НАЗВАНИЕ: Vertigo (1958)
ГОД: 1958
СЦЕНАРИСТ: Alec Coppel and Samuel A. Taylor
ИСТОЧНИК: ScriptSlug (PDF) — https://www.scriptslug.com/script/vertigo-1958
URL: https://assets.scriptslug.com/live/pdf/scripts/vertigo-1985.pdf
СКАЧАНО: 2026-10-12 11:49
ПРИМЕЧАНИЕ: текст чужой, для личного изучения. Не распространять. Не исполнять.
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                  VERTIGO

                     by

        Alec Coppel and Samuel Taylor




Draft 9-12-1957
EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

We see a close view of a roof parapet and the curved rail of
a fire escape. In the bag, are large skyscrapers with all
their windows fully lit in the late winter afternoon. This
background is used for the CREDIT TITLES of the picture.
After the last card has FADED OUT, we HOLD on to the empty
parapet, when suddenly a man's hand reaches and grips the top
of the rail. It is followed by another hand and, after a
beat, we see the face of a man in his early 30's. He is an
Italian type, with rough features. He turns quickly and
looks below him and then turning back, springs up over the
empty parapet and is lost from view. We STAY on the EMPTY
SCENE for a second or two as we HEAR the scraping of boots on
the iron ladder. Someone else is coming up. Presently, two
more hands and the head of a uniformed policeman with cap and
badge starts to climb over the parapet. The CAMERA PULLS
BACK so that by the time he has completed his climb, he is in
full figure. He dashes out of the picture drawing his gun.
Immediately following him over the parapet, a detective in
plain clothes climbs over. This is JOHN FERGUSON, known as
SCOTTIE. He too pulls a gun and dashes out of the picture.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

A vast panorama of the San Francisco skyline. Nearer to us
are three tiny figures running and jumping over the roof
tops. The man on the run, whom we first saw climb over the
parapet, is dressed in a white shirt and light tan linen
slacks, and wearing sneakers. The uniformed man is shooting
at him. Scottie is dressed in medium grey clothes. The
CAMERA SLOWLY PANS the group across the roof tops.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MED. SHOT

We now see a short gap between rooftops, with a drop below.
The pursued man makes the leap successfully followed by the
uniformed policeman. Scottie makes the same leap, but almost
trips in taking off and is thrown off balance. He tries to
recover, lands awkwardly on the opposite roof, and falls
forward, prone, with a heavy impact that hurts and drives
tile breath from his body. He tries to rise but raises his
head with a look of pain -- one leg is doubled up under the
other. The tiles give way, and he slides backwards, and his
legs go over the edge of the roof, then his body. In his
daze he grasps at the loose tiles, and as he goes over the
edge he clutches on to the gutter, which gives way, and he
swings off into space, looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

Scottie looking down.
VERTIGO       Draft 9-12-1957                                      2.


   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

   From Scottie's viewpoint, the gap beneath the building and
   the ground below. It seems to treble its depth.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

   Scottie looking down with horror.   His eyes close as a wave
   of nausea overcomes him.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

   In the distance the fleeing criminal. The policeman, seeing
   what has happened to Scottie, returns to the slope of the
   roof and strains to reach down to Scottie.

                       POLICEMAN
             Give me your hand!

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE UP

   SCOTTIE'S HEAD. His hands grip the edge of the guttering.
   The tips of the fingers of policeman straining to reach
   Scottie, are at the top of screen. Scottie begins to open
   his grip but stares down, he quickly resumes his grip looking
   up hopelessly towards the helping hand. He looks down again.

   FROM SCOTTIE'S VIEWPOINT - the ground below still a long way
   away.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

   The policeman's hand in foreground, his face beyond.

                        POLICEMAN
             What's the matter with you?    Give me
             your hand!

   Policeman endeavors to stretch out his hand further.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK)

   The tiles beneath the policeman's heel begin to give. The
   Policeman starts to slide. He claws desperately at the
   surface of the roof.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

   Scottie, his eyes closed.    He opens them as he hears a wild
   cry.
VERTIGO       Draft 9-12-1957                                      3.


   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

   The policeman falling through space.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

   Scottie stares down in horror.

   EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

   The body of the policeman sprawled on the ground below.
   People are running into the alleyway; they stare at the body,
   look up to where Scottie is hanging. We see the light on
   their upturned faces. And now we hear a police whistle blown
   shrilly, again and again.

   Up to this moment the background music has had an excitement
   to match the scene, and now it cuts off, abruptly, leaving on
   the echo of the police whistle as the DISSOLVE begins. Then,
   in the DISSOLVE, we hear the gentle insistence of Scarlatti
   played by a chamber orchestra.

                                            DISSOLVE TO:

   INT. AN APARTMENT ON RUSSIAN HILL - (LATE AFTERNOON)

   It is fresh, light, and simple, and crowded with books,
   phonograph records, pictures. The most striking feature of
   the apartment is the view:

   The rising hills of San Francisco framed by a large picture
   window. To one side of the window is the owner of the
   apartment, MAJORIE WOOD, called MIDGE, at a commercial
   drawing table concentrating with professional intensity on a
   drawing of a slim, a elongated woman with few features and
   fewer clothes. A brassiere sits on a table at Midge's elbow,
   and she studies it as she draws. Midge Wood is about thirty-
   seven, attractive, straight-forward, well-but-simply-dressed;
   she wears glasses but does not whip them an and off as they
   do in the movies. The music comes from a gramophone. The
   other occupant of the room is Scottie. He sits in a big
   chair, with his feet stretched out on an ottoman and his head
   far back. There is a drink on a table nearby. He rouses
   himself to reach for it, and in doing so knocks over his
   walking stick that has been propped against the chair. He
   reaches out to catch it, and in the quickness of trying to
   keep it from falling, he wrenches his body around.

                       SCOTTIE
             Ow!!
VERTIGO       Draft 9-12-1957                                     4.


                       MIDGE
                    (Paying little
                     attention)
             I thought you said no more aches and
             pains?

                       SCOTTIE
             It's this darned corset.   It binds.

   He retrieves the stick.

                       MIDGE
             No three-way stretch?   How very un-
             chic.

                       SCOTTIE
             Well, you know those police department
             doctors: no sense of style.
                    (Sighs gratefully)
             Ah, tomorrow!

                       MIDGE
             What's tomorrow?

                       SCOTTIE
             Tomorrow ... the corset comes off.
             And this thing goes out the window.
                    (He waves the stick)
             I shall be a free man. I shall wiggle
             my behind ... free and unconfined.

   He raises his eyebrows with a surprised and gratified smile.
   Midge looks over at him with a grimace.

                       SCOTTIE
             Midge, do you suppose many men wear
             corsets?

                       MIDGE
             More than you think.

                       SCOTTIE
                    (Interested)
             How do you know? Personal experience?

                       MIDGE
             Please!
                    (Then, impersonally)
             And what happens after tomorrow?
VERTIGO    Draft 9-12-1957                         5.


                    SCOTTIE
          What do you mean?

                    MIDGE
          What are you going to do? Now that
          you've quit the police force?

                    SCOTTIE
                 (Gently)
          You sound so disapproving, Midge.

                    MIDGE
          No, it's your life. But you were the
          bright young lawyer who decided he was
          going to be chief of police some day.

                    SCOTTIE
                 (Gently)
          I had to quit, Midge.

                     MIDGE
          Why?

                    SCOTTIE
          I wake up at night seeing him fall
          from the roof ... and try to reach out
          for him.

                    MIDGE
          It wasn't your fault.

                     SCOTTIE
          I know.   Everybody tells me.

                    MIDGE
          Johnny, the doctors explained --

                    SCOTTIE
          I know. I have Acrophobia. What a
          disease. A fear of heights. And what
          a moment to find out I had it.

                    MIDGE
          Well, you've got it. And there's no
          losing it. And there's no one to
          blame. So why quit?

                    SCOTTIE
          And sit behind a desk?   Chairborne?
VERTIGO       Draft 9-12-1957                                   6.


                       MIDGE
             It's where you belong.

                       SCOTTIE
                    (With a grin)
             Not with my Acrophobia, Midge. If I
             dropped a pencil on the floor and bent
             down to pick it up, it could be
             disastrous!

                       MIDGE
                    (Laughs)
             Ah, Johnny-O ....

  She considers him for a moment, then goes back to her work.
  By now he is up and wandering about with the help of the
  stick.

                       MIDGE
                    (Finally, as she
                     works)
             Well? ... what'll you do?

                       SCOTTIE
             Nothing for a while. You forget, I'm
             a man of independent means. Or fairly
             independent.

                      MIDGE
             Mmm. Why don't you go away for a
             while?

                       SCOTTIE
                    (Grins)
             To forget? Don't be so motherly,
             Midge. I'm not going to crack up.

                       MIDGE
             Have you had any dizzy spells this
             week?

                       SCOTTIE
             I'm having one now.

   She looks up sharply with quick apprehension.

                       SCOTTIE
             From that music.

                       MIDGE
             Oh!
VERTIGO       Draft 9-12-1957                                      7.


   She goes and turns off the gramophone.   Scottie has wandered
   over to the drawing table.

                       SCOTTIE
             What's this do-hickey here?

   He turns the brassiere over with his stick

                       MIDGE
             It's a brassiere. You know about
             those things. You're a big boy, now.

                       SCOTTIE
             I've never run across one like that.

                       MIDGE
             It's brand new. Revolutionary uplift.
             No shoulder straps, no back straps,
             but does everything a brassiere should
             do. It works on the principle of the
             cantilever bridge.

                          SCOTTIE
                       (Impressed)
             Uh-huh!

                       MIDGE
             An aircraft engineer down the
             peninsula designed it. He worked it
             out in his spare time.

                       SCOTTIE
             What a pleasant hobby.

   He wanders back to the chair and watches her work for a long
   moment. Then:

                       SCOTTIE
             How's your love life, Midge?

                       MIDGE
             That's following a train of thought.

                         SCOTTIE
             Well?

                         MIDGE
             Normal.

                       SCOTTIE
             Aren't you ever going to get married?
VERTIGO    Draft 9-12-1957                           8.


                    MIDGE
                 (Lightly)
          You know there's only one man in the
          world for me, Johnny-O.

                    SCOTTIE
          Yeah, I'm a brute. We were engaged
          once though, weren't we?

                    MIDGE
          Three whole weeks.

                    SCOTTIE
          Ah, sweet college days. But you're
          the one who blew it. I'm still
          available. Available Ferguson. Say,
          Midge, do you remember a guy at
          college named Gavin Elster?

                     MIDGE
          Gavin?   Gavin Elster?   You'd think I'd
          would.   No.

                    SCOTTIE
          I got a call from him today. Funny.
          He dropped out of sight during the
          war, and I'd heard he'd gone East. I
          guess he's back.
                 (he fishes out a slip
                  of paper)
          It's a Mission number.

                    MIDGE
          That's Skid Row ... isn't it?

                      SCOTTIE
          Could be.

                    MIDGE
          He's probably on the bum and wants to
          touch you for the price of a drink.

                    SCOTTIE
          Well, I'm on the bum; I'll buy him a
          couple of drinks and tell him my
          troubles. But not tonight. If you
          won't drink with me, I'll drink alone,
          tonight.
                 (He rises to go)
VERTIGO       Draft 9-12-1957                                    9.


                       MIDGE
             Sorry, old man.    Work.

                        SCOTTIE
             Midge, what did you mean, there's no
             losing it?

                       MIDGE
             What.

                       SCOTTIE
             My ... the acrophobia.

                       MIDGE
             I asked my doctor. He said only
             another emotional shock could do it,
             and probably wouldn't. And you're not
             going to go diving off another rooftop
             to find out.

                       SCOTTIE
             I think I can lick it.

                       MIDGE
             How?

                       SCOTTIE
             I've got a theory. Look. If I can
             get used to heights just a little at
             a time ... progressively see?

   He has been looking about eagerly, sees a low footstool,
   drags it to the center of the room as he speaks.

                       SCOTTIE
             Here, I'll show you what I mean.
             We'll start with this.

                       MIDGE
             That!?!

                       SCOTTIE
             What do you want me to start with --
             the Golden Gate Bridge?

   He has stepped up on the footstool and stands there proudly
   looking up and down.

                       SCOTTIE
             Now. I look up, I look down. I look
             up, I look down. Nothing to it.
VERTIGO          Draft 9-12-1957                                  10.


                          MIDGE
                       (Overlapping)
                Stop kidding. Wait a minute.

   She dashes to the kitchen, returns quickly with a small
   aluminum household ladder.

                          SCOTTIE
                Ah, that's my girl!    Here?

   He steps on the first step.

                          MIDGE
                Step number two.

                             SCOTTIE
             Okay.

   He gets up on the second step and goes through the routine .

                          SCOTTIE
                I look up, I look down.   I look up,
                I look down. I'm going to go right
                out and buy me a nice, tall
                stepladder. Here we go.

   He gets on the top step.

                             MIDGE
                Easy, now.

                          SCOTTIE
                This is a cinch. I look up, I look
                down. I look up --

   And at this moment he makes the mistake of turning and
   looking out through the picture window.

   FROM SCOTTIE'S VIEWPOINT

   We see the depth down to the street below the window.    The
   whole picture begins to weave.

   INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - CLOSEUP

   of Scottie    -- expression of nausea.
VERTIGO       Draft 9-12-1957                                      11.


   FROM SCOTTIE'S VIEW POINT - LONG SHOT

   The weaving view changes to the original scene where the
   ground receded in a rush and the body of the policeman fell
   into space.

   INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - MEDIUM CLOSE
   SHOT

   Scottie's face distorted with agony -- his eyes close and he
   begins to slump. CAMERA PULLS BACK SLIGHTLY as Midge now
   comes into shot, putting up her hands to him to hold him, and
   his weight is on her and his head is slumped, and the joke is
   over.

                       MIDGE
             Johnny!

                       SCOTTIE
                    (Muttering, his face
                     tight, his eyes shut)
             Oh, damn it!   Damn it, damn it --

                                            DISSOLVE:

   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:
VERTIGO       Draft 9-12-1957                                      12.


                       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.
VERTIGO       Draft 9-12-1957                                      13.


                       ELSTER
                    (Nodding)
             I'd like to have lived here then. The
             color and excitement ... the power ...
             the freedom.

   Though be 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.
                       (more)
VERTIGO       Draft 9-12-1957                                      14.


                       SCOTTIE (cont'd)
                    (Pause)
             What's on your mind, Gavin?

   A moment, than 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.
VERTIGO       Draft 9-12-1957                                   15.


                       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.

   Seattle 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?
VERTIGO       Draft 9-12-1957                                   16.


                       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 --
VERTIGO          Draft 9-12-1957                                   17.


                       SCOTTIE
                    (Quickly)
             I can got 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.
VERTIGO       Draft 9-12-1957                                      18.


   The CAMERA SEARCHES with him, passing over the many well-
   dressed women, until it comes to rest on a table for two
   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.
VERTIGO       Draft 9-12-1957                                        19.


   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 Game home. And
             something in the city possessed her.

   As Scottie stares at harp 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.
VERTIGO       Draft 9-12-1957                                          20.


   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:
VERTIGO       Draft 9-12-1957                                      21.


   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.
VERTIGO       Draft 9-12-1957                                      22.


   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.
VERTIGO       Draft 9-12-1957                                      23.


   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.
VERTIGO       Draft 9-12-1957                                      24.


   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, them 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.
VERTIGO       Draft 9-12-1957                                      25.


   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, than she moves on around the path towards
   the exit.
VERTIGO       Draft 9-12-1957                                     26.


   EXT. GRAVEYARD - (DAY) SEMI-CLOSEUP

   Scottie is watching bar 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 a 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

   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:
VERTIGO       Draft 9-12-1957                                      27.


   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 nasegay, 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.
VERTIGO       Draft 9-12-1957                                      28.


   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 bum 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:
VERTIGO       Draft 9-12-1957                                      29.


                       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.
VERTIGO       Draft 9-12-1957                                      30.


   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 storey 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.
VERTIGO       Draft 9-12-1957                                      31.


