HITCHCOCK
Written by
John J. McLaughlin
Based on the book Alfred Hitchcock and the Making of Psycho by
Stephen Rebello
FADE IN:
EXT. MARSHLAND - DUSK
We move across smoldering embers and reach a small grass
fire. Dirt is thrown over the flames before a BOOT finishes
stamping them out.
SUPER: PLAINFIELD, WISCONSIN, 1944
HENRY GEIN (O.S.)
We're just lucky it didn't reach the
trees...
We move up two dirty pairs of overalls to find HENRY and ED
GEIN sweating away as they continue shovelling out the
flames. Both are in their forties and wearing flannel shirts.
Ed wears an Elmer Fudd hat.
HENRY GEIN (CONT'D)
There's gonna be a lot more jobs at that
factory by Milwaukee come June. I could
put in a word.
ED GEIN
You can't leave us, Henry. She needs both
OF US--
HENRY GEIN
Can you stop being a momma's boy for one
second?
Henry looks at Ed and he shrinks back.
HENRY GEIN (CONT'D)
I'm not trying to hurt you but Jesus you
got to live your own life someday. That
woman can take care of her own goddamn --
CLANG. Henry is hit by the shovel in the back of the head and
goes down.
Ed steps slowly forward and puts down the shovel. The look on
his face isn't anger. It's BLANK. He pulls at the flaps of
his Elmer Fudd hat... then calmly walks away.
The camera pans until we discover :
ALFRED HITCHCOCK
in his trademark black Mariani suit. He's been watching the
whole thing, standing in the smouldering field only a few
feet away, holding a rose-patterned cup and saucer of tea...
(CONTINUED)
CONTINUED:
He takes a sip and turns to address the camera --
ALFRED HITCHCOCK
Good evening.
He places his cup daintily back on the saucer.
ALFRED HITCHCOCK (CONT'D)
Brother has been slaying brother since
Cain and Abel, yet even I did not see
that coming. I was as blind-sided as poor
Henry over there.
He glances back over at the murder scene.
ALFRED HITCHCOCK (CONT'D)
Apparently the authorities shared my
naivete and believed the young man's tale
that Henry fell and hit his head on a
stone and died of smoke asphyxiation.
He shrugs: `Who would've thought it?'
ALFRED HITCHCOCK (CONT'D)
Of course if they hadn't believed him, Ed
never would have had the opportunity to
commit the heinous acts for which he
became famous... and we wouldn't have our
little movie. Instead, we'd have more
nice, safe, predictable ones like
these...
CUT TO:
A RAPID MONTAGE OF CLIPS
from various Technicolor Films of the era: Peyton Place, with
Lana Turner and Betty Field. Pillow Talk with Doris Day and
Rock Hudson. A Summer Place with Sandra Dee --
EXT. MARSHLAND - AS BEFORE
ALFRED HITCHCOCK
Mere Technicolor baubles.
He shudders with distaste. As if on cue the sky THUNDERS
LOUDLY above him. He looks up and from behind the tree stump
produces an umbrella.
ALFRED HITCHCOCK (CONT'D)
Ah. A bit of doom and gloom. Now, that's
more like it.
(CONTINUED)
CONTINUED:
As Hitch opens his brolly and the RAIN starts to bucket down
WE --
CUT TO :
EXT. MARQUEE OF UNITED ARTISTS THEATER, CHICAGO - NIGHT
Equally torrential rain lit up by rotating KLEIG LIGHTS as
they scan a MARQUEE: "WORLD PREMIERE! NORTH BY NORTHWEST.
DIRECTED BY ALFRED HITCHCOCK." JOSTLING CROWDS run the length
of the block.
SUPER: JULY 8, 1959.
A PUDGY HAND discreetly squeezes a tiny, delicate one.
ALFRED AND ALMA HITCHCOCK
Step out into a sea of FLASHBULBS. Hitch basks in the
limelight while Alma, his razor-sharp, charming wife of over
30 years stands in the background, uncomfortable with all the
attention.
Hitchcock's agent LEW WASSERMAN, 45, dynamic, charismatic,
comes into view.
LEW WASSERMAN
This thing is going to be gigantic. I
wish I had twenty percent of the take.
Lew hustles them through the throng of REPORTERS and
PHOTOGRAPHERS under their BLACK UMBRELLAS.
REPORTER ONE
Does tonight's incredible reaction
surprise you, Mr. Hitchcock?
ALFRED HITCHCOCK
No, when I was planning North by
Northwest I could already hear the
screams and laughter.
(then, to a BEAUTIFUL
BLONDE FAN)
Any questions, my dear?
The blonde fan, holding out her autograph book, shakes her
head `no' and giggles.
ALFRED HITCHCOCK (CONT'D)
A pity.
(CONTINUED)
CONTINUED:
The reporters crack up. Alma manages a polite smile as Lew
helps her into the limo, leaving Hitchcock alone for a moment
to sign his autograph for the blond fan...
REPORTER TWO
Mr. Hitchcock, you've directed forty-six
motion pictures. You host a hit TV show
seen around the world. You're the most
famous director in the history of the
medium... but you're sixty years old.
Shouldn't you just quit while you're
ahead?
HOLDING ON HITCHCOCK
motionless and quietly devastated as FLASHBULBS CRACKLE over
his face. The whiteness transforms into...
INT. THE HITCHCOCKS' BEL AIR HOME - BATHROOM - MORNING
THE GLEAMING WHITE TILES of a bathroom. We move past chrome
fixtures that evoke those in Spellbound and Psycho and arrive
at that same pudgy hand pouring CHATEAU CHEVAL BLANC '53 into
a cut crystal glass.
HITCHCOCK
soaks in the tub. The champagne glass beside him, his
corpulent frame is covered only by the London Times he's
reading. Even in this deeply vulnerable state, he maintains
the air of a haughty mischievous emperor.
At the sound of a bedroom bureau being opened, Hitch's eyes
shift to the FULL-LENGTH MIRROR on the bathroom door.
IN THE MIRROR
We catch fleeting glimpses of Alma in a white half-slip and
matching bra. She takes out some NYLONS and holds them up to
the light.
Hitchcock watches enthralled. He puts down his glass and
shifts a little in the tub, causing the water to lap against
the sides.
BEDROOM - CONTINUOUS
Alma pauses when she hears the small splashes. Neither upset
nor amused she continues about her business, taking a skirt
from the drawer.
(CONTINUED)
CONTINUED:
ALMA
Muhammad had the eyes of peeping Toms
gouged out with arrows.
Hitchcock clears his throat, rattling his paper as if he'd
been reading the whole time.
ALFRED HITCHCOCK
Talking of arrows, did you read Mr.
Weiler's review in the New York Times?
Apparently, he found "the climax" to be --
and I quote -- "overdrawn."
ALMA
I doubt whether Mr. Weiler has had a
climax in years.
Alma steps into her skirt as Hitch opens the London Times.
ALFRED HITCHCOCK
And how about this little grenade?
(READING)
North by Northwest reminds us of
Hitchcock's earlier, more youthfully
inventive spy thrillers."
(BEAT)
And just to drive the nail into the
coffin, there's a handy accompanying
guide to the new masters of suspense.
Hitchcock zeroes in on the photographs. They're all young.
Thinner. And with hair.
ALFRED HITCHCOCK (CONT'D)
Why do they keep looking for new masters
of suspense when they still have the
original?
ALMA
Don't be maudlin, you know how much it
aggravates me.
He catches his reflection in the mirror again and sinks
further down into the water to hide his protruding belly.
Alma comes in, takes the newspapers from him and puts them on
the side.
ALMA (CONT'D)
Stop reading them. You've been reading
them for a week now.
She puts down the TOILET SEAT and sits on it.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK
Tell me, dear. Am I really too old?
ALMA
Yes. A true relic. And lest we forget, a
notably corpulent one.
She comes over and kisses the top of his head.
ALFRED HITCHCOCK
You always know precisely where to plunge
the dagger, don't you?
ALMA
Right between the shoulder blades. I
learned it from your pictures.
She moves off to the mirror to apply lipstick and Hitchcock
surreptitiously picks up the papers again...
ALFRED HITCHCOCK
Where are you off to?
ALMA
I'm seeing Whit for brunch after I drop
you off at the studio. Why don't you join
us?
ALFRED HITCHCOCK
We've just established that I'm too
corpulent to be seen in broad daylight.
ALMA
You'll feel better as soon as you find a
project. Hasn't Peggy unearthed any
decent books yet?
ALFRED HITCHCOCK
Sleeping pills with dust jackets.
Alma steps back to inspect herself in the full-length mirror.
Today's outfit is, we sense, rather more stylish than what
she would ordinarily wear.
ALMA
Well?
Hitch's gaze never leaves the photo gallery of his younger
rivals in the `New Masters of Suspense' article...
ALFRED HITCHCOCK
Very presentable.
(CONTINUED)
CONTINUED: (3)
ON ALMA
As she elegantly masks her hurt.
ALMA
Hurry up, darling. You're pruning.
She leaves. Hitch grumbles and tosses his paper aside. He
rises from the depths but suddenly loses his balance and
grabs onto the SHOWER CURTAIN, wrenching it from the METAL
RINGS on the rod.
A GOD'S EYE view, looking down, as Hitchcock stares up at the
metal rings SPINNING NOISILY on the metal rod.
EXT. THE PARAMOUNT STUDIOS, BRONSON GATE - DAY
The FAMOUS MOUNTAIN TOP icon looms large. TWO GUARDS snap-to
for the arrival of Hollywood royalty.
FIRST GUARD
Mr. Hitchcock. Mrs. Hitchcock.
Alma waves from the wheel of a GLEAMING BLACK 1957 CADILLAC.
Hitchcock sits next to her. He has his two SEALYHAM TERRIERS
on his lap. He nods, awaiting more.
FIRST GUARD (CONT'D)
(to the dogs)
Sirs.
EXT. PARAMOUNT STUDIOS, PRODUCERS' BUILDING - DAY
The Cadillac pulls up. Alma notes Hitchcock's look of
frustrated envy as CREW MEMBERS bustle in and out of STAGE
15. It's a hive of activity.
ALMA
There's a story out there waiting for you
somewhere, Hitch. I promise.
He gives her a good-bye peck and opens the door.
ALMA (CONT'D)
Don't forget your lunch.
Alma hands him a compact Fortnum & Mason basket and pats him
on his girth. He opens it to discover CELERY AND CARROT
STICKS wrapped in Saran.
OMITTED
INT. HITCHCOCK'S OFFICE, PARAMOUNT - DAY
Luxurious, wood-paneled and very British. Hitch sits
restlessly behind his desk, receiving his morning shave from
his private barber, SILVIO. His longtime assistant, PEGGY
ROBERTSON, 40s, crisp, British, fiercely protective of her
boss, is going through a list of potential projects.
PEGGY
Fox is offering you The Diary of Anne
Frank for the third time.
Hitch directs his response to Silvio.
ALFRED HITCHCOCK
The audience would spend the entire
picture waiting for Miss Frank to
discover the corpse I'd hidden in the
attic. Wouldn't you agree, Silvio?
SILVIO
Si.
Hitch reaches for a carrot stick and CRUNCHES it.
PEGGY
MGM wants you for the Ian Fleming book,
Casino Royale, with Cary Grant.
Definitely your style.
ALFRED HITCHCOCK
(again, turning to Silvio)
Doesn't she know I just made that movie?
It's called North by Northwest. And
"style" is merely self-plagiarism.
Silvio nods, then recommences the shave.
ALFRED HITCHCOCK (CONT'D)
I'm treading water, Peggy. I need
something fresh. Something different.
Without expensive stars like Cary Grant
or Miss Kim Novak to pretty it up.
Silvio unintentionally nicks Hitch's face.
ALFRED HITCHCOCK (CONT'D)
A nice, clean, nasty little piece of
work.
Silvio hurriedly dabs away a speck of BLOOD.
(CONTINUED)
CONTINUED:
PEGGY
I'll see what I can find.
Hitch motions for the barber to hold up the mirror. The image
of his face overflows the small frame. Repulsed, he leans
back his head and makes a hand motion for Silvio to SLIT HIS
THROAT.
CONTAGIOUS LAUGHTER (PRE-LAP)
INT. CHASEN'S RESTAURANT - DAY
Alma lunches with screenwriter-novelist WHITFIELD COOK.
"WHIT," 50s, is Hitchcock's physical opposite -- dashing,
razor-sharp and sophisticated. In fact he'd be at home in one
of his movies.
WHITFIELD COOK
... Thank God I had a pocketful of
pretzels. I was hiding in that props
cupboard all night.
(THEN)
That'll teach me to use a bedroom set
instead of the real thing.
ALMA
Serves you right.
They laugh uproariously, quite at ease with each other.
ALMA (CONT'D)
Hitch always said your private life was
in danger of being more entertaining than
any of your plots.
He pours Alma another glass of wine, not remotely insulted.
WHITFIELD COOK
I can't believe he let me have you all to
myself for a whole afternoon. Especially
looking this beautiful.
He clinks her glass.
WHITFIELD COOK (CONT'D)
Tr�s chic.
Alma turns to look at the menu again.
ALMA
All this relentless sycophancy is giving
me indigestion.
(MORE)
(CONTINUED)
CONTINUED:
ALMA (CONT'D)
(A SMILE)
What are you after?
He laughs, his eyes straying to a PRETTY WAITRESS passing by.
Alma notices.
ALMA (CONT'D)
And how is your wife?
WHITFIELD COOK
Elizabeth?
(his eyes return to Alma)
Over the moon since I promised her the
dedication in my new novel. So what are
you working on these days?
ALMA
Hitch is going out of his mind looking
for his next project. You know how
unbearable he is when he doesn't have
something lined up.
WHITFIELD COOK
Almost as unbearable as when he does.
ALMA
(LAUGHING)
Almost.
WHITFIELD COOK
I meant you. What are you working on?
ALMA
I'm satisfied spending time in my garden.
WHITFIELD COOK
That is one lucky garden.
Whit brings out a set of galleys and slides them across the
tablecloth to her.
WHITFIELD COOK (CONT'D)
Actually, I was hoping you might be able
to apply your considerable pruning skills
to this.
She looks down and reads the cover page. "Taxi to Dubrovnik.
By Whitfield Cook."
ALMA
Ah. All is finally revealed.
(CONTINUED)
CONTINUED: (2)
He touches her hand, affectionately. She brushes it away,
affectionately...
WHITFIELD COOK
The most fun I ever had was working with
you.
She looks through the opening pages... taking her time...
enjoying making him wait...
ALMA
I suppose I could give it a look.
INT. HITCHCOCK'S OFFICE, PARAMOUNT - DAY
Hitchcock peeks avidly through the blinds at a smartly
dressed KIM NOVAK-TYPE WOMAN hurrying along to some
appointment or assignation... Hitch cranes to see who she's
meeting, but she moves tantalizingly out of sight.
Hitch turns back with a sigh towards his desk, covered with
discarded newspaper clippings and boring story proposals.
He sweeps them off his desk into the trash.
INT. HITCHCOCK'S OUTER OFFICE - A MOMENT LATER
A SHADOW looms over Peggy at her desk as she sifts through
another round of story ideas. It's Hitchcock. He startles
her.
ALFRED HITCHCOCK
Anything. Anything at all?
He starts sifting through her tray. She notices the glass in
his hand.
PEGGY
Nothing suitable. Is that water or do I
need to call Alma?
He drains it playfully.
ALFRED HITCHCOCK
Gin. Mother's ruin.
But something's caught his eye. A circled review of Anthony
Boucher's column "CRIMINAL MINDS" in the New York Times
Review of Books. He picks it up.
ALFRED HITCHCOCK (CONT'D)
Boucher says this "Psycho" book by Robert
Bloch is `fiendishly entertaining'.
(CONTINUED)
CONTINUED:
PEGGY
It sounds ghastly. Everyone in town's
already passed.
ALFRED HITCHCOCK
And who is everyone?
PEGGY
The story department finished the
coverage this morning.
ALFRED HITCHCOCK
Is this the one based on Ed Gein, the
serial killer?
He takes the coverage and reads for himself.
ALFRED HITCHCOCK (CONT'D)
"Graphic elements of brutal violence,
voyeurism, transvestitism and incest."
Certainly not your average run of the
mill nutcase, is he?
He gives a grunt of approval.
PEGGY
You're kidding.
ALFRED HITCHCOCK
Peggy. This is the boy who dug up his own
mother.
INT. HITCHCOCK'S STUDY - THE NEXT NIGHT
ON HITCH
Completely engrossed as he sits reading "Psycho" in a chair
by the fire of his elegant Bel Air home. He takes another
gulp of wine when he hears Alma enter and slides the wine
glass out of view. Alma pops her head in the door.
ALMA
Hungry?
ALFRED HITCHCOCK
Famished.
She disappears to take off her coat.
ALMA (O.S.)
If you're good, maybe you can have a
grapefruit later.
(CONTINUED)
CONTINUED:
She comes back in again carrying some galleys, notices the
title of Hitch's book -- some trash called "Psycho."
ALMA (CONT'D)
Whit gave me the galleys of his new book
yesterday at lunch. I've already got some
ideas on how you could adapt it.
Hitch continues reading.
ALMA (CONT'D)
It's elegant, sophisticated, full of
INTRIGUE --
ALFRED HITCHCOCK
The book or Mr. Whitfield Cook?
She taps Hitch's book dismissively with the galleys of "Taxi
to Dubrovnik."
ALMA
This might be the one, Alfred.
He finally looks up.
ALFRED HITCHCOCK
Leave it on the night stand.
As she leaves she points to Hitch's `hidden' wine glass.
ALMA
There are calories in that, you know.
But Hitch ignores her and turns to look out the window, his
imagination starting to turn...
INT. GEIN HOUSE, PLAINVIEW, 1945 - NIGHT
Ed enters the bedroom. His mother, Augusta, is in the bed,
faced away from him.
ED GEIN
Aren't you cold, ma?
