All language subtitles for 1958 Vertigo 迷魂記.ENG

(GUN FIRING)

Give me your hand!

Give me your hand.

(SCREAMING)

(EXCLAIMING)

I thought you said
no more aches or pains.

No, it's this darned corset.
It binds.

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

(SCOTTIE GROANING)

You know those police department doctors.
No sense of style.

Well, anyway,
tomorrow will be the day.

Why, what's tomorrow?

Tomorrow? The corset
comes off tomorrow.

I'll be able to scratch myself
like anybody else tomorrow.

I'll throw this miserable
thing out the window.

Be a free...
I'll be a free man.

Midge, do you suppose
many men wear corsets?

- Mmm. More than you think.
- Really?

What, do you know that
from personal experience or...

Please.

What happens after tomorrow?

What do you mean?

Well, what are you going to do
once you've quit the police force?

You sound so
disapproving, Midge.

No, it's your life.

But you were the bright,
young lawyer that decided

he was going to be
chief of police someday.

I had to quit.

Why?

Well, it's because of this fear
of heights I have, this acrophobia.

I wake up at night seeing
that man fall from the roof,

and I try to reach out
to him, and... It's just...

It wasn't your fault.

I know. That's what
everybody tells me.

Johnny, the doctors
explained to you...

I know, I know.

I have acrophobia,
which gives me vertigo, and I get dizzy.

Boy! What a moment
to find out I had it.

Well, you've got it,
and there's no losing it.

And there's no one to blame.
So why quit?

You mean, and sit behind a desk,
chair-borne?

Where you belong.

What about my acrophobia?
What about...

Now suppose I'm sitting in this chair,
behind the desk. Here's the desk.

And a pencil falls from the desk
down to the floor,

and I reach down to pick up the pencil.
Bingo! My acrophobia's back.

(MIDGE LAUGHING)

Oh, Johnny-O.

Well, what'll you do?

Well, I'm not gonna
do anything for a while.

You know, don't forget, I'm a man
of independent means, as the saying goes.

Fairly independent.

Mmm-hmm.

Well, why don't you
go away for a while?

You mean, to forget?

Oh, no, Midge,
don't be so motherly.

I'm not gonna crack up.

Have you had any
dizzy spells this week?

I'm having one right now.

Midge, the music.
Don't you think it's sort of...

Oh.

What's this doohickey?

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

I've never run across
one like that.

It's brand-new.

Revolutionary uplift.
No shoulder straps, no back straps,

but does everything
a brassiere should do.

Works on the principle
of the cantilever bridge.

- It does?
- Mmm-hmm.

An aircraft engineer
down the peninsula designed it.

He worked it out
in his spare time.

Kind of a hobby.

A do-it-yourself
type of thing.

How's your love life, Midge?

That's following
a train of thought.

Well...

Normal.

Aren't you ever
gonna get married?

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

You mean me. We were engaged once,
though, weren't we?

Three whole weeks.

Good old college days.

But you were the one that called off
the engagement, you remember?

I'm still available.
Available Ferguson.

Oh, Midge, do you remember a fellow
in college by the name of Gavin Elster?

Gavin Elster?

Yes, funny name.

You think I would. No.

I got a call from Gavin today. It's funny,
he sort of dropped out of sight during the war.

Somebody said he went East.
I guess he's back.

It's a Mission number.

Well, that's skid row,
isn't it?

Could be.

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

Well, I'm on the bum. I'll buy him
a couple drinks and tell him my troubles.

But not tonight. How about you
and me going out for a beer?

Mmm-mmm.
Sorry, old man. Work.

Well, then,
I think I'll go home.

(SIGHING)

Midge, what'd you mean,
"There's no losing it"?

What?

(STUTTERING)

The acrophobia.

I asked my doctor.

He said that only another emotional shock
could do it and probably wouldn't.

You're not gonna go diving off
another rooftop to find out?

- I think I can lick it.
- Well, how?

I have a theory.

I have a theory. I think if I can get used
to heights, just a little bit at a time,

just a little, like that,
progressively, you see?

I'll show you what I mean.

Here. I'll show you
what I mean.

- We'll start with this.
- That?

What do you want me to start with,
the Golden Gate Bridge? Now, watch.

Watch this. Here we go.

There. There.

Now, I look up,
I look down.

I look up.

- All right, there's nothing to it.
- You're kidding.

- Wait a minute.
- There's nothing to it.

Here.

That's a girl. I'll use that.
Put it right there.

All right, here's
the first step.

There.

Okay, now step number two.

All right.
Step number two coming up.

There we are.

See? I look up,
I look down, I look up...

I'm going right out and buy myself
a nice tall stepladder.

Take it easy now.

All right, now here we go.

No problem.

Why, this is a cinch.
Here, I look up, I look down.

I look up, I look down.

(BREATHING HEAVILY)

Oh, Johnny, Johnny.

How did you get in the shipbuilding
business, Gavin?

I married into it.

Very interesting business.

No, to be honest,
I find it dull.

Well, you don't have to
do it for a living.

No, but one assumes
responsibilities.

My wife's family
is all gone.

Someone has to look
after her interests.

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.

How long have you
been back?

Almost a year.

You like it, huh?

Well, San Francisco's
changed.

The things that spell San Francisco
to me are disappearing fast.

Like all these.

GAVIN: Yes. I should have liked to have
lived here then. Color, excitement, power.

Freedom.

Shouldn't you
be sitting down?

No. No, I'm all right.

I was sorry to read about that thing
in the paper. And you've quit the force.

Is it a permanent
physical disability?

No, no.

It just means that I can't climb stairs
that are too steep or go to high places,

like the bar at
the Top of the Mark.

