0:00:20 > 0:00:28This programme contains some strong language
0:00:39 > 0:00:42BIRDS CAW
0:00:51 > 0:00:54I've got an idea for the love scene,
0:00:54 > 0:00:59where the two heads will start apart and then gradually come together.
0:00:59 > 0:01:04A quick pan, do you see? From one face to the other,
0:01:04 > 0:01:05whipping the camera.
0:01:05 > 0:01:09The love scenes aren't really your problem, are they?
0:01:09 > 0:01:13Not if the morons are still asking, "Why do the birds attack?"
0:01:13 > 0:01:15TV ANNOUNCER TALKS
0:01:15 > 0:01:16Hitch...
0:01:16 > 0:01:20I like her smile.
0:01:22 > 0:01:23Call her in?
0:01:24 > 0:01:26# Dum-da-dum
0:01:26 > 0:01:28# Da-da-da-da-da-da-da-da
0:01:28 > 0:01:33# Dum-da-dum Da-da-da-da-da-da-da-da
0:01:33 > 0:01:36# Why haven't I told you?
0:01:36 > 0:01:39# Oh, baby, I've told
0:01:39 > 0:01:41# Every little star
0:01:41 > 0:01:45# Just how sweet I think you are
0:01:45 > 0:01:50# Why haven't I told you?
0:01:50 > 0:01:53# Da-dum, da-da-da-da-da-da-da
0:01:53 > 0:01:55# I've told
0:01:55 > 0:02:01# Ripples in a brook Made my heart an open book
0:02:01 > 0:02:06# Why haven't I told you? #
0:02:06 > 0:02:08Good morning, ma'am. Pass?
0:02:09 > 0:02:10Right over there.
0:02:18 > 0:02:22# Maybe, you may love me, too
0:02:22 > 0:02:26# Oh, my darling, if you do
0:02:26 > 0:02:30# Why haven't you told me?
0:02:30 > 0:02:34# Da-dum, da-da-da-da-da-da-da... #
0:02:34 > 0:02:35You do want it scary?
0:02:37 > 0:02:40I don't want a dry seat in the house.
0:02:40 > 0:02:43Going to need some bigger birds.
0:02:43 > 0:02:46Evan, tell me the story so far.
0:02:46 > 0:02:47BIRDS CAW
0:02:47 > 0:02:49So, we're on the coast.
0:02:49 > 0:02:53Bodega Bay - beautiful, but kind of remote,
0:02:53 > 0:02:57the kind of place where folks notice a stranger.
0:02:57 > 0:03:00A woman arrives, new in town, and when the birds attack,
0:03:00 > 0:03:04it's her fault.
0:03:04 > 0:03:08And that's when we reveal it's her first day teaching the local kids.
0:03:08 > 0:03:09Teaching?
0:03:10 > 0:03:11The birds attack the kids.
0:03:11 > 0:03:14Who pays our wages, Evan?
0:03:15 > 0:03:17The studio.
0:03:17 > 0:03:19The audience.
0:03:19 > 0:03:24- Who wants someone to identify with. - Who want glamour.
0:03:24 > 0:03:27PHONE RINGS
0:03:50 > 0:03:52CLOCK CHIMES THE HOUR
0:03:57 > 0:04:00- We just got going and he threw me out.- Stroke of noon.
0:04:00 > 0:04:02You'll get used to it. Next, please.
0:04:04 > 0:04:07(Right now, every blonde in town can get a lunch.)
0:04:10 > 0:04:12Miss Tippi Hedren.
0:04:15 > 0:04:18How do you do, Mr Hitchcock?
0:04:18 > 0:04:20Won't you call me Hitch?
0:04:20 > 0:04:22You're privileged.
0:04:22 > 0:04:24Peggy, everyone calls me Hitch.
0:04:24 > 0:04:27They do not.
0:04:27 > 0:04:28They wouldn't dare.
0:04:28 > 0:04:30MISS Hedren.
0:04:30 > 0:04:31DOOR CLOSES
0:04:31 > 0:04:34- Not married?- Divorced.
0:04:34 > 0:04:35Oh?
0:04:36 > 0:04:38We were very young.
0:04:38 > 0:04:42And I guess, well, Peter should have dated
0:04:42 > 0:04:44a few more girls BEFORE we were married.
0:04:44 > 0:04:47Not sure about those pearls.
0:04:47 > 0:04:52Too large for the afternoon colour of your clothes.
0:04:52 > 0:04:53Would you join me for lunch?
0:04:55 > 0:04:57I'd be delighted.
0:04:59 > 0:05:01Are you a natural blonde?
0:05:01 > 0:05:03My family is Swedish.
0:05:03 > 0:05:05And you move well.
0:05:05 > 0:05:07I've been modelling since I was 19 years old.
0:05:07 > 0:05:10Now you fancy yourself an actress?
0:05:10 > 0:05:12Your people called me, Mr...
0:05:12 > 0:05:17- Hitch.- Yes, well, they bring me lots of women.
0:05:17 > 0:05:21Many are called, you see, but few are chosen.
0:05:21 > 0:05:27Now, this is a very fine Californian Pinot noir.
0:05:27 > 0:05:30It's called "the heartbreak grape".
0:05:30 > 0:05:33Do you know why?
0:05:33 > 0:05:36Of all the grapes used to make wine,
0:05:36 > 0:05:40these are the most fragile.
0:05:40 > 0:05:45It has a very thin skin, prone to disease,
0:05:45 > 0:05:48mold, every kind of rot and virus
0:05:48 > 0:05:51known to the vintner's art.
0:05:51 > 0:05:55So growing Pinot noir is a bit like making a movie -
0:05:55 > 0:05:58heartbreak guaranteed.
0:06:00 > 0:06:03Nobody would tell me who I was coming to see.
0:06:03 > 0:06:05I just got this call and...
0:06:07 > 0:06:10But I'm just so thrilled that it's you.
0:06:10 > 0:06:12"There was a young lady of Trent,
0:06:12 > 0:06:15"Who said she knew what it meant.
0:06:15 > 0:06:20"When he asked her to dine, Private room, lots of wine,
0:06:20 > 0:06:25"She knew, oh, she knew, But she went."
0:06:32 > 0:06:33Heartbreak guaranteed.
0:06:48 > 0:06:51- Hey, Tippi!- Hi, honey!- Ah!
0:06:51 > 0:06:54- So, what was it like?- What do you think of Mommy's new hair?
0:06:54 > 0:06:55It's nice.
0:06:56 > 0:07:01- Tippi, tell me!- It was hell. - Oh, Lord. I knew it.
0:07:01 > 0:07:04Wine for lunch, a tour of the studio,
0:07:04 > 0:07:07a bunch of people coming to make a fuss about my new hair.
0:07:07 > 0:07:10Oh, you minx!
0:07:10 > 0:07:13Mr Hitchcock was a perfect English gentleman.
0:07:13 > 0:07:16Come on, Mom.
0:07:17 > 0:07:19Just no shower scenes, OK?
