Alfred Hitchcock: You may call me Hitch. Hold the Cock.
[Hitchcock wakes Alma in the middle of the night and gets her to read a sentence from Robert Bloch's novel "Psycho"]
Alma Reville: "It was the knife that, a moment later, cut off her scream... and her head." Charming. Doris Day should do it as a musical!
Alfred Hitchcock: [wrestling to keep his snack bowl] Beware, all men are potential murderers. And for good reason.
Alfred Hitchcock: I'm under extraordinary pressures on this picture and the least you can do is give me your full support.
Alma Reville: Full support! We've mortgaged our house! I'm your wife! I celebrate with you when the reviews are good. I cry for you when they are bad! I put up with all those people who look through me as if I were invisible because all they see is the great and glorious ALFRED HITCHCOCK!
Henry Gein: It's lucky it didn't reach the house.
Ed Gein: Yeah.
Henry Gein: You know, there's gonna be a lot more jobs at that factory in Milwaukee come June. I could put in a word.
Ed Gein: You can't leave us, Henry. She needs us both.
Henry Gein: Can you stop being a mama's boy for one second? I'm not trying to hurt you, but Jesus, you gotta live your own life sometime. That woman can take care of her own god...
[Ed hits Henry with a shovel]
Alfred Hitchcock: Good evening. Well, brother has been killing brother since Cain and Abel, yet even I didn't see that coming. I was as blindsided as poor old Henry down there. And apparently, the authorities shared my naïveté. In other words, they believed the young man's story. That Henry fell, hit his head on a stone and died of smoke asphyxiation. 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
Alfred Hitchcock: we wouldn't have our little movie, would we?
Alfred Hitchcock: [to Janet] Hope you don't mind, I told Mrs Bates she could use your dressing room.
Alma Reville: You shouldn't wait until half way through. Kill her after thirty minutes.
Janet Leigh: How are you going to shoot this shower scene? It's only that, well, from here up I'm not exactly boyish.
Alfred Hitchcock: The only thing worse than a visit to the dentist is a visit to the censor.
Ed Gein: This is my favorite place. Just shut the door, make the world go away.
Alfred Hitchcock: Don't you ever get lonely, out here?
Ed Gein: I can always talk to my mother.
[the police start to raid Ed's house]
Ed Gein: That's strange.
[the police move upstairs]
Ed Gein: That's my mother's room. That's my mother's room.
Ed Gein: [starts crying] You can't go in there! That's my mother's room!
Alfred Hitchcock: [after viewing the shower scene with Bernard Herrmann's score for the first time] It's getting there.
Alfred Hitchcock: Good evening.
Alma Reville: I'm going to 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?
Alfred Hitchcock: 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?
Geoffrey Shurlock: [In reference to the shower scene] The addition of a lyrical score will not change my opinion!
Alma Reville: Are we going to have to sell the whole house, or just the pool?
Alma Reville: You know, Hitch always says that your private life is in danger of being more entertaining than any of your plots.
Whitfield Cook: 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?
Alma Reville: Me? I'm satisfied working in my garden.
Whitfield Cook: Well, that's one lucky garden.
Alma Reville: You know, all this relentless sycophancy is actually giving me indigestion. What are you after?
Whitfield Cook: I was hoping that you may be able to apply your considerable pruning skills to this.
Alma Reville: Ah, all is finally revealed. Whit, you are a little predictable, you know?
Whitfield Cook: The most fun I ever had was working with you.
Alfred Hitchcock: I'm treading water, Peggy. I need something fresh, something different. Without expensive stars to pretty it up.
Peggy Robertson: Fox is offering you The Diary of Anne Frank for the third time.
Peggy Robertson: 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?
[last lines - talking to camera]
Alfred 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 will 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.
[a large black raven lands on his shoulder and then flies away]
Alfred Hitchcock: Good evening.
Lew Wasserman: We are about to propose a re-structured deal for Psycho.
Barney Balaban: I'm listening.
Lew Wasserman: We finance it... independently. Hitch waives his directorial fee. Paramount *only* distributes it, in exchange for 40% of the profits.
Barney Balaban: Interesting. But what exactly is Paramount distributing? Is this still a picture about a queer killing people in his mother's dress?
Lew Wasserman: What this picture is about is the reputation of Alfred Hitchcock. Barney, it's very simple. This is Mr Hitchcock's next film. Are you in... or are you out?
Barney Balaban: Fine. We'll take that deal. If you can get the money.
Alfred Hitchcock: We already *have* the money, Barney.
[he takes out his chequebook]
Alfred Hitchcock: Who do I make it out to?