But, there are plenty
of street-level bars in this town.

Would you like a drink now?

No, I don't think so. No, it's
a little early in the day for me.

Well, I guess that just
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.

What's on your mind, Gavin?

I asked you to come up here, Scottie,
knowing that you'd quit detective work.

But I wondered whether you'd go back
on the job as a special favor to me.

I want you
to follow my wife.

No, it's not that.
We're very happily married.

Well, then...

I'm afraid some harm
may come to her.

From whom?

Someone dead.

Scottie, do you believe that
someone out of the past,

someone dead, can enter
and take possession of a living being?

No.

If I told you that I believe this has happened
to my wife, what would you say?

Well, I'd say take her to
the nearest psychiatrist, or psychologist,

or neurologist, or psycho...
Or maybe just the plain family doctor.

I'd have him
check on you, too.

Then you're of no use to me.
I'm sorry I wasted your time.

Thanks for coming in,
Scottie.

Okay.

I... I didn't mean
to be that rough.

No, it sounds idiotic,
I know.

And you're still the hardheaded Scot,
aren't you?

Always were.
Do you think I'm making it up?

No.

I'm not making it up.
I wouldn't know how.

She'll be talking to me
about something.

Suddenly, the words
fade into silence.

A cloud comes into her eyes
and they go blank.

She's somewhere else, away from me,
someone I don't know.

I call to her,
she doesn't even hear me.

Then, with a long sigh,
she's back,

looks at me brightly,
doesn't even know she's been away.

Can't tell me
where or when.

Well, how often
does this happen?

More and more
in the past few weeks.

And she wanders.
God knows where she wanders.

I followed her one day,

watched her coming out of the apartment,
someone I didn't know.

She even walked
a different way.

Got into her car and drove out
to Golden Gate Park, five miles.

Sat by the lake,

staring across the water at the pillars
that stand on the far shore.

You know, Portals of the Past.

Sat there a long time,
without moving.

I had to leave,
get back to the office.

When I got home that evening,
I asked her what she'd done all day.

She said she'd driven out to Golden Gate Park
and sat by the lake, that's all.

Well?

The speedometer on her car showed
that she'd driven 94 miles.

Where did she go?

I've gotta know, Scottie,
where she goes and what she does

before I get involved
with doctors.

Well, have you talked
to the doctors at all, about that?

Yes, but carefully.

I want to know more before committing
her to that kind of care.

Scottie...

All right, I'll get you a firm
of private eyes to follow her for you.

They're dependable,
good boys.

I want you.

Look, this isn't my line.

Scottie, I need a friend, someone I can trust.
I'm in a panic about this.

I'm supposed to be retired. I don't want
to get mixed up in this darn thing.

Look, we're going to an opening
at the opera tonight.

We're dining at Ernie's first.
You can see her there.

Ernie's.

(PEOPLE CHATTERING)

(INAUDIBLE)

(ORGAN PLAYING)

Say, will you tell me something
about the lady sitting in there?

Who's the woman in the painting
she's looking at?

Oh, that's Carlotta.

You'll find it in the catalog.
Portrait of Carlotta.

- May I have this?
- Yes.

Thank you.

WOMAN: Yes?

Is there something
I can do for you?

- Yes. You run this hotel?
- Oh, yes.

Would you tell me who has the room
on the second floor in the corner, that corner?

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...

Oh, dear, has she done
something wrong?

Please answer my question.

I can't imagine that sweet girl
with that dear face...

What's her name?

Valdes. Miss Valdes.
Spanish, you know.

Carlotta Valdes?

Yeah, that's it.

Sweet name, isn't it?
Foreign, but sweet.

How long has she
had the room?

Oh, it must be two weeks.
Her rent's due tomorrow.

Does she sleep here, ever?

No, she just comes to sit
two or three times a week.

I don't ask questions, you know,
as long as they're well-behaved.

But I must say...

When she comes down,
don't say that I've been here.

Oh, but she hasn't
been here today.

I just saw her come in
five minutes ago.

(GIGGLING)
No, she hasn't been here at all.

Well, I would have
seen her, you know.

I've been right here all the time,
putting olive oil on my rubber plant leaves.

And there. There, you see?
Her key is on the rack.

Well, would you
please go up and look?

- To her room?
- That's right.

Yes, of course,
if you ask.

- But it does seem silly.
- Thank you.

WOMAN: Oh, Mr. Detective?

Would you like
to come and look?

Her car's gone.

What car?

Midge, who do you know that's an authority
on San Francisco history?

That's the kind of greeting
a girl likes.

None of this, "Hello,
you look wonderful," stuff.

Just a good straight, "Who do you know that's
an authority on San Francisco..."

- Want a drink?
- No, thanks.

Well, who do you?
You know everybody.

Professor Saunders,
over in Berkeley.

No, no, I don't mean
that kind of history.

I mean the small stuff, you know,
people you never heard of.

Oh.

Well, you mean the gay old bohemian days
of gay old San Francisco.

Juicy stories, like who shot
who in the Embarcadero in August, 1879.

Yeah, that's right.

- Pop Leibel.
- Who?

Pop Leibel. He owns
the Argosy Book Shop.

Why, what do you
want to know?

I want to know who shot
who in the Embarcadero in August, 1879.

Hey, wait a minute.

You're not a detective anymore.
What's going on?

You know him well?

Who?

Pop Leibel.

Oh, sure.

Well, come on, let's go.
I want you to introduce me. Get your hat.

I don't need a hat.

Hey, Johnny,
what's it all about?

Hey.

Wait a minute.

LEIBEL: Hello. Yes,
I remember. Carlotta.

The beautiful Carlotta.

The sad Carlotta.

