"PSYCHO" (1960)

An Alfred Hitchcock Production

ANTHONY PERKINS as Norman Bates VERA MILES as Lila Crane JOHN GAVIN as Sam Loomi,s MA.~TlN BALSAM as Milton Arbogast(the detective) JOffi~ McINTL"lE as Al Chambers (The Sheriff) SIMON OAIO..AND as Dr. Richmond (the psychiatrist)-k+.- LURENE TUTTLE as Mrs. Chambers FRANK ALBERTSON as Cassidy(the Millionaire) PATRICIA HITCHCOCK as Caroline VAUGIL.'l TAYLOR as Mr. Lowery JOHN ANDERSON as the Used Car Dealer MORT MILLS as the Highway Patrolman FRANCIS De SAL.ES as the District Attorney GEORGE ELDRIDGE as the Chief of Police and JANET LEIGH as

Directed & Produced by Alfred Hitchcock Screenplay: Joseph Stefano Adapted from the novel by Robert Bloch Director of Photography: John L. Russel Music C6rnposed by Bernard Herrmann Special Photographic Effects: Clarenc,e Champagne Sets: Joseph Hurley, Robert Claworthy, George Milo Sound Engineers: Walden o. Watson, inlliam Russell Title Design: Saul Bass Editor: George Tomasini Asst:. Director: Hilton A. Green Costumes: Helen Colvig Release Date: 1960 Running Time: 109 minutes

(*--Referred to as Mary in the script) (**--referred to as Dr. Simon in the script)

(Note: PSYCHO reissued in the 60s by Paramount, then acquired in the 70$ by Universal Pictures for theatrical and non-theatrical distribution)

Abo\re i•1idtown section of the city. It 1s early afternoon, a hot mid-oummier day. The city is sun- blancbodw'hite and its drifted-up noises are muted in their o\'lh echoes. 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 w1 th age and industry. We see railroad traclcs., smokestacks, wholesale fruit-and-vegetable Il'.arkets, old r.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.fic location. A sl<:inny, high old hotel comes into view. On 1 ts exposed bricl~ side great painted

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

curtainless windows, lts silent. resigned look so characteristic of such hole-and-corner hotels. We move forwa:-d with purposefulness to~•;ard a 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.."less of the room, betrays a certain in:1er-ten.sion, worrisome conflict.s. She is t•:A:lY CRANE, an attractive girl nearing the end or her twencies and her rope.

A man starids beside the bed, 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· and a iwm.,:,,n 's large, straw open-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 t10 radio. ~

The man standing by the bed, wearing only trousers, T-shirt and sox, is SAM LOOMIS, a good-looking, Sensual man w1 th i•.r,1r-m humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a-small sweet smile playini:;: about his mouth. Mary keeps her face turned e.way frorn him. After a moment, Sam drops the towel, sits on the bed, leans over and talces Mary 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.ally p,111s away and sits up.

I better gst ha.ck to the off ice. These exten1ed lunch hours give my boss excess acid.

She rises, goe~ to the bureau, takes a pa:tr of s!i'.all earrings out of her bag, begins putting them on, not bothering or perhaps not ;.,;anting to look 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. the affair on her tarms, as girls e.re so often surprined when the.y discover men will cont in'.le to we.nt them even after the sexuol bait hos been pulled in. San

speaks with gentle and simple sincerity.

r•~ all for itl It reauir~s patience .o.nd. temperance and a lot of swoating~out ••• otherwise, though, it's only hard work. (n peu::ie) But ii' I. cn.n see you, touch you even as simply as this ••• I. wonJ t n-.ind.

p~obJ.c:ns cru~he s cwny his good hu..mor. Thore is a quio t 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.s out 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 loolcs over at Caroline, a girl in the last of her teens.

CAROLiltE (a high, bright, eager- to-talk voice laced with a vague Texan accent) He.• s. lunching with the man who ' s buying the Ha.rris Street property, you know, that oil lease man ... so that.1 s why he 1 s late. (a pause, 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 is a .. gross man, exuding a kind or piti'ful vulgarity.

' •, LOWERY

Mary, will you get those copies

\s;:)·

·of the d.eed ready f'or tt.r. Cassidy.

Cassidy pauses beside.. Mary 1s desk, hooks a haunch on~o the desktop, smiles a wet SlT'.ileat Mary.

CASSIDY

11:ttle ~irl . . . . · ·

looks up at him)· Not you, my daughter! A baby, and tomorrow she stands up there . and gets her sweet, self marri.ed away from me! (pulling out wallet) I .want you to look at my baby~ Eighteen years old .•. and she 1 s

one of those years! (flashes photo)

~ary glances, cannot bring herself to smile or make some remark, continues sorting out the deed copiea, tries to ignore the. man 1 s hot-breath closeness.

11.,,10-59 {Continued)

PSYCHO 1/9401 ll

5 (Contd)

·cASSIDY (ignoring Lowery) You l<:now what I 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 $100 bills and. throws them onto the desk, under Nar:1 1 s nose .. Caroline's eyes 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 i u terrupt,i ng) Suppose we jusi; put this in the sai'e und then HondEl.y morning when you're feeling good ••••

•

He rises, reels toward I,o~ierys of'fice, pauses, turns, speaks to· !-iary •• mea ::iing~'ull,/~ ·

I,owery starts after him, pauses, turns to Mary,. Cassidy has gone on into Lower 1s off'ice.

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

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

\'

PSYCHO #9401 13

·n·•·--· ... .. ~- 5 (Contd) ·,·-<

He starts quick1.y away when it looks like Cassidy is going to come c-:.,t and pull him bodily into the off ice. When the men ar·c gone and the door is closed, Caroline picks up a bundle, smiles at it.

( CAROLINE

He was flirting wlth you. I gue.ss he 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 , loolcs in. Cassldy is drinking from a large tumbler, winks at her 't1it.hcut pausing in 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 t mind, I 1d like to go .right on home after the banlc. ·· I ha.ve a slight ...•

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

11-10-59

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

PSYCHO #9l\.Ol

6. (contd)

Mary goes back out into the outer o.f.fice, closes dooz,, , 7. ·INT. OUTER OFv'ICE ~ (DAY)-

Me.r:, goes to her desk, t;a!ces the handbag, checks to w.ake sllI'e, the ::ion,;,y-filled envelope is tucked well down into 1.t, • During this:

She gees to the door,

D.!SSOLVB:

A do.uble bed in th., foreground. We just see the far sid.e as· the C:,H'"RA S 0,C.0'I'S a,~t'ass. · Kary enters the scene, clad. -only in he!"l]lip. · Pe;:•naps she is about to get into bed •

to see any contents. As l-'.ar:r t=ns to the closet the

envelope on our zid.9 ·o.r ttl-'l bed.: Mary- takea e. dress f!:'c;::;, the closet and star~s to put it on as the CA.HE-RA RETREATS to reveal a pa-:,ke:i but not yet closed suitca_se also an the bed. Hat'y zips up her dress and then brings sor.te

suitcase and put.s them on th.A top. Mary works with haste and in tension, es if acting on an L-t1pulse which might vanish as quick.1y as it came. The suitcase filled now, she· checks around che roc:n,. th,m takes her handbag to the be'd, puts- in t.~·3 r-,6'!1.e:,1"..-.ftlled. ·envelop·e J and then slnrn.s the sui tense s~'..~t:. Th~n :th") looks at_- her s!'.'lall bedroom des}:, goes to it, re0ovcs a s~gll .file-envelope .fro01 cno of t::c: drawers •. It i::; 0:1.e of -c11.0Je brown envelopes in whicfl enc

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

~:-:;.:.~.~-·--·.

r··

PSYCHO #9401 15

8 (contd)

cs

keeps important papers and poJ.icies and certificates. She checkn its cor.tents briefly, 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 banlc book, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room.

✓

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.n the foreground. Mary comes out of house, starts for the trunk, intending to put the suitcase in, changes her mind, places the suitcase and her handbag on the front seat, gets 1n, starts the car, begins to back out of driveway.

We are close on ?'.ary rs car, 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.ops for 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:ta t ton, cJ.bo~·:s Lowery. Lo;•:ery turns, 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~-!~.s tt.. ~..: f~Ct, 1.re <.~:-:.chZ1.n~~ with a look o.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.ly at L~wcry. ·_As he renches the·

curl'>, o s.tn.1.:~1 cor:i.'trnic;-1:, ·nri;:1ten'.':I h:to face. .He r~r:t;..1!b0r3 thzzt !-~ r:, :tntended to ii sp.:md the t·1eek- v,,,_, ........ r~:...1, -{,.....~.-. ··-clv~:-;_k• " l-',... -:-: l.,.·!'\Qr'--i·,;-,. J-.-; •.• •_,.,;-,.:_.,~, .. l'>···rio••nls:r••. ~ ..... ~.~1 ,,.J, t11rn"'.1 -•~.,

Mar-y seen the pnr:.se ~nd the look •.

:tor a r.t~m1-:;n-; it (;WE.-m_ look:~. as if Lowery_ m:tgh:. be m-eanir.g ~o croeg b~ok to tl:e cur.·

:.:~·--.::.__. ~. ..\-· ---

wa h&ar tr.r: ::t.r:Lll ehr:Ltik of tho traffic cc,p rs wii.tr-;tle. H'!l.ry 2oon1.s tt;.-,:, car a".-;oy •-

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

r1ar"; · 111 c~.i•, · dri•..'ing, · safely away from. to1.-rr..:!er 10,k is la.;~ ts-nse n:.n::i Z>-n-i more purpo.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. ,a 0c-a" ,:.) ;;:,-,.. ..... c-1.v~ ... ion •.·

FAS"!- DISSOL7E TO:

lJA f£Jl.RY' S CAR - ,D.4.7)

------·

..___ ..,

----------------- ·-···-· - .. - ----1

(

i'S"fCI!O 17.

• 1M!JX - (DAl')

.<ioks at-cas gauge, ' .

190. C. rJ, GAS GAUt1E - (DA.Y)

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

We see Ma-ry's car d.I'ive in, cor.!e to a st~p. ~!iere are :io ot.!,er oiir:.; .ibout, tl11s beinG o. gal! irtat1o!'l. o.tt: tlie -m,:d.n hi;inwo.;y, . and tl1c ~ttcnd'.t:m; ls .,_";;,·::..cus::.:,

malte th.i.s etop, keeps her 1's.ce turned s.w1:.y J:rr:m the ·aha.ck,. not wishing. it to be ·see..,.

No one col:ies. and<for a ·mornent .nlry considers .ctr.1:villg

an ~"':1,en·· that: .ahe.. Ghou.ld llfi.t~n to·. ~.::."J·. t-he gn.z reg~a:- ters almost 611lp:;;y•~ She• h.is to b2.ow her r.or::.

A YOU?!ol Wu'i ac.T.es out O:f' the shack, star.ts ;;oward .

tht; TE~-;:rHo:-r~ 'i..'1 ~he sb:J.c.k .• , The Atte:ndat1t "::1::!.ka a:· · -teW :stsps·. flrr.th-:!?\t. t~;ar-rj Hney' s c.~:\, t-'.r.:~~r, d~n.:tC.es 1:;o .g:0 'back and. answer t!'Ul :;>hone •. ·· The ·~hon-s'·s' ins-1.s.- tent rini;:bg unra..-,a.s na::-:;. She atz:;:-ts lier -.,:ar, zooms ...o:!.'i' .; ·

•

We see the AttAndnnt, phone. in hi:nd, 1n the doon,;iy or. shack •. ·Ee. looka after the depnrtini; car w1t:::i little. or no e;G>resa!on;.

• aoA.

\.-

· ..The oar. r:r<ms. :malJ..er .as ::l.t races tt.P the road. Tr.e <'lttn. ·1s s,;.tt:l.ni;., T.!lsi'e is so:::et:!ling \'<16:.!r•.!y om""ous abcitt. t.h'ff ·d&I'kt:ning 3k'J into ~h.1.c!\ t.:ie. ~a:t t:O.:.~!•t-S ~o 1::,e,:: disappearing;.

DISSOLVE '.i'O:

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

l) thr~Y!l w!~d1;?., n ri .if. !.'o.rcd.r.,1 thn.":1 to 3tay op-3n. . ~~he c,ncomi'nf;

l.1g:;t$. seem to gl;;r,;, to ;i point beyond en•:iurance •. SJ:.e hi.tli..::i..s:rs 1\s:.~ So.~''. . .

'(

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

-- ', ·: ;~·

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

01,1n1

25 OMIT

__....___________

26 Exr O ROAD 3:!()UIDER - (DAWN)

We sse Mnry. 1 s c.nr., d:l.r,1 in th~ early da;·m., t.i).:'::-&d. ~n the so:ft t'.ho·..1).rir,r of ti-1e ro.:1d.f looki.ni so:.1~ho~-: · aad e.:r.d ra- t.hetic., !.tke a ~hild 1 s thrown-r.wrn:y to~;. A~•i i'ro~. -t~:ts angle it wou::.d appe~r tb~t- the. cur i;.) cTl.,pt.y.

After n mot1~nt,, dur1.ng ':·Thic,h there ~re: no o"t.!ler v·et::.:t,:;les ....."' .:-,.eel si ...1.!t;~:~- .. .f 111,,··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:.! lri a patrol car. lb passes Ma.ry I s :,:;;.~r, :ncr-;;es its appo.re::":; e::!!ptine.ss, U-turns.11 comes b~. -Jl<: u;i beh!nd th•:: car. Hs g-::~t~ O'.:tt and approaches tha d.r:!.::er 1:l side tll.ndo,,:.

'l:hc ?at.rol.-::.an look~ dcwn into the car.

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

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

(

PSYCHO it9401 19.

- Mary turns with a start, sits up, is startled and umwrvc: by the sight of the Pa trolr:lan, ti.nd, as if b)' auto.a1a tic reflex, turns the ignition and presses down on the s t<lrt5:

The Patrolman holds up his hand.

Mary slams down on the brake, tries-to pull herself to- gether. The Pa. troln1an raps again, less gently. Reluc- tantly, I1ary rolls down the windo,..1. The Pat.ro1-"!lan studi5:: her for a 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? ('-,,_! ):.. · , .. _;.-.·

PAT RO LH.t... 11

·-.. ------ - ----

PSYCHO 20.

