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ALFRED HITCHCOCK AND THEMAKING OF PSYCHO

by

John J. McLaughlin

Based on the book Alfred Hitchcock and the Making of Psycho byStephen Rebello


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He takes a sip and turns to address the camera --

ALFRED HITCHCOCKGood evening.

He places his cup daintily back on the saucer.

ALFRED HITCHCOCK (CONTD)Brother has been slaying brother sinceCain and Abel, yet even I did not seethat coming. I was as blind-sided as poorHenry over there.

He glances back over at the murder scene.

ALFRED HITCHCOCK (CONTD)Apparently the authorities shared mynaivete and believed the young mans tale

that Henry fell and hit his head on astone and died of smoke asphyxiation.

He shrugs: Who wouldve thought it?

ALFRED HITCHCOCK (CONTD)Of course if they hadnt believed him, Ednever would have had the opportunity tocommit the heinous acts for which hebecame famous... and we wouldnt have ourlittle movie. Instead, wed have morenice, safe, predictable ones likethese...

CUT TO:

A RAPID MONTAGE OF CLIPS

from various Technicolor Films of the era: Peyton Place, withLana Turner and Betty Field. Pillow Talkwith Doris Day andRock Hudson. A Summer Placewith Sandra Dee --

EXT. MARSHLAND - AS BEFORE

ALFRED HITCHCOCKMere Technicolor baubles.

He shudders with distaste. As if on cue the sky THUNDERSLOUDLY above him. He looks up and from behind the tree stumpproduces an umbrella.

ALFRED HITCHCOCK (CONTD)Ah. A bit of doom and gloom. Now, thatsmore like it.

CONTINUED:

CONTINUED


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ALMAMuhammad had the eyes of peeping Tomsgouged out with arrows.

Hitchcock clears his throat, rattling his paper as if hedbeen reading the whole time.

ALFRED HITCHCOCKTalking 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.

ALMAI doubt whether Mr. Weiler has had aclimax in years.

Alma steps into her skirt as Hitch opens the London Times.

ALFRED HITCHCOCKAnd how about this little grenade?

(reading)North by Northwest reminds us ofHitchcock's earlier, more youthfullyinventive spy thrillers."

(beat)And just to drive the nail into thecoffin, there's a handy accompanyingguide to the new masters of suspense.

Hitchcock zeroes in on the photographs. Theyre all young.

Thinner. And with hair.

ALFRED HITCHCOCK (CONTD)Why do they keep looking for new mastersof suspense when they still have theoriginal?

ALMADont be maudlin, you know how much itaggravates me.

He catches his reflection in the mirror again and sinksfurther down into the water to hide his protruding belly.

Alma comes in, takes the newspapers from him and puts them onthe side.

ALMA (CONTD)Stop reading them. Youve been readingthem for a week now.

She puts down the TOILET SEAT and sits on it.

CONTINUED:

CONTINUED


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ON ALMA

As she elegantly masks her hurt.

ALMAHurry up, darling. You're pruning.

She leaves. Hitch grumbles and tosses his paper aside. Herises from the depths but suddenly loses his balance andgrabs onto the SHOWER CURTAIN, wrenching it from the METALRINGS on the rod.

A GODS EYE view, looking down, as Hitchcock stares up at themetal 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 GUARDMr. Hitchcock. Mrs. Hitchcock.

Alma waves from the wheel of a GLEAMING BLACK 1957 CADILLAC.Hitchcock sits next to her. He has his two SEALYHAM TERRIERSon his lap. He nods, awaiting more.

FIRST GUARD (CONTD)(to the dogs)

Sirs.

EXT. PARAMOUNT STUDIOS, PRODUCERS BUILDING - DAY

The Cadillac pulls up. Alma notes Hitchcocks look offrustrated envy as CREW MEMBERS bustle in and out of STAGE15. Its a hive of activity.

ALMAThere's a story out there waiting for yousomewhere, Hitch. I promise.

He gives her a good-bye peck and opens the door.

ALMA (CONTD)Dont forget your lunch.

Alma hands him a compact Fortnum & Mason basket and pats himon his girth. He opens it to discover CELERY AND CARROTSTICKS wrapped in Saran.

OMITTED

CONTINUED: (3)


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INT. HITCHCOCK'S OFFICE, PARAMOUNT - DAY

Luxurious, wood-paneled and very British. Hitch sitsrestlessly behind his desk, receiving his morning shave fromhis private barber, SILVIO. His longtime assistant, PEGGYROBERTSON, 40s, crisp, British, fiercely protective of herboss, is going through a list of potential projects.

PEGGYFox is offering you The Diary of AnneFrankfor the third time.

Hitch directs his response to Silvio.

ALFRED HITCHCOCKThe audience would spend the entirepicture waiting for Miss Frank todiscover the corpse I'd hidden in the

attic. Wouldnt you agree, Silvio?

SILVIOSi.

Hitch reaches for a carrot stick and CRUNCHES it.

PEGGYMGM wants you for the Ian Fleming book,Casino Royale,with Cary Grant.Definitely your style.

ALFRED HITCHCOCK

(again, turning to Silvio)Doesnt she know I just made that movie?It's called North by Northwest. Andstyle is merely self-plagiarism.

Silvio nods, then recommences the shave.

ALFRED HITCHCOCK (CONTD)Im treading water, Peggy. I needsomething fresh. Something different.Without expensive stars like Cary Grantor Miss Kim Novak to pretty it up.

Silvio unintentionally nicks Hitchs face.

ALFRED HITCHCOCK (CONTD)A nice, clean, nasty little piece ofwork.

Silvio hurriedly dabs away a speck of BLOOD.

CONTINUED


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(a smile)What are you after?

He laughs, his eyes straying to a PRETTY WAITRESS passing by.Alma notices.

ALMA (CONTD)And how isyour wife?

WHITFIELD COOKElizabeth?

(his eyes return to Alma)Over the moon since I promised her thededication in my new novel. So what areyou working on these days?

ALMAHitch is going out of his mind looking

for his next project. You know howunbearable he is when he doesn't havesomething lined up.

WHITFIELD COOKAlmost as unbearable as when he does.

ALMA(laughing)

Almost.

WHITFIELD COOKI meant you. What are youworking on?

ALMAI'm satisfied spending time in my garden.

WHITFIELD COOKThat is one lucky garden.

Whit brings out a set of galleys and slides them across thetablecloth to her.

WHITFIELD COOK (CONTD)Actually, I was hoping you might be ableto apply your considerable pruning skillsto this.

She looks down and reads the cover page. Taxi to Dubrovnik.By Whitfield Cook.

ALMAAh. All is finally revealed.

CONTINUED:

ALMA (CONT'D)

CONTINUED


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He touches her hand, affectionately. She brushes it away,affectionately...

WHITFIELD COOKThe most fun I ever had was working withyou.

She looks through the opening pages... taking her time...enjoying making him wait...

ALMAI suppose I could give it a look.


Hitchcock peeks avidly through the blinds at a smartlydressed KIM NOVAK-TYPE WOMAN hurrying along to someappointment or assignation... Hitch cranes to see who shes

meeting, but she moves tantalizingly out of sight.

Hitch turns back with a sigh towards his desk, covered withdiscarded newspaper clippings and boring story proposals.

He sweeps them off his desk into the trash.

INT. HITCHCOCKS OUTER OFFICE - A MOMENT LATER

A SHADOW looms over Peggy at her desk as she sifts throughanother round of story ideas. Its Hitchcock. He startlesher.

ALFRED HITCHCOCKAnything. Anything at all?

He starts sifting through her tray. She notices the glass inhis hand.

PEGGYNothing suitable. Is that water or do Ineed to call Alma?

He drains it playfully.

ALFRED HITCHCOCKGin. Mothers ruin.

But somethings caught his eye. A circled review of AnthonyBouchers column CRIMINAL MINDS in the New York TimesReview of Books. He picks it up.

ALFRED HITCHCOCK (CONTD)Boucher says this Psycho book by RobertBloch is fiendishly entertaining.

CONTINUED: (2)

CONTINUED


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PEGGYIt sounds ghastly. Everyone in townsalready passed.

ALFRED HITCHCOCKAnd who is everyone?

PEGGYThe story department finished thecoverage this morning.

ALFRED HITCHCOCKIs this the one based on Ed Gein, theserial killer?

He takes the coverage and reads for himself.

ALFRED HITCHCOCK (CONTD)

Graphic elements of brutal violence,voyeurism, transvestitism and incest.Certainly not your average run of themill nutcase, is he?

He gives a grunt of approval.

PEGGYYou're kidding.

ALFRED HITCHCOCKPeggy. This is the boy who dug up his ownmother.

INT. HITCHCOCK'S STUDY - THE NEXT NIGHT

ON HITCH

Completely engrossed as he sits reading Psycho in a chairby the fire of his elegant Bel Air home. He takes anothergulp of wine when he hears Alma enter and slides the wineglass out of view. Alma pops her head in the door.

ALMAHungry?

ALFRED HITCHCOCKFamished.

She disappears to take off her coat.

ALMA (O.S.)If you're good, maybe you can have agrapefruit later.

CONTINUED:

CONTINUED


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ED GEIN (CONTD)Dont be afraid, ma... Im here...

As he puts his arm around her and pulls her close, we revealhis mothers ghoulishly embalmed face.

INT. HITCHCOCK HOUSE, BEDROOM - NIGHT

A slant of moonlight finds Alma fast asleep until a FINGERnudges her awake. She lifts her satin sleep mask to seeHitchcock holding out his copy of Psycho.

ALMAOh God.

The look of obsession on his face is unmistakable.

ALFRED HITCHCOCK

Read the bit in the motel bathroom.

ALMANow?

He switches on the light by her bedside. She sits up, puts onher glasses and reads from the opened page.

ALMA (CONTD)Mary started to scream, and then thecurtains parted further and a handappeared, holding a butcher's knife. Itwas 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 amusical.

She hands him back the book.

ALMA (CONTD)This is nothing but low-budget horrormovie claptrap.

