PSYCHO PROD. #9401 11-10-59Ps¥qio An Alfred Hitchcock Production ANTHONY PERKINS as Norman Bates VERA MILES as Lila Crane JON GAVIN as Sam Loomis MARTIN BALSAM as Milton Arbogast (the detective) JOR MeINTIRE as Al Chambers (The Sherif£) SIMON OAKLAND as Dr. Richmond (the psychiatrist) ** LURENE TUTTLE as Mrs. Chanbers FRANK ALBERTSON as Cassidy(the Millionaire) PATRICIA HITCHCOCK as Caroline VAUGHN TAYLOR as Mr. Lowery JOHN ANDERSON as the Used Car Dealer MORT MILLS as the Highsay Patrolman FRANGIS De SALES as the District Attorney GEORGE ELDRIDGE as the Chief of Police and JANET LEIGH as MARION CRANE Directed & Produced by Alfred Hitchcock Screenplay: Joseph Stefano Adapted from the novel by Robert Bloch Director of Photography: John Le Russel Music COmposed by Bernard Herrmann Special Photographic Effects: Clarence Champagne Sets: Joseph Hurley, Robert Clavorthy, George Milo Sound Engineers: Walden 0. Watson, Willian aussell Title Design: Saul Bass Bditor: George Tomasini ‘Asst. Director: Hilton Ae Green Costunest Helen Colvig Release Date: 1960 Running Time: 109 minutes Referred to as Mary in the script) referred to as Dr. Sinon in the script) ote: PSYCHO re{ssued in the 60s by Paramount, then acquired in the 70s by Universal Pictures for theatrical and non-theatrical distribution)PROD. #9402 PSYCHO FADE IN: (AFTER TITLE) _ ARIZONA - (DAY) - HELICOPTER SHOT Above Midtown section of the city. It is early afternoon, a hot mid-sumer day. ‘The city 1s sun- blanchedwhite and its drifted-up noises are muted in their own echoes. We fly lox, heading in a downtown direction, passing over traffic-clogged streets, Parking lots, white business buildings, neatly patterned residential districts. As we approach downtown section, the character of the ‘city begins to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit-and-vegetable markets, old municipal buildings, empty lots. ‘The very geography seems to give us a climate of nefariousness, of back-doorness, dark and shadowy. And secret. We fly lower and faster now,’ as if seeking out a specific location. A skinny, high old hotel comes into view. On its exposed brick side great painted letters advertise "Transients-Low Weekly Rates-Radio in Every Room." wWe-pause long endugh vo esceolish — The shoddy character of this hotel. “Its open, curtainless windows, 1ts silent resigned lock so characteristic of such hole-and-corner hotels. We move forward with purposefulness toward 2 certain window. The sash is raised as high as it can go, but the shade is pulled dow to three or four inches of the inside sili, as 1f the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip dowmvard, go to the narrow. space between Shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimess of the room, betrays @ certain inaer-tension, worrisome conflicts. She is MARY CRANS, an attractive girl nearing the end of her twenvies and her rope. A man stands beside the bed, only the lower half of his figure visible. We hold on this tableau for a long moment, then start forward. As we pass under the window shade, cur TO: 11-10-59a PSYCHO #Q4OL 2 INT. THE HOTEL ROOM - (DAY) . A small room, 2 slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suit- case and a woman's large, straw open-top handbag are on the bureau, On the table beside the bed there are a container of coco-cola and an unwrapped, untouched egg-salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T-shirt and sox, 18 SAM LOOMIS, a good-looking, Sensual man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a -small sweet smile playing about his mouth, Mary keeps her face turned away from hin. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessiveness. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow. He studies her, frowns at her unresponsiveness, then speaks in a low, intimate, playful voice. san Never did eat your lunch, did you. Mary locks at his smile, has to respond, pulls him to her, kisses hin. Then, and without oreaking the kiss, she swings her legs over the side of the bed, toe-Searches around, finds her shoes, slips her feet into them. And finally pulls avay and sits up. MARY I better get back to the office. These extended lunch hours give my boss excess acid. She rises, goes to the bureau, takes a pair of small earrings out of her bag, begins putting them on, not bothering or perhaps not wanting to look at herself in the mirror, Sam watches her, concerned but unable to inhibit his cheery, humorous good mood. Throughout remainder of this scene, they occupy themselves with dressing, hair-combing, ete. 11-10-59 (Continued)PSYCHO #9401 3 2 (conta) sam Call your boss and tell him you're taking the rest of the afternoon off. It's Friday anyway .., and hot. MARY (soft sareasm) What do I do with my free afternoon, walk you to the - ‘ airport? ‘SAM (meaningfully ) We could laze around here a while longer. MARY Checking out time is three P.M. Hotels. of this sort aren't interested in you when you come in, but when your time's Co UP sees (a. small anguish) Sam, I hate having to be with you in a place like this. SAM I've heard of married couples who deliberately spend occasional nights in cheap hotels. They say it... ) MARY (interrupting) When you're married you can do a lot’ of things deliberately. SAM You sure talk like a girl who's been married. MARY : Sam! | SAM I'm sorry, Mary. (after 2 moment) My old Dad used to say ‘when you can't change a situation, - Jeugh at it.' ‘Nothing ridicules a thing lixe laughing at it. VW-10-49 (Continued)2 SS e YL. VY 21-10-59 PSYCHO #9401 (Conta) MARY. I've lost my girlish laughter. SAM (observing) The only girlish thing you have lost. MARY . {a meaningful quiet, then, with difficulty:) Sam. This is the last time. SAM For what? MARY This! Meeting you in secret So we can be ,.. secretive! You come down here on business trips and we steal lunch hours and... I wish you, wouldn't even come. SAM Okay. What do we do instead, weite each other lurid love letters? . MARY (about to argue, then turning away) I haven't time to argue. I'm a working girl. SAM And I'm a working man! We're a regular working-class tragedy! (he laughs) MARY It is tragic! Or it will be if we go on meeting in shabb: hotels whenever you can find a tax-deductible excuse for flying down here .... sam (interrupting, Seriously) You can't laugh at it, huh? (Continued) 4DO PSYCHO #9401 5 (conta) MARY Can you? SAM Sure, It's like leughing through a broken jaw, but .... He breaks off, his cheeriness dissolved, goes to the window, tries to raise the shade. It sticks. He pulls at it. It comes down entirely, and the not sun glares into the room, revealing it in all its shabbiness and sordidness as if corroborating Mary's words and attitude. Same kicks at the fallen shade, laughs in frustration, grabs on to his humor again. SAM And besides, when you say I make tax-deductible excuses you make me out a criminal. MARY (having to smile) You couldn't be a‘criminal if you committed a major crime. SAN Iwish I were, Not an active criminal but ... a nice guy = - with the conscience of a eriminal. (goes close to Mary, touches her) Next best thing to no conscience at all. MARY (pulling away) Ihave to go, Sam, SAM I can come down next week. MARY No. SAM Not even just to see you, to have lunch ... in public? MARY We can see each other, we can even have dinner... but re-~ spectably, in my house with (continued)Bsvouo #9401 Be (conta) MARY (contd) - my mother's pieture on the mantol and ny sister helping me broil a big steak for three! SAM And efter the steek .., do we send Sister’ to the movies and turn Mema's picture te the wall? a MARY } Sami Nol c SAN (after a pause, simply) AlL right. be She stares at hin, surprised at his willingness to con- tinue the affair on her terms, as girls ere so often surprised when they discover men will continue to went them even after the sexual bait has been pulled in, smiles veassuringly, speaks with gentle ai i simple sincerity. SAM Mary, whenever it's possible, tax=deductible or.not, I want to see you, And under any - conditions, (a smile) Even respoctability, MARY You make respectability sound . @isrespectiul, SAM "Qbrightly) I'm all for it] It requires patience and temperance and alot of svoating-out ... otherwise, though, it’s only hard work, : (a pause) But if I can see-you, touch you even as simply as this... Z won't ming, << Ho moves avay end agein the weight of his pein end problons crushes away his good humor. There ds a quict nonent. Rov. 11/23/59 (Continued) San aces his hands gently on her earns,Y PSYCHO #9hOL 2 (Contd) SAM I'm fed up withsweating for people who aren't there. I sweat to pay off my father's debts ... and he's in his grave 1. I sweat to pay my ex-wife alimony, and she's living on the other side of the world somewhere. MARY ’ (a smile) I pay, too. They also pay who meet in hotel rooms. SAM A couple of years and the debts will be paid off, And if she ever re-marries, the alimony stops ... and then ... MARY I haven't even been married once yet! SAM Yeah, but when-you do ... you'll swing. a MARY (smiling, then with a terrible urgency) Sam, let's go get married. SAM And live with me in a storeroom behind a hardware store in Fairvale, We'll have a lot of laughs. - When I send my ex-wife her money, you can lick the stamps. MARY (a deep desperation) I'll lick the stamps. He looks at her, long, pulls her close, kisses her lightly, looks out the window and stares at the wide sky. SAM You know what I'd like? A - clear, empty sky and a 12-10-59 (Continued)Psycuo ¥ouor G (conta) SAM plane, and us in 1¢ ...and Somewhere a private island for sale, where we can run around without our ... shoes on. And the wherewithal to buy what I'd like. (he moves away, suddenly serious) Mary, you want to cut this off, go out and find yourself someone available? MARY I'm thinking of it, SAM (a cheerful shout) How can you even think a thing like that! MARY (picking up hendbeg, starting for door) Don't miss your pla SAM Hey, we can leave together - can't we? MARY (at door) I'm late ... and you have to put your shoes on. Mary goes out quickly, closing door behind her. As Sam stares down at his shoeless feet, cur TO: TOW STREET - (DAY) - HIGH ANGLE Shooting dow at hotel entrance, Mary comes out, walks quickly to a parked cab, gets in. The cab zooms up the awful street. DISSOLVE TO: EXP, LOWERY REAL ESTATE OFFICE - (DAY) A small, moderately successful office off thePs PSYCHO #9401 9 (conta) main street. A cab pulls up at the curb, We see Mary get out of cab, pay driver, cross pavement to the office door. INT, OUTER OFFICE - (DAY) Mary enters office, crosses to her desk, sits dow, rubs her temples, finally looks over at Caroline, a girl in the last of her teens. : MARY Isn't Mr. Lowery back from lunch? ® CAROLINE w (a high, bright, eager- to-talk voice laced with a vague Texan accent) He's lunching with the man. who's buying the Harris Street property, you know, that o11 lease man ... so that's why he's late. (@ pause, then, as Mary does not respond to the pointed thrust) You getting a headache? MARY [ It'll pass. Headaches are like resolutions... you forget them soon as they stop hurting. CAROLINE You got aspirins? I have some- thing .,. not aspirins, but (cheerfully takes bottle of pills out of desk drawer) my mother's doctor gave these to me the day of my wedding. Qlaughs) Teddy was furious when he found out I'd taken tranquilizers! She rises, starts for Mary's desk, pills in hand. MARY Were there any calls? CAROLINE 7 Teddy called. Me ... And my mother called to see 1f Teddy called. Oh, and your sisterPSYCHO #9401 100° 5 (Conta) CAROLINE (Conta) f called to say she's going to Tucson to do some buying and i she'll be gone the whole week- end and ... She breaks off, distracted by the SOUND of the door opening. MR. LOWERY and his oil-lease client, TOM CASSIDY enter the office. Lowery 1s a pleasent, worried-faced man, big and a-trifle pompous. Cassidy is very loud and has a lunch-hour load on, He is a gross man, exuding a kind of pitiful wigarity. CASSIDY Wow! Hot as fresh milk! You girls should get your boss to air-condition you up. He can afford it today. Lowery flashes an embarrassed smile at Mary, tries to lead Cassidy toward the private office, LOWERY Mary, will you get those copies of the deed ready for Mr. Cassidy. w Cassidy pauses beside Mary's desk, hooks a haunch onto the desktop, smiles a wet smile at Mary. CASSIDY Tomorrow's the day! My sweet little girl .... laughs as Mary looks up at him) Not you, my daughter! “A baby, and tomorrow she stands up there and gets her sweet self married away from mel (pulling out wallet) I want you to look at my baby. Eighteen years old ... and she's never had an unhappy day in any one of those years! (flashes photo) Mary glances, cannot bring herself to smile or make some remark, continues sorting out the deed copies, tries to Lgaore the. man's hot-breath closeness. 11-10-59 (Continued)ot Ut =, r 5 11-10-59 PSYCHO. #9ho1 (contd) LOWERY, Come on, Tom, my office is air-conditioned. ‘CASSIDY (ignoring Lowery) You know what I do with unhap- Ppiness? I buy it off{ You unhappy? MARY Not inordinately, (puts deed copy : into cassidy's too-close hand) CASSIDY I'm buying this house for my baby's wedding present. Forty thousand dollars, cash! Now that ain't buying happiness, that's buying off unhappiness! That penniless pur ‘she narryin' ... (laughs) Probably 2 good kid ... it's gust that I hate hin. (looks at deed) Yup! Forty thousand, says here .... ' (40 Lowery) Casharoonie! He takes out of his inside pocket, two separate bundles of new $100 bills and throws them onto the desk, under liary's nose. Caroline's eyes go wide at the sight of the glorious green bundles of bills, and she comes close to the desk. Cassidy leans terribly close to Mary, flicks through the bills, laughs wickedly. CASSIDY I never carry more than I can afford to lose! (closer to Mary) Count ‘em! LOWERY (shocked, worried) fom .., cash transactions of this size! Most irregular .... CASSIDY So what? It's my private money! [Pantionad) a5. PSYCHO #94OL 12. (conta) cASsIDY (Contd) Gougas, winks, elbows Lowery) And now it's yours, CAROLINE (staring at the money) I declare) CASSIDY (whiscering) I don't Thatls how I'm able to keep iti . (laughs) LOWERY (basti2y inserrupting) Suppose we jus: put this in the said and then Jionday morning whon you're feeling good coRssTDY Speakin! of fesiins good, where's that bottie you sald you had in your desk’, (Yaughe,"as a2 having given eway Louery's secret) oops! (to-Mery, patting = her arm! Usualiy I can keop my mouth shu He rises, reels toward Loverys office, pauses, turns, speaks to Mary, neaningzully. CASSIDY Honest. I can keep any private transaction a secret... any pri.. (stopped by Mary's cold gaze) Loweryt I'm dyin! of thirstarconie! Lowery starts efter hin, pausos, turns to Mary. Cassidy has gone on ints Lower!é office, Lowey (quietly) I don't even wont it in the office over the weex-ond, Put it in the safe doposil vox,"at tho bank, Mary. And we'll get. hit to give us a cheek on Monday = instcad, Rev, 11/23/59 (Continued)PSYCHO #9401 3 5 (Conta) 7 He starts quickly away when 1t looks like Cassidy is going to come cut and pull him bodily into the office, When the men are gone and the door 1s closed, Caroline picks up a bundle, smiles at it. CAROLINE He was flirting with you. I guess he noticed my wedding ring. Mary has put one bundle into a large envelope and takes the other from Caroline, When the bills are away, she putts the filled envelope in her handbag, notices the remaining. deed copies on her desk, picks them up, goes to the private office door, mocks, starts to open door as: LOWERY (0.8. ) Come in. 6 INT, LOWERY'S PRIVATE OFFICE - (DAY) Mary opens door, looks in. Cassidy is drinking from a large tumbler, winks at her without pausinz in his drinking. Mary remeins on threshold a moment, then crosses to the desk,-talking as she goes. Oo MARY The copies. lr. Lowery, if . you don't mind, I'd like to go right on home after the bank, I have a slight .... CASSIDY You go right homel Me and your boss aré going out to get ourselves a little drinkin! done! (to Lowery) Right? LOWERY (to Mary) Of course. You feeling 111? MARY. A headache. _ CASSIDY You need a week-end in Las Vegas . ++ Playground of the world! 