   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 patted 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 --
VERTIGO       Draft 9-12-1957                                    32.


   By now Scottie has got out his wallet and has shown his
   badge, and the sight of it makes bar 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 --
VERTIGO       Draft 9-12-1957                                        33.


                       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 bar 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, than stares down at the can of olive oil, stares at
   the rubber plant, and waits, and looks up the stairs.

                       MANAGERESS (Her Voice)
                    (Brightly)
             Oh, Mr. Detective! Would you like to
             come and look?

   Scottie starts up the stairs on the ran.
VERTIGO       Draft 9-12-1957                                      34.


   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 a 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.
                       (more)
VERTIGO       Draft 9-12-1957                        35.


                       MIDGE (cont'd)
             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?
VERTIGO       Draft 9-12-1957                                      36.


                       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.
VERTIGO       Draft 9-12-1957                                       37.


                        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....
VERTIGO       Draft 9-12-1957                                    38.


                         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.
VERTIGO       Draft 9-12-1957                                      39.


   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
             Well, what do you think?
   Scottie is troubled, lost in thought.     Pause.
VERTIGO       Draft 9-12-1957                                     40.


                       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)

   Elster and Scottie are seated in the lounge of a San
   Francisco Club - there are one or two members reading
   newspapers, etc., while a waiter moves by in the background
   serving drinks. Elster is studying the reproduction of the
   portrait of Carlotta in the catalogue that Scottie procured
   from the gallery.
VERTIGO       Draft 9-12-1957                                    41.


   The waiter leans in and places two drinks before them.
   Scottie watches Elster, waiting for him, to speak. Finally:

                       ELSTER
                    (With a wan smile)
             You've done well, Scottie.   You're
             good at your job.

                       SCOTTIE
             That's Carlotta Valdes.

                       ELSTER
             Yes.

                       SCOTTIE
             There are things you didn't tell me.

                       ELSTER
             I didn't know where she was going to
             lead you.

                       SCOTTIE
             But you knew about this.

                       ELSTER
             Oh, yes. You noticed the way she does
             her hair.

   He places a finger on the reproduction of the portrait to
   indicate the bun at the back of the neck. Scottie nods.

                       ELSTER
             Something else. My wife, Madeleine,
             has several pieces of jewelry that
             belonged to Carlotta. She inherited
             them. Never wore them, they were too
             old-fashioned...until now. Now, when
             she is alone, she gets them out and
             looks at them handles them gently,
             curiously ... puts them on and stares
             at herself in the mirror ... and goes
             into that other world ... is someone
             else again.

                       SCOTTIE
             Carlotta Valdes was what: your wife's
             grandmother?
VERTIGO       Draft 9-12-1957                            42.


                       ELSTER
             Great-grandmother. The child who was
             taken from her whose loss drove
             Carlotta mad and to her death - was
             Madeleine's grandmother.

                       SCOTTIE
                    (Confidently)
             Well, that explains it. Anyone could
             develop an obsession for the past,
             with a background like that.

                       ELSTER
             But she doesn't know, about her
             background.
                    (As Scottie stares,
                     narrowly)
             She never heard of Carlotta Valdes.

                       SCOTTIE
             Knows nothing of a grave out at
             Mission Dolores, or an old house an
             Eddy Street, or a portrait at the
             Palace of the Legion of Honor?

                        ELSTER
             Nothing.

                       SCOTTIE
             And when she goes to those places...

                       ELSTER
             She is not my wife.

   The two men stare at each other directly, honestly.

                       SCOTTIE
             How do you know all these things she
             doesn't know?

                       ELSTER
             Her mother told me most of then before
             she died. I dug out the rest for
             myself, here.

                       SCOTTIE
             Why did she never tell her daughter?
VERTIGO       Draft 9-12-1957                                     43.


                       ELSTER
             Natural fear. Her grandmother went
             insane and took her own life. And the
             blood is in Madeleine.
                    (Pause)
             Scottie, I ask you to watch her
             closely.

   Scottie raises his glass and drinks slowly, thoughtfully.

                                             DISSOLVE TO:

   EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

   The columns of the courtyard are back lit by the sun. There
   is no sign of life. Near the steps, standing alone and
   empty, is the green Jaguar.

                                             LAP DISSOLVE TO:

   INT. THE ART GALLERY - (LATE AFTERNOON)

   SHOOTING through the columns in the foreground, our view of
   the room is obscured momentarily by an elderly couple moving
   toward the door. They go by to reveal Scottie standing by a
   Rodin sculpture, looking into the room, and far beyond him,
   at the end of the room, Madeleine seated on the bench before
   the portrait staring at it. In her hand, resting at her side
   on the bench, is once again the nosegay. Now she rises and
   approaches the portrait and stands before it, the nosegay
   clasped in her two hands before her, and stares up almost as
   though in votive offering or in prayer. Finally she turns
   and starts toward the entrance. Scottie slips away out of
   sight. Madeleine walks slowly toward the CAMERA.

                                             LAP DISSOLVE TO:

   EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON)

   Madeleine approaches the green Jaguar, gets in, and the car
   starts away. Scottie's car moves into the scene, following,

                                             DISSOLVE TO:

   EXT. SEA CLIFF DRIVE - (LATE AFTERNOON)

   We see the green Jaguar proceeding, the grey sedan at a
   careful distance behind.
VERTIGO       Draft 9-12-1957                                     44.


   Beyond, looking northeast we see the Golden Gate Bridge in
   the late afternoon sun, and Richmond and Berkeley in the
   distance.

                                            DISSOLVE TO:

   INT. SCOTTIE'S CAR - (SUNSET)

   Scottie carefully looking ahead.

   EXT. PRESIDIO DRIVE - (SUNSET)

   Madeleine's car approaches along the drive to the gates of
   the Presidio, and passes through the gates and is swallowed
   by the trees. Scottie's car follows, and it, too, disappears.

                                            DISSOLVE TO:

   EXT. PRESIDIO - (SUNSET)

   The two cars driving along the wooded road.

   INT. SCOTTIE'S CAR - (SUNSET)

   Scottie looking ahead.

                                            DISSOLVE TO:

   EXT. FORT POINT - (SUNSET)

   Scottie's car is traveling down the slope toward the jutting
   point of old Fort Winfield Scott. It comes to a stop in the
   level clearing. The green Jaguar stands there, empty.

   EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

   Scottie gets out of his car and looks off out of picture.

   EXT. BRIDGE - (SUNSET) - LONG SHOT

   Madeleine walking away round the dockside. The vast bridge
   towers above her. She carries the nosegay. Scottie moves
   into the f.g., and makes off in the same direction.
   Madeleine disappears round the corner of the old fort wall.
   Now she is out of sight, we see Scottie quicken his pace as
   he approaches the corner of the fort wall.

   EXT. BRIDGE - (SUNSET) - MEDIUM SHOT

   SHOOTING back, we see Scottie approach the wall and peer
   cautiously around.
VERTIGO          Draft 9-12-1957                                   45.


   EXT. BRIDGE - (SUNSET) - SEMI-LONG SHOT

   From his viewpoint, we see Madeleine standing at the waters'
   edge. She is mechanically tearing off the lace-edged paper
   from the nosegay.

   EXT. BRIDGE - (SUNSET) - CLOSEUP

   Scottie watching her curiously.

   EXT. BRIDGE - (SUNSET) - SEMI-CLOSEUP

   Madeleine lets the paper drift away down to the water. She
   proceeds to unwind the wire around the flowers and begins to
   scatter them an the water.

   CLOSE SHOT OF FLOWERS FLOATING ON THE WATER

   EXT. BRIDGE    - (SUNSET) - CLOSEUP

   Scottie watching Madeleine.

   EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

   The full figure of Madeleine, scattering the rest of the
   flowers. Then she raises her head and stares up at the sky.
   A moment in which her body seem poised, and then she is gone,
   lost to view in the water.

   EXT. DOCKSIDE - (SUNSET) - LONG SHOT

   Scottie dashes around the wall and the CAMERA PANS him to the
   water's edge. He is throwing his coat off.

   EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT

   SHOOTING down into the water, we see Madeleine's upturned
   face as she floats away. She disappears now and again.

   EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

   SCOTTIE, running down the few stone steps towards the water.
   When the water is up to his knees, he swims out towards her.

   EXT. DOCKSIDE - (SUNSET) - CLOSEUP MADELEINE

   Her eyes staring, sinks beneath the water. She is surrounded
   by the scattered flowers. Scottie swims in and grabs her.
VERTIGO       Draft 9-12-1957                                      46.


   EXT. DOCKSIDE - (SUNSET) - CLOSEUP

   As he holds her, the two heads are pressed together. He
   turns and starts to swim back with her. The screen is filled
   with their two heads. Madeleine's staring eyes begin to
   close as she is moved away.

                                              LAP DISSOLVE:

   EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

   We see Scottie coming up some stone steps. He is staggering
   with the weight of Madeleine's water-soaked body and clothes.
   He carries her over towards the green Jaguar.

   EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT

   Resting her for a moment, he throws open the door on the
   passenger's side.

   EXT. DOCKSIDE - (SUNSET)

  Scottie's head is close to hers.     She is now breathing
  heavily.

                       SCOTTIE
                    (whispering)
             Are you all right?

   Her eyes open slowly

                       SCOTTIE
                    (Calling softly)
             Madeleine....

   Her eyes show no sign of recognition or response; they move
   past his face and stare out. The CAMERA SLOWLY MOVES IN
   until her head fills the screen. She stares out as though in
   a trance.

                                              DISSOLVE TO:

   EXT.SCOTTIE'S APARTMENT - (DUSK)

   The empty green Jaguar is drawn up at the curb before the red
   door of a small, well-kept house.

                                              DISSOLVE TO:
VERTIGO       Draft 9-12-1957                                      47.


   INT. SCOTTIE'S APARTMENT - (NIGHT)

   We are in the living room of a comfortable a bachelor
   apartment. There is a picture window that looks up to Coit
   Tower on Telegraph Hill. The room is softly lit. A fire is
   lit in the fireplace; the logs are blazing well, Scottie, in
   a pair of grey trousers and an old sweater, is wandering
   about the room, trying to think things out. Through an open
   door we can see into a small kitchen where Madeleine's
   clothes - all of them - hang, on a cord over the electric
   stove, drying. And through another open door we can see into
   the bedroom where Madeleine lies, in the larger-than-single
   bed, under the covers, asleep. She sighs and turns
   restlessly, and Scottie glances at her from the living-room
   as he wanders, and then she turns again, and the sigh becomes
   words, spoken in sleep, and he stops, and listens.

                       MADELEINE
                    (Faintly, distantly)
             Please ... thank you ... please....

   Scottie waits, taut, but there is no more. He starts to turn
   away and suddenly, still distant, but more clearly:

                       MADELEINE
                    (Appealingly)
             Where is my child? ... have you seen
             my child...?

   Scottie stiffens with the shock of recognition and his eyes
   go wide with apprehension staring at the lost, eye-closed,
   troubled woman in the bed. And at that moment the telephone
   on the bedside table rings sharply. He makes a dash for it.
   The ringing brings the woman to with a sharp start, and she
   instinctively clutches the bedclothes to her chin and raises
   up a little and stares with wide-eyed fright at the man
   running towards her. Scottie takes the phone.

                       SCOTTIE
             Yes? ... No, it's all right; I'll call
             you back. Yes. Yes!

   He hangs up, and tries to smile down at Madeleine, who has
   not moved, but has followed his every move with fright and
   apprehension.

                       SCOTTIE
             Are you all right?
VERTIGO       Draft 9-12-1957                                      48.


   No answer, only the eyes staring at him. And then he
   realizes, with some embarrassment, that she cannot move, that
   she is naked under the bedclothes, and he reaches across to
   the dressing gown he has laid out for her on the bed, and
   moves it closer to her.

                       SCOTTIE
             Oh ... you'll want this....

   He gives her a reassuring nod and smile, straightens up and
   goes to the door, and goes into the living room, closing the
   bedroom door behind him. And she stares after him as he goes.

   In the living room, he moves to the fireplace, puts another
   log on, and watches it catch. The bedroom door behind him
   opens, and he turns to face Madeleine.

   She has the dressing gown belted tightly around the middle
   and holds it together with one band at her breast. And she
   stands there staring at him nervously, frightened, not
   wanting to admit that she does not know how she came there,
   but wanting very much to know. And she cannot help herself:
   knowing her own fears, she has to ask.

                       MADELEINE
             Why am I here? What happened?

                       SCOTTIE
             You....
                    (Then, not liking the
                     sound of the truth)
             .... fell into the Bay.

  She puts a hand slowly to her hair, understanding now why it
  is wet.

                       SCOTTIE
             I dried your hair as well as I could.
             But you'd better come here by the fire.

   And now, knowing that he dried her hair, she realizes that he
   must have taken her clothes off, too, and she looks down at
   her body with deep awareness of her nakedness, and draws the
   dressing gown more closely to her, and looks back at him with
   frightened embarrassment. And her head begins to move
   quickly, the eyes darting about the apartment as though
   seeking a way of escape, and she sees the clothes hanging in
   the kitchen. And she looks back to Scottie appealingly.
VERTIGO        Draft 9-12-1957                                     49.


                        SCOTTIE
              They're almost at dry. Here.     Why
              don't you come over here?

   He pulls a low-stool over before the fire. Madeleine crosses
   slowly, keeping her eyes always on him, and sinks down on the
   stool. He smiles a at her companionably.

                        SCOTTIE
              Would you like some coffee?

   She shakes her head.

                        SCOTTIE
              You'd better have some.    Or would you
              rather have a drink?

   She shakes her head again. He pours a cup of coffee and
   places it on the floor next to her, along with a bowl of
   sugar cubes.

                        MADELEINE
                     (Wonderingly)
              ...fell into the bay....

   She looks up at him.     He nods.

                        MADELEINE
              ... and you fished me out...

   He nods.   She gives him a small grateful smile.

                           MADELEINE
              Thank you.

   Scottie is watching her intently.

                        SCOTTIE
              You don't remember.

                           MADELEINE
              No...

                        SCOTTIE
              Do you remember where you were?

                        MADELEINE
                     (Childishly surprised)
              Oh, of course I remember that! But
              then I must have had a dizzy spell,
              and fainted!
VERTIGO       Draft 9-12-1957                                    50.


                       SCOTTIE
                    (Quickly)
             Where were you?

                        MADELEINE
             At....

   For that one slight, imperceptible moments it may seem that
   she is caught, but then she goes on.

                       MADELEINE
                    (Triumphantly)
             ....Old Port Point! Out at the
             Presidio! Of course I remember!   I
             often go there!

                        SCOTTIE
             Why?

                       MADELEINE
                    (Almost naively)
             Because I love it so. It's beautiful
             there. Especially at sunset.
                    (She leans her head
                     back sensually to
                     the warmth)
             Ah ... thank you for the fire.

                       SCOTTIE
             Where had you been before?

                        MADELEINE
             When?

                       SCOTTIE
             This afternoon.

                       MADELEINE
             Oh ... wandering about.

                        SCOTTIE
             Where?   Where had you been just before?
   There is a quick moment of blankness in her eyes that she
   tries to hide, and then:

                       MADELEINE
                    (Positively)
             Downtown, shopping.

   And Scottie sighs inwardly, having proved something.
VERTIGO       Draft 9-12-1957                                      51.


                       SCOTTIE
             Please drink your coffee.

                       MADELEINE
             I will. You're terribly direct in
             your questions.

                          SCOTTIE
             I'm sorry.     I didn't mean to be rude.

                       MADELEINE
             You're not. Merely direct. What were
             you doing there? At Old Fort Point?

                       SCOTTIE
             Wandering about.

                       MADELEINE
             You like it, too.

   He nods. She smiles at him happily, enjoying the warmth and
   the coffee, enjoying his presence, seemingly almost to have
   forgotten her nearness to death. And Scottie is fascinated
   by this thing curled up before his fire.

                        MADELEINE
                     (Then with a wicked
                      smile)
             And where had you been? ... just
             before?

   A moment, as Scottie takes a deep breath, and then he decides
   to chance it and see the reaction.

