NORTH BY NORTHwEST

SH00T1IVG- scR;..1.PT
Producer:
Alfred Hitchcock
From the follm.~ng
-writers
Ernest Lehman
8-12-58
 Chge. 8-12-58 P.l
NORTH BY NORTHWEST

FADE IN: · (BEFORE TITLE)

EXT. NEW YORK CITY - DAY
A visually beautiful HICH ANGLE SHOT of midtown
franhattan towards the end of an early October
a!"ternoon.
NARRATION
Would it not be strange, in a city
of seven million people, if one
man were never mistaken for another •••
if, with seven million pair of feet
wandering through the canyons and
corridors of the city, one pair
of feet never by chance strayed
into the wron~ footsteps?
(a pause}
Strange, indeed.
MAIN TITLE AND ~SIC COME UP OVER SHOT.
COT TO:

A SERIES OF STREET SCENES 2-10

over them, THE CREDITS. These scenes should capture
the tempo of Madison Avenue and Fifth Avenue in·
the Fifties. Streets swarming with smartly dressed
people. Revolving doors of sleek new glass-and-
steel office buildings spewing out streams of
super-charged New Yorkers, hurrying for cabs and
busaes and subways and cocktail bars. Two bundle-
laden women fighting over a cab. A packed bus
closing its doors 1n the face of an irate would-be
passenger. A newsboy in front of the Independent
Subway entrance.· "Trouble in the Middle Eastl
Evening papersJ Get your trouble in the Middle
EastJn

INT. LOBBY OF OFFICE Bun.DING - MADISON AVENUE 11

Four elevators in action. A starter keeping
things hum:ning. Doors close on an elevator.
It starts up. Another elevator arrives at street
 North By Northwest
Chgs. 9-22-58 P,2

level. THE LAST CREDIT FADES. The elevator 11

doors open. Crowds pour out, and we HEAR a CONT'D
VOicE ·at the rear of the car even before the (2)
man is revealed to us by the off-going ,
passengers •. He is ROGER THOR.l\11-iILL# tall,
lean, faultlessly dressed (and far too
criginal to be wearing the gray-flannel .
·uniform of his kind). He has been dictating
to his secretary, MAGGIE, an aging, unbeaut1rul
woman who has accompanied him down in the ele-
vator with pad and pencil in hand. She will
have to scurry to keep up with his impatient
stride when they leave the elevator and cross
the lobby to the entrance.
THORNHILL (dictating)
••• Even if you accept the
belief that a high Trendex
automatically means a rising
sales curve. which incidentally
I do not accept •••
(to elevator starter)
•Night, Eddie.
STARTER
Mr. Thornhill.
THORNHILL
Say hello to the missus.
STARTER (sourly)
We're not talking.
THORNHThL (to Maggie,
continuing dictation as
they cross lobby)
My recommendation 1s still the
same. Dash. Spread the good word
1n as many small time segments
as we can grab •••
(as he pauses at the
newsstand, buys a paper)
••• And let the opposition have
their high ratings, while we cr7
about it all the way to the bank.
(moving on)
Why don 1 t we colonize at the
Colony one day next week for lunch?
Let me hear from you, Sam. Happy
thoughts. Etcetera •••
(they are at the entrance
now) ·
Better walk me to the Plaza.
 North By Northwest
Chgs. 9-4-58
MAGGIE (a weary 11
moan) CONT'D
Walk? (3)
THORNHILL
Use your blood sugar. Come on.
Re eases her through the door, follows her to
the sidewalk.

EXT. STREET - TRUCKING SHOT 12

They start to walk west, Thornhill glancing at
the newspaper as he goes.
THORNHILL
Next?
MAGGIE {consulting
her pad)
·aretchen Sab1nson.
THORNHILL (grimaces)
Send her a box . of candy .from
Blum's. Ten dollars. The kind •••
you know ••• each piece wrapped 1n
gold paper? She'll like that.
She 1 11 think she's eating money.
Say: 'Darling, I count the days,
the hours, the minutes--•
MAGGIE C1nterrupting)
You sent that one last time.
THORNHILL
Did I? Then just say: •something
for your sweet too.th, honey •••
and all your other sweet parts.•
(Maggie gives him a look
and he winces)
I know, I know.

MAGGIE
Could we take a cab, Mr. Thornhill?
THORNHILL
~ couple or blocks?
MAGGIE
You're late and I'm tired.
 North By t!c:,t,hwe st
Chgs. 8-12-58 P.4
THORNHILL 12
I keep telling you, Maggie, CONT 1 D
you don'~ eat properly. (2)
- (ste;-s off the curb(
tries to flag a cabJ
Tax1J ••• Tax11
He ~s getting nowhere. Just then, a taxi pulls
up before a man who has also been seeking one.
~uickly Thornhill darts over and opens the
door.
THORNHILL (to the
man)
I have a sick woman here. Would
you mind terribly?
MAN (a little
bewildered)
Why no ••• I mean--
THOR11!ILL (quickly)
Thank you very much.

He quickly bundles Maggie into the cab, follows her

in and slams the door shut.
MAN (still befuddled)
Perfectly all right •••
The cab pulls away.

INT. CAB - (PROCESS) 13

THORNHILL (to driver)
First atop, the Plaza. Don•t
throw the flag,
MAGGIE (looking back)
Poor man.
THORNHn.L
Poor man nothing. I made him a
Good Samaritan.
MAGGIE
Be knew you were lying.
 Nortn By Northwest
Chgs. 10-10-58 P.5
. THORNHILL (opening up 13
the newspaper again) . CONT'D
In the world of advertising there (2)
is ·no suet thing as a lie, }2ggie.
There is only The Expedient
Exaggeration. Do I look a little
heavyish to you?
MAGGIE
What?
THORNHIIl,
I fitl heavyish. Put a note on
my desk in the norning • .,Think
thin. 1

MAGGIE (writing)
Think thin.
THORNHILL (to the driver)
Make it the Fifty-ninth Street
entrance, driver.
DRIVER
Okay.
THORNHILL (to Maggie,
as he continues to peruse
the .news-paper)
Soon as you get back to the office,
call my ro"ther, tell her about the
theatre tickets for tonight. Dinner
at Twenty One, seven o 1 clock. I'll
have had tw Martinis at the Oak
Bar, so she needn't bother to srril~
me.
MAGGIE
She doesn't
. -
do that •
THORNHILL
Like a bloodhound.
As the cab pulls up before the 59th st. entrance to
the P1aza:
MAGGIE (reading from
notes)
Eigelow at ten-thirty is your
first for tomrrow. You're due
at the Skin Glow rehearsa1 at
noon. Then lunch with Falcon and
his wife --
 North By Northwest
Chgs. 9-22-58 P.6
THORNRILL (:unnding her 13
some money) CONT'D
Oh~ yes. Where was t~~t? (3)
MAGGIE
Larry and Arnold I s. - Cl!le
o 1 clock.
Thornhill has dropped his news~a...;,er on the seat
and is on his way out of the ca::...
.MAGGIE
Will you check 1n lata=-?

EXT. PLAZA HOTEL 14

THORNHILL (=ow out
or the cab)
Absolutely not.
(to driver)
Take this lady back w=.i~re she
belongs.
DRIVER
Right.
THORNHILL ( ~.~ Maggie)
Don't forget to call-.: mother
right away.
MAGGIE
I won•t. Ooodnigttt, Y.:.
Thornhill.
Thornhill slams the door and the cab starts away.
Suddenly he remembers something, snaps his fingers,
points after the cab. ,.
THORNHn.L
Wait a minute! You c?...~'t call
herJ She 1 a at Mrs.
He stops. The cab is already en its way. Be
stands there for a moment lookir.g arter it.
Then he goes up the steps into the hotel.

INT. LOBBY PLAZA HOTEL 15

Thornhill glanc~s at his wristwatch as he cros~es
the lobby to the Oak Bar.
 North By NQrth\••e ~t
Chgs. b-12-50 P.7
INT. OAK BAR 16
Thornhill pauses in the entrance, looking about
impatient~y. The captain comes up to him.
. CAPTAIN
Evening., Mr. Thornhill.
THORNHILL
Hello, Victor. I 1 m looking
tor Herman Weltner and two
gentlemen --
CAPTAIN {pointing)
Yea. Right over there.
THORNHILL
Oh yes.
Thornhill walks to a far corner or the room to
the table where WELTNER, an !Vy-League costumed
executive., is seated with a MR. NELSON and a
MR. WADE, both or whom look like out-ot-town
sponsors, which they a.re.
WELTl\"ER (rising to
his f'eet)
Roger ..
THORNHILL (shaking
his hand)
Herman. Sorry I'm so later
WELTNER (making
introductions)
This is Roger Thornhill.
Fanning Nelson --
Nelson cups a hand to his ear.
THORNHnL (shaking his
other band)
Delighted.
WELTNER
And Lar17 Wade..
THORNHil.L (shaking
hands)
How do you do, Mr. Wade?
WADE (indicating his
drink)
We've gotten a little bead start
here, Mr. Thornhill.
 North By No.rth"'· e~t
Chgs. tl-12-5(j P.8
THORl\'HILL 16
Won't last for long. CONT'D
(2)
He sits down·, looking about nervously.
WELTNER
I was Just telling Larry and
Fanning here that you ~.ay be
slow in starting but there's
nobody faster down the homestretch.
(noting Thornh111 1 s
nervousness)
What•s the matter, Roger? You've
got the fidgets.
During the following, a bellboy will enter the room
and move among the tables calling out: npa~1ng
Mr. George KaElan:n Standing in the entrance
watching theellboy's progress (and observed
by us if we happen to be looking off into b.g.)
are two rather unobtrusive-looking men:
THORNHILL
Something very silly. I told
my secretary to call my mother,
and I Just remembered, she's
not going to be able to reach
her in time.
WELTNER
Why not?

THORNliILL
Because she's playing bridge at
the apartment of one of her
cronies •••
WELTNER ._
Your secretary?
THORNHILL
No. My mother. And it's one
or those brand new apartments -
all wet pa1nt and no telephone yet.
NELSON (cupping his
ear)
What was that?
Thornhill looks at him with astonishment.
BELLBOY (approaching)
Paging Mr. George Kaplanl
 North By Northwest
Chgs. 8-12-58 P.9
THORNHILL (musing) 16
I think maybe if I send her a CONT 1 D
telegram ••• (3)
BELLBOY {closer)
Mr. George Kaplan!
THORNHILL (signaling
the boy)
Boy - would you come here please?
CUT TO:

CLOSE ANGLE - THE TWO MEN STANDING IN ENTRANCE 17

TO ROOM
They react with sudden interest, glance at each
other, then look off again and see:

POINT OF VIEW - FROM ENTRANCE 18

The bellboy moving up to Thornhill, whose table
1s well out or earshot or the entrance.

CLOSE ANGLE - THE TABLE 19

Thornhill takes a pen and a long envelope from
his inside pocket as he addresses the bellboy:
'l'HORNHILL
Look, I've got to get a wire
orr 1mmed1ately. can you send
it for me 1~ I write it out for
you?
BELLBOY
I'm.not permitted to do that,
sir, but 1f you'll follow ~e --
THORNHILL (to the
others at· the table)
Will you excuse me for a moment?
WADE
Go right ahead.
NELSON (cupping h1s ear)
What was that?
 North By Northwest
Chgs. 8-12-58 P.10
Thornhill gives him a quick look. 19
CONT 1 D
THOfil.,'HILL (to Weltner, (2)
as he gets up) ·
·Herman, 1.f you can scare up a
.double Martini •••
WELTNER
Sure thing.
Thornhill walks of.f with the bellboy.
NELSON (turning to Wade)
Where's he going?
WADE
There's no telephone where his
mother is playing bridge.
NELSON (stares at
him a moment) ·
Why not?

Now Wade gives him a look.

20 OUT
OlJ'rSIDE THE OAK BAR 21
Thornhill and the bellboy emerge from the room.
BELLBOY (pointing)
Right there, sir~
)

THORNHILL (giving him

a tip)
Thanks.
BFJ'.J.MY
Thank you, sir.
Thornhill staJ."'ts toward the Western Union
orrice, as the bellboy goes off in another
direction. Suddenly the two "unobtrusive" men
walk swiftly INTO the SHOT directly behind
Thornhill. One or them, who we now see has a
scar on the corner of his ri~ht eye, taps him
on the shoulder. He pauses and turns.
THORNHILL
· Yes?
 North By Nort~west
Chgs. 8-13-58 P.11
FIRST MAN (with a 21
ra1nt foreign accent) CONT'D
The car is waiting outside. (2)
You will walk between us saying
·nothing.
THORNHILL
What are you talking about?
SECOND MAN (taking
Thornh111 1 s arm)
Let's go.
THORNHILL
Go where?
-
Who a.re you?
PIRST MAN
Mere errand boys, carrying
concealed weapons. His 1s
pointed at your heart, so please,
no errors of Judgement, I beg
of you.
THORNHILL (pulling free)
What is this - a Joke or something~
SECOND MAN
Yes. A Joke.
(he removes his hand from his
pocket, shoves a gun into
Thornhill's ribs)
We will laugh in the car.
Thornhill stares at the manifor a•moment. ·
•
• fflORNHILL
This is ridiculous.
The man nods toward the side entrance end
Thornhill starts away, flanked on either side.

EXT. STREET 22

Thornhill emerges from the hotel to the sidewalk.

The men take his arms and ease him inconspicuously
past unnoticing passersby to a l:mausine·•parked at
the curb. They open the rear door, push
Thornhill into the back seat and follow him in.
A third man sitting behind the wheel 1.m::ned1ately
starts the car and pulls away.
 North By Northwest
Chgs. 9-22-58 P.12
INT. CAR - PROCESS 23
As the car moves east, Thornhill glances at the
stony-faced men on either side of him. He is
anxious, but does not want to show it.
THORNHILL
~ontt tell me where we're going.
Surprise me.
The men stare straight ahead, saying nothing.
THORNHILL
Y'know, I left some people
waiting for me back there in
the Oak Bar, and they're going
to think I'm awfully rude, going
orr like this.
(he waits - no response)
I mean, if you could let me ·
orr at a drugstore·ror a moment,
I could call them and explain
that I 1 m•••
(he glances at the men
1nqu1r1ngly)
••• being ••• kidnap~ed?
(no response}
That 1s what's happening, 1sn't
it? -
No answer. Bis glance goes to the door handle.
The car has stopped for a red light. Suddenly
he lunges for the door an4 struggles to .open
1t, as the two men watch him calmly. Apparent-
ly the door has special locks. It will not
budge. Thornhill takes h1s seat again and
point sheepishly to the door •
.
THORNHILL
Locked.
DISSOLVE TO:

EXT. GLEN COVE ESTATE - DUSK 24

The car approaches the entrance to a magnificent
estate. On the open gate, a nameplate:
TOWNSEND. The ca.r turns into the driveway-.

INT. CAR 24Xl

'l'hornh1ll, flanked by the two men, 1s looking over
h1s shoulder at the receding gates. Be turns
rorward, looks at one or the men.
 North By Northwest
Chgs. 9-22-58 P.13
THORNHILL 24Xl
Who's Townsend? CONT'D
(2)
No answer.· · He glances at the other man quest1on-
1ngly. More stony silence.
THORNHILL
Oh, really? Interesting.
Th~n he looks out ahead.

MOVING POINT OF VIEW 24X2

A curving, tree-lined driveway. Through the

trees, a red-brick mansion.
25 OUT
INT. CAR 26
Thornhill 1s still looking out.

EXT. MAIN HCUSE 27

An impressive though considerably faded mansion
or the early Twenties. The car swings around
the circular driveway, pulls up before the
entrance. Thornhill and the two men get out.
One of the men (he of the s;carred eye - h-is
n~e 1s VALERIAN) accompanies Thornhill up the
steps to the front door. The other man (LICHT)
follows them and waits until the door opens before
he moves away and follows a path to the rear or
the house. After a moment,,. a stocky, gray-haired
woman wearing the uniform of a HOUSEKEEPER opens
the front door. Valerian walks Thornhill right in
-past her.

INT. HOUSE 28
~eyond the oval toyer, a curving ma:rble staircase
~eads to a balcony, orr wh1ch are msny rooms.
Above the balcony, a stained glass window. Every-
wh~re, a kind or seedy grandeur.
VALERIAN (to housekeeper)
Where 1s be?
HOUSEKEEPER
Upstairs, dressing.
 1:crth By ?: orthwest
Chgs. 8-12-58 P.14
VALERIAN 28
Tell him I'm here. CONT'D
(2)
HOUSEKEEPER
_The dinner guests are expected.
· VALERIAN (impatiently)
Never mind. Say to him "Kaplan."
At this, the· woman glances at Thornh111.
THORNHil.L
By the way - what a.re we having
for dessert?
VALERIAN (to housekeeper)
Is anyone in the library?
HOUSEKEEPER
No.
VALERIAN (to Thornhill,
brusquely)
This way.
He walks Thornhill to the library door, as the
housekeeper goes upstairs.

INT. LmRARY 29
Books, from floor to ceiling. And windows over-
looking the rear lawn. In the distance, Long
Island Sound. Valerian opehs the door, gestures
to Thornhill, who enters.
VALERIAN (hie hand on
the key) .
You will wait here.
THORNHILL {indicating the
shelves or books)
Don 1 t hurry. I'll catch up on
my reading.

Valerian closes the doo~ behind him. Immediately,

Thornhill goes to the door to open 1t. Just as
his hand reaches the Jmob, he HEARS the DOOR being
LOCKED from the outside. He tries it anyway, then
turns, glances around, walks to the desk, sees
several magazines there: FIELD AND STREAM •••
NEWSWEEK ••• FORTUNE ••• ETC. In an INSERT, he and
we see that the addressee on all of them is:
ttAA. LESTE:~ TOh1~S=.J·J), Eaywood, Glen Cove, N~ Y. 11
~hornhill steps to a w1ndow, peers out.
 Nortn By Northwest
Chgs. 9-22-58 P.15
BACK LAWN - THORNHILL 1 S POINT OF VIEW 30
A man is playing croquet all by himself 1n the
fading light.. Bis name 1s LEONARD. Later, we
will see him at closer range and perhaps be
slightly repelled. He 1s about th1rty,-but
~ooks much younger, for he has a soft baby-
race, large eyes and hair that falls down over
his forehead.· H1s attitudes are unmistakably
effeminate. Hurrying towards him is LICHT,
the other abductor. In a brief pantomime, Licht
apparently gives Leonard tidings, and they
quickly go off together towards the house.

INT. LIBRARY 31
Seeing the back lawn now deserted, Thornhill tries
to open the window to escape. It is locked. He
unfastens the catch, raises the window, is about
to climb out when he draws back and turns at the
SOUND of the DOOR OPENING behind him. In ~alks a
distinguished looking MAN of about forty, profes-
sorial in manner but definitely sexually attractive
(to women). and only slightly sinister.
MAN (affably)
Good evening •••
He holds out his hand. Thornhill takes it uncertainly.
THORNHn..L
Not a moment too s~on.
MAN (scrutinizing him)
Well - so •••
THORNHILL
Thank you. That explains everything.
MAN (still peering at him)
••• Not what I expected - a little taller,
a little more polished than the others •••
THORNHil,L (with bite)
I'm so glad youtre pleased, Mr. Townsend.
MAN (reacts, then smiles)
••• But I 1 m afraid just as obvious.
THORNHILL
Forgive me ~or being obvious, but
what the devil 1s this all about?
Why was I brought here?

MAN {wearily)
Games? ••• Hupt we?
 North By Northwest
Chgs. 9-22-58 P.16
THORNHILL 31
Not that I mind a slight · case of CONT'D
abduction now and then, but I do (2)
have tickets to the theatre tonight
and it was a show I was looking
t .o rward to and I get, well, kind or
unreasonable about things like that.
MAN
With such expert play-acting, you
make this very room a theatre.
{the man or the croquet
wickets enters)
Ah - Leonard. Have you met our
distinguished guest?
LEONARD (staring at
Thornhill)
He's a well-tailored one, 1sn 1 t he?
Thornhill gives him a look or distaste.
MAN
My secretary 1s a great admirer
or your methods, Mr. Kaplan.
Elusiveness, however m1sgu1ded--
THORNHil.L (1nterrupt1~)
Wait a minute. Did you call me Kaplan"?
MAN
Oh, I know you're a man or many
names, but I'm perfectly willing
to accept your cUl"rent choice.
THORNHn.L
CUrrent choice? My name is Thornhill
- Roger Thornhill - and it's never
been anything else.
MAN
or course •••
Leona.rd starts to chuckle.
THORNHILL ( smiling} .
Obviously your.friends picked up
the wrong package when they bundled
me out here in the car.
MAN (tired or a1l this}
Sit down, Mr. Kaplan# won't you?
THORNHILL (the smile fadeo)
I told you: I'm not Kaplan, whoever
he is. I'm Roger Thornhill or .t he
Tadley and Rapp Agency, and wuess
you gentlemen happen to be
(continued)
 North By Northwest
Chgs. 9-19-5? P.17
"THORNHILL (cont'd) . 31
interested in advertising something, CO?-.'T ID
this meeting is going to turn .out (3)
to·be an enormous bust for all concerned.
There is a KNOCK on the door. It opens and a
handsome WOMAN in her forties peers in.
WOMAN
Excuse me --
MAN (politely)
Yes?

WOMAN
The guests are here.
MAN
Look after them. 1 1 11 be with
70u 1n a few minutes.
THORNHn.L (turning on
her with sarcasm)
Dontt bother to set a place
ror me, Mrs. Townsend. I won't
be staying for dinner.
She gives a !lustered glance in the direction of the
men, then hurriedly withdraws, and closes the door.
JUN (to Thornhill)
Now - shall we get down to business?
THORNH!tL
I'm all tor that.
MAN
Quite simply, I'd 11.ke you to tell
me how much you know or our arrangements
and - or course - how you•ve come by
this 1nformat1on. Naturally, I don't
expect to get this for nothing.
'l'HORNHILL {with a
sarcastic bow or the head)
or course not •.
MAN
Don•t misunderstand me. I
don't really expect you to rail
in with vq su.ggest1on, but the
lea&t I can do 1s afford you the
opportWl1ty of surviving the evening--
THORNHILL (frowns)
Surviving the evening ••• ,
 N'or'tn By }\orth\\·es t
Chgs. 9-19-58 P.18
MAN 31
Now why don't you surprise me, CONT'D
Mr. Kaplan, and say "yes"? (4)
THORNHILL
I already told you--
LEONARD (interrupting)
W~ know whe~e youtre headed for •••
THORNHILL (turning on him)
I'm headed for the Winter Garden
Theatre 1n New York, and I think
I better get going.
He goes to the door, flings it open, sees Valerian
standing there blocking the entrance. He turns.
THORNHILL
Townsend - you're making a serious
mistake •••
Leonard eases over and closes the door again as
the MAN, walking to the desk, says:
MAN
This 1s not going to lead to a
ve-cy happy conclusion, Mr. Kaplan--
THORNHILL
I 1 in not Kaplanl
MAN
I do wish you would reconsider.
LEONARD
We also lO"low your contact in Pittsburgh
since Jason com.n1tted suicide.
THORNHILL (angrily)
What contact? I•\re never even been
in Pittsburgh.
The other man is at the desk, looking down at a
piece or paper as he speaks quickly:
MAN
On June sixteenth, you checked into
the She~ Hotel in Pittsburgh as
Mr. George Kaplan of Berkeley, California.
A week later you registered at the
Benjamin Fnmklin Hotel in Philadelphia
as Mr. George Kaplan or Pittsburgh. On
August eleventh you stayed at the Statler
in Boston. On August twenty-ninth
George Kaplan of Boston registered
at the Whittier in Detroit. At present,
you are registered 1n room seven ninety-
six at the Plaza Hotel 1n New York as
Jllr. George Kaplan or Detroit --
 North By Northwest
_Chgs. 9-19-58 P.19
THORJ,.1iILL (tersely) 31
What else? CONT'D
. (5)
MAN
·--In two days, ycu are due at
the Ambassador East in Chicago
THORNHILL
Oh?
MAN
-- And then at the Sheraton-.rohnson
Hotel 1n Rapid City, South Dakota.
THOnNHll..L (shaking his head)
Not me.
MAN
-- So you see, there is little sense
in tr.a1nta1n1ng this fiction that you
are deceiving us, any more than we
are d~ceiving you, ·Mr. Kaplan. -
Thornhill stares at him for a long moment, helplessly
frustrated.
THORNHILL
I don•t suppose it would do any
good to show you a wallet full or
1dent1f1cat1on cards, a driver's
license, things like that?
LEONARD (shakes his head)
They provide yo~ with such good ones.
MAN (quietly)
It's getting late. Do you
intend to cooperate with us? I'd
like a simple yes or no.
THORNHILL (completely
exasperated)
All right. A simple no. For the
simple reason that I simply don't
know what you're talking about.
MAN (turns to
his secreta17)
Give Mr. Kaplan a drink, Leonard.
(he turns to Thornhill)
A pleasant Journey, sir.

The man goes to the door, opens 1t, holds 1t open

~or a fraction. Valerian and Licht enter. The
man leaves, closing the door behind him. Leonard
opens a cabinet. Liquor bottles ·are seen. He
turns to Thornhill.
 North By Northwest
Chgs. 9-22-58 P.20
LEONARD 31
Scotch? Rye? Bourbon? Vodka? CO?--.'T 1 D
(6)
THORNHILL
· Nothing. 1 1 11 Just twee a quick
_ride back to town.
LEONARD
That has been arranged ••••
Thornhill gla.~ces at the dtadpan faces or Valerian
and Licht with g:-owing apprehension.
LEONARD
But first. a libation.
Leonard reaches into the cabinet. takes out a
large bottle of whiskey. He holds 1t up.
LEONARD
Bourbon.
He moves toward Thornhill with the bottle.
THORNHILL
You have some. I've had enough
stimul.ation for one day.
LEONARD (gently)
It will be easier if you ta.lee
this yourself. Otherwise, it will
be necessary for us to insist.
Thornh1ll 1 s eyes widen. He points at the bottle.
THORNHILL
The whole quart?
LEONARD
Not a quart, Mr. Kaplan. It's
only a fifth.
Thornhill makes a sudden move, tries to go past
him to the door, but Valerian and Licht grab
h1m, pin his arms behind him. As they do so,
CAMERA DOLLIES in to a FULL HEAD AND SHOULDERS
SHOT of Thornhill, who ·s tares off screen.
We HEAR the POP of the CCRK being drawn t"rom
the bottle. Then Leonard's hand comes up
INTO THE SHOT holding an empty tumbler.
LEONARD'S VOICE (o.s.)
Cheers.
Now the bottle comes into shot .and begins to
r111 the tumbler with bourbon before Thornh111 1 s
staring race.
DISSOLVE TO:
 North By Korthv:est ·
Chgs. 10-10-58 P~21
EXT. HILL ROAD - NIGH! 35'
Two · ca-rs are making their way along a wtnding,
precipitous road. The lead car is a light
colored open Mercedes Benz~ Behind it 1s the
limousine which brought Thornhill from the Plaza
Hotel to Glen Cove. We HEAR THORNHILL'S VOICE
coming from the lead car in drunken song: "Some-
where I 111 find you ••• sneak up behind you, •• "
The two cars come to a stop at the top or the hill.
The driver of the limousine gets out quickly and
we see that it is Licht. He crosses over swiftly
to the Mercedes Benz,

CLOSE ANGLE - THE MERCEDES BENZ 35D.

The driver of the Mercedes Benz - Valerian - is
just getting out as Licht arrives.· Sitting in
the Mercedes Benz, mumbling and singing drunken-
ly, is Thornhill.
THORNHILL (with gestures)
G1night Mr. Townsend, •• Mizz Townsend ••• -
'night ••• parting such sweet sorrow •••
(s.ings)
"I've grown accustomed to your •••
bourbon.••"
During this, the t"w'O men have held a brier,
sharp exchange 1n a foreign tongue. Valer1an
takes a quick step toward the edge and sees:

POINT OF VIEW 35"X2

The winding, descending, precipitous road ahead.

CLOSE ANGLE - THE MERCEDES BENZ

Valerian turns back and with the help of Licht
hurriedly pul1s Thornhill into the driver's seat.
Then, as Licht runs to the limousine, Valerian
gets into the Mercedes Benz beside Thornhill,
reaches across and starts the motor •
.THORNHILL (mumbles)
D()n•t worry about me, fellahs.
I'll take the bus from here.
36-37
 North By Northwest
Chgs. 8-13-58 P.22
INT~-MERCEDES BENZ 38
Valerian releases the hGndbralce, pushes _
Thornhill back, takes the wheel and applies
his left root to the accelerator. As the car
~tarts to movej Valerian glances ahead tensely.

POINT OF VIEW 38Xl

'l'he car is approaching a precipice.

INT. MERCEDES BENZ 38X2

Valerian opens the door at his side and gets
ready to jump. Just then, Thornhill, opening
a bleary eye, begins to sense what is happening.
He turns, puts both hands on Valerian and gives
him a v~olent shove, saying thickly:
THORNHD...L
You take the bus too.
Valerian falls out of the car. Thornh11.l grabs
the wheel and turns it sharply.

EXT. MERCEDES BENZ 38X3

The outside wheels travel ~long the edge ·or the
precipice.

THORNHILL AT WHEEL .3sx4

Looks ahead, onl~ slightly aware or his danger.
He gives the wheel another wrench.

CLOSEUP - MERO:nES BENZ. 38X5

The rear outside wheel is over the edge, ep1ns
in mid-air for a moment. Then the inner wheel
gets a grip on the crumbling edge, and the car
shoots forward.
 North By Northwest
Chgs. 8-25-58 P.23
CLOSEUP . - THORNHILL
. . AT WHEEL 38x6
He turns, glances back, sees:

POINT OF VIEW 39
Valerian 1n the act or getting into the already
moving limousine.

EXT. MERCEDES BENZ 39Xl

It picks up speed and goes careening down the
winding, precipitous road.
40 OU1-

THE LIMOUSINE - VALERIAN AND LICHT 4l

1n hot and angry pursuit.

THE CHASE SEQUENCE 42

The Mercedes Benz can talce the sharp curves with
more ease than the limousine. Also, Thornhill 1s
too far gone to know that he shouldn 1 t drive that
fast. Consequently, he gets to the root or the
hill and down to a main thoroughfare still in the
lead. Naturally, we film this ride, and that which
follows, from many different angles, including
Thornh1ll's delirious double-vision point or view.
He will be killed if he 1s caught, and he w1ll be
killed it he keeps driving- this way. There is very
little choice really, and on the highway- now, he 1s
doing eighty, weaving wildly through traffic, swerving
suicidally over double lanes and giving heart failure
to oncoming truck drivers. But he 1!, leaving the
limousine behind.

A POLICE CAR - TWO OFFICERS IN FRONT SEAT

The car 1s travelling along at a normal speed.
Suddenly Thornhill'e car comes dashing by. The
officers react ilmned1ately, start in pursuit.
 North By Northwest
Chgs. 8-25-58 P. 24/2'.
INT. LIMOUSINE 44
Valerian and L1ch~ see the police c~, which is
almost d1i4ectly 1n front or them, take off after
Thornhill. Valerian signals to Licht to slow
down. L1cht does so, and starts to make a
U-turn • .