She doesn't answer. We follow him to the dresser where he
lingers a little too long over his mother's open underwear
drawer before grabbing the blue coverlet on the side.
He comes over and spreads the extra blanket over her. Still
wearing his jacket, he takes off his shoes, gets into bed and
crawls up next to her.
(CONTINUED)
CONTINUED:
ED GEIN (CONT'D)
Don't be afraid, ma... I'm here...
As he puts his arm around her and pulls her close, we reveal
his mother's ghoulishly embalmed face.
INT. HITCHCOCK HOUSE, BEDROOM - NIGHT
A slant of moonlight finds Alma fast asleep until a FINGER
nudges her awake. She lifts her satin sleep mask to see
Hitchcock holding out his copy of "Psycho."
ALMA
Oh God.
The look of obsession on his face is unmistakable.
ALFRED HITCHCOCK
Read the bit in the motel bathroom.
ALMA
Now?
He switches on the light by her bedside. She sits up, puts on
her glasses and reads from the opened page.
ALMA (CONT'D)
"Mary started to scream, and then the
curtains parted further and a hand
appeared, holding a butcher's knife. It
was the knife that, a moment later, cut
off her scream... and her head."
(handing him back the book)
Charming. Doris Day should do it as a
musical.
She hands him back the book.
ALMA (CONT'D)
This is nothing but low-budget horror
movie claptrap.
She turns off the light again and goes back to bed. A deep
voice sounds from the darkness...
ALFRED HITCHCOCK
But what if someone really good made a
horror movie?
EXT. HITCHCOCK'S GARDEN - MORNING
The Hitchcocks eat breakfast on the terrace watching the
GARDENERS trim the bushes and rake leaves from the pool.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Just think of the shock value. Killing
off your leading lady halfway through.
Alma can feel Hitch looking at her, waiting for a response.
Clearly he isn't going to let this one go.
ALFRED HITCHCOCK (CONT'D)
You're intrigued. Admit it.
She butters her toast, casually taunts him by adding a large
spoon of marmalade.
ALMA
Actually, I think it's a huge mistake.
Hitch falls silent, a chastised schoolboy.
ALMA (CONT'D)
You shouldn't wait till halfway
through... Kill her off after 30 minutes.
OMITTED (SCENE 17)
INT. HITCHCOCK'S OFFICE, PARAMOUNT - DAY
Hitch enters with purpose, carrying a stack of photos and
articles.
ALFRED HITCHCOCK
Peggy, I want you to summon your
minions...
PEGGY
Minions. Certainly. And who might they
be...?
Hitch heads for his office, in no mood for wise cracks. He
spreads out the articles on the desk. Photos and magazine
articles about Ed Gein...
ALFRED HITCHCOCK
Get them started buying copies of
"Psycho."
Peggy stands in the doorway, watching --
PEGGY
How many do you need?
ALFRED HITCHCOCK
All of them. I want every copy,
nationwide.
(MORE)
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK (CONT'D)
Have them scour every book shop and
library. "Psycho" is my next picture, and
I don't want anyone to find out the
ending until they see it in the theater.
Peggy shakes her head.
PEGGY
All that celery's affecting your brain.
She walks over, notices the LIFE MAGAZINE headline : "HOUSE
OF HORRORS STUNS NATION." Stark black and white photographs
expose the nightmarish decay of the Gein house...
PEGGY (CONT'D)
Are you sure about this? This is so
unlike you.
ALFRED HITCHCOCK
That's exactly the point, my dear.
Peggy watches uneasily as Hitchcock pores over the articles
with delight.
INT. HITCHCOCK HOUSE, LIVING ROOM - A SUNDAY AFTERNOON
A PIANIST plays a polite version of Al Jolson's "My Mammy".
CLOSE ON A MANILA ENVELOPE clutched in one hand behind
HITCHCOCK'S back as we follow him travel through the party.
The clink of champagne glasses as we reveal the GUESTS saying
HELLO as he passes...
ALFRED HITCHCOCK (PRE-LAP)
And when the Wisconsin Police department
raided his farmhouse in Plainview...
HITCHCOCK
Is now in position in front of the fire place. Around the
coffee table are INVITED GOSSIP COLUMNISTS, including a HEDDA
HOPPER-TYPE. They take in the gory LIFE MAGAZINE article.
ALFRED HITCHCOCK (PRE-LAP) (CONT'D)
..they opened the door only to discover -
voila...
He produces the manila envelope from behind his back and
empties THE HORRIFICALLY GORY CRIME SCENE PHOTOGRAPHS inside
onto the coffee table.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK (CONT'D)
... Ten female heads with the tops sawn
off, a dozen masks of human skin, and a
pair of lips on a drawstring for a window
shade.
Hitch looks down sweetly at the circle of quietly horrified
expressions...
HEDDA HOPPER TYPE
Is this really going to be you're next
picture, Mr. Hitchcock?
HITCHCOCK
That is my intention, madam. Yes.
Hitch taps the photo of ED GEIN.
ALFRED HITCHCOCK
I only wish he looked more like William
Holden and less like Elmer Fudd.
The other columnists scribble down the quote.
HEDDA HOPPER TYPE
Am I the only one who finds this
offensive?
ALFRED HITCHCOCK
I was hoping everyone would. I mean life
is deeply offensive and disgusting, isn't
it?
Hitch glides off without missing a beat, past the Servers
arriving with more hors d'oeuvres from the kitchen.
ALFRED HITCHCOCK (CONT'D)
Try the finger sandwiches -- they're real
fingers.
He snags a martini and collars Peggy while he's at it.
ALFRED HITCHCOCK (CONT'D)
Peggy. I'm going to need some research
detailing a typical unmarried 30-year-old
secretary from Phoenix, Arizona.
He looks over at the pantry, where Alma can be glimpsed
through the swinging door, putting food onto trays.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK (CONT'D)
Her monthly rent, what she wears, what
she reads, which scent or perfume she
prefers...
Hitch sees WHIT lean into view and innocently whisper
something into Alma's ear making her laugh.
PEGGY
... How she deals with a demanding boss
when she's trying to relax on her
weekends off?
Hitchcock doesn't notice the joke. He now only has eyes on
the pantry ahead.
He forges on through the guests only to get waylaid by Lew.
It is a classic Hitchcock moment, a character needing to get
someplace being held up by someone who wants to chat --
LEW WASSERMAN
(re: the faces of the
GOSSIP COLUMNISTS)
I told you, Hitch. This thing's strictly
for the drive-in crowd.
Hitch smiles tightly and extricates himself, heading on to
the kitchen through more annoying guests --
INT. HITCHCOCK HOUSE, PANTRY - SIMULTANEOUS
Whit leans against the stove watching Alma expertly arrange
the next round of hors d'oeuvres coming in from the kitchen.
WHITFIELD COOK
Now, if this were a Hitchcock picture
what would two characters like us,
married to other people, be saying?
ALMA
You don't have to pretend you're not
upset he hasn't read it yet, you know.
WHITFIELD COOK
I'm a big boy. I can take it.
ALMA
Well, I loved it. What terrific fun it
must have been to research.
WHITFIELD COOK
Certainly more fun than reading those
reviews.
(MORE)
(CONTINUED)
CONTINUED:
WHITFIELD COOK (CONT'D)
(THEN)
Do you think he really will read it?
Suddenly, over Whitfield's shoulder, Alma sees Hitch looming
in the doorway. Whit notes the tiny change in her eyes and
turns.
WHITFIELD COOK (CONT'D)
Speak of the devil.
Hitch stares blankly at him while Alma turns and busies
herself over the sink, hiding an almost imperceptible blush.
WHITFIELD COOK (CONT'D)
I have to admit, Hitch, I ran all over
town looking for a copy of "Psycho" but
couldn't find a single one.
ALFRED HITCHCOCK
I wonder how that could have happened.
Hitch sips his martini, a picture of innocence. Then leans in
to Whit's ear and whispers - just like Whit leaned into
Alma's ear a moment earlier.
ALFRED HITCHCOCK (CONT'D)
Don't stop looking on my behalf.
Peggy appears in the pass-through, beckoning Hitch to hurry
back into the living room.
INT. HITCHCOCK HOUSE, LIVING ROOM - CONTINUOUS
Hitch returns to see the other GUESTS are now passing around
the GEIN PHOTOS. They look utterly confused and horrified...
a couple of them are even gathering their coats.
ON LEW, PEGGY AND HITCH
standing together watching.
LEW WASSERMAN
I've seen happier faces on a school bus
going over a cliff.
PEGGY
I told you it would be too much.
ALFRED HITCHCOCK
But they can't stop looking, can they?
He slurps his martini, sharing a smile with Lew.
INT. PARAMOUNT BOARD ROOM - DAY
Paramount President BARNEY BALABAN, 70s, ferocious,
righteous, sits behind his impressive desk flanked by two
CONSERVATIVELY-ATTIRED EXECUTIVES.
Hitchcock and Wasserman sit across from them.
ALFRED HITCHCOCK
Audiences want to be shocked, Barney.
They want something different. And this
is it.
He gestures to the untouched copy of "Psycho" in front of
Balaban.
BARNEY BALABAN
The truth is, Hitch, every time you want
to do something "different" like The
Wrong Man or Vertigo, someone loses
money.
Hitchcock stares unblinking, giving nothing away.
LEW WASSERMAN
So we should stop trying to give them
something new?
BARNEY BALABAN
You owe Paramount one last picture,
Hitch. Can't you do something like North
by Northwest but for us this time instead
of for MGM?
Hitch's stare remains inscrutable.
BARNEY BALABAN (CONT'D)
We've offered you dozens of perfectly
good properties.
ALFRED HITCHCOCK
(IMPERIOUSLY)
"Psycho."
Wasserman gives Balaban the same glacial stare. The Paramount
executives shift uncomfortably.
BARNEY BALABAN
No one respects the name Hitchcock more
than Paramount. But even a talented man
sometimes backs the wrong horse.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Are you telling me "no?"
Balaban maintains a calm, pleasant front.
BARNEY BALABAN
I think you know me better than that,
Hitch. I would never say "no" to you.
Hitch's suppressed rage is building...but Balaban says
nothing.
EXT. PARAMOUNT COURTYARD - DAY
Hitch and Lew walk down the stairs and through the leafy
courtyard past Hitch's office.
LEW WASSERMAN
What a putz. You know what his family did
before they built those movie palaces?
Ran a grocery store.
ALFRED HITCHCOCK
My father ran a grocery store.
LEW WASSERMAN
Exactly. That's what I'm saying. He
should show some respect.
Hitch turns to Lew.
ALFRED HITCHCOCK
They think I've lost my touch, Lew.
My association with television has
cheapened me.
LEW WASSERMAN
Are you referring to that deal I got you
where Bristol-Meyers pays you twenty-nine
grand an episode and you own the
negative? That's my kind of cheap.
ALFRED HITCHCOCK
They just want the same thing over and
over. They've put me in a coffin and now
they're nailing down the lid.
Lew puts a comforting hand on him...
LEW WASSERMAN
Hitch, I will never let that happen.
(CONTINUED)
CONTINUED:
Hitch doesn't respond, Lew sensing the true depth of his
friend's melancholy.
LEW WASSERMAN (CONT'D)
How much do you think you can make this
picture for?
ALFRED HITCHCOCK
Eight hundred thousand... Give or take.
Lew digests the figure...
LEW WASSERMAN
I have whisky in the car.
EXT. HITCHCOCK HOUSE, SWIMMING POOL - A FEW DAYS LATER
ALMA does afternoon laps in the pool. A contemplative
Hitchcock wanders down to the pool side wearing black
sunglasses and a business suit. He watches Alma a moment.
Finally she notices him.
ALMA
You're back early.
He shrugs, then sits at the table to pour himself a glass of
lemonade. Alma gets out and towels herself off.
ALMA (CONT'D)
I'm disappointed you didn't give Whit's
book a chance.
ALFRED HITCHCOCK
What about him?
ALMA
He knows you well enough.
She sits down next to him, noticing a tiny hole in her
swimsuit. It's starting to look a little threadbare.
ALFRED HITCHCOCK
Enjoy the pool now. We might not have it
for that much longer.
He looks off cryptically.
ALMA
Why?
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Paramount refuses to finance the movie.
Imagine -- The studio that brought you
Martin and Lewis and The Greatest Show On
Earth considers Psycho distasteful.
He brushes some fallen leaves off his chair.
ALFRED HITCHCOCK (CONT'D)
Lew can't find the money. Not quickly
enough at least.
ALMA
Why not wait?
He doesn't reply. She knows him well enough too and doesn't
question him further.
ALFRED HITCHCOCK
We're going to have to go it alone, old
girl.
(BEAT)
We'll finance the movie ourselves.
ALMA
Are we going to have to sell the entire
house or just the pool?
She looks at Hitch but he's not joking. She turns to survey
their beloved home and gardens.
A long pause.
ALMA (CONT'D)
Tell me and I won't ever ask again. Why
this one, Hitch? It's not just because so
many people are telling you 'no,' is it?
Pause.
ALMA (CONT'D)
Hitch?
Without turning he takes her hand.
ALFRED HITCHCOCK
Remember the fun we had when we started
out and there was so little money and
time? We took risks, we experimented. We
invented new ways of making pictures
because we had to.
A long moment as he gazes across the pool.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK (CONT'D)
I want to feel that kind of freedom
again.
He turns to look into her eyes for the first time. A glimpse
of the real Hitchcock. Someone even his wife doesn't see that
often...
EXT. PARAMOUNT STUDIOS - DAY
The famous gates and the executive building beyond it.
LEW WASSERMAN (PRE-LAP)
Barney, we're about to propose a
restructured deal for "Psycho"...
INT. BALABAN'S PRIVATE OFFICE, PARAMOUNT - DAY
Balaban watches Hitchcock and Lew closely. Hitchcock again is
like a waxworks Buddha, revealing nothing.
LEW WASSERMAN
We finance it. Independently. Paramount
only distributes it...in exchange for 40
percent of the profits.
BARNEY BALABAN
Interesting. But tell us, what exactly is
Paramount distributing? Is this still a
picture about a queer killing people in
his mother's dress?
LEW WASSERMAN
What this picture is about is the
reputation of Alfred Hitchcock.
BARNEY BALABAN
No-one's arguing that.
LEW WASSERMAN
Barney, it's very simple. This is Mr.
Hitchcock's next film. Are you in or are
you out?
A long silence.
BARNEY BALABAN
Well, obviously you have a lot of passion
for this project. Let me talk it over
with a few people internally and I'll get
back to you.
(CONTINUED)
CONTINUED:
LEW WASSERMAN
No. Now.
Balaban takes in their inscrutable stares. Not unimpressed by
their chutzpah, he leans back and puts his hands behind his
head, a king in his counting room.
BARNEY BALABAN
Fine. We'll take that deal. If you can
get the money...
Finally, Hitchcock speaks up :
ALFRED HITCHCOCK
We've already got it, Barney.
He pulls out his PERSONAL CHECKBOOK and opens it on the desk.
Barney watches as Hitch takes the onyx fountain pen from its
mount.
ALFRED HITCHCOCK (CONT'D)
Who do I make it out to?
INT. HITCHCOCK HOUSE, BEDROOM - LATER THAT NIGHT
Hitch and Alma lie side by side in their separate beds. A
copy of "The Dance of Death" by Strindberg lies on Hitch's
bedside table. All traces of his bravado are gone...
ALFRED HITCHCOCK
If this picture fails, Alma, we'll be in
for a long, humiliating bout of crow-
eating.
ALMA
The movie will be splendid.
ALFRED HITCHCOCK
Are you sure?
ALMA
Of the movie? Not in the least. But of
you? Unquestionably.
INT. HITCHCOCK'S OFFICE, PARAMOUNT - DAY
PUDGY FINGERS part the slats of the blind. Hitch stares out
hoping for some human moment to spy on. He's restless...
Peggy ushers JOSEPH STEFANO, 30s, into Hitch's office.
JOSEPH STEFANO
Joe Stefano. Good to meet you.
(CONTINUED)
CONTINUED:
Hitchcock leaves Stefano's hand dangling in mid air and sits
down at his desk.
JOSEPH STEFANO (CONT'D)
Sorry I was late. My shrink session ran
overtime. I see him every day and it's
still not enough.
PEGGY
I thought only director's assistants
needed psychiatrists, not writers.
Stefano laughs off the barb and takes a seat as Peggy slips
out.
The two men stare at each other but Stefano's not remotely
intimidated.
JOSEPH STEFANO
Do you see a shrink, Mr. Hitchcock?
Hitch's eyes follow a plume of cigar smoke curling up to the
ceiling...
ALFRED HITCHCOCK
No.
His gaze remains pointedly fixed on the ceiling.
ALFRED HITCHCOCK (CONT'D)
I must say it boggles the mind to imagine
what you and your "shrink" could possibly
talk about daily.
JOSEPH STEFANO
The usual: sex. Rage. My mother.
Hitchcock lowers his gaze, suddenly intrigued.
INT. HITCHCOCK HOUSE, KITCHEN - DAY
Alma sits with the Hitchcocks' ACCOUNTANT who's consulting a
ledger. She sits at her desk in the corner of the kitchen.
ACCOUNTANT
There's still the federal income tax
payments... the property taxes... Not to
mention the absence of any salary while
he's actually making the film...
ALMA
Stop waffling, Donald. Give it to me
straight.
(CONTINUED)
CONTINUED:
The Accountant takes off his glasses, plucking up the courage
to look his favorite client in the eye.
ACCOUNTANT
Hitch wasn't exaggerating. If the film's
a flop, you're going to have to sell the
house.
Alma digests this.
ALMA
Where do you suggest we cut?
ACCOUNTANT
Anywhere you can.
INT. HITCHCOCK HOUSE, KITCHEN - NIGHT
Alma's moved to the kitchen table and is sorting through the
accounts herself, the dogs at her feet. Her face is now
properly filled with concern.
Hitch enters, holding out some typed pages. Alma covers her
worry. He puts the pages on the table next to her.