11-10-59 Fonntinnaal#9403 UW. 6 (conta) MARY I'm going to spend this weelt- end in bed. (starts ous) 1 cassIDy {to Lowery) . only playground that beats Tas Vegas! Mary goes back out into the outer office, closes door, 7 INE. ICE = (DAY) Mary goes to her desk, takes the hendbeg, checks to make sure. the nonsy-filled envelope is tucked’ well down into Lt., During this: OUTER OFF: canorans Aren't. you going to take the pills? {es fars shee head) piknock Saat Headache out. . I don't need 5: They? She... gust steop. She gces to the doar, ae DISSOLVE: : 8. INT. MARY'S BEDROOM = (DAY) A double bed in the foreground. We Just see the. far sice as'the CANERA S“0GTS across, Mery entere the scene, cleg only in her'siip. Pernaps. she is ebout to get into bed. Behind her is en’ open closet, but too dark inside for us to gee any contents, As Hary turns to the closet the CAMERA LOWERS to show @ close view of the $40,000 in the envelope on our cide of tas bed. Mary takes ¢ dress fv the closet and starcs to put it’on a9 the CAMERA RETR: to reveal a packed but not yet closed suitcase also on the bed. Mary zips up her dress and then brings some final gaments fron the closet, She comes around to the suitcase and puts then on the top. Mary works with haste and in tension, as if acting on an inpulse which might vanish es quickiy as it cane, The suitcase filled now, she’ checks around the roca, then takes her handbag to che bed, puts in the noney-filled envelope, and then slems the suitcase aut, Thon the looks at her énall bedroom desk, goes to it, renoves 2 snsll file-onvelope from ono of tne drawers, It is ons of tho3e brown envelopes in which cno Rove 11/23/59 (Continued)10 Fhe 12 23 PSYCHO #ou01 15 (conta) keeps important papers and policies and certificates. She checks its contents briefly, puts it on the bed, opens another desk drawer, takes out her bank book, tosses 4t on the bed. Then she packs both the file~ envelope and the bank book, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room. CUD TO: EXT, MARY'S GARAGE ~ (DAY) A two-car garage. One car is gone. Mary's car is parked in the driveway, The CAMERA 1s low enough so that we can easily read the Arizona number plate tn the foreground. Mary comes out of house, starts for the trunk, intending to put the suitcase in, changes her mind, places the suitcase and her handbag on the front seat, gets in, starts the car, begins to back out of driveway. DISSOLVE TO: EXT. MA We are close on Mary's car, shooting in at her troubled, guilty face. She seems to be driving with that excess Gare of one who does not wish to be stopped for a minor treffic irregularity. She stops for a red light at a main intersection, STREET IN FROM MARY's VIEWP ~ (DAY) We see Lowery and Cassidy crossing the street, passing right in front of Mary's car, MARY'S CAR - (DAY) Mary freezes, EXD, MAIN STREEP_IN NIDTOUN PI ENIX - (DAY) Cassidy, glancing into car, sees Mery, lets out a cheer, exelanation, elbows Lowery. Lowery turns, sees Nary, smiles pleasantly, pulls Cassidy on, 41-10-59a4 16 Wz 38 ig iga #QuOL MARY'S GAR = (DAY) ea thy anvire exchange with a look of v £25 Mary nate! stony horror EXD, FAI yw THOENTX - (DAY) Now we look closely at Lowery curb, a anail confusicr brigutens his face. He rensmbers that Mary intended to “spend the w end in ted." Ys eoneidens, curiously, turns, locks back at her, a light frown on his face. As he reaches the z) Mary sees the pause and the look. MARES, EEU DW Ni Eg. y_ST NEx = (DAY) For a moment 1 even looks as if Lowery might be to erogs back to the car. areble, And at that monent ariex of the traffic cop's 8 the car away. Mary in car, driving, safely away from tour. Zer look is is. ; and more purposeful. after a ne fuel gauge, frowns, looks aiong highway for a gas station. FASE DISSOLVE TO: MARY'S CAR - (DAZ) Aeproacting and leaving elty lintts. 1 &190. [ 20 < @ a 20K. au QO : 22 Psyouo go4on 7. BARE ~ (DAZ) , Looks at gas gauge. G.¥, GAs GauoR ~ (DAY) ‘ EXT, A Gas sTaTion - (Dax) We see Hary's car drive in, cone to a stop. There are n0-other care about, this being a gas station off the sain highway, and the attendant ls sbvacusiy in the: shack; Kary iooks worried above javeng to i make this stop, keepa her face turned away fran tne shack,. not wishing. it to bes ; No one cones andfor a monent Hary considers driving on, as if She omptiness of the. station. were a warning, an onen that she shoud listen to. Bas ine gas regis ters ainost empsy. She-has to blow her horn. A YONG MAN comes out of the shock, stexts sowond her cor. At vhot moment, we BEAR She SuEInK! of the TELAFHONF tn che shack. The Atter fox-steps. further, Gouard fiary's oar, th Go-go back and answer Sha plone. The phone's insis— tent ringing unrerves Mery. She starts. her sar, zooms .off, We see the Attendant, phone in hand, in ths doorway of shack, He look after the departing car #ith little. or no expresaion. oR The oar. grovs. snailer a3 it races up th vung setting. There ie sonething vas: about. the derkening sky into which the 4: disappearing. roads The ominous F esens bo be DISSOLVE 20; MARY OY car ~ (NIGH) ts hurt Mary's eyes. Ste iz ing sleepy and her vision ia blurring. Har-eyes woinsardiy, s9p ofen again, gia. soretches sm wide, ao 4f foretng that to stay ofan, Zhe oncomin sagem to glare tos point beyond endurance. She ere “S: fe Sou ~ Sani, LAP DISSOLVE:23 2h 25 26 ouzr our omrr Ex. We see Hary's car, dim in the early dam soft shoulder of tne road, looking somehc thetic, iike a child's thrown-away toy, angle it would appear that the car is erpty. ich there are. no other om the for distence, a After a monent, during pessing, we see, coming PATROLWAN in a patrol car. He passes Mary's tar, noves its apparent emptiness, U-turns, comes bazk up b the ear, Hs gate oub and approaches the drt’ window. EXT, UAE'S Can ~ (DAMM) Who Patroluan iscks doxn into the car.CY 27a. 27B. | bs PSYCHO #IGOL 295 INP. CAR (DAWN) PROM HIS VIE Mary turns with a start, sits up, is startled and unner by ‘the signt of the Patrolman, and, as if by automatic reflex, turns the ignition and presses down on the starte: EXT. CAR (DAW) The Patrolman holds up his hand, PATROLMAN (startled) Hold it there! : Mary slams down on the breke, tries to pull herself to- gether. The Patrolman raps again, less gently. Reluc- tantly, Mary rolls dow the window. The Fatroiman studis: her for & moment. PATROLMAN In quite a hurry. MARY Yes. (because he seens tote evaiting an explanktion) I didn't mean to sleep so long. I was afraid I'd have en accident last night, fron sleepiness... so I decided to pull over PATROLMAN You slept here all night? MARY : (a faint edge of defensivonssa) Yes, As I said, I couldn't keep my eyes. PATROLMAN (mere concern) There are plenty of motels in this area, You should have... I mean, just to bo safe.... MARY I didn't intend to sleep all night! Then Tin free to p0.e4? I just ed over... have I broken \ any le | PATROLMAN No, mtane MARYC ) 27 #9401 PSYCHO (conta) PATROLMAN (pause) Is anything wrong? MARY Of course not! Am ¥ acting as if ...something's wrong? PATROLMAN : (almost a smile) Frankly, yes. MARY Please .., I'd like to go ... PATROLMAN Is there? MARY Is there what? (not waiting for an answer) Itve told you there's nothing Wrong ... except that I'm ina hurry and you're taking up ny time... PATROLMAN (interrupting, sternly) Now wait Just 2 moment! Tura your motor off, please. Mary seems about to object, thinks better of it, turns off the ignition. PATROLNAN In the course of my duty, I never "take up" anyone's time, whether it's to give a warning, ora ticket, or help! Believe that, Miam. (a little softer) Now 1f you woke up on the wrong side of .. the car seat, that's one thing. But when you act as if I've just placed you under arrest .¥. MARY I'm sorry. PATROLMAN No need to apologiz 20.¢ : #9401 : PSYCHO a. eT (contd) Mary starts the car, her face turned as if she wishes the-matter were all settled and the Patrolman had already gone, The Patrolman isn't exactly one of those civil servants who demands a thank-you, but he does feel her manner is a bit too abrupt. He call PATROLMAN Wait a minute! MARY = (jamming down ‘on brake) Now what? The Patrolman gazes at her a moment, then: PATROLMAN, May I see your license? MARY why? ae . PATROLMAN & Please. i) — Mary pulls her handbag up from the floor, where she'd placed it when she stretched out to sleep. She puts her hand in it, rummages for her wallet, cannot find it. The Patrolman is staring at her. She glances at him n: vously, pokes in her bag a bit more, sighs, realizes she'll have to remove some of its contents. Nervously, badly : controlling her fear, she takes out the money-filled envelope, and then the important papers envelope, then a couple of other items, places them on the seat, finally finds her wallet, opens it, hands it to him. He looks at the wallet, then at the car. 28 EXT, ROAD SHOULD! The Patrolman walks around to the front of the car, checks the license plate, and returns. 29 INT. MARY'S CAR - (DAWN) = (DaKN) The Patrolman peers in, checks the car registration on the steering wheel, returns Nary's wallet. She takes aa it, looks at him for a flicker of a moment. He says nothing. She starts ahead, fast. 30 - EXT, ROAD SHOULDER ~ (DAWN) The Patrolman stares after Mary as she drives off, then ni-tn.so30. 32. 336 350 36. 370 385 PSYCHO #9401 22 (conta) starts back to his automobile, MARY IN CAR ~ (DAWN) She ts quite shaken, realizes she caused herself a great’ deal of trouble and placed herself in unnecessary danger. She is disturbed and angry and frightened at her inability to act normally under the pressure of guilt. As she drives, she glanees into her rear-view mirror. MARY'S REAR-VIEW MIRROR - (DAWN) The Patrolman is following in his automobile, keeping behind her at a matched speed, MARY IN CAR - (DAWN) She glances out at her surroundings. MARY'S POV ~ (DAWN) The Freeway ahead. EXT.MARY'S CAR - (DAWN) She suddenly turns off the highway. MARY IN CAR - (DAWN) She checks her mirror, - MARY'S REAR-VIEW MIRROR = (DAWN) The Patrolman is no longer following, has not turned off after her. MARY IN CAR = (DAWN) She breathes a sigh of relief, thinks « moment, makes a quick decision, DISSOLVE TO? REV 11-20-59eo Psyc #90 390 EXT. USED CAR LOT - (DAY) & ‘The big sign reads “California Gharlle - Automobile c Paradise." We see Mary's ear drive onto the lot and stop. Mary geés out of car, glaaces toward the Lot office, turns her attention to the ling of cers, notlwig’ the California license plates on all of them. ‘The CAR DEALER calls out from hia office: . CAR DEALER . With you in a second! ‘ Mary nods, sterts walking along the line of cars Af making’a selection, Her eye is caught by the Lron newspaper stand onthe corner, just outside the lot. She stares at the papers, tums away, as if what she is fearing would have to be impossible, ‘then, having to satisfy herself, goes to the stand, drops e dine in. the iron slot, pleks up a COS ANGELES newspaper, starts back into the car lot asi she glances worriedly at the front pages. As she goes, we sees coming up the street toward the lot, the same PATROLMAN, He sees ° Mary, slows, swerves over to the opposite side of the street, stops by the curb. Mary, engrossedin the newspaper, and watktng back onto the lot, does not see the Patrolman, wit Cer Daaver is oub cx the lot now, 2 F524: -g fer Marys 49 she approaches, ih sabiese = ORR DEALER no Rocd fee troupes. thrown, Be foheexfully Taero's an ond saying; "Pires y if always si" Bus ik no moed fer.it eat jou ont ® REV 11-2005? (Continued)ae 3% (eonva) ind vores Tou WLILE an de anyt Phat youre! Nant Yess Five's wrong with, Ay Tin Jaetesee oan DEALER 6 sight of LL Sick of Maw senefning’ ts and neaniat givs your Sant senza evar anise. Shevstops: sia tS POY =" (DAY) “ heraeur te lock sways) ‘SRR DEATER 1 chgat.to a Used car Jast shoot this inte Ho st panicy ing {2 the sre negets the = Binge torn; dceants REY 21520-59 ald, too nive a day for ing hows Foe Twas Just abcateees Sp sinese Wilk a gasps She has eesn ay ner, als fa2e Atepecstonate. sat him, In-ear wendor- (Continued)42. ¥ 43. ! Ube PSYCHO #902 (conta) can get away, wondering if she'll be followed, or if the patrolman will go away if she does stay here, All these penic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. HE GARAGE - MARY'S POV - (DAY) Mary's car is in ity EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman, THE PATROLMAN - MARY'S POV = (DAY) He still watches, With a self-engry sigh of resign~ ment, she goes to a close car, looxa at it. The Car . Dealer 1s returning. GAR DEALER That's the one I'dtve picked for you myself} . MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don'y know anything about engind condition, but you can feel, can't you... and it's all in the foel, believs me, you feel that one around the blockses. MARY Tt-looks fino, How much will it be, with my care..? CAR DEA You mean you don't want the usual day and a half to think 4¢ over? (Qlenghs) You ero ina hu: chasin' you? Ji Somebody REV 11-20-59 (Continued) 28,#O4OL k oe {eonta) MARY : ' Of coures not. Flos. OAR DEALSA Well ... leck, thts is she firet tine Yévor saw the custoner high-prescure tis salecxani ‘Inaghe, sees she is nd meod for £t) I'd figure rows qarags) seeyour car plus five mundred. Five hundred, CAR DEALER Aha! Always gc tine te- argue moneys BER see? ARE 422 right. As the car deeler Ascks ab her in amazement, she reaches into her bag, fecis the monsy~filied envelope, pauses. a : CAR ISALE2, 7 (slowly) “take ‘tt 4. yeu can prove that car's yours’... = msn, cut of state and 933 1.1 got your. pink slip and your’... necessary g thars a Indies Room... GR DEALER (andieatss; “coutznues to share quietly} Mary starts for the building, glanoing once in the direction of the facroiuan. ~ (pax) 45 ‘THR PATROLMAN - ‘s He st412 rite, bts notor throbbing, his face quiet. Rev, 21-20-59 26.si 46 47 48 PSYCHO #9401 aT. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. cur 10: INT, LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the en- velope, counts off five, puts the bundle back into the envelope and the envelope Lack into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the Ladies Room. CUT TO: EXT, THE USED CAR LOT ~ (D) The car Dealer has moved the car of her coice out of the line, It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give ib a trial spin. Don't want. any bad word of mouth about California Charlie. NARY I'd really rather not. Please. Can't we just settle this and .., CAR DEALER, I'll be perfectly honest with you, Matam, It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about .., making a decision and wantin: to hurry? Do you think I've stolen... my car? CAR DEALER No, Milam. I was only about to say, I've sent my mechanic out to give your cara little test ... that's all. 11-11-59 (continued)4g 50 51 PSZCHO #9402 28. (conta) MARY (handing hin the ownership papers and the new bills) : I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along ... He starts toward the office building. Mary follows, closely, anxiously, She glances, sees: THE PATROLMAN - MARY'S POY - (DAY) He is still at the far curb. EXE. USED ¢/ Lor ~ (par) The Car Dealer goes. into his office, Mary follows. THE PATROLMAN - (DAY) A second later, ha starts his automobile, checks traffic, cones across the street, glovly, cnd drives onto the lot. He pa: 8 @ oment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. ‘The MECHANIC atore Mary's car, hops out, waves to the fatroiman, The Patrolman waves back, goes on.a bit until ls is bohind Mary's car, stops agein, looks over at the office. In a moment, Mary comes out, hurries across to now car, gets in, starts the motor, Tne Nochanie yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic, Her face goes white. She doesn't know which man called her. Ther the Mechanic waves, starts for ward with her suitcase. FARY (a3 Mechanic reaches one Just put it right 4n here, please ... beside me, The Nechanie smiles, threws the suitease in, Mary goons off, As she drives out of lot we see the52 53 5a 55 56 57 58 PSYCHO #901 (conta) Mechanic, the Car Dealer and the Patrolman all 1ook- ing after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE 99 Mary is driving tensely, She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAK-VIEW MIRROR No sign of the Patrolman, MARY IN NEW CAR ON ROUTE 99 She turns her face, looks out at the highway, ROUTE 99 ~ MARY'S FOV It is heavy with traffic. MARY IN NEW CAR ON ROUTE 99 . Again she checks the mirror and although ... MARY'S REAR-VISW MTRROR @here is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE 99 She cannot relax or feel saf2, cannot convince herself that nothing will come of the man's watching and sus- picions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears, Her guilt shines bright in her eyes end sh2 is a person unaccustomed to containing this much guilt tn this realistic 2 situation, Sud- denly, we hear the SOUMD of the Used Car Dealer's laugh, hear it as clearly as Mary hears £t in her imagination, The "imagined voice" we hear is actually the voice of the car Dealer: 11-11-59 (continued) 29,ah 58 59 61 62 & PSYCHO #9hor 30. (conta) CAR DEALER'S VOICE Heck, Officer, that was the first time I ever sau the Customer high-pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie, CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one, Mary blinks, shakes her head, as if-trying to shake away these voices of her imagination, She checks the rear- view mirror MARY'S RSAR-VIEN bh Still no sight of the Patrolman. MARY IN NEW CAR . 60 She tries to force herself to relax, almost succeeds when she is sprung to tension again by .. Ext. 99 The sight cf a police car, As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXD, HT 99 - LONG sHOT Yary's car dashing along. DISSOLVE TO: MARY DY Wary looks weary, tired with strain and with hard driving. es are heavy with worry and deep thought. 11-11-5964 65 S G 66 67 PSycHo #9401 32 QUT THE WhDsRIED We can ese that it is much later in the day, almost dusk, MARY_IN We HEAR the sound of an agitated BUZZ of an inter-com syste, a sound emanating from Mary's imagination, After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE a Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Garoline ... ? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery ... but then she's . always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in, Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. ExT. Ht Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon signs of roaiside restaurants and gas stations beginning to blaze on. MARY'S i. IKt. R Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Gall her sister! If no one's answering &t the house. .... CAROLINE'S VOICE Lealled her sister, lr. Lowery, where she worke, the Music Makers Mugic Stere, you know? And she doesn't know Where Mary is any more than we 19-12-59 (Continued)5. ec 67. 