She turns off the light again and goes back to bed. A deepvoice sounds from the darkness...

ALFRED HITCHCOCKBut what if someone really good made ahorror movie?

EXT. HITCHCOCKS GARDEN - MORNING

The Hitchcocks eat breakfast on the terrace watching theGARDENERS trim the bushes and rake leaves from the pool.

CONTINUED:

CONTINUED


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ALFRED HITCHCOCKJust think of the shock value. Killingoff your leading lady halfway through.

Alma can feel Hitch looking at her, waiting for a response.Clearly he isnt going to let this one go.

ALFRED HITCHCOCK (CONTD)You're intrigued. Admit it.

She butters her toast, casually taunts him by adding a largespoon of marmalade.

ALMAActually, I think its a huge mistake.

Hitch falls silent, a chastised schoolboy.

ALMA (CONT'D)You shouldnt wait till halfwaythrough... Kill her off after 30 minutes.

OMITTED (SCENE 17)


Hitch enters with purpose, carrying a stack of photos andarticles.

ALFRED HITCHCOCKPeggy, I want you to summon your

minions...

PEGGYMinions. Certainly. And who might theybe...?

Hitch heads for his office, in no mood for wise cracks. Hespreads out the articles on the desk. Photos and magazinearticles about Ed Gein...

ALFRED HITCHCOCKGet them started buying copies ofPsycho.

Peggy stands in the doorway, watching --

PEGGYHow many do you need?

ALFRED HITCHCOCKAll of them. I want every copy,nationwide.

CONTINUED:

(MORE)

CONTINUED


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ALFRED HITCHCOCK (CONTD)Her monthly rent, what she wears, whatshe reads, which scent or perfume sheprefers...

Hitch sees WHIT lean into view and innocently whispersomething into Alma's ear making her laugh.

PEGGY... How she deals with a demanding bosswhen shes trying to relax on herweekends off?

Hitchcock doesnt notice the joke. He now only has eyes onthe 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 thegossip columnists)

I told you, Hitch. This things strictlyfor the drive-in crowd.

Hitch smiles tightly and extricates himself, heading on tothe kitchen through more annoying guests --

INT. HITCHCOCK HOUSE, PANTRY - SIMULTANEOUS

Whit leans against the stove watching Alma expertly arrangethe next round of hors doeuvres coming in from the kitchen.

WHITFIELD COOKNow, if this were a Hitchcock picturewhat would two characters like us,married to other people, be saying?

ALMAYou dont have to pretend youre notupset he hasnt read it yet, you know.

WHITFIELD COOKIm a big boy. I can take it.

ALMAWell, I loved it. What terrific fun itmust have been to research.

WHITFIELD COOKCertainly more fun than reading thosereviews.

CONTINUED: (2)

(MORE)

CONTINUED


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(then)Do you think he really will read it?

Suddenly, over Whitfield's shoulder, Alma sees Hitch loomingin the doorway. Whit notes the tiny change in her eyes andturns.

WHITFIELD COOK (CONTD)Speak of the devil.

Hitch stares blankly at him while Alma turns and busiesherself over the sink, hiding an almost imperceptible blush.

WHITFIELD COOK (CONTD)I have to admit, Hitch, I ran all overtown looking for a copy of Psycho butcouldn't find a single one.

ALFRED HITCHCOCKI wonder how that could have happened.

Hitch sips his martini, a picture of innocence. Then leans into Whits ear and whispers - just like Whit leaned intoAlmas ear a moment earlier.

ALFRED HITCHCOCK (CONTD)Dont stop looking on my behalf.

Peggy appears in the pass-through, beckoning Hitch to hurryback into the living room.

INT. HITCHCOCK HOUSE, LIVING ROOM - CONTINUOUS

Hitch returns to see the other GUESTS are now passing aroundthe 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 WASSERMANIve seen happier faces on a school busgoing over a cliff.

PEGGYI told you it would be too much.

ALFRED HITCHCOCKBut they cant stop looking, can they?

He slurps his martini, sharing a smile with Lew.

CONTINUED:

WHITFIELD COOK (CONT'D)


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INT. PARAMOUNT BOARD ROOM - DAY

Paramount President BARNEY BALABAN, 70s, ferocious,righteous, sits behind his impressive desk flanked by twoCONSERVATIVELY-ATTIRED EXECUTIVES.

Hitchcock and Wasserman sit across from them.

ALFRED HITCHCOCKAudiences want to be shocked, Barney.They want something different. And thisis it.

He gestures to the untouched copy of Psycho in front ofBalaban.

BARNEY BALABANThe truth is, Hitch, every time you want

to do something different like TheWrong Man orVertigo, someone losesmoney.

Hitchcock stares unblinking, giving nothing away.

LEW WASSERMANSo we should stop trying to give themsomething new?

BARNEY BALABANYou owe Paramount one last picture,Hitch. Can't you do something like North

by Northwestbut for us this time insteadof for MGM?

Hitchs stare remains inscrutable.

BARNEY BALABAN (CONTD)We've offered you dozens of perfectlygood properties.

ALFRED HITCHCOCK(imperiously)

Psycho.

Wasserman gives Balaban the same glacial stare. The Paramountexecutives shift uncomfortably.

BARNEY BALABANNo one respects the name Hitchcock morethan Paramount. But even a talented mansometimes backs the wrong horse.

CONTINUED


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ALFRED HITCHCOCKAre you telling me no?

Balaban maintains a calm, pleasant front.

BARNEY BALABANI think you know me better than that,Hitch. I would never say no to you.

Hitchs suppressed rage is building...but Balaban saysnothing.

EXT. PARAMOUNT COURTYARD - DAY

Hitch and Lew walk down the stairs and through the leafycourtyard past Hitchs office.

LEW WASSERMAN

What aputz. You know what his family didbefore they built those movie palaces?Ran a grocery store.

ALFRED HITCHCOCKMy father ran a grocery store.

LEW WASSERMANExactly. That's what I'm saying. Heshould show some respect.

Hitch turns to Lew.

ALFRED HITCHCOCKThey think Ive lost my touch, Lew.My association with television hascheapened me.

LEW WASSERMANAre you referring to that deal I got youwhere Bristol-Meyers pays you twenty-ninegrand an episode and you own thenegative? Thats my kind of cheap.

ALFRED HITCHCOCKThey just want the same thing over andover. Theyve put me in a coffin and nowtheyre nailing down the lid.

Lew puts a comforting hand on him...

LEW WASSERMANHitch, I will never let that happen.

CONTINUED:

CONTINUED


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Hitch doesnt respond, Lew sensing the true depth of hisfriends melancholy.

LEW WASSERMAN (CONTD)How much do you think you can make thispicture for?

ALFRED HITCHCOCKEight hundred thousand... Give or take.

Lew digests the figure...

LEW WASSERMANI 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 blacksunglasses and a business suit. He watches Alma a moment.Finally she notices him.

ALMAYoure back early.

He shrugs, then sits at the table to pour himself a glass oflemonade. Alma gets out and towels herself off.

ALMA (CONTD)I'm disappointed you didn't give Whitsbook a chance.

ALFRED HITCHCOCKWhat about him?

ALMAHe knows you well enough.

She sits down next to him, noticing a tiny hole in herswimsuit. Its starting to look a little threadbare.

ALFRED HITCHCOCKEnjoy the pool now. We might not have itfor that much longer.

He looks off cryptically.

ALMAWhy?

CONTINUED:

CONTINUED


24/108

ALFRED HITCHCOCKParamount refuses to finance the movie.Imagine -- The studio that brought youMartin and Lewis and The Greatest Show OnEarth considers Psychodistasteful.

He brushes some fallen leaves off his chair.

ALFRED HITCHCOCK (CONTD)Lew cant find the money. Not quicklyenough at least.

ALMAWhy not wait?

He doesnt reply. She knows him well enough too and doesntquestion him further.

ALFRED HITCHCOCKWere going to have to go it alone, oldgirl.

(beat)Well finance the movie ourselves.

ALMAAre we going to have to sell the entirehouse or just the pool?

She looks at Hitch but hes not joking. She turns to surveytheir beloved home and gardens.

A long pause.

ALMA (CONTD)Tell me and I wont ever ask again. Whythis one, Hitch? Its not just because somany people are telling you 'no,' is it?

Pause.

ALMA (CONTD)Hitch?

Without turning he takes her hand.

ALFRED HITCHCOCKRemember the fun we had when we startedout and there was so little money andtime? We took risks, we experimented. Weinvented new ways of making picturesbecause we had to.

A long moment as he gazes across the pool.

CONTINUED:

CONTINUED


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ALFRED HITCHCOCK (CONTD)I want to feel that kind of freedomagain.

He turns to look into her eyes for the first time. A glimpseof the real Hitchcock. Someone even his wife doesnt see thatoften...

EXT. PARAMOUNT STUDIOS - DAY

The famous gates and the executive building beyond it.

LEW WASSERMAN (PRE-LAP)Barney, were about to propose arestructured deal for Psycho...

INT. BALABANS PRIVATE OFFICE, PARAMOUNT - DAY

Balaban watches Hitchcock and Lew closely. Hitchcock again islike a waxworks Buddha, revealing nothing.

LEW WASSERMANWe finance it. Independently. Paramountonly distributes it...in exchange for 40percent of the profits.

BARNEY BALABANInteresting. But tell us, what exactly isParamount distributing? Is this still apicture about a queer killing people inhis mothers dress?

LEW WASSERMANWhat this picture is about is thereputation of Alfred Hitchcock.

BARNEY BALABANNo-ones arguing that.

LEW WASSERMANBarney, its very simple. This is Mr.Hitchcocks next film. Are you in or areyou out?

A long silence.

BARNEY BALABANWell, obviously you have a lot of passionfor this project. Let me talk it overwith a few people internally and Ill getback to you.

CONTINUED: (2)

CONTINUED


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LEW WASSERMANNo. Now.

Balaban takes in their inscrutable stares. Not unimpressed bytheir chutzpah, he leans back and puts his hands behind hishead, a king in his counting room.

