All language subtitles for Hitchcock.2012.WEBRip.Email.PLUS

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20th CENTURY FOX

(insects chirping)

(fire crackling)

MAN: It's lucky it
didn't reach the house.

MAN 2: Yeah.

You know, there's gonna
be a lot more jobs

at the factory in
Milwaukee come June.

I could put in a word.

You can't leave us, Henry.

She needs us both.

Can you stop being a
mama's boy for one second?

I'm not trying to
hurt you, but, Jesus,

you got to live
your own life sometime.

That woman can take care
of her own god...

♪ ♪

Oh, good evening.

Well, brother has been killing
brother since Cain and Abel,

and even I didn't
see that coming.

I was as blindsided
as poor old Henry down there.

And apparently, the authorities
shared my naivete.

In other words, they believed
the young man's story.

That Henry fell,
hit his head on a stone,

and died of smoke asphyxiation.

(crow caws in distance)

On the other hand,
if they hadn't believed him,

Ed Gein would never have
had the opportunity

to commit those heinous crimes

for which he became most famous.

And we, of course, well...

we wouldn't have
our little movie, would we?

(thunder cracks, rumbles)

(crowd chattering excitedly)

(applause, cheering)

MAN: Here he comes!

(cheering, whistling)

MAN:
Here he is!

Mr. Hitchcock! Mr. Hitchcock!

This thing's gonna
be gigantic.

Just one picture, sir!

I wish I had 20%
of the take.

Over here!

Does tonight's
incredible reaction

surprise you,
Mr. Hitchcock?

No.

When I was planning
North by Northwest,

I could already hear
the screams and the laughter.

(laughter)

Any questions, my dear?

(giggles)

Pity.

(laughter)

REPORTER: Mr. Hitchcock,

you've directed
46 motion pictures.

You're the most famous director
in the history of the medium.

But you're 60 years old.

Shouldn't you just quit
while you're ahead?

(cameras clicking,
flashbulbs popping)

Muhammad had the eyes
of Peeping Toms

gouged out with arrows.

Well, that must have
been rather painful.

And talking of
arrows, did you read

that little snippet
from A.H. Weiler's review

in The New York Times?

He said he found the climax

to be overdrawn.

Yes, well, I doubt Mr. Weiler
has had a climax in years.

"North by Northwest reminds us
of Mr. Hitchcock's earlier,

more inventive
spy thrillers."

And there is
an accompanying list.

"The New Masters of Suspense."

Why do they keep looking
for new ones

when they still have
the original?

Oh, don't be maudlin.

You know how much
it aggravates me.

And just stop
reading them.

You've been reading them
for a week.

Tell me, my dear,
do you think I'm too old?

Yes, you're a true relic.

And lest we forget, a
notably corpulent one.

You always know precisely

where to plunge the dagger,
don't you?

Right between the
shoulder blades.

I learnt it from
your pictures.

And where, may I ask,
are you off to?

I'm going to have brunch
with Whit,

after I drop you off
at the studio.

Would you care to join us?

We have just established

that I am far too corpulent
to be seen in broad daylight.

Oh, you'll feel better when
you find a new project.

Hasn't Peggy unearthed

any decent books
for you recently?

Yes, sleeping pills
with dust jackets.

So... what do you think?

Very presentable.

Hurry up, dear; you're pruning.

Good morning.

Mrs. Hitchcock.
Mr. Hitchcock.

Sirs.

Thank you. Good-bye.

There's a project out there
waiting for you, Hitch,

I promise you.

Hope so.

Thank you, my dear.

Have a good day.

HITCHCOCK:
I'm treading water, Peggy.

I need something fresh,
something different.

Without expensive stars
to pretty it up.

Fox is offering you

The Diary of Anne Frank
for the third time.

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, Nunzio?

Sì.

MGM wants you for
the Ian Fleming book

Casino Royale,
with Cary Grant.

Definitely your style.

Doesn't she know

I just made that movie?

It was called
North by Northwest.

And style, my dear,

is mere self-plagiarism.

(grunts)

Ooh, scusi.

Nice, clean,
nasty little piece of work,

that's what I'm looking for.

I shall see
what I can find.

(groans)

(both laughing)

Serves you right.

Yeah.

You know, Hitch always says

that your private life
is in danger of being

more entertaining
than any of your plots.

Well, I'm surprised
he let me

have you for the
whole afternoon.

Especially looking
so beautiful.

So, tell me, what are you
working on these days?

Me? Oh.

Oh, I'm satisfied
working in my garden.

Oh! Well,
that's one lucky garden.

(chuckles)

You know, all this
relentless sycophancy

is actually
giving me indigestion.

What are you after?

I was, um, hoping
that you may be able

to apply your considerable
pruning skills to this.

Ah... all is finally revealed.

Whit, you are a little
predictable, you know?

The most fun I ever had
was working with you.

(typewriter clacking
in distance)

(typewriter clacking)

Anything come up,
my dear?

Anything at all?

(sighs)

Nothing suitable.

Is that water, or do
I need to call Alma?

Do whatever you want.

(sniffs)

Anthony Boucher says this, uh,
book Psycho by Robert Bloch,

is fiendishly entertaining.

Mm, sounds ghastly.

Everyone in town's
already passed.

And who's everyone, pray?

Well, the story department

finished the coverage
this morning.

This is about Ed Gein,

the mass murderer
from Wisconsin.

Mm-hmm.

Oh, yeah.

"Graphic elements
of brutal violence,

voyeurism, transvestitism
and incest."

Very nice.

Not your average run-of-the-mill
nutcase, is he, dear?

You're kidding.

Peggy, this is the boy
who dug up his own mother.

(footsteps approaching)

Hungry?

Famished.

Well, you can have half a
grapefruit later if you're good.

Now, listen, Hitch,
Whit gave me the galleys

to his new book
yesterday at lunch.

I've already got some ideas
about how we can adapt it.

It's elegant,
it's sophisticated,

it's full of intrigue.

You mean the book
or Mr. Whitfield Cook?

This could be the one, Hitch.

I'll read it later.

There are calories
in that, you know.