0:07:22 > 0:07:25Lift your head up... Head up.
0:07:25 > 0:07:28That's it. Now, in profile.
0:07:29 > 0:07:31Head up.
0:07:31 > 0:07:32Tippi.
0:07:32 > 0:07:35"Tippi", what is that?
0:07:35 > 0:07:38- It's a Swedish nickname. - Oh, really?
0:07:38 > 0:07:40- What for?- For "tupsa".
0:07:40 > 0:07:42Would you say that again, please?
0:07:42 > 0:07:44- Tupsa.- "Tupsa".
0:07:44 > 0:07:47It's an anatomical term, is it?
0:07:47 > 0:07:49MEN LAUGH
0:07:49 > 0:07:53- Meaning what? - "Little girl", in Swedish.
0:07:53 > 0:07:56All right. Move up to the fireplace.
0:07:59 > 0:08:02That's it. All the way to the fireplace.
0:08:05 > 0:08:07Back again. Come back, my dear.
0:08:11 > 0:08:14Good. Let's see a bit more shoulder. Drop the stole.
0:08:19 > 0:08:23That's good. Now, move over to Martin on the sofa.
0:08:23 > 0:08:25Bit of a sway to your hips.
0:08:25 > 0:08:27A bit more.
0:08:29 > 0:08:30That's it.
0:08:30 > 0:08:31TITTERING
0:08:33 > 0:08:38Right. Now drape yourself around him.
0:08:38 > 0:08:41Go on. You've draped yourself round a man before.
0:08:45 > 0:08:46Kiss him.
0:08:46 > 0:08:47What?
0:08:47 > 0:08:50Go on, kiss him properly.
0:09:04 > 0:09:07Cut it. Print it. Thank you, Marty.
0:09:15 > 0:09:18No, I never establish a room.
0:09:19 > 0:09:23You use a short focus lens - a 100 mill - you fall short.
0:09:23 > 0:09:25Now, look at the girl.
0:09:26 > 0:09:29- Where would you cut her with a 50? - Um...
0:09:35 > 0:09:37Got it?
0:09:38 > 0:09:39Yeah, got it.
0:09:42 > 0:09:43Thank you, Marty.
0:09:48 > 0:09:52If you need me to work more hours, you just have to ask.
0:09:52 > 0:09:54No, all I'll be doing is standing in line
0:09:54 > 0:09:56with a bunch of other blondes.
0:09:56 > 0:10:01Understudy to the second non-speaking corpse on the right.
0:10:09 > 0:10:14She's not all out there on a plate. That's what I like about her.
0:10:14 > 0:10:18A little bit of mystery. A challenge.
0:10:18 > 0:10:20A volcano waiting to go off.
0:10:22 > 0:10:24The camera loves her.
0:10:24 > 0:10:28Green eyes. I see her in a simple green suit.
0:10:28 > 0:10:29Mm.
0:10:31 > 0:10:33You like her?
0:10:40 > 0:10:42- Allow me.- Thank you.- You're welcome.
0:10:54 > 0:10:56For Mr Hitchcock.
0:10:56 > 0:10:59- They're expecting you.- Thank you.
0:11:06 > 0:11:08Tippi, my dear.
0:11:10 > 0:11:11May I present my wife.
0:11:11 > 0:11:15- Mrs Hitchcock, how lovely. - Alma, dear. Always Alma.
0:11:15 > 0:11:17Just as pretty in person as on the screen.
0:11:18 > 0:11:20Look at me. I'm a Minnesota country girl
0:11:20 > 0:11:22who thinks it never rains in Hollywood.
0:11:25 > 0:11:28You may serve the Champagne.
0:11:29 > 0:11:31Now, Tippi, my dear,
0:11:31 > 0:11:35don't pretend you haven't seen our small gift.
0:11:35 > 0:11:38You shouldn't have.
0:11:44 > 0:11:48It's a clue to what you're going to be doing for the next year.
0:11:57 > 0:12:00The Birds is coming.
0:12:00 > 0:12:07My follow-up to Psycho. It's got to be bigger, better, scarier.
0:12:07 > 0:12:13My most ambitious movie ever and we want you to star in it.
0:12:16 > 0:12:17What?
0:12:19 > 0:12:22Every actress on the planet wants to play Melanie Daniels.
0:12:22 > 0:12:25Ah, well, we don't want them. We want you.
0:12:28 > 0:12:30Oh, thank you.
0:12:31 > 0:12:33Thank you.
0:12:36 > 0:12:39No one ever believed in me that much before.
0:12:44 > 0:12:48Oh...where's my hanky?
0:12:48 > 0:12:51Now look what you've gone and done(!)
0:12:58 > 0:13:00I'll make you so proud of me.
0:13:00 > 0:13:03I'll be putty in your hands.
0:13:04 > 0:13:06You won't regret it, Hitch.
0:13:09 > 0:13:13Now, all we've got to do is hire us some birds.
0:13:19 > 0:13:22SEAGULLS CAW
0:13:26 > 0:13:28Jim, this side. Jim!
0:13:28 > 0:13:33Come on, birds! Some free food! Come and get it! Come on!
0:13:33 > 0:13:34Free food!
0:13:36 > 0:13:38Oh! Ha-ha-ha!
0:13:38 > 0:13:39Shit.
0:13:42 > 0:13:46Never did meet a gull I liked. Vulgar kind of bird.
0:13:46 > 0:13:51Is it true the old fool's hired some girl nobody's ever heard of?
0:13:51 > 0:13:53Well, the birds are the stars.
0:13:55 > 0:13:57Anyway, he'll get another blonde for the next one.
0:14:07 > 0:14:10- Is he in? - Evan, you can't just.
0:14:11 > 0:14:16- A seven-year contract? - Her inexperience is an asset.
0:14:16 > 0:14:18- She has nothing to unlearn.- God.
0:14:18 > 0:14:22Also, she's unattached, so she won't get pregnant.
0:14:22 > 0:14:25I do hate it when actresses get pregnant.
0:14:25 > 0:14:29- See, I thought you were kidding. - As is well known,
0:14:29 > 0:14:32I have no sense of humour, whatsoever.
0:14:32 > 0:14:35- She's a model, for Christ's sake! - And you're a novelist
0:14:35 > 0:14:37writing a screenplay. So you've given me
0:14:37 > 0:14:40a lot of scenes that don't work.
0:14:40 > 0:14:42Fundamentally undramatic.
0:14:42 > 0:14:45- And we still don't have an ending. - OK.
0:14:46 > 0:14:48I get it.
0:14:48 > 0:14:52Tippi Hedren isn't the only dumb blonde on this picture.
0:15:00 > 0:15:04Those finches came down that chimney in fury,
0:15:04 > 0:15:07as if they wanted everyone in the house dead.
0:15:10 > 0:15:12Those finches came down that chimney...
0:15:14 > 0:15:17Those finches came down that chimney in fury,
0:15:17 > 0:15:20as if they wanted everyone in the house dead.
