"PSYCHO" (1960)

AnAlfred Hitchcock Production

ANTHONY PERKINS as NormanBates VERA MILESas LilaCrane JOHNGAVINasSam Loomi,s MA.~TlNBALSAMas Milton Arbogast(the detective) JOffi~McINTL"lEasAlChambers(The Sheriff) SIMONOAIO..ANDasDr.Richmond (the psychiatrist)-k+.- LURENE TUTTLE as Mrs.Chambers FRANK ALBERTSONasCassidy(the Millionaire) PATRICIA HITCHCOCKasCaroline VAUGIL.'lTAYLOR asMr.Lowery JOHNANDERSON as the Used CarDealer MORT MILLS as theHighwayPatrolman FRANCISDeSAL.ESastheDistrict Attorney GEORGEELDRIDGE as the Chief of Police and JANETLEIGH as

Directed& ProducedbyAlfred Hitchcock Screenplay:JosephStefano Adaptedfrom the novelbyRobertBloch Director of Photography:John L. Russel MusicC6rnposedby Bernard Herrmann Special Photographic Effects:Clarenc,eChampagne Sets:JosephHurley,RobertClaworthy,GeorgeMilo Sound Engineers:Walden o.Watson,inlliamRussell Title Design:SaulBass Editor:GeorgeTomasini Asst:.Director:HiltonA.Green Costumes:Helen Colvig ReleaseDate:1960 Running Time:109 minutes

(*--ReferredtoasMaryin the script) (**--referred toas Dr.Simon in the script)

(Note:PSYCHO reissued in the60sbyParamount,then acquired inthe70$ by Universal Picturesfor theatricaland non-theatrical distribution)

FADE IN: (AFTER TITLE)"

l EXT.'PHOE;•lIX~ARIZO:-!A-·(D/i.Y)-HELICOPTERSHOT

Abo\rei•1idtownsection of the city. It 1s early afternoon, a hot mid-oummierday. The city is sun- blancbodw'hiteand its drifted-up noises are muted in their o\'lhechoes. We fly·1ow, heading in a downtown direction, passing over traffic-clogged streets, parking lots, white business buildings, neatly patterned rcside:1tial districts. As we approach

to change , It .1s darker and shabby w1th age and industry. We see railroad traclcs.,smokestacks, wholesale fruit-and-vegetable Il'.arkets,oldr.iunicipal buildings, empty· lots. The very geography seems to give us a climate of nefariousness, or back-doorness, dark and shadowy. And secret.

'We fly lower and faster now,.as if seeking out a spec1.ficlocation. A sl<:inny,high old hotel comes into view. On 1ts exposed bricl~side great painted

in Everv Room. We "pause Ieng &nougn t;Oes~aoli.sh·

curtainless windows, lts silent.resigned look so characteristic of such hole-and-corner hotels. We move forwa:-dwith purposefulness to~•;arda certain window. The sash 1s raised as high as it can go, but the shade is pulled do~m to three or four .inches of the inside sill, as if the occupants 0£ the room within wanted privacy but needed air. We are close now, so that only the lower half or the window f'rame is in shot. No sounds corne from within the room. Suddenly, we tip dm.mward, go to the narrow space between shade and sill, peep into the room.

A young woman 1s stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her race, seen 1n the dim.."lessofthe room, betrays a certain in:1er-ten.sion,worrisome conflict.s. She is t•:A:lYCRANE,an attractive girl nearing the end or her twencies and her rope.

A man starids beside thebed, only the lower half or his figure visible. We hold on this tableau for a long moment. then start forward. As we pass under the window shade,

the narrow bed. A ca~d of hotel rules is pasted on the mirror above the bureau. An unopened suit- case· anda iwm.,:,,n'slarge,strawopen-top hn.ndbs.g are on the bureau. On the table beside the be~ there are a container of coco-cola and an unwrapped, untouched egg-salad sandwich. The1~e is t10radio. ~

The man standing by the bed, wearing only trousers, T-shirt and sox, is SAM LOOMIS, a good-looking, Sensual man w1th i•.r,1r-mhumorouseyesanda compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a-small sweet smile playini:;:abouthismouth. Mary keeps her face turned e.wayfrorn him. After a moment, Sam drops the towel, sits on the bed, leans over and talcesMary into his arms, kisses her long and·.warm1y, holds her.with a firm possessiveness. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sarr.smiles,pulls away enough to allow Mar~;to relax again against the pillow. He studies her, frowns at her unresponsiveness, then speaks in a low, intir:i.a.te,playful voice.

Never did eat your lunch, did you.

Mary looks at his smile, has to respond, pulls. him to her, kisses him. T'.11en,and without breaking the kiss, she swings her legs over the side of the bed, toe-searches around, finds her shoes, slips her feet into them. And f'in.allyp,111sawayand sits up.

I better gst ha.ckto the office. These exten1ed lunch hours give my boss excess acid.

She rises, goe~ to the bureau, takes a pa:trof s!i'.all earrings out of her bag, begins putting them on, not bothering or perhaps not ;.,;antingtolook at herself in the mirror. Sam watches her, concerned but unable to inhibit his cheer;y,humorous good mood, Throughout remainder of this scene, they occupy themselves with dressing, hair-combing, etc.

SA!Jl (.meaningfully) We could laze around here a while longer.-

This! Meeting you in secret so we can be ... secretive! You come down here on busineEs trip8 and we steal lunch hours and ... I wish you.wouldn't

Okay. What do we do instead, write each other lurid love letters?

:SAM And I'm a working manl We're a regular working-class tragedy! (he laughs)

you committed a major crime.

She·stares at hm, surprised at his willingness to con-- tintte.theaffair on her tarms, as girls e.reso often surprined when the.ydiscover men will contin'.letowe.nt them even after the sexuol bait hos been pulled in. San

speaks with gentle and simple sincerity.

p~obJ.c:nscru~hescwny his good hu..mor.Thore is a quiot Z•!cr.ont.

SAM·· A couple of years.and the debts Will be paid off. And if she ever rc-rnarries, the alimony stops ... and then ...

I.haven•t even been married

Ee looks at her, lo:ig,pulls her close, kisses her lightly, looks out the window and stares at the wide sky.

Mary goe.sout quickly, closing door behind her. As Sam stares down at his shoeless feet,

Shooting down at hotel entrance. Mary comes out, walks quickly to a parked cab, gets in.. The cab zooms up the awful street.

A small, moderately successful office off the

PSYCHO 9

4 (Contd)

main street. A cab pulls up at the curb. We see ·Mary get out of cab, pay driver, cross pavement to the office door.

5 mT. OUTER OFFICE (DAY)

Mary enters office, crosses to her desk, s1ts down, rubs her temples, finally loolcsover at Caroline, a girl in the last of her teens.

CAROLiltE (ahigh, bright, eager- to-talk voice laced with a vague Texan accent) He.•s.lunching with the man who's buying the Ha.rrisStreet property, you know, that oil lease man ... so that.1swhy he 1s late. (apause, then, as Mary does not resoond to the pointed thrust) You getting a h_eadache'?

She rises, starts for Mary's desk, pills in hand.

MARY

(_) I...J

----------·-- -·--~-----·--·~-··----...~----..··---------------·-----------~

~-.-.:-..

PSYCHO 10

~- 't. _/' 5 (Contd)

She breaks off, distracted by the SOUND of the door Ofening. MR. LOWERY and his oil-lease client, T0!,1 cp.SSIDY enter-the office. Lowery is a pleasant, worried-faced man, big and a-trifle pompous. Cassidy is very loud and has a lunch-tour load on. H.e isa ..grossman, exuding a kind or piti'fulvulgarity.

'•, LOWERY

Mary, will you get those copies

\s;:)·

·of the d.eedready f'ortt.r.Cassidy.

Cassidy pauses beside..Mary1s desk, hooks a haunch on~o the desktop, smiles a wet SlT'.ileatMary.

~ary glances, cannot bring herself to smile or make some remark, continues sorting out the deed copiea, tries to ignore the. man1s hot-breath closeness.

11.,,10-59 {Continued)

PSYCHO 1/9401 ll

5 (Contd)

·cASSIDY (ignoring Lowery) You l<:nowwhatI do with unhap- piness? I buy it orrt You unhappy?

f -··.. . (laughs)

Just that I hate him.· (looks at deed) Yup! Forty thousand, says here .•.. (to Lowery) Casharoonie!

He takes out of his ins.ide pocket,two separate bundle~ of ne,·r$100bills and.throws them onto the desk, under Nar:1 1 snose ..Caroline'seyes go wide at the sight of the glorious green bundles

leans terribly close to Mary, flicks through the bills, laughs wickedly.

11-10-59 (11 ,-,....f--h<>,.-..4\ ·······---J

PSYC}!O #9~.0l 12• -- 5. (contd)

LOh'ERY (hastily iuterrupt,ing) Suppose we jusi;putthis in the sai'eund then HondEl.ymorning when you're feelinggood ••••

•

He rises, reels towardI,o~ierysof'fice,pauses,turns, speaks to·!-iary••mea::iing~'ull,/~·

I,owerystarts afterhim, pauses, turns to Mary,. Cassidy has goneon into Lower 1soff'ice.

Rov; 11/23/59 (Cont:.mwd)

--,.--·---..~--.....-... .-----------------~---

\'

PSYCHO #9401 13

·n·•·--·... ..~- 5 (Contd) ·,·-<

He starts quick1.yaway when it looks like Cassidy is going to come c-:.,tandpull him bodily into the office. When the men ar·cgone and the door is closed, Caroline picks up a bundle, smiles at it.

( CAROLINE

He was flirting wlth you. I gue.sshe noticed my wedding ring.

Mary has put one bundle into a large envelope and takes -the other from Caroline. When the bills are ai·ray,she putts the filled envelope in her handbag, notices the remaintngdeed copies on her desk; picks them up, goes to the private office door, knocks, starts to open door as:

Mary opena 00011,loolcsin. Cassldy is drinking from a large tumbler, winks at her 't1it.hcutpausingin his drinking. Mary remains on threshold a moment, then crosses to the deek,-talking as she goes.

JIU!.RY The copies. Mr. Lowery, if you don. 1 tmind,I1dlike to go.right on home after the banlc.··Iha.vea slight ...•

C.~SSIDY You go r:!ghthomeI Me and your boss are going out to get ours.elvesa little drinkin 1 done! (to Lowery) Right?

11-10-59

______ ..;........----------~-,·-------··•·•"··,.....··-···-····

PSYCHO #9l\.Ol

6. (contd)

Mary goes backout into theouter o.f.fice,closesdooz,, , 7. ·INT.OUTER OFv'ICE~(DAY)-

Me.r:,goestoher desk, t;a!cesthehandbag,checksto w.ake sllI'e,the::ion,;,y-filledenvelopeis tucked welldown into 1.t,•Duringthis:

She gees tothe door,

D.!SSOLVB:

A do.uble bedinth.,foreground.We just see thefar sid.e as·the C:,H'"RAS0,C.0'I'Sa,~t'ass.·Karyentersthescene,clad. -onlyin he!"l]lip.·Pe;:•napssheisabouttoget into bed•

to see anycontents. Asl-'.ar:rt=nstothecloset the

envelopeon our zid.9·o.rttl-'lbed.:Mary-takeae.dressf!:'c;::;, the closetand star~s toput it on as theCA.HE-RARETREATS to reveala pa-:,ke:ibutnotyetclosedsuitca_sealso an the bed. Hat'yzips upher dress andthen brings sor.te

suitcaseand put.sthemon th.Atop. Mary works with haste and in tension,es ifacting on an L-t1pulsewhichmight vanish asquick.1yasit came. The suitcasefilled now, she·checksaround cheroc:n,.th,mtakesher handbag tothe be'd,puts-int.~·3r-,6'!1.e:,1"..-.ftlled.·envelop·eJandthenslnrn.sthe suitense s~'..~t:.Th~n:th")looksat_-hers!'.'lallbedroomdes}:, goes toit, re0ovcs as~gll .file-envelope.fro01cnooft::c: drawers•.It i::;0:1.eof-c11.0Jebrownenvelopesinwhicflenc

Rvv-.11/2)/59 (Continued)

~:-:;.:.~.~-·--·.

r··

PSYCHO #9401 15

8 (contd)

cs

keeps important papers and poJ.icies and certificates. She checkn its cor.tentsbriefly, puts it on the bed, opens another desk drawer., takes out her bank l:,ook, tosses lt on the bed. Then she packs both the file- envelope and the banlcbook, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room.

✓

A two-car garage. One car is gone. Mary•s car 1s parked in the driveway. The CAHERA is low enough so that we can easily read the Arizona number plate 1.nthe 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 1n, starts the car, begins to back out of driveway.

We are close on ?'.aryrscar,shooting in at ner troubled, guilty face. She seems to be driving with that excess care of one who does not wish to be· stopped for a minor traffic irregularity. She st.opsfor a. red light at a main intersection.

We see Lowery and Cassidy crossine;·the street, passing right in front of Mary's car.

12 MARYtS CAR - (DAY)

Mary freezes.

Cassidy, glancing into car, sees Mary, lets out a cheery exclar:tatton,cJ.bo~·:sLowery.Lo;•:eryturns,flees!•!a.ry,

l_)

smiles pleasantly, puils Cassidy on.

ll-10-59

I ...____j

I!...---~---'---------~····-·············----·---·-····-········-·-······ .. ········.....

--:-··•~·•···- ··-··--······--··-···~--·

?S:-:C:}:0 -{~1~}101 "'lo,,.. , •.,/1'- - . --- ,....!\••,-

J)t '..~....r.,.l..•

··c Nary ·.-:at,c~-!~.stt..~..:f~Ct,1.re<.~:-:.chZ1.n~~withalooko.f

stony horror on her f3~9.

•lo.J..1-M~r...·--..r1'-n-r,.-~i!.r.17.&t.0'.,"'i...,;.::..:,...~...X--(DA·__..,)

•c: Now w£"~lo0k cln.ur.lyatL~wcry. ·_Asherenches the·

curl'>,o s.tn.1.:~1cor:i.'trnic;-1:,·nri;:1ten'.':Ih:toface..He r~r:t;..1!b0r3thzzt!-~r:,:tntendedtoiisp.:mdthet·1eek- v,,,_,........r~:...1,-{,.....~.-.··-clv~:-;_k•"l-',...-:-:l.,.·!'\Qr'--i·,;-,.J-.-;•.••_,.,;-,.:_.,~,..l'>···rio••nls:r••.~.....~.~1,,.J,t11rn"'.1-•~.,

Mar-yseen the pnr:.se~ndthe look •.

:tora r.t~m1-:;n-;it(;WE.-m_look:~.asifLowery_m:tgh:.be m-eanir.g~o croeg b~ok to tl:ecur.·

:.:~·--.::.__.~...\-·---

wa h&ar tr.r:::t.r:Lllehr:Ltikofthotrafficcc,prs wii.tr-;tle.H'!l.ry2oon1.stt;.-,:,cara".-;oy•-

\'DA~..,,....,..

r1ar";·111c~.i•,·dri•..'ing,·safelyawayfrom.to1.-rr..:!er 10,k is la.;~ ts-nsen:.n::iZ>-n-imorepurpo.se.!"'ul.After ·U., .•.•m~m-,•·+-~---\-~...........,,..\.,...;)•..-......-,.._·\.,_,,_,..,..,.......~,-n......•.<:!..~-\...,:;._,____f·,,,,_,..,.--'---·c,-.,.,,b'-"'•'--f»...e'·fro'.t"i•·n"'·.:.,,.,.,look~ ...""J.-on::r.•..3-•h~,..1. 9...,"•·:ei·y••,ii"'-.•.for.,a0c-a",:.);;:,-,.......c-1.v~...ion•.·

FAS"!-DISSOL7E TO:

lJA f£Jl.RY'SCAR- ,D.4.7)

------·

..___..,

----------------- ·-···-·-.. -----1

(

i'S"fCI!O 17.

• 1M!JX- (DAl')

.<ioksat-casgauge, '.

190. C.rJ,GASGAUt1E-(DA.Y)

r ' 20 Erl',A GASSTAT.!Olf-(DAY)

We see Ma-ry'scard.I'ivein,cor.!etoast~p.~!iere are :ioot.!,eroiir:.;.ibout,tl11sbeinGo.gal!irtat1o!'l. o.tt:tlie-m,:d.nhi;inwo.;y,.andtl1c~ttcnd'.t:m;ls.,_";;,·::..cus::.:,

malteth.i.setop,keepsher1's.ceturneds.w1:.yJ:rr:mthe ·aha.ck,.notwishing.ittobe·see..,.

No onecol:ies.and<fora·mornent.nlryconsiders.ctr.1:villg

an ~"':1,en··that:.ahe..Ghou.ldllfi.t~nto·.~.::."J·.t-hegn.zreg~a:- ters almost611lp:;;y•~She•h.istob2.owherr.or::.

A YOU?!olWu'iac.T.esoutO:f'theshack,star.ts;;oward.

tht;TE~-;:rHo:-r~'i..'1~hesb:J.c.k.•,TheAtte:ndat1t"::1::!.kaa:· ·-teW:stsps·.flrr.th-:!?\t.t~;ar-rjHney'sc.~:\,t-'.r.:~~r,d~n.:tC.es 1:;o.g:0'backand.answert!'Ul:;>hone•.··The·~hon-s'·s'ins-1.s.- tentrini;:bgunra..-,a.sna::-:;.Sheatz:;:-tslier-.,:ar, zooms...o:!.'i'.;·

•

We seethe AttAndnnt,phone.inhi:nd,1nthedoon,;iy or.shack•.·Ee.lookaafterthedepnrtini;carw1t:::i little.ornoe;G>resa!on;.

• aoA.

\.-

·..Theoar.r:r<ms.:malJ..er.as::l.tracestt.Ptheroad.Tr.e <'lttn.·1ss,;.tt:l.ni;.,T.!lsi'eisso:::et:!ling\'<16:.!r•.!yom""ous abcitt.t.h'ff·d&I'kt:ning3k'Jinto~h.1.c!\t.:ie.~a:tt:O.:.~!•t-S~o1::,e,:: disappearing;.

DISSOLVE'.i'O:

g;sJ;.t.~~n~::;leo1-.,y·n:1:ih-~:r-visi.opi~blu~tnr;.!!~r·e.yee c.!:lst.~.:in•:o;un~·Jrti.yJ-5rl~Pc.r.:c:n~r.1in.Sl~":s'::r ❖ tchGS

l) thr~Y!lw!~d1;?.,nri.if.!.'o.rcd.r.,1thn.":1to3tayop-3n..~~hec,ncomi'nf;

l.1g:;t$.seemtogl;;r,;,to;ipointbeyonden•:iurance•.SJ:.e hi.tli..::i..s:rs1\s:.~So.~''...

'(

L ..-..-·---··-·_,.....··-------··-----·~--·--------~-..

--',·:;~·

~..... PSYCHO _....,'......

01,1n1

25 OMIT

__....___________

26 ExrO ROAD 3:!()UIDER- (DAWN)

We sse Mnry. 1sc.nr.,d:l.r,1inth~earlyda;·m.,t.i).:'::-&d.~nthe so:ftt'.ho·..1).rir,rofti-1ero.:1d.flooki.niso:.1~ho~-:·aade.:r.dra- t.hetic.,!.tkea~hild 1sthrown-r.wrn:yto~;.A~•ii'ro~.-t~:ts angle it wou::.dappe~rtb~t-the. cur i;.)cTl.,pt.y.

After n mot1~nt,,dur1.ng':·Thic,hthere~re:noo"t.!lerv·et::.:t,:;les ....."'.:-,.eelsi...1.!t;~:~-...f111,,··r..,,a.)t.:•.,v,j..,,~·V"o••l"lin,i..,~...:...c.,·-1 rcm.....+n·,.........0,,,f"'r..,;,d~.l,.-.,1;,.J'-'.'"~-!-.,,,r,.....,~-j..,CA"'..;,•--••.:.t!.::~1:.;""'.'A·.,·- P PATROI.::l.A:.!lriapatrolcar.lbpasses Ma.ryIs:,:;;.~r,:ncr-;;es its appo.re::":;e::!!ptine.ss,U-turns.11comesb~.-Jl<:u;ibeh!nd th•::car. Hs g-::~t~O'.:ttandapproachesthad.r:!.::er 1:lside tll.ndo,,:.

'l:hc?at.rol.-::.anlook~dcwnintothecar.

F.e,,.ll-2<-~--59

-------- --··--··-----------·-··--·-·-·····-- ----~

(

PSYCHO it9401 19.

- Mary turns with a start, sits up, is startled and umwrvc: by the sight of the Patrolr:lan,ti.nd,asifb)'auto.a1atic reflex, turns the ignition and presses down on the st<lrt5:

The Patrolman holds up his hand.

Mary slams down on the brake, tries-to pull herself to- gether. The Pa.troln1anrapsagain, less gently. Reluc- tantly, I1ary rolls down the windo,..1.ThePat.ro1-"!lanstudi5:: her fora moment.

PATROL?·!Al; You slept here all night?

I didn !t intend to sleep all night! I just p~lled over••• have I broken

' ·, e.ny la~-:s? ('-,,_!):..· ,.._;.-.·

PATROLH.t...11

·-..-----------

PSYCHO 20.

27 (contd) r.. \..:

MARY

( or course not! Am I acting

as 1.f"•••somethingI s~frong?

..l.

I've told you there's nothing

··c· wrong ••• except that I'm in a

hurry and you 1 reta.kingupmy time •••

Mary seems aboμt to object, thinks petter or it, turns· o:t.r.theignition.

never "take up anyone's time, whether it's to give a warning, or a ticket, or help! Believe that, H'am. · (a little softer) Mow 1:t.youNoke up on the wrong side or .. the car seat, that's one thing. But when you act as i.f"I'vejust placed you under ar·rest•••

·---·-----'

r···

• #9401 PSYCHO 21.

27 (contd)

Mary starts the car, her face turned as it she wishes the-matter nere all settled and the Patrolman :iad already gone. The Patrolman isn 1 texactlyone of those civil servants who demands a thank-you, but he does reel her manner is a bit too abrupt. He calls:

The Patrol.man gazes. ather a moment, then:.

MARY· ·why?

PATROLMAN

C(~,.:. Please.

Mary pulls her handbag u9 f'romthe floor-,~1here she'd placed it when she stretched out to ~leep. She puts her hand in it, ru..-nrr.agesforherwalletlcannot find it. The Patrolman 1s staring at her. She glances at r.imne::>:.. vo.usly,pokes in her bag a bit more, sighs, realizes she 1 11 have to remove some of its contents.. Nervously., badly controlling her fear.,she takes out the money-filled envelope, andthen the-important papers envelope., then a ... coupleof other items, places them on the seat, finally finds her Nallet, opens it, hands it to him •.He looks at the wall.et.,than at the car.

The Patrolman walks around to the front of the car, checks the license plate, and returns.

The Patrolman peers in, checks the car registration on the steering ;,iheel,returns Mary's wallet. She takes

,;-_•f:r·--. it, looks at him fo:ra flicker of a rr.or.:cnt·.Hesays

nothing. She starts ahead~ fast.

The Patrolman stares after M:i.ryasshe drives orr, then.

11--\n_c::.a ___---!

PSYCHO 22

( contd)

starts back to his· automobile.

C 31~ MARY IN CAR ..(DAWN}

She is quite shaken, realizes she caused herself a great· deal of· troubleand·placed herself in unnecessary danger. She is disturbed and angry and frightened at her inab11'ity to act n8rmally-under the pl"essure of gu.ilt. As she drives,,she glances into her rear-view mirror. _______________....._,.,.________cat.

