tries to help Sam (a sympathetic character), is very interesting, these castings turn the casting choices of Thompson's film completely on their head, which makes for an interesting reversal for any audience with a knowledge of the original. Another link in the intertextual chain between the two films is Bernard Herrmann's score from the Thompson film, which is reprised by Scorsese for his adaptation, albeit re-worked by Elmer Bernstein to fit into a film which is twenty six minutes longer than the original.  In order to pad out the score to cover this longer running time, Bernstein used some of a lost score which Herrmann created for Hitchcock's "Torn Curtain" (1966) and was never used.  Because of this, it can be argued that Scorsese is also making an intertextual reference to Hitchcock, as well as Herrmann, in 'saving' this lost work.  This idea of intertextually referencing Hitchcock, is supported by Scorsese's decision to hire Saul and Elaine Bass, who had previously worked on Herrmann scored Hitchcock films, such as "Psycho" (1960) and "North by Northwest" (1959) , to design the credit sequence for the film. This particular intertextual link to Hitchcock was one which ran through the majority of Scorsese's 1990's career. Prior to "Cape Fear" , the Bass'designed the credit sequence for "Goodfellas" (1990) and would also continue their relationship, with the design of the titles for "Casino" (1995). This would be Saul Bass' last project before his death in April 1996. In consciously referencing these high profile figures