Vertigo Page #23

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.

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.

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:

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?

She turns to the mirror over the dresser.

SCOTTIE:

Come here.

JUDY:

Oh, no. You'll muss 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!

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... muss me a little.

She puts her arms around him and presses against him, and

lays her head against his chest with a happy sigh.

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