BARNEY BALABANFine. Well take that deal. If you canget the money...

Finally, Hitchcock speaks up :

ALFRED HITCHCOCKWeve 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 (CONTD)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. Acopy of The Dance of Death by Strindberg lies on Hitchsbedside table. All traces of his bravado are gone...

ALFRED HITCHCOCKIf this picture fails, Alma, well be in

for a long, humiliating bout of crow-eating.

ALMAThe movie will be splendid.

ALFRED HITCHCOCKAre you sure?

ALMAOf the movie? Not in the least. But ofyou? Unquestionably.

INT. HITCHCOCKS OFFICE, PARAMOUNT - DAY

PUDGY FINGERS part the slats of the blind. Hitch stares outhoping for some human moment to spy on. Hes restless...

Peggy ushers JOSEPH STEFANO, 30s, into Hitchs office.

JOSEPH STEFANOJoe Stefano. Good to meet you.

CONTINUED:

CONTINUED


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Hitchcock leaves Stefanos hand dangling in mid air and sitsdown at his desk.

JOSEPH STEFANO (CONTD)Sorry I was late. My shrink session ranovertime. I see him every day and itsstill not enough.

PEGGYI thought only directors assistantsneeded psychiatrists, not writers.

Stefano laughs off the barb and takes a seat as Peggy slipsout.

The two men stare at each other but Stefanos not remotelyintimidated.

JOSEPH STEFANODo you see a shrink, Mr. Hitchcock?

Hitchs eyes follow a plume of cigar smoke curling up to theceiling...

ALFRED HITCHCOCKNo.

His gaze remains pointedly fixed on the ceiling.

ALFRED HITCHCOCK (CONTD)I must say it boggles the mind to imagine

what you and your shrink could possiblytalk about daily.

JOSEPH STEFANOThe usual: sex. Rage. My mother.

Hitchcock lowers his gaze, suddenly intrigued.

INT. HITCHCOCK HOUSE, KITCHEN - DAY

Alma sits with the Hitchcocks ACCOUNTANT whos consulting aledger. She sits at her desk in the corner of the kitchen.

ACCOUNTANTThere's still the federal income taxpayments... the property taxes... Not tomention the absence of any salary whilehes actually makingthe film...

ALMAStop waffling, Donald. Give it to mestraight.

CONTINUED:

CONTINUED


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The Accountant takes off his glasses, plucking up the courageto look his favorite client in the eye.

ACCOUNTANTHitch wasnt exaggerating. If the filmsa flop, youre going to have to sell thehouse.

Alma digests this.

ALMAWhere do you suggest we cut?

ACCOUNTANTAnywhere you can.

INT. HITCHCOCK HOUSE, KITCHEN - NIGHT

Almas moved to the kitchen table and is sorting through theaccounts herself, the dogs at her feet. Her face is nowproperly filled with concern.

Hitch enters, holding out some typed pages. Alma covers herworry. He puts the pages on the table next to her.

ALFRED HITCHCOCKI got Joe Stefano to write out the firstfew scenes. Why dont you take a look?

Alma takes Stefano's pages and starts to read...Hitch goes tothe fridge and opens the door.

ALMAWere about to have dinner. You dontneed anything else.

He shuts the door. Leans against the fridge door. Hitch waitsbut she gives nothing away...until she off-handedly placesthe pages on the table...

ALFRED HITCHCOCKWell?

She doesnt look up...

ALMAHire him.

INT. UNKNOWN ROOM - DAY

Close on a blank page being fed into a Corona typewriter.FINGERS pound out PSYCHO

CONTINUED:

CONTINUED


29/108

BY JOSEPH STEFANO.

EXT. HITCHCOCK HOUSE - MORNING

The door opens and Hitchs step outside. The Cadillac iswaiting.

Alma follows him out and makes a final adjustment to his tie.

ALFRED HITCHCOCKThe only thing worse than a visit to thedentist is one to the censor.

ALMAWhatever you do, Alfred, dont lose yourtemper.

INT. PRODUCTION CODE ADMINISTRATION OFFICE - DAY

The intimidating plaque for the MPAAs PRODUCTION CODEADMINISTRATION OFFICE on the wall.

Stefanos TITLE PAGE is tapped angrily by GEOFFREY SHURLOCK,70s, the much-feared administrator for the Motion PictureProduction Code. He sits at the head of a big table with TWOASSISTANTS. Sitting opposite are Hitchcock, Peggy and severalsilent PARAMOUNT EXECUTIVES.

GEOFFREY SHURLOCKThe Code will absolutely not permit youto show a knife penetrating a womans

flesh.

ALFRED HITCHCOCKI assure you, Geoffrey, my murders, arealways models of taste and discretion.

GEOFFREY SHURLOCKIs there any improper suggestion ofnudity in this murder scene in theshower?

ALFRED HITCHCOCKShe wont be nude. Shell be wearing ashower cap.

Shurlock makes a note. A man utterly devoid of any sense ofhumor.

CONTINUED:

CONTINUED


30/108

GEOFFREY SHURLOCKWe might accept a shot from outside thebathroom window with Marion in silhouetteabove the shoulders -- provided the glassis frosted.

Hitch greets the suggestion with barely concealed contempt.Shurlock turns the page.

G EOFFREY SHURLOCKThen -- this scene with the toilet.

ALFRED HITCHCOCKIts completely necessary. Marion flushesevidence later found by her sister. Itsa clue to the girls disappearance.

GEOFFREY SHURLOCK

No American movie has ever found itnecessary to show a toilet, let aloneto flush it.

Hitch turns to Peggy and a Paramount Executive.

ALFRED HITCHCOCKPerhaps we ought to shoot the film inFrance and use a bidet instead?

No response from Shurlocks end of the room. Peggy staresdown at the table.

GEOFFREY SHURLOCKMr. Hitchcock, if this office denies youa seal, and we're certainly heading inthat direction, your movie will not bereleased in a single theater in thiscountry. Will you be making jokes then?

Hitchcock gives a slow but meaningful shrug.

GEOFFREY SHURLOCK (CONTD)Good. Now why dont we go all the wayback to page two...

ON HITCH

boiling with rage as we hear the flurry of script pages --

INT. PSYCHIATRISTS OFFICE, BEVERLY HILLS - DAY

Sunlight filters through sheer curtains revealing Hitchcocktrying his best to recline on an ANALYSTS COUCH.

CONTINUED:

CONTINUED


31/108

ALFRED HITCHCOCKEveryone in Hollywood resents me. I makethem millions... and yet every year I sitat those dreadful award show dinners,waiting for them to say, just once,You're good.

He looks around the luxurious office.

ALFRED HITCHCOCK (CONTD)They take sadistic pleasure in denying methat one little moment.

ANALYSTS VOICEThat must hurt.

ALFRED HITCHCOCKDeeply.

Hitch fumbles for a handkerchief and mops his brow.

ALFRED HITCHCOCK (CONTD)Youll have to excuse me, doctor. Im notused to this... process...

ANALYSTS VOICETake your time.

Now Hitch claws at his tie. Its hot in here.

ALFRED HITCHCOCK

Its just that, more and more lately,Ive been having these... impulses.

The analysts MONTBLANC pen makes a note on a pad. We noticethat his hands are surprisingly coarse.

ANALYSTS VOICEWhat kind of impulses?

Finally Hitchcock is still. He stares up at the ceiling.

ALFRED HITCHCOCKStrong ones.

INT. HITCHCOCK HOUSE, KITCHEN - NIGHT

A FRIDGE DOOR SNAPS OPEN to reveal Hitchcock's FACE in thedarkness. Hes in his pajamas. His hand trembles next to astack of chicken breasts and moves to an upturned GRAPEFRUITHALF at the back of the shelf.

CONTINUED:

CONTINUED


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He pulls it out it to reveal a hidden stash of foie grasunder the hollowed out grapefruit.

Hes about to devour it when he catches sight of hisDISTORTED REFLECTION in the chrome shelving.

He backs away, disgusted at this monster before him, thelight of the fridge illuminating his expression.

INT. HITCHCOCK HOUSE, STUDY - NIGHT

A door is quietly shut and locked. The bottom drawer of afiling cabinet is inched open. A hand rummages deep insideand teases out a bulging MANILA FOLDER. A hidden stash ofsome kind.

The DESK LIGHT is switched on revealing HITCH. He carefullyextracts 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 studyit, picking out his favorites, arranging them in order.Theyre all in the same pose, all with hair pinned up into aperfect bun.

He looks at each image with intensifying desire. Hes createdall of them. Every detail.

But its no longer enough...

THE ROW OF GLOSSY PERFECT BLONDES

DISSOLVES TO :

INT. HITCHCOCKS OFFICE, PARAMOUNT - SAME TIME

A row of HANDSOME ACTOR HEADSHOTS on a table. HITCH glares atthe waiting ACTORS in the hallway through the blinds. Heturns back to Peggy and Alma and pulls a face.

ALFRED HITCHCOCKSend them all back to Glendale.

Hitch returns to the table to ponder yet more headshots.Peggy shares a glance with Alma, then slides over RODDYMCDOWELLS HEADSHOT.

PEGGYThe Lazar Office tells me hes crazy towork with you.

CONTINUED:

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ALFRED HITCHCOCKWell, tell Swifty he shouldnt haveoverexposed his client on television.

ALMAUnlike certain people we could mention.

Hitch ignores the barb. Undeterred, Alma pushes her ace card:a photo of ANTHONY PERKINS, radiating offbeat sensitivity andteen idol looks.

ALMA (CONTD)Think of the duality he could bring toNorman. The rage lurking behind thatlittle-boy-lost grin. The winsome charmhe uses to keep from being found out.

PEGGY

Why, Alma, youre not suggesting that Mr.Perkins is -- ?

She raises her pinky finger just slightly. Alma nods withoutjudgement.

ON HITCHCOCK

Pondering...

INT. HITCHCOCKS OFFICE, PARAMOUNT - NEXT DAY

Anthony Perkins now sits across from Hitchcock.