27 (contd) r .. \ .. :

as 1.f" ••• something I s ~frong?

.. l.

I've told you there's nothing

··c· wrong ••• except that I'm in a

hurry and you 1 re ta.king up my time •••

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

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. you Noke up on the wrong side or .. the car seat, that's one thing. But when you act as i.f" I've just 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 t exactly one 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. at her a moment, then:.

MARY· ·why?

PATROLMAN

C(~,.:. Please.

Mary pulls her handbag u9 f'rom the floor-, ~1here she'd placed it when she stretched out to ~leep. She puts her hand in it, ru..-nrr.ages for her walletl cannot find it. The Patrolman 1s staring at her. She glances at r.im ne::>:.. 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 ... couple of 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:r a flicker of a rr.or.:cnt·. He says

nothing. She starts ahead~ fast.

The Patrolman stares after M:i.ry as she 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· trouble and· placed her self 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 .

/ 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 S REAR-VlEW f:1IRfiOR ~ (D.AWN}

The Patrolman is no longer.tollow-ing., ttas not tu:rned off after her.

· 38, MARY IN CAR - (DAWN)

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

DISSOLVE TO~ \ ..

REV 1.1.-,20-59

'!he big Slgn reads "Call fom1a Cnarl le - Auto1110btle

s to'!>• Mary gats out o'f c-a. r-1 . g\aooes t=ard the· lot olfice, t\lrns her attention to the 11n:e of cars,. notlwdg .the Ca.11/ornUI license pl.ates on all of the111. The CAR DEALER oalls out from nu of:!'1.ce: .

, CA.ft Dif;l,.,EJl

Wtth you in a seeondl ' Mary nods A stans wall<l.ns along tile line of cars as 11' making a se ~ect1on •. Her eye is. oaught ,by. the• iron news)la~ r !ftand on· the corner, jllSt out.:side the lot·. Shi.' stares at the papers, tuni:i away, ..as i.f wllat sne is fearing woui.c1. have .to· be· impoinsibl.e, theri, having to sat1$fy her.self,, goeg to the. s tenet, drops e di.Pie :tn the i:ron Slot,. picks up a· t:OS ANGtt.ES ne~spap.er, start:s · ·back into tl\e l:l.iI' 10'.t a;s: .she glances ·.W(lrrie,dl.y at. th:e fJ"Ont page •. · As slle aoes, we i;ee, coming. up the · street to'llilr<i the lot, the .same 1:'ATROLMAN. He sees· Hary, &1lo~s, swerve:,. ove:r 1:0 -the opposite side of the. street, stops by ~be our\>. "ary, engNssedih the netf.spaper, and. wat·J<tng bade onto th.e lot, does no't sa•. the Patrol.man, ·.:,.;, C·s :- Da1.1 ·~er· is i:;,,t c~ th::- l.>'; now:-· .!,t&::dia_::,: ~h~ ..-i!.·:.t--:t3,. fc7"- !la:t"Y• As, 1-;he .app.P~ac~es#. lest· l:-. !"...-:ir ncr!.c;;fap~r., i:..:~ s=ii:!.s.so

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

CAR DEALER

Tb'?S 7 s a·n o::. si;.ying.; · ''Pir::-t':1 custoi'li!'t r.,;! ::ne ::~.s.y !;:.. alway3

th9 m,:,st t:-::::.~b:.-::~1 ' ~u-:; l!k,: I ~a-id., z.::: tr..· no n1ccd: fcr.lt so !"1 ?n j-:..~s ~ bc:.:~e· to .tr.eat you so i'aJ r- and !iq-...:.n =~ 7ou wor.:. 1 C have en.•::: ·h'IJ.!can reason; to. g1"rs

J m1:,. • ...

{ i.:·. ~C· I'.f\;.~t 2.!"'16) Can !. ~r·r::-i•i ::.ri r:t,j" :·:n:~ and takr'3 ar.:: ;:i;-··:::.'f

{Continued)

G"""--···· :"·-,··--·-··. --· '.

(contd)

You .:.an d.c-· t.tnytti.!.:r.g y:.:.~.:r-r-e a. mind to ••• 9n..1 b.:·!lc·• _ a ·•·tO!l'"..l!.1.~ 7.,_u, -w.1.111··· { ::.:-.:>:-J r.-·\.!idi-·:a::,i.r,g- t"~e:r ,:~tl!".} Th!rt. ·yo"'.:~t 1 ·

M~J(L Ye:f_. j.!; t-·.s- •.•• c:;,·!"hi::e_'·s·-1.:-wng ;.;_1th.- l.1\;._ l t ai J;:..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•·..,., &,. ..fflE P.A:l'RO't.l¼N ..·. l-t.\B):,s .p'.j.'f · ..- ('DAY): ·-., ' ·. :· 1.:~., ~ t!l'.;~).;~€' -.c ~: ·~ :· -J -~ <,J,-',.:J",;~ _I ,.

Mary hJls to f.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(t h:!:m_1. .fn'J''te:·fl'r

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

1ng -if t~,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)

can get a.way, wondering i:f she 111 ba follm-rod, or if' the patrolman will go awa~r i r s be does stay here. All these pe.nic ... fears rush her mind. and she can do nothing~ The Car Dealer has driven her car into the garageo She stands in the middle of the lot P feel:tng like a shooting target. She looks toward the gar·a ge.

THE GARAG~ - HARY 1 S POV - (DAY)

Mary's car is in it.

Mary decides · she cannot back out now without arousing

Pat1~01man~

THE PATROLMAN - MARY'S POV - (DAY)

[' ment, she goes to a· close car, looks. a. t it. The Car ri·· Deal.er is 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.ts 1s -;;ho, .!'irst time ! &'"1.Gr saw· .the- ~uz":01-:J.er h1gh-.Pres«ure t.J".-; aale~.:r..a.n ! . · . {ltt'J.ghs, sees sh~ is ir, n-:; rcocd :C-o:r :tt) I 1-d. f:if('.lrB r,:--t~q:~1:r ••.•· (looks .a-::-. tl'"..e :ar, the.:1

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

OAR DEALER.· Ahal Alwnys gc,t cir.ie to argue money,- .,h:.:h ...... (·

All -.ris;>:t •

As· the' ·car· ·de~ler .iOc-k.:. e ~- h~r· .i.n .··affiuze:nient, .1 she· reaches into. her ba;;, .!'ei:..l:;:. t;he mon.3y-!'.l.lle.d envelope_. pauses·.· · ·

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

r· t~ke. .i:t ,. •.•. .7(~~ can p::-ove tba!: ca.r!.s J"'o~rtl' •••.. .:;. l!l~an, .Out of st:ate. a:1.:i .all ........ g.ot· ;ro-t.:r. p1l)k s:l1p ar.d yo ..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.ri the bi.iil:!1:ig • • • . (ir.d.1.,:ar.i:1, cout, ;!mes to·--s~are- qt.~1.etly J

Mary starts for ';~e b!!1J.<:i:Lr,g-, .;lancir,g on,1e in the

45 T_;u;:.lil\' J;."'ATROtM•j> . Ud\ • - . ~~•---t<i,1v1 s· ""'''••'-'• - \,L.;n-,,._,..,,

'\ ;

Rev. 11-20-59

r-··-:-- ...

PSYCHO_ h-ig40l 27 •

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

Mary goes into the of!'ice b1.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:J the bundle back into the envelope and the envalopt::: back into the bag. Then she remembers, -ta.k.{';S ot.1.t the -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 tl1e car 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 town rd tho office bu:tlding. Mary follo,,;n, closely, anxiously. S;1e glances, sees:

49 THE PATROI.b1i\N - MARY I S P01l - (DAY.)

He is still at the i'~r curb.

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

The Car Dealer goes_ int,;o his oi'flce, l!acy follows.

A second later., he st:.r~s his cluto:e.obile.:- checks trat't'ic ,. coT.2.os iwross ~h~ street., slc1.1ly: z;nd dri v-e.s onto the lot. Hs pn,-.;.~es a 1:1..orJ.~nt, them drives across the lot~ pussing ~ha oftlce, going on to the other exit,· stops there ~s E.:ir:r I s car is driven back onto the lot •. T.hc r•:.EC~L\HIC □tots :-:0.ry's cur., hops out, waves to the . r~troL:.-..:ir1. TJ::e P:\trolmzm waves bae;k, goe:; on a ·bit until :.:.t: is bu!~::!.nd r,::i.ry I s c:.\r, stops again, loolcs over .n-: t1":.o of'i'ic•~. In a moment, H~ry comes 01.1t, hurries across to hGl"' nc:;1 car, get.s i.tl ,_

Mary pauses, turns, sees the I'ctrolr.:.nn, then the Mechanic. Ht:r 1'ace goes: white. She doesn 1 t lcno·w which mr.n called her. Ther. the Mech~n:tc v;aves, starts for- ward with her suitcase. ·

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

I I cnr) \._/ .. ·_: 4,, Just p,.lt it right in here J ple«se .... C .,..I beside m-:.

'l'he Nechanic r.r:iilen., t.hrcw;:. the su! t c~se in. 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 .IN NS.·l CAR 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 S REAR-VIE"w MIRROR

No sign of' the Patrolman,_

54 MARY IN NE'd CAR ON ROUTE 99

She turns her fac.e., looks out at the highway.

It is heaV'IJ t·1ith tra.f.f1c.

56 ~iARY IN 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, cannot conYince 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:' guilt shines bright in her eyes and f~h~ 13 a r,erson unaccustomed to containing thiB mucil guilt ·:!.n this realistic a situation. Sud-

( _) denly, \•le hear the SOUED of· the Used car Dealer's

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

(___j

imaginn tion. Th8 "irr:ag1ned voice" 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<:e one.

Mary blinlrn, shake.s he1.. head, as if trying to shake away these voices or het" imagination. She checks the rear--- view mi2.1 1~0::i •

.. L,,. C;,_ Still no s:!.ght or the Patrolman •

60 MARY IN NEr,,r CAR 60

She tries to !'orce herself 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~-m on the gas, whizzes ahead.

DISSOL'tE THROUGH TO:

Mary-ts car a.ashing along.

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

Mary lookfJ 1,1~n.r·~,., tirced with strain and \·iith hard drivin.;-. E::H' .:::ye!l a~e heavy t">'ith worry and deep thought.

11 ... 11-59

- ........ _, .. ., ...... •-.... --···-·

PSYC:-IO . #9401 31

64 OUT T'.riE WI~fDSRIE::iD

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

CAROLINE'S VOICE ✓ Yes, Mr. Lo·wery.

LOWErri' S VOICE

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

Again ?.fa:r=y sha..¼:es her head, forces herseJ.f to stop hearing these ".inventedrl scenes or her ixr.agination.

Now we cu.t to the vie.w of 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.e restaurants and gas stations beginning to c J.aze .on.

Back on Mar-y 1 s faoe, 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::::, the Music Makers ·, ""\ ·.. Music-St.::,re, you know? And she

t -· clc~sn' t know t·r.here Mary is any

moi·e than ·we do.

11-11--59 (Continued)

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

C

PSYCHO 32. ·,

_(~).

A f'lus.h of p1.in~ul guilt ancJ regret rises up in Haryts race. She cloees he1~ eyes fot' one tight swift 1noment.

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

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

nrT. MARY' s NE';[ CAR

.. .,,··

0. cutt:1.ng b?.~k to i·•!~.::'y ., we can sense 1):t tho tense muscles

of har tac~ thr:. t zhs is dr•i ving fa.st er.. The oncoming

0·

headlights blu::t c1.t; her.'. Sudcbnllr we H~AR Lo:,;ery 1 s voice, loud nc-11J and frightened, as if the anxiety in the m3.n ta voice ';!==-!~ st1~on3 enough to break thro.ugh t;'~.ry rs eff.'ort to keep he:!" mind silent and ·her imagination blank.

LOWERY 1 S iTOICE Net I: haven't ths faintest idea. · As ·I s:tid, r la,st· saw ycur -sister when th~ l~ft this office on Friday.~. she r,aid she didn't feel i·sell and wanted to lea.ve early ana. I said she oould. And that ~•1~5 the la.st I saw •••• (a pause, a thought) ••• ~ait a minute, I d1d see her, an hour 0:.1 so later, driving~·• (a pause, then with ~1olemn fear) Ah., ! think you 1 d better 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~,r dark now, 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-:-si 1'11 get it back and if' any of it's missin 1 Ill re- place it 1·ri th her f' lne soft flesh I I'll track her, never you doubt it!

LOWERY I S VOICE_ Rold on, Cassidy . . . I still 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.

r

PSYCHO #9401 34

THROUGH THE WIHDSHIELD

C·

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

77 CLOSEUP.., MARY

_Mary starts the 1-11ndshield wipers,

Peering through the blurred windshield.

slowing clown in 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.;ernlble light in tr..e far dictance, a neon sign blurred by the rain-sheeted windshield. ·

11-11-59

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

PSYCHO 35

86 • MP.RY'S CAR

She oresse:s do;-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.ke out t.he large letters which read "Motel. ;i Mary stops the car, lowers the windoi•1 slightly, looks out .

the car door al"!d dashes out 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'inds it open, goes into of>f'ice, CAHERA F'OI.:LOWS he=:- into office. There is no one present. Mary go~s to t:le dos1c, rings a small pushbell. There 1s no response. i'-1.:?.!'Y r-ttbs her .t"'or•ehead in weariness and frustration, g:~e:s t•ack out onto the porch. She looks of'f in another dir-F.:ction, slightly b~h1nd the office, and sees ....

A path from the motel office leads directly u.p ·to this house. T:t1ei"e in a 1.ight on in one of the upstairs roornn. A WONAl'1 pr:.sses the wir..dow, pauses,. peers out. We see hr:;1-- in clear silhouette.· She quickly goes away f:ro:m the win.do;-:.

Mary, having seen the ~-.;oman, expects now that she will get some attention. She stands a r."'ew moments, waiting. No c.:v. comes. Irr.patience ar.d anger rise in Mary. She dashes cu.t into the rain, to her car, gets in, opens th.e side wir:cr:,•:1 .. begins to hc1nk the horn. After a moment, a YOUUG MAN ope:: the f'·ront door of'. the house, 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.n has gor:~ back only tog.At an umbrella. See:tng that Mary is on her way to the p_orch, he :::'Uns quickly, the uttbrelln. unopenea.