THE MERCEDES BENZ 45

Thornhill tries desperately to keep his eyes
1n focus, his foot on the floorboard and his
hands on the wheel. HORNS BLARE warningly as
he comes perilously close to several headon
crashes. In his rear-view mirror, he sees
the headlights of the police car following and
does not realize that it is no longer the
limousine. The headlights are coming closer.
Suddenly, almost too late, 'he sees ahead or
him an elderly gentleman on a bicycle emerge
rrom a side road. He slams on the brakes and
the car comes to a screaming, wobbling stop.
The bicyclist, oblivious, continues across.

SIDE ANGLE 46
As Thornhill's car comes to a final, jerking
halt, the police car, with screaming brakes,
hi ts Thornhill' s rear. .T here is a CRUNCHING
SOUND as the bonnet of the police car crumples
like tin. There is a MOMENTARY SILENCE and
then the sudden SCREAM or more BRAKES, and a
third car smashes into the back of the police
car, giving it a crumpled rear as well.
Thornhill drunkenly leans out and looks behind
to see what all the fuss is about. The two
police, after forcing a door open, emerge,
glowering. At the same time, the third driver
1s seen getting out of his ca.r, somewhat be-
wildered, and starting forward.
DISSOLVE TO:
47 OU
INT. GLEN COVE POLICE STATION - (NIGHT) 48
A LT. HAGERMAN is behind the desk. To his right
is a radiophone transmitter-receiver, over which
we HEAR the faint communications of cruising
police ca.rs and their patrol stations. A COMMOTION
 Horth By r:orthh'es ·:.
Chg~. 10-10-58 P.26
is HEARD outside and then one of the police-car 48
officers, a gentie~an known as SERGEANT KLINGER, CONT'D
escorts a wobbly Thornhill into the building, (2)
THORNHILL ··(thickly) .
Thanks for the l~ft, fellahs,
KLINGER
L'ieutenant - I want this man
examined for dr.iving while
intoxicated.
l,IEUTENANT (looking at the
:swaying Thornhill)
Really?
THORNHILL. (to the
lieutenant)
They tried to kill me ••• He wn't listen •••
Bjg bouse ••• They tried to kill me.
KLINGER (during above)
ill right. Let•s just go inside •••
THORNF.ILL (moving w1 th
him) ·
-Don't wanna go inside. Somebody call
. the police.
The Sergeant leads Thornhil1 by the arm into the
courtroom.

I.NT. COURTROOM 1+9

A bleak room at this late . hour or night.
KLINGER (indicating a
chair)
Sit down.
THORNHILL .
Don 1 t wanna sit. Perfectly all right.
(he ~alls into the seat)
We'll throw the book at •em.
Kidnapping. Assault with gun ••• and
bourbon •• rand sports car. We'll·
get •em. • /
KLINGER . .
You'll be all right after a good
night's sleep. We got a nice cell
all made up and '\iraiting.
 Nortl'l By Northwest ·
Chgs. 10-10-58 P.27
THORNHILL .. lt-9
Don't wanna cell. I want . a CONT'D
. policeman 9 (2)
-
The other arresting officer, P~TROLMA.N WAGGONER,
enters.
WAGGONER
The car was just reported stolen.
KLINGER
Uh huh.
-. WAGGONER
A Mrs. Babson up on Twining Road.
THORNHILL (getting
unsteadily to his feet)
Gotta call someone. Where's the
phone?
KLINGER ·,
You•re allowed one call. Right
over here. . .
(leads Thornhill to a
nearby_phone)
Better make it your lawyer.
THORNRILL (to Klinger)
_Butterfield eight-<:>ne-oh-nine-eight.
'
KLINGER : · .
What am I -- a telephone operator?
THORNHILL (nodding)
Yeah. ..
Butterfield eight-one--oh-nine-eight •
Reluctantly, Klinger puts th·e call through. Af'ter
a few moments: ·
KLINGER (to phone)
Just a minute please •••• Here •
.
He hands the phone to Thornhill.
THORNHILL (to l)hone)
Hello, llither? This 1s your son,
Roger Thornhill.
(listens)
Wait a minute.
(to Klinger)
Where am I?
KLINGER
· Glen Cove Police Station.
 North By J'40rth·.,est
Chgs~ 10-10-58 P.28
THORNHILL ( to phone) 49
Glen Cove Police Station ••• CONT'D
(listens) (3)
. Now is that a nice thing to say,
Mother? I have not been drinking
again. But these t'w'D fellows poured
a bottle or bourbon do'Wil my throat ·--
(11stens, shakes his head)
No. They didn't give me a chaser •••
(during above, DR. CROSS has
entered. Klinger comes over,
interrupts Thornhill)
wait a minute, Mother.
(to Klinger)
Not finished yet.
KLINGER
Yes you are. C'mon.
THORNHILL ( to phone) .
Gotta hang up now, Mother. You
better get my lawyer right away
and ball me out.
KLINGER
tomorrow morning, tell her.
THORNHILL (to phone)
. He says •tomorrow' m:irning' •
(listens)
I don't know. I'll ask him.
(to Klinger)
She wants to }_{now -wo says.
KLINGER
Sergeant Emil K11nger
THORNHILL (to phone)
Sergeant Emil -
(a double take at the Sergeant)
Emil?
- (to phone)
Sergeant Emil Klinger.
(listens)
No. I didn 1 t believe it either.
{listens) .
Don't worry. I'm all right, Mother.
CNightie night.
(he hangs up)
That was Mother.
Klinger leads him over to a table where Dr~ Cross,
a pleasant young physician, is waiting with medical
kit.
 Nortn By North\✓ est .
Chgs~ 10-10-58 P-29
KLINGER (to Dr, Cross) 49 .
Here's your_ man, D~ctor ◄ CONT'D
(1+)
Cross glances at Thornhill 1 indicates a chairc
Thornhill collapses into 1~~ · Klinger and
Patrolman Waggoner move into b~g. as silent · T

observers·.. · Cross takes out a questionnaire · and

a fountain pen; begins to .fill out the form,
quickly and perfunctorily~
DR, CROSS
What ts your name?
THORNHILL
Roger Thornhill. Don~t believe
we've met.
DR. CROSS
Address?
THORNHILL
Eighty-four Sutton Place, Doctor .~

you listen to me --
DR. CROSS
Were you operating the m::>tor vehicle
in quest1:on?
THORNRILL
Adm:1.rably ..
DR. CROSS
Where were you going?
THORNHILL
No place- Just trying to get away
from some fellahs who were trying
to kill me. I I ve ,-b een trying to
tell these --
DR. CROSS
· Where did you start -from?
THORNHILL
Big house, I don 1 t lmow wherer
Big house< And these fellahs --
DR. CROSS (interrupting)
_~tand ~P please, Mr, Thornhill.~~
TH0RMHILL .(struggling to
·his feet) ·,
Sure,
 North By Nortnwest ·
Chgse 10-10-58 P.30
DR. CROSS (throwing some 49
coins on the floor) • · CONT 1 D
, •• And pick up those coins~ (5)
THORNHILL (looking right
at the mney)
~ t coins?
DR. CROSS (pointing to
a white line on the floor)
Never mind. Now I want you to walk
that line.
THORNHILL (as he tries
unsuccessfully to negotiate the
line) · '
At first I thought they were gonna
hold me for ransom. They brought me
to this house. Can't remember the
guy's name right now. Think it . was
Kaplan. Yeah, George Kaplan --
Be stops abruptly as he falls to the floor. Then,
as he starts to get to his feet again:
DR. CROSS
Ever have diabetes?
THORNHILL
Never touch the stuff.
DR. CROSS
Then you're not taking insulin.
l
THORNHILL
Never touch the stut~.
DR. CROSS
Have you used a mouthwash recently?
THORNHILL
Never stuch the tu.ff.
DR. CROSS
Stick out your tongue and say 11
ah".
THORNHILL
Better IIXJVeback ••• Ah-h-h!
DR. CROSS
Have you been drinking?
·-:IBORNHILL
D::>ctor - I am gassedc
~
 North By Nu.i:1.uwt:;:;t
Chgs. 10-10-58 P.31
DR~ CROSS . 49
What were you drinking? CONT'D
(6)
~ · . . . THORNHILL · .
·Bourbon. They held me down and
another guy -
DR. CROSS
How much would you say you drank?

THORNHILL· (holding his

palms about a foot apart)
About this much.
He starts toward a long table as:
DR. CROSS
Mr. Thornhill - it is my opinion
that you are definitely intoxicated •••
(as Thornhill lies dO'Wil on the
table) ·
••• And I am now going to have to
ask your permission to draw blood.
THORNHILL (a sleepy mUI"mur)
How disgusting.
DR. CROSS (reading very
quickly from his questionnaire)
"You may refuse to permit a blood
test to be made 1 _but if you do refuse,
your license will be revoked. You
have the right to JlOtify a physician
or your O'Wil choosing to administer
this chemical test 11' you so prefer."
- (looking up)
Is that understood, Mr~ Thornhi11? .
· (no response)._
Mr• Thornhill?
Sergeant Klinger steps forward, puts a ~inger to
his lips.
KLmGER
Shhh •••
He looks down at Thornhill with m:,ck tenderness. ·
Now we SEE Thornhill. He is sleeping like a baby,
with a 1ittle smile on his face. ·
DISSOLVE TO:

INT. COURTROOM - NEXT MORNING

The judge .ANSON B. FLYNN, is staring coldly down

at Thornhhl, ·who, looking plenty the "--Orse for .
a night 1n jail, stands between his attorney, VICTOR
LAR.l=t.ABEE, and Sergeant 10.inger. Seated behind
 Nortn By Northwest
Chgs. 10-10-58 P.32
them is Thornhill's mother 1 CLARA THORNHILL, a ~man 50
'Who ha·s played so much bridge she is getting to CONT'D
look like the Queen of Hearts. During the·follow- (~)
1ng, Thornhill turns, smiles at her reebly. She
does not smile back:
LARRABEE (speakin~ with
. ill-concealed distaste) _
-- It was at this point that
Mr. Thornhill succeeded in escaning
from his would-be assassins and when·
they gave chase, he, naturaily, had to
drive as best he could under the, uh,
circumstances. But unfortunately
the, \lh, circumstances were a little
more than he could handle, and so,
well, here we are.
THORNHILL (half aloud)
But where are they?
The judge gives Thornhill a hard-eyed look, then
turns to Larrabee.
JUI>.1E
Counsellor, how long have you known
70u.r client?
LARRABEE
Seven years, Your Honor.
JUDGE
Do you know him toibe a reasonable man?
LARRABEE
Absolutely.
In b.g., Mrs. Thornhill gives an audible sniff 01
scorn. Thornhill quickly turns and gives her an
angry whisper.
THORNHILL
MotherJ
JUOOE
And do you believe there is some
credence to this~ •• story?
THORNHILL (bridling)
Credence!
LARRABEE
Well ••• yes, Your Honor. I mean if
my client says that this is what
happened., I am certain it must have •••
(he shrugs)
••• happened.
 North By Northwest •
Chgs. 9-24-58 P.33/35'

Mm hmm. ··
JUDGE ;o
CONT 1 D
(he turns to Klinger) (3)
Sergeant~ I want this turned over to
the County Detectives for investigation •
. I suggest you call them up and have them
come over here immedia~e!r.!
KLINGER {starting away)
Right, Your Honor.
JUOOE.
Counsellor, I'm going to set this over:::
for final disposition tomorrow night· at·-
seven-thirty at which time I expect
you and the Jerendant to be here and
ready to go to trial. In the meantime,
the County Detectives will determine
wether his story has any basis in fact
THORNHILL (indignantly)
Basis in•fect? I suppose if I were
broughtin here dead! you still
wouldn't believe --
LARRABEE (interrupting)
Now, Roger, wait a mi.nutel
'I'HORNHILL
I mean, after all, YoUl" Honor, wuld
I make EE such a story?
J[JJXjE
That is precisely wat we intend to
find out, Mr. Thornhill.
· DISSOLVE TO:

EXT. GLEN COVE ROAD - DAY 5l

.
The Co,mty Detectives Car 2 a plain black sedan, is
cruising 1n the tree-lined. "estate" area of Glen Cove.

INT. CAR
Two detectives are up front - LT. HARDING and CAPX.
JUNKET. In the back seat, Thornhill is quietly
arguing with his m::itber while Victor Larrabee listens
in strained silence.
· THORNRILL
••• Eecause any drinking I do to excess,
Mother dear, can be attributed onl.y to
the bad example set by my immediate
ancestors. You are not exactly! may I
rem.ind yo~, addicted to homogen zed milk.
 Nortn By Northwest
Chgsc 10-10-58 Pc36
MRS. THORNHILL 52
Sometimes I wnder why I stand CONT 1 D
to~ your impertinences. (2)

THORNHILL
You wouldn It have to
if you could
learn to cheat at bridge •
. (an aside to Larrabee)
I support all her girl friends.
LARRABEE
Now, now, Roger •••
MRS. THORNHILL (scoffing)
Not ' 1 Roger. 11 You forget. It's
George.
(she chuckles)
George Kaplan.
CAPT. JUNXET (turning)
Here's the Townsend 'estate. Look
i"amiliar?
THORNHILL (looking out)
Yeah. That's 1~.

TRAVELLING SHOT - THE CAR

as it enters the estate through the open gates,
proceeds along th~ curving driveway and finaµy
comes to a stop before the ~ntrance to the main
house. '

EXT. MAIN HOUSE

Everyone in the car gets out. The detectives
·lead the w-a.y to the front door and ring the bell.
Presently ~he door is opened by the housekeeper,
who seems not at all perturbed to see the group
standing before her.
HOUSEKEEPER (pleasantly)
Yes?

THORNHILL
Remember me?
HOUSEKEEPER
Yes, sir.
THOIDIHILL (sat1sr1ea, but
grim) ·
Good.
 North By Korth·.:est
Chgs~ 8-25-58 P.37
. CAPT. JUN".r-.r.'T 54
Is Mr. Townsend at home? CONT'D
(2)
HOUSEKEEPER
No, I'm sorry, sir. He's left
-r or the day•
CAPT. JUNKET
Mrs. Towns end?
HOUSEKEEPER (after a pause)
Who shall I tell her is calling?
CAPT. JUNKET
County detectives,
HOUSEKEEPER (unperturbed)
Come in please,.
.
She opens the door wider.

INT. HOUSE
They all enter.
HOUSEKEEPER
~his way please~
She ·1eads them to the library, opens the door for
them and they enter.

INT. LIBRARY
THORNHILL
This is the room.
HOUSEKEEPER
I'll call madam,
CAPT, JUNKET
You do that.
The housekeeper vi thdxaws • Thornhill points to
the settee.
THORNHILL
there's the sofa.
(going to the sora)
they spilled bourbon all over it.
I'll show you the sta~s.
 8-13-58 p.38
He examines the eeat cushion, frowns, turns the 56
cushion o~er, ~rowns even more deeply. Ho looks CONT'D
up. ·Everyone is staring at him. He turns, looks (2)
about, spies the liquor cabinet.
THORNHILL
There's where they kept the liquor!
Scotch and gin and vodka !
MRS. THORNHILL
And bourbon.
Thornhill goes over, whips open the cabinet. It
is r1lled. with books. No liquor. Just books.
MRS. THORNHILL
I remember when it used to come
in bottles.
Just then the handsome WOMAN of the night before
enters, beaming graciously and talking very faet
as ehe goes over to Thornhill;
WOMAN
Roger! Dear J
(he straie~tens up,
astounded}
We were so worried s.bout youl
Did you get home all right?
(she embraces him)
or course you did. Let me look
at you. A little pink-eyed and
1'uzzy around the cheeks. But then,
aren•t we all? It was a dull party
really, and you didn't mies a th1m:.
But Lester was .furious with himself
for not seeing you home ~eraonally.
( to Clara Thornhill) _
Let's see. You must be Roger•s
mother. I'm so delighted to meet
you. Roger's told us so much about
7ou.
( to Larrabee)
And you must be a policeman. You
look like a policeman.
LARRABEE
1 am Mr. Thornh1ll's attorney.
THORNHILL
I want everybody here to know that
1 never even saw this woman berore
last night! -
 Nortn By Nortm;est
•' • 8-13-58 P.39.
The wcman laughs good-naturedly at flRoger's charming 56
Joke.n T"ne detectives step forward. CONT 1 D
(3)
CAPT~ JUJ\11CET
Mrs. Townsend - I'm Captain Junket
or the Nassau County Detectives, and
this is Lieutenant Harding.
WOMAN
How do you do?

LT. HARDINO
Matmn.,
WOMAN (to Thornhill)
Oh, dear. You havenct gotten into
trouble, Roger ••• ?
MRS. THORNHILL THORNHILL
Has he gotten into Stop calling me
troubie. . "Roger" 1
CAPT. JUNKET
Mrs. Townsend - Mr. Thornhill was
picked up last night driving while
under the influence of alcohol,
and incidentally, in a stolen car --
WOMAN
Stolen car!~
CAPT. JUNKET
-- belonging to~ Mrs. Babson or
Twining Road --
WOMAN
Roger, you said you were going to
call a cab. You didn't borrow
Laura's Y.erc:edes?
THORNHILL (hopelessly)
No, I didnrt ••• boITow .•• Laura•s •••
-
Mercedes.
CAPT 1> JUNKET
Mr. Thornhill has told us that he
was brought to this house against
his will last night and forcibly
intoxicated by some friends or your
husband and then set out on the
road. Did you know anything about
this?
The voman gives Thornhill a look or deep sympathy,
then faces the detectives.
 7-13-58 P.40
WOMAN 56
Well, now, Captain Roger was a CONTtD
bit tipsy when he a.rrived hereoy (4)
ca'.b for dinner -- · ·
THOIDlHILL
She's lyingJ
WOMAN
-- And I'm afraid he became even
worse as the evening wore on, A
and finally he told us he had to
go home to sleep it orr. I knew I
should have served dinner earlier.
Otherwise I can assure you the
harmless little escapade with Y~s.
Babson 1 s car would never have
happened.
THORNHILL (with sardonic
admiration)
What a performance!
WOMAN
Poor dear •••
CJ.Yr• J1JNlCE:l'
Mrs. Townsend -- does the name
George Kaplan mean anything to you?
WOMAN (blankly-)
George Kaplan? No.
CAPT. JUNKET
l d1dn 1 t think so.
The detective already has his eye on the door and
a quick departure.
~HORNHILL (desperate now)
What about her husband? He•s the
one you should be queetioningl
CAPT. J"ONKET (to the
woman)
Ia there any place he can be
reached?
WOMAN
Why yes - the United Nations.
CAPT. Jtl'NKET (impressed)
The ••• United ••• Nations••• T
 Nortn By r~orth,,: est
Chgso 9-29-58 P.41
WOMAN 56
He's addressing the Gerieral Assembly CONT 1 D
this afternoon. (5)
The detective looks at Thornhill and his mouth
tightens.
THORNHILL (at bay)
All right - so he:s addressing
the General Assembly~
CAPT. JUNKET (to the
woman)
Sorry we had to bother you4
WOMAN
No bother at allo
She leads the group toward the door.
THORNHILL
Wait a minute now ••••
They go out to the foyer.

THE FOYER
As Thornhill is hurried by his mother out or the
11brary across the foyer, he HEARS:
WOMAN \S VO ICE
Will you be wanting to get
in touch with my husband, Captain?
·CAPT. JUNKET
No, Mrs~ Townsend - that wn•t
be necessaryo
THORNHILL
D1 you mean to say you're
not going to do anything more
about this?
MRS. THORNHILL (turns, fixes
him with a look)
Roger •••
(she shakes her head slowly)
Pay the two dollars. -
Thornhill gives her a look, then goes out the front . ✓t
door with her and the others,
 North By Northwest
Chgs. 8-25-58 P.42
EXT. MAIN HOUSE 58
As the group goes down the steps and into the
car, the woman stands at the door watching. She
even waves once to Thornhill, who is in no mood
to wave back. On the lawn near the entrance, a
gardener in overalls is on his knees working over
a flower bed. His back is to the entrance, and
he does not turn to see the group leave the house.
But now, as the car drives off, he gets to his
feet, looks after the car~ then turns into CAMERA.
Beneath the overalls and the dirty fac~, we see
Valerian.
DISSOLVE TO:

EXT. FLAZA HOTEL - NEW YORK CITY - A FEW 59

HOURS LATER

A cab pulls up before the hotel. Thornhill and

his mother get out and cross the sidewalk to the
entrance as:
MRS• THORNHILL
I don•t see what you need me
along tor. -
THORNHILL {savagely)
You lend me a certain air of
respectability.
MRS. THORNHILL
Don't be sarcastic, Roger.
They enter the hotel.

INT. LOBBY 60
Thornhill goes to the row or house phones
saying:
THORNHILL
Well, here goes.
(he picks up a phone)
Do you have a George Ka.plan
staying here.
(a pause - then
excitedly)
'l'hat' s right. Room seven -n1neiT-·
a1.L Would you r1n~ h1lll please?
(to his mother} ·
It's true. He 1B registered here •••
 North By Northwest
Chgs. 8-26-58 P.43
'MRS. THORNHILL (bored) 60
That's nice. CONT'D
(2)
. THORNHILL
~ •• And he's just the one to
clear Up this little ballet.
(to phone)
What? •••• oh. I see. He didn't
leave any word when he'd be back,
did he? •• ·• .Really? All right.
Thank you.
(he hangs up) .
That's runny. He hasn't answered
his phone in two days.
MRS. THORNHILL
Maybe he got locked in the
bathroom.
Thornhill has been peering thoughtfully towards
the desk, where people are getting their keys,
mail, etc.
THOrumILL
~other - I want you to go over to
the desk, put on that sweet innocent
look you do so well, and ask ror
the key to seven ninety-six.
MRS. THORNHILL
Don't be ridiculous. I wouldn't
do a thing like that.
THORNHI'tL (taking out
a wad or bills)
'l'en dollars?
MRS. THORNHILL
Not for all the money 1n the world.
THOrumILL

MRS. THORNHILL (taking the

proffered money)
You•re disgracet"ul.
She starts ~t.oward the desk as Thornhill watches.
DISSOLVE TO:

INT. HOTEL CORRIDOR 61

Thornhill and his mother are walking toward the
door to 796.
MRS. THORNHILL
Car thert ••• drunk driving •••
assaulting an orr1cer ••• lying to
... ~ .. ,. ... .,. ,.,,.,~ TiOW. house-break1ni:z •••
 North By Northwest
Chgs. 8-15-58 P.44
THORNHILL 61
Not house-braak1ng, Mother. Hotel- cmrrrp
breaking. There 1 s a difference. (2)
. MRS. THORNHILL (gloomily-)
or five to ten years.
They arrive at 79.6; he takes the key from her hand
and looks about :f'urt1vely. Then he inserts it 1n
the lock. Just then, a chambermaid emerges from
another room, sees him and calls out:
MAID
Just a minute pleaseJ
Thornhill nervously pulls the key rrom the lock,
turns and waits tensely as she walks over to him.
MAID
Will you be want1n 1 me to change
your bedd1n 1 , sir?
THORNHILL (relieved)
Well ••• yes ••• but not right now •••
JllAID
I was oney aek1n 1 , sir, because
the bed don•t r,eem like it been
slept 1n a.nd I was ·Just wontler1n 1
if I still oughta keep changin'
the linens, y 1 lmow?
THORNHD.J:.
Thank you very much for your
interest.
MAID (smiling)
You're welcome, sir.
She goes orr down the corridor. Quickly Thornhill
inserts the key in the lock, opens the door and
leads his mother into the room. ·

INT. HOTEL ROOM 62

THORNHILL
You see that? She thought I
was Kaplan. I wonder if I look
like Kaplan.
He glances about. There are twin beds7 neatly
made up, but the rest or the room looks 11ved-
1n. There 1s an open suitcase on the floor v1th
 North By Northwest
Chgs. 9-22-58 P.45
a few shirts and some soiled socks in it. On a 62
chair is a · three-day stack of well-read New York CONT'D
newspapers. The dresser top is strewn with (2)
masculine odds and ends -- an electric shaver, a
pair or military brushes monogrammed "a.K.•, a
halt-empty pint of Canadian Club, several scribbled
~eminders: "Call W1lson,n nLaundry Friday,•
"Wire Ambassador East confirming reservation,•
"Mahdi of Pakistan." Also, there 1s a group
picture torn from a newspaper. The caption is
missing, but one of the faces has been ringed
with red pencil. It 1s the face or the MAN or
Glen Cove.
THORNHILL
Hmmm. Look who's here.
MRS. THORNHil.L (glancing
about)
Where? Who?
THORNHILL
Our friend who's assembling the
General Assemblv this afternoon.
He puts the picture down.
MRS. TRnRNHn.L
Roger - l think we should go.
As he goes to the night-table and presses a
button marked "Chambermaid",
THORNHlLI,
Don't be nervous, Mother.
· MRS• THORNHILL
I'm not nervous. I'll be late
tor the bridge ciub.
THORNHll.L
Good. You 1 ll lose less than
usual.
He .goes to the bathroom and enters.

THE BATHROOM 63
There are toilet articles on the sink, on the
glass shelf above it, and in the medicine cabinet.
Thornhill takes the conib from the hairbrush on
the shelr, inspects it, then replaces 1t. He
returna . to:
 8-13-58 P. 46
THE BEDROOM 64
THORNHILL
_B ulletin. Mr. Kaplan has dandruff.
MRS. THORNHILL
In that case, I th1nk we'd better
leave.
Just then, the DOOR BUZZER SOUNDS.
MRS. THORNHILL
Too late. - ·
Thornhill goes to the door, opens it. The
chambermaid stands there.
MAID
You rang for me?
THOIDmILL
Come in a moment.
(the maid enters)
What•s your name?
MAID
Elsie, sir.
THORNHILL
Elsie - do you know who I am?
MAID {giggles)
Sure. You're Mr •. Kaplan •
•
THORNHILL
When did we ••• when did you r1rst
see me, Elsie?
MAID
Outside the door, out there in
the hall, just a couple minutes
ago. Don•tcha remember?
THORNHn.L
You mean that's the first time
7ou ever laid eyes on me?
MAID
Can I help it you're never around,
Mr. Kaplan?
THO~'Hn.L
-
How do you know I am Mr. Xe.plan?
 North By North\•: ~st
Chgs. 8-25-58 p.lf
MAID (puzzled) 64
Huh? co:
(2,
THORNHILL
How do you know I'm Mr. Kaplan?
MAID {giggles)
Well, o~ course ya are. This 1s
room seven ninety-six, isn't it?
So - you're the gentleman 1n room
seven ninety-six, aren•t ya?
THORNHILL
All right, Elsie.
MAID
Will that be all, sir?
THORNHILL
For the time being. Yes.
As the maid starts away, the DOOR BUZZER SOUNDS
again. The maid opens the door and goes out
past the Vil~, who 1s seen standing there-with
a suit on a hanger.

Valet.
THORNHILL
Come in.
V.ALEI' (entering)
Hang it in the closet, Mr. Kaplan?
THORNHILL
Please.
Thornhill exchanges a look with his mother as the·
valet opens the closet door, hangs the suit on
the rack.
VALF:r
There we are.
(Thornhill gives him a tip)
Thank you, Mr. Kaplan.
THORNHILL
By the way - when did I give you
that suit?
VJ.LFr
Last night. Around six.
 8-13-58
THORlmILL 64
D1d I give it to you personally? C02'."7'D
(3)
VAL~ (smiles)
· Personally? No., Mr. Kaplan. You
called down on the phone and
described the suit to me and said
it would be hanging in the closet.
Like you always do. Anything wrong?
THORNHILL
No., no. Just curious.
VALF:r {leaving)
Okay. Nice meeting you# Mr. Kaplan.
He goes out. Thornhill steps to the closet,
opens the door.
THORNHILL
I'm beginning to think nobody
1n this hotel has actually ever
seen Kaplan.
MRS. THORNHlLL
Maybe he has his suits mended by
Invisible Weavers.
There are several suits on the rack, Thornh1l1
takes one out, tosses it on a chair, whips off
his jacket, throws it on the bed, then ta.lees the
other jacket ofr the hanger and puts 1t on. Be
extends his arms. The sleeves are eight inches
too sho~t.
MRS. THORNHILL (looking
him over speculatively)
I don't think that one does
any-thing for 7ou. ~
Thornhill takes the trousers from the hanger,
holds them up in front or him. They are .ludi-
crously- short.
THORNHILL
Look at this. They•ve
mistaken me for a man who 1e
only five feet tall~
MRS. THORNHlLL
I 1 ve always told you to stand
up straight.
 N.:1r-th By North·,:est
Chgs. 9-19-58 P.49
Just then, the TELEPHONE on the night-table RINGS. 64
Thornhill stares at it uncertainly. The phone RINGS CONT'D
again. (4)
THORNHILL
Should I?
MRS. THORNHILL
Certainly not.
So Thornhill goes over and picks up the receiver.
THORNHILL
Hello?
VALERIAN'S VOICE (through phone)
It is good to find you in, Mr. Kaplan.
THORNHILL
Who is this?
VALERIAN'S VOICE
We met only last night and still you
do not recognize my voice. I should
feel offended -
THOR.'IBILL
Yeah - now I kno~ ~110 you are and
I'm not Mr. Kaplan.
VALERIAN'S VOICE
Of course not. You answer his telephone
and you live in. his hotel room, and yet
you are not ¥~. 1 Kaplan. Nevertheless,
w~ are pleased to find you in..
.. . -- ··-·
He clicks orr.
THORNHILL
Hello{
. . Jiggling receiver frantically)
· Hello · ··
OPERATOR'S VOICE.
Yes?
THORNHILL
Operator, this is Mr. Tho~n-- Mr. Kaplan
1n seven-ninety-six. That call that just
came through. Was that an outside call
or from the lobby?
OPERATOR'S VOICE
Just a minute, sir. I'll see
THORNHILL
Hurr7J
MRS. THORNHILL
Who was·it'!
 North By North•,.fest
Chgs. 9-22-28 P.50
THORNHILL . 64
Only one of the men who tried to kill CONJ:'D
_me last night. (5)

MRS. THORNHILL
Oh • we 're back to ~ one, are w?
THORNRILL (jiggling the
phone)
Hello - operator!
OPERATOR'S VOICE
Mr. Kaplan •••
THORNHILL
Yes •••
OPERATOR'S VOICE
That call was made from the lobby, sir.
THORNHILL
It vas •••
(he hangs up, looks about desperately)
The lobby. They're probably on their •
way up right now, Come on. We've got
to get out or here.
He struggles :into his jacket, picks up the news~aper
cli?ping ana stuffs it in his rx:>cket.
MRS. THORNliILL (not at all
excited)
I think I'd like to meet one of these killers • .
. ..
He tak~s her bt tne arm, h'Clrries her to the door.
THE CORRIDOR
As they emerge from the room, Thornhill looks
about, sees no one, moves his mother sw-iftly to the
nearby elevator. He presses the 11 DO\i.'l'r11 button" wits
anxiously. Sudden1y ·£:::.'Q elevators arrive simultane-
ously~ one from above, the other from below, Just
as Thornhill and his mother enter their elevator,
Valerian and Licht step out of the other one, in
time to see their quarry. Before the doors can close,
they quickl.y follow Thornhill in.

