![]() Amongst the contributions made towards the final film were: Hitchcock and Coppel worked for the remainder of the year and Coppel's completed draft was submitted at the end of November. Coppel was hired in late September on a salary of $1,500 per week. According to Dan Auiler's book about Vertigo, it is unclear exactly why Coppel was chosen, but some sources state that he had briefly worked with Hitchcock providing uncredited contributions to To Catch a Thief. The third screenwriter to work on From Among the Dead was Australian born Alec Coppel. Vertigo publicity still of Hitch and Alma In correspondence with Herbert Coleman, he wrote, "It is a fascinating story of course but it needs a real big imaginative contribution - which I simply couldn't provide just now." This would be the last screenplay MacPhail worked on before his death in 1962. Despite his initial enthusiasm, MacPhail was battling chronic alcohol addiction and felt unable to fully tackle such a large project. Hitchcock next turned to his old friend, Angus MacPhail, who had recently collaborated with the director on the aborted Flamingo Feather film. However, according to Coleman, Hitchcock was so disappointed with Anderson's work that he told the producer to "burn it". Anderson submitted his screenplay - titled Darkling, I Listen - in September, by which point he had been paid $35,000. Pre-Production Screenplayĭespite objections from producer Herbert Coleman, Hitchcock initially approached playwright Maxwell Anderson in June 1956 to create a first-draft screenplay from the novel. ![]() Haunted by her death, he sees a woman who bears a strong resemblance to the dead woman, however, his attempts to get closer to this doppelgänger ultimately result in tragedy. The detective falls in love with the shipbuilder's wife but is unable to stop her committing suicide by jumping from a tower. The synopsis of the novel is essentially the same as the final film:Ī prosperous shipbuilder hires a former detective who suffers from vertigo to tail his wife Madeleine who is acting strangely. After negotiations, the film rights were secured for $25,275 in April 1955. Keen to potentially acquire the film rights to any future Boileau-Narcejac stories, Paramount sourced their 1954 novel D'Entre les Morts before it had been translated into English and, after reading the studio's outline, Hitchcock instructed Paramount to purchase the rights.
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