ANTHONY PERKINSI cant count how many times Ive seenStrangers On a Train and Rope.

ALFRED HITCHCOCKWell, Norman is the logical extension ofthe boys in those movies. Appealing,sensitive, suffering the terrible burdenof being forced to pretend to besomething he is not.

Hitchcocks deeply-felt remark lands with Perkins.

ANTHONY PERKINSMy only worry is that playing Normanmight cut too close to home.

ALFRED HITCHCOCKHow so?

CONTINUED:

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ALFRED HITCHCOCKIf I could get Grace Kelly to play thegirl, theyd let me get away withanything.

ALMAWell you cant. She's a princess nowwhich makes her permanently unattainable.

Hitchcock beheads the ROSE, muttering to himself.

ALFRED HITCHCOCKAnd all the more desirable.

His shears are now poised over a yellow specimen.

ALMALew suggested Deborah Kerr.

ALFRED HITCHCOCKToo... Scottish.

Hitchcock cuts it too and moves on to the stem of a perfectpink rose.

ALMAWhat about Janet Leigh? Shes always thegood girl but she did awfully well inTouch of Evil. Lew mentioned her name. Doyou remember how you always remarked onher figure at the Wassermans' parties?

As the shears hover on the stem, unsure whether to cut...

MATCH CUT TO:

INT. CHASENS RESTAURANT - NIGHT

THE SLENDER WAIST AND AMPLE BOSOM OF JANET LEIGH as sheelegantly enters the dining room of Chasens.

Hitch stands to greet her, his eyes follow her across theroom in some private rapture..

Alma watches as Janet removes her glove and shakes Hitchshand...before he guides her to the spot to his left, acrossfrom Alma.

INT. CHASENS RESTAURANT - NIGHT

Hitch finishes telling his story...

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ALFRED HITCHCOCKOf course the real secret of Mrs.Simpsons appeal to the Duke of Windsorwas that she could make a toothpick feellike a cigar.

Hes so deadpan... it takes a moment before she laughs.

JANET LEIGHYou know, Ive been so immersed inpreparing to play Marion I'd almostforgotten how to laugh.

Hitch summons the waiter with a snap.

ALFRED HITCHCOCKNow, you must try the banana shortcake.

JANET LEIGHNothing for me, thank you. Im watchingmy figure.

Alma watches all this with a fixed smile.

ALMAYoure not the only one.

(to the waiter)Were fine, thank you.

Hitchcock ignores Alma, gesturing to the waiter again.

ALFRED HITCHCOCKBring her the banana shortcake, George.In fact make it two large portions.

He pointedly shifts to face Janet.

ALFRED HITCHCOCK (CONTD)So do tell me, how else have youveprepared to play Marion?

Janet hesitates.

JANET LEIGHIve written a complete history forher...It seems silly, but it helps me.

She turns to pull a LEATHER NOTEBOOK from her handbag,

Hitchs gaze locks onto her silken blonde hair, tiedimmaculately into the classic Hitchcock bun.

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ALFRED HITCHCOCKIt doesnt sound silly at all. Tell meone of her deepest secrets.

A quick look to Alma, as if to ask for permission before :

JANET LEIGHShe leads a double life. For instance,when she works at the Lowery office, shewears Tweed perfume. But, when she andSam are together, she recklessly breaksout her one expensive bottle -- My Sinby Lanvin.

She notices Almas expression.

JANET LEIGH (CONTD)But...I do have a concern or two. Im an

actress but Im also a wife and motherfirst, so Im wondering just how youlldo that shower scene.

ALMAYou and the Shurlock Office.

JANET LEIGHIts just... I mean even if you shoot mefrom here --

(she indicates a spot justabove her bosom)

-- well its not as if my figure is

boyish.

Hitchcock looks down at her torso, as if noting it for thefirst time.

ALFRED HITCHCOCKAllow me to put your mind at rest.

Alma reacts as Hitch reaches over and gives Janets hand areassuring squeeze.

ALFRED HITCHCOCK (CONTD)May I show you some of Mr. Saul Basssmarvellous story boards?

Hitch pulls out his folio case and shows Janet thestoryboards (which we dont see).

ALFRED HITCHCOCK (CONT'D)I plan to shoot quick bits of film fromvarious angles.

CONTINUED: (2)

(MORE)

CONTINUED


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Cut together, this montage will suggestnudity and violence but nothing willactually be shown.

Janet studies them, deeply impressed. And relieved.

ALFRED HITCHCOCK (CONTD)And having you in the shower will make itall the more tit-illating --

ALMAIf youll excuse me.

Almas had enough. Janets smile falters as she watches Almaget up and head to the restroom. Shes unsure of what justhappened but Hitch carries on regardless, either entirelyoblivious or not caring at all...

INT. CHASENS RESTAURANT, LADIES ROOM - NIGHT

Alma enters and looks in the mirror, quietly devastated. Shelooks up to find another reflection in a mirror behind her.

FULL LENGTH MIRROR

Alma is SUDDENLY TRANSFORMED into a Technicolor Hitchcockblonde. In a beautiful Edith Head gown, her skin is velvetperfection, her hair blonde and impeccable.

ALMAOh, come off it, old girl.

A bitchy STUDIO HEADS WIFE snaps Alma out of her reverie,joining her at the sink to powder her face.

STUDIO HEAD WIFEAlma, dear, how lovely to see you.

ALMAHello Lillian.

STUDIO HEAD WIFEYoure looking a little pale. No wonderwith that thing your husbands working onnow. You cant possibly approve.

Shes had a drink too many but the throwaway comment stillhits Alma hard.

STUDIO HEAD WIFE (CONTD)Why are you letting him do something sotasteless?

CONTINUED: (3)

ALFRED HITCHCOCK (CONT'D)

CONTINUED


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She turns back to him.

ALMAWe all have to make our little sacrificesfor the greater good, dont we, Alfred?

She leaves Hitch to resume contemplating the contents of thefridge...but theres nothing there to satisfy his growlinghunger. He SLAMS the fridge and --

INT. ED GEIN'S HOUSE - DAY

Suddenly were moving through an empty living room, prowling,just like in a Hitchcock movie as we hear CLUNKING, then moveover to catch a glimpse of Ed as he drags A WOMANS BODY,feet-first up the stairs. The clunking is from her head onthe steps, which is wrapped in her dress.

INT. ED GEINS HOUSE, BATHROOM - CONTINUOUS

Ed approaches the shower curtain, then yanks it open with aMETALLIC SCREECH. He pushes the body into the tub. Pulls thedress off her head and drops it on the floor.

ED GEINStay here. Im going to get the knives.

We pan to REVEAL HITCHCOCK standing in the corner. He looksterrified but completely enthralled -- he cant resistcreeping forward for a thorough inspection. Hitchs POV as hesteps closer to the tub and glimpses the womans blood-

spattered WHITE BRA and GIRDLE.

Suddenly -- FINGERS CLUTCH the rim of the tub.

DEAD WOMANHelp me.

Hitch recoils but she LURCHES UP and GRABS his throat.

ALFRED HITCHCOCKEd! Ed!

SMASH CUT TO:


Hitchcock bolts upright in bed, face beaded with sweat in themoonlight.

ALFRED HITCHCOCKEd... Ed...?

CONTINUED:

CONTINUED


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PEGGYShurlocks office called again. They wantto know when youll be making the changesto the script.

Hitch gets up from his chair.

ALFRED HITCHCOCKThe more we frustrate them the more theirinterest will wane.

He goes over to specify the correct sunglasses that should beworn. The Cop puts on the MIRRORED shades. Hitch nods hisapproval.

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 therail. Its striking, even a little risque. She looks at theprice tag. Its insanely expensive.

She turns to go... stops... then impulsively turns back andgrabs it, heading into the changing room and closing the doorbehind 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 theother side.

HITCH

Strains to get a better view.

THROUGH THE HOLE

We catch teasing glimpses of golden girl Vera Miles strippingdown to bra and panties.

INT. WARDROBE FITTING ROOM - CONTINUOUS

HITCHCOCK'S EYEBALL fills the frame as he peers through thetiny hole. We reveal Vera with sharp, bohemian costumer RITARIGGS, 27, who drapes taupe-colored fabric to Vera'scontours.

CONTINUED:

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VERA MILESBreak it to me gently. Am I playing alesbian librarian?

RITA RIGGS(re: the fabric)

He chose it himself and had it importedfrom Paris.

Vera laughs dryly at a WIG on a dummy head.

VERA MILESIf I wear that, Im going to look likeGeorge Washington.

RITA RIGGSWait until you see the undergarments hepicked out for you.

Vera tosses off her shirt.

VERA MILESI just have to keep telling myself, onemore picture and I'm free as a bird.

She unhooks her bra and crosses to hang it on a hook rightnear the HOLE where we just saw Hitchcocks eye. His eye isgone, only darkness from the other side. Vera feels a chilland instinctively covers her breasts with her arm.

VERA MILES (CONTD)

Is there a fan blowing somewhere?

Rita returns with a punitive bra and girdle.

VERA MILES (CONTD)Wow. The old man really is unhappy withme, isnt he?

EXT. JANETS DRESSING ROOM, UNIVERSAL REVUE - DAY

Hitch knocks at the door.

ALFRED HITCHCOCKAre you decent my dear?

JANET steps out dressed in a crisp, sexy white shirt andpencil skirt. She does a twirl for him. The effect isstunning. Even the stagehands stop to watch.

JANET LEIGHAm I alright?

CONTINUED:

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His picks a tiny piece of lint on her sleeve.

ALFRED HITCHCOCKPerfect.

As he escorts her onto the soundstage, Tony comes up to greetthem.

ANTHONY PERKINSI want to thank you again for thisopportunity, Mr. Hitchcock.

ALFRED HITCHCOCKIt's just Hitch, Tony. Hold the cock.

Janet caught that -- shes clearly amused. Tony gives her agracious peck on the cheek.

ALFRED HITCHCOCK (CONTD)Look at you two. Americas favorite boyand girl nextdoor...