♪ ♪

GEIN:
Ma?

Ma?

(wind whistling softly)

Aren't you cold?

♪ ♪

(sighs)

No need to be afraid, Ma.

(grunts)

Oh, God.

I just want you to read

this little bit here.

It takes place in
the motel bathroom.

"Mary started to scream.

"And then the curtains
parted farther,

"and a hand appeared,
holding a butcher's knife.

"It was the knife that,
a moment later,

cut off her scream,
and her head."

Charming.

Doris Day should do it
as a musical.

That is nothing
but low-budget,

horror movie claptrap.

But what if someone really good
made a horror picture?

Just think of the shock value.

Killing off your leading lady
halfway through.

I mean, you are intrigued,
are you not, my dear?

Come on, admit it.

Admit it.

Actually, I think
it's a huge mistake.

You shouldn't wait
till halfway through,

kill her off after
30 minutes.

Well.

Peggy, I want you
to summon your minions.

Minions?

Right away.

Certainly.

And who might they be?

Get them started by
buying copies of Psycho.

How many do you need?

All of them.

Every copy, nationwide.

Scour every bookshop,
every library.

And I mean everywhere.

Psycho is gonna be
my next movie,

and I don't want anyone
to know the ending

till they see it in the theater.

Look at that.

Are you sure about this?
It's...

...just so unlike you.

That is exactly the point,
my dear.

HITCHCOCK:
Ladies and gentlemen
of the press...

(tapping glass)

Good afternoon.

I see you've all been devouring
the article on Mr. Ed Gein.

Violent chap,

and the real-life
inspiration behind Psycho.

All of us harbor
dark recesses of violence

and horror.

Fascinating, isn't it?

When the Wisconsin
Police Department

raided Mr. Gein's farm,
they opened the door,

and voila,

they discovered...

ten female heads
with the tops sawn off.

(people gasp)

Pass these around, would you?

And have a look.

(people groaning)

Masks of human skin,

a pair of lips

on a drawstring
for a window shade.

Oh, yes, and a jar containing
human noses and other...

Is this really going to be your
next picture, Mr. Hitchcock?

Well, that is my intention.

Yes, madam.

My only wish is
that Ed Gein

looked a little more like
William Holden

instead of Elmer Fudd.

(imitates Elmer Fudd's laugh)

Oh, by the way,

try the finger sandwiches,
they're real fingers.

WOMAN:
Bloody hell!

Now, don't pretend you're not
upset he hasn't read it.

I'm not. I'm a big
boy, I can take it.

Well, I loved it.

It must be great fun
to research.

Do you really think
he will read it?

(door opens)

Ah.

Speak of the devil.

Hitch, I ran all over town

trying to find
a copy of Psycho,

but I simply cannot find one.

I wonder how that
could have happened?

Yeah.

Don't stop looking
on my behalf.

Hitch, I think
you should come.

(people murmuring)

I've seen happier faces on
a school bus going over a cliff.

But they can't stop looking,
can they?

(slurping quietly)

(bicycle bell rings)

HITCHCOCK:
Audiences want
to be shocked, Barney.

They want something different,
and this is it.

Every time you want
to do something different,

like The Wrong Man
or Vertigo,

someone loses money.

So, we should stop trying
to give them something new?

You owe Paramount
one last picture, Hitch.

Now, can't you do

something like North by
Northwest, but for us

this time, instead of

for MGM?

Psycho.

No one respects the name
Hitchcock like Paramount.

Are you telling me "no," Barney?

I think you know me
better than that, Hitch.

MAN:
What a putz.

You know what his family did

before they built
those movie palaces?

Ran a grocery store.

My father ran a grocery store.

Exactly, that's
what I'm saying.

He should show
some respect.

They think
I've lost my touch, Lew.

My association with television
has cheapened me.

Are you referring to that deal
I got you where Bristol-Myers

pays you 29 grand an episode,
and you own the negative?

That's my kind of cheap.

They just want the same thing
over and over and over.

They've put me in a coffin,

and now they're
nailing down the lid.

Hitch, as your agent,
I will never let that happen.

How much you think you can
make this picture for?

800,000, give or take.

You're home early!

Oh!

Oh, it's lovely,
actually.

Ooh.

You know... I'm disappointed

you didn't give
Whit's book a chance.

And what about Whit?

Is he disappointed?

Oh, no, he knows
you well enough.

Look at that.

Time for a new
one, anyway.

Well, you better enjoy the pool,
my dear, while you can.

We might not have it
much longer.

Why?

Paramount refuses
to finance the movie.

Oh, Hitch,
I'm so sorry.

Lew can't find the money.

At least, not fast enough.

Well, why not wait?

No.

We're just gonna have
to go it alone, old girl,

finance it ourselves.

Well, are we gonna have
to sell the whole house

or just the pool?

I just want to do the film.

I'm gonna ask
you this once,

and I'll never mention it again.

Why this one, Hitch?

It's not just because so many
people are saying no, is it?

Do you remember the fun we had
when we started out,

all those years ago?

We didn't have
any money then, did we?

We didn't have
any time either,

but we took risks,
do you remember?

We experimented, we invented

new ways of making pictures,
because we had to.

I just want to feel
that kind of...

freedom again.

Like we used to, you know?

We are about to propose

a restructured deal
for Psycho.

I'm listening.

We finance it.

Independently.

Hitch waives
his directorial fee,

Paramount only
distributes it,

in exchange for 40%
of the profits.

Interesting.

But what exactly
is Paramount distributing?

Is this still a picture

about a queer killing people
in his mother's dress?

What this picture
is about

is the reputation
of Alfred Hitchcock.

No one is arguing that.

Barney... it's very simple.

This is Mr. Hitchcock's
next film.

Are you in...

or are you out?

Fine.

We'll take that deal.

If you can get the money.

We already have the money,
Barney.

Who do I make it out to?

If this picture fails,
Alma, we'll be in

for a long, humiliating
bout of crow-eating.

It'll be splendid.

Are you sure?

Of the movie?

Not at all.

But of you, unquestionably.

(Peggy clears throat)

Joe Stefano.

Good to meet you.