0:15:20 > 0:15:23BIRDS CAW
0:15:27 > 0:15:34So, the camera finds Melanie Daniels behind the birdcage.
0:15:34 > 0:15:36With a mischievous grin on her face.
0:15:48 > 0:15:50Now, the trick of it is,
0:15:50 > 0:15:55you stand there, I point a camera at you,
0:15:55 > 0:15:57I cut the shots together
0:15:57 > 0:16:00and then the audience does the work...
0:16:00 > 0:16:01in here.
0:16:02 > 0:16:05- Do less?- Do nothing.
0:16:06 > 0:16:12So, let's try...scene 230.
0:16:16 > 0:16:19The camera holds her face.
0:16:24 > 0:16:25(Action.)
0:16:26 > 0:16:29Those finches came down that chimney in fury,
0:16:29 > 0:16:32as if they wanted everyone in the house dead.
0:16:38 > 0:16:41Just...just bring your voice down.
0:16:41 > 0:16:43Down at least three notes.
0:16:43 > 0:16:49- Mm-hmm.- Take a deep breath and then say the whole of that speech,
0:16:49 > 0:16:50without taking a breath.
0:16:56 > 0:16:58Those finches came down that chimney in fury,
0:16:58 > 0:17:00as if they wanted everyone in the house dead.
0:17:10 > 0:17:13See? Acting's not so hard.
0:17:24 > 0:17:27I usually go for something a little less pink.
0:17:27 > 0:17:29I like this colour.
0:17:29 > 0:17:31I want you to wear it every day.
0:17:32 > 0:17:35It won't suit any of my clothes.
0:17:35 > 0:17:37You'll be getting new ones.
0:17:37 > 0:17:40And not too much mascara.
0:17:40 > 0:17:45I want a natural face. Groomed. Lady-like.
0:17:48 > 0:17:51A soft glow, to reflect the light.
0:17:58 > 0:18:00Not losing weight, are you?
0:18:18 > 0:18:19Mom!
0:18:45 > 0:18:46Oh, it's beautiful!
0:18:46 > 0:18:53Now, as you see, there's a chaise longue and chairs.
0:18:53 > 0:18:55Now, you'll be sharing this dressing room
0:18:55 > 0:18:59with four other young starlets.
0:18:59 > 0:19:02Oh, now.
0:19:02 > 0:19:07Now, where have they disappeared to, those naughty girls?
0:19:11 > 0:19:13It's all mine?
0:19:14 > 0:19:18- Oh, Hitch, I don't know what to say. - Just two little words.
0:19:18 > 0:19:21- Thank you.- And yes.
0:19:21 > 0:19:27- Yes, to a glass of Champagne.- Lord, I haven't even had breakfast yet.
0:19:27 > 0:19:31Later, then. Come for cocktails at the house.
0:19:31 > 0:19:35- I'll send a car.- It's a date.
0:19:45 > 0:19:53- Shall I peel you a grape?- No, but you can bring me a mink coat.
0:19:53 > 0:19:57WOMEN LAUGH
0:20:23 > 0:20:27- Shouldn't we wait for Alma? - Just one for The Birds.
0:20:35 > 0:20:37Dry enough for you?
0:20:37 > 0:20:39SHE LAUGHS
0:20:39 > 0:20:45- Should run another screen test. - Oh?- Show you at a cocktail party,
0:20:45 > 0:20:48see what your acting is like after one of my martinis.
0:20:48 > 0:20:55- My acting will be horizontal. - Well, here's to us...
0:20:55 > 0:20:59horizontal, vertical and symmetrical.
0:21:02 > 0:21:04To Alfie and Tippi.
0:21:11 > 0:21:15To Alfie and Alma. You've both been so kind.
0:21:15 > 0:21:18I feel like I've learned more in the past three months
0:21:18 > 0:21:20than I could have in ten years of film school.
0:21:20 > 0:21:24Well, I think we should drink to birds,
0:21:24 > 0:21:26especially the ones roasting in the oven.
0:21:26 > 0:21:32To the first day of principal photography. And to the girl.
0:21:32 > 0:21:33Our girl.
0:21:36 > 0:21:40Not that one! The other one!
0:21:42 > 0:21:46SHOUTED INSTRUCTIONS BACK AND FORTH
0:21:50 > 0:21:54- Will he eat from my hand? - Why don't you ask him? Here, Buddy.
0:21:54 > 0:21:56Mr Buddy, sir, won't you join me for tea?
0:21:58 > 0:22:02- Oh, Buddy, that is so clever. - I raised him myself from a chick.
0:22:02 > 0:22:06Pound for pound, the raven and the cockatoo are the cleverest animals on the planet.
0:22:06 > 0:22:09- Can I borrow the lady for a moment? - So long as you bring her back.
0:22:11 > 0:22:14- Now I want his job. - Oh, no, you don't.
0:22:14 > 0:22:18Poor guy put out a call to every professional trapper in every state of the union.
0:22:18 > 0:22:22Offered 10 for every bird that was brought in.
0:22:22 > 0:22:27"Get your chequebook books ready," We'll bring them by the truckload." Guess how many arrived.
0:22:27 > 0:22:29- 100?- Oh, no!- 20?
0:22:29 > 0:22:35- No!- None? Oh, my gosh!- Did it all on his own and got fined
0:22:35 > 0:22:39400 for exceeding the legal limit for trapping birds.
0:22:39 > 0:22:42Oh, the guys are so funny.
0:22:42 > 0:22:45"There was a young man from Nantucket,
0:22:45 > 0:22:48"who had such a large cock he could suck it.
0:22:48 > 0:22:53"He looked in the glass and saw his own arse
0:22:53 > 0:22:55"and broke his neck trying to fuck it."
0:23:10 > 0:23:11You think maybe it's drying up?
0:23:14 > 0:23:19- Will we be shooting this afternoon? - Not unless you fix your hair.
0:23:30 > 0:23:33SEAGULLS CAW
0:23:35 > 0:23:37He's angry with me.
0:23:37 > 0:23:40He never gets angry with anyone. He just gets bored in between takes.
0:23:41 > 0:23:45- There you go. You're done. - You ready, Tippi? This way.
0:23:51 > 0:23:54I won't change my timings if you get yours wrong,
0:23:54 > 0:23:56so pay attention to the camera.
0:23:58 > 0:24:03- Let's go for a take.- Stand by, Going for a take on this one.
0:24:06 > 0:24:08Roll it!
0:24:10 > 0:24:12- Speed.- Mark it.- 130, take one.
0:24:19 > 0:24:20Action.
0:24:26 > 0:24:27Action!
0:24:42 > 0:24:43- Cut it!- Rita.
0:24:43 > 0:24:46Oh, dear. Oh, no!
0:24:46 > 0:24:49Are you all right? Are you all right?
0:24:49 > 0:24:50You goddamn idiot!
0:24:50 > 0:24:53One small peck on the hand, and he let Charlie get away.
0:24:53 > 0:24:55Let him go.
0:24:55 > 0:24:57We'll lose the scene. You don't even like gulls.