INT. ELEVATOR 66
There are six passengers in the car, all or them
of obvious refinement and sophistication: an
elderly gentleman and his elderly wife; two ~1tty-
1sh "'10men; and another couple. Valerian and Licht
are crowed close to Thornhill and his m:>ther as
the doors close and the elevator starts down.
Thornhill taps her And indicates that these
 8-14-58 P.5\
are the men who are after him. She glances at 66
them ar.d sees two men whose attitude seems to cor-:--
be quite innocuous. She turns back to Thornhill (2)
and smiles her disbelief. He frowns and nods his
insistence. She turns to them again and smiles.
MRS. THOJU,THll.L
You gentlemen aren•t really
trying to kill my son, are
)"OU?

The men look at her blankly, as tqe other

passengers turn their heads in surprise. Valerian
starts to smile, as he turns to Licht, who takes
the cue and also begins to smile. Valerian turns
toward the other occupants or the car and starts
to chuckle. Relieved, they start to chuckle too.
For a spl1t -second, Mrs. Thornhill is astonished
at the effect or her remark. Then she too
Joins in the laughter. By now the laughter has
built to a crescendo and the whole car 1s
laughing, even the operator. In the center o~
all this stands a glowering Thornhill. The
elevator comes to a stop.
OPERJ1TOR
Lobby, please. Watch your
step.
Thornh1ll's expression 1lmned1ately changes to
one of furtive calculation. We HEAR the SOUND
or the elevator DOOR OPENING and the outside
lobby lights appear on his race. Valerian and
Licht start to move ou~.
'l'HORNHILL (to' both or
them, politely)
Excuse me. Ladies first, 1r ·
7ou .don 1 t :mind.

INT. LOBBY 66x:

CAMERA is SHOOTING into the elevator. Thornhill
turns and starts backing out or the car as he
ushers the ladies out. The ladies, in pushing
their way out, ease Valerian and Licht toward
the rear. As Thornhill backs away, the CAMERA
also RETREATS with him, but goes faster than
he does. Thornhill 1s now fax- enough out · to_
turn toward the CAMERA and start running toward
the 59th Street entrance, the CAMERA PANNING
w1th him.
 North By Northwest
Chgs. 8-28-58
ANOTHER ANGLE - INT. LOBBY
Thornhill 1s now running toward the CAMERA.
Behind him we see Valerian and Licht pushing
their way between the women, and just in front
or them, Mrs. Thornhill, who is calling out:
MRS. THORNHILL
Roger - will you be home for dinner?
Thornhill dashes out or the SHOT.

EXT. PLAZA HOTEL

A man and woman are waiting for a taxi, which
1s Just pulling up. As the doorman opens the door
for them, Thornhill comes dashing out of the hotel,
nms down the steps and Jumps into the cab, past
the astonished people. He slams the door shut
and the cab starts to move orr.
67-70
INT. CAB 71
DRIVER
Where to?
THORNHILL
I ·don 1 t know. Just keep going.
l
The driver shrugs. Thornhill turns, looks out or
the back window. Over his shoulder we SEE
Valerian and Licht dashing across the s1dewa1k
and past the same startled couple and doorman
into the next cab, which has just pulled up.
Thornhill turns away, realizing he 18 still
being followed, ponders the situation, then
reaches into his pocket, takes out the torn news-
paper photograph he had found in the hotel room
and ·glances down at 1t thoughtfully. He looks
up at the cab-driver.
THORNHILL
Take me to the United Nations.
DRIVER
Right.
~Oruffi!LL
The General Assembly Building.
· DRIVER
Right.
 rrorth By North,,,·est
Chgs. 10-10-58. P.53
THORNHILL 71
I'm being followed. Can you do CONT 1 D
something about it? (2)

DRIVER
Yes. I can.
THORNHILL
Do it.
The cab surges for~ard withs burst of speed.
'OISSOLVE TO:

EXT. UNITED NATIONS HEADQUARTERS - DAY 72

As seen from the north a LONG HIGH ANGLE SHar show-
ing the General Assembly building in the foreground,
the 39-story oarble and glass Secretariat building
beyond iti and in the background, the East River and
the Brook yn skyline. At the extreme right, a taxi-
cab 1s seen pulling up at the curb near the main
entrance to the General Assembly building.

CLOSE ANGLE - THE ENTRANCE 73

Thornhill gets out of the cab, goes into the
building.

INT. LOBBY Of_ ASSEMBLY BLIX1.

Thornhill crosses to the .Information Desk. There
are two gil'ls stationed behind the desk, one of
~em a lovely Indian. She smiles at Thornhill.
GIRL
May I help you, sir?
THORNHILL
Yes. ·- Wher·e woul.d I find
Mr. Lester Townsend?
GIRL ("1Titing on a pad)
Mr. Townsend of UNIPO. And did you
have an appoiDtment, sir?
THORNHILL
I ••• uh ••• yes ••• uh ••• he expects me • .
GIRL
Your name, sir?
THORNHILL (hesitates}
My name?
 North By Northwest
Chgs. 8-28-58 p.54
GIRL 74
Yes., please. C0?-.'1' 1 D
(2)
THORNHlLL
Xaplan. George Kaplan.
GIRL
One moment please.
~uc:: picks up a phone, starts to dial. Thornhill
glances back toward the entrance door nervously.

EXT. STREET NEAR MAIN ENTRANCE 75

Another cab is seen pulling up to the curb.
Valerian gets out and, addressing Licht inside~
gestures as though telling him to have the cab
wait across the street. As the cab pulls away
Valerian starts up the steps to the main entrance
or the General Assembly building.

INT. LOBBY 75n

'l'hornhill 1s now receiving a slip or paper f'rom
the girl at the Information Desk, who 1s saying:
OIRL
•.. Ir
you will give this to one
of the attendants i1n the Public
LoW'lge she will page him for you.
THORNHILL
Thank you very much.
GIRL
You•re welco~e, Mr. Kaplan.
"l'hornhill starts past the desk.

EXT. MAIN ENTRANCE 75X2

Valerian crosses the courtyard and starts through
the ma.in doors.

Drr. LOBBY 75X3

Valerian enters and glances about. Then he walks
in the direction of the Information Desk.
 ·Nortn By Northwest
Chgs. 8-28-58 P.55
INT. PUBLIC LOUNGE 76
Thornhill 1s just approaching the lounge. We enter
with him, see the vast, high-ceilinged room with its
high windows along the north wall looking out on the
East River and the Queensboro ·Bl41dge in the
distance. The lounge 1s crowded with delegates
or all nations; there are many races, many
different modes or dress. They sit on leather
c~~~~s arid sofas sipping tea, or stand in small
conversational groups with cocktails 1n hand.
Others congregate at the bar at the east end of the
room. Everywhere 1s the buzz or many d1rrerent
tongues. And over it, the CONTINUING SOUND of the
PUBLIC ADDRESS SYSTEM as three pretty attendants
seated behind microphones near the telephone
switchboard send out their calls:
"Miss Knox o~ Ceylon ••• United
States Secretary please ••• Mr. Mahdi,
delegation of Pakistan, please call
the Public Lounge ••• Mr. Craig of
the Secretariat, kindly call your
office ••• Mr. Bernatt1 or the Swiss
Observers Office ••• Mr. Bernatti or
the Swiss Observers orr1ce ••• •
Thornhill goes up to one or the atten~ants (a
2~-year-old American girl), hands her the alip
of paper.
THORNHILL
Will you page Mr. Lester Townsend
please?
A'rl'ENDANT (consulting
the slip)
Certainly, Mr. ' K.aplan.
She picks up the microphone. We BEAR her voice
over the p.a. system.
A'ITENDANT
.Mr. Townsend of UNIPO •••
Mr. Townsend or UNIPO ••••
Please call at the commun1cat1ons
desk or the Public Lounge.
Thornhill stands gazing about the crowded room wait-
ing tor Townsend to appear. Deep in b.g. we SEE
Valerian enter. Be stops as he sees Thornhill.
There is a conetant stream or activity at the
communications desk. Several different people
 8-14-58 P.56
emerge from the throng to walk over to the desk. 76
Thornhill pays no attention to them, for none of CONT'D
them 1s the man he 1s seeking. Finally .one (2)
caller - a distinguished looking gentleman or
about sixty - leans over and speaks to the
attendant, who then glances at Thornhill.
ATI'ENDANT
Mr. Kaplan •••
THORNHILL (turning)
Yes?

A'rraNDANT
You wished to see Mr. Townsend.
THORNHILL
Yes.
ATTENDANT (pointing)
This is Mr. Townsend.
Thornhill looks at the strange man, blinks with
puzzlement.
'l'OWNSEND
Bow do you do, Mr. Kaplan?
He extende his hand.
'l'HORNHll.I, (to attendant)
This 1sn 1 t Mr. Townsend.
TOWNSEND (smiling)
Yes 1t is.
He holds out his hand again. Thornhill shakes 1t
dumbly.

THORNHILL
There must be ••• some ••• m1stake.
Lester Townsend?
.. TOWNSEND (cheerfully)
That's me.
(as they stroll towards
the windows)
What can I do for you?
THORNHILL {still utterl7
bewildered)
You're the Townsend who 11ves 1n
Glen Cove?
 North By Nortln,:est
Chgs. 9-22-58 P. 57
TOWNSEND 76
That's right. Are we neighbors? CONT'D
(3)
THORNHILL
A large red-brick house with a
curving tree-lined driveway?
TOWNSEND (smiles)
That's the one.
~s they walk across the room, they pass a press
photographer taking flashbulb shots of a West
African group.
THORNHILL
Mr. Townsend, were you at home
last night?
TOWNSEND
You mean in Glen Cove?
THOIDlHlLL
Yes.
TOWNSEND
No. I've been staying in JnY"
apartment in town for the past
month. Always do when we 1 re 1n
session here.
THORNHILL
. -
What about Mrs. To...msend?
)

TOWNSEND (frowns)
My wife has been dead for many
years.
(Thornhill stares at him)
Look here, Mr. Kaplan, what's this
all about?
TBOID.1Hn.J.,
Who are those people living
1n your house?
TOWNSEND
What people? The house 1B
completely closed up. There's
just a gardener and his wife
living on the grounds. Now,
Mr. Ka.plan - suppose you tell me
who you are and what you want.
 North ~y Northwest
~hgs. )-18-58 P.58
Thornhill takes the newspaper photograph from his 76
pocket, starts to show it to Townsend. CONT 1 D
(4)
THORNHILL
Do you know this man?
Townsend glances at the picture, then suddenly
gasps and utters a strangled cry. His eyes
widen and he sags against Thornhill, who puts
his arms around him automatically to support
him.
'I'HOR1'1iILL
Here. What 1 s wrong?·
'I'ownsend groans. His eyes flutter. Thornh111 1 s
right hand closes on the handle of a knife pro-
truding from Townsenct•s back. Instinctively he
grasps the knife, pulls it out. Townsend slumps
to the floor, dead. Thornhill stands there 1n
horror staring down at him, the bloody knife
upraised in his hand. It has all happened so
swiftly that nobody has actually seen the slaying.
Valerian is seen hurrying away. A woman's voice.
is heard crying out: 11 Look! " A man I s voice shouts:
"What happened?" Thornhill looks up, sees a
circle or horrified, angry faces staring at him.
11
A woman fio1nts at him e.ccusingly: He did itJ I
I
saw h1ml The group moves toward him slowly,
threateningly. Another voice cries out: nLook
outl He's got a kn1fel 11 Thornhill backs away
slowly, dazed and confused.
THORNHtLL
Wait a minute now ••• Listen to
me ..• I had nothing to do with
this •••
VOICES
Somebody do something! •••
I saw himl. ·•• Call the pol1ceJ •••
Grab him! •••
THORNHILL (frightened)
Don•t come any nearer! Get backl
There 1s a CLICK and a FLASH OF LIGHT. The press
photographer has whipped his camera around and
caught a perfect shot of the stunned Thornhill
 North By JorthHest
Chgs. 10-15-58 P.59
backing away'from the fallen body with the bloody 76
knife still clenched threateningly in his hand. CONT'D
Panic on his face, he drops the knife and flees (5)
from the room before the startled onlookers can
make a move.
DISSOLVE TO:

nu. CONFERENCE ROOM - CENTRAL INTELLIGENCE AGENCY ?7

- WASHINGTON, D.C. - EARLY EVENING
START CLOSE ON front page of a ~~shington evening
paper featuring the incriminating photo of Thorn.hill
in his nkiller 1 s" pose; above it 1 screamer head-
lines : "DIPLOHAT SLAIN AT U. N. ; ASS ASS IN ELUDES
POLICE." A lWPS VOICE 1s BEARD over the SP.OT
reading aloud what is obviously part of the news
story. During this we PULL BACK to reveal a group
of four men and one wotian seated around a confer-
ence table. As the CAHERA leaves the INSERT of'
the newspaper and STARTS ITS RISE, we also catch
a glmpse of official docUIJents on which we SEE
the "WOrds: 11 TOP SECRET."
MAN'S VOICE (reading)
"--The photogr~ph has been tentatively
identified as that of Roger Thornhil.1 1
a Manhattan advertising executivel
indicating that the name George K~plan,
which he gave to an attendant in the
General Asseobly Building, was ralse.
A possible notive for the slaying
was suggested by the discovery that
earlier today, Thornhill appeared
in a Glen Cove, Long Island 2 police
court on a charge of drunk driving
with a stolen car, and 1n his defense
charged that the murder victim,
Mr. Townsend 1 had atteopted to kD.l
~ the night before... .
·The man puts the newspaper down on the table, looks
up at the other people. Their ages vary from
thirty-five to fifty; there is nothing about an
Intelliger.ce agent's appearance that distinguishes
him from, say, a college professor or a stock
broker or a reporter or a housewife. These people
happen to be all of that, too • . The gentleman who
has been reading the newspapert ror example, is,
among other things, a limer or comic cartoons
!or the national :magazines.
CARTOONIST
Brother ••·•
 Uorth By North,!est
Chgs. 10-15-58 P.60
STOCK BROKER 77
What about that? COUT'D
(2)
.' HOUSE'\'1IFE
Does anybody ~ this Thornhill?
..
CARTOONIST
Not me~
STOCK BROKER
Never heard of him.
HOUSEWIFE
Professor?
The Professor shake·s his head negatively.
REPORTER
Apparently the poor sucker got
mistaken for George Kaplan.
CARTOONIST
- How could he be mistaken fo?'
George Kaplan when George Kaplan
doesn't even exist?
REPORTER
Don't ask me ho~ it happened,
but obviously it happened.
Vandaco's men must have grabbed
him and tried to put him awa1,
using Lester Townsend's house.
l

STOCK BROKER (nodding)

· And the unsuspecting Townsend winds
up with a stray knife in his back.
REPORTER' (shrugs)
c•est la guerre.
CARTOONIST (shaking his .
head)
It's so .. horr~bly sad. _Why is 1t I
reel like laughing?
HOUSEWIFE
Never mind that. What are we going
to do? -

CARTOONIST
Do?

HOUSEWIFE
About Mr. Thornhill.••
STOCK BROKER
Good question.
 ?!orth By !lorth~rest
Chgs. 10-15-58 P.61
They ~ook at each other uncertainly. Finally the 77 1
mildest mannered of then allt the college professor, CO:iIT D
speaks up quietly, enunciating with elaborate (3)
precisenes·s.
PROFESSOR
We do ••• no thing •
HOUSEWIFE
Nothing?
PROFESSOR (getting up)
That's right ••• nothing.
· (with a gesture)
Oh, we could congratulate ourselves
on a marvelous stroke of good
fortune •••
(he meets their puzzled stares
with a delighted announcement:)
Our non-existent decoy, George Kaplan
- created to divert suspicion from
our own NU!!lber One - has fortuitously
become a live decoy.
HOUSEWIFE
Yes; Professor. And how long do you
think he 1 s going to stay live?
PROFESSOR
That•s his problem.
STOCK BROKER
What Mrs. Finley means
PROFESSOR (amused)
I know what she means.
STOCK BROKER
-- We can•t just sit back calmly
and wait to .see who kills him first •••
Vandatn:!l and company or the police.
PROFESSOR (forcefully)
there'& nothing we can do to save
him without endangering Number One!
HOUSEWIFE
Aren't we being just a wee bit
callous?
The Professor's tolerant attitude vanishes.
 Uorth By r:orthwest
Chgs. 10-15-58 P.62
PROFESSOR . 77
Nol my dear woman, we are not being CONT'D
ca lous. We did not invent our (4)
non-existent can, and establish
elaborate behaviour patterns for
him, and move his prop belongings
1n and out of hotel rooms, for
ou:r m private a □use~ent. We
created George Kaplan and labored
to convince Vandamt1 that this
phantom was our own NUL1ber One,
hot on his trail, for a desuerately
important reason.
REPORTER
Check.
STOCK BROKER
Nobody's denying that.
PROFESSOR (passionately)
All right then. If we .make the
slightest move to suggest that there
~ no such agent as George Kaplan •••
give any hint to Vandam that he's
pursuing a decoy instead of our rea1
Number One ••• then Number One, "WOrkiD.g
right under Vandawm's nose, will
immediately face suspicion, exposUl"e
and assassination, like the two
others who went before.
There is a n:oment of embarrassed silence around
the tab.l e as they all realize the unpleasant truth
of what the Professor has just said.
HOUSEWIFE (softly, sadly)
Goodbye, Mr. Thornhill ••• wherever
you are.
DISSOLVE TO~

INT. GRAND CE!ITRAL STATION - NYC - EARLY EVENING 78

SHOOTING FROH A HIGH vantage point, we disclose
the vast, bustling !!lain lobby of the terc.inal.
Police are seen entering from the 42nd Street side
-- tv.'O lieutenants in uniform and two plainclothes
detectives. They look aboutl coce to a stop,
confer and then disperse. C l·~RA PANS slightly
to a ~hone booth. We SEE Thornhill inside, talking
on the phone.
79 0171'
 Nortn By Northwest
Chgs. 10-15-58 P.63
INT. PHONE BOOTH 80
THORNHILL (exasperated)
Buti Mother, I called the Plaza.
Kap an checked out and went to the
Ambassador East in Chicago. That's
why- I 1m --
(he listens impatiently-)
I can't go to the police. Not
yet. You saw the newspapers.
My fingerprints are on the knife;
I'm a drunk driver, a car thief
and I murdered a man for revenge.
I wouldn't have a chance and I
-won't have until I find Ceorge
Kaplan, who obviously knows what
this is all about.
(listens again)
No, the train. It's safer.
(another .interruption)
Because there's no room to hide on
a plane if someone should recognize
me. You want me to jump off a
moving plane?
(nods, then with angry sarcasm)
Thank you so much, Mother.
There 1s a LOUD CLATTER as ¥.rs. Thornhill hangs
up on him. Thornhill stares at the receiver a
moment, then hangs up and pushes out of the booth.

INT. TERMINAL 81
As he emerges from the booth, he comes face to
face with a large man who could be a detective.
For a brier, tense xroment they stare at each
other, and then the man steps past him into the
booth. Thornhill looks about cautiously, then
starts walking across the lobby towrds the
ticket windows t CAl:ERA MOVING with him. :t{ear the
Information Booth, a man stands reading the center
pages of the N.Y. POST. Thornhill sees the· front
page headlines: "MANHUNT ON FOR U.N. KILLER.n This
reminds him:to take out dark glasses and put them
on, which he does as he continues across the lobby
and steps up to a PULLMAN TICKET WI!IDOW. A TICKET
AGENT moves up to him, peers at the dark glasses.
AGENT
Yes?
 North By Northwest
Chgs. 8-25-58 P.64
THORNHILL 81
Give me a bedroom or whatever CONT'D
y~u got on the Twentieth Century. (2}
AGENT (slowly)
Leaving 1n five minutes.
THORNHILL (impatiently)
I know. Come on.
AGENT
I think ~hey•re all sold out.
THORNHn.L
Sold out?
AGENT
You can always go coach.
THORNHILL
No, I ••• I can•t. When's the
next train?
AGENT
Nothing till ten.
(peering at him)
You're in a hurry, huh?
THORNHil..L (sharply)
Call them and see what you can do.
AGENT (still peering)
Something wrong ~1th your eyes?
THORNHILL
Yes. They're sensitive to questions.
Will you call them?
AGENT '(still staring
at him)
Sure ••• sure •••

REVERSE ANGLE - TICKET OFFICE 82

We are behind the agent, SHOOTING THROUGH THE
WINDOW OPENING ON Thornhill. What we SEE (and
Thornhill cannot) 1s that the agent is now
looking down at a glossy photograph of Thornhill
with kn.ife in hand, obviously a police department
copy or the or1g1nal. He glances up at Thornhill
aga1n.
 North By Northwest
Chgs. 9-9-58 P.65
AGENT 82
Don~t go a.way. CONT'D
(2)
The agent walks away from the window, CMIBRA MOVING
with him. out of Thornh111 1 s line of sight 1n -
the rear of the ticket office, he picks up a phone,
dials three times, waits, then -
AGENT (softly, to phone)
H~•s at Window Fifteen, upper level.
Hurry.
He hangs up, swallows nervously, composes himself,
steps to the ticket rack, takes down a ticket, re-
turns to the window saying airily:
AGENT
You•re in luck, mister --
He stops, stares. Nobody is at the window. He
leans through, peers about. Thornhill 1s gone.

LONG SHOT - THE TERMINAL 83

'I'hornhill has withdrawn to a vantage point across
the lobby. In distant b.g. the agent is see~
pulling h1e head back in. In close f.g., Thornhill
stands watching him, hidden by the intervening
crowds. Now he sees two men - the police lieutenants
hurrying up to the ticket window, conferring with
the agent, then turning, l9oking about.

ANOTHER ANGLE 84
Thornhill turns awey, moves swiftly toward the
train-platform entrances, CAl-iERA DOLLYING with him.
He SEES the sign above Track 29: TWENTIETH CE:t-.'TURY
LIMITED. He starts through the gate. A Guard stops
him.
GUARD
Ticket?
THORl\'HILL
I •• ,uh ••• I 1 m Just seeing some
friends orr.
He starts through. The guard grabs h1m.
 North By Nort~{est
Corrections 8-18-53 P.66
GUARD 84
Sorry. I'll have to knew their CONT'D
name and space b~forc I can .let (2) -
. you through.
Tho~~hill looks back, se~s the police running
across the lobby toward the gate. He yanks his
arm free, pushes the guard aside, goes through
the gate and runs past the desk where train
orr1c1als are verifying passenger space.

THE PLA'I-F-ORM 85
GUARD'S VOICE {o.s.)
Wait a minute! Come back here!
Thornhill continues to run, C~~ERA MOVING with him.
In b.g., the police reach the gate, confer with
the guard. As Thornhill reaches the rear car of
the waiting train, he turns, looks back. The police
are coming after him. Up and down the platform,
porte:rs are calling out: "All Aboardl 11 Thornhill
quickly boards the train.

INT. TRAIN 86
Thornhill hurries through a car, looks out or the
window, takes h1s dark glasses off and sees the
police rur.ning along the platform to enter the
car up ahead. He turns, ~tarts back. Another
passenger 1s approaching. It 1s a lovely, smartly-
dressed GIRL of twenty-six. Thornhill tries to
get past her. The aisle 1s narrow. She steps to
one side. But he steps tq the same side. He moves
to the other side - Just as she does.
GIRL
Sorry.
THORNHILL
My fault.
They move to the center - but in unison. Again an
impasse.
THORNHILL
Sorry.
 ti-18-58 P.67
OIRL 86
My fault. CONT'D
(2)
Meanwhile, -the police have boarded the train.
Thornhill and the girl are getting nowhere 1
Just blocking each other. The police come
into view at the other end of the car. Momen-
tarily distracted by an outgoing Redcap, they
haven't spotted Thornhill yet. The girl sees
the men, notices their uniforms, sense;
Thornhill 1 s urgency. Thornhill catches her
look, ducks into an open compartrr.ent filled
with luggage but no passenger as yet, and
pulls the door partially closed. The pol1ct
,come running through the car.
GIRL (pointing)
He went that way. I think he got off,
They follow her directions, continue on. The
compartment door opens, Thornhill steps out,
sees the coast is cleu.
THORNHil,L
Thank you very much.

GIRL
Quite all r1ght.
THORNHILL (lamely)
Seven parking tickets.
OIRL
Oh.
She walks away. He looks after her. The view
is qu1te attractive. The train starts ~oving.
He peers out of the window.

THE PLATFORM 87
The police have been searching the platform.
They turn, watch helplessly as the train pulls
away.
DISSOLVE TO:

EXT. NY CENTRAL TRACKS - NIGHT 88

Somewhere along th<: Hudson River, the Twentieth
Century Limited cones around a bend, speeds
:toward CW.ERA and races by.- ·
 8-18-58 P.68
INT. CLUB CAR 89
A Pullman CONDUCTOR and his assistant are finish-
ing up the business of collecting tickets and
verifying pullman space. They move through the
car, studying the passengers who sit there reading
anag·azines and newspapers, recognizing most of them
as na¥1ng handed over their tickets earlier. There
is doubt abcut one passenger, an elderly woman.
CONDUCTOR
Do I have your ticket, madam?
WOMAN
Why yes. I gave it to you an
hour ago. -
CONDUCTOR
And that space was •••• ?
WOMAN .
Bedroom F. in Car eighteen-oh-one.
CONDUCTOR {consulting
his chart)
Thank you.
WOMAN (a little huffy)
You' re welcome.
The conductor and his assistant continue on
until they come to a door labelled: "WASHROOM."
The assistant tries the handle, finds the door
unlocked, opens it slightly and peers in.
Satisfied that the washroom is unoccupied, he
closes the door, and the two men continue on.
the washroom door opens,
·Af"ter a moment,
Thornhill peers out, then emerges and moves
off" in the opposite direction through the club
car. As he passes a table, he sees an evening
paper lying there with· .his O'wl.'11 picture on the
front page, face up. He stops, casually turns
the paper over, and continues on towards the
dining car.
90-91
INT. DINING CAR 92
As Thornhill enters from the next car, the
STEWARD approaches him.
 8-18-58 P,69
STEWARD 92
Good evening, sir. One? CONT'D
(2)
'niOR1':1iILL
Please.
The steward leads him into the .dining area. It
1s fairly cro~ded. The GIRL is there, seated
alone at a table for two. She 1s on dessert
and coffee. Without a ~o~d, the steward leads
Thornhill directly to her table and pulls out
the ch~ir for h1m. The girl looks up at
Thornhill, s~iles fleetingly. He returns the
smile end sits do~n.
STEWARD
Cocktail before dinner?
THORNHILL
How about a Gibson?
STEWARD
Right away.

He goes off. Thcrnhill takes up the menu,

studies it. The girl raises her eyes, studies
hi~. He looks up, catches her glance. She
qulckly looks do~n. He gl~~ccs down at the
menu again, then looks up at her. She glances
up, catches him, and he looks a~:ay. Now she
looks away. Then they both look up at ea'crl
other at the same time and meet head on. They
str:1le.

THORNHILL
Well - here we are again.
OIRL
Yes.
THOR~"HILL (looking
dot-.'n at menu)
RecolT!i.lend anything?
GIRL
The brook trout. A little
"trouty 11 but quite goo··.
THORNHil..I.
Sold.
He writes out the order. A waiter brings his
Gibson, takes the order and leaves. Thornhill
glances about the d1nir,g car nervously, sees
 8-18-58
(or perhaps imagines he sees) several people 92
staring at him. When he looks back at the CONT'D
girl, he finds that she is scrutinizing him. (3)
THORNHILL
I know. I look vaguely familiar
to you.
GIRL
Yes.
THORNHILL
You feel you•ve seen me somewhere
before.
GIRL
Yes.

THORNHILL
Funny how I have that effect
on people wherever I go.
Something about my face •••
GIRL
It I s a nice f a.ce.
'I"HOFNHILL
You reall~ thi~Ji: ~o?
GIRL
I would never say it if I
didn't.
THORNHILL
Oh - you're 1h!i type.
GIRL
What type?
THORNHILL
Honest.
GIRL
Not really.
THORNHILL
Good. Honest women rr~ghten
me.
GIRL
Why?
 North By Hort:::.• ~st ·
Chgs. l0-10-53 ?c71
.THORtIBILL 92
I feel at a disadvantage with CONT 1 0
th.em. ~ • .• (4)
GIRL
Because you're not honest with
~~
THORNHILL
Exactly.
GIRL
Like that business about the
seven parking tickets •••
THORNHILL (stepping
delicately past it) .
What I mean is: the noment I meet
an attractive girl, I have to
start pretending that I've no desire
to make love to her. ,
GIRL
What makes you think you have to
conceal it?
THORNHILL
She might ~ind the idea objectionable.
. -
GIRL (provocatively)
And then again, she might not.
THORNHILL
Think how lucky I am to have
been seated here.
GIRL
Luck had nothing ._to do with it.
THORNHILL
Fate?
 Norta By Northw~3t
Chgs. 10-10'-5_8 p.72
GIRL 92
I .tipped the·steward five COlIT 1 D
dollars toseat you here 1.t (5)
7ou should come 1n.
Thornhill looks at her for a long mo~ent.
THORNHILL
Is that a proposition?
She looks right back at him. ror an equally long
moment.
GIRL
I never make love on an empt7
stomach.
THORNHILL
You 1 ve already eaten.
GIRL
But you baven 1 t.
They continue to gaze at each other, &nd then
the waiter brings dinner and sets it on the
t&ble. Thornhill goes to work on it.
THORNHILL
Don't you think it•s time we
were •introduced?
omt
I'm Eve Kendall • . Twenty-au
and unmarried. Now you know
everything •. ·
'l'HORNHILL
What do you do besides lure men
to their doom on the New York
Cen~ralT
EVE
I 1m ~.industri&l designer.
THORNHILL
Ja.ck Phillips. Western sales·
mAnager of K1ngby Electronics.
EVE (easily)
Wo you're not. You're Roger Thornhill
of Madison Avenue and you•re wanted
tor murder on every .!"root page 1n
America. Don't be so modest.
THORNHILL
Oops.
 North By N~rthwest
Corrections 8-18-58 P.73
EVE 92
Don't worry. I won't say a word. CONT'D
(6)
THORNHILL
How come?
EVE
I told you - 1t 1 s a nice face.
THOF.NHILL
Is that the only reason?
EVE (shrugs)
It's going to be a long night •••
THORNHILL (nods)
True.

. EVE
And I don't particularly like the
book l 1 ve started •••
THORNHILL
Ah.
EVE
You know what I mean?
THORNHILL
Oh - exactly.
Eve puts a cigarette between her lips, looks quite
boldly 1nto Thornh1ll 1 s eyes as he takes a folder
of matches from his pocket: She notices the match
folder, takes it from him and examines 1t. (WE
WILL SEE IT IN AN INSERT). On each side or the
folder, three large letters: ROT.
THORNHILL {explaining)
J1i7 trademark -- rot.
EVE
Roger O. Thornhill. What's the
o. tor?
THORNHILL
Nothing.
He strikes a match to light her cigarette. (Mean-
while, the train has been slowing down as it approaches
a station.) She takes his hand in hers and guides
the flame to her cigarette, her hands lingering on
his with an unmi~ta.kable intimacy that he finds
downright delightful..
 Nor~n by Northwest
Chg~~ 10-10-58
THORNHil.L 92
I'd invite you to my bedroom COHT't
1r I had a bedroom. (7)
EVE
Roomette?
THORNHILL
Nothing - not even a ticket. I've
been playing hide-and-seek with the
pullman conductor ever since we left
New York • .