I . in his hand. He gets to t.he porch a r.1orr.ent after t,:ary

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

CL-' the umbrella hanging 'useless in 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(;e goes 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.1r1 f'o.:.. l•:'i:·rs Mary in, closes the door. He

(

·1s NOR.NAN B.A.:X:E~,., som~\•rhere in hiz late t~renties, thin and tall, soft-spoken and hesitant • ... ~ .... ;': ' . NOfil.t!i.N ·· · ·Dirty night.

NORMAN·

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

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

They moved s.w-e.y the ·highway. -

I •· th· oug_ht _T i a• got. t· en o ff. .th e · main .•..•

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

He is behind th1-J counter now, pushing forward the registration book.

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

PS~CH0 #9lJOl 37 ---

Mary has placej her h~r!db:;.g on the counter. She takef; the r,:=gi;;! tr;:;.;; ic:1 book:, picks up the pen, 1.s sudd.e~ly str·0c'\.<: \·.,ith t~e realization that she I d better use an .:!l.11,~~- She writes the name £ila.rj.e Samuels.

Ymi.r horna ecl: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, writes Los Angeles beside th; f,,.lse: n-1.m.;;:. N,:>rman smiles, stops smiling out of emoarr~ssmsnt.

NORl;iAM. Cabin O~a. I~•a cloner in

~ ... ,. caf:;e ~ro-:.l t•r3.n ~.:, 2a.n1tth:tr!g~ •.. , H,. right: next t.o th:3 ofi'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":..tst oi..4tside Fairvale..

~rnHHAH Fif~s~n ffiile~. r 11i get 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.t this fact, as if to com- municate so1ne plea.sure he finds in it.. Mary .follows him to th,?. door, goos out on the porch, waits and watches as i-:o:rman runs to J.i.er ce.r, gets in, drives it to the parktnr; space in front o-f Cabin One. Nnry wa.lks a1.o:1g the porch, 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 ·1igh t. Hary goes. 'into the cabin. Norr.:ian follows her.. ,.

I:N'l\ CA Bnr ONI!! - (lIIGHT)

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

}TORHAU (quickly, starting to 1 ea ..,e) 1 '1.1 be in tt·..e office if you 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.s no n~~e for it••• But it 1s ijomethir.g th~t, that puts a person at sase.

NOi'U·lAN (notreally a question) You 1.re not goir,g to go out again and dl'i ve up to that diner, aro you?

No.. "--' ·

ZIO:t!•Z4JJ' Then .11.1.l :;ou ci.o .n-a a !:avo1.•1

h'31' NJ !i!'POr.e.e) W1l1. you h.1.ve supper hei•e'? I was jus:t abou.t to., myseli' .••• nothing r.,ore thlln s·or.ie sand- wiches and·a lot o~ !11.ilk, but I 1d like it if 701.1,'d come up to the house and ••• I. don• t set a t:ano-:r ·tab:!.e but ••.•. the . kitch<in's awtμlhOr.!ey- •.

UOID·l.\.U All rir;ht, you get your dresses hangi.tJS ou~ and .••• ohsnge those wet shoes, and I'll come tor you. s1;ion as it 1 s ready.,.•. (.starts out) ♦, .with r.;,y trus.ty uribrolle. (he 1-auehs .a sru1ll 1-n:ash, r~n;) o.t::f}

Mai•:; clo~e~ the ::l.◊or, r;oes ·to suitcase·, cpe.na it,. sta.r'ts to tn-1:c c.1.~t a :=.. :·e:1r:. Hor hS.:\ C.bcg i~ r1¢:xt- to vhe. s~i :.- c11se, . She glGr,ces do:-111 into it,. p11uses. drops the dress, roRcbcs into tho hi:riCb.P.g.,_ t1ri·:e·s 01.1t the rr:oncy-.:""i11.i::.d cnvelc;,13 1 st:ur::::: at it., ulr.1ost !\'i t2'"' ,:ti)F,ret, contsr.1·01ntez hiding.it, d.c-ciae·s to, !: tartfi look1nr; i'or a _:::•e~s-o:n!i:,le

--------------··--·.

PSYC!!O #-940l

94. · (Con~). ,. hidintr place. She loo::s abut, at the closet, the, d::-awGr,. . etc,, realiz'.ls all su•~h p::.a::es · are obvious. Catch.in.; · sigh-c of ths: n.;,,wspa~ l' in her bag, she hi ts .on a solutior,. Sh,:, opan. the ne:;..,psper, places the envelope

1 t on the bedside tcb1.e as !.f it were there for l!>. ter reading. She cons!d~!"s th.i..s ro:r- a· moment,· accepta it, goe•s. to her sid tca~ei to s r,.:rt unp.:icking. , Suddenly t::ie quiet is shattered by the ·Sh,~il :.., ugly. sound or a woman's voi~e, raised in an~er. ,

\i'OMA.1{' S 'IC!C'S: Not I tel 1 you _I\<li.

Mary walks s.lowly to the win•iow, realizing that the terrible .vo'l.::e !s .,..,:.:.b;; from the .house behind. the cabins.. CMiE~A FOLLO}fS he::- to win,;iow and once• there· we. ,see the ll1,ht :!.a $':.ill on in t,he upstairs. bedi-oon: atld- the vo-.1-ce .ls :~o:-:!rig f'roin ~at. root'l. Tha- z-ttill h,a·a" stopped lUld' the r.ioon ~s out,

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

creeps.. into the vo l.::-e:) · •• , by. candl,;1if,ht, I supp,:i:se, in the cheep ere t.ic J'as:h.l on of yot!l'lg lll~m with .ch,a.p, erot.lc minds l .

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

WOlt.!11' S VOICE! And then whli'':? After supper, muaic? Whispers?

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

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

) of <iis,::iu.:~t!.::1.g tf'~i:1r,s bccau-se they-

d:!.s,gusc me: You ur,d,;rs to.nd,. Boy?

Jfov. 11/23/59 ( Continued)

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

("" ----- - -- ·-·

WOll/'~N I S VOICE (Contd) (pause} Go en, go tell her $he'll not be appeasing her ugly appetite with rny food •.. 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':l SOUND of a. door closing in that room up there. Mary h.~s stood by the w1ndow, listening with mounting d.:!.i:tress and concern and syr.ipathy. She turns her face away nolt, gazes sadly at the little empty room. In a moment there is the SOUl-TD of' the house I s front door slamming shut. Mary turns, looks out the window.

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

,· - I I •r-; • We see Nor·man coming dti1m the path, carrying a napkin- <::, covered tray:

• I'

Mary looks at him !'or a moment, then turns quickly, goes to the door, 01,1ens it and goes out onto the porch.

Mary pauses. o·iJ.t8ide her doer, 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"ul embarrassment at the }mowing look in her eye. - .. -~,0 ,,. l": f..,. J (',(' / MARY 0t· " I I ve caused you some trouble.

) at s~rdor.i: humor)

••. what is the phrase . . . rr she

(.:)

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

REV. 11-30-59

J.. ___ ..: __ _

-, - .. --'

r·

PSYCHO //9401

',7, . (Contd)

(\ .. -· . r·- ·~-- . MARY

( lO('Jking a.t the tray) You shouldn't h.'1Ve bothered. I really don 1 t have that much or an appetite.

I Normr1.n fllnchcu, renli~~ing she hao heard his mother s reference to M~.ry rs appf~ti te.

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

She begins to baclc into 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., .in defiance of v· his mother 1 s orders, 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.an lco1cs ab:,ut, trc1.y 1n hand, seen there ls

1..

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

(j

Mary nods. lror•n~n 1•r:1.llcs on, beh.1nd t.he co1.mt:cr and into the darkened parlor. Mary follc~s.

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

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

99. Il?r. NOR!!~lTl S PtTILQB - (NIGiiT ).

In the da1.. kened room., lit only by the li3ht f'4'.'om the off'ico ·spilling in., we soc l-Jo.l~r,,.an ple.cing the t:riay on a table. Hary comes to the doorway, pauses .. No.t'Ins.n st.raightenD up, goes to lrunp.;1 tU!"ns 011 the ligh·b.

Mary is stal:'tled by the l:'oom. Even int he dirrmess o:f one ls.mp, the striange., cxt:ro.ordino.ry nature o.f' the l:'oom rushes up at one. It is a. room of bil•c1s. Stur".f'ed birdsJ all o7er tbe l"oom, on every ava:i.la.ble 1 surface,. 011e eve.n cli:r..ging to the old .fashioned ,.

-· c· f.t'inged she.de o.f' the lamp. The bi.::•as a.re of n~ny

varieties, beauti.ful, grand., horrible·:- preying. . Mal:'y star>es in awe and a certain ..t'ascino.ted bo.rl'o!'o

101 .. TWO SHOT

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

As !-Tol:'lnan soes about sp!'eading out the bread and h~.r.:· and po'J.!''11"~3 the milk, we f ollo~-; !•10.:.~~.,. aci--oss ti;e roo:m •.

{cd:, ·;.,;,,/ She stud:.es the bil"c:is as she walks, brici"'ly exe..-nines .. --~. a bookca.se·· stacked with books on the ·subject of

0 T·a..,.i·-a~"' ~''"I~ u

102.,. CLOSE 1J? - T:-::E B0OICS Cf! T.AXIDERI·:Y'

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

She notices, too., the paintings on the wall; nudes., pl'ir.ia.r-il:y,. and r::any with a vaguely re.ligious overtone., ·. Finally !-:ary reaches the sofa, sits down, looks at the spread.

Ma.l:'y begins to eat, ber attitude a bit tense, She takes up a small slice of ha::11, bites off' a tiny bite, nibble "'.:. a+cu ·-,· t ;- n "-\v,'le r:a ""''"'... .u..i::.1. - ..... 0.1.,... on:;- C:J.S• • t u.,.-ooa--· · n.:.~a- ' P~""' e- occupicd. ~-Tc,::,~:an sazes et her, at the tiny -bite she has ta ken, sr.1ilo s and then 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," is really?... falsie, I mean a falsity, because birds eat a trera~ndous lot. ( A ps.us.::1,. then ex- plaining) Oh, I dor"' t l:n,,w anything a.ccut birds. Hy hobby is stut:'fing things ... taxidermy. And :r guess I I d just r!J.th~r stuff 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 can 1t . . . I think only birds look well stuffed because they•re ratr..er •.. passive, to begin with, • . • I!l.O o t or them •••

He trails off·, his exi..:.ber:~nce fa.1ling 1n the rushing return of' h!..s ne t;_:ra.1. hes-i tancy and discomfort. Mary

re•,.,

looko at him, with scme compassion, smiles.

/\~ ~.-··

HORM.;N It.•s not as ex;.ens1ve as you 1d think. Cheap, r·!?:.:tlly. .. Needles, thrE:o.d, ~awd.ttst •.• the chemicals are all that ccst anything. (He goes qu:!.et, looks disturbed)

NOfil1AN It I s rr.01•e ths.n a hobby ..•

I ·, sot1eti:-r:•?S ••. a hC';bby is supposed : ) r .. : to pass the time, not fill it. '-=-"

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

PSYCl:0 '-15.

103. (Cont Id) Ht,aY (ai'te~ a pau~e, saftly) I a your t i::!e SO 9t!Pt 7?

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

I r-un tb~ offloe, t;t;t:VJ 4:iho· eabin;oi · and gl:'ou.w:!s, ,jo little · chores .t'o~ mothcr, •• the or.es

she allows l rnlglit be capa:i!.e · o£ do~. . ,,

I·I.~R! You. go· out, •. ,w1t!l .tl'iands?

liOB!-!.'UT P.ri·endS'? !ibo n.e:eJs i"l.l"il'nds._.. (L!l.ugh:i, tlhlll '!ith· gall-,:-rs. hlWc>.l:•} A boyr s ba$t !1•::.;i::d is his tothe)•, (Stops. le. :::;l.l.:!.1"-G) "!0\1.tve t;~'";e~- ha~ .~.n t\mpty l':loment :tn. yo~ ~hole l_l~e;-. iie.Vi:, to.uCZ'

NORMA?l Where are '!70U going? I· don1t mean tp- pry .•• •·

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

TOBHA?! Whnt are you l'\l!'.rJ.ng away f :r--or.,'?

?-!ARY <Aiert) . Wb7 do you ask t;ha t?

liO:al·l<l.lT lro. ?i::ople nevor- ~"1-Tl away £r-ot1

{A ;,.!iu.e") Th;.,. !;a·t:n tl t.:.';r~: t !.tJ.r.-:t; \"'el"'y lol"...g o

You knot•r what I" t-hin.tc? r tbtnk we· 1 11 t.1 al.l. ].11 o'lti.~ <,~:!';. 1::irivate tr-a.ps ,. ci.!t!rt!'}e~ l r. -:-, i:c~, and r.one o:f u-:1 cnn ,,v'!lr· ~-:(1 r·,:, out. Wo

L.

/)9401

103. (Cont 1 d} ,•. -·., .• . ~ .• d) ... 1_;~~ ..~~.i l. \,,,on;;• • scl'aiicb aml caw .. , b\1.t. only at• tbe ail', o?".1.y at·eacb other, and fol' all ct: ~t; we. ne•;-e~• budge an ineb. ·

l-to\RY Soll!etimes we d1:1libe.:-ately step P1to those traps.

l!Olll·!f>...!·T I was born .;.n :,nin,:,. I don't iul,nd it an~re. ,

1-to\RY You should •••M.1.nd it •

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

?'iARY {St.arini;. e.t htm, shaking • >e-11n~· ........ ""•-@I:'"•~-:- c:....J ...,,:to•"•·"i•i--) ..I.'-- ..• If an70nn · eV·el"'•· spt;,.,i.:~ ·~o ~-: tbe way I. he:ar-d -.•·•-• ~~~if·· wi=.:r .she spoke to· yo~, r-·oor..rt · t·::Clt r (?ou:l,.O· e\-~er· laugh. aga-il'I,

l1IORHAJ·T - ( Cor,!;ro·l;.ed r:esent::-.ent) Some.tbe,s wi:a1n s:ja talks that way to me I}·d:· 111:e 1:;,;:i •._.,. · r;u=-;fe- her ·out.· .ar..d leave ·be::- .fo:.. ve::-1 ·

or at l<Jast, ci,!y tier. · {A. pau11·e,. a ho;,e~•

But I oouldri; ;-; •. Sbe I s ill.