ALFRED HITCHCOCK
I got Joe Stefano to write out the first
few scenes. Why don't you take a look?
Alma takes Stefano's pages and starts to read...Hitch goes to
the fridge and opens the door.
ALMA
We're about to have dinner. You don't
need anything else.
He shuts the door. Leans against the fridge door. Hitch waits
but she gives nothing away...until she off-handedly places
the pages on the table...
ALFRED HITCHCOCK
Well?
She doesn't look up...
ALMA
Hire him.
INT. UNKNOWN ROOM - DAY
Close on a blank page being fed into a Corona typewriter.
FINGERS pound out "PSYCHO"
(CONTINUED)
CONTINUED:
BY JOSEPH STEFANO.
EXT. HITCHCOCK HOUSE - MORNING
The door opens and Hitchs step outside. The Cadillac is
waiting.
Alma follows him out and makes a final adjustment to his tie.
ALFRED HITCHCOCK
The only thing worse than a visit to the
dentist is one to the censor.
ALMA
Whatever you do, Alfred, don't lose your
temper.
INT. PRODUCTION CODE ADMINISTRATION OFFICE - DAY
The intimidating plaque for the MPAA's "PRODUCTION CODE
ADMINISTRATION OFFICE" on the wall.
Stefano's TITLE PAGE is tapped angrily by GEOFFREY SHURLOCK,
70s, the much-feared administrator for the Motion Picture
Production Code. He sits at the head of a big table with TWO
ASSISTANTS. Sitting opposite are Hitchcock, Peggy and several
silent PARAMOUNT EXECUTIVES.
GEOFFREY SHURLOCK
The Code will absolutely not permit you
to show a knife penetrating a woman's
flesh.
ALFRED HITCHCOCK
I assure you, Geoffrey, my murders, are
always models of taste and discretion.
GEOFFREY SHURLOCK
Is there any improper suggestion of
nudity in this murder scene in the
shower?
ALFRED HITCHCOCK
She won't be nude. She'll be wearing a
shower cap.
Shurlock makes a note. A man utterly devoid of any sense of
humor.
(CONTINUED)
CONTINUED:
GEOFFREY SHURLOCK
We might accept a shot from outside the
bathroom window with Marion in silhouette
above the shoulders -- provided the glass
is frosted.
Hitch greets the suggestion with barely concealed contempt.
Shurlock turns the page.
G EOFFREY SHURLOCK
Then -- this scene with the toilet.
ALFRED HITCHCOCK
It's completely necessary. Marion flushes
evidence later found by her sister. It's
a clue to the girl's disappearance.
GEOFFREY SHURLOCK
No American movie has ever found it
"necessary" to show a toilet, let alone
to flush it.
Hitch turns to Peggy and a Paramount Executive.
ALFRED HITCHCOCK
Perhaps we ought to shoot the film in
France and use a bidet instead?
No response from Shurlock's end of the room. Peggy stares
down at the table.
GEOFFREY SHURLOCK
Mr. Hitchcock, if this office denies you
a seal, and we're certainly heading in
that direction, your movie will not be
released in a single theater in this
country. Will you be making jokes then?
Hitchcock gives a slow but meaningful shrug.
GEOFFREY SHURLOCK (CONT'D)
Good. Now why don't we go all the way
back to page two...
ON HITCH
boiling with rage as we hear the flurry of script pages --
INT. PSYCHIATRIST'S OFFICE, BEVERLY HILLS - DAY
Sunlight filters through sheer curtains revealing Hitchcock
trying his best to recline on an ANALYST'S COUCH.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Everyone in Hollywood resents me. I make
them millions... and yet every year I sit
at those dreadful award show dinners,
waiting for them to say, just once,
"You're good."
He looks around the luxurious office.
ALFRED HITCHCOCK (CONT'D)
They take sadistic pleasure in denying me
that one little moment.
ANALYST'S VOICE
That must hurt.
ALFRED HITCHCOCK
Deeply.
Hitch fumbles for a handkerchief and mops his brow.
ALFRED HITCHCOCK (CONT'D)
You'll have to excuse me, doctor. I'm not
used to this... process...
ANALYST'S VOICE
Take your time.
Now Hitch claws at his tie. It's hot in here.
ALFRED HITCHCOCK
It's just that, more and more lately,
I've been having these... impulses.
The analyst's MONTBLANC pen makes a note on a pad. We notice
that his hands are surprisingly coarse.
ANALYST'S VOICE
What kind of impulses?
Finally Hitchcock is still. He stares up at the ceiling.
ALFRED HITCHCOCK
Strong ones.
INT. HITCHCOCK HOUSE, KITCHEN - NIGHT
A FRIDGE DOOR SNAPS OPEN to reveal Hitchcock's FACE in the
darkness. He's in his pajamas. His hand trembles next to a
stack of chicken breasts and moves to an upturned GRAPEFRUIT
HALF at the back of the shelf.
(CONTINUED)
CONTINUED:
He pulls it out it to reveal a hidden stash of foie gras
under the hollowed out grapefruit.
He's about to devour it when he catches sight of his
DISTORTED REFLECTION in the chrome shelving.
He backs away, disgusted at this monster before him, the
light of the fridge illuminating his expression.
INT. HITCHCOCK HOUSE, STUDY - NIGHT
A door is quietly shut and locked. The bottom drawer of a
filing cabinet is inched open. A hand rummages deep inside
and teases out a bulging MANILA FOLDER. A hidden stash of
some kind.
The DESK LIGHT is switched on revealing HITCH. He carefully
extracts the contents of the folder and lays them onto the
desk.
A MASS OF PHOTOS OF ALL HIS BLONDE LEADING LADIES
A personal collection lovingly kept. He settles in to study
it, picking out his favorites, arranging them in order.
They're all in the same pose, all with hair pinned up into a
perfect bun.
He looks at each image with intensifying desire. He's created
all of them. Every detail.
But it's no longer enough...
THE ROW OF GLOSSY PERFECT BLONDES
DISSOLVES TO :
INT. HITCHCOCK'S OFFICE, PARAMOUNT - SAME TIME
A row of HANDSOME ACTOR HEADSHOTS on a table. HITCH glares at
the waiting ACTORS in the hallway through the blinds. He
turns back to Peggy and Alma and pulls a face.
ALFRED HITCHCOCK
Send them all back to Glendale.
Hitch returns to the table to ponder yet more headshots.
Peggy shares a glance with Alma, then slides over RODDY
MCDOWELL'S HEADSHOT.
PEGGY
The Lazar Office tells me he's crazy to
work with you.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Well, tell "Swifty" he shouldn't have
overexposed his client on television.
ALMA
Unlike certain people we could mention.
Hitch ignores the barb. Undeterred, Alma pushes her ace card:
a photo of ANTHONY PERKINS, radiating offbeat sensitivity and
teen idol looks.
ALMA (CONT'D)
Think of the duality he could bring to
Norman. The rage lurking behind that
little-boy-lost grin. The winsome charm
he uses to keep from being found out.
PEGGY
Why, Alma, you're not suggesting that Mr.
Perkins is -- ?
She raises her pinky finger just slightly. Alma nods without
judgement.
ON HITCHCOCK
Pondering...
INT. HITCHCOCK'S OFFICE, PARAMOUNT - NEXT DAY
Anthony Perkins now sits across from Hitchcock.
ANTHONY PERKINS
I can't count how many times I've seen
Strangers On a Train and Rope.
ALFRED HITCHCOCK
Well, Norman is the logical extension of
the boys in those movies. Appealing,
sensitive, suffering the terrible burden
of being forced to pretend to be
something he is not.
Hitchcock's deeply-felt remark lands with Perkins.
ANTHONY PERKINS
My only worry is that playing Norman
might cut too close to home.
ALFRED HITCHCOCK
How so?
(CONTINUED)
CONTINUED:
Hitch's calmness is strangely reassuring to the young
actor...
ANTHONY PERKINS
I was incredibly close to my mother. So
close I remember wishing my father would
drop dead. And then when I was five, he
did just that...He keeled over from a
heart attack.
(LAUGHING NERVOUSLY)
You see I've been guilty my whole life,
Mr. Hitchcock.
Hitch is enthralled.
ALFRED HITCHCOCK
Try to remember this is all just make
believe.
Perkins wishes he could be more reassured...
ANTHONY PERKINS
Not to be prudish, but how far do you
plan to push Norman's relationship with
his mother?
ALFRED HITCHCOCK
Further than you can possibly imagine.
On Perkins uncertain expression -- what is he letting himself
in for?
EXT. HITCHCOCK HOUSE, GARDEN - DAY
Hitchcock's RED SWEATING FACE as he grunts and heaves. He's
dressed in gardening gear, laboring in the full bloom of the
rose garden. Alma pushes a WHEELBARROW filled with manure.
She shovels the manure around the rosebushes.
ALFRED HITCHCOCK
I'm getting blisters just looking at you.
ALMA
Stop grumbling. A bit of fresh air and
exercise is exactly what you need.
He holds his PRUNING SHEARS menacingly over a deep red
Sydonie rose.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
If I could get Grace Kelly to play the
girl, they'd let me get away with
anything.
ALMA
Well you can't. She's a princess now
which makes her permanently unattainable.
Hitchcock beheads the ROSE, muttering to himself.
ALFRED HITCHCOCK
And all the more desirable.
His shears are now poised over a yellow specimen.
ALMA
Lew suggested Deborah Kerr.
ALFRED HITCHCOCK
Too... Scottish.
Hitchcock cuts it too and moves on to the stem of a perfect
pink rose.
ALMA
What about Janet Leigh? She's always the
`good girl' but she did awfully well in
Touch of Evil. Lew mentioned her name. Do
you remember how you always remarked on
her figure at the Wassermans' parties?
As the shears hover on the stem, unsure whether to cut...
MATCH CUT TO:
INT. CHASEN'S RESTAURANT - NIGHT
THE SLENDER WAIST AND AMPLE BOSOM OF JANET LEIGH as she
elegantly enters the dining room of Chasen's.
Hitch stands to greet her, his eyes follow her across the
room in some private rapture..
Alma watches as Janet removes her glove and shakes Hitch's
hand...before he guides her to the spot to his left, across
from Alma.
INT. CHASEN'S RESTAURANT - NIGHT
Hitch finishes telling his story...
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Of course the real secret of Mrs.
Simpson's appeal to the Duke of Windsor
was that she could make a toothpick feel
like a cigar.
He's so deadpan... it takes a moment before she laughs.
JANET LEIGH
You know, I've been so immersed in
preparing to play Marion I'd almost
forgotten how to laugh.
Hitch summons the waiter with a snap.
ALFRED HITCHCOCK
Now, you must try the banana shortcake.
JANET LEIGH
Nothing for me, thank you. I'm watching
my figure.
Alma watches all this with a fixed smile.
ALMA
You're not the only one.
(to the waiter)
We're fine, thank you.
Hitchcock ignores Alma, gesturing to the waiter again.
ALFRED HITCHCOCK
Bring her the banana shortcake, George.
In fact make it two large portions.
He pointedly shifts to face Janet.
ALFRED HITCHCOCK (CONT'D)
So do tell me, how else have you've
prepared to play Marion?
Janet hesitates.
JANET LEIGH
I've written a complete history for
her...It seems silly, but it helps me.
She turns to pull a LEATHER NOTEBOOK from her handbag,
Hitch's gaze locks onto her silken blonde hair, tied
immaculately into the classic `Hitchcock bun'.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK
It doesn't sound silly at all. Tell me
one of her deepest secrets.
A quick look to Alma, as if to ask for permission before :
JANET LEIGH
She leads a double life. For instance,
when she works at the Lowery office, she
wears Tweed perfume. But, when she and
Sam are together, she recklessly breaks
out her one expensive bottle -- "My Sin"
by Lanvin.
She notices Alma's expression.
JANET LEIGH (CONT'D)
But...I do have a concern or two. I'm an
actress but I'm also a wife and mother
first, so I'm wondering just how you'll
do that shower scene.
ALMA
You and the Shurlock Office.
JANET LEIGH
It's just... I mean even if you shoot me
from here --
(she indicates a spot just
above her bosom)
-- well it's not as if my figure is
boyish.
Hitchcock looks down at her torso, as if noting it for the
first time.
ALFRED HITCHCOCK
Allow me to put your mind at rest.
Alma reacts as Hitch reaches over and gives Janet's hand a
reassuring squeeze.
ALFRED HITCHCOCK (CONT'D)
May I show you some of Mr. Saul Bass's
marvellous story boards?
Hitch pulls out his folio case and shows Janet the
storyboards (which we don't see).
ALFRED HITCHCOCK (CONT'D)
I plan to shoot quick bits of film from
various angles.
(MORE)
(CONTINUED)
CONTINUED: (3)
ALFRED HITCHCOCK (CONT'D)
Cut together, this montage will suggest
nudity and violence but nothing will
actually be shown.
Janet studies them, deeply impressed. And relieved.
ALFRED HITCHCOCK (CONT'D)
And having you in the shower will make it
all the more tit-illating --
ALMA
If you'll excuse me.
Alma's had enough. Janet's smile falters as she watches Alma
get up and head to the restroom. She's unsure of what just
happened but Hitch carries on regardless, either entirely
oblivious or not caring at all...
INT. CHASEN'S RESTAURANT, LADIES ROOM - NIGHT
Alma enters and looks in the mirror, quietly devastated. She
looks up to find another reflection in a mirror behind her.
FULL LENGTH MIRROR
Alma is SUDDENLY TRANSFORMED into a Technicolor Hitchcock
blonde. In a beautiful Edith Head gown, her skin is velvet
perfection, her hair blonde and impeccable.
ALMA
Oh, come off it, old girl.
A bitchy STUDIO HEAD'S WIFE snaps Alma out of her reverie,
joining her at the sink to powder her face.
STUDIO HEAD WIFE
Alma, dear, how lovely to see you.
ALMA
Hello Lillian.
STUDIO HEAD WIFE
You're looking a little pale. No wonder
with that thing your husband's working on
now. You can't possibly approve.
She's had a drink too many but the throwaway comment still
hits Alma hard.
STUDIO HEAD WIFE (CONT'D)
Why are you letting him do something so
tasteless?
(CONTINUED)
CONTINUED:
ALMA
Don't upset yourself, darling. It's only
a bloody movie.
EXT. HITCHCOCK HOUSE, GARDEN - DAY
PERFECT PINK ROSEBUSHES
Like in a Douglas Sirk movie. The same roses that are the
`color' of Janet Leigh. Alma hovers with her secateurs for a
moment and then starts SNIPPING off their heads with a
Caligula-like lack of mercy.
INT. HITCHCOCK HOUSE, KITCHEN - MORNING
A vase of flowers, none of them pink, in the center of the
table. Hitch STARES into a refrigerator filled with boring
tasteless health-conscious food.
Alma enters briskly and holds up a handwritten LIST.
ALMA
I've made a list of places where we can
tighten our belt.
She places the list on the table.
ALMA (CONT'D)
It wouldn't hurt for us all to learn the
art of self restraint.
Hitch goes over and picks it up, and reads.
ALFRED HITCHCOCK
The gardeners only once a week and
weekends off for the driver? No.
Absolutely not. We'll find other places
to cut.
ALMA
There aren't any other places. And
furthermore, they'll be no more shipments
from Maxim's either. We can't afford it.
She snatches the list out of his hand.
ALMA (CONT'D)
The foie gras at Chasen's is more than
adequate.
ALFRED HITCHCOCK
But those geese are from Barstow not
Marseilles.
(CONTINUED)
CONTINUED:
She turns back to him.
ALMA
We all have to make our little sacrifices
for the greater good, don't we, Alfred?
She leaves Hitch to resume contemplating the contents of the
fridge...but there's nothing there to satisfy his growling
hunger. He SLAMS the fridge and --
INT. ED GEIN'S HOUSE - DAY
Suddenly we're moving through an empty living room, prowling,
just like in a Hitchcock movie as we hear CLUNKING, then move
over to catch a glimpse of Ed as he drags A WOMAN'S BODY,
feet-first up the stairs. The clunking is from her head on
the steps, which is wrapped in her dress.
INT. ED GEIN'S HOUSE, BATHROOM - CONTINUOUS
Ed approaches the shower curtain, then yanks it open with a
METALLIC SCREECH. He pushes the body into the tub. Pulls the
dress off her head and drops it on the floor.
ED GEIN
Stay here. I'm going to get the knives.
We pan to REVEAL HITCHCOCK standing in the corner. He looks
terrified but completely enthralled -- he can't resist
creeping forward for a thorough inspection. Hitch's POV as he
steps closer to the tub and glimpses the woman's blood-
spattered WHITE BRA and GIRDLE.
Suddenly -- FINGERS CLUTCH the rim of the tub.
DEAD WOMAN
Help me.
Hitch recoils but she LURCHES UP and GRABS his throat.
ALFRED HITCHCOCK
Ed! Ed!
SMASH CUT TO:
INT. HITCHCOCK HOUSE, BEDROOM - NIGHT
Hitchcock bolts upright in bed, face beaded with sweat in the
moonlight.
ALFRED HITCHCOCK
Ed... Ed...?
(CONTINUED)
CONTINUED:
It takes a moment to get his bearings.
ALFRED HITCHCOCK (CONT'D)
Am I making a mistake?
Alma stirs in her bed.
ALFRED HITCHCOCK (CONT'D)
What if it's another Vertigo?
ALMA
Oh, shut up. Just get the first take
under your belt you'll be fine.
But Hitch isn't looking convinced.
EXT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
A sign posted outside the soundstage reads, "PRODUCTION
REHEARSALS 9401. ABSOLUTELY NO VISITORS!" It only makes
passing REPORTERS AND WORKERS more curious.
INT. SOUNDSTAGE, UNIVERSAL REVUE - CONTINUOUS
Inside, it's a hive of quiet purposeful activity. A.D. HILTON
GREEN escorts VERA MILES across the far side of the stage.
She's 30, a classic blonde porcelain beauty in the Grace
Kelly mold.