68. #9HOL 32. (Cont'd) LOWERY'S VOICE You better run out to the house. She may de ... unable to answer the phone ... CAROLINE'S VOICE Her sister's going to do that. She's as worried ag we are. A flush of piinful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT, HIGHWAY 9! We cut again to the highway. ‘the first oncoming headlights slash at the windshield. INT, MARY'S NEW CAR cutting back to Maxy, we can sense by the tense muscles of her face that she is driving faster, ‘The onconing headlights blurt et her. Suddenly we HEAR Lowery's yoice, loud now and frightened, as if the anxiety 41 the man's voice wie Strong enough to break through Mary's effort to keep hor mind silent and her imagination blank. LOWERY'S VOICE Not I haven't the faintest idea. “As I seid, I lest saw your sister when che left this office on Friday... she said she didn't feel well and wanted to leave early and I said she gould, And that nes the last I saw ..., (a pause, a thought) ++. walt @ minute, I did see her, an hour oz so later, driving ... (a pause, then itn solenn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, @ click) Gavoline, ges ir. Cassidy for me. 9 = MARY'S VIEWPOINT It. 45 completely dark now, night. REV, 11-30-59 (continued)‘ PSYCvO #9401 33. ae Th. INT 5 . & We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you ... all that cash ... I'm not taking the responsioility ... Oh, for heaven's sake, @ girl works for you for ten-years, you trust herl All right, yes, you better come over. I'S NEW CAR 72. EXT. THE ROAD AKEAD - FROM MARY'S VIEWPOIN'T 2B. INT, MARY'S NEY CAR Fast cut back to Mary's face, Oncoming headlights throw @ blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) "Well T ain't about to kiss off forty ne thousand dollars! I'11 got it back s and if any of it's missin! 111 re~ we place it With her fine soft flesh! . I'll track ner, never you doubt itl LOWERY'S VOICE. Hold on, Cassidy ... I still can't believe ... it must be some kind of a mystery ... I can't ..., CASSIDY! “VOICE You checked with the. bank, no? They. never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out ... hardly even looked at it, plannin' and se. and even flirtin' with me.....1 A look of revulsion makes Mary close her eyes. 7A. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. i> 75. CLOSEUP — MARY : cee ne G She 1s becoming aware of the rain starting. REV, 11-30-5976 7 78 79 80 81 82 83 85 PSYCHO #9401 34 THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP ~ MARY Mary starts the windshield wipers. SHROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain, CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP. S Blowing down in the flooding highway. CAR Vit CLOSEUP ~ MARY Reering through the Windshield, The oncoming lights are ewer, GLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDS¥TELD just blackness and rain, CLOSEUP - MARY peering. ernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. 11-11-59ii — 86 Q : 87 : 88 A ba & 89 90 PSYCHO #9401 3 She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and ean faintly make out the large letters which read “Motel. Mary stops the car, lowers the window slightly, looks out We see the sign clearly now: "BATES' MOTEL." Mary open: the car door and dashes out into the rain and up onto the Porch of the motel office. EXT, BATES' MOTEL - (NIGHT) Mary pauses on the porch, ‘he lights are on within the office. She tries door, finds it open, goes into offi. CANERA FOLLOWS her into office. There is no one present Mary goes to the desk, rings a small pushbell. There is no response. y Tubs her forehead in weariness and frustration, gaes tack out onto the porch. She looks off An another direction, slightly behind the office, and sees .... MARY'S VIEWPOINT - ATLARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN pssses the Window, pauses, peers out. We see 4m clear silhcuette. She quickly goes away from the window EXT, PORCH OF BATES! MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting, No ¢ comes. Impatience and anger rise in Mary, She dashes ox into the rain, to her car, gets in, opens the side win begins to honk the horn. After a moment, a YOUNG MAN cp: the front door of the house, pauses, starts dorm the path After 2 few steps, he turns and runs back into the house Mary leaves her car, starts a dash for the shelter of the porch, As she runs, we see that the Young Man hes go: back only to get.an umbrella. Seeing that Mary is on her way to the poreh, he runs quickly, the umbrella unopened in his hand, gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrelle hanging useless in’his hand, then back to her 11-11-59 (Continued)c 90 gl PSYCHO #O40L 36 (conta) There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him alnost oriie. He gestures her into the office, standing back to indicate that he will go after her, She goes into the office. INT, OFFICE OF BATES’ MOTEL - (NIGHT) ‘The Young Nan follows Mary in, closes the door. He 4s NORNAN BATES, somewhere in his late twenties, thin and tall, soft-spoken and hesitant, a NORMAN Dirty night. MARY. (not really a question) You have a vacancy? (strpty, cheerful: We have tweive vacancies, Tuelve cabins, tvelve vacancies. (2 pause) They moved avay the highway. - MARY I thought I'd gotten off the main. NORIAN I knew you mist have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no geod dwelling on our losses, is it, We go right ahead lighting signs and following the formalities... Would you st, 11-11-59 (Continued)a 4 & 91 92 93 #94OL 37 (Contd) Mary hes placed her handbag. on the counter. She takes the registration took, picks up the pen, is suddenly struck vith the realization that she'd better uss an alizs, She writes the name Marie Samels. NORMAN Your home address. Oh, just the tow wil do. HARY 1 (glencing at news- - paver sticking out 1 of her handbag) 1 Los Angeles, She realizes he diin't ask her to tell him, merely ! to write it do beside the fal: amiles, writes Los Angeles 1 . Norman smiles, stops smiling ease you wan anything Pight next to ths office. CLOSEUP - NORNAN - He removes 2 key for Cabin One. We see that there is 2 remaining key on the board, TWO SHOT ~ MARY AND NORMAN MARY I want sleep nove than anything. Except mybe, fcod. about ten miles Jast outside Pairvale, MARY Am I that close to Fairvale? get your bags. (Continued)93. he PSYCHO . #9h01 36., (Conta) He goes to door, opens it, The rein has slowed down considerably. He smiles at this fact, as if to con- municate some pleasure he finds in it. Mary follows him to the door, goos out on the porch, waits and watches es orman runs to her car, gets in, drives it to the parking space in front of Cabin One, Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the coor open, puts his hand in and switchés ona light. Mary goes into the cabin, Norman follows her. ; INP, CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it, NORMAN Stuffy in here. (turns to her) mattress is soft 2 rs in the gloset aad... stationary with “Rates Hotel printed on 45 in cese you want to na friends Sack home envi ae. the ... over there . (he “points to the | bathroom, fairly Lushes) MARY ‘The bathroom, NORMAN (quickly, starting to leave) Ill be in the office if you want anything ... just tap on the wall, MARY Thank you, Mr, Bates, MORK Norman Bates. He pauses at the door, gazes at her, 2 a ne smiles. NORMAN, You have sunething most girls | never have, (Continues a)#9401 39.) hs (conta) : MARY T have? 1 roMAn. 5 There's no nane for tt... But Atta vonething that, that’ puts @ person at sass. MARY Thank you. Again. - HORNAN (not really a question) Youtre not going to go out again end drive up to that diner, are you? WARY No, TOR ‘Then will you do Te a favor? (atthout waiting for her response) WSTL you bave supzer here? I was just about to, myself ... nothing nore than’ sone sand : Wiches anda lot of milk, but I'd lize it 12 you'd come up 5 to the house and ... I don't set a fancy tavie but .., the kitehen's akfal honey. MARY ‘ I'd like to, HORAN ALL right, you get your dresses : hanging out and... change c thoze Wet shoes, and I'l] come for you secn es it's ready.e. (starts out) eeewith my trussy tmbrolle, (ne laughs e small nigh, rons off) Mary closes the door, goes to suitcase, opens it, starts to teke cut o dveac,’ Rer pendbeg fs text to tha sult— She glsneea doun into tt, pauses. drops the dress, es into 2 beg, taves out the manoy~Silled envelope, ston ; Einost with rapret, contenpiates hiding if, seeines to, starzs looking for @ pessonsste5 3 oh. #9402 40. (Contd) hiding place, She loots about, at the closet, the. drawers ete,, reelizds all such pisces are obvious. Gatehing sight of the newspaper in her bag, she hits on @ solution, She ozena ths newspeper, places the enveloze within 16, lock-foids the paper again and then pleces At on tho bedside tedle es Lf it were there for later reading. She considers this for a moment, accopts 2t goes. to hor suitcase to svert unpacking. , Suddenly : guict is shattered by the sheil., ugly Sound of & Wonan's voice, raised in anger, WOMAN'S VOICE Not I teli you noi Many walks slowly to the window, realizing that the terrible voice 13 coming from: the house. behind. the cabins. CAMBRA FOLLOWS her to window and once. there we see the ligat {s still on in the upstairs bedroon: and the voice is soning from that room, The rein has stopped-and the mon is outs NOHAN'S ¥OrcS (Conta) I Won't have yeu petnging strange young giris in Jor supper (an vgiz, sceering ereeps into the voice) ses by candialighe, T suppose, the cheap erctic fashion of yc! men with cheap, erotic minds! ORMAN'S VOICE Nother, please. ev. WOAN!S VOICE After super, music? in NORMAN'S VOICE Mother, she's, jus: @ stranger hungry, and the wecther's bad Wouax's voros (ninieking swells) Mother, she's juss © stranger! (here, Eruet egein) As 1fnen don's desire strangers, as it. fuse vo speak of diszase vocause they isgust mei You understand, Boy? Rov, 12/23/59 (Continued)9h. ' ’ ‘ , 95- ' 96. 97. eF REV, PSYCHO #9401 AL. (conta) : WOMAN'S VOICE (Contd) (pause) @o on, go tell her she'll not be appeasing hor ugly appetite with my food .., or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (vlurted cut fury and shame) Shut up! shut up! . There is the SOUND of a dcor closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and syripathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slanming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT ~ (NICHT) We see Norman coming dow the path, carrying a napkin- covered tray, : INT, CABIN ONE ~ (NECHT) Mary looks at him for a moment, then turns quickly, goes to the door, cpens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside her door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. > c MARY I've caused you some trouble. NORMAN Mother ... (s nollow Little laugh, an attenpt at sardonic humor) sss what 1 the phrase .,. "she isn't herself vee I think ‘ that's it, (Continued) 21-30-59CG 98 Psyono #41 42 (contd) . MARY (looking at the tray) You shouldn't have bothered. I Peally don't have that much of an appetite, Norman flinches, renlizing she has heard his mother's reference to Mary's appetite, NORMAN I'm sorry. Twish ... people | could epologize for other - People. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it, Huh? She begins to tack into her room, Norman starts to follow, hesitates as he sees the total picture of an attractive young vonan and a motel room, Bringing down the tray of food, in defiance of his mother's orders, 1s about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer ... warmer an the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing ansised sympathy, then follows. INT, THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office ... (a ruefut smiics a+» too offictous, even for me, Ihave the parlor ochind this ... Af you'd like. Mary nods, Norman waltts on, behind the counter and into the darkened parler. Hary Follows. wa) 996 100. 101. 102. 1034 Bsxeito #9ho1 3 R - (NIGHT) In the darkened room, lit only by the light from the office spilling in, we soo Norman plecing the tray ona table. Wary cones to the doorway, pauses, Homan straighteno up, goes to lemp, turns on the Light. Mary is startled by the room, Even in the dimness of one lamp, the strange, oxtraordinary nature of the room rushes up at one, It is a room of birds. Stuffed birds, all over the room, on every available: surface, one even clinging to the old fashioned fringed shede of the lamp, The birds are of many varieties, beautiful, grand, horriblé, preying. Mary stares in ave and a certain fascinated horror. CLOSE UP - TEE VARIOUS BIRDS THO SHOT = MARY AND NORMAN RORMAN, Please sit down, On the sofa, As Norman goes about spreading out the bread and ham ang pouring the milk, we follow Mary across t She studies the birds as she walks, briefly e: g bookcase stacked with books on the subject of "Taxiders; PEE po! Giosa up - HED, CLOSE SHOT - IMRY KS ON DAXIDERIY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Hary reaches the sofa, sits down, looks at the spread. ‘MARY Youtre very ... kind, NORMAN It's all for you, I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense, She takes up a small slice of ham, bites off a tiny dite, nibbles at it in the ramer of one disturbed and pre~ occupied, van gazes at her, at the tiny bite sae bas taken, smiles and then leughs. NORMAN You eat like a bird, “Rov. 11-23-59 (Continued)A 103. (Cont'd) #9401 MARY You'd Imow, of course. NORMAN Not really. I hear that, ex- pressicn, that one eats “like a bird," is really a falsie, I mean'a falsity, because birds eat a tremendous lot. (A pause, then ex- - plaining} Oh, I don't know anything about pirds. My hobby 4s stuffing things ... taxidermy, And I guess I'd just rather stuff birds because ... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats .., but I can't .., I think oniy birds look well stuffed because they're rether ... passive, to begin with... nos! He trails off, hi return of his na’ of them... exuberance failing in the rushing hesitancy and discomfort. Mary looks at him, with Scme compassion, smiles. MARY. It's a strange hobby, Curious, I mean. NORMAN, Uncenmon, too. MARY I imegine so. NORMAN It's not es expensive as you'd think. Che: thread, cawdust 3, really, Needles, .++ the chemicals are ail that cest anything, (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby ... somett to pass the t: REV, 11-30-59 a hobby £5 supposed ne, not fill it. (Continued) ka,203. (cons ta) BARE . (after a pause, softly) Is your tine 20 ompty? BORMAN ‘Oh, nol . (forcing brightness agen) Z pun thr office, band he cabins and grounds, to little Shores for Rotacr...the ones she ellows I might be capable of doing, . HARE You go oub.-.with friends? HORA Friends? who needs friend: Cagis, toon with : wor bai an smpty moment im your whole live, Have you? wane only ny shore, FORMAN : Where are you going? I éontt ROE bo PFT eae : MARY (h wistCul. smite) tm looking for a private island. . nORIAN What are you rumning away f yon? WARE (Alert) Why. do you asic that? roma To. People nevor run avay fxn long. thine103.. (Contta) #9401 NOR (Wont ta) soretoh and claw .., tat only at the aiv, only at'each other, and for all'of ii; wo never budge an inet, maRy Somatines we. deliberately step into those traps. MORGAN. was bom fn mine, Z don!s mind it anymore, - Be ‘MARY. You should .,, Hind it, HOREAR Ob T do oes but T say I don't, . (iaugbs boyisbiy) . MART (staring e? atm, sbaking her need z0ftts) If enyons ever spoke vo me, tho way Tineard ss, Tae was ste spoke to you, Idon't talat I could ever leugh again, momar (Controtied resentnent) Somgtines win sis taize that wey to ne Tid dite ty... cupae her out and Leavo. har foevert (& ruatul vanite) Or at Tonst, cozy bor. (A peise, @ hope less sarag) But T couldnix. Shots 132, nor She sounded strong. ‘ECREAN Tmean,., ill, (A pause) She hag so-reiso ms all by hereslt efter my Gad died ~-- Twas only five v.. and ib mst eve beon @ strain, Oh, abe Giénts tars te go out to worke of anything, Dad left ws tide something er anyway, 8 feu inher met a ran. i “ vate Robad ner into sovne Welles, I5.wBa ao ete se 810d, $00 we. de.ce : #9402 Are (& 103. (Cont ta) bo NORMAN (Cont'd) ic oh, it's nothing to talk : about when joutve cating. (Pausoz,-smiles) Anyway, 1¢ was too much of a lozs for my Mother ... she had nothing left. BARY (critically) Except you. 7 NORA A son is a poor substitute for a lovers (Turns away as if -in distaste of the word) MARY Why éontt you go evay? TORAH ‘ To private island, Like you? It's too late for me. And besides .., who'd look after Ste'é bo alone up there, the fire would go. out ... demp and cold, like a grave. when you love soncone, you don't do that to them, even if you-hate them. Oh, I dontt hate Thate ... what she's becom I-hate ... the illness, MARY (Slowly, carefuliy) Wouldn't it be better if you put her in... soneplace v.+ She hesitates si Normen turns, slowly, looking at 1 her with ng coldness. 3 Rev. 11-23-59 (Continued) oe103. haem fe #INOL (Cont'd) WoRMAN An Institution? 4 madhouss? People always call a audhouse “someplace.” Qiinioing coldly) Put her in Someplace! MARY. I'm sorry ... I didn't mean it to sound uncaring ++. NORMAN (The coldness. tum . . ing to tight tury) What do you know about caring? Have you evor seen one of those pleces? Inside? Langiting and tears and crucl eyes studying You ss. and my mother there? “Why? Has she harmed you? She's as harmless 68 ... one of these stuffed birds. MARY 5 Lam sorry. I only felt... it seemed sho was hamming you. I meant ver ORHAN (High fury now) Well? You meant well? People always mean wall, they cluck their thick tongues end shaice their heads end suggest so ve. delicately that ++. The fury suddenly dies, abruptly and completely, and he sinks back into hia chatr. Ynere is e brief silences Mary watches the troubled man, 1a alnost physically pained by his anguish. NORMAN (Quictiy) I've suggested it myself. But I hate to even thin She needa mo ee. an (Looks up with a childlike plea in his eyes) eesit fan't as if she were a maniac, @ raving thing it's just that somotimes she goes a@ little siad. We all go a little Wad sometin a. Haven't you? (Continu#9401 PSYCHO : Age a) 103. (Cont'd) MARY (After a long thoughtful pause) Yes, and just one time can be enough. (Rises) a Thank you. NORMAN (Cheerfully, correcting) Thank you, Norman. c MARY Norman. NORMAN You're not going to ... to your room already? MARY I'm very tired. And I'11 have along drive tomorrow, All Ca the way back to Phoenix. : NORMAN Phoenix? MARY I stepped into e private trap back there -- and I want to go back and ... try to pull myself out. (Looking close . at. Normen) Before it's too late for me, ‘ toos NORMAN (Looking et her) Why dontt you stay a little while, just for talking. MARY I'd like to, but s+. NORMAN . Alright. I'll see you in the morning. I'll bring you break= fast. What time will you e+ cS Le MARY Very early. Daun. VerAKo103: Oe 105. 