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

She l'lllQ tc :-e:t3,:; :,i;; all. by hers;,lf ~t'tel"

it r:!~JS_t · ~:s,.,1£i. :>c~:~· ~ s·t.r!li.n. · Ob, she dicn:t bnv" ~,.,, fc ·.:,·nt• tt:i wo.rk o.l"I an:;-tbing, Do.-d·le.ft, \.\ ..'..'".:i:r_1~ :.t !i.t,,Je· ·~v1nr:,.~htng ,.~o an-:,'1.za.:,'": a J'-er.-, ·?eitr s. aco . ~., • r'!o t-tler met a. tnO.?'lo Ht:: r.t:.:"i.!t.C·d_ ~n.r- i!'i~o.:pull::.Hnr, t.~'ls· ·r.ic-t;~l _. •·• :;e:. ~-<J_!.,il•i 1.1.ac~ -t<,al.~~cd ht:r into anycli"i:tlf. /< .. ~ ~t.:..l :-.~~r·;,. v:~.11- (!e- ... lt-t·H!S juct t-c,) t~•.1.~'.; :··,:.:- ·:,),:· :->t:~n no d! cd·, too .,,_,. r-1:d th~.~:,s,_:~ _-_··:. -·::-:,~:- .i ·-•¥• ~ ~ "-' ___ .

L_ ___..... .

PSYC:IO f/9401 47.

103. ( Cont t d)

l!Offi.!AU ( Cont t d) Oh, it ts nothing to talk about wben yout l."e ea.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- a lovex-·.. ( Tur-ns away as if _in distaste of the wol:'d)

MARY Why don rt you go a:wa.y?

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

1ro:G-::ur . It ts too le.t9 __~or ne. _And besidos ••• 1-Tho·, d look aft el:' her? She'd be alone up there, the -i'il:'e ·would so out •·•. damp and cold, like a gl:'ave. When -you lo~rn so:nf::one, you don 1 t ao that to tber.:, even i.f you~ bate them. Oh, I dontt hate her. I hate •·•. what sher s beco5.e. I-hate ••• the illness.

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

She hesitates. !fo::::nan turns, slm-rl-y, looking at

t her with a st:•ikine5 coldness e

Rev.11-23-59 (Continued)

• 1

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

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

10,3. (Cont 1 d)

r,~~-- i/ \ .• \._/, . . lI OiU-1:~ N

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

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

so1ncplnce. a (Him.!.o.tng co l(lly) Pu·t her in Someplace!

•. r·· (The coldr.ess. tu1•n-

ing to t,igt.t f 11:.r·1} What do you knou ab:,nt c.H.ri:ng? Have you· ever s sen- on-:; of those • I places'? Insidt:-? Lauf~ili.ng and tears and cruel e;/-iJ3 studying· you.•••. and my moth!:lr there:;? Why'? ~ Has she h.a.1...-ne<l you? She 1 s as harm~esa i.;.s ••.• (,ne ,;f these stuffed· birds.

The fury sudd0nly d ien ,. ::i.b.:rct'i"lt.17 and completel:r, and he 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 if sha wDre n (;. ✓ maniac., e. ravine t:11ng ••• i.t 1 s

just that ••• ~on:otime.s arm go~s a little ii.:d. Uc all go o._ 1i t.tlo r,iad s O!:l\:d, .i "· ;:; • rill V f: n i t :,r OU'(

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

·.. -•-•·"·-·

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

PSYCHO

103. (Cont'd)

.. , C MARY

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

c·: MARY

Norman.

I stepped into a pri.vate t-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~like look of detem:ina.tion and encouragement and resolve. He 3t.n.rts to clean up the table, pauses as he hears the closing of 1•1ary- 1 s door in the cabin next door~ He hold& itill, listens, He goes into the of'f'ice and looks at the book.

104. c.u. THE-NAME SAHUELS11

105 •. M.S.. NORMAN

He goes back into t.he parlor with a mys.tit ied 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"'.'lpulse to listen, or more than 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 agairts t the wall. Now Norman looks at a pie ture hanging on the far end of' the wall he is leaning a:gains t. . Slowly he starts toward 1 t. 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 !formants face ..

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 S VIEWPOINT

Through the hole we look into Mary 1s cabin., 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;J her bra. We see his eye run up_ and down the unseen figure of Mary.

108~, NORHAN" 1 S VIEWPOINT

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

,· -=--. ....109 •. N0&'1AN

b

He turns f'ro:n the hole, 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., res entf'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.sses the stairs ftnd slowly inakes his way to the kitchen. At the i'ar end oi' the hall. He enters the kitchen., drops wearily .into a chair.. After a moment, he stretches out· a leg and gently pushes the kitchen door cl.osed.

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

Mary is seated e.t the small desk, engrossed in i'iguring in a small notebook. We see from these t'i.gu.res a ealcula tion which indicates her intent ion to make a restitution of th.e money she has used .of the forty thousand dolla.rso 1-!e see, too, her bankbook. The paper reads thus: top figure, 40,000; directly benea.t.h i~ ,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. Bene a th this is the f'°l3Ure 500, and the 2.!nount after subtraction, 124000. She studies the figures, signs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows tl'..at at any cost one is going to continue doing the right thing. After a moment she tears the page out of the notebook and, rising, begins to rip it into srnall pieces. She goes into the bathroom., drops the pi.eces into the toilet bowl., flushes the toilet. Then she d1•ops her robe and ··steps into the tu.b and turns the shower on.

Ove·r the 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:room door being pushed slowly open. The noise of the shower drowns out any sound.. The door

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

,• ,· .

ll-10··59 (Cpn t inUt':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.s almost 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 ion of' 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 a moment we HEAR the s·ounn of 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."Tlp and wet along the ti.le floor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAHERA HOV:::S away fr:)m the body, travels slowly across the ba throo:m, past the tolle t, out into the bed room. As

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

s.s Mary placed lt on the bedside table.

_J

PSYCHO

119. CLOSE UP - THE NEWSPAPER

bos;Lde the 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. CUT TO:

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

Norman pauses a moment _in t.rie doorway, glances about the roora, hears the shower going, sees th~ bathroom door is open •. He goes to the bathroom, looks in, sees i;;he body. 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.le with 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. of shot. We can see only the hand of the dead girl, lying along the tile floor.. Norman presses his eyes, fights to .find a 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.01-1 and draws the curtain

·,

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

(C.'·.

switches off the bedroom lig.ht., leaving the room lit only by the spill from the bathroom. He opens the f' ront d oar 1 goes out"

11-10-59

---- .. -----··-· ----- --·· ·---- -·

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

,,.... ..

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

Norman comes out ot Maryt;g cabin, closes the door care- ::rully behind 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 c ornes out 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 strength and goes into the bathroom. We · HEAR him set the pai 1 on the ti1.ed i'loor, and then we HEAR the shower be,ing turned off. And there is total silence. CAHERA MOVES FORWARD so that we can see into bathroom. CAMERA is so ANGLED that we. see Norr.1an only from the waist up. Quickly and deftly- he unhooks the shower curtain, emerges with it. into the bedroom. CAHER.A PANS 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'rom his body, slowly pulls the dead body out of the tub, drags. it a.cross. the tile floor and. onto the spre.ad-out shower curtain· in .the -bedroom.. Having arranged · tb,.e body., he straightens up., exa."Tlines his ·hands, sees blo.od- stains on them •. · He returns 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.had away b.y the gush o:f the faucet water.

126. NORMAN

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

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

,) \

\...:.;,,

:j ..,

·... ·.. ----- - .·- ·--·-----~- ~

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.nd even the showe1' curtain rod. Then he takes a second . towel and goes over the cleaned areas, care.:Cully drying

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

127. IMT. MARY 1S BEDROOM

Noman s taps carefully around the unseen body, crosses to the desk., starts going through Mary ' s handbag, in search o.:C her car keys. Re suddenly notices them lying on the

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

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

We. see Norman .pause at the door, check cautiously, then hu:r,:ry across the porch and into Mary's car. He circlc-- tu.:r-ns the car, so that. its trunk is 'o acked up to the porch,_ directly opposite Maryts doori as clos.e as it can 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,aised angle, we see Uo:rman bend 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. the door open, and, leaving the door open behind him, goes quickly acros.s the porch and gently lays the body in the tru11.k. He closes the lid then, but does not lock it. He comes back into .the cabin, closes the door completely, £licks on the light.

Again the newspaper is in the foreground. For a moment he pauses,· closes his eyes agair...st the realization o.f what he is doing., then.- quickly pushe.s a·11 thoughts away., continues with his work •. With the room lighted, he noi•I proceeds to 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.nd er bed and bureau, go·es into the bathroom, checks. that room again, comes back into the bedroom, looks about caref'ully, spots MarJ' s handbag, throws even that into t.he suitcase, is finally sa.tisi"ied that all traces o:f the girl

'-::.,,..

11-10-59 (Continued)

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

PSYCHO

129. {Cont'd)

a.re gone front the room •. Then he closes Ma!""J 1 s suitcase, picks it up. With his free hand he picks up th-J pail, in which are the mop and the us.ed towel.s. He crosses to the door, switches off the J.1ght with his shoulder, pulls open the door., starts out.

As Nonnan stands in the doot."'..ray, he is sud,denly and. blind ... ingly lit by the bright headlights of a passing car~ The flash of'.the lights and the SOUND of the SPEEDING CAR are over in a :flicker of 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 with his footr tr..?•ows the suitcase and the pail into it, slams it shut.. He pauses a moment, then realizes he has left the bathroom light on in Mary 1 s 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·ht over the toilet bdwl. He turns out the li_g,i,11:ts, crosses the darkened cabin, goes out 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-w in a swamp a!'ea, •. .It is quiet except .for the 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.3 at the swamp, seems doubtful of. its abi.J.i ty to swallow up t.he ca:?:' 1 :-eal~ izes he ha.s no choice. He leans into car, rel~ases the emergency brake, starts to push., The fr'Jnt of 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.g q_uickly now. Xor7.?.n jumps away, slams the door shut, stands tense. The S0U1:D r of the plane overht:!ad grows louder. NormaIJ, locks up.

;.·· \ ii )', (\'.,./ .. .. ~<

ll-10-~Q

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

---·-.. /

P S Y C H 0

( FADE IN: ( AFTER rl'ITLE)

Above Midtown section of' the city. It is early afternoon, a hot rr.id-sumn1er dny. The city is sun- blanc:'1.ed white and its drifted-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 ·city begin~ 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; of back-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::-d with purposefulness to·.-;ard a 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!P S VIEWPOINT - THE BLACK SKY

We see no plane. The SOUND of the motor is beginning to diminis hoa

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'using to go tp.e rest of tile way. Normo.n begins to panic, he steps dangerously close, pushes with his foot. A.nd slowly the car sinks, until f'inully it is gone and we hear only the gen-:le plop of the swamp 1 s-t'inal gulp,and see only the small after-bubble,. like a visual burp.

Noman waits a moment, then begins sta."'Tlping out the tire marks, so obvious in t::Je wet ground arou!ld the 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.t as if he were taking one last moment of peaceful night ai~ be.fore retiring. Then he glances dc:wn and CAHS?...A.

outside Hal,y 1 s cabin, its strea."l'l of: water· obJ.lters.ting the ti.re marks., Ai'ter a moment, Norman 1 s hand comes · into shct., picks u:p hose, -places it. in a ne-w :.)osit.icn. As CAl(ERA PULLS BACK.,, we see that the water .from the hose has erased and rearra.·nged the road mar~l!1gs so that it would be i."1',poss ible to tell that a. ca:- had been parked here. After a short wait, }forman goes to the hose-.ra.ucet, turns it off,. u.nacrews the r..0ae. As he rolls the hose, he walks e.wa:.,,. t'ro.m the spot,. pa.st the office, heading for the path that leads to the house. He g·oes up 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.A FQLI..G~·IS hir.i in, PAUSES as he pauses at the foot of tho stui:-s. Norman_ goes up tl:-.e stai:13 •. On the land ins he stops. The door to his mo t:ier' s room is closed. Lvi::::,- in .1 " ::.;) heap outside th.e d-::,or ar1;; a. blood-stained d -:,-,ess and. a pair of elderly-womant s shoes ...

From an EX'l'TIZ-!ELY HIGH !.EGLE; -,,;Fl 1ook f own on Hor:nan as he bends to pick up the stnin~d dress and shoes~

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

' \

~\I_.'.· ........._ ...... ,.1.:.:·

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

134. (Cont 1d)

He l"'olls the shoes into the d.ress, tuclrs the small, neat b'1.;.ndJ.e tt..Y"J.do1• his e.r•m, and starts down the stairs, h1;iacing for the basement.

It stanc1s si ll1ouetted a3e.inst tho sky. There is•

a long 1·:ai t. l1hen, slo·wl:r: a cu!'l of smoke comes out 0£ the chimney.

FADE OUT:

FADE !1?:

116. I'.NT • >lA.CK I1001T OF SA?!' S H.-"..E,D~·!ARE STORE . IN tfl::-u Fll'?mr"d . ... { m-L )- .

sam· is seated at bis desk', writing a letter;· s·equence !.)egins with C.Al-.32.A. IH CLOSE 1 over Sa:r:i 1 s shot1..lde1"', and we·can read as much as he ~as written of the letter. The letterhead reads nsa.m Loomis - Ra.l:'dware,n and the letter reads:. _ . _

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

'•··-·--···

·p_ which isn't. big cn:,ugh for both cif us, ·-- and sudilenly it looks oie eno1.1.gh for

both· of us. So what i.f' we 1 l 1 e ooor ana c,:,amped e.11c miser-able, at least we r 11 be happ-y! r.r you 'nnv:en It ~o:me to your s~_nses 1 and.still want to •••

· OAI>.IE'RA begins PUIZ~Il-TG At-!AY as Sam -turns the she et of p~per o-ve~, conti::.ues ba.ckL""lg away out o-£ the small b~~ck l'oon and·. beads,_ backwards, down the cor;:,idor of .the harcwa.r•e store, ·· As it go.es past the cotL.""J.ter, '(te see a youne::; clE>!'kJ B~B sm-:-SP.F:i:2::tD, Sa.mt s a..ssiste::t, stancinz behind the countori~ .a look of ba.ndsorr.a :Je.ti'3nce o:n nls face. Ee is waiting on a n:.eticulo".l!l, elder-ly woman customer, ·ubo is aoldim:; c:md exa.-n.inir:.g a large can or in-- secticide. As CAI•iEaA PASSES::

WOMAlT CUSTCi·Z.R •• , They tell you wh~t its ing.redient·e are and ho\·T it 1 s gur..:?::>anteed to e,cte:r- mi.ne te a."'1:r insect in t he ·world, but t;hey do not tell :rou. whether or not 1t 1 s painless ....-lnd I se.;r insect o~ rne.n., doatb. shot1.lci a1•.·:ays be painless.

