Hitchcock Page #5

hideaway.

Relax.

Naughty boys, calm down.

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

I read your treatment of that story, the...

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, you know, stillborn.

How so?

First of all,

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

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.

More! More!

Come on!

No!

More anger!

All right, cut! Cut, cut!

For God's sake!

Will someone get me

a proper stunt double?

Now, give me the knife!

Like this!

Ungovernable rage!

Homicidal violence!

Cut! Cut and print.

We've got it.

Not now, Ed.

It's really not the time.

You just can't keep the stuff

bottled up.

God!

Hitch, are you all right?

Can you hear me?

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...

Oh, that feels better already.

Are you going to get that?

What?

you have to get this sequence shot today.

What's the hold-up?

and it looks terrible.

It has to be a high angle.

You'll tip off the big surprise.

Just get the process shot.

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

Why don't you just push Arbogast

from the top of the stairs?

Bloody idiots, they are.

- What are you doing?

- No more phone calls.

- No, but I've got to...

- You're burning up.

Yeah, 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.

- Mrs. Hitchcock.

- Morning.

Where's Mister Hitchcock?

Well, don't stop work because of me.

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.

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.

A man like you

missing the vital clue like that.

What do you mean?

My mother always said...

if you want to do a job...

do it right.

Check the floor.

Closer.

Do you still think

they're just writing together?

What are you going to do about it?

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...

you've been very professional.

It hasn't gone unappreciated.

Thank you.

Lovely seeing you.

You too.

May I turn that down?

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.

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?

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.

Didn't they say the same thing

about Psycho?

Are you and Whit having an affair?

Oh, don't be absurd!

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!

What do you think I've been doing?

Why are you spending all the hours of day

and night with that

talentless mummy'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 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!

Consider this a reminder.

I am your wife, Alma Reville...

not one of those contract blondes

you badger and torment...

with your oh-so-specific directions.

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.

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