What does an old wooden house
at the corner of Eddy and Gough Street

have to do with
Carlotta Valdes?

Well, it was hers. It was built
for her many years ago.

- By whom?
- By...

By...

(CHUCKLING)

No. The name,
I do not remember.

A rich man,
a powerful man.

- Cigarette?
- No, thank you.

- Cigarette, miss?
- No, thanks.

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 dancing and singing
in a cabaret by that man.

And he took her and built
for her the great house

in the Western Addition.

And there was a...
There was a child.

Yes, that's it.
A child. A child.

I cannot tell you exactly
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.

So he kept the child
and threw her away.

You know, a man 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.

And the mad Carlotta.

Stopping people
in the streets to ask,

"Where is my child?

"Have you seen my child?"

Poor thing.

And she died.

- She died.
- How?

By her own hand.

There are many
such stories.

- Well, thank you very much.
- You are welcome.

I appreciate it.
Good-bye.

Good-bye.

Hey, wait a minute!
Good-bye, Pop. Thanks a lot.

- Now then, Johnny-O, pay me.
- For what?

For bringing you here.
Come on, tell.

(CHUCKLING)
There's nothing to tell.

You'll tell or you'll be back in that corset.
Come on, Johnny, please.

Come on, come on.
I'll take you home.

There we are.

- You haven't told me everything.
- No, I've told you enough.

Who's the guy
and who's the wife?

Out. I've got things to do.

I know. The one that phoned,
your old college chum, Elster.

- Midge, out, please.
- And the idea is

that the beautiful, mad Carlotta has
come back from the dead

and taken possession
of Elster's wife.

(LAUGHING)
Now, Johnny, really. Come on.

Well, I'm not telling you what I think.
I'm telling you what he thinks.

Well, what do you think?

Well, I...

- Is she pretty?
- Carlotta?

No, not Carlotta.
Elster's wife.

Yes.

I guess you'd consider
that she would be...

I think I'll go take a look
at that portrait. Good-bye.

Midge...

- Good-bye.
- Midge, you...

You've done well, Scottie.
You're good at your job.

- That's Carlotta Valdes.
- Yes.

There are things
you didn't tell me.

- I didn't know where she'd lead you.
- But you knew about this.

Oh, yeah.

You notice the way
she does her hair?

You know,
there's 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's alone, she takes
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.

Now, Carlotta Valdes
was what?

Your wife's grandmother?

Great-grandmother.

Now, the child
who was taken from her,

whose loss drove Carlotta mad and to her death,
was Madeleine's grandmother.

And the McKittrick Hotel
is the old Valdes home.

Well, I think
that explains it.

Anyone could become obsessed
with the past with a background like that.

She never heard
of Carlotta Valdes.

She knows nothing of a grave
out at the Mission Dolores?

Or that old house
on Eddy Street? The...

- The portrait at the Palace of the Legion of...
- Nothing.

Well, when she goes
to these places...

She's no longer my wife.

Well, how do you know
all these things she doesn't?

Her mother told me most of them
before she died.

I dug out the rest
for myself here.

Why wouldn't
she tell her daughter?

Natural fear.

Her grandmother went insane,
took her own life.

Her blood is in Madeleine.

(SIGHING)

Boy, I need this.

(PANTING)

Madeleine.

Madeleine!

(MADELEINE WHISPERING)

(PHONE RINGING)

Yes?

No, it's all right.

Yeah, I'll call you back.

Yes.

Yes.

Are you all right?

Oh. Oh, your...

You'll want this.

(DOOR OPENING)

You'd better come over here
by the fire where it's warm.

What am I doing here?

What happened?

Well, you fell
into San Francisco Bay.

And I tried to dry your hair
as best I could.

Your things are
in the kitchen.

They'll be dry
in a few minutes.

Come on over by the fire.

Here, I'll get you
some cushions.

There you are.

Would you like
to have some coffee?

Here, you'd better have some.
Or perhaps you'd like a drink.

I fell into the Bay
and you fished me out?

That's right.

Thank you.

You don't remember?

No, I...

You remember
where you were?

Why, yes. Yes, of course
I remember that.

But then I must have had
a dizzy spell and fainted.

Where were you?

At old Fort Point,
out at the Presidio.

Of course, I remember.
I often go there.

Why? Why do you go there?

Because I love it so.
It's beautiful there,

especially at sunset.

Thank you for the fire.

Where were you before?

- When?
- This afternoon, I mean.

Wandering about.

I know, but where?
Where were you just before?

Downtown, shopping.

Here, you'd better have some coffee.
I think it's still warm.

You're terribly direct
in your questions.

Oh, I'm sorry.
I didn't mean to be rude.

You're not.
You're merely direct.

And what were you doing there,
at old Fort Point?

Oh, just wandering about.

Oh, you like it too?

Yes.

And where had you been
just before?

I'd been to the Palace of
the Legion of Honor, the art gallery.

Oh, yes, that's
a lovely spot, isn't it?

I've never been inside,
but it looks so lovely driving past.

(SIGHING)

It's lucky for me
you were wandering about.

Thank you.

I've been a terrible
bother to you.

No, you haven't.

Oh, when you...

There were some pins
in my hair.

Oh, the pins, yes. Right in here.
I'll get them for you.

And my purse, please.

Here you are.

Thank you.

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

Well, I didn't know
where you lived.

You could have
looked in my car.

Oh, but then, you didn't
know my car, did you?

No, I knew which one it was.
It's right outside here now.

But I didn't think you wanted
to be taken home that way.

No, you're right.

I'm glad you didn't take me home.
I wouldn't have known you.

Thank you. But I don't know you,
and you don't know me.

My name is
Madeleine Elster.