01 PSYCHO a 50, (Cont'd) NORMAN Alright, Miss... (He has forgotten her name) MARY Grane. NORMAN That's ite (He frowns, as if ‘bothered by not being able to match the namo to the memory of the name in the registra- tion book) MARY Good night. She goes out of the parlor. We see her, from Norman's viewpoint, as she crosses the small office, goes out into the night. Norman turns and looks at the table, and we see his face now. It is bright with that drunken-like look of determination and encouragement and resolve. He starts to clean up the table, pauses as he hears the closing of Mary's door in the cabin next door. He holds still, listens, He goes into the office and looks at the book. C.U, = THE NAME "SAMUELS" M.S. ~ NORMAN He goes back into the parlor with a mystified expression The sounds of Nary moving about her. rocm come over, soft SOUNDS, somehow intimate in the night quiet. Norman turns his ear from the direction of the SOUNDS, seems to be fighting an inpulse to listen, or more than listen. But slowly, he Is forced to surrender to the impulse and, resisting himself, he goes to the wall, presses the aide of his head against it. The SOUNDS cone louder, as Af we too had our ears pressed against the wall. Wow Norman locks at a picture hanging on the far end of the wall he is leaning against. .Slowly he starts toward it. He reaches it, touches it, reluctantly lifts the small frane off the wall. : A tiny circle of light hits Norman's face, coming from the hole in the wall benind the picture. This ond of the room is very dim and thus we are able to see clearly the light striking Normants face.105. 106. 107. 108. 109. : no. nie na. #94OL 2 PSYCHO Sle (Contd) We move close to Norman, extremely close, until his profile fills the screen. The tiny spot of light hits his eye. See the small hole through which the light comes. Norman peeps through. NORMAN'S VIEWPOINT Through the hole we look into Mary's cabin, see Mary undressing. She is in her bra and halfslip. She stoops over a bit, places her hands behind her upper back, begins to unhook her bra. ’ i NORMAN - ECU ' He watches as Mary removes her bra. We see his eye run up and down the unseen figure of Mary. NORMAN'S VIEWPOINT : Mary, just slipping into a robe, covering her complete nudity. NORMAN He turns from the hole, faces us for a moment, continues turning until he can look out the small parlor window. ' We see, as he sees w+. THE HOUSE IN THE BACKGROUND NORMAN He turns his face eway, quickly, resentfully. In his face we see anger and anguish. And then resolve. Quickly, precisely, he rehangs the picture over the hole in the wall, turns, starts out of the parlor. We see him go through the office and out onto the porch, not even bothering to close the door behind him. cur TOs EXT. THE MOTEL OFFICE PORCH ~ (NIGHT) Norman walking along the porch, in the direction of the big house. Once on the path he pauses, looks up at the light in the bedroom window, then pulls himselfoe 12, wb. 1h. #9402. PSYCHO — 52. (cont'd) up, squares his shoulders, strides manfully up the path. CANERA follows behind hin. He opens the door of the house, enters. We see him pause at the foot of the stairway, look up at the bedroon door just at the head of the stair. He holds for a moment, and then bis resolve and courage evaporates. His shoulders slump, sadly, mournfully, He bypasses the stairs and slowly makes his way to the kitchen. At the far ond of the hall. He enters the kitchen, drops wearily into a chair, After a moment, he stretches outa leg and gently pushes. the kitchen door closed. cur TO: INT. MARY'S MOTEL ROOM - (NIGHT) Mary is seated at the small desk, engrossed in figuring ina small notebook. We see from these figures a calculation which indicates her intention to make a restitution of the money she nas used of the forty thousand dollars. We see, too, her bankbook. The paper reads thus: top figure, 40,000} cfrectly beneath i+ 500, the amount used for the new can; totel after Subtraction, 39,500. In another spot we sec a figure which matches the balance in her bankbook; 624.00. Beneath this is the figure 500, and the emount after subtraction, 124.00. She studies the figures, signs, not wearily but with a certain satisfaction, with tae pleasure that comes when one knows that at any cost one is going to continue doing the right thing. after a moment she tears the page out of the notebook and, rising, begins to rip it into small pieces. She goes into the bathroom, drops the pieces into the toilet dowl, flushes the toilet. Then she drops her robe and steps into the tub and turns the shower on. INT. MARY IN SHOWER Over the bar on which hangs the shower curtain, we can see the bathroom door, not entirely closed. For a monent we watch Mary as she washes and soaps herself. There 1s still a small worry in her eyes, but generally she looks somewhat relieved. Now we see the bathroom door being pusned slowly open. The noise of the shower drowns out any sound. ‘The door is then slowly and carefully closed. And we see the 11-10-59 (Cont inusd) +115. 116. 7. 18. PSYCHO #IYOL 53. (Cont'd) shadow of a women fall across the shower curtain. Mary! s back is turned to the curtain. The white brightness of the bathroom is almost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside. cur TO: MARY - ECU As she turns in response to the feel and SOUND of the shower curtain boing torn aside. A look of pure horror erupts in her face. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knife. The flint of the blade shatters the screen to an almost total, silver blankness. ‘THE’ SLASHING An impression of a knife slashing, as if tearing at the very screen, ripping the film. Over it the brief gulps of screaming. And then silence. And then the dreadful thump as Mery's body falls in the tub. | REVERSE ANGLE . | The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one flicker of a glimpse of the murderer. A woman, her : face contorted with madness, her head wild with hair, as if she were wearing a fright-wig. And then we see only the curtain, closed across the tub, and hear the rush of the shower water. Above the shower-bar we see the bathroom door open again and after a moment we HEAR the SOUND of the front door slamming. cur 7 THE DEAD BODY Lying half in, half out of the tub, the head tumbled over, touching the floor, the hair wet, one eye wide open as if popped, one arm lying limp and wet along the tile floor Coming down. the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAMERA MOVES away from the body, travels slowly across the bathroon, past the tollet, out into the bedroom. As CAMERA approaches the bed, we see the folded newspaper as Mary placed 1t on the bedside table. 11-10-59#9402 PSYCHO : She 119. CLOSE UP - THE WEVSPAPER beside the bed. The CAMERA now moves away over to the window and looks up to the house, and as it gets there we HEAR, coming from within the house, the SOUND of Nomaents fearful, shocked voice. NORMAN'S VOICE Mother! Oh God, what «.. blood, blood ++. mother +f We cannot entirely distinguish these exclamations. After a moment or two of silence, Norman emerges from the front door, dashes down the path toward the motel. QUICK cUT TO: 120. EXT. THE PATH - (NIGHT) Normen is coming AT CAMERA, running head-on. He dashes into an extreme close up and we see the terror and fear ripe in his face. CAMERA PANS as Norman races past, holds as Norman runs to the poreh and quickly along it and directly to Mary's room. wl. Norman pauses @ moment in the doorway, glances about the room, hears the shower going, sees the bathroom door is open. He goes to the bathroom, looks in, sees the body. Slowly, almost carefully, he raises his hands to his face, covers his eyes, turns his face away. Then he crosses to the window, looks cut at the house. Shot is so angled that we see the bedside table with the newspaper on ite After a moment, Norman moves from the window, sinks onto the edge of the bed. 122, FRESH ANGLE - BEHIND NORMAN Norman sitting on bed, the bathroom in b.g. of shot. We ean see only the hend of the deed girl, lying along the tile floor. Norman presses his eyes, fights to fing a way out of his dilemma. Slowly, a kind of settling cones upon him, the peace that comes with decision. Norman rises, goes to the window, looks out, and then, with resolution, closes the window and draws the curtain across it, Then he crosses to the front window, facing the porch, ani draus those curtains closed. Then he switches off the bedroom light, leaving the room lit only by the spill from the bathroom. He opens the front door, - goes ov 11-10-59123. Wh. 125. 126. #9YOL . PSYCHO 55. EXT. THE MOTEL PORCH - (NIGHT) Norman comes out of Mary's cabin, closes the door care- fully behind him, goes along the porch to his office, goes in, We stay outside. Immediately, the "Vacancy" sign goes off, and then the motel sign goes off. AS CAMERA GOES closer to the office, the lights within go off and we HEAR a closet door opening and then the SOUND of a pail being picked up. Noman comes out of office, closes door, looks cautiously about, goes along porch, carrying pail with mop 1 in it, goes into Mary's cabin, closing the door after him. j TNE. ARY's capmH | With the paper in the foreground, Norman enters. We can see him in the dim spill of light. He pauses by the door, | then gathers his strength and goes into the bathroom. we HEAR him set the peil on the tiled floor, and then we HEAR the shower being turned off. And there is. total silence. CANERA MOVES FORWARD so that we can see into bathroom, CAMERA is so ANGLED that we see Norman only from the waist up. Quickly and deftly he unhooks the shower curtain, emerges with it into the bedroom. CAMERA PANS down end we see him spread the shower curtain on the bedroom floor, just outside the bathroom door. He spreads the curtain so that one end of it comes up against the bathroom thresnold and slightly over and onto the tile floor. Again he goes into the bathroom and CAMERA TILTS up so that we see only the upper half of Norman. He works carefully, with his ems extended away from his body, slowly pulls the dead body out of the tub, drags. it across the tile floor and onto the spread-out shower curtain’in the bedroom. Having arranged ; the body, he straightens up, examines his hands, sees blood stains on.them. He returns to the bathroom, goes to the hand-besin. CLOSE SHOT We see his hands being washed, see the bloodstains being diluted and washed away by the gush of the faucet water. NORMAN We see Norman sheke his hands free of the water, then turn to the job of cleaning the bathroom. He places the pail in the tub, runs water into it, dips the#9401 . PSYCHO ey Boe 126. (Cont'd) mop in, swabs the tile floor, With a towel he wipes off the wall over the tub and the edges and sides of the tub and even the shower curtain rod. Then he takes a second towel and goes over the cleaned areas, carefully drying them. Finally he rinses and squeezes out the mop, empties the pail, cleans out the tub, and goes out into the bedroom, , 127. INT. MARY'S BEDROOM , Norman steps carefully around the unseen body, crosses to the desk, starts. going through Mary's handbag, in search of her car keys. He suddenly notices them lying on the desk, where he'd thrown them after parking her car. He | picks up the keys, crosses the room, goes out. 128. EXT, THE PORCH We. see Norman pause at the door, check cautiously, then hurry ecross the porch and into Mary's car. He circle~ turns the car, so that its trunk is backed up to the poreh, directly opposite Mary's door, as close as it can go. Then i) he alights, goes to the trunk, opens it with the key and, leaving the trunk lid raised, goes back into the cabin. 129. INT. MARY'S ROOM From a raised angle, we see Norman bend down and begin to wrap the shower curtain around the body. We see the edges of the curtain as they are raised and laid down again. Then he picks up the wrapped body, crosses to the doom, uses his foot to pull the door open, and, leaving the door open behind him, goes quickly across the porch and gently Jays the body in the trunk, He closes the lid then, but does not lock it. He cones back into the cabin, closes the door completely, flicks on the light. Again the newspaper is in the foreground. For a moment he pauses, closes his eyes against the realization of what he is doing, then quickly pushes all thoughts away, continues with his work. ‘With the room lighted, ne now proceeds to gather up all Mary's articles and toss them into the suit- case. He checks all drawers and the closet, gets down and checks under bed and bureau, goes into the bathroom, checks. that room again, comes back into the bedroom, looks about carefully, spots Mary's handbag, throws even that into tne suitcase, is finally satisfied that all traces of the girl 11-10-59 (Continued)129. 130. 131. #9402 PSXCHO ST. (Cont'd) are gone from the room.. Then he closes Mary's suitcase, picks it up, With his free hand he picks up the pail, in which are the mop and the used towels. He crosses to the door, switches off the light with his shoulder, pulls open the door, starts out. EXT. THE POR! As Nomen stands in the doorway, he is suddenly ani blind- ingly lit by the bright headlights of a passing car. The flash of the lights and the SOUND of the SPEEDING CAR are over ina flicker of a moment, but it takes a few seconds for Norman to regain his former tense composure. Then he goes to the car trunk, raises it with his foot, throws the suitease and the pail into it, slams it shut. He pauses a moment, then realizes he has left the bathroom light on in Mary's cabin. He returns to Cabin. As he enters, his eye is caught by the newspaper on the bedside table. He goes to it, takes the newspaper, and looks once again into the Dathroom. His glance goes right over the toilet bowl. He turns out the lights, crosses the darkened cabin, soos out onto'the porch. He reopens the trunk, tossos in the news- Paper and closes it. He goes around and jumps into the car and starts away. We HOLD on the trunk, follow it for awhile, then DISSOLVE TO: EXT. THE AMP - (NIGHT) The car pulls away from a CLOSE ANGLE on trunk and as CAMERA HOLDS we see that we are now in a swamp areca. is quiet except for the irritating noises of night insects. Norman stops the carat the very edge of the swamp, turns off the Lights, gets out, leaving door open. He looks at the swamp, seems doubtful of its ability to swallow up the car, real- izes he has no choice. He leans into car, releases the emergency brake, starts to push. The front of the car be~ gins to roll into the swamp. Suddenly there {s the LOW, THROBBING SOUND of a motor. Norman freezes, listens. ‘The SOUND grows louder and Norman realizes it is an airplane flying overhead, The car is rolling quickly now. Norman jumps away, slams the door shut, stands tense, The SOUND / of the plane overhead grows louder. Norman locks up. 11-10-50qh PROD, #9401 PS¥cHO FADE IN: (AFTER TITLE) EXT. PHOENTX, ARIZONA - (DAY) - HELICOPTER SHOT Above Midtoim section of the city. It 1s early afternoon, a hot mid-sumer day. The eity is sun- bDlanchodwhite and its drifted-up noises are muted in their own echoes. We fly low, heading in a downtown Girection, passing over traffic-clogged streets, parking lots, white business buildings, neatly patterned residential districts. As we approach downtown section, the character of the city begins to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit-and-vegeteble markets, old municipal buildings, empty lots. The very geography seems to Give us a climate of nefariousness, of back-doorness, darz and shadowy. And secret. We fly lower and faster now, as if seeking out a specific location. A skinny, high old hotel comes into view. On its exposed brick side great painted letters advertise "Transients-low Weekly Rates-Radio in Every Room." We pause long enduga cto -escaolisn the shoddy character of this hotel. Its open, eurtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels, We move forward with purposefulness toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sili, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame 4s in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full siip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays @ certain inner-tension, worrisome conflicts. She is MARY CRANZ, an attractive girl nearing the end of her twenties and her rope. A man stands beside the bed, only the lower half of his figure visible. We hold on this tableau for a Jong moment, then start forward. As we pass under the window shad CUT TO: 1i-10-59133. 13h. #OYOL PSYCHO 58. : NORMAN'S VIEWPOINT - THE BLACK SXY We see no plane. The SOUND of the motor 1s beginning to diminish. CUT BACK T0: NORMAN We sce the relief in his face. He looks at the car. More than two-thirds of it have alrvady sunk into the swamp. The trunk alone seems to hold poised above the sand and slime, as if refusing to go the rest of the way. Norman begins to panic, he steps dangerously close, pushes with his foot. And slowly the car sinks, until finally it 1s gone and we hear only the gentle plop of the swamp's. final gulp, and see only the small after-bubble, like a visual burp. Nornan waits a moment, thon begins stamping out the tire marks, so obvious in the wet ground around she swanp. He stamps and drags his feet over the markings as wer DISSOLVE 7 CLOSE UP NORMAN stending on the porch of the motel, leaning agai a post. He is staring out into the night, a look of guarded, casual innocense on his face, as if ne were taking one last moment of peaceful night air before retiring. Then he glences down and CAMERA follows his gaze. A hose is lying on the ground outside Mary's cabin, its strean of water obliterating the tire marks. After a moment, Norman's hand comes Ante shot, picks up hose, places it in a new position, As CAMERA PULLS BACK, we see that the water fron the hose has erased and rearranged the road markings so that it would be impossible to tell that a car had been parked here. After a short wait, Norman goes to the hose~faucet, turns it off, unacrevs the nose. As he rolls the hose, he walks eway from the spot, past the office, heading for the pata that leads to the house. He goes up the path, pauses at the steps of the house, tosses the curled hose onto the lawn, goes up the steps and into the house. CAMSRA FOLLCWS him in, PAUSES as’ he pauses at the foot of the stairs. Norman goes up the steizs. On the lending he stops. The door to his mother's room is closed. Lying ina heap outside the door are a diood-stained dress and @ pair of elderly-woman's shoes. From an EXTREMSLY HIGH ANGLE, we look down on Norman as he bends to pick up the Stained dress and shoes,138. 