We are really unaware of Judy's enjoyment as Madeleine. According to Lacan, it--like God--is mysterious, can never be, yet motivates the universe. At the point when Scottie works upon the Madeleine/Judy dyad with his desire, situating her as his symptom (or in the network of his sinthome), her enjoyment (jouissance) materializes and dematerializes at once. In the hands of Scottie-the-creator, expert manager of the objet a, jouissance is presumably transfered to him; he gains ultimate control but at the cost of the loss of love (which is why James Stewart plays the character as someone who is not very interested in Judy or even presumably Madeleine since they are one and the same; and he himself becomes hollowed out in the process). Lacan in Seminar XX teases out this dynamic: "the more a man can believe a woman confuses him with God, in other words, what she enjoys, the less he hates, the less he is . . . and since, after all, there is no love without hate, the less he loves" (89).