The Girl

This programme contains some strong language

BIRDS CAW

I've got an idea for the love scene,

where the two heads will start apart and then gradually come together.

A quick pan, do you see? From one face to the other,

whipping the camera.

The love scenes aren't really your problem, are they?

Not if the morons are still asking, "Why do the birds attack?"

TV ANNOUNCER TALKS

Hitch...

I like her smile.

Call her in?

# Dum-da-dum

# Da-da-da-da-da-da-da-da

# Dum-da-dum Da-da-da-da-da-da-da-da

# Why haven't I told you?

# Oh, baby, I've told

# Every little star

# Just how sweet I think you are

# Why haven't I told you?

# Da-dum, da-da-da-da-da-da-da

# I've told

# Ripples in a brook Made my heart an open book

# Why haven't I told you? #

Good morning, ma'am. Pass?

Right over there.

# Maybe, you may love me, too

# Oh, my darling, if you do

# Why haven't you told me?

# Da-dum, da-da-da-da-da-da-da... #

You do want it scary?

I don't want a dry seat in the house.

Going to need some bigger birds.

Evan, tell me the story so far.

BIRDS CAW

So, we're on the coast.

Bodega Bay - beautiful, but kind of remote,

the kind of place where folks notice a stranger.

A woman arrives, new in town, and when the birds attack,

it's her fault.

And that's when we reveal it's her first day teaching the local kids.

Teaching?

The birds attack the kids.

Who pays our wages, Evan?

The studio.

The audience.

-Who wants someone to identify with.

-Who want glamour.

PHONE RINGS

CLOCK CHIMES THE HOUR

-We just got going and he threw me out.

-Stroke of noon.

You'll get used to it. Next, please.

(Right now, every blonde in town can get a lunch.)

Miss Tippi Hedren.

How do you do, Mr Hitchcock?

Won't you call me Hitch?

You're privileged.

Peggy, everyone calls me Hitch.

They do not.

They wouldn't dare.

MISS Hedren.

DOOR CLOSES

-Not married?

-Divorced.

Oh?

We were very young.

And I guess, well, Peter should have dated

a few more girls BEFORE we were married.

Not sure about those pearls.

Too large for the afternoon colour of your clothes.

Would you join me for lunch?

I'd be delighted.

Are you a natural blonde?

My family is Swedish.

And you move well.

I've been modelling since I was 19 years old.

Now you fancy yourself an actress?

Your people called me, Mr...

-Hitch.

-Yes, well, they bring me lots of women.

Many are called, you see, but few are chosen.

Now, this is a very fine Californian Pinot noir.

It's called "the heartbreak grape".

Do you know why?

Of all the grapes used to make wine,

these are the most fragile.

It has a very thin skin, prone to disease,

mold, every kind of rot and virus

known to the vintner's art.

So growing Pinot noir is a bit like making a movie -

heartbreak guaranteed.

Nobody would tell me who I was coming to see.

I just got this call and...

But I'm just so thrilled that it's you.

"There was a young lady of Trent,

"Who said she knew what it meant.

"When he asked her to dine, Private room, lots of wine,

"She knew, oh, she knew, But she went."

Heartbreak guaranteed.

-Hey, Tippi!

-Hi, honey!

-Ah!

-So, what was it like?

-What do you think of Mommy's new hair?

It's nice.

-Tippi, tell me!

-It was hell.

-Oh, Lord. I knew it.

Wine for lunch, a tour of the studio,

a bunch of people coming to make a fuss about my new hair.

Oh, you minx!

Mr Hitchcock was a perfect English gentleman.

Come on, Mom.

Just no shower scenes, OK?

Lift your head up... Head up.

That's it. Now, in profile.

Head up.

Tippi.

"Tippi", what is that?

-It's a Swedish nickname.

-Oh, really?

-What for?

-For "tupsa".

Would you say that again, please?

-Tupsa.

-"Tupsa".

It's an anatomical term, is it?

MEN LAUGH

-Meaning what?

-"Little girl", in Swedish.

All right. Move up to the fireplace.

That's it. All the way to the fireplace.

Back again. Come back, my dear.

Good. Let's see a bit more shoulder. Drop the stole.

That's good. Now, move over to Martin on the sofa.