..32•. MARY'S REAR..;V:TEWMIRROR;..(DAWN)

/ The Patrolman is.follcwing 1n his automobJ.le, keeping behind her at a matched speed •.

33. MARY IN CAR - (DAWN)

She glances out·at her surroundlngso

34.,· MARY'S. :rov- (DAWN)

The Freeway ahead.

She ·suddenly.turns off ~he.highway.

,36. MARY IN CAR - {D/\WN)

370, MARY 1 SREAR-VlEW f:1IRfiOR~(D.AWN}

The Patrolman is no longer.tollow-ing.,ttasnot tu:rned offafter her.

·38, MARY INCAR - (DAWN)

She breathes a·sigh.of relier, thinks amoment, makes a quick decision.

DISSOLVE TO~ \..

REV 1.1.-,20-59

'!hebig Slgnreads "Callfom1a Cnarlle- Auto1110btle

sto'!>•Marygats out o'fc-a.r-1.g\aooest=ardthe·lot olfice, t\lrnsherattentionto the11n:eof cars,. notlwdg.theCa.11/ornUIlicensepl.atesonallofthe111. The CAR DEALERoalls outfrom nu of:!'1.ce: .

, CA.ftDif;l,.,EJl

Wtth you ina seeondl ' Mary nodsAstans wall<l.nsalongtileline of carsas 11'makinga se~ect1on•.Her eyeis.oaught,by.the•iron news)la~r!ftandon·thecorner, jllStout.:sidethelot·. Shi.'staresatthe papers,tuni:iaway,..asi.fwllatsne is fearingwoui.c1.have.to·be·impoinsibl.e,theri,having to sat1$fyher.self,,goegtothe.stenet,dropsedi.Pie :tnthe i:ronSlot,.picksupa·t:OSANGtt.ESne~spap.er, start:s··backintotl\el:l.iI'10'.ta;s:.sheglances·.W(lrrie,dl.y at.th:efJ"Ontpage•.·Asslleaoes,wei;ee,coming.up the ·streetto'llilr<ithelot,the.same1:'ATROLMAN.Hesees· Hary,&1lo~s,swerve:,.ove:r1:0-theoppositesideofthe. street,stops by~be our\>."ary, engNssedih the netf.spaper,and.wat·J<tngbadeontoth.elot,doesno't sa•.thePatrol.man,·.:,.;,C·s:-Da1.1·~er·isi:;,,tc~th::-l.>'; now:-·.!,t&::dia_::,:~h~..-i!.·:.t--:t3,.fc7"-!la:t"Y•As,1-;he.app.P~ac~es#. lest·l:-.!"...-:irncr!.c;;fap~r.,i:..:~s=ii:!.s.so

- CAR~Zf,tER I•-m•in.·no:r~o_~df.(·!~tro~c,:4;$1-·

th9m,:,stt:-::::.~b:.-::~1 '~u-:;l!k,: I~a-id.,z.:::tr..·non1ccd:fcr.lt so !"1 ?nj-:..~s~bc:.:~e·to.tr.eatyou soi'aJr-and!iq-...:.n=~7ouwor.:. 1C have en.•:::·h'IJ.!canreason;to.g1"rs

J m1:,.•...

{i.:·.~C·I'.f\;.~t2.!"'16) Can !.~r·r::-i•i::.rir:t,j":·:n:~andtakr'3 ar.::;:i;-··:::.'f

{Continued)

G"""--····:"·-,··--·-··.--· '.

(contd)

You .:.and.c-·t.tnytti.!.:r.gy:.:.~.:r-r-ea.mind to••• 9n..1b.:·!lc·•_a·•·tO!l'"..l!.1.~7.,_u,-w.1.111··· {::.:-.:>:-Jr.-·\.!idi-·:a::,i.r,g- t"~e:r,:~tl!".} Th!rt.·yo"'.:~t1·

M~J(L Ye:f_.j.!;t-·.s-•.••c:;,·!"hi::e_'·s·-1.:-wng;.;_1th.- l.1\;._ltaiJ;:..s:t•.••.

Mii.F.:i". lf,j·._-.:-T?-..ltnic:.r-i::u•.:i·t.:;.}fr{~.•:.:---g_··_-~tl:~r-Y·•.: rt,_.:;;:.:.a!}~,-:·c•.fii'°:,;:.9·:.h~r~~\-·SZ-;~i"· ~t·.s.'!":~::"•.•..•.-:

,' . . ·1,0•·..,.,&,...fflEP.A:l'RO't.l¼N..·.l-t.\B):,s.p'.j.'f·..-('DAY): ·-., '·.:· 1.:~.,~t!l'.;~).;~€'-.c~:·~:·-J-~<,J,-',.:J",;~_I,.

Mary hJlstof.c::::,-,.!'ls·-r:i_-.~J.ir·:i"'.o:..t;o--ck--St_w;._7_+·

,

ire·s·t~r-br!.r;:~-!";,;i:-.71'.•.'.•-:.:·::-·.Sr,:·:;:~·...:·-o;.~.';__a(th:!:m_1..fn'J''te:·fl'r

- par.t>;:..t~..:ar:.:.::_"~;-.:..:-.~:(-:;.i-:!·.o~~:~:;:r'.:in•;;.-~-·-t;-cir:::r,~ton-de:r-

1ng-ift~,e.;:.:.-..:::...:>.•.,...:·h~p.;:·-t::r·.~_::"nar.....d6is.t::..it· ner;,rr\~:;tha·.;::...~..i:..'Ji'·.··:,::.::.:;;~-;~;-:-:~.a_·;:·.;:,.--~;_c,,~-5.:tu~.lng·.h6~<-J1b.:$.

REV.11..20-5?

r--,·--··... .····---f

t I

PSYCHO #9401

~-;"f"'"·- (contd) ..r"'--,--.I.

can get a.way,wondering i:fshe 111 ba follm-rod,or if' the patrolman will go awa~ri r sbe does stay here. All these pe.nic...fearsrushhermind. and she can do nothing~ The Car Dealer has driven her car into the garageo She stands in the middle ofthe lotP feel:tnglike a shooting target. She looks toward the gar·age.

THE GARAG~ - HARY 1SPOV - (DAY)

Mary's car is in it.

Mary decides ·shecannot back out now without arousing

Pat1~01man~

THE PATROLMAN - MARY'S POV - (DAY)

[' ment, she goes to a·close car, looks.a.tit. The Car ri·· Deal.eris returning" ,_____,._

REV .11-20-59 (Continued)

,..,.,~.,·-::-·-···-....,..··-·"-"•-·····--~

PSYO:!'J #'9401 26. --

::-.. (conta)

}Wt:l Ot c.oure-!:not.I'l.;o:z-;,

OAR tEAJ& Well •••l!.,,ck,th.ts1s-;;ho,.!'irst time !&'"1.Grsaw·.the-~uz":01-:J.er h1gh-.Pres«uret.J".-;aale~.:r..a.n!. · .{ltt'J.ghs,seessh~is ir,n-:;rcocd:C-o:r:tt) I1-d.f:if('.lrBr,:--t~q:~1:r••.•· (looks.a-::-.tl'"..e:ar,the.:1

·••.•your·.carp!:1.s.t":1~t~h'~u.:lrad.

OARDEALER.· Ahal Alwnys gc,tcir.ietoargue money,-.,h:.:h......(·

All-.ris;>:t•

As·the'·car··de~ler.iOc-k.:.e~-h~r·.i.n.··affiuze:nient,.1she· reaches into.herba;;,.!'ei:..l:;:.t;hemon.3y-!'.l.lle.denvelope_. pauses·.· · ·

CAR r.::EA:;:.:e.?...

r·t~ke..i:t,.•.•..7(~~canp::-ovetba!: ca.r!.sJ"'o~rtl'•••...:;.l!l~an,.Outof st:ate.a:1.:i.all........g.ot·;ro-t.:r.p1l)k s:l1par.dyo..r·...

Y!AKL t thinlc:,:hav:1.;:t,;,r.e,,easa~, papers-. z·~·tl':.-e:--::.a.:l~.:i'ie::Roo::i·•••

OA.R:CEAT,ll'R I.rithebi.iil:!1:ig• • •. (ir.d.1.,:ar.i:1,cout,;!mes to·--s~are-qt.~1.etlyJ

Marystarts for';~eb!!1J.<:i:Lr,g-,.;lancir,gon,1einthe

45 T_;u;:.lil\'J;."'ATROtM•j>.Ud\•-.~~•---t<i,1v1s·""'''••'-'•-\,L.;n-,,._,..,,

'\ ;

Rev. 11-20-59

r-··-:--...

PSYCHO_ h-ig40l 27•

..() ... \----~<~_..46 EXT. THE USED CAR LOT - (DAY)

Mary goes into the of!'iceb1.r1lding.

Mary enters, locks door, takes envelope out or her handbag, extracts one bundle or bills from the en-. velope, counts off five, p.ut:Jthebundle back into the envelope and the envalopt:::backintothe bag. Then she remembers, -ta.k.{';Sot.1.tthe-important papers envelope, goes through 1t, finds several papers having to do Nith he_r car, takes them all out, puts back the envelope, starts out of the Iadies Room..

48. -EXT. THE USED CAR I.DT- (DAY)

.. The·car Dealer has-moved tl1ecar of her coice-out of

the line. ·It stands in the clear•ing.

MARY• I'd. really rather not. Please •. Can't we,just settle this and •••

' 11-11-59 ( continued) ii

_,. j

..._.·..,.:.~·-······

PS?CHO //9401

,,,---y- -\.,·•-,··/48 (contd) { I_;,,,·' <.

He starts townrd tho office bu:tlding. Mary follo,,;n, closely, anxiously. S;1eglances, sees:

49 THE PATROI.b1i\N-MARYISP01l- (DAY.)

He is still at the i'~rcurb.

-50 EXl'.USED CAR LOI'- (DAY)

The Car Dealer goes_int,;ohis oi'flce, l!acyfollows.

A second later.,he st:.r~s his cluto:e.obile.:-checks trat't'ic,.coT.2.osiwross~h~street.,slc1.1ly:z;nddriv-e.s onto the lot. Hs pn,-.;.~esa1:1..orJ.~nt,themdrivesacross the lot~ pussing ~ha oftlce, going on to the other exit,·stops there ~s E.:ir:rI scarisdriven back onto the lot•. T.hcr•:.EC~L\HIC□tots:-:0.ry'scur.,hopsout, waves to the .r~troL:.-..:ir1.TJ::eP:\trolmzmwavesbae;k, goe:;on a ·bituntil :.:.t:isbu!~::!.ndr,::i.ryI sc:.\r,stops again, loolcsover .n-:t1":.oof'i'ic•~.Inamoment,H~ry comes 01.1t,hurriesacross to hGl"'nc:;1car,get.si.tl,_

Mary pauses, turns, sees the I'ctrolr.:.nn,thenthe Mechanic. Ht:r1'acegoes:white. She doesn 1tlcno·wwhich mr.ncalled her. Ther.the Mech~n:tc v;aves,starts for- ward with her suitcase. ·

·~RY ( "3~]·~n-c'-•-,ni...,·.a-:..J.,1,-.,;,._·':--"•.,,.._..,,.."le.Sr;;:'4"vi•

I I cnr) \._/ ..·_: 4,, Just p,.ltit right in hereJ ple«se .... C .,..I beside m-:.

'l'heNechanicr.r:iilen.,t.hrcw;:.thesu!tc~sein.Mary zooms off. Aa she driv~s out of lot wo see the

..····· ...... ·--·-······ ·.._....,~~-..:............... .-·-....·-~-. -·-...-~--""''..,

PSYCHO 119401 29.

51 (contd)

Mechunic, the car Dealer and the Patrolman all look- ing arter her.

52 MARY .INNS.·lCAR ON ROUTE 99

Mary 1s driving tensaly. She checks the rear-v:f.ew mirror, is more shocked than pleased nhen she sees ••• /

53 MARY 1 SREAR-VIE"wMIRROR

No sign of' the Patrolman,_

54 MARY IN NE'd CAR ON ROUTE 99

She turns her fac.e.,looksout at the highway.

It is heaV'IJt·1ithtra.f.f1c.

56 ~iARYIN NEW CAR CN ROUTE 99

Again she checks th~ mirror and although ...

Thera is still no sign of the Patrolman.

58 MARY IN NEW CAR OH ROUTE 99

She cannot relax or feel saf',a,cannotconYince herself' that nothing will coma of the man's watching and sus- picions.

CAMERA IS CLOSE on Mary'e face now, recording her anxiety, her fears. H.}l:'guiltshinesbright in her eyes and f~h~ 13 ar,erson unaccustomed to containing thiB mucil guilt ·:!.nthisrealistica situation. Sud-

( _) denly, \•lehear the SOUED of· theUsed car Dealer's

laugh, hear it as clearly as Mary heara it in her

(___j

imaginn tion. Th8 "irr:ag1nedvoice"Ne hear is actually th~ voice of the car Dealer:

11-11-59 (continued)

...__.·_...---.•· ..-----

PSYCHO 30.

58 (contd)

CAR DEALER'S ~lOICE Heck, Officer, that was the first time I over saw the Customer high-pressure the Salesman! Somebody chasing her?

PATROLMANtS VOICE Acted.l.11<:eone.

Mary blinlrn, shake.she1..head,as if trying to shake away these voices or het"imagination. She checks the rear--- view mi2.11~0::i•

..L,,. C;,_ Still no s:!.ghtorthe Patrolman•

60 MARY INNEr,,rCAR 60

She tries to !'orceherself to relax, almost succeeds when she is sprung to tension again by ••••

The sight cf a police car. As she drives past, \1e hear the squeaky, unintelligible voice coming over the car radio. r,hry zooms do~-mon the gas, whizzes ahead.

DISSOL'tETHROUGH TO:

Mary-ts car a.ashingalong.

I / . (.).......

Mary lookfJ1,1~n.r·~,.,tircedwithstrain and\·iithhard drivin.;-.E::H'.:::ye!la~eheavyt">'ithworryanddeep thought.

11...11-59

- ........_,...,......•-....--···-·

PSYC:-IO .#9401 31

64 OUT T'.riEWI~fDSRIE::iD

We can e.se t!latit 1s much later 1n.the day, almost dusk •.

MARY IN NEW CAR

We HEAR the sound of an agitated BUZZ of an inter-com system, a scund emanating from r,1a.ryI simagination.After the eecond BUZZ, we F.EARthe voice or Caroline.

CAROLINE'S VOICE ✓ Yes, Mr. Lo·wery.

LOWErri'S VOICE

··o-_.: Buzz me the minute she comes in~ -:•-;_.,· "-...~,

Again ?.fa:r=ysha..¼:esherhead,forcesherseJ.fto stop hearing these ".inventedrlscenesor her ixr.agination.

Now we cu.tto the vie.wof the road, from-Mary's viewpoint. Darkness or evening 1s coming. ·In the d~ t\iilight we s.ee the ne~n s1gns of roa·isic.erestaurants andgas stations beginning to cJ.aze.on.

Back on Mar-y1 sfaoe, and after a moment, the imagined voices again:

,. -r CAROLINE'S VOICE _1 :t called.h,:;r~ir;ter,Mr.Lowery, j "\ '.' j•-·.._ where she work::::,theMusicMakers ·,""\ ·.. Music-St.::,re,youknow? And she

t -· clc~sn't know t·r.hereMaryisany

moi·e than ·wedo.

11-11--59 (Continued)

,,._,.-!_.__...._..................:.-..-....-....·-...,.

C

PSYCHO 32. ·,

_(~).

A f'lus.hofp1.in~ulguilt ancJregret rises up in Haryts race. She cloees he1~eyes fot'one tight swift 1noment.

68 •. .E.t-..VT•n,..,._U'T,..~"'T,[AVt.t.....:.•4-.~-09

We cut again to the highway. 'rhe fii•stoncoming headlights slash at the windshield •.

nrT. MARY's NE';[CAR

...,,··

0. cutt:1.ngb?.~ktoi·•!~.::'y.,wecansense1):tthotensemuscles

of har tac~ thr:.tzhsis dr•ivingfa.ster.. The oncoming

0·

headlights blu::tc1.t;her.'.SudcbnllrweH~AR Lo:,;ery 1 s voice, loud nc-11Jandfrightened,as if the anxiety in the m3.ntavoice ';!==-!~st1~on3enoughtobreakthro.ught;'~.ryrs eff.'orttokeep he:!"mindsilent and ·her imagination blank.

LOWERY 1SiTOICE Net I:haven't ths faintest idea. ·As ·Is:tid,r la,st·sawycur -sister when th~ l~ft this office on Friday.~. she r,aidshe didn't feel i·selland wanted to lea.veearly ana. I said she oould. And that ~•1~5the la.stI saw •••• (a pause, a thought) ••• ~ait a minute, I d1d see her, an hour 0:.1solater, driving~·• (a pause, then with ~1olemnfear) Ah.,! think you 1dbetter come over here to ~Y office. Quick. (8.pause.,a click) Ca::-oline,get;:rr.Cassidy for me.

/·\ (_)· 70.

It in c.o:r.pletel~,rdarknow,night.

REV. ll-3C-59 {continued)

-..........-..:.-...:'-•-•-""-•:·_,,._--,·_,~,.........-·-··-.....·.--...... .

(

PSYCHO 33.

71. INT,MARY'S HEW CAR

We cut bacl<:to her !:ace.

Fast cut back to·Mary's face. Oncoming headlights throw a blinding light across her f:eatures.

CASS!DY'S VOICE (undrunk, sharp · with rage) Well I ain't about to kiss off forty thousand dollar-:-si1'11get it back and if'any of it's missin1 Ill re- place it 1·rithherf'lnesoft flesh I I'll track her, never you doubt it!

LOWERYI SVOICE_ Rold on, Cassidy . . .Istill can't believe ... it must be some kind or a mystery ... I can't ....

A look of revulsion ~kes Mary close her eyes.

74. THROUGH THE WINDSHIELD AGAIN

Big drops of raln begin to appear.

75. CLOSEUP - MARY

She is becoming aware of the rain starting.

REV.11-30-59

·..":•.....

r

PSYCHO #9401 34

THROUGH THE WIHDSHIELD

C·

T'nerain increasing and backlit by the oncoming he~dlig~1ts.

77 CLOSEUP..,MARY

_Marystarts the 1-11ndshieldwipers,

Peering through the blurred windshield.

slowing clownin the flooding hichway.

rj·.

- peering through the windshield, The oncoming l1g.i'1to&"e fewer. ·

82 CLOSEUP - THE CAR vJEEELS

almost coming to a slow turn.

just blackness and rain.

peering·..

85 MARY'S VIEWPOINT

An almost ind.1.S.;ernlblelightintr..efardictance, a neon sign blurred by the rain-sheeted windshield. ·

11-11-59

~------ -------------..

PSYCHO 35

86 • MP.RY'SCAR

She oresse:sdo;-m,forces the car to move on through the ·r1ooded road.

(

As we move closer, we see the neon sign more clearly and can faintly m9.keout t.helarge letters which read "Motel.;i Mary stops the car, lowers the windoi•1slightly, looks out.

the car door al"!ddashesout into the raln and up onto the porch of the motel office.

Mary pauses on the perch. The lights are on within the of'f'ice.She tries door, t'indsit open, goes into of>f'ice, CAHERA F'OI.:LOWShe=:-intooffice.There is no one present. Mary go~s to t:ledos1c,rings a smallpushbell. There 1s no response. i'-1.:?.!'Yr-ttbsher.t"'or•eheadinwearinessand frustration, g:~e:st•ackoutonto the porch. She looks of'f in another dir-F.:ction,slightlyb~h1nd the office, and sees ....

A path from the motel office leads directly u.p·to this house. T:t1ei"eina1.ighton in one of the upstairs roornn. A WONAl'1pr:.ssesthewir..dow,pauses,.peers out. We see hr:;1-- in clear silhouette.· She quickly goes away f:ro:mthewin.do;-:.

Mary, having seen the ~-.;oman,expectsnow that she will get some attention. She stands a r."'ewmoments,waiting. No c.:v. comes. Irr.patiencear.dangerrise in Mary. She dashes cu.t into the rain, to her car, gets in, opens th.eside wir:cr:,•:1.. begins to hc1nkthe horn. After a moment, a YOUUG MAN ope:: the f'·rontdoorof'.thehouse, pauses, starts dm·m the patt. Arter a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of tha porch. As she r·uns,He see that the Young M8.nhas gor:~ back only tog.At an umbrella. See:tngthat Mary is on her way to the p_orch,he :::'Unsquickly,the uttbrelln.unopenea.

I. in his hand. He gets to t.heporch a r.1orr.entaftert,:ary

has reached lt. H9 stops short, looks at her, then at

CL-' the umbrella hanging 'uselessin his hand., then back to hcH'.

1.1-11-59 (Continued)

PSYCHO #9401 36

90 {Contd)

There is something sadly touching in his manner, in his look. Mary's 1mpatien(;egoes and she smiles and this makes him alnost snile. He gestures her into the office, standing back to indicate that he will go after her.

(

She goes into the office.

The Yeung K.1r1f'o.:..l•:'i:·rsMaryin,closes the door.He

(

·1sNOR.NANB.A.:X:E~,.,som~\•rhereinhizlatet~renties,thin and tall, soft-spoken and hesitant • ...~.... ;':'. NOfil.t!i.N·· ··Dirtynight.

NORMAN·

........-. ~.·; (?:lir!ply,~lmost g chser-fu.lly)

We have tw~l v,::\."c.1caricies.Twelve cabins, twelvi:::vacancies.

They moved s.w-e.ythe ·highway.-

I•·th·oug_ht_Tia•got.t·en off..the ·main .•..•

I knew you nr,;.sth:a.,.-e.No one stops h~re a.r:ymor-eunless they do.

He is behind th1-Jcounternow, pushing forward the registration book.

/.,-------C.....-··-···•.-·-·'······-··· ············-..·······...·--....-·-·····..····--1

PS~CH0 #9lJOl 37 ---

Mary has placej her h~r!db:;.gon the counter.She takef;the r,:=gi;;!tr;:;.;;ic:1book:,picksup the pen,1.s sudd.e~lystr·0c'\.<:\·.,itht~erealizationthatsheI d better use an .:!l.11,~~-Shewrites thename £ila.rj.e Samuels.

Ymi.rhornaecl:ir-ess.Oh, just the toi:m.1.-ri:i.l,'io.

She realizes he didn't ask her to tell him, merely to write it d~..;·m..She.3miles,writesLos Angeles beside th; f,,.lse:n-1.m.;;:.N,:>rmansmiles,stops smiling out of emoarr~ssmsnt.

NORl;iAM. Cabin O~a. I~•a cloner in

~ ...,. caf:;e~ro-:.lt•r3.n~.:,2a.n1tth:tr!g~•.. , H,. right:next t.o th:3ofi'ice. \.........'----

He remortes-~ke-:,fer·Cabin.One. We see that there is a

NOF,..MJ.Ul There's a big diner about ten miles on up . . .J":..tstoi..4tsideFairvale..

~rnHHAH Fif~s~n ffiile~.r 11iget your bags.

,,) ~ I ---~·

:Rev.12-7-59 (Continued)

L ....