My name's John Ferguson.

Good, strong name.
Do your friends call you John or Jack?

Oh, John, mostly.

Old friends call me John.
Acquaintances call me Scottie.

I shall call you
Mr. Ferguson.

Oh, gee whiz,
I wouldn't like that. Oh, no.

And after what happened this afternoon,
I should think maybe you'd call me Scottie.

Maybe even John.

I prefer John.

There, that's done.
And what do you do, John?

Wander about.

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

One shouldn't live alone.

Some people prefer it.

No, it's wrong.

I'm married, you know.

Will you tell me something?

Has this ever happened
to you before?

What?

Falling into
San Francisco Bay.

Oh.

No. No, it's never
happened before.

Oh, I've fallen into lakes out of rowboats
when I was a little girl.

I even fell into the river once,
trying to leap from one stone to another.

But I've never fallen
into San Francisco Bay.

Have you ever before?

(LAUGHING)
No, it's the first time for me, too.

(LAUGHING)

Here, I'll get you
some more coffee.

(PHONE RINGING)

Hello?

GAVIN: Scottie, what happened?
She's not home yet.

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

Oh, what happened?

She went into the Bay.

Hello? Hello?

Did she hurt herself?

No, she's going to be in fine shape.
There's nothing to worry about.

But she doesn't know.
Now, do you understand that?

She doesn't know
what happened.

Scottie, Madeleine is 26.

Carlotta Valdes committed suicide
when she was 26.

(DOOR CLOSES)

Just hold on a minute, Gavin.

Well now, Johnny-O.
Was it a ghost?

Was it fun?

That letter for me?

Yes. Hello.

Hello.

I worried about you last night.
You shouldn't have run off that way.

Well, I suddenly
felt such a fool.

I wanted to drive you home.
Are you all right?

Oh, yes. Yes, I'm fine.
No aftereffects.

(SIGHING)

But as I remember now,
the water was cold, wasn't it?

It sure was.

What a terrible thing
for me to do.

You were so kind.

It's a formal thank-you note
and a great big apology.

Oh, you've nothing
to apologize for.

Oh, yes, I do.

The whole thing must have been
so embarrassing for you.

Not at all. I enjoyed

talking to you.

Well, I enjoyed
talking to you.

Well, I'll get my mail.

Would you like to have
a cup of coffee?

No. No, thank you.

Well, I couldn't mail it. I didn't know
your address, but I had a landmark.

I remembered Coit Tower.
It led me straight to you.

Well, that's the first time
I've been grateful for Coit Tower.

I hope we will, too.

What?

Meet again sometime.

We have.

Good-bye.

Where are you going?

- Oh, I don't know.
- Shopping?

No.

Well, anywhere
in particular?

No, I just thought
that I'd wander.

Oh, that's what
I was going to do.

Oh, yes, that's right. I forgot.
It's your occupation, isn't it?

Yeah, well, don't you think it's kind
of a waste for the two of us...

- To wander separately?
- Uh-huh.

But only one is a wanderer.

Two together are
always going somewhere.

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

You left your door open.

Be right back.

MADELEINE: How old?

SCOTTIE: Oh, some
2,000 years or more.

The oldest
living things.

Yes.

You've never
been here before?

No.

What are
you thinking?

MADELEINE: Of all the people
who've been born and have died,

while the trees
went on living.

SCOTTIE: Their true name is Sequoia sempervirens.
"Always green, ever living."

- I don't like them.
- Why?

Knowing
I have to die.

SCOTTIE: Here's a cross section of one
of the old trees that's been cut down.

Somewhere in here,
I was born,

and there I died.

It was only a moment for you.
You took no notice.

Madeleine.

Madeleine.

Madeleine,
where are you now?

- Here with you.
- Where?

Tall trees...

Have you
been here before?

- Yes.
- When?

When were you born?

- Long ago.
- Where?

When? Tell me.

- Madeleine, tell me.
- No!

Madeleine, tell me what it is.
Where do you go?

- What takes you away?
- No, I can't tell you.

When you jumped into the bay,
you didn't know where you were.

- You guessed, but you didn't know.
- I didn't jump.

- I didn't jump. I fell. You told me I fell.
- Why did you jump?

- Why did you jump?
- I can't tell you.

Why did you jump?
What was there inside

- that told you to jump?
- No, please. Please.

What? What?

Please don't ask me. Please don't ask me.
Take me away from here.

(BREATHING HEAVILY)

Shall I take you home?

Somewhere in the light.

Promise me something.
Promise you won't ask me again.

Please promise me that.

Why did you run?

I'm responsible
for you now.

You know, the Chinese say
that once you've saved a person's life,

you're responsible for it forever,
so I'm committed.

I have to know.

There's so little
that I know.

(SIGHING)

It's as though I were walking
down a long corridor

that once was mirrored, and fragments
of that mirror still hang there.

And when I come to the end
of the corridor,

there's nothing but darkness.

And I know that when
I walk into the darkness,

that I'll die.

I've never come to the end.
I've always come back before then.

Except once.

Yesterday?

And you didn't know.
You didn't know what happened

till you found
yourself with me.

You didn't know
where you were.

But the small scenes, the fragments
of the mirror, you remember those.

- Vaguely.
- What do you remember?

There's a room,
and I sit there alone.

Always alone.

What else?

A grave.

Where?

I don't know.
It's an open grave and I...

I stand by the gravestone,
looking down into it.

- It's my grave.
- But how do you know?

I know.

But is there a name
on the gravestone?

No. No, it's new
and clean and waiting.

Well, what else?

This part is a dream.
I think.

There's a tower, and a bell
and a garden below.

It seems to be in Spain,
a village in Spain.