Sit down.

I'm sorry I was late.

My shrink session went overtime.

I see him every day.

It's still not enough.

I thought it was only

director's assistants
who needed psychiatrists,

not writers.

(laughs)

Do you see a shrink,
Mr. Hitchcock?

I have to confess, Mr. Stefano--

it boggles my brain
just trying to imagine

what on earth you and
your shrink could possibly

talk about every day.

Just the usual.

Sex, rage, my mother.

Good morning.

Good morning, sir.

Let me have
a look at you.

You know, the only thing worse
than a visit to the dentist

is a visit to the censor.

Whatever you do, Hitch,
don't lose your temper.

Well...

See you later.

Good luck.

Thank you.

MAN:
The code will absolutely
not permit you

to show a knife
penetrating a woman's flesh.

I assure you, Geoffrey,
my murders

are always models
of taste and discretion.

Is there any
improper suggestion of nudity

in this, uh,
murder scene in the shower?

She won't be nude.

She'll be wearing a shower cap.

Hmm.

We might accept a shot
from outside the bathroom window

of Marion in silhouette,
above the shoulders,

provided that the glass
is frosted.

Thank you.

And...

there's a scene with a toilet.

Well, it is completely necessary
to show the toilet

because Marion Crane attempts
to flush evidence down it,

and remnants of which are later

discovered by her sister.

These remnants, you understand,

are clues to her vanishing.

No American movie
has ever found it necessary

to show a toilet,
let alone to flush one.

Well, perhaps we ought
to shoot the film in France,

use a bidet instead.

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:
Everyone in Hollywood
resents me.

I make them millions of dollars,

and every year, I sit at those
dreadful award show dinners

waiting for someone
just to say, "You're good."

They take sadistic pleasure

in denying me
that one little moment.

That must hurt.

Deeply, Ed.

Deeply.

I'm sorry, but... ah...

I'm just not used to this...

process.

Just think of me
more like a friend.

It's just that more and more,
I've been having these...

impulses.

GEIN:
What kind of impulses?

Strong ones.

♪ ♪

PEGGY:
Here.

The Lazar office tells me
he's crazy to work with you.

Well, tell Swifty Lazar
he should not

have overexposed his client
on television.

Unlike some we could mention.

Anthony Perkins.

Oh.

Think of the duality

he could bring to
the role of Norman.

The rage lurking beneath
that little boy grin;

the winsome charm he uses
to keep from being found out.

PEGGY:
Why, Alma,

you're not suggesting
Mr. Perkins is...

Mm-hmm.

What?

I like your office.

I can't count how many times

I've seen
Strangers on a Train.

And Rope.

Well, Norman Bates is
the logical extension

of those two characters
in that movie.

Appealing, sensitive,

suffering the terrible burden
of being forced

to pretend to be
something he is not.

Well, I'm sick
of all this romantic crap

the studios keep
shoving me into.

But my only worry is...

well, playing Norman
might cut too close to home.

How so?

When I was younger,

I was incredibly close
to my mother.

So close that I remember wishing
my father would drop dead.

And when I was five,
he did just that.

He... keeled over
from a heart attack.

You see, I've been guilty
my whole life, Mr. Hitchcock.

You know, I'm getting blisters
just watching you.

Oh, stop complaining.

A bit of fresh air and
exercise will do you good.

I'm going to have a drink.

No, you're not; you're going
to finish that hedge.

You've got to go all the way
around there,

all the way around there,
all the way around there.

That's impossible.
I can't do that.

Yes, you can.

You know, I was thinking,
if I could get

Grace Kelly to play the girl,

they'd let me
get away with murder.

Well, you can't.
She's a princess now,

which makes her
permanently unattainable.

And all the more desirable.

How about Deborah Kerr?

Lew mentioned her.

No, she's too Scottish.

How about Janet Leigh?

I know she's normally
the good girl,

but she was awfully good
in Touch of Evil.

You remember how you
always used to remark

on her figure
at the Wassermans' parties?

Yeah.

♪ ♪

Good evening.

Hello. Lovely to see you.

Charmed.

Hi.

ALMA:
Hello, Janet.
How are you?

Wonderful to see you.

Well, my dear,
you're looking very beautiful.

Thank you.

Very beautiful.

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.

(laughing)

Oh, I've been so immersed
in preparing to play Marion,

I'd almost forgotten
how to laugh.

Oh, really?

Yes.

Well, now you must try
the banana shortcake.

Oh, no, nothing for me,
thank you.

I'm watching my figure.

Yes, you're not the only one.

Uh, we're fine, thank you.

George, bring her
the banana shortcake.

In fact, make that
two large portions.

Thank you.

Now, tell me, my dear,
how else have you

prepared for the part
of Marion Crane?

Oh, well, I've written
an entire history for her,

which seems a little silly,

I know, but it...
it really does help.

It doesn't sound
silly at all.

No?

Why don't you tell us one
of her deepest secrets?

Um, well,
she leads a double life.

Uh, at the Lowery office,
she wears Tweed perfume,

but when she's with Sam,

she recklessly breaks out
her most expensive bottle--

My Sin by Lanvin.

"My Sin"?

Yes.

Good Lord.

Uh, I do have
a concern or two.

Well, I'm an actress, of course,

but I'm first
a wife and mother.

And I'm just curious to know--

um, how are you going to shoot
this shower scene?

Yes, you and
the Shurlock office.

It's only that,
well, from here up,

I'm not exactly boyish, so...

Allow me to set your mind
at rest, my dear.

I will be shooting

short bits of film
from various angles.

Hmm.

Cut together, the montage

will only suggest nudity,
suggest violence.

Nothing will
actually be shown.

But, of course,

having you in the shower
will make it all that more,

well, titillating.

Will you excuse me?

(sighs)

Alma.

Dear, how lovely
to see you.

Oh, hello, Lillian.

You're looking a little pale.

Well, it's no wonder,

with that thing
your husband's working on now.

You can't possibly approve.

Why are you letting him
do something so tasteless?

Don't upset
yourself, darling.

It's only a bloody movie.

