their wedding night, Sandra is kidnapped and a note left by her abductors that is a replica of the kidnappers' message sixteen years ago. This time, Courtland decides to deliver the ransom though it will drive him to ruin, withdrawing massive amounts from his accounts and holdings and signing over his interest in the real estate business to LaSalle. This leads him to the discovery that everything, including the original kidnapping, had been engineered by LaSalle to control Courtland's shares. The now nearly insane Courtland stabs LaSalle to death. Knowing Sandra must have been an accomplice in the plot, he goes to the airport to kill her. Before boarding the plane, it is revealed in a flashback that Sandra is Courtland's daughter Amy. Following the original kidnapping, LaSalle concealed Amy's survival and sent her to dwell in secret with an Italian caretaker who raised her as her own and named her Sandra. Down the years, LaSalle deceived Sandra about Courtland, convincing her Courtland failed to furnish the ransom as he did not love her enough. Sandra, who has come to love Courtland, attempts suicide on the plane and departs the flight in a wheelchair. Courtland sees and runs at her, gun drawn. A security guard attempts to halt him, but Courtland stuns the staff with the money-laden briefcase, spilling its contents. Sandra, sighting fluttering bills, stands and shouts: "Daddy! You brought the money!" Courtland apprehends at last Sandra's identity, and father and daughter embrace. Cast Production De Palma and Schrader devised a story with a narrative inspired by Alfred Hitchcock's Vertigo, a film both admired. Schrader's original screenplay, titled Déjà Vu, was reportedly much longer than the final film, with a coda that extended another 10 years beyond where the film now ends. De Palma ultimately found Schrader's screenplay unfilmable due to its length, and rewrote and condensed the finale after Schrader refused to make the requested changes. According to De Palma, "Paul Schrader's ending actually went on for another act of obsession. I felt it was much too complicated, and wouldn't sustain, so I abbreviated it." Bernard Herrmann, the film's composer, agreed that the original ending should be jettisoned, telling De Palma after reading Schrader's version "Get rid of it — that'll never work". Schrader remained resentful of De Palma's rewrite for years and claimed to have lost all interest in the project once the change was made. Schrader