0:24:57 > 0:24:59Now, what is it?
0:24:59 > 0:25:02Jim, we can't finish the scene without him.
0:25:02 > 0:25:04Jim, for God's sakes!
0:25:04 > 0:25:08OK, OK. Sorry, Hitch. That's a wrap, everyone!
0:25:08 > 0:25:11Tippi, I'll drop your schedule off at the motel,
0:25:11 > 0:25:14- but the call is 5:30 in the morning, OK?- All right.
0:25:16 > 0:25:18See you later, Hitch.
0:25:19 > 0:25:20Never mind, my dear.
0:25:20 > 0:25:25As they say in the movies, "Tomorrow is another day".
0:25:30 > 0:25:31OK, let's go get him.
0:25:42 > 0:25:44- Ah! - Thought these birds were trained.
0:25:44 > 0:25:48And they wonder why I prefer to be tucked up
0:25:48 > 0:25:50warm and safe inside a studio.
0:25:53 > 0:25:57Well, my dear, you really mustn't worry about the weather.
0:25:57 > 0:25:59It won't be a problem.
0:25:59 > 0:26:03We're working with a sodium light system.
0:26:03 > 0:26:05I'm using it to double print the birds,
0:26:05 > 0:26:09when the quantity is too small or there's too many trained birds
0:26:09 > 0:26:12coming in and out of shot.
0:26:12 > 0:26:17We can print over the existing birds. New ones, you see.
0:26:17 > 0:26:23And in the studio, we can use the same system
0:26:23 > 0:26:26of yellow fog lights, you know.
0:26:30 > 0:26:34The camera picks up any colour images we like, you see...
0:26:37 > 0:26:39..but leaves the background black.
0:27:21 > 0:27:23Get off!
0:27:24 > 0:27:26Oh!
0:27:29 > 0:27:32Tippi? Tippi?
0:27:39 > 0:27:41Tippi. Hello!
0:27:44 > 0:27:46- Process for us in two days?- No way.
0:27:46 > 0:27:49KNOCKING
0:27:49 > 0:27:50Tippi?
0:27:53 > 0:27:54You OK?
0:27:58 > 0:28:02Hitch says, would you like to join him for a drink?
0:28:05 > 0:28:06Tippi?
0:28:08 > 0:28:09Tippi?
0:28:38 > 0:28:40Hi, Hitch... Hi, guys.
0:28:46 > 0:28:48Hi, Hitch. Hi, guys.
0:29:12 > 0:29:14BIRD CAWS
0:29:14 > 0:29:15Yes, sir.
0:29:20 > 0:29:22"A worried young man from 'Stanbul,
0:29:22 > 0:29:26"discovered red spots on his tool.
0:29:26 > 0:29:30"Said the doctor, a cynic, "Get out of my clinic,
0:29:30 > 0:29:33"Just wipe off that lipstick, you fool."
0:29:33 > 0:29:35LAUGHTER
0:29:37 > 0:29:39Not one for the ladies.
0:29:39 > 0:29:42Assuming they are ladies, of course.
0:29:42 > 0:29:46I find it's easy to claim, but a little difficult to prove.
0:29:46 > 0:29:48- Hi, Hitch. Hi, guys.- Tippi.
0:29:48 > 0:29:54Ah, Tippi. Now cast your lovely colour-coordinated
0:29:54 > 0:29:57- peepers upwards, would you? - Bring it up a bit!
0:29:57 > 0:30:01- It's just a model, right? - A mechanical bird on a wire.
0:30:01 > 0:30:05We're all faking it today. Follow me.
0:30:06 > 0:30:07Step inside.
0:30:10 > 0:30:14Room for a small one, as the actress said to the bishop.
0:30:14 > 0:30:16MEN LAUGH
0:30:17 > 0:30:22Now, all we need from you today is the foreground.
0:30:22 > 0:30:27Your reaction to the birds attacking the phone box.
0:30:29 > 0:30:32- You ready to try one?- Yes.
0:30:37 > 0:30:40Oh, you're not cold, are you?
0:30:41 > 0:30:43You seem to be trembling.
0:30:49 > 0:30:52The gulls are the people, you see, and she is the bird.
0:30:54 > 0:30:56Cameras, stand by!
0:30:56 > 0:30:58Roll it. Let's go for a take.
0:30:58 > 0:31:02- Silence on set, please! - Quiet, everyone!
0:31:04 > 0:31:05Roll 'em.
0:31:06 > 0:31:09- Speed!- 494, take one.
0:31:09 > 0:31:13- Set.- Action.
0:32:12 > 0:32:13Argh!
0:32:19 > 0:32:22Oh, my... Tippi! Tippi!
0:32:36 > 0:32:37Argh!
0:32:49 > 0:32:52Are you sure it was an accident?
0:32:52 > 0:32:56I told you, I don't know how it happened.
0:32:57 > 0:32:58Get the shot?
0:33:09 > 0:33:11I didn't ask you to come here because I was worried
0:33:11 > 0:33:14about picking glass out of my face.
0:33:14 > 0:33:16It's just one of those film-business things.
0:33:16 > 0:33:18Most girls try not to make it so personal.
0:33:18 > 0:33:21I was a model for 11 years. I learned any number of ways
0:33:21 > 0:33:26- to wriggle away from guys with cameras, but...- So?
0:33:26 > 0:33:29Have a quiet drink with Hitch tonight and show him you're OK.
0:33:29 > 0:33:33I can't keep missing my daughter's bedtime.
0:33:36 > 0:33:40One drink, Tippi. Where's the harm?
0:33:46 > 0:33:50She'll be fine. Maybe a little tired.
0:33:50 > 0:33:52Looking forward to that drink.
0:33:54 > 0:33:58Hitch? What's the matter?
0:34:06 > 0:34:09APPROACHING FOOTSTEPS
0:34:19 > 0:34:21Did you get some shots you can use today?
0:34:21 > 0:34:24Plenty. Thank you.
0:34:29 > 0:34:31Is that why we're celebrating?
0:34:31 > 0:34:38Oh, I celebrate most days I spend with you, my dear, but not today.
0:34:45 > 0:34:49I've received a letter from Her Serene Highness.
0:34:49 > 0:34:54Please, do sit down, my dear. Your fidgeting is exhausting.
0:35:02 > 0:35:05Princess Grace will not, after all, be descending from heaven
0:35:05 > 0:35:07to play my Marnie.
0:35:08 > 0:35:10Oh, Hitch. I'm so sorry.
0:35:10 > 0:35:15- I'll get another blonde. - Not like Grace Kelly.
0:35:15 > 0:35:18You have everything she has and more.
0:35:20 > 0:35:23So, shall we discuss tomorrow's scenes?
0:35:23 > 0:35:28I've been thinking about when Melanie goes up to the attic
0:35:28 > 0:35:31- filled with birds.- Why does she go up there on her own?
0:35:31 > 0:35:33Because I want her to.
0:35:33 > 0:35:37Now, what expression do we think she has on her face?