Bit of a sway to your hips.

A bit more.

That's it.

TITTERING

Right. Now drape yourself around him.

Go on. You've draped yourself round a man before.

Kiss him.

What?

Go on, kiss him properly.

Cut it. Print it. Thank you, Marty.

No, I never establish a room.

You use a short focus lens - a 100 mill - you fall short.

Now, look at the girl.

-Where would you cut her with a 50?

-Um...

Got it?

Yeah, got it.

Thank you, Marty.

If you need me to work more hours, you just have to ask.

No, all I'll be doing is standing in line

with a bunch of other blondes.

Understudy to the second non-speaking corpse on the right.

She's not all out there on a plate. That's what I like about her.

A little bit of mystery. A challenge.

A volcano waiting to go off.

The camera loves her.

Green eyes. I see her in a simple green suit.

Mm.

You like her?

-Allow me.

-Thank you.

-You're welcome.

For Mr Hitchcock.

-They're expecting you.

-Thank you.

Tippi, my dear.

May I present my wife.

-Mrs Hitchcock, how lovely.

-Alma, dear. Always Alma.

Just as pretty in person as on the screen.

Look at me. I'm a Minnesota country girl

who thinks it never rains in Hollywood.

You may serve the Champagne.

Now, Tippi, my dear,

don't pretend you haven't seen our small gift.

You shouldn't have.

It's a clue to what you're going to be doing for the next year.

The Birds is coming.

My follow-up to Psycho. It's got to be bigger, better, scarier.

My most ambitious movie ever and we want you to star in it.

What?

Every actress on the planet wants to play Melanie Daniels.

Ah, well, we don't want them. We want you.

Oh, thank you.

Thank you.

No one ever believed in me that much before.

Oh...where's my hanky?

Now look what you've gone and done(!)

I'll make you so proud of me.

I'll be putty in your hands.

You won't regret it, Hitch.

Now, all we've got to do is hire us some birds.

SEAGULLS CAW

Jim, this side. Jim!

Come on, birds! Some free food! Come and get it! Come on!

Free food!

Oh! Ha-ha-ha!

Shit.

Never did meet a gull I liked. Vulgar kind of bird.

Is it true the old fool's hired some girl nobody's ever heard of?

Well, the birds are the stars.

Anyway, he'll get another blonde for the next one.

-Is he in?

-Evan, you can't just.

-A seven-year contract?

-Her inexperience is an asset.

-She has nothing to unlearn.

-God.

Also, she's unattached, so she won't get pregnant.

I do hate it when actresses get pregnant.

-See, I thought you were kidding.

-As is well known,

I have no sense of humour, whatsoever.

-She's a model, for Christ's sake!

-And you're a novelist

writing a screenplay. So you've given me

a lot of scenes that don't work.

Fundamentally undramatic.

-And we still don't have an ending.

-OK.

I get it.

Tippi Hedren isn't the only dumb blonde on this picture.

Those finches came down that chimney in fury,

as if they wanted everyone in the house dead.

Those finches came down that chimney...

Those finches came down that chimney in fury,

as if they wanted everyone in the house dead.

BIRDS CAW

So, the camera finds Melanie Daniels behind the birdcage.

With a mischievous grin on her face.

Now, the trick of it is,

you stand there, I point a camera at you,

I cut the shots together

and then the audience does the work...

in here.

-Do less?

-Do nothing.

So, let's try...scene 230.

The camera holds her face.

(Action.)

Those finches came down that chimney in fury,

as if they wanted everyone in the house dead.

Just...just bring your voice down.

Down at least three notes.

-Mm-hmm.

-Take a deep breath and then say the whole of that speech,

without taking a breath.

Those finches came down that chimney in fury,

as if they wanted everyone in the house dead.

See? Acting's not so hard.

I usually go for something a little less pink.

I like this colour.

I want you to wear it every day.

It won't suit any of my clothes.

You'll be getting new ones.

And not too much mascara.

I want a natural face. Groomed. Lady-like.

A soft glow, to reflect the light.

Not losing weight, are you?

Mom!

Oh, it's beautiful!

Now, as you see, there's a chaise longue and chairs.

Now, you'll be sharing this dressing room

with four other young starlets.

Oh, now.

Now, where have they disappeared to, those naughty girls?