                       SCOTTIE
             The Palace of the Legion of honor.
             The Art Gallery.

                       MADELEINE
                    (Enthusiastically)
             Oh, that's a lovely spot, isn't it?
             I've never been inside. But it looks
             so lovely, driving past.

   At the words, "I've never been inside," Scottie is startled.
   He stares at her, and she looks at him with naive, happy
   inquisitiveness, and their looks are joined. Finally she
   drops her eyes and smiles timidly.
VERTIGO       Draft 9-12-1957                                      52.


                       MADELEINE
                    (Softly)
             Lucky for me you were wandering about.
             Thank you again. I've been terrible
             bother to you.

                          SCOTTIE
             No.

   She reaches up to feel her hair.

                       MADELEINE
             When you ...
                    (And suddenly
                     conscious of her
                     nakedness again, and
                     embarrassed)
             There were pins in my hair....

                          SCOTTIE
             Oh!   Yes!    Here!

   He crosses the room swiftly, picks up an ash tray in which he
   had deposited her hairpins, takes her handbag from a chair,
   and brings them to her.

                          MADELEINE
             Thank you.

   She proceeds to do up her hair. He watches her, held by the
   movement of her body under the dressing gown as she raises
   her arms and deftly sets about putting her hair in order. At
   one point, as she works, she looks up and flashes him a
   direct smile.

                       MADELEINE
             You shouldn't have brought me here,
             you know.

                       SCOTTIE
             I ... didn't know where you lived.

                       MADELEINE
             You could have looked in my car. Oh,
             but you didn't know my car, did you?

                       SCOTTIE
             Yes, I knew which one it was. It's
             out there, now. But I didn't think
             you'd want to be brought home that way.
VERTIGO        Draft 9-12-1957                                 53.


                         MADELEINE
              No, you are right,
                      (Pause, as she works)
              I'm glad you didn't take me home ...
              I wouldn't have known you, to thank
              you ...
                      (Suddenly appalled)
              Oh, but I don't know you! And you
              don't know me! My name is Madeleine
              Elster.

                        SCOTTIE
              My name is John Ferguson.

                        MADELEINE
              That's a good, strong name. Do your
              friends call you John? Or Jack.

                        SCOTTIE
              John. Old friends.   Acquaintances
              call me Scottie.

                        MADELEINE
                     (Smiling)
              I shall call you Mr. Ferguson.

                        SCOTTIE
                     (Grinning)
              No, I wouldn't like that. And after
              what happened today I should think you
              could call me Scottie. Or even John.

                        MADELEINE
              I prefer John. There, that's done.
                     (The hair is in order)
              And what do you do, John?

                        SCOTTIE
              Wander about.

                        MADELEINE
              That's a good occupation.   And live
              here ... alone?

   He nods.   A cloud comes over her eyes.   She looks away.

                        MADELEINE
                     (softly)
              One shouldn't live alone.
VERTIGO       Draft 9-12-1957                                       54.


                       SCOTTIE
             Some people prefer it.

                       MADELEINE
             No ... it's wrong.

   Then she looks up with a small smile, and the cloud is gone
   from her eyes, and she speaks completely matter-of-factly.

                       MADELEINE
                    (Simply)
             I'm married, you know.

   Scottie nods almost imperceptibly with his eyes.   He looks at
   her for a long moment. Then:

                       SCOTTIE
             Will you tell me something? Has this
             ever happened to you before?

                        MADELEINE
                     (startled)
             What?

                       SCOTTIE
             ...Falling ... into San Francisco Bay?

   She laughs with relief, for it seemed to her, for a quick
   moment, that he was going to say "falling in love".

                       MADELEINE
             No, never before. I've fallen into
             lakes, out of rowboats, when I was a
             little girl. And I fell into a river,
             once, trying to leap from one stone to
             another. But I've never fallen into
             San Francisco Bay. Have you? Ever
             before?

                       SCOTTIE
                    (Grinning)
             No ... this is the first time for me,
             too.

   And they laugh together, with genuine warmth and friendliness
   in their eyes, and it is obvious they are very much taken
   with each other. And as they laugh, simultaneously, she
   reaches for the cup of coffee, to take another sip, and he
   reaches for it, meaning to take it and refill it.
VERTIGO       Draft 9-12-1957                                      55.


                       SCOTTIE
             Here, let me give you a lit --

   And his hand falls on her outstretched arm and stays there,
   and with the contact made, the laughter dies suddenly, and he
   is looking down at her intently, and their eyes have met, and
   hers are anxious and wondering. And at that moment, the
   telephone rings sharply. Scottie races into the bedroom,
   closing the door behind him, and gets to the phone.

                       SCOTTIE
             Hello.

                        ELSTER'S VOICE
             Scottie, what happened? She's not
             home, yet.

                       SCOTTIE
             No, she's all right. She's still
             here. But I'll get her home soon.

                       ELSTER'S VOICE
              What happened?

                       SCOTTIE
             She ... went into the Bay.

   There is a long silence.

                       SCOTTIE
             Hello?

                       ELSTER'S VOICE
              Did she hurt herself?

                       SCOTTIE
             No. She's in fine shape. Nothing to
             worry about. But she doesn't know.
             You understand that. She doesn't know
             what she did.

   Another long silence.

                       ELSTER'S VOICE
             Scottie ... Madeleine is twenty-six.
             Carlotta Valdes committed suicide when
             she was twenty-six.

   And now it is Scottie's turn to be silent. He hangs up
   slowly and moves across the room to the door.
VERTIGO       Draft 9-12-1957                                     56.


   INT. THE LIVING ROOM - (NIGHT)

   Scottie enters from the bedroom, and stops, surprised. The
   room is empty. The clothes are gone from the in the kitchen.

   EXT. STREET OUTSIDE SCOTTIE'S APARTMENT - (NIGHT)

   A car is moving down the hill on the opposite side of the
   street. It begins to turn in toward the sidewalk and then
   comes to a sudden stop.

   EXT. SCOTTIE'S APARTMENT - (NIGHT) - CLOSEUP

   Midge is behind the wheel. She is staring out of the side of
   the window and we see what has made her come to a sudden stop.

   EXT. SCOTTIE'S APARTMENT - (NIGHT)

   From Midge's point of view; Madeleine, outside Scottie's
   door, hurries to the green Jaguar.

   INT. MIDGE'S CAR - (NIGHT)

   Midge watches Madeleine almost wistfully, and there is a
   small look of hurt in her eyes. But even to herself she has
   to cover, and she smiles ironically.

   EXT. SCOTTIE'S APARTMENT - (NIGHT)

   The Jaguar pulls away and passes out of view.

   INT. MIDGE'S CAR - (NIGHT)

   Midge is still staring across at Scottie's house, and the
   soft smile on her lips covers the hurt well. But there is
   still a shadow of it in her eyes.

                       MIDGE
                    (Softly)
             well, now, Johnny-O ... Was it a
             ghost? ... And was it fun?....

   Then she suddenly changes expression.

                       MIDGE
             Oops!

   She takes her foot off the brake, and turning hard on the
   wheel, straightens the car up and drives on.
VERTIGO       Draft 9-12-1957                                     57.


   EXT. SCOTTIE'S APARTMENT - (NIGHT)

   The door to Scottie's apartment has opened, and Scottie
   stands in the doorway looking up and down the street for the
   Jaguar, his tall frame silhouetted in the light streaming
   from the room.

                                            DISSOLVE TO:

   EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT

   The CAMERA is SHOOTING through the stone gateway across the
   small courtyard toward the front door of the apartments. We
   see Madeleine emerge. She is dressed completely different
   from the night before. She makes her way down to the Jaguar
   in the f.g. She gets in, starts up and swings the car round
   toward the CAMERA. She passes out of the picture.

   EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT

   Across the street, we see Scottie's sedan pull out and also
   approach the CAMERA. It too, passes out of the picture.

   INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

   Scottie sitting at the wheel driving ahead. His eyes are
   satisfied. They hold Madeleine's car in view.

   EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

   We see the Jaguar ahead. It turns a left down another
   street. It goes for a block and turns right. Then it turns
   left again, than it turns right, then it turns left again.

   INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

   Scottie looks a little dizzy with the constant turning. We
   stay with him a little while and we can see from the scene
   behind him, that we are still turning left and right.

   EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

   The Jaguar speeds up. It's going down a street, not turning
   any more. A few blocks off, we can see the Coit Tower coming
   into view.

   INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

   Scottie seem a little mystified now, as the direction in
   which she is going.
VERTIGO       Draft 9-12-1957                                     58.


   EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT

   The Jaguar turns right into a narrow curving street and
   finally comes to a sudden stop ahead.

   INT. SCOTTIE'S CAR - (DAY) - CLOSEUP

   Scottie now wears a look of great astonishment, as he pulls
   up hurriedly in the middle of the street.

   EXT. SAN FRANCISCO STREET - (DAY) - SEMI-LONG SHOT

   From his viewpoints, we see the reason for his astonishment.
   Madeleine has alighted and is approaching, of all places,
   toward his own red front door.

   EXT. SAN FRANCISCO STREET - (DAY) - MEDIUM SHOT

   Scottie pulls his car over to the curb and gets out. The
   CAMERA PANS him down. He stops short just before he reaches
   Madeleine, to see her take a letter from her handbag and put
   it into his letter box. He moves up to her.

                       SCOTTIE
             Is that for me?

   Madeleine turns quickly, startled, and then sees who it is,
   and smiles.

                          MADELEINE
             Oh!   Yes.    Hello.

                        SCOTTIE
             Good morning. I worried about you,
             last night. You shouldn't have run
             like that.

                       MADELEINE
                    (Embarrassed)
             I ... suddenly felt such a fool.

                        SCOTTIE
             I wanted to drive you home.   Are you
             all right?
VERTIGO       Draft 9-12-1957                                    59.


                       MADELEINE
                    (Flashing a smile)
             Oh, yes. Fine. No after effects.
                    (Then, ruefully)
             But as I remember now, that water was
             cold, wasn't it?
                    (He nods. She looks
                     away)
             What a terrible thing to do ... and
             you were so kind...
                    (With a gesture)
             It's a formal thank-you letter. And
             a great big apology.

                       SCOTTIE
             You've nothing to apologize for.

                       MADELEINE
             Oh, yes! The whole thing must have
             been so embarrassing for you!

                       SCOTTIE
             Not at all, I enjoyed --

   And he stops short, now truly embarrassed, and she looks at
   him with wide eyes, waiting for him to go on.

                       SCOTTIE
             -- talking to you...

                       MADELEINE
                    (With small,
                     contained amusement)
             I enjoyed talking to you.

   An awkward pause. Scottie turns abruptly to the door,
   getting out his key.

                       SCOTTIE
             I'll get my mail....

   He opens the door and bends down to pick up the letter. As
   he is reaching for it, he turns his head and speaks almost
   without thinking.

                       SCOTTIE
             Would you like some coffee?

                        MADELEINE
                     (Quickly)
             No!   No, thank you!
VERTIGO       Draft 9-12-1957                                     60.


   She says it so impulsively, and with such young vehemence,
   that they both start to laugh. He straightens up and opens
   the letter.

                       MADELEINE
             I couldn't mail it; I didn't know
             your address. But I had a landmark.
             I remembered Coit Tower and it led me
             straight to you.

                       SCOTTIE
             The first time I've been grateful for
             Coit Tower.

   He reads the letter as she watches him.   He looks up.

                       SCOTTIE
             I hope we will, too.

                         MADELEINE
             What?

                       SCOTTIE
             Meet again, sometime.

                         MADELEINE
             We have.

   They smile at one another, and there is a nice moment of
   silent rapport. Then:

                         MADELEINE
             Good-bye.

                         SCOTTIE
             Good-bye.

   She turns and goes to her car as he stands watching her, and
   gets in behind the wheel.

                       SCOTTIE
                    (Suddenly walking)
             Where are you going?

   And he races to the car and leans in the window. She watches
   him, open-mouthed, as he crosses the sidewalk. Then:

                       MADELEINE
             I don't know.
VERTIGO       Draft 9-12-1957                                    61.


                         SCOTTIE
             Shopping?

                         MADELEINE
             No.

                       SCOTTIE
             Well ... anywhere in particular?

                       MADELEINE
             No, I Just thought I'd wander.

                         SCOTTIE
             Ah.
                    (Then)
             That's what I was going to do.

                       MADELEINE
             Oh, yes, I forgot: It's your
             occupation, isn't it?

   And she waits with a small smile.

                       SCOTTIE
             Don't you think it's sort of a waste
             for the two of us to...

                       MADELEINE
             Wander separately? Ah, but only one
             is a wanderer. Two, together, are
             always going somewhere.

                       SCOTTIE
             No ... no, I don't think that's
             necessarily true.

   And now he waits, hopefully.

                       MADELEINE
                    (With a smiling nod)
             You left your door open.

   He turns his head, startled and annoyed, than makes a dash
   for the door. As he goes, he turns his head to call back to
   her.

                       SCOTTIE
             Don't move!
VERTIGO       Draft 9-12-1957                                      62.


   And he hurries on to the door. She watches him go, and we
   are close on her face to see her genuine amusement, and then
   the laughter fades a little, and a troubled look comes into
   her eyes, a touch of concern.

                                               DISSOLVE TO:

   EXT. ALONG SKYLINE - (DAY) - LONG SHOT

   The green Jaguar moving south.

   INT. THE JAGUAR - (DAY)

   Madeleine is at the wheel, her eyes intent on the road, a
   sort, happy smile on her lips. Scottie is at her side,
   relaxed. He keeps looking at her as often as he can without
   seeming obvious.

                       SCOTTIE
                    (Finally)
             Do you know where you're going?

                       MADELEINE
             Of course not! I'm a wanderer!
                    (Pause. Then brightly)
             I'd like to go somewhere I've never
             been!

                       SCOTTIE
             How can you be sure?

                       MADELEINE
             If I've been there? That's silly!
             Either you've been to a place or you
             haven't.

   She flashes a quick smile of innocence at him, then returns
   her eyes to the road. He looks at her profile, wondering.

   EXT. SKYLINE DRIVE - (DAY) - HIGH SHOT

   The car turns a bend and approaches dark woods and moves into
   the blackness and is swallowed up.

                                               DISSOLVE TO:

   BIG BASIN REDWOODS STATE PARK - (DAY)

   The empty Jaguar in the foreground.   The CAMERA MOVES to a
   long view of the grove of redwoods.
VERTIGO       Draft 9-12-1957                                    63.


   In the distance we see the figures of Madeleine and Scottie
   wandering among the towering trees.

                                              DISSOLVE TO:

   EXT. THE REDWOODS - (DAY)

   Madeleine and Scottie near the massive trunk of a tree.
   Beyond them, the small stream, bridged by a wide flattened
   redwood log.

                        MADELEINE
             How old?

                       SCOTTIE
             Oh ... some, two thousand years, or
             more.

                       MADELEINE
             The oldest living things?

   Scottie nods and watches her, wondering, as she looks about
   thoughtfully.

                       SCOTTIE
             You've never been here before.

   She shakes her head, lost in thought as she lets her gaze
   wander among the trees.

                       SCOTTIE
             What are you thinking?

                       MADELEINE
                    (Searching)
             Of all the people who have been born
             ... and have died ... while the trees
             went on living.

                        SCOTTIE
                     (Agreeing)
             Their true name is Sequoia
             Sempervirens: always green, ever-
             living.

                       MADELEINE
                    (Flatly)
             I don't like them.

                        SCOTTIE
             Why?
VERTIGO       Draft 9-12-1957                                      64.


                       MADELEINE
                    (Simply)
             Knowing I have to die....

   She looks up at him with a shy, embarrassed smile. Then,
   seeing the wandering look in his eyes, she brightens quickly.

                       MADELEINE
             But I like the stream!   It's a lovely
             stream!

   She leaves him and moves quickly out onto the bridge and
   loans on the railing to watch the water rippling below. And
   then, as he approaches her, she turns and looks at him, wide-
   eyed.

                       MADELEINE
             But it makes no sound!   Listen!

   She listens intensely for a long moment, and looks at him
   anxiously.