0:35:37 > 0:35:43I think she goes up there in a spirit of self-sacrifice.
0:35:43 > 0:35:48She gives herself to the birds, do you see?
0:35:48 > 0:35:49"This is all my fault.
0:35:49 > 0:35:53"Everything is ruined and it's all my fault."
0:35:55 > 0:35:59"Everything is ruined and it's all my fault."
0:36:02 > 0:36:07Sure. I'm a woman. I can do that standing on my head.
0:36:13 > 0:36:15Who needs Grace Kelly?
0:36:17 > 0:36:18Good.
0:36:25 > 0:36:30Some... Some bedtime reading.
0:36:30 > 0:36:32My next movie.
0:37:15 > 0:37:18BIRDS CAW
0:37:27 > 0:37:30This is going to be a silent murder.
0:37:30 > 0:37:35Oh, yeah. The birds attack her. She knows that's in the script.
0:37:36 > 0:37:41So, now you need to go and tell her how we're going to shoot it.
0:37:41 > 0:37:44MECHANICAL WHIRRING
0:37:46 > 0:37:47She doesn't know?
0:37:54 > 0:37:57Won't everyone be able to see the birds are fake?
0:37:57 > 0:38:02- The magic of post-production. - Unless they intend shooting it real close up, but even then...
0:38:02 > 0:38:04KNOCKING
0:38:05 > 0:38:08- Hi, Tippi.- Come on in. I need some convincing.
0:38:16 > 0:38:18Uh...
0:38:19 > 0:38:21I'm sorry.
0:38:21 > 0:38:23We can't use mechanical birds for this scene.
0:38:25 > 0:38:29I know, it's a lot of shots to get through in one day,
0:38:29 > 0:38:32but we're going to be taking them methodically.
0:38:32 > 0:38:34You'll be fine. You'll be quite safe.
0:38:34 > 0:38:35I'll always be here.
0:38:35 > 0:38:40- Just don't let them near your eyes. - OK, OK. Thank you. Through here.
0:38:41 > 0:38:43BIRDS CAW Here you go.
0:38:47 > 0:38:49Where is Hitch?
0:38:51 > 0:38:52He'll be here for the shot.
0:38:52 > 0:38:57I'd still like to know why she goes into that attic alone.
0:39:11 > 0:39:14Can we get started? Is he here yet?
0:39:15 > 0:39:19I'd quite like to get today over with.
0:39:21 > 0:39:23All right? Good boys. Do what I taught you.
0:39:23 > 0:39:27BIRDS CAW
0:39:40 > 0:39:43All right. Silence on set, everyone.
0:39:43 > 0:39:46- Picture up!- Rolling.- Speed.
0:39:46 > 0:39:48613, take one.
0:39:49 > 0:39:50Camera set.
0:39:57 > 0:39:59Action!
0:40:15 > 0:40:16Cut it!
0:40:16 > 0:40:21- All right, going again. - 613, take 3.
0:40:25 > 0:40:29- OK, we're going for another one. - 613, take 8.- Speed.
0:40:34 > 0:40:35Cut it.
0:40:37 > 0:40:41- Standing by, everybody. - 613, take 17.
0:40:41 > 0:40:43Rolling.
0:40:44 > 0:40:48SHE SCREAMS
0:40:53 > 0:40:55SHE SCREAMS
0:41:01 > 0:41:02Cut it.
0:41:05 > 0:41:10- Morning, sir.- Stand by, everybody! - Picture up.- Take 23.
0:41:13 > 0:41:14Going again!
0:41:20 > 0:41:22You don't think she might have had enough?
0:41:22 > 0:41:25Bob, I'd keep your opinions to yourself.
0:41:25 > 0:41:30- Take 37.- 613. - Going again!- 613.- Take 42.
0:41:30 > 0:41:35- First positions, please, Tippi! - Good morning, Mr Hitchcock.
0:41:35 > 0:41:36- Picture up!- Take 45.
0:41:48 > 0:41:53- Are you OK to go for another one? - She's fine, Jim. Go again.
0:42:02 > 0:42:04Yeah. Yeah.
0:42:10 > 0:42:12Let's have all the birds in this time.
0:42:14 > 0:42:15All right, silence on set, please!
0:42:15 > 0:42:20BIRDS CAW INCREASINGLY LOUDER
0:42:34 > 0:42:35Action.
0:43:03 > 0:43:05SHE SCREAMS
0:43:44 > 0:43:45Cut it.
0:44:04 > 0:44:06Tippi!
0:44:06 > 0:44:09Tippi! You can't drive yourself, honey!
0:44:09 > 0:44:15- It's OK. Whatever she wants. - One day.
0:44:15 > 0:44:17I heard you tell her it would only take one day, Jim.
0:44:43 > 0:44:47Did you hear what I said? It clawed her eye.
0:44:47 > 0:44:52She was told one day with mechanical birds and special effects.
0:44:52 > 0:44:55Instead, she got five days, with real birds, thrown at her,
0:44:55 > 0:44:57- pecking and shitting.- She'll be back.
0:45:05 > 0:45:07PHONE RINGS
0:45:32 > 0:45:34Hey! Mommy's home early.
0:45:39 > 0:45:43- Is this to be thrown out? - I'm hungry.
0:45:43 > 0:45:46Can I have a chocolate cookie? Please?
0:45:55 > 0:45:59- Look, I can stay. - No need. I'm fine. Come on.
0:46:03 > 0:46:05Are you sure?
0:46:14 > 0:46:15Mom?
0:46:22 > 0:46:23There's no answer.
0:46:35 > 0:46:37Ladybug, ladybug, fly away.
0:46:37 > 0:46:42Your house is on fire, and your children are gone.
0:46:42 > 0:46:43Mom?
0:46:43 > 0:46:45Mom.
0:46:49 > 0:46:52Ladybug, ladybug, fly away.
0:46:52 > 0:46:56Your house is on fire, and your children are gone.
0:47:12 > 0:47:14Mom!
0:47:14 > 0:47:16I got you water.
0:47:22 > 0:47:28Mom! Wake up! Mom!
0:47:28 > 0:47:31BIRDS WINGS FLAP
0:47:46 > 0:47:48I'm so sorry.
0:47:55 > 0:47:57Doctor's orders.
0:47:57 > 0:48:01She'll be off for the rest of the week.
0:48:01 > 0:48:07So, production's shut down. That's a first.
0:48:26 > 0:48:30There's no way he made up his mind on the day to use real birds.
0:48:30 > 0:48:34Stuff like that takes forever to organise.
0:48:34 > 0:48:39He knew, Jo. He knew and he never told me.
0:48:42 > 0:48:48Tippi, walk away. Come on.
0:48:50 > 0:48:54You can take Melanie and pack up your stuff and go back to New York
0:48:54 > 0:48:56and modelling and your old life and be happy.
0:49:18 > 0:49:20Something you must see.
0:49:38 > 0:49:40Welcome back, Tippi.
0:49:40 > 0:49:41Welcome back.