It's all mine?

-Oh, Hitch, I don't know what to say.

-Just two little words.

-Thank you.

-And yes.

-Yes, to a glass of Champagne.

-Lord, I haven't even had breakfast yet.

Later, then. Come for cocktails at the house.

-I'll send a car.

-It's a date.

-Shall I peel you a grape?

-No, but you can bring me a mink coat.

WOMEN LAUGH

-Shouldn't we wait for Alma?

-Just one for The Birds.

Dry enough for you?

SHE LAUGHS

-Should run another screen test.

-Oh?

-Show you at a cocktail party,

see what your acting is like after one of my martinis.

-My acting will be horizontal.

-Well, here's to us...

horizontal, vertical and symmetrical.

To Alfie and Tippi.

To Alfie and Alma. You've both been so kind.

I feel like I've learned more in the past three months

than I could have in ten years of film school.

Well, I think we should drink to birds,

especially the ones roasting in the oven.

To the first day of principal photography. And to the girl.

Our girl.

Not that one! The other one!

SHOUTED INSTRUCTIONS BACK AND FORTH

-Will he eat from my hand?

-Why don't you ask him? Here, Buddy.

Mr Buddy, sir, won't you join me for tea?

-Oh, Buddy, that is so clever.

-I raised him myself from a chick.

Pound for pound, the raven and the cockatoo are the cleverest animals on the planet.

-Can I borrow the lady for a moment?

-So long as you bring her back.

-Now I want his job.

-Oh, no, you don't.

Poor guy put out a call to every professional trapper in every state of the union.

Offered 10 for every bird that was brought in.

"Get your chequebook books ready," We'll bring them by the truckload." Guess how many arrived.

-100?

-Oh, no!

-20?

-No!

-None? Oh, my gosh!

-Did it all on his own and got fined

400 for exceeding the legal limit for trapping birds.

Oh, the guys are so funny.

"There was a young man from Nantucket,

"who had such a large cock he could suck it.

"He looked in the glass and saw his own arse

"and broke his neck trying to fuck it."

You think maybe it's drying up?

-Will we be shooting this afternoon?

-Not unless you fix your hair.

SEAGULLS CAW

He's angry with me.

He never gets angry with anyone. He just gets bored in between takes.

-There you go. You're done.

-You ready, Tippi? This way.

I won't change my timings if you get yours wrong,

so pay attention to the camera.

-Let's go for a take.

-Stand by, Going for a take on this one.

Roll it!

-Speed.

-Mark it.

-130, take one.

Action.

Action!

-Cut it!

-Rita.

Oh, dear. Oh, no!

Are you all right? Are you all right?

You goddamn idiot!

One small peck on the hand, and he let Charlie get away.

Let him go.

We'll lose the scene. You don't even like gulls.

Now, what is it?

Jim, we can't finish the scene without him.

Jim, for God's sakes!

OK, OK. Sorry, Hitch. That's a wrap, everyone!

Tippi, I'll drop your schedule off at the motel,

-but the call is 5:30 in the morning, OK?

-All right.

See you later, Hitch.

Never mind, my dear.

As they say in the movies, "Tomorrow is another day".

OK, let's go get him.

-Ah!

-Thought these birds were trained.

And they wonder why I prefer to be tucked up

warm and safe inside a studio.

Well, my dear, you really mustn't worry about the weather.

It won't be a problem.

We're working with a sodium light system.

I'm using it to double print the birds,

when the quantity is too small or there's too many trained birds

coming in and out of shot.

We can print over the existing birds. New ones, you see.

And in the studio, we can use the same system

of yellow fog lights, you know.

The camera picks up any colour images we like, you see...

..but leaves the background black.

Get off!

Oh!

Tippi? Tippi?

Tippi. Hello!

-Process for us in two days?

-No way.

KNOCKING

Tippi?

You OK?

Hitch says, would you like to join him for a drink?

Tippi?

Tippi?

Hi, Hitch... Hi, guys.

Hi, Hitch. Hi, guys.

BIRD CAWS

Yes, sir.

"A worried young man from 'Stanbul,

"discovered red spots on his tool.

"Said the doctor, a cynic, "Get out of my clinic,

"Just wipe off that lipstick, you fool."