PSYCH~ #9401 38.. --

93. (Contd)

He goes to door, op?ns it. The rain has slowed down considerably. He smiles a.tthis fact, as if to com- municate so1neplea.surehe finds in it.. Mary .follows him to th,?.door,goos out on the porch, waits and watches as i-:o:rmanrunstoJ.i.erce.r,getsin, drives it to the parktnr;space in front o-fCabin One. Nnry wa.lks a1.o:1gtheporch, waits before the door of Co.bin One. Nor~an gats out of car, with suitcase, runs to the door, opens it, pushes the coor open, puts his hand in and.switches on a ·1ight. Hary goes. 'intothe cabin. Norr.:ianfollowsher.. ,.

I:N'l\CABnrONI!!-(lIIGHT)

Norman ple.cessuitcase on bed, goes to the window, opens it.

}TORHAU (quickly, starting to 1ea..,e) 1 '1.1be in tt·..eofficeifyou want anything ....just tap on the wall.

:\ ) . He pauses at tho door, gazes ~t her• She smiles. ' ~;___}

I Ycu have scnethinc most girls l nevc.t·h8.Vf1~

- -J-.~,~,·"

l (Continued) • -----•------•------•--w•

____J

~SYCI-!0 #9401 39.·

(Contd)

'. MARY I have'?

IIO.fil!Aff. Theret.snon~~e for it••• But it 1sijomethir.gth~t,thatputs a person atsase.

NOi'U·lAN (notreallyaquestion) You 1.renotgoir,gtogoout again anddl'iveup tothat diner, aroyou?

No.. "--' ·

ZIO:t!•Z4JJ' Then.11.1.l:;ouci.o.n-aa!:avo1.•1

h'31'NJ!i!'POr.e.e) W1l1.youh.1.vesupperhei•e'?I was jus:tabou.tto.,myseli'.••• nothingr.,orethllns·or.iesand- wichesand·a loto~ !11.ilk,but I 1dlikeit if 701.1,'dcomeup to thehouse and •••I.don•t set a t:ano-:r·tab:!.ebut••.•.the. kitch<in'sawtμlhOr.!ey-•.

UOID·l.\.U All rir;ht,yougetyour dresses hangi.tJSou~and.•••ohsnge thosewet shoes,and I'll cometor you.s1;ionasit 1 sready.,.•. (.starts out) ♦,.withr.;,ytrus.tyuribrolle. (he 1-auehs.asru1ll 1-n:ash,r~n;)o.t::f}

Mai•:;clo~e~the::l.◊or,r;oes·tosuitcase·,cpe.nait,.sta.r'ts to tn-1:cc.1.~ta:=..:·e:1r:.HorhS.:\C.bcgi~r1¢:xt-tovhe.s~i:.- c11se,.SheglGr,cesdo:-111intoit,.p11uses.dropsthedress, roRcbcsinto thohi:riCb.P.g.,_t1ri·:e·s01.1ttherr:oncy-.:""i11.i::.d cnvelc;,13 1st:ur:::::atit.,ulr.1ost!\'it2'"',:ti)F,ret,contsr.1·01ntez hiding.it,d.c-ciae·sto,!:tartfilook1nr;i'ora_:::•e~s-o:n!i:,le

--------------··--·.

PSYC!!O #-940l

94. · (Con~). ,. hidintrplace.She loo::sabut,at thecloset, the,d::-awGr,.. etc,,realiz'.lsallsu•~hp::.a::es·areobvious.Catch.in.;· sigh-cofths:n.;,,wspa~l'inherbag,shehits.ona solutior,.Sh,:,opan.thene:;..,psper,placestheenvelope

1ton the bedsidetcb1.eas!.fitwerethere forl!>.ter reading. Shecons!d~!"sth.i..sro:r-a·moment,·acceptait, goe•s.tohersidtca~eitosr,.:rtunp.:icking.,Suddenlyt::ie quietis shatteredbythe·Sh,~il:..,ugly.soundora woman'svoi~e,raisedin an~er. ,

\i'OMA.1{'S'IC!C'S: Not Itel1 you_I\<li.

Marywalkss.lowlytothe win•iow,realizingthatthe terrible.vo'l.::e!s.,..,:.:.b;;fromthe.housebehind.the cabins..CMiE~AFOLLO}fShe::-towin,;iowandonce•there· we.,seethell1,ht:!.a$':.illonint,heupstairs.bedi-oon: atld-thevo-.1-ce.ls:~o:-:!rigf'roin~at.root'l.Tha-z-ttillh,a·a" stoppedlUld'ther.ioon~sout,

j'"oung-g:J.-!"1.s:.·.!n.·/o~su·p,r:~r·•,·ll

creeps..intothevol.::-e:)· •• ,by.candl,;1if,ht,Isupp,:i:se,in thecheep eret.icJ'as:h.lonofyot!l'lg lll~mwith.ch,a.p,erot.lcmindsl.

NO?,.t-l.\!l'SVOICE' Mo,ther-,.pleas:e.•.•·•

WOlt.!11'SVOICE! Andthen whli'':?Aftersupper,muaic? Whispers?

Mother, she's.jus~asi:r·anger... hungr7,and·.the.1'e&th'='r'.sbad·...

wo~1A~:'s·vo-rca: (mimick:!.r.,Jr,t•uelly) _.Mother,.she·1 sjus:sstrangerJ (herd,cn:.-J.ai:;a.:..n) As lf me~don'c d~~!r&strangers, as if •·•-•-0!1,.!r,:..fus:e·1:0speak

) of <iis,::iu.:~t!.::1.gtf'~i:1r,sbccau-sethey-

d:!.s,guscme:Youur,d,;rsto.nd,.Boy?

Jfov.11/23/59 (Continued)

j i----" ....-...-,-..,,._____.,___.......'..·.-·'.-

("" --------·-·

PSYCHO 119401

94. (Contd)

WOll/'~NISVOICE(Contd) (pause} Go en, go tell her $he'll not be appeasing her ugly appetite with rnyfood •.. er my sonl Or do I have to tell h(H',cause you don't have the guts? Huh, boy? You have the guts, boy?

NORR!l.N'S VOICE (blurted out fury and shame) Shut up I Shut up I /

There 1s th':lSOUNDof a.door closing in that room up there. Mary h.~sstood by the w1ndow, listening with mounting d.:!.i:tressandconcernandsyr.ipathy. She turns her face away nolt,gazes sadly at the little empty room. In a moment there is the SOUl-TDof'the house I sfront door slamming shut. Mary turns, looks out the window.

95. FROM MA.RY'S VIEWPOINT - (NIGHT)

,· -I I •r-;• We see Nor·man coming dti1mthe path, carrying a napkin- <::, covered tray:

•I'

Mary looks at him !'ora moment, then turns quickly, goes to the door, 01,1ensit andgoes out onto the porch.

Mary pauses. o·iJ.t8ideherdoer,is about to start forward when Nor-man comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painf"ulembarrassment at the}mowing look in her eye. -..-~,0 ,,.l":f..,.J (',('/ MARY 0t·"I I ve causedyou some trouble.

) at s~rdor.i:humor)

••. what is the phrase . . .rrshe

(.:)

1snrt herself today" ..• I think that's it.

REV. 11-30-59

J..___..:___

-, -..--'

r·

PSYCHO //9401

',7,. (Contd)

(\..-·. r·-·~-- . MARY

(lO('Jkinga.t thetray) You shouldn't h.'1Vebothered. I really don1t have that much or an appetite.

I Normr1.nfllnchcu, renli~~ingshe hao heard his mother s reference to M~.ryrsappf~tite.

NOTIMt\N I'm sorry. I wish ... people could apologize for other .,. people.

She begins to baclcinto her room. Horman stnrts to follow, hesitaton na he sees the total picture or an attractive young woman and.a motel room .

~c---',· Bringing dotm the tray or .t'ood.,.indefianceof v· his mother 1 sorders,is about the limit of his

defiance for one day. He cannot go into MaI'y·•s room.

Without waiting for approval or·disapproval, he turns, hurries to the office. Mary looks after himj her face showing amused sympathy, then follot·rn.

N'ot•1J1.anlco1csab:,ut,trc1.y1nhand,seentherels

1..

no reasonable place to spread out a suppF.r. He turns, se.esNary standing in the doorway.

(j

Mary nods. lror•n~n1•r:1.llcson,beh.1ndt.heco1.mt:crand into the darkened parlor. Mary follc~s.

,,..,1_:::;a

r---·· -~:..._·::.:;:~--~-t.....,i#.--!.:........-~........____:-_·,•...:~

PSYCHO /19401 43,:

99. Il?r.NOR!!~lTlSPtTILQB- (NIGiiT).

In the da1..kenedroom.,litonly by the li3ht f'4'.'omthe off'ico·spillingin.,we soc l-Jo.l~r,,.anple.cing thet:riay on a table. Hary comes to the doorway, pauses.. No.t'Ins.nst.raightenDup,goesto lrunp.;1tU!"ns011the ligh·b.

Mary is stal:'tledbythe l:'oom.Even int he dirrmess o:fone ls.mp,the striange.,cxt:ro.ordino.rynatureo.f' the l:'oomrushesup at one. It is a.room of bil•c1s. Stur".f'edbirdsJallo7er tbe l"oom, on every ava:i.la.ble1 surface,.011eeve.ncli:r..gingtotheold .fashioned ,.

-·c· f.t'ingedshe.deo.f'thelamp. The bi.::•asa.reofn~ny

varieties, beauti.ful,grand., horrible·:-preying. . Mal:'ystar>esinawe and a certain ..t'ascino.tedbo.rl'o!'o

100 •. ·CLOSE TJP- THE VARI01:S·BIRDS

101.. TWO SHOT

1TORH.4.U Please sit down. On the co:ra.

As !-Tol:'lnansoesaboutsp!'eadingoutthe bread and h~.r.:· and po'J.!''11"~3themilk,wefollo~-;!•10.:.~~.,.aci--ossti;eroo:m•.

{cd:, ·;.,;,,/ She stud:.esthe bil"c:isasshewalks, brici"'lyexe..-nines ..--~. a bookca.se··stacked withbooks on the ·subjectof

0T·a..,.i·-a~"'~''"I~u ..;-...........J.

102.,. CLOSE 1J?- T:-::EB0OICSCf!T.AXIDERI·:Y'

i!ED.CLOSE SHOT - i-!ARY.... . . .

She notices, too.,the paintings on the wall; nudes., pl'ir.ia.r-il:y,.andr::anywithavaguelyre.ligiousovertone., ·.Finally!-:aryreachesthe sofa, sits down, looks at the spread.

Ma.l:'ybeginsto eat, ber attitude a bit tense, She takes up a small slice of ha::11,bitesoff'atiny bite, nibble "'.:.a+cu·-,· t;-n"-\v,'ler:a""''"'....u..i::.1.-.....0.1.,...on:;-C:J.S••tu.,.-ooa--··n.:.~a-'P~""'e- occupicd. ~-Tc,::,~:ansazesether,atthe tiny-bite she has taken, sr.1ilosandthen laughs.

HORI-t!\N You ent like a..bird•.

Rov. 11-23-59 (Continued)

PSYCHO 44. --

103. (Cont'd)

NOfilll\N Not really. I hear that ex- pressicn, that one eats "like a bird," isreally?...falsie, I mean a falsity, because birds eat a trera~ndous lot. (Aps.us.::1,.then ex- plaining) Oh, I dor"'t l:n,,wanythinga.ccut birds. Hy hobby is stut:'fing things ... taxidermy. And :rguess I I djustr!J.th~rstuff birds becaus·e... well, r.hate the look of beasts when they're stuffed, foxas and chimps and all ... some peopls even stuff dogs and cats ... but I can1t . . .Ithink only birds look well stuffed because they•re ratr..er•.. passive, to begin with, • . •I!l.Ootorthem •••

He trails off·,his exi..:.ber:~ncefa.1ling1n therushing return of'h!..snet;_:ra.1.hes-itancy and discomfort.Mary

re•,.,

looko at him, with scme compassion, smiles.

/\~ ~.-··

HORM.;N It.•snot as ex;.ens1ve as you1d think. Cheap, r·!?:.:tlly...Needles, thrE:o.d,~awd.ttst•.•the chemicals are all that ccst anything. (Hegoes qu:!.et, looks disturbed)

NOfil1AN It Isrr.01•eths.nahobby ..•

I ·, sot1eti:-r:•?S••.ahC';bbyissupposed : ) r..: to pass the time, not fill it. '-=-"

REV. 11-30-59 (Continued)

-..~-....:!

..~·i',;.,..•• /·}J....,("-.,••··,•..:•.._·-.:....·~ ,·V-\.1.~

PSYCl:0 '-15.

103. (ContId) Ht,aY (ai'te~apau~e,saftly) Ia yourti::!eSO9t!Pt7?

NOtlI·lA11 Oh,.nol (.t'orcl.tigbX'ightnesa

I r-untb~offloe,t;t;t:VJ4:iho· eabin;oi·andgl:'ou.w:!s,,jolittle· chores.t'o~mothcr,••theor.es

she allowslrnlglitbecapa:i!.e· o£ do~. . ,,

I·I.~R! You.go·out,•.,w1t!l.tl'iands?

liOB!-!.'UT P.ri·endS'?!ibon.e:eJsi"l.l"il'nds._.. (L!l.ugh:i,tlhlll'!ith· gall-,:-rs.hlWc>.l:•} A boyrsba$t!1•::.;i::dishis tothe)•, (Stops.le.:::;l.l.:!.1"-G) "!0\1.tvet;~'";e~-ha~.~.nt\mptyl':loment :tn.yo~~holel_l~e;-.iie.Vi:,to.uCZ'

NORMA?l Whereare '!70Ugoing?I·don1t meantp-pry.•••·

(A wistt'u1.:1r.:ile) I.1in:lookingfol:'e.pr~vate island, .

TOBHA?! Whntare youl'\l!'.rJ.ngawayf:r--or.,'?

?-!ARY <Aiert) . Wb7 doyou askt;hat?

liO:al·l<l.lT lro.?i::oplenevor-~"1-Tlaway£r-ot1

{A ;,.!iu.e") Th;.,.!;a·t:ntlt.:.';r~:t!.tJ.r.-:t;\"'el"'ylol"...go

Youknot•rwhatI"t-hin.tc?rtbtnk we· 111t.1al.l.].11o'lti.~<,~:!';.1::irivate tr-a.ps,.ci.!t!rt!'}e~lr.-:-,i:c~,andr.one o:fu-:1cnn,,v'!lr·~-:(1r·,:,out.Wo

L.

/)9401

103. (Cont 1 d} ,•.-·.,.•.~.• d) ...1_;~~..~~.il.\,,,on;;•• scl'aiicbamlcaw..,b\1.t.onlyat• tbeail',o?".1.yat·eacbother,and fol'allct:~t;we.ne•;-e~•budgean ineb.·

l-to\RY Soll!etimeswed1:1libe.:-atelystep P1tothose traps.

l!Olll·!f>...!·T Iwas born.;.n:,nin,:,.Idon'tiul,nd it an~re. ,

1-to\RY Youshould •••M.1.ndit•

1:rORI•!AlI Ob·Ido H• hw..I sayr don 1t,· (Laugbs.bo;,rl.llbl7)

?'iARY {St.arini;.e.thtm,shaking •>e-11n~·........""•-@I:'"•~-:-c:....J...,,:to•"•·"i•i--)..I.'--..• Ifan70nn·eV·el"'•·spt;,.,i.:~·~o~-:tbeway I.he:ar-d-.•·•-•~~~if··wi=.:r.shespoketo· yo~,r-·oor..rt·t·::Cltr(?ou:l,.O·e\-~er· laugh.aga-il'I,

l1IORHAJ·T- (Cor,!;ro·l;.edr:esent::-.ent) Some.tbe,swi:a1ns:jatalksthatwayto meI}·d:·111:e1:;,;:i•._.,.·r;u=-;fe-her·out.·.ar..d leave·be::-.fo:..ve::-1·

orat l<Jast,ci,!ytier. · {A.pau11·e,.aho;,e~•

But Ioouldri;;-;•.SbeIs ill.

Sbesound~d.s"-rong..... l!C:l?•!AU I.mean·,•,ill. . .

She l'lllQtc:-e:t3,:;:,i;;all.byhers;,lf~t'tel"

itr:!~JS_t·~:s,.,1£i.:>c~:~·~s·t.r!li.n.·Ob,she dicn:tbnv"~,.,,fc·.:,·nt•tt:iwo.rko.l"Ian:;-tbing, Do.-d·le.ft,\.\..'..'".:i:r_1~:.t!i.t,,Je··~v1nr:,.~htng,.~o an-:,'1.za.:,'":aJ'-er.-,·?eitrs.aco.~.,•r'!ot-tlermeta. tnO.?'loHt::r.t:.:"i.!t.C·d_~n.r-i!'i~o.:pull::.Hnr,t.~'ls· ·r.ic-t;~l_.•·•:;e:.~-<J_!.,il•i1.1.ac~-t<,al.~~cdht:rinto anycli"i:tlf./<..~~t.:..l:-.~~r·;,.v:~.11-(!e-...lt-t·H!S juct t-c,)t~•.1.~'.;:··,:.:-·:,),:·:->t:~nnod!cd·,too.,,_,. r-1:dth~.~:,s,_:~_-_··:.-·::-:,~:-.i·-•¥•~~"-'___.

L____......

PSYC:IO f/9401 47.

103. ( Conttd)

l!Offi.!AU( Conttd) Oh, it tsnothing to talk about wben yout l."eea.ting. (Pauso3.,.sr.iiles) Anyuay, it uas too much or a loss for rey~other••• she had nothing left.

1-:L\.RY (C):'.'iti~a.lly) Excep'f:;.you•

A son is a ooo~ substitute fo·x-alovex-·.. (Tur-nsaway as if _in distaste of the wol:'d)

MARY Why donrtyou go a:wa.y?

nom-rA.1: To a p~ivate. island, like 7ou?

1ro:G-::ur . It tstoo le.t9__~orne. _And besidos •••1-Tho·,d lookaftel:' her? She'd be alone up there, the -i'il:'e·wouldsoout•·•.damp and cold, like a gl:'ave.When -youlo~rn so:nf::one,youdon1tao that to tber.:,eveni.fyou~bate them. Oh, I dontt hate her. I hate •·•.what shers beco5.e. I-hate ••• the illness.

N..\RY (Slowl:r,ca.rafully) Wouldn!t it be better ii'~rou P.Ut hel:'in •••sor.:e place:••

She hesitates. !fo::::nanturns,slm-rl-y,lookingat

t her with a st:•ikine5coldnesse

Rev.11-23-59 (Continued)

•1

J ' '. .. .. ....I t'·.--!.t,....__t-....•,,......_ ' ., I

.....PSYCHO_................

10,3. (Cont 1 d)

r,~~-- i/ \.• \._/,. . lIOiU-1:~N

..... An Ins.titution·?A :o;::,.dl:ons-5'/

People always call ;,1..-,~:.idhou:so

so1ncplnce.a (Him.!.o.tngcol(lly) Pu·ther in Someplace!

•.r·· (The coldr.ess.tu1•n-

ing to t,igt.tf11:.r·1} What do you knou ab:,nt c.H.ri:ng? Have you·ever ssen- on-:;ofthose •I places'? Insidt:-?Lauf~ili.ng and tears and cruel e;/-iJ3studying· you.•••.and my moth!:lrthere:;?Why'? ~ Has she h.a.1...-ne<lyou?She1 sas harm~esa i.;.s••.•(,ne,;fthesestuffed· birds.

The fury sudd0nly d ien,.::i.b.:rct'i"lt.17andcompletel:r,andhe sinks back into his chair. There is a.brief silence. Macywatches thi~troubled m.1n,is aimost physically pained b;y-his·anguish.

:..() ~••it isn't as ifsha wDre n (;.✓ maniac.,e.ravine t:11ng ••• i.t1s

just that ••• ~on:otime.sarm go~s a little ii.:d.Uc all go o._1it.tlo r,iadsO!:l\:d,.i"·;:;•rillVf:nit:,rOU'(

H,.~v.,11...27-5')

·..-•-•·"·-·

...------·-. -·····.--·-...... .

PSYCHO

103. (Cont'd)

..,C MARY

(A.ftera long thoughtful.-pause) Yes, and just one time can be enough. (Rises) Thank you.

c·: MARY

Norman.

I stepped into a pri.vatet-rap b•ck there -- and I want t~ go back and ••• try to pull mys.ell'out.· (Looking close at.Nonnan) Before it's too late for me, too-.

NORMAN· Alright. r~11 see you in the morning. I'll bring you break-

,--. '':

1/9401 PSYCHO 50.

103~ (Cont 1d)

'. NORMAN

Alright, Miss••• (He has forgotten her name)

She goes out of the parlor. We see her,. from Noman 's viewpoint, as she crosses the small off'ice,goes out into.the nightc Norman turns and looks at the table, and we see his face now. It is bright with that drurtken~likelook of detem:ina.tion and encouragement and resolve. He 3t.n.rtstoclean up the table, pauses as he hears the closing of 1•1ary-1 sdoor in the cabin next door~ He hold& itill, listens, He goes into the of'f'iceandlooks at the book.

104. c.u. THE-NAME SAHUELS11

105•. M.S.. NORMAN

He goes back into t.he parlorwith amys.titied expression The sounds or Mary moving about her room come over, soft SOUNDS.,somehow intimate in the night quiet. Norman turns his earfron the direction of the SOUNDS.,seems to be fighting an L"'.'lpulseto listen,or morethan listen. But slowly, he ls forced to surrender to the i::ipulse and, resisting himself',he goes to the wall, presses th~ side of his head against it. ·The SOUNDS come louder, as if we too had our ears pressed agairtst the wall. Now Norman looks at a pie turehanging on the far end of'the wall he is leaning a:gainst. .Slowly he starts toward 1t. Re reaches it, touches it, reluctantly lifts the small frame o:fi'the wall.

A tiny circle of light hits Nonnan 1 s:face,coming from tho hole in the wall behind the picture. This end of

l )) "-.......... the room is very dim and thus we are able to see clearly

the light striking !formantsface ..

PSYCHO

(Cqnt'd)

We move close to Norman.,extremely close, until his profile fills the screen. The tiny spot of light hits his .eye. See the smnll hole through which the light comes. Norman peeps through.

C 106. NORHAN 1 SVIEWPOINT

Through the hole we look into Mary 1scabin.,see Marr undressing. She is in her bra and halfslip. She stoops over a bit, places her hand.s behind her upper back,-begins to unhook her bra. ,.

107., NORMAN - ECU

He watches as_Mary removef;Jherbra. We see his eye run up_ and down the unseen figure of Mary.

108~, NORHAN" 1 SVIEWPOINT

Mary., just slipping into a robe.,covering her complete nudity.

,·-=--..... 109•. N0&'1AN

b

He turns f'ro:nthehole, faces us ror a moment, continues turning until he can-look out the small parlor window, -We see, as he sees ....

110. THE HOUSE IN THE BACKGROUND

111. NORMA.N

He turns his face away, quickly.,resentf'ully. In.his face we see anger and anguish. -And then resol.ve. Quickly, precisely.,he rehangs the picture over the hole in the wall, turns, starts out of the parloro We see him go through the office and out onto the porch, not even bothering to close the door behind him.

·112. EXT. THE MOTEL OFFICE POftCH- (NIGHT)

Norman walking -along the porch, in the direction or the big house.. Once on the path he pauses, looks up at the light in the bedroom.window, then pulls hi±:1.sel.f

f _): ·v--~-

,, ," r.'n

r--~:~::.:::..:....,...____.__......:..;.._.,••••----•,•".,...--.. .·---.--···.~.':.:,•,:.:~.·.r·.·,·-·.·,.•·~..·........--~.•..·-· -...··.·.........---.,i.•....r

·#94.0l.