PEGGY
I still can't believe you cast Vera Miles
as the sister.
Hitch sits in his director's chair reading a copy of the
London Times.
ALFRED HITCHCOCK
I've still got her under contract. I may
as well get something out of it.
PEGGY
Rather a thankless role, don't you think?
ALFRED HITCHCOCK
For an utterly thankless girl.
But he still watches VERA over the top of his newspaper as
the A.D. leads her through the maze of hazardous cables and
light stands towards the fitting room.
She passes an actor in a HIGHWAY PATROLMAN'S UNIFORM trying
on various sunglasses with the prop master.
(CONTINUED)
CONTINUED:
PEGGY
Shurlock's office called again. They want
to know when you'll be making the changes
to the script.
Hitch gets up from his chair.
ALFRED HITCHCOCK
The more we frustrate them the more their
interest will wane.
He goes over to specify the correct sunglasses that should be
worn. The Cop puts on the MIRRORED shades. Hitch nods his
approval.
INT. BEVERLY HILLS STORE - DAY
CLOSE ON A RAIL OF SWIMSUITS. Alma browses through them
carefully. They are all perfectly nice, if a little staid.
Her eyes suddenly catch a COLORFUL SWIMSUIT on the end of the
rail. It's striking, even a little risque. She looks at the
price tag. It's insanely expensive.
She turns to go... stops... then impulsively turns back and
grabs it, heading into the changing room and closing the door
behind her.
IN THE DARKNESS
light blasts through A TINY HOLE in the wall. An EYE
positions itself in front of the peephole.
INT. HITCHCOCK'S OFFICE UNIVERSAL REVUE - DAY
We hear the VOICES of two women quietly conversing on the
other side.
HITCH
Strains to get a better view.
THROUGH THE HOLE
We catch teasing glimpses of golden girl Vera Miles stripping
down to bra and panties.
INT. WARDROBE FITTING ROOM - CONTINUOUS
HITCHCOCK'S EYEBALL fills the frame as he peers through the
tiny hole. We reveal Vera with sharp, bohemian costumer RITA
RIGGS, 27, who drapes taupe-colored fabric to Vera's
contours.
(CONTINUED)
CONTINUED:
VERA MILES
Break it to me gently. Am I playing a
lesbian librarian?
RITA RIGGS
(re: the fabric)
He chose it himself and had it imported
from Paris.
Vera laughs dryly at a WIG on a dummy head.
VERA MILES
If I wear that, I'm going to look like
George Washington.
RITA RIGGS
Wait until you see the undergarments he
picked out for you.
Vera tosses off her shirt.
VERA MILES
I just have to keep telling myself, one
more picture and I'm free as a bird.
She unhooks her bra and crosses to hang it on a hook right
near the HOLE where we just saw Hitchcock's eye. His eye is
gone, only darkness from the other side. Vera feels a chill
and instinctively covers her breasts with her arm.
VERA MILES (CONT'D)
Is there a fan blowing somewhere?
Rita returns with a punitive bra and girdle.
VERA MILES (CONT'D)
Wow. The old man really is unhappy with
me, isn't he?
EXT. JANET'S DRESSING ROOM, UNIVERSAL REVUE - DAY
Hitch knocks at the door.
ALFRED HITCHCOCK
Are you decent my dear?
JANET steps out dressed in a crisp, sexy white shirt and
pencil skirt. She does a twirl for him. The effect is
stunning. Even the stagehands stop to watch.
JANET LEIGH
Am I alright?
(CONTINUED)
CONTINUED:
His picks a tiny piece of lint on her sleeve.
ALFRED HITCHCOCK
Perfect.
As he escorts her onto the soundstage, Tony comes up to greet
them.
ANTHONY PERKINS
I want to thank you again for this
opportunity, Mr. Hitchcock.
ALFRED HITCHCOCK
It's just "Hitch", Tony. Hold the cock.
Janet caught that -- she's clearly amused. Tony gives her a
gracious peck on the cheek.
ALFRED HITCHCOCK (CONT'D)
Look at you two. America's favorite boy
and girl nextdoor...
Janet flicks a glance back at Hitch.
JANET LEIGH
And we're about to move to a whole new
neighborhood.
Already, Tony can't help feel a little excluded from Hitch
and Janet's little clique. Hitch ushers them across the
soundstage where the crew are assembling.
VERA MILES
Morning Janet. Morning Tony.
Vera Miles marches up in her frumpy tweed suit and wig.
VERA MILES (CONT'D)
"Thanks" for the wardrobe, Hitch.
ALFRED HITCHCOCK
(already moving past her)
That's hand-woven imported camel hair
from Rodier. Don't you approve?
VERA MILES
You're the genius.
She checkmates him with a ravishing smile.
VERA MILES (CONT'D)
One thing, though. My script is missing
the last ten pages.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK
Everyone's is. Until Alma finishes the
revisions. Now hurry along, Vera. You're
just in time for the oath.
VERA MILES
The what?
He steers her towards a line of laughing CREW MEMBERS forming
a circle with the rest of the cast.
He takes Janet by the hand, placing her right next to him and
officiously raises his right hand. The cast and crew duly
follow suit, all except for Vera.
ALFRED HITCHCOCK
I solemnly promise...
CREW
I solemnly promise...
ALFRED HITCHCOCK
(ignoring Vera's sarcasm)
That I will not divulge the plot nor the
many secrets of Psycho...
CREW
That I will not divulge the plot nor the
many secrets of Psycho...
WE SEE VERA'S CROSSED FINGERS BEHIND HER BACK
Then tilt up to Janet's look of mock disapproval. Vera pokes
her tongue out.
ALFRED HITCHCOCK
To friends, relatives, trade reporters or
columnists -- not even to outgoing
President Dwight D. Eisenhower, God bless
him.
Everyone cracks up, but Hitchcock's only interested in the
reaction of his new blonde, standing in pride of place, right
beside him.
INT. HITCHCOCK HOUSE, KITCHEN - SAME TIME
ALMA sits at the desk typing away at the revisions for
"Psycho." -- we see the title page.
A tiny solitary figure with nothing for company but a vase of
wilting flowers...
(CONTINUED)
CONTINUED:
She pauses, takes off her glasses and pushes aside her
corrections, suddenly fed up with the all the work.
She looks out at the swimming pool, sparkling in the
sunlight... then turns to the expensive-looking SHOPPING BAG
half-open on the side...
We hear a LOUD SPLASH --
EXT. HITCHCOCK HOUSE, POOL - DAY
As Alma plunges into the water wearing her striking new
swimsuit. She breaks into a front crawl. Her strokes are
vigorous, surprisingly so.
She drives the length of the pool, her arms slashing through
the water with increasing speed, her feet kicking out with
rising intensity... harder and harder... faster and faster...
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Hitch guides Janet and Tony across the sound stage to the set
of Norman's parlor.
ANTHONY PERKINS
Now, Hitch, explain to me why I'm
watching Marion undress?
JANET LEIGH
I feel like I should take offense at
that.
She and Tony laugh. Hitch's eyes light up at this display of
mischief from her.
ALFRED HITCHCOCK
I don't know...Perhaps as a boy, Norman
secretly watched his mother preparing for
her nightly bath.
JANET LEIGH
Maybe there was a transom over the
bathroom door?
ALFRED HITCHCOCK
Yes -- one he could access with a chair
so long as he was stealthy.
JANET LEIGH
Well, a boy's first glimpse of a naked
woman is usually his mother.
(CONTINUED)
CONTINUED:
ANTHONY PERKINS
So...I'm reliving the past, repeating a
ritual with Marion?
ALFRED HITCHCOCK
You're the actor. You figure it out.
Tony flinches at Hitch's brusque response.
They arrive at the set wall, where Hitch removes a painting
to reveal the PEEPHOLE.
JANET LEIGH
Hitch, I have a question. Why is the hole
much larger on this side?
ALFRED HITCHCOCK
All the better to see you at the greatest
possible angle my dear...
Janet simply steps up and presses her face to the hole. Hitch
studies her profile, quietly thrilled at her curiosity. Tony
hangs back, watching Hitch watching her...
JANET LEIGH
Wow. You really do your research, don't
you?
ALFRED HITCHCOCK
It's just my Jesuit work ethic.
He takes a quick peek through the hole now too...then puts
the painting carefully back into place over it.
ALFRED HITCHCOCK (PRE-LAP) (CONT'D)
The truth is... I'm only happy when I'm
working...
INT. PSYCHIATRIST'S OFFICE, BEVERLY HILLS - DAY
Hitch lies on his Analyst's couch.
ALFRED HITCHCOCK
... and if I'm not working then I'm
nothing. I'm not even a person. I'm just
a collection of molecules. A useless
cylinder of ugly flesh.
The Analyst circles one of his notes on a pad with his
Montblanc. Again, we notice how rough-hewn his hands are.
(CONTINUED)
CONTINUED:
ANALYST'S VOICE (O.S.)
What about your mother? Let's go back to
her.
ALFRED HITCHCOCK
My mother? Yes.
Hitch looks over at the unseen analyst and considers him.
ALFRED HITCHCOCK (CONT'D)
She was an extraordinary person. She
exposed me to Ibsen, Strindberg, Shaw.
She hoped I would go into engineering --
carry a lunch pail, gold watch at fifty.
ANALYST'S VOICE (O.S.)
She didn't approve of your career?
ALFRED HITCHCOCK
To her, movie people were akin to thieves
and prostitutes.
He turns back to look out the window.
ALFRED HITCHCOCK (CONT'D)
If I misbehaved, she'd make me stand at
the foot of her bed and discuss how I
planned to become a better boy.
The Analyst leans forward and we see his dirty, worn-down
fingernails.
ANALYST'S VOICE (O.S.)
Have you ever considered that your deep
desire to gain the approval of your
industry represents a textbook case of
transference?
(THEN)
The Oscar is your mother.
REVEAL THE ANALYST
It's ED GEIN. In his Sunday best, his shovel leaning against
the mahogany-paneled wall in the background.
ALFRED HITCHCOCK
You're a fine one to talk.
INT. WARDROBE FITTING ROOM, UNIVERSAL REVUE - DAY
Hitchcock leads Janet to a row of brassieres, all laid out
for inspection. They are all white with recognizable labels:
Berlei, Triumph, Marks & Spencer. He picks out one of them.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
You will be wearing a white bra like this
for the opening scene on the bed. And
then after you've stolen the money...
They move on to a second row of brassieres - all dark.
JANET LEIGH
I switch to one of these.
He nods, correct. She moves over to a mannequin displaying
the iconic jet black brassiere.
RITA RIGGS
Are you sure you don't want to look at
something a little more elegant?
HITCHCOCK
(SHARP)
No. They have to look like they were
bought at Sears and Roebuck. I want every
woman in the audience to look up at Janet
having sex with John Gavin and think,
`that could be me'.
Janet reads the label. It's "Maidenform."
JANET
This is the brand I wear.
Hitch digests the information and turns to Rita.
HITCHCOCK
We're ready for a fitting.
As Rita starts to measure Janet's chest, Hitchcock lifts his
hands and `frames' her...
ALFRED HITCHCOCK (V.O. PRE-LAP)
We travel across the rooftops of downtown
Phoenix and finally, through the heat,
pick out a certain hotel window...
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Close on Hitchcock's FRAMING HANDS as they now travel up to
an open window with blinds half down...
ALFRED HITCHCOCK
We go under the blinds and match dissolve
into the room itself...
INT. SOUNDSTAGE, BEDROOM SET - LATER
HITCHCOCK'S HANDS have now become THE CAMERA, recording the
scene already underway and now watched by HITCHCOCK, his
DIRECTOR OF PHOTOGRAPHY and CREW from across the stage...
ALFRED HITCHCOCK (V.O.)
We pan over and discover John and Janet
on the bed.
...the camera moves to Janet and John making out on the bed.
It's serious stuff.
ALFRED HITCHCOCK (CONT'D)
She'll be wearing only her undergarments
and a large glow of satisfaction...
JANET smiles up at John contentedly.
ON HITCH
watching from his directing chair. Peggy stands next to him.
ALFRED HITCHCOCK (CONT'D)
Cut.
PEGGY
Good luck getting this one past the
censor.
EXT. STUDIO GATES, UNIVERSAL REVUE - DAY
Alma drives the gleaming black Cadillac through the UNIVERSAL
GATES and pulls up to the production office outside the
stage.
EXT. HITCHCOCK OFFICE, UNIVERSAL REVUE - DAY
Alma collects the script pages off the front seat and walks
into the production office just missing Whit as he strolls
back towards the writers building with a couple of pretty
SECRETARIES.
Whit pauses when he spots the Hitchcocks' CADILLAC.
WHITFIELD COOK
You girls go on ahead.
The PRETTIEST ONE stops to make Whit light her cigarette
before catching up with the others.
INT. HITCHCOCK OFFICE, UNIVERSAL REVUE - DAY
Peggy reads the final pages while Alma inspects the
production boards.
PEGGY
If you ask me, the credits should read
"Screenplay by Joseph Stefano and Alma
Reville."
ALMA
The people who matter know. That's all
that counts.
As she makes a few more changes to the schedule. Alma turns
to Peggy whose face tightens as she continues reading.
Clearly it's strong stuff.
PEGGY
I'd hate to see Shurlock's face when he
reads this.
She puts the pages down.
PEGGY (CONT'D)
Alma, you always know the answer. Is this
really going to work?
A candid moment between the two women... but Alma doesn't
answer, just leaves.
EXT. HITCHCOCK OFFICE, UNIVERSAL REVUE - DAY
Alma emerges into the sunshine and looks across at the
soundstage, wondering whether she should go over there...
WHITFIELD COOK
Hello, stranger.
She turns to see Whit leaning against the Cadillac.
ALMA
Whit.
WHITFIELD COOK
Where have you been hiding yourself?
ALMA
I've been doing the revisions on...
She points to the PSYCHO HOUSE on the ridge.
(CONTINUED)
CONTINUED:
WHITFIELD COOK
Psycho.
(THEN)
And how is the old boy?
ALMA
In a state of unbridled ecstacy now that
he's back on the set.
WHITFIELD COOK
And you? How are you?
ALMA
Not bad. I've got eight hundred words to
do for Reader's Digest on what it's like
to be married to a man obsessed by
murder.
He looks at her a moment.
WHITFIELD COOK
I've got a better idea.
He steps closer.
WHITFIELD COOK (CONT'D)
Why don't we drive out to Santa Barbara?
We'll have Emilio fry up those juicy
steaks we like at El Encanto.
He playfully tugs at her sleeve.
WHITFIELD COOK (CONT'D)
No shoptalk ... No silly magazine
articles...just a wonderful meal...
Alma's expression gives away nothing as we pan over to the
WINDOW of the production office and notice the tell-tale BEND
in the blinds.
INT. HITCHCOCK OFFICE, UNIVERSAL REVUE - SAME TIME
Hitch looks out at Whit and Alma through the window, just
like he did with the other couple earlier. Except this little
interaction is far from dull.
A.D. HILTON GREEN
We're ready for you on the set, Mr.
Hitchcock.
ALFRED HITCHCOCK
I'll be right there.
(CONTINUED)
CONTINUED:
But Hitch doesn't move.
A.D. HILTON GREEN
Mr. Hitchcock?
INT. HITCHCOCK HOUSE, FOYER - DAY
ALMA enters the silent, empty house smiling to herself. She
walks through to -
INT. HITCHCOCK HOUSE, KITCHEN - DAY
- and puts the grocery bags down on the counter. She listens.
The house is eerily quiet, until, from behind --
ALFRED HITCHCOCK
Was there a line at the market?
Alma looks up, but doesn't turn round, well used to Hitch's
cryptic ways.
ALMA
No. Actually, I'm back sooner than I
expected.
She puts on an apron and gets to work, preparing dinner.
ALFRED HITCHCOCK
Would you like a cocktail?
He heads for the liquor cabinet.
ALMA
No.
(he starts to head off)
And you shouldn't either.
Hitchcock stops. Pulls out a CELERY STICK from one of the
bags and bites it.
ALMA (CONT'D)
Those haven't been washed yet.
ALFRED HITCHCOCK
(CHEWING)
I don't care.
(THEN)
I was filming all day with John Gavin --
a good-looking chap but, really, plywood
is more expressive. His love scene with
Janet may be most horrifying thing in the
picture.
(CONTINUED)
CONTINUED:
He takes another BITE, searching her face for some tell-tale
sign of guilt.
ALFRED HITCHCOCK (CONT'D)
Even your friend Whitfield Cook would be
better in the scene.
ALMA
You should tell Whit that. He'd be
flattered.
She gets to work preparing a salad. Hitch studies the back of
her tiny, vulnerable neck, the delicate sinews and muscles as
they rise and flex.
INT. HITCHCOCK HOUSE, BEDROOM - NIGHT
Hitch arranges his pillows and settles into bed while Alma
finishes getting ready.
ALFRED HITCHCOCK
Maybe I was too dismissive about your
friend Whitfield's book. Perhaps he and
Elizabeth could come over this weekend
and he can walk me through it.
Alma's radar activates but Hitch continues oh-so-
nonchalantly.
ALFRED HITCHCOCK (CONT'D)
Lovely woman, Elizabeth...
He carefully folds his blanket as if wrapping a murder
victim. She's not exactly sure what he's implying but she
knows she doesn't like it.
ALFRED HITCHCOCK (CONT'D)
I was hoping you could come by the set
tomorrow.
ALMA
I'll see how my day shapes up.
She turns onto her side away from him. Pulls the blankets
around her, her eyes still WIDE OPEN.
ALFRED HITCHCOCK (PRE-LAP)
You think you can get away with it but
you can't...
Alma's eyes become HITCHCOCK'S EYES, staring ahead intently.
INT. SOUNDSTAGE, UNIVERSAL REVUE - CAR SCENE - DAY
ALFRED HITCHCOCK
... You think they can't tell... but they
can. They know. It's all closing in on
you. The noose is tightening...