136. thes a8. Rev. PSYCHO #9401 59 (Cont 14) He rolls the shoes into the dress, tueks the small, neat bundle under his arm, end starts dow the stairs, heading for the basement. EXT, A LONG SHOT oF THE op vouse - (NIGHT) It_ stands silhoustted ageinst the sky. There is a@ long wait. Thon, slowly, a curl of smoke comes out of the chimnoy, FADE OUT: FADE IN: be. BACK R ROOM OF SAM'S YARDYARE STORE IN ah Z) Sam'is seated at his desk, writing a letter: Sequence begins with CALS2A IN CLOSE, over Sam's shoulder, and we can read as much as he has written of the letter, The lettertead reads "San Loomis - Hardware,” and the letter read: "Dearest ae Mary: Iim sitting in this tiny back roon vhich isn't oig ono r both of us, and suddenly it looks big enough for both of us, So what if welve poor and cramped and miserable, at least wetll be happy! IP you haven't come to your senses, and still vant to CAMERA begins PULLING AVAY as Sem turns the sheet of paper over, continues backing avay ous of the small beck room end beads, bacisiards, dowm She corridor of the hardware store. As it goes past the counter, we see a FOURS c Kk, BOB SUIPEPFIELD, Sants assistant, sta: pehind the counter, a Yook of handsoms patience on bis face. He is waiting on a meticulous, elderly woman customers who ig holding and exenining a large can of in- secticide, As CAMERA PASSES: WOMAN CUSTCIER see They tell you what its ingredients are ond how it's guarenteed to exter- ninate eny insect inthe world, out they do not tell you whether op not it's painless, And I sey insect or men, Goath should always be painless. CAMERA, by this tine has reached the front door. 1241-59 (Continued)136. thru 138. #9401, (cont'd) of the hardware stove 2nd we now see a girl standing just.inside the dcor. Ske is an attractive girl with @ rather definite manner, 2 lcok of purposefulness. She carries a handzag and 2 small overnight case, She : is Mary's sister, LILA CRATE. Bob Summerfield has noticed Lila, smiles brightly at her, givee her an tT! withayou-in-a-moment nod. 1Ala sterts te walk toward Sh ter, never taking her eyes off Zod. As » Bhe asks quietly: sem? [ : \ SUINERETELD ' You want to see Sem? SILA : Sam Ioomis’, SUMMERS TELD Pa back room) te see youl + sam! IAla looks to th man customer zoes on worrtedly e: of the insecticide can Sam comea to ria room, pauses, looks at Lil: a monent, stz: er, his expression indt- eating that he Lila studies hin with a quiet, wo SAM Yes? LILA . May I talk to you? SAM (a bit mystified) sure... Lila glances at the cvstemer and the clerk, turns, starts toward the frent of Sam holds a moment, thea follows. As he vee gurns, her eyes study- ing him’ intently ea I'm Heeg's sis ala. Rev, 12-1-59 (continued)#2401 6. 136. (Cont'd) thru 138, (quick: is Kary bo: Sam is mystified, and fs diz0 aware of the worried; hostile exprscsion on Eila's face. He studies her for a quiet mezans. ind them ia 2 displey of varicus size carving knives, aa Is semething wrong? Ista - Twsny to kmew if ny sister ie here. SAN Beret IBA With you. sat where? EDA I dentt know whexs, Ia your store, Somsvhers dn your town ... anywhere. SAH What's the fatter? zi Loa Don's you knew? As. Sam is avout. ts sresk, the Horan Customer comes sailing past, epeiking 26 she goes. and wearing a satisfied suile. MOHAN CUSTOHER All I can do t2 hope 16 4 dan't painless, it! ok" with a kind of deltofous bite the store, Sam is now She speaks "q. happily, gcat en cut epprehensively at Linz. (continued) Rev. 12-1-59S a 136. (Cont! 2) Tera 138, #91,03. S24 What should T know? LILA To begin with, where Mary ts, Do you? SKI No, I take it you don't either? (As Lila sakes her head) How long? LITA . Last Fridey, The left work, and hom... Iwas in Tuoscn over the weekend i haven't heard phone call. shea coms up she had, what 2 have for not here, to me reasen would 4 good reason, I suppose, San ly exasperated) és nk, wa eloped ig? Or welre living in LILA Me, Leonts, yo 2 so busy being ou haven?t even reacted t ost serious fact of all, say Iwas getting to thati LILA What do you know about it? Say Nothing: Yeutre putting me on the defensiy LILA Look, if you two are in this thing together, I donty care, itts none (Soutvinue, a )136. Thea 336. (cont'a) LILA (con But i want he: of my vastness go back to Phoenix and #okoL tid) T want to right and it's + Then INL She stops, she anxiety and fear bubbling up in her, her eyes beginning so Sill with studies her for Bob? fun ovt and get ys seme lunch. It's exay, Sam, X doovs Bob gets the bth Sam goes cle : Keo orried tears, Sam rough the back way. ith soft seriousness, (Takes out hankie) SAI Io Mary .., in trouble? LILA Yes. s. me .., call Kot thas-kind ... why didn't she coms to (continued) oy136. Thru _ 18 REV. #9402 (Cont'd) Lita (conta) (Alnaat = Sntla} You non ani your egas. (Sextonsty) Never mind ry em, Let's talk about sory. Their attention 13 quietly inte ti them, gees 20h “CLOSED. #CR_ hangs the sign 22: turns to San and erly untriondly ot: strated by a ran who has strolied Se ignores them, welks past , tskes down a sign reading ask to' the door, closes door, door wintow, locks the door, in hie.arms, smiles‘ a particu. AREOCAST Jet's all elk shout Mery, SAY Whe ave you, friend? moCAST Milt agkegast, Private Investigator. (ie bite} Where £3 she, #125 crane? = EIA T don't loos you, : anzocast Wenlin't havo been able to. tail you -4f-you dic. SAM Watts. your antoress? ARYOGAST Money, There ts a monent's silence and then, unable to tolerate the sudden frightening hefpenings, Sam explodes. 1 me what's 2. fast! ‘ang then... Somebody bets: going on ant cen take se ainly) te forty 21-59 (oontinues} a136. (Cont!a} FEV, 2 al-5 #9401 65.. AREOGAST (Cont'd) thousand-dollars. Sam locks at Arbogast in utter shock and in that state asks one of those seemingly ridiculous questions, SAM why? ARBOGAST (An almost amused smile) Must've needed it, “ Sau What are you talking about? (To Lila) What is this? LILA She was supposed to bank it. on Friday, for her boss, Shoe didn't, And no one has seen her since. ARBOGAST (Locking at Som) Someone has seen her. Someone always secs a girl with forty thousand dollars, (To Sem) She is your girl friend, isn't she? LILA. Sam, they don't want to prosecute, they just want the money back. It was all in cash . ARBOGAST (Correcting with Cassidy's word) Casharoonie} LILA Sam, if she's here . SAN She isn't} A real look of anguish cones into Lila's face, And Arbogast studies it, then speaks. (Continued)1%. Phra 135. PSYCHO #gho1 (conta) ARBOGAST You came up here on a hunch, Nias Crane? Nothing more? No phone cail .., from him, or from your sister herself? LILA (weart Not even a hunch. Just hope. AREOGAST With a little checking, I could get to believe you. - (anxiov I don't care I want to see Hary ... before she gets. in any deeper .... San Did you check in Phoenix ... hospitals maybe she had an accident ... a hold-up ... ARBOGAST She wes seen leaving town in her cer, Seen by her very victims, I might add. SAM (after a moment) I don't delievs it, {to Lila, slowly) Do you? LILA (a thoughtful pause) Yes ... I just... did. ‘the moment they told me ... SAM 5 You might have doubted for, say five minutes or so, Sister. 66. Lila turas fron Sam, a flush of guilt and regret in her face. Arbogast locks at her, quite sympathetically, aRogas? We're alvays quickest to doubt people a record for being I think she's heme, Miss crane. ‘here there's a. boyfriend . (Continued)#901 67. 126 (Cont'd) thre 138. ARBOGAST (Cont'd) (Trails off, miles encouracingly) She won't be bask shere among the nuts and bolts but she'll Hl be inthis town mowhere. i I'll find her. He nods, tekes down the closed-for~lunch sign, sails it to the counter, opens door, goes out into the street, After a quiet moment: LILA ’ T gust listensd ,..and believed everything they told me. ‘She stole the money.' "le don't want to get her in trouble,' 'No don't bring . the police int... : SAH It was her boss! idea not to report it to the police? IIDA : : . Wo. The mar whose noney she. S he talked so loud end fast, and Iss. I shouldive called the police. : SAI He mist have had a darn good reason for wenting them kept out of it ... ALL that cash v4. LITA » I ought to call the police right ‘ now} ° SAIL Wo. LILA Why not? San, is she biding here? Are you two platting to go aay with’ the money? By (Cont inu |136 (Cont'a) thre : 138 How sould 7 debe wp te Sitloe 35 : : -grulty of ‘then fees If she did steal It's bard to because it's hav? cc #3 why sho would, Unless ies rai som wild Adee thet it world Belp m oo. ws. wove site Ghd IIL . She hesm't avenabied. sou? San Latent see atdntt-hear fx thatl LITA I need-to .., 2 somethirg. time. Tive.s anything I Salt You've led a cies? No. I just can. be ex: doing at! Iedon't, iano {A rue? I cene fiying to got sore 3 ying to get in he, 2h home. It@ better go ic: . sh (Continued)S #5401 68a, SAH (Cont'd) Why don't you stay bere, When she shows up ... cr calls se. be here. LILA (A long study, ber suspicion of hin evaporatins } You want me to stay here? SAR She!11 mood ot of Use . EILA (considers, then:) Where ... can I stay? First rate hotel, £: the street. Com o! (as be reach: closed-forelum After we check Fou In welll go to the drugstors and sandwich, Then we hore,,,and wait, - He bangs the sien or the door, ushers Lila out, closes door behin: tim. 7 cur to: « 20.1-59= Ree 139. 140, wa, 12. 143. ah, 145. PSYCHO #9401 69, EXT, STREET - (DAY) They emerge from the store and walk along to the hotel. As they enter, Arbogast is in the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look. DISSOLVE TO: EXE, Hower - (DAY) Outside another hotel we see Arbogast alight from the t white car and go into this new hotel, DISSOLVE TO: , EXT. COUNTRY! - (Day) The white car speeding along the highway, DISSOLVE 10: EXT, NEW MOTEL - (DAY) Arbogast going into the office - we see the sign above him. DISSOLVE TO: EXT. BATES' MOTEL = (DAY) A high shot showing the freeway and Bates house and motel on the side old highway. A pause and then across the bottom of the picture a white car speeds by on the freeway. DISSOLVE TO: EXT, HOTEL ~ (DUSK) Another Hotel. Arbogast goes in. DISSOLVE 70: EXT, BATES! (Dax) The white car speeding along the freeway again going in the opposite direction to last time. Norman, a tiny figure, is seen going up the steps to his mother's house. 12-12-59146, 1a. 148, 149, 150. #9401 70, DISSOLVE 10: EXT, BOARDING HOUSE - (DAY) Arbogast‘s search is getting down in the scale, This is an entrance to a cheesy boarding house. "Rooms to Rent", ete. He looks at his list and then goes in. DISSOLVE TO: EXT, BATES! MOTEL - (DAY) The white car gces by on the freeway again. DISSOLVE TO: EXT, ROOMING HOUSE - (DAY) Arbogast goes in. DISSOLVE TO: EXT. BATES! i = (TWILIGHT) Heavy traffic on the freeway, A beat or two - again the white car, It slows up opposite the distant motel. It makes & turn and goes back out of scene. A pause and tt reappears on the old road and slowly makes its way towar the Bates! Motel. EXD, HE BATES' HOUSE AND MOTEL - (TWILIGHT) We now see Normen. He hes brought out an old rocking chair and hes pleced it on the office porch and is sitting hunched in it. and he is darning one of his own socks. CAMERA HOLDS. Beyond the porch, and Norman, we can see the old house end can barely make out, in the twilight dimness, the figure of his mother seated at the window. Here, too, there is that quality of quiet peace surrounded by a vague foreboding. Now Norman looks up at the SOUND of the approaching car. And continues locking as the car comes to a stop and Arbogast gets out. Arbogast gives the place a quick once- over, gazes ot Norman, starts forward. In his step and manner there is that bored, routine-logged quality of a man who has seen too many motels and asked question of too many hotel managers over too short a period of time. Norman rises as Arbogast comes forward. WORKAW (shoving sock in his pocket) T always forget to put the sign en. bik we da have 3 wanamae| 150. isi. 11-12-59 #9401 Tl. (Cont'd) NORMAN (Cont'd) (Cheerfully) Twelve in fact. Twelve cabins, twelve vacanci ARBOGAST (pleasantly). In the past two dayzI've been to so many motels, my eyes are bleary with neon, This is the first one that looked like it was. hiding from the world at large. NORMAN I don't really forget the sign, 4t just dcesn't seen ... any use. (Points) This used to be the main highway. (Starts for office) Want to register, piease? ARBOGAST Sit dow, I don't went to trouble you, just want to ask ... NORMAN No trouble, Tcdzy's linen dey. I change all the beds once a week, whether they've been used or not ... dampness. I hate the smell of dampness. (Opening office door) It's such a denk smell. Norman is holding the door open, so Arbogast walks in, Norman follow: INT, MOTEL OFFICE ~ (TWILIGHT) Norman switches on the overhead light, starts for the linen closet, suddeniy pauses, turns, studies Arbogast, who has remsined standing by the door. NORMAN You out to buy a motel? ARBOGAST No. (Continued)- #OOL PSYCHO oO Isl. (Conta) NORMAN Oh. I thought ... you said you'd been to so many in two days .... What was it you wanted to ask? ARBOGAST I'm looking for e missing person. (takes out and opens wallet and extends it as he speaks) My name's Arbogast, private investigator... (takes back wallet when Norman doesn't look at it) : Trying to trace a young girl who!s been missing almost a week. From Phoensx. (A look et Norman! s frightened. expression) It's a private mattor...family wants to forgive hor... (smiles) She isn't in trouble. NORMAN (forcing a~ smile) I didn't think the police went” searching for people who weren't in trouble. ARBOGAST I'm not the police. NORMAN oh. He waits a moment, then opens closet, starts counting ‘out sheets and pillow cases, keeps his back to Arbogast. Arbogast takes a photograph out of his pocket, talks as . he crosses to Norman. ARBOGAS' We have reason to believe she came this way ... might nave stopped in this area ... 11-12-59 (continued)PSYCHO 151. (Cont'd) ARBOGAST! (Cont'd) (extends photograph, which Norman doesn't glance at) Did: she stop here? NORMAN No. No one has stopped here in weeks s+ ARBOGAST Mind looking at the picture before committing yourself? - NORMAN Committing myself to what? You sure talk like a Policeman. ARBOGAST. Look at the picture. Please. Norman glances, briefly, turns avay, lifts the sheets and pillow cases off the shelf holds them close, almost protectingly. NORMAN No. At least I don't recall. ABBOGASY Sho might have used an alias. - Mary Crane's the real name, but she might've registered... NORNAW (interrupting) I don't even bother with guests registering any more ... I meen, little by Little, you drop the formalities. (more relaxed, because Arbogast is listening with a pleasant smile) I shouldn't even bother to change the linen, I guess nabits die hard. Which reminds me... He goes to the wall, flips a light switch. NORMAN The vacancy sign. Just in case. We had a couple the 11-12-59 (Continued ) 736ible ror #ONOD 74, (cont'd) (Cont'd) other night, said if the sign hadn't been on ‘4 ‘have ARBOGAST How there's a couple even remariing about your Ee and see how easily you forgot o : ORME Whee? ‘You thought no one had. nile — ce oe: eae oF ars ee a stuty ¢ Deceane bits ara fare fetts check it, bunt Norman 53} dabogest goes to the desk, pulls the regis’ year owe a beak & pane or tyos Forman se Arbogast bums faintly . s the pages. ‘Thens | Anzoussr (cont'd) Peet ‘erie Samuels, Interesting und,» sn. of piper out ot nan pocket, aera, tt . deside the Signaturs in the registry book, all the infle nodding ‘and smiling nicely, a3 if this ciscovery int mle Toman of bagey- ae ie taming in <* Rrpoaase {cont'a) Don't mow whers she got "Marie," ‘Her (Continued) Rev. 12-7-59oS 152, Arbogast has reached him, the picture extended. (Cont'd) PSYCHO NORMAN I didn't lie to you. I just have trouble keeping track of oe time, Jooks dutifully at it. 12-12-59 NORMAN It was raining and her hair didn't look like that ... damped out, I guess. ARBOGAST Tell me all about her. NORMAN She arrived kind of late, wet and hungry and she was very tired and went right to bed and left early. ARBOGAST How early? NORMAN Very early. Dawn. ARBOGAST Of which morning? NORMAN The following morning. Sunday. ARBOGAST No one met her? NORMAN Now ARBOGAST Or arrived with her. WORKAN No. ARBOGAST She didn't call anyone? Sven locally? NORMAN No. Norman enA isl. (Cont'd) 3-12-59 PSYCHO 76.” AREOGAST You didn't spend the whole night with her did you? NORMAN Not Of all... ARBOGAST How do you lmow she didn't make a call? NORMAN She was tired. She said she had a long drive ahead of her, in the morning ... Yes, now I'm renembering very clearly because I'm picturing. When you make a picture of the moment An your mind, you can remember every detail. She was sitting back there, no she was standing up, with some sandwich still in her hand, end she said she hed to drive a long way. ARBOGAST Back where? - NORMAN What do you mean? ARBOGAST You said she was sitting "back there,” or standing rather... NORMAN Oh. My private parlor. She had an awful hunger ... so I made her some supper. And then she went to bed and left in the morning. I didn't even see her leave. 