Janet flicks a glance back at Hitch.

JANET LEIGHAnd we're about to move to a whole newneighborhood.

Already, Tony cant help feel a little excluded from Hitchand Janets little clique. Hitch ushers them across thesoundstage where the crew are assembling.

VERA MILESMorning Janet. Morning Tony.

Vera Miles marches up in her frumpy tweed suit and wig.

VERA MILES (CONTD)Thanks for the wardrobe, Hitch.

ALFRED HITCHCOCK(already moving past her)

Thats hand-woven imported camel hairfrom Rodier. Dont you approve?

VERA MILESYoure the genius.

She checkmates him with a ravishing smile.

VERA MILES (CONTD)One thing, though. My script is missingthe last ten pages.

CONTINUED:

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46/108

She pauses, takes off her glasses and pushes aside hercorrections, suddenly fed up with the all the work.

She looks out at the swimming pool, sparkling in thesunlight... then turns to the expensive-looking SHOPPING BAGhalf-open on the side...

We hear a LOUD SPLASH --

EXT. HITCHCOCK HOUSE, POOL - DAY

As Alma plunges into the water wearing her striking newswimsuit. She breaks into a front crawl. Her strokes arevigorous, surprisingly so.

She drives the length of the pool, her arms slashing throughthe water with increasing speed, her feet kicking out withrising intensity... harder and harder... faster and faster...

INT. SOUNDSTAGE, UNIVERSAL REVUE - DAY

Hitch guides Janet and Tony across the sound stage to the setof Normans parlor.

ANTHONY PERKINSNow, Hitch, explain to me why Imwatching Marion undress?

JANET LEIGHI feel like I should take offense atthat.

She and Tony laugh. Hitchs eyes light up at this display ofmischief from her.

ALFRED HITCHCOCKI dont know...Perhaps as a boy, Normansecretly watched his mother preparing forher nightly bath.

JANET LEIGHMaybe there was a transom over thebathroom door?

ALFRED HITCHCOCKYes -- one he could access with a chairso long as he was stealthy.

JANET LEIGHWell, a boys first glimpse of a nakedwoman is usually his mother.

CONTINUED:

CONTINUED


47/108

ANTHONY PERKINSSo...I'm reliving the past, repeating aritual with Marion?

ALFRED HITCHCOCKYoure the actor. You figure it out.

Tony flinches at Hitchs brusque response.

They arrive at the set wall, where Hitch removes a paintingto reveal the PEEPHOLE.

JANET LEIGHHitch, I have a question. Why is the holemuch larger on this side?

ALFRED HITCHCOCKAll the better to see you at the greatest

possible angle my dear...

Janet simply steps up and presses her face to the hole. Hitchstudies her profile, quietly thrilled at her curiosity. Tonyhangs back, watching Hitch watching her...

JANET LEIGHWow. You really do your research, don'tyou?

ALFRED HITCHCOCKIts just my Jesuit work ethic.

He takes a quick peek through the hole now too...then putsthe painting carefully back into place over it.

ALFRED HITCHCOCK (PRE-LAP) (CONTD)The truth is... Im only happy when Imworking...

INT. PSYCHIATRISTS OFFICE, BEVERLY HILLS - DAY

Hitch lies on his Analysts couch.

ALFRED HITCHCOCK... and if Im not working then Imnothing. Im not even a person. Im justa collection of molecules. A uselesscylinder of ugly flesh.

The Analyst circles one of his notes on a pad with hisMontblanc. Again, we notice how rough-hewn his hands are.

CONTINUED:

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48/108

ANALYSTS VOICE (O.S.)What about your mother? Lets go back toher.

ALFRED HITCHCOCKMy mother? Yes.

Hitch looks over at the unseen analyst and considers him.

ALFRED HITCHCOCK (CONT'D)She was an extraordinary person. Sheexposed me to Ibsen, Strindberg, Shaw.She hoped I would go into engineering --carry a lunch pail, gold watch at fifty.

ANALYSTS VOICE (O.S.)She didnt approve of your career?

ALFRED HITCHCOCKTo her, movie people were akin to thievesand prostitutes.

He turns back to look out the window.

ALFRED HITCHCOCK (CONTD)If I misbehaved, she'd make me stand atthe foot of her bed and discuss how Iplanned to become a better boy.

The Analyst leans forward and we see his dirty, worn-downfingernails.

ANALYSTS VOICE (O.S.)Have you ever considered that your deepdesire to gain the approval of yourindustry represents a textbook case oftransference?

(then)The Oscar is your mother.

REVEAL THE ANALYST

Its ED GEIN. In his Sunday best, his shovel leaning againstthe mahogany-paneled wall in the background.

ALFRED HITCHCOCKYoure a fine one to talk.

INT. WARDROBE FITTING ROOM, UNIVERSAL REVUE - DAY

Hitchcock leads Janet to a row of brassieres, all laid outfor inspection. They are all white with recognizable labels:Berlei, Triumph, Marks & Spencer. He picks out one of them.

CONTINUED:

CONTINUED


49/108

ALFRED HITCHCOCKYou will be wearing a white bra like thisfor the opening scene on the bed. Andthen after youve stolen the money...

They move on to a second row of brassieres - all dark.

JANET LEIGHI switch to one of these.

He nods, correct. She moves over to a mannequin displayingthe iconic jet black brassiere.

RITA RIGGSAre you sure you dont want to look atsomething a little more elegant?

HITCHCOCK

(sharp)No. They have to look like they werebought at Sears and Roebuck. I want everywoman in the audience to look up at Janethaving sex with John Gavin and think,that could be me.

Janet reads the label. Its Maidenform.

JANETThis is the brand I wear.

Hitch digests the information and turns to Rita.

HITCHCOCKWere ready for a fitting.

As Rita starts to measure Janets chest, Hitchcock lifts hishands and frames her...

ALFRED HITCHCOCK (V.O. PRE-LAP)We travel across the rooftops of downtownPhoenix and finally, through the heat,pick out a certain hotel window...


Close on Hitchcocks FRAMING HANDS as they now travel up toan open window with blinds half down...

ALFRED HITCHCOCKWe go under the blinds and match dissolveinto the room itself...

CONTINUED:


50/108

INT. SOUNDSTAGE, BEDROOM SET - LATER

HITCHCOCKS HANDS have now become THE CAMERA, recording thescene already underway and now watched by HITCHCOCK, hisDIRECTOR OF PHOTOGRAPHY and CREW from across the stage...

ALFRED HITCHCOCK (V.O.)We pan over and discover John and Janeton the bed.

...the camera moves to Janet and John making out on the bed.Its serious stuff.

ALFRED HITCHCOCK (CONTD)Shell be wearing only her undergarmentsand 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 (CONTD)Cut.

PEGGYGood luck getting this one past thecensor.

EXT. STUDIO GATES, UNIVERSAL REVUE - DAY

Alma drives the gleaming black Cadillac through the UNIVERSALGATES and pulls up to the production office outside thestage.

EXT. HITCHCOCK OFFICE, UNIVERSAL REVUE - DAY

Alma collects the script pages off the front seat and walksinto the production office just missing Whit as he strollsback towards the writers building with a couple of prettySECRETARIES.

Whit pauses when he spots the Hitchcocks CADILLAC.

WHITFIELD COOKYou girls go on ahead.

The PRETTIEST ONE stops to make Whit light her cigarettebefore catching up with the others.


51/108


52/108

WHITFIELD COOKPsycho.

(then)And how is the old boy?

ALMAIn a state of unbridled ecstacy now thathes back on the set.

WHITFIELD COOKAnd you? How are you?

ALMANot bad. Ive got eight hundred words todo for Readers Digeston what its liketo be married to a man obsessed bymurder.

He looks at her a moment.

WHITFIELD COOKIve got a better idea.

He steps closer.

WHITFIELD COOK (CONTD)Why dont we drive out to Santa Barbara?Well have Emilio fry up those juicysteaks we like at El Encanto.

He playfully tugs at her sleeve.

WHITFIELD COOK (CONTD)No shoptalk ... No silly magazinearticles...just a wonderful meal...

Almas expression gives away nothing as we pan over to theWINDOW of the production office and notice the tell-tale BENDin the blinds.

INT. HITCHCOCK OFFICE, UNIVERSAL REVUE - SAME TIME

Hitch looks out at Whit and Alma through the window, justlike he did with the other couple earlier. Except this littleinteraction is far from dull.

A.D. HILTON GREENWere ready for you on the set, Mr.Hitchcock.

ALFRED HITCHCOCKIll be right there.

CONTINUED:

CONTINUED


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He takes another BITE, searching her face for some tell-talesign of guilt.

ALFRED HITCHCOCK (CONTD)Even your friend Whitfield Cook would bebetter in the scene.

ALMAYou should tell Whit that. He'd beflattered.

She gets to work preparing a salad. Hitch studies the back ofher tiny, vulnerable neck, the delicate sinews and muscles asthey rise and flex.


Hitch arranges his pillows and settles into bed while Alma

finishes getting ready.

ALFRED HITCHCOCKMaybe I was too dismissive about yourfriend Whitfields book. Perhaps he andElizabeth could come over this weekendand he can walk me through it.

Almas radar activates but Hitch continues oh-so-nonchalantly.

ALFRED HITCHCOCK (CONT'D)Lovely woman, Elizabeth...

He carefully folds his blanket as if wrapping a murdervictim. Shes not exactly sure what hes implying but sheknows she doesnt like it.

ALFRED HITCHCOCK (CONTD)I was hoping you could come by the settomorrow.

ALMAI'll see how my day shapes up.

She turns onto her side away from him. Pulls the blanketsaround her, her eyes still WIDE OPEN.

ALFRED HITCHCOCK (PRE-LAP)You think you can get away with it butyou cant...

Almas eyes become HITCHCOCKS EYES, staring ahead intently.

CONTINUED:


55/108

INT. SOUNDSTAGE, UNIVERSAL REVUE - CAR SCENE - DAY

ALFRED HITCHCOCK... You think they cant tell... but theycan. They know. Its all closing in onyou. The noose is tightening...