'I l t.,\:,..- CAMERA,. by this tir.ie bas .reached the i~!.'ont door.

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

-·-

_.(

P3"'.£0t:0 ::ar _,J,_, r. • -- Eo.

136. (Cont'd) thru 138. or th~ hard.waz-esto_t"e~.n:i '••le nowsee a girl standing

Just inside t:;e d~o::-. S=:c i!'l anattractive girl with a ra thar de:'1.ni t•~ ~an~e:!:.', F.!. lr.-ok er purposefulness. She carries a band"c3.g and .9. srns.11 ovez-nigbt ca~e. She is Maz,y• ., sister, LIL/\ CRAZYE.

Bob SUl"i"lri~erf'ie.ld b3.s no~iced Lila..,· smiles brightly at her, gi ve1: ha!• 2.n ! 1 ll-be-~•11 th-ycu.--in-a.-m.,:>ment nod. Lil9. st8.:,:,t::; tc ~'.:.3.lk tt'.',~-.rs.,z,j ~.te cou~~e:", neve::- taking he:- eyes orr re·::,. A5 :.h·~ e.r.prcacrl~.Js., she _aslcs qu1et2.y:

I. LILA

Sam Loo:rd,3'.

S1D!.:·1U"t:· !ELD

Sam I L~d.z: ·;,: :i.t:.tt. tc see you I

-~~--

wor~ie1ly ex~~ining ths fine print of the insecticide cac. Sam c<:-IT'.eB tr.. tte d.oc,:.' cf: :.is room, pa\i.Se~, looks at Li3.a a mor:l.ent, st:a.:-ts .::r:r:1.~.!.•d 1:r.:;.J,s.:-,: her, his expression i::-:-2i- cat.:tng 'that !1e .:oe.s nc.t; 1:nc~-1 !ler. Lila studies biQ. r,·Jit;'.:J a quiet, \'lO:."'::-ied e::cr-.rasw!.on •.

L!LA l-13.y I talk to· l".OU?

L·11· a 0-.1·c:, an.n~___ ;:,. •!C>_ -1-..._ +-..,i_~.•-= ~ c1Js t -c-r.-.a:- an d +-h,.. e c J erk,1 t urns, s +-... ar-cs• toward the f::=cr.t o:t"' the ~t~re. sa.m holds a. :nom~nt, then follows. As ::e reacb!=.:~ her, she turns., her eyes study- ing him intently as sh~ eaye:

: ) i \ ..·.. ,: •' '--- Lila.

Rev_. 12-1-59 (con t.1nued)

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

Sam 1s m.yst;i!iol, 1'...nd !.s a!so a1iare ct the worr!ed; · hostile e:q:.:-sc~!o:i on Lila 1 ::.i fa-::e, Ee studies her for a· quiet r.tc::l:'..n";. ~:ehind "";heni is· a display or .varicue size carving kni;-e~.

B.:\1f. Is s~~~t!:., rg wz-o,:Jg·?

L::r.A , I ws...~~ ·to ·knew ~t q siatsr 1s here •

•

SAI~.

· r.z.:.;,4. I dc.u..t t kt:o:-, 'l;:'l~::.'~. !-"'l · you~- s. tore., so::-si:l~-!le1~::- i:r yo,,i~ to~:n •.•. at17,1he:-e.

• SAI·! W!::at•·s ~!~e.. J:.S.tte:11

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

As-S"m-, ;ii," •s·- -~J-.., ~-"'~u· ..h• h,.:, ~:,,,40:-,._-~.,_-;-.. ,t!'".e W,;f,.an cus.t:>me::-: o.crnee sailing pis 4; $. · zp;.:4}:U:g..- :..sa.he . gc es ~!! wearing a · sa t.ts£iec! smile.

WO}!A!: Ci!S:'O~!ER All I a.an ~c i~ hi?pe 1!' -it ·ian, t:: pa1nles~, it'! ~uio~l

She speaks "qu:1ck" -'it,h a kind of delicious bil;e, nods happily, gee~ c:, cut ,;.f the store. Sam iG · now staring appre.hecsivel;: a.t Lila.

( Cont1nus.d)

i

Rev. 12-1-59

L

•• .:.~~ :a .. ' - ".:•:.••·•·-····

___=-:;.·tcEO p __ ,.......,. #9i1-0l

Ca::' 136 • (Cont r d.)

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.a sh~kl:)B llez• h-3arl)

I How l·:r.g?

/ LILA Ls.at F' r. i dri:.r,, 2 !J ele rt wo1•k, and hom<J o,,. l wa.sin Tu.c sc!l ovel'.' the wa~k ➔ nd •o~~ Ihavenl'-f: heard trc•rri her 11 not e 11ena phone call.

SJ...}! And ye;u thcugh1:. she 1 d ccme up here: to rr.e 1· 1:f she h:a.d t wh.a t re a.sen wo~.il i sh8 have for not ·cal 1 i·r: g ~;.-:,1..11·

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

t!LA Mr •. t-::,o-~.i::., yol·~ 1re so busy being def9nsive ~h~t. ~ou,. h~ven:t even reacted to t:-... e :m.os-t seri.ous fact of all. Nar-y j_~ m::'..ss1r..go

LIL,;,

)

Look, if you. t,;-10 .are in this thing

t ,:

together, r don 1 t ca~e~ it's none

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

r,;-,

136- (Cont'd)

Tr'~a

:;:.:;::.:.A (Cont t d)

1~8.

of my rr.:.otn~:s ••• Bu~ ! Nant

·C

to oee a:1:.r.y. I t•:.3.~ t h•~r to tell ~_.:3 G:.1'.: 1 :-i r.1. lJ. r:lgh t and it's nom~ o.f: _:n;;," ~w;:!.n~s.s. T.i1en I 1 11 go ~aok to Phc~nix and ••.

She steps.• the an:x.1.-H,y ?..nrl fear b1.tbbling up in her-, her eyes 1:'1eg::.nr.. in5 :;,:;, fill w:!.tl1 \'ivr!"ied tears. Sam studies her fo.~• .:~ m-:.!!":.c:::it., !;h1::n tu:r·r..s and calls:

ST.:.1\7:-IBB.F:CEtD It':s okay., Sa.rri., I :,~r,i:.~bt it with l:!.e.

Bob gets th-o ~:--::r::0 $?.~e' p:,i;:c::. l~Ut thl'OUgh the back way. Sam goes cl~,:~~~ i;c .i:..:t.:.~.... ::p?a !c::? w:t th so.r:; serii::n1~;m.ess.

r, ·~j'

SA:,I in trouble?

SA:-1 W~ll lhY didc 1 t she come to me • • • cail rri~ , , • ?

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

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

\.;'.:~'.- ?;o t tb-J. t k: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,l yr,:,i:· ogo.s • , . SAI1 (SA'"" ,1,1.:, 1 :r\ ' --·- -~ - J Neve:t• m:!.t!'l ey e:go •. rat I s talk · about. ~\E;.r:r •.

Their atte-ctio.n :Ll -:i:tst!1:!.r:lt,ed b~,. a r~n who has .strolled quietly 1ni;c, t:,,, ,; tc•:•,;. :,e 1;;..-,.:.:re!l them, walks past

1 1· ·n CLOSED ·z·Cll ·~}_~:~:rt u_ w..:i.J..Z$ ~a.~k to: tho do')_!', closes dot-r, · hangs the sign ;;.~re,;:?;; the cJ.cor window, leeks the doo!:',I turns to Sar.;. a-rd Li:i.~,, fcldn his al'lll!!, -smiles a pa.rticu- la-rl-:,. unfri.enO.l:,1 . t.i~le < \

ARb':iCrAS.T I.et I s ·all i;~lk s):;~~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 :t br:-.. 70 · b-:?.en a'l,le · to,. t:l~l; • you i.t-ymi d..1;',:, ·,;

Money.

Ther~ i:a a nr,:r.ent'c ~3'!le:1.::e azl;'!- tt"en., U!':i!.ble- to· toleratc- the sudde.n f::·i;h ~ening hr,.!=pen±ngs, Sam explodes.

RE\!. 12-1-5'9

(

..:: ' .,. . ...: ----· -· ··•··.· -•· ·:··

PSYCHO #9401 - 65 •.

136~ {Cont' :i) ·"'(~. ) . « I .

ARBOGAST (Cont'd)

r.~.Lr:::.

thousand·dollarso

.. Sam l<'::ks at Arbor:;ast in utte2.~ shoe~-: and in that state asl<'.;; one of those seemingly ridiculous questions •.

SAM.

·c· Why?

,-. Mu.st•ve needed it.

SAM

(To LiJ.a) · What is th.is?

(

· LILA She was sup-posed to bank it, on Friday, for her boss~ Sho didn't.. .A.'l"ld no one has seen her sinceo

\..' they just wa..'11 t the money back.. 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.ame up 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•ing to~·m in her car. Se~~ by her very victims, I might add.

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

Lila tur:1s f'_!To!:i Sam, a flush of guilt and regret in her face. Arbogast lcc.,1-::s at her, quite sympathel:ically.

12-1-59 (Continued)

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

He ·nods, ta}:es c1own the closed-fol:" .. lu..11ch sign, sails it to the ootmter.s 09ens doer, goes out into· the street. After a quiet momant:

·SAH It was be.!' boss' idea not to .repor.t it to the. pc lie o?

LILA

C) he tall:e d so lo;;.d and i'a.st ,. a::.d

I • ~. I· should 1 ~,e callee the · police •.

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

'· .

i ·( ) ' , ·\··~·:

Rev. 12-1-59 (Continued}

_,. . ......--.-•' ~e.

136 (Cont 1 d) •thru 138 ~:1 How -.could I\;~.:, o:...ayZ i:n. ir. debt up to r·,:· ••• (S1rdl-,s at. ·rh 1~ l~·-.~~n.- .. grutr..-; o t t: l. ,j r e;ily., tbe::i. r;c<::s .:-,,r.to·,u.) I.t·sbe did s~~e.1. t·ha.'t (!'".\illf;J •••- l:t IS ba:r·d ~o · t.i::•1.;t•:;..,;~ .:;b'-~ did bee. a"s~·"' .i;; •"'' • 1 o,7, · .l,~'•·· ,.,,...... -..1,, - ,.,.•. .,..• ::;,· ,,n•- ',l - she· would. UnvJ '"-' .,,B h,..i soi;1~ wild idea. that it._ ·,.:,,~_.;:..1.~ l,\;"1.:p ~ ••• us.· ••• ·

t!t;t She ha-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:~. I h;r. ot:·::..t· •·.~;;, ..1 ·,-;~• e,~:.e.ir1;': a.nTthil"!~ I :.::: 1.t~i.-:-::: 1 ::. · •••. ~·ide:c-stand.,

S..t.!·1 You've. le.d a. •~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 ! e t:e- T:=.:." :....t~ ~·ry!.n.g· to- get. in 7:ci:..:h -:•!i.~:t :-re~ et home •. I'd better go· Le;,:.;, ·

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

)

(Continu:ed)

I

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

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

SAH · ( bi•igh·!; ly) First r-ate bc·cel; .r•i.ft-y yards up the S'C.i:'·90"t • Core.a O:Clo (as he rea~hes ~or tLe

After we -:b,1::;.k :,-01... i:t ,;10 111 ~o 1iO the d r-;;.g;;; t-:,.:· ~ s.::. :1 g ;;.,t ~rou s.

·a.- sand·wich. :::l:an ~-:z: .!..1 c orr:e back. ( ~ he.re •• o a~d w o.i t, 9

He bangs the sign qr.. tbe cool'J u.sbe.r>s tila out., closes door behinj tim4

( \ ·.,,.. / . .....;,..:.•

,, 1·

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

r·--

PSYCHO #9401 69.

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

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 the sign above 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. going u.p the steps to his mother's house.

11-12-59

... -•·· ··:v·. •··---· ..::.

PSYCHO 70 •. ·

\ . i ..... ~··'<.J .

·, . 146. EXT4 BCAR'DING ~IOUSE - (DAY)

Arbogast I s sear•ch 1B 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\."E TO:

,,. The white c~=t.:- gees b-y- on the freeway aga,in.

DISSOL'\7E TO : -

Arbogast goes in.

DISSOLv"'E TO:

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

white car. It nlow2 up opposite the distant motel. rt makes a turn ar:d gce.s back out of' scene. A pause and it reappears on the old. :t•oad an4 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'ice porch. and is sitting hunched in 1 t.. And he is darning one of his o,·m socks. CAMERA HOLDS.· Eriy◊nd the porch, and Norman, we can see the old house ftn•1 can b.::.rely m:':3.ke out, in the twilight dimness, the fig1.:.re of his mother seated at the window. Here, too, there L, that quality of quiet peace surrounded by a vague foreboding.

Now Norrnan look5 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, starts forward. In his step and manner there 13 that bored, routine-logged q~ality of a man who has seen too r:...~ny motels and as1ced question of too

.. ' many hotel r:!.:..i.n6.gt::r~- over too short a period of time. l; ,' "--·,/~.. ~ .'

Nor?!'.a.n rises as Arbogast comes forward.

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

[ . _. --···-· ·-'-·

PSYC".tlO #9401 71.

150. (Cont•d)

(Cheerfully) Twelve in fact. I·welve cabins, twelve vacancies . • .. ARBO~AST · (pleasantly} In the past two d1-;y:.~ I' Ye been to so zr..s.n:l" motels, my ~yes are bleary with n~on. :nis is the first one th.r,.t li:iokei-1 like .it was,. hiding fz•om the world at large.