                       MADELEINE
             Do you hear anything?

                       SCOTTIE
                    (Shaking his head)
             Only silence. It's always like this.

                       MADELEINE
                    (Wondering)
             And no birds sing.

                       SCOTTIE
             No birds live here.

                       MADELEINE
             No.

   She turns away with gentle, somber, self-contained wonder,
   and they cross back to the path in silence, and wander on
   along the path in silence. We watch them move away in the
   distance, disappear behind a tree, then come into view again,
   and now there comes into view the cross-section of a redwood
   tree that is on exhibit, with certain of its rings marked to
   show what it has lived through, and they approach it.

                       SCOTTIE
             Would you like a drink of water?
VERTIGO       Draft 9-12-1957                                      65.


                       MADELEINE
             No, thank you.

   Scottie moves to the small upright drinking fountain as
   Madeleine approaches the tree section and stands before it
   and studies it. Scottie gets a drink of water, then comes up
   behind Madeleine and stands, and she is seemingly unaware of
   his presence. Their backs are to the CAMERA.

   INSERT OF RINGS on the tree, marked with dates, beginning,
   near the center with the date 909 A.D. and ending with
   1930 - tree cut down.

   EXT. RED WOODS - (DAY) - CLOSE SHOT

  We see the two profiles: Madeleine staring at the tree,
  Scottie staring at Madeleine. She raises one gloved hand and
  almost idly begins to trace a finger up along the white line
  that is marked: 1776 DECLARATION OF INDEPENDENCE. And as the
  hand moves a little to the left, Madeleine begins to speak,
  almost vacantly, oblivious of all but this piece of tree, and
  herself.

                       MADELEINE
             Somewhere in here I was born ... and
             here I died and it was only a moment
             for you ... you took no notice....

                        SCOTTIE
                    (Almost sharply)
             Madeleine!

   She turns her head to him, only now aware of his presence,
   and stares at him without expression. Then slowly she turns
   and walks away, and the CAMERA, PANNING HER SLIGHTLY, brings
   the head and shoulders of Scottie into the foreground, and he
   watches her, wondering anxiously, trying to put things
   together in his mind. Madeleine walks on until she
   disappears behind one of the distant redwoods.

   EXT. RED WOODS - (DAY) - MEDIUM SHOT

   Scottie moves over, watching her.

   EXT. RED WOODS - (DAY) - LONG SHOT

   The CAMERA MOVES OVER as though it is Scottie looking. It
   MOVES far enough to reveal that Madeleine is no longer there.
   She seems to have disappeared.
VERTIGO       Draft 9-12-1957                                      66.


   EXT. RED WOODS - (DAY) - MEDIUM SHOT

   Scottie comes forward, the CAMERA PANNING him, to get a
   better view of where Madeleine went.

   EXT. RED WOODS - (DAY) - SEMI-LONG SHOT

   The CAMERA in Scottie's position, moving around, shows that
   there is no sign of Madeleine whatsoever.

   EXT. RED WOODS - (DAY) - MEDIUM SHOT

   The CAMERA DOLLIES Scottie down toward the trees.

   EXT. RED WOODS - (DAY) - SEMI-LONG SHOT

   CAMERA is now among the trees where Madeleine was last seen.
   As it TRAVELS across them, it finally brings her into view.
   She's leaning against a tree with her head bent back.

   EXT. RED WOODS - (DAY) - CLOSEUP

   Scottie comes to a stop as he sees her.

   EXT. RED WOODS - (DAY) - CLOSEUP

   Madeleine leaning against the tree. Her eyes are closed and
   she is breathing heavily. In the background we see Scottie
   approaching her. As he comes up to her, the CAMERA EASES
   BACK and MOVES AROUND until it faces her and Scottie.

                       SCOTTIE
                    (Gently)
             Madeleine....

   She opens her eyes slowly, and looks at him, recognizing him,
   and yet not quite, as though she were slightly hypnotized.
   Scottie speaks gently.

                       SCOTTIE
             Where are you now?

                       MADELEINE
                    (Softly, distantly)
             Here with you.

                       SCOTTIE
             Where?

                       MADELEINE
             The tall trees....
VERTIGO       Draft 9-12-1957                                     67.


                       SCOTTIE
             Have you been here before?

                          MADELEINE
             Yes....

                          SCOTTIE
             When?

   She shakes her head.

                       SCOTTIE
             Where were you born?

                       MADELEINE
             Long ago....

                          SCOTTIE
             Where?

   She shakes her head.

                          SCOTTIE
             When?

   Her head continues to move back and forth, gently denying.
   His voice is more positive, now, more urgently demanding.

                          SCOTTIE
             Tell me.

   The head moves more rapidly, now, as though denying some
   inner compulsion.

                          SCOTTIE
             Madeleine!     Tell me!

   The rapidly moving head stops short, and her eyes open wide,
   and she cries out:

                       MADELEINE
             No! ... No!

                       SCOTTIE
                    (Low and urgent)
             Tell me what it is. Where do you go?
             What takes you away?

                       MADELEINE
             No, don't ask me!
VERTIGO       Draft 9-12-1957                                     68.


   They are both speaking quickly, now, the words cascading
   without pause.

                       SCOTTIE
             When you jumped in the bay, you didn't
             know where you were. You guessed but
             you didn't know.

                       MADELEINE
             I didn't jump, I fell!    You told me I
             fell!

                       SCOTTIE
             Why did you jump?

                        MADELEINE
             No!

                       SCOTTIE
             What was it inside that told you to
             jump?

   She is fighting it strongly, yet pathetically.

                       MADELEINE
             No, I can't tell you!

                        SCOTTIE
             What?!

                       MADELEINE
                    (Strongly)
             No! Please! Please, please, please,
             please, don't ask me!

   And her head drops, and she sags, and Scottie stands quietly
   watching her, knowing he can push it no further.

                       MADELEINE
                    (Softly, tired)
             Take me away from here?

                        SCOTTIE
             Home?

                       MADELEINE
             ...somewhere in the light.

   He takes her arm.   She looks up at him with a tired smile.
VERTIGO         Draft 9-12-1957                                    69.


                         MADELEINE
               And promise you won't ask me again.
               Please promise me that.

   He looks down at her somberly, promising and refusing
   nothing. They start walking, holding together, and the two
   figures become small in the distance, moving away through the
   tall trees.

                                               DISSOLVE TO:

   EXT. CYPRESS POINT OR POINT LOBOS - (DAY) SAME DAY.

   Below the point of land, the sea pounds against the rocks.
   Madeleine stands alone, silhouetted against the sky. Scottie
   sits in the car, watching her. She does not move. Then
   slowly she starts to walk toward the sea, and as he watches
   he senses, without being sure, that her pace is increasing,
   and suddenly he opens the car door and jumps out and slams
   the door and begins to run. But then he sees something, and
   slows down quickly and walks, for Madeleine has stopped and
   turned and is waiting for him. There is a gentle, apologetic
   smile in her eyes. She waits, and he comes to a stop before
   her.

                         MADELEINE
               Why did you run?

   He looks down at her searchingly.

                         SCOTTIE
                      (Finally, quietly)
               I'm responsible for you now, you know.
               The Chinese say that once you have
               saved someone's life, you are
               responsible for it forever. And so
               I'm committed. And I have to know.

                         MADELEINE
               And you'll go on saving me?   Again and
               again?

   He waits.   She looks down.
VERTIGO         Draft 9-12-1957                         70.


                         MADELEINE
               There is so little I know. It is as
               though I were walking down a long
               corridor that once was mirrored, and
               fragments of mirror still hang there,
               dark and shadowy, reflecting a dark
               image of me ... and yet not me ...
               someone else, in other clothes, of
               another time, doing things I have
               never done ... but still me ... And I
               can't stop to ask why, I must keep on
               walking. At the and of the corridor
               there is nothing but darkness, and I
               know when I walk into the darkness,
               I'll die.
                      (Pause; she looks up)
               But I've never come to the and; I've
               always come back, before then. Except
               once.

                            SCOTTIE
               Yesterday.

   She nods.

                         SCOTTIE
               And you didn't know. You didn't know
               what happened. Until you found
               yourself there with me.

   She shakes her head.

                         SCOTTIE
               You don't know where you were.

   She shakes her head.

                         SCOTTIE
               But the small scenes, the fragments in
               the mirror: you remember them.

                         MADELEINE
               Vaguely....

                         SCOTTIE
               What do you remember?

                         MADELEINE
                      (Searching)
               A room ... there is a room, and I sit
               there alone ... always alone....
VERTIGO    Draft 9-12-1957                         71.


                    SCOTTIE
          Would you know the room?

                    MADELEINE
          No ... it's in shadow.

                       SCOTTIE
          What else?

                    MADELEINE
          A grave....

                       SCOTTIE
          Where?

                    MADELEINE
          I don't know. An open grave. I stand
          by the gravestone looking down into
          it. And it's my grave.

                    SCOTTIE
          How do you know?

                       MADELEINE
          I know.

                    SCOTTIE
          There's a name on the gravestone.

                     MADELEINE
          No.   It's new and clean, and waiting.

                     SCOTTIE
                 (Beginning to feel
                  lost)
          What else?

                    MADELEINE
                 (Searching)
          This part is dream, I think. There is
          a tower and a bell and... a garden
          below ... but it seems to be in Spain
          ... a village in Spain. And then it
          clicks off, and is gone.

                    SCOTTIE
          A portrait? Do you ever see a
          portrait?

                       MADELEINE
          No.
VERTIGO       Draft 9-12-1957                                      72.


                       SCOTTIE
             Of the woman in the mirror.   Would you
             know her if you saw her?

                       MADELEINE
             But I'm the woman in the mirror!

                       SCOTTIE
                    (Desperately)
             No!

   She looks up at him, rebuffed, desperately lost, and her eyes
   well with tears. Scottie is looking away, lost in thought.

                       SCOTTIE
                    (To himself)
             If I could find the key ... find the
             beginning put it together....

                       MADELEINE
                    (Quietly, lost)
             And so explain it away? But there is
             a way to explain it, you see. If I'm
             mad? That would explain it, wouldn't
             it?

   Scottie looks at her, and her eyes are big with fright and
   despair and a plea for denial, and suddenly she breaks, and
   the tears flow, and she turns her head away sharply and turns
   and runs toward the edge of the land.

                       SCOTTIE
             Madeleine!!

   He races after her and catches her and holds her, and she is
   against him, clinging tightly, deep in his embrace, and
   sobbing fiercely.

                       MADELEINE
                    (Muffled, against his
                     breast)
             I'm not mad. I'm not mad. And I
             don't want to die, but there's someone
             inside me, there's a somebody else,
             and she says I must die ... Scottie,
             don't let me go!

                       SCOTTIE
             I'm here, I've got you....
VERTIGO       Draft 9-12-1957                                      73.


                       MADELEINE
             I'm so afraid...
                    (She looks up)
             ...you won't let it happen....

   Her face is close to his and they are clinging tightly
   together. He shakes his head, and then suddenly his mouth is
   on hers, and they are deep in a kiss. Their lips part, but
   remain close together.

                       MADELEINE
                    (Whispering)
             Don't leave me ... stay with me...

                       SCOTTIE
             All the time.

   They kiss again, passionately. And the wind blows and the
   waves dash against the rocks, throwing up a curtain of spray.

                                              DISSOLVE TO:

   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?
VERTIGO       Draft 9-12-1957                                       74.


   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?
VERTIGO       Draft 9-12-1957                                     75.


                       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.
VERTIGO       Draft 9-12-1957                                     76.


                       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.
VERTIGO       Draft 9-12-1957                                      77.


   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!!!!!
VERTIGO       Draft 9-12-1957                                      78.


   And she picks up a brush and with three vicious daubs paints
   a moustache and a board on her image. Than 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....
VERTIGO       Draft 9-12-1957                                     79.


   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 --
VERTIGO       Draft 9-12-1957                                      80.


                       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!
VERTIGO       Draft 9-12-1957                                      81.


                       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, she 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....
VERTIGO         Draft 9-12-1957                                          82.


   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.
VERTIGO       Draft 9-12-1957                                      83.


   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.
VERTIGO       Draft 9-12-1957                                      84.


   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)

   The dark interior of the Livery Stable. The figures of
   Scottie and Madeleine are seen a little way in. Madeleine is
   seated in a surrey, while Scottie stands by her.

   INT. LIVERY STABLE - (DAY)

   Madeleine's eyes are closed. Scottie, leaning against the
   surrey, looks up at her intently. After moment he calls to
   her softly.

                       SCOTTIE
             Madeleine...?

   She opens her eyes and looks down at him.

                       SCOTTIE
             Where are you now?
VERTIGO       Draft 9-12-1957                                     85.


   She smiles at him gently.

                       MADELEINE
                    (Softly)
             Here with you.

                       SCOTTIE
             And it's a all real.

                       MADELEINE
             Yes.

                        SCOTTIE
                     (Firmly)
             Not merely as it was a hundred years
             ago. As it was a year ago, or six
             months ago, whenever you were here to
             see it.
                     (Pressing)
             Madeleine, think of when you were here!

   She looks down at him with, a worried, regretful smile,
   wishing she could help him. Then she looks away into the
   distance, and speaks almost at irrelevantly.

                       MADELEINE
                    (Dreamily)
             There were not so many carriages,
             then. And there were horses in the
             stalls; a bay, two black, and a grey.
             It was her favorite place, but we were
             forbidden to play here, and Sister
             Teresa would scold us....

  Scottie looks up at her in desperation, then looks about the
  stable for help. His look scans the carriages and wagons
  lined against the wall, goes past the old fire truck on which
  there is a placard proclaiming the world's championship of
  1884, and finally stops at a small buggy -- a Bike Wagon --
  to which is hitched a full-sized model of a handsome grey
  horse.

                       SCOTTIE
             Well, now, here!

   He races to the horse. On it hangs a sign: "Greyhound
   World's Greatest Trotter."
VERTIGO       Draft 9-12-1957                                      86.


                       SCOTTIE
             Here's your grey horse! Course he'd
             have a tough time getting in and out
             of a stall without being pushed, but
             still ... You see? There's an answer
             for everything!

   He looks across to Madeleine eagerly.   She is staring ahead,
   lost in the past.

                          SCOTTIE
             Madeleine!     Try!

   No answer. The music is more insistent, now, a pulling
   wind,, and the faint voices call more clearly. Madeleine
   slowly rises to her feet as though sensing the call. Scottie
   moves back to her and stands there looking up. He raises his
   arms, she puts her bands on his shoulders and slips to the
   ground with his help, and he is holding her. Their heads are
   close together.

                       SCOTTIE
             Madeleine, try ... for me....

   With a small movement, their lips come together, and they
   kiss; not impulsively, as before, but with deep, sure love
   and hunger for each other. Their lips part, but he still
   holds her tightly, his head pressed down against hers, and
   she is looking past him, her eyes wide with anxiety. And a
   clock strikes the three-quarter hour.

                       SCOTTIE
             My love ... because I love you.

                        MADELEINE
                     (Whispering)
             I love you too ... too late ... too
             late...

                       SCOTTIE
             No ... we're together....

                       MADELEINE
             Too late ... there's something I must
             do....

   He holds her gently, now; brushes his lips along her to her
   eyes, down to her mouth.
VERTIGO       Draft 9-12-1957                                    87.


                       SCOTTIE
                    (murmuring)
             Nothing you must do ... no one
             possesses you ... you're safe with me
             ... my love....

   And they kiss again. As they part:

                       MADELEINE
             Too late....

   She looks up at him with deep regret and wonder in her eyes
   then suddenly breaks from him and runs out the door. He
   stands still, startled for a moment, then runs after her.

   EXT. LIVERY STABLE - (DAY)

   Madeleine is running across the grass toward the church.
   Scottie catches up with her.

   EXT. LIVERY STABLE - (DAY) - REVERSE ANGLE

   Scottie swings her around to face him.

                       SCOTTIE
                    (Firmly)
             There am things I have to tell you,
             about how we met, and why we are
             together. But they can wait. The only
             important thing now is that I love you
             and I'm going to keep you safe.