0:49:41 > 0:49:43Nice to see you back, Tippi.
0:49:44 > 0:49:46Let's finish this picture.
0:50:24 > 0:50:27So you see, it was worth it.
0:50:27 > 0:50:28All the pain.
0:50:28 > 0:50:31All the fear and the loneliness.
0:50:31 > 0:50:36I know I've put you through some hard times.
0:50:36 > 0:50:38Look at you now.
0:50:41 > 0:50:43The point being, my dear,
0:50:43 > 0:50:48there's only so much I can teach you through kindness.
0:50:48 > 0:50:51Is this an apology?
0:50:51 > 0:50:55For doing whatever it took to turn you into a movie star?
0:50:57 > 0:50:59Thank you.
0:51:04 > 0:51:07CHEERING AND APPLAUSE
0:51:53 > 0:52:00So here's the girl, walking away from us,
0:52:00 > 0:52:06walking away from the camera, down a long platform.
0:52:06 > 0:52:12We follow her, all along the platform,
0:52:12 > 0:52:15where's she's waiting for the train.
0:52:15 > 0:52:17She has dark hair.
0:52:17 > 0:52:23Dark. And a bright yellow purse.
0:52:23 > 0:52:31The brightest yellow you can think of, so we watch that purse.
0:52:31 > 0:52:32We're obsessed with that purse.
0:52:32 > 0:52:37We're asking ourselves, "What's in the purse?"
0:52:42 > 0:52:46And, uh, that's it, is it?
0:52:46 > 0:52:51- Hmm.- Act one, scene one, of Marnie.
0:52:51 > 0:52:54- How about the other 100 minutes? - That's Evan's job.
0:52:54 > 0:52:58Uh, she's a complex character -
0:52:58 > 0:53:03a thief, a liar - and Marnie can't let any man near her.
0:53:03 > 0:53:08- It's because of childhood trauma. - Frigid, you see?
0:53:08 > 0:53:11No, just scared, surely.
0:53:19 > 0:53:24But she gets rescued by the love of a good man, right? I'm just guessing.
0:53:24 > 0:53:28- Sure.- Maybe.
0:53:35 > 0:53:38Surely to God she hasn't let the old fool anywhere near her.
0:53:38 > 0:53:43- Of course not. - Is she leading him on?- No.
0:53:43 > 0:53:46- Can't help being a pretty girl. - They're all pretty.
0:53:46 > 0:53:49Grace was pretty, Ingrid was pretty.
0:53:55 > 0:53:58OK, what's she got, Peggy?
0:53:58 > 0:54:01What's this one got that's so bloody special?
0:54:04 > 0:54:08Whatever he throws at her,
0:54:08 > 0:54:11however he provokes her...
0:54:11 > 0:54:18..she makes him feel he can't hurt her.
0:54:22 > 0:54:26She's in a negligee. He's in a shirt and pants.
0:54:26 > 0:54:33Now, all through this, I think we should play her quite unresponsive,
0:54:33 > 0:54:36until right at the bottom, when he goes to kiss her.
0:54:36 > 0:54:39Now, it breaks.
0:54:39 > 0:54:41"I can't. I can't. I can't."
0:54:41 > 0:54:45- Like it repulses her? - Now he's really getting mad.
0:54:45 > 0:54:49He'd been very sweet, very patient, nothing yielding from her at all.
0:54:49 > 0:54:53"If you don't want to go to bed, please get out."
0:54:53 > 0:54:56"But I DO want to go to bed."
0:54:57 > 0:55:01And now, he goes around her, and quite sharp,
0:55:01 > 0:55:04her hands come up to ward him off,
0:55:04 > 0:55:07and the negligee falls to the ground.
0:55:15 > 0:55:19And she has no expression on her face, at all.
0:55:19 > 0:55:21She shouldn't have.
0:55:21 > 0:55:23I'm on a big head.
0:55:30 > 0:55:32KNOCKING
0:55:32 > 0:55:35- And?- He says yes.
0:55:35 > 0:55:39- As long as his part is as big as Tippi's.- Who?
0:55:39 > 0:55:45- Sean Connery.- Sean Connery that just got out of Doctor No? - You have a problem with that?
0:55:45 > 0:55:48No, sir, but Marnie is supposed to be frigid.
0:55:50 > 0:55:52It's called acting, my dear.
0:55:52 > 0:55:55I'm going to have to give my best block of marble.
0:55:55 > 0:55:59Once upon a time, there was a sculptor who made a beautiful statue
0:55:59 > 0:56:04- out of marble...- I don't want to miss my daughter's bedtime. - Fell in love with his own creation.
0:56:04 > 0:56:07But the gods looked kindly on him and brought her to life,
0:56:07 > 0:56:09and they lived happily ever after.
0:56:09 > 0:56:12Goodnight, Hitch. Goodnight, Peggy.
0:56:19 > 0:56:21It just doesn't work for me, Hitch.
0:56:21 > 0:56:26I don't believe it. I don't believe that guy would rape his own wife on their wedding night,
0:56:26 > 0:56:31so, in my version, he comforts Marnie. Helps her.
0:56:31 > 0:56:34That's not what I asked you for.
0:56:34 > 0:56:40Use the version I wrote for you and why would the audience have any sympathy for him at all?
0:56:40 > 0:56:46I've told you before, Evan, sympathy is not the point.
0:56:46 > 0:56:52When he sticks it in her, I want that camera right on her face.
0:56:56 > 0:56:59FOOTSTEPS
0:57:00 > 0:57:07- Look at you. Look at Marnie. - It's just so much harder this time.
0:57:07 > 0:57:12He chose you, honey. Now, he chose you again.
0:57:12 > 0:57:15He's like a fairytale person, don't you think?
0:57:15 > 0:57:18I like to think of him like a handsome prince
0:57:18 > 0:57:20trapped forever in a frog suit.
0:57:23 > 0:57:24Tippi...
0:57:26 > 0:57:30..this time round, won't you try to love him just a little bit?
0:57:32 > 0:57:33Hmm?
0:57:35 > 0:57:38"There was a young girl from Sofia,
0:57:38 > 0:57:41"who succumbed to her lover's desire.
0:57:41 > 0:57:45"She said, "It's a sin, but now that it's in,
0:57:45 > 0:57:46"do shove it a few inches higher."
0:57:46 > 0:57:48LAUGHTER
0:57:48 > 0:57:50Tired of hearing the same old jokes again?
0:57:52 > 0:57:54Everybody loves him, don't they?
0:57:54 > 0:57:57When he's not driving us all crazy.
0:58:00 > 0:58:05Got to tell you, Tippi, you look beautiful today.
0:58:05 > 0:58:08Just today?
0:58:08 > 0:58:12I don't know, I just never get to see you with your hair loose like that.
0:58:12 > 0:58:18Short answer? This is just the way Hitch wants me today.
0:58:18 > 0:58:22- Long answer?- Long story.