1\-- PSYCHO ·1\...·-....(;

112. (Cont 1 d)

up, squares his shoulders, strides manfully up the path. CANERA.follows behind him. He opens the door of the house, enters. We see him pause at the foot of tho stairway, look up at the bedroo~ door just at the head of'the stair. He holds for a moment, and then his resolve and cournee evaporates. His shoulders slump, sadly, mourni"'ully.He by--pa.ssesthe stairs ftndslowly inakeshis way to the kitchen. At the i'arend oi'the hall. He enters thekitchen., drops wearily .intoa chair.. After a moment, he stretches out·a leg and gently pushes thekitchen door cl.osed.

113. !NT. ¥ARY'S MOTll..ROOM - (NIGHT)

Mary is seated e.tthe small desk, engrossed in i'iguring in a small notebook. We see from these t'i.gu.resa ealculation which indicates her intent ion tomake a restitution of th.emoney she has used .ofthe forty thousand dolla.rso 1-!esee, too, her bankbook. The paper reads thus: top figure, 40,000; directly benea.t.hi~ ,500,the amount used .for the new ca1•;total after subtraction, 39,5000 In another spot we sec a figure which matches the balance in her bankbook; 624.00. Beneath this is thef'°l3Ure500, and the 2.!nountafter subtraction, 124000. She studies the figures, signs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows tl'..atatanycost 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 srnallpieces. She goes into the bathroom.,drops the pi.eces intothe toilet bowl.,flushes the toilet. Then she d1•opsher robe and ··stepsinto the tu.band turns the shower on.

Ove·rthe bar on which hangs the shower curtain, we can aee the bathroom door, not entirely closed. For a moment we watch Mary as she washes and soaps hersel.t'. There is still a small worry in her eyes, but generally she looks somewhat relieved.

Now we see the bo.th:roomdoor being pushed slowly open. The noise of the shower drowns out any sound.. The door

·i. is then slowly and carefully closed., And we .seet.he 1.<. ( .;.I

,• ,·.

ll-10··59 (CpntinUt':d).

--1

PSYCHO #9401

(Cont 1 d)

shadow of a woman fall across the shower curtain.. Mary• s back is turned to the curtain. The white brightness of the bathroom i.salmost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside.

115. MARY - ECU

/ As she turns in response to the feel and SOUND of the- shower curtain boing tom aside •. A look of pure horror erupts in her i'ace. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knii'e•.The !'lint of'the blade shatters the screen to an almost total, silver bla.nknes.s.

116. THE.SLASHING

An impress ionof'a knite slashing, as if tearing at the verry:screen,ripping the film. Over it the brief gulps

..,{../...

of'screaming. And then silence. And then the dread.ful

~---

thump as Mary's body falls in the tub.

117. REVERSE ANGLE

The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one rlicker of a glimpse 0£ the murderer. A woman, her face contorted with madness, her head wild with hai.r,. as if she were wearing a fright.-wig. And. then we see only the curtain, closed across the tub, and hear the rush o!'the shower water.. Above the.shower-bar we see the bathroom door open again and ai'ter amoment we HEAR the s·ounnof the front door slamming.

CUT TO: •

118. 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 a~ lying li."Tlpandwetalong the ti.lefloor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAHERA HOV:::Sawayfr:)mthe body, travels slowly across the bathroo:m,past the tollet, out into the bedroom. As

·•·--"........ CAHERA approaches the bed,.we see the folded newspaper,

s.sMary placed lt on the bedside table.

_J

PSYCHO

119. CLOSE UP - THE NEWSPAPER

bos;Ldethe bed. The CAME.RA 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 SOUUD ai'Norman's £earful, shock.ad voice.

NORMA!PS VOICE MotherJ Oh God, what •·• • blood, blood •••mother ••• z

We cannot entirely distinguish these exclamations. After a moment or two of silence, Norman emerges from the front door, dashes down the pa th toward the motel.

Q,U!CK.CUTTO:

Norman is coming AT CAMERA, running head-on. He dashes into an extreme close up a.ndwe see the terror and fear ripe in his face.. CAMERA PAUS as Nonr.anraces past, holds as Norman runs to the po1•chand quickly along it.and directly to Mary's room•.

Norman pauses amoment _in t.riedoorway,glances about the roora,hears the showergoing, sees th~ bathroom door is open•. He goes to the bathroom, looks in, sees i;;hebody. Slowly, almost carefully, he raises his hands to his fa:e, covers his eyes, turns his face away. Then he crosses to the window, looks out at the house •.Shot is so angled that we see the bedside tab.lewith the newspaper on it.

After a moment., Norman moves from the window, sinks onto the edge o.f the bed.

122. FRESH ANGLE - BEHIND NORMAN

Norman sitting o.n.bed,the bathroom in 1:J.g.ofshot. We can see only the hand of the dead girl, lying along the tile floor.. Norman presses his eyes, fights to .finda vay out of his d.ilemma...Slowly, a kind or settling comes upon him, the peace that comes with decision.

Norman rises, goes to the window, looks out, and then, with resolution, closes the winc.01-1anddrawsthe curtain

·,

across it. Then he crosses to the front window, facing the porch., and draws those curtains closed. The::-:ir.c

(C.'·.

switches off the bedroom lig.ht.,leavingthe room lit only by the spill from the bathroom. He opens the f'rontdoar 1 goes out"

11-10-59

----..-----··-·-------···-----·

.. . -- ....·..---------··---·-··-·--·-·-···-··-···-•-•·•·•--•·-------··---··-·._.··-··-·-----...-~--..·-··---.....-·-1

,,......

((_). PSYCHO -~ ..- l_

Norman comes out ot Maryt;gcabin, closes the door care- ::rullybehind him, goos along the porch to his office, goes

/'... 11 11

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 •. Norman cornesout of office, closes door, looks cautiously about, goes-along porch, carrying pail with niop in it, goes into Mary's ·cabin,closing the·door after. him.

124.... INT. MARY'S CABill

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 strengthand goes into thebathroom. We ·HEAR him set the pai1 on the ti1.edi'loor,and then we HEAR the shower be,ingturned off. And there is total silence. CAHERA MOVES FORWARD so that we can see into bathroom. CAMERA is so ANGLED that we.see Norr.1anonlyfrom the waist up. Quickly and deftly-he unhooks the shower curtain, emerges with it.into the bedroom. CAHER.APANS down and we see him spread the shower curtain on the bed.room floor, jus.t outside the bathroom door•. He spreads the curtain so that: one end of it comes up against the bathroom.threshold 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 Nor:nano He works carefully.,with his arms extended away i'romhis body, slowly pulls the dead body out of the tub, drags.it a.cross. the tile floorand.onto the spre.ad-out shower curtain·in .the-bedroom..Having arranged ·tb,.ebody.,hestraightens up.,exa."Tlineshis ·hands,seesblo.od- stains on them •.·Hereturns to the bathroom, goes to the hand-bas.in.

125•. CLOSE S..'9:0T

We see his hands being washed, see the bloodstains being diluted and was.hadaway b.ythe gush o:fthe faucet water.

126. NORMAN

We see Norman shake his hands free o.fthe water.,then. turn to the-job of cleaning the bathroom.

He places the pail in the tub, runs water into it.,dips the

,) \

\...:.;,,

:j .., ......l

·... ·..------.·-·--·-----~-~

PSYCHO

'7=,;·. 56. ~'---<-" 126. {Cont'd)

mop in,.swabs the tile i"loor. With a towel he wipes oi"-J: the wall over tho tub and the edges and sides of the tub e.ndeven the showe1'curtain rod. Then he takes a second . towel and goes over the cleaned areas, care.:Cullydrying

them. Itinallyhe rinses and squeez~s out the mop,.empties the pail, cleans out the tub, and goes out into the bedroo:n.

127. IMT. MARY 1SBEDROOM

Noman staps carefully around the unseen body, crosses to the desk.,starts going through Mary 'shandbag, in search o.:Cher car keys. Re suddenly notices them lying on the

I I desk, where he 1dthrown them a.fter parking her car. He

picks up the keys, crosses the room, goes out.

We.see Norman .pauseat the door, check cautiously, then hu:r,:ryacrosstheporch and into Mary's car. He circlc-- tu.:r-nsthecar,so that.its trunk is'oacked up to the porch,_ directly opposite Maryts doori as clos.e as itcan go. Then he alights, gees to the trunk, opens it with the key and,

t,p.·.·

leaving the trunk lid raised,goes back into the cabin•.

129., INT. MARY'S ROOM

From a z,aisedangle, we see Uo:rmanbend down and begin to wrap the shower curtain around the body. We see the edges or the curtain as they are raised and laid.down again. Then he picks up the wrapped body, crosses to the door, uses his foot to- pull. thedoor open, and, leaving the door open behind him, goes quickly acros.sthe porch and gently lays the body in the tru11.k.He closes the lid then, but does not lock it. He comesback into .thecabin, closes the door completely, £licks on the light.

Again the newspaper is in the foreground. For a moment he pauses,· closes hiseyes agair...stthe realizationo.fwhat he is doing.,then.-quicklypushe.s a·11thoughts away.,continues with his work•. With the room lighted, he noi•Iproceedsto gather up all Mary•s articles and toss them into the suit- case. Re checks all drawers and the closet, gets down and checks u.nder bedand bureau, go·esinto the bathroom, checks. that room again, comes back into the bedroom, looks about caref'ully,spots MarJ' shandbag, throws even that into t.he suitcase, is finally sa.tisi"iedthat all traces o:fthe girl

'-::.,,..

11-10-59 (Continued)

-------·--------------------·-----------------'"'--

PSYCHO

129. {Cont'd)

a.regone front the room•. Then he closes Ma!""J 1 ssuitcase, picks it up. With his free hand he picks up th-Jpail, in which are the mop and the us.edtowel.s. He crosses to the door, switches off the J.1ghtwith his shoulder, pulls open thedoor., starts out.

As Nonnan stands in the doot."'..ray,heissud,denlyand.blind... ingly lit by the bright headlights of a passing car~ The flash of'.thelights and the SOUND of the SPEEDING CAR are over in a :flickerof a moment, but it takes a f'ew seconds tor Noman to regain his.former tense ccmpo.sureo Then he goes to the car trunk, raises .it withhis footr tr..?•owsthe suitcase and the pail into it, slams it shut.. He pauses a moment, then realizes he has left the bathroom light on in Mary 1s cabino He returns to Cabin. As he enters, his eye· is caught by the newspaper on the bedside te.ble. He goes to it~takes the newspaper.,and looks once a.gain into the b"athroomo His glance goes -rig·htoverthe toilet bdwl. He turns out the li_g,i,11:ts,crosses thedarkenedcabin,goesout onto·the porch. He reopens the trunk, tosses in the news-· paper and closes it. He goes around and jumps into ";he car and starts a.way. - We HOLD on the trunk, follow it for a·while, then.

13:L., EXT. THE SWAHP - (NIGHT)

The. car pulls away from a CLOSE ANGLE on trunk and as CAMERA HOLDS we see that we are no-win a swamp a!'ea,•..Itis quiet except .forthe irritating noises of night insects. NoZT.1an stops the car at the very edge of the swamp~ turns o!f'the lightss gets out, leaving door open. He look.3at the swamp, seems doubtful of.its abi.J.itytoswallow up t.heca:?:' 1:-eal~ izes he ha.sno choice. He leans into car, rel~ases the emergency brake, starts to push., The fr'Jntof the car be- gins to roll into the swamp. Suddenly there is the LOW, THROBBING SOUND of a motor. Norman freezes, llsten-3. The SOUND grows louder and Norman realizes it is an air>Jlane flying ovez•head. The car is rollir.gq_uickly now. Xor7.?.n jumps away, slams the door shut, stands tense. The S0U1:D r of the plane overht:!adgrowslouder. NormaIJ,locks up.

;.··\ ii )', (\'.,./.. ..~<

ll-10-~Q

---~----··-··-··-·······-····--·······

---·-.. /

P S Y C H 0

( FADE IN: ( AFTERrl'ITLE)

Above Midtown section of'the city. It is early afternoon, a hot rr.id-sumn1erdny.The city is sun- blanc:'1.edwhiteand itsdrifted-up noises are muted in their m-m echoes. We fly ·1ow,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 ·citybegin~ to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit-and-vegetable markets, old ~unicipal buildings, empty lots. The very geography seems to give us a climate of nefario1.1sness;ofback-doorness, dark and shadowy. And secret.

W~ fly lower and faster now,·as if ~eeking out a specii'ic location. A s1{inny,high old hotel comes into view. On its exposed brick side great painted

letters advertise 'Transients-Lo·,,;Wee~:ly?\ates-Radio

the shoday cfiaracte~of this hotel. Its open, curtainless windows, its silent resigned lock so characteriz-tic of such hole-and-corne~ hotels. We move forwa::-dwithpurposefulness to·.-;arda certain window. The sash is raised as high as it can go, but the shade is pulled do~m to three or four inches oi' the inside sill, 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 is in shot. No sounds come from within the room. Suddenly, we tip dm·mward, 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 f'ace, seen in the dimness of the room, betrays a certain inner-tension, worrisome con£licts. She is MA~Y CRAN2, an attractive girl nearing the end or he~ 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 long moment, then start forward. As we pass under the window shade,

:I..,.,,,1-.l .......

li-10-59

··-·------------ ---~~~-------:....-------------------

-~:-;:_.,.·:-::•.·~·:.·-~v•-··,.•...~,.......,--.............~

PSYCHO 58.

132. NORMA!PS VIEWPOINT - THE BLACK SKY

We see no plane. The SOUND of the motor isbeginning to diminishoa

CUT BA.CK~O:

133. NORMAN

We see the relief in his face. He looks at the car. More than two-thirds of it have already sunk into the swamp.. The trunk alone seems to hold poised above the sand and slime, as if ref'usingto go tp.erest of tileway. Normo.nbegins to panic, he steps dangerously close, pushes with his foot. A.nd slowly the car sinks, until f'inullyit is gone and we hear only the gen-:le plop of the swamp 1 s-t'inalgulp,and see only the small after-bubble,.like a visual burp.

Noman waits a moment, then begins sta."'Tlpingout the tire marks, so obvious in t::Jewetground arou!ldthe swatn.p.He stamp$ and drags his feet over the markings as we:

(sr?:-· -...."'!',,,

CLOSE UP !:ORMAN

standing on the porch a!'the motel, leaning agair.st a post. He is staring out into the night.,a look 0£ guarded, casual innocense on his face.tas if he were taking one last moment of peaceful night ai~ be.foreretiring. Then he glances dc:wnand CAHS?...A.

outside Hal,y 1 scabin,itsstrea."l'lof:water·obJ.lters.ting the ti.remarks., Ai'tera moment, Norman1s hand comes · into shct.,picks u:phose, -places it.in a ne-w:.)osit.icn. As CAl(ERAPULLS BACK.,,we see that the water .fromthe hose has erased and rearra.·ngedtheroad mar~l!1gsso that it would be i."1',possibleto tellthata.ca:-had been parked here. After a short wait, }formangoes to the hose-.ra.ucet,turns it off,.u.nacrewsthe r..0ae.As he rolls the hose, he walks e.wa:.,,.t'ro.mthespot,.pa.st the office, heading for the path that leads to the house. He g·oesup the pa th, pauses at the steps o!' the house, tosses the curled hose onto the lawn, goes up the steps and into the house. GAUER.AFQLI..G~·IShir.i in, PAUSES as he pauses at the foot of tho stui:-s. Norman_goes up tl:-.estai:13•.Onthe landins he stops. The door to his mo t:ier'sroom is closed. Lvi::::,-in.1 " ::.;) heap outside th.ed-::,orar1;;a.blood-stainedd-:,-,essand. a pair of elderly-womant s shoes...

From an EX'l'TIZ-!ELYHIGH!.EGLE;-,,;Fl1ook fownonHor:nan as he bends to pick up the stnin~d dress and shoes~

L.......-...

'\

~\I_.'.·........._ ......,.1.:.:·

...,.;;.;;...-PSYCHO...ffi9401

134. (Cont 1d)

He l"'ollsthe shoes into the d.ress,tuclrsthe small, neat b'1.;.ndJ.ett..Y"J.do1•hise.r•m,andstartsdownthe stairs, h1;iacingforthe basement.

It stanc1s sill1ouetteda3e.insttho sky. There is•

a long 1·:ait. l1hen,slo·wl:r:acu!'lof smoke comes out 0£ the chimney.

FADE OUT:

FADE !1?:

116. I'.NT•>lA.CKI1001TOFSA?!'SH.-"..E,D~·!ARESTORE.IN tfl::-u Fll'?mr"d....{m-L)- .

sam·is seated at bis desk',writing a letter;· s·equence !.)eginswithC.Al-.32.A.IHCLOSE1over Sa:r:i1sshot1..lde1"',andwe·canreadasmuchas he ~as written of the letter. The letterhead reads nsa.mLoomis - Ra.l:'dware,nandtheletter reads:. _ . _

{..·..~.,....... I 1:msittins in this tiny bacl-::l'oor.i

'•··-·--···

·p_ which isn't.big cn:,ughfor both cifus, ·-- and sudilenlyit looks oie eno1.1.ghfor

both·of us. So what i.f'we1l 1 eooorana c,:,ampede.11cmiser-able,atleastwe r11 be happ-y! r.ryou 'nnv:enIt~o:metoyour s~_nses1and.still want to •••

·OAI>.IE'RAbeginsPUIZ~Il-TGAt-!AYasSam-turnsthesheet of p~per o-ve~,conti::.uesba.ckL""lgawayouto-£the small b~~ck l'oonand·.beads,_backwards,down the cor;:,idorof .theharcwa.r•estore,··Asit go.espast the cotL.""J.ter,'(teseeayoune::;clE>!'kJB~Bsm-:-SP.F:i:2::tD, Sa.mtsa..ssiste::t,stancinzbehind the countori~.a look of ba.ndsorr.a:Je.ti'3nceo:nnlsface.Eeis waiting on a n:.eticulo".l!l,elder-lywomancustomer, ·ubois aoldim:; c:mdexa.-n.inir:.galargecanorin-- secticide. As CAI•iEaAPASSES::

WOMAlTCUSTCi·Z.R ••,They tell you wh~t its ing.redient·e are and ho\·Tit1sgur..:?::>anteedtoe,cte:r- mi.nete a."'1:rinsectinthe·world,but t;hey do not tell :rou.whetheror not 1t 1s painless....-lndIse.;rinsecto~ rne.n.,doatb.shot1.lcia1•.·:aysbepainless.

'Il t.,\:,..- CAMERA,.by this tir.iebas.reachedthe i~!.'ontdoor.

,-. ... ~, Rev. 12-1-59 ~VOn'\jl.UUt!UJ

-·-

_.(

P3"'.£0t:0 ::ar _,J,_,r.• -- Eo.

136. (Cont'd) thru 138. or th~ hard.waz-esto_t"e~.n:i'••lenowseeagirlstanding

Just inside t:;ed~o::-.S=:ci!'lan attractive girl with a rathar de:'1.nit•~~an~e:!:.',F.!.lr.-okerpurposefulness. She carries a band"c3.gand.9.srns.11ovez-nigbtca~e. She is Maz,y•.,sister,LIL/\CRAZYE.

Bob SUl"i"lri~erf'ie.ldb3.sno~icedLila..,·smilesbrightlyat her, give1:ha!•2.n!1ll-be-~•11th-ycu.--in-a.-m.,:>mentnod. Lil9.st8.:,:,t::;tc~'.:.3.lktt'.',~-.rs.,z,j~.tecou~~e:",neve::-taking he:-eyes orr re·::,.A5:.h·~e.r.prcacrl~.Js.,she_aslcsqu1et2.y:

LILA /

sur~:H.ER!<IELD You want to zee Sam?

I. LILA

Sam Loo:rd,3'.

S1D!.:·1U"t:·!ELD

SamI L~d.z:·;,::i.t:.tt.tcseeyou I

-~~--

wor~ie1ly ex~~ining ths fine print of the insecticide cac. Sam c<:-IT'.eBtr..tted.oc,:.'cf::.isroom,pa\i.Se~,looksatLi3.a a mor:l.ent,st:a.:-ts.::r:r:1.~.!.•d1:r.:;.J,s.:-,:her,hisexpressioni::-:-2i- cat.:tng'that!1e.:oe.snc.t;1:nc~-1!ler.LilastudiesbiQ.r,·Jit;'.:J a quiet, \'lO:."'::-iede::cr-.rasw!.on•.

L!LA l-13.yItalkto·l".OU?

L·11·a0-.1·c:,an.n~___;:,.•!C>_-1-..._+-..,i_~.•-=~c1Jst-c-r.-.a:-and+-h,..ecJerk,1turns,s+-...ar-cs• toward the f::=cr.to:t"'the~t~re.sa.mholds a.:nom~nt,then follows. As ::ereacb!=.:~her,she turns.,her eyes study- ing him intently as sh~ eaye:

: )i \..·..,:•' '--- Lila.

Rev_.12-1-59 (cont.1nued)

136, (Oonl;.1d) tht•u 138, !.,!!,A (qu:L~kly) :Csf,';S.ryhr,re?

Sam1s m.yst;i!iol,1'...nd!.sa!soa1iarecttheworr!ed; ·hostilee:q:.:-sc~!o:ionLila 1::.ifa-::e,Eestudiesherfor a·quietr.tc::l:'..n";.~:ehind"";heniis·adisplayor.varicue sizecarving kni;-e~.

B.:\1f. Is s~~~t!:.,rgwz-o,:Jg·?

L::r.A , I ws...~~·to·knew~tqsiatsr1shere•

•

SAM

Wit~fO\I•.

SAI~.

·r.z.:.;,4. Idc.u..ttkt:o:-,'l;:'l~::.'~.!-"'l·you~-s.tore., so::-si:l~-!le1~::-i:ryo,,i~to~:n•.•.at17,1he:-e.

• SAI·! W!::at•·s~!~e..J:.S.tte:11

L!LA Don'~ ;,cukr:.c:;.;?

As-S"m-,;ii,"•s·--~J-..,~-"'~u·..h•h,.:,~:,,,40:-,._-~.,_-;-..,t!'".eW,;f,.ancus.t:>me::-:o.crnee sailingpis4;$.·zp;.:4}:U:g..-:..sa.he.gces~!!wearinga· sat.ts£iec!smile.

WO}!A!:Ci!S:'O~!ER All I a.an~ci~ hi?pe1!'-it·ian,t:: pa1nles~,it'! ~uio~l

Shespeaks "qu:1ck"-'it,hakindofdelicious bil;e,nods happily,gee~ c:,cut,;.fthestore. Sam iG·now staring appre.hecsivel;:a.tLila.

(Cont1nus.d)

i

Rev. 12-1-59

L

••.:.~~:a..' -".:•:.••·•·-····

___=-:;.·tcEOp__,.......,.#9i1-0l

Ca::' 136• (Contrd.)

Tt.::--u ~,A l..J~.

What should t k'1c~,r?

SA!·'1 No. I tak~ it you don't either? (As L.i.l.ash~kl:)B llez•h-3arl)

I How l·:r.g?

/ LILA Ls.atF'r.idri:.r,,2!Jelertwo1•k, and hom<Jo,,.l wa.sin Tu.csc!lovel'.' the wa~k ➔ nd•o~~I havenl'-f:heard trc•rriher11note11enaphone call.