It clicks off and it's gone.

Well, a portrait?

- Do you see a portrait?
- No.

If I could just find the key,
the beginning, and put it together, I...

So, explain it away?

There's a way
to explain it, you see.

If I'm mad, then that would
explain it, wouldn't it?

Madeleine!

Oh, Scottie!

I'm not mad! I'm not mad!
I don't want to die.

There's someone within me,
and she says I must die.

Oh, Scottie,
don't let me go.

I'm here.
I've got you.

I'm so afraid.

Don't leave me.

Stay with me.

All the time.

(DOOR OPENING)

(FOOTSTEPS APPROACHING)

(DOOR OPENING)

Hi, Johnny.

Hi.

Did you get my message?

I did, indeed.

I'll get you a drink.

Okay.

Since when do you go around
slipping notes under men's doors?

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?

Just wandering.

Where?

Round about.

Oh.

What was this...

What was this desperate
urge to see me?

All I said in my note was,
"Where are you?"

Doesn't sound very
desperate to me.

Yeah, I detected
a little undercurrent.

Well, I just thought that if I gave you
a drink and fed you some dinner,

you'd be so grateful,
you'd take me to a movie.

That's fair enough.
What'll we talk about at dinner?

Oh, this and that.

What I've been doing?

Only if you want to.

I'm sure we won't talk about anything
you don't want to talk about.

Naturally.

What have you been doing?

Wandering.

What have you been doing?
Thank you, dear.

Oh, I've been having
a wonderful time.

I've gone back
to my first love, painting.

Well, good for you.

I always said you were wasting your time
in the underwear department.

You know, it's a living.
But I'm really excited about this.

What is it?
A still life?

No. No, not exactly.
You wanna see?

Hmm. Yeah.

Matter of fact, I thought
I might give it to you.

Oh?

Johnny!

It's not funny, Midge.

- Johnny!
- No.

Johnny, I just thought...

Uh-uh.

No.

Let's make that movie
some other night, okay?

(DOOR CLOSING)

Johnny!

Oh, Marjorie Wood, you fool!

Idiot!

Stupid! Stupid! Stupid!

(DOORBELL BUZZING)

Madeleine! What's the matter?
What time is it?

I should have phoned you, but I wanted
to see you and be with you.

Why? What's happened?

I had the dream.
The dream came back again.

Now, now, it's gonna
be all right.

It'll be all right.
Here, I'll get you some brandy.

Just drink this down.
Here, just like medicine.

(COUGHING)

There now.

It was a dream. You're awake.
You're all right now.

Now, can you tell me?

It was the tower again, and the bell,
and the old Spanish village.

Yes?

Clear, so very clear
for the first time. All of it.

Tell me.

It was a village square
and a green with trees,

and an old whitewashed
Spanish church with a cloister.

Across the green, there was a big,
gray, 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.

Go on.

At the end of the green,
there was a whitewashed stone house,

with a lovely pepper tree
at the corner.

And an old wooden hotel
from the old California days?

And a saloon? Dark, low ceilings,
with hanging oil lamps?

Yes.

It's all there.
It's no dream.

You've been there before.
You've seen it.

No, never.

Madeleine, a hundred miles
south of San Francisco,

there's an old
Spanish mission,

San Juan Bautista it's called,
and it's been preserved

exactly as it was
100 years ago, as a museum.

Now, think hard,
darling. Think hard.

You've been there before.
You've seen it.

No, no, I've never...
I've never been there.

Oh, Scottie, what is it?
I've never been there.

Think hard. Now go on
about your dream.

What was it that
frightened you so?

I stood alone on the green
searching for something.

And then I started
to walk to the church.

But then the darkness closed in
and I was alone in the dark.

Being pulled into the darkness,
and I fought to wake up.

Oh, you're going to be
all right now, Madeleine.

Don't you see? You've given me
something to work on now.

I'm going to take you down there
to that mission, this afternoon.

And when you see it, you'll remember
when you saw it before,

and it'll finish your dream.
It'll destroy it. I promise you. All right?

Come on now.
I'll take you home.

No. I'll be all right.

You come back here
around noon.

Madeleine,
where are you now?

- Here with you.
- And it's all real.

It's not merely as it was 100 years ago,
or a year ago,

or six months ago, or whenever
it was you were here to see it.

Now, Madeleine,
think of when you were here.

There were not
so many carriages then.

There were horses
in the stalls.

A bay, two black
and a gray.

It was our favorite place.

But we were forbidden
to play here.

Sister Teresa
would scold us.

Look at this.
Well, here's your gray horse.

Have a little trouble getting in and out
of the stall without being pushed,

but even so...

You see? There's an answer
for everything.

Madeleine, try.

Try for me.

I love you, Madeleine.

I love you, too.

Too late. Too late.

No, no, we're together.

No, it's too late.
There's something I must do.

No. There's nothing
you must do.

There's nothing
you must do.

No one possesses you.
You're safe with me.

No, it's too late.

Look. It's not fair.
It's too late.

It wasn't supposed to happen this way.
It shouldn't have happened.

It had to happen. We're in love.
That's all that counts.

- Look, let me go. Please let me go!
- Listen to me. Listen to me.

You believe I love you?

Yes.

And if you lose me,
then you'll know I...

I loved you and I wanted
to go on loving you.

I won't lose you.

Let me go into
the church, alone.

But why?

Madeleine!

Madeleine!

(FOOTSTEPS SCUTTLING)

Madeleine!

(MADELEINE SCREAMING)

(THUDDING)

(INDISTINCT CHATTERING)

JUDGE: Ferguson.

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 hands of qualified specialists.

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.