0:58:22 > 0:58:27Jim, Tippi, may I trouble you two lovebirds
0:58:27 > 0:58:30while we attempt to make this movie?
0:58:32 > 0:58:35Now then, Tippi, I'll probably bring the camera in here close,
0:58:35 > 0:58:40so we see for the first time what stress she's under.
0:58:40 > 0:58:45This man is serious, it's too dangerous, so she walks over here.
0:58:45 > 0:58:50I think, you see, she's not really repulsed by him, not really.
0:58:50 > 0:58:53I think it's what is within her that stops her.
0:58:53 > 0:58:56You do understand that, don't you?
0:59:03 > 0:59:04Touch me.
0:59:05 > 0:59:07What?
0:59:09 > 0:59:11No-one can see us.
0:59:14 > 0:59:16Can we just do the scene?
0:59:18 > 0:59:20Touch me.
0:59:42 > 0:59:49I just... I just don't think you can force these things.
0:59:53 > 0:59:56What do you know about it?
0:59:56 > 0:59:59Look at you.
0:59:59 > 1:00:01Back end of a bus.
1:00:13 > 1:00:16Fancy a drink, Jim?
1:00:16 > 1:00:18I should really be getting home.
1:00:18 > 1:00:20TYPEWRITER KEYS CLACKS
1:00:20 > 1:00:23SHE SOBS
1:00:29 > 1:00:35Maybe she's just, sort of, concentrating on her career right now.
1:00:36 > 1:00:40Or is it because I'm a porker?
1:00:40 > 1:00:44Like two balloons tied together.
1:00:44 > 1:00:51Someone wrote that in a newspaper. "Walrus dressed like a man."
1:00:55 > 1:00:58I've seen you flirting with her.
1:01:00 > 1:01:03We all flirt with her, Hitch.
1:01:03 > 1:01:05We all like to see that pretty smile.
1:01:05 > 1:01:07Cold, though.
1:01:07 > 1:01:10- No.- Frigid.
1:01:12 > 1:01:15- No.- Not to you?
1:01:16 > 1:01:17You been there, Jim?
1:01:17 > 1:01:18No!
1:01:21 > 1:01:22I'm a married man, Hitch.
1:01:26 > 1:01:29You would, though, wouldn't you?
1:01:29 > 1:01:32You'd get your leg over, if she'd let you.
1:01:32 > 1:01:34I bet she would let you, too.
1:01:51 > 1:01:52Alma.
1:01:52 > 1:01:58I was on my way to see you. I... just wanted to say that...
1:01:58 > 1:02:02I wanted to say I'm sorry you're having to go through this.
1:02:05 > 1:02:07You can stop it.
1:02:07 > 1:02:12You're the only one who could stop it with one word. Won't you?
1:02:13 > 1:02:15Alma, please.
1:02:22 > 1:02:25My wife is an excellent cook. Did you know that?
1:02:25 > 1:02:30Yeah, sure did, Hitch. She's a wonderful woman.
1:02:32 > 1:02:35I've never had sex with anybody else.
1:02:37 > 1:02:40People don't believe me.
1:02:40 > 1:02:43They think I say it to shock.
1:02:43 > 1:02:46It's true.
1:02:49 > 1:02:53I think I can move the seat back a little.
1:02:53 > 1:02:56The only woman I've ever known.
1:02:58 > 1:03:01Years ago, of course.
1:03:04 > 1:03:07There you go. Watch your head.
1:03:07 > 1:03:09Can't get it up now.
1:03:14 > 1:03:15Impotent.
1:03:52 > 1:03:56SIREN
1:04:00 > 1:04:03It's OK, Hitch. They're not coming for us.
1:04:03 > 1:04:06What, you don't trust me to get you home?
1:04:09 > 1:04:10Come on, Hitch.
1:04:29 > 1:04:34Every night, I lock myself into my room,
1:04:34 > 1:04:36as if there's a madman on the other side,
1:04:36 > 1:04:39waiting to slit my throat.
1:04:46 > 1:04:48Let's get you inside, huh?
1:05:02 > 1:05:04Hold on to me.
1:05:04 > 1:05:05Here.
1:05:09 > 1:05:11Uh-oh.
1:05:14 > 1:05:18Mrs Hitchcock, hi. Sorry if we disturbed you.
1:05:20 > 1:05:24If she wants me to lose weight, she should stop cooking my favourite things.
1:05:24 > 1:05:27JIM LAUGHS
1:05:28 > 1:05:30I'd give it all up, Jim.
1:05:30 > 1:05:35I'd give up the films, money, everything I've ever done...
1:05:35 > 1:05:39Ah, no. No girl is worth that.
1:05:39 > 1:05:44..to be like you.
1:05:44 > 1:05:45To look like you.
1:06:12 > 1:06:17OK, everybody, going for a take. That means closed set.
1:06:17 > 1:06:19So everybody clear out, please.
1:06:19 > 1:06:23Closed set. Thank you very much.
1:06:25 > 1:06:29Stand by. Roll 'em.
1:06:29 > 1:06:33- Speed!- Scene 331, take one.
1:06:33 > 1:06:36- Mark.- Set.
1:06:39 > 1:06:40Action.
1:06:46 > 1:06:47No!
1:07:56 > 1:07:58CRACK / HORN BLOWS
1:07:59 > 1:08:01I declare, I've eaten so much...
1:08:03 > 1:08:0537 years, you and me.
1:08:08 > 1:08:11Happy anniversary, Hitch.
1:08:23 > 1:08:26- It was a wonderful dinner. - You're welcome, honey.
1:08:30 > 1:08:32Happy holidays, everyone.
1:08:42 > 1:08:45PHONE RINGS
1:08:46 > 1:08:47Oh, come on.
1:08:58 > 1:09:02You have to stop this. It's Christmas Day. I'm with my family.
1:09:02 > 1:09:04'So am I.'
1:09:05 > 1:09:07Murder, isn't it?
1:09:08 > 1:09:11I've taken refuge in my bedroom.
1:09:11 > 1:09:12'How about you?'
1:09:12 > 1:09:14Busy in the kitchen.
1:09:14 > 1:09:18'No. It's too quiet.'
1:09:18 > 1:09:21Well, I hope you're having a good day, but I have to get back now.
1:09:22 > 1:09:26I only get through thinking about next Christmas.
1:09:28 > 1:09:32Next year, everything will be different.
1:09:33 > 1:09:35'Alma will understand.
1:09:37 > 1:09:42'We travel the whole world filming and...'
1:09:42 > 1:09:44HANGS UP PHONE
1:09:56 > 1:09:57She's been like a sister to me.
1:09:57 > 1:10:02It's just, that's all she's ever been, really.
1:10:02 > 1:10:05I only married her because she asked me to.
1:10:13 > 1:10:16The day she ever drops her knickers, you'll run a mile.
1:10:34 > 1:10:40- How long?- Since the beginning. - Why didn't you tell me?
1:10:40 > 1:10:42How could I tell you?
1:10:42 > 1:10:44I have to be professional. I have to do my job.