As he continues, we pull back and see:
THE REAR-PROJECTION SET
Janet emotes for Hitchcock's CAMERA while "driving" a PARTIAL
CAR, being rocked by STAGE HANDS.
Peggy and other CREW time and mark the takes. ELECTRICIANS
AND GAFFERS turn mounted lamps that rake across Janet's
worried face like car headlights.
ALFRED HITCHCOCK (CONT'D)
You could return the money secretly, but
what would be the point?
He wipes his brow, getting more intense...
ALFRED HITCHCOCK (CONT'D)
You, Marion Crane. The prim and proper
girl who's always been so tight and
respectable. So perfect and untouchable.
Well, they know all about your dirty
little secret, don't they? Your messy,
sticky lunchtime trysts. Yes, your boss
Mr. Lowery could even smell the sex on
YOU--
SUDDENLY THE REAR SCREEN film breaks and a frame burns.
It's a good thing because Janet is starting to look a little
uncomfortable -- was that meant to be funny? As technicians
yell and hustle, Hitchcock turns to Peggy --
ALFRED HITCHCOCK (CONT'D)
Circle that.
INT. JANET LEIGH'S DRESSING ROOM - DAY
As Janet gets changed, Vera hangs up her frumpy coat on a
rack, looking over a little enviously at Janet's good
girl/bad girl underwear hanging nearby.
VERA MILES
Have you talked to him much about your
personal life?
(CONTINUED)
CONTINUED:
JANET LEIGH
Not really...
VERA MILES
I'd keep it that way if I were you.
(Off Janet's look)
He starts by choosing your hairstyle and
clothes and then he wants to choose your
friends and decide how many children you
should have.
Janet finds this a little hard to believe. Vera leans in,
lowering her voice.
VERA MILES (CONT'D)
That poor, tortured soul Jimmy Stewart
played in Vertigo? That's Hitch, only
younger, slimmer and better-looking.
That may well be true but it doesn't bother Janet.
JANET LEIGH
Compared to Orson Welles, he's a
sweetheart.
They both turn, sensing something -- and see HITCHCOCK'S
DISTINCTIVE SHADOW PROFILE in the hallway. The shadow
lingers, then recedes like in a scary ghost story.
VERA MILES
(WHISPERS)
See? He's always watching.
They laugh nervously.
INT. HITCHCOCK HOUSE, LIVING ROOM - SAME TIME
Alma comes in from her gardening, and settles on the sofa
with a cup of tea, a circled copy of TV Guide next to her.
On television -- the 1950 Hitchcock classic Stage Fright.
The credits come up: "Screenplay by Whitfield Cook,
Adaptation by Alma Reville."
Alma watches, thrilled at the sight of her name and Whit's
together.
ON THE TV
The words "DIRECTED BY ALFRED HITCHCOCK" overwhelm the small
screen. Alms puts down her fork, no longer hungry.
INT. HITCHCOCK HOUSE, HALLWAY - DAY
ALMA heads back to the kitchen, only to pause at the open
door to Hitch's study -- there's something on the desk.
INT. HITCHCOCK HOUSE, STUDY - CONTINUOUS
THE HITCHCOCK BLONDES
Hitch's personal collection. Alma enters and starts to go
through them. Each photo is turned over a little more roughly
than the last. It's hard to tell whether she's more angry at
the photos or the fact that they've been deliberately left
for her to find...
Alma takes off an earring, picks up the phone and starts to
dial...
INT. SOUNDSTAGE, UNIVERSAL REVUE - SAME TIME
As the crew prepares the car set to go again, Hitch strides
over to PEGGY who's dialing a phone.
ALFRED HITCHCOCK
What's the hold up?
PEGGY
It's still engaged.
He takes the phone himself just as Vera Miles emerges from
her dressing room, script in hand.
VERA MILES
Hitch, I'm stuck on Lila's first scene. I
don't know how strongly I should confront
Sam and the detective and I --
ALFRED HITCHCOCK
(ACIDLY)
Fake it.
He turns his back on her and dials. The ENGAGED TONE blares
in his ear. His eyes narrow at some crew members fussing with
bits of LIGHT and SOUND EQUIPMENT.
ALFRED HITCHCOCK (CONT'D)
Does it really require two men to carry a
light stand?
A.D. HILTON GREEN
I'll take care of it right away, Mr.
Hitchcock.
(CONTINUED)
CONTINUED:
He rushes off to fix it. Off Peggy's questioning look.
ALFRED HITCHCOCK
It's different when their pay is coming
out of your own pocket.
He raps the receiver button, more intensely this time, and
redials.
INT. HITCHCOCK HOUSE, STUDY - DAY
But Alma's still on the phone to Whit, basking in his charm.
Her feet are up. There's a drink in her hand.
WHITFIELD COOK (ON PHONE)
Well, I think that sounds like a fabulous
idea. We'll have a late lunch. I'll make
the reservation for one thirty.
ALMA
What would I do without you?
WHITFIELD COOK
Till then, bye.
She hangs up, toying with her earring, feeling better already
when the PHONE rings again very quickly. She picks up without
even thinking --
ALMA
(LAUGHING)
What did you forget now?
INT. SOUNDSTAGE, UNIVERSAL REVUE - CONTINUOUS
Pudgy fingers clench the coiled PHONE CORD as we move up to
Hitch's face. He's silent as a burglar, not even daring to
breathe...
ALMA (ON PHONE)
Whit? Is that you?
The blood drains from Hitch's face as he very slowly and
carefully replaces the receiver. His mind starts to spin.
He's got to get out of there...
CROSSING THE STAGE
Hitch lurches towards the production office, starting to
sweat, but his path is blocked by GRIPS laying cables. The
set is suddenly a cacophony of noise and chaos.
A PR FLACK appears --
(CONTINUED)
CONTINUED:
PR FLACK
Mr. Hitchcock, every press outlet is
driving us crazy for photos --
Hitch brushes past him to find another route but more grips
are moving a ladder. He turns, kicks a platter of healthy
snacks out of the way, only for an ARCLIGHT to swivel in his
face and blind him.
PEGGY
Are you okay? You've gone very pale.
Peggy's face suddenly comes into focus.
ALFRED HITCHCOCK
Stop trailing me like a puppy dog and get
me something long, cool and wet.
PEGGY
It's not even three.
ALFRED HITCHCOCK
Give me the key!
He snatches it and pushes past her, leaving her flat.
EXT. SOUNDSTAGE, UNIVERSAL REVUE - DAY - CONTINUOUS
HITCH exits the soundstage doors, only to find the humorless
face of BARNEY BALABAN blocking his office door.
BARNEY BALABAN
Hello, Hitch. How's the picture? I'm
hearing interesting things...
ALFRED HITCHCOCK
It's a wonder you can hear anything over
the noise coming from the Shurlock
office.
Balaban offers up his handkerchief. Hitchcock waves it away
even though he's now covered in sweat.
BARNEY BALABAN
I shouldn't be in a position of just
hearing things, Hitch. It's time you
showed me some footage.
ALFRED HITCHCOCK
Why?
(CONTINUED)
CONTINUED:
BARNEY BALABAN
To see if you're making a picture
Paramount can actually release.
ALFRED HITCHCOCK
As you well know, Barney, my contract
guarantees me final cut.
BARNEY BALABAN
Your contract also says Paramount isn't
required to distribute any film that
could cause us embarrassment.
ALFRED HITCHCOCK
Unlike the last five Martin and Lewis
pictures you're all so proud of.
He slams the door in Balaban's startled face.
INT. HITCHCOCK'S OFFICE, UNIVERSAL REVUE - CONTINUOUS
Hitchcock loosens his collar and catches a glimpse of himself
in a mirror. He's unraveling and it shows.
BARNEY BALABAN (O.S.)
I demand to see some footage, Hitch.
Hitch lowers the window blinds over Balaban's face and
fumbles for the phone.
ALFRED HITCHCOCK
Connect me to Maxim's of Paris.
He takes the key and opens the liquor cabinet ignoring the
INSISTENT KNOCKING at the door --
ALFRED HITCHCOCK (CONT'D)
(ON PHONE)
Yes, it's Alfred Hitchcock in Hollywood,
California, Jean-Claude. I need three
pounds of foie gras sent on the next
flight out.
(THEN)
That's correct. Three.
He pours himself five fingers of scotch.
EXT. PACIFIC COAST HIGHWAY - DAY
A majestic view of the coastline as Whitfield Cook's Cream
MERCEDES 190CL, zooms along, top down. Alma wears white-
rimmed sunglasses and a head scarf.
(CONTINUED)
CONTINUED:
Whitfield, in true Hitchcock leading man style, has the
perfect amount of wind blowing through his hair.
WHITFIELD COOK
Those steaks haven't changed at all, have
they?
ALMA
It's so nice not to have to take care of
someone, even if it's just for an hour or
two.
She takes in the sparkling scenery whipping past.
ALMA (CONT'D)
Whit, where are we going? You still
haven't told me.
WHITFIELD COOK
I have a little surprise.
ALMA
A surprise. How fun.
Whit just smiles as he jams the acceleration and the car
ROARS off down the highway.
EXT. HITCHCOCK'S OFFICE, UNIVERSAL REVUE - DAY
Hitch stands in the parking lot tapping his foot impatiently
near the parked Ford Fairlaine police car used in `PSYCHO'.
Janet watches him, sitting behind the wheel of her VOLKSWAGEN
BEETLE. After a moment she toots her horn and drives up.
JANET LEIGH
What happened to your driver?
ALFRED HITCHCOCK
I've been asking myself the same thing.
She smiles.
JANET LEIGH
I can give you a ride if you want.
Hitchcock raises an eyebrow at the tiny car, and then, with
great effort inches his massive frame through the open door.
INT. CAR - MOVING - DAY
ALFRED HITCHCOCK
Did you know Adolf Hitler sketched the
design for this car on Ferdinand
Porsche's cocktail napkin in a Berlin
beer garden?
JANET LEIGH
I didn't.
She turns to see Hitch wedged uncomfortably into his seat.
ALFRED HITCHCOCK
It's only now that I truly appreciate
just how diabolical Herr Hitler was.
She notices him eyeing the half-eaten bag of CANDY CORN on
the dashboard (the kind Norman Bates enjoys throughout
"Psycho".)
ALFRED HITCHCOCK (CONT'D)
May I?
JANET LEIGH
Help yourself.
(letting him in on it)
I pinched them from Tony's dressing room.
He takes one and chews it curiously.
ALFRED HITCHCOCK
So this is what they eat at the drive-
ins...
He takes the whole bag and sets to work, popping them in one
after the other.
JANET LEIGH
I thought you only ate Fauchon chocolate.
ALFRED HITCHCOCK
Needs must when the devil drives, my
dear.
He's so deadpan but now there's no way to tell if he's joking
or not. She puts the car into gear, sensing his despair.
EXT. SANTA BARBARA BEACH - DAY
TWO PAIRS OF FEET
(CONTINUED)
CONTINUED:
nesting in the sand. Alma and Whit sit out watching the surf.
The water laps over their toes.
ALMA
I don't mind that he uses his obsession
to fuel his art. I just don't like it
when he uses it against me.
WHITFIELD COOK
He's like any great artist. Impossible to
live with but worth the effort.
(he throws a rock into the
SEA)
Van Gogh wasn't exactly a walk in the
park either.
ALMA
Did you know when we started out I was
his boss? He didn't even dare ask me out
until he'd worked his way up to assistant
director.
Whit watches as she picks up some sand, lets it run through
her fingers...
WHITFIELD COOK
What do you think of that place over
there?
He nods to a SMALL BEACH HOUSE up the way.
ALMA
Looks nice. Terrific location. Why?
WHITFIELD COOK
It's mine.
She looks at him askance. Is he joking?
ALMA
I just saw Elizabeth. Why on earth didn't
she tell me?
WHITFIELD COOK
She doesn't know about it.
EXT. HITCHCOCK HOUSE - DAY
The sun is setting on the Hitchcocks' driveway. The VW pulls
to a stop in front of the front door.
INSIDE THE CAR
(CONTINUED)
CONTINUED:
Janet looks over -- decides to risk it.
JANET LEIGH
So what did happen between you and Vera?
ALFRED HITCHCOCK
I was going to make her star. But she
chose the life of a housewife.
He stops chewing. We push in as his features turn reflective.
ALFRED HITCHCOCK (CONT'D)
I cast her as the lead in Vertigo. Then
two weeks before filming she told me was
pregnant.
He screws up the empty bag of candy and looks over at Janet.
Then, almost like a child --
ALFRED HITCHCOCK (CONT'D)
Why do they do it? Why do they always
betray me?
ON JANET
As she looks across and sees the lonely abandoned little boy
just sitting there...
EXT. SANTA BARBARA BEACH - SUNSET
Alma enters the beach house cautiously and looks around. It
is old and falling apart with only a few functional
furnishings.
WHITFIELD COOK
I'm just leasing it for the offseason. A
place to get away from the wife and kid
and write.
ALMA
Very Bohemian.
WHITFIELD COOK
You might find that room interesting.
Alma looks. The door is partially open -- she sees the one
conspicuously new item of furniture. A double bed.
ALMA
Whit. I hope you haven't got the wrong
idea.
(CONTINUED)
CONTINUED:
He gives her a rakish grin, then pushes the door open further
to reveal the deck beyond.
TWO MAUVE CORONA TYPEWRITERS
Sit on a table facing each other.
WHITFIELD COOK
If you were serious about helping me
adapt my book, I thought it would be the
perfect hideaway.
She lets this sink in, entranced by the incredible view and
the crashing surf.
Then, she steps out onto the deck and up to one of the
typewriters. Gives the key an approving TAP.
INT. HITCHCOCK HOUSE, FOYER - DAY
Hitch enters the empty house at dusk. The dogs greet him. He
listens a moment... then walks through to the study.
INT. HITCHCOCK HOUSE, STUDY - CONTINUOUS
Hitch pours himself a brandy and downs it in one. He goes to
pour himself a second, when he notices something on the desk.
It's his collection of PHOTOS by the TELEPHONE. They're all
neatly stacked.
With a SINGLE GOLD EARRING on top.
INT. HITCHCOCK HOUSE, BEDROOM - NIGHT
Hitch lies in bed, his thoughts racing as he waits for Alma
to come home.
Finally, the sound of the car comes up the driveway.
He turns onto his side and pulls up the blankets, listening
to the sound of the front door ... and Alma's footsteps down
the hall.
She quietly slips into the bathroom and shuts the door before
turning the light on. He watches her shadow through the strip
of light at the bottom of door.
When the bathroom light switches off again Hitch hurriedly
closes his eyes.
(CONTINUED)
CONTINUED:
Alma emerges in her nightgown and stops at his bedside,
peering down on him. She's not completely sure that he's
actually awake, but she suspects.
INT. HITCHCOCK HOUSE, BEDROOM - NIGHT (LATER)
Hitch eases himself up and looms over Alma to make sure she
is safely asleep.
He silently picks up her HANDBAG and takes it to the window.
Using the moonlight he searches its contents. Car keys.
Lipstick. Purse.
And the first few pages of a story outline:
"TAXI TO DUBROVNIK"
The pages vibrate in his hand as his gaze lowers to reveal
the rest of the TITLE PAGE: "STORY TREATMENT BY WHITFIELD
COOK & ALMA REVILLE."
INT. HITCHCOCK HOUSE, KITCHEN - NIGHT (LATER)
A GLISTENING MOUND OF FOIE GRAS spooned into Hitchcock's
mouth straight from the MAXIM'S OF PARIS tin. Hitch stands in
the glare of the open fridge, a beast feeding in its cave,
shoving in mouthful after mouthful. It's almost pornographic
in its indulgence.
GEIN steps out of the shadows and puts a comforting hand on
Hitch's shoulder.
We hear the civilized CLINK of cutlery against china...
INT. HITCHCOCK HOUSE, DINING ROOM - DAY
Hitch and Alma sit at the table having lunch. Alma eats a
pork chop while Hitch defiantly nibbles at his healthy salad.
He has a nice big glass of red wine which Alma ignores.
ALFRED HITCHCOCK
So I read your finished treatment. "Taxi
to -- " Where was it?
ALMA
Dubrovnik.
ALFRED HITCHCOCK
That's it. Dubrovnik. Care to hear my
opinion?
ALMA
Yes. Naturally.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
There's no other way of saying it. It's
stillborn. Dead in the water.
Alma blinks, unable to hide her shock.
ALMA
How so?
ALFRED HITCHCOCK
(with mock compassion)
The plot's a muddle. Some of the jokes
are awfully like things we already did
better hundreds of years ago in The Lady
Vanishes. And your villain is weak. But
the biggest failure is the relationship
between the hero and heroine.
He picks up a radish and bites into it.
ALFRED HITCHCOCK (CONT'D)
If you weren't so smitten with your
friend Whitfield cook you'd probably see
that.
Alma is entirely stunned. Hitchcock has delivered the killer
blow he intended. He gets up and goes over to the garden
door.
ALFRED HITCHCOCK (CONT'D)
Women never really care to face the truth
when their hearts are involved, do they?
As he steps out into the garden --
ALMA
How would you know what really goes on
between a man and a woman?
EXT. HITCHCOCK HOUSE, GARDEN - CONTINUOUS
Hitch searches his pockets for his lighter but can't find it.
His annoyance only increases when he notices the SCATTERED
LEAVES `contaminating` the surface of the pool.
ALFRED HITCHCOCK
Look at this mess.
He grabs the net and starts scooping them out.
ALFRED HITCHCOCK (CONT'D)
Bloody belt-tightening.
(CONTINUED)
CONTINUED:
He can't get the net into the inflow filter so he gets down
on his hands and knees and starts PULLING OUT the leaves with
his hands.
ALMA
watches from the window... then turns away.
HITCH
Pulls out handful after handful of wet leaves, clawing away
at them like a madman...
A TEMPERATURE DIAL INCHES INTO THE RED
INT. SOUNDSTAGE, UNIVERSAL REVUE - SET
Stage hands and engineers test a row of HOT WATER TANKS
installed on the set.