EVE -
How awkward tor you.
THORNHILL
No place to sleep.
EVE
1 1 ve got a large drawing-room all
to JZJyselt.
THORNHILL
That's not fair, 1s it?
EVE
Drawing-room E, car th1rt~-n1ne-oh-one.
THORNHILL ·
A nice ni:nnber.
EVE
Easy to remember!

THORNHILL
Thirty-nine-oh-one •.
EVE
See?
THORNHILL
I have no luggage.
EVE. (l~oking out or
the window) -
so,
THOruffiILL
You wouldn't happen to have an
extra pair ot pajamas, would 70u1
She looks him right 1n the eye.
EVE ·
Wouldn't :CT
 llorth By North1,est
Chgs. 10-10-58
Then she puts roney on her tab and gets to her
feet, as Thornhill stares up at her, slightly
awed. The train comes to a stop,
EVE
. Incidentally! I wouldn 1 t order
any dessert f I were you.
THORNHILL (pats his
stomach)
I g~t the message~
EVE
That wasn't quite what I meant.
The train seems to be making an
unscheduled stop, and I just saw two
men getting out of .a police car as
we pulled into the station. They
weren 1 ~ smiling. ··
She walks a"1'8.y and Thorni{111· looks out of the
window. TWO bETECTIVES are seen hurrying along .the
platform to board the 'train. Thornhill puts some
money on the table, gets to his ~eet and saunte~s
out of the car in the direction Eve has taken.
CAJ.IBRA PANS QUICKLY to the other end of the car,
picks up the two detectives entering the dining
area and looking about. The steward.wlks up to
them, as the train starts moving again.
DISSOLVE TO:

lllT. EVE'S DRAWING-ROOM (LATER) 93

Eve is seated by the window with a book 1n her lap,
apparently alone. Thornhill is nowhere to be seen.
Sometime during the scene~- the CAY.ERA will indicate
to us that his MUFFLED VOICE is coming froE behind
the CLOSED UPPER BERTH, where he is locked in.
Eve continues to glance at her book as she speaks.
THORNHILL'S VOICE
I think you better go out and
tell those police to hurry.
EVE ·
Patience is a virtue.
THORNHILL'S VOICE
So is breathing.
EVE
Just l'ie still.
 North By Northwest
Chgs. 9-9-58 P.76
THORNHILL'S VOICE 93
Do you have any olive oil? CONT'D
(2)
EVE
Ol1ve oil?
THORNHn.L 1 S VOICE
I .want to be packed in olive oil
·it I'm going to be a sardine.
The DOOR BUZZER SOUNDS. Eve remains seated.,
calls out in a loud. voice:
EVE
Come in.
The door opens. The dining-car steward 1s seen
in the corridor. He looks in at Eve., speaks
apologetically. •
STEWARD
I 1m sorry to disturb you.
Some gentlemen here would
like to have a word with you.
MAN'S VOICE (o.s.)
Okay. Thanks.
The steward goes orr., and the two detectives enter.
FIRST DETECTIVE
Your name please?
EVE
Eve Kendall. Who are you?
FIRST DETECTIVE (showing
identification)
State Police.
EVE
Is e.nyth1ng wrong?
Meanwhile, the second detective is opening the closet
door and the lavatory door and peering into every
nook and cranny of the drawing-room.
FIRST DETECTIVE
There was a man seated at your
table tonight in the dining car.
EVE
Yes.
 8-18-58 P.77
FIRST DETECTIVE 93
Frlend of yo~r5? CONT'D
(3)
EVE
I never saw him before.
FIRST DETECTIVE
This the rnan?
He hands her a photograph. She takes it,
studies it.
EVE
Wny yes. I think so. It's
not ave~ clear picture.
FIRST DETECTIVE
It's a wirephoto. w~ Just got
it from the New York police.

EVE
Police?
FIRST DETECTIVE
He 1 s wanted !'or murder.
EVE (getting up)
Good heavens. No.
FIRST DETECTIVE
We thought maybe he was in
here with you.
EVE i

With me? I told you, I don•t

even lmow the man.
FIRST DETECTIVE
The steward said you left the
dining car together.
EVE
We might have happened to
leave at the same til&e but
not together.
FIRST DETECTIVE
What did you two talk about?
EVE
Talk about?
FIRST DETECTIVE
Yeah. Your waiter said you were
getting along pretty good with this
Thornhill fellow.
 North By 1:orth·... est
Chgs. 10-l0-58 P.78
EVE 93
Is that his name - Thornhill? CON1' 1 ~
(4)
. FIRST DETECTIVE
· Didn't he tell you?
EVE
No. Didn't tell'me anything. All
we· did was chat. 41 .about different
kinds of food ••• train travel versus
plane travel ••• that sort of thing •••
rather innocuous, I must say,
considering that he was a fugitive
from justice. Who did he kill?
FIRST DETEX:TIVE
He didn't say where he was going,
did he?
EVE
No - I assumed Chicago. You think
perhaps he got off when you got on?
FIRST DETECTIVE (rather
grimly)
Look - if' you happen to catch sight
or him agaill, Miss ••• uh -
EVE
Kendallc
FIRST DETECTIVE
••• Will you let .us know?
. EVE
I'm going to bed soon, and I intend
to lock my door, so I doubt il
I 1 ll be seeing him or anybody else
toni~ht. '
FmST DETECTIVE
Well just 1n case you do - we'll
be 1Ii the observation car at the
rear of the train.
EVE
It's comforting to k:Dow: that.
Disgruntled, the two men walk ou~.
EVE
Goodnight.
She closes the door, goes quickly to her handbag
as she says:
 North By Rorthwest
Chgs. 10-10-58 P .1~•
EVE 93
Still breathing? cox~ 1 :,
. (5)
THORNHILL'S VOICE
(pleading weakly)
Either hurry, or bring me a snorkel,
. EVE (fumbling in her bag)
·I'm looking for that can opener I
stole from the porter.
She takes out the key-like device which 'porters use
to open pullman beds. She inserts it 1n the lock
turns iti and the upper berth crashes open, bounclng
Thornhil into view. ·
EVE
Hello there.
He sits up, heaves a sigh of relief, rem::>ve·s his
sun-glasses from his pocket and stares sourly at
them. They are smashed. He drops the pieces on
the bed, then looks do"1Il at Eve and smiles nth
friendly puzzlement.
EVE (during above)
All clear.
THORNHILL
Why are you so gqod to me?
She gazes up at him and smiles.
'EVE
Shall I climb up and tell you why?

EXT. TRAIN - LONG SHOT

As it speeds through the darkness.

CLOSE SHOT - THE DIESEL LOCOMOTIVE 9S

As its HORN BLASTS four times.
DISSOLVE TO:

INT. EVE'S DRAWING-ROOM - LATER

The upper berth is closed now. Eve and Thornhill
are standing_ close together in the dark murmuring to
each other between frequent kisses. We HEAR them
more than see them, for they are revealed to us on1y
by the passing_ lights outside the . windows. Her back
1s against the wall near the light switches. He is
standing directly in front of her, his hands at her
waist. Ber hands are at his shou.lders, not helping
not resisting. -
 North By Northwest
Chgs. 10-10-58 P.Eo
· EVE . 96
You· know, I've been thinking - co:~ 'D
it's not safe for you to roam (2)
. around Chicago looking for this
George Kaplan you've been telling
me about. You 111 be picked up
by the police the moment you shov
your face •••
THORNHILL {kissing her)
And it's such a nice face, too.
EVE (kissing him back)
Don't you think it \..'Ou1d be better
it you stayed in my hotel room
while I located Y~. Kaplan and
brought
,
him to you?
THORNHILL
Can 1 t let you get involved. Too
dangerous.
EVE
I 1.m a big girl.
. THORNHILL (nibbling away)
In all t~e right places, too •
.
·· EVE (responding with
growing excitement)
This is ridiculous. You know
that, don't you? -
THORNHILL (kissing her
.lips)
.Yes. ·.
EVE
I mean, we •ve harcfly met.
THOrumILL
That's right.
EVE
How do I know you aren't a
murderer?
THORNHILL ( to her
neck)
You don't.
 ...uV.&. \,I J '- •"' .11"":.. iw~:~..~~t
Chgs. :1.C-lC-;S · P.81
EVE 96
Maybe you 1 re planning to murder CONT'D
~, right here, tonight. (3)
THORNHILL (working on
her ear)
Shall I?
· · · · · · EVE (whispers)
Yes ••• please do •••
This time her hands do help him, and it is~ long
kiss indeed.
. THORNHILL
'What's happening to us?
EVE
We're just s~rangers on a train.
THORNHILL
Beats flying, doesn't it?
EVE
We should stop.
THORNHILL (continuing)
Immediately.
EVE
·I ought to know more about you.
THORNHILL (kissing her)
The rest 1s unimpa,rtant.
EVE
You're an advertising man, that's
. all I know. You've got taste 1n
clothes ••• taste in food
THORNHILL
Taste in women. ·
(tasting her)
I like your flavor.
EVE
And you're very clever w1.th WDrds.
You can probably make them do
anything for you ••• sell people t .~ gs
they don't need,-•• make wmen who =..=n I t
know you fall 1n love w'ith you •••
THORNHILL
I'm beginning to think I'm
underpaid.
 8-18-58 P.82.
And then they come together slowly in a long kiss 9~
that might never have enced if the DOOR BUZZER ·.CONT
hadn•t SOUNDED:- They break apart, look towards (4)
the door. Thornhill quickly steps inside the
lavatory and closes the door., as Eve snaps on
the overhead lights., goes to the other door,
unlocks it and opens it. A PORTER is stan~1ng
there.
. EVE (for Thornhill' s
ears)
Oh - the porter. I suppose you
want to Jl'lcl(e up my bed.
PORTER (entering)
Yes, ma'am. ·
EVE {holding up the key)
Is this yours? I found it on
the floor.
PORTER
Why yes, ma 1 am. I've been looking
all over ror it.
As the porter opens a lc,wer berth and starts
making up the bed, Eve t.akes up her handbag
and says, for Thornhill 1 s benefit.
EVE i
I'll wait outside.
She starts to open her handbag as she goes out
to the corridor.
97-9l
INT. LAVATORY 99
Thornhill is looking at his face in the mirror
and reeling ~1s ch1n. He looks around at Eve's
toiletries, sees a tiny ladies 1 safety razor and
a tiny shaving brush. He picks the razor up
and looks from it to himself' in the rnirror with
blank expression. He gives a casual half turn
as he HEARS the VOICES of Eve and the porter.
EVE'S VOICE
Thank you, porter.
PORTER'S .VOICE
Thank x'2i!., ma I am. Oood night now.
EVE'S VOICE
Good night.
 North By Northwest
Chgs. 9-15-58 P.83
Then he HEARS the compartment door being closed 99
and . locked, and a KNOCK on the lavatory door. CONT'D
(2)
. . . EVE·• S VOICE
Come out, come out, wherever you are.
Thornhill opens the door and steps out.
100 OUT
INT. DRAWING ROOM 101
EVE (by way or expie.nat1on)
'l"he porter... ·
THO~'RILL (noticing the
open bed)
Uh huh •••
(he snaps off the overhead lights)
Now where were we?
EVE (moving close)
Here?
THORNHILL (holding her)
Ab.

fflORNRILL (murmurs)
I aee he opened the bed.
EVE
Yea •••
'l'HORNHILL
Only one bed.

EVE
Yes •••
'I'HOruraILL
I think 1t 1 s a good omen. Don't you,
EVE (sighs)
Wondertul.
THORNHILL
!:now what it means?
EVE {drea:mily)
t:mm.
THORNRn.L (sortl7)
Tell me.
EVE
It means ••• that you •••
(she looks up at hilll)
-•~• ~~i"~ to eleen on the floor •••
 ~or~h By North~est ·
Chgs. ~0-10-58 P.84
He gives her a look. 101
CONT 1 D
THORNHILL (2)
Here. Take your omen back.
Eve kisses· him gently on the lips, and as she
·p~esses her cheek against his; her expression
sobers for a·moment and her eyes turn to the door
thoughtfully.

.
INT. TRAIN - ANOTHER CAR 102
SHOOTING down the corridor, we SEE the porter m:,ving
awayfrom·us. ·rn his right hand is a folded piece
of white paper. •·
103 OUT
CLOSER ANGLE - ·SIDE VIEW OF PORTER l03Xl
The CAl-tERA is now travelling with him. v.'hen he
comes to a stop before the door of a drawing-room,
the CAMERA CONTINUES to travel a bit while he
~resses the buzzer. CAMERA is now facing the
porter. The door opens. We do not see the
_occupant.
.PORTER (holding out
the piece of paper)
A message from the lady 1n car
thirty-nine-oh-one •. ._
)

A man s hand emerges and takes the note.

1 The
porter turns and moves a-way.

.
INT. DRAWDiG-ROOM l03X2
The man• s hands unfold the note and it :fills the
screen. It says:
"What do I do with him 1n the morning?"
· (signed)
"Eve."

· FULL SHOT OF DRAWING-ROOM 103X3

Leonard, the secretary of Glen Cove, is closing
the door~ turning and handing the note to his
master, PHILLIP VAlIDA.1-21, the ¥.AN whom Thornh111
bad mistakenly assumed at Glen Cove to be Lester
Townsend. Over this, the SOUND o:f the DEISEL HCRN
BLAST IllG four times •. ,.
FADE our,
 8-18-58 P.85
FADE IN:
TRAIN PLATFORM - INT. LA SALLE STREET STATION - 104
CHICAGO - MORNING
,·
The Twentieth Century Limited has come to the end
or its run. MOVING CA:·1ERA reveals passengers
getting off, luggage heing unloaded by pullman
porters, Redcaps swarming over the platform. sccie
or them boarding the ;rain, others getting off
with luggage in hand. And now CAMERA picks up the
TWO DETECTIVES who boarded the train the night
before. They are conferring with other plain-
clothesmen and uniformed police who have come to
meet the train. The men disperse, eyeing the
off-going passengers as they take up positions.

ANOTHER ANGLE 105

Eve 1s seen ~etting off the train. Behind her
comes a Reccap carrying her luggage. As we
DOLLY WITH THEM along the long, crowded platform
towards the terminal, we see that, beneath the
red hat end the uniform, the ba5ga~e-smasher
is really Thornhill.

CLOSE SHOT - THE T"wO PETECTIVES 106

as they see Eve.

POINT OF VIEW - FROM DETECTIVES 107

Eve approaching, followed by her "Redcap."

MOVlNG SHOT - THORNHILL AND EVE . 108

Eve sees the detectives up ahead. She slows
down, lets Thornhill draw ebreast of her as
they walk.
EVE (sotto voce)
Keep walking. 1•11 catch up.
THOrulHILL
Yes, ma•am.
The two detectives step into her path. She
stops. Thornhill continues on.
 8-18-58 P,66
FIRST DETECTIVE 108 _
Anything to report, Miss Kendall? CON'I tt
(2)
EVE (with enthusiasm)
Why yes. I had a ~ night•s
sleep.
FIRST DETECTIVE (shaking
his head with annoyance)
I mean did you happen to see the
man we're looking for?
EVE
Mr. Thornycroft?
FIRST DETECTIVE
Thornhill.
EVE
Oh ••• No •••• I•m awfully sorry.
(she smiles)
But good luck to you both.
She walks away. The two detectives look after
her with sour expression.

MOVING SHOT - WITH EVE AND THORNHILL 109

Eve catches up with her "Redcap"1 moves abreast
or h1m as he struggles with the heavy luggage.
EVE ;
How 1 re we doing?
THORNHil.L (exhausted)
I may collapse any minute.
EVE
Not yet •. First we have to run
the gauntlet. Look.

MOVING POINT OF VIEW - FROM EVE AND THORNHII..L 110

Police e.re lined up along the platform up ahead,
eyeing everyone who passes.

MOVING SHOT - WITH EVE AND THORNHILL lll

They move right along under the very eyes of the

police, talking to each other with a technique
that would arouse the approval or any ventriloquist:
 North By Northwest
Chgs. 10-10-58 P.87
THORNHILL (sweating) 111
I'm accustomed to having a load CONT'D
_on ••• What have you got in these bags? (2)

EVE
Bowling balls - naturally.
THORNEILL .
Which one.of
J-
these has my suit in it?
EVE
The small zippered affair underneath
your right arm.
THORNHILL
~ ought to do it a lot of good.
EVE
I'm sure Mr. Kaplan von•t mind a
r ew wrinkles •
THORNHILL
If he 1 s still there. What time
1s it?
. EVE
}line-thirty.
THORNHILL
He may have left his hotel;r~om
by now.
EVE
I'll call him for .rou as soon as
we get inside the station.

THORNHILL
No. I'll do it. ,-
EVE
Redcap in a phone booth? Slightly
suspicious.
THORNHILL
All right~ You know what to tell
him'1 _ ..
EVE
. You want to see him right away.
·Terribly ur~ent. ~~tter or life
and death. No explanations.
THORNHILL
Good.
 North By Northwest
Chgs. 10-10-58 P.88
EVE - 111
And while I'm calling; you .change CONT'?
yo~ clothes. (3)

THORNHILL
Where do you propose .I do that - in
Marshall Field's window7
EVE
I sort of had the Men's Room in
mind. -.:
THORNHILL (gives her a
look) ·
Did you. now.
(pause)
You're the smartest girl I ever
spent the night \dth on a train.
She glances at him with a slight smile. He gives
her a sour look.

CLOSEUP - EVE lllD

As she looks straight ahead again 1 her expression
becomes thoughtfu1 with a trace or distress. She
turns her head slightly.

EXT. PLATFORM lll..X2""

In a MEDIUM SHOT, we now
SEE the subject of .Eve's
troubled thoughts: Vandamm and Leonard, who are
getting off their pu1llllan car. They start to walk
toward the CAMERA.

CLOSEUP -' EVE lllX'

She glances at Thornhill with a trace or sadness

1n her eyes.

CLOSEUP - THORNHILL (FROM EVE'S POINT OF VIEW) lllt.

With a cheer.ful eye cocked for any signs of
danger ahead.
 8-18-58 P.89
THE PLATFORM UP AHEAD (FROM THORNHILL 1 S POINT OF 111X5
VIEW) - MOVING SHOT
There are no police 1n sight.

TWO SHOT - THORl\1HILL AND EVE lllX6

THORNHILL
Looks like we've made it.

SEMI-LONG SHOT - THE PLATFORM lllX7

There 1s a corrmot1on around the steps or the car
from which Eve and Thornhill alighted. On the
top of the steps app~ars a hatless, middle~aged
man 1n his underwear, socks and shoes. Behind
him are two uniformed policemen pushing him down.
the steps to the platform. Our two detectives
quickly step forward to question him. At the
same time, the two uniformed police alight to
the platform and complete the small knot of
men surrounding the uniformless Redcap. For a
moment we see the haplens Redcap gesticulating
as he describes how he cQ_me to be in this ~tE1.te
of undress. Then suddenly the police and
detectives dash away and down the platform
toward the main lobby, leaving the man standing
there 1n his underwear.

CLOSE SHOT - THE REDCAP lllX8

He watches the departing police, then fishes out
a few dollar bills from inside his underwear and
counts them over.

INT. MAIN LOBBY - HIGH ANGLE SHOT 112

Much activity, many peopleJ a profusion of
Redcaps. Ir one of them is Thornhill, it is
difficult to tell. Now we SEE the four minions
or the law arriving in the lobby. They dash
about, rounding up Redcaps, who submit to
examination with much bewilderment. One detective
whips off a Redcap's hat. Angrily the man
snatches it back. Another detective spots a
Redcap who is hurrying away, his back to
CAMERA. He looks very much like Thornhill from
the rear. The detective grabs him, whirls him
 8-18-58
around, and finds himself staring into a stunned, 112 ·
open mouthful of teeth that definitely do not COKI''l
answer to the description of Thornhill 1 s. (2) •

INT. MEN 1 S ROOM 112Il

There 1s considerable activity here. At the

row of wash basins stand three men. One 1s
washing his hands, the other 1s scraping away
at his chin with a straight razor, and the
third man - Thornhill - is busily rubbing in a
foatllY' lather which covers the lower halr of
his race. He is in his regular trousers by now,
and his Jacket hangs nearby. At his feet stands
Eve•s small zippered bag. The Redcap W11form is
nowhere to be seen. Suddenly the door bursts
open and our two detectives enter. Thornh111
and the other men turn at the coII1motion, casually
watch the detectives glancing about in search
of their quarry. As Thornhill turns back to the
mirror and continues to lather his face, we HEAR
the SOUND of stall DOORS OPENING and BANGING
CLOSED. Their mission unaccomplished, the
detectives go out. Thornhill nonchalantly ~1nishes
his lathering, then looks down and picks up his
razor, which, up to now, ~e have not seen.
It 1s the tiny one belonging to Eve. He starts
to draw it down his cheek, leaving the narrowest
of lines down the lather. Then in the mirror
he catches sight of the man with the straight
razor staring at him in bewilderment.
 North By Northwest
Correction 9-16-58 P.91
112X2 Cl

EXT• PH01''E _
BOOTH IN MAIN LOBBY ll2AX2
We SEE Eve through the glass doors, listening to
someone on the phone, -writing on a memo pad and
B:-lYing a few words or agreement. The CA?-!ERA
now begins to TRAVEL along the row of booths.
We SEE various people at telephones. The CAMERA
cuwca to a STOP outside another booth. Through
the glass we SEE Leoru!.rd speak:inr. He seems to be
issuing specific instruct1ons, g ances· at h1s
wristwatch once. After a pause, he hangs up.
112X3 Ol
EXT. ROW OF BOOTBS 112X4
A RAKWG SHOT or the line or booths, showing
Eve in the f.g. booth through the glass in the
act or hanging up. She folds the piece or
paper as she rises and emerges rrom the booth,
her head turned away from us. Simultaneously,
the door or Leonard 1 a booth opens and he
steps out. Without looking at Eve, he crosses
over to Vandamm, who 1s idly glancing at a
magazine at the newsstand. Leonard murmurs
something to him, and the two men move ott.
Now Eve turns, looks about, and reacts as 8he
Bees:

LONG SHOT - POINT OF VIEW 112X5

Thornhill, carrying Eve•s small zippered bag,
1s walking with assumed nonchalance across the
station. He gives a deliberate side glance in
Eve's direction, meaning: "Follow me.•
 North By No:-":.:. .;est
Chgs. 10-l~-5a P.92
SEMI-LONG SHOT 112X6
Eve starts to oove across the lobby after Thornhill.

CLOSE SHOT - THORNHILL l13

H~ is just coming ·to a stop at a sec~uaea spot be-
hind a colm:m. He turns and waits. After a £av
momentsi Eve comes into the SHOT. She has ass~e1
a much ighter air. He hands her the zippered bag
and several baggage tickets.
. EVE
What took you so long?
.' "'
THORNHILL
Small razor. Big face.
(glancing about warily)
.
Did you get Kaplan?
EVE
Yes.
THORNHILL
Good. What did he say?
. EVE
He'll see you, but not at the ·
hotel under any circumstances.
He'll meet you on the outside.
THORNH!Lt
Where? \men?
..EVE .
I've got it all ~itten out ror
y'bu. . - .
(she hands him -the slip or
~aper. He studies it as she
~ talks) .·
You're to take the Greyhound Bus
that leaves Chicago for Indianapolis
at tw and ask the driver to let
you off at the Prairie Stop on High-
way 41.
THORNHILL (reading)
Prairie Stop ••• Highway 41 •••
EVE
About an hour-and-a-half's drive
from Chicago• .
 North By North·...•est
Chgs. 10-10-58 Pi93
, THORNHILL 113
I can rent a car. CONT'D
(2)
EVE
No car. Mr. Kaplan said bus.
He wants to be sure you're alone.
THORNHILL
All right. What do I do when I
get there?
EVE
Just stand beside the road and
wait. He'll be there at three-thirty~
\
THORNHILL
How will I lmow him?
EVE
He 1 11 lmow you. You made the
Chicago papers too.
1HORNHILL
Ah.
•EVE
Have you got your watch set to
.Central time?
'
THORNHILL
Yes.
(loo~ing at her)
What's the matter?
.
EVE
Matter?
THORNHILL
You. You seem ••• I don 1 t .· know •••
tense.
EVE (turns away)
You better go. Before the police
_run out of Redcaps • .
THORNHILL
We'll see each other again, wn't
we?

EVE (strained)
Sometime ••• I'm sure •••
TH01Th1!I~ (with tenderness)
I never found a m:iment to thank you
properly.
 Nortn By Northwest
Chgs. 10-10-58 P.,94
. "EVE (disturbed) 113
Please go. CONT'D
(3)
THORNHILL
But where will I find you?
.. EVE (evasively)
I have to pick up my bags now •••
H~ tRkes hold or her, turns her to him •
. THORNHILL
Please wit a minute •••
She looks past him.
EVE
They're coming.
Thornhilli unable to see over his shoulder because
of the co umn behind him 1 gives half a glance and
da·shes off out of the SHOT. The CAMERA EASES OVER
and SHOOTS past Eve's shoulder into the main lobby.
There are no police, just a few desultory travellers.
Eve turns into the CAJ{ERA and looks after the
departed Thornhill with an unhappy eXpression.
DISSOLVE TO:

HELICOPTER SHOT - EXT. HIGHWAY 41 - (AFTERNOON) 114

)

We START CLOSE on a Greyhound bus, SHOOTING

OOWN on it and TRAVELLL~G ALONG \dth it as
it speeds in an easterly direction at 70 m.p.h.
Gradually, CAMERA DRAWS AWAY from the bus, .
going higher but never losing sight of the vehicle,
'which recedes into the distance below and becomes
a toy-like object on an endless ribbon of deserted
high"Way that stretches across miles of flat
prairie. Now the bus 1s slowing down. It is
nearing a junction where a small dirt road coming
from nowhere crosses the highvray and continues on
to no~nere. The bus stops. A man gets out. It
1s Thornhill. But to us he 1s only a tiny ffgure.
The bus starts away, m::>ves on out of' sight.,. And
now Thornhill stands alone beside the road~- a
tiny 1'1gure in the middle of nowhere.
 North By ~orthwest
-Adds. 8-25-58 P.95
ON THE GROUND - WITH THORNHILL - (MASTER SCENE) ll5-ll5X:
He glances about, studying his sUITound1ngs. The
terrain is .flat and treeless, even more desolate
from this· vantage point than it seemed !'rom the
air. Here and there patches or low-growing farm
crops add some contour to the land. A hot sun
beats down. UTI'ER SILENCE hangs heav1ly in the
air. Thornhill glances at his wristwatch. It
le; 3:25.
In the distance, the FAINT HUM of a MO'l'OR VEHICLE
1s HEARD. Thornhill looks orr to the west. The
HUM GROWS LOUDER as the car draws nearer. Thorn-
hill steps closer to the edge or the highway. A
black sedan looms up, travell1ng at high speed.
For a moment we are not sure it 1s not hurtling
right at Thornhill. And then it ZOOMS past him,
recedes into the distance, becoming a FAINT HUM,
a tiny speck, and then SILENCE again.
'l'hornh111 takes out a handkerchief, mops his race.
He 1s beginning to sweat now. It-could be from
nervousness, as well as the heat. Another PAINT
HOMJ coming from the east., GROWING LOUDER AS he .
glances off and sees another distant speck be-
coming a speeding car, this one a closed conver-
tible. Again, anticipation on Thornh.111 1 s race.
Again, the vague uneasiness or indefinable danger
approaching at high speed. And again, ZOOM - a
cloud of dust - a car receding into the distanc~·-
a FAINT HUM - and SILENCE.
Hie lips tighten. He glandes at his watch again.
Be steps out into the middle of the highway, looks
r1rst in one direction, then the other. Nothing
1n sight. Be loosens his tie, opens his shirt
collar, looks up at the sun. Behind h1m, 1n the
distance, another vehicle i's HEARD approaching.
Ee turns, looks orr to the west. This one is a
huge transcont1nental·mov1ng van, ROARING TOWARD
HIM at high speed. With quick apprehension he
moves orr the highway to the dusty side or the road
as the van thunders past and disappears. Its FADING
SOUND is replaced with a NEW SOUND, the CHUGGING of
an OLD FLIVVER.
'l'hornhill looks oft in the d1rect1on or the approach-
ing SOUND, sees a fl1vver nearing the bigh~ay :from
the intersecting dirt road. When the car reaches
the highway, it comes to a stop. A middle-aged
woman is behind the wheel. Her passenger is a
nondescript man of about fifty. He could certainly
be a rarmer. He gets out of the car. It makes a
 8-25-58
U-turn and drives off 1n the direct~::1 from which it 115-llJ:.
came. Thornhill watches the man t~kt up a position CONT'D
across the highway from him. The rr.:-..:~ _glances at (2)
Thornhill without visible interest, ~~~n looks off
up the highway towards the east as t-:·.:-ugh waiting
for something to come along.
Thornhill stares at the man, wonderf:•~ if this 1s
George Kaplan.
The man looks idly across the highw:....~ at Thornhill,
his race expressionless.
Thornhill wipes his race with his h:-c··~kerch iet",
never taking his eyes off the man ac.:--:-$S the highway.
The FAINT SOtTh'D of" an APPROACHING f!.l..~'S has gradually
come up over the scene. As the so~.:: OROWS LOUDER,
Thornhill looks up to his left and ~-:---~s a low-flying
biplane approaching from the northw~~:. He watches
1t with mounting interest as 1t hen~~ straight for
the spot where he and the stranger f~:~ each other
·across the highway. Suddenly 1t 10 -.:;-on them, only
a hundred feet above the ground, and ~~en, like a
giant bird, as Thornhill turns with~~~ plane's
passage, it flies over them and cont~~~es on. -
Thornhill stares after the plane, h1~ back to the
highway. When the plane has gone ec,~ral hundred
yards beyond the highway, it loses n:~1tude, levels
oft only a tew feet above the ground :\..~d begins to
ny back and forth in straight line~ ~~allel to
the highway, letting loose a trail o~ powdered dust
from beneath its fuselage as it goc~. Any farmer
would recognize the operation as s1~r:e crop-
dusting. i