(indistinct chatter)

PEGGY:
I can't believe you made
Vera Miles play the sister.

Well, I've still got
her under contract.

May as well get
something out of her.

PEGGY:
Rather a thankless role,
don't you think?

HITCHCOCK:
For an utterly
thankless girl.

(muffled, distant conversation)

VERA MILES:
Oh, horrible.

The old man really is

unhappy with me, isn't he?

Wait until you see
the undergarments

he has picked
out for you.

Okay, well, I am just going to
have to keep telling myself,

"One more picture,
and I am free as a bird."

(grunts)

So, I've made a list of places
where we can tighten our belts.

Huh?

We could all learn the art
of self-restraint,

couldn't we, Alfred?

Gardeners once a week?

Weekends off for the driver?

No, that's impossible.

We... we'll have to find
other places to cut.

There aren't any other places.

And there will be
no more shipments

flown in from Maxim's of Paris.

We can't afford it.

The foie gras at Chasen's
is more than adequate.

But those geese are from
Barstow, not from Marseille.

Yes.

Well, we all have to make
our sacrifices

for the greater good,
don't we, Alfred?

(heavy footsteps and thumping)

♪ ♪

I'll go get the knives.

(gasps)

(grunts)
Ed...!

Ed.

(grunts)

(panting)

Am I making a terrible mistake?

What if it's another Vertigo?

You just get the first take
under your belt, you'll be fine.

(softly):
I know. I know.

Are you decent, my dear?

Good morning.

Good morning.

Am I all right?

Perfect. Good.

Wow.

Morning.

Morning.

I want to thank
you once again

for this opportunity,
Mr. Hitchcock.

You may call me Hitch;
hold the "cock."

Well, look at you two--

America's favorite
boy and girl next door.

Yes, and we're about to move
to a whole new neighborhood.

Morning, Janet.
Good morning, Tony.

HITCHCOCK:
Morning, Vera.

Thanks for the
wardrobe, Hitch.

Do you approve?

You're the genius.

Oh.

One thing, though--
my script,

it's missing
its last ten pages.

Everyone's script
is missing ten pages

until Alma
finishes the revisions.

You're just in time
for the oath.

The what?

The oath.

Good morning,
everyone.

ALL:
Good morning.

I want you all to raise
your right hands.

That includes you, Vera Miles.

I do solemnly promise...

ALL: I do solemnly promise...

that I will not divulge...

that I will not divulge...

...the plot, nor the many
secrets of Psycho...

...the plot, nor
the many secrets of Psycho...

to friends, relatives...

to friends, relatives...

trade reporters...

trade reporters...

nor to the outgoing president,
Dwight D. Eisenhower.

(laughter)

Thank you all very much.

(applause)

All right, come on, you
two. Let's get started.

I wanted to talk about, uh,

Marion's arrival
at the Bates Motel.

(indistinct chatter)

(sighs)

(inhales sharply)

(exhales)

(grunts)

(grunts, sighs)

(birds twittering)

(music playing softly
over speakers)

♪ ♪

♪ ♪

♪ ♪

♪ ♪

Here we are--
Norman's inner sanctum.

Now, Hitch, explain to me
why I'm watching Marion undress.

I feel I should take offense
at that.

Perhaps Norman

secretly watched his mother
preparing for her nightly bath.

Yes, maybe
there was a...

a transom over
the bathroom door.

Yeah, which he could access
by climbing on a chair.

So long as he was stealthy.

A boy's first glimpse
of a naked woman

is usually his mother.

HITCHCOCK: Mmm.

So I'm reliving the past,
repeating a ritual with Marion.

Well, don't ask me.

I'm just a man hiding
in the corner

with my camera, watching.

My camera will tell you
the truth, the absolute truth.

JANET:
Hitch, I have a question.

Why is the hole
so much larger

on this side?

All the better
to see with, my dear.

From the greatest
possible angle.

♪ ♪

And cut.

(indistinct chatter)

Well, if you ask me,
the credits should read

"screenplay by Joseph Stefano
and Alma Reville."

Well, the people
who matter know.

Mm...

Alma, you always know
the answer.

Is this really going to work?

See you tomorrow.

(warning bell ringing)

MAN:
Quiet on the set!

Hello, stranger.

Whit! Oh!

Where have you been hiding?

Oh, God, I've been finishing
the revisions on...

Psycho.

Mm-hmm.

And how is the old boy?

He is in a state
of unbridled ecstasy

now that he's back
on the set.

And you? How are you?

Well, I've got 2,000 words
to do for Reader's Digest

on what it's like
to be married

to a man obsessed by murder.

Alma, you deserve a break.

Let's drive up to Santa Barbara.

We'll have Emilio fry up

those juicy steaks
that we love so much

at El Encanto.

MAN:
Mr. Hitchcock,
we're ready for you on set.

(Whitfield continues talking
indistinctly)

ALMA:
Thank you, Whit.

MAN:
Mr. Hitchcock?

HITCHCOCK:
I'll be there in a moment.

(engine starting)

(Whitfield blowing kiss)

(hums quietly)

(sighs)

A long line
at the supermarket?

No, actually.

I'm home earlier
than I expected.

Mm.

Would you like
a cocktail?

No.

And you shouldn't
have one, either.

That hasn't been
washed yet.

I don't care.

Oh, I was filming
all day today with John Gavin.

He's a good-looking chap.

But, really,
plywood is more expressive.

I think his love scene
with Janet Leigh

may be the most horrifying thing
in the movie.

Even your friend,
Mr. Whitfield Cook,

would be better in the scene.

Oh, why don't you
tell him yourself?

I'm sure he'd be very flattered.

You know, my dear,

maybe I was a bit,
uh, too dismissive

about your friend
Whitfield's book.

Perhaps he and Elizabeth
could come over this weekend

and walk me through
it, as they say.

Lovely woman, Elizabeth.

Well, I was hoping
you could, uh,

come to the set tomorrow.

Yes.

Well, I'll see
how my day shapes up.

Yes.

HITCHCOCK:
You think you can get away
with it, don't you?

But you can't.

You think they can't tell,
but they can.

They know.