1:10:44 > 1:10:47I can't go running for help, like some silly little girl.
1:10:47 > 1:10:50I can deal with it. I've always been able to deal with it.
1:10:55 > 1:10:57I've tried everything, Jo.
1:11:06 > 1:11:09After Christmas, we shoot the disguise scenes.
1:11:11 > 1:11:12So?
1:11:14 > 1:11:17And Marnie dyes her hair.
1:11:29 > 1:11:32CAR DOOR CLOSES / ENGINE STARTS
1:11:54 > 1:11:57BIRDS CAW
1:12:01 > 1:12:03Hitch?
1:12:05 > 1:12:06Hitch?
1:12:12 > 1:12:15DOLEFUL CLASSICAL MUSIC
1:12:32 > 1:12:33She came back before.
1:12:35 > 1:12:39- She left before? - When she had cancer.
1:12:40 > 1:12:44She was so ill, but she came back.
1:12:48 > 1:12:51Peggy, I'm lost without her.
1:12:54 > 1:12:57You should tell her that, not me.
1:14:33 > 1:14:36Sex has never been very important to me.
1:14:39 > 1:14:42It's for the kids, don't you think?
1:14:43 > 1:14:49For the kids...and the movies.
1:14:59 > 1:15:01Oh, look.
1:15:01 > 1:15:05The moon is full tonight.
1:15:05 > 1:15:09It reminds me of my favourite fantasy about you.
1:15:09 > 1:15:14You and I are standing together in my living room, at home.
1:15:14 > 1:15:16Do you remember?
1:15:16 > 1:15:21When we had cocktails, and the rays of the moon
1:15:21 > 1:15:27are coming in, enveloping us.
1:15:31 > 1:15:34Me and you, Tippi.
1:15:34 > 1:15:40With the moon shining in your beautiful hair.
1:15:47 > 1:15:49Don't say it.
1:15:49 > 1:15:51- I love you.- No.
1:16:02 > 1:16:04I love you, too.
1:16:06 > 1:16:08I love you, Hitch.
1:16:27 > 1:16:30Whoa! That's different.
1:16:30 > 1:16:35It's not me. I don't like it.
1:16:36 > 1:16:38I thought it would make it easier.
1:16:38 > 1:16:40I thought as soon as I stopped being blonde,
1:16:40 > 1:16:43but now it's like I'm losing me.
1:16:43 > 1:16:45- Hey, hey, hey. Don't... - No, it's OK. I'll be OK.
1:16:45 > 1:16:49Just don't be nice to me. If you're nice to me, I'll fall apart.
1:16:49 > 1:16:55Just tell me... Just tell me I'm still here.
1:16:56 > 1:16:58Come here.
1:17:01 > 1:17:04Can I tell you what it's like, Jim?
1:17:04 > 1:17:09It's like... It's like he wants...
1:17:09 > 1:17:11he wants to get inside me...
1:17:12 > 1:17:16..all the way inside me and squeeze me out
1:17:16 > 1:17:18till there's nothing of me left...
1:17:20 > 1:17:22..and he's the one looking out of my eyes.
1:17:30 > 1:17:33SHE WAILS
1:17:45 > 1:17:47Cut it.
1:17:56 > 1:17:57Come on.
1:17:57 > 1:17:59OK, that's martinis for everyone.
1:18:00 > 1:18:03Thank you very much, everybody.
1:18:03 > 1:18:07You're up against Maggie Smith and Ursula Andress,
1:18:07 > 1:18:10nominated as one of the Stars of Tomorrow. Congratulations, Tippi!
1:18:10 > 1:18:14- APPLAUSE - The Golden Globes! - Nice job, Tippi!
1:18:14 > 1:18:15Well done, Tippi.
1:18:47 > 1:18:50KNOCKING
1:18:50 > 1:18:51Come in.
1:18:57 > 1:19:02What can I do for you, oh, Star of Tomorrow?
1:19:02 > 1:19:07I would like you to give me two days off, please, so I may attend the ceremony in New York.
1:19:07 > 1:19:11Wet rat leaves sinking ship.
1:19:11 > 1:19:15It's the first time I've asked you for anything in three years.
1:19:15 > 1:19:18No, you don't ask straight out. No, but...
1:19:18 > 1:19:21you've taken plenty, haven't you?
1:19:21 > 1:19:25Taken the money, taken the attention.
1:19:27 > 1:19:30Don't you think it's time you gave something back?
1:19:34 > 1:19:41From now on, I want you to make yourself sexually available to me at all times.
1:19:41 > 1:19:47Whatever I want you to do, whenever I want you to do it.
1:19:49 > 1:19:53Because I think that's only fair reward, given what I've done for you.
1:19:56 > 1:19:59So that's all it ever was.
1:19:59 > 1:20:00No.
1:20:05 > 1:20:08It's all you ever let us be.
1:20:20 > 1:20:22Tippi and Alfie.
1:20:29 > 1:20:30No.
1:20:38 > 1:20:40I want out of my contract.
1:20:44 > 1:20:49Well, you can't get out of it, can you?
1:20:50 > 1:20:52No-one will hire you.
1:20:52 > 1:20:57And what about your child and your parents in Minnesota?
1:20:57 > 1:20:59We'll survive.
1:20:59 > 1:21:05Tippi Hedren didn't have it. Alfred Hitchcock did his best,
1:21:05 > 1:21:10but she just didn't have the volcano inside.
1:21:10 > 1:21:16Sadly, her career went nowhere after she parted from the man
1:21:16 > 1:21:18to whom she owed everything.
1:21:28 > 1:21:30Cold as marble.
1:21:34 > 1:21:35No.
1:21:40 > 1:21:43No, you had that whole thing the wrong way around, Hitch.
1:21:46 > 1:21:48You took a living, breathing woman...
1:21:49 > 1:21:51..and you turned her into a statue.
1:22:44 > 1:22:46I'm not sure about the kiss.
1:22:48 > 1:22:50I don't think she'd give in to him like that.
1:22:54 > 1:22:58I was thinking I could go back to coming down to the set a bit more often.
1:22:58 > 1:23:02You could use the support, especially on the story structure,
1:23:02 > 1:23:04and I could use the entertainment.
1:23:11 > 1:23:12You left without a word.
1:23:35 > 1:23:39- You can change your mind, you know. - You're watching my last scene.
1:23:44 > 1:23:47First position, please, Tippi.
1:23:54 > 1:23:56All right, stop the work, please!
1:23:56 > 1:23:57Picture up!
1:23:59 > 1:24:00Silence on set!
1:24:01 > 1:24:03Stand by.
1:24:10 > 1:24:16- Roll 'em.- Speed. - Scene one, take one.- Mark.- Set.
1:24:25 > 1:24:26Action.
1:25:13 > 1:25:14Hitch.
1:25:18 > 1:25:19Cut it.
1:25:19 > 1:25:22SHE SIGHS
1:26:21 > 1:26:22Cut.
1:27:00 > 1:27:03Subtitles by Red Bee Media Ltd