Thornhill looks across the highway, ~~~s that the

stranger is watching the plane with !!le interest ..
'l'hornh111 1 s lips set with determinnt~:n. He crosses
over and goes up to the man.
THORNHILL
Bot day.
MAN
Seen worse.
THORNHILL
Are you·~ • ~uh ••• by any chcu,~·"
supposed to be meeting aom~:-~e
here?
JllAN (still watch!r~
v,.;~;~-- : the
·plane)
Wa1t1n• for the bus. Duo a.."~
llinute.
 8-25-58 P.97
THORh'1ULL . 115-115x:
Oh ••• CONT 1 D
(3)
. MAN (idly)
· Some or them crop-duster pilots
get rich, 1r they live long
enough •••
THOrumILL
Then your name 1sn 1 t ••• Kaplan.
MAN (glances at him)
Can't say it is, •cause it
a1n 1 t.
(he looks off up the
highway)
Well - here she comes, right
on time.
Thornhill looks oft to the east, sees a Greyhound
bus approaching. The man peers off at the plane
again, and rrowns.
MAN
That's f'unny.
THORNHn.L
What?
MAN
That plane's dust1n 1 crops where
there ain't no crops.
Thornhill looks across at the droning plane with
growing suspicion as the stranger steps out onto
the highway and flags the bus to a stop. Thornhill
turns toward the stranger as though to say some-
thing to him. But 1t 1B too late. The man has
boarded the bus, its doors are closing and ~t 1s
pulling away. Thornhill 1s alone again.
Almost immediately, he HEARS the PLANE ENGINE BEING
GUNNED TO A HIGHER SPEED. He glances off sharply,
sees the plane veering off 1ts parallel course and
heading towards h1.m. He stands there wide-eyed,
rooted to the spot. The plane roars on, a rew
feet off the ground. There are two men in the twin
cockpits, goggled, unrecognizable, menacing. He
7ells _out to them, but his voice is lost 1n the
NOISE or the PLANE. In a moment 1t will be upon
him and decapitate him. Desperately he drops to
the ground and presses himself flat as the plane
zooms over him v1th a great noise, almost
combing bis hair with a landing wheel.
 P.98
Thornhill scrambles to his feet, sees the plane 115-115:
banking and turning. He looks about wildly, sees CONT'D
a telephone pole and dashes for it as the plane (4)
comes at him again. He ducks behind the pole. ~e
plane heads straight for him, veers to the rig::~
at the last moment. We HEAR two sharp CRACKS c~
GUNFIRE mixed with the SOUND of THE ENGINE, as
two bullets slam into the pole Just above
Thornh111 1 s head.
Thornhill reacts to this new peril, sees the pl~~e
banking for another run at him. A car_1s spee~~~;
along the highway from the west. Thornhill daE~e3
out onto the road, tries to flag the car down b~~
the driver ignores him and races by, leaving h!.:!
exposed and vulnerable as the plane roars 1n o~
him. He dives into a ditch and rolls away as
another series of SHOTS are HEARD and bullets :-!.i:'!
the groW1d that he has Just occupied.
He gets to his feet, looks about, sees a cornf!.t.:.:!
about fifty yards from the highway, glances up~: ·
the plane making its turn, and decides to make~
dash for the cover of the tall-growing corn.
SHOOTING DOWN FROM A HELICOPTER about one hund~~!
feet above the ground, we SEE Thornhill runn1n.;
towards the cornfield and the plane 1n pursuit.
SHOOTrnG FROM WITHIN THE CORNFIELD, we SEE Tho~-=-.!.ll
come crashing 1n, scuttling to the right and l:~:.:;
flat and motionless as we HEAR THE PLANE ZOOM c~
HIM WITH A BURST OF GUNFIRE and bullets rip int~
the corn, but at a safe distance from Thornh11:.
He raises his head cautiously, gasping for bre~~~>
as he HEARS THE PLANE MOVE OFF AND !?,'TO ITS TU:-"'·•

SHOOTING DOWN FROM THE HELICOPTER, we SEE the ;::~e

levelling off and starting ' a run over the corn-
field, which betrays no sign or the hidden Tho:-:-
h1ll. Skimming over ·the top or the cornstalks, ~~e
plane gives forth no burst of gunfire now. Ins~..re.d,
it lets loose thick clouds or poisonous dust w~~::i
settle down into the corn.
WITHIN THE CORNFIELD, Thornhill, still lying r~r.::,
begins to gasp and choke as the poisonous dust
envelops him. Tears stream from his eyes but he
does not dare move as he HEARS THE PLANE COMIN::
OVER THE FIELD AGAIN. When the plane zooms by !l.."':1
another cloud or dust hits him, he Jumps to hi~
feet and crashes out into the open, half bl1n~~~
and gasping ror breath. Far err down the highv.:.-
to the right, he SEES a huge Diesel gasoline-t~~~~
approaching. Be starts running towards the hif:..'1 1a:1'
to intercept 1t. ·
 8-25-58 P.99
SHOOTING FROM THE HELICOPTER, we SEE Thornhill 115-ll5X:
dashing for the highway, the plane levelling off CONT 1 D
for another run at him, and the Diesel ·tanker (5)
speeding closer.
SHOOTING ACROSS THE HIGHWAY, we SEE Thornhill run-
ning and stumbling TOWARDS CAMERA, the plane closing
1n behind him, and the Diesel tanker approaching
from the left. He dashes out into the middle or
. the highway and waves his arms w1ldly.
The Diesel tanker TJ-IlJh"TDERS down the highway towards
Thornhill, KLAXON BLASTING impatiently.
The plane speeds relentlessly towards Thornhill
from the field bordering the highway.~-· ·· · · -
Thornhill stands alone and helpless in the middle
or the highway, waving his arms. The plane draws
closer. The tanker 1s almost upon him. It isn't
going to stop. He can HEAR THE KLAXON BLASTING
him out or the way. There is nothing he can do.
The plane has caught up with him. The tanker
won't stop. It's .!.£1 to stop. He hurls himself -
to the pavement directly in its path. There 18 a
SCREAM OF BRAKES and SKIDDING TIRES, THE ROAR OF
THE PLANE ENGINE and then a tremendous BOOM as the
Diesel truck grinds to a stop inches from Thorn-
hill's body just as the plane, hopelessly
committed and caught unprepa.:red by the sudden
stop, slams into the travelling gasoline tanker
and plane and gasoline explode into a great sheet
or flame. - ·
In the next few moments, all is confusion. Thorn-
hill, unhurt, rolls out from under the wheels or
the Diesel truck. The drivers clamber out or the
t'ront seat and drop to the highway. Black clouds
of smoke billow up from the funeral pyre or the
plane and its cremated occupants. We recognize
the flaming body of one of the men in the ple.ne. It
1s Licht, one of Thornh111 1 s original abductors. in
elderly open pick-up truck with a second-hana
re~rigerator standing in it, which has been approach-
ing from the east, pulls up at the side of the road.
Its driver, a farmer, Jumps out and hurries toward
the wreckage.
FARMER
What happened? What
happened?
 8-25-58 ?.100
The Diesel truck drivers are too dazed to answer.
Flames and smoke drive them all back. Thornhill,
unnoticed, heads toward the unoccupied pick-up
truck. Another car comes up from the west, stops,
and 1ts driver runs toward the other men. They
stare, transfixed, at the holocaust. Suddenlyi
from behind them, they HEAR the PICK-'UJ) TRUCK'S
MOTOR STARTING. The farroer who owns the truck
turns, and is startled to see his truck being
dz'iven away by an utter stranger.
FARMER

He runs after the truck. But the stranger - who

1s Thornhill - steps harder on the accelerator
and speeds off in the direction or Chicago.
DISSOLVE TO:
• ' • :; I' ~ • ,•

EXT. MICHIGAN AVENUE, CHICAGO - (NIGHT) 11sn1

The abandoned pick-up truck, with its lonely·
refrigerator, stands incongruously parked amon,g .
some new and elegant cars. A patrolman has opened
the door and 1s peering inside.

EXT. STREE'T NEAR HOTEr, AMBASSADOR EAST 116

A po11ce squad car 1e cruising slowly past the
entrances to the Ambassador East and Ambassador
West, which face each other) on opposite sides
or the street. Inside the car, two police lieu-
tenants glance about, eyes searching the area.
CAMERA WHIPS to Thornhill, standing in an attitude
of concealment inside the doorway of a darkened
store as he watches the police car drive on. He
looks quite dishevelled, and his suit would not
pass muster at, say, Twenty One. Now he Bteps to
the sidewalk and starts walking in the direction
or the Ambassador East.

EXT. ENTRANCE HOTEL AMBASSADOR EAST ll7

Thornhill approaches the hotel and enters.

INT. LOBBY HOTEL AMBASSADOR EAST · 118

Thornhill crosses the lobby to the desk and waits
tor a clerk to come over.
 North By Northwest
Chgs. 10-10-58 P.101
CLERK (eyeing him with 118
distaste) CONT'D
Yes?. (2)
THORNHILL
Could you let me have Mr. George
Kaplan's room number, please?
CLERK (thoughtfully)
Kaplan •••
(as he starts to one side
to consult files:)
I think he checked out •••
THORNHILL
Checked out?
CLERK ( returns with a
f'ile caro)
That's right. Checked out at
seven-ten this morning.
THORNlULL
Seven-ten? Are you sure?
CLERK
Yes. Left a forwarding address
-- Hotel Sheraton-Johnson, Rapid
City, South Dakota.
Thornhill has taken out the slip of paper on which
Eve had given him directions to meet Kaplan.
) .
THORNElLL (talking half"
to himseil)
Seven-ten? Then bow come I got a
message from him at nine-thir---?
CLERK
\ilhat was that?
THORNHILL
Nothing, nothing.
His eyes narrow and his jaw tightens with realization:•
He C:ru.I!lples the piece of paper into a ball and hurls it
away in anger. Just then he looks up and sees Eve,
who has come through the entrance to the lobby. She
does not see him as she goes directly to the news-
stand and buys an evening paper. Thornhill draw-s
back, watches her unobserved as she glances ·
quickly at the front page while hurrying to a
 North By Northwest
Chgs.
. 10-l0-58
. P.102
waiting elevator. · She steps in, the door closes 118
and the elevator starts up. Thornhill watches CONT'D
the floor indicator until the elevator stops.· {3)
Then he turns·back to the clerk.
THORNHILL
Sorey to bother you again.
CIERK
Uh huh.
THORNHILL
Miss Eve Kendall is expecting
me. Room four-something-or-
other. I've forgotten the number.
Would you mind?
The clerk steps to one side, examines his listings,
then returns to Thornhill.
CLERK
She's in four-sixty-three.
THORNHILL

He hurries toward the elevator as the clerk looks ·

after }nm.
QUICK DISSOLVE TO:

HOTEL CORRIDOR - FOURrH FLOOB. 119

Thornhill approaches the door to ~63, looks up
and do'wll the corridor if !"or no other reason .
than to indicate to us that he has nov become
suspicious, cautious and surreptitious 1n
matters pertaining to Eve. He puts an ear to
her door, listens 7 hears nothi:.ig. He presses
the buzzer and waits. Presently the door opens
and she sees him standing before her. Her
eyes widen. She is too stunned to say anything.
THORNHILL (pleasantly)
Hello •.
He goes right past her into the room.
 North By North~est
Chgs. 10-10-58 P.103
INT. EVE'S HOTEL ROOM 120
Eve turns, stares at Thornhill as she closes
the door behind him. If his back were not to
her, he vould sea the mixed emotions on her
race - not just surprise, but over,.rhelming
relief, too. But relief is not something she
can afford to reveal too strongly, because
that would indicate that there was something
to be relieved about. She is almost completely
controlled by the time Thornhill turns to
her after a vecy brief moment in vhich his
darling glance has taken in the room, and the
open door to the bathroom, and noticed nothing
worthy of apprehension.
THORNHILL
Surprised?
EVE
Yes.
She stares at him, still shaken.
THOrumILL
No getting rid of m!, is
there?
Suddenly Eve goes up to him, puts her arms around
him, holds him close and presses her face to
his breast. Is it tenderness and relief, or
merely the need to hide from the double-edged
meaning of his last remark? Thornhill puts his
hands on her, but without a~fection. He knows
he 1s on to so~ething now and he intends to
play it cool. Occasionally his deep down anger
will make him say incautious things he oughtn't
to say if he intends·to disarm the girl - and
just as occasionally, he will be even warmer
than he intended to · be. He can't help liking
this female a little bit~ even while he woul.d
-like to slug her. It's because he remembers
last night. It's because, also, she happens
to be of the opposite sex.
 Nortn By Northwest
Chgs. 8-27-58 P.104
THORNHILL 120
I need a drink. CONT'D
(2)
EVE
I have some scotch.
THORNHILL
With water. No ice.
disengages herself from him and goes over to
E,:·~
a table where drinking things are set up. Thorn-
h111 takes the opportunity to saunter over to a
chair where the newspaper has been thrown. The
rront-page story is plainly visible:
TWO DIE AS CROP DUSTER PLANE CRASHES
Low-flying craft hits oil tanker.
Truck drivers escape holocaust.
During this, and while Eve is mixing drinks, the7
are talking:
EVE (too casuall7)
Bow did it go today?
THORNHILL
'l'he meeting with Kaplan?
EVE
Uh-huh.
THORNHILL (just as casually)
Be didn't show up.
EVE
Oh?
THORNHILL (staring at
her back) ,.
F\u'u'ly, 1sn 1 t 1t?

EVE (a.rter a slight pause)

Why funny?

THORNHILL
After all those ver:, involved
and very explicit directions he
gave you on the phone.
EVE
Maybe I copied them down wrong.
THORNHll.L-
I don•t think you got them wrong.
I think you sent me to the right
place all right.
 8-25-58 P.105
He couldn't resist that one. Fortunately for Eve, 120
her .face 1s not turned to him, and she can always CO:t-."T 1 D
fumble with glasses and stirring rods. (3) ·
EVE
Why not call him again and see
what happened?
THORNHTI.J.,
I did. He checked out, went to
South Dakota.
EVE
South Dakota?
THORNHn.L
Rapid Cit,-.
EVE (after a moment)
What are you going to do next?
THORNHILL
I haven't made up my mind yet.
It may depend on you.
On this, Eve turns, with the drinks 1n her hands.

EVE
On me?
She walks up to him.

THORNHILL
You're my 11ttleihelper, aren•t
you?
He takes a glass rrom her, all the while staring
into her eyes.
THORNHILL
To us.
(he touches his glass
to hers)
To a long and lastin~ rr1endsh1p •••
. (he takes a s1p)
Meaning, from now on, I'm not going
to let you out or r;zy- sig_~t, sweetheart.
EVE (hiding 1D .
her glass) .
I 1m afraid you're going to have to.
Thornhill. .

-rHORNHILL (shakes his

head) .
tJnh uh.
 North By Northwest
Adds 8-26-58 P.106
EVE (turning away) 120
I do have plans of my own, you CONT'D
know - and you do have problems. (4)
Thornhill takes a long drag on his drink before
he speaks, and once again he engraves each word
on a Gilette Blue Blade.
THORNHILL
Wouldn't it be nice 1r my
problems and your plans were
somehow ••• connected?
(her quick glance finds his
face smiling softly, nay
lovingly)
Then we could stay close to each
other from here on in and not have
to go off 1n separate directions.
Togetherness. Know what I mean?
Eve stares at him for a moment saying nothing,
and 1e saved by the bell as the PHONE RINGS. She
glances at it, but makes no move to answer it.
THORNHILL
Go ahead. It can't be ror !!!•
She hesitates uncertainly. The PHONE RINGS AGAIN.
He makes a move as though he will answer it.
Quickly Eve walks over to tne night-table between
the beds and picks up the phone, while Thornhill
saunters around the room Just as though he were
not utterly alert and keenly interested 1n every
monosyllable of her tightly~controlled conversation.
EVE (to phone)
Hello?
(listens)
Yes.
(listens)
No, don't. I'm not dressed yet.
(listens)
What time?
(listens)
1 1 11 meet you.
(listens)
What's the address?
(she takes up a pencil,
writes something down on a
memo pad as she listens.
Thornhill observes this out or
the corner or his glance)
All right.
(listens)
I will.
(listens)
Goodbye.
 North By NorthNest
Chgs. 10-10-58 P.107
She h~ngs up tears off the page on which she has 120
written something, walks over to her handbag on CONT 1 D
the dresser and puts the slip of paper inside. (5)
We SEE l! gun: 1n her handbag.
THORNHILL
Business?
EVE
Yes.
THORNHILL
Industrial designing business?
EVE
Mm hmmm.
He goes up behind her, puts his hands about her
waist. (The nice thing about this kind of cat-
and-mouse work is that you can enjoy yourself' ·
while you're doing it, because it 1 s part of the
game.) Eve is disturbed by the nearness of him,
and his hands on her.
I
THORNHILL
All work and no play. Girl like
you should be enjoying herself
tonight instead of taking phone calls
from clients. How about dinner v1th
~ just- for openers?
EVE
You can't afford to be seen anywhere.
THORNRILL
What's wrong with up here? Our own
little Pump Room for two.
Eve pulls out of his grasp, moves away from him.
EVE
No ••• I ••• I can't.
THORNHILL (easily)
I insist.
Eve is in a spot. She gets control of herself be-
fore she turns to him. But a little desperation
does creep through in her voice.
EVE
I want you to do me a favor,
Thornh111 - a big, big favor.

-· THORNHILL -
Name it.
 North By North~est
Chgs. 10-10-58 P.108
. . EVE 120
I vant you to leave, right now. CONT'D
Stay far away from me and don't (6)
come near me again. We're not
going to get_.involved. Last night
was last night and that's all there
was that's all there is, there
isn 1t going to be anything more
between us. So please - goodbye
good luck, no conversation. Just
leave.
THORNHILL (utterly'
unperturbed)
Right away?
EVE
Yes.
THORNHILL
llo questions asked?
EVE
Yes.
Thornhill looks at her a moment. She wants to
get rid of him. She's got to get rid of him.
That's for sure. He shakes his head.
THORNHILL
Unh-uh.
EVE
Please •••
THORNHILL
A!'ter dinner.
EVE
Now.
THORNHILL (firmly)
Af'ter dinner. Fai.r is fair.
Eve's lips tighten, but she is careful not to betray
the urgency of her situation. The wheels go round
for a moment as she looks at him. Then, she makes
a decision, softens her expression, and smiles.
EVE
ill right. · On one condition.
(she goes up to him, touches
his rwnpled dirty suit)
You've got to let the hotel va1et
do so~ething w1 th that sm. t first.
You belo~g 1n the stockyards looking
like that. . .
 8-26-58 P.109
THORNHILL (shruss) 120
I'm very large with pigs this CONTrn
year. (7)
EVE (pointing)
There•s the phone.
She turns to the mirror and starts to fix her hair.
Thornhill goes over to the bed, sits down and puts
hie hand on the phone but doesn't pick it up. He
is thinking fast. With a cautious glance over
his shoulder, he slides his hand to the memo
pad bes1de the phone and tilts it slightly. He
sees something there on the pad but we do not
aee what it is. Now he picks up the phone.
THORNHILL (to phone)
Valet service please ••• Valet?
This is ••• uh •••
(to Eve)
Where are we?
EVE
Four sixty-three.
'l'HOP.NHILL (to phone)
This 1s room four sixty-three. Row
long would it take to get a suit
sponged and pressed real fast? •••
Twenty minutes? Fine •• ·• Four sixty-
three.
(he hangs up)
He' 11 be right up.•)

EVE
Better take your things orr.
· THORNHILL ( going up to
her) ,.
What am I going to do with my
clothes off for twenty minutes?
(an afterthought, as he
gazes at her reflection 1.n
the mirror)
Couldn • t he take an ~ ?
EVE(turns, practically
in his arms)
You could always take a cold
shower.
She starts to help him orr with his jacket as he
takes his things out of his pockets and places them
on the dresser. Both of them are playing 1t just
 8-26-58 P.110
as though they were up to nothing but good, clean, 120
healthy love-play. CONT'D
(8)
THORNHILL
When I was a little boy, I never
even let my mother undress me.
EVE (peeling off the
Jacket)
Well, you're a big boy now.
She tosses the jacket on the bed, turns back to
him, puts her hands on his belt buckle, starts
to unfasten it. He takes her hands in his.
THORNHILL
How did a girl like you ever
get to be a girl like you?
EVE
Lucky, I guess.
THORNHILL
Not lucky - w1cked ••• na.ughty ••••
up to no good •••• Ever kill anyone?
(instantly Eve 1 s expression
changes. He has gone too
dangerously far; quickly he
takes the curse off the remark)
Bet you could tease a man to death
without even trying.
(he pats her cheek)
So stop trying, tun?
He starts toward the bathroom, undoing the belt
buckle himself as he goes. The DOOR BUZZER SOUNDS.
Eve goes to the door, opens it, lets the valet in.
,.

EVE (to the valet)

Be r1$ht with you.
(she goes to the halr
open bathroom door)
Trousers, please.
Thornhill'e hand comes out with the trousers.
Eve takes them, picks up the jacket on the bed,
gives the suit to the valet and closee the door
behind him. From the bathroom she HEARS THORNHn.L'S
VOICE calling out to her:
'l'HORNHTI..L'S VOICE
Think I 1 11 take that cold shower
ai'ter a11.
 8-26-58 P.111
EVE 120
Good. CONT'D
(9)
Next she HEARS THE SHOWER BEING TURNED ON, then
THORNHJLL 1 S VOICE raised in a loud, shower-stall
rendition or "The Night They Inve~ted Champagne.a
Immediately, and with urgent haste, Eve prepares
to leave. She goes to the closet, gets the jacket
of her suit, puts it on. Then from a dresser
drawer she takes some papers and stuffs them into
her handbag, darting occasional glances toward
the partially open bathroom door from whence comes
Thornh1ll 1 s "singing in the rain."
Her glance falls on Thornhill's belongings, which
he had removed from his pockets. A CLOSER VIEW
of them shows the torn newspaper photograph of
Vanda.mm covered by Thornh111 1 s nR OT" initialled
matchbook. Eve's hand sets the matches aside,
picks up the torn newspaper photograph, holds
it long enough for quick study and puts it down
again. In a \..'IDER ANGLE she turns, and, with
a final glance around, starts out or the room.

INT. BATHROOM 121

Thonlhill is not in the shower after all. In

shirt, tie, snorts, socks and shoes, he has been
standing at the crack 1n the door peering out at
Eve's furtive ectivities while singing lustily,
the shower spraying away bu,.,;ily behind him. Now
he HEARS the OUTER DOOR CLOSE as Eve makes her
hasty exit.

CLOSE SHOT - THORNHil.L ·122

As he opens the bathroom door wider, steps out

into the room. It is clear !"rom his expression
that he has not really been duped, but rather has
been ahead or this little game all along. He goes
to the night-table, picks up the memo pad on
which Eve had made a notation and removed the top
sheet. He picks up a pencil and in a CLOSER
ANGLE we SEE him trace 1n the indentation 1ett
by Eve's pencil. It reads: "1212 N. MICHIGAN.•
DISSOLVE TO:
 North By 1:orth'.Jest
Chgs. 10-27-58 P.11~
EXT. ?UCHIGAN AVE., CHICAGO - (NIGHT) 122Xl

A taxi pulls up and Thornhill steps out. (His

suit is· in fine shape now.) He glances about,
sees that he has the right address, and moves
across the sidewalk,

CLOSER ANGLE - EXT. SHAW & OPPE?n!EIM GALLERIES 123

The lighted window of a rather elegant art gallery.
A sign :l.!l the window announces:

"AUCTIOU TONIGHT - 8:00 P.M.

FURNITURE Atm OBJETS D'ART FROM
THE COLLECTION OF DR. ORLANDO MENDOZA"
Over the door, the building nuober: 11 1212." Thorn-
hill fro\•m s, puzzled, takes out the slip or paper,
looks up at the ntu:1ber again, then decides to go .
inside.

INT. SHAW & OPPENHEIM GALLERIES 124

AUCTIONEER
-Thank ·you, sir. Four CLOSE SHOT - VandaI:ltl 1 S fingers
hundred fifty dollars gently roving over the soft
is bid for the pair, flesh of Eve's neck. CAMERA
can I hear five DRAWS BACK to include Eve seated,
hundred, "1111 you say Vandru;:im standing behind her
five hundred, can I and Leonard beyond them seated
say the five hundred, on a low table his legs
fair warning and last dangling. At the far end of
call -- sold to¥~. the room is a raised platform
Stone second row. on which an AUCTIO!IBER and his
ASSISTANT, with the aid of · .
On the stage the chairs portable microphones, are
are removed as lot 103, an going about the business of
Aubusson settee is brought unloading various objets d'art.
onto the stage. Elderly men in black dust-
jackets pass the items from the
wings onto the stage, one piece
at a tioe, where each object
1s then auctioned off at the
leisurely pace which distinguishes
the sale of 19th Century French
paintings from the sale of 20th
Century klerican tobacco~ ~bst
of the hundred-odd .spectators
at the auction are seated on
f"oldin·g chairs in the center
of the room. Moving along the
 North By Northwest
Chgs. 10-27-58 Prll3
aisle on either side of them 124
are several handsone young COI:T 'D
-women employed by the gall~ry {2)
to jot down the naoes of
successful bidders, should they
not be known, Beyond these
aisles, on either side, is the
overflow of spectators, some
of them seated, some standing,
others leaning against antique
period !urnitUl'e, - . , .
AUCTIONEER CAMERA REACHES the -end of the
Lot nuober 103. Ah! dolly and PANS to Thornhill,
this lovely Aubusson standing in entrance, staring
settee, in excellent off at Vandamm and the others.
condition, please Thornhill's mouth tightens ·
start the bidding. with anger. It is not that
How much? Eight he is overwhelDed with sur-
hundred dollars is · prise at this visible evidence
offered, thank Y-OU. of alliance, but it does re-
Eight hundred is bid, m:,ve any lingering doubts he
say the nine, go nine might still have had . about the
hundred. Nine hundred girl. He has really been
is bid, now who'll say taken for a ride -- alrost
one thousand one but not quite, all the way.
thousand thank you, And now, those fingers playing
on thousand, at one at the back of hAr nAck. The
thousand, say eleven hell with caution, and con-
hundred, bid the eleven cealing anger, Besides, it's
hundred, not enough for too late. He moves out of
this choice piecet can SHOT 1
I hear eleven hundred, l
selling at one thousan~ Thornhill MOVES to a chair near
once at one thousand, the group.
twice, last call, do I
hear eleven hundred? , THORNHILL -
Soldl One thousand _ _ The three of you together.
to:Mr~~ Sher~dan · Now there's a picture only·
Charles Addams _could draw,
The settee is removed from . . -

the stage and lot 104 a VANDAM?1 (unperturbed)