WE FOLLOW the sound of rushing water through a PIPE as it
snakes across the set floor and passes through a fake wall to
A SHOWER HEAD
Unleashing a stream of STEAMING HOT WATER. The SET HAND gives
the thumbs up.
SET HAND
Tell the boss we're ready.
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Peggy and A.D. Hilton Green exchange a glance as Hitchcock
paces up and down in the corridor, eager to get to work.
ALFRED HITCHCOCK
What's the hold-up? Call time was two
hours ago.
Peggy nervously knocks on Janet's door and peers inside --
INT. JANET LEIGH'S DRESSING ROOM - DAY
Rita Riggs is hard at work molding MOLESKIN PATCHES to
Janet's nipples.
JANET LEIGH
And you're sure this moleskin will stay
put?
RITA RIGGS
Mr. Hitchcock promised.
(CONTINUED)
CONTINUED:
Neither woman looks convinced but they proceed with blind
faith.
JANET LEIGH
It better. I'm going to be taking a
shower all week.
As Janet slips on her robe, a MOLESKIN TRIANGLE PLOPS onto
the floor. Rita and Janet share a worried look.
EXT. BEACH HOUSE, SANTA BARBARA - DAY
Alma sits at her typewriter while Whit stares off, looking a
little uncertain.
ALMA
Forget what Hitch said. He's just feeling
his age. He'll come around.
WHITFIELD COOK
But he's right. It does need more
feeling.
Alma ponders the problem. Finally --
ALMA
So why don't we put some in?
She gets to her feet and starts to pace...
ALMA (CONT'D)
All we need is a better catalyst. Some
innocuous little trigger to release all
that underlying desire.
The soothing sound of the ocean gives way to the relentless
HISS of SHOWER WATER --
INT. SOUNDSTAGE, UNIVERSAL REVUE - MOTEL SHOWER SET - DAY
Janet nervously removes her bathrobe and heads toward the
MOCK SHOWER STALL.
ALFRED HITCHCOCK
Good morning.
He takes her hand and guides her into position.
ALFRED HITCHCOCK (CONT'D)
As I explained earlier, this scene will
be made up of many shots from Mr. Bass's
boards. A series of looks - actions...
(MORE)
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK (CONT'D)
Well, you're the professional. You'll
know how to do it.
Around them, the crew frantically finalize the CAMERA and
LIGHT SETUPS. MALE CREW MEMBERS look uncomfortable and
excited by the unprecedented sight of a virtually nude movie
star.
Saul Bass comes over with his boards and Hitch and he discuss
the planned shot a moment.
FIRST A.D. HILTON GREEN
Tony's stunt double is ready.
ALFRED HITCHCOCK
Ah. There's our murderess.
Into frame steps Anthony Perkins' FEMALE STUNT DOUBLE, MARGO,
wearing a gingham dress, silver wig and BLACK MAKEUP TO MASK
HER FACE. She wields a large PROP KNIFE and almost blocks our
view of Janet in the white-tiled stall.
ALFRED HITCHCOCK (CONT'D)
(TO JANET)
Are you ready for our little bloodbath?
JANET LEIGH
My mother always said, "Have confidence
in yourself and you can lick anything."
Hitchcock takes Janet's hand, and with tremendous sincerity :
ALFRED HITCHCOCK
My mother used to say the same thing.
(THEN)
Let's go for a take. Quiet everyone.
Over and over, Margo attacks with the knife and Janet tries
deflecting the blows but both women are timid and Janet is
clearly guarding her modesty and covering her body.
ALFRED HITCHCOCK (CONT'D)
Cut. More intensely. Let's go again.
Margo's KNIFE comes at Janet uncertainly and every which way.
Naked and exposed, Janet defends against the knife blows as
they come at her but Margo's still pulling her punches--
ALFRED HITCHCOCK (CONT'D)
No. More angry. You are possessed with
unbridled homicidal rage.
(LEAPING UP)
Cut. Cut camera.
(CONTINUED)
CONTINUED: (2)
He charges over to Margo to demonstrate the savage stabbing
gesture he demands.
ALFRED HITCHCOCK (CONT'D)
Does no one understand what I'm trying to
accomplish here? I'm older than anyone on
this stage and I'm still standing.
Everyone falls silent, unsure how to respond. Hitchcock HOLDS
OUT HIS HAND.
ALFRED HITCHCOCK (CONT'D)
Give me the knife.
Margo places the knife in Hitchcock's palm.
ALFRED HITCHCOCK (CONT'D)
Props. Bring in more blood.
A FEMALE MAKEUP ASSISTANT squirts more CHOCOLATE SYRUP
"blood" onto Janet from a PLASTIC BOTTLE OF BOSCO.
ALFRED HITCHCOCK (CONT'D)
Roll camera.
As the scene is marked, we see Hitchcock's anxiety. There is
NO SOUND except Hitchcock's ragged breathing.
CREW MEMBER
Ready, sir.
Hitchcock nods. The camera whirs. Hitchcock hoists the knife
into the air with terrifyingly convincing power and
malevolence.
THE SHOWER CURTAIN GETS YANKED BACK --
We see in the shower from Hitchcock's POV not Janet but
GEOFFREY SHURLOCK. Hitchcock SLASHES the censor a killer blow
that sends him reeling.
THE SHOWER CURTAIN GETS YANKED BACK AGAIN --
Shurlock is replaced by BARNEY BALABAN. Hitchcock stabs him
with unleashed fury and hate.
THE SHOWER CURTAIN GETS YANKED BACK AGAIN --
WHIT turns, he's naked and smiling. Hitch plunges the knife
into his back, and he drops, revealing ALMA, arms around his
waist.
THE SHOWER CURTAIN GETS YANKED BACK AGAIN --
We're back in the real moment -- JANET LEIGH SCREAMING as she
gives the `performance' of a lifetime.
Hitchcock stops stabbing. His heart pounds. He's soaked with
sweat. The only sound is the drip-drip-drip of the shower...
ON HITCH
As he realizes EVERYONE is staring at him. He straightens his
tie, attempting to regain some semblance of control.
ALFRED HITCHCOCK
Print. We've got it.
He exits quickly.
Rita escorts the shaken and exhausted Janet off set, passing
Vera who's witnessed the whole thing. She's wearing a
bathrobe. Janet gives her a look as if to say `Now I
understand.'
INT. HITCHCOCK'S OFFICE - UNIVERSAL REVUE - CONTINUOUS
Hitch shuts his office door and leans back against it. He
closes his eyes, nauseated and dizzy. He doesn't even need to
open them to know who's there, waiting for him.
ALFRED HITCHCOCK
Not now, Ed. It's really not a good time.
He staggers towards the water cooler, fumbling for a cup.
Ed steps forward and pours him some water, pats his shoulder.
ED GEIN
You just can't keep this stuff bottled
up.
But before Hitch can drink it he crashes to the floor.
EXT. HITCHCOCK'S OFFICE - UNIVERSAL REVUE - SAME TIME
Peggy and Perkins to react to the noise...
HITCHCOCK'S OFFICE - UNIVERSAL REVUE - SAME TIME
They come through the door to see Hitch lying on the floor.
He looks like he's dead.
PEGGY
Oh God...
(CONTINUED)
CONTINUED:
Peggy rushes forward to help. Perkins just stands and stares,
as if paralysed in some Freudian nightmare.
A TELEPHONE
starts to ring.
EXT. BEACH HOUSE, SANTA BARBARA - DAY
It is inside the beach house, and partially drowned out by
the sound of the crashing waves. Alma and Whit are on the
deck, acting out the scene as they write, too engrossed to
notice.
WHITFIELD COOK
What if Helen and Michael try and get
into the cab at the same time?
ALMA
Even better, what if they reached for the
cab door at exactly the same time?
Alma demonstrates so that their hands touch.
ALMA (CONT'D)
That way, we could start close on the
hands...
(tracking the movement)
... and then tilt up to the eyes.
They stare into each other's eyes, lips just inches apart...
WHITFIELD COOK
That feels better already.
Finally, the phone intrudes.
ALMA
Are you going to get that?
With some effort, Whit goes inside and picks it up.
WHITFIELD COOK (O.S.)
Hullo?... Yes... Hold on.
He comes outside, holding out the receiver for Alma.
WHITFIELD COOK (CONT'D)
It's for you.
INT. HITCHCOCK'S OFFICE, UNIVERSAL REVUE - DAY
Peggy grips the phone, her face full of concern.
(CONTINUED)
CONTINUED:
PEGGY
I know you told me only to call in an
emergency, but I'm not sure how else to
describe this.
Hitch lies slumped on the floor. A compress over his
forehead. His head lolls to one side as he slips in and out
of consciousness...
FADE TO BLACK.
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Disarray on the set.
MARTIN BALSAM watches as SAUL BASS, cameraman JACK RUSSELL
and A.D. HILTON GREEN argue about the best way to proceed
with the staircase sequence. Hitch is conspicuous by his
absence.
As they bicker we find Tony Perkins off to one side, sitting
in his Mrs. Bates costume, unable to cope. He puts the wig
back on his head. There, that feels better...
Balsam's finally had it with all the arguing. He walks off
past Peggy who's arriving with the PHONE.
MARTIN BALSAM
It's official. The inmates are running
the asylum.
Peggy hands Hilton the phone.
PEGGY
Hilton. I have Mr. Hitchcock for you.
She gives him a warning look. "Watch out. He's in a terrible
mood." He waves away her concern. It can't be that bad.
HILTON GREEN
Hey there, Hitch. We're still working on
it.
(looking over at the
CONTINUING ARGUMENT)
Everyone misses you.
INT. HITCHCOCK HOUSE, BEDROOM - SAME TIME
Hitch, in bed and sick as a dog, has the script, notes and
boards on a bed tray. The phone receiver is pressed to his
ears.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
I've told Peggy and now I'm going to tell
you. You have to get this sequence shot
today. What's the hold up?
HILTON GREEN
We tried it ten different ways and it
looks terrible. Why don't we use inserts?
ALFRED HITCHCOCK
No. It has to be a high angle. You'll tip
off the big surprise! Just get the
process shot.
Hitch slams down the phone.
INT. SOUNDSTAGE, UNIVERSAL REVUE - CONTINUOUS
ON HILTON
Still clutching the phone, a little nonplussed. Peggy gives
him a look: "What did I tell you."
INT. HITCHCOCK HOUSE, BEDROOM - SAME TIME
Alma removes the phone from Hitch's grasp. Touches his
forehead.
ALMA
No more phone calls. You're burning up.
ALFRED HITCHCOCK
Burning up our money. We're two days
behind and I'm stuck in bed.
Hitch swings his legs out of the bed.
ALMA
Where do you think you're going?
ALFRED HITCHCOCK
To the set. We can't afford to lose any
more time. Two more days of this and the
whole production goes under.
He shakily tries to get to his feet.
ALMA
You stay in bed. I'll deal with it.
ALFRED HITCHCOCK
I'd hate to take you away from your
writing partner.
(CONTINUED)
CONTINUED:
She pushes him back against the pillows. He's too weak to
resist.
ALMA
Under the blankets. Now.
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Crew members sit around eating donuts. Assistant director
Hilton Green and cameraman Jack Russell are still arguing
over the mechanics of the shot with more crew members joining
in. It's near pandemonium.
Then Alma steps in the door, and everything stops. Every crew
member snaps to attention as Alma passes by. It's like the
school principal arriving after the substitute teacher has
lost control.
ALMA
Don't stop work because of me. I'm only
here as one of the two people paying your
salaries.
Alma takes a seat in Hitch's DIRECTOR'S chair. As her eyes
dart around the set, it's clear that she IS TAKING EVERYTHING
IN. Peggy flanks her.
ALMA (CONT'D)
Scene?
PEGGY
One seventy three.
ALMA
Storyboards?
Peggy hands the boards to Alma. She and Hilton quickly review
the boards.
ALMA (CONT'D)
Start with the overhead. We'll cut before
the fall. Then we'll put Martin in a
chair under the camera.
Hilton looks at Russell. Perfect. He sets ANTHONY PERKINS in
his dress into place.
ALMA (CONT'D)
(to the cameraman)
And that lens should be a thirty-five.
Peggy mouths Alma a silent "THANK YOU" for restoring order.
INT. HITCHCOCK HOUSE, BEDROOM - DAY
Hitchcock lies in bed, tossing and turning, the fever only
making his thoughts darker and more obsessive.
ED GEIN (O.S.)
You forgot to look in the bathroom.
Hitch notices the SHADOWY FIGURE standing at the end of his
bed.
ED GEIN (CONT'D)
A man like you... Missing the vital clue
like that...
He blearily sits up and sees Gein's impassive rustic face.
ALFRED HITCHCOCK
What do you mean?
Gein steps over to the bathroom and pushes open the door.
ED GEIN
My mother always said if you're going to
do a job, do it right.
INT. HITCHCOCK HOUSE, BATHROOM - CONTINUOUS
Hitchcock enters the immaculate white and chrome room and
inspects it... but nothing seems out of place.
ED GEIN
Check the floor.
He looks down but again, nothing.
ED GEIN (CONT'D)
Closer.
Hitch gets down on his hands and knees. He runs his
fingertips across the smooth white tiles. They start to
COLLECT --
GRAINS OF SAND
Sprinkled all over the floor.
ED GEIN (CONT'D)
You still think they're just writing
together?
Hitchcock's face hardens. His lip trembles.
(CONTINUED)
CONTINUED:
ED GEIN (CONT'D)
So what are you going to do about it?
Hitch gets up, opens the medicine cabinet and takes out a
BOTTLE OF BAYER ASPIRIN.
He empties the tablets into the sink and very carefully,
sweeps the SAND into the aspirin bottle. He caps it, slips it
into his robe pocket and turns off the light.
OMITTED
INT. SOUNDSTAGE, UNIVERSAL REVUE - SAME TIME
Alma spots the towering figure of Balaban stride onto the
stage accompanied by a MAN in a cardigan.
ALMA
Barney.
He sees her and bristles, clearly surprised to see her there.
BARNEY BALABAN
Alma.
Alma takes in Balaban's companion, and the viewfinder round
his neck.
BARNEY
You know David Kirkpatrick. He's working
on Jerry Lewis' next picture.
She does. They nod politely -- then stand there.
BARNEY (CONT'D)
So he's free to help...
(a sly smile)
if you need it...
Silence. Just the bustle of crew members in the background.
ALMA
That won't be necessary.
BARNEY
But you're nearly three days behind.
He takes a step towards Hitch's empty chair, but Alma moves
to block his path. It may be a small gesture, but it's highly
charged.
Barney stares down at her.
(CONTINUED)
CONTINUED:
BARNEY BALABAN
Alma. We both know what kind of film this
is.
(then, closer)
The smart thing to do would be to help
Hitch finish it.
ALMA
Thank you for your concern, Barney.
She moves closer to him, holding his gaze, not bending one
bit...
ALMA (CONT'D)
But on a Hitchcock picture, there is only
one director.
The anger flashes on his face as she faces him down, the
entire crew behind her now, holding firm...
EXT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Balaban, incensed, leaves the stage with Kirkpatrick. Alma
steps out into the sunlight not far behind them. As she
watches them leave, she lets out a breath.
A voice calls out to her --
WOMAN'S VOICE
Mrs. Hitchcock?
She turns to see Janet walking over in Capri pants and a
sleeveless top. She's carrying an elegantly wrapped package.
JANET
I hope you don't mind. I heard Hitch was
sick so I got him a little something.
She hands Alma the gift. A bag of candy corn tied with a
ribbon.
ALMA
That's kind of you.
JANET
Well, he's been very considerate with me.
(A BEAT)
I haven't always had that from my
directors.
ALMA
Janet, you've been very... professional.
It hasn't gone unappreciated.
(CONTINUED)
CONTINUED:
Alma takes in Janet's unaffected natural beauty -- and her
sincerity.
She can't help but notice the second glances Janet is
provoking from passers-by now...
She's an impossible rival for any woman.
BEETHOVEN'S 3RD SYMPHONY, `EROICA'
Blares deafeningly...
INT. HITCHCOCK HOUSE, BEDROOM - DAY
On the stereo. Alma finds Hitch on the sofa swaddled in a
blanket and eating ICE CREAM.
ALMA
May I turn that down?
She silences the stereo. Hitch doesn't react.
ALMA (CONT'D)
You'll be pleased to know order has been
restored.
He still doesn't look at her, masticating loudly.
ALMA (CONT'D)
A thank you would be nice.
ALFRED HITCHCOCK
We're still two days behind and sixty
thousand over budget.
ALMA
I already cancelled the wrap party.
That'll save us two thousand right there.
And you won't be tempted by any champagne
and cake.
She pulls at the bowl of ice cream. He refuses to let go.
ALFRED HITCHCOCK
Beware -- all men are potential
murderers.
She yanks it from his grip.
ALFRED HITCHCOCK (CONT'D)
With good reason.
(CONTINUED)
CONTINUED:
ALMA
Alright, what's this about?
He slowly pulls the ASPIRIN BOTTLE from his robe pocket,
building suspense as he unscrews the lid and pours SAND into
a tiny pile on the coffee table in front of him.
ALFRED HITCHCOCK
Spending a lot of time at the beach?
He puts down the bottle, looking for a reaction.
ALMA
That's where Whit and I are writing. He's
rented a place.
ALFRED HITCHCOCK
Hardly the ideal setting to avoid
distractions.
ALMA
Actually, it's very conducive to creative
collaboration.
ALFRED HITCHCOCK
I already told you -- that treatment is a
waste of time.
ALMA
Didn't everyone say the same thing about
"Psycho"?
She reaches for the ASPIRIN BOTTLE to throw it away but Hitch
grabs it first --
ALFRED HITCHCOCK
Are you and Whit having an affair?
ALMA
Don't be absurd. He's working on
something new and needs a little help,
that's all.
ALFRED HITCHCOCK
What a coincidence. I'm working on
something new and I could use a little
help too.
ALMA
What do you think I've been doing?