SJ...}! And ye;uthcugh1:.she 1 dccmeup here: to rr.e1·1:fsheh:a.dtwh.at rea.senwo~.ilish8have for not ·cal1i·r:g~;.-:,1..11·

.II.A A good reaao~, I s~ppose.

t!LA Mr •.t-::,o-~.i::.,yol·~ 1resobusybeing def9nsive ~h~t.~ou,.h~ven:teven reacted to t:-...e:m.os-tseri.ousfact of all. Nar-yj_~m::'..ss1r..go

LIL,;,

)

Look, if you.t,;-10.areinthisthing

t,:

together, r don 1 tca~e~it's none

--· ...........~-:lJ•·~_,__-::-1-59· (Cvui,.i,nu.e<l)

r,;-,

136- (Cont'd)

Tr'~a

:;:.:;::.:.A(Conttd)

1~8.

of my rr.:.otn~:s•••Bu~! Nant

·C

to oee a:1:.r.y.It•:.3.~th•~rto tell ~_.:3G:.1'.:1:-ir.1.lJ.r:lghtandit's nom~ o.f:_:n;;,"~w;:!.n~s.s.T.i1enI1 11 go ~aok to Phc~nix and ••.

She steps.•the an:x.1.-H,y?..nrlfearb1.tbblingup inher-, her eyes 1:'1eg::.nr..in5:;,:;,fillw:!.tl1\'ivr!"iedtears.Sam studies her fo.~•.:~m-:.!!":.c:::it.,!;h1::ntu:r·r..sandcalls:

ST.:.1\7:-IBB.F:CEtD It':sokay.,Sa.rri.,I:,~r,i:.~btitwith l:!.e.

Bob gets th-o~:--::r::0 $?.~e'p:,i;:c::.l~Utthl'OUghthebackway. Sam goes cl~,:~~~i;c.i:..:t.:.~....::p?a!c::?w:tthso.r:;serii::n1~;m.ess.

r, ·~j'

SA:,I in trouble?

SA:-1 W~ll lhY didc 1 tshecome to me • • •cailrri~, , •?

1{ .\ ...-...'\

l.J..!.L..'"\

\.;'.:~'.- ?;ottb-J.tk:ind

RE•v ....:::-1•·::-9 (Continued)

~---· -~~---- -----------·•··--•··•-·--......,---..,.

r\°lrc:;:1 6tl.I ----- * 136. (Cont'd) l Thru 138. i,:CT.J..(1:;o~.t.•d) (Aln-lJlt~.:~1iO)- You m-::n.;i.n,lyr,:,i:·ogo.s• ,. SAI1 (SA'"",1,1.:, 1:r\ ' --·--~-J Neve:t•m:!.t!'leye:go•.ratI stalk ·about.~\E;.r:r•.

Theiratte-ctio.n:Ll-:i:tst!1:!.r:lt,edb~,.ar~nwhohas.strolled quietly1ni;c,t:,,,,;tc•:•,;.:,e1;;..-,.:.:re!lthem,walkspast

1 1· ·nCLOSED·z·Cll·~}_~:~:rtu_w..:i.J..Z$~a.~kto:thodo')_!',closesdot-r, ·hangsthe sign;;.~re,;:?;;thecJ.corwindow,leeksthedoo!:',I turns to Sar.;.a-rdLi:i.~,,fcldnhisal'lll!!,-smilesapa.rticu- la-rl-:,.unfri.enO.l:,1.t.i~le< \

ARb':iCrAS.T I.etI s·alli;~lks):;~~4;-J.-:ery.~.·

·SA~•! Who a.1.'0·;.,rvu,l~iend~

:I!..\ I dcn•t·k:10~yo~..-:.•.

A!'.C.~~A,ST· ' 1 : wc,1l.ic:tbr:-..70·b-:?.ena'l,le·to,.t:l~l ; •you i.t-ymid..1;',:, ·,;

Money.

Ther~ i:aa nr,:r.ent'c~3'!le:1.::eazl;'!-tt"en.,U!':i!.ble-to·toleratc- the sudde.nf::·i;h~eninghr,.!=pen±ngs,Samexplodes.

RE\!.12-1-5'9

(

..::'.,.....:----·-···•··.·-•··:··

PSYCHO #9401 - 65•.

136~ {Cont':i) ·"'(~. ). « I.

ARBOGAST (Cont'd)

r.~.Lr:::.

thousand·dollarso

.. Saml<'::ksatArbor:;astinutte2.~shoe~-:andin that state asl<'.;;oneof thoseseemingly ridiculous questions •.

SAM.

·c· Why?

,-. Mu.st•veneeded it.

(

·LILA She was sup-posedto bank it, on Friday, for her boss~ Sho didn't.. .A.'l"ldnoone has seen her sinceo

\..' they just wa..'11tthemoneyback.. It

was all in cash o...

SAM

'-···

She isn'tt

'·.!-..._.,, Arbogast studies it, then speaks~

~,-'...c:,:.. (Continued) -..---·.;.

....----.---··;

PSYCHO 179401 66.

136· {Contd) Tbr·;.1 13-9. ARBOGAST

You c.ameup here on a hunch, Kias Cr3ne? Nothing more? No phone c3ll ... from him, or from your ~ister he~self?

LILI\ (~-rearil:i) Not even a hunch. Just hope.

(H

She was seen J.c:tv•ingto~·min her car. Se~~ by her very victims, I might add.

trLr\ (si.thoughtfulpause) Yes •..I Just ... did. The monient they told me .••

Lila tur:1sf'_!To!:iSam,a flush ofguiltand regret in her face. Arbogast lcc.,1-::sather,quitesympathel:ically.

12-1-59 (Continued)

.. ·.·,.....· -· ......:..,,~-:.-..;,;;.·:.;:;_....._._--,·~-~.·· .... -·-.-··.·-·····•-o,

He·nods, ta}:esc1ownthe closed-fol:"..lu..11chsign,sailsit to the ootmter.s09ens doer, goes out into·the street. After a quiet momant:

LILA.. / I ju.atlistet-_,ad....andbe1."tt,~ieo. everything they told me.. 'She stole the mon~y. r 1Wedon't want to get ber in t.t1ouble~' 1No donI tbrins . the police.ir...1•••.

·SAH It was be.!'boss' ideanot to .repor.t it to the.pclieo?

LILA

C) he tall:edso lo;;.dandi'a.st,.a::.d

I •~. I·should 1~,ecallee the· police•.

LIL.t .. I ought to call the police right nowt

SAI-1

'·.

i ·() ' , ·\··~·:

Rev. 12-1-59 (Continued}

_,........--.-•' ~e.

136 (Cont 1 d) •thru 138 ~:1 How-.couldI\;~.:,o:...ayZi:n.ir. debtup to r·,:·••• (S1rdl-,sat.·rh 1~l~·-.~~n.- ..grutr..-;ott:l.,jre;ily., tbe::i.r;c<::s.:-,,r.to·,u.) I.t·sbedids~~e.1.t·ha.'t(!'".\illf;J•••- l:tISba:r·d~o·t.i::•1.;t•:;..,;~.:;b'-~did bee.a"s~·"'.i;;•"''•1o,7,·.l,~'•··,.,,......-..1,,-,.,.•..,..•::;,·,,n•-',l-she· would. UnvJ'"-'.,,Bh,..isoi;1~wild idea.thatit._·,.:,,~_.;:..1.~l,\;"1.:p~••• us.·•••·

t!t;t Sheha-snt't..ov'!:n,.:a).:!..a1..:ot:.1

L!!A I rieed·to.,,•:r•,,,.:to,;,,,1tev-e sotnEitb.ir~•.1.~·:r.:s:.;.;.i:::1e.t'i.':"st t.ii:~.Ih;r.ot:·::..t·•·.~;;,..1·,-;~•e,~:.e.ir1;': a.nTthil"!~I:.::: 1.t~i.-:-::: 1 ::.·•••.~·ide:c-stand.,

S..t.!·1 You've.le.da.•~GiP.::;.-:.-f.1i£$.:

Ll.L,\ (A.~-'~t•;J;rt._..._,-', •,I..-•~·-;.,t.,.r,;. ·I oel:!e.fl7ir,i,u;:~-"·:·-,r;:q:~,r.,;;ing to -get·so::.~-?;-:~plz.!:::.~i:;~t-........·for e.11··r.kr..ow!et:e-T:=.:.":....t~~·ry!.n.g· to-get.in7:ci:..:h-:•!i.~:t:-re~ethome•. I'd bettergo·Le;,:.;, ·

(Atbo::r.i:·:·:··;:·"T;c>; r think!:ht:::t··~.~,..:.::•::..:..::~-:-: if·sbe,..,.,1:t:a:~t.:a;,/:.v..:y,

)

(Continu:ed)

I

......-·~.'...,.-::..-.-;·..

...,~..,...,(ContId) J thru. 13-3, Sl:.1-I(Contra) Why don't you .:ita)·hel:',:;.Hbon sbe shm·rnup ~..or \~alls .,♦• be b.er-e,

SA.H

Sbe111 r.1etid"::,ol-:ho.f'_USo

tI!Jt (conside.r-s.,then:) ·Where • •. ..canIstay?

SAH · (bi•igh·!;ly) First r-atebc·cel;.r•i.ft-yyardsup the S'C.i:'·90"t•Core.aO:Clo (as he rea~hes ~or tLe

After we -:b,1::;.k:,-01...i:t,;10 111~o 1iOthe dr-;;.g;;;t-:,.:·~s.::.:1g;;.,t~rous.

·a.- sand·wich. :::l:an~-:z:.!..1corr:eback. ( ~ he.re••oa~dwo.it,9

He bangs the sign qr..tbecool'J u.sbe.r>stilaout., closes door behinj tim4

( \·.,,../. .....;,..:.•

,, 1·

......_.....,...--.....' :.....· ..·:.-..

r·--

PSYCHO #9401 69.

They emerge .f'romthe store and walk along to the hotel. As they enter, Arb-og-astisin the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look.

140. EX~. HOTEL - (DA°Y)

I I

white car and go into this new hotel.

141. .EXT. COUNTRYSIDE - (DAY)

The white car speeding along the highway~

'h> \'--<_·.. ••.'~. 142.. EXT. NEW MOTEL - (DAY)

Arbogast going into the o.f'.f'ice-we see thesignabove him.

A high shot showing the freeway and Bates house and motel on the side old hig·hway. A pause and then across the bottom or the picture a white car speeds by on the freeway.

Another Hotel. Arbogast goes in.

·., 145. EXT. BATES''MOTEL,- (DAY)

\.;·.

the opposite direction to last time. Norman, a tiny figure, is seen. goingu.p the steps to his mother's house.

11-12-59

...-•····:v·.•··---·..::.

PSYCHO 70•. ·

\ . i.....~··'<.J. ...'---·· ·,. 146. EXT4 BCAR'DING~IOUSE- (DAY)

ArbogastI ssear•ch1B getting down in the scale. This is

an entrance to a.cheesy boarding house. "Rooms to Rent J etc. He locks at his list and then goes in.

DISSOL\."ETO:

,,. The white c~=t.:-geesb-y-on the freewayaga,in.

DISSOL'\7ETO :-

148.. EXT~ ROOMING HOUSE - (DAY)

Arbogast goes in.

DISSOLv"'ETO:

_,,,,,.._.. 149. EXT. BATES' MO::'EI:-(TWILIGHT) ·n-· ··-----✓--. Heavy tr:ai'ficonthe f'r-aeway.A beat or two - again·the

white car. It nlow2up opposite the distant motel. rt makes a turn ar:dgce.s back out of'scene. A pause and it reappears on the old.:t•oadan4 slowly makes its way toward the:Bates' Motel.

We now see Horm~no He h~s brought out an old rocking chair and has placel it on th~ off'iceporch.and is sitting hunched in 1t.. And he is darning one of his o,·msocks. CAMERA HOLDS.· Eriy◊nd the porch, and Norman, we can see the old house ftn•1can b.::.relym:':3.keout,inthe twilight dimness, the fig1.:.reofhis mother seated at the window. Here, too, there L, that quality of quiet peace surrounded by a vague foreboding.

Now Norrnanlook5 up at the.SOUND or the approaching car. And continues locking as the car comes to a stop and Arbogast gets c-ut. Arbogast gives the place a quick once- over, gazes at Norr.1.1n,startsforward. In his step and manner there 13 that bored, routine-logged q~ality of a man who has seen too r:...~nymotelsandas1cedquestion of too

.. ' many hotel r:!.:..i.n6.gt::r~-overtooshortaperiodoftime. l; ,' "--·,/~..~.'

Nor?!'.a.nrisesasArbogast comes forward.

NORir..AN (Shoving sock in his pocket) I always forge~ ~oput the sign ~r,..h,1t-.-'..'I!'~...tlr.n'!),tt"'...'!,"".""'""""'r'\""'•"

[. _.--···-··-'-·

PSYC".tlO #9401 71.

150. (Cont•d)

(Cheerfully) Twelve in fact. I·welvecabins, twelve vacancies. • .. ARBO~AST · (pleasantly} In the past two d1-;y:.~I'Yebeen to so zr..s.n:l"motels,my~yesare bleary with n~on. :nis is the first one th.r,.tli:iokei-1like.itwas,. hiding fz•omthe world at large.

I don't really forgat the sign., it just dcesn•t seem...• any · use. {Points) This used to be the m;iinhighway.

Want to regi.ster,plea.se?

S:ttdown. I di:,nItwe.ntto

·c,,,)

trouble you, j1.1.stwantto.ask ..•-

NOtMAM No.trouble. Tc1c.yislinen day. I change all tr.eb-sdsonce a week, whether they!ve been used or not ••. dampne·ss. I.hat~ the emell of dampness:. . · (O;>enir.g·off'.tcedoor) ·It 1ssuch..ad;;:.r..ksmell.

Norman is holding the dooi•open, so Arbogast .walks in.• Norman follows. ·

Norman switches on the overhead light, starts r·or the linen closet, suddenly pauses, turns, studies Arbogast, who has remained standing by the door.

You out to buy a motel?

f'....'I.: ARBOGAST ~:--s...---·· No•.

_j l.

11..:12-59 (Continued) '.i

·,

j ·J

__.....:·,

-~···--""'-•.·...;-....-._...

PSYCHO 72 •.

(Cont'd}

ARBOGAS'l' I'm not the police.

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'l' We have reason to believe she came trlisway ••• might have stopped in this area •·•.,

11-12-59

I ( continued) ·.,..·!I /..· ~ •'

s··-· ..·. ·.·...·-.

PSYCHO 13.

151. (Cont1d) (-":-··. \.,.t. ARBOGAS~ (Cont'd) ...-w::..,_.,. C ... (extends photograph,

which Norman doesn't glance at)_ Did she stop here?

NORMAM

:-/

No. No one has stopped here in weeks •••

Norman glances, briefly, turns away, lifts the sheets and pillow ca~es off the shelf holds them close, almost protecting~-y•.

NORNAN.

·v·/ ···-- No. At least I don't recall.

ARBOGAS l She might have used an alias. Mary Crane I s the realname, but she· might'veregistered •••.•.

NORMAH · The vacancy sign. Just in case~- We had n couple the

11-12-59 {Continued)

19401 74.,

J.,5l.. (cant 1_d)

mR?&A?f (cont•d) other z:,1p,t.,Said11.'thes.1gn baan 11;J:teezlonthe71dhave.· tholJBh1.tb1e11asan.o1d deserted m:1njng ton or aametb:ing.

Aim,GAS~ Jtowthere's a.oauple even remarld.ng &bout 7om- 11~, and aae how sas~ Yoiltwgo't tbem7 . · ·

....

•· . · •· ·. -:JAS~ (Cont'd) >r;m't·.lmOWwhen &116. ·got"Marj.a.• but; •samaa1a• .f1;uns.-.Ker

bQJ'-.fried 1 DIM 11 Sam..

·. .thesmu.c sa.ne) · · ~ sbe illdis;m.set ·.Ordo ,-au.

·-llaT..n-r-s, ·

----__,_r

PSYCHO

151. (Cont'd)

Arbogast has reached him, the picture extended. Norman looks dutifully at it.

i,•

ARBOGAST

-·-·• How early?

C~J NORMAN

Very early. Dawn.

A"'RBOGAS'r Of which morning?

"\.),~ ~i NORNAN

No,,

li~--1".::.-;)r'9

..~~'......-.

PSYCHO 76•.

(Cont1d)

NORI~IAN Nol Of all •••.

there, or standing rather ••••

ARBOGAS r Hew did.she.pay :rou?

11-12-59 {Continued)

...J

,···:-:..: :.,····r

PSYCHO 77. ·

,,..,

NORMAN". Why should she? I1m sorry,.I have work to do, Mr••••. if you don't mind, •• .,,

ARBOGAS'l. Suppose r wonted to search the cabins~ all twelve •.••would I. need awarrant?

(as if pleasantly exasperated) Look, if you won'~ believe me, go ahead. You can help me make beds if you like. (laughs, shakes his head) Come on,

He ·startsout. Arbogast pauses, momentarily confused

,. CUT.TO: ·

Norman walks dol-m the porch, hesitates before Cabin One,

ll-12-59 (Continued}

PSYCHO 78. '

r~:·_Ct..··152.{Cont'd)

··c ·walks on a bit toward Cabin Two, stops, turns to see

if Arbogast is followin~. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch and is standing at its edge, looking up at .theold house. The upstairs window is in darkness. The noon of the Vacancy and Motel signs splash strange light ovor the scene.

Arbogast does not reply. Norman becomes .apprehensive,

-·· ' starts to Arbogast, .forcing himsel.fto remain calm and

cheerful.

tr•...-'-.... Anyone at home?

\._~)

Arbogast turns, gazes seriously at him.

NORllA.N She I s•'.•.ill.Conf:ned to her room. It I s practically 11ving alone.

UORHAN'

r,-···~:

Oi'course not.

11-12-59' (Continued) I j

PSYCHO 79.

(Conttd)

NORMAN /

·(

r•m not a .fooll And I 1mnot capable 'orbeing fooled! Not·ev_en by womenl

/..

(disturbed now) That's all right. Maybe she could have fooled me. But.•• ( arueful smile) She _didJ.'"'l 1 tfoolmymother.

_ ARBOGAST Your mother·met her? (.quickly) ·Can.Italk to -yourmother?

NORMAN· No...r told you; she's c:on.fined••.,.

..,.,.,.,,~n

i/')40.l 80.

152. (cont•d)

mother. to"::-~;~•..t.

No·rnt:it•doe1:f.not!'E!i.:1pc1:.-'.;..A:-':icg.:i;;3t€:at3inhi~car, _startsthemotor. ;:;!::·:...rw:.r1lt·t:·1~.::u;-.)1ctudiettt:ie man's r~.c.e.,hi:2'•c-~·:r;.::~u::.ei':":CN1.r:g.a.-r:,p:::eh-;nsion.Ar:logast ba·cksthe-ca.rat;t;.!..t?:::~....,:e:i-:r~1!:-.i:-;,lv·.;!:i~,;-:~zed1videt!be- tween the old boatse:~:i~!:e1tgSb"':~i:1!..C1cwo!cs.bin Two.. AS he tu:r=:..:.tt'1e:-•,::(".:•.J.ij!":':!.~.!\5-.~~;l;tgh~sll;~t:,up the.porch. Uo:.1:ri.-..'1.nc4;ar..:l•~!~,~-1.~-:t:tn.~;:.~..n:.'.!::-i--re3/.it!;.J•. / D:tsso:.7E

153.} ·OMIT 154..)

-·f,~--f~--:'.':'.l:"n'..--...,\

Thec.a.rpullsup;:::;~l'..::-!>c~~.~'j;:··:::tzc~~•:.f~at-,l?.=.~rin.g motor-runnin~•.·Ai~:~z-:;.I::,·.;.:;~..,,j-::!.~!.:':.(,:!O·SS.t:Jei::!g!1w;.:y-J CA:OIERAPULLS-AWA"{~.::.d:it;

CUT TCf:

Arboga2t ge.ts··to·--:.~:~...;:~.,---:-.r-::J·:-:-~t-;~-,:;,n4;~rn_..CArZ..~S~AR-::s· FORtiARD,and..;re.se~P.::-•:;.,:,z3.:z:t.:.~-:-::~c?...i;-e..-::t-;.llnot~:,c.ok £rom:·b1s..pock..j"e,,;t,;;:;k1~::.;:;.::.:.::.~~:.\,...i:·::.;;a·C.iz.5.i:i-:he alot.and.dial t!:!.s.:::~::.~::+..;,,:,;.·,~")~:,';?l,)~.~!°!C::lS.bc::,t:...,

Rev. !2-1-59

...;..·.....·.. -;·:.-...-:.....·~

PSYCHO 81. ·

( (listens)

Thanks. (hangs-up, dials i again, waits) rLila there, Hr. Loomis? Arbogast. (waits) Lila? Look,.this isn1 tmuch, 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 1'eJ.lowruns it.,said Mary· spent the night, left.,.perio.dt (listens) I did question him, believe me. I think .Igot e.11 there was to get~ Just have tb try to pick

Well. •••mo..ybethat·'s becauseI d·on't~ entirely satis:Cied•. ·He's got a sick~ld mother, ·confined. type, and I think she· saw Mary and talked to her. But he would.n1 tle.tme see her. ·Shame.,too ••.•:confined old women:love~to. talk to strangers •. · ·(listens). I was,.but· I think I111 go ba.ck to ·themotel, first.

;

{listens)

i i No, you staypat, Lila. With ..l }. Loomis. I should be back in B.Zlhour. :~ (listens)

...,·,... All.right.. And Lila • •·• Yout11be

happy to know what I think. r think our t'riendSam Loomis didnrt even know Mary was here.

...J See you in an hour. Or 1ess• ~~.i

l He hangs up, gets out ot·the phone booth.

DISSOLVE TO: .

'··I

PSYCHO 82 •.

A distant view of the House and Motel. There is a light on in the house. There is e.lso a light on in Norman's o!'i'ice.We seeNorman emerge .fromhis oi'ficeand move along the porch toward the distant cabins. He carries sheets on his arm. He goes into tho last cabin a.nd switches.tho light on. Into the foreground the hood o:rthe white Ford enters the scene and stops. Arbogast gets out. He goes over to the Motel ofi'ice.

1$9• EXT. MOTEL OFFICE - (NIGHT)

Arbogast goes in.

Arbogast looks around the empty of'ficeand calls:

He goes over to the door to the parlor· and enters. He looks arou~d the bird-ridden room. He stops short.as he sees:

C.u~ - THE OLD SAFE n; THE CORNER

C.U.,- .ARBOGAST

goes over·to it.. He finds._it unlocked. With a quick, cautious look around he opens it.

163•· C•.T.T.,-THEEMPTY$APE

164• C.U•.- AP.BOG'AST

straightens up a.ndgoes out.

·165• BIT•.MOTEL OFFICE - (NIGHT)

Arbogast comes out and looks off. Ha sees:

166 • THE LAST LIT CABDT

The door ajar.

ll-12-59

·.·~_;·~-·--"".:.~..:-............;,,:....~.-------~·........:... ._,_._..•.•..-I

I

PSYCHO 83. '

C.U. -ARBOGAST - (NIGHT)

would go along but he stops with a new thought. He turns around and looks orr.

168. L.S. - THE OLD HOUS:EFROM HIS_VIEWl'OINT - (NIGHT)

169. C.U. - ARBOGAST

comes to a decision. He goes off.

I . 170. L.S. ARBOGAST

dashes up the stone steps to the House.

