Midge: Marjorie Wood, you fool! Idiot...stupid, stupid, stupid.
Madeleine: I stood alone on the green searching for something. Then I started to walk to the church. Then the darkness closed in and I was alone in the dark, being pulled into the darkness, never to wake up.
Scottie: You're gonna be all right now, Madeleine. Don't you see? You've given me something to work on now! I'm gonna 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 will destroy it. I promise you. All right?
Scottie: I love you, Madeleine.
Madeleine: I love you too. It's too late.
Scottie: No, no, we're together.
Madeleine: It's too late, there's something I must do.
Scottie: No, there is nothing you must do. There is nothing you must do. No one possesses you. You're safe with me.
Madeleine: 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.
Scottie: But it had to happen. We're in love. That's all that counts.
Madeleine: Look. Let me go. Please let me go.
Scottie: Listen to me. Listen to me.
Madeleine: You believe I love you?
Scottie: Yes.
Madeleine: And if you lose me, then you'll know I, I loved you. And I wanted to go on loving you.
Scottie: I won't lose you.
Madeleine: Let me go into the church - alone.
Hitchcock uses two simultaneous devices to achieve the sensation of vertigo - the camera tracks away from the subject while also zooming towards it. The simultaneous, opposing movements - toward and away from - also represents the attraction and repulsion.
Coroner: 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.
Elster: You and I know who killed Madeleine.
Madeleine: It's as though I-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.
Scottie: What do you remember?
Madeleine: There's a room and I sit there alone, always alone.
Scottie: What else?
Madeleine: A grave.
Scottie: Where?
Madeleine: I don't know. It's an open grave, and I, I stand by the gravestone looking down into it. It's my grave.
Scottie: But how do you know?
Madeleine: I know.
Midge: 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.
Scottie: I just want to know who you are.
Judy Barton: 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?
Scottie: Will you have dinner with me?
Judy: Why? . . . Cause I remind you of her?
Scottie: Because I'd like to have dinner with you.
Judy: Dear Scottie. And so you found me. This is the moment that I've 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 have 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.
Judy: He chose me to play the part because I looked like her, dressed me up like her. He was quite safe because she lived in the country and rarely came to town. He chose you to be a witness to a suicide. Carlotta's 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.
Judy: I made a 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.
Judy: 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. Well, I'll wear the darn clothes if you want me to - if-if you'll just, just like me.
Judy: Why? Because I remind you of her? It's not very complimentary. And nothing else?
Scottie: No.
Judy: It's not very complimentary either.
Scottie: I just want to be with you as much as I can, Judy.
Judy: You're looking for the suit that she wore for me. You want me to be dressed like her.
Scottie: Judy, I just want you to look nice. I know the kind of a suit that would look well on you.
Judy: No, I won't do it.
Scottie: Judy, please, it can't matter to you!
Judy: If, if I let you change it, will that do it? If I do what you tell me, will you love me?
Scottie: Yes, yes.
Scottie: It should be back from your face and pinned at the neck. I told her that. I told you that.
Judy: Where are you going?
Scottie: One final thing I have to do, and then I'll be free of the past.
Scottie: I told you. I have to go back into the past once more, just once more for the last time.
Judy: Why? Why here?
Scottie: Madeleine died here, Judy.
Judy: I don't want to go. I'd rather wait here.
Scottie: . . . I need you to be Madeleine for a while. And when it's done, we'll both be free.
Judy: I'm scared.
Scottie: No, 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 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.
Scottie: I couldn't find her. And then I heard footsteps on the stairs. She was running up to the tower. Right here. You see, she was running up the stairs and through the trap door 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.
Scottie: The necklace, Madeleine, that was the slip. I remember the necklace . . . 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? And then what did he do? Did he train you? Did he rehearse you? Did he tell you exactly what to do and 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?...I was the set-up. I was the set-up, wasn't I? I was a made-to-order witness.
Scottie: So this is where it happened. 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, huh? Well, what happened to ya? What happened to ya? Did he ditch ya? 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?
Judy: Money.
Scottie: 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, you shouldn't have been that sentimental.
Judy: 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, let you change me because I loved you and I wanted you. Oh, Scottie, oh Scottie please. You love me. Please keep me safe, please...
Scottie: It's too late. It's too late. There's no bringing her back.