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

Want to regi.ster, plea.se?

S:tt down. I di:,n I t we.nt to

·c,,,)

trouble you, j1.1.st want to. ask.. •-

NOtMAM No. trouble. Tc1c.yis linen day. I change all tr.e b-sds once a week, whether they! ve been used or not ••. dampne·ss. I.hat~ the emell of dampness:. . · (O;>enir.g· off'.tce door) · It 1 s such .. a d;;:.r..k smell.

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 trlis way ••• might have stopped in this area •·• .,

11-12-59

I ( continued) ·.,..·! I / ..· ~ •'

s· ·-· .. ·. ·.· ... ·- .

PSYCHO 13.

151. (Cont 1d) (-":-··. \. ,.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 protect in g~-y •.

NORNAN.

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

ARBOGAS l She might have used an alias. Mary Crane I s the real name, but she· might' ve registered •••.•.

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., Said 11.' the s.1gn baan 11; J:teezl on the71 d have.· tholJBh1. tb1e 11as an. o1d deserted m:1njng ton or aametb:ing.

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

....

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

bQJ'-. fried 1 DIM 11 Sam..

·. .the smu.c sa.ne) · · ~ sbe ill dis;m.set ·. Or do ,-au.

·- llaT.. n-r-s, ·

- -- - __ ,_ r

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,,

l i~-- 1" .::.-;) r'9

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

PSYCHO 76 •.

(Cont 1d)

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? I 1m 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 a warrant?

(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 ·start s out. 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 .the old 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.f to 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 11v ing alone.

UORHAN'

r,-···~ :

Oi' course not.

11-12-59' (Continued) I j

PSYCHO 79.

(Conttd)

NORMAN /

·(

r•m not a .fooll And I 1m not capable 'or being fooled! Not· ev_en by women l

/..

(disturbed now) That's all right. Maybe she could have fooled me. But.•• ( a rueful smile) She _didJ.'"'l 1 t fool my mother.

_ ARBOGAST Your mother· met her? (.quickly) · Can. I talk to -your mother?

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

i/')40.l 80.

152. (cont•d)

mother. to"::- ~;~• .. t.

No·rnt:it• doe1:f. not !'E!i.:1pc1:.-'.;.. A:-':icg.:i;;3t €:at3 in hi~ car, _starts the motor. ;:;!::·:...rw:.r1 lt·t:·1~.:: u;-.)1 ctudiett t:ie man's r~.c.e., hi:2'• c-~·:r;. ::~u::.e i':":CN1.r:g. a.-r:,p:::eh-;nsion. Ar:logast ba·cks the- ca.r at;t;.!..t?:::~.. ..,:e:i-:r ~1!:-.i:-;,lv·.; !:i~ ,;-:~ze d1videt! be- tween the old boats e:~:i ~!:e 1tgSb"':~ i:1!..C1cw o! cs.bin Two.. AS he tu:r=: ..:. tt'1 e:-•,:: (".:•.J.ij !" :':!.~ .!\5-.~ ~;l;tgh~s ll;~t:, up the. porch. Uo:.1:ri.-..'1.n c 4;ar..:l•~ ! ~,~-1.~-:t:tn.~ ;:.~..n:. '.!::-i--re 3/.it!;.J •. / D:tsso:.7E

153.} ·OMIT 154 .. )

-· f,~-- f~--:'.':'.l:"n' ..--... ,\

The c.a.r pulls up;:::;~ l'..::-!>c~~.~'j ;:··:::tz c~~ •:.f ~at-, l?.=.~rin.g motor- runnin~ •. · Ai ~:~ z -:;.I::,·.;.:; ~.., ,j-::!.~ !.: ':.(,:!O·SS. t:Je i::!g!1w;.:y-J CA:OIERA PULLS - 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-;.ll not~:,c.ok £rom:·b1s .. pock..j"e, ,;t,;;:;k 1~::. ;:;. ::.:.::.~~:.\, . ..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) r Lila there, Hr. Loomis? Arbogast. (waits) Lila? Look,. this isn 1 t much, 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.low runs it., said Mary· spent the night, left.,. perio.dt (listens) I did question him, believe me. I think .I got e.11 there was to get~ Just have tb try to pick

Well. ••• mo..ybe that·' s because I 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.n 1 t le.t me see her. · Shame., too ••.• : confined old women: love~ to. talk to strangers •. · · (listens) . I was,. but· I think I 111 go ba.ck to ·the motel, fir st.

;

{listens)

i i No, you stay pat, Lila. With .. l }. Loomis. I should be back in B.Zl hour. :~ (listens)

...,· ,... All. right.. And Lila • •·• You t 11 be

happy to kn ow what I think. r think our t'riend Sam Loomis didn rt even know Mary was here.

... J See you in an hour. Or 1 ess • ~~.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 see Norman emerge .from his oi'fice and 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:r the 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'fice and 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., - THE EMPTY $APE

straightens up a.nd goes out.

· 165• BIT •. MOTEL OFFICE - (NIGHT)

Arbogast comes out and looks off. Ha sees:

166 • THE LAST LIT CABDT

The door a jar.

ll-12-59

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

I

PSYCHO 83. '

168. L.S. - THE OLD HOUS:E FROM 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.EDIUM SHOT

CAMERA HOLDS as Arbogast goes up onto the porch.. The house is dark within except, as lve can now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living :room windows, looks in, sees only darkness. Then he goes tQ the door., listens for a long moment, hears nothing. Very slowly I alm.c st painfully, he turns the kn9b of the

~~---.. door and push.es gently with his arm and shoulder. The

~,.: door begins to open. ·He allows it to open ju.st enough

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.t could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he cro sse~ to the stairs, starts up, slowly, guardedly, placing a f cot squarely on each step to test it for squeaks or groans before placing his full weight on i·t. CAMERA FOLL01:.1S, r•emaining on floor level but TRAVELillG ALOUG the stairway as Arbogast makes his way up.

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

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

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'f balance. 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.."ld as the CAHERA l'-IOVES IN to contain the raising and descending murder weapon.

'.f. .. FADE OUT. 'lO

1/9401 85. PSYCHO

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

Lila is si ttizi..g close by the phone., and looks as ii" sbe hasn:t moved f'ro.m it in the last bout'. Sa..'ll is pacing, occasionall:;- stopping at the window, glancing out, pacing again. The ash tray close to Lila is

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

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

out-i'o!'c•everybody look and· .••.• I. eel. better.

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

I :t:'eel. better when you .feel better •

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·s in concern over bar very

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

sAM (into phone) Got the nu..'Tilber oi' the motel 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)

,---

PSYC'HO #9401

175. (Cont t d)

He stal:'ts for the door. Lila i'ollows after him into the store.

He pauses hal.1"wa:y down., t\U'ns., puts bis hands on her a~. /

LI~ {nervously) Just wait here?

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

He hut-rie s down to the street door and out. CAf.tsRA. HOLDS on Lila as she stares after Sam. As sbe·s-tands alone in the dar1rened store, 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 tbe moonlight, the .figu:re of lfoma.n 1 silhouetted. He doesn't n,ove, merely stands there at the edge of the swamp, staring down at .the now calr11 a.1:id quiet .face oi' it.

· CUT TO:

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

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

the SOU17D OP A 1-ZOTOR, e.nd then-Sam's small pick-up tx-uck swings into the d:t!ivewa7.

Sam stops the motor, automatically switches o:C:C head- lights, pauses as he observes the silence a:nd dark- ness of the area. Then he bops out o.f the cab, goes quickly to the ofi'ice ~ knocl:s on tbe door. As be waits i'ol" a response, he. looks down the long porch, studies tbe daX'ke1:tscJ cabins, knocks again, louder, looks in the other direction and sees. the house and the .figure at the one lit window. He stares a moment then .calls loudly:

Al'bogast?

_CUT. TO: ,.

IBO. EXT • THE SWPJ·lP

T.be silhouette ot' Mor-man. He is still. Over shot, ve'J:ty dimly, comes the SOU!ID OP SAH1 S VOICE, calli:ng again for Arbogast. Norr.1an tul"ns slowly 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 .fron tbe back l:'oom 3pilling in.

182. L. s.

With CA!-2:RA placod with its back to the street door,

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

.. - ··.·.·:-: ....: ·, ... :.:-

r-

PSYCHO #9401 89.

182. (Cont 1 d)

we can see the di.stant tiny figUl:'e of .Lila seated and -.-1e.iting in• the back r-oo:m beyond. There is a SOUND or a cal:' pullit"..g up. The tiny figut'e jurr.ps up and r-uns all the way from the back l"oom down the aisle o:f hardt-rare and comes into a BIG HE..4.D. We see Lila 1 s desperate anxious look.

18 3. MEDI1J1.I. SHOT i

tl:'Uck and comi:ngtowa.rd the 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'ied i'eeling. Don I t you think he'd have. called ii' be had anything •••

Lila goes quiet. Sam starts toward tho back !'oom, pauses at t; l·Je Joo.1.-,;.rn:,., turiw. Lila ha~ rer:.!!.ined by the doo~~ lookin~ out at the street. Sho i'eels bis

{Cont'd) •.

pause, turns, ar:,:! fc;r " '1•.)F.sr.t -:.nsy stare a't; each other ncrosa the darlrn.n,~,i ror.!I.,

SAt1 Let I s go .see .Al C.:iamb,;rs.

L!.LA Who's h~?

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

DISSOLVE TO:· ,

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

A dark,• qu:!.o:t,· t,rct.l-ce!.l.'.nGe~ street, the· s.-nall neat hoUses,di?a in :;l1s, reoon.lt,;>:i.,. S<1."1 1 s :;>ick-up truck com.es down t.:-~s $1:;r":;,:,\ , i;·tJ.l~ u, be:l'ore .the house: of· Shl?rii'i' l-:1.l.:ill:h.;rs. GA'.·!7Jr A ic'.0'.''.:::S nr oi, Sam and Lila . as they r.;.'!',,1i.'l for-· a n•.:-;;:,m,, tn. ~i-.'1! truck's cab,.. ~tar1ns q,1~et--.ly at:. ·-1;:•..-j s-.1.~i:.~.tig hov.t:e .•

S/1.,M Ou.r Dep\1t-y. sl~f-lr-s· ~

L~. Wellf

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

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

Si1}t No. !'~ j:1sr.. i:,:-,,,:r:;st iuat.ini'. People. hat;,:; ,,h,·,~ l;f:cy dO"'J:>bell rings 1n the. rnid,iJ.t:r er ";:he_ n.:.;:ht •.

Come <1!!.

ll.e gets. out of cac, r·:»,~ .;i:-01;:":rl to ha!1i I.1la. She is· a_lreadY out,, 'J.Al·iEIL.\ ?(J!:.i!'tc;1s 1:h.:-:1 u;, tho· sr.iall pa'th ~o t~h~ fr::ir.-+; door•.. S.;J!n. t·rct'36S ttu?· be·i-1 button. :Both he and 1!.1~ '.::ir5: .~ :t:1~.:.~. -~-:r:o~~·~cd OV'O.P by the shocking:, cl3!1;:;!::i;, c.:<3..:"-::,;:•ll.t.r,.t;·,!_: B.L.~\:SI· 0F THE. BELL

; tiithiri t-he hour,e .1 a. rin;· t·;! ~ !_.-; h ,-s•Jt.tn.:i~ ~ore Like a

-ire ala!"=t· than a dflcr':~:-;-J.J: ..

'~ . '

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

(cont I d)

7284, i

) He tries t.o l).T..iJ.,!,, !ails. Li.!.(! doe:m•t even try. l

The downi:;tal.rs h:a.:..l l:t.rr.~ go;:, o:, e,;<i a moment laterj the door ia i.:.nhi!:s.it.;tin;,-: l:,, or,,.mad ty MRS, CHANBERS,' I a ewa11, lf.•:.;1:r st.i.-,k 01· ii :,·o:,i~n t1rapped in a thick' fl.arinal robe and a ::::iro1,a o!' hosrittality. · ' \ ) Oh?

3AM So-rr1; i~s .. c~.. a~bgrs .- I hate bot;herine yo•:· • •.

As· she opens t1ie door ~: i.c.li,.

CUT 1'0:

185, mr 1 DO:•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. · The Stai;i,s- Sre carp·et·ea .: The ·_l-lt.:1t!:ig ~.s b!""1.gJ:t:-. There: 1.s a pa'!.'fectl7 f.itt.'l.n.; wu.l.l. ;;,h•:,na by tne parlor a.rc.h. Mr-s .. Chamber.s .toe.o it·o i:'!!.e. _s~·airi1_a:,·1-· :,"8.lla·- UP-~·.

Alberti (a tin-; .-a.it, a sm12e as Sam ~r.1 Lila enter) Al Chambers.!

Sam is ab.out to c~.;rne thri door tehin~ him, Mrs. Chambers r.iot io:1s for U.m no,; to, l!ourries across the hall, leans out sld;,; p:-ess~s t.r.e, doorbell •. The Rl?!G. w1th1n the hcuse i:; even r-:cr,;i sh:i.t<;ering. She closes

( Contitiued)

--: . . ···- .. ~-··-- . , .-.

r

PSYCHO #9401 92. ·

· 18~. (Cont rd)

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

'ri.' too •

MRS. CEA:i'.-!BE RS (to t be Sb£iri.ff') Tbe Bates lfotel.

j

C

P3".::GHO 93.

~rn-i:- 1'Lfl-...J t CEA!•lBERS (to Lila)

( He has.· a mind like a

mechanical brain and the more j_nfon:1ation you f e:ed it , , . Go on, Sam.

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

MRS. CHAt·.-ffiERS (a pleasant shock)

(

Norman took a ·wife?

........

LILA

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

Will you balp :.iz? I think something I s vrrong out there I -· 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'ty thousancf dolla.:r,s.

ll-16-59 (Continued)

i

l

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

PSYCHO 95.

185. (Cont'd) ·A···. . . ---'. . .

''-·-/·· LILA [ He didn1 t mention the money.

(anxiously) What he said on th~ phone isn't important, is it? He \·ras supposed to come bac1c aft~r he spo1<:e to the mother, and he didn't! That's nhat I want you to do something about!