4 ARBOGAST Héw did she pay you? NORMAR What? ARBOGAST Cash or check? For the cabin... (Continued)oe ) 15h. (Cont'd) He ‘starts out. by the young man's openness. cur TO: - PSYCHO NORMAN Cash. ARBOGAST And when she left, she never came back. NORMAN Why should she? I'm sorry, I have work to do, Mr. ... if you don't mind... ARBOGAST Ido mind, If it don't jell, it ain't aspiot (smiles) This ain't jelling. NORMAN I don't Imow what you expect me to know about ... people come and 60 ss ARBOCAST She isn't still here, is she? . NORMAN Not at alll . ARBOGASY Suppose I wanted to search the cabins, all twelve ... would T need a warrant? NORMAN (as if pleasantly exasperated) Look, if you won't believe me, go ahead. You can help me make beds if you like. (leughs, shakes his head) Come on, BAD. THE MOTEL PORCH - (NIGHT) 77. * rbogast pauses, momentarily confused Norman walks down the porch, hesitates before Cabin One, 11-12-59 (Continued)PSYCHO 78. ° 152. (Conta) walks on a bit toward Cabin Two, stops, turns to see if Arbogast is following. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch end is standing at its edge, looking up at the old house. The upstairs window is tn darkness. The noon of tho Vacancy and Motel signs splash strange light over the scene. NORMAN : ' Change. your mind? Arbogast does not reply. Norman becomes apprehensive, starts to Arbogast, forcing himself to remain calm and cheerful. NORMAN I guess I've got one of those feces you can't help believing. - _ ARBOGAST (to Norman, but continuing to “ . stare at tho house) (i Anyone at hone? Oo : NORMAN I live there. Alone, ARBOGAST : Someone ts sitting in that window. ; NORMAN My mother, Arbogast turns, gazes seriously at him. ‘NORMAN She's ... 111. Confined to her room. It's practically living alone. ARBOGAST (after a pause) If this girl Mary Crane were here, you'd have no reason to hide her would you? ¢ NORMAN Of course not. ARBOGAST 7 If she paid you well? 11-12-59 (Continued)(Cont'd) PSYCHO 19 NORMAN 1 : Now, look « ARBOGAST Or if she bad you say «.. gallantly protecting her ... ' you wouldn't be fooled ... you'd ‘mow she was just using you. Wouldn't you? NORMAN - : I'm not a fool! And I'm not capable of being fooled! Not even by women! . ARBOGAS? I didn't mean that as a slur on your manhood. I'm sorry. WORKMAN (disturbed now) That's all right, Maybe she could have fooled me. Butwe. (a rueful smile) She didn't fool my nother. ARBOGAST Your mother mot her? - : (quickly) Gan I talk to your mother? NORMAN No. I told you; she's confined... ARBOGAST Just for a moment. She might have picked up a hint you'd miss. Sick old women are sharp. Come on, I won't disturb... NORMAN Not Just nol I have one of those breaking points like any other men, believe it or not, and I'm near it. There's just so much pushing I can teke and'I think ... ARBOGAST AlL right! starts away, toward his car, patses) Might save mee let of Log- 4f I could just talk to your Ur nettennadOL 60 152. (cont'd) mother. for Norman does’ not resp starts the motor. ier man's face, bis cun backs the. car arcu tween the old how: Wo. As he tt the porch. 10 en the + pESSOLTE 153. 354) ome 155. EXT, _PHONS oom! ~ ( The car pulls up motor. running. Az CAMERA: PULLS Ai 156. Arbogast gats to FORWARD, end from his: pockss, slot and dial ¢: CUT Tor Rey, 12-1-59PSYCHO 81. ° 2) 387. INT. PHONE BoorH ARBOGAST (into phone) Miss Crane, please. (listens) She leave a numbor? ‘ (listens) . ‘Thanks. (hangs up, dials 1 again, waits) ‘Bila there, Mr. Loomis? Arbogast. (waits) ° Lila? Look, this isn't moh, but it might make you feel a little better. Mary was up here. Spent last Saturday night at the Bates Motel, out here on the old highway. (listens) Young fellow runs it, said Mary spent the night, left, period! (listens) I did question him, believe me. I think I got all there was to get. Just have to try to pick Oo up the scent from here. we (listens) Well... maybe that's because I don't feel entirely satisfied. He's got a sick ola mother, confined type, and I think’ she- sew Mary and telked to her. But he wouldn't let me see her. Shame, too «+. confined old women love to talk to strangers. (listens) I was, but I think I'll go back to the motel, first. (listens) No, you stay pat, Lila. With Loomis. I should be back in en hour. (1istens) All right. And Lila ... You'll be happy to imow what I think, I think our friend Sam Loomis didn't even know Mary was here. (smiles See you in an hour. Or less. i \ He hangs up, gets out of the phone booth. 5 Cs DISSOLVE TO: 21-12-59ay PSYCHO 62." 158. EXT. BATES' MOTEL - (NIGHT) A distant view of the House and Motel. There is a light on in the house. There is also a light on in Norman's office. We see Norman emerge from his office and move along the porch toward the distant cabins. He carries sheets on his arm. He goes into tho last cabin and switches tho light on. Into the foreground the hood of the white Ford enters the scone and stops. Arbogast gets out. He goes over to the Motel office. 159. EXT. MOTEL OFFICE - (NIGHT) Arbogast goes in. “ 160. INT. OFFICE - (NIGHT) 160 Arbogast looks around the empty office and calls: ARBOGAST Bates! He goes over to the door to the parlor and enters. He looks around the bird-ridden room. He stops short.as he sees: 261. C,U, ~ THE OLD SAFZ Iv THS CORNER 162. C.U,. - ARBOGAST goes over to it. He finds it unlocked. With a quick, Cautious look around he opens it. . 163. 0.0, - THE EMPTY SAFE 16h. 0,0. ~ ARBOGAST straightens up and goes out. 165. EXT. MOTEL OFFICE ~ (NIGHT) Arbogast comes out and looks off. He sees: 166. ‘THE LAST LIT_cABDY The door ajar. 11-12-59267. 168, 169, 170. il. eyes 173. PSYCHO 83. ¢.U. - ARBOGAST - (NIGHT) would go along but he stops with a new thought. He turns around and looks off. L.S. - THE OLD HOUSZ PROM HIS VIEWPOINT - (NIGHT) ¢.U. - ARBOGAST comes to a decision. He goes off. U.S. ARBOGAST dashes up the stone steps to the House. MEDIUM SHOT CAMERA HOLDS as Arbogast goes up onto the porch. The house is dark within except, as we can now see, for a L faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living room windows, looks in, sees only darknoss. Then he goes to the door, listens for a long moment, hears nothing. Very slowly, almest painfully, he turns the mob of the ' door and pushes gently with his arm and shoulder. The door togins to open. He allows it to open just eough for hin to slip through and into the foyer. CUT TO: 7 INT. FOYER OF BATES HOUSE - (NIGHT) Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direction of the light, sees no one. The door at the head of the stairs is closed. Arbogast listens, holds his breath, hears whet could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he crosses to the stairs, starts up, slowly, guardedly, placing a foot squarely on each step to test it for squeaks or groans before placing his full weight on it. CAMERA FOLLOWS, remaining on floor level but TRAVELING ALONG the stairway as Arbogast makes his way up. cur TO: INT. STAIRWAY AND UPSTA S LANDING - EXTREMELY HIGH ANGLE 11-12-59lhe PSYCEO (Cont'd) Same angle as that used at the FADE OU? at the end of Scone #43. We see Arbogast coming up the steirs. And now we see, too, the door of the mother's room, opening, carefully and slowly. As Arbogast reaches the landing, the door opens and the mother. steps out, her hand raised high, the blade of an enormous mife flashing. C.U. - A BIG HEAD OF AN ASTONISHED ARBOGAST ‘The Imife slashes across his cheek and neck. Blood spurts. The sudden attack throws him off balance. He stumbles back and staggers down the whole of the staircase. He frantically gropes for the belustrado as he goes backwards down the stairs. The CAMERA FOLLOWS him all the way. A wicked Imife keeps thrusting itself nto the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the foreground as the CAMERA NOVES IN to contain the raising and descending murder weapon. PADE our.ron 175. a #9402 PS¥CHO FADE IN INT. BACK ROOM OF HARDWARE STORE - (NIGHT) Lila is sitting close by the phone, and looks as if she hasn't moved from ib in the last hour, Sem is pacing, occasionally stopping at the window, glancing out, pacing agein. The ash tray close to Lila is filled. There is e thick atmosphere of smoke, tension and weariness in the small, otherwise cozy Foon. . SAM, (at window, quietly) Sonetimes Saturday night hes a lonely sound. Ever notice, Lile? LITA (unable to keep up small talk) Sam. He said an hour, Or less. SAM It's been three. Tia Are we Just going to go on sitting here? SAM (suddenly cheerful) Hotll be back, Let's sit. stil. and bang on, okay? - EIA You have an awfully nice habit, San. SAM Hundreds! Which one is your pet? / | STA Whenever I start contemplating the panic button, your back straightens up and your eyes get that God-looks~ out~for-everybody look and... I feel better, I feel better when you feel better, TATA . {a peuse - then she Yiszos) Teta aha ta hd hare? [Pantinnad’| Psycno #9401 86. 1756 (Cont'4) SAM You want to run out there, bust in on Arbogast and the sick old ledy, shake her up and maybe spoil everything Arbogast's been building for tho last-three hours. LILA Yes. SAM That wouldn't be a wise thing ‘to do. : . ‘LITA Patience doesn't run in our family. Sen, I'm going out there! 7 sam Arbogast said... EIZA _Anhowr! or less! Sam stares at her, frowns in concern over her very real anxiety, goes to the phone, dials operator. SAM (into phone) 7 Got the number of the motel gut on the od bighway? Bates, I think. (waits) "prt Sam! Why call when we can go? SAM And maybe pass Arbogast on the road? (into phone) Thanks, He presses down the receiver, releases it, dials the Bates Hotel, The faint other-end ringing tones oan ve heard, repeatedly, annoyingly. He waits. SAM (to Bila) Probably on his way back right now. a LILA Sen, I'm going. (continued)J Y 175. L75-A. 176, 177. PSYCHO #9403 87. (Cont ta) sa (hangs up and picks up bis jacket) You'll never find it. He starts for the door. Lila follows after him into the store. INT, STORE He pauses halfway down, turns, puts his hands on her arms, ° SAM Stay bere. LILA Why cantt I go out there with you? - sat (looks at ber) I don't imow, = (he collects himself) One of us has to be bere incase Arbogast's on the way. "urna (nervously) Just wait here? SAM (a. warm smile) Contemplate your ....panie button. He hurries down to the street door and out. CAMERA HOLDS on Lile as she stares after Sam, As she stands alone in the darkened store, all the hardvare seems to take on sinistor shapes. ou Among some bathroom fittings a nozzle from a shower falls onto the floor. MEDIUM SHOT Bila turns and picks it from the floor and puts it back in its place. She turns and egain looks to the desertod street with a touch of anxiety. She gives @ slight unconscious shiver. DISSOLYE To:cs? 178. x 179. Oo oO 180. 181. 162. PSYCHO #9401 88. EXD, THE SuvAMe - (NIGHT) Pall and lonely and still against the moonlight, the figure of Norman, silhouetted, He doesn't move, merely stands there at the edge of the suamp, staring down at the now calm and quiet face of it. cur To: . EXD, THE MOTEL AND HOUSE - (NIGHT) All lights are out, except the light in Norman's mother's room. And her figure cen be seen sitting in the window, relaxed in a bigh-back chair, her face turned into the room. After a second, we hear the SOUND oF A MoTOR, and then-San's small pick-up truck swings into the driveway, Sam stops the motor, automatically switches off head- Lights, pauses as he observes the silence and dark- ness of the area, Then he hops out of the cab, goes quickly to the office, knocks on the door. As be waits for a response, he looks down the long porch, studies the darkened cabins, knocks again, louder, looks in the other direction and sees the house and the figure at the one lit window. He stares a moment then calls loudly: : Sa Arbogast? : cur. TO: . EXD, TEE swam * The silhouette of Norman. He ts still, Over shot, very dimly, cones the SOUND OF SAH'S VOICE, calling again:for Arbogast. Norzan turns slowly until, in silhouctte, we see his profile, his chin lowered furtively as he looks over bis showider in the direc- tion of the house. ‘There is silence for a moment, and then again the SOUND of Sam POUNDING at the door: DISSOLVE 20: TMD. HARDUARE STORE - (NIGHT) The store is in darimess, only the glow from the back room spilling in. Ls. With CAMERA placod with its back to the street door,& 182. 283. (Cont'd) PSYCHO #OKOL we can see the distant tiny figure of Lila seated ang waiting in’ the back room beyond. SOURD of a car pulling up. There is a The tiny figure jumps up and runs all the way from the back room down the aisle of hardvare and comes into a BIG HEAD, Ye seo Iila's desperate anxious lool. MEDIUM SHOT il From hex viewpoint we see Samielighting from his truck and coming toward the door of the store. He enters, He and Lila exchenge quiet glances. He didn't come Sem. rita (worriedly) SA No Arbogast. No Bates. And only th © old lady at hone (frowning A sick old lady unable to answer the doo Where. c Pee. oF unwilling. LITA ould he have gone? sa. Maybe be got some definite lead. Maybe bh Without je went right on ... LIZA. calling me? SA In a hurry. Sam, he nothing LILA called me when he had definite, nothing but & dissatisfied feeling. Don't you this be bad Yes. I Lila goes qui pauses ab the the door, loo! nic he'd have called if anything... SAM (interrupting) think he would have. et, Sam starts t doormar, turns. Lila has roma nm out et the street. sard the back room, ned by Sto feels bis rent tend)283. REV, 1292-50 #O4OL (cont 'a) pause, turns, and for x “ners they stare at each other acroaz the darkened root. nM fet's go see Al Chambers. Biba Who's ha? SAN He's the Deputy Sheriff around here. As he starts fo>ware. - DISSOLVE TO: = (ira) A dark," quict, frce-coltingsé strest, the snall neat houses-dim inthe moonii2nb. Sam's pick-up truck eomes down ths strest, filis up before the house: of Sheriff Gharbsre. SMMAA HOvES. IN ou Sam end Lila as they! revatio for 4 ac in the truck's cab, staring quietly at the slesning houre, Sat Our Deputy sleers. Bra Well? . San st +e. al) the lights Gbe asleep. Es aha (a sali arzszeration) Does thet mean v2 2an!% +. No, Tim just.y Poop: in the Come on. He gets out of cat, 4s already out. path to the fron Both he and iti: shocking, <. within the fire alarm than 4 docr’ Think Etat 90.le 185. #9403, (Conta) i. He tries to axils, f: doesn't-even try. The downstairs hait 1irht on end = moment leter the door is unhesitatingly opened ty BRS, CHANBERS, a email, 1: van wrapped in a thick flannel’ pobe and a corona of hospitality. RRS, CEANDERS oh? SAW Sorry, tvs, chanters. I hate bothering yor wy RS, CHANGERS You digatti (a crozs. look up at the bell} It's tinkeresil. (a quick side. ab ita) Al wants to be sure he'll hear At Lf anycne rings 16 dnt As she opens the door » our 70: WMSTATRS ALL CF SuSRSIE Ss YOUSE = (NTOHT) LILA I didn't. I got a Job, too, (A pause) I wonder if that nurt her, ny not letting her sacrifice for me? Some people ere so willing to suffer for you that they suffer more Lf you don't let them, SAM (Almost to himself) She was willing to lick the stamps. Lila looks quizzically at him, 18 too concerned to pursue ih. LILA I nonder so many things about her now. Why she never told * me about you .,. Funny, when you think there's an answer to everything, you think you know all the enavers, SAM We were soing to get married,PSYCHO #9ho1 106... oy 190. (cont'd) ‘LILA Do you know how I found out ‘ about you? I found one of your letters ... it was a nice letter, Sam. 7 SAM ' This is the old highvay. LILA Z suppose ... when you were able to marzy her she'd have : presented you, all shiny and proper ... she always tried to be proper. SAM Wateh your tenses! LILA : Huh? saM She aliays tries to be proper. Sam. slows the truck to a stop, sighs, starts to light up a cigarette. [ila looks questioningly and impatiently e¢ hin LILA You going to wait here for 5 me? SAM I'm going with you. But weld ; better decide what we're soing to say and do when we walk in... LILA We're going to register. As man and wife. And get shown to a cabin .., and then search every inch of that place, inside and .., outside. SAM You won't believe it .., REV, 11-23-59 (continued)190. igi. 192. 193. 11-16-59 #9402 PSEOZO 107. (Conta) SAM (Cont'd) (starts motor But this will be the first time I've ever pulled one of those man-and-wife-renting-cabin capers! LILA (A tiny smile, first in hours) I believe is, As truck starts to drive on, c cur TO: EXT, THE BATES MOTEL AND HOUSE - (DAY) The place 1s empty and silent and washed dirty by the deep gray of the cloudy sky. We see Sam's truck turn- ing into the driveway and pulling to a stop. After a moment, Sam and Lila get out of the truck. FRESH ANGLE Close on Sam and Zila as they meet on the porch side of the truck, The motel office and the house beyond can be seen in b.g. of shot. Sam and Lila merely stare for a moment, then turn and gaze‘up at the house, There is no figure in the window and the shade is drawn. Same goes to the office door, peers in, knocks, opens ccor, enters, Lila remains on the driveway, beside the truck. cur To: INT. THE MOPEER'S ROOM - (Day) Close angle on Norman ctanding by the window. He has pulled the curtains very lightly apart, is staring out and down at ¢! motel, his eyes studying the lone figure of Lila, who 12 standing by the truck and looking up at the house. Norman studies her, and as her eyes look up at this very window he closes the curtains, turns away. Wa cee the suspicion and fear in his face, the surge of panic and his struggle to contain it. Then he goes avay. CAMERA remains on window, shooting out and down, and through the frail curtains we can see Sem as he comes out of the motel office and joins Lila.195. 