                        MADELEINE
                    (Trembling)
             You can't.

                          SCOTTIE
             Why?

                          MADELEINE
             Let me go.

                          SCOTTIE
             Where?

                       MADELEINE
             To the church, I must go there.

                       SCOTTIE
             Madeleine --
VERTIGO       Draft 9-12-1957                                      88.


                       MADELEINE
             Please let me go.

   She pulls away and turns and walks swiftly toward the church,
   her head bowed. CAMERA DOLLIES with her. She is frightened,
   and close to tears. Scottie follows her a half-step behind.
   The livery stable drops away out of the SHOT, and the two
   heads fill the screen with only the sky an background.

                       SCOTTIE
             Madeleine, don't fight me off, don't
             put me away. You've been fighting
             alone, and you're lost, but no more.
             Hold on to me. Be sure of me, always.
             And whatever it is, we'll lick it. I
             promise.

   No answer. They keep walking, and then suddenly with head
   bowed, she begins to run again, and runs out of the SHOT. A
   moment, then he runs after her.

   EXT. THE MISSION AND CLOISTERS - (DAY) - SEMI-LONG SHOT

   We see Madeleine running toward the Cloisters, Scottie after
   her. Finally he stops her once again.

   EXT. THE CLOISTERS - (DAY) - MEDIUM SHOT

   Scottie grabs her by the arm.

                       MADELEINE
                    (Head low, brokenly)
             It's not fair, it's too late. It
             wasn't supposed to happen this way, it
             shouldn't have happened...!

                       SCOTTIE
             It had to. We're in love.   That's all
             that counts. Madeleine --

                       MADELEINE
                    (Frantic, struggling)
             Let me go! Let me go!!

                       SCOTTIE
                    (Holding her; sharply)
             Madeleine!!

   The struggle ceases. She remains limp in his grasp for a
   long moment, then slowly raises her head to look at him. Her
   eyes study his face searchingly.
VERTIGO       Draft 9-12-1957                                     89.


                       MADELEINE
             You believe that I love you?

                        SCOTTIE
             Yes.

                       MADELEINE
             And if you lose me, you'll know that
             I loved you and wanted to go on loving
             you.

                       SCOTTIE
             I won't lose you.

  PAUSE.

                       MADELEINE
             Let me go into the church alone.

                        SCOTTIE
             Why?

                        MADELEINE
             Please.   Because I love you.

   He stares at her, sees the pleading look in her eyes, and
   lets go. She turns and walks away toward the church, slowly,
   her head bowed. He watches her go and starts to move after
   her. Then slowly, as she goes, her head begins to go up
   until finally, as she walks, she is staring high above her.
   And then, suddenly, she breaks into a broken run.

   EXT. CLOISTERS - (DAY)

   Scottie jerks his head up to see what she was looking at.

   EXT. CLOISTERS - (DAY)

   From Scottie's viewpoint: the high church tower.

   EXT. CLOISTERS - (DAY)

   Scottie, immediately alarmed, brings his eyes down and looks
   toward the church entrance.

   EXT. CLOISTERS - (DAY)

   From Scottie's viewpoint: Madeleine runs through the open
   front door of the church, and vanishes.
VERTIGO       Draft 9-12-1957                                      90.


   EXT. CLOISTERS - (DAY)

   Scottie starts to run toward the church.

                       SCOTTIE
             Madeleine!!!

   He runs to the church door and runs in.

   INT. CHURCH, SAN JUAN BAUTISTA - (DAY)

   Scottie runs in and looks around frantically. The church is
   empty. A moment, then he hears the sound of footsteps
   running up wooden steps. He turns in the direction of the
   sound, sees a door standing open at the side of the church,
   and through the door the beginning of a flight of steps. He
   runs to the open door and goes through.

   INT. CHURCH TOWER - (DAY)

   Scottie runs in, stops at the foot of the steps, hears the
   running footsteps, and looks up. From his viewpoint we see
   Madeleine running up the open stairway that spirals up along
   the walls of the high tower. She is already well on her way.

   Scottie is immediately stricken by vertigo, and the tall
   tower seems to slide away from him. He makes an attempt to
   start up the stairs, flattens himself against the wall and
   struggles up. He claws his way up, crosses over to the hand-
   railing and uses it to pull his body up the steps, one by one
   struggling for breath, unable to call, though he tries. And
   Madeleine keeps running.

   Madeleine reaches the top goes through a small wooden door.
   We see it slam, hear it locked.

   Scottie, struggling up, reaches a landing next to a small
   open arch that looks out on the back garden, and has to stop
   to tight his nausea.

   There is a scream from above. Through the arch he sees a
   body fall. He calls "Madeleine"!, and looks down through the
   arch.

   EXT. ROOF - (DAY) - LONG SHOT

   Figure of the dead Madeleine.   Her body is lying on the roof
   of the cloister.
VERTIGO        Draft 9-12-1957                                     91.


   INT. CHURCH TOWER - (DAY)

   The vertigo hits Scottie again and the body and the root of
   the cloister move and fall away into space, and this
   DISSOLVES THROUGH TO:

   The body of the policeman falling from the rooftop, tumbling
   through space to the street below.

   Scottie has to look away in desperate horror. He hears
   voices, looks through the arch again, and sees two nuns
   hurrying across the garden from the dormitory at the back,
   looking up at the roof of the cloister.

   He turns and gazes down the great height he now has to
   descend, flattens himself against the wall, and with
   trancelike desperation tries to start moving.

   FADE OUT:

  FADE IN:

   EXT. MISSION SAN JUAN BAUTISTA - (DAY)

   Once again we see the whole of the square, but now, in sharp
   contrast, it is filled with cars parked along the roadway
   that encircles the green.

   EXT. MISSION SAW JUAN BAUTISTA - (DAY) - LONG SHOT

   Before Plaza Hall, the large grey wooden building next to the
   Livery Stable, and on its front porch, groups of citizens are
   gathered, talking. Some people glance up to the second
   floor, where the windows are open, and from which a droning
   voice can faintly be heard.

   The CAMERA ZOOMS UP to the open window, and as it does, the
   voice of the speaker becomes louder and the words more
   intelligible.

   INT. PLAZA HALL ROOM, SAN JUAN BAUTISTA - (DAY)

   The Coroner's Inquest is in session. The Jury of twelve
   local people is at one side. Among the people assembled we
   see: the two nuns, escorted by a priest; Gavin Elster with
   his attorney; some State Patrolmen; and, of course, Scottie.
   Next to him is a burly man in his fifties in civilian
   clothes; almost obviously a detective and obviously Scottie's
   one friend there. He is Detective Captain Fred Hansen of the
   San Francisco Police.
VERTIGO       Draft 9-12-1957                                     92.


   At the front of the room is the Official who is speaking, a
   rather testy old man. Behind him, on the wall are an old,
   crudely hand-made American Flag from the last century, and a
   California Bear Flag.

   (NOTE: THE FIRST PARAGRAPH OF THE FOLLOWING SPEECH COVERS
   THE RISE AND ENTRANCE OF THE CAMERA AND BECOMES
   INTELLIGIBLE ONLY AT ITS END.)

                        OFFICIAL
             Mr. Elster, suspecting that all was
             not well with his wife's mental state,
             took the preliminary precaution of
             having her watched by Mr. Ferguson
             lest any harm befall her, and you have
             heard that Mr. Elster was prepared to
             take his wife to an institution where
             her mental health would have been in
             the hand of qualified specialists.
             And Mr. Ferguson, being an ex-
             detective, would have seemed the
             proper choice for the role of watchdog
             and protector. As you have learned,
             it was an unfortunate choice.
                     (pause)
             However, I think you will agree that
             no blame can be attached to the
             husband. His delay in putting his
             wife under medical care was due only
             to the need information as to her
             behavior that he expected to get from
             Mr. Ferguson. He had taken very
             precaution to protect his wife. He
             could not have anticipated that Mr.
             Ferguson's "weakness" his "fear of
             heights", called "acrophobia", would
             make him powerless when he was most
             needed.
                     (pause)
             As to Mr. Ferguson: you have heard his
             former superior, Detective Captain
             Hansen, from that great city to the
             north, testify as to his character and
             ability. Captain Hansen was most
             enthusiastic. The fact that Mr.
             Ferguson once before, under similar
             circumstances, allowed a police
             colleague to tall to his death,
             Captain Hansen dismissed as an
             "unfortunate Incident."
VERTIGO       Draft 9-12-1957                                      93.


   Captain Hansen's eyes narrow and his face reddens. Scottie
   stares at the floor dully, oblivious to what is being said.

                       OFFICIAL
             Of course Mr. Ferguson is to be
             congratulated for having once saved
             the woman's life when, in a previous
             fit of aberration, she threw herself
             into the Bay. It is a pity that
             knowing her suicidal tendencies he did
             not make a greater effort the second
             time. But we are not here to pass
             judgment on Mr. Ferguson's lack of
             initiative. He did nothing, and the
             law has little to say on the subject
             of things left undone.
                    (pause)
             Nor does his strange behavior after he
             saw the body fall have any bearing on
             your verdict. He did not remain at
             the scone of the death. He ran away.
             He claims he suffered a mental
             blackout and knew nothing more until
             he found himself back in his own
             apartment in San Francisco several
             hours later. You may accept that or
             not. Or, you may believe that, having
             once again allowed someone to die, he
             could not face the tragic result of
             his own weakness, and ran away. That
             has nothing to do with your verdict.
             It is a matter between him and his
             conscience.
                    (pause)
             Now. From the evidence of the mind of
             Madeleine Elster prior to her death,
             from the manner of her death, and from
             the Postmortem examination of the body
             showing the actual cause of her death,
             you should have no difficulty in
             reaching your verdict. Gentlemen, you
             may retire.

   The Foreman of the jury leans across to his colleagues, and
   they go into a huddle. After a short whispered consultation
   there is a general nodding of heads, then the Foreman stands.

                       FOREMAN
             We've reached the verdict.
VERTIGO       Draft 9-12-1957                                      94.


                       OFFICIAL
             And what is your verdict.

                       FOREMAN
             We find that Madeleine Elster
             committed suicide while being out
             of -- while being out of unsound mind.

                        OFFICIAL
             Your verdict will be so recorded.
             Dismissed.

   People start to rise. There is a general exodus toward the
   doorway and the stairs leading down to the ground floor.
   Scottie remains impassive, still staring at the floor.
   People stare at him curiously as they move past him and away.
   Detective Hansen rises, takes him by the arm, and helps him
   to his feet.

                       HANSEN
             Let's go, Scottie.
                    (Glares over at the
                     Official grimly)
             The son of a --

   He purses his lips and starts Scottie toward the door. Gavin
   Elster moves toward them, and they meet, and have to stop.
   Hansen looks at Elster impassively.

                       ELSTER
             Do you mind if I speak to him for a
             minute?

   Receiving no answers he takes Scottie by the elbow.

                          ELSTER
             Scottie --

   He leads Scottie away toward the window.   They stop.

                       ELSTER
             Scottie, I'm sorry.   That was rough.

   Scottie finally looks up at him.

                       ELSTER
             He had no right to say that. It was
             my responsibility. You didn't know
             her. I shouldn't have got you
             involved.
VERTIGO       Draft 9-12-1957                                      95.


                       SCOTTIE
                    (struggling)
             I -- i --

                       ELSTER
             No, there's nothing you have to say to
             me. I'm getting out, Scottie. For
             good. I can't stay here. I'm winding
             up her affairs, and mine. I'm going
             to get as far away as I can. Probably
             Europe. And I'll probably never come
             back.
                    (Extends his hand)
             Good-bye, Scottie. If there's
             anything I can do for you before I
             go....

   Scottie looks at the outstretched hand, then looks up at the
   man's face, wanting very much to tell him how he felt about
   the dead woman. But the words won't come. Elster drops his
   hand with a sympathetic half-smile, and touches Scottie
   comfortingly on the arm.

                       ELSTER
             There was no way for them to
             understand. But you and I know who
             killed Madeleine.

   Elster and Scottie look at each other for a moment. Then
   Elster nods somberly and turns away and goes down the stairs
   with his attorney. The room is empty, now, but for Hansen
   and Scottie. Hansen, waiting near the doorway looks across
   to Scottie standing alone by the window. Beyond Scottie,
   through the window, we can see the cloister across the green.

                                            DISSOLVE TO:

   EXT. A CEMETERY SOUTH OF SAN FRANCISCO - ( DAY)

   It is grey and deserted. In the distance a figure comes into
   views walking slowly, approaching a grave. It is Scottie.

   EXT. A CEMETERY SOUTH OF SAN FRANCISCO - (DAY) - MEDIUM
   SHOT

   A closer view brings him to a stop before the grave, and he
   stares down at it impassively. The gravestone tells us it is
   Madeleine's grave.

                                            DISSOLVE TO:
VERTIGO       Draft 9-12-1957                                      96.


   EXT. SAN FRANCISCO - (NIGHT)

   A foggy night, the city hidden in mist. The flash of
   beacons; fingers of fog; the spasmodic growls and ories of
   fog horns.

   INT. SCOTTIE'S BEDROOM - (NIGHT)

   Scottie in bed, sleeping restlessly. His head fills the
   screen, rolls from, side to side. In a SLOW DISSOLVE while
   his head remains on the screen, there comes into focus and is
   superimposed as it gets closer the head and shoulders of the
   portrait of Carlotta. The CAMERA PANS DOWN until it reveals
   the nosegay.

  The portrait is cleared from the screen, a new image is
  superimposed; the final scene at the inquest between Scottie
  and Gavin Elster. But this time, though it is not distinct,
  a woman's head can be discerned on Elster's shoulder. Elster
  turns to the woman and says: "Tell him he's not to blame;
  tell him." The woman turns her head to smile at Scottie. It
  is Carlotta Valdes again, dressed as in the portrait, with
  the necklace at her throats, and she is alive. The picture
  fades away. Scottie's restless head is alone on the screen
  again.

  Another scene dissolves to the screen: the graveyard at
  Mission Dolores. The CAMERA IS APPROACHING the grave of
  Carlotta Valdes. Now we see Scottie approaching the grave.
  Now the CAMERA REVERSES, MOVING closer to the grave. It is
  open; there is a great black abyss, with the headstone to
  mark it.

   A CLOSEUP OF SCOTTIE coming to a stop as he stares down. The
   black depths of the grave fill the screen, and now, suddenly
   we start to fall. A BIG CLOSEUP OF SCOTTIE, his hair
   windswept, staring down in horror as he falls. REVERSE
   ANGLE: he is still falling, but now from the tower of the
   Mission at San Juan onto the roof where Madeleine fell, and
   at the moment of impact the picture clears, and Scottie is
   sitting up in bed, staring ahead in horror, awakened by the
   sound of his own scream. The scream is echoed by a fog horn
   in the distance.

                                            DISSOLVE TO:

   INT. SANITARIUM BEDROOM - (DAY)

   We see a portable phonograph with a record on, and we hear
   Mozart at his gayest, most incisive, most sparkling.
VERTIGO       Draft 9-12-1957                                     97.


   And then we find Midge standing nearby, smiling across at
   Scottie, who is seated in a wheelchair wearing a dressing
   gown over pajamas. His face is gaunt and expressionless. We
   are in a light and pleasant bed-sitting room. Through the
   window we can see a lovely garden, and a few patients
   accompanied by nurses strolling along the paths.

                       MIDGE
                    (Brightly)
             It's Mozart. Wolfgang Amadeus. I had
             a long talk with the lady in musical
             therapy, and she said Mozart's the boy
             for you, Johnny. The broom that
             sweeps the cobwebs away. That's what
             the lady said. You know, it's
             wonderful how they've got it all taped
             now, John. They've got music for
             melancholiacs, and music for
             dipsomaniacs, and music for
             nymphomaniacs ... I wonder what would
             happen if somebody mixed up their
             files?

   There is no reaction on Scottie's face, and Midge makes a
   grimace of dissatisfaction at the weakness of her joke. She
   looks across at him uncertainly.

                       MIDGE
             But I brought you a lot of other
             things. You can see what you like.
             And the thing shuts off automatically.