However, I think you'll 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 for information
as to her behavior,

which he expected to
get from Mr. Ferguson.

He had taken every precaution
to protect his wife.

He could not have anticipated that
Mr. Ferguson's weakness, his fear of heights,

would make him powerless
when he was most needed.

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 once before,
under similar circumstances,

Mr. Ferguson allowed a police colleague
to fall to his death,

Captain Hansen dismissed
as an "unfortunate incident."

Of course, Mr. Ferguson
is to be congratulated

on 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.

Nor does his strange behavior
after he saw the body fall

have any bearing
on your verdict.

He did not remain at the scene
of the death. He left.

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 own conscience.

Now, from the evidence of the state
of 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 if you wish.

Hold on, Mr. Jones.

(INDISTINCT)

We've reached a verdict.

Thank you.

"The jury finds that Madeleine Elster
committed suicide

"while of unsound mind."

Your verdict will be
so recorded. Dismissed.

(INAUDIBLE)

All right, Scottie,
let's go.

Mind if I speak to him
for a minute?

No, go ahead.

Scottie.

Sorry, Scottie.
That was rough.

He had no right
to speak to you like that.

It was my responsibility.
I shouldn't have got you involved.

No, there's nothing
you have to say to me.

I'm getting out,
Scottie, for good.

I can't stay here.

I'm going to wind up her affairs and mine,
get away as far as I can.

Europe, perhaps. And I probably
never will come back.

Good-bye, Scottie.

If there's anything
I can do for you before I go.

There was no way
for them to understand.

You and I know
who killed Madeleine.

Come on, Scottie.
Let's get out of here.

(CLASSICAL MUSIC PLAYING)

It's Mozart,
Wolfgang Amadeus.

I had a long talk with that lady
in musical therapy, Johnny,

and she says that
Mozart's the boy for you,

the broom that sweeps
the cobwebs away.

Well, it's what
the lady said.

You know, it's wonderful how they have
it all taped now, John.

I have music
for dipsomaniacs,

and music for melancholiacs,
and music for hypochondriacs.

I wonder what would happen
if somebody got their files mixed up.

I brought a lot of other things,
and you can see what you like.

It shuts off automatically.

Oh, Johnny. Johnny, please try.
Try, Johnny.

You're not lost.
Mother is here.

(DOOR OPENING)

MIDGE: Time?

Okay.

(DOOR CLOSING)

I'll be in again, John.

You want me
to shut that off?

Oh, John-O.

You don't even know
I'm here, do you?

But I'm here.

(DOOR OPENING)

(DOOR CLOSING)

Nurse, could I see
the doctor for a moment?

Doctor, Miss Wood.

Won't you go in, please?

Yes, Miss Wood?

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

Well, it's hard to say.
At least six months. Perhaps a year.

It really could
depend on him.

He won't talk.

No. He's suffering
from acute melancholia,

together with
a guilt complex.

He blames himself
for what happened to the woman.

We... We know little
of what went on before.

Well, I can give you one thing.
He was in love with her.

Oh, that does complicate
the problem, doesn't it?

I can give you
another complication,

he still is.

And you want to
know something, Doctor?

I don't think Mozart's
going to help at all.

Where'd you get this car?

- I beg your pardon?
- This... This car?

Why, I bought it from a man who used
to live here, in this apartment building,

Mr. Gavin Elster. I bought it
from him when he moved away.

Oh, you knew him
and his wife.

The poor thing.
I didn't know her.

Tell me, is it true
that she really...

I'm... I'm sorry.

- Good evening.
- Good evening.

Give me a scotch and soda,
will you.

(INDISTINCT)

Well, what is it?

Could I ask you
a couple of questions?

What for?
Who are you?

My name is John Ferguson.

Is this some kind
of Gallup poll?

Oh, no.

- There are just couple of things I'd like to ask.
- You live in this hotel?

No. I happened to see you
when you came in, so I thought...

Yeah, I thought so.
A pickup.

Well, you've got a nerve, following me right
into the hotel and up to my room.

Now, you beat it.
Go on and beat it.

No, please, please.
I just want to talk to you.

Listen, I'm gonna
yell in a minute.

Listen, I'm not gonna hurt you.
Honest. I promise.

Please.
Just let me talk to you.

- What about?
- You.

Why?

Because you remind me
of somebody.

I heard that one
before, too.

I remind you of someone you used
to be madly in love with,

but then she ditched you
for another guy,

and you've been carrying
the torch ever since.

Then you saw me
and something clicked.

Well, you're not
far wrong.

Well, it's not gonna work,
so you better go.

Please, let me come in.

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

Well, I warn you,
I can yell awful loud.

Now, you won't have to.

Well, you don't look very much like Jack the Ripper.
What do you want to know?

- I want to know your name.
- Judy Barton.

- Who you are?
- I'm just a girl. I work at Magnin's.

No, but, how do you
happen to be living here?

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

No, but you haven't
lived here long?

Yeah, about three years.

Well, where did
you live before?

Salina, Kansas.

Listen, what is this?
What do you want?

I just want to know
who you are.

Well, I told you.

My name is Judy Barton.
I come from Salina, Kansas.

I work at Magnin's,
and I live here.

My gosh, do I have
to prove it?

(SIGHING)

All right, mister,
my Kansas driver's license.

Judy Barton,
number Z296794,

425 Maple Avenue,
Salina, Kansas.

See the address on this one?
It's this place right here.

A California license
issued May 25, 1954.

You want to check my thumbprints?
You satisfied?

And whether you're satisfied or not,
you can just beat it.

Gee, you have got it bad,
haven't you?

Do I really look like her?

She's... She's dead,
isn't she?

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

Yes, that's me
with my mother.

