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Vertigo Collectors Edition CD2

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-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.
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.
I detected a little undercurrent.
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?
This and that.
What I've been doing?
If you want to.
We won't talk about anything|you don't want to.
Naturally.
What have you been doing?
Wandering.
What have you been doing?|Thank you, dear.
I've been having a wonderful time.
-I've gone back to my first love: painting.|-Good for you.
I always said you were wasting your time|in the underwear department.
It's a living.|But I'm really excited about this.
What is it? A still life?
No, not exactly.
You want to see?
I thought I might give it to you.
It's not funny, Midge.
I just thought....
Let's make that movie some other night.
Marjorie Wood, you fool!
Idiot!
Stupid! Stupid!
Madeleine! What's the matter?
I should have phoned,|but I wanted to see you, be with you.
-Why? What's happened?|-I had the dream.
-The dream came back again.|-It's gonna be all right.
It'll be all right. I'll get you some brandy.
Drink this down.
Just like medicine.
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.
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 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.
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.
Think hard, darling. Think hard.
-You've been there before. You've seen it.|-I've never been there.
-What is it? I've never been there.|-Think hard.
Go on about your dream.|What frightened you?
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.
You're going to be all right now.
You've given me|something to work on now.
I'll take you to that mission this afternoon.
When you see it,|you'll remember when you saw it before.
lt'll finish your dream.|lt'll destroy it, I promise you.
All right?
-Come on, now. I'll take you home.|-No. I'll be all right.
You'll 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.
And Sister Teresa would scold us.
Look at this. Here's your gray horse.
Have a little trouble getting in and out|of the stall without being pushed.
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. 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.
It's not fair. It's too late.|It wasn't supposed to happen this way.
It had to happen. We're in love.|That's what counts.
-Please let me go!|-Listen to me.
-You believe I love you?|-Yes.
And if you lose me, then you'll know...
...I loved you and wanted|to go on loving you.
I won't lose you.
-Let me go into the church, alone.|-But why?
Madeleine!
Mr. Elster, suspecting 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've heard|that Mr. Elster was prepared...
...to take his wife to an institution...
...where her mental health would've 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 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.
From the evidence of the state of mind|of Madeleine Elster prior to her death...
...from the manner of her death and|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 it, Mr. Jones.
-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.
-Scottie, let's go.|-Mind if I speak to him for a minute?
Go ahead.
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's no way for them to understand.
You and I know who killed Madeleine.
Come on, Scottie. Let's get out of here.
It's Mozart, Wolfgang Amadeus.
I had a long talk with that lady|in Musical Therapy...
...and she says|that Mozart's the boy for you...
...the broom that sweeps|the cobwebs away.
It's what the lady said.
It's wonderful how|they have it all taped now, John.
They 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.
Johnny, please try.
Try, Johnny.
You're not lost. Mother is here.
Time?
I'll be in again, John.
You want me to shut that off?
You don't even know I'm here, do you?
But I'm here.
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?
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 know little of what went on before.
I can give you one thing:|He was in love with her.
That does complicate the problem,|doesn't it?
I can give you another complication:|He still is.
And you want to know something?
I don't think Mozart's going to help at all.
-Where'd you get this car?|-I beg your pardon?
I bought it from a man who used to live|in this building.
Mr. Gavin Elster.|I bought it from him when he moved away.
You knew him and his wife!
The poor thing. I didn't know her.
-Is it true that she really--|-I'm sorry.
-Good evening.|-Good evening.
Give me a scotch and soda.
-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?
-There are some things I'd like to ask.|-You live in this hotel?
No. I happened to see you|when you came in, so I--
Yeah, I thought so. A pickup.
You've got a nerve, following me|into the hotel and up to my room.
-Now, you beat it.|-Please. I just want to talk to you.
I'm gonna yell in a minute.
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 were madly in love with...
...but then she ditched you|for another guy...
...and you've been carrying a torch||ever since.
Then you saw me and something clicked.
You're not far wrong.
-It's not gonna work, so 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.
You won't have to.
You don't look 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.
-How do you happen to be living here?|-It's a place to live, that's all.
-But you haven't lived here long?|-Yeah, about three years.
-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?
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?