LAUGHTER

Not one for the ladies.

Assuming they are ladies, of course.

I find it's easy to claim, but a little difficult to prove.

-Hi, Hitch. Hi, guys.

-Tippi.

Ah, Tippi. Now cast your lovely colour-coordinated

-peepers upwards, would you?

-Bring it up a bit!

-It's just a model, right?

-A mechanical bird on a wire.

We're all faking it today. Follow me.

Step inside.

Room for a small one, as the actress said to the bishop.

MEN LAUGH

Now, all we need from you today is the foreground.

Your reaction to the birds attacking the phone box.

-You ready to try one?

-Yes.

Oh, you're not cold, are you?

You seem to be trembling.

The gulls are the people, you see, and she is the bird.

Cameras, stand by!

Roll it. Let's go for a take.

-Silence on set, please!

-Quiet, everyone!

Roll 'em.

-Speed!

-494, take one.

-Set.

-Action.

Argh!

Oh, my... Tippi! Tippi!

Argh!

Are you sure it was an accident?

I told you, I don't know how it happened.

Get the shot?

I didn't ask you to come here because I was worried

about picking glass out of my face.

It's just one of those film-business things.

Most girls try not to make it so personal.

I was a model for 11 years. I learned any number of ways

-to wriggle away from guys with cameras, but...

-So?

Have a quiet drink with Hitch tonight and show him you're OK.

I can't keep missing my daughter's bedtime.

One drink, Tippi. Where's the harm?

She'll be fine. Maybe a little tired.

Looking forward to that drink.

Hitch? What's the matter?

APPROACHING FOOTSTEPS

Did you get some shots you can use today?

Plenty. Thank you.

Is that why we're celebrating?

Oh, I celebrate most days I spend with you, my dear, but not today.

I've received a letter from Her Serene Highness.

Please, do sit down, my dear. Your fidgeting is exhausting.

Princess Grace will not, after all, be descending from heaven

to play my Marnie.

Oh, Hitch. I'm so sorry.

-I'll get another blonde.

-Not like Grace Kelly.

You have everything she has and more.

So, shall we discuss tomorrow's scenes?

I've been thinking about when Melanie goes up to the attic

-filled with birds.

-Why does she go up there on her own?

Because I want her to.

Now, what expression do we think she has on her face?

I think she goes up there in a spirit of self-sacrifice.

She gives herself to the birds, do you see?

"This is all my fault.

"Everything is ruined and it's all my fault."

"Everything is ruined and it's all my fault."

Sure. I'm a woman. I can do that standing on my head.

Who needs Grace Kelly?

Good.

Some... Some bedtime reading.

My next movie.

BIRDS CAW

This is going to be a silent murder.

Oh, yeah. The birds attack her. She knows that's in the script.

So, now you need to go and tell her how we're going to shoot it.

MECHANICAL WHIRRING

She doesn't know?

Won't everyone be able to see the birds are fake?

-The magic of post-production.

-Unless they intend shooting it real close up, but even then...

KNOCKING

-Hi, Tippi.

-Come on in. I need some convincing.

Uh...

I'm sorry.

We can't use mechanical birds for this scene.

I know, it's a lot of shots to get through in one day,

but we're going to be taking them methodically.

You'll be fine. You'll be quite safe.

I'll always be here.

-Just don't let them near your eyes.

-OK, OK. Thank you. Through here.

BIRDS CAW Here you go.

Where is Hitch?

He'll be here for the shot.

I'd still like to know why she goes into that attic alone.

Can we get started? Is he here yet?

I'd quite like to get today over with.

All right? Good boys. Do what I taught you.

BIRDS CAW

All right. Silence on set, everyone.

-Picture up!

-Rolling.

-Speed.

613, take one.

Camera set.

Action!

Cut it!

-All right, going again.

-613, take 3.

-OK, we're going for another one.

-613, take 8.

-Speed.

Cut it.

-Standing by, everybody.

-613, take 17.

Rolling.

SHE SCREAMS

SHE SCREAMS

Cut it.

-Morning, sir.

-Stand by, everybody!

-Picture up.

-Take 23.

Going again!

You don't think she might have had enough?

Bob, I'd keep your opinions to yourself.

-Take 37.

-613.

-Going again!

-613.