As he continues, we pull back and see:

THE REAR-PROJECTION SET

Janet emotes for Hitchcocks CAMERA while driving a PARTIALCAR, being rocked by STAGE HANDS.

Peggy and other CREW time and mark the takes. ELECTRICIANSAND GAFFERS turn mounted lamps that rake across Janetsworried face like car headlights.

ALFRED HITCHCOCK (CONTD)You could return the money secretly, butwhat would be the point?

He wipes his brow, getting more intense...

ALFRED HITCHCOCK (CONT'D)You, Marion Crane. The prim and propergirl whos always been so tight andrespectable. So perfect and untouchable.Well, they know all about your dirtylittle secret, dont they? Your messy,sticky lunchtime trysts. Yes, your boss

Mr. Lowery could even smellthe sex onyou--

SUDDENLY THE REAR SCREEN film breaks and a frame burns.

It's a good thing because Janet is starting to look a littleuncomfortable -- was that meant to be funny? As techniciansyell and hustle, Hitchcock turns to Peggy --

ALFRED HITCHCOCK (CONTD)Circle that.

INT. JANET LEIGH'S DRESSING ROOM - DAY

As Janet gets changed, Vera hangs up her frumpy coat on arack, looking over a little enviously at Janets goodgirl/bad girl underwear hanging nearby.

VERA MILESHave you talked to him much about yourpersonal life?

CONTINUED


56/108

JANET LEIGHNot really...

VERA MILESId keep it that way if I were you.

(Off Janets look)He starts by choosing your hairstyle andclothes and then he wants to choose yourfriends and decide how many children youshould have.

Janet finds this a little hard to believe. Vera leans in,lowering her voice.

VERA MILES (CONTD)That poor, tortured soul Jimmy Stewartplayed in Vertigo? That's Hitch, onlyyounger, slimmer and better-looking.

That may well be true but it doesnt bother Janet.

JANET LEIGHCompared to Orson Welles, hes asweetheart.

They both turn, sensing something -- and see HITCHCOCK'SDISTINCTIVE SHADOW PROFILE in the hallway. The shadowlingers, 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 sofawith a cup of tea, a circled copy of TV Guidenext 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 Whitstogether.

ON THE TV

The words DIRECTED BY ALFRED HITCHCOCK overwhelm the smallscreen. Alms puts down her fork, no longer hungry.

CONTINUED:


57/108

INT. HITCHCOCK HOUSE, HALLWAY - DAY

ALMA heads back to the kitchen, only to pause at the opendoor to Hitchs study -- theres something on the desk.

INT. HITCHCOCK HOUSE, STUDY - CONTINUOUS

THE HITCHCOCK BLONDES

Hitchs personal collection. Alma enters and starts to gothrough them. Each photo is turned over a little more roughlythan the last. Its hard to tell whether shes more angry atthe photos or the fact that theyve been deliberately leftfor her to find...

Alma takes off an earring, picks up the phone and starts todial...

INT. SOUNDSTAGE, UNIVERSAL REVUE - SAME TIME

As the crew prepares the car set to go again, Hitch stridesover to PEGGY whos dialing a phone.

ALFRED HITCHCOCKWhats the hold up?

PEGGYIts still engaged.

He takes the phone himself just as Vera Miles emerges fromher dressing room, script in hand.

VERA MILESHitch, Im stuck on Lilas first scene. Idont know how strongly I should confrontSam and the detective and I --

ALFRED HITCHCOCK(acidly)

Fake it.

He turns his back on her and dials. The ENGAGED TONE blaresin his ear. His eyes narrow at some crew members fussing withbits of LIGHT and SOUND EQUIPMENT.

ALFRED HITCHCOCK (CONTD)Does it really require twomen to carry alight stand?

A.D. HILTON GREENIll take care of it right away, Mr.Hitchcock.

CONTINUED


58/108

He rushes off to fix it. Off Peggys questioning look.

ALFRED HITCHCOCKIt's different when their pay is comingout of your own pocket.

He raps the receiver button, more intensely this time, andredials.

INT. HITCHCOCK HOUSE, STUDY - DAY

But Almas still on the phone to Whit, basking in his charm.Her feet are up. Theres a drink in her hand.

WHITFIELD COOK (ON PHONE)Well, I think that sounds like a fabulousidea. Well have a late lunch. Ill makethe reservation for one thirty.

ALMAWhat would I do without you?

WHITFIELD COOKTill then, bye.

She hangs up, toying with her earring, feeling better alreadywhen the PHONE rings again very quickly. She picks up withouteven thinking --

ALMA(laughing)

What did you forget now?

INT. SOUNDSTAGE, UNIVERSAL REVUE - CONTINUOUS

Pudgy fingers clench the coiled PHONE CORD as we move up toHitchs face. Hes silent as a burglar, not even daring tobreathe...

ALMA (ON PHONE)Whit? Is that you?

The blood drains from Hitchs face as he very slowly andcarefully replaces the receiver. His mind starts to spin.Hes got to get out of there...

CROSSING THE STAGE

Hitch lurches towards the production office, starting tosweat, but his path is blocked by GRIPS laying cables. Theset is suddenly a cacophony of noise and chaos.

A PR FLACK appears --

CONTINUED:

CONTINUED


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PR FLACKMr. Hitchcock, every press outlet isdriving us crazy for photos --

Hitch brushes past him to find another route but more gripsare moving a ladder. He turns, kicks a platter of healthysnacks out of the way, only for an ARCLIGHT to swivel in hisface and blind him.

PEGGYAre you okay? Youve gone very pale.

Peggys face suddenly comes into focus.

ALFRED HITCHCOCKStop trailing me like a puppy dog and getme something long, cool and wet.

PEGGYIt's not even three.

ALFRED HITCHCOCKGive 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 humorlessface of BARNEY BALABAN blocking his office door.

BARNEY BALABANHello, Hitch. Hows the picture? Imhearing interesting things...

ALFRED HITCHCOCKIts a wonder you can hear anything overthe noise coming from the Shurlockoffice.

Balaban offers up his handkerchief. Hitchcock waves it awayeven though hes now covered in sweat.

BARNEY BALABANI shouldnt be in a position of justhearing things, Hitch. Its time youshowed me some footage.

ALFRED HITCHCOCKWhy?

CONTINUED:

CONTINUED


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BARNEY BALABANTo see if youre making a pictureParamount can actually release.

ALFRED HITCHCOCKAs you well know, Barney, my contractguarantees me final cut.

BARNEY BALABANYour contract also says Paramount isn'trequired to distribute any film thatcould cause us embarrassment.

ALFRED HITCHCOCKUnlike the last five Martin and Lewispictures youre all so proud of.

He slams the door in Balabans startled face.

INT. HITCHCOCKS OFFICE, UNIVERSAL REVUE - CONTINUOUS

Hitchcock loosens his collar and catches a glimpse of himselfin a mirror. Hes unraveling and it shows.

BARNEY BALABAN (O.S.)I demand to see some footage, Hitch.

Hitch lowers the window blinds over Balabans face andfumbles for the phone.

ALFRED HITCHCOCK

Connect me to Maxims of Paris.

He takes the key and opens the liquor cabinet ignoring theINSISTENT KNOCKING at the door --

ALFRED HITCHCOCK (CONTD)(on phone)

Yes, its Alfred Hitchcock in Hollywood,California, Jean-Claude. I need threepounds of foie grassent on the nextflight out.

(then)Thats correct. Three.

He pours himself five fingers of scotch.

EXT. PACIFIC COAST HIGHWAY - DAY

A majestic view of the coastline as Whitfield Cook's CreamMERCEDES 190CL, zooms along, top down. Alma wears white-rimmed sunglasses and a head scarf.

CONTINUED:

CONTINUED


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nesting in the sand. Alma and Whit sit out watching the surf.The water laps over their toes.

ALMAI dont mind that he uses his obsessionto fuel his art. I just dont like itwhen he uses it against me.

WHITFIELD COOKHe's like any great artist. Impossible tolive with but worth the effort.

(he throws a rock into thesea)

Van Gogh wasnt exactly a walk in thepark either.

ALMADid you know when we started out I was

his boss? He didnt even dare ask me outuntil hed worked his way up to assistantdirector.

Whit watches as she picks up some sand, lets it run throughher fingers...

WHITFIELD COOKWhat do you think of that place overthere?

He nods to a SMALL BEACH HOUSE up the way.

ALMALooks nice. Terrific location. Why?

WHITFIELD COOKIt's mine.

She looks at him askance. Is he joking?

ALMAI just saw Elizabeth. Why on earth didn'tshe tell me?

WHITFIELD COOKShe doesn't know about it.

EXT. HITCHCOCK HOUSE - DAY

The sun is setting on the Hitchcocks driveway. The VW pullsto a stop in front of the front door.

INSIDE THE CAR

CONTINUED:

CONTINUED


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Janet looks over -- decides to risk it.

JANET LEIGHSo what did happen between you and Vera?

ALFRED HITCHCOCKI was going to make her star. But shechose the life of a housewife.

He stops chewing. We push in as his features turn reflective.

ALFRED HITCHCOCK (CONTD)I cast her as the lead in Vertigo. Thentwo weeks before filming she told me waspregnant.

He screws up the empty bag of candy and looks over at Janet.Then, almost like a child --

ALFRED HITCHCOCK (CONTD)Why do they do it? Why do they alwaysbetray me?

ON JANET

As she looks across and sees the lonely abandoned little boyjust 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 functionalfurnishings.

WHITFIELD COOKI'm just leasing it for the offseason. Aplace to get away from the wife and kidand write.

ALMAVery Bohemian.

WHITFIELD COOKYou might find that room interesting.

Alma looks. The door is partially open -- she sees the oneconspicuously new item of furniture. A double bed.

ALMAWhit. I hope you havent got the wrongidea.

CONTINUED:

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He gives her a rakish grin, then pushes the door open furtherto reveal the deck beyond.

TWO MAUVE CORONA TYPEWRITERS

Sit on a table facing each other.