,,- • (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~- off afti~r her fillg_ the money.,

MRS • Cn.AI•1BERS (to Sheriff) Why don't you call. Norman and let him say just i•;hat happened, 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. Ch21llbers goes to phone, dials ·operator.

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

She hands the receive:r- to the Sheriff. Ke t·akes it, reluctantly, listens to the dim sound of RilfGilfG on 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-: you oughta 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 ~·ras out there and Nor::nan told him about the girl and the detective thanked him and went away._

The Sherif':f looks long at Lila, shakes his head sympathetically.

\ \ . '-,;;./-

REV. 11-23-59 ( Cont inuecl)

·,' ,-,

PSYCHO #9401 98.

·: ~'i"· : \•✓::;' (Cont'd) ·o

'·

Thel."e is a long silence. S8.l!l. and Lila stare at 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.n wou.ldn: t let

him sea her because aha ~as illl

e. ~~

The Sherif·r otares :it both of them, and ~·.1l1en he finally spea.!rn tbe:>Q i~ an aln:::,st inaudible tone of' irony· in.. :'11s ·v~icFJ.

QUICK CUT 1'0 :

,, . ·'. rl 186. IMT. NOR!-,t\N' S PARLOR DST!HD OF'FI0E - (NIGHT)

,, ,, J Norman sits in tl:e dim., or:.e.-la.np light, the phone ; .

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

,l not been able ~c, mova his hand after har:..ging up. 1 He is starin5 2.. t the shrike-like birid vihich is

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

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

rises, s t.~r·ts c~ui.cl-:ly out; of' the room, trie:3 to sv1i tch

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

fall, d:,,:);::; not ;;p 0r t:i catcll it, ::t hits the fJ~oor ~·,i.th a thud and :::s::i.\•idust spill~ :>u-:.:. H'=' st8.res frndl~r a ~.IJ it , ~."-,r"' -,_, r~ ..,tom~-,-·t• •~!•":: •- ' th"r·•.Sl:! ,I. \.-,,-,n,~-.VI..'.. \.._1..) a.·...,,,.,n.,.._, 'I Scoonc:-• .. , 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-rosses the 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 ':CHE STAIRS

Norman goes up, paus·es one 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·we hear 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 1S VOICE I'll carry you, mother.

Nor?T'.an comes out of the room, his mother held 1rt his arms, her head leaning 9.gainst his shoulder. Re carries her dm'ln the 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:RA r-'iOVES IH CLOSE. . They a.re not sp-3ah:ing. Lila looks as if' _she has had no sleep. Suddenly, Sam becomes alert, takes Lilars arm,. starts to,·iard. the church.· CJ\ViSRA MOVES WITH THEM, sto·ps as they approach Sherif!:' and t-11.'s. Chamoers. The Sheriff st'f"res rathar sympathetically at Lila. Mrs. Chambers ,s:niles nicely.

-SAM We-thought, if you didn't ·mind, we I d go out to tl)e motel with you.

n ,t:1>

SHERIFF

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

He moves away and the others follow. CAMERA PANS the.m · to the 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 must 1ve seen an illusion, Sam. Now, I lr..now you I re not the seeing-illusions type .•• But no \'roman was there and I don•t believe in ghosts, so there it: is !

SP..ERIFF

--· ca.n see you do. Sorry I couldn 1 t 'ri make :rou feel r;e tter. You ,·;ant to \...d,'

come to my, office this afternoon and report a missing person ••• And the thef'..t, is ',•Jhat you i•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 sis tsr bein I picked 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, s t2.r:ts a:.12.y. The Shariff 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.1oment they just stand there, their fa.ces as gr-.:?.y and overcast as the sky.

,..

Sam takes he!" s.rm:, starts W-:3.lking her up the street toi1ard. the spct where his pick-up· tr-uck is parlced. CAMERA FOLL.OWS tbern •.

SA!•! wan.t I!'.e to dr-op y,:n.i at the hotel? Or ycu i..-:.1nt to come· over to the store?

Lila does n.:it an~rne?'. T'~ey· r.·aach the tr·uck. Lila looks ~i1•~ctly at S;3.m as he helps her into the cab·.

He slams the door, hur:r:ies around. truck,. gets into driver's seat, .• i3tarts moto~. 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 'olher cars on it, Lila stsring at nothing in particular, except perhaps her own inner fears.

,. ,)··., \ ; .

REV. 11-23-59

i i L _J

··~

PSYCHO #9401 l05.

··c 190. (Corit rd)

·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., is too concerned to pursue it.

r--

PSYCHO #9401 106 •.

190 • (Cont'd) ~~)~-

C ..___.

SAI,t This is tbe old high1,iay.

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

·.\ ) ,:···::.-_ ....... ·--

-----·--•·····•·"'""

--'r·- J ·•

,, I

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

L!LA (A ti1~y smile.,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.:.dy sk.-,y. We see Sam I s truck turn- ing into the dr:'..-reway a.nd p:!.lling to a stop. Af'ter a moment.,. Sam. and Lila get o-..it of the truck.

192. FRESH .ANGLE ·e2.

Close on Sam and. :Sila. a.s t!'ley meet on the po1•ch side of the truck. 'The motel office.and the house beyond can be seen iI1 b. g. of snot . Sar.1 and Lila merely stare for a nome:nt, then turn and gaze·up at the house. · There is no f.igu!'e :!:.n the window and 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.' s ROO!l - (DAY)

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

' looking· up at the house. Norm.an studies her., and as

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

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

in his face, the ;:;urge of panic 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 Joins L!.J.a.•,

11-16-59 ,. {'.

L

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

·''

PSYCHO #9401 108.

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

He starts with her toward the path which leads to the old house.. CA!'1~RA E'ANS with them, and as they turn around the office corner, they see Norma.n coming down the path toward them. They pause· and Norman pauses·. ·He· does not :smile, nor speak. His usual grin and soft :Criendl1ness ai~e gone; contain:nent and impassivity lie in their place. ·

Q_

Just com.ing up to ring· for you.

Norman walks past Sam., giYing hi.-n the sort o.f quick,. disapproving glance one gives a man who is ob11iously lying, goes onto the porch and into the office. Sam and Lila .follow llorman ..

195. mr. MOTEL OFFICE - (DAY)

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

j ~ NORHAN

I' 11 tal-:e you to •.••.

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

195. (Cont'd J

Se.m I s eyes s--e.n ';;\:,ii ,:•Jw'l ".'ol', l~old.ng f"Ot" a registration bcok.

Jl(.,'RMAN It iSl'l 1 1- llSoess,:il•y •

Norman si;ar&s ai: Sa."11, a.a i!' he'd :1:l.ke to yell at.. hilll, · call hlm "1,ta:-.!I Irn1tead he veao.nes under 'the de.sit c·ou.-,1;11:-·, b:.,~ln;.,; ou-:; .tne registration. book. Lila :no<tes •:lo•;!,;:•, :st,~.l,s.4 'i:ne book as. Sam signs

and. ct.ey o!' ·•·"::::ttf.:. 3~u9.:;s" and atter it,. th.e. notation · ."Cabin One," ·can :,;. :;J..,,ar.;..y se·en di.ree regist:r:-ation.s. above ::iam.i s. W: ..~n s~ b.e.J fin.!;s.hed. he· aloses book,· hands it 1;.a,;,; ~.: 1;",:•ian. · :fo."r.l;,.n d()es no,:; take it, si:11rt·a · out· ft-,)Jt c;ar~~nd. _.,~.,u~--:e.:-.. ·

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

Haven ' ~- an7. ·

·wuRMAN . ( s.ftel' a s::aioe.'

As be starts· fo::- tne. dO•~r, Saro laue;hs ► Norman. sto-ps, turns, looks ai: hilll,

Pirst time r:..,,; ever seen it happen. (to !.lla) Cheok in any, pJ.ace in oh:!.s country withoui: bags~ a.no. you have to pa-y in advs.nofi,

'5am s~iles.as- if a-:. a t'\t:,n7 r_e:mar·,ake:i. a bill out or· his p oci-:e·:.

llor:man returns to Sar.:,. talce;:; the. extended !:till, is a.bout to s v::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.

'··

Norman looks up J 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.n coning out or the motal office, continuea on down the porch.

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

1s follm•;ing) Don I t both~r yourself •.• we'll. find 1.t.

He goes. on dot\ln the porch, doesn't e.ven glance at cab.in one., rJalks qu1.ckly and catches up to Lila just .as she reache2 cabin twelve. CAMERA REMAINS with Norman,. who is .standing by the of:f'i.ce door, looking after Sam and ila, bis fa,ce alert 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.enn5 in 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~·:ard cabin ti·,elve, then at the old house .. His suspicions are conf'irr.1ed, 2.nd now there is the relaxation of relief in his face. He takes on a purposeful air, turns, st:-ides up the pach, up onto the. porch of the house, opens the door, goes 1n.

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

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

PSY:";HO #9401 111 •.

\::::·, . .: :. ,-~,\.

She turns, fr,.1st:t•~"..te::l, anxious. Sam is standing at the fc,ot cf the: 'bed., r::ta:t·lng at the smooth cove~!et, h!s_brcw creased in a sadness.

C

One • • • 'l'he cne ;.~,u•y vias in.

He pulls·· his.· e:y-:-:s fi"or;1 the bed, c::-osses to the desk, sits weo.ril::, lights a. cigarette. Lila watches him for a .m,:>ment, f'oels a real compassion, goes. to the 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!1 it, Sam ••• no :matter what we 1 re s.f:::c:.id. cf. fin ding and no ma ttor b:i•;J much 1 t may hurt.

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•::: new hig::ww.y • • • say, a

I.

year f'rc:>m now· ••.•

·-a-.-·'".

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

LIL.~ Arbog.3.s t 1 S-am., he liked me ••• or telt sorry t:'O!.' r.ie ••• and he was. startirn; to fEh:l. the same a ~·o1,,,i 1u.4-. ..,. ·ye,,.• ..,.... i"- ........h~"'"',:, ~.:........ it . "'h"'·nf""4 .• - · he·... cal16d • • • in. tis voic-'), · a ca.ring •. F.;e, iwu.l-::.n 1 t hava gone anywher~ or dona e.:::ything ~ii t!"!01.lt. telling· us. Unlesn he ;B..-~. s tcpped. Ancl he was stoppc-d, so he must have 'our..d out i=:,ornsthir.gl

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

He goes to t;h~ ctr.c,:-., openf! it sliih'..;1:y, looks 9ut, then, ba.ck t;0 LlLl:

·-\ 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'hsy pauise bef'.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:i to enter.

- ·c::Y:

T.he blin.is are cJ.osed and the room is alrr.ost nig.;11 t-

hind him. For a r::cn;.ent they just ga.ze :::.t the ·rcc·::1, as 1!' willing it to tell them some ss.tisfa.cto:-y story. Neithe:-- speaks. 'l:hen, in dark silence, they begin. to search, going methodically and thoro1.:gh!y through all dr-s\.\ers, the clos~t., the desk, se:e.rchir!g under the bed and 1n dark corners, not knowir..g wh:;;;j they expect to fin•:l and yet expecting to fin:5. sc-me thing. Lila opens th,~ bath!'oom doer, lc0!-:.s 1n. !'he windo;•;l-sss r·:::ora 1s very dark. She switches: ou the light., gc,es in. Sam moves toward the bat.hr-com, is about to f'ollo·.-; 1:er 1n when ha notices which room 1t is and automatically catches himself up, backs out.

LIL.A.· Hospital clean.·

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

r-

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

199. (Cont'd)

Sam goes in, glances aro1..md., nr..1ds. Lila goes through the medicine cab:triot, finds nothing but a glass and two tiny tabs of r;oap. S?.m lsai,3 against the door- Jamb, 1ookz at thf; tub, th(-? zho:-.rer pipe above it. He conti;.1ues to stare .• more lr:te;rested suddenly, as if b.othered by some off-key evidence he can't put his :f'ingei', on. Then he looks at the shm·:er curtain rod. And realizes there is no shower curtain. He frowns, is about to say so::wthlng; ~-:h-:n Lila, who has been momeutarily out o:r s:1ot, i.ntarrupts.

Sam tu.rns, C.AlT.ERA TT.,TRHS~ e.nd we see !::!~:.a.: is standing above the toilst bowl, a t:!.ny piace of we-t paper 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~sses the -;•1st scrap to his driver's license shj.sld., puts it• back in the wallet and puts tl!e wallet. away.

SAN

Do we sl!11:ply a~k h:Lrn i·rhE:?re he s hidden it?

\:._: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..~TS TO PAN AWAY from them., moves slowly ov-er the room., vecy slowly •.

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

CAMERA HAS PANNED clear ar.:ross to the opposite wall now, and is moving up closer and closer to the tiny-flowered wall papar., final·l-y closing in 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 s eye now•:

·,, I ··-::;{.· Rev .. lL-23-59

.. ------ .. . .. ·--····- ~-~--

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

PSYCHO #9401 116.

199. (Cont'd)

The· eye moYeS away and thera is a brief flash of light before the hole is cov·E:red, on the 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.t first, operrs it a slight era.ck, ::!.ooks out, then opens 1.t wide er.ough for 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·tard cabln t·nelve. Sa.111 rerr.a.ins at the door, t~er~ turns right, heading for the path. As he passes the office, he is shocked to see Norman standing ju.st inside· the open door.

NORMAN.· Looking· r c,r· ms'?

s·am starts into the off' ice. Just before going ln, he glances do·:tm 'che long porch, see3 Lila standing out-

side t.r.e (!ocr of c~'t'.:!.:1 t'dclve., v.12.vcs her a tiny '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.ppear into 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 · end 0£. 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'ne CAMERA approachir.i.g the house .

207. CLOSEUP - (DAY)

Lila glan.ces tc,ward the back of Morni.an• s parlor. 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(;es back. 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.zhss the door open. We see the hallway.