   She crosses to him swiftly kneels beside him.

                       MIDGE
             Ah, Johnny, please try. Johnny, try!
             You're not lost. Mother's here.

   No reaction. Long pause. Then we hear the door open.
   Scottie does not seem to hear, but Midge turns her head.   A
   nurse is looking in, with a significant look at Midge.

                        MIDGE
             Time?   Okay.

   The nurse goes out.   Midge rises.

                       MIDGE
             I'll be in again, John. Do you want
             me to shut that off? It shuts off
             automatically.
VERTIGO       Draft 9-12-1957                                      98.


   Her eyes crinkle with anxiety. She nods and goes to the
   phonograph and shuts it off. She comes back to him slowly,
   and stands behind him, and puts her hands on his shoulders.

                       MIDGE
                    (Softly)
             Ah, Johnny-O ... you don't know I'm
             here, do you?

   She leans down and kisses him lightly on the top of the head,
   and smiles gently.

                       MIDGE
             But I'm here.

   She moves to the door, going out of the SHOT, and we hear the
   door open and close. Scottie has not moved, his face does
   not change expression. His head bends down, and his gaze is
   fixed on the floor.

   INT. CORRIDOR OUTSIDE SCOTTIE'S ROOM - (DAY)

   Midge, walking down the corridor, meets the nurse near the
   open door of an office.

                       MIDGE
             Could I see the doctor for a moment?

   The nurse backs up a step and looks in the open doorway.

                          NURSE
             Doctor...?

   The Doctor looks up and sees Midge in the doorway.

                        DOCTOR
             Oh.   Yes, Miss Wood?

  The nurse continues on up the corridor.   Midge remains in the
  doorway.

                       MIDGE
             Doctor, how long is it going to take
             you to pull him out of this?

                       DOCTOR
             It is hard to say. Six months, at
             least. Perhaps a year. It depends to
             a certain extent on him.
VERTIGO         Draft 9-12-1957                                     99.


                         MIDGE
               He won't talk.

                         DOCTOR
               No. We have ways of digging out
               knowledge. But it takes longer. He
               is suffering from acute melancholia,
               together with a guilt complex. He
               blames himself for what happened to
               the woman. And we know little of the
               background.

                         MIDGE
               I can give you one thing: he was in
               love with her.

                          DOCTOR
               Ah?   That complicates the problem.

                         MIDGE
               I'll give you another complication: he
               still is.

   The Doctor studies her carefully.

                         MIDGE
               And you know something, Doctor? I
               don't think Mozart's going to help at
               all.

   She attempts a bright, gay smile but it comes out wrong.   She
   turns and walks away down the corridor.

   FADE OUT.

  FADE IN:

   EXT. SCOTTIE'S APARTMENT - (NIGHT)

   Once again a foggy night. The street lights ringed in the
   mist, and Coit Tower barely discernible in the distance. The
   fog horns sound.

                                               DISSOLVE TO:

   INT. SCOTTIE'S APARTMENT - (NIGHT)

   The living room, is mostly in shadow. One light in a far
   corner is lit. There is a fire in the fireplace, but it is
   almost burnt out, and casts only a faint glow.
VERTIGO       Draft 9-12-1957                                     100.


   An easy chair has been drawn up before the fire, and next to
   it is a small table on which is a bottle of whiskey, the
   remains of a highball, and an ashtray full of cigarette
   butts. There is no sign of life in the apartment. The
   telephone rings in the bedroom. It continues to ring.

                                            DISSOLVE TO:

   INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT)

   Scottie is seated at the bar, exactly as he was the first
   time he saw Madeleine. The dinning room is crowded.
   Scottie's glance wanders about the room as he drinks, but he
   does not seem to be so much searching as waiting. And then
   he stiffens. From somewhere across the room a man and a
   woman are making their way among the tables toward the exit,
   and their relative positions as they move recall exactly the
   way Madeleine and Gavin Elster moved toward him on that
   night. And as the woman moves toward him, difficult to see
   clearly because of the movements of the waiters crossing her
   path, he could swear that it is Madeleine, and so could we.
   Although she does not wear an evening dress. Scottie stares,
   fearing and hoping as the woman gets closer and closer. And
   then she is there, and pauses near him to wait for the man,
   exactly as Madeleine did -- but it is not Madeleine.

                                            DISSOLVE TO:

   EXT. BROCKLEBANK APARTMENTS - (DAY)

   Scottie in the foreground, and across the street the
   apartment building from which Madeleine used to emerge, with
   the forecourt of cars. A long moment, then a man emerges and
   crosses the street and walks toward the Fairmont Hotel.
   Another wait, and then a woman comes out of the apartment
   house. She has Madeleine's figure and Madeleine's style.
   Scottie freezes. The woman crosses the forecourt toward a
   car out of our sight. Scottie moves to follow the course of
   the woman, and we move with him, and now the car comes into
   sight, it is the green Jaguar. The woman opens the car door.
   Scottie races across the street and into the forecourt. By
   the time he gets to the Jaguar, the woman is in behind the
   wheel and has the motor started. Scottie races up to her,
   then stops short. The woman is not like Madeleine in
   features, and is a good deal older. She looks up startled as
   Scottie comes to a stop by the open car window.

                       SCOTTIE
             Where did you get this car?!
VERTIGO       Draft 9-12-1957                                      101.


                       THE WOMAN
                    (Startled by his
                     vehemence)
             I beg your pardon?

                       SCOTTIE
             This car...!!

                       THE WOMAN
             Oh! Why ... I bought it from a man
             who used to live here, in this
             apartment building. Mister Gavin
             Elster. I bought it from him when he
             moved away.

   As Scottie stares at her, she grasps the connection.

                       THE WOMAN
             0h! You know him! And his wife? The
             poor thing. I didn't know her. Tell
             me -- is it true that she really
             believed --

   But by this time Scottie has turned and walked away, and she
   stares after him, a bit taken aback.

                                            DISSOLVE TO:

   EXT. PALACE OF THE LEGION OF HONOR - (DAY)

  Framed in the columns of the forecourt, Scottie wanders up
  the front walk and passes through the doors into the Art
  Gallery.

   INT. PALACE OF THE LEGION OF HONOR - (DAY)

   Scottie wanders to the entrance of the room in which hangs
   the Portrait of Carlotta, and stops and looks towards the far
   corner. Some people pass before him, but then as the vista
   clears he sees walking toward him from Carlotta's corner a
   woman who must surely be Madeleine. He stares, rigid, as she
   comes closer, and then she passes out of view as she heads
   for the exit. Scottie turns to keep her in sight, and as she
   passes through the doors to go out to the courtyard she turns
   a just a bit so that she is silhouetted slightly in profile
   against the cuter light, and once again surely it is
   Madeleine. Scottie heads for the door fast, pushes through
   the courtyard.
VERTIGO       Draft 9-12-1957                                      102.


   He breaks into a run and catches up with her and puts out his
   hand to take her arm, and as he does she turns, startled by
   his sudden appearance at her side -- and they both stop and
   stare at each other. It is not Madeleine. A moment, as the
   woman stares at him, frightened.

                          SCOTTIE
             I'm sorry.

   He turns away.   The woman walks on.

                                            DISSOLVE TO:

   EXT. PODESTA, BALDOCCHI - (LATE AFTERNOON)

   Scottie stands before the window looking at the floral
   display. In the foreground is a group of madeup nosegays and
   one of them is exactly like the nosegay Madeleine carried to
   the grave, to the portrait, to the moment she threw herself
   into the Bay. A porter closes the shop door and locks it.
   A moment, then Scottie turns away to move down Grant Avenue.

   He stops short. Coming up Grant Avenue, headed for Sutter
   Street, is a group of shopgirls who have just come out of
   work, and among them is one who -- again -- must surely be
   Madeleine. Scottie watches them come closer, trying to get
   a clear view through the crowd of passersby, catching sight
   of the girl only in glimpses, and as the girls come abreast
   of him they stop to make their farewells.

  The one nearest to Scottie, seen in profile, might have the
  same features as Madeleine. He cannot be sure. This girl's
  hair is dark, where Madeleine's was light; her features on
  closer inspection seem heavier, and she wears much more
  makeup. And yet there is something about the way she carries
  herself. The other girls cross the street while the one
  nearest to Scottie goes on alone. He Instinctively turns and
  follows.

                                            DISSOLVE TO:

   EXT. SUTTER STREET NEAR LEAVENWORTH - (LATE AFTERNOON)

   A trolley coach passes, heading west. The girl starts to
   cross the street in the middle of the block, waits for
   another trolley coach to pass, continues to the opposite
   side, and goes into the Empire Hotel, one of the typical
   inexpensive residential hotels of that neighborhood. Scottie
   remains on the opposite side of the street, watching,
   wondering what to do next.
VERTIGO       Draft 9-12-1957                                     103.


   He waits, and then, in much the same way it happened to him
   long ago at the McKittrick Hotel, his attention is attracted
   to a window on the second floor.

   The girl appears and opens the window about eight inches,
   then pulls down the blind.

  Scottie stares at the window, calculates in his mind the
  geographical position of the room, then starts across the
  street.

                                              DISSOLVE TO:

   INT. UPSTAIRS HALL JUDY'S HOTEL - (DUSK)

   Scottie moves down the hall counting doors and comes to a
   stop. He knocks. The door opens, and the girl stands and
   looks at him, and waits. Scottie stares at her, searching
   for a sign of recognition, but there is none.

                        JUDY
             Well?   What is it?

   Her voice is flat and slightly nasal, in sharp contrast to
   Madeleine's low, husky voice. Scottie winces slightly at the
   sound of it. He keeps staring at her for a moment. Then:

                       SCOTTIE
             Could I ask you a couple of questions?

                         JUDY
             What for?    Who are you?

                       SCOTTIE
             My name is John Ferguson, and --

                        JUDY
             Is this some kind of Gallup Poll, or
             something?

                       SCOTTIE
             No, there are just a few things I want
             to ask you, and --

                       JUDY
             Do you live here in the hotel?

                       SCOTTIE
             No, I happened to see you come in, and
             I thought --
VERTIGO       Draft 9-12-1957                                      104.


                       JUDY
             0h, I thought so! A pick-up! Well,
             you've got a nerve, following me right
             into the hotel and up to my room! You
             beat it! Go on! Beat it!

   And she starts to close the door on him hard.   Scottie holds
   it open against her.

                       SCOTTIE
             No, please! I Just want to talk to
             you!

                       JUDY
                    (Pushing on the door)
             Listen, I'm going to yell in a minute!

                       SCOTTIE
             I'm not going to hurt you!   I promise!
             Please!

   She hesitates, impressed by the urgency in his voice.

                       SCOTTIE
             Just let me talk to you.

                       JUDY
                    (Hesitating)
             What about?

                       SCOTTIE
             You.

                       JUDY
             Why?

   She is still holding on to the door, ready to slam it.

                       SCOTTIE
             Because you remind me of someone.

   She laughs a short, ironic, skeptical laugh.

                       JUDY
             I've heard that one before, too. I
             remind you of someone you used to be
             madly in love with, but she ditched
             you for another guy, and you've been
             carrying the torch ever since, and
             then you saw me and something clicked.
                       (more)
VERTIGO       Draft 9-12-1957                                     105.


                       JUDY (cont'd)
                    (scornfully)
             Huh!

                       SCOTTIE
                    (With a rueful smile)
             You're not far wrong.

                       JUDY
             Well, it's not going to work.    So
             you'd better go.

                       SCOTTIE
             Let me come in.

   Her mouth drops open with shock at his effrontery.

                       SCOTTIE
             You can leave the door open.    Please.
             I want to talk to you.

  A moment, then she backs into the room a little, and he
  follows.

                       JUDY
             I warn you, I can yell awfully loud.

                       SCOTTIE
             You won't have to.

                       JUDY
                    (Doubtfully)
             Well ... you don't look very much like
             Jack the Ripper....

   But still she moves until she is next to the phone, her hand
   almost touching it. She eyes him carefully.

                       JUDY
             What do you want to know?

                          SCOTTIE
             Your name.     And --

                       JUDY
             Judy Barton.

                       SCOTTIE
             Who you are --
VERTIGO       Draft 9-12-1957                                  106.


                       JUDY
             Just a girl, I work at Magnin's --

                       SCOTTIE
             -- and how you happen to be living
             here.

                       JUDY
             It's a place to live, that's all.

                       SCOTTIE
             But you haven't lived here long.

                       JUDY
             About three years.

                       SCOTTIE
             No, a year ago! Where did you live a
             year ago!!?

                       JUDY
                    (Puzzled)
             I told you! Right here!

                       SCOTTIE
                    (Strongly)
             But before! Where did you live
             before!?!

                       JUDY
             Salina, Kansas!

   And that stops him dead, and he stares at her, denying.

                       JUDY
             Listen, what is this?   What do you
             want?

                       SCOTTIE
             I want to know who you are.

                       JUDY
             I told you! My name is Judy Barton!
             I come from Salina Kansas. I work at
             Magnin's! I live here! My gosh, do
             I have to prove it?

   She moves swiftly to the dresser and rummages in her bag.
VERTIGO       Draft 9-12-1957                                       107.


                       JUDY
             You've got to prove you're alive these
             days! All right, Mister. My Kansas
             driver's license. Judy Barton.
             Number Z296794. Four-Twenty-Five
             Maple Avenue, Salina, Kansas.

   She pulls out another card: a California license.    She hands
   it to him.

                       JUDY
             There! See the address on this one?
             This place here! California License
             issued May 25, 1954! Want to check my
             thumb print? Satisfied.
                    (Pulls the card away)
             And whether you're satisfied or not,
             you can just beat it!

   A long moment as he stands before her, sagging a little
   defeated. She becomes remorseful and sympathetic.

                       JUDY
                    (Gently)
             Gee, you have got it bad, haven't you?
             Do I really look like her?

   He stares at her with an intensity that makes her crinkle her
   eyes in embarrassment.

                       JUDY
             She's dead, isn't she.

   An almost imperceptible nod.

                          JUDY
             I'm sorry.     And I'm sorry I yelled at
             you.

   He turns away slowly toward the door. His eyes fall on some
   framed photographs on the dresser and he pauses, then moves
   closer to see them clearly. One is of a girl about sixteen
   standing with a woman in her late thirties; they have their
   arms about each other; they both have dark hair. Scottie
   stares at it, then glances at Judy.

                       JUDY
             Yes, that's me.    With my mother.
VERTIGO       Draft 9-12-1957                                   108.


   Scottie's eyes move to another photograph, of a man in his
   early forties standing before a store. Above the store a
   sign says: A. M. BARTON, HARDWARES.

                        JUDY
             That's my father. He's dead. My
             mother got married again ... I didn't
             like the guy.
                     (Smiles, wistfully)
             So ... I decided to see what it was
             like in sunny California.
                     (Pause)
             I've been here three years.
                     (she grins)
             Honest!

   He smiles back at her, liking her directness.

                       SCOTTIE
             Will you have dinner with me?

                       JUDY
                    (Immediately wary,
                     the smile fading)
             Why?

                       SCOTTIE
             Well, I feel I owe you something for
             all this....

                       JUDY
             No, you don't owe me anything.

                       SCOTTIE
             Then will you for me?

                       JUDY
                    (Warily)
             Dinner ... and what else?

                       SCOTTIE
             Just dinner.

                       JUDY
             Because I remind you of her?

                       SCOTTIE
             Because I'd like to have dinner with
             you.
VERTIGO       Draft 9-12-1957                                     109.


   She smiles, pleased with the gallantry of his answer, and
   regards him thoughtfully.

                       JUDY
                    (Slowly)
             Well ... I've been on blind dates
             before ... Matter of fact, to be
             honest, I've been picked up before.
                    (Grins)
             Okay.

                       SCOTTIE
             I'll get my car and be back in half an
             hour.

                       JUDY
             Oh, no! Give me time to change and
             get fixed up!

                        SCOTTIE
             An hour?

                        JUDY
             Mmm.

                        SCOTTIE
             Okay.