16 PS¥GHO #9bO1L 108, EXT. MOPEL OFFICE ~ CLOSE ON SAM AND LILA SAM. (Unconsciously whispering) I wonder where Norman Bates does his hermiting? LILA Someone was at that window. I saw the curtain move, Sam takes Lila's arm, SAM, Come on. He starts with her toward the path which leads to the old house. CAMERA FANS with them, and as they turn around the office corner, they see Norman coming down the path toward them, They pause and Norman pauses. He does not smile, nor speak, His usual grin and soft friendliness are gone; containment and impassivity Me in their place. SAM (Cheerfully) Just coming up to ring for you. NORMAN (Coming forward) Lsuppose you want a cabin SAM We'd hoped to make it straight to San Francisco, but we don't like the look of that sky, Looks like a bad day coming .., doesn't it, Norman walks past Sam, giving hin the sort of quick, disapproving glance one gives a man who is obviously lying, goes onto the porch and into the office. Sam and Lila follow Norman. INT. MOTEL OFFICE - (DAY) Norman crosses to the desk, goes behind it, takes the key to cabin number twelve off she key-board. Sam and Lila have entered and are almost to the desk- counter by this tine. NORMAN Ii take you to «., SAM Better sign in first, hadn't we? foant trea)195. #9401 209, (Gont'a; : Sem's eyes scan cua waver, Leoking for a registration door. NORMAN It isn't nscessovy. : SAN (interrupsing with « friendiy cheerfulness) : ‘Un, whi Ny boas 13 paying for this ovip v1. ainesy persent business... ené he vants practically noresized receipts. - I better sign in snd get a recelpt. ; Morman sveres av Sam, 03 if ne'd like to yell at him, caii hin "Liar." Inatead be reaches under the desk counter, brings ou tne registration book. Lile moves 210: az the book as, Sam signs + Sam signs ‘a. Jobnson." The signature and city of ™ Sanusis” and efter it, the notation “cabin Gne,"vsn pa ciearcy seen three registrations above Yan's. Wion Yan haa finished he closes book; hands. ic tack 1 Yomman does. nov take it, svarts out from UALS, * NORMAN, T*LL ese your bags. “saw - + Haven't any. ‘BURMA (afters szare) Tril.show yau she cabin. As be starts for the dovr, Sam laughs. Norman. stops, ‘wurns, looks at him, say Piret time I've ever seen’ it happen. (to Lite) Check in eny piace in uhts country withouc tags, ard you have to pay in advance, Sam sniles.se if ase funy remar’ sakes a bill out of his pocke:. WORMAN ee ‘Ben dow Norman returns te San, takes the extended bill, ts (Gontinued)195. 196. © ' wt. ee PSYCHO #9401 10, (cont'd) SAM That receipt.....? Norman goes reluctantly behind counter, lays down the key to cabin twelve, tekes a receipt book out of the drawer under counter, starts to write. Lila steps up to the desk, picks up the key, quickly, starts out. LILA 2 ' I'LL start ahead. : Norman looks up, gazes after her as she goes out ’ door. Ex! THE MO EL - (DAY) Lila comes along the porch, pauses before cabin one, tries the door, It opens. She closes it quickly as she hears Sam and Norman coming out of the motel office, continues on down the porch. SAM (To Norman, who is following) \ Don't bother yourself ... welll i find it. : He goes on down the porch, doesn't even glance at cabin one, walks quickly and catches up to Lila just as she reaches cabin twelve, CAMERA REMAINS with Norman, who is standing by the office door, looking after Sam and ila, his face alert and no. longer impassive, He waits a moment, after they have closed their cabin door, then crosses to the pickup truck, CAMERA MOVES with him. He studies the truck, then leans in through the driver's window, tists the registration card around, reads it. It gives the correct name end address of Sem Ioomis. Norman comes back out of the window, glances once more toward cabin twelve, then at the old house. His suspicions are confirmed, and now there is the relaxation of relief in his face, He taxes on a purposeful air, turns, strides up the path, up onto ‘the porch of the house, opens the door, goes in, INT, CABIN IVE - (DAY) Lila 4s at the cabin's rear window, looking out, straining for a glimpse of the old house, which cannot be. seen from the window of this cabin.#9401 1u.. © 19T- (Cont'd) She tums, frustrated, anxious, Sam is standing at the foot of the bed, staring at the smooth coveriet, his brow creased in 2 sadness. LILA c We should have asked for Cabin One... The one Mary was in, SAM 6 didn't, I'm glad w He pulls his eys3 from the bed, crosses to the desk, sits wearily, lights a cigarette. Lila watches him for a moment, fcels e@ real compassion, goes to the bed, site on its edge, turns again and looks at Sam's ba We eve to go into that cabin and search it, Sam... no matter what we're sfzaid cf finding and no matter h much it may burt. Ss SAM iw “I know, (A pause) 7 Do you think if scmething happened, it hepp: “there? REV, 11-23-59 (Continued)ig7. (cont'd) #9K01 (A pause; then:) Sam, 1f you ond 4 useless business like this motel ... one you probably couldn't even sell ... what would you need to get avay, to start a new Dusiness, somewhere else? (as Sam studies her) Forty thousand dollars? SAM . How could we prove. «... (An almost hopeiess laugh) Well, 42 he opens a new motel on the new hig’ «887, 8 year from now w+. LILA There must be some proof that Something that proves he got that money amay from Mary ... Some way! SAM What makes you ound so certain? LILA : Arbogast! Sam, he Iiked me ... or felt sorzy for me .., and he was starting to feel the same aboub you. I heard it when he called ... in his voice, a caring. He wouldn't have gone any) dons enything without. tel: Unless be w23 stcpped. and he was stopped, so he must have found out something! | Sam considers a moment, nods agreement, rises. SAN We'll start with cabin one. He goes to the dor, opens it slightly, looks out, then, back to LL REV, 11-23-59 SAH If he sees us... welre just taking the étr. (continued)197. 198. 199. 1-16.59 PSYCHO #9ho1 113. (conta) Lila gees to the door, He holds it open and she goes out, Sh (DAY) Sam closes the coor, joins Lila, takes her hand, Together they walk along the porch in the direction of Cabin One, CAMERA FOLLGWS, ‘hey pause before the door of Cabin One. Sam motions Iiis to wait, to hold still, then goes on to the office, opens the door, calls in: EXT, THE MOTE! SAM Bates? He waits, there ig no response. He goes in and in @ moment comes back out, closes the door, gees to Lila, She has already opened the door of Cabin one and has started to enter, INT, CABIN oz ~ (Day) The blinds are closed and the room is almost night- dark, Sam comes in after Lila, closes the door te- hind him. For a moment they just gaze 2t the reem, as if willing it to tell them some satisfactory story. Neither speeks. ‘hen, in dark silence, they begin to search, going methodically ané thoroughty through all arawers, the closet, she desk, searening under the bed and in dark corners, not knowing w they expect to find and yet expecting to find s thing. Lila opens the bathroom door, lecks in windowless room is very dark. She switches cn the light, goes in. Sam moves toward the bathroom, 1s about to folios her in when he notices which room it is and autouaticelly catches himself up, backs out. SAM Sorry. LILA Hospital clean SAM. What? LILA The bathroom. Look at how clean, it is, The one in our cabin is clean ... but this is clean! (continued)#9ho2 199. (cont'a) Sam goes in, glances around, nods. Lila goes through the medicine cabinet, finds nothing but a glass and two tiny tabs of soap. Sam leans against the door- Jamb, looks at the tub, the shouwer pipe above it. He continues to stare, more interested suddenly, as if bothered by some off-ksy evidence he can't put his finger on. Then he looks at the shower curtain rod. And realizes there 45 no shower curtain. le frowns, is about to say sonething when Lila, who has been momentarily out of shot, EPPUpts. Sam turns, CAMERA TURNS, and we see Lila is standing above the toilst towl, a tiny plece of wet paper stuck to the tip of her right index finger. SAM What 4s it? LILA It didn't get washed down. It's figuring .., the kind you tear up and get rid of. (Extending her finger tovard S. oC Sone figure his been added to or a subtracted from .., forty shousand. Sam lifts the piece of paper off her finger, studies it, takes out his vallnt, presses the wet serap to ' his driver's license shield, puts it-back in the wallet and puts the wallet away. LILA That's proof Mary was here! It would be too wild a coincidence for somsbody else to .... san (Reminding' Bates never denied Mary was here. LILA (Reminded) (A thought) But maybe this proves that Bates found 2ut about the money. Yes, SAM 5 Do we simply ask him where he's hidden 1t? (Contimued) Rev. 11-23-59PSYCHO #9402 45. . ont 'd 7) 199 (cont ta) & LILA on Sam, that old woman, whoever she is, I think she told Arbogast something! And I vent her to tell us the same thing! She starts out of the bathroom, Sam takes hold of her arm, stops her. SAM You can't go up there. LILA Why not? SAH Bates. . CANERA STARTS TO PAN AWAY from them, moves slowly over the room, very slowly. LILA'S votcE (0.s.) ‘let's find him, One of us can keep hin occupied while the other gets to the woman, SAM'S VOICE (o.s.) You won't be able to hold him still if he doesn't want to be held. And I don't 1ike you going into that house alone, lila. CAMERA HAS PANNED clear across to the opposite wall now, and is moving up closer and closer to the tiny-flowered wall paper, finally closing in on one smal rosebud. LILA'S VOICE (o.s.) I can handle a sick old woman. Now we see that the rosebud has been cut out, that this ds the reverse side of the hole Norman peeped through to watch Mary, And we see the pupil of Norman's eye now. SAM'S VOICE (0.s.) All right. I'll find Bates and Keep him occupied. (Continued) Rev. 11-23-59199. 200. 201. PSYC #940r 16. (conta) ‘The eye moves away and there is e brief flash of light before the hole 1s covered, on the other side, by the wall-hung painting. FRESH ANGLE - LILA AND SAM They are about to start out. Sam stops her again. sau Wait a minute, If you get anything out of the mother ... (A thought) en you find your way back to town? (As Lala nods yes) If you de get anything, don't stop to tell me. Lila nods quickly, hurries to the door. Sam gets to it first, opens 1t a slight crack, looks out, then opens it wide enough for Lila end himself to pess through, EXT, THE MOTEL - (DAT) Angle close on cabin one as Lila comes out, turns to her left, goes along porch toward cabin twelve. Sam remains at the door, then turns right, heading for the path. As he passes the office, he 1s shocked to see Norman standing just inside the cpen door. NORMAN Looking for’ me? sau (Recovering) Yes, matter of fact. (The friendly grin) The wife's taking ar I can never keep guie i for her ... so I thought I'd look you up and ... talk. NORMAN Satisfied with your cabin? SAM Fine, Sam starts into the office. Just before going in, he Glances dow the long poreh, sees Lila standing out- side the door of cabs lve, waves her a tiny "all clear" sig202, 203. 204, 205. 206. 207. 208, 209. 210, all. PSYCHO #9401 17. LILA CAMBRA ANGLES to include Lila end her point of view. She watches Sam disappear into the office, waits until she hears the dcor close, then looks about for another way to reach the house. She sees the small alley at the end of this L of cabins, starts toward it. EXT, REAR OF MOTEL - $.0.U, LILA - (DAY) Behind the metel Lila hesitates. She looks ahead. LONG SHOT -(DAY) The old house standing against the sky. CLOSE UP - (DAY) Lila moves forward LONG SHOT ~ (DAY) The CAMERA spproaching the house. CLOSEUP - (DAY) Lila glances toward the back of Norman's parlor. She moves on, LONG SHOT ~ (DAY) ‘The house coming neerer, CLOSEUP - (DAY) Lila looks up at the house. She moves forward purpose- fully. 8.1.8. = (DAY) The house and the porch. CLOSEUP ~ (DAY) Lila stops at the house and looks up. She ylanves back. She turns to the house again,212. 213. el, 215. 216. PSYCHO #9401 118. 0; S.L.S, ~ (DAY) The CAMERA MOUNTS the steps to the porch. £.U, - (DAY) i Lila puts out her hand. S.C.U, - (DAY) 2 door open. We see the hallway. MERA, Lila's hand pashes Lila ENTERS PAS? ca INT, DOWNSTAIRS \Y_.OF OLD HOUSE ~ (DAY) Lila cloces the door, remains by it for a moment, quiet, Listening Her eyes scan the layout, the closed door which leads off the hallway, to the dining room on the right ané the parlor on the left. Dow at the end of the hall is the kitchen, the door wide ‘open, the roon beyond 34: a it. She notices the stairs leading down to the baserent, stares at them, then back to the stairs leading vo the second floor. | She starts forward, and seems about to investigate the parlor and dining room. INT, THE MOTED OFFICE - (DAY) 7 : Norman is behind the counter, standing, staring at Sam who is sitting relaxedly cn 2 small sofa. Norman has the look of one who is protecting hinself, as if the counter were e protective wall against the threatening world scross it. SAM, (Cheerfully, as if after a self-conscious paus2) I've been doing all the talking so far, haven't 1? NORMAN, Yes, SAM Ialways thought 1t was the people who are elone so mach who do all the talking Vhen they get the chance. Yet there you are, doing ell the listening! (A pense) You are alone here, aren't you? (As Norman does not rej It would drive me crazy!216, aur. 228, PSECHO #o4o1 119. (Cont'd) NORMAN ‘Thet vouls be a rather extreme reaction, #ouidn't it? Sat (xightly) dunt an expression Giore seriously) What i'msant vas... 2'4 do dust, about anything’... to Bet awsy. Moutdn't you? DWE. DowisTar Lala is heifvay up the steirs. As she climbs she is Startled ty the eveaks and groans of the old wood of the steps, She eters more carefully. CAMERA remains @t foct of stair, TILTING UP as Lil: climbs, She Pauses et the head of the steiz, Tae door on her right, which opens into the mother’s room, 1s closed. To her left iz ancther door, nelf-open. Directly Defore her is 2 thirt door, closed. She hclds @ long moment, trying to picture in her mind waich room would look out on tha front of the house, decides, cioeses the correct ioor, the one on her right. She goes. to it, knocks ligntiy. ERIS ~ (DAY) ~ CLOSE ANGLE ON DOOR We hear Iila's second lnock, then, faintly, her Soft call. LILA'S VOICE (o.s.) Mrs, Bates? There is quiet for a moment, then the door begins to we see Lila. She stends on the in at the room, instantly disturbed 1, her expression indicating an impulse to close the door and go avey from this room forever. After a moment, she enters, leeving the door open behind her. CAMERA PULLS BACK AND AWAY and we now see the room as Lile sees it, ‘ ndumahogsny, thick and warm and ismated furnishings and bric- The bed is four poster, It 4s ornate, danssk~: ‘ipe, an ollapcdrids asbrac cf th:Go 219. 220, Rev, 11-23-59 #940. (cont'd) big-doored wardrobe, a large, oval, full-length pier glass (this against the wall directly opposite the door), a satin vecanier, an upholstered armchair by the window, a white marble fireplace, its grate cold but piled wita ashes, . And there is in the room an unmistekably live quality, as if even thoush it is presently unoccupied, it has not been long vacated by scne musty presence. TAJa glances at the bed, The damask coverlet is thrown over it, but it is not neat, there is the Amprint of a body on it, a body whieh obviously has slept in a curled-up, womb-like position. Zila stares at it for a moment, then goes to the dressing table, Its top is scattered with boxes and jars of cosmetics and creams, traces of fresh powder, an opened bottle or perfume, a comb, and a brush with traces of jr in its bristlzs. Lila moves on, catches a glinpse of herself in the pier-gless, is startled, turns avay, goes to the chiffonier, is about to open a draver, gees the high wardrsbe out of the corner of her eyes, goes to 1c, hesitantly, She opens one door, Fresh, clean, well prassed dresses keng neatly. idjla opens the other door, ‘The sweaters end éresess and roves hang freely, none in moth-proof, storage-type bags. There 4s even 2 weli-orushad coliar of foxes. Along the floor of the wardrobe is a line of clean, polished shoes, lila stares, then closes the doors, turns, looks once again over the yhole room, starts out, IND, THE UPSTAIRS HAL JAY OF OLD HOUSE - (DAY) Idla comes out of the mother's room, closes the door behind her, looks down the stairs, then starts across the hall to the room whose door is half-open, ‘The room within is dari, the shades drawn full, ‘Lise Pauses on the threshold, reaches in, feeis the wall, throws on a switeh, Dm. Morey oProR - (Dax) Sam has risen, is standing by the counter nov, - SAL I’m not saying you shouldn't ~be contented here, I'm just doubting that you are. 2 think if you saw a chance to get out from under vee you'd unload this places. NORAN (angrdty) This placul “This isn't ta place.t U's ny only wordd. I grew up i {Continued)\ 220, eal. 222, PSYCHO #9402 uel. (cont'd) NORMAN (Cont'd) that house back there. I was a happy child, ty mother and I... 1 we Were more than happy. SAM And now that your mother's dead? Norman snaps 2 sharp, fast, ugly lock at him. NORMAN : s My mother 4s not dead! . SA “(Softiy) . I didn't think so. ING. NORMAN'S ROOM IN THE CLD HOUSE - (DAY) Lila is standing in the doorway, staring at the room in sick disms 2 rocin is grotesque, a horrible, ludicrous fantasy 5? childhcod held beyond the point of decency. It is a sm23i room, The walls are fancied with romp- i ing silhozettes of teddy-bears and sailboats and carousels ard f2t cows Jumping over aghast moons. The bed is sali, far too short for a men of Norman's height. And yet the rumpled covers indicate that it is in this bed that Norman sleeps, Next to the bed is an old- fashioned toy chest. On its top there are a bird-in-a~ cage lamp, a plain-boun3 book, and an ash tray filled with ashes and cigerette stubs. A grown man’s shirt hangs on.s child's clothes tree, Against one wall there is a nerrow, high bookesse filled with thick, unchildish- looking books. Cn the small, white chest of drawers there is an cid, child's victrola. The record on the turntable is discovered, cn close inspecticn, to be Beethoven's Eroica Symphony. Lila studies ‘the room, fascinated and repelled. she lances at the coskcase, comes into the room, goes to the bockease an? pulls out a thick, large, piain-bound book. She opens it. Her eyes go wide in shock. And then there is disgast. She slams the book closed, drops it. cE x o Norman, behind the counter, has moved back agdinst the wall. Som is still on the other side of the counter, 11-26-50 foont tend)Psiczo #9401 222. (Cont 'a) 7 but is lsaning forvard, his eyes hard on Norman's face. Norman's face is no longer expressionless. It has the stark, high sheen of a cornered animal. SAM (Pressing) You look frightened. Have I been saying something frightoning? NORMAN, I don't know what ycu've been saying. : SAM I've been talking about your mother ... abovs your motel. How are you going to do it? NORMAN Do what? SAM Buy a new onel In a new town! Wasre yeu won't have to hide your nother | NORMAN Shut up! SAN Where will you get the money to do that, Dates ... or do you already have it... socked away eee @ lot of It LL. NORMAN Leave me alonel SAN +++-Forty thousand dollars! ‘NORMAN Leave me alone! He is close to panic now, He turns, swiftly, dashes back into his private parlor. Sam goes quickly around the counter, fellows. Rev. 11-23-59 22=] 223. 