Scripts: Vertigo (12/Sep/1957) - part 3
INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP
Once more his eyes are on the road ahead, as he follows
Madeleine.
EXT. MARKET STREET - (DAY)
We see the green Jaguar come out of l6th Street and cross
Market Street and start to ascend the hill.
EXT. SAN FRANCISCO STREET - (DAY)
We see both cars, one behind the other, moving uphill.
LAP DISSOLVE TO:
EXT. ENTRANCE TO LINCOLN PARK - (DAY)
The two cars move along the road through the entrance, between
the trees, and the Jaguar draws up before the Palace of the
Legion of Honor. Scottie continues past as Madeleine gets
out of her car and walks through the courtyard to the entrance
to the art gallery. Scottie parks his car farther along, and
follows her in.
LAP DISSOLVE TO:
INT. ART GALLERY - (AFTERNOON) - LONG SHOT
Shooting through the foreground columns we see the gallery,
soft lit from the top, completely empty, save for one person.
It is Madeleine. She is seated on the small wooden bench at
the far end. Her head is tilted in the upward direction,
gazing at a large portrait. Slowly we see Scottie coming to
the left f.g. He watches her for a moment and then with a
carefully quiet stop, moves into the gallery and starts to
examine the pictures.
INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP
The CAMERA SHOOTING on the back of Scottie, TRAVELS, with
him as he pretends to look at the pictures on the wall. He
barely stops at each one. Now and again he half furtively
glances over his shoulder. Finally the CAMERA COMES TO A
STOP. Scottie cautiously turns around and looks across the
room.
INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT
From his viewpoint we get a complete picture of what he sees.
The back view of Madeleine, seated on the polished wooden
bench, her right band is holding the nosegay, and beyond her
a three-quarter length portrait of a beautiful blonde woman,
dressed in 19th century costume. She seems to be looking
down with an enigmatic smile.
INT. GALLERY - (AFTERNOON) - CLOSEUP
Scottie's eye catches sight of:
INT. GALLERY - (AFTERNOON) - CLOSEUP
The nosegay resting in Madeleine's hand on the polished wood
seat. The CAMERA SLOWLY PANS UP and MOVES IN to a part of
the picture. It comes to rest on a nosegay held in the woman's
hands.
INT. GALLERY - (AFTERNOON) - CLOSEUP
Scottie's expression does not change. His eyes move to
something else.
INT. GALLERY - (AFTERNOON) - CLOSEUP
SHOOTING on the back of Madeleine, we see her head and
shoulders only. The CAMERA MOVES IN until her bun of blonde
hair fills the screen. The CAMERA PANS up until we see the
head and shoulders of the woman in the portrait. She is
wearing a distinctive diamond pendant necklace. Then the
CAMERA SLOWLY MOVES IN and concentrate its attention at a
bun of hair resting on the nape of her neck.
INT. GALLERY - (AFTERNOON) - CLOSEUP
Scottie's eyes turn thoughtfully at the memory of his
conversation with Gavin. He looks up again.
INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP
Again, the enigmatic look of the woman wearing the diamond
pendant necklace. It seems as though she is almost looking
at Scottie.
INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP
Scottie turns and makes his way carefully back down the
gallery.
INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT
THE CAMERA is now back in its original position, beyond the
columns of the entrance to the room. We see Scottie coming
down toward the CAMERA. As he comes to us in CLOSER SHOT, we
see him beckon to somebody off screen.
INT. GALLERY - (AFTERNOON) - MEDIUM SHOT
A male attendant is coming over towards the CAMERA. He goes
out of the picture.
INT. GALLERY - (AFTERNOON) - MEDIUM SHOT
He comes to where Scottie awaits him. Scottie asks in a low
voice:
SCOTTIE
(Nodding in the
direction of the
gallery)
Who is the woman in the portrait?
The Attendant turns his head.
SCOTTIE
The one where the lady is sitting.
ATTENDANT
Oh, that's Carlotta, sir.
(At Scottie's reaction)
You'll find it in the catalogue:
"Portrait of Carlotta."
Scottie nods his thanks as the attendant hands him a
catalogue. Scottie then turns back and looks into the room.
The CAMERA MOVES IN past him, so that once more we are left
alone with Madeleine seated, still looking at the portrait.
LAP DISSOLVE:
EXT. ART GALLERY - (AFTERNOON) - MEDIUM SHOT
In the f.g., Scottie is seated in his grey sedan. We see
beyond him in the distance, the green Jaguar and the back-
lit columns of the gallery courtyard. Presently, the small
figure of Madeleine appears. She gets into her car and starts
to drive off. Scottie starts up his engine. His car moves
across the screen.