Whether you're satisfied or not,|you can just beat it.
You have got it bad, haven't you?
Do I really look like her?
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?
-I feel I owe you something after all this.|-You don't owe me anything.
-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.
I've been on blind dates before.
Matter of fact, to be honest,|I've been picked up before.
Okay.
I'll get my car. I'll be back in half an hour.
-Give me time to change and get fixed up.|-An hour?
Okay.
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 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 like her.
He 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.
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.|-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.|-I understand, all right.
I've been understanding since I was 17.
-And the next step is?|-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.
Well...
...I guess I could phone the store|in the morning...
...and make some excuse.
There you are.
I like that one.
-Like that?|-Yes.
-That's very nice.|-It's beautiful.
There we are.
We'll get this,|then we'll buy you those clothes.
-Honest?|-Right over there's Ransohoffs.
-Nothing but the best. How much?|-That'll be 50 cents.
-Thank you.|-You don't have to.
I want to.
-No, that's not it. Nothing like it.|-But you said gray, sir.
I just want an ordinary, simple gray suit.
-But I like that one, Scottie.|-No, it's not right.
The gentleman seems to know|what he wants.
All right. We'll find it.
-What are you doing?|-I'm trying to buy you a suit.
But I love the second one she wore.
-And this one, it's beautiful.|-They're none of them right.
I think I know the suit you mean.|We had it some time ago.
Let me see. We may still have that model.
Thank you.
You're looking for the suit|that she wore, for me.
-You want me to dress like her.|-I just want you to look nice.
-I know what suit would look well on you.|-No, I won't do it!
Judy.
It can't make a difference to you.|I just want to see--
I don't want any clothes.|I want to get out of here.
-Do this for me.|-Here we are.
-Yes, that's it.|-I thought so.
-I don't like it.|-We'll take it.
Will the thing fit?
It might need some slight alterations,|but it's madam's size.
We'll have it for you to try on in a moment.
-How long will the alterations take?|-Well....
-May we have it by tonight?|-If it's absolutely necessary.
Yes, it is. Now, we'd like to look|at a dinner 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.
-That's it. Do you have them in brown?|-Yes, we have.
Fine.
Here, Judy. Drink this straight down,|just like medicine.
Why are you doing this?|What good will it do?
I don't know.
No good, I guess. I don't know.
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 want to go.
Judy, I tell you this.
These past few days are|the first happy days I've had in a year.
I know because....
Because I remind you of her.
And not even that very much.
No.
No, Judy. It's you, too.
There's something in you that....
-You don't even want to touch me.|-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 then you started in on the clothes.
I'll wear the darned clothes|if you want me to...
...if you'll just like me.
The color of your hair.
Judy, please. It can't matter to you.
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.
Come on. We'll sit by the fire.
I'm afraid it's going to take several hours.
The young lady thought you'd like to go|home. She'll join you when she's finished.
No. Tell her I'll go to her hotel|and wait for her there.
-You're sure about the color of the hair?|-Yes, it's an easy color.
-All the rest of--|-Yes, we know what you want.
Thank you.
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.
-Where shall we go for dinner?|-Anywhere you like.
-Ernie's?|-You have a thing about Ernie's, don't you?
After all, it's our place.
Hello, my love. Like me?
-Is that the best you can do?|-Come here.
No. You'll muss me.
That's what I had in mind. Come here.
It's too late. I got my face on.
I'm suddenly hungry.
-Would you rather go somewhere else?|-No. Ernie's is fine.
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?
-Now, there you are.|-Thank you. I'm just about ready.
All I've gotta 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.|Are you terribly hungry?
No, it's all right.
Where are 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--|-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.|-I have to tell you about Madeleine now.
Right there.
We stood there,|and I kissed her for the last time.
She said, "If you lose me,|you'll know that I love you...
"...and wanted to keep loving you."
And I said, "I won't lose you." But I did.
And then she turned...
...and ran into the church.
When I followed her, it was too late.
I don't want to go in there!
It was too late.
I couldn't find her,|and then I heard footsteps on the stairs.
She was running up the tower.
Right here.
See? She was running up the stairs...
...and through the trapdoor|at the top of the tower.
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!
We'll see. We'll see.|This is my second chance.
Please!