   He flashes her a smile and goes, closing the door. She
   stares after him for a long moment, then moves slowly and
   sits down on the edge of the bed. She stares straight ahead,
   thinking, her face an impassive mask.

   The CAMERA MOVES IN until her head fills the screen, and her
   eyes are deep with dark memory. We DISSOLVE THROUGH to what
   she sees: THE MOMENT IN THE TOWER OF THE MISSION. MADELEINE
   IS RUNNING UP THE STAIRS OF THE TOWER: SCOTTIE STRUGGLING
   DESPERATELY AFTER HER. SHE REACHES THE TOP, OPENS THE DOOR,
   DARTS INTO THE BELL TOWER, SLAMS THE DOOR BEHIND HER AND
   LOCKS IT. SHE TURNS. GAVIN ELSTER STANDS NEAR THE OPEN
   ARCH, HOLDING HIS WIFE FAST; SHE IS DRESSED IN A GREY SUIT
   EXACTLY LIKE THE ONE MADELEINE WEARS. HER BODY IS LIMP. SHE
   IS OBVIOUSLY DEAD ALREADY. ELSTER LOOKS AT MADELEINE, THEN
   PUSHES HIS WIFE OUT THROUGH THE ARCH. MADELEINE MAKES A
   FUTILE GESTURE TO STOP HIM, AND SCREAMS. ELSTER COMES TO
   QUICKLY, PUTS HIS HAND ACROSS HER MOUTH, AND DRAWS HER BACK
   INTO THE SHADOW BEHIND A MASONRY ABUTMENT. THEY ARE LOST
   FROM SIGHT...

   DISSOLVE THROUGH to Judy, seated on the edge of her bed,
   staring with the memory of the horror of the moment.
VERTIGO       Draft 9-12-1957                                      110.


   She sits very still. Then slowly she rises and moves to the
   window. She looks out, watching Scottie go down the street.
   She turns away and goes to the closet and opens the door.
   She pushes some clothes along the rack. We see the grey
   suit. She reaches into the closet and brings out a suitcase,
   lets it lie there, just outside the closet, and stares down
   at it. Then she turns back, goes to the writing desk sits
   down, and takes a sheet of paper. She picks up a ball point
   pen, clicks out the Point, stares ahead for a moment, then
   begins to write. As she writes, we hear her voice.

                       JUDY'S VOICE
             Dearest Scottie ... and so you've
             found me. This is the moment I
             dreaded and hoped for, -- wondering
             what I would say and do if ever I saw
             you again, I wanted so to see you
             again. Just once. Now I'll go and
             you can give up your search.
                    (pause)
             I want you to have peace of mind.
             You've nothing to blame yourself for.
             You were the victim. I was the tool,
             you were the victim of a man's plan to
             murder his wife. He chose me to play
             the part because I looked like her; he
             dressed me up like her. He was quite
             safe because she lived in the country
             and rarely came to town. He chose you
             to be the witness. The Carlotta story
             was part real, part invented to make
             you testify that Madeleine wanted to
             kill herself. He knew of your
             illness; he knew you would never get
             up the stairs of the tower. He
             planned it so well; he made no
             mistakes.
                    (pause)
             I made the mistake. I fell in love.
             That wasn't part of the plan. I'm
             still in love with you, and I want you
             so to love me. If I had the nerve, I
             would stay and lie, hoping that I
             could make you love me again, as I am
             for myself ... and so forget the other
             and forget the past. But I haven't
             the nerve to try...

   She pauses and looks up and thinks, and wonders, and tries to
   see into the future, and as she does, the fear in her eyes
   dissolve into anxious hope, and then resolve.
VERTIGO       Draft 9-12-1957                                      111.


   She puts the pen down, rises slowly, takes up the letter and
   tears it into small pieces and drops the pieces into the
   wastebasket. She turns to the closet, pushes the suitcase
   back in with the toe of her foot, pushes the grey suit far
   back into darkness, and closes the closet door. She walks to
   the dresser, and stares at herself in the mirror. She opens
   a candy box in which we see trinkets and pieces of junk
   jewelry, and takes out two plain hoop earrings. She puts
   them on and looks to see how much change they make. She
   takes up an eyebrow pencil and slightly exaggerates the arch
   of her brows. She stares at herself impassively for a long
   time.

                                            DISSOLVE TO:

   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:
VERTIGO       Draft 9-12-1957                                      112.


   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.
VERTIGO      Draft 9-12-1957                                      113.


                      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?!?!
VERTIGO       Draft 9-12-1957                                      114.


   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.
VERTIGO       Draft 9-12-1957                                      115.


   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.
VERTIGO       Draft 9-12-1957                                     116.


   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.
VERTIGO       Draft 9-12-1957                                      117.


                       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.
VERTIGO       Draft 9-12-1957                                    118.


   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.
VERTIGO       Draft 9-12-1957                                     119.


   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 some,
             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...
VERTIGO       Draft 9-12-1957                                     120.


                       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.
VERTIGO       Draft 9-12-1957                                      121.


                       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)

   In the living room. There is a fire in the fireplace. Judy
   is seated on the floor before the fire, bent forward with her
   head and arms buried in the seat of the easy chair. She's
   been crying. Scottie enters from the kitchen carrying a
   bottle of cognac and two glasses. He looks down at Judy,
   then pours cognac into the two glasses and sets the bottle
   down.

                       SCOTTIE
             Here, Judy. Take it straight down.
             It's medicine.

   Judy raises her tear-streaked face.

                       JUDY
                    (Pleading)
             Why are you doing this?     What good
             will it do?

   She takes the glass from his outstretched hand.

                       SCOTTIE
             I don't know. No good, I guess.      But
             I don't know.

   She takes a large sip of cognac, makes a face, and puts the
   glass away. As she does:

                       JUDY
                    (Tearfully)
             I wish you'd leave me alone.     I want
             to go away.

                          SCOTTIE
             You can.
VERTIGO       Draft 9-12-1957                                     122.


                       JUDY
             No, you wouldn't let me.
                    (Then, almost to
                     herself)
             And I don't want to go....

   Scottie comes down to her and puts his hands on her arms and
   holds her and looks into her eyes intently.

                       SCOTTIE
             Judy, I want to tell you: these few
             days have been the first happy days
             I've had in a year.

                       JUDY
                    (Sadly)
             I know. Because I remind you of her.
             The one that's dead. And not even
             that, very much.

                       SCOTTIE
                    (Meaning it)
             No, it's you too, Judy.   Something in
             you.

   She looks at him with a new spark of hope, and her eyes are
   almost willing him to kiss her. But then he drops his hands
   from her arms, and the glow fades from her eyes, and she
   looks away.

                       JUDY
                    (Dully)
             You don't even want to touch me.

                        SCOTTIE
                     (Grimly)
             Yes.   Yes, I do.

   He rises and walks away toward the window.   She looks after
   him, then rises and almost runs to him.

                       JUDY
             Couldn't you like me, just me, the way
             I am?! When we first started out it
             was so good! We had fun! And you
             started on the clothes! I'll wear the
             darned clothes if you want me to! If
             you just like me!
VERTIGO          Draft 9-12-1957                                  123.


   They are face to face, and Scottie is studying her somberly.
   Beyond them, through the window, we can see that magnificent
   symbol, the Coit Tower.

                       SCOTTIE
                    (Studying)
             The color of your hair...

                          JUDY
             Ah, no!

                       SCOTTIE
             Judy, please it can't matter to you...

   She shrinks a little, and is defeated.

                       JUDY
             The trouble is, I'm gone now. For
             you. And I can't do anything about
             it. I want you to love me. If I let
             you change me, will that do it? If I
             do what you tell me, will you love me?

                          SCOTTIE
             Yes.

                       JUDY
             All right. Then I'll do it. Because
             I don't care about me anymore. I just
             want you to love me.

   LONG PAUSE.

                       SCOTTIE
                    (Gently)
             I'll take you home.

                                            DISSOLVE TO:

   INT. ELIZABETH ARDEN SALON - (DAY)

   The first impact is of SOUND, of the buzz of hair dryers and
   the shrill cacophony of female voices talking and laughing.
   Scottie is leaning at the doorway leading into the inner
   salon. The CAMERA PANS AWAY from him through another door
   and comes to REST on a big head of Judy, covered with, soap
   suds, bent over a basin. One of the beauty operators looks
   out toward Scottie then walks out to him.
VERTIGO       Draft 9-12-1957                                    124.


                       OPERATOR
             I'm afraid it's going to be several
             hours. The young lady thought perhaps
             you'd like to go home, and she'll come
             there as soon as she's finished.

                       SCOTTIE
             Oh! Well ... no. Tell her I'll go to
             her hotel, and wait for her there.

   She starts to turns away.    Scottie stops her.

                       SCOTTIE
             Oh! You're sure about the color of
             the hair.

                         OPERATOR
             0h, yes.    It's an easy color.

                       SCOTTIE
             And the rest of --

   He waves a hand over his face.

                          OPERATOR
             Yes, sir.     We know what you want.

                          SCOTTIE
             All right.     Thanks.

   He turns away after a last glance toward Judy. The last we
   see of the salon is Judy's head, as she turns to try to see
   through soap suds to where Scottie has been standing.

                                               DISSOLVE TO:

   INT. JUDY'S BEDROOM, THE HOTEL - (DAY)

   Scottie is wandering impatiently, smoking. Some of the
   Ransohoff boxes are piled in a corner. Then, abruptly he
   strides to the window. He looks, and becomes tense.

   EXT. THE STREET - (DAY)

   From Scottie's viewpoint. Judy is walking up the street.
   She wears the grey suit from Ransohoff's the high-heeled
   black shoes, and her hair is now blonde. But it hangs about
   her face in the usual way. She does not look up. She turns
   into the entrance of the hotel.
VERTIGO       Draft 9-12-1957                                     125.


   INT. BEDROOM - (DAY)

   Scottie watches her until he loses sight of her directly
   below as she goes in the front door. He turns and looks
   looks toward the bedroom door and waits. Then, impatiently,
   he strides to the door and goes out into the corridor.

   INT. HOTEL CORRIDOR -(DAY)

   Scottie looks along the corridor.

   FROM HIS VIEWPOINT

   The corridor is empty.

  SCOTTIE

   tensely waiting.

   FROM HIS VIEWPOINT

   Judy turns the corner, moving towards him.

   AS SCOTTIE WATCHES CRITICALLY

   Judy comes up to him.    He backs into the room, Judy following.

   INT. HOTEL BEDROOM - (DAY)

   As Judy comes into the room, Scottie closes the door without
   taking his eyes from her. She looks at him gravely -- and
   holds out her hand, as though hoping for praise for the
   transformation. Her eyebrows have been plucked, her makeup
   lightened, her lipstick changed and she now bears much more
   of a resemblance to Madeleine.

                          JUDY
             Well?

                       SCOTTIE
             It should be back from your face --
             with a bun at the neck. I told them.
             I told you.

                       JUDY
             We tried it. It didn't suit me.

   Scottie abruptly goes to her, takes her hanging hair with
   both hands pulls it to the back so that her ears show.

   Judy looks at him, half-angry, half-scared.
VERTIGO         Draft 9-12-1957                                   126.


   Scottie, seeing the look in her eyes, takes his hands away.
   The hair falls forward again.

                            SCOTTIE
               I'm sorry.

   They look at one another for a moment.   Then Scottie asks,
   almost humbly:

                         SCOTTIE
               Judy -- please --

   Judy doesn't answer for a moment, then she draws a deep
   breath, and turns resignedly away. She crosses to the mirror
   over a chest of drawers. Scottie matches as she picks up a
   couple of pins from a glass tray, and scoops up a handful of
   hair.

   Scottie stands watching in silence. His eyes follow every
   move. We hear the tinkle of pins of the glass tray.

   FROM SCOTTIE'S VIEWPOINT

   Judy slowly turns from the mirror to face him. She looks
   exactly like Madeleine -- her hair pulled back and done in a
   bun at the back of the neck. She stands there looking at him.

   SCOTTIE looks at her in wonder, his eyes shining.

   JUDY takes a step towards him, rewarded by his expression.

   SCOTTIE moves over and takes Judy in his arms.

   BIG HEADS

   of the two of them, together. The CAMERA MOVES AROUND the
   big heads. Scottie holds her tighter and tighter. He looks
   past her shoulder and we see that his eyes are closed,
   because at last he holds Madeleine in his arms once more.

   He opens his eyes -- the CAMERA SWIMS AROUND the room.

   WE ARE NOW IN THE LIVERY STABLE AT SAN JUAN BAUTISTA
   with Scottie holding Madeleine tight in his arms, kissing
   her. We see this for only the briefest moment before it

                                             DISSOLVES AWAY T0:
VERTIGO       Draft 9-12-1957                                     127.


   BACK IN THE HOTEL ROOM

   Scottie kisses her as he did in the livery stables. As he
   kisses her, and she turns his kiss, the CAMERA PULLS BACK
   SLOWLY and their two figures are held in the center of the
   room.

                                             DISSOLVE T0:

   INT. JUDY'S BEDROOM - (EARLY EVENING)

  The window shades are drawn, the lights in the room have been
  lit. Scottie is sitting, relaxed, thumbing through a
  magazine idly. The jacket of his suit is hung over the back
  of a chair. The bathroom door is open. There is a full
  length mirror on the back of the bathroom door, and we catch
  occasional glimpses of Judy as she moves about inside.
  Scottie looks up as she calls to him. Her voice is light and
  happy.

                       JUDY
             Where shall we go for dinner?

                       SCOTTIE
             Wherever you'd like...

                        JUDY
             Ernie's?

                       SCOTTIE
             You've got a thing about Ernie's,
             haven't you?

                       JUDY
             Well, after all, it's "our place."

   She comes out of the bathroom happy and contented. She wears
   the black cocktail dress, her blonde hair is done up in the
   Madeleine way. She stops to pose and show off the dress and
   smiles across at him lovingly.

                       JUDY
             Hello, my love.    Like me?

   He regards her admiringly with a small, contented grin.

                        SCOTTIE
             Mmmm.

                       JUDY
             Is that the best you can do?
VERTIGO       Draft 9-12-1957                                      128.


   She turns to the mirror over the dresser.

                          SCOTTIE
             Come here.

                        JUDY
             Oh, no.   You'll miss me.

                       SCOTTIE
             That's what I had in mind.

                          JUDY
             Too late.     I've got my face on.

   She has opened the candy box, rummages around in the jewelry,
   comes up with some earrings, holds one up to her ear to see
   what it looks like, decides against it, finds some other
   earrings, small and neat, and puts them on. During this:

                       JUDY
             I'm suddenly hungry.    Would you rather
             go somewhere else?

                       SCOTTIE
             No, Ernie's is fine.

                       JUDY
             I'm going to have one of those big
             beautiful steaks. And ... let's see
             ... to start...

   During this she has taken a necklace out of the box, and is
   trying to fasten it around her neck. But the clasp won't
   work.

                        JUDY
             Oh!   Help me with this, will you?

   She backs up a step, still holding the necklace in place, and
   Scottie rises from his chair and comes up in back of her. He
   takes the ends of the necklace from her.

                       SCOTTIE
             I've got it.

   He bends down and bites the back of her neck.

                        JUDY
             Oh!   You're supposed to fasten it!
VERTIGO       Draft 9-12-1957                                      129.


                       SCOTTIE
             All in good time.

   He bites her again.

                         JUDY
             Scottie!

                       SCOTTIE
             How does it work?

                       JUDY
             Can't you see?

                         SCOTTIE
             Oh, yeah.    There.

   As he is fastening it he glances into the mirror and sees the
   necklace clearly for the first time. His eyes are
   immediately startled with the shock of recognition, and he
   stares, wondering why. The CAMERA ZOOMS IN to a closeup of
   the necklace in the mirror; then, with a click, the closeup
   changes to a closeup of the necklace painted on canvas. The
   CAMERA DRAWS BACK to show the necklace around the neck of
   Carlotta in the portrait, the same necklace. Now the CAMERA
   DRAWS BACK to show the Art Gallery, with the Portrait of
   Carlotta on the far wall. The scene click-changes to a BIG
   HEAD of SCOTTIE, staring, and during this we hear Judy
   chattering away.