You can feel that noose tighten

around that breakable
little neck.

I mean, you could return
the money secretly,

but what would that prove?

It's too late.

Poor Marion Crane,
always so tight,

so respectable,
so prim and so proper.

Perfect, untouchable,
unsullied Miss Crane.

Daddy's perfect little angel.

And now they all know

those dirty little secrets
you've been hiding so long.

Messy, sticky,
little lunchtime trysts

with that oh-so-handsome
failure Mr. Samuel Loomis.

They'll smirk, they'll gossip
and they'll whisper.

Even your boss,

straitlaced, hatchet-faced
Mr. George Lowery,

why, even he can smell
the rancid,

pungent scent of sex

all over you!

(film crackles)

All right,
circle that and print it.

Let's get this thing fixed
once and for all.

Sick and tired of it.
Come on.

Uh, Mr. Hitchcock?

HITCHCOCK:
Just get it done.

Why is it breaking
down all the time?

Give me a hand here.

Uh, okay,

what's it gonna take to reset?

MAN:
It'll be about five.

(crew chattering)

(knocking on door)

Come in.

I thought you could use
a little pick-me-up.

Oh, you're so sweet.
Thank you.

Not at all.

Here, have a seat.

Thanks.

Can't imagine your husband
would be too pleased

with what just happened.

Well, you know,
Tony and the kids,

you'd be surprised what comes
out of their mouths sometimes.

(chuckles):
That's true.

You haven't spoken to him much

about your personal life,
have you?

Hitch?

Mm-hmm.

No, not really.

I would keep it that way,
if I were you.

Why?

Well, it starts with him wanting
to choose your hairstyle.

Then, he wants
to choose your clothes,

and your friends and how many
children you should have.

You know that poor,
tortured soul

Jimmy Stewart
played in Vertigo?

Mm-hmm.

That's Hitch.

Only younger, slimmer

and better-looking.

Well, I don't know.

Compared to Orson Welles,
he's a sweetheart.

(chuckles)

(footsteps approaching)

(whispering):
See?

He's always watching.

HITCHCOCK:
Jack?

Yeah?

How long is this gonna take?

Give me five minutes.

Get a move on.

I haven't got all day.

(busy signal)

Why does it keep burning
out all the time?

Just get it fixed.

Seriously, Jack.

So what's the holdup?

It's still engaged.

All right, give it to me,
I'll try it.

Hitch, Hitch.

Here, I've dialed.

I'm stuck on Lila's first scene.

I don't know how strongly
I should

confront Sam
and the detective...

Darling, just fake it.

Fake it.
You know how to do that, act.

Where are my revisions?

MAN:
Watch it! Watch it!

Come on, does it really require
two men to carry a light stand?

Hilton.

I'll take care of it right away,
Mr. Hitchcock.

Makes all the difference
when the money's

coming out of
your own pocket, doesn't it?

WHITFIELD (over phone):
We'll have a late lunch.

(chuckles):
Right.

I'll make reservations
for 1:30.

(chuckles):
Oh, Whit.

What would I do without you?

Until then, bye-bye.

Bye.

(hangs up)

(phone rings)

Whit? What'd you forget now?

ALMA (over phone):
Whit?

Whit?

(line clicks)

MAN:
Mr. Hitchcock, sir, please.

No, no, no...

Every press outlet
is dying for photos.

If we could just get
one photo, sir, please.

Get off my set!

I'll have security...

Get off my set! Just go!

Get rid of this man.
He's a bloody pest.

Get him off the set, now.

Are you okay?

You've gone very pale.

I told you, get away.

Stop following me around like

a puppy dog and get me a drink.

PEGGY:
It's not even 3:00.

Then give me the
key to the cabinet.

Hello, Hitch.

How's the picture?

I'm hearing
interesting things.

It's a miracle anyone
can hear anything

above the noise coming from
Geoffrey Shurlock's office.

You know, I shouldn't
be in a position

of just hearing
things, Hitch.

It's time you showed
me some footage.

Why?

To see if you're making
a picture

Paramount can actually release.

As you well know, my contract
guarantees me final cut.

Your contract also says
Paramount isn't required

to distribute any film that
could cause us embarrassment.

Unlike the last five
Martin and Lewis films

you're all so proud of.

I demand to see
some footage!

Hitch!

You show me
some damn footage now!

Hitch!

♪ ♪

ALMA:
You have no idea

how wonderful it is not to have
to look after someone.

I mean, even if
it's just for two hours.

So, where are we going, Whit?

You haven't told me.

I have a little surprise.

Ooh.

(horn beeps twice)

Where's your driver?

I've been asking myself
the same thing.

Well, I can give you a ride
if you'd like.

HITCHCOCK:
Oh, my God. What a tiny car.

JANET:
Mm-hmm.

What are these things?

I keep looking at them;
what are they?

Oh, candy corn.
Girls love them.

Candy corn.

I nicked them
from Tony's dressing room.

Oh.

Mm-hmm.

Very nice.

I thought you only liked
those Fauchon chocolates.

Well, needs must
when the devil drives, my dear.

(laughs):
Oh.

Luckily, I'm driving.

Thank God for that.

(laughs)

ALMA:
He's always had obsessions
with his leading ladies.

It's just that this time
it feels like

he's using them against me.

Well, I suppose he's like
any great artist:

impossible to live with,
but worth the effort.

Did you know, before we got
together, I was his boss?

He had to work his way up
to assistant director

before he dared ask me out.

Really?

Mm-hmm.

Huh.

See that house
over there?

Yes.

What do you think
of it?

It's lovely, isn't it?

What a great position.

It's mine.

I just talked to Elizabeth;

she didn't say
anything about it.

She doesn't know
anything about it.

Nobody does.

Want to see it?

(engine stops)

Well, thank you, my dear.

Any time.

Can I keep these?

Absolutely.

Would you like one?

(chuckles):
No, thank you.

All right, well, thank you.

Hitch?

What?

What really did happen
with you and Vera?

Oh. Vera.

She was going to play
the lead in Vertigo.

And two weeks before filming,

she told me
she was pregnant, and...