-Take 42.

-First positions, please, Tippi!

-Good morning, Mr Hitchcock.

-Picture up!

-Take 45.

-Are you OK to go for another one?

-She's fine, Jim. Go again.

Yeah. Yeah.

Let's have all the birds in this time.

All right, silence on set, please!

BIRDS CAW INCREASINGLY LOUDER

Action.

SHE SCREAMS

Cut it.

Tippi!

Tippi! You can't drive yourself, honey!

-It's OK. Whatever she wants.

-One day.

I heard you tell her it would only take one day, Jim.

Did you hear what I said? It clawed her eye.

She was told one day with mechanical birds and special effects.

Instead, she got five days, with real birds, thrown at her,

-pecking and shitting.

-She'll be back.

PHONE RINGS

Hey! Mommy's home early.

-Is this to be thrown out?

-I'm hungry.

Can I have a chocolate cookie? Please?

-Look, I can stay.

-No need. I'm fine. Come on.

Are you sure?

Mom?

There's no answer.

Ladybug, ladybug, fly away.

Your house is on fire, and your children are gone.

Mom?

Mom.

Ladybug, ladybug, fly away.

Your house is on fire, and your children are gone.

Mom!

I got you water.

Mom! Wake up! Mom!

BIRDS WINGS FLAP

I'm so sorry.

Doctor's orders.

She'll be off for the rest of the week.

So, production's shut down. That's a first.

There's no way he made up his mind on the day to use real birds.

Stuff like that takes forever to organise.

He knew, Jo. He knew and he never told me.

Tippi, walk away. Come on.

You can take Melanie and pack up your stuff and go back to New York

and modelling and your old life and be happy.

Something you must see.

Welcome back, Tippi.

Welcome back.

Nice to see you back, Tippi.

Let's finish this picture.

So you see, it was worth it.

All the pain.

All the fear and the loneliness.

I know I've put you through some hard times.

Look at you now.

The point being, my dear,

there's only so much I can teach you through kindness.

Is this an apology?

For doing whatever it took to turn you into a movie star?

Thank you.

CHEERING AND APPLAUSE

So here's the girl, walking away from us,

walking away from the camera, down a long platform.

We follow her, all along the platform,

where's she's waiting for the train.

She has dark hair.

Dark. And a bright yellow purse.

The brightest yellow you can think of, so we watch that purse.

We're obsessed with that purse.

We're asking ourselves, "What's in the purse?"

And, uh, that's it, is it?

-Hmm.

-Act one, scene one, of Marnie.

-How about the other 100 minutes?

-That's Evan's job.

Uh, she's a complex character -

a thief, a liar - and Marnie can't let any man near her.

-It's because of childhood trauma.

-Frigid, you see?

No, just scared, surely.

But she gets rescued by the love of a good man, right? I'm just guessing.

-Sure.

-Maybe.

Surely to God she hasn't let the old fool anywhere near her.

-Of course not.

-Is she leading him on?

-No.

-Can't help being a pretty girl.

-They're all pretty.

Grace was pretty, Ingrid was pretty.

OK, what's she got, Peggy?

What's this one got that's so bloody special?

Whatever he throws at her,

however he provokes her...

..she makes him feel he can't hurt her.

She's in a negligee. He's in a shirt and pants.

Now, all through this, I think we should play her quite unresponsive,

until right at the bottom, when he goes to kiss her.

Now, it breaks.

"I can't. I can't. I can't."

-Like it repulses her?

-Now he's really getting mad.

He'd been very sweet, very patient, nothing yielding from her at all.

"If you don't want to go to bed, please get out."

"But I DO want to go to bed."

And now, he goes around her, and quite sharp,

her hands come up to ward him off,

and the negligee falls to the ground.

And she has no expression on her face, at all.

She shouldn't have.

I'm on a big head.

KNOCKING

-And?

-He says yes.

-As long as his part is as big as Tippi's.

-Who?

-Sean Connery.

-Sean Connery that just got out of Doctor No?

-You have a problem with that?

No, sir, but Marnie is supposed to be frigid.

It's called acting, my dear.

I'm going to have to give my best block of marble.

Once upon a time, there was a sculptor who made a beautiful statue

-out of marble...

-I don't want to miss my daughter's bedtime.

