Vertigo Page #4

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.

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.

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:

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