scripting hitchcock ––––––––– ––––––––– PSYCHO, THE BIRDS, AND MARNIE WALTER RAUBICHECK & WALTER SREBNICK (cid:72)(cid:21)(cid:88)(cid:21)(cid:103)(cid:21)(cid:94)(cid:21)(cid:101)(cid:21)(cid:105)(cid:21)(cid:94)(cid:21)(cid:99)(cid:21)(cid:92)(cid:21) (cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84) (cid:61)(cid:21)(cid:94)(cid:21)(cid:105)(cid:21)(cid:88)(cid:21)(cid:93)(cid:21)(cid:88)(cid:21)(cid:100)(cid:21)(cid:88)(cid:21)(cid:96) (cid:72)(cid:21)(cid:88)(cid:21)(cid:103)(cid:21)(cid:94)(cid:21)(cid:101)(cid:21)(cid:105)(cid:21)(cid:94)(cid:21)(cid:99)(cid:21)(cid:92)(cid:21) (cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84)(cid:21)(cid:84) (cid:61)(cid:21)(cid:94)(cid:21)(cid:105)(cid:21)(cid:88)(cid:21)(cid:93)(cid:21)(cid:88)(cid:21)(cid:100)(cid:21)(cid:88)(cid:21)(cid:96) (cid:70)(cid:73)(cid:79)(cid:57)(cid:62)(cid:69)(cid:33)(cid:74)(cid:62)(cid:59)(cid:22)(cid:56)(cid:63)(cid:72)(cid:58)(cid:73)(cid:33)(cid:54)(cid:67)(cid:57)(cid:21)(cid:67)(cid:55)(cid:72)(cid:68)(cid:63)(cid:59) (cid:76)(cid:86)(cid:97)(cid:105)(cid:90)(cid:103)(cid:21)(cid:71)(cid:86)(cid:106)(cid:87)(cid:94)(cid:88)(cid:93)(cid:90)(cid:88)(cid:96)(cid:21)(cid:27)(cid:21)(cid:76)(cid:86)(cid:97)(cid:105)(cid:90)(cid:103)(cid:21)(cid:72)(cid:103)(cid:90)(cid:87)(cid:99)(cid:94)(cid:88)(cid:96) university of illinois press Urbana, Chicago, and Springfield © 2011 by the Board of Trustees of the University of Illinois All rights reserved Manufactured in the United States of America 1 2 3 4 5 c p 5 4 3 2 1 ∞ This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Raubicheck, Walter, 1950– Scripting Hitchcock : Psycho, The Birds, and Marnie / Walter Raubicheck and Walter Srebnick. p. cm. Includes bibliographical references and index. isbn 978-0-252-03648-4 (cloth) — isbn 978-0-252-07824-8 (pbk.) 1. Hitchcock, Alfred, 1899–1980—Criticism and interpretation. 2. Motion picture plays, American—History and criticism. 3. Motion picture authorship. 4. Film adaptations—History and criticism. 5. Screenwriters— United States. 6. Psycho (Motion picture : 1960) 7. Birds (Motion picture) 8. Marnie (Motion picture) I. Srebnick, Walter. II. Title. pn1998.3.h58r38 2011 791.4302'33092—dc22 2011006826 To the memory of Joseph Stefano, Evan Hunter, and Jay Presson Allen Contents Acknowledgments / ix Preface / xi 1 The Triptych and the Screenplays / 1 2 The Sources / 25 3 From Treatment to Script / 55 4 Final Drafts: The Shooting Scripts / 82 Afterword / 113 Notes / 121 Index / 127 Illustrations follow page 54 Acknowledgments A number of people played indispensable roles in help- ing us bring this book into print. Our colleague Steven Goldleaf read several drafts of the manuscript and offered valuable suggestions about the scope and direction of our project. Amy Gilman Srebnick provided a historian’s keen judgment, an editor’s eye, photographic expertise, and a supportive presence that kept us on track at every stage of our work. Sidney Gottlieb read the manuscript at a late stage, and his knowledge and judgment helped make our argument more coherent. Each of these people deserves our special thanks. During our research trips to Los Angeles, Marilyn Stefano was a warm, generous, and hospitable source of support, especially during the times we interviewed her late husband, Joseph Stefano. Barbara Hall and the staff of the Herrick Library of Motion Pictures graciously assisted us with the invaluable screenplays and letters that formed the research basis of this study. Several of Hitchcock’s other screenwriters provided important insights into the director’s working methods: Arthur Laurents, Samuel Taylor, John Michael Hayes, and Ernest Lehman. Hilton Green, who worked closely with Hitchcock on Psycho and Marnie, shared with us crucial information about how certain scenes in these films were pre- pared and photographed. And Dorothy Herrmann shared her memories of Hitchcock’s collaboration with her father, Bernard Herrmann. Other individuals provided essential research and sources, such as Victoria Johnson and Richard Fabrizio; others shared ideas or offered en- couragement, such as Janet Cutler, Richard Allen, and James Naremore. Still others gave us helpful material, such as Dina Hunter, the widow of Evan Hunter, and Brooke Allen, the daughter of Jay Presson Allen; or shared memories, such as Janet Leigh and Tippi Hedren; or offered contacts and connections, such as Lorna Champagne, Ruth Prigozy, John Lepre, Donna Mills, and Larry Gilman. Last of all, we would like to thank our editor, Joan Catapano, for her assistance, patience, and professionalism. ix