-Fell in love with his own creation.

But the gods looked kindly on him and brought her to life,

and they lived happily ever after.

Goodnight, Hitch. Goodnight, Peggy.

It just doesn't work for me, Hitch.

I don't believe it. I don't believe that guy would rape his own wife on their wedding night,

so, in my version, he comforts Marnie. Helps her.

That's not what I asked you for.

Use the version I wrote for you and why would the audience have any sympathy for him at all?

I've told you before, Evan, sympathy is not the point.

When he sticks it in her, I want that camera right on her face.

FOOTSTEPS

-Look at you. Look at Marnie.

-It's just so much harder this time.

He chose you, honey. Now, he chose you again.

He's like a fairytale person, don't you think?

I like to think of him like a handsome prince

trapped forever in a frog suit.

Tippi...

..this time round, won't you try to love him just a little bit?

Hmm?

"There was a young girl from Sofia,

"who succumbed to her lover's desire.

"She said, "It's a sin, but now that it's in,

"do shove it a few inches higher."

LAUGHTER

Tired of hearing the same old jokes again?

Everybody loves him, don't they?

When he's not driving us all crazy.

Got to tell you, Tippi, you look beautiful today.

Just today?

I don't know, I just never get to see you with your hair loose like that.

Short answer? This is just the way Hitch wants me today.

-Long answer?

-Long story.

Jim, Tippi, may I trouble you two lovebirds

while we attempt to make this movie?

Now then, Tippi, I'll probably bring the camera in here close,

so we see for the first time what stress she's under.

This man is serious, it's too dangerous, so she walks over here.

I think, you see, she's not really repulsed by him, not really.

I think it's what is within her that stops her.

You do understand that, don't you?

Touch me.

What?

No-one can see us.

Can we just do the scene?

Touch me.

I just... I just don't think you can force these things.

What do you know about it?

Look at you.

Back end of a bus.

Fancy a drink, Jim?

I should really be getting home.

TYPEWRITER KEYS CLACKS

SHE SOBS

Maybe she's just, sort of, concentrating on her career right now.

Or is it because I'm a porker?

Like two balloons tied together.

Someone wrote that in a newspaper. "Walrus dressed like a man."

I've seen you flirting with her.

We all flirt with her, Hitch.

We all like to see that pretty smile.

Cold, though.

-No.

-Frigid.

-No.

-Not to you?

You been there, Jim?

No!

I'm a married man, Hitch.

You would, though, wouldn't you?

You'd get your leg over, if she'd let you.

I bet she would let you, too.

Alma.

I was on my way to see you. I... just wanted to say that...

I wanted to say I'm sorry you're having to go through this.

You can stop it.

You're the only one who could stop it with one word. Won't you?

Alma, please.

My wife is an excellent cook. Did you know that?

Yeah, sure did, Hitch. She's a wonderful woman.

I've never had sex with anybody else.

People don't believe me.

They think I say it to shock.

It's true.

I think I can move the seat back a little.

The only woman I've ever known.

Years ago, of course.

There you go. Watch your head.

Can't get it up now.

Impotent.

SIREN

It's OK, Hitch. They're not coming for us.

What, you don't trust me to get you home?

Come on, Hitch.

Every night, I lock myself into my room,

as if there's a madman on the other side,

waiting to slit my throat.

Let's get you inside, huh?

Hold on to me.

Here.

Uh-oh.

Mrs Hitchcock, hi. Sorry if we disturbed you.

If she wants me to lose weight, she should stop cooking my favourite things.

JIM LAUGHS

I'd give it all up, Jim.

I'd give up the films, money, everything I've ever done...

Ah, no. No girl is worth that.

..to be like you.

To look like you.

OK, everybody, going for a take. That means closed set.

So everybody clear out, please.

Closed set. Thank you very much.

Stand by. Roll 'em.

-Speed!

-Scene 331, take one.

-Mark.

-Set.

Action.

No!

CRACK / HORN BLOWS

I declare, I've eaten so much...

37 years, you and me.

Happy anniversary, Hitch.

-It was a wonderful dinner.

-You're welcome, honey.

Happy holidays, everyone.

PHONE RINGS

Oh, come on.

You have to stop this. It's Christmas Day. I'm with my family.