I was going to make her
into a star,

but she chose the life
of a housewife instead.

Why do they do it, I wonder?

Why do they always betray me?

(waves crashing on shore)

Oh, very bohemian.

I just leased it
for the off-season.

A place to get away from
the wife, kids, and write.

(waves crashing,
gulls screeching)

Um... Whit, I hope you don't
have the wrong idea.

If you were serious about
helping me adapt my book,

I thought that this might
make the perfect...

hideaway.

(dogs barking)

Relax!

Naughty boys, calm down.

♪ ♪

(car approaching)

(car door closes)

(front door opens)

(door closes)

(footsteps approaching)

(snores softly)

♪ ♪

(water runs, stops)

(snores softly)

(Alma sighs wearily)

♪ ♪

♪ ♪

♪ ♪

(chewing, smacking)

♪ ♪

Oh, by the way,
I forgot to tell you,

I read your treatment

of that story, the, um...

"Taxi to..."
Where was it, dear?

"Dubrovnik."

That's it.

Dubrovnik, yeah.

Well, would you care
to hear my opinion?

Well, yes, naturally.

Right-o then.

Well, my dear, there's no other
way of saying it, is there?

But it's, uh,
you know, stillborn.

How so?

First of all, the plot's
a bit of a muddle, isn't it?

And-and some of those jokes are
awfully like the ones we did

so much better hundreds of years
ago in The Lady Vanishes.

Also, your villain
is rather weak, I'm afraid.

Well, it's very weak, in fact.

But I think

the big failure
is the relationship

between the heroine
and the hero, you see.

Probably,
if you weren't so smitten

with your friend,
Whitfield Cook, you'd be able

to see that, wouldn't you?

But then, I suppose

women never really care
to face the truth

when their hearts are involved,

do they?

How would you know
what really goes on

between a man and a woman?

♪ ♪

My God, what a bloody mess.

Bloody mess.

♪ ♪

♪ ♪

(steam whistling, hissing)

♪ ♪

(Janet screaming)

HITCHCOCK: No!

More! More!

No!

Use some guts!

(screaming)

Come on!

No!

More anger!

Oh!

All right, cut!

Cut, cut!

For God's sake!

Will someone get me
a proper stunt double?!

Now, give me the knife!

Like this!

(screaming)

Ungovernable rage!

(Janet screaming)

Homicidal violence!

(grunts)

(screaming)

♪ ♪

Cut.

Cut and print.

(gasping)

We've got it.

♪ ♪

Oh, not now, Ed.

It's really not the time.

You just can't keep
the stuff bottled up.

Oh, God!

Hitch? Hitch,
are you all right?

Can you hear me?

(whispers):
Alma.

What if Bridget
and Constantine

get into the cab
at the same time?

No, what if they try and get in
at exactly the same time?

Yes.

What do you mean exactly?

I mean they both reach
for the cab door

at exactly the same time.

They quickly touch,

Yes.

we start on the hands,
we pan up to the eyes and...

(phone ringing)

Oh, that feels better already.

Are you going to get that?

What?

(ringing continues)

(phone ringing, gull screeching,
wind whistling)

(phone stops ringing)

(taps window)

HITCHCOCK:
Listen, I've told Peggy,

you have to get this
sequence shot today.

What's the holdup?

HILTON (over phone):
We've tried it

ten different ways
and it looks terrible.

No! It ha... (coughs)

It has to be a high angle.

You'll tip off
the big surprise.

Just get the process shot.

Well, it's not working.

How can he hold on

to the camera crane
if he's waving his arms?

(men arguing)

Why don't you just push Arbogast
from the top of the stairs?

I'm not gonna push
him down the stairs.

No one's gonna get hurt.

Bloody idiots they are.

(grunts)

What are you doing?

No more phone calls.

No, I've got to...

You're burning up.

Yeah, burn-burning up
our money,

that's what we're doing.

We're two days behind,

and I'm stuck
in this bloody bed.

Where do you think
you're going?

I've got to go
to the set.

We can't lose
another day.

You stay in bed.

I'll deal with it.

I'd hate to take you away
from your writing partner.

You stay under
the blankets, Alfred.

(coughing)

Mrs. Hitchcock.

Morning.

Where's Mr. Hitchcock?

(indistinct chatter
and laughter)

Well, don't stop work
because of me.

Shh.

Shh.

I'm only here as one of the two
people paying your salaries.

What's the scene number?

173.

Storyboards?

Here.

All right,
put Martin in the chair.

Turn the camera around
to face him.

We'll shoot the fall
against a rear screen.

And, Jack, that lens
should be a 35.

(whispering):
Thank you.

Well, David,
you know how Paramount

loves Jerry Lewis,
but this one

is right up your alley,
and I would consider...

Barney?

Alma.

You know David Kirkpatrick.

Hello.

Hello.

He's working with Jerry Lewis
developing a new picture,

so he's free to help,
if you need it.

That won't be necessary.

But you're nearly
three days behind.

Yes, well, we can manage.

Alma, we both know
what kind of film this is.

Now, the smart thing to do

would be to help Hitch
finish it.

Thank you for your
concern, Barney,

but on a Hitchcock picture,
there is only one director.

No need to gawp.

(snoring softly)

GEIN:
You forgot to look
in the bathroom.

A man like you missing
the vital clue like that.

(clicking tongue)

What do you mean?

My mother always said,

if you want to do a job...

...do it right.

♪ ♪

Check the floor.

Closer.

♪ ♪

You still think they're
just writing together?

What are you gonna do
about it?

♪ ♪

(sighs)

Oh, Mrs. Hitchcock.

I know Hitch isn't
feeling very well,

so I got him a
little something.

Oh, how kind.

Thank you very much.

Candy corn.

Well, he's always been
very considerate with me,

and I haven't always had
that from my directors.

Janet, I'd just like
to say that, um,

you've been very professional.

It hasn't gone unappreciated.

Thank you.

Lovely seeing you.

You, too.

(classical music blaring)

(door closes)

May I turn that down?

(music stops)

(cartoon audio playing over TV)

(turns TV off)

Well, you'll be pleased to know
that order has been restored.