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK
Then why are you spending all hours of
the day and night with some overage,
talentless mamma's boy?
ALMA
Because it's fun.
He quivers, livid.
ALFRED HITCHCOCK
I am under extraordinary pressures on
this picture, the least you can do is
give me your full support.
ALMA
Full support? We've mortgaged our house.
My house.
Alma's eyes flash with unaccustomed hurt and fury.
ALMA (CONT'D)
Might I remind you that I have weighed-in
on every aspect of this film so far, as I
have done on every picture you've done in
the last three decades. And the first
time you show the film, it will be my
notes that you want. I celebrate with you
if the reviews are good and I cry for you
if they are not. I host your parties and
put up with those fantasy romances with
your leading ladies. And when you're out
promoting this film around the world, I
will stand beside or, rather, slightly
behind you, smiling endlessly for the
press even when I'm ready to drop, being
gracious to people who look through me as
if I were invisible because all they can
see is the grand and glorious "Alfred
Hitchcock."
Hitchcock is stunned and silent.
ALMA (CONT'D)
Now, for the first time in years, I dare
to work on something that isn't "an
Alfred Hitchcock Production" and I'm met
with accusation and criticisms. This work
I'm doing with Whit gives me pleasure and
purpose.
(MORE)
(CONTINUED)
CONTINUED: (3)
ALMA (CONT'D)
And even though that takes absolutely
nothing away from you, please consider
this a reminder: I am your wife, Alma
Reville, not one of the contract blondes
you badger and torment with your oh-so-
specific direction.
She turns and, with great dignity, leaves Hitchcock sitting
in the gathering gloom. He's not the only one who can deliver
a killer blow.
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
ON HITCH
with that same lost expression on his face, only now dark
shadow and harsh light alternate across his features.
A NAKED LIGHT BULB dangles from the ceiling as STAGE HANDS
prepare the film's climactic scene in the cellar.
Hitch watches as VERA reaches out to touch the shoulder of
Mrs. Bates. We zoom in on her as she reacts in silent horror,
her HAND flying up to hit the light bulb, throwing crazy
shadows all over the set.
We push in on Hitchcock's face as the strobing light briefly
illuminates the image of -
A SMALL BOY
at the foot of his mother's bed.
INT. VERA MILES' DRESSING ROOM - LATER
A WIG on a stand. A frumpy woman's outfit on a hangar. Vera
sits in front of the mirror and unties her own hair.
VERA MILES
Free at last.
Rita collects Vera's detested wardrobe to take back to
wardrobe.
VERA MILES (CONT'D)
Thanks Rita.
Vera rubs cold cream into her face to remove her make-up. In
the mirror, she sees Hitch in the doorway as Rita squeezes
past him on her way out.
(CONTINUED)
CONTINUED:
VERA MILES (CONT'D)
(wiping off her make-up
with a Kleenex)
Hello Hitch.
ALFRED HITCHCOCK
Well, Vera. You always make it look so
easy.
VERA MILES
Oh, it was nothing, Hitch. I just faked
it.
She gives him a dazzlingly ambiguous Miss America smile.
VERA MILES (CONT'D)
Well, I guess this is au revoir...
Hitch comes and stands behind her chair, gazing at her in the
mirror.
ALFRED HITCHCOCK
Why didn't you stay with me? I would have
made you as big a star as Grace Kelly.
She considers the question and the man asking it, sensing
something different about him now. She continues wiping off
her make-up.
VERA MILES
Unlike Grace Kelly, I can pick up my dry
cleaning. I've got a family, Hitch. A
home. That will always mean more to me
than all of this.
(THEN)
That blonde woman of mystery you're
after? She's a fantasy. She doesn't
exist.
He studies her a moment.
ALFRED HITCHCOCK
There was a time when I thought I
understood you so completely --
understood women....
Hitch gives a very slight bow, touches her on the shoulder,
then leaves. Vera watches him go, struck by his rare show of
vulnerability.
EXT. BEACH HOUSE, SANTA BARBARA - DAY
Wind blows sand off the dunes. Alma sits in the parked car
outside the beach house, contemplating the typed pages on the
seat next to her. An inkling that they may not be as magical
as she had hoped.
No matter. She checks her reflection in the rearview and
applies some lipstick, readying herself.
She collects the pages and heads up the steps to the deck.
She sees two typewriters and paper, but no sign of Whit.
Something doesn't feel right.
She turns and in the bedroom, through the window, she sees
Whitfield Cook making love to a young woman -- it is the
pretty SECRETARY from the studio lot. Alma and Whit's eyes
meet. Whit is horrified at being caught.
Alma ducks her head, wheels around in shock.
ALMA'S CAR
She yanks open the door and gets in. Whit runs half dressed
from the house...
WHITFIELD COOK
Alma, I thought you were coming later
tonight.
ALMA
I thought you rented this place so we
could write.
WHITFIELD COOK
I did. I swear -- this just happened.
She struggles to get the key in the ignition. He puts his
hand desperately on the car door.
WHITFIELD COOK (CONT'D)
You won't say anything, will you?
ALMA
Don't worry. I won't tell Elizabeth.
WHITFIELD COOK
I mean to Hitch.
Whit smiles feebly.
WHITFIELD COOK (CONT'D)
We can't all be geniuses.
(CONTINUED)
CONTINUED:
Alma tries to hide what a body blow this is.
WHITFIELD COOK (CONT'D)
Alma -- you're incredibly talented. But,
after all... we want him to read the
script with an open mind.
ALMA
Oh, I wouldn't worry about that, Whit.
She starts the car and drives off.
Whit watches, deflated, knowing he's ruined everything, his
receding figure swallowed up by flickering white light...
INT. SCREENING ROOM, PARAMOUNT STUDIOS - DAY
WE PLAY THIS SCENE ONLY OVER THE FACES OF A SMALL INVITED
AUDIENCE -- THEIR EXPRESSIONS TELL US THAT THE FOOTAGE THEY
ARE SEEING IS NOT GOING OVER WELL. NOT AT ALL.
Lew sits with Barney Balaban and two executives. Lew
discreetly checks his watch out of boredom. Shurlock and his
two Assistants look appalled. Composer BERNARD HERRMANN, late
40s, prickly, sits in the back row looking suicidal. He
glances back at Hitchcock who stands near the screening room
door looking worse, if that could be possible.
EXT. SCREENING ROOM, PARAMOUNT STUDIOS - LATER
Shurlock exits and approaches Hitchcock who's waiting in the
foyer.
GEOFFREY SHURLOCK
You're going to have to cut all that
nudity.
ALFRED HITCHCOCK
What nudity? It was suggested.
GEOFFREY SHURLOCK
I definitely saw that knife jabbing her.
ALFRED HITCHCOCK
We did no such shot.
GEOFFREY SHURLOCK
I'd stake my reputation on it. I'm
recommending you cut the shower scene
entirely.
Hitchcock is livid but holds his tongue.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
I'll go over it frame by frame and set up
another screening.
But Shurlock is already walking away...
Wasserman emerges from the screening room conversing with
BALABAN. Hitch searches their expressions for some indication
but Balaban strides off without saying a single word to him.
ALFRED HITCHCOCK (CONT'D)
What's the verdict?
LEW WASSERMAN
Let's just say it was a four-letter
review and it wasn't `good'.
The harsh reality devastates Hitchcock.
LEW WASSERMAN (CONT'D)
Screw him. It's too late for Paramount to
back out no matter what Balaban says.
Hitch just stands there.
LEW WASSERMAN (CONT'D)
The other route is to recut it as a two-
parter for the TV series. Because of the
budget and the Hitchcock name, we stand a
good chance of breaking even.
Still, Hitch doesn't say a word.
LEW WASSERMAN (CONT'D)
Look, I made Jimmy Stewart a millionaire
of Winchester 73 and that was a dog. At
least I could sit through your picture.
Hitch stares bleakly off. He can't help noticing the KIM
NOVAK-TYPE he spied on earlier outside, hand in hand and
kissing her date.
LEW WASSERMAN (CONT'D)
More importantly, what does Alma think?
INT. HITCHCOCK HOUSE, KITCHEN - DAY
Alma sits with the Hitchcocks' ACCOUNTANT going over the
books again, looking at the revised figures. They close the
books and sit back and look at each other.
ALMA
Is there anything else we can do?
(CONTINUED)
CONTINUED:
Silence. This time he can't bring himself to look her in the
eye.
ACCOUNTANT
We'll just have to wait and see how the
movie turns out.
Alma gets up and crosses to the window. Stares out at the
pool reflecting a leaden sky... and the clumps of dead leaves
floating across its surface...
ALMA
Well, it is only a house.
INT. HITCHCOCK HOUSE, STUDY - NIGHT
The dogs, GEOFFREY and STANLEY, lap away at a water bowl in
the study. A splash or two of something is added to the bowl
from above. It's being poured from Hitch's brandy glass.
HITCH
pours himself another glass, leaving the dogs lapping happily
away as he goes over to the Steinway Grand. There's a bank of
silver-framed PHOTOS on top. He pauses to take a proper look
at them.
His and Alma's life together in movies. Smiling at Premieres
with Cary Grant and Grace Kelly. On vacation with Jimmy and
Gloria Stewart. At a black tie event with Ingrid Bergman and
Gregory Peck.
But it's the PHOTOGRAPH tucked away at the back that he wants
to see most.
A BLACK AND WHITE PUBLICITY STILL taken on the set of The
Mountain Eagle in 1926. He picks it up and looks at it:
The young Hitchcock in front of the camera, dramatically
calling "Action!" on his first film. His eyes don't have to
move far to find ALMA, standing just behind him, making notes
on her clipboard, the same intense, serious look on her face.
They look so young...
Hitch turns to look out the window, thoughtful -- Hitch's
POV. It's SNOWING outside.
INT. GEIN HOUSE, BASEMENT - NIGHT
We pull back to discover the window is now in a basement lit
by a single oil lamp.
(CONTINUED)
CONTINUED:
We find Gein sitting at his workbench. Hitchcock is perched
on a stool nearby watching him.
Trash and newspapers are piled everywhere. There is grime and
dark stains on the cabinets and counters.
ED GEIN
This is my favorite place. I just shut
the doors and leave the world behind.
Hitch watches Gein as he threads a needle, stitching
something expertly together. He notices there's no hint of a
tremble in Gein's hands.
ED GEIN (CONT'D)
Pass me that bag, will you?
Hitch passes over the shopping bag... then pulls up his coat,
feeling a chill.
ALFRED HITCHCOCK
Don't you get lonely out here sometimes?
ED GEIN
I can always talk to my mother.
HEADLIGHTS SUDDENLY RAKE THE ROOM
As we hear CARS pull up -- a lot of them. The sound of MEN,
shouting. Flashing RED AND BLUE LIGHTS. LOUD KNOCKING at the
DOOR --
ED GEIN (CONT'D)
That's strange.
FOOTSTEPS thunder above him. DOZENS OF OFFICERS are fanning
out all over the house.
CAPTAIN SCHOEPHOERSTER (O.S.)
Jesus Christ.
Hitch watches as Gein just sits there and the sound of
SHOCKED reactions and horrified GASPS continue above...
CAPTAIN SCHOEPHOERSTER (CONT'D)
I think we found his hiding spot.
ED GEIN
(SOTTO VOCE)
They can't go in there. That's my
mother's room...
(CONTINUED)
CONTINUED: (2)
CAR HEADLIGHTS blast through the window and Hitchcock finally
sees the basement room properly for the first time; KNIVES of
all shapes and sizes...JARS OF PRESERVED BODY PARTS...and TWO
SEVERED HANDS, FOLDED IN PRAYER.
FROM UPSTAIRS the sound of splintering wood.
ED GEIN (CONT'D)
They can't go in there!
(CALLING OUT)
That's my mother's room!!
Ed springs to his feet, screaming it out as he BOLTS UPSTAIRS
and the pandemonium continues (o.s.)
WE PUSH IN ON HITCH'S FACE
As the bleak reality of Gein's lair hits him...
It's more profound and horrible than he could ever have
imagined.
A lush ROMANTIC SCORE starts to SWELL, mercifully drowning it
all out...
INT. HITCHCOCK HOUSE, LIVING ROOM - NIGHT
Titles from a dark 1946 romantic melodrama fill the screen.
"THE SECRET HEART"
"SCREENPLAY BY WHITFIELD COOK."
Alma sits watching the afternoon movie alone, brushing the
dogs on the sofa next to her.
ANGLE ON DOORWAY
Hitchcock reads Alma's fragile emotional state and enters. He
sits down beside her and studies the screen for a moment.
ALFRED HITCHCOCK
An odd little movie. Of course, Colbert
is wonderful.
Alma nods. They watch for a beat longer.
ALFRED HITCHCOCK (CONT'D)
How was the beach?
ALMA
Cold and miserable.
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK
Just like Barney Balaban's face.
He indicates the over-ripe dialogue coming from the TV.
ALFRED HITCHCOCK (CONT'D)
Whit isn't worth a damn when he's not
working with you.
(PAUSE)
And neither am I.
Alma takes in his reflective expression, but says nothing.
ALFRED HITCHCOCK (CONT'D)
I didn't pull off the picture this time.
It just sits there, refusing to come to
life.
(THEN)
There's no other way to say it... It's
stillborn.
ALMA turns away.
Hitch sits there bereft in the lonely silence.
ALFRED HITCHCOCK (CONT'D)
I let you down, my love.
He moves closer and takes her hand. Gives it a small squeeze.
ALFRED HITCHCOCK (CONT'D)
You deserved better.
She still doesn't move. After a moment Hitch gets to his
feet.
ALFRED HITCHCOCK (CONT'D)
I'll go and feed Geoffrey and Stanley,
shall I.
He exits with the dogs padding after him. She turns back to
the screen and more of that stilted, mannered dialogue.
Tears well in her eyes.
EXT. HITCHCOCK HOUSE - NIGHT
A full moon. The ONLY LIGHT from inside the house is the one
in the kitchen.
We glimpse the figure in the window. A corpulent man in
profile, like a Hopper painting.
INT. HITCHCOCK HOUSE, KITCHEN - LATER
Hitch sits in his nightgown, pushing some VEGETABLES around
his plate -- his healthy midnight snack.
Alma enters in her robe. Hitch watches her. She goes to the
fridge, opens the PRODUCE DRAWER and from under the brussel
sprouts pulls out a tiny hidden jar of BELUGA CAVIAR.
She gets the crackers, a plate and a spoon and sits down at
the table next to him.
ALMA
I don't think I can stand both of us
being maudlin.
She fixes several crackers, each with an appropriate dollop
of caviar on top, and puts the plate in the middle.
ALMA (CONT'D)
There is one solution to all this, you
know.
She offers him one of the crackers.
ALMA (CONT'D)
We could both get to work -- together.
Tentatively, Hitch accepts it.
ALMA (CONT'D)
That tiresome little Hitchcock imitation
I've been helping Whit finish is done.
Hitch remains quiet, delicately consuming his cracker.
ALMA (CONT'D)
So I suggest, for everyone's sake, we
start whipping Psycho into shape
tomorrow. You may not be the easiest man
to live with but you know how to cut a
picture better than anyone.
Hitch puts the lid back on the caviar.
ALFRED HITCHCOCK
Except for you.
INT. EDITING ROOM - NEXT DAY
A series of quick shots as the editing room comes to life :
CANS OF FILM ARE BROUGHT IN BY ASSISTANTS, STRIPS OF
CELLULOID ARE PULLED OUT, INSPECTED AND MARKED WITH CHALK
WHILE OTHERS ARE SPLICED TOGETHER.
HITCH and editor GEORGE TOMASINI wait quietly like
schoolboys, while Alma reviews the footage on the Moviola.
ALMA
You'll need to cut those six or seven
frames where she blinks after she's
supposed to be dead.
ALFRED HITCHCOCK
We've seen the footage a thousand times.
She doesn't blink.
Alma gives him a look ...
INT. EDITING ROOM - LATER
FILM HANGS EVERYWHERE IN BINS
FOUR ASSISTANTS are working on MOVIOLAS. Alma and Hitch work
their way down the line, inspecting each new assembly.
ALMA
(FIRST MOVIOLA)
Take thirty frames off the head...
ALFRED HITCHCOCK
No, no, the second take, the light is
better on his hands.
ALMA
(NEXT MOVIOLA)
Only cut back to Janet once the car's
already moving.
ALFRED HITCHCOCK
Cut it tighter. The minute I lose one
person I've lost the whole audience.
TWO PAIRS OF HANDS. Hitchcock's and Alma's. They work like a
pair of twenty-year-olds at a pair of MOVIOLAS cutting the
picture.
ANGLE LOOSENS -- to reveal George Tomasini has dozed off,
exhausted.
(CONTINUED)
CONTINUED:
ALMA
You imp. You got nudity in there.
ALFRED HITCHCOCK
Her breasts are very large, dear. It was
a challenge not to show them.
INT. EDITING ROOM - NIGHT
Editor GEORGE TOMASINI works at the Moviola, sleeves rolled
up.
GEORGE TOMASINI
I'll be damned. She did blink.
INT. EDITING ROOM, CORRIDOR - DAY
Peggy stands with a pestering PR FLACK.
FLACK
How's it going in there with Mr.
Herrmann?
PEGGY
Swimmingly.
FLACK
Everyone's saying it's a dog with fleas.
Before Peggy can deny it the argument flares through the
wall.
ALFRED HITCHCOCK (O.S.)
Absolutely not...
INT. EDITING ROOM - SAME TIME
Bernard Herrmann is pressing his point hard with Hitchcock.
ALFRED HITCHCOCK
...I don't want music in the shower
murder.
BERNARD HERRMANN
(FRUSTRATED)
But what Alma and I talked about is
really going to play.
ALFRED HITCHCOCK
No. This isn't Vertigo, Bernie. This is
different. The images have to work on
their own.
(CONTINUED)
CONTINUED:
ALMA
You can't scare people just by going,
"Boo!" You have to tell them what's
coming, make them anticipate it --
OUTSIDE
The PR Flack shares a despairing look with Peggy.