                       JUDY'S VOICE
             Thank you, darling. Now I'm just
             about ready; I just have to find my
             lipstick. Where did I put it? I had
             it a minute ago.
                    (Her voice fading)
             Did I leave it in here? Oh, yes, here
             it is!
                    (Her voice fading in)
             All right, I'm ready.

   His eyes move in the direction of the voice, and now we see
   her, standing a few feet from him, smiling at him. She walks
   to him with a loving smile.

                       JUDY
             But first ... miss me a little.

   She puts her arms around him and presses against him, and
   lays her head against his chest with a happy sigh.
VERTIGO       Draft 9-12-1957                                      130.


                       JUDY
             Ah, Scottie ... I do have you, now....

   He raises his arms as though to embrace her, moves his hands
   to her shoulders, and one senses for a moment that he is
   going to press her too hard or that he may move his hands to
   her throat. But then he lays his hands gently on her back,
   and closes his eyes wearily, and rests his head on the top of
   hers.

                       SCOTTIE
                    (Softly)
             How would you like to go somewhere out
             of town for dinner? Drive down the
             peninsula, somewhere?

   She moves her head, and he raises his and opens his eyes, and
   she smiles up at him.

                       JUDY
             All right, if you'd like.

   She reaches up and kisses him briefly on the mouth.    He
   smiles a small, enigmatic smile.

                                               DISSOLVE TO:

   EXT: HIGHWAY 101 - (NIGHT) - LONG SHOT

   Scottie's car headed south, in brilliant moonlight.

   INT. SCOTTIE'S CAR - (MOONLIGHT)

   Scottie at the wheel, Judy alongside.    She glances at him,
   wondering.

                       JUDY
             We're going awfully far.

                       SCOTTIE
             I feel like driving.     Are you terrible
             hungry?

                       JUDY
             No, it's all right.

                                               DISSOLVE TO:
VERTIGO       Draft 9-12-1957                                      131.


   EXT. HIGHWAY 101 - (NIGHT)

   Scottie's car enters the avenue of tall trees we saw once
   before along this road. They look sinister in the moonlight.

   INT. SCOTTIE'S CAR - (MOONLIGHT)

   Shooting forward, we are as though in the front seat of
   Scottie's car, traveling fast, looking up and ahead to the
   distant end of the tunnel, and the tall trees flashing by.

   INT. SCOTTIE'S CAR - (MOONLIGHT)

   Scottie is staring straight ahead, concentrating on his
   driving. Judy is staring up at the tall trees, wondering,
   her brow furrowed. Her memory is stirred, but she can't
   think why.

   INT. SCOTTIE'S CAR - (MOONLIGHT)

   Shooting forward and up through the windshield. The tops of
   the tall trees flashing past. Judy's face, highlighted from
   the dash lights below, faintly reflected.

   INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

   Judy turns her gaze from the flashing tree tops and looks off
   at Scottie.

   INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

   Scottie, still concentrating on his driving, and looking
   straight ahead.

   INT. SCOTTIE'S CAR - (MOONLIGHT)

   Judy looking at Scottie, puzzled and slightly apprehensive.

                       JUDY
             Where are you going?

                       SCOTTIE
                    (wryly)
             To complete my cure.

   He glances at her and smiles nicely.

                       SCOTTIE
             One final thing I have to do, and then
             I'll be rid of the past, forever.
VERTIGO        Draft 9-12-1957                                     132.


   He looks ahead thoughtfully.

                                              DISSOLVE TO:

   EXT: MISSION SAN BAUTISTA - (NIGHT) - LONG HIGH SHOT

   Quiet, empty, sinister, bathed in moonlight. Far below we
   see Scottie's car crawl into the square and pass along the
   road around the green and come to a stop near the entrance to
   the church. A distant church clock chimes the half-hour.

   INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT

   Judy's face, rigid, frightened, her eyes filled with
   apprehension. Then, with an effort, she composes herself and
   glances at Scottie with calm questioning. But he is turned
   away from her, opening his door to get out.

   EXT. SAN JUAN BAUTISTA - (NIGHT)

   Scottie comes around the car and opens Judy's door.

                        JUDY
              Scottie, why are we here?

                        SCOTTIE
              I told you. I have to go back into
              the past. Once more. For the last
              time.

                         JUDY
              But why?   Why here?

                        SCOTTIE
              Madeleine died here.

   Pause.   He holds out his hand.   She shrinks, frightened.

                         JUDY
              No, I don't want to go.   I want to
              stay here.

                        SCOTTIE
              I need you.

                         JUDY
              Why?
VERTIGO       Draft 9-12-1957                                     133.


                       SCOTTIE
             I can't do it alone. I need you, to
             be Madeleine for a while. Then, when
             it's done, we'll both be free.

   He draws her out of the car.

                       JUDY
             I'm scared.

                       SCOTTIE
             So am I, But it has to be done. I
             have to tell you about Madeleine, now.

   He closes the car door and leads her slightly away, and they
   stop and look across the green toward the Livery Stable.

                        SCOTTIE
             There...

   He points to the Livery Stable, bathed in moonlight.

                       SCOTTIE
             ...We stood there and I kissed her for
             the last time. And she said, "If lose
             me, you'll know that I loved you --

                        JUDY
                    (Pleading)
             Scottie --

                        SCOTTIE
                    (Going right on)
             -- and wanted to go on loving you."
             And I said, "I won't lose you."
                    (pause)
             But I did.

   He turns slowly, and Judy with him, and he looks up.   Her
   eyes follow his.

   FROM THEIR ANGLE

   The high church tower in the moonlight.

                       SCOTTIE'S VOICE
             She turned and ran ... into the
             Church...
VERTIGO       Draft 9-12-1957                                   134.


   SCOTTIE AND JUDY

   He puts his arm around her protectively but firmly, and
   begins to impel her gently to the church.

   EXT. CHURCH, SAN JUAN BAUTISTA - (MOONLIGHT)

   SHOOTING from the door.   Scottie impels Judy to the door.

                       SCOTTIE
             ...And when I followed her, it was too
             late....

   The CAMERA PULLS AROUND as his tree hand goes to try the door.

                       JUDY
                    (Frightened)
             I don't want to go in there!

   Scottie pushes the door open.

                       SCOTTIE
             ...too late....

   He pushes her into the church with gentle firmness.

   INT. CHURCH, SAN JUAN BAUTISTA - (NIGHT)

   The darkness is relieved by shafts of moonlight.   Scottie
   impels Judy toward the foot of the tower.

                       SCOTTIE
             I couldn't find her. Then I heard her
             footsteps on the stairs, she was
             running up the tower.

   INT. CHURCH TOWER - (NIGHT)

   It is lit by shafts of moonlight through the slit window.
   Scottie comes into the area holding Judy. He looks up.

   FROM SCOTTIE'S ANGLE:

   the open stairway spiraling upward.

                       SCOTTIE'S VOICE
             She ran up those stairs... and through
             the door at the top of the tower, and
             locked it behind her. Then she Jumped.
VERTIGO       Draft 9-12-1957                                      135.


   BACK TO SCOTTIE AND JUDY

   He is still staring up.    Judy is rigid with fright and the
   memory of that moment.

                       SCOTTIE
             And I couldn't follow her.
                    (He closes his eyes
                     in the agony of
                     remembering)
             God knows I tried.
                    (He glances down)
             One doesn't often get a second chance.
             I want to stop being haunted. You're
             my second chances, Judy.

                       JUDY
                    (A frightened whisper)
             Take me away...

                       SCOTTIE
             You look like Madeleine, now.    Go up
             the stairs.

                       JUDY
             No!

                       SCOTTIE
             Go up the stairs, Judy.
                    (Pushing her to the
                     step)
             I'll follow.

   She starts up slowly, unwillingly. Scottie follows behind
   her, fighting to keep the impending vertigo under control,
   trying to keep his eyes fixed on her back to avoid looking up
   into space. They move up in silence, and in shadow, their
   faces occasionally lit by the shafts of moonlight that stream
   through the open arches of the tower. Judy's eyes are wide
   and staring; her face and body are stiff with the struggle to
   keep from breaking under the strain of remembering the last
   time she went up these stairs. And Scottie fights his way up
   behind her.

   Judy slows down and comes to a halt at the landing that
   Scottie barely reached the last time, at the moment of death.
   She leans her back against the wall for support. Scottie
   struggles up and comes to a halt near her. PAUSE, as he
   gathers himself for the last assault.
VERTIGO       Draft 9-12-1957                                     136.


                       SCOTTIE
                    (Quietly)
             This was as far as I could get.   But
             you went on. Remember?

   She stiffens and stares at him.

                       SCOTTIE
             The necklace, Madeleine. That was the
             slip. I remembered the necklace.

   A moment, then suddenly she ducks and tries to run past him,
   down the stairs. He grabs her wrist and holds on.

                       SCOTTIE
             We're going up the tower, Madeleine.

                         JUDY
             No!    Let me go!

                       SCOTTIE
             We're going up the tower.

                          JUDY
             You can't.     You're afraid!

                       SCOTTIE
             I'm going to. It's my second chance.

   He starts to drag her up the stairs and she fights it, close
   to hysteria.

                       JUDY
             Scottie, please...!

                       SCOTTIE
             But you knew, that day, that I
             wouldn't be able to follow you didn't
             you. Who was at the top when you got
             there? Elster? With his wife?

                          JUDY
             Yes!

                       SCOTTIE
             And she was the one who died. Not
             you. The real wife. You were the
             copy, you were the counterfeit. Was
             she dead or alive when you got there?
VERTIGO       Draft 9-12-1957                                137.


                        JUDY
             Dead.   He'd broken her neck.

                       SCOTTIE
             Took no chances, did he? And when you
             got there, he pushed her off the
             tower, was that it? But you were the
             one who screamed. Why did you scream?

   I wanted to stop it, I ran up to stop it --

                       SCOTTIE
             Why? Since you'd tricked me so well
             up to then?!! You played his wife so
             well, Judy! He made you over, didn't
             he? Just as I've done. But better!
             Not just the hair and the clothes!
             the look! the manner! the words!
             Those beautiful phony trances! That
             jump into the Bay! I'll bet you're
             really a strong swimmer, aren't you!
             Aren't you!!

   The blind, frantic nodding of her head as she struggles
   against him is his affirmation.

                       SCOTTIE
             Did he train you? Rehearse you?
             Teach you what to say and what to do?

                        JUDY
             Yes!

                       SCOTTIE
             And you were such an apt pupil! What
             fun you two must have had, playing
             games with me! Why me? Why did he
             pick on me?!!

                       JUDY
             Your accident...

                       SCOTTIE
             Ah, yes! I was a set-up. I was the
             made-to-order witness. Where is he
             now?

                       JUDY
             I don't know ... Switzerland?
VERTIGO       Draft 9-12-1957                                        138.


                       SCOTTIE
             We'll find him.

   They have reached the door to the tower and he stops, with a
   grim, almost triumphant smile.

                          SCOTTIE
             I made it.

                       JUDY
                    (Apprehensive)
             What are you going to do?

                       SCOTTIE
             Look at the scene of the crime.       Go on
             in.

   He pushes the door open.    She shrinks back.

                          SCOTTIE
             Go on!

   He pushes her through and follows her in.

   INT. BELL TOWER - (NIGHT)

   The black shadows are cut by shafts of moonlight. Heavy
   beams support the great bell hanging at the center. There
   are additional temporary support beams. Judy backs up
   against the stonework as Scottie looks about.

                       SCOTTIE
             You both hid behind there, mmm? ...
             'til everything was clear ... then
             sneaked down and drove back to the
             city.
                    (Glances at her)
             And then? You were his girl. What
             happened to you?

   She stares at him, wide-eyed with apprehension.

                       SCOTTIE
             Did he ditch you?

   An almost imperceptible nod from her.    Scottie almost laughs.

                       SCOTTIE
             Oh, Judy!! When he had all her money,
             and the freedom and the power ...
                       (more)
VERTIGO       Draft 9-12-1957                                     139.


                       SCOTTIE (cont'd)
             he ditched you? What a shame! But he
             knew he was safe. You couldn't talk.
             Didn't he give you anything?

                       JUDY
                    (Faintly)
             Some money.

                       SCOTTIE
             And the necklace. Carlotta's
             necklace. That was your mistake,
             Judy. One shouldn't keep souvenirs of
             a killing. You shouldn't have been
             that sentimental.

   A moment, as he stares at her, then he advances on her slowly.

                       JUDY
                    (Apprehensive)
             What are you going to do?

                       SCOTTIE
             I loved you, Madeleine.

                       JUDY
                    (Desperately)
             I was safe when you found me, there
             was nothing you could prove! But when
             I saw you again I couldn't run away,
             I loved you so! I walked into danger
             and let you change me again because I
             loved you and wanted you!
                    (She throws herself
                     into his arms)
             Scottie, please! You love me now!
             Love me! Keep me safe!

   And she is in his arms, pressing tightly against him in
   desperation, and he holds her tight, and they kiss, deeply,
   passionately. The kiss ends but they remain together,
   holding together, and Scottie's eyes are tight with pain and
   the emotion of hating her and hating himself for loving her.

                       JUDY
                    (softly, pleading)
             Love me ... keep me safe...
VERTIGO       Draft 9-12-1957                                     140.


                       SCOTTIE
                    (Whispering)
             Too late ... too late ... there's no
             bringing her back.

   Suddenly Judy's eyes, looking past him, go wide with horror.

   FROM JUDY'S POINT OF VIEW

   The figure of a woman draped in black stands motionless in
   the shadows by the door.

   JUDY, IN SCOTTIE'S ARMS, TRANSFIXED

   FROM JUDY'S POINT OF VIEW

   The black figure moves forward, seems to merge with the
   shadow and become part of them.

   JUDY

   Pulls out of Scottie's arms and backs away, terrified.

                       JUDY
                    (Whispering)
             No ... no...

   She is backing perilously close to the edge of the drop
   below. Scottie stares at her for a moment, then swings
   around to see what she is looking at.

   FROM SCOTTIE'S POINT OF VIEW

  The black figure advances into a shaft of moonlight.   It is
  a nun.

                       THE NUN
                    (Simply)
             I heard voices...

   There is a terrible scream.

   Scottie swings around again, steps quickly to the edge and
   looks down. He backs away, his face tight with horror and
   holds the stonework for support. The nun comes into the
   SHOT. She steels herself to look below. She crosses herself.

                       THE NUN
             God have mercy...

   She reaches out for the bell cord.
VERTIGO         Draft 9-12-1957                                       141.


   INT. THE BELL TOWER - (NIGHT)

   The church bell is tolling. It swings in and out of the
   picture. Through the archway we can see the Mission garden
   below. Figures are hurrying across toward the church.

                                              DISSOLVE TO:

   INT. MIDGE APARTMENT - (NIGHT)

   Midge is huddled in a chair, listening to the radio.      Beyond
   her, San Francisco at night.

                         THE RADIO
               -- was last heard of living, but is
               now thought to be residing somewhere
               in the south of France. Captain
               Hansen states that he anticipated no
               trouble in having Elster extradited
               once he is found. Other news on the
               local front: in Berkeley three
               university of California sophomores
               found themselves in a rather
               embarrassing position tonight when
               they were discovered by Police Officer
               William Fogarty leading a cow up the
               steps of --

   By now Midge has heard the NOISE outside, has uncoiled from
   the chair and shut the radio. She listens again for a
   moment, then moves quickly to the table on which are bottles,
   glasses and ice. She starts to mix a strong highball and
   does not turn as she hears the front door open. Scottie
   enters and closes the door behind him. His face is a mask.
   He moves slowly across the room and stands by the window,
   with the view of San Francisco beyond him, and looks straight
   ahead, thinking. Midge picks up the highball, glances over
   at him, picks up the bottle and pours in another slug. Then
   moves across the room and holds out the drink. Scottie takes
   it.   Midge moves away, picks up her own drink, sits down and
   looks across the room. Scottie stands quietly, immobile,
   then raises the glass and takes a long pull at the drink. He
   stares out at the city.

   FADE OUT.

                             THE END