22h. 225. for3no #401 123 DL NORUE'S Etvere parece. (DAY) Norman hears Sat: follow. wants to run, to never be reached by this nan, Hs crosses the small room, drayn to the reer iindov, as if ho might fiy through it, Sam enters, pauses. Jornan turns, back agalnst the window, ag unable to fly avay as aro the neny still, stuffed birds, Se1 registers a brief flicker of reaction when he sees the birds, but continues to gaze at Norman, hard, Sait I bet your mother: knows where the money is. And what you did to get. it, And I think she'll? tela Use Something self-assured and confident in Sam's tone Sives Norman a nev, core terrified alarm. He turns his head, glances out the window at the old house. He looks back at Sam and “here is.terror in his voice, NORMAN Where's thet sin? the girl you cans with! Where ia she? Sam does me et receond, smiles a half-snile, turns to examine 2. st Aeoks baok’ et the HORAN Lile, shaken and disturtsa, almost ri out Of Norman's room, . Sha’has lest ¢ Patises in the midile of uhe landing, 1 door- opposite the stairs, sees to is, it 4s the tathroom, pulls tae door to, toward the scairs. She ab ths closed ens it, sees that varns, starts DR woniy's pemvane paaror - (pat) Sam is lying on thd floor, face downward, unmoving. A candlestick 43 on the floer, close by his head, sti12 rocking e= 42 just drovped, of Nomen's foas7tapa and Gal a brief gl ‘hin godn at a run. REV, 11-23-59(fs Oo 226. 227. 228, 229, 11-16-59 B #9401 12k, INT. STAIRWAY OF GIE OLD HOUSE - (DAY) Lila is on the top step, looking down toward CAMERA, She is listening, hoping to hear some human sound, some sound she might follow, pursue, She hears nothing. She starts down the stairs.’ Just below the halfway step, she looks at the front door, sees out through the door window: LILA'S VIEWPOINT ~ (DAY) Norman coming. INT, STAU Y OF THE OLD HOUSE - (DAY) For a moment Lila panies, then she hurries down the steps, cannot go in. the direction of the front door, remembers the stairway behind her, turns and runs in that direction. The SOUND of Norman bounding up the porch steps can be heard. Lila turns and dashes down the stairs which lead to the basement, going down far enough to conceal herself, erouching there, Norman enters the hallway, closes the door softly, listens. He glances once in the direction of the basement stairs. He seems about to smile, when suddenly all expression vanishes from his face, and he appears to enter a no-place, no-time state. He crosses to the stairway, goes up. Lila remains crouched on the basement stairs, listening to the SOUNDS of Normen, His footsteps on the stairs followed by the fast noises of doors opening, of fast moving about an upstairs room. Convinced that he is searching the upsteirs for her, she decides to chance an escape, She starts up the steps, is about to turn into the hallway when her eye 1s caught by a glimmer of light down in the basement. She pauses, looks dow, sees the erack of light coming from behind the not entirely closed door to the fruit cellar. The swift moving SOUNDS of Norman continue to come from upstairs. Lila is torn, knows she should get out of the house while she has the chance, is unable to resist the inpulse to check that hidden-looking room down below, a room in which, she desperately believes, there must lie some answer to what happened to Mary. She turns and goes softly and quickly down the stairs. INT, THE BASEMENT OF THE OLD HOUSE - (DAY) Lila reaches the bottom, stops, listens, hears the stairboards creaking as footsteps fall hard and (Continued)230. 231. REV, 11-23-59 PSYCHO #9402 125. (conta) ‘ measured upon then. She turns, pulls open the fruit- cellar door, looks in, The woran is sitting in a comfortable chair, the back of the chair, and the woman, turned to the door, [ila calls a harsh, frightened whisper. LILA Mrs, Bates ....? ila goes into the room, , IND, THE FRUIT CELLAR o Lila goes to the chair, touches it. The touch disturbs the figure. It starts to turn, slowly, stiffly, a clock-wise movement. Lila looks at 4t’in horror. It fs the body of a woman long dead. The skin is dry and pulled away from the mouth and the teeth are revealed as in the skeleton's smile. The eyes are gone from their sockets, the bridge of the nose hes collapsed, the hair is ary and.wild, the cheeks are sunken, the léeathery-browmn skin is powdered and rouged and flaky. The body 1s dressed in a high-neck, clean, well-pressed dress, obviously recently laundered and hand-ironed. The movement of this stuffed, ill-preserved cadaver, turning as if in response to Iila's call and touch, is actually graceful, ballet-lixe, and the effect is terrible and obscene. 7 ila gazes for one flicker of a deathly moment, then begins to scream, a high, piercing, dreadful scream. 4nd Lila's scream is joined by another scream, a more dreadful, horrifying scream which comes from the door behind her. NORMAN'S VOICE (o.s.) (screaming) Ayeeeceeceececeseeeee Am Norma Eates! Lila turns. NORMAN His face is contorted. He wears a wild wig, a mockery of 2 is dressed in a high-neck dress which is similar to that worn by the corpse of his mother. His hand 4s raised hish, poised to strike at Lile. There is a long breadinife in it.232. ¢ 233 234, eke. ag. Q ea, aks. PSYCHO #9401 126, ‘LILA Close on her face. She is dumb-struck. Her eyes are screaming. BACK TO NORMAN As he is about tostart forward, a man's hand reaches An from the doorway behind, grabs Norman's wrist, Sam comes through the door, still holding tight to the wrist, pulling sack the arm and at the same tine throwing himself at Norman, football tackle style, A SERIES OF GUTS. - THE FIGHT Norman and Sam, struggling. The wild fury in Norman's face, the mad noise of his screams end vile curses. The terrified, fight~to-the-death Icok of Sam. The still, staring Lila. MRS, BATES A close shot of her face. She appears to be watching and enjoying the fight. ‘Over the shot, the SOUNDS of the struggle, the screams of Norman. DISSOLVE TO: EXT, COURSHOUSE AT READING ~ (NIGHT) There ere many pecpie gathered about the steps, the curious and the concernsi ani the monbid. At the curb, a couple of newsparer cars, tw or three police cars, and a mobi it truck from the local television outlet. There is noize, ani chattering a3 questions are asked and answers given, snd the sounds of traffic, and of the television equipment being moved into the court- house, for on-the-scene reporting, and the stern voices of policemen trying to keep people back. The scene has a bright glare about it, that quality of sudden light thrown ona fearful darimess. CLOSER LE SEEPS _OF COURTHOUSE A POLICEMAN trying to, y for the television men, muttering "keep back," etc., to the spectators. A TELEVISION MAN, carrying-a piece of equipment goes through door, and CAMERA FOLLOWS him into the courthouse vestibule.©: 2u5 ie QO 2h6. a7. Ca PSYCHO #9HOL 127. (cont 'a) Here, too, there 1s a crowd, composed of Policeman, Reporters, Television Men. Tae Television Men we have been following stops beside a Policeman, 3 ‘TELEVISION MAN (Indicating the front door he has just come in through) You think they'11 take him out that way? POLICEMAN (Looking at waiting crowd, shurggin) Prob!biy have to. (A rueful smile) Besides, the taxpayers hate it when something gets slipped out the back dcor on them! Over this exchange, the buzz of other voices, the movement cf men, CAMERA MOVES ON, down the corridor, gets. to the door of the office of the Chief of Polk Just asa young Sellow with a carton box filled with Paper containers of sent-out-for coffee reaches this door. CAMERA HOLDS as the COFFEE BOY pauses a moment, then goes into the reom. cur TO: mw Idla is seated in e chair, Sam stand: by. A bit apart from them, we see Sheriff in’ quiet conference with the CHIEF OF POLICE, the COUNTY SHERIFF, the DISTRICT ATTORNEY. The Coffee Boy stands in the doorway, Sam goes to him, takes a container of coffee from the box, carries it to Lila, checking the notation on the lid as he goes. OFFICE 0: OF POLICES - (NIGHT) MED, CLOSE ON SAM AND LILA SAM (qutetiy) It's reguiar. okay? . 11-16-59 (Continued)247 2u8.. PSYCHO #9401 128. (Cont'd) Sam smiles encouragingly, hands her the coffee. Sheriff Chambers ENTERS Si0?, gives Sam a container of coffee he has brought for him, Sam takes it, nods a thank you. For a moment no one speaks, Lila looks badly shaken, Sam disheveled, but contained. CHAMBERS You two can go on home if you like. (a sympathetic look at Lila) Making that statement was enough | for one night, SAM (to Lila) Want to? LILA No, I'mali right. I'11 feel better when all this is explained ++. 4f dt can be. Sam looks a question at Sheriff Chambers. Chanbers shrugs. doubtfully. CHAMBERS: If anybody gets any answers, 1t'I1 be the fellow talking to him now ... the Peychiatrist. Even I couldn't reach Norman ,.. end he knows me. (to Lila) You warm enough, Miss? Lila ts about to answer, when she sees someone come into the room and rises anxiously, Sam and Sheriff Chambers turn, follow her gaze. INT, OFFICE OF GHTET OF POLICE - FULL SHOT A young man with a serious, ‘frowning face has Just cone into the room, He is DR. SIMON, the Psychiatrist. He goes to the desk where the box of coffee containers has. been placed, takes up a container. DISTRICT ATTORNEY Did he talk to you? SIMON No, I got the whole story .., but not from Norman. I got it from ... his mother. 11-16-59 (Continued)Everyona gazes at pin, ay aston 129. al. ie speake as he removes 1d fron coffee contaiaas. sriay Norman Bates no lonyer extots. q He only baif-axisted to begin with ... now, the other half has taken ovey. Besbably for all time, (With diefionity) Did be Kil? ny sister? Stout Yes... and no. DISRTOR ATIORNEY Look, if youtrs tiring to lay a lot of payehiztrie crsuaivork Por some sort of plea thia fallow would like to cop... A psyohtstrist groundvork .., ho savely tries to explain it: ana But my sister is .., SIM Yes. I'm s02ry } (69 chankses) he Frives tnvasvte:tor, too, If you drag that sven szuovnere dn the viginity of tha motel... (othe cate? of Po Have you any ungolvad alooing persons caces on your books? CHIEF OF Pontes abe: Yes, Two. STN Young. girts? ov Poutcg ted, thon:) {nots sonta: Diab stimu (Antarrnp the (cont5 248. (cont'a) REY, 11-30-59 PS¥CHO #9401 aga. SIVON (Cont'd) qo understand it, as I understood 4t hearing it from the mother ... That is, from the mother-nalf of Norman's mind, you have to go back ten years ... to the time when Norman murdered his mother and her lover. (A pause, then as no one interrupts) He was elready dangerously disturbed, had been ever since. his fasher died. His mother was a clinging, demanding woman .., and for years the tuo of them lived as if there was no one else in the world. ‘Then she met @ man and it seemed to Norman she "threw him over" for this man. That pushed him over the thin line ... and he killed them both. Matricide is probably the most unbearable crime of all... and most unbearable to the son who commits it. So he had to erase the crima, at least in his own mind. ‘A pause) He stole her corpse ... anda Weighted coffin was buried. He hid the body in the fruit cellar, even "treated" it to keep.1t as well as it would keep. And that still wasn't enough. She was there, but she was a corpse. ‘So he began to think end speak for her,. gave her haif his life, so to speak. At times he could be both personalities, carry on conversations ... at other times, the mother-half took over completely, ie was never all Norman, but he was often only mother. And because he was so pathologically Jealous of her, he assumed she wes as jealous of him, Therefore, if he felt a strong attracvion to any other woman, the mother side of him would go wild. (To Lila) When Norman met your sister, he Was touched by her ... and aroused Ha wanted her, and this his "jealous moth: and ... "mother killed the girl." After the murder, Norman returned as if (Continued)aod a REV, 11-30-59 PSYCHO #9401 230, SIMON (Cont'd) from a deep sleep ... and like a dutiful son, covered up all traces of the crime he was convinced his mother had comuitted. SAM Why was he .,. dressed like that? DISTRICT ATTORNEY He's a transvestite! SIMON Not exactly. A man who dresses in women's clothing in order to achieve a sexual change ... or satisfaction’... is a trensvestite. But in Norman's case, ne was simply doing everything possible to keep alive the illusion of his mother being alive. And whenever reality came too close, when danger or desire threatened that illusion, he'd dress up, even to @ cheap wig he bought, and he'd walk about the house, sit in her chair, speak in her voice ... He tried. to be his mother. (A_sad“Smile) . And now he is. (A pause) That's what I meant when I seid I got the story from the mother. She thinks Norman has been taken away. because of his crimes. She insists she did nothing, that Norman committed all the murders just to keep her from being discovered. She even smiled a bit coquettishly as she said that. Of course, she feels badly about it ... but also someuhat relieved to be, as she put it, free of Norman, at last. (a pause) When the mind houses two Personalities, there is alvays @ battle. In Norman's case, the battle is over ... and the dominant personality has won. Idla begins to weep softly, for Mary, for Arbogast, (Continued)¢ ane, aug, 250. REV, #9401 413i. (cont'd) for Norman, for all the de: world, Sam bends beside h comforts her. stzoyed human beings of this er, pubs his arms about her, CHANBERS (To Simon) And the forty th Who got that? usand dollars? STNON The swaxp. Thes+ were misders of passion, not profit, A POLICE GUARD puts his head in the door, speaks, in @ near-whispe>, to the Chisf of Pelice. The Guard is carrying @ folded blanket over his arm. FOLICE GUARD He feels a little chill ... can I bring him this bienket? Guard gees evay, and out into the bing men, heading CAMERA FOLIO’ hallway, Guarda down the corridor. cur 10: : INT, ANOTHER CORRIDOR IN COURTHOUSE A narrower corridor in the veaz of the building. In £.g., of shot, we cee a door, the top half of which 45 wire-covered glass. A GUARD in uniforn is posted by the door, locking zeprovingly at the two or three people trying tc get a gience into the room. The Police Guard, carzying the blanket, cones down this corridor, goes to the door. CAMERA MOVES CLOSE. The uniformed Guard ovens the door, allows the man to go in, Shot 1s RAZED so that we can not see into the room, After a moment, the Guard comes out and the uni- formed Guard closes and locks the door and we CUT TO: INT. NORMAN'S D NTTON ROOM ~ (NIGHT) The walls are watts and plein. There 4s no window, There 15 no furniture except the straight-back chair in which Norman sits, in the center of the room, The 11-30-59 (Continued)PSYCHO #9401 132., 250. (conta) room has a quality of no-whereness, of calm separation from the world. The Police Guard had place the blanket on Norman's knees. Norman, as we come upen him, is lifting the Dlanket, unfolding it. His face, although without makeup and without the surrounding softness of the wig, has a certain femininity abour it, a softness about the mot ani «4 kina of arch womanliness about the brows. dalnly, Norman places vie bIanket about bis shoulders, as if it were a cashmeze ‘shawl. CALERA REMAINS in a position so that our view of Korman is 2 FULL ONE, When the shawl ts in position, and Norman 4s settled, we HEAR, OVER SHOT, the voice of his mother, coming from the calm of his thoughts. MOTHER'S VOICE (0.5.) It's sad... when a mother has to speak the words that condemn her own son ... but I coulda's allow them to believe that I would commit murdez. (A pausa) ; They'1i put him away now ... 23 I shov see Years 250, He waa always ... bad. And in the end, he intended to tell them I killed those gir: and That man. As 1° T a do anything except fust sit ana stare ... like one of his stutzed birds. (continued) REV, 11-30-59250, 251. PSYCHO #OhOL 133. (Cont'd) MOTHER'S VOICE (Cont'd) (A pause) Well, they know I can't even move a finger. And I won't, I'll. just sit here and be quiet. Just in case they do...suspect ‘me. A fly buzzes close, and then continues buzzing and flying about Norman's face. MOTHER'S VOICE (Cont'd) They're probably watching me. ‘Well, let then. Let them see what kind’ of a person I an. (A pause, as the fly lights on Norman's hand) I'm not going to swat that fly. I hope they are watching. They'i2 see ... they'll see and they'll mow ... and they!1l' say ... ‘why, she wouldn't even harm a fly ... ! Norman continues to gaze ahead into nothing. Scene vegins to DISSOLVE SLOWIY to: THE SiiaMP As END TITLES FADE IN, we see the swamp, the chain of a tow-truck, The chain is attached to Mary's car. The ear is coming out of the swamp. FADE our