WHITFIELD COOKIf you were serious about helping meadapt my book, I thought it would be theperfect hideaway.

She lets this sink in, entranced by the incredible view andthe crashing surf.

Then, she steps out onto the deck and up to one of thetypewriters. Gives the key an approving TAP.

INT. HITCHCOCK HOUSE, FOYER - DAY

Hitch enters the empty house at dusk. The dogs greet him. Helistens 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 topour himself a second, when he notices something on the desk.

Its his collection of PHOTOS by the TELEPHONE. Theyre allneatly stacked.

With a SINGLE GOLD EARRING on top.


Hitch lies in bed, his thoughts racing as he waits for Almato come home.

Finally, the sound of the car comes up the driveway.

He turns onto his side and pulls up the blankets, listeningto the sound of the front door ... and Almas footsteps downthe hall.

She quietly slips into the bathroom and shuts the door beforeturning the light on. He watches her shadow through the stripof light at the bottom of door.

When the bathroom light switches off again Hitch hurriedlycloses his eyes.

CONTINUED:

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Alma emerges in her nightgown and stops at his bedside,peering down on him. She's not completely sure that he'sactually awake, but she suspects.

INT. HITCHCOCK HOUSE, BEDROOM - NIGHT (LATER)

Hitch eases himself up and looms over Alma to make sure sheis 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 WHITFIELDCOOK & ALMA REVILLE.

INT. HITCHCOCK HOUSE, KITCHEN - NIGHT (LATER)

A GLISTENING MOUND OF FOIE GRAS spooned into Hitchcocksmouth straight from the MAXIMS OF PARIS tin. Hitch stands inthe glare of the open fridge, a beast feeding in its cave,shoving in mouthful after mouthful. Its almost pornographicin its indulgence.

GEIN steps out of the shadows and puts a comforting hand onHitchs 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 apork chop while Hitch defiantly nibbles at his healthy salad.He has a nice big glass of red wine which Alma ignores.

ALFRED HITCHCOCKSo I read your finished treatment. Taxito -- Where was it?

ALMADubrovnik.

ALFRED HITCHCOCKThats it. Dubrovnik. Care to hear myopinion?

ALMAYes. Naturally.

CONTINUED:

CONTINUED


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ALFRED HITCHCOCKTheres no other way of saying it. Itsstillborn. Dead in the water.

Alma blinks, unable to hide her shock.

ALMAHow so?

ALFRED HITCHCOCK(with mock compassion)

The plots a muddle. Some of the jokesare awfully like things we already didbetter hundreds of years ago in The LadyVanishes. And your villain is weak. Butthe biggest failure is the relationshipbetween the hero and heroine.

He picks up a radish and bites into it.

ALFRED HITCHCOCK (CONTD)If you werent so smitten with yourfriend Whitfield cook youd probably seethat.

Alma is entirely stunned. Hitchcock has delivered the killerblow he intended. He gets up and goes over to the gardendoor.

ALFRED HITCHCOCK (CONTD)Women never really care to face the truth

when their hearts are involved, do they?

As he steps out into the garden --

ALMAHow would you know what really goes onbetween a man and a woman?

EXT. HITCHCOCK HOUSE, GARDEN - CONTINUOUS

Hitch searches his pockets for his lighter but cant find it.His annoyance only increases when he notices the SCATTEREDLEAVES contaminating the surface of the pool.

ALFRED HITCHCOCKLook at this mess.

He grabs the net and starts scooping them out.

ALFRED HITCHCOCK (CONTD)Bloody belt-tightening.

CONTINUED:

CONTINUED


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Neither woman looks convinced but they proceed with blindfaith.

JANET LEIGHIt better. Im going to be taking ashower all week.

As Janet slips on her robe, a MOLESKIN TRIANGLE PLOPS ontothe floor. Rita and Janet share a worried look.

EXT. BEACH HOUSE, SANTA BARBARA - DAY

Alma sits at her typewriter while Whit stares off, looking alittle uncertain.

ALMAForget what Hitch said. Hes just feelinghis age. Hell come around.

WHITFIELD COOKBut hes right. It does need morefeeling.

Alma ponders the problem. Finally --

ALMASo why dont we put some in?

She gets to her feet and starts to pace...

ALMA (CONTD)

All we need is a better catalyst. Someinnocuous little trigger to release allthat underlying desire.

The soothing sound of the ocean gives way to the relentlessHISS of SHOWER WATER --

INT. SOUNDSTAGE, UNIVERSAL REVUE - MOTEL SHOWER SET - DAY

Janet nervously removes her bathrobe and heads toward theMOCK SHOWER STALL.

ALFRED HITCHCOCKGood morning.

He takes her hand and guides her into position.

ALFRED HITCHCOCK (CONTD)As I explained earlier, this scene willbe made up of many shots from Mr. Basssboards. A series of looks - actions...

CONTINUED:

(MORE)

CONTINUED


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Well, youre the professional. Youllknow how to do it.

Around them, the crew frantically finalize the CAMERA andLIGHT SETUPS. MALE CREW MEMBERS look uncomfortable andexcited by the unprecedented sight of a virtually nude moviestar.

Saul Bass comes over with his boards and Hitch and he discussthe planned shot a moment.

FIRST A.D. HILTON GREENTonys stunt double is ready.

ALFRED HITCHCOCKAh. Theres our murderess.

Into frame steps Anthony Perkins' FEMALE STUNT DOUBLE, MARGO,

wearing a gingham dress, silver wig and BLACK MAKEUP TO MASKHER FACE. She wields a large PROP KNIFE and almost blocks ourview of Janet in the white-tiled stall.

ALFRED HITCHCOCK (CONTD)(to Janet)

Are you ready for our little bloodbath?

JANET LEIGHMy mother always said, Have confidencein yourself and you can lick anything.

Hitchcock takes Janets hand, and with tremendous sincerity :

ALFRED HITCHCOCKMy 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 triesdeflecting the blows but both women are timid and Janet isclearly guarding her modesty and covering her body.

ALFRED HITCHCOCK (CONTD)Cut. More intensely. Lets go again.

Margo's KNIFE comes at Janet uncertainly and every which way.Naked and exposed, Janet defends against the knife blows asthey come at her but Margos still pulling her punches--

ALFRED HITCHCOCK (CONTD)No. More angry. You are possessed withunbridled homicidal rage.

(leaping up)Cut. Cut camera.

CONTINUED:

ALFRED HITCHCOCK (CONTD)

CONTINUED


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He charges over to Margo to demonstrate the savage stabbinggesture he demands.

ALFRED HITCHCOCK (CONTD)Does no one understand what Im trying toaccomplish here? Im older than anyone onthis stage and Im still standing.

Everyone falls silent, unsure how to respond. Hitchcock HOLDSOUT HIS HAND.

ALFRED HITCHCOCK (CONTD)Give me the knife.

Margo places the knife in Hitchcocks palm.

ALFRED HITCHCOCK (CONTD)Props. Bring in more blood.

A FEMALE MAKEUP ASSISTANT squirts more CHOCOLATE SYRUPblood onto Janet from a PLASTIC BOTTLE OF BOSCO.

ALFRED HITCHCOCK (CONTD)Roll camera.

As the scene is marked, we see Hitchcocks anxiety. There isNO SOUND except Hitchcocks ragged breathing.

CREW MEMBERReady, sir.

Hitchcock nods. The camera whirs. Hitchcock hoists the knifeinto the air with terrifyingly convincing power andmalevolence.

THE SHOWER CURTAIN GETS YANKED BACK --

We see in the shower from Hitchcocks POV not Janet butGEOFFREY SHURLOCK. Hitchcock SLASHES the censor a killer blowthat sends him reeling.

THE SHOWER CURTAIN GETS YANKED BACK AGAIN --

Shurlock is replaced by BARNEY BALABAN. Hitchcock stabs himwith unleashed fury and hate.

THE SHOWER CURTAIN GETS YANKED BACK AGAIN --

WHIT turns, hes naked and smiling. Hitch plunges the knifeinto his back, and he drops, revealing ALMA, arms around hiswaist.

CONTINUED: (2)


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74/108

PEGGYI know you told me only to call in anemergency, but Im not sure how else todescribe this.

Hitch lies slumped on the floor. A compress over hisforehead. His head lolls to one side as he slips in and outof consciousness...

FADE TO BLACK.


Disarray on the set.

MARTIN BALSAM watches as SAUL BASS, cameraman JACK RUSSELLand A.D. HILTON GREEN argue about the best way to proceedwith the staircase sequence. Hitch is conspicuous by his

absence.

As they bicker we find Tony Perkins off to one side, sittingin his Mrs. Bates costume, unable to cope. He puts the wigback on his head. There, that feels better...

Balsams finally had it with all the arguing. He walks offpast Peggy whos arriving with the PHONE.

MARTIN BALSAMIts official. The inmates are runningthe asylum.

Peggy hands Hilton the phone.

PEGGYHilton. I have Mr. Hitchcock for you.

She gives him a warning look. Watch out. Hes in a terriblemood. He waves away her concern. It cant be that bad.

HILTON GREENHey there, Hitch. Were still working onit.

(looking over at thecontinuing argument)

Everyone misses you.

INT. HITCHCOCK HOUSE, BEDROOM - SAME TIME

Hitch, in bed and sick as a dog, has the script, notes andboards on a bed tray. The phone receiver is pressed to hisears.

CONTINUED:

CONTINUED


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ALFRED HITCHCOCKI've told Peggy and now I'm going to tellyou. You have to get this sequence shottoday. Whats the hold up?

HILTON GREENWe tried it ten different ways and itlooks terrible. Why dont we use inserts?

ALFRED HITCHCOCKNo. It has to be a high angle. You'll tipoff the big surprise! Just get theprocess shot.

Hitch slams down the phone.

INT. SOUNDSTAGE, UNIVERSAL REVUE - CONTINUOUS

ON HILTON

Still clutching the phone, a little nonplussed. Peggy giveshim a look: What did I tell you.