barometer.is brought _
in. Good evening, Mr, Kaplan --
·- -~-)~UCTIONEER THORlIBILL - (bitterly)
Lot -number ld+ ..:_-. Before we start calling
This 18th Centmy hand each other names, maybe
carved barometer. Can you better tell me yours.
I -say tw hundred ·and I haven't had th~-~~~asure.
fifty ··to start? That
gentleman says one VAUD.Al-n-1
hundred and fifty. I -- You disappoint me,
have one hundred and sir.,,
fi.fty. · • Say_ tw
hundred, two hundred
~s bid here, now go
 North By North-:est
Chgs. 10-27-58 P.114
AUCTIONEER ... TH0Rt.'1ULL (bitterly 124
(continued) at Eve) CONT'D
the three hundred, I was just going to say (3)
say three .hundred, that to ill•
three hundred 1s bid,
thank you, do_I hear Eve stares straight ahead.
three hundred and VandaIJC gazes off at the
fifty? . Three hund.r ed auctioneer.
and fifty, oay I have
three hundred and VANDAl1M
fifty, three hundred, I've always understood
three hundred twice, you to be a pretty shrewd
third and last call fellow at your job. What
do I hear three pos~essed you to come
hundred and fifty?. blundering in here like
Sold 1 Mr r Echart this? Could it be an
three hunored 1 overpowering interest 1n
art? · -·
The barometer 1s reaoved
and lot 105 is brought ·. THORNHILL
in. Yes. The art of survival.
(a quick shaft at
· Leonard) ,; .. .-_.
Poured any good drunks
lately?_ ·: •- · ·- -· ·.:
EVE ( in a hollow
voice, to Vanda!!!!n)
He followed me here from
the hotel.
LEONARD (to Eve)
He was in your room?
She nods. · Vandamm reacts with .
di~pleasure,
,. l THOR?{HILL . ( w1 th
coiitempt}
Sure~ Isn't everybody?
. .
AUCTIONEER At this time, the AUCTIONEER'S
Now, Ladies and VOICE is HEARD anno\lilc:1.ng
Gentlemen - NU!Jber 10~ Item Number 105. He proceeds
an excellent exaople to describe it. It 1s a pre-
of Pre-Columbian art. Columbian figure or a Tarascan
It dates from about Warrior from the State or
1000 A.D, A Tarascan Kolemia 1 Mexico, approximate
Warrior from the State date, 1000 A.D. During this,
or Kolemia, in Mexico. an attendant has been -walking
May I hear a starting . about showing the figure to
bid wrthy of this the spectators. Leonard taps
rine art piece? ~ho the momentarily distracted
will say one thousand Vandacm on the shoulder and
dollars to start? points to the ·figure. Vanda.mm
The gentleman here · · g1ances at it quickly, looks
suggests five hundred. un at Leonard and says:
 North By northwest
Chgs~ 10-27-58 P:115
. AUCTIONEER VANDAMM 124
(continued) Yes. CONT'D
Al1 right, that's a (4)
.start. Now say one THORNHILL (to
thousand. I have five Vandacm)
hundred dollars, may I didn 1 t realize you Yere
I say_the thousand. an art collector. I
Seven hundred and . thought you just . collected
fifty _is offered. - corpses.
Thank you, now say
the thousand. One The bidding has started~
thousand is bid, make
it twelve hundred and VAJIDAJ.D·! ( to
fifty, Eleven hundred Leonard, quietly)
you say? All right I Fifteen hundred.
have eleven hu.~dred
bid! make it twelve
hunctred - twelve
hundred dollars there~
Now thirteen is here,
fourteen hundred is Leonard makes a silent signal
bid. to the auctioneer.
AUCTIONEER (o.s.) THORNHILL (looking
Fifteen hundred I'm down at Eve)
bid, who'll say 1 111 bet you paid plenty
seventeen fifty - ~or this little piece of
do I hear seventeen ---sculpture---
fifty?
VAlIDAMH (to Leonard)
Seventeen fifty.
AUCTIOJIBER (o. s.) Eve is visibly suffering.
Seventeen fifty is bid.
Say two thousand -- THORNHILL (continuing)
tw th:>Usand anyone - She's worth every dollar,
do I hear two thousand take it from me 1 She
-- seventeen fifty is ~ really puts her heart
bid. Seventeen fifty, into her work. In fact
are you all through at her whole body.
seventeen fifty -- (a quick glance at
Sold then to Mr. Leonard)
Vandamm at seventeen And where·does he keep
f'ifty. EJ! .- 1n a curio cabinet?
The Tarascan piece is Thornhill reacts to the Auction-
removed and lot 106, the eer's mention of Vandam:n's
Louis XV Curio Cabinet name,
is brought in.
· THOR11Hll.L (hearing
the name)
Vandamm, huh'?
 t!orth By 1;orthwest
Chgs, 10-27-58 P 1 116 .
AUCTIO!IBER VAUDAHH (turns to 124
Number 106 -- for your Thornhill) CONT'I
pleasure is this Louis Has anyone . ever told yo,1 ( 5)
x:i Curio Cabinet of that you overplay your
gold and ~ronze dore various roles rather severely,
with Vernis Hartin Mr. Kaplan? First you're
figured decorations the· outraged Madison Avenue
and landscape painting. man who clai~s he has been
""110 will say five - mistaken for soneone elser
hundred dollars -to Then you play a fugitive
start the bidding, five from justice, supposedly
hundred dollars for it. trying to clear his name
Five hundred dollars of a crice he knows he
for it. All right I'll did~'t commit. And now,
accept your start of you play the ~eevish
two hundred dollars, . lover, stung by jealousy
two.hundred is bid, go· and betrayal.
three, tw fifty I have, (a chilly smile)
say three two fifty I Seems to me you fellows
have say three hundred, could stand a little less
three hundred now go training from the F.B.I.
rqur, three go_ four, and a little more from the
three go four, three Actors• Studioq
go four, three twenty-
five is bid say fifty, THORNHILL . . .
three fifty I have, say Apparently the only per-
rour., three hundred and formance that's going to
fi!ty go four hundred, satisfy you is when I
three hundred and fif'ty play dead.
say three seventy-five,
three hundred fifty say VAlmAMM (gently)
seventy-five. Don't Your very next role,
lose ~t for twenty~five You will be quite con-
dollars; Thank you vinc~g, I assur~ you,
three hundred and seven-
ty-five is bid. I have Leonard has already stared
three hundred and out of the room to arrange
seventy-five dollars go
the 1'our hundred. Th:ree
seventy-five go four.
Four hundred dollars is
-
that.
THORNHILL (watching
him go) ··
bid. Say four hundred I wonder what subtle form
and twenty-five •. Four or manslaughter is next
hundred twenty five on the progra~ • .Am I
once.$ four hundred going to be dropped into
twenty-five twice, a vat of xrolten steel
last call at four and become part or some
hundred twenty-five. new skyscraper? ···
Sold to the lady :1n (looking at Eve)
the fourth row for Or are you going to ask
rour hundred dollars, this.,,female to kiss me
again and poison me to
The Louis XV cabinet is re- death?
m:>ved and lot #107 is
brought in,
 North By !"!orth'.:est
Chgs~ 10-27-58 P~ll7
AUCTIONEER Eve gets to her feet, turns 121+
And -n0w ladies and and slaps hie in the face. CO!,T 'D
gentle~an we offer He grabs her .wrists and thc?y (6)
catalogue number 107 - stare at each other for a
this rere Narcolini mo cent~
Meiss en compote,
acquirej_ by Dr. Mendoza THORNHILL (with
fro~ the estate of the contempt)
Comtesse de Chivre, Who are you kidding? You
How much to start the ~ no feelings to hurt~
bidding on this
collector's porcelain? He firmly presses her back
Five hundred, oadam? down into her seat. During
That•s an extrenely this, a man in the audience
low start and should nearby is half turned, as
prompt spirited bid- though he has been observing
ding. Six? Six the entire altercationr It
hundred I have, now is the Professor of the c:T.A.
the seven, seven
hundred I have thank VAl'!D.Al-D•i (angrily)
you say eight. }~y Mr. Kaplan --
I direct your
attention to the mag- THORNHILL (turning
nificent repous se on him)
flowers on this out- Look, Vandamm, I don't
standing exaople. know why you want me dead,
Eight hundred dollars but this I --
there nine hundred 1n
the front, One thousand VANDAMH (interrupting)
1s bid .on the far side. -- We've had just about
Eleven hundred dollars enough of you,.
is here now say the
twelve, twelve hu.~dred THORNHILL
- dollars there. Twelve Then why don't you call
hundred is bid say the police? No - that's
thirteen hundred may the last thing you want -
I hear thirteen hundred me in the hands of the ·
pleasei fair selling ._ police. There I s so1:1ething
at twe ve hundred, do I might tell them, huh?
I hear thirteen That• s why you had this
hundred. Last call, one here hustle me on the
sold twelve hundred train last n1ght 1 like
dollars, Thank you, the good little 1.ndustrial
designer that she 1s.
The Marcolini Meissen Com- Well, something tells me
pote is re~oved and lot - I've got a much better
108 1 the Vienna Plates, chance of survival if I
1s displayed~ fil?. to the police. And
the nere fact that you
AUCTIONEER don't~ me to 1s enough
Number 108 - we offer for me.
you now twelve Royal (to Eve)
Vienna Plates, mag- Goodnight, sweelheart~ ·
nificently hand- ·Don 1 t think it hasn't been
decorated with por- nice,
traits of Court
 North By t:orthwest
Chgs. 10-27-58 P~ll~
AUCTIONEER He walks a\-ray froc the:n and 124
(continued) goes toward the entrance in corr.
beauties. How much the rear. But he doesn't (6A)
a piece .and take the get very far before he stopsr
lot. Thirty a piece Standing -inside the doorway
is bid all over the waiting for him is Valeriani
house, Thirty-five, the U.N, assassin. Thornhi 1
say forty, forty go turns, looks about, and SEES,
forty-five, forty- down the aisle the steps to
five I have go_fifty the auct1oneer1s stage where
- fifty go five, men are bringing on a piece or
fifty go fivet fifty furniture for auction, He
is here say fifty- starts down the aisle with
five, fifty dollars the intention of caking his
a piece say fiftYT way out through the back,
five, anyoore, Sir? Then he slows down as he
Sold. then for .. fifty SEES Leonard stepping out of
dollars a piece • . the 0 w1ngs 11 or the stage.
Leonard looks at him steadily,
The plates are take~·out and then withdraws signif-
as B·painting is -~tought icantly. Thornhill looks
in. . ... - .. . . about him with desperation,
.•
~.
- then quickly slips into a
.. . AUCTIONEER nearby seat acong the
Catalogue nutlber -109, spectators. At this mo~ent,
A superb example of VandaI:Cl and Eve depart.
this early 19th .Cen- Thornhill turns his attention
tury master, it will to the platform, wh~.1·e the
enhance any cpllection auctioneer has a painting en
of . fine art. What is the block,
YQ1Jr..pleasure?. How
much to start? . One
thousand is bid,
twelve-fifty I have,
fifteen hundred,
fifteen hundred is
bid say seventeen
r1r!y, I have seven-
teen-fifty, two .
thousand is bid --

(NOTE: Pick up dialogue 1n script,)

AUCTIONEER
I have two thousand. D::, I hear
tventy-five? ••• Twenty-five h'Uildred
please ., ·Twenty-tw-fifty. Thank
you. 1Do I hear twenty-five? •• ,, .
Twenty-two-fifty once. Twenty-two-
fifty twice. Last call,~•
THORNHILL (shouts)
Fifteen hundred;
 North By r:orthwest
Chgs. 10-27-58 P~ll7B
AUCTIOUEER (startled) 124
The bid is already up to twenty- COUT'D
two-fifty, sir, (6B)
'l'H OR!IBI LL
I still say fifteen hundredl
Heads turn toward him angrily. But Thornhill is
concerned only about escaping the fate Valerian
and Leonard have reserved for him.
. AUCTIONEER (recovering)
I have twenty-tv10-fifty. Do I hear
twenty-five hundred? •••• Twenty-
tw-fifty once. Twenty-two-fifty
· twice •• ,.
THORNHILL
Twelve hundredl
AUCTIONEER (quietly)
Sold for twenty-two-fifty. And
now --
 8-27-58 P.118
THORNHll,L (loudly) 124
Twenty-two-fifty for that chrome? CONT'D
(7)
AUCTIONEER (ignoring
him)
-- Number one hundred sixteen in
the catalogue... ·
•(as attendants bring out
·a chaise longue)
"A Louis XIV carved and painted
lit de repos.n Kindly observe the
rnoulded frame, the carved, free-
standing columns at each corner and
the fluted, tapering legs. Will
somebody start the bidding at seven-
hundred-and-fifty dollars please?
THOIDmILL
How do we know it's not a fake?
It looks like a fakel
An elderly woman seated directly in front or
Thornhill turns and glares at him.
WOMAN
One thing we know: ou 1 re no re.lee.
You're a genuine id ot.1
THORNHILL
Thank you.
AUCTIONEER
I wonder 1! I could respectfully
ask the gentleman to get into
the spirit or the proceedings
here.
THORNHILL
All right. 1 1 11'-sta.rt it at
eight.
AUCTIONEER
Eight hundred dollars. Thank
you. Nine hundred ••• one thousand
I have. Go twelve.
THORNHILL
Eleven!
AUCTIONEER
Eleven 1s bid. Oo twelve. Who'll
·say twelve? Eleven once. Who'll
say twelve? Eleven twice. Twelve.
Thank you. Twelve is bid • . I have
twelve. Oo thirteen. Who'll say
thirteen?
 8-27-58 P.119
THORNHD..L 124
Thirteen dollarsJ CONT'D
(8)
AUCTIONEER
You mean thirteen hundred, sir?
THORNHILL
~ mean thirteen dollars, which
1s more than it's worthJ
The auctioneer will continue his work, but his
assistant will now reach for the phone on his desk
and make a hurried call, which will not go un-
noticed by Thornhill.
AUCTIONEER
Twelve hundred I have. Go thirteen.
Wh.0 1 11 say thirteen? Twelve-f1fty1
Twelve hundred once .. Twelve hundred
twice. Last call. Twelve hundred.
THORNHILL
Two thousand!
AUCTIONEER (a little stunned)
Two thousand?
THORNHILL
Twenty-one-hundredJ
AUCTIONEER
I'm eorry, sir, but we can 1 t --
1
THORNHILL
Make it twenty-five hundred!
By this t1.me an angry murmur is rising from the
spectators. Someone shouts: "Ask him to leavel"
A uniformed male A'ITENDANT is moving down the
aisle toward Thornhill. Valerian and Leona.rd,
~n their separate positions, are glancing about
"Uncertainly.
AUCTIONEER
Would the gentleman please
cooperate?
ASSISTA.l\~ AUCTIONEER
(trying to restore order)
The last bid was twelve-hundred.
THOMHILL
Twenty-five hund~edl My money
is as good as anybody'sl
 North By Northwest
Chgs. 9-4-58 P.120
AUCTIONEER 124
I have twelve hundred -once •• r CONT 1 D
twelve hundred twice ••• (9)
THORNHILL
Three thousand!
AUCTIONEER
Last call. Sold for twelve
hundred.
THORNHILL (leaping to
h1s feet)
You're not going to get away with
th1sl
By this time the uniformed attendant has reached
Thornh11l's row or seats, pushed into the row and
grabbed him by the arm.
THORNHILL
Let go of me! Get your hands
off me or I'll suel
Now the place is really in an uproar. Spectators
push Thornhill into the aisle. He grapples with
the attendant as women ccy out in alarm. Two
police officers come running 1n through the
entrance. Thornhill notices this with a pleased
expression, hauls back and lets the attendant
have a good one on the Jaw. The man goes reel-
ing back into the crowd, bounces back and lets
fly a swing at Thornhill, who ducks, moves in and
wrestles him to the floor. During this, just after
the o11ce arrive the Professor ets UD and
su c t ~al s out. ne po ce now
strugg e, seize Thornhill and pull feet.
FIRST OFFICER
All right now •••
THORNHILL _
What took you so long?
SECOND OFFICER (pulling
him toward the door) ·
Let 1 s take a little walk •••
THORNHILL
Wait a m1nute •••
SECOND OFFICER
Get moving.
THORNHILL
I haven't finished bidding yet •••
 Nortn By Northwest
Chgs. 9-11-58 P.121

FIRST OFFICER (dragging 124

him along) COI,T 1 D
Yeah, yeah. (10)
THORNHILL (struggling)
Three thousandt It 1 s mine for
three thousand!
Nearing the ·entrance they approach Valerian, stand-
!~b there completely frustrated. Thornhill flashes
him an apologetic smile as he is dragged by.
· THORNHILL
Sorry, old man. But keep trying.
Valerian watches without expression as Thornhill
1s escorted safely past him.

ANOTHER ANGLE l24Xl

Thornhill and the two policemen continue thrDu.gt
the lobby. Behind them 1s a telephone booth. We
SEE the Professor standing beside it watching
Thornhill being taken out. After they have passed
him, the Professor glances after them briefly, then
goes into the booth and closes the door.

EXT. SHAW & OPPENHEIM GALLERIES 125

The police emerge from the building with Thornhill
and hurry him toward a patrol car parked at the curb.
THORNHILL
Handle with care, fellahs •••
FIRST OFFICER (opening rear door)
In there.
THORNHILL
••• I'm valuable property.
FIRST OFFICER

He pushes Thornhill into the car.

DT. PATROL CAR 126
Thornhill lands on the rear seat and the first officer
joins him, while the other cop gets behind the wheel.
THOFJ;HILL
I want to thank you boys for saving my life
 8-27-58 P.122
FIRST OFFICER {gruffly) 126
Save it for the station-house. CONT 1 t
(2)
The car starts away.
THORNHILL (buoyantly)
Come on. Let's see some smiles
and good cheer. You're about to
become heroes. Know who I am?
FIRST OFFICER (disinterested)
We'll find out as soon as we book ya
for bein• drunk and disorderly.
THORNHll.1,
Drunk and disorderly? That•s
chicken feed. You•ve hit the
jackpot, Sergeant •••
(as the Sergeant gives
him a bored look)
•ch1cago police capture United
Nations slayer.•
Wow .the look is not so bored. Thornhill hands
tEe half,-bel1ev.1ng •sergeant~.his wallet: saying:
'l'BORNHll,I,
Roger Thornhill 1s the name. Take
me to your leader.
While the eergeant 1e quickly looking over
Thornh111 1 s identification cards, the orr1cer
behind the wheel picks up _a newspaper, glances
at it, turns back to look>at Thornhill and
holds up the paper.
SECOND OFFICER
It's hi.ml
~n the back seat, the sergeant leans rorward,
eta-:res orr screen at the paper, then turns
and looks at Thornhill.
'l'HORNHILL
Congratulations, men.
FIRST OFFICER (awed)
Yeah ••••
'l'he man behind the wheel has taken up the tele-
phone receiver on the dashboard and put in· a·
call to headquarters. (T"riE PHONE lS SIMILAR TO
HOUSEHOLD INSTRU?-~'TS. WE CAN HEAR ONLY ONE
END OF THE CONVERSATION.) During this, Thornhill
sits back with smug expression~ .
 8-27-58 P.123
SECOND OFFICER (to phone) 126
This 1s one oh ~ive five. Sergeant CONT'D
Flamm. We got a man here answering (3)
. to the description or Thornhill, Roger.
Code seventy six. Wanted by NYFD.
Positive I.D.
(listens)
Absolutely. No question.
(listens)
Michigan Avenue. Proceeding west
to forty-second precinct.
(listens)
What?: ·•:• ·:.·
(listens)
Come again?
(listens)
Ya sure?
(listens)
Okay.
(listens)
Right.
{listens)
Yeah. I got it.
(listens)
One oh five five off and cle2ll".
Ee hangs up, makes a sw1rt U-turn and speeds orr
1n the opposite direction.
FIRST OFFICER (startled)
Where we goin • '!
SECOND OFFICER (dejected)
The airport. '
FIRST OFFICER
For what?
SECOND OFFICER (disgusted)
Orders.
THORNHILL
Just a second here. I'm not going
to any airport. I want to be taken
to police headquarters.
SECOND OFFICER
Ya .!!2,, huh?
 North By Northwe st
Chgs, _ 10-14-58 P.124
THORNHILL (leans forward) 126
Why do you think I sent for you CONT'D
fellows? - (4)
SECOND OFFICER
How about this guy, Charley'/ He
sent for us.
FIRST OFFICER (pulling
Thornhill back)
Sit back.
THORNHILL
Did you hear what I said? I
want to be taken to police
beadquartersl I'm a dangerous
assassin! I'm a mad killer on
the loose!
SECOND OFFICER
You oughta be ashamed of yourself.
DISSOLVE TO:

EXT. MIDWAY AmPORT, CHICAGO - NIGHT 127

The police car pulls up, steps. The two police
get out. Thornhill gets out. They walk him
into the terminal. In the background, the SOUND
OF PLANES TAKING OFF.

INT. NORTHwEST AIRLINES TERMINAL 127ll

They enter, and the police escort Thornhill to ·
the Information Counter.
SECOND OFFICER
They said right here.
THORNHILL (grumbling)
Does anybody mind if I sit dow.?
I've been running all day.
Just then the police see a man rushing through ·
the door towards them. It is the Professor. He
1s breathless as he goes up to the Information
Desk, giving Thornhill and the police a quick
glance as he goes. We SEE the Professor lean
over the desk and murmur something to the clerk,
who nods, acknowledges him and immediately hands
bi.man envelope of plane tickets~ The clerk
1eans over his desk and -points down the terminal
 8-28-58 p.125
bui.ld.lng. The Profcs.sor turns and .approaches the 127Xl
group, still out of breath. The CAMERA ?,mVES CONT 1 D
i~to a CLOSER ANGLE. The Professor 1'umbles . · (2)
1n bis pockets,. brings out ·an 1dent·1 r16ation,
whloh he show~ to the police, all the while
saying:
PROFESSOR
Never thought I'd make it.
Getting too old for this kind
or work.
(he glances at Thornhill)
All right. _Thank you, men.
(takes Thornhill by
the arm)
Let's go, Mr. Thornhill. We
haven't much time. This way 1a
more private.
THE FOLLOWING SCENE WILL BE PLAYED IN A FAST•
MOVING POLLY SHOT AS THE PROFESSOR ESCORTS
THORNHILL AWAY FROM THE POLICE THROUGH THE
TERMINAL, ALONG A RAMP, THROUGH A GATE AND
ACROSS THE FIELD TOWARDS A WAITING PASSENGER
PLANE. MOVEMENT WILL COME TO A HALT ONLY WHERE
INDICATED.
'l'HORNHILL .
I don't think I caught your
name.
PROFESSOR
1 ·dontt think I pitched it.
)

THORNRILL
You're police. aren't 7ou? Or
ia it F.B.1.,
PROFESSOR ·
F.B.I ••• c.I.A •••• o.N.I ••• we•re
all 1n the same alphabet soup.
'l'HORNElLL
Well, put this in your alphabet
soup: I had nothing to do with
that United Nations killing •••
PROFESSOR
·we know that.
THORNEILL (slows down)
You do,
PROFESSOR (bumpi.Dg a
paaserby)
Sorry. ·
 p.126
.. .
.. THORNHILL 127Il.
Tbe'n what's the . idea or' the CONT'D
police chasing me all over the . (3)
.Jn&P1 -

PROFESSOR
We never interfere with the
police unless absolutely
necessary. It has become
n&cessarr.
. . THORNHILL .
·1 take it. then, I'm to be
cleared •
. PROFESSOR (t.aking his
arm) · · . · .
I do wish you'd walk faster, .
Mr. Thornhill. We 1 11 miss the
plane•
THORNHILL (walking
. taster)
Where are we going -- New York
or Washington?
. PROFESSOR ·..
Rapid Cit7; $outh Dakota.
-• _ ·THORNHILL ( suspicious)
Rapid City? What torT
. . PROFESSOR
'"It's near Kt. Rushmore.
THORNHILL
t\ve alread7 seen Mt. Bushmore~
. . PROFESSOR ~ .. ..
'So has your friend ltr • Van·d-amm.
~HORN3ILL (slowirig
, · down again)
Vandamm? ·

PROFESSOR" (wrily)
.A rather .formidable ·gentleman, e1:1T
. THORNHILL (with venom}·
And what about that treacherous
tramp with him •••
PROFESSOR :
·Miss Kenda.ii,
 North By Northwest
Chgs. 9-22-58 P.127
THORNHILL 127Xl
Yeah. CONT 1 D
(4)
PROFESSOR
His mistress. We lmow all about her.
THORNHil,L (bridling at this)
What's Vanda:n:n up to?
PROFESSOR (evasively)
Let's say he's a kind or •••
importer~exporter.
THORNHILL
or what?
PROFESSOR
Oh ••• you could sa.y ••• government
secrets perhaps?
THORNHILL
Why don't you grab him?
PROFESSOR
Too much we still don't know about
his organization.
THORNHILL
Oh-huh. Well what 1 s Mt. Rushmore
got to do with all this?
PROFESSOR
Vandamm has a place near there.
We think it's hie jumping off point
to leave the country tomorrow night.
THORNHILL
And you 1 re going to stop him ••• .
..
PROFESSOR
No.
THORNHILL (puzzled)
Then ••• what are we going there for?
PROFESSOR
To set his mind at ease about George Kaplan.
Thornhill glances sharply at the Professor and
peers at him for a moment.
THOruIBILL
You., huh?
PROFESSOR
Eb?
THORNHILL (a.statement)
You• re George Kaplan, aren't you. ••
 North By Northwest
Chgs. 9-5-58 P.128
PROFESSOR (blandly) l27Xl
Oh no, Mr. Thornhill. There is CON1' 1 D
no such person as George Kaplan~ (5)
Thornhill comes to a dead stop.
THORNHILL
!!. no such person?
PROFESSOR
Come. We 1 11 talk on the plane.
THORNHILL
But I've been in his hotel room!
I've tried on his clothes! He's
got short sleeves and ••• and
dandruff!
PROFESSOR
Believe me, Mr. Thornhill, he
doesn 1 t exist. Which is why I'm
going to have to ask ytu
to go on
being him for another wenty-four
hours.
Thornhill points a protesting finger at the Professor.
Just as his mouth opens, there 1s the SUDDEN ROAR
OF ENGINES AS A PLANE REVS UP AND PREPARES TO TAXI
AWAY FROM TEE NEARBY RAMP. Thornhill looks across
at the plane with annoyance.

THE PLANE 128

As 1t starts to taxi away, its rour engines creating
a storm of noise and wind.

MED. LONG SHOT - THORNHILL AND THE PROFESSOR 129

The two men are talking at each other, the
Professor calmly, Thornhill gest1cul.at1ng, arguing,
denying, 1ns1st1ng, protesting. The Professor keeps
tugging gently on Thornhill's arm, trying to move
h1m along as he explains. As they start walking
again, TOWARDS CAMERA, they continue to talk to
each other. WE HAVE HEARD NONE OF THIS CONVERSATION,
BECAUSE DISTANCE FROM CAJ.~ AND THE NOISE OF THE
PLANE TAXIING AWAY HAVE INTERVENED •••• long enough
for the Professor to give Thornhill a brief outline
of the George Kaplan plan which .2, learned about
1n Washington. As the two men approach CAJ.tERA
and walk through the gate onto the ~1eld, where
another passenger plane stands waiting, the
Frofessor appears to be making an appeal, and
 North By Northwest
Chgs. 9-23-58 P,129
Thornhill is shaking his head vigorously. They have 129
walked into a TIGHTER TWO-SHOT and the SOUND OF THE . CONT: D
TAXIING PLANE HAS FADED AWAY. We can hear them now~ (2)

THORNHILL
Look - you started th1s crazy
decoy business without meJ
Finish it without me! •••
PROFESSOR
And well we might have if you
hadn't stumbled into it •••
THORNHil.L
•• ,I think you should give me a
medal and a very long vacation
instead of asking me to go on
being a target just so that-
your Number One, or whatever you
call him, doesn't get shot atJ
PROFESSOR
Not shot at, Mr. Thornhill -
found out. Once he 1 s round out,
ne!s asgood as dead. And thanks
to z u clouds or suspicion~
1
form ng - .-
T"'dORNHILL
'!'hanks t o ~ --,

PROFESSOR
Ir TOU 1 11 get on :the plane --
THOrurnILL
i 1 m an advertising man, not a
red herringI I've got a Job, a
secretary, a mother, two ex-wives
and several bartenders waiting for
·me. and I don't 1ntend to disappoint
them all and get myself slightly
killed by playing the man 1n the
gray-flannel cloak-and-dagger. The
answer 1s nol
PROFESSOR
Is that t1nal?
TROruraILL
Yea I
The Professor looks at him for a moment, then holds
out bis hand.
PROFESSOR
Goodbye then. . ·
{as ~hornhill takes the
hand uncertainly)
 North By Northwest
Chgs. 10-13-58 P.130
PROFESSOR (cont'd) 129
Ir I thought there b~S any chance or CONT 1 D
changing your mind, I'd talk about {3)
Miss Kendallt whom you obviously
disapprove or for good reason.;.
THORNHILL (savagely)
Yeah - :ro.r using sex lLtce soce people
use a fly-suatter ••• For trying to have
me exterminated •••
PROFESSOR
I don't suppose it would matter to
you that she ~as probably forced to
do whatever she did ••• in order to
protect herself~
THORNHILL (almost a sneer)
Protect herself from what?
PROFESSOR (slowly)
Suspicion ••• exposure ••• assassination.
(Thornhill stares at him)
Forgive me for referring to· our Number
One as a man, Mr. Thornhill. It's
about all.! can do to help keep her
safe while she's 1n all this terrible
danger •••

CLOSE SHOT - THORNHILL 130

Turning to CAMERA eyes filled with emotion as
he shakes his heaa slowlyt trying to throw of£
the pain of his confu~ed reelings.
PROFESSOR 1 S VOICE (o.s.)
I know you didn't mean to, but I'm
afraid you have put her 1n a most
delicate situation - and much more
than her life is at stake •••
During this, another plane has been arriving, its
landing lights slowly increasing the illumination
on Thornh111 1 s stricken face and the background
behind him. The SOUND of the fil:GINES RISES as
though illustrating the l!X)unting determnation
within Thornhill, and his ultin=.ate decision.
DISSOLVE TO:

LONG SHOI' - THE PLANE IN FLIGHT - NIGHT 131-

We are SHOOTING UP at the plane from an elev~tion on
the ground as it approaches CA11ERA 1n a slightly de-
scending path. As the plane cooes nearer and zooms
past, CAfERA PANS WITH IT SLIGHTLY and DISCOVERS:
 North By Northwest
Chgs. 9-23-58 P.131
THE. FACES OF THE PRESIDENTS - MI', R'JSID!ORE - NIGHT 132
The · mon\.mlent glows against the night sky, 11t by
several banks or unseen searchlights. We HOLD ON
THIS SHOT, And then THE FADINJ SOUND OF THE
DISAPPEARING PLANE SLOWLY BECO~lliS THE SOtTh'D OF
LAUGHTER AND MANY VOICES. SLOWLY., NIGHT TURNS TO DAY.

THE FACES OF THE PRESIDENTS - MT. RUSHMORE - DAY 133

Same angle as above. The searchlights have been
replaced by sunlight. The black sky has turned
blue. CA!t!ERA PULLS BACK SLOw'LY., until A CIRCULAR
BoRDER APPEARS AT THE EDGES OF THE SCREEN. We
are in:

EFFECT SHOT - THE FACES OF THE PRESIDENrS - AS 134

SEEN THROUGH BINOCULARS
As soon as we have established the binocular effect.
CUT TO:

CLOSE SHaI' - THORNHILL - M'l'. RUSHMORE OBSERVATION 135

DECK
We are on Thornhill's back as he stands peering
through binoculars mounted on a pedestal (There
are similar glasses located at many vantage points
throughout the park). .
'l'HORNHILL
Suppose they don't come.
PROFESSOR'S VOICE (o.a.)
They'll come.
During this we have PULLED BACK TO REVEAL the
Professor sitting nearby reading a Rapid City
newspaper, his back half-turned away from 1I·hornh1ll.
THORNRil,L (uneasily}
I don•t like the way Teddy Roosevelt
1s looking at me •••
PROFESSOR
Be's trying to give you one last
word or caution, Mr. Kaplan: speak
softly., and carry a b1g ~tick.
Thornhill leaves the binoculars, starts restlessly past
the Professor to the corner or the terrace, saying:
THORNHILL
I think he 1 s trying to tell me not to go
n,..,.,..,,,~,._ w1t:h this hair-brained scheme •••
 north By i~orthwest
Chgs. 9-23-58 P.132
PROFESSOR . 135
Perhaps he doesn't know to what extent CONT'D
~ are the cause of our pre~ent (2)
· dlff1cult1es--
THORNHILL (turning to him)
I'm not so sure I accept that charge,
Professor.·
PROFESSOR (mildly)
lrtr dear fellow - if you had not made
yourself so deJrinably attractive to
Miss Kendall that she fell for you--
THORNHILL (momentarily delighted)
And. vice versa.
PROFESSOR
--Our friend Vanda.cm woul.dn't be losing
faith 1n her loyalty now. It was quite
obvious to him last night that she had
become emotionally involved, worst 0£ all
with a man he thinks 1s a government agent.
THORNHILL
Are you trying to tell me - and Teddy
Roosevelt - that I'm irresisno'le?
PROFESSOR (sternly)
I 1 m trying to remind you that 1t•a
~ responsibility to help us restore
nerto Vandamm's good graces •••
(he sees Thornhill's race cloud over)
••• Right up to tihe moment he leaves the
country tonight.
'l'HORNRILL (annoyed)
A11 right. All right.
(he points .a finger to rem.inc! the
Professor or a previous bargain)
But after tonight •••
PROFESSOR (looking away)
My blessings on you both.
Thornhill nods. Then he looks off-screen and reacts
tensely.
THORNHILL
Here they are.
The Professor•a nonchalance vanishes instantly. He gets ·
up and walks swiftly away. Thornhill looks oft again.
136-1~
. OU'J
POINT OF vn;w - THE PARKING AREA 139
A white Lincoln convertible 1s pulling into a ~ark1ng
space, comes to a stop. The driver 1s Vandamm. Eve
and Leonard sit b~s1de him. They get out or the car.
~,Q"~• about. tmd start towards the cafeteria building.
 9-8-58 P.133
THORNHILL 140
Watches them for a mornent, then turns purposefully
and hurries toward.the cafeteria from his level.
We move with him EITHER with a DOLLY SHOT or a
SERIES OF CUTS, depending on the location of his
s·~arting point.

IT WILL NOT ftLWAYS BE SPECIFICALLY INDICATED BUT

T ShOULD ::: BORN'E IN t-~IND TEAT THE E1'."7'Irili t-iT.
RUSh}~ORE DAY SEQu~NCE TA.'IBS PLACE WITH S.LGHTSEERS
CAVi?.:RA BUGS, LIT'l"i,E CHILDREN AND ASSORTED TOURISTS
. '!N EVIDENCE AT ALL TIJ.lES, \..'HETl--2R OUTDOORS OR
l@ooRS.}

Thornhill approaches the building and enters.

INT. BUILDING - (MASTER SCENE) 142

Thornhill walks across the lobby to the cafeteria,
a vast room with many tables and enormous windows
through which can be seen the races of the presidents
in the distance. It 1s after the lunch hour, and
only half or the tables are occupied. Thornhill
goes over to the steam-table and asks for a cup ot
coffee. While waiting for it, he turns and looks
toward the PARKING AREA ENTRANCE to the cafeteria.
No one 1s coming through there yet. He receives
the cup or coffee and starts toward an unoccupied
table. Just as he arrives at the table, he sees
Vanda.mm, Leonard and Eve enter the cafeteria.
He remains standing until they see him. Then he
sits down, as Vandamm and Eve walk towards him.
Leonard sits down at a table near the entrance, as
though he were a eentcy standing guard 1n case or
trouble.

