the church.
EXT. GRAVEYARD - (DAY) - CLOSEUP
We see Scottie emerge from the church coming towards the
CAMERA, which DOLLIES BACK with him.
EXT. GRAVEYARD - (DAY) - MEDIUM SHOT
From his viewpoint, the CAMERA TURNS the corner and makes
its way toward a small gateway in a wall. The CAMERA starts
to go through.
EXT. GRAVEYARD - (DAY) - CLOSEUP
Scottie coming through the gateway.
EXT. GRAVEYARD - (DAY) - LONG SHOT
The CAMERA MOVES ACROSS the graveyard, and in the distance,
we see Madeleine gazing down at a headstone, the posy still
clutched in her hands.
EXT. GRAVEYARD - (DAY) - CLOSEUP
Scottie looking towards Madeleine with an expression of slight
surprise. He starts off out of the picture to the right.
EXT. GRAVEYARD - (DAY) - LONG SHOT
We see Scottie making his way down the side of the graveyard,
with the Mission Church behind him. The CAMERA PANS him all
the way round to a position towards Madeleine. He disappears
from view.
EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT
The CAMERA PANS Scottie past Madeleine and he takes up a
position behind a grotto where he can observe her.
EXT. GRAVEYARD - (DAY) - SEMI-CLOSEUP
Scottie watching Madeleine.
EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT
Through the foliage, from his viewpoint, we see the back
view of Madeleine, her head bent down, still looking at the
grave. She starts to turn.
EXT. GRAVEYARD - SEMI-CLOSEUP
Scottie cautiously steps back a little.
EXT. GRAVEYARD (DAY) - MEDIUM SHOT
The CAMERA watching the corner of the grotto for a moment.
Nothing happens, then we hear a few steps and Madeleine comes
into view still carrying the posy of flowers. She is walking
very slowly. She comes to a stop opposite Scottie - until
she is in full profile. She opens her purse and takes out a
small handkerchief, then she moves on around the path towards
the exit.
EXT. GRAVEYARD - (DAY) SEMI-CLOSEUP
Scottie is watching her depart.
EXT. GRAVEYARD - (DAY) SEMI-LONG SHOT
Madeleine approaches a small door at the side of the mission
Church. She goes in.
EXT. GRAVEYARD - (DAY) - MEDIUM SHOT
We see Scottie hasten round from his hiding-place back to
the headstone, where Madeleine had been standing.
EXT. GRAVEYARD - (DAY) - MEDIUM SHOT
Scottie quickly takes an envelope from his pocket and also
takes out a pencil. He starts to write down something as he
looks at the headstone.
EXT. GRAVEYARD - (DAY) - CLOSEUP
INSERT - The name on the headstone reads: Carlotta Valdes.
Born December 3. 1831. Died March 5, 1857.
EXT. GRAVEYARD - (DAY) - MEDIUM SHOT
We see Scottie hurry from the grave towards the exit door.
The CAMERA PANS with him.
DISSOLVE TO:
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
...continue to part 3