And a thank-you would be nice.

We're still two days behind
and 60,000 over budget.

Yes, well, I've canceled
the wrap party.

That'll save us 2,000
right there,

and you won't be tempted
by any champagne and cake.

Beware.

All men are potential murderers.

And for good reason.

All right.

What's this all about?

Spending a lot of time
at the beach?

Oh!

Yes.

Yes, it's where Whit and I
are writing.

He's rented a place.

Hardly the ideal situation
to avoid distractions.

Actually, it's very conducive
to creative collaboration.

I've already told you

that treatment's
a waste of time.

Well, didn't they say
the same thing about Psycho?

Are you and Whit
having an affair?

Oh...

Oh, don't be absurd.

He's... he's working
on something new.

He just needs a little help,
that's all.

Oh, what a coincidence.

I'm working on something new,

and I could use
a little help, too.

Well, what do you think
I've been doing?

Why are you spending
all the hours of day and night

with that talentless
mommy's boy?

Because it's fun.

I'm under extraordinary
pressures on this picture,

and the least you could do
is give me your full support!

Full support?

We've mortgaged our house.

And might I remind you,
I have weighed in

on every aspect
of this film so far,

as I have done
on every film you've made

in the last three decades.

The first time
you show the film,

it will be my notes
that you want.

I celebrate with you

when the reviews are good.

I cry for you when they are bad.

I host your parties, and...
and I put up

with those fantasy romances
with your leading ladies.

And when you're out
promoting this film

around the world,
I will be there beside--

or, rather,
slightly behind-- you

smiling endlessly for the press
even though I'm ready to drop.

And being gracious to people
who look through me

as if I were invisible
or elbow me aside,

because all they can see
is the great

and glorious genius,
Alfred Hitchcock.

And 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 accusations
and criticisms?

The work I am doing with Whit
gives me pleasure and purpose,

and it takes absolutely nothing
away from you.

You consider this a reminder.

I am your wife, Alma Reville,

not one of those
contract blondes you badger

and torment with the
oh-so-specific directions.

(door opens and closes)

♪ ♪

♪ ♪

(screams)

MILES:
Well, I guess this is good-bye.

Why didn't you stay with me?

I would have made you
as big a star as Grace Kelly.

Well, unlike Grace Kelly,

I can pick up my own
dry cleaning.

I've got a family,
Hitch, a home.

That blonde woman of mystery
you're always after?

She's a fantasy.

She doesn't exist.

There was a time when I
thought I understood you.

Understood women.

(gulls screeching)

("Kiss of Fire" by Georgia Gibbs
playing faintly over radio)

♪ Tonight and let the devil
take tomorrow ♪

♪ I know that I must have
your kiss ♪

♪ Although it dooms me ♪

♪ Though it consumes me,
your kiss of fire... ♪

♪ ♪

Alma.

I thought you were coming
later this afternoon.

I thought you rented this place
so we could write.

I did.

You're not going to say
anything, are you?

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

I mean to Hitch.

Alma, we can't
all be geniuses.

You're incredibly
talented.

And after all, we want him
to read the script

with an open mind, don't we?

I wouldn't worry
about that, Whit.

(engine starts)

VERA MILES (on film):
Sheriff, please, I'm worried.

Arbogast said he'd call

as soon as he spoke
with Mrs. Bates.

That was yesterday evening.

SHERIFF:
Norman isn't married.

MILES:
Well, he said it was
his mother.

Your detective saw Norman's
mother up at the motel?

In the upstairs window.

He rang me right after
she called out to him.

Missy, I think
your detective

must be a few cups in.

Mrs. Bates died
of strychnine poison

more than ten years ago.

Are you sure?

That body was
black and blue...

(film audio fades)

GEIN:
This is my favorite place.

I just shut the door...

make the world go away.

Don't you ever
get lonely out here?

I can always talk to my mother.

(sirens wailing,
cars approaching)

(car doors opening)

(running footsteps approaching)

MAN: Move! Move! Move!

(pounding on door)

Open up! Police!

MAN: Let's break it down!

That's strange.

Jesus Christ, I think
we found his hiding place!

MAN:
I'm upstairs!

(footsteps running upstairs)

MAN:
There's an old room!

(anxious panting)

That's my mother's room.

That's my mother's room.

(crashing, clattering)

(sobbing)

You can't go in there!

Don't go in
my mother's room!

(Gein sobbing loudly)

LEW:
Hitch.

Hitch!

So, what's the verdict?

Let's just say it was
a four-letter review,

and it wasn't "good."

Screw him!

It's too late for
Paramount to back out,

no matter what
Balaban says.

You know, 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.

Look, I made Jimmy Stewart
a millionaire

on Winchester '73,
and that was a dog.

At least I could sit
through your picture.

(chuckles)

More importantly,
what does Alma think?

♪ ♪

(laughs gently)

(whispering,
talking quietly)

I was afraid you'd try
to blame yourself.

I'm not talking of blame.

Lee, how can you make plans,
when you're so confused?

I'm not confused.

I've never seen so clearly
in my whole life.

Believe me, I-I...
I'm not being hysterical.

I... I just know that
if I had been everything

a man has a right
to expect his wife to be,

those children would
still have their father.

Look, Lee, I am in this, too.

Whit must have enjoyed
writing for Colbert.

How was the beach?

Cold and miserable.

Well, just like
Barney Balaban's face.

Good-bye.

Good-bye.

Poor old Whit.

He isn't worth a damn
when he's not working with you.

Neither am I.

I couldn't pull off
the picture this time.

It just sits there.

Re... refusing to come to life.

Well, there's no other way
of saying it, is there?

It's stillborn.

I let you down, my love.

You deserve better.

I better go and feed
Geoffrey and Stanley.

Come on, boys.

(dogs panting)

Come on.

♪ ♪

(crying softly)

Good boys.

♪ ♪

♪ ♪

I don't think I can stand us
both being maudlin.

That tiresome little
Hitchcock imitation

I've been helping
Whit finish is done.

You know, there's only one
solution to all this.

That we get back to work
together.

The fact is, I rather like
living in this house.