171.. ?'1.EDIUMSHOT

CAMERA HOLDS as Arbogast goes up onto the porch.. The house is dark within except, as lvecan now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living :roomwindows, looks in, sees only darkness. Then he goes tQ the door., listens fora long moment, hears nothing. Very slowlyI alm.cstpainfully, he turns the kn9b of the

~~---.. door and push.esgently with his arm and shoulder. The

~,.: door begins to open. ·Heallows it to open ju.stenough

1.72 . INT. POYER OF BATES HOUs:g (NIGHT)

Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direc·tion of the light, sees no one. The door at the head o:r the stairs is closed. Arbogast lis·tens, holds his breath, hears whe.tcould 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 crosse~ to the stairs, starts up, slowly, guardedly, placing a fcot squarely on each step to test it for squeaks or groans before placing his full weight on i·t. CAMERA FOLL01:.1S,r•emainingon floor level butTRAVELillG ALOUG the stairway as Arbogast makes his way up.

';,i....11-12.-59

,..........~·•---··•···--•"'""•·, ...

PSYCHO

·s·runeangleas that used at the FADE OUT at the end of Scene #43• We see Arbogast coming up the stairs. And nowwe see,.too, the door of the moth.er·' sroom., opening, carefully and slowly.

As Arbogast reaches the landing, the door opens and the mothor- steps out, her hand raised high, the blade of an enormous knife flashing. ·

174. C •.U.-A BIG HEAD OF AN ASTONISHED.ARBOGAST

The knii'e slashes across his cheek and neck.. Blood spurts. The sudden attack throws him of'fbalance. He. stumbles back and staggers down the whole of the staircase. He frantically gropes for the balustrade as he goes. backwards down the stairs. The CANE.RA FOLLOWS him all the way. A wicked knife keeps· thrusting itsel.f' into the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the r·oregrou.."ldastheCAHERA l'-IOVESINto contain the raising and descending murder weapon.

'.f... FADE OUT. 'lO

1/9401 85. PSYCHO

175. I.NT.BACK ROON OF HAFU.vARESTORE - (UIGHT)

Lila is sittizi..gclosebythe phone.,and looks as ii" sbe hasn:t moved f'ro.mitin the last bout'. Sa..'llis pacing, occasionall:;-stoppingat the window, glancing out, pacing again. The ash tray close to Lila is

tension and woal'inessin tbe small., otherwise cozy l'oom.

:J up and your eyes get that God-looks- '/'.

out-i'o!'c•everybodylookand·.••.• I. eel.better.

j ( ) j'['-) SAH ..\'-....

I :t:'eel.betterwhenyou.feelbetter •

T,TT.A • {a pause - then she t•isos) ,.H.~~-p-J-t...~"·:,;h~~hT..1't'lV?

----··-···--•···.s·

PSYCHtJ #9401 86~ 175. (Cont'd)

H, tS::.· Sam stares at hel:','frot•m·sinconcernoverbar very

l:'ealanxiety, goes to the phone, dials opet-ator.

sAM (into phone) Got the nu..'Tilberoi'themotel out on the old bighway'? Bates, I think. (waits·)..

He presses down the .receiver,releases it, dials tbe Bates Hotel. The faint other-end ringing tones can be heal:'d,repeatedly,·anncyingl:,. Re waits.

(CTC"!ntinued)

,--- 1'........--••••,••• -

PSYC'HO #9401

175. (Cont t d)

He stal:'tsforthe door. Lila i'ollowsafter him into the store.

He pauses hal.1"wa:ydown.,t\U'ns.,putsbishands on her a~. /

LI~ {nervously) Just wait here?

SAM· (a.wann sm-ile) Contemplate you.r •••.panic button.

He hut-riesdown to the street doorand out. CAf.tsRA. HOLDS on Lila as she stares after Sam. As sbe·s-tands alone in the dar1renedstore, all the hardware seems to take on sinister shapes.

176. c. u.

Among some bathroom £ittings a nozzle £rom a shower falls onto the floor.

177. MEDIUJ,!SHOT

••.....:.i'

,..---··-· ·----... -~~__..._..,......•..:.-··:·.~__,,_~......--...,;..·..;·-, ----~-_,;:.....-•...•·•-··•-c·-·•.~•-------•.... -......,..--..--~--•--••....:..•-....-...:-..-..;-.•.--~..:-.:----...i..----·.--·..:......;.·-·....~-:-· ·-·.:.-·.. :·...--·•.-:-,

PSYCHO #94-0l 88.

~ell and lonely and still against tbemoonlight, the .figu:reoflfoma.n 1silhouetted. He doesn't n,ove, merely stands there at the edge of the swamp, staring down at .thenow calr11a.1:idquiet.faceoi'it.

·CUT TO:

All lights al:'eout,except the light in l1o.t'lnan 1 s

in tbe.windo·w,:relaxed in a big'n-backchair, be::r

the SOU17DOP A 1-ZOTOR,e.ndthen-Sam's small pick-up tx-uckswings into the d:t!ivewa7.

Sam stops the motor, automatically switches o:C:Chead- lights, pauses as he observes the silence a:nddark- ness of the area. Then he bops out o.fthe cab, goes quickly to the ofi'ice~ knocl:son tbe door. As be waits i'ol"aresponse, he.looks down the long porch, studies tbe daX'ke1:tscJcabins,knocksagain, louder, looks in the other direction and sees.the house and the .figureat the one lit window. He stares a moment then .callsloudly:

Al'bogast?

_CUT.TO: ,.

IBO. EXT• THE SWPJ·lP

T.besilhouette ot'Mor-man. He is still. Over shot, ve'J:tydimly,comesthe SOU!ID OP SAH1 SVOICE, calli:ng again for Arbogast. Norr.1antul"nsslowly until, in silhouette, we see his profile, bis chin lowered

tion or the house. Tb.ere is silence for a moment,

181. Il~. HARDHARE STORE - (NIGHT)

The store is in dar•Imes3,only the glow .frontbe back l:'oom3pillingin.

182. L. s.

With CA!-2:RAplacodwith its back to the street door,

....-,...·· . -----'~•·-.......-..:..-.··-._,_:,;--.·...:'...:"i>:.:.:•:......:.-.-'"/?-::•.··,,;••.·..,.•::•·..~·.-...."•....·---·-·-·-·

..-··.·.·:-:....:·,...:.:-

r-

PSYCHO #9401 89.

182. (Cont1d)

we can see the di.stanttiny figUl:'eof .Lila seated and -.-1e.itingin•thebackr-oo:mbeyond. There is a SOUND or a cal:'pullit"..gup.Thetiny figut'e jurr.psup and r-unsall the way from the back l"oomdown the aisle o:fhardt-rareandcomes into a BIG HE..4.D.We see Lila 1 sdesperate anxious look.

183. MEDI1J1.I.SHOT i

tl:'Uckand comi:ngtowa.rdthe door of the store. He enters. He and Lila exchange quiet glances.

LIL.~. Sam, he called me wben he had nothing de.finite,nothing but a dissatisi'iedi'eeling. DonI t you think he'd have.called ii' be had anything•••

Lila goes quiet. Sam starts toward tho back !'oom, pauses at t;l·JeJoo.1.-,;.rn:,.,turiw.Lilaha~rer:.!!.inedby the doo~~ lookin~ out at the street. Sho i'eelsbis

{Cont'd) •.

pause, turns,ar:,:!fc;r"'1•.)F.sr.t-:.nsystarea't;each other ncrosa thedarlrn.n,~,iror.!I.,

SAt1 LetI sgo.see.AlC.:iamb,;rs.

L!.LA Who'sh~?

As~-he.st-art.s-:t.o~!ird.. .,,

DISSOLVETO:· ,

184. .m·-~·,ST·rtEE?T!IE·5:-~::s-rtrtesa~r- .{nIO!-IT)

A dark,•qu:!.o:t,·t,rct.l-ce!.l.'.nGe~street,the·s.-nallneat hoUses,di?ain:;l1s,reoon.lt,;>:i.,.S<1."1 1 s:;>ick-uptruck com.esdownt.:-~s$1:;r":;,:,\,i;·tJ.l~u,be:l'ore.thehouse:of· Shl?rii'i'l-:1.l.:ill:h.;rs.GA'.·!7JrAic'.0'.''.:::Snroi,SamandLila. as theyr.;.'!',,1i.'lfor-·an•.:-;;:,m,,tn.~i-.'1!truck'scab,.. ~tar1nsq,1~et--.lyat:.·-1;:•..-js-.1.~i:.~.tighov.t:e.•

S/1.,M Ou.rDep\1t-y.sl~f-lr-s·~

L~. Wellf

s,~;;, Nothing. •i'J.St·•••allthelights · ·.ou~•-••.rlt.:at.:.-~.asls.t;~.·

L!!:.,A (a-.-::r:';a1·1·".u:-z.s;;.,7rati;,n) ··.D-:,estha~;..m.e.a!1:js,-s.n1-·t·.••.•

Si1}t No. !'~ j:1sr..i:,:-,,,:r:;stiuat.ini'. People.hat;,:;,,h,·,~l;f:cydO"'J:>bellrings 1nthe.rnid,iJ.t:rer";:he_n.:.;:ht•.

Come<1!!.

ll.egets.outofcac, r·:»,~.;i:-01;:":rltoha!1iI.1la.She is·a_lreadYout,,'J.Al·iEIL.\?(J!:.i!'tc;1s1:h.:-:1u;,tho·sr.iall pa'th~o t~h~fr::ir.-+;door•..S.;J!n.t·rct'36Sttu?·be·i-1button. :Bothhe and 1!.1~'.::ir5:.~:t:1~.:.~.-~-:r:o~~·~cdOV'O.Pbythe shocking:,cl3!1;:;!::i;,c.:<3..:"-::,;:•ll.t.r,.t;·,!_:B.L.~\:SI·0FTHE.BELL

; tiithirit-hehour,e.1a.rin;·t·;!~!_.-;h,-s•Jt.tn.:i~~oreLikea

-ireala!"=t·thanadflcr':~:-;-J.J:..

'~ .'

::..····-···-·.·---·· ·.·~..::.-...:,··~~·--·. ·····::..~-·

(contI d)

7284, i

) He triest.ol).T..iJ.,!,,!ails.Li.!.(!doe:m•teventry. l

The downi:;tal.rsh:a.:..ll:t.rr.~go;:,o:,e,;<iamomentlater j the dooria i.:.nhi!:s.it.;tin;,-:l:,,or,,.madtyMRS,CHANBERS, ' I a ewa11,lf.•:.;1:rst.i.-,k01·ii:,·o:,i~nt1rappedinathick ' fl.arinalrobeanda::::iro1,ao!'hosrittality.· ' \ ) Oh?

3AM So-rr1;i~s..c~..a~bgrs.-Ihate bot;herineyo•:·••.

As·sheopens t1iedoor~:i.c.li,.

CUT1'0:

185, mr 1DO:•n~ST"A!RS.I!ffLI·a;S"..r:21··r~-~.,-·§·~12'7T3·-~.(N~G~)

Fat rosee spla'.tte~1:':h7~.-.l-l.1r;1:r-;r.·TheStai;i,s-Sre carp·et·ea.:The·_l-lt.:1t!:ig~.sb!""1.gJ:t:-.There:1.sa pa'!.'fectl7f.itt.'l.n.;wu.l.l.;;,h•:,nabytneparlora.rc.h. Mr-s..Chamber.s.toe.oit·oi:'!!.e._s~·airi1_a:,·1-·:,"8.lla·-UP-~·.

Alberti (a tin-;.-a.it,asm12e as Sam~r.1Lila enter) AlChambers.!

Samis ab.outtoc~.;rnethridoortehin~him, Mrs. Chambersr.iotio:1sforU.mno,;to,l!ourriesacrossthe hall, leans outsld;,;p:-ess~st.r.e,doorbell•.TheRl?!G. w1th1n thehcuse i:;evenr-:cr,;ish:i.t<;ering.Shecloses

(Contitiued)

--:..···-..~-··--.,.-.

r

PSYCHO #9401 92. ·

·18~. (Contrd)

the door, sta.rtsto the stairway, pauses as the SOUNDS of:movement above CONE OVER SHOT.

MRS. CHAMBERS

SHERIFF CF!.l\.'MBERScomesdot·mthe·stairs,ina bath- robe which nratcheshis wife ts. He is a tall, narrow man with a face originally destined :for Mount Rushmore.. He nods at Sam, looks at bim with wide- aw.ake e-yesand a no-nonsense concern.

'ri.' too •

MRS. CEA:i'.-!BERS (to t beSb£iri.ff') Tbe Bateslfotel.

j

C

P3".::GHO 93.

~rn-i:- 1'Lfl-...JtCEA!•lBERS (to Lila)

( He has.· amindlike a

mechanical brain and the more j_nfon:1ationyoufe:edit , ,. Go on, Sam.

SAM

(

He traced her thera and called us to say he i•tasgoingto question Mrs~ Bates •••

MRS. CHAt·.-ffiERS (a pleasant shock)

(

Norman took a ·wife?

........

LILA

:;.CJ..__.__. {interrttptine,anxiously}

Will you balp :.iz?I think somethingI svrrongout thereI -· SHERIFF (after a considerate pause) Now. Your sister is missing how long?

REV. 11-23-59 (Ccntinue<.1)

L

.......,.._.-.....-.....................,...,.____.........·~·.......,.....··-·--.... .

-.....-..-:-,-·.-·,·.-~--....~

PSYCHO #9401

185. (Cont'd)

·SHERIFF Le~t Phoenix uncer her own steam?

Yes.

-LIIA Fol'tythousancf dolla.:r,s.

ll-16-59 (Continued)

i

l

-···-··-·-··---·~··.••.•..·:.•~:.·-....~..~--~•.~•....~•.-.~--:7-;-,------:.•,--·-·. .....·.·..·-····-··•-.··-·.••••.•-•-••••••M•~•••-•

PSYCHO 95.

185. (Cont'd) ·A···...---'. ..

''-·-/·· LILA [ He didn1 tmention the money.

(anxiously) What he said on th~ phone isn't important, is it? He \·rassupposed to come bac1caft~r he spo1<:etothe mother, and he didn't! That's nhat I want you to do something about!

LILA / Go out therel Find sot:tebocy., ask so.mequestions!

,,- • (a pause)

I'm sorry·if I seem over-anxious to you.. I.keep thinking •••.some- thing's wrong. I have to lmow whatt ..

'·

called you to keep you still while he tool~-offafti~rher fillg_the money.,

MRS •Cn.AI•1BERS (to Sheriff) Why don't you call.Norman and let him say just i•;hathappened,if he did give the nan a hot lead and he Just scooted off ••• 1t 1ll make the girl feel better, Albe~t~

~HERIFF At this hour?

REV. 11-23-59 (continued)

----···----

PSYCHO #9401. 96. ·

(Cont.'d)

Mrs. Ch21llbersgoes tophone, dials·operator.

-MRS. CHAMBERS (intophone) Florri.a,·the Sheriff wants you to connect him with the Bates. J,fr,,tel.".

She hands the receive:r-to theSheriff. Ke t·akesit, reluctantly, listens tothe dim sound of RilfGilfGon the other end. After·a mo:m~nt:

MRS.. CHA~IBERS Arbogast •.

,,' i', ';

11-30-59 (Continued)

--------·-...-· ··---~--.·-:-:-~-..--.--

PSYCHO 119401 97.

185-. (Cont'd)

,( (lis"l;ens)

Well, I thinl-:yououghta unload that place and open up closer in to the action, a smaller place., you·know••• but. • • · /

LI"LA

SHERlli'F (into phone.) Sorry I got you up, boy. Go back to sleep. Yeah~ be glad to. (hanis up.,.turns to Mrs. Chambers) Sa~d to give you his_regards~

1.,,-,,--:'t:1'_'~··•; SAN

Wasthat all?

SP.£RJJ?F Th.is detective~·rasout there and Nor::nantold him about the girl and the detective thanked him and went away._

The Sherif':flookslong at Lila, shakes his head sympathetically.

\ \. '-,;;./-

REV. 11-23-59 ( Continuecl)

·,',-,

PSYCHO #9401 98.

·:~'i"· :\•✓::;' (Cont'd) ·o

'·

Thel."eisa long silence. S8.l!l.andLilastareat the Sberifi',

-~·-. o. MRS..CR.~MBERS

I helped Norman pick out the dress she was bWied in. Periwinkle blue.

··-,\

MRS..CHAMBERS

I '·:........:f/. (hopefully, happily)

Maybe you saw Hary!

(Coi"i~.i.nued)

---~~-.

J:SYCSO 9S.

185. (Cont'd)

SAM ,. Yes! In the house behind the motel. I pounded and calletl but she , .•Just ignored m~.

I.

~- the young n:.s.nwou.ldn:tlet

him sea her because aha ~as illl

e. ~~

The Sherif·rotares :itboth of them, and ~·.1l1enhe finally spea.!rntbe:>Qi~an aln:::,stinaudibletone of'irony·in..:'11s·v~icFJ.

QUICK CUT 1'0:

,,. ·'.rl 186. IMT. NOR!-,t\N'SPARLORDST!HDOF'FI0E - (NIGHT)

,, ,,J Norman sits in tl:edim.,or:.e.-la.nplight,the phone ;.

next to him, his hand still near 1t as if he had

,l not been able ~c,mova his hand after har:..gingup. 1 He is starin5 2..ttheshrike-like birid vihichis

perched en the ll·'.mpshade.De~isio:r.and resolution

I' are beginning to sh~w in his face. Suddenly he

rises, st.~r·tsc~ui.cl-:lyout;of'theroom,trie:3tosv1itch

i off the 1~~8 as he go~~ and in so doin3 succeeds cnly '' ' in knocki:."1_:;-:;:-,,::r,:!..:.·doi'.f'tr:0s!-13.dc.Ee;·1a.tcl:ie-sit

fall, d:,,:);::;not;;p0rt:icatcllit,::thitsthefJ~oor ~·,i.thathudand :::s::i.\•idustspill~:>u-:.:.H'='st8.resfrndl~r a ~.IJit,~."-,r"'-,_,r~..,tom~-,-·t••~!•"::•-'th"r·•.Sl:!,I.\.-,,-,n,~-.VI..'..\.._1..)a.·...,,,.,n.,.._,'IScoonc:-•..,U'"'i~r··n.::.I~

REV, 11-23-59 (continuGci)

PSYCHO #9401

186. (Cont'd)

sawdust, tries to press it into the split seam, picks up the bi:-d;puts it in a drawer. Then he puts out the lamp, goes out, c-rossesthe darkened office and goes outside.

OUT TO:.

Norman comes off'the porch, walks to the path and directly up to the house, opens the door and goes in.

CUT _TO:

SHOOTING UP ':CHESTAIRS

Norman goes up, paus·esone moment outside his mother's door, then opens it and·goes in, leaving the door open.. For a moment we hear only Norman's low, quiet voice, his.words indistinguishable, ·T'nen·wehear the cold shot of his mother's derisive laughter.

NORMAN'S VOICE

,:· (Rising now, anxiously) ( _); They'll come now, Mother. He

came after the girl and now someone will come after him!

11-16-59 (Continued)

----.---· ---···------------------·------..

PSYCHO 101.·

··\\L_j_· 188. {Cont'd) ·.·.·_-,:,.~, ,✓-,

She starts to laugh, a terrible sound like an obscene melody.

NOR!-1AN 1SVOICE I'll carry you, mother.

Nor?T'.ancomes outofthe room, his mother held 1rthis arms, her head leaning 9.gainst his shoulder. Re carries her dm'lnthe sta.irs,along the lower landing to the cellar stairs, and then down those stairs to the basement.

DISSOLVE·TO:

An overcast morning, but a sunny-faced crowd. The

\I service is just o~er, there is contentment, and peace, (.• ·---· and Just a little I-went-to-church-smugness in the

faces of the churchgoers as they come out of the chapel, and spread their separate ways a.way,

ll-16-59 (Continued)

-~·,..,;..._. -...---....._________--.

'·.:;:.-;::.-~

PSYCHO #9401 102. ·

Amongst the crovJd,waiting and searching the faces, are-Sam and Lila. In their expressions there 1s no peace, no contentment. CP.I-tc:RAr-'iOVESIHCLOSE.. They a.renot sp-3ah:ing.Lila looks as if'_shehas had no sleep. Suddenly, Sam becomes alert, takes Lilars arm,.starts to,·iard.thechurch.·CJ\ViSRAMOVESWITH THEM, sto·psas they approach Sherif!:'andt-11.'s.Chamoers. The Sheriff st'f"resratharsympathetically at Lila. Mrs. Chambers ,s:nilesnicely.

-SAM We-thought, if you didn't ·mind, weId go out to tl)emotel with you.

n ,t:1>

SHERIFF

~,'·, Nothing. Here, let's clear f' thepath.-

He moves away and the others follow. CAMERA PANS the.m ·tothe curb.

I Did he say anything about my I sister? ;

... i i

\ _I (.__,.' '.... REV•.11-23-59

..;-.

PSYCHO #9401 103.

189. (cont'd) t-·, ·,.

SHERIFF ,.- You must1ve seen an illusion, Sam. Now, I lr..nowyou Irenot the seeing-illusions type.•• But no \'romanwasthere and I don•t believe in ghosts, so there it:is!

SP..ERIFF

--· ca.nsee you do. Sorry I couldn 1 t 'ri make :roufeel r;etter. You ,·;antto \...d,'

come to my,office this afternoon and report a missing person ••• And the thef'..t,is',•Jhatyoui•Jant to dot Sooner you drop this thing in the lap of the law, that's the sooner you 1ll stand.a chance of your sistsr bein Ipicked up•- How about that?

MRS. CHAMBS...>tS It's Sunday. Come over and do the reporting at the house, 1 round dlnne:::-time.Make ~t nicer. You too, Sam.

She smiles brightly, as if having invited them over to discuss this year's charity fandango, takes the Sheriff's arm, st2.r:tsa:.12.y.TheShariff nods as he goes.

:'~---, ;'.,,......_..,.,').:,1

REV. 11-23-59 (Contii1uecl)

"\"•,::,:.·--,·.•<·,__.,.........'....~...--~··-··•'·· ---~--·-~·----·---~-~-

r

PSYCHO #9401 104.

189. (cont'd)

Sam and Lila are.alone new, a".:-the curb,before the deserted chJ.pel. For a long r.1omentthey just stand there, their fa.cesas gr-.:?.yandovercast asthe sky.

,..

Sam takes he!"s.rm:,startsW-:3.lkingherupthe street toi1ard.thespct where his pick-up·tr-uckis parlced. CAMERA FOLL.OWStbern•.

SA!•! wan.tI!'.etodr-opy,:n.iatthe hotel? Or ycu i..-:.1nttocome· over to the store?

Lila does n.:itan~rne?'.T'~ey·r.·aachthetr·uck.Lila looks ~i1•~ctlyat S;3.mashe helps her into the cab·.

He slams the door, hur:r:iesaround.truck,.getsinto driver's seat,.•i3tartsmoto~. As th9 truck drives oi'r,

DISSOLv"E '!¢:

190~ SAM AND LILA IN TRUCK - (FROCESS - HIGHWAY)

For a momer.t, both·are s11i:nt~;Sa.11"t-iat~hing;;he road as 11: the.?."'e;•,ero'olhercarsonit,Lilastsring at nothing inparticular, except perhaps her own inner fears.

,.,)··., \ ;.

REV. 11-23-59

i i L _J

..!'·-....·1•·•~---,_,__.. ,.........~:......·.• ··~

PSYCHO #9401 l05.

··c 190. (Coritrd)

·LIL.t\. I wonder if we•ll ever see Mary again.

i..' SAM

or course we Will.

SAt.Z (Almost to himself') She was Nilling to lick the stamps.'

Lila looks quizzically at hirn.,istoo concerned to pursue it.

r--

PSYCHO #9401 106 •.

190 • (Cont'd) ~~)~-

C ..___.

