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