You knew that day|that I couldn't follow you.
-Who was up there? Elster and his wife?|-Yes.
And she was the one who died.|The real wife, not you.
You were the counterfeit, weren't you?
-Was she dead or alive--|-Dead! He'd broken her neck.
He'd broken her neck.|Wasn't taking any chances, was he?
When you got up there, he pushed her off,|but it was you who screamed.
-Why did you scream?|-I wanted to stop it. I ran up to stop it--
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, 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?|-Yes!
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?
Why did you pick on me? Why me?
Your accident!
The accident!
I was the setup, wasn't I?
I was a made-to-order witness.
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.
This is where it happened.
The two of you hid there|and waited for it to clear...
...then you sneaked down|and drove into town, is that it?
And then? You were his girl?
What happened to you?
Did he ditch you?
With all of his wife's money...
...and all that freedom and 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.
There was where you made|your mistake, Judy.
You shouldn't keep souvenirs of a killing.
You shouldn't have been that sentimental.
I loved you so, Madeleine.
I was safe when you found me.
There was nothing that 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...
...because I loved you and I wanted you.
Scottie, please. You loved me.
-Keep me safe. Please!|-It's too late.
It's too late. There's no bringing her back.
Please.
I heard voices.
God have mercy.
Subtitles by SOFTITLER
V - The Miniseries CD1
V - The Miniseries CD2
Va Savoir - Who Knows
Vacas 1991
Vagabond 1985
Vagina Monologues
Valami Amerika CD1
Valami Amerika CD2
Valentin (2002)
Valentine
Valhalla
Valley of Gwangi
Valmont (1989) CD1
Valmont (1989) CD2
Vampiras Las (1971) - Lesbian Vampires
Vampire Clan
Vampire Lovers The (1970)
Vampire Princess Miyu
Vampire in Brooklyn
Vampires
Vampires (John Carpenters)
Vampires II Los Muertos
Vampiyaz
Van God Los
Van Helsing
Van Helsing The London Assignment 2004
Van Wilder
Vanilla Sky
Vanilla Sky (reworked)
Vanishing Point 1971
Vanishing The
Vanishing The - Criterion Collection
Vanity Fair CD1
Vanity Fair CD2
Vargtimmen - The hour of the Wolf (1967)
Variety Lights
Varsity Blues
Vatel
Vegas Vacation 1997 CD1
Vegas Vacation 1997 CD2
Vektlos
Vengo
Vent dEst
Vera Cruz
Veronica Guerin
Veronica Mars 01x01
Veronica Mars 01x03
Veronica Mars 01x05
Veronica Mars 01x07
Veronika Voss 1982
Versus CD1
Versus CD2
Vertical
Vertical Limit
Vertical Ray Of The Sun
Vertigo
Vertigo (1958 1996) CD1
Vertigo (1958 1996) CD2
Vertigo Collectors Edition CD1
Vertigo Collectors Edition CD2
Very Bad Things
Vesnicko ma Strediskova
Veuve de Saint-Pierre La (2000)
Vibrator 2003
Victor Victoria
Victor Victoria CD1
Victor Victoria CD2
Victory
Vidas Privadas 2001
Videodrome
Vidocq
Vierges et vampires
View From The Top 2003
View To A Kill A
Vij 1967
Vikings The
Village The
Village of the Damned
Villain The 1979
Villmark Dark Woods
Violent Cop 1989
Virgin (2003) CD1
Virgin (2003) CD2
Virgin Spring The
Virgin Suicides The
Virginian The
Viridiana
Virtual Sexuality
Virtuosity
Virus
Vishwatma
Visible Secret
Visiteurs Les
Visitor Q
Visitors The
Viskningar och rop - Cries and Whispers
Viva Villaveien
Viva Zapata
Viva la Muerte
Vivement Dimanche
Vivre Sa Vie (Its My Life 1962)
Vizontele CD1
Vizontele CD2
Vodka Lemon 2003
Voices Of A Distant Star (2002)
Vojna (2002) CD1
Vojna (2002) CD2
Volcano
Volle Maan (Full Moon)
Volveras (2002)
Von Ryans Express
Vortex
Voyage to the bottom of the sea
Vozvrashchenie
Vylet