And that's my father.
He's dead.

My mother married again,
but I didn't like the guy,

so I decided I'd see what it's like
in sunny California.

I've been here three years.

Honest.

Will you have dinner with me?

Why?

Well, I just feel that
I owe you something after all this.

You don't owe me anything.

Well, then will you?
For me?

Dinner and what else?

Just dinner.

'Cause I remind you of her?

Because I'd like
to have dinner with you.

Well, I've been
on blind dates before.

Matter of fact, to be honest,
I've been picked up before.

Okay.

All right, I'll get my car.
I'll be back for you in half an hour.

Oh, no, you better give me time
to change and get fixed up.

An hour?

- Uh-huh.
- Okay.

MADELEINE: Dearest Scottie.

And so you found me.

This is the moment that
I dreaded and hoped for.

Wondering what I would say
and do if I ever saw you again.

I wanted so to see you again,
just once.

Now I'll go, and you can
give up your search.

I want you to have
peace of mind.

You've nothing
to blame yourself for.

You were the victim.

I was the tool, and you were the victim
of Gavin Elster's plan to murder his wife.

He chose me to play the part because I looked
like her. He dressed me up like her.

It was quite safe because she lived
in the country and rarely came to town.

He chose you to be the witness
to a suicide.

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'd never
get up the stairs to the tower.

He planned it so well.
He made no mistakes.

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'd 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 don't know whether
I have the nerve to try.

(PEOPLE CHATTERING)

Oh, here.
Here, I'll do it.

There you are.

Thanks again.
Good night.

Can I see you tomorrow?

Tomorrow night? Well...

No, I mean
tomorrow morning.

But I have to go to work.
I've got a job.

Don't go to your job.

And what'll I live on?
My oil wells in Texas?

Let me take care
of you, Judy.

Thanks very much,
but no thanks.

No, Judy,
you don't understand.

Oh, I understand,
all right.

I've been understanding
since I was 17.

- And the next step is?
- No, no. No, no.

No? Then what?

We could just see
a lot of each other.

Why?

'Cause I remind you of her?

It's not very complimentary.

And nothing else?

No.

That's not very
complimentary, either.

I just want to be with you
as much as I can, Judy.

Well, I guess I could phone
the store in the morning

and make some excuse.

(JAZZY MUSIC PLAYING)

There you are.

I like that one.

Like that?

- Yes.
- All right.

Well, that's very nice.

It's beautiful.

There we are.

Now, we'll get this,
and then we'll buy you those clothes.

- Honest?
- Right over there's Ransohoffs.

It's the best.
How much is that?

That'll be 50 cents.
Thank you.

Scottie,
you don't have to.

But I want to.

No, that's not it.
Nothing like it.

But you said gray, sir.

SCOTTIE: Now, look. I just want
an ordinary, simple gray suit.

But I like
that one, Scottie.

No, no.
It's not right.

Gentleman seems
to know what he wants.

All right. We'll find it.

Scottie, what
are you doing?

I'm trying
to buy you a suit.

But... But I love the
second one she wore.

And this one,
it's beautiful.

No, no. They're
none of them right.

Oh, I think I know the suit you mean.
We had it some time ago.

Let me go and see.
We may still have that model.

Thank you.

You're looking for the suit
that she wore, for me.

You want me to be
dressed like her.

Judy, I just want you
to look nice.

I know the kind of suit
that'd look well on you.

Oh, no. No, I won't do it!

Judy.

Judy, it can't make that much difference
to you. I just want to see...

No, I don't want any clothes.
I don't want anything. I want to get out of here.

Judy, do this for me.

WOMAN: Here we are.

SCOTTIE: Yes, that's it.

I thought so.

- I don't like it.
- No, we'll take it.

Will the thing fit?

WOMAN: Well, yes. It might need some
slight alterations, but it's madam's size.

All right, dear. We'll have it
for you to try on in a moment.

How long will the
alterations take?

WOMAN: Well...

May we have it
by tonight?

Well, if it's
absolutely necessary.

Yes, it is. Now, we'd like to look
at a dinner dress, an evening dress.

Short, black, with long sleeves,
and a kind of square neck.

Scottie!

My! You certainly do know what you want, sir.
I'll see what we have.

All right. That's it.
Do you have them in brown?

- Yes, we have.
- Fine.

(SOBBING)

Here, Judy. Drink this straight down,
just like medicine.

Stop.

Why are you doing this?
What good will it do?

I don't know.

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

(SIGHING)

I wish you'd leave me alone.
I want to go away.

You can, you know.

No. You wouldn't let me.

And I don't wanna go.

Oh, Judy. Judy,
I tell you this.

These past few days have been
the first happy days I've known in a year.

I know. I know because...

'Cause I remind you of her.

And not even that very much.

No. No, Judy.
Judy, it's you, too.

There's something
in you that...

You don't even want
to touch me.

Yes. Yes, I do.

Couldn't you like me,
just me, the way I am?

When we first started out,
it was so good. We had fun.

And... And then you started
in on the clothes.

Well, I'll wear the darned clothes
if you want me to,

if you'll just like me.

The color of your hair.

Oh, no.

Judy, please.
It can't matter to you.

If...

If I let you change me,
will that do it?

If I do what you tell me,

will you love me?

Yes.

- Yes.
- All right.

All right, then, I'll do it.
I don't care anymore about me.

Here, come on.
We'll sit by the fire.

I'm afraid it's going
to take several hours.

The young lady thought perhaps
you'd like to go home.

And then she'll come there
as soon as she's finished.

Well, no. You tell her I'll go to
her hotel and wait for her there.

Oh, and you're sure
about the color of the hair?

Oh, yes.
It's an easy color.