So I suggest,
for everyone's sake,

we start whipping Psycho
into shape.

You may not be
the easiest man to live with,

but you do know how
to cut a picture

better than anyone else.

Except for you.

The second take, the light
is much better on the hands.

Only cut back to Janet
once her car's already moving.

Cut it tighter.

Ooh, you imp.

You've got nudity in there.

Well, her breasts
were rather large.

It was a challenge
not to show them.

You'll have to cut
those six or seven frames

where she blinks
after she's supposed to be dead.

Alma, we've viewed the film
a thousand times.

She does not blink.

How's it going in there?

Swimmingly.

Well, everyone's saying
it's like a dog with fleas.

HITCHCOCK:
No, absolutely not.

I do not want music
over the shower murder scene.

But what Alma and I talked about
is really going to play.

Bernie, this is not Vertigo.

It's not a romantic movie.

The images must work
on their own.

Yes, but you can't scare people
just by going, "Boo."

All right, you do it, then.
You... you know best.

Hitch, they have
to anticipate it.

You always know best.
Do it.

Take a... just take
a step back.

Well, thank God we have
Cinderfella for the holidays.

ALMA:
Bernard's got
some unbelievable music.

Just listen.

(violins playing shrieking,
iconic Psycho soundtrack)

What do you think?

I think I'll never have
a shower again.

(deep, ominous theme begins)

MAN:
Hitch?

It's getting there.

I distinctly saw both
the stabbing and the nudity.

What you think you're seeing

is purely informed by
the power of suggestion.

I assure you, once you
view the final version

with Mr. Herrmann's lovely,
lyrical score...

A lyrical score is not
going to change my opinion.

We're denying your seal.

Geoffrey, would you mind

if we had a word
in private, please?

Gentlemen, lady.

Thank you.

Thank you.

(clears throat)

(door closes)

Now, look here.

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.

In fact, I would welcome

your personal supervision
on the set.

To my specifications?

Well, of course, my dear fellow.

If only audiences
could fully comprehend

how tirelessly you work
to help us entertain them

while protecting them from filth
and indecency, well...

PEGGY:
He's been harassing you

since you announced
this project,

you invite him to the set,
and he doesn't even show up.

I mean, what did
you tell him?

That I respected him deeply.

(laughs)

Ladies and gentlemen,
that is a wrap.

Thank you all very much.

MAN:
Okay, folks, that's a wrap.

Thank you, John.
Thank you, Janet.

I thought we were
reshooting the scene.

The charade is over.

Thank you.

(bell rings twice)

See? I wasn't that
much of a monster

to work with, was I?

Not at all.

And I hope I was
sufficiently loyal to the cause.

Worthy of a Purple
Heart, my dear.

♪ ♪

(Janet screams)

I hope you don't mind,

I told Mrs. Bates she could use
your dressing room.

HITCHCOCK:
Oh, that's splendid.

(knocking on door)

Splendid.

Yes.

(door opens)

Thank you.

(door closes)

Thank you.

We have the seal
from the Shurlock office.

So now,

we lead the lambs
to the slaughter.

Well, Paramount confirmed
they're only opening the movie

in two theaters,

as we suspected,
and no premiere.

If we don't get word of mouth,
we're dead.

Then we'd better get started.

Peggy, take a memo.

We're going to write a manual
on how to sell Psycho.

HITCHCOCK:
My first instruction
to theater owners:

hire Pinkerton guards
to strictly enforce

our unique admission policies.

There may be riots here tonight.

Because Psycho is so terrifying

and unique,
the guards can help you

deal with customers
who run amok.

Post our special lobby clocks

to remind audiences of
the starting times for Psycho.

(over speakers):
The manager of this fine
motion picture theater

has been advised not to allow
anyone to enter the theater

once Psycho begins.

Now, should you be so foolish
as to attempt to slip in

by a side entrance, a fire
escape or through a skylight,

you will be ejected
by brute force.

More playful,
darling.

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 30 seconds.

(projector whirring)

By doing so,
the horror of Psycho will be

indelibly etched in the mind
and heart of your audience.

Sincerely and emphatically,
Alfred Hitchcock.

Well, at least there are
some people here, Hitch.

Ah.

We've roped off
some seats for you.

Very good.
All right.

Uh, you go on ahead.

Oh, are you sure?

Yes, I'll be with you
in a moment.

I'm just gonna check
the prints; you go on.

All right, darling. We'll-we'll
save you a seat, all right?

All right, go on.

This way, Mr. Hitchcock.

Hmm?

(projector whirring)

♪ ♪

(knob creaks, shower running)

(shower continues running)

(shower curtain rings
scrape along rod)

(violins shrieking
on soundtrack)

(audience screaming)

(audience continues screaming)

(violins shrieking
on soundtrack)

(audience screaming;
deep, ominous theme begins)

(screaming)

(laughter, murmuring)

(audience murmuring)

Just got off the phone
with Balaban.

He said, "Congratulations.

A well-deserved triumph,
as we always knew."

"As we always knew."

(both laugh)

Does this mean I can
take the weekend off now?

Yes, dear.
And thank you so much.

Where's Alma?

Go on, go on.

(reporters clamoring)

Alma, come here.

You know, darling,

this could be the biggest
success of your career.

Our career.

You know, Alma...

I will never be able to find

a Hitchcock blonde
as beautiful as you.

I've waited 30 years
to hear you say that.

And that, my dear,
is why they call me

The Master of Suspense.

♪ ♪

HITCHCOCK:
And so, gentle viewers,

Psycho turned out to be
one of my greatest achievements.

And Alma and I got to keep
the house and the swimming pool.

But you know what they say
in Hollywood,

"You're only as good
as your last picture."

So, if you'll excuse me,
I had better toddle away

to begin the exhaustive search
for my next project.

Unfortunately,
I find myself, once again,

quite bereft of any inspiration.

However, I do hope
something comes along soon.

(caws)

(cawing)

Good evening.

♪ ♪

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♪ ♪

Captioning sponsored by
20th CENTURY FOX

Captioned by
Media Access Group at WGBH
access.wgbh.org

(projector whirring)