'So am I.'

Murder, isn't it?

I've taken refuge in my bedroom.

'How about you?'

Busy in the kitchen.

'No. It's too quiet.'

Well, I hope you're having a good day, but I have to get back now.

I only get through thinking about next Christmas.

Next year, everything will be different.

'Alma will understand.

'We travel the whole world filming and...'

HANGS UP PHONE

She's been like a sister to me.

It's just, that's all she's ever been, really.

I only married her because she asked me to.

The day she ever drops her knickers, you'll run a mile.

-How long?

-Since the beginning.

-Why didn't you tell me?

How could I tell you?

I have to be professional. I have to do my job.

I can't go running for help, like some silly little girl.

I can deal with it. I've always been able to deal with it.

I've tried everything, Jo.

After Christmas, we shoot the disguise scenes.

So?

And Marnie dyes her hair.

CAR DOOR CLOSES / ENGINE STARTS

BIRDS CAW

Hitch?

Hitch?

DOLEFUL CLASSICAL MUSIC

She came back before.

-She left before?

-When she had cancer.

She was so ill, but she came back.

Peggy, I'm lost without her.

You should tell her that, not me.

Sex has never been very important to me.

It's for the kids, don't you think?

For the kids...and the movies.

Oh, look.

The moon is full tonight.

It reminds me of my favourite fantasy about you.

You and I are standing together in my living room, at home.

Do you remember?

When we had cocktails, and the rays of the moon

are coming in, enveloping us.

Me and you, Tippi.

With the moon shining in your beautiful hair.

Don't say it.

-I love you.

-No.

I love you, too.

I love you, Hitch.

Whoa! That's different.

It's not me. I don't like it.

I thought it would make it easier.

I thought as soon as I stopped being blonde,

but now it's like I'm losing me.

-Hey, hey, hey. Don't...

-No, it's OK. I'll be OK.

Just don't be nice to me. If you're nice to me, I'll fall apart.

Just tell me... Just tell me I'm still here.

Come here.

Can I tell you what it's like, Jim?

It's like... It's like he wants...

he wants to get inside me...

..all the way inside me and squeeze me out

till there's nothing of me left...

..and he's the one looking out of my eyes.

SHE WAILS

Cut it.

Come on.

OK, that's martinis for everyone.

Thank you very much, everybody.

You're up against Maggie Smith and Ursula Andress,

nominated as one of the Stars of Tomorrow. Congratulations, Tippi!

-APPLAUSE

-The Golden Globes!

-Nice job, Tippi!

Well done, Tippi.

KNOCKING

Come in.

What can I do for you, oh, Star of Tomorrow?

I would like you to give me two days off, please, so I may attend the ceremony in New York.

Wet rat leaves sinking ship.

It's the first time I've asked you for anything in three years.

No, you don't ask straight out. No, but...

you've taken plenty, haven't you?

Taken the money, taken the attention.

Don't you think it's time you gave something back?

From now on, I want you to make yourself sexually available to me at all times.

Whatever I want you to do, whenever I want you to do it.

Because I think that's only fair reward, given what I've done for you.

So that's all it ever was.

No.

It's all you ever let us be.

Tippi and Alfie.

No.

I want out of my contract.

Well, you can't get out of it, can you?

No-one will hire you.

And what about your child and your parents in Minnesota?

We'll survive.

Tippi Hedren didn't have it. Alfred Hitchcock did his best,

but she just didn't have the volcano inside.

Sadly, her career went nowhere after she parted from the man

to whom she owed everything.

Cold as marble.

No.

No, you had that whole thing the wrong way around, Hitch.

You took a living, breathing woman...

..and you turned her into a statue.

I'm not sure about the kiss.

I don't think she'd give in to him like that.

I was thinking I could go back to coming down to the set a bit more often.

You could use the support, especially on the story structure,

and I could use the entertainment.

You left without a word.

-You can change your mind, you know.

-You're watching my last scene.

First position, please, Tippi.

All right, stop the work, please!

Picture up!

Silence on set!

Stand by.

-Roll 'em.

-Speed.

-Scene one, take one.

-Mark.

-Set.

Action.

Hitch.

Cut it.

SHE SIGHS

Cut.

Subtitles by Red Bee Media Ltd