- And all the rest of...
- Yes, sir, we know what you want.

Thank you.

(ELEVATOR BELL DINGS)

Well?

It should be back from your face
and pinned at the neck.

I told her that.
I told you that.

We tried it.
It just didn't seem to suit me.

Please, Judy.

(DOOR OPENING)

Where shall
we go for dinner?

Anywhere you like.

Ernie's?

You have a thing
about Ernie's, don't you?

Well, after all,
it's our place.

Hello, my love.
Like me?

Mmm-hmm.

Is that the best
you can do?

Come here.

Oh, no. You'll muss me.

Well, that's what I had in mind.
Now, come here.

It's too late.
I got my face on.

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

No, no. Ernie's is fine.

I'm gonna have...

I'm gonna have one of those big,
beautiful steaks.

Let me see.
To start, I think I'll...

Help me with this,
will you?

I have it.

How do you work
this thing?

Can't you see?

Oh. Now,
there you are.

Thank you.
I'm just about ready.

All I've got to do
is find my lipstick.

Where did I put it?
I had it a minute ago.

I wonder if it's here.
Here it is.

There, I'm ready.

But first,
muss me a little?

Scottie, I do
have you now, don't I?

How would you like to go someplace
out of town for dinner?

Maybe we could drive
down the peninsula.

All right. If you'd like.

We're going awfully far.

I just feel like driving.
You terribly hungry?

No. No, it's all right.

Where're you going?

One final thing
I have to do.

And then, I'll be
free of the past.

Scottie, why are we here?

I told you.

I have to go back
into the past once more.

Just once more,
for the last time.

Why? Why here?

Madeleine died here, Judy.

- I don't wanna go. I'd rather wait here.
- No, I need you.

Why?

I need you to be
Madeleine for a while.

And when it's done,
we'll both be free.

- I'm scared.
- Oh, no. I have to tell you about Madeleine now.

Right there.

We stood there, and I kissed her
for the last time.

And she said,
"If you lose me,

- "you'll know that I loved you..."
- Scottie.

"...and wanted to
keep on loving you."

And I said, "I won't lose you."
But I did.

And then she turned

and ran into the church.

And when I followed her,
it was too late.

I don't wanna go in there!

It's too late.

Scottie, I...

I couldn't find her, and then I heard
footsteps on the stairs.

She was running
up the tower.

Right here.

- Scottie...
- See? She was running up the stairs,

through the trapdoor
at the top of the tower.

And I tried to follow her,
but I couldn't get to the top.

I tried, but I couldn't
get to the top.

One doesn't often
get a second chance.

I want to stop
being haunted.

You're my second chance, Judy.
You're my second chance.

Take me away!

You look like Madeleine now.
Go up the stairs.

- No!
- Go up the stairs.

Go up the stairs, Judy.

And I'll follow.

This was as far as I could get,
but you went on.

Remember?

The necklace, Madeleine.
That was the slip.

I remembered the necklace.

- Let me go!
- No. We're going up the tower, Madeleine.

You can't!
You're afraid!

Now, we'll see. We'll see.
This is my second chance.

Scottie, please!

But you knew that day that I wouldn't
be able to follow you, didn't you?

Who was up there when you got up there?
Elster and his wife?

- Yes.
- Yes, and she was the one who died.

The real wife, not you.

You were the copy. You were
the counterfeit, weren't you?

- Was she dead or alive when...
- Dead! Dead! He'd broken her neck.

He'd broken her neck.
Wasn't taking any chances, was he?

So, when you got up there,
he pushed her off the tower,

but it was you that screamed.
Why did you scream?

I wanted to stop it, Scottie.
I ran up to stop it. I...

If you wanted to stop it,
why did you scream,

since you tricked me
so well up to then?

You played the wife very well, Judy.
He made you over, didn't he?

He made you over just like
I made you over, only better.

Not only the clothes
and the hair,

but the looks, and the manner,
and the words,

and those beautiful
phony trances.

And you jumped into
the Bay, didn't you?

I'll bet you're a wonderful swimmer,
aren't you? Aren't you?

- Aren't you?
- Yes!

And then what did he do?
Did he train you? Did he rehearse you?

Did he tell you exactly
what to do, what to say?

You were a very apt pupil, too, weren't you?
You were a very apt pupil.

Why did you pick on me?
Why me?

Your accident!
Your accident.

My accident...

I was the setup,
wasn't I?

I was the setup.
I was a made-to-order witness. I...

I made it.

- I made it.
- What are you going to do?

We're going up and look at the scene
of the crime.

Come on, Judy.

And this is
where it happened.

And the two of you hid back there
and waited for it to clear,

and then you sneaked down
and drove into town, is that it?

And then?
You were his girl?

Well, what happened to you?

What happened to you?
Did he ditch you?

Oh, Judy, with all of his wife's money,
and all that freedom,

and that power, and he ditched you.
What a shame.

But he knew he was safe. He knew
you couldn't talk. Did he give you anything?

Some money.

And the necklace,
Carlotta's necklace.

And there was where you
made your mistake, Judy.

You shouldn't keep
souvenirs of a killing.

You shouldn't have been...

You shouldn't have been
that sentimental.

I loved you so, Madeleine.

Scottie.

I was safe
when you found me.

There was nothing
that you could prove.

When I saw you again,
I couldn't run away. I loved you so.

I walked into danger and let you
change me because I loved you,

and I wanted you.

Oh, Scottie.
Oh, Scottie, please.

You loved me.
Now, keep me safe.

- Please!
- Too late.

It's too late.
There's no bringing her back.

Please.

- No!
- WOMAN: I heard voices.

(SCREAMING)

God have mercy.

(BELL TOLLING)