DISSOLVE TO:
EXT. A SAN FRANCISCO STREET - (DAY)
The two cars moving along through a poorer section of San
Francisco. We see that the houses - many large - are all of
wood, shabby, run-down, some almost derelict. The occasional
front yard is uncared for; the few people on the street are
cheaply dressed. There is a meanness of atmosphere.
EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT
The green Jaguar comes to a stop outside a large house, which
has seen grander days. Obviously an old San Francisco
residence, it is now become an apartment hotel. A long flight
of steps from the street, leads to the front door, which has
a semicircular canopy supported by columns.
Madeleine gets out and ascends the stairs toward the hotel
entrance; she is still carrying the posy of flowers.
EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT
Scottie's car pulls into the curb. He gets out and stands on
the sidewalk and looks ahead of him. He walks forward out of
the picture.
EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT
We see Scottie walking along the sidewalk casually. The green
car is at the curb at the left of the stairs to the hotel.
He strolls up until he reaches the green car.
EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT
SHOOTING over the green car, we see Scottie hovering around
the bottom of the steps. There is no sign of Madeleine. She
has obviously gone in by this time. Scottie turns and examines
the facade of the hotel and over his shoulder, the CAMERA
PANS up over the building where we see the name, in worn
black lettering under the top cornice.
EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP
Scottie turns away from the hotel and glances in the direction
of the car. He then turns and ponders what his next move
should be. No looks back at the hotel. Suddenly, his eye
catches sight of something. He hastens over to conceal himself
by the entrance wall, the CAMERA PANNING him. His eyes go
up again.
EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT
From his viewpoint, we see Madeleine appear in the corner
second story window. She is glancing out casually, as she
takes off the jacket of her suit. She turns into the room
again.
EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP
Scottie is really puzzled by this appearance. He thinks for
a while and then, making up his mind, starts to go up the
steps, the CAMERA PANNING him. We see him reach the top stop
and make for the front door.
EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT
Scottie waits a slight moment, and then, bracing him himself,
opens the door and passes through.
INT. MCKITTRICK HOTEL LOBBY - (DAY) - SEMI-CLOSEUP
Scottie comes through the door closes it behind him. He looks
around.
INT. MCKITTRICK HOTEL LOBBY - (DAY)
From Scottie's viewpoint, we see most of the lobby. There is
a small reception desk with a key rack to one side, but the
strongest and most immediate impact is one of greenery, of
foliage. Scattered about the lobby in profusion are tall-
standing potted rubber plants and philodendron. Scottie
stands and stares. There is no one to be seen, no sign of
life. Then we see a leaf of a rubber plant move, and move
again, a hand appears, seemingly caressing it, and then we
hear a woman's voice.
MANAGERESS
Yes?
Scottie looks in that direction, and the woman moves out
from behind the plant. She is a small, gentle, elderly lady
with white hair, motherly and smiling, with bright, eager
eyes.
MANAGERESS
Is there something I can do for you?
SCOTTIE
Yes... you run this hotel.
MANAGERESS
Oh, yes!
SCOTTIE
Would you tell me, who has the room
on the second floor in the corner,
that corner?
MANAGERESS
(Brightly)
Oh, I'm afraid we couldn't give out
information of that sort. Our clients
are entitled to their privacy, you
know. And I do believe it's against
the law! Of course, I don't think
any of them would mind, really, but
still I would have to know who you
are, and ask --
By now Scottie has got out his wallet and has shown his badge,
and the sight of it makes her stop abruptly, and for a moment
her face hardens and is not a bit motherly. But then she
recovers her innocent brightness.
MANAGERESS
Oh, dear! Has she done something
wrong?
SCOTTIE
Please answer my question.
MANAGERESS
I can't imagine that sweet girl with
that dear face --
SCOTTIE
(Urgently)
What is her name?
MANAGERESS
Valdes. Miss Valdes.
(Pause. Then, brightly)
It's Spanish, you know.
SCOTTIE
(Slowly)
Carlotta Valdes?
MANAGERESS
Yes, that's it. Sweet name, isn't
it? Foreign. But sweet.
SCOTTIE
(Holding in)
How long has she had the room?
MANAGERESS
Oh, it must be two weeks. Yes, the
rent's due tomorrow.
SCOTTIE
Does she sleep here? Ever?