AT THE TABLE

Vanda.mm and Eve arrive at the table. Eve has a ) .

strained look. Thornhill contemJ:)tuously deigns Lv. '- '-.r
even to glance at her. His ignoring or her presence
1s his way or demonstrating to Vanda.mm how bitterly
he despises her. (THORNHI!.L is now playing a terse,
matter-of-fact "KAPLANn rather than his usual
protesting self.)
 9-8-58 p.134
VANDAMM (with a 11'3
mild smile) · CONT 1 D
Good afternoon, Mr, Kaplan. (2)
He starts to ·draw out a chair for Eve.
THORNHILL (sharply)
Not her.
Vandamm 1 s manner changes. He ·t urns to Eve and,
with a sharp incline of the head, dismisses her.
'l' 1 g_ht-11pped, Eve turns and walks off towards
the gift shop. Thornhill looks after her with
noticeable distaste. Vanda.mm sits down, resuming
his deceptively polite manner.
(AT TIMES DORING THE FOLLOWING, THORNHILL WILL
LOOK PAST VANDAMM TOWARDS THE GIFl' SHOP AND WE
WILL SEE THAT EVE, "BROWSING" IN THE GIFr SHOP,
IS STANDING RIGHT NEXT TO ANOTHER "BROWSER," WHO
COULD EVEN BE EXCHANGING WHISPERED WORDS WITH
HER. IT IS THE PROFESSOR. AND IF LEONARD, SEATED
NEAR Tlm O O O ~ U R N · HIS HEAD, HE MIGHT
EVEN SEE THEM. BUT HE DOES NOT TURN HIS HEAD.
AND HE OOES NOT KNOW THE PROFESSOR.)
VANDAMM
Did I misunderstand you about
bringing her?
. THORNHILL
We'll get to that.
(as he lights a cigarette)
I suppose you were isurpr1sed to
get my call •••
VANDAMM
Not at all. I knew the police
would release you, ,Mr. Kaplan.
By the way, I want to compliment
you on your colorfu1 exit from the
auction gallery •••
THORNHILL
Thank you.
VANDAMM
And now what little drama are
we here for today? You see, I
don't ror a moment believe that
you 1nv1ted me to these gay
surroundings 1n order to come
to an arrangement ••••
 9-8-58 P.135
THORNHILL 143
Suppose r ·were to tell you' that· ... CONT'D
1 ·not only lmow exactly what time (3)
you're leaving the ·coW1try tonlght.,
.but ·a1so the latitutde and longitude
of your rendezvous., and your
ultimate destination.
VANDAMM (after a beat)
You wouldn't care to carry my
bags, would you?
'l'HORNHILL
Maybe you'd like to lmow the
price., just the same.
VANDAMM
Price?
THORNHILL
For doing nothing to stop you.
VANDAMM (anrused)
How much did you have 1n mind?
THORNHILL
I want the girl •••
'!'he geniality dies on Vandamm's race for a moment.
Then he gives a little smile of understanding.
THORNHILL (shakes his
head, then speaks with
bitterness) .
I want her to get *hat's coming
to her. You turn her ov~r to me
and I'll see that there's enougn
pinned on her to keep her
uncomfortaoie for the rest or her
life. In return., 1 1 11 look the
other way tonight.
Vandamm peere at him for a moment.
VANDAMM
She really got under your
skin., didn't she?
THORNHILL (angrily)
We 1 re not talking about my skin.
We're talking about yours. I'm
offering you.a chance to save ~t •••
 9-8-58 P.136
... . . V AND.AF;M 143
To exchange 1t ••• CO?\'T 1 D
(4)
THOIDIBILL
Put .it any way you like.
VANDA?-'iM
1 1 m curious, Mr. Kaplan. How did
you arrive at this deduction that
rixy feelings for _M1ss Kendall might
have deteriorated to the point
where I would ••• trade her in
for ••• a little peace or mind?
THORNHILL
I don't deduce. I observe.
The two men stare at each other steadily. Then
Vanda.mm looks up and gets to his feet.

FULL SHOT - THE TABLE 143Xl

Eve 1s standing beside the tableJ her face tense,
She doesn't look at Thornhill.
EVE (coldly)
Phillip -- 1r you dontt mind,
I 1m going back to the house.
She immediately turns and starts to leave the
cafeteria. Vanda.mm, momentarily caught off guard,
looks after her hesitantly, ~d then, after a
quick look at Thornhill, goes after her.
r

CLOSEUP - THORNHILL .
143X2
Looking ort after them, he rises with concern on
his face.

POINT OF VIEW - FROM THORNHn..L 144

Vandamm has caught up with Eve. There is a brier
unheard exchange between them, then Vanda.mm
beckons Leonard over to them, and the .three start
swiftly toward the ex1t.
 North -By Northwest
Correction 9-16-58 . P.137
CLOSE SHOT - THORNHILL 145
Seeing this turn of events and reacting to 1t,
he starts -after them.

W!DER ANGLE - ¢:~STER SCENE) 146

Thornhill moves swiftly across the cafeteria to
head off Vandam:n, Eve and Leonard, who are approach-
ing the door leading out to the parking area.
Thornhill catches up with Eve, puts a hand on
her.
THORNHILL (quietly and
tensely)
Just a second, you.
Vanda.mm and Leonard, a ~ew steps ahead of her, stop
and look back.
EVE {mutters,
pulling free)
Get away rrom mel
She goes toward the two ~en, who are starting to
return. Thornhill grabs EY-e by the arm, pulls her,
struggling, back into the eateteria.
EVE (through her breath)
Let gol
)

Va.ndamm starts to make a move towards the struggling

Eve and Thornhill. Leona.rd quickly eta.ya hi.12. All
or this takes place with lightning rapidity.
Ve.ndamm watches tensely.
EVE
Let .&2. or meJ
'l'HORNHILL
Tou 1 re not going anywhere •••
(he pulls her violentlT
away from the others)
Come on •••
The CAMERA 1"0VES 111 for a CLOSEUP or VANDAMM. From
h1s POINT OP VIEW'., we SEE the struggling couple.
EVE
Jiol ••• Plee.sel •••
 9-8-58 P.138
THORNHILL 146
Save the.p~oney tea.rs •• ~ CONT 1 D
(2)
She·breaks·out- of h1s .. grasp, backs away. ·He comes
toward her, · stops suddenly. She has taken her
automatic from her handbag, points it at him •
. EVE
Get back •••
THORNHILL
You little fool •••
Re starts slowly toward her. She backs toward the
entrance, eyes wide with terror.
EVE
Stay away from me •••
Thornhill lunges at her. She fires at him once.
he clutches his chest, stops dead in his tracks.
She fires again. He spins, crashes into a table
and falls to the floor. Crowds scream. Pandemonium
ensues~ Eve dashes out past Vandamm, who starts to
~ollow, but Leonard restrains him.
. • .. - · LEONARD
No good, sir. You can't get
involved 1n this.

IN A SERIES OF QUICK curs: 147-153

(1) The Professor is seen running across the
cafeteria towards Thornhill's fallen body.
(2) Eve is seen running down the path towards the
parking area. ·
(3) Leonard is seen unobtrusively escorting Vandamm.
to the back of the crowd.
(4) The Professor is seen pushing his way through
the crowds surrounding Thornh1ll 1 s body, saying:
noet backl Please! Don't touch anything!"
(5) Eve 1s seen getting into Vand8JIIII1 1 S car, •
gunning the motor~ speeding away.
(6) Leona.rd 1s seen moving up to the edge or the
crowd surrounding Thornh1ll's body, maneuvering
himself into position until he can see:
 North By l\'orth\·.'est
Adds 9-24-58 P.139
(?) The Professor kneeling over Tho.r nhill 's body, 147-153
feeling the heart. He withdraws his hands, ~~pes CONT'D
blood from his fingers with a handkerchief and (2)
looks up gravely as a shocked r:rurmur arises from
the onlookers and one woman begins to cry.
QUICK DISSOLVE TO:
154 our
EXT. DRIVEWAY ENTRANCE TO P.AIDC - FEW MINUTES LATER 155'
SHOOTING OVER the heads of hushed onlookers 1n
~.g.! we see two green-uniformed park attendants
bear ng Thornhill on a stretcher to the rear ot a
parked hospital van. Several men remove their
hats as the stretcher goes by. The Professor is
on hand to supervise as the stretcher 1s placed
1n the van and the rear doors are shut. Now the
Professor gets 1n the front seat beside the driver,
and the van drives orr.
QUICK DISSOLVE TO:

EXT. SECLUDED ROAD - A FEW MINUTES LATER 156

CAMERA IS ON a lovely woded glen securely hidden
from the main road that cuts through the Black
Hills. Perhaps the Mt. Rush.more monument can be
seen in the distance through the trees. CAMERA
PANS OVER, -revealing the parked amublance. The
Professor is in the act of opening the back doors.
He peers in.
PROFESSOR
Mr. Thornhill... .
Thornhill rises vith alacrity.
THORNlIILL
be we there?
PROFESS OB
No.
Thornhill looks orr, sees someone and slides
out of the ambulance to his feet. He stands ror a
moment looking off. Then, as he starts slowly
forward, CAMERA EASES BACK ultimately to reveal
Eva standing beside the white Lincoln convertible~
During th1s 1 the Professor has started back toward
the !ront or the ambulance, saying:
PROFESSOR
Don't be long.
 North by Northwest (1958) Page140 missing from original

Missing page :

A page or part of a page of the only available copy is missing here. This situation is
not unusual; many of the scripts held in the libraries or files of major studios and
production companies have missing material. a fact that clearly illustrates the
expendability of the screenplay once the true text, the film itself, has been made.
 9-24-58 P.141
THORNHILL (without feeling) 15'6
No need. I understand ••• CONT'D
. (slightly bitter) (3)
All in the line of duty •••
EVE
I did treat you miserably •••
,,

THORNHILL (a self-accusation)
I hated you for it •••
EVE (faltering)
And I didn't want you to ••• go
on ••• thinking •••
THOIDfHILL (softening
slightly)
I used some pretty harsh wrds.
I •m ••• sorry •••
EVE
They hurt ••• deeply •••
THORNHILL (defensively)
Naturally, if I'd known •••
EVE (defensively)
I couldn't tell you •••
'rHORNHILL
No •••

EVE
Could I?
THORimILL
Of' course not.
Eve gives the tiniest or shrugs. They gaze at each
other. That 1s the whole situation. Nobody to
blame really.-No need for further apologies. They
each were unkind to the other - but always with due
cause. But mixed in with the unkind acts and harsh
-words had been other acts, other words, other
feelings - no? Eve smiles at him tenderly.
EVE
You didn't get hurt. I'm so
relieved.
THOR?ffiILL (eagerly)
or course I was hurt. Ho" would
%2.B have felt it -- ?
· EVE
I mean \men you fell 1n the cafeteria,
wen I - pang baDg - shot you.
 Nortn By ?{orthwest
Chg~~ 10-13-58 P.142
THORNHILL (smiles) 156
Oh, that ••• No. CONT'D
(4)
EVE (m:>ving closer)•
Yoti did . it rather well, I thought.
THORNl-IILL (pleased with
himself')
Yes - I was quite ••• gracefu1 •••
EVE (putting her hands
on him)
Considering that it's not really
your kind of work ••••
THOID,THILL (touching her
tenderly) ·
I got into it by accident. What's
your excuse?
EVE
I met Phillip VandaI:ml at a party one
night and saw only his charm. I guess
I had nothing to do that weekend, so
I decided to fall in love •••
THORNHILL (sorry he brought
the whole thing up)
That's nice.
EVE
Eventually, the Professor and his
Washington colleagues approached me
with a few sordid rletails about
Phillip and told me that my •••
relationshiu with him made me
"uniquely valuablen to them,
THORNHILL (bridling)
So you turned Girl Scout.
EVE
Maybe it was the first tiiile anyone
ever asked me to do anything 'W'Drthwhile.
. ..
'-

THORNHILL
Ras life been like that?
EVE
Mm hmmm.
THORNHILL
Row come?

EVE
Men like you.
 i1orth By c~ort}YJ,"1St
Chg5. lt:'-13-53 P.143
THORNJULL (kissing her) 156
wb.at•s wrong with men like me? CONT'D
(5)
EVE
They don•t believe in marriage.
THORNHILL
I've been married twice.
EVE
See wat I mean?
Re looks at her with affection.
THORNHILL
Y'lmow something. I may go back to
hating you again. It was more fun.
EVE ("'1th a trace or
sadness)
You're not going to have the chance.
There isn't time.
(she gives him a quick embrace)
Goodbye, Thornhill.
THORNHILL (ho1d1ng her) .
Wait a minute. Not so soon.
EVE
I have to get back to the house and
convince them I took the long way
around so nobody W'.)u].d follo~ me
there.
THORNHILL (holding her
even closer)
Can't we just stand like this !or
a !ev more hours? .
EVE
You're supposed to be critically
wunded.
THORNHILL
I never felt more alive •
. EVE
Whose side are you on?
THORNHILL
Yours, always.
EVE
~hen don•t undermine r1I'/i resolve,
just wen I need it m:>st.
 9-24-48 P.144
They HEAR the SHORT BEEP OF A HORN and look off. 15'6
The Professor is rotioning to Thornhill to come. CONT'D
(6)
THORNHILL
_I · guess it's off to the hospital
tor me .....
\they start walking slowly)
••• And back to danger for you. I
don•t like it one bit.
EVE
Much safer now, thanks to you,
my darling decoy.

THORNHILL
Don 1 t thank me. I couldn't stand it.
EVE
All right. I von•t.
THORNHILL
And just as soon as your malevolent
friend Vandamm takes off tonight, I 1 m
going to undo my bandages 1 and you and
I are going to do a lot or apologizing
to each other, 1n private •••
EVE (glancing at him
v.tstfull7)
Don't talk like that •••
THORNHILL
It's the way I feel •••
EVE
You mustn't •••
THORNHILL
I must •••
EVE
You know it can't be.
THORNHILL (unconcerned)
or course it can be.
Eve stops, looks up at him, disturbed. She glances
toward the Professor.
EVE
He has told you, hasn't be?

THORNHILL {puzzled)
1'old me what?
Eve shakes her head, unable to speak.
 Nortn By North·"•est
Chgs
--
• . 10-14-58
. ..
P.144-A
- PROFESSOR (corning up to them) 156
Miss Kendall - you've got to get CONT'D
moving ••• (7)
. EVE (with a final embrace)
Goodbye, Thornhill •••
THORNHILL (holding onto her)
Wait a minute •••
(to the Professor)
What didn't you tell me?
Eve and the Professor glance at each other. There
are tears in Eve's eyes now.
EVE
Why didn't you'?
For a brief moment, the Professor's face reveals
an all-too-human regret for what he has done.
Then he looks at Thornhill and speaks crisply.
PROFESSOR
She's going off with Vandamm
tonight on the plane.
THOID{HILL (stunned)
Going off with Vandamm?
PROFESSOR
That's why we've gone to such lengths
to make her a fugitive from justice
- so that Vandamm couldn't very vell
decline to take her along --
)

THORNHILL
But you said --
PROFESSOR
I needn't tell you ,-how valuable
she can be to us over there.
THORNHILL
You lied to mel You said after tonight--!
PROFESSOR
I needed your help •••
THORNHILL (bitterly)
Well, you got it all right •••
EVE . (through tears)
Don't be angry •••
TEORNRILL (to Eve)
If you think I 1m going to let you
go through with this dirty business-J
 9-24-58 P,144B_
PROFESSOR 15'6
She has to, CONT'D
(8)
THORNHILL - (turning o:i him)
Nobody has to do anything? I
_d on 1 t like the games you play,
Professor -- 1
. PROFESSOR -
War 1s hell, Mr. Thornhill -- even
when it 1 s a cold one.
THORNHILL (savagely)
-- If you fellows can 1 t lick the
Vandam:::ns without asking girls like
her to bed down with them and !ly
away with them and probably never
come back alive, maybe you better
start learning to lose a few cold
wars!
PROFESSOR (quietly)
I'm afraid we 1 re already doing that.
Suddenly Eve breaks away, runs for her car.
Thornhill goes after her, and the Professor
quickly mtions to the ambulance driver to step
do"Wil.

AT TEE CAR
Eve gets into the car 1 starts the motor, as
Thornhill catches up vith ber and pulls open the
door to stop her. )
THORNHILL
I'm not going to let you •••
EVE
Don't spoil everything nov ••• please •••
THORNHILL
Come on - out •••
A hand taps him on the back. He turns.

CLOSE SHOT - THE AMBULANCE DRIVER 158

His ~1st is cocked, and moving on the backward
arc of a knockout punch.
CUT TO:
 North By Northwest
Adds 9-22-58 P.145
CLOSE SHOT - THE CAR DOOR 159
Slamming shut as tr.ough it were illustrating the
impact oT rist on jaw. The car drives off with
a SCREECH· of tires, and we see Thornhill falling
into the SHOT, and to the ground.
DISSOLVE TO:

INT. HOSPITAL ROOM - NIGHT 160

START CLOSE ON A BEDSIDE RADIO. During broadcast
PULL BACK TO REVEAL Thornhill in trousers and
undershirt. His jacket, tie and red-stained shirt
hang nearby. He is pacing back and forth,
nervously smoking a cigarette.
RADIO ANNOUNCER'S VOICE
--in full view of scores of
horrified men, women and children
who had come to the park to see
the famed Mt. Rushmore monU!llent.
Witnesses to the shooting described
Kaplan's assailant as an attract1ve
blonde in her late twenties. Kaplan,
who was removed to the Rapid City
Hospital 1n critical condition, has
been tentatively 1dent1f1ed as an
employee of the federal government •••
The tragedy developed with startling
suddenn~ss. Chris Swenson, a busboy
in the Mt. Rushmore cafeteria, stated
that he heard voices raised 1n what
seemed to be--
Thornhill angrily switches off the radio and
snuffs out his cigarette in an ashtray with
a violent thrust. He goes to the single window
which is open, stares down at the street many
stories below. He turns, walks toward the door,
feeling his Jaw and wincing with pain. He pulls
at the doorknob, knowing it is locked but unable
to resist giving it another try. Impatiently he
hits at the unyielding door as though it were his
enemy. He is locked in, and quite obviously he'd
like to be out. He begins to pace the room again.
Now he HEARS FOOTSTEPS APPROACHING in the hallway
outside, then a KEY IN THE LOCK. Quickly, and with
noticeable cunning, he lies down on the bed.
The door opens and the Professor walks in carrying
a brand new white shirt.
 North By North,-:est
Chgs. 10-13-58 P\'146
PROFESSOR (handing him the 160
shirt) CONT 1 D
Here we arec Sixteen and three quarter (2)
collar, thirty-five sleeves, no ketchup
stains.
THORNHILL
Thanks.
He starts ~o. put on the shirt.
PROFESSOR
How are you feeling?
THORNHILL
All right - considering that your
driver ws born With a sledgehammer
instead of a hand.
PROFESSOR
Sorry about that.
THORNHILL (pretending)
No. I deserved it.
(gesturing toward the door)
And that locked door too •••
PROFESSOR
If you were seen wndering about 1n
good healthi it could prove fatal to
Miss Kendal ••• · ·
THORNHILL
No need to lock me 1n anymore.
PROFESSOR
Good.
THORNHILL
I've been· acting childish •••
Thornhill turns away fl"om the Professor.-and we
see on his face that he has ulterior motives.
PROFESSOR
We all do at times, where a woman
1s concerned.
THORNHILL
I've already started to forget her.
PROFESSOR
Good •••
THORNHILL
Yes.
.PROFESSOR
n--~~--.. ._,., . . +- •.='U' .
 9-22-58 P.147
THOR1.'HILL 160
Much. CONT 1 D
(3)
PROFESSOR
Inside or an hour she'll be gone.
Thornhill has to tighten his lips to keep from
showing anything to the Pr-ofessor other than
utter lack of interest.
THOIDIHn.L
How goes it in the world outside?
PROFESSOR
Fine. Mr. Kaplan's untimely shooting
has now acquired the authority or
the printed word. Enormous headlines.
Everyone has been cooperating
beautifully.
THORNHILL
You may now include~-
PROFESSOR
I'm most grateful.
THORNHILL
A ~avor in return?

PROFESSOR
Anything.
THORNHILL
A bottle or scotch. A pint'll do.
PROFESSOR
May I Join you?
THORNHILL
Wonder.ful.. Make it a quart.
·'nle Professor goes to the door, opens it and
1-ooks back.

PROFESSOR
See you in a few minutes •
.
'l'hornhill smiles, the picture of friendly
cooperation. The door closes softly. And
almost before 1t has clicked shut, Thornh111 1 s
smile disappears. He seizes his jacket, struggles
into it, closes his collar at the neck. stuffs his
tie into his pocket and steps to the door. He
turns the knob end pulls. To h1s surprise and
dismay, the door 1s locked. The Professor bas
been one step ahead or him.
 9-22-58 P.148.
THORNHILL (with dise;ust) 160
Why, the
. . . dirty sneak. CO}."T 1 D
(4)
He·looks aroW1d, glances at his wristwatch, makes
a dec1s1on, ·goes to the window and looks down at
the street below. Then he talces a deep breath,·
swallows his fear and climbs out onto the ledge.

THE LEDGE 161

Thornhill inches his way along the shallow ledge
until he comes to another window, partially open.
He raises it as silently as he can and starts to
climb in. ·

INT. ANOTHER HOSPITAL ROOM 162

The room 1s in darlmess. Thornh1ll's silhouette
is framed in the window as he climbs in. As his
feet touch the floor, a light suddenly comes on.
An attractive BRUNEITE has switched on the lamp
on the night table and now site up 1n bed.
Thornhill holds a finger to his lips, starts
toward the bed (and the door beyond).

Stop!
THORNHn.L (softly, as
he walks by}
Excuse me.
The woman quickly takes her harlequin glasses
from the nlght table, puts them on and looks at
Thornhill as he goes past ~he bed and continues
on to the door.
BRUNETI'E (in an entirely
different tone of voice)
Stop •••
Thornhill opens the door and walks out on the
invitation.
DISSOLVE TO:

EXT. ROAD BEYOND MT. RUSHMORE - NIGHT 163

A taxi is speeding along a winding dirt road.
 9-22-58 P.149
ANOTHER ANGLE 163Xl
The · cab slows down and comes to a stop near the
beginning of a high stone wall.

CLOSER SHOT 163x2

As Thornhill gets out of the cab. the driver turns
to h1m.
DRIVER
Sure you don't want me to take
you right up there?
THORNHil,L
No. This 1s fine.
The cab drives oft.
16lJ-165
OUT
THORNHILL 166
Se looks about, then moves along the wall until ·
he comes to a pair or heavy iron gates - the only
entrance to the area beyond the wall. The gates
a.re open. He goes through and sees:

ESTABLISHING SHOT - VANDA?-~PS HOUSE 167

It 1s a sprawling modern structure in the Frank
Lloyd Wright tradition set on a rise in the land
at the end of a long driveway. Lights are ablaze.
There is e~1dence or activity within.

ANOTHER ANGLE - WITH THORJ\'H!LL 168

Cautiously he approaches the house and ·maxes his
way around to the baek. The terrain there is rocky
and elopes sharply down to a level field. The house
juts out over this slope, cantilever style. As
Thornhill stands in the dark looking about, he
suddenly sees:

THE FIELD BEHTh'D THE BOUSE 169

Two parallel rows or 11ghts several hundred yards
long. They- are vecy clearly the runway lights or a
 1:orth By North,.-:est ·
Chgs~ g-29-58 P~l50
hiddcn · 1ana1.ng strip . .. They flash off and on again, 169
as·though being tested, and then the field falls CONT'D
back into darkness. (2)

ANOTHER ANGLE - WITH THORNHILL 170

He turns around and starts up the slope, moving
to his right towards the side of the house where
the incline is less steep. Just as he reaches the
house, he stops on the alert, as he HEARS THE
SOUND OF AN APPROACHING CAR. He looks off, sees:

POINT OF VIEW 171

The headlights of the approaching car sweep a1ong
the driveway and then the car itself is seen
coming around the side of the house and pulling to
a step in the parking area. It is a small sedan.
The driver gets out. It is Valerian. He 1s carry-
ing a newspaper. At this mooent, a side door or the
house opens and a wman walks out to meet Valerian.
It is the housekeeper last seen at the Townsend
estate in Glen Cove. Together, they go toward the
house, ]OC)Ving directly towards Thornhill.

THORNHILL 172
He quickly ducks beneath the cantilevered portion
of the house and hides. He EEARS A DOOR OPENING
AND CLOSIN~~ then FOOTSTEPS AND VOICES INSIDE
THE HOUSE Al30VE HIH the sound coming through
the floor. Thornhill glances about, then decides
to climb up one of the cantilevers. This will
enable him to get a view of -...mat might be going on
inside the house. All the time that he has been
underneath the house, he has been HEARnm A ?-f'uHBLE
OF VOICES FRON ABOVE. He moves forward.
1?3-171-
ANOTHER ANGLE - Ell. HOUSE 175'
Thornhill appears from beneath the house, groping
his way up the diagonal beam of the cantilever and
then climbing up onto the horizontal beam. Re 1s
now outside one of the large windows of tha 11v1ng-
room. A section of the window is open. With
cat-like stealth he moves along the cantilever
to,.,.rards the window 1 takes up a position_in the
shadow"S and peers m:side.
 J.'iVJ. . l,H D~ !\ V J. " " " ' c;;;, \,

Chgs~ 10-13-58 P.151

~NT• LIVINC:_ROOM
. -.
'
- FROM .THORNHILL
.. -· - .. ... .
, .. .. . -
176
A large room·· strikingly furnished; ana dominated. by.
a gr~at chanJelier ·which hangs suspended from the two-
story-high beamed ceiling. A stair-way at the far
end ·1eads to· a balcony which runs the length a!: the
1·oom~ Off this balcony are 'bedrooms. In f. g. near
the window is a table on which can be seen soma
effects of V~nda~ . -- a black briefcase, books
strapped together, boxes of his favorite cigarettes,
and the pre-Columbian figure, the Tarascan Warrior~
purchased at the auction. Vandamm and Eve are near
the bar~ Close to them is an opened ·newspapert Eve
..sppe~rs strained. (Her parting "11th Thornhill has
· threatened her sel.1"-control considerably.) Vandamm,
•assuming that she is upset over the shooting, has
been trying to comfort her in a soothing, gentle voice.
VANDAMM
--Nothing to wrry about--
EVE
--I lost · my head-~
.During following, Leonard enters in b~g• unobserved_
by. the::n. He , watches them with a curious smi.rk on .
his face, as though he were in possession or a delight-
ful secret unknown to anyone but him:
) VANDA?-ni
I'm not just saying this to make you
.feel better, my dearp I mean it •• ,
EVE
I didn't know what; I was doing, ••
VANDAMM
He was going to destroy you. You
had to protect yoursel.f •• c
EVE
But not endanger you •••
VANDA.MM
N6nsense • . There's not a word, not a
whisper that links you or me, any or
us, with this thing. There would have
been some hint on the radio or in the
paper:---1:ook for yoursell.
•.
EVE (shaking her head)
. I don't want to look, ••
VANDAMM (with sympathy)
Or aven think about it• I can
understand that.
(he takes her face 1n his hands)
Will you ever forgive m.e , 1!f'J dear?
 9-25'-58 P.152
- EVE 176
Forgive you? CONT 1 D
(2) \
VANDAMM
For upsetting you so ••• ror not
showing more confidence in your
devotion •••
EVE (a wan smile)
Dear Phillip •••
VANDAMM
Soon we'll be off together, and I
shall dedicate myself to your
happiness.
He kisses her gently, then turns toward Leopard.
VANDAMM
What's the situation, Leonard?
LEONARD (facetiously)
About the plane, you mean?
VANDAMM
or course. What was the last
report?
. LEONARD
Over Whitestone on the hour. Si.%
thousand. Descending.
VANDAMM
Another ten minrites.
LEONARD
At the most.
VANDA.MM
Bags? .

LEONARD
Outside.
VANDAMM
Runway lights?
LEONARD
Checked.
VANDA.MM
Good.
 North By l!ortm;est
Chgs. lQ -13-58 P.153
LEONARD 176
And now I wonder if I could · CONT'D
have a few words of parting with (3)
you, sir?
VANDAMM
Certainly.
LEONARD (looking at Eve)
In private?
Vandamm glances sharply at Leonard. Eve senses
tension, quickly relieves the situation.
EVE
I'll go upstairs and get my
things.
She starts up the stairs.

OUTSIDE THE WINDOW 177

Thornhill watches as Eve goes up to the balcony.
Leonard stares at her all the way, and Vanda.mm
peers at him, sensing hostility in his attitude.
When Eve disappears into one of the bedrooms,
Vandan:m addresses Leonard with a trace or
facetiousness.
VANDAMM
Well, Leonard - how does one say
farewell to one's .own right arm?
)

LEONARD
In your case, sir, I'm afraid
you're going to Wish you had
cut it off sooner •••
During the above interchange, Thornhill will
glance sharply up to his right when he sees
the lights go on 1n the balcony bedroom window,
and then Eve herself appear for a moment at the
window. The voi~~s in the living-room dwindle
to an unintelligible drone as Thornhill backs
away free the open living-room window toward
the end of the cantilever beam. He is now in a
better position to attract Eve's attention. He
glances about for a pebble to throw, but he is too
far above ground to reach one. He takes a coin
from his pocket, glances cautiously towards the
iiving-room, then looks up and throws the coin
at Eve's vindov. It hits noisily and falls to the
ground below.•
 Nortn By North·.,est
Chgs. 10-13-58 P.154
INTERCUT SEVERAL ANGLES . 178-187
Eve.appears at the window, looks out for a moment,
then walks away.
Thornhill takes another coin i'rom his pocket, throws
j.t at the window and hits again, · · . . ... . _
E"!e a pp ears a_t the w.1.ndow·, opens 1 t and looks out ••
Just as Thornhill starts to call to her, he g~ances
sharply toward the living-room.
Leonard is walking briskly over to the open living-
r~o~
•. .
window. ._ In .·..a mment h~
...
will see Thornhill. ·
Thornhill ducks back into the shadows against the
house. · ~ ·

Leonard peers out of the living-room window to see

the cause of the noise he bad heard; Eve continues
to look out of the bedroom w.1.ndow. Thornhill cannot
move out to signal her. Seeing noth1ng, Eve closes
the window again and walks.. away. .
. .
Thornhill glances toward the living-room windov and
his eyes widen:
Leonard has moved away from the window and, with his
back to Vandamm, 1s taking a gun from his pocket and
placing it on a table near the windowi as Vandamm
talks 1n b.g., his words uninte111gib e.
Thornhill edges up to the window, as Leonard turns
around, the gun concealed on the table behind him.
The dialogue becomes intell~gible again.

