Vertigo Page #25

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?

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?

JUDY:

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?

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... 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...

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.

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:

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