MANAGERESS
No... she only comes to sit. Two or
three times a week. And I never ask
questions, you know. As long as
they're well behaved. I must say
that I've wondered --
SCOTTIE
(Cutting her off)
When she comes down, don't say that
I've been here.
And he turns away to go, wondering.
MANAGERESS
(Brightly)
Oh, but she hasn't been here today.
Scottie whirls back on her.
SCOTTIE
I saw her come in five minutes. ago.
MANAGERESS
Oh, no! She hasn't been here at all!
I would have seen her, you know.
I've been right here all the time,
putting olive oil on my rubber plant
leaves!
Scottie stares at her smiling, innocent face. She looks over
at the key rack.
MANAGERESS
And there! There you see? Her key is
on the rack!
SCOTTIE
(Heavily)
Would you please go and look?
MANAGERESS
In her room? Well, yes, of course if
you ask. But it does seem silly...
She puts down the can of olive oil and the sponge, and gets
out her passkey. She goes up the stairs. Scottie watches her
go, then stares down at the can of olive oil, stares at the
rubber plant, and waits, and looks up the stairs.
MANAGERESS (O.S.)
(Brightly)
Oh, Mr. Detective! Would you like to
come and look?
Scottie starts up the stairs on the run.
INT. LANDING OF SECOND FLOOR - (DAY)
The Manageress stands near the open door. Scottie brushes
past her and stands on the threshold.
INT. HOTEL BEDROOM - (DAY)
We are looking at the room over the shoulders of Scottie and
the woman. It is empty. Scottie crosses to the window and
looks down. From his viewpoint we see the empty space at the
street curb where stood Madeleine's Jaguar.
SCOTTIE
Her car is gone.
MANAGERESS
What car?
He turns to look at her sweet, smiling face, then turns back
to stare down out of the window in bewilderment.
DISSOLVE TO:
EXT. BROCKLEBANK APARTMENTS - (DAY)
Scottie's sedan pulls up in the foreground, the building in
the distance. He looks across. There, half concealed around
the corner of the small car park, is the green Jaguar.
Scottie strolls over, inspects the cars, then looks inside.
On the seat is the small nosegay bought at Podesta's and
carried to the cemetery.
DISSOLVE TO:
INT. MIDGE'S APARTMENT - (DAY)
Midge is at work on a nightgown ad. The phonograph is playing
softly: probably Bach, probably harpsichord, probably
Landowska. Scottie walks in, and Midge looks up, startled.
SCOTTIE
Midge, who do you know that's an
authority an San Francisco history?
He walks over and turns the phonograph off, either here or a
bit later.
MIDGE
Now, that's the kind of greeting a
girl likes. None of this "hello you
look wonderful" stuff. Just a good
straight "who do you know" --
SCOTTIE
(breaking in)
Well, who? Come on, you know
everybody.
MIDGE
Professor Saunders, over in Berkeley.
SCOTTIE
Not that kind of history. The small
stuff! About people you never heard
of!
MIDGE
Oh! You mean Gay Old Bohemian Days
of Gay Old San Francisco! The juicy
stories? Like who shot who in the
Embarcadero August, 1879?
SCOTTIE
Yeah.
MIDGE
Pop Leibel.
SCOTTIE
Who?
MIDGE
Pop Leibel owns the Argosy Book Shop.
What do you want to know?
SCOTTIE
Who shot who in the Embarcadero in
August, 1879.
Starts for the door fast.
MIDGE
Wait a minute! You're not a detective
any more. What's going on?
SCOTTIE
(Pausing)
Do you know him well?
MIDGE
Pop Leibel? Sure.
SCOTTIE
All right, come on. Introduce me.
Where is your hat?
He looks about for it.
MIDGE
(Speeding to the door)
I don't need a hat. Johnny, what's
it about?
She speeds right on through the open door.
SCOTTIE
I'll tell you later. Wait a minute!
He races out after her.
DISSOLVE TO:
INT. ARGOSY BOOK SHOP - (DUSK)
It is old, it is misty, it is filled with old books, but the
important thing to note is that it is filled with memorabilia
of California pioneer days: on the walls are not only the
familiar old maps and prints but also, and more striking,
such things as framed old mining claims, posters describing
outlaws wanted by the law, Wells Fargo Pony Express Posters;
and on the shelves, old whiskey bottles, gold-mining pans,
and such. The proprietor, Pop Leibel, is staring with a
nodding smile at the piece of paper Scottie has handed him,
and Scottie watches him keenly. In the bag, Midge wanders
about the shop, inspecting the prints on the wall, but always
listening.