SAI,t This is tbe old high1,iay.

Sam slows the trur;itto o.;!top,sighs, starts to light up a cigarette •. Lila looks questioningly and impatiently at.hinr.

·.\ ) ,:···::.-_....... ·--

REV. 11-23-59 (continued)

·--· -----·--•·····•·"'""

--'r·- J·•

,, I

But this w~ll be the first time I 1 ve·evcrpulledone of those man-and-w!fe-renting-cabin capers!

L!LA (A ti1~ysmile.,first in hours} I beli~,..e:!.t•

As truck starts to drive on., /

The place is empty and silent and washed dirty by the deep gray of the cl01.:.dysk.-,y.WeseeSam I s truck turn- ing into the dr:'..-rewaya.ndp:!.llingtoa stop.Af'tera moment.,.Sam.andLila get o-..itofthetruck.

192. FRESH .ANGLE ·e2.

Close on Sam and.:Sila.a.st!'leymeeton the po1•chside of the truck. 'The motel office.and the house beyond can be seen iI1b.g. of snot . Sar.1and Lila merely stare for a nome:nt,then turn and gaze·up at the house.· There is no f.igu!'e:!:.nthewindowand the shade is drawn. Same goes to the office door, peers in, knocks, opens c!oor:enters. Li.la remains on· the driveway,.beside the truck•.

CUT TO.:

193. nrr. THE MorHER.'sROO!l- (DAY)

Close angle on Norman ~tanding by the window. He has pulled the curtai~s ,,oryslightly apart, is staring out and down at the motel, his eyes studying the lone figure of Lila, who i;;z-:andingby the truck and

' looking· upat the house. Norm.anstudies her., and as

her eyes loo;<:upat this very window he. c1oses the

I i curtains, turns away. w~ !ee the suspicion and fear

in his face, the ;:;urgeofpanic and his struggle to contain it.. Then he goes a'11ay.CAHERA remains on

' window, shooting o~t and down, and through the frail

curtains we can s~e Sam as he comes out of the motel

'--J

of'fi.ce:and JoinsL!.J.a.•,

11-16-59 ,. {'.

L

-·~.:..:;.:,:.·.-.:;,;:.··:-:,____..,..~.-.··"..'

·''

PSYCHO #9401 108.

Sam takes Lila's arm. ,,I' SAM. Co.meon•.

He starts with her toward the path which leads to the old house.. CA!'1~RAE'ANSwiththem, and as they turn around the office corner, they see Norma.ncoming down the path toward them. They pause·and Norman pauses·. ·He·does not :smile,nor speak. His usual grin and soft :Criendl1nessai~egone; contain:nent and impassivity lie in their place. ·

Q_

Just com.ingup to ring·for you.

Norman walks past Sam.,giYing hi.-nthe sort o.fquick,. disapproving glance one gives a man who is ob11iously lying, goes onto the porch and into the office. Sam and Lila .followllorman..

195. mr. MOTEL OFFICE - (DAY)

Norman crosses to the dssk.,goes behind it, takes the key to cabin ntt."llbertwelveoffthekey-board.. Sam and Lila have entered and.are almost to the desk- counter by this tiw~.,.

j ~ NORHAN

I'11 tal-:eyouto •.••.

,, ,i::..c;:n

195. (Cont'dJ

Se.mI seyess--e.n';;\:,ii,:•Jw'l".'ol',l~old.ngf"Ot"a registrationbcok.

Jl(.,'RMAN ItiSl'l1 1-llSoess,:il•y•

Normansi;ar&sai:Sa."11,a.ai!'he'd:1:l.ketoyellat.. hilll,·callhlm"1,ta:-.!IIrn1teadheveao.nesunder 'thede.sitc·ou.-,1;11:-·,b:.,~ln;.,;ou-:;.tneregistration.book. Lila:no<tes•:lo•;!,;:•,:st,~.l,s.4'i:nebookas.Samsigns

and.ct.eyo!'·•·"::::ttf.:.3~u9.:;s"andatterit,.th.e.notation ·."CabinOne,"·can:,;.:;J..,,ar.;..yse·endi.reeregist:r:-ation.s. above::iam.is.W:..~ns~b.e.Jfin.!;s.hed.he·alosesbook,· handsit 1;.a,;,;~.:1;",:•ian.·:fo."r.l;,.nd()esno,:;takeit, si:11rt·a·out·ft-,)Jtc;ar~~nd._.,~.,u~--:e.:-..·

~f.l.lj;(l-fA!f. I 1 .i.le;~n:yc'.1!'·:,ags,

Haven'~-an7.·

·wuRMAN. (s.ftel'as::aioe.'

As be starts·fo::-tne.dO•~r,Sarolaue;hs►Norman.sto-ps, turns, looksai:hilll,

Pirsttime r:..,,;everseenithappen. (to !.lla) Cheokin any,pJ.aceinoh:!.scountry withoui:bags~a.no.youhavetopa-y inadvs.nofi,

'5ams~iles.as-ifa-:.at'\t:,n7r_e:mar·,ake:i.abillout or·his poci-:e·:.

llor:manreturnstoSar.:,.talce;:;the.extended!:till,is a.bouttosv::rr.t,:,1.lt-again·.

(Contin,Hod)

L

...---..___,,.,--.-·-.·-···---..--..

,

PSYCHO #9401 110.

O"•-c~••...:.,... -.C. 195. (cont'd)

Norman goes reluctantly behind counter, lays do~m

........

ot the drawer under counter, .starts to write. Lila steps up to the desk, picks up the key, quickly~ s.tarts out.

LILA

( ' I'll start ahead. '··

Norman looks upJ gazes after her as she goes out· door.

196.• EXT. THE MOTEL - (DP.Y)

·(..

Lila comes along the porch, pauses before cabin one, tries the door. It opens. She closes it qμickly as she hears Sam and Nor•tr,9.nconingout or the motal office, continuea on down the porch.

(~!- SJ..M ~ (To Norman, who

1s follm•;ing) Don I tboth~ryourself •.• we'll. find 1.t.

He goes.on dot\lntheporch, doesn't e.venglance at cab.inone.,rJalksqu1.cklyand catches up to Lila just .asshe reache2 cabin twelve. CAMERA REMAINS with Norman,.who is .standing by the of:f'i.cedoor, looking after Sam and ila, bis fa,cealert and nolonger impassive. He waits a mo;;.ent,after they have closed thei~ cabin door, then crosses to the pickup truck. CAM2RA MOVES with hi.-n.He studies the truclc,then J.enn5in through the dr1~1er's window, twists the registration card around, reads it. It gives tha corrsct name an~ address of Sam

( Loomis. Norman comeo back out or the Nindow, glances

once more to~·:ardcabinti·,elve,then at the old house .. His suspicions are conf'irr.1ed,2.ndnowthere is the relaxation of relief in his face. He takes on a purposeful air, turns, st:-ides up the pach, up onto the. porchof the house, opens the door, goes 1n.

Lila is at the cabin's rear 111.ndow,lookingout,. straining for a glimpse of the old house, ;-,,h1ch cannot be seen from the window of this cabin.

----~-------

PSY:";HO #9401 111 •.

...er)-··. 197. (Cont'd)

\::::·,..: :.,-~,\.

She turns, fr,.1st:t•~"..te::l,anxious.Samisstanding at the fc,otcf the:'bed.,r::ta:t·lngat thesmooth cove~!et, h!s_brcw creased in a sadness.

C

One •• •'l'hecne;.~,u•yviasin.

He pulls··his.·e:y-:-:sfi"or;1thebed,c::-ossestothe desk, sits weo.ril::,lightsa.cigarette. Lila watches him for a .m,:>ment,f'oelsareal compassion, goes. tothe bed,·sit;~on its edge, turns again and looks at Sam's b:!.ok.

L!LA We have to go into that cabin and se,irc!1it,Sam ••• no :matter what we1re s.f:::c:.id.cf.findingandno mattor b:i•;Jmuch1 tmayhurt.

SAM

·;a: •!'~-.•• ·I kno.w•.

· (A pause) Do you think if scmething happened, it happen;2;d-the::e'?

REV•·11-23-59 (Continued)

r.~·-. 197. (Cont 1d) d /. '--:.•:-f...;......• _.,.....,,

I

Well.,ii'he opens a naw motel on th•:::newhig::ww.y• • •say,a

I.

year f'rc:>mnow·••.•

·-a-.-·'".

·-,SAM What mak&5 you ecitmd so oertain?··

LIL.~ Arbog.3.st 1S-am.,heliked me ••• or telt sorry t:'O!.'r.ie•••andhe was.startirn;to fEh:l.the same a ~·o1,,,i1u.4-...,.·ye,,.•..,....i"-........h~"'"',:,~.:........it."'h"'·nf""4.•-·he·... cal16d • ••in.tis voic-'),·aca.ring•. F.;e,iwu.l-::.n 1thavagoneanywher~or dona e.:::ything~iit!"!01.lt.telling·us. Unlesn he ;B..-~.stcpped.Anclhe was stoppc-d,so he must have 'our..douti=:,ornsthir.gl

Sam considers a n:or.1cnt.,n,:,dsagree!Ilent,. rises.

He goes to t;h~ctr.c,:-.,openf!itsliih'..;1:y,looks9ut, then, ba.ckt;0LlLl:

·-\ SAl:·1

takinG the a1r.

REV. 11-23-59 (Continued)

,---- •..__,._,._-~--.....-...•·•·fi•-...• .-,

PSYCI!O #-91+01 113.

--~, ~- .); 197. {Cont'd) -c>.:.:.::.:..-

Lila gees to the door. He holds it open and she goes out.

·sam closes the door, joins Lila, takes her hand. Togethe;r they walk along the porch in the direction of Cabin One. CAMERA FOLLO~ds. 'r'hsypauisebef'.c,!'e the door of·Cabin One. Sam motions Lils to wait, to hold still, then goes on to the office, opena the door, calls 1n:

He waits, there iE no resp~nl:le.He goes in and in a moment comes back out, closes the door, soes to Lila. She has already opened the doer of Cabin One and ·has starte:ito enter.

- ·c::Y:

T.heblin.is are cJ.osedand the room is alrr.ostnig.;11t-

hind him. For a r::cn;.enttheyjustga.ze:::.tthe·rcc·::1, as 1!'willing it to tell them some ss.tisfa.cto:-y story. Neithe:--speaks. 'l:hen,indark silence, they begin.to search, going methodically and thoro1.:gh!y through all dr-s\.\ers,theclos~t.,thedesk, se:e.rchir!g under the bed and 1n dark corners, not knowir..gwh:;;;j they expect to fin•:landyet expecting to fin:5.sc-me thing. Lila opens th,~bath!'oomdoer, lc0!-:.s1n. !'he windo;•;l-sssr·:::ora1sverydark.She switches: ou the light.,gc,es in. Sam moves toward the bat.hr-com,is about to f'ollo·.-;1:er1n whenhanotices which room 1t is and automatically catches himself up, backs out.

LIL.A.· Hospital clean.·

The bathroom. Look at ho~-rclean. it is. The one in our cabin is clean ... uut this is cle::>.nI

r-

PS-IC.H.O //91~01

199. (Cont'd)

Sam goes in, glances aro1..md.,nr..1ds.Lilagoesthrough the medicine cab:triot,findsnothing but a glass and two tiny tabs of r;oap. S?.m lsai,3against the door- Jamb, 1ookz at thf;tub, th(-?zho:-.rerpipeaboveit. He conti;.1uestostare.•more lr:te;restedsuddenly, as if b.otheredby some off-key evidence he can't put his :f'ingei',on.Thenhe looks at the shm·:ercurtain rod. And realizes there is no shower curtain. He frowns, is about to say so::wthlng;~-:h-:nLila,whohas been momeutarily out o:rs:1ot,i.ntarrupts.

Sam tu.rns,C.AlT.ERATT.,TRHS~e.ndwesee!::!~:.a.:isstanding above the toilst bowl, a t:!.nypiace of we-tpaper stuck to the tip of her rish~ index t.:f..nger.

Sam lifts the piece of paper off her finger, studies it, takes out his :Iall-nt,;,r~ssesthe -;•1stscrapto his driver's license shj.sld.,puts it•back in the wallet and puts tl!ewallet.away.

SAN

Do we sl!11:plya~kh:Lrni·rhE:?reheshiddenit?

\:._:s.l,)

( Contim1ed)

Rev, ·J.l-23-59

..:....:.:::.~:;::.:,.l;·._.,_.-~•• ,'.:.....

199. (Cont'd)

She starts out of the bathroom. Sam takes hold of her arm, stops her.

CAMERA STA..~TSTOPAN AWAY from them.,moves slowly ov-erthe room.,vecy slowly •.

SAf1I'SVOICE (o •s• ) Ym.1wont tbe able to hold hi.111 still.if he doesn't want to be held.. And I doz:;'tlikeyou - going into that house alone, Lila.

CAMERA HAS PANNED clear ar.:rosstothe opposite wall now, and is moving up closer and closer to the tiny-flowered wall papar.,final·l-yclosingin on one small rosebud.,

Now we see that the rosebud has been cut out., that this is the reverse side of the hole Norman peeped through to watch Nacy. And we see the pupil of'Norman I seye now•:

·,, I ··-::;{.·Rev..lL-23-59

..------.....·--····-~-~--

...::..:.:;.:.·.::~---.:-...···---------~--······----..

PSYCHO #9401 116.

199. (Cont'd)

The· eyemoYeS away and thera is a brief flash of light before the hole is cov·E:red,onthe other side, by the wall-hung painting.

(",

200. FRESH ANGLE - LILA AND .SJ'.M

They are ~bout to start out. Sam stops her again.

Lila nods quickly, hurries to the door. Sam gets to 1.tfirst, operrsit a slight era.ck,::!.ooksout,thenopens 1.t wideer.oughfor Lila.s.nd him~sll"to pass through.

Angle close on cabin one as Lila comes cut.,turns to her left, goes along-porch tOi·tardcablnt·nelve. Sa.111 rerr.a.insat thedoor,t~er~ turns right, heading for the path. As he passes the office, he is shocked to see Norman standing ju.stinside· the open door.

NORMAN.· Looking·rc,r·ms'?

s·amstarts into the off'ice. Just before going ln, he glances do·:tm'chelongporch, see3 Lila standing out-

side t.r.e(!ocrofc~'t'.:!.:1t'dclve.,v.12.vcsheratiny'all clear)!signal,

,· I

PSYC-rlO #9401 117.

202. LILA

CAMERA AMGLES to include Lila and her point of view. She watches So.m dios.ppearinto the office, waits until she hears the door close, then looks about for another way to reach the house. She sees the small alley at the ·end0£.this L o!'ca.bins,·starts toward 1t.

Behind the motel Lila hesitates. She looks ahead.

204. LONG SHOT -{DAY)

The old houae standing against the sky.

·205. CLOSE UP ...(DAY)

Lila moves forward.

I~' 206 •. LONG-SHOT - (DAY) €..... -- T'neCAMERA approachir.i.gthe house .

207. CLOSEUP - (DAY)

Lila glan.cestc,ward the back of Morni.an•sparlor. She moves on.

208. LONG SHOT - (DAY)

The house coming nearer.

209~- CLOSEUP ..(DAY)

Lila looks up at the house. She moves forward purpose- fully.

210. S.L.S. - (DAY)

The house and the porch.

211. CLOSEUP - (DAY')

Lila stops at the house and looks up. Slit::~:.b.n(;esback. She turns to the house again.

'~-

PSYC"rlO #9401 118.

•.'(q···-C"..l,212. S.L.S. - (DAY) 'I'l·•.·.._..' ;.'·.......J 1 r, The CA~ERA MOUNlS the steps to the porch. '·_,_

213. C.U. - (DAY)

Lila puts out her hand.

214. S.C.U. - (DAY)

Lila's hand p 1J.zhssthedooropen. We see the hallway.

-Lila El:fi:-ERS?.;S'!,CAM.ERA.

;·'

215. INT~ DO'WNS'!'J\IRSHAL:?,-TAY.OFOLDHO'J.SE-(DAY)

Lila cloec.sth.edoer, re~a.insby it for a moment, quiet, listening. Her eyes soH.nthe layout, the closed door which lQ.s.dscf-f:th-ehallway,to thedining room on the right ar..dthep~~lo:--:mthe left. Dc\·mat the end of the· h";tll1sthe ·kitchen,the door wicte·open, the room beyond ~Hr::.s.:--.:.-:1~!lent.Shenoticesthe stairsleading dow:1 to the base:ient,sta:,esat them, then back to the

r,,

stairs le.~•iingt:."':t;.hesecondfloor.She starts i'orward,

'1~ and seern3about to investigate the parlor and dining room. '--.../

-

Nor~..$.n.isbehindthe counter, standing, staring at Sam who is sitting !''3la:tedlyenasmall sof'a. ffor=-anhas the look of one who is proteet·inghimself, as if the counter l':erea..:pr-otactivs1,~·a.11againstthe threatening·. world across it.

I talking i:henthey get the chance. Yet ,"I ·~ ...,~ there yo-;..lare,doingall thelicteningl ,____) (f1i:;ci.use)

· (As H0r·:r12.ndoesnotr~ply) It wou.11 d.riverr.ecrazyI ,_

11-16-59

........;.;;.;,-,.:.......,...........,··-.,..~----.,.

PSYC'dO 119.

216. (Cont'd)

NOR.M.!Ui Thatw;:,ul:!bea.ratherextreme reaction,-...ou::dnI tlt?

S~M (LiS-'1!:ly) Juetan expr-essicn••. (;,1ore11erio,11slY) What·.!1n~,1,n:twsa•~.!''ddo Justab,.,:.icsnvth:l.n11;•••.t.o I , p;etaway• W1:yu:,.:ntyou?

·.217. INl'.:iow:-TS'l'A!R3rtA~I,:,.;yANDs'l::;IF.SOFOLDHOUSE-(DAY)

L1la·ii1halfwayup the St!:.1rs•.Asshecliinbssheis-

the.stepe..3he etc;::;m~:::-.i.caref'ully.CAHERA·reniains at;f:ootof:st;a.!r,·:'IL·Tl!:!G-,rr·asLil.r,clJ.ll!J;;s.She pa.usesat tl-_'!'h-,ad-,!'.'thesta:t:::-.T'-a.eC.◊oron her right~ :11hi.oh~Jz~e.nE:intQthe.moth.er.,.s·-room,.i~closed. To·h9:'l~!'t:!.:£.;.e.not:l-e1.,·:to.•.:•r·,hs.l!'-:,p.en.Directly 'oetorenio::-iaat.:-.::.r,:::.door,-::losed.St:';heldsaJ.on$1; l!IO!lient,trying.t,::;pictur-ein.herr.undWhichroomwould look outon ti:.:'!!'r::sn.tcit'theho:.tse,dec:t.dea,.cliooses the corroot.:J..:,.:,r,the,::,neonhi;rrig.'lt..She.goesto it, k-n.ocltaligI--..tly.- .

218,. IN'J!.THE!·1C~!ER'$R;JGl1-(DAY)-CLOSEANGLEON DOOR

We.hear:::.12:1'ss,e.ci:-ncla:ock,then,faintly,he!:'sottcall.

Mrs·.Bates?

Thereis qui-etf,,r:a"1.Jment,thenth.edoorbeginsto open,e!vwlv, andW'';seeL1la.. She stendson the threshold,i.ooh::!.ng:inattheroom,inst,mtlydisturbed b.;yit,a.1.tt.c~ti;h11le.:1,here.xpre.~rsion,ir:dlcatl.ngan. impulse.tocl.:,;;,:ithec.oorar.dgoa.wayfromthisroom forever·.After a moment,she enters,leaving the dooropen behlndh&r. CJl!-lEP.APULLSBAC1CANDAWAYand we.now.see the ro::masLila sees it.

It1s ornate, dz.mssk-an:.1-mahogsny,thickandwarmand· ripe, an o].l!lpcd:>:tda.:-t:misw..1tedfurn1Sh1ngsandbr1c- a-brac or·tl:e_lG.Y>tcen.t:-1.r~r.T'nebedisfourpOster, but unc~anc-pl,,d.;thrsdr·t'!&~ing;tableisi'ancyand flounce.dvrith;~.tin;th-:::r·eisagreatchiffonier,a

ll-l.6-,59 (Continued)

~:·-·--·-···-····--·..·······-·--· ..•:.. -'.'._.I

I

218. {cont Id) I

J ><•::: 1 ··'). glass (this ac;atnstthe :raJ.ldj.rcctlyopposite th-._ ' ,J ,, door), a satin :."'ecar:1i~r,an\lpholsteradarmchairby _.;.._

the window_.a Nl1itemarble f:l1•eplace,its grate cold but P1lcd W~-tho.shes• .

And tl1ereis 1n the room an unmistakably live q_ti.ality, as 1!'even thou~h it in presently unoccupied.,1t has not been long vacated by scr.iemusty presence"

Lila glances.at the bed. The damaslt cov~rlet is thrown over it,.but it is not neat, there is the imPrlnt of a body on it, a body which obviouely 11a.s slept in a curled-up.,Homb-liks;lposi.tion~ Lila stares at lt.for a 1~1oment,thengoes to the drassing table. Its top is scatt.ered~'Tithboxes and Jars of co;:;r:1etics and crcems, traces of fresh powder, an opened bottle- o~ perfun,e,a cori:b.,andabrush ,;•rithtraces or ha!r in lts bristl:=s. Lila moves on.,catches a glir.i;,se 0£ herselt'i.nthe.pier-glass, is startled, turns·away, goes to the chi:f.fonier,inabout to open a dra~-;er,. ·sees the t".igh1;;0.rd.·!'Jbeoutofthecornerof'hereyes~

clean, well PZ"t~.::;seddr~ssesh--angneatly.L;!.laopi;:ns the othe~ ~oor. The ~wcaters and treszes and rotos

~-:---~·-.,, hang freely, nor.~in r:ioth-proor"Jstorase-typebags.

There is even a ·.·:ell--bru.~h~dcoll~rof.to:;~os..Along

o~

the f'loo1..·ofthewardrob,~is a 1.:Lneofclean.,polished shoes.. rJ.lastares.,then alosss the doors, turn3, looks once again over the whole roo!:l,startsout,

219. D,TI'.THEU?STAI??SJ:!A!.,L~-TA":?OFOLDHOUSE.,.(DAY)

Lila comes out of the .mother 1sroom, closes the door behind·he1",looks .downthe.stairs, thtm starts·across the hall to the rc0!':\\1hosedoorishnlf-open, The room within is darl~,the shad:esdra~m full. Lisa pauses on the th~eshold, reaches in, reels the wall, throws on a switch.

Sornhas rise1l,is stancling·'bythe counter new..

\. you.'dunJ.o.:Jdthizr:lacc••• ;:

110R:-1Ml (Angril;T) ~h13 plncul This ion 1t la placa,r J,;-1;'srayonlyworlcleIg:--e~,,upin,

ncv. lL-23..59 {Ccnt.inucd)

~=~----···

i, • i

PSYCHO #9401 121 ..

(~-- \.._,d. 220. {Cont'd} ,.,.,

UOffii!.AN(ContI d) that hou.se back there. I was a happy ch111. i~ymother and I ... we were ::ric•rethanhappy•

And new .tha.t:tourmother's dead?

Norman.snap.s a sh~rp, fa.st,ugly look at him.

,, ?iOR!l!A~f M-ymother is not dead1

·(sottly)

221. IMT•.NOFO'iANIISRG1::MINTHEOLD HO:JSE- (DAY) ------------------- Lila is standing in the door'"..to.y,staringat theroom ·1nsick dis:r.-..:3.y.'!-:,.eroc,rntsgr~tesque,ahorrible, ludicroun fantasy of childhcod held beyon-:ithe point of·decency.