INT. HITCHCOCK HOUSE, BEDROOM - SAME TIME

Alma removes the phone from Hitchs grasp. Touches hisforehead.

ALMANo more phone calls. You're burning up.

ALFRED HITCHCOCKBurning up our money. We're two daysbehind and Im stuck in bed.

Hitch swings his legs out of the bed.

ALMAWhere do you think youre going?

ALFRED HITCHCOCKTo the set. We cant afford to lose anymore time. Two more days of this and thewhole production goes under.

He shakily tries to get to his feet.

ALMAYou stay in bed. Ill deal with it.

ALFRED HITCHCOCKId hate to take you away from yourwriting partner.

CONTINUED:

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INT. HITCHCOCK HOUSE, BEDROOM - DAY

Hitchcock lies in bed, tossing and turning, the fever onlymaking 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 hisbed.

ED GEIN (CONTD)A man like you... Missing the vital cluelike that...

He blearily sits up and sees Geins impassive rustic face.

ALFRED HITCHCOCK

What do you mean?

Gein steps over to the bathroom and pushes open the door.

ED GEINMy mother always said if youre going todo a job, do it right.

INT. HITCHCOCK HOUSE, BATHROOM - CONTINUOUS

Hitchcock enters the immaculate white and chrome room andinspects it... but nothing seems out of place.

ED GEINCheck the floor.

He looks down but again, nothing.

ED GEIN (CONTD)Closer.

Hitch gets down on his hands and knees. He runs hisfingertips across the smooth white tiles. They start tocollect --

GRAINS OF SAND

Sprinkled all over the floor.

ED GEIN (CONTD)You still think theyre just writingtogether?

Hitchcocks face hardens. His lip trembles.

CONTINUED


78/108

ED GEIN (CONTD)So what are you going to do about it?

Hitch gets up, opens the medicine cabinet and takes out aBOTTLE OF BAYER ASPIRIN.

He empties the tablets into the sink and very carefully,sweeps the SAND into the aspirin bottle. He caps it, slips itinto his robe pocket and turns off the light.

OMITTED

INT. SOUNDSTAGE, UNIVERSAL REVUE - SAME TIME

Alma spots the towering figure of Balaban stride onto thestage accompanied by a MAN in a cardigan.

ALMA

Barney.

He sees her and bristles, clearly surprised to see her there.

BARNEY BALABANAlma.

Alma takes in Balabans companion, and the viewfinder roundhis neck.

BARNEYYou know David Kirkpatrick. Hes workingon Jerry Lewis next picture.

She does. They nod politely -- then stand there.

BARNEY (CONTD)So hes free to help...

(a sly smile)if you need it...

Silence. Just the bustle of crew members in the background.

ALMAThat wont be necessary.

BARNEYBut youre nearly three days behind.

He takes a step towards Hitchs empty chair, but Alma movesto block his path. It may be a small gesture, but its highlycharged.

Barney stares down at her.

CONTINUED:

CONTINUED


79/108

BARNEY BALABANAlma. We both know what kind of film thisis.

(then, closer)The smart thing to do would be to helpHitch finish it.

ALMAThank you for your concern, Barney.

She moves closer to him, holding his gaze, not bending onebit...

ALMA (CONT'D)But on a Hitchcock picture, there is onlyone 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. Almasteps out into the sunlight not far behind them. As shewatches them leave, she lets out a breath.

A voice calls out to her --

WOMANS VOICEMrs. Hitchcock?

She turns to see Janet walking over in Capri pants and asleeveless top. Shes carrying an elegantly wrapped package.

JANETI hope you dont mind. I heard Hitch wassick so I got him a little something.

She hands Alma the gift. A bag of candy corn tied with aribbon.

ALMAThats kind of you.

JANETWell, hes been very considerate with me.

(a beat)I havent always had that from mydirectors.

ALMAJanet, youve been very... professional.It hasnt gone unappreciated.

CONTINUED:

CONTINUED


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81/108

ALMAAlright, whats this about?

He slowly pulls the ASPIRIN BOTTLE from his robe pocket,building suspense as he unscrews the lid and pours SAND intoa tiny pile on the coffee table in front of him.

ALFRED HITCHCOCKSpending a lot of time at the beach?

He puts down the bottle, looking for a reaction.

ALMAThats where Whit and I are writing. Hesrented a place.

ALFRED HITCHCOCKHardly the ideal setting to avoid

distractions.

ALMAActually, its very conducive to creativecollaboration.

ALFRED HITCHCOCKI already told you -- that treatment is awaste of time.

ALMADidnt everyone say the same thing aboutPsycho?

She reaches for the ASPIRIN BOTTLE to throw it away but Hitchgrabs it first --

ALFRED HITCHCOCKAre you and Whit having an affair?

ALMADon't be absurd. Hes working onsomething new and needs a little help,thats all.

ALFRED HITCHCOCKWhat a coincidence. Im working onsomething new and I could use a littlehelp too.

ALMAWhat do you think Ive been doing?

CONTINUED:

CONTINUED


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ALFRED HITCHCOCKThen why are you spending all hours ofthe day and night with some overage,talentless mammas boy?

ALMABecause its fun.

He quivers, livid.

ALFRED HITCHCOCKI am under extraordinary pressures onthis picture, the least you can do isgive me your full support.

ALMAFull support? Weve mortgaged our house.My house.

Almas eyes flash with unaccustomed hurt and fury.

ALMA (CONTD)Might I remind you that I have weighed-inon every aspect of this film so far, as Ihave done on every picture you've done inthe last three decades. And the firsttime you show the film, it will be mynotes that you want. I celebrate with youif the reviews are good and I cry for youif they are not. I host your parties andput up with those fantasy romances with

your leading ladies. And when youre outpromoting this film around the world, Iwill stand beside or, rather, slightlybehind you, smiling endlessly for thepress even when Im ready to drop, beinggracious to people who look through me asif I were invisible because all they cansee is the grand and glorious AlfredHitchcock.

Hitchcock is stunned and silent.

ALMA (CONTD)Now, for the first time in years, I dareto work on something that isnt anAlfred Hitchcock Production and Im metwith accusation and criticisms. This workIm doing with Whit gives me pleasure andpurpose.

CONTINUED: (2)

(MORE)

CONTINUED


83/108

And even though that takes absolutelynothing away from you, please considerthis a reminder: I am your wife, AlmaReville, not one of the contract blondesyou badger and torment with your oh-so-specific direction.

She turns and, with great dignity, leaves Hitchcock sittingin the gathering gloom. Hes not the only one who can delivera killer blow.


ON HITCH

with that same lost expression on his face, only now darkshadow and harsh light alternate across his features.

A NAKED LIGHT BULB dangles from the ceiling as STAGE HANDSprepare the films climactic scene in the cellar.

Hitch watches as VERA reaches out to touch the shoulder ofMrs. Bates. We zoom in on her as she reacts in silent horror,her HAND flying up to hit the light bulb, throwing crazyshadows all over the set.

We push in on Hitchcock's face as the strobing light brieflyilluminates the image of -

A SMALL BOY

at the foot of his mothers bed.

INT. VERA MILES' DRESSING ROOM - LATER

A WIG on a stand. A frumpy womans outfit on a hangar. Verasits in front of the mirror and unties her own hair.

VERA MILESFree at last.

Rita collects Veras detested wardrobe to take back towardrobe.

VERA MILES (CONTD)Thanks Rita.

Vera rubs cold cream into her face to remove her make-up. Inthe mirror, she sees Hitch in the doorway as Rita squeezespast him on her way out.

CONTINUED: (3)

ALMA (CONTD)

CONTINUED


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VERA MILES (CONTD)(wiping off her make-upwith a Kleenex)

Hello Hitch.

ALFRED HITCHCOCKWell, Vera. You always make it look soeasy.

VERA MILESOh, it was nothing, Hitch. I just fakedit.

She gives him a dazzlingly ambiguous Miss America smile.

VERA MILES (CONTD)Well, I guess this is au revoir...

Hitch comes and stands behind her chair, gazing at her in themirror.

ALFRED HITCHCOCKWhy didnt you stay with me? I would havemade you as big a star as Grace Kelly.

She considers the question and the man asking it, sensingsomething different about him now. She continues wiping offher make-up.

VERA MILESUnlike Grace Kelly, I can pick up my dry

cleaning. Ive got a family, Hitch. Ahome. That will always mean more to methan all of this.

(then)That blonde woman of mystery you'reafter? Shes a fantasy. She doesntexist.

He studies her a moment.

ALFRED HITCHCOCKThere was a time when I thought Iunderstood 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 ofvulnerability.

CONTINUED:


85/108

EXT. BEACH HOUSE, SANTA BARBARA - DAY

Wind blows sand off the dunes. Alma sits in the parked caroutside the beach house, contemplating the typed pages on theseat next to her. An inkling that they may not be as magicalas she had hoped.

No matter. She checks her reflection in the rearview andapplies 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 doesnt feel right.

She turns and in the bedroom, through the window, she seesWhitfield Cook making love to a young woman -- it is thepretty SECRETARY from the studio lot. Alma and Whit's eyesmeet. Whit is horrified at being caught.

Alma ducks her head, wheels around in shock.

ALMAS CAR

She yanks open the door and gets in. Whit runs half dressedfrom the house...

WHITFIELD COOKAlma, I thought you were coming latertonight.

ALMA

I thought you rented this place so wecould write.

WHITFIELD COOKI did. I swear -- this just happened.

She struggles to get the key in the ignition. He puts hishand desperately on the car door.

WHITFIELD COOK (CONTD)You won't say anything, will you?

ALMADon't worry. I won't tell Elizabeth.

WHITFIELD COOKI mean to Hitch.

Whit smiles feebly.

WHITFIELD COOK (CONTD)We cant all be geniuses.

CONTINUED


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Alma tries to hide what a body blow this is.

WHITFIELD COOK (CONTD)Alma -- you're incredibly talented. But,after all... we want him to read thescript with an open mind.

ALMAOh, I wouldn't worry about that, Whit.

She starts the car a

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