FLACK
Thank God we've got Cinderfella for the
holidays.
OMITTED
BERNARD HERRMANN'S ICONIC SCORE RISES as
INT. EDITING ROOM - DAY
We move across HITCH, ALMA, TOMASINI and PEGGY'S faces as
they watch the Moviola.
The impact of the music is instant and unimaginably powerful.
They are all moved. Gripped. Stunned.
Hitchcock looks down. Peggy is gripping his arm tightly.
GEORGE TOMASINI
What do you think?
PEGGY
I think I'm never going to take a shower
again.
GEORGE TOMASINI
Hitch?
They look at him...
ALFRED HITCHCOCK
It's getting there.
Alma turns to him and Hitch nods slightly. Was that the
tiniest acknowledgement that her instinct may have been
right?
INT. PRODUCTION CODE ADMINISTRATION OFFICE - DAY
ON SHURLOCK'S HUMORLESS FACE
Hitchcock sits opposite him at the big conference table.
(CONTINUED)
CONTINUED:
GEOFFREY SHURLOCK
I told you, I distinctly saw both the
stabbing and the nudity. We're denying
your seal, Mr. Hitchcock.
ALFRED HITCHCOCK
I take your opinion very seriously. But
what you think you're seeing is purely
informed by the power of suggestion. I
assure you that once you view the final
version with Mr. Herrmann's lovely,
lyrical score...
GEOFFREY SHURLOCK
A "lyrical score" won't change my
opinion. All that innuendo and half-naked
groping -- really, Hitch.
ALFRED HITCHCOCK
Would you mind if we had a word in
private, Geoffrey?
Shurlock gestures his staff out. Hitch moves closer.
ALFRED HITCHCOCK (CONT'D)
I have a modest proposal to make. If
you're willing to leave the shower
sequence as it is, I will reshoot the
opening love scene to your exact
specifications.
Shurlock reacts with surprise.
ALFRED HITCHCOCK (CONT'D)
In fact, I'd welcome your personal
supervision on the set.
Shurlock is more flattered than he'd care to admit.
GEOFFREY SHURLOCK
My specifications?
ALFRED HITCHCOCK
If only audiences could fully appreciate
how tirelessly you work to help us
entertain them while protecting them from
filth and indecency.
Shurlock studies Hitchcock's sphinx-like expression.
INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY
Hitchcock and Peggy confer. John Gavin and Janet Leigh,
wearing robes, chat while lying on a bed. Crew members wait
impatiently. Peggy checks her watch.
PEGGY
He's been harassing you since you
announced this project, you invite him to
the set, and he doesn't even show up?
What did you tell him?
ALFRED HITCHCOCK
That I respected him. Deeply.
Peggy laughs. Now she understands.
ALFRED HITCHCOCK (CONT'D)
Ladies and gentleman, that is a wrap.
Thank you all.
The crew starts breaking things down. The actors are baffled.
Janet walks over to him.
JANET LEIGH
I thought we were reshooting the scene.
ALFRED HITCHCOCK
No need. The charade is over.
Hitch holds out his arm for her and walks her back to the
dressing room.
ALFRED HITCHCOCK (CONT'D)
See, I wasn't that much of a monster to
work with, was I?
JANET LEIGH
Not at all.
He offers his hand and she shakes it, determined to be
professional to the end.
JANET LEIGH (CONT'D)
I just hope I was sufficiently loyal to
the cause.
ALFRED HITCHCOCK
Worthy of a Purple Heart, my dear.
She leans in and gives him a peck on the cheek. A moment of
unexpected heaven that leaves Hitch speechless.
(CONTINUED)
CONTINUED:
She walks away to her dressing room. Hitch watches as she
steps inside and closes the door.
After a moment we hear a PIERCING SCREAM --
INT. JANET LEIGH'S DRESSING ROOM - CONTINUOUS
Janet recoils at the sight of A MRS. BATES PROTOTYPE "PROP
MASK" grinning lewdly from her chair, and wearing one of
Janet's brassieres.
Hitchcock peeks inside as crew members come running.
ALFRED HITCHCOCK
I hope you don't mind, I told Mrs. Bates
she could have your dressing room.
ON JANET
She can't believe she's been caught out. She closes the door
on everyone... and then after a moment SCREAMS AGAIN... but
this time not out of shock.
INT. HITCHCOCK'S OFFICE, UNIVERSAL REVUE - DAY
Hitch sweeps in. Lew is waiting for him.
ALFRED HITCHCOCK
We have our seal from Shurlock's office.
(DEVILISHLY)
Now, we lead the lambs to the slaughter.
Hitch turns to Lew for the latest news.
LEW WASSERMAN
The front office confirmed. They're only
opening the movie in two theatres, as we
suspected. And no premiere. If we don't
get word of mouth we're dead.
ALFRED HITCHCOCK
Then we'd better get started. Peggy, take
a memo...
Peggy whips out her steno pad.
ALFRED HITCHCOCK (CONT'D)
We're going to write a manual on exactly
how to sell Psycho.
INT. PRINTING PRESS - DAY
BOOKLETS make the rounds on a conveyor-like contraption. As
the booklets are bound by swift-moving WORKERS, we see
Hitchcock's photo on a cover and his "advice" to theater
owners.
ALFRED HITCHCOCK (V.O.)
My first instruction to Theater Owners:
Hire Pinkerton guards to strictly enforce
our unique admission policies.
INT. NEW YORK THEATRE - FLASH FORWARD
A MANAGER opens up his PSYCHO PROMOTIONAL HANDBOOK and starts
to read, totally baffled.
ALFRED HITCHCOCK (V.O.)
Furthermore, because Psycho is so
terrifying and unique, the guards can
help you deal with customers who run
amok.
INT. NEW YORK THEATRE - FLASH FORWARD
The manager introduces the PINKERTON GUARDS to his equally
bemused STAFF.
ALFRED HITCHCOCK (V.O.)
Post our special lobby clocks to remind
audiences of the starting times for
Psycho.
He oversees as they hang a ridiculously large PSYCHO CLOCK in
the lobby.
EXT. NEW YORK THEATRE - FLASH FORWARD
Hitch's voice booms from LARGE SPEAKERS MOUNTED UNDER THE
MARQUEE.
ALFRED HITCHCOCK (V.O.)
The manager of this fine motion picture
theater has been advised not to allow
anyone to enter the theater once Psycho
begins.
We PAN DOWN to the STAFF and GUARDS as they test out the
RECORDED message that will be played for the ticket holders
line. A couple of PASSERSBY listen, perplexed...
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK (V.O.) (CONT'D)
Should you be so foolish as to attempt to
slip in by a side entrance...
INT. HOLLYWOOD RECORDING BOOTH - PRESENT
ALFRED HITCHCOCK
... a fire escape or through a skylight,
you will be ejected by brute force.
Hitch lays down the track into a large microphone while Alma
watches from the recording desk.
ALMA
More playful, darling.
INT. EMPTY NEW YORK THEATRE - FLASH FORWARD
A row of life-size HITCHCOCK STANDEES are carried in through
the door one by one. Posters are hung in the theatre lobby.
The letters hoisted up and hung on the marquee outside.
ALFRED HITCHCOCK (V.O.)
"To further emphasize the sheer,
unrelenting shock and suspense of Psycho,
right after the closing title "THE END,"
we strongly recommend that you close your
house curtains over the screen for a full
thirty seconds."
Inside the theatre, the manager makes sure the CURTAINS open
and close correctly then turns to face the vast, empty
auditorium.
ALFRED HITCHCOCK'S VOICE
"By doing so, the horror of Psycho will
be indelibly etched in the mind and heart
of your audience."
He anxiously surveys the hundreds of seats that will have to
be filled.
INT. BOARD ROOM, PARAMOUNT STUDIOS - DAY
Now Barney Balaban is reading Hitchcock's publicity manual to
the board.
(CONTINUED)
CONTINUED:
BARNEY BALABAN
"Absolutely never, ever will I allow
anything to follow Psycho -- no previews
of coming attractions, no newsreel, no
short subject and certainly no double-
feature. Sincerely, and, emphatically,
Alfred Hitchcock."
Balaban shuts the pamphlet. Silence. Then turns to the stone-
faced board members :
BARNEY BALABAN (CONT'D)
At the end of the day, it's a minor
Hitchcock movie. One week, and it'll be
gone...
He tosses the pamphlet into the trash.
BARNEY BALABAN (CONT'D)
Like a bad dream.
138 OMITTED
INT. LIMO - DAY
ON HITCH AND ALMA'S SILENT TENSE EXPRESSIONS as they drive
through the frenetic madness that typifies Times Square,
1960.
EXT. NEW YORK THEATRE - DAY (LATER)
A DAZZLING MARQUEE for "ALFRED HITCHCOCK'S PSYCHO." The car
pulls up. Hitch and Alma step out. There's a long line of
people outside the theatre.
ALMA
Well, at least there are some people
here.
But Hitch's nerves are hardly soothed. The people in line
start to notice the Hitchcocks...is it really them?
PEGGY
Comes over to greet them with the THEATRE MANAGER.
PEGGY
We can go through the side entrance.
As the theatre manager ushers them through the side alley --
(CONTINUED)
CONTINUED:
THEATER MANAGER
Right this way, Mr. and Mrs. Hitchcock.
Hitchcock turns to Alma.
ALFRED HITCHCOCK
Ready for the gallows?
INT. NEW YORK THEATRE, LOBBY - MOMENTS LATER
The atmosphere is tense as people hurry to their seats. Lew
greets them.
LEW WASSERMAN
We've roped off some seats for you.
ALFRED HITCHCOCK
You go on ahead.
ALMA
Are you sure?
ALFRED HITCHCOCK
I'll join you in a minute.
Off Alma's look.
ALFRED HITCHCOCK (CONT'D)
I want to double check the print.
ALMA
Fine, darling. I'll save you a seat.
Lew escorts Alma and Peggy into the auditorium.
INT. NEW YORK THEATER, PROJECTION BOOTH - NIGHT
The soothing whir of the projector as Hitchcock stands next
to it... but the sound of the audience below TITTERING
NERVOUSLY is anything but reassuring.
ALFRED HITCHCOCK
(under his breath)
But they're laughing too much.
He peers down through the tiny window but can't see a bloody
thing.
INT. NEW YORK THEATRE, DOWNSTAIRS LOBBY - A MINUTE LATER
Hitch inches open the door and PEERS THROUGH THE CRACK at the
audience but now he can't read them. Are they gripped with
suspense -- or do they just hate it?
From the lobby we see
HITCH
as he closes the door and leans back against the wall of the
empty corridor. A scared, lonely, corpulent figure. Totally
powerless.
There's nothing for him to do but wait.
And wait.
And wait.
Across the foyer, a spotty young THEATRE EMPLOYEE sweeps up
ticket stubs and empties ashtrays, quietly going about his
business, entirely oblivious...
ON HITCH'S FACE
As he grips the railing. This is taking far too long.
And then -- finally -- the sweetest sound in the world A
BLOOD-CURDLING SCREAM.
Soon the WHOLE AUDIENCE SCREAMS IN TERROR... then breaks into
LAUGHTER again... nervous laughter this time, the best kind.
HITCH
As he gestures with his hands, a conductor leading his
orchestra, raising them up again as the audience STARTS
SCREAMING AGAIN right on cue
PUSHING TIGHTER ON HITCH
As the dam breaks and all the pent-up emotion floods out...
leaving only relief and satisfaction... and making way for a
smile... the largest of his whole career.
INT. NEW YORK THEATRE - LATER
Hitch, Alma and Peggy are led out into the foyer by the
theatre manager. There are still SCREAMS in the theatre as
the show continues.
(CONTINUED)
CONTINUED:
Lew can be seen on the phone in the theatre manager's office
in the background as Hitch, Alma and Peggy walk past the line
of ticket buyers to get to the front doors. There is great
excitement now as more and more people recognize the
Hitchcocks...
WOMAN WAITING ON LINE
Mr. Hitchcock, how does it end?
ALFRED HITCHCOCK
I promised Mother I wouldn't tell.
He gets a laugh. Hitchcock walks alongside the Theater
Manager who's not going to miss out on having his own moment
with the crowd.
THEATER MANAGER
Mr. Hitchcock, what do I do now that my
wife won't take a shower after seeing
your movie?
ALFRED HITCHCOCK
Have her dry-cleaned.
Laughter as Lew appears.
LEW WASSERMAN
I just got off the phone with Balaban. I
couldn't resist telling him we're sold
out for the next two weeks.
ALFRED HITCHCOCK
What did he say?
LEW WASSERMAN
He said "Tell Hitch congratulations. A
well deserved triumph as we always knew."
ALFRED HITCHCOCK
"As we always knew..."
The two friends a look.
PEGGY
Does this mean I can take the weekend off
now?
Hitch playfully shrugs, "we'll see".
THEATRE MANAGER
I'm sorry, Mr. Hithcock but there are
photographers outside. They heard you
were here.
(CONTINUED)
CONTINUED: (2)
The theatre manager ushers them towards the exit doors.
EXT. THEATRE - DAY (LATER)
A few photographers snap Hitch as he emerges and heads past
the line of ticket buyers towards the waiting car. Hitchcock
gestures for Alma to take her place next to him instead of
behind him. She shyly waves him away but eventually, and
appreciatively, relents.
As the flashbulbs start to POP --
ALMA
This could be the biggest hit of your
career, Alfred.
ALFRED HITCHCOCK
Our career, Alma.
He looks into her eyes with nothing but deep, intense
gratitude and joy. As more flashbulbs pop --
ALFRED HITCHCOCK (CONT'D)
I've realized I'll never be able to find
a Hitchcock blonde as beautiful as you.
ALMA
You do realize I've been waiting decades
to hear you say that.
He gives her a gentle peck.
ALFRED HITCHCOCK
And that, madame, is why they call me
"The Master of Suspense"...
He helps her into the car.
145 OMITTED
DISSOLVE TO:
INT. CENTRAL STATE HOSPITAL WARD - DAY
It is a utilitarian institutionalized dining room. Several
nonviolent INMATES eat at different round tables around the
room.
An ATTENDANT watches, and an ORDERLY mops the floor (there
are NO female patients nor staff members.)
THE REAL ED GEIN
(CONTINUED)
CONTINUED:
is at a table with two other patients, including a soft
spoken older man, CHET. Ed is heavier, his hair is whiter,
and he is much more at ease than we've ever seen.
ORDERLY
(to the Attendant)
Guess what I'm doing this weekend?
ATTENDANT
What?
ORDERLY
Claudine and I are driving to Chicago
with her folks to see that Psycho movie.
The Attendant pulls the orderly aside, and whispers to him,
nodding toward Ed. The Orderly's jaw drops! It is the coolest
thing he's ever heard. He looks at Ed like he's a movie star.
Meanwhile, Ed yawns, content. Utterly oblivious.
CHET
I think you're the happiest guy I've ever
known, Ed. How you do it?
ED GEIN
I'll tell you. You live your life, and
it's unbearable sometimes but there's
this secret, Chet; a big secret no one
else knows or wants to tell...
(he leans a little closer)
... there is a God and he's so big and
powerful, he doesn't always remember
you're there...
He takes a huge bite blueberry pie.
ED GEIN (CONT'D)
... but if you can get his attention and
he sees you're suffering, he'll notice
and he'll take care of you. My mother
used to tell me -- she's passed, God
bless her -- the one thing God truly
loves and understands is suffering.
He takes a long drink of milk.
ED GEIN (CONT'D)
After all, he invented it.
We pan to discover HITCHCOCK has been watching all this. He
turns to the camera.
(CONTINUED)
CONTINUED: (2)
ALFRED HITCHCOCK
And so, gentle viewer, Psycho -- the
picture everyone predicted would bring me
to wrack and ruin -- was such a hit that
Alma and I got to... Well, let's just say
that we got to keep our house -- and the
swimming pool. And the same critics who
despised it went on to call it one of my
greatest achievements.
He produces a CIGAR and wanders towards the exit doors.
ALFRED HITCHCOCK (CONT'D)
Of course for me, it was just another
"moo-vie."
As he strolls through the door --
EXT. HITCHCOCK HOUSE, GARDEN - DAY
-- and seamlessly appears in the beautifully tended gardens,
as if having walked through a portal.
ALFRED HITCHCOCK
But you know what they say in Hollywood:
"You're only as good as your last
picture." So, now, if you'll excuse me, I
must toddle off to begin the exhaustive
search for my next project.
He holds out his cigar towards something we don't yet see...
ALFRED HITCHCOCK (CONT'D)
Unfortunately I find myself once again
bereft of all inspiration. I do hope
something comes along soon...
A SMALL BIRD
Alights on his cigar tip and FLAPS its wings. Hitchcock can't
resist blowing a sadistic plume of smoke at the bird which
promptly flies away. He gives the camera a final
characteristically deadpan look...
ALFRED HITCHCOCK (CONT'D)
Good evening.
The distinctive THEME TUNE to his TV show starts up and Hitch
toddles back up the front lawn and toward the terrace, where
Alma can be seen laying out a delicious healthy lunch...
DISSOLVE TO:
(CONTINUED)
CONTINUED:
ALFRED HITCHCOCK MADE SIX MORE MOVIES AFTER PSYCHO. HE DIED
AT HOME IN BEL AIR IN 1980, WITH ALMA BY HIS SIDE. ALMA
HITCHCOCK DIED TWO YEARS LATER.
FADE TO:
ED GEIN LIVED IN COMFORT IN MENTAL INSTITUTIONS UNTIL HIS
PEACEFUL DEATH IN 1984.
FADE TO:
ALFRED HITCHCOCK NEVER WON AN OSCAR. IN 1979, WHEN HE
ACCEPTED THE AMERICAN FILM INSTITUTE'S LIFE ACHIEVEMENT
AWARD, HE DEDICATED THE HONOR TO HIS WIFE, SAYING, "I SHARE
MY AWARD, AS I HAVE MY LIFE, WITH ALMA."
FADE OUT.