It is a sma11 1~:,om.The walls are fancied with romp- ing a1lho•~~;ttesof t~ddy-bears e.cdsailboats and carousel~ at:d !':;.tc~wsjumpingover aghast moons. T'ne bed is sr..3ll.,f'e.rtooshortf'ora !112noftTormanI s height. And yet the rmr.-p:(:-ico\·ersindicatethatit is in this bed that 1:or·m~r...sleeps.Nextt.othe bed is an old- i'ashioned toy chest. On its top there ere a b.1.rd-1n-a- cage lamp, a.p:.sin-boun.:ibook,and an ash.tray filled wi.tha5h-.::sa:-~ll<:ig:::rettest1.1bs.Agr.oi•mman1s shirthangs on.s child 7 scloth~a tr-ae. Again.stonewa.!.1.there is a nerrow, hig!1 bc.:,kcs.ser-11:.ediiiththick,.unchild1sh- looking bcoks. C-r..the:;;m3.ll,whitecheatofdrawers there is an cld, ohi~drs -;,r1ctrola..Therecordon the turntable 1s rl1acovered, en close tnspecticn, to be Beethoven's Eroica..Syrn;,hony.

Lila studies ·the rcc,m,:t'·ascinatedand!'epelled.She glances at the bookcase, comes into the room.,goes to the bookcase ~ni pulls out a thick, large, plain-bound book. Sha opens it. He:-eyes go wic.ein shock. And then there is disb.1vt. She slams the book closed, drops it.

\ i 222. INT. Td:Sr,~OTELCFFICE ···._,,;;,;,:;,/"•,•

Horr:i3.n,behind..thecounter,h&.5moved back against the wall. Semis stili on the other side of the 6ounter,

·.•_('

PSYG1!0 #9401 122,

2~2. (cont'd)

\

but is leaning foi~·rard,-_h.13eyeshardon Hormanrs face. Uorman1s face is no longer expressionless. It has the stark, high sheen of a cornered animaJ.•

..,. SAM (P.ressirig)

,, You look fright~ned. Have I

been saying something frightening?

HO?J•!AN , I don't lcnowwhat ycu've been saying. ,,. SAM I've been talki~g.abcn.ttyour mother ••• abov.~you.rmotel •

Do what.?

SAl·1 ••.••Fortythoum:mJ.dollars l

He 1s close to panic now.. He -turns, swiftly, dashes back into his r-rivat-eparlor. Sam goes quickly around the countor, folJ.c,i•;s.

Rev. 11-23-59

_I

Normanhears Sa':1f'ollo,1:l.ng,w"'ntstorun,toneverbe reachedby thismm. Ha •oro.ssasthe::-mallroom,dra'wn to the rear wind<:n,;;;;ifho:nigJ1tr:1ythroughit.Sam ente1l3.,p-:i,;.zes.~T'.>-r!~ant1.1rn:.;:ba-c1·:agalnstthe.windo\.·1i as unable t:ofly,,:·:,wa;,ar;,1r.!1snanystill,stuffed· 'b:Lrds.Se.:;tr~g;i.r;t.:}r-DaP:--iefflickerc,f:r-1;;;actionwhen he sees the birds,bt:.t,contim1estogazeatNo=an, hard •.

gives,Nonna.nan~~;;r;o1"$e·t.err-ii'.ied._a-larm.Metu:r;-ns ··hishead, glance"o•~tt:he~.J.njowattheold.house. He lo.oksb.aoJ;..atSa,11and':he!'eisterrorinhisvoice.

Sain-doesnotr-;;:.:_f'·"Jr::d.,..sr.rf.l~s~.hS\lf-s!it.1.1~.,turn$t.o e~ar.rl.ne;..ast.uf"..fed:nrl..N0:r::~{!·n·look;,·Cat1k~tthzb.tYtl.s.e.

?IORMA.i.': (A h.o:?:Tiblegro.an} Oh~Oodl

Salliislyingon th.,~floo::-,facedownward,unmoving-.A candlestickis o:ithofloor, clos,,by hishead, still rocking·e.:-.i:'..hl~~t.,:1!"(1pp.e,:L04;7-='R.3;:,:.::rCOln~.SthG-SCtn:D cf.Honna1;r't:i:'0,-::1.;~-:~r;r;;1and.G;~r•':Z2).TURHS.:tnti:~tatocatch a brief·gli;:ipseofhimgoinf;cm-::.tntotheof'f'.tce,al.-:toat at al'Un~

j REV.ll-23-59

'!'··•'·:...--•-....:-~..:-

r- PSYCHO #9401 124,

226 • INT •.STAIRWAY OF Ti-IEOLD HOUSE- (DAY)

c: She is listening, hoping to hear some human sound,

some sound she mi~ht folloi-'t,pursue.She hears nothing. She starts dm·m the stnirs. Just below the halfway step, she looks at the front door, sees out through the door window:

(

227. ·LILA'SVIEWPOINT - (DAY)

Norman coming·. /

For a moment Lila panics, then she hurries dm•m the steps, cannot go in the direction of the front door, remembers the_ stair-waybehind.her, turns and runs in that direction.

r· The SOUND of Norman bounding up the porch steps can be

heard. Lila t 1J.rnsand dashesdo,·mthe stairs which lead to .the basement,-·goingdot-mfar enough to conceal herself, crouching there.

Norm.an enters the hallway,· clo_ses the doorsoftly.,..listens.

(·f.>.. He glances once in the direction of the basement stairs. ·o· He seems about to s~ile, when suddenly all expression

vanishes fx·cmhis i'.ace,and he appears to enter ano-plac$, no-t:ime state. He crosses to the stairway, goes up.

Lila remg,ins crouched on the basement stairs, listening: to the sornrDSof N'orr.z.n.Hisfootsteps on the stairs followed by the fast noises of doors opening, of -fast. moving E-.bo·...ttanupstairs.·room.convinced thathe is searching tha up3ta.irsfor 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 glirmnerof light down in the ba~ement4 She pauses, looks dm·m, sees the crack of' light coming from behind.the not entirely closed door to the fruit cella:r-.Tne s1·1iftmovingSOUNDS of Norman continue to com~ from upstairs. Lila is torn, knows she should get out of the house while she has the chance, is unable to resist the impulse 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 qulckly down the stairs.

Lila reaches. the bottom, stops,.listens, hears the stairboards creaking as footsteps fall hard and

11-16-59 (Continued)

r- PSYCHO #·9401 125.

229. (cont'd)

fi. measured upon thei,. She turns, pulJ.sopen the f'ruit- 1........-!. cellar door, looks in. The woman is sitting in a r· '•. comfortable chair, the back of the c~a1r, and the

woman, turned to the door. Lila calls a harsh, frightened \'Jhispi1r.

Lila goes into the room.

/ .

230. D!T •THE FRUrr CELLAR

Lila goes to the chair:,touches it. The·touch disturbs the r.igu.re. It starts to turn, slovrly,stiffly, a clock-wj.semovement. Lila loolcsat it in horror. It is the body of a woman long dead. The sl-::inisdry and p:u.lledaway i'1"'omthemouthand the teeth are revealed as in the skeleton's smile. The eyes are gone from their sockP-ts,the bridge of the nose has collapsed, the hair is.dry and.wild, the cheelcsare sunlcen,the .leather-J-brcwn skin is po,-rderedand roug~d aildflaky. The body is dressed in a high-neck, clea;1,i.-;ell-pr~:sseddress,obviou.sly recently laundered and hand-ironed.

The movement of. this stuffed, ill-prese1.,vedcadaver, turning_ as 1.fin response to Lilats call and touch, is actually grnce.ful,ballet-like, and the effect is terrible and · obscene.

Lila gazes for one flicker of a deathly mcr.:.e.nt.,then begins to scream, a high, piercing, dreadful scream. And Lila's scream is joined by another screc.m,a riore dread_.ful.,horrifyingscream which comes from..the door pehind her •.

N'ORff.i.AN'1SVO ICE(o•s• ) (s.c.;rear.i_ngi) Ayeeeeeeeeeeeeeseeeee Am Morm.aBates!

Lila turns.

231. NORHAN

His race is contorted. He wears a wild wig, a MockernJ or a wor.ian'::-,hair..H~:tsdressedin a high-neck ctrer,swhich is·s:.L-nilrtrtothat',·rnrn.bythecorpseor his mother. HiG hand. israised hif;h,poised to stri1ceat Lila.. There is a long bread~·:nifein it.•

\, } ··.-.,.-•I

REV. 11-23-59

r-, '.... ·

PSYC-rlO #9401 126. ·

~ .......

•~-J...,' 232. LILA '·

Cloae on her face. She is·dumb~struck. Her eyes are screaming.

233 BACK TO UORMAM

As he is about to star~forward, a rran'shand reaches in from the door-w:?..ybehind,g1•absNort1s.n'swrist.Sam comes through tr;edoor, st:i:J_lholdingtightto the wrist, pulling ,:~tclcthearm and at the ss.:metir.ie throwing himself at Norman, footb3.lltackle style.

234. A SERIES OF CUTS - TrlEFIGH~ thru 242. Normg,nand Sain,struggling. The wild fury in Morman•s

terrif'ie::l,fight-t:,-the-.ieathlookorSam. T"nestill,.. starir..gLila.

243. MRS. BATES

A close shot or her ~ace. She appe:-t1~stobewatching and.enjoying the t'igb.t.o,..-arthes11ot,the SOUNDS of the struggle, the ~.cres.msof Kor·r:i.an.

::

···• ''.,~ There are rri.s.nyp.a◊plegathered..s.b..:,utthe steps,the

curious and the c~•ncsrns::i.si.n:ithzmonbid.At thecurb, a couple of ·new~par,:ercars,tw~ror three poll.cecars,

There is noi~e, ar..:1ch:1tte:r1r.g:?~:3cr,:.estionsareasked and answers gi•te:n,~ndthe so'..:i.nd.softraffic,andof the television eq'J.i,i:,:r.er.:.tbeir.g1-:lovedinto the court- house, for on-the-~:cener-epor.ting.,e.n-:.th~ste1•n voices

-::

of policer::.entryir.,~to1<:eeppeopleback. The scene has a brieht gl&.reabout.it, ths.tquality of sudden light thro\'mo.na fearful darkness.

,:. 245. CLOSER.AUGLE C!JS~S?S OF COURT"nO-:JSE 'i

A POLIC.EN.ANtryingto rr..s.irnwayforthetelevision men,

muttering keep back," ~tc., to the spectators. A TELE?TSIOtrMJ..N,c.::.rryingapieceof equipment goes through door, and.CAMERA FOLI.OWShim into the courthou::.e vestitttle.

-,,,,,..-- ,,..___,._i,•••-.:i\

__..:...,... ·....,. .._;,....~-...-·.

PSYCHO 127.

Here, too~ there isa crowd, composed of Policeman, Reporters, TialevisionMen. i:::-ieTelevisionManwe have been t'ollowing.stops beside a Policeman.

TELEVISION rt!AU (Indicating the front door he has Just com~ in through) You think they 1-ll take him out that way? /

( POLICEiV1A~f

(Looking·at waiting crowd, shurggin) Prob 1blyhava to. (A r·uefulsr.iile) Besides, the taxpayers hate it when something g·ats slipped out the back dcor on themJ

Over this exchange, the buzz or other voices, the movement cf"z::e:n.CM,1ERA-MOVESON~ doi•mthe corridor·, gets to the door c,rthe of.'ficeof'the Chief of Police just as a your..g:'ellcwwith a carton box filled·,~•ith paper conta.iner-5o-f'sent-01.lt-forcoffeereachesthis

door. CAHERA HOWS as the.-COF.BESBOY pauses a momsnt, then goes into the rocm.

246. IHT.·OFFICE OF ':"'.:-{EC"'nIEPOF'?OLICE-(NIG3T)

Lila 1s se~.tedin a.chair, Sam .3tc1.r.dingcloseby. A bit·apart f'rcmthem·,we seeSherif'!'.Chambers,1n quiet conference with thg CHIEF O;i1POLICE.,the COUN·n SHERI.FF, the DISTRICT AT:r-om:EY.

The Coffee Boy stands in the doorway. Sam goes to him, takes a cor..t~inerof·coi'fe:afromthe box, carries it to Lila, checking·the notation.on the lid as he goes.

247. MED. CLOSE CI{SftJ,l.A.N'DLILA

\. ll-16-59 (Continued) .....

··..._.:··_:._.... .--------....----,

- PSYCHO #91.t-01 128.

247 (Cont'd)

Sam smiles enco,.1ra.gir:.gly,handsherthecoffee. Sheriff Chambers E:N'TERSS~!O'?,·givesSam acontainer of coffee he has brought f,:,rhirn. Sam takes it, nods a thanlcyou. For a moment no one speaks. Lila looks badly shaken, Sam disheveled, but contained.

LIL.a\ No. I 1mall right. 1 111feel

••.if it can be.

Sam lool-:saquestion :it Sheriff.Chambers. Cha:rn.bers shrugs.doubtfully.

Lila::tsabout to answer, when she sees someone come into the room and rises anxiously, Sam and Sheriff Champers turn, follow her gg,ze.

248•. INT. OFFICE CF Cr!!£:::OFPOLICE_- FUtL SHOT

A young man with a serious,·frowning face has just come into the room. He isDR. SIHON, the Psychiatrist. He goes to the desk •,rherethe box of coffee containers has been placed, takes up a container.

DIS'I'RICTATrORUEY Did he talk to you?

11-16-59 (Continued)

·,

N;YcHO 'J.2j.

248. (cont'd)

EVeryonegazes at 11.:!.m.1~~rstt.C.t•,?J.iC...~speaksashe remo.veslid!'romco.t'feeco11t:..1n,~t•.

SI.1':ll!J Norman:t.,:).t'3sn◊lou_;~c~"'e-;c~.i::;t.s. Ke only balr~ex13tadtobegin with • • •now,thaothez•half has taken ove~. ?~~b~bl~for all time.

L!IA. (With dit'fi.nnlty) Did he killmy sister'?

Sil·t(ii'l Yes ••.•and.no·•·

D!:l'.i.'iltCT/\'1'roru1£Y toole,ii"youIt'':It::;.1.,1s;t.,J.,.ya lot o.£psyctiat:·r:1.cc:r~:111~1.iu.:;.r,kf:o~.sow,s sort of pleatilid·f,,llr,;i110\lld.like toC.O]J•-•·•

S!fl.:1~! A poych:!:$t:1:•ist:.:··,-.;~;n11;1a1the groundito]:J,•••t·.,:t:,~..:t·•tl.l~r-c•~i~tl to.e.xpla!u·i.l;.

L!LA But icySid.t,;ris•••

S!J•t;,,lif

ft-~\.,.:,"t!--:.•'.rl,P.:1"'")v~••...·•"'--·~ The ?r1·.,a-t:;•!nva:.1:.;.-1.r·:.;.:1:r,too..If you d.rag·-.t!;at.s~':r-.;:1p.w:,;f.t.)~1he.:r.ein the ~ric.!rd.tr')f·i;~F:ci..".')t~i.... (To theCfll:1::?of:~}:>lice') Have you.a.nyunsol~:-.::tl:atnci:is persons cace.s-,r:Y-'::-ttt•b·:toks?

cm:EPOF POLICE

Younggirls?

Cif!i:VOl~1POLIC!:i:. (nod:..,;.s~ou~1lled.,then:.) Di.tlh~conf~~a~o ,..

Sil1C1H t1nt"\...,',!r,..,,~·...'-~•;•....:..:.-,••.:,..,.) As r 1:/li.d,~h,,"i'!UJ,)l'••• (P?.1,:r-~;:;;;,-;;-:.::.,L~01i.c,..fi.••~;::,n.)

""-..:.:,;;,;-. -.. : ...:..~.·:.....:_~:---~....;........

••-'•••••••..~,-••--•••-w••

r-

PSYCHO #9401 129A.

248. (Cont'd)

"threw him o,,er for this man. That pushed him over the thin line •••

1s probably the most unbearable crime of.all •••and most unbearable to the son who commits it. So he had to erase the crima, at laast in his own mind. (A pause) He stole her corpse .•• and a weighted coffin was buried. He hid the body in the fruit cellar, even "treated" 1t to keep.it as well as .it wouldkeep.. And that still wasn't enough. She was there, but she was a corpse. So he began to think and ·speak for her,. gave herha~f hisr lif.e,so to speak. At times he could be both personalities, carry on conversations ...,. at other times.,t.he.rnotber-hal.ftook over·completely. He was never all Norman.,but he was often only mother •

jealous of her, he assu.-rnect.she\~as as•jealous of him. Therefore.,i.f he felt a strong attr::!c~ionto any o~her woman.,the moth~r side of h~m would go wild •. (To Lila) When Norman met your sister, he was touched by her .••and .aroused by her. He i·iant5:dher..A.ndthis

set off his Jzalous m.oth~r and • , .

mother killed the girl. After the murder, Norman returned as if

REy. 11-30-59 (Continued)

..:.

PSYCHO #9401 130.

248. ( Cont'd)

SI!i!ON(contld) fJ:-omadeep sleep ••• and like a dutiful son, cover.adup all traces of the crime he ~as convinced his mother had committed.

DISTRICT ATT'.)R~:EY He 1 satransvestite, ✓ SIMON· Not exactly. A man who dresses in women.•sclo·thing in.or-del"to achieve a sexual change ••• or satist'a.ction•.•is a tran;11vestite. But in Norman's case, he was simply doing e 11erythingpossible to keep alive the illuoionof his mothsr being alive. And whenever reality came to9 close, when dan3e~ or desire threatened that illusion .•heI ddress up, even to a cheap wig ha bought, and he'd walk about the house, sit in her chair, speak in her voice •.•• He tried. to- be hism:,ther. (A sad.smile) And.now he 1s •.

That•s what I.meant when I eaid I. got the storyfrom the mot;ber. She thinks No·rmanhas been taken. a111a~.•••becauseor his cri.TI:'::S.• She insists.she did nothing, that Norman corr..'!tl.ttedall the murders jm:;tto keep her from being di.sc.overed. She even smiled a bit coquattishly as she said that. Of course, she feels badly about 1t ....but also somewhat relievad to be, as she put it, free of Norman, at last. (A pause) When the mind houses t\-.io persotial~ties, there is always a.battle.. In Nor•man's case,

,./\··-, l l-i dominant personal.ity ha~ won•. ' I' _...........___,-,,

Lila begins to Heep softly, for M3.ry,for Arbogast,

REV. 11-30-59 (Continued)

·-.·~-----·-·--- '

PSYC!r0 ·119401 131.

tor Nor.nan,fo:-all the dest-;:-0~1edhums.nbeingsofthis world. Sam bends be.:Jii:leh~r-,put.shisarmsabout her, comforts her.

( To.Sirr.on) And th~ :f'ort,\rthourianddollars? Who got th3.t?

S!:1l':1N The i:iwar.:.p.Tht::::?-::we~a~'.l!'ders.- or passio:-i,notpi'ofit.

A POLICE GUARD puts 1-:ishead in tte door, spealcs,in a near-whispe::':,totheCtisf of Pclice. The Guard is carrying a i'olde:d~lanketover hi.sarm.

POLICE GU.~RD He !'eelsa 11ttle chill •••.can I bi..inghimthis ":)lanket'?

The Chief of p,;lir:encd:;~.i::~eGuar·.:igeesa;-1ay,and CAMERA FOLI£J;o{S:1:tr:1.cuto.C-tht3roo::-r:,JnJoutintothe halh;ay. Gua:.':'J.:no•.ras~b~cvghthe•~rnJ.tingmen,heading down the ccr~~dor~

249. IHT. ANOTHEJtCQfuc.IDO:RII!COt"'R?:ROUS.E

A narrower-co:-ridorin the :-e_a::-ofth~building. .In r..g..,ofshot, we ;:eea door.Y the top half of which . is wire-co•,e::-.adgla5s~A GUARD in uniform is posted by the door, locki:ng~ep:::e ► •."ingl:r:1.tthetwo orthree people trying to get a gle.r.ceinto ti11eroom. The Police Guard, ~a::-:":ringthebls.nket,ccnesdown this corridor, goes t~ the door. CAMERA :-:-JilESCLOSE.The uniformed Gua.rdopans ·the doc~, all.cwsthe rr.anto go in.. Shot is RA?::EJso ttat t-iecanr1otsee into the room. After a moment, the G\1a.:-dcor:.esout and theu.r1i- formed Guard closes and lock.:the doer and we

250.. !NT. HOR!(Ai't1SDETEHTIOH1180t·1-{NIGH!)

The Nalls a.r·s:1;,h1.teand;il:::.:!.n.The~eisno~,iindow.

;,•·-'···1

There :::l.sno.rur·nitu::-:·e1:,::r.c~ptth~::;':;:r~ight-backchair

' ) ..._____J--~ in which Horrn.unsits,in t::ecenter-ct:the room. The

REV•. 11-30-59 (Continued)

-i

PSYC.F.O #9401 132•.

· 250. (Cont'd)

room has a quality or no-whereness, or calm separation £rom the world.

The Police Gu9.rdbad place~'.theblanket on Norman 1 s

blanket.,un!"cldiz:!git. !!!..s£ace,althoughwithout makeup and w1~hout the surrou~tlins~cftness of the wig, has a ce!'ta.infomininit;y:a.bo'.1t;itaasoftness about the mouth an·i t::.k:!.:1.tof.a.re::w,:,~-'3.nlinessabout the brows. ca.JJ?:ly,.Norr.:..~nplacest~1tll:Ianketabout his shoulders, as 1! 1 t~•1e!'eacasri.m~::-e·shawl.CAI,!ERA REMAINS in a poa.1.t:Lonsothat our ~.'i1:1wof't;orma.nis- ·a.FULL ONE. When the shawl is in po.-z:!.tion.,andNorman is settled, we F...EAll,OV1:.H.Sr!JTrthevoiceofhismother., coming from the calm of his thoughts.

~OTHER'S VOICE {o.s.) It ras.ad •••.when a moth-erhas to spes.lcthe '"ord.Etha.tcr;nd.em:."l her own son ••• 'but! co~.1ldn1t allow the~ t;obel1e-vet:h9.tIi'lOUld ,fom:JT.1tmm.--de:-. ( A•03.U:lei.I T'aey•11 put him at"a.yno\i••.•a.a I shoul:l h:3.•,te• • •ysaroa.go• He ·wasalw~ya ••• bad.. A:nd1n the end~ he intended to tell t~em I killed thos6 gi;:ol.3•.••.and Tuat rr,,~n.As 1!'I coul:ldo any~n.~1nge:xoep.,,~i.,1~..1s~~s1~.•-1an,:1~ stare ••• like ~ne of.hL~ atut~ed birds.

REV. 11-30-59

PSYCHO #9401 133.

-250. (Cont1d)

l·1aI'HERS VOICE( Cont I d) (A pause) Well, they knoi:1I-canrteven move a finger. And I wonI t.-I 111just sit here and be quiet. Just·in case they do •••suspectme.

A fly buzzes close, and then continues bt1zzingand flying about Norman's face. .

Norman continues to gaze ahead into nothing. $cene begins to DISSOLVE SLD'~•:LYto:-

251•. THE S~ofAf·IP

As E.~DTELES FADE IN.,\fesee the swamp, the chain o~ a tow-truck. The chairJ is attnched to MariJ1scar. The car is co1?-1ngout of the swamp•.

----,.-