Mark’s implied sexual encounter with Marnie on the boat has drawn the ire of onlookers since its inception: indeed, Hitchcock’s first screenwriter for the film refused to pen the scene.1  Nonetheless, the exceedingly devilish ambiguity which the scene ultimately came to boast proves, in Wood’s (correct) assessment, one of the peak moments of Hitchcock’s entire body of work.  More relevantly,2 the “rape” scene embodies each of the moral and gender issues raised by the film in its most poignant manifestation.