No Bail for the Judge

Alfred Hitchcock's Controversial Hyde Park Rape Scene

The Hyde Park “Rape” Scene as laid out in Sam Taylor’s treatment of April 10, 1959:

They resume their walk and in a rather pictorial setting we see the white coat of Elizabeth moving through the trees. They have now reached a completely secluded spot, and the sounds of traffic and people and the band are very faint. Edward complains a little of the heat. He loosens his shirt and undoes his tie.

Elizabeth is very much aware of their isolation and we can see in her eyes the awareness of a need to find out what she has set out to find out. She gathers her resources and as skillfully as possible brings up the subject of the dead Flossie French. Edward is now very intent on making love to her and she uses that as a way to flirt with him and keep the subject alive. But he has no interest in Flossie, and gives Elizabeth the impression that he knows nothing about her whatsoever.

And now, tired of coyness, and wanting her very much, he throws his necktie around her neck and draws her to him. He embraces her and for a moment we see a flicker of fear in Elizabeth's eyes. But she knows she must respond to his kisses. In a BIG CLOSEUP, he gently lowers her to the sloping grass and lies there with his head beside hers. Elizabeth, summoning all her courage, smiles at him, although we feel there is a desper- ation about her at this moment. As Edward kisses her, the CAMERA CLOSES IN until his head obscures her face altogether - and the scene ends with the back of his head filling the screen, and around his neck the clenched hands of Elizabeth.

There is now nearly complete silence except for the faint sound of the band music, far off.

The Hyde Park “Rape” Scene as laid out in Sam Taylor’s screenplay, pages dated May 21, 1959:

57. ANOTHER PART OF THE PARK - (MOONLIGHT)

This is a completely deserted area. We see no people: only trees and grass and bushes in the moonlight. And far in the distance the band music can be heard FAINTLY.

We come to Edward and Elizabeth standing beneath a tree, on the grass. Elizabeth has her back against the trunk of the tree and Edward is ardently trying to make love to her. His shirt is open at the neck, his necktie hangs free. He brushes his lips across Elizabeth's face. And kisses her neck.

EDWARD

(Murmuring)
You're my new girl...my new girl...you won't have to go out on the game, now...you're mine...

Elizabeth is trying to fend off as best she can without being obvious.

ELIZABETH

I don't even know your name.

EDWARD

(His lips brushing her)
Edward...

During all of this, he never lets off doing what he is doing, and his answers are a soft, loving murmur.

ELIZABETH

Edward...Edward what?

EDWARD

Devlin.

ELIZABETH

Edward Devlin. I like that. What's your mother's name?

EDWARD

What does it matter?

ELIZABETH

Edward...but I don't want to call you Edward, it's so formal...And I don't like Ed, or Eddie...Oh, you tickle!

As she breaks away from him and gets a few feet away on the grass, so that she can see his face. She smiles at him.

ELIZABETH

I know. I'll call you Neddy! Neddy-boy! Has anyone ever called you that?

EDWARD

(After a short moment)
No.

ELIZABETH

(Gaily)
No other girl? Honest?

EDWARD

No.

ELIZABETH

Then it's my name for you, isn't it? You're my Neddy-boy.

EDWARD

Yes.
(Gently, wanting her)
And you're my new girl...

He takes his necktie from his shoulders and, holding it by the two ends, he tosses it around her neck. Elizabeth almost gasps with fright at the implication of the necktie around her neck but manages to restrain herself. Edward draws gently on the necktie and slowly begins to pull Elizabeth to him. As he does, he brings his two hands together and then crosses the tie-ends over, so that a long loop is formed around Elizabeth's neck, making it easier for him to draw her close. Elizabeth is forced to step closer and closer, and she tries desperately not to show the apprehension in her eyes.

And now he has her, and he has his arms around her. And the CAMERA HAS MOVED IN to FILL THE SCREEN with the two big heads. Elizabeth, summoning courage, tries to smile. Edward brings his lips to hers and as he kisses her, CAMERA CLOSES IN until his head obscures her face altogether. The scene ENDS with the back of Edward's head FILLING THE SCREEN and around his neck the clenched hands of Elizabeth. Silence, but for the band FAINTLY in the distance.

This scene obviously was one that Hitchcock wanted to realize, in one form or another. Note how it is quite similar, especially in the last paragraph, to the scene of Mark’s rape of Marnie. The unproduced script of No Bail for the Judge also looks forward to both the unproduced version of Frenzy/Kaleidoscope and Hitchcock’s film called Frenzy. The unproduced Frenzy contains a sequence in New York’s Central Park where the killer, Willie Cooper, takes a young woman into the bushes and murders her. And while Bob Rusk of the film Frenzy may have a higher number of victims to his credit, it is clear that Edward “Neddy-Boy” Devlin was Hitchcock’s first “Necktie murderer”.

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Copyright © 2010 Steven DeRosa