INTER CDT INT. LIVING-ROOM & CLOSEUPS OF THORNHIIJ.. 188-192

LISTENING ..
LEONARD
You I:IUst have had so~e doubts about
her yourself', and still £.Q. --
VANDA?-!M (disturbed, and
trying to conceal it)
Rubbish •••
LEON.ARD
--Why else wuld you have decided not.to
tell her that our little treasure here •••
{patting the rigure of the Tarasc9:11
Warrior) .
••• has a bellyful1 of microfilm? · ·
VANDAMM (angrily)
XQy seem to be trying to _fill mine with ·
rotten apples.
 Nortn By Northwest
Chgs • 9-29-58 P.155
LEONARD 188-192
Sometil::les the truth does taste CONT'D
like a mouthful of "'10rms, sir. (2)

VANDAM!·! (snorts)
What truth? I've heard nothing
but innuendoes.
LEONARD
Call it my woman's intuition if
you v.lll, but I've never trusted
neatness. Neatness is always the
result of deliberate planning.
VANDAJ-!M (defensively)
She shot him in a moment of fear and
anger. You were there. You saw it.
LEONARD (nods)
And thereby wrapped everything up
into one very neat and tidy bund1e:
(during the preceding speech, he
picks up the gun, holds it behind
his back and advances further into
the room, the CAHERA FOLLOWING
THROUGH THE WINDOW)
A. She removed any doubts you might
have had about (-...'hat did you cal.1 it)
her "devotion"? and B. She gave
herself a new and urgent reason to
be taken over to the other side With
you, just i n ~ you decided to change
your mind.
Vandam.m manages a laugh, brit it is not very convincing.
VANDAHM
You know what I think? I think
you're jealous-of her. I mean it.
And I I m touched, 'dear boy. Really
touched.
Suddenly Leonard brings the gun out from behind his
back and points it at the startled Vandamm.
VANDA}N ( sharply)
Leonard!
Leonard pulls the trigger, fires point blank at
Vandamm. There 1s a SHA.RP REPORT. Vandamm stands
there, stunned but unharmed.
- LEONARD (softly)
The gun she shot Kaplan With. I
found it 1n her luggage.
 9-25-58 P .156
WAIST SHOT - VANDAMM 193
·•

The CAHERA 1s VERY HIGH, looking down on him. As

the full realization of what this means sinks
in, the CAHERA SLOWLY DESCENDS to examine his
expression, and the ANGLE becomes a BIG HEAD.
1andamm 1 s reaction is carefully controlled. He
is too big a man to let Leonard see the humiliation
and anger he feels at having been duped by Eve.
LEONARD'S VOICE (during above)
It 1 s an old Gestapo trick. Shoot one
of your o\olll people to show that you 1 re
not one of them. They've just
freshened it up a bit with blank
cartridges.
Vandamm gives a little sigh.
VANDAMM
What a pity •••
From upstairs, the SOUND OF A DOOR OPENING.
Vandamm looks up, and his brooding expression
quickly changes to a wistful smile.
VANDAMM
Ready, dear?

CLOSE SHOT - EVE

Standing at the balcony railing looking down
at h1.m.
EVE
I thought I heard a shot •••

FULL SHOT - THE LIVING ROOM

VANDA.MM (calmly)
Yes ••• so did we •••
(moves to-ward the window)
Must have been a car backfiring
or something.
(looks out)
Hurry do-wn, pet. Almost time to go.

EVE
In a moment.
She goes back into her room. Leonard moves at
Vandamm, speaking in a harsh voice.
 North By Northwest
Adds 9-26-58 Pc:157
LEONARD 195
You're not taking her on that CONT'D
plane 'Ji.th you? (2)

VANDAMM
Of course I am.
Leonard stares at him. Vandamm looks back at him
the way an adult looks at a small boy.
VANDAMM
Like our friends, I too believe
in neatness, Leonard.
(a pause)
. This matter is best disposed or
from a great height ••• over water.

CLOSE SHOT - THORNHILL

'
Aghast at what he has heard.

WIDER ANGLE 197

Thornhill backs away rrom the open "'1.ndow, looks
up at Eve's bedroom. The light is still on.
Inside the living-room Valerian has entered 1n
b.g. and is receiving instructions from Vandamm.
Leonard has taken up a position near the open
window. Even if he thought it "WOuld do any good,
Thornhill would not dare hurl another coin at
Eve's window now. His lips tighten. He makes a
decision, starts to climb up the side of the
house to her room.

CLOSE ANGLE ·- THORNHILL 198

The CAMERA FOLLOWS HIM as he makes his way pre-
cariously up the side of the house. Eve's window
is beyond him and always in view. We SEE her
moving about and putting on her things during his
climb. There is little on which Thornhill can gain
purchase as he climbs little to hang on to. He -
cuts his hand. Several t~es he almost crashes
to disaster. The last few feet are the . hardest.
He claws his way
to the window sill of Eve's .·
bedroom, grabs it with his left hand! pul.ls · ·
himsell up, gets his right hand wrking, and ·
with a final gasp, gets his body up high enough
to be able to see through the closed "'i-ndov
into the room. Just as his head clears the
 9-25-58 P.158
sill, the lights in the room go out and, over 198
his ·s houlder, we see Eve silhouetted in the CONT 1 D
door~~Y, walking out. (2)

199-203
INT. BEDROOM 2o4
Thornhill, outside the window, stares dejectedly
through the glass! then silently works the window
open. He climbs nto the room and stands there
for a moment in the semi-darkness catching his
breath. He looks at his cut hand, takes out his
handkerchief and presses it into the bleeding
palm. Then he steps cautiously to the door-way
and looks out over the living-room below. He
cannot see much or the room because of the
balcony, and his unfavorable vantage point. But
he can hear voices:
VANDA11M 1 S VO ICE
Row about a little champagne
before we go?
EVE 1 S VOICE
I'd love it.
VANDAl-~-!' S VOICE (after he
walks to bar)
It may not be cold enough.
EVE'S VOICE
Over the rocks will be all right.
l

VANDAMM'S VOICE
Really?
EVE'S VOICE
Sure.
·VANDAMM'S VOICE
Good idea.
Suddenly Thornhill glances back toward the open
window, alarmed at what he HEARS -- THE FIRST
FAINT DRONE OF AN APPROACHING PLANE. He looks
about desperately, not knowing what to do. His
eyes ~all on the handkerchief still held 1n his
hand. He sees his monogram: "ROT" on the cloth.
He glances to~ard the doorway, and an idea 1s
born. He feels 1n his side pocket and takes out
a match folder. (In an INSERT, we see that the
match folder is the same one he and Eve discussed
at dinner on the train. It bears his ersonal
tradeoark: ROT. He takes a pen from his .
pocket, opens the match folder and w-rites a
 9-25-58 P.159
message on the inside of the cover: "THEY'RE ON 2o4
TO YOU! COME UP TO YOUR ROON!" He closes the . CONT'D
folder, goes to the door~~y and ooves cautiously (2)
out to the balcony.
205-206 C
HIGH ANGLE 20'7
SHOOTING DOWN over Tho~nhill in f.g. as he edges
for~~rd on the balcony, we see more of the
living-room below. Eve is seated on the arm of
a sofa. Her handbag is on the coffee table.
Vandamm 1s turning aw.y from the bar, walking
toward her with a glass or champagne-on-the-rocks
in each hand. He gives her one, and they click
glasses.
VANDAMM
To you, my dear ••• and all the
lovely ~ments we've had together •••
EVE
Thank you, Phillip.
As they drink, Leonard enters, walks toward th~
window.
LEONARD
He I s circling.
Vanda~ turns awy from Eve, starts tow.rd Leonard
and the window. At this, Thornhill tosses the
folder of.matches do\m at Eve. Just as he does
so, she takes a sip of champagne and fails to see
the folder land on the floor nearbI•

LOW ANGLE - IN LIVING-ROOM 208

VANDAMM Leonard)
(to
Jump in. The champagne 1s fine.
LEONARD
There isn't time.
VANDAMM (ruefully)
You always ~ a spoil-sport,
weren't you?
LEONARD (starting past
him towards Eve)
One of cy most valuable attributes,
as it now turns out.·
 North By North \:est
Adds 9-29-58 Pt160
Automatically he stoops down and picks up the I!latch 208
folder lying on the floor, playing with it idly as CONT'D
he addresses Eve. (THORNHILL WATCHES IN AGONY.) (2)

LEONARD
It wuld please me if you ~uld
think of me as being along on
this journey, if only in spirit ••••
EVE
I shall, Leonard •••
Leonard tosses the match folder to the coffee
table before her and turns away, so that she
cannot see his harsh expression. Eve sets her glass
do'Wil on the coffee table as the SOUND of the PLANE
GROWS LOUDER. And then she sees the match folder.

CLOSEUP - EVE 209

For a mment she is puzzled. Then her glance goes
to the floor where she had seen Leonard pick up
the matches. Realization begins to dawn on her.-
VANDAMM'S VOICE (o.s.)
Come along, Eve.
EVE
All right •••
She gets to her feet takes a cigarette from the
coffee table, puts it between her lips and takes
up the matches. We are VERY CLOSE as she opens
the folder and reads Thornhill's message wh11e
striking a match and lighting the cigarette.

ANOTBER ANGLE 210

She looks up, sees the two men standing there wait-
ing for her. She starts toward them, then suddenly
feel.sher ear.
EVE
Oh, I think I left my earrings
upstairs •••
Before they can say anything, she runs right past
them and up the stairs, clutching the match !older
tightly.
EVE
Be right down.
 Nortli. B~~ !{ort?-n;est
Chgs. 10-13-58 P.161
Vandamm and Leonard glance at each other, then look 210
toward her as she goes upstairs. CONT'D
(2)

PO~T OF VIEW - FROM MEN 210Xl

Eve going up the stairs and along the balcony to
her room.

CLOSE SHOT - VANDAMl{& LEONARD 210X2

Watching her.

INT. BEDROOM 211

Thornhill draws back into the bedroom as he sees
Eve coming. She runs into the room, snaps on the
light. He grabs her and pulls her towards the
window as ·they speak in very fast, urgent whispers.
. THORNHILL
Quick! .we can make it through the
window! There's a car downstairs!
EVE (struggling)
Get away from here, you idiotl
You 1 ll ruin everything t
THORNHILL
Ruin everything? "They know all
ebout ·the fake shooting! They're
going to do away with you!
EVE ..
What 're you talking about?
THORNHILL
Leonard found the gun in your
1uggag e 1 I.Q.J:! heard the shot ! ••.
Eve stares at him, then glances quickly towards the
door as she hears FOOTSTEPS ON THE STAIRS.
. THORNHILL .
• • • And I heard them say the .
figure they bought at the auction last
night is .f'illed ·with micro! 11.m;
Eve turns, looks at Thornhill.
EVE
So that's how he's been getting
the :information.
 North By Northi,'est
Chgs. 10-10-58 P.162
- LEONARD'S VOICE (from 211
balcony) CONT'D
Miss Kendall? (2)

She breaks away and goes quickly toward the door.

THORNHILL (calling after her)
Don't get on that plane! I'll get
the earl
She snaps off the light and hurries out to:

THE BALCONY 212

-- Just in ti.I:Ie to head off Leonard, who has
reached the top of the stairs. She closes the
bedroom door behind her and g~es quickly towards
him. He stops, waits for her and they both start
down the stairs.
213 OUT
THE LIVING-ROOM 21lt
As Eve and Leonard descend the sta1rs 1 Vandam.
is talking in a reassuring tone of voice to the
~ousekeepe~who appears troubled.
VANDA.MM
Don't wrry, Anna.. Arrangements
have been made. You and your
husband will be over the Canadian
border by norning~
HOUSEKEEPER
Thank you, sir. ~

VANDAMM
Be carefu1 now-.
HOUSE:KEEPER
We will, sir. And God bless you.
~

Vandamm turns and picks up the pre-Columbian rigure

while Leonard crosses over and picks up the brief-
case, the books and the cigarettes. Eve's glance
1s on the figure held E.I. Vandam.m ,ll he co:c:i.es ~
to her. The three of them now start out through
tfieei:1.t door under the stairs as the housekeeper
starts up the room, As the housekeeper goes out
of the picture we SEE the balcony bedroom door open
and Thornhill cautiously stepping forward and
looking out. ·
 9-29-58 P.163
POINT
..
OF VIEW
..
214Xl
The housekeeper 1s retreating toward the other end
of the room.

CLOSE SHOT - THE HOUSEKEEPER 211+x2

Her wa1k slows up as she sees:

INSERT - A TUR!{ED OFF TELEVISION SET 214X3

It reflects Thornhill standing on the distant
ba1cony behind her.

CLOSE SHOT - PROFILE OF HOUSEKEEPER 214X4

She is still walking slowly. She turns her head
ever so slightly, conscious or Thornhill's presence,
and then makes her way aro'W'ld a corner out of sight.

CLOSE SHOT - THORNHILL

Satisfied that the woman is gone, he goes quickly
along the balcony and down the stairs, CAMERA
FOLLOWING. As he reaches the bottom step, he
bears:
HOUSEKEEPER'S VOICE
Stay where you arel
Thornhill turns, startled and sees:

POINT OF VIEW 214X6

The housekeel)er slowly advancing towards him from
the far end of the room. She is holding a gun,
pointed at him.

WIDER ANGLE 211+x7 ·

. She stops within a few yards of him, motions
toward a nearby chair.
 9-29-58 ?.161+
. . HOUSEKEEPER 214x7
Sit down. CONT 1 D
(Thornhill sits) (2)
As soon as the plane leaves,
· · Mr. Leonard and my husband will
be back.
Thornhill looks desperately toward the exit door •.
21,-216,
EXT. HOUSE - DOLLY SHOT 217
Eve, Vandamm and Leonard have emerged from the
house and are walking away from it tovrard the
landing strip. Vandarnm is holding Eve's arm.
Leonard 1s walking behind them. They look of£ as
they SEE:

REVERSE ANGLE - MOVING POINT OF VIEW 217Xl

A twin-engined plane 1s letting down at the rar
end of the lighted runwy, its landing lights a-
blaze.

EVE, VANDAMM AND LEONARD - DOLLY SHOT 218

The group are continuing their walk towa.rd the
plane. Now CAMERA MOVES in to a CLOSE SHOT or
EVE, as she walks. We see) her anxious expression.
The CAMERA EASES AWAY to a THREE SHOT, and Eve's
expression changes to a simulated, nonchalant one •.

CLOSEUP - EVE · 218Xl

She looks over her shoulder, back toward the house.

POINT OF VIEW - TEE HOUSE 2l8X2

No sign of Thornhill.

THREE SHOT 21BX3

Vandamm 1s looking at Eve as she turns forward

again.
 9-29-58 P.165
VANDAMM 218X3
What is it? CO1~'D
. (2)
EVE (vaguely)
I -was wondering about those ·
earrings •••
VANDAMM
They'll turn up.
CA}~A EASES IN CLOSE ON EVE AGAIN as she continues
to walk. On her face w see increasing apprehension.
She looks ahead.

POINT OF VIEW 218X4

The landed plane 1s taxiing to~rards the group. The
silhouetted figure of Valerian is seen standing
beside the baggage at the end of the runway.

ANOTHER ANGLE 218X,

The plane comes to a stop; the group arrives, and
the cabin door 1s immediately opened from the
inside. As Valerian starts to pass the baggage
up to the man inside,
COT TO:

CLOSEUP - EVE 218X6

She looks back toward the house with desperation.

POINT OF VIEW' - THE HOUSE

Still no sign of Thornhill.

. AT THE PLANE 218X8

While Valerian continues to dis-pose of the luggage,
Vandamm, still holding Eve by the arm, turns to
Leonard.
 Nortn By Nort:iwest
Chgs. 10-13-58 P.166
VANDANM 218x8
rfuen you retuxn to New York, C01'."T 1 D
do · say goodbye to my sister for (2) ..
me, and tha~ her for her superb
·performance ~s Mrs. Townsend •••
LEONARD
I'll do that.
. VANDAMM (gestuxing toward
Valerian)
~. ·.And you might tell ·your knife-
throwing chum that I've reassured
his wife.
LEONARD
Right.
During this, Eve has been glanc1ng about as though
looking for a final means of' .escape. Her glance
goes to Vandamm•s hand · still gripping her arm.· ·she
tries unsuccessfully to ease away from his grip.-
Leonard, seeing.her actions, eases hil!l.Self over to
block any attempted escape she might be planning •.
VANDAMM
I guess that's all, Leonard.
He starts to lead ~e toward the steps or the
plane.
. LEONARD (looking at Eve)
Happy landing.

CLOSEUP - EVE 2l8X9

Panic begins to seize her. Suddenly, from the
house, comes the SOUND of TWO QUICK GUNSHOTS.

THE GROUP 218Xl.O

-All turn their : ·heads quickl.y.

POTh"r OF VIEW - FLASH

The flying fig'Ul"e or Thornhill is seen dashing
·out· of the house and into the sedan parked outside.
 9-29-58 P.167
THE GROUP 218Xl2
Still looking off. Suddenly Eve 1 finding herself
mooentarily free of Vandac::i' s grlp and., Leonard's
observation, grabs the Tarascan Warrior from
Vandamm's arm and dashes out of the scene toward
the house. Over this, we HE.AR the distant CAR
STARTING UP. Leonard looks quickly at Vanda.mm for
instructions.
VANDAJ-!l{ (sharply)
Get that figure back!
Leonard dashes away, with Valerian joining him,

REVERSE ANGLE 218Xl3

Eve 1s r,mning a few paees ahead or the t1«1 men,
the sedan speeding toward her. The car starts
to pull up and its side door flies open as Eve
reaches it.

SIDE-ON ANGLE 218n4

The car stops. Eve leaps 1n,
THORNHILL (yells)
Lock it!
She slams the door just as .t he two men arrive.
They tug at the handle. Tltornhill guns the car
a-way.

MEDIUM SHOT •21sn5

The tw men are flung back as the car drives off.
It makes a wide circle and speeds toward the house
over rough ground.

mT. CAR 218Xl6

EVE (breathlessly)
What happened? A:re you all right? ·
THORNHILL
Can you imagine? The housekeeper
had me pinned down for five minutes
before I realized it -was that same
silly gmi of yours.
 Uorth · By North,:est · ·
Adds. 10-13-58 P.168

.
He flashes a glance at the figure in her hands. 218Xl6
CONT'D
THORNHILL (2)
I see you got the •• uh ••• pumpkin.
EVE (grimly)
Yes.

LANDING FIELD 218Xl7

Vandamm has just reached the tYo men.
VALERIAN
Don't worry, six. The gates
are locked.
219-231
AT THE GATES 232
The car comes to a screeching stop before the
locked gates. Thornhill jumps out and starts
tUgging at the chains.

CLOSEUP - EVE IN CAR 232Xl

Still clutching the figure, she looks forward
toward Thornhill aruciously, then looks back.

POINT OF VIEW 233

With the house in the distance, she sees the
running figures of Leonard and Valerian.

OBJECTIVE SEOI - THE CAR AND THE GATES 233Xl

Eve scrambles out of the car, runs toward Thornhill.
He turns 1 sees the men coming. Together, he and
Eve run our OF THE SHOT.

LEONARD & VALERIAN 233X2

Running after them.
 10-13-58 P.169
INT. FOREST..
. .. .
- DOLLY
. S~OT. . -.. MOONLIGHT
. - -- '
' . 234
The· forest" · is really no mo·re thah a · shallow,
11

heavily wooded area. Thornhill and Eve .come

r~ing in; and -CA}~RA MOVES with them as they
scrhmble over rocks, fallen trees and other
obstacles. Eve is encumbered by her scarf, .
handbag and the figure she is carrying.
THORNHILL
Here. Give me that.
Be takes the figure from her. They run on.
Suddenly Eve is brought up short as the scar~
around her neck gets caught on a pine tree.
Thornhill stops, turns to her and they struggle
to get her loose.

FLASH - LEONARD & VALE..T{I.AN 234Xl

Crashing through the forest after them.

THORNRILL & EVE

Still trying to .extricate her •. F~ally they
un\ol"i.nd her from the scarf, abandon it and run
out of SHOT.

LEONARD & VALERIAN 234X3

Running after them.

LONG SHOT - EX!ERIOR FOREST 234x4

In the distance, we SEE the running figures or·
Thornhill and Eve emerge from the forest ·1n.to an
open clearing. They continue TOWARD CAMERA until,
in a CLOSE SHOT, they come to a sudden stop and
look off ahead.

POINT OF VIEW
About fifty to a htmdred yards ahead, they SEE
the back or the Mt, Rushoore P~nu.ment. The heads
of the presidents are moonlit • .Beyond is yawning ·
space, and beyond that, the distant horizon.
 '
North By Northwest
~ 10-13-58 P.170
. THORNHILL'S VOICE 235'X5
Uh oh. Didn't know you were here, CONT'D
gentlemen. (2)

STRAIGHT ON TWO SHOT - THORNHILL. & EVE 234x6

THORNHILL (still looking
ahead) ·
No good this way. We're on top
o~ the .m:>nument.
He now looks of~ to his right and slightly behind
him.

POINT OF VIEW
In the distance, Valerian is SEEN emerging from
the forest.

CLOSE SHOT - THORNHILL & EVE 234X8

Eve, looking off in another direction, grabs
Thornhill 's arm.
EVE
lookl
Thornhill looks err.

POINT OF VIEW 234X9

Leonard has emerged from the wods 1n another
spot.

PROFILE SHOT - THORNHILL & EVE 134X10

Be grabs her ar~ and starts running with her 1n
the only direction they can go -- towards the
edge of the monunent. CAMERA DOLLIES ALONG wi.th
them until they start slowing do-wn. CAMERA COHES
TO A STOP.
235 OUT
REVERSE ANGLE - FULL VIEW OF PART OF MONUMENT 236
We see.the tiny figures·of' Thornhill and Eve
approach the edge~ '
 10-13-58 P.171
WAIST SHOT:--: THOR!_ffiILL & EVE 237
As they peer down.

POINT OF VIEW
The presidents' faces as seen from ~ne edge, with
moonlight revealing the depth below.

WAIST SHOT - THORNHILL & EVE 239

They turn, look back once more at their pursuers.
THORNHILL
c•non. Down we go.
EVE {looking down again)
We can•t.
THORNHILL
No choice. C'IIDn.
They start dew and go om or SHOT.
240-241
Otr.::'
.
LONG SHOT - CROSS ANGLE - THE MONUMENT
SHOOTING PAST Lincoln's face in f.g.,'we SEE
Thornhill and Eve rr..aking their precarious way
do\otll the sloping crevice between Jefferson's
face and the rear of Washing~on 1 s head.

CLOSE ANGLE - THORNHILL & E~ 242Xl.

'
As they wrk their -way down:
THORNHILL (grimly)
A funny thing happened to me the
other day on my way to the theatre.
EVE
What?
THORNHILL
Skill it.

COMPREHENSIVE SHOT OF LEONA.RD & VALERIAN

Still fairly far apart, arriving at the edge.
Leonard is at the top of the crevice. Valerian
is on , . .,.._1.ngton's head. -
 10-13-58 P.172
·'
CLOSE .ANGLE - THORNHILL & EVE 24lt
They ·1ook up and SEE:

POIN'X OF VIEW
Leonard starting down after them.

MED. SHOT - THORNHILL & EVE 246

Continuing their perilous descent down the slope.
THORNHILL
If we get out of this alive, let's
go back to New York on a train
together. All right?
EVE
Is that a proposition?
THORNHILL
No - a proposal.
He loses his foot1ng 7 slips, dangles precariously.
Eve reaches down, tries to help him.
EVE
What happened to the first two
marriages?
)

THORNHILL (struggling)
My v.lves divorced me.

EVE
Why"'1

THORNHILL (still struggling)

I think they ••• said I ••• led ••• too
dttll a life •••
He regains a safe foothold.

· CLOSE SHOT - VALERI.AN

Sliding rapidly·do,m a sloping ledge to Washington's
right shoulder and starting across.
 North By North~est
Adds 10-13-58 P.173
LONG SHOT - CROSS ANGLE - THE MONUMENT 248.
With Lincoln• s nose and lips in f. g·~ we SEE
Valerian making his way across beneath Washington •s
chin to head off Thornhill and Eve who are coming
do'Wll toward Washington's left sho~der vith Leonard
scrambling down after them.

HIGH ANGLE - LEONARD

Below him in b.g. are Thornhill and Eve. Leonard
accidentally dislodges a precariously balanced rock.
It starts to tumble down the slope.

CLOSE SHOT - THORNBILL & EVE 25'0

Their backs are to CAMERA. They HEAR the rumbling
rock, turn, eyes wide with disoay. There is no
time for them to n:ove out of the path of disaster.

POINT OF VIEW
'!'he rock 1s crashing down toward CAMERA. At the
last moment, just as it 1s about to smash into
its intended victims, the rock hits a snag and
goes flying off at a tangent into the yawning
depths belo'W'.

.
THORNHILL & EVE 25'2
For a brief m::,ment, stunned into immobility by
their brush vith death.
EVE (in a hollow voice)
I just thought of a new drink •••
THORNHll,L (still staring
ahead)
Really?
EVE
People, on-the-rocks.
Thornhill gives her a look. She gives a little
shl'ug. And then they quickly start dow the ledge
on Washington's left shoulder. !Right here,
 l.0-13-58 P.174
Eve t"s ·handbag; shoes · and suit-jacket become · 252
hopelessly encUDbering. · Thornhill makes her get CO?-.'T 1 D
rid or whatever she can~ · The shoes go flying · (2)
away. So too the jacket, with wocanly regrets. -·
But Eve makes Thornhill stuff some or the contents
or her handbag into his pockets before she hurls
the handbag to the depths below. ·· During this
stripteaset there should be some ad-libbed com:nents.)
Preoccupied with their physical efforts, they are
not aware of Valerian approaching in hl• He gets
closer and closer and nowll with upraised knife,
1s about to stab Thornhi when Eve, turning
suddenly, sees Valerian and shouts:
EVE
Look outl
Thornhill swings around, hits Valerian's wrist and
deflects the downward arc of the knife in mid-air.
Then he guickl;r gives Eve the figUl"e, and shouts:
THORNHILL
Keep going ••• s
Eve moves on, with Leonard coming down after her,
as Thornhill £aces Valerian again.

CLOSE ANGLE - THORNHILL & VALERI.AN

Struggling to the death, with the knife poised
between them in Valerian's hand.
THORNHILL (gasping)
I'm beginning ••• to think •••• you
don't •••• like me •••• ·
They wrestle each other to the)ground, then roll
over the edge aod begin to slide down toward a
precipitous drop, still struggling.

"CLOSE SHOT - EVE

Looking back for a nx,ment just as the two men
start their slide. She turns avay and scrambles
on as she sees Leonard alloost upon her.

nIORNHILL &: VALERI.AN

Still sliding down. At the very edge of the
precipice, Thornh.1,11 manages to break f'ree,
 10-13-58 P.175
and the sudden release causes Valerian to plunge 255
to his death 'With a terrible scream. Thornhill CONT 1 D
getsto his -feet, Iooks off 1 SEES Leonard about (2)
to catch up with Eve. He starts toward them.

CLOSE ANGLE - EVE & LEONARD 256

Leonard grabs Eve, wrests the figure from her
grasp and gives her a vicious shove that sends
her down to what appears to be certain death.
But as she slips down, she manages to catch hold
or a ridge in the precipitous slope and dangles
there, unable to nove.

ANOTHER ANGLE 25?

As Thornhill arrives on the scene, Leonard 1s
starting away with the :figure. Thornhill clambers
down to rescue Eve.
THORNHILL
Bang onl
He lowers himself do'W'D. to Eve, placing himself in
a perilous position. His only purchase is one
band gripping the edge above him while .the other
hand reaches out to take F.ve•s outstretched hand.
258-259
OUT
CLOSE SHOT - EVE 260·

In her effort to reach Thornhill's hand, her

feet apply presslll"e to the ·-ridge she has been
standing on. Just as their hands meet, the
ridge breaks off and her legs dangle in Jidd-air.

OBJECTIVE SHOT 260n

Thornhill, hanging on to the ledge above him with
one hand, is holding Eve from death below with
his other hand.

CLOSE SHOT - THORNHILL 260X2

Tlll"n1ng into CAMERA with desper·ation to look over

the ledge above him. Be SEES:
 10-13-58 P.176
POINT OF VIEW 260X3
Leonard still noving away

CLOSE SHOT - THORNHILL 260X4

THORNHILL
Leonard!

PODT OF VIEW - FROM THORNHILL 261

Leonard stops, turns and looks back.
THORNHILL'S VOICE (o.s.)
For God's sake •••
Leonard starts dow towards him. As he approaches,
the CAMERA BEGINS to PAN DO~~ his body until
suddenly Thornhill's hand appears in f.g. gripping
the ledge. The feet of Leonard slowly approach ~nd
come to a stop a few inches from the hand. Then
one root is raised and gently placed on the hand.

CLOSEUP - THORNHILL
Glancing up sharply, reacting as he feels the
pressure of the shoe on bis fingers and realizes
what is about to happen. i

CLOSEUP - LEONARD 268

Looking do"Wn Without expression as he leans
forward slightly and deliberately applies the
tul1 weight of his body onto the fingers.

CLOSEUP - THORNHILL
In horrible agony.
THORNHILL (gasps)
Ik)n•t ••• I ••• can 1 t ••••
Eve cries out.
 10-13-58 P.177
CLOSEUP - SHOE PRESSED ON HAND 270
,

THORNHILL 1 S VOICE (o.s.)

Have to ••• let ••• gQ_ •••
Suddenly there is the CRACK of' a GUN' which
:•everberates through the llX)nument. The shoe
relaxes its pressure for a moment and the figure
drops from Leonard's grasp to the ledge beside the
hand and smashes, revealing several rolls of
microfilm.

LONG SHOT - TOP OF THE MONID1ENT 271

A brief flash of a group or silhouetted figures
looking down.

CLOSEUP - THORl\THILL
-
272
Glancing briefly at the smashed figure and the
microf'ilm, then l.ooking up.

LOW ANGLE - LEONARD 273

Mortally wunded, looking down with dying ares,
then starting to fall toward. CAMERA.
l

THORNHILL & EVE

Recoiling as Leonard's body !alls past them.

LOW ANGLE - 'rOP OF MONOMER?

In a FULL FIGURE SHOT, we see the group on the
m::)nument at close range: the Professor, holding
a pair of binoculars; Vandamm, flanked by two
uniformed State Troopers 1 one or whom is ho1d1ng
the revolver that fired the shot. Below them,
tw m:>re State Police clamber do,m the slope to
rescue Thornhill and Eve and disappear out o! SHOT.
PROFESSOR (staring down
\r-1rried1y)
Well a.-...c.e, Sergeant.
 10-13-58 P .178
VANDAMM (sardonically) 275'
Rather unsportingi don't you CONT'D
thi_nk ••• using rea bullets? (2)

CUT TO:

BIG HEAD CLOSEUP - THORNHILL

Looking down with tension on his face.
THORNHILL (with exertion)
Here ••• reach ••• ~•••
EVE'S VOICE (o.s. - gasping)
I'm ••• trying •••
THORNRILL
Come on ••• I •ve got you •• •B:2• ••

BIG HEAD CLOSEUP - EVE 277

Looking up, her face showing physical effort.
EVE
Can •t make it -
TBORNHILL'S VOICE (o.s.)
Yes you can ••• Come on •••
EVE (strained)
Pull harder •••

BIG HEAD CLOSEUP - THORNHILL' 2?8

'?HORNHILL
There ••• that•s it •••

BIG HE.AD CLOSEUP - EVE 279

EVE {mving up)
Ah ••• good •••
She starts to laugh.
 10-13-58 P.179
MED. SHOT - THORh1iILL & EVE 280
As sh~ lands beside him, we realize that they
are not on Mt. Rusrurore after all, but are
sitting side by side, feet dangling from the
upper berth of a drawing-room in a train standing
1n a station at NIGHT. He has been lifting her
up with difficulty because the lower .berth is
not open. From outside, a VOICE calls out,
"Board1"
EVE (still laughing)
This is silly, Thornhill.
THORNHILL
I know. But I'm sentimental.
He puts his arms around her, and as they kiss
lovingly, we SEE the hand that was stepped on.
~ finger ll neatlI taued with~ Band-Aid.
Just then, the train jerks into motion.

EXT. TRAIN 281

We are SHOOTmG toward the rear or the observa-
tion car as the train rolls off into the night.
FADE OUTi

THE END