POP LEIBEL
Yes... the Beautiful Carlotta... the
Sad Carlotta...
SCOTTIE
What does a big old wooden house on
the corner of Eddy and Gough Street
have to do with her?
POP LEIBEL
It was hers. It was built for her.
Many years ago.
SCOTTIE
By whom?
POP LEIBEL
By... no... the name I do not
remember. A rich man, a powerful
man. It is not an unusual story.
She came from somewhere small, to
the south of the city... some say
from a mission settlement... young,
yes; very young. And she was found
singing and dancing in a cabaret by
the man... wait... wait... Ives!
His name was Ives! Yes. And he took
her and built for her this great
house in the Western Addition... and
there was a child. Yes. This was it.
The child.
Scottie hangs on his words. Pop looks up at him and smiles.
POP LEIBEL
And now, fragments, you understand.
I cannot tell you how much time
passed, or how much happiness there
was. But then he threw her away. He
had no other children; his wife had
no children. He kept the child and
threw her away. Men could do that in
those days. They had the power...
and the freedom. And she became the
Sad Carlotta. Alone in the great
house... walking the streets alone,
her clothes becoming old and patched
and dirty... the Mad Carlotta...
stopping people in the streets to
ask, "Where is my child?... have you
seen my child?".
The store has darkened considerably and all the figures are
practically silhouettes. The CAMERA picks up a CLOSE SHOT OF
MIDGE, listening intently, her head turned away from the
wall toward the old man. And on the wall near her head is a
print of mission San Juan Bantista as it was in the old days.
MIDGE
The poor thing....
SCOTTIE
And she died...
POP LEIBEL
She died.
SCOTTIE
How?
POP LEIBEL
By her own hand.
(Pause. Smiles as
sadly)
There are many such stories.
SCOTTIE
Thank you, Mr. Leibel. Thank you
very much.
Forgetting Midge, he turns and walks out of the store fast,
deep in thought.
MIDGE
Hey, wait a minute! So long, Pop!
Thanks a lot! She dashes out after
Scottie.
EXT. SIDEWALK OUTSIDE ARGOSY BOOK SHOP - (DUSK)
Midge catches up with Scottie and stops him by grabbing his
arm.
MIDGE
Now then, Johnny-O; pay me.
SCOTTIE
For what?
MIDGE
For bringing you here. Come on, tell!
SCOTTIE
Nothing to tell.
MIDGE
You'll tell, or you'll be back in
that corset! Come on!
SCOTTIE
I'll take you home.
He starts off with long strides, and Midge hurries after
him.
DISSOLVE TO:
EXT. STREET OUTSIDE MIDGE'S APARTMENT - (EARLY EVENING) -
LONG SHOT
Scottie's car draws up and comes to a stop.
INT. SCOTTIE'S CAR - (EARLY EVENING) - MEDIUM TWO SHOT
Scottie and Midge are looking straight ahead.
SCOTTIE
Here you are.
MIDGE
You haven't told me everything.
SCOTTIE
I've told you enough.
MIDGE
Who's the guy, who's the wife?
SCOTTIE
Out. I've got things to do.
MIDGE
I know. The one who phoned. Your old
college chum, Elster.
SCOTTIE
Out!
MIDGE
And the idea is that the Beautiful
Mad Carlotta has come back from the
dead, to take possession of Elster's
wife? Ah, Johnny! Come on!
SCOTTIE
(Angrily)
I'm not telling you what I think!
I'm telling you what he thinks!
MIDGE
Think? Well, what do you think?
Scottie is troubled, lost in thought.
Pause.
MIDGE
Is she pretty?
SCOTTIE
Carlotta?
MIDGE
(Evenly)
No, not Carlotta. Elster's wife.
SCOTTIE
Mmm, yeah, I guess...
Midge looks up at him from the corners of her eyes.
MIDGE
(Wickedly)
I think I'll go take a look at that
portrait.
(With a bright smile)
Bye!
She opens the car door quickly and jumps out.
SCOTTIE
(Outraged)
Midge!
MIDGE
Bye-bye!
She slams the car door and runs into the house. Scottie glares
after her for a moment, then his face relaxes, and he is
lost in thought. He reaches into the glove compartment of
the car and draws out the catalogue of the permanent
collection of the Palace of the Legion of Honor. He opens it
to a page and stares down.
INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA.
DISSOLVE TO:
INT. GAVIN ELSTER'S CLUB - (NIGHT)
...continue to part 4