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

;·'

Lila cloec.s th.e doer, re~a.ins by it for a moment, quiet, listening. Her eyes soH.n the layout, the closed door which lQ.s.ds cf-f: th-e hallway, to the dining room on the right ar..d the p~~lo:- -:m the left. Dc\·m at the end of the· h";tll 1s the ·kitchen, the door wicte·open, the room beyond ~Hr:: .s.:--.:.-:1 ~!lent. She notices the stairs leading dow:1 to the base:ient, sta:,es at them, then back to the

r,,

stairs le.~•iing t:."': t;.he second floor. She starts i'orward,

'1~ and seern3 about to investigate the parlor and dining room. '--.../

-

Nor~..$.n. is behind the counter, standing, staring at Sam who is sitting !''3la:tedly en a small sof'a. ffor=-an has the look of one who is pro tee t·ing himself, as if the counter l':ere a.. :pr-otactivs 1,~·a.11 against the threatening·. world across it.

I talking i:hen they get the chance. Yet ,"I ·~ ...,~ there yo-;..l are, doing all the licteningl , ___ _) ( f1 i:;ci.use)

· (As H0r·:r12.n does not r~ply) It wou.11 d.ri ve rr.e crazy I ,_

11-16-59

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

PSYC'dO 119.

216. (Cont'd)

NOR.M.!Ui That w;:,ul:! be a. rather extreme reaction, -... ou::dn I t lt?

S~M (LiS-'1 !:ly) Juet an expr-essicn ••. (;,1ore 11erio,11slY) What· .! 1n~,1,n:t wsa • ~. !''d do Just ab,.,:.ic snvth:l.n11; •••. t.o I , p;e t away • W1:yu:,.:n t you?

·. 217. INl'. :iow:-TS'l'A!R3 rtA~I,:,.;y AND s'l::;IF.S OF OLD HOUSE - (DAY)

L1la·ii1 halfway up the St!:.1rs •. As she cliinbs she is-

the. stepe.. 3he etc;::; m~:::-.i. caref'ully. CAHERA · reniains at; f:oot of: st;a.!r, ·:'IL·Tl!:!G- ,rr· as Lil.r, clJ.ll!J;;s. She pa.uses at tl-_'!' h-,ad -,!'.' the sta:t:::-. T'-a.e C.◊or on her right~ :11hi.oh ~Jz~e.nE :intQ the. moth.er.,.s· -room,. i~ closed. To· h9:' l~!'t :!.:£.; .e.not:l-e1., · :to.•.:•r·, hs.l!'-:,p.en. Directly 'oetore nio::- ia a t.:-.::.r,:::. door, -::losed. St:'; he lds a J.on$1; l!IO!lient, trying. t,::; pictur-e in. her r.und Which room would look out on ti:.:'! !'r::sn.t cit' the ho:.tse, dec:t.dea, .cliooses the corroo t .:J..:,.:,r, the ,::,ne on hi;r rig.'lt. . She. goes to it, k-n.oclta ligI--..tly. - .

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

We. hear :::.12:1 's s,e.ci:-nc la:ock, then, faintly, he!:' sott call .

Mrs·. Bates?

There is qui-et f,,r :a "1.Jment, then th.e door begins to open, e!vwl v, and W''; see L1la.. She stends on the threshold, i.ooh::!.ng: in at the room, inst,mtly disturbed b.;y it, a.1.tt.c~t i;h11le.:1, her e.xpre.~rsion, ir:dlcatl.ng an. impulse. to cl.:,;;,:i the c.oor ar.d go a.way from this room forever·. After a moment, she enters, leaving the door open behlnd h&r. CJl!-lEP.A PULLS BAC1C AND AWAY and we. now. see the ro::m as Lila sees it.

It 1s ornate, dz.mssk-an:.1-mahogsny, thick and warm and· ripe, an o].l!lpcd:>:tda .:-t: misw..1ted furn1Sh1ngs and br1c- a-brac or· tl:e_ lG.Y>t cen.t:-1.r~r. T'ne bed is four pOster, but unc~anc-pl,,d.; thrs dr·t'!&~ing; table is i'ancy and flounce.d vrith ;~.tin; th-:::r·e is a great chiffonier, a

ll-l.6-,59 (Continued)

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

I

218. {cont I d)

I

J ><•::: 1 ··' ). glass (this ac;atnst the :raJ.l dj.rcctly opposite th-._ ' ,J ,, door), a satin :."'ecar:1i~r, an \lpholsterad armchair by _.;.. _

the window_. a Nl1ite marble f:l1•eplace, its grate cold but P1lcd W~-th o.shes • .

And tl1ere is 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.ie musty 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;l posi.tion ~ Lila stares at lt . for a 1~1oment, then goes to the drassing table. Its top is scatt.ered ~'Tith boxes and Jars of co;:;r:1etics and crcems, traces of fresh powder, an opened bottle- o~ perfun,e, a cori:b., and a brush ,;•rith traces or ha!r in lts bristl:=s. Lila moves on., catches a glir.i;,se 0£ herselt' i.n the. pier-glass, is startled, turns· away, goes to the chi:f.fonier, in about to open a dra~-;er,. ·sees the t".igh 1;;0.rd.·!'Jbe out of the corner of' her eyes~

clean, well PZ"t~.::;sed dr~sses h--ang neatly. L;!.la opi;:ns the othe~ ~oor. The ~wcaters and treszes and rotos

~-:---~·-.,, hang freely, nor.~ in r:ioth-proor"J storase-type bags.

There is even a ·.·:ell--bru.~h~d coll~r of .to:;~os.. Along

o~

the f'loo1.. · of the wardrob,~ is a 1.:Lne of clean., polished shoes.. rJ.la stares., then alosss the doors, turn3, looks once again over the whole roo!:l, starts out,

219. D,TI'. THE U?STAI??S J:!A!.,L~-TA":? OF OLD HOUSE .,. (DAY)

Lila comes out of the .mother 1 s room, closes the door behind· he1", looks .down the. stairs, thtm starts· across the hall to the rc0!':\ \1hose door is hnlf-open, The room within is darl~, the shad:es dra~m full. Lisa pauses on the th~eshold, reaches in, reels the wall, throws on a switch.

Sorn has rise1l, is stancling· 'by the counter new ..

\ . you.' d unJ.o.:Jd thiz r:lacc ••• ;:

110R:-1Ml (Angril;T) ~h13 plncul This ion 1t la placa,r J,;-1;' s ray only worlcl e I g:--e~,, up in,

ncv. lL-23 .. 59 { Ccnt.inucd)

~=~----···

i, • i

PSYCHO #9401 121 ..

(~-- \.._,d. 220. {Cont'd} ,.,.,

UOffii!.AN ( Cont I d) that hou.se back there. I was a happy ch111. i~y mother and I. .. we were ::ric•re than happy •

And new .tha. t :tour mother's dead?

Norman. snap.s a sh~rp, fa.st, ugly look at him.

,, ?iOR!l!A~f M-y mother is not dead 1

·(sottly)

221. IMT •. NOFO'iANIIS RG 1::M IN THE OLD HO:JSE - (DAY) ------------------- Lila is standing in the door'"..to.y, staring at the room ·1n sick dis:r.-..:3.y. '!-:,.e roc,rn ts gr~tesque, a horrible, ludicroun fantasy of childhcod held beyon-:i the point of· decency.

It is a sma11 1~:,om. The walls are fancied with romp- ing a1lho•~~;ttes of t~ddy-bears e.cd sailboats and carousel~ at:d !':;.t c~ws jumping over aghast moons. T'ne bed is sr..3ll., f'e.r too short f'or a !112n of tTorman I s height. And yet the rmr.-p:(:-i co\·ers indicate that it is in this bed that 1:or·m~r... sleeps. Next t.o the 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.:i book, and an ash. tray filled wi.th a5h-.::s a:-~ll <:ig:::rette st1.1bs. A gr.oi•m man 1 s shirt hangs on. s child 7 s cloth~a tr-ae. Again.st onewa.!.1.there is a nerrow, hig!1 bc.:,kcs.se r-11:.ed iiith thick,. unchild1sh- looking bcoks. C-r.. the :;;m3.ll, white cheat of drawers there is an cld, ohi~d rs -;,r1ctrola.. The record on the turntable 1s rl1acovered, en close tnspecticn, to be Beethoven's Eroica..Syrn;,hony.

Lila studies ·the rcc,m, :t'·ascinated and !'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.e in shock. And then there is disb.1vt. She slams the book closed, drops it.

\ i 222. INT. Td:S r,~OTEL CFFICE ···._,,;;,;,:;,/" •,•

Horr:i3.n, behind.. the counter, h&.5 moved 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.13 eyes hard on Horman rs face. Uorman 1 s face is no longer expressionless. It has the stark, high sheen of a cornered animaJ. •

(P.ressirig)

,, You look fright~ned. Have I

been saying something frightening?

HO?J•!AN , I don't lcnow what ycu' ve been saying. ,, . SAM I've been talki~g. abcn.tt your mother ••• abov.~ you.r motel •

Do what.?

SAl·1 ••.•• Forty thoum:mJ. dollars l

He 1s close to panic now .. He -turns, swiftly, dashes back into his r-rivat-e parlor. Sam goes quickly around the count or, folJ.c,i•;s.

Rev. 11-23-59

_I

Norman hears Sa':1 f'ollo,1:l.ng, w"'nts to run, to never be reached by this mm. Ha •oro.ssas the ::-mall room, dra'wn to the rear wind<:n, ;;;; if ho :nigJ1t r: 1y through it. Sam ente1l3., p-:i,;.ze s. ~T'.>-r!~an t1.1rn:.;: ba-c1·: agalnst the .windo\.·1 i as unable t:o fly ,,:·:,w a;, ar;,1 r.!1s nany still, stuffed· 'b:Lrds. Se.:;t r~g;i.r;t.:}r-D a P:--ief flicker c,f :r-1;;;action when he sees the birds, bt:.t, contim1es to gaze at No=an, hard •.

gives, Nonna.n a n~~;; r;o1"$e· t.err-ii'.ied._ a-larm. Me tu:r;-ns · · his head, glance" o•~t t:he ~.J.njow at the old. house. He lo.oks b.aoJ;. .at Sa,11 and ':he!'e is terror in his voice.

Sain -does not r-;;:.:_f'·"Jr::d.,.. sr.rf.l~s ~. hS\lf-s!it.1.1~., turn$ t.o e~ar.rl.ne;.. a st.uf"..fed :nrl.. N0:r::~{!·n· look;,· Cat1k ~t thz b.tYtl.s.e.

?IORMA.i.': (A h.o:?:Tible gro.an} Oh~ Oodl

Salli is lying on th.,~ floo::-, face downward, unmoving-. A candlestick is o:i tho floor, clos,, by his head, still rocking ·e.:-. i:' ..hl~~t. ,:1!"(1pp.e,:L 04;7-='R .3;:,:.::r COln~.S thG -SCtn:D cf. Honna1;r' t:i :'0,-:: 1.; ~-:~r;r;;1 and. G;~r•':Z2). TURHS. :tn ti:~ta to catch a brief· gli;:ipse of him goinf; cm-::. tnto the of'f'.tce, al.-:toat at a l'Un~

j REV. ll-23-59

'!'· ·• ' ·:...--•- . ...: -~ .. : -

r- PSYCHO #9401 124,

226 • INT •. STAIRWAY OF Ti-IE OLD 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'S VIEWPOINT - (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-way behind. her, turns and runs in that direction.

r· The SOUND of Norman bounding up the porch steps can be

heard. Lila t 1J.rns and dashes do,·m the stairs which lead to . the basement, -· going dot-m far enough to conceal herself, crouching there.

Norm.an enters the hallway, · clo_ses the door softly.,.. 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·cm his i'.ace, and he appears to enter a no-plac$, no-t:ime state. He crosses to the stairway, goes up.

Lila remg,ins crouched on the basement stairs, listening: to the sornrDS of N'orr.z.n. His footsteps on the stairs followed by the fast noises of doors opening, of -fast. moving E-.bo·...tt an upstairs.· room. convinced that he is searching tha up3ta.irs for her, she decides to chance an escape.· She starts up the steps, is about to turn into the hallway when her eye 1s caught by a glirmner of 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 s1·1ift moving SOUNDS 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.s open 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.se movement. Lila loolcs at it in horror. It is the body of a woman long dead. The sl-::in is dry and p:u.lled away i'1"'om the mouth and 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 cheelcs are sunlcen, the .leather-J-brcwn skin is po,-rdered and roug~d aild flaky. The body is dressed in a high-neck, clea;1, i.-;ell-pr~:ssed dress, obviou.sly recently laundered and hand-ironed.

The movement of. this stuffed, ill-prese1.,ved cadaver, turning_ as 1.f in 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., horrifying scream which comes from.. the door pehind her •.

N'ORff.i.AN' 1 S VO ICE ( o • s • ) ( s.c. ;re ar.i_ngi ) Ayeeeeeeeeeeeeeseeeee Am Morm.a Bates!

Lila turns.

231. NORHAN

His race is contorted. He wears a wild wig, a MockernJ or a wor.ian' ::-, hair.. H~ :ts dressed in a high-neck ctrer,s which is· s:.L-nilrtr to that ',·rnrn .by the corpse or his mother. HiG hand. is raised hif;h, poised to stri1ce at Lila.. There is a long bread~·:nife in 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' s hand reaches in from the door-w:?..y behind, g1•abs Nort1s.n' s wrist. Sam comes through tr;e door, st:i:J_l holding tight to the wrist, pulling ,:~tclc the arm and at the ss.:me tir.ie throwing himself at Norman, footb3.ll tackle style.

234. A SERIES OF CUTS - TrlE FIGH~ thru 242. Normg,n and Sain, struggling. The wild fury in Morman•s

terrif'ie::l, fight-t:,-the-.ieath look or Sam. T"ne still, .. starir..g Lila.

243. MRS. BATES

A close shot or her ~ace. She appe:-t1~s to be watching and. enjoying the t'igb.t. o,..-ar the s11ot, the SOUNDS of the struggle, the ~.cres.ms of Kor·r:i.an.

: :

···• ''., ~ There are rri.s.ny p.a◊ple gathered.. s.b..:,ut the steps, the

curious and the c~•ncsrns::i .si.n:i thz monbid. At the curb, a couple of ·new~par,:er cars, tw~r or three poll.ce cars,

There is noi~e, ar..:1 ch:1 tte:r1r.g :?~:3 cr,:.estions are asked and answers gi•te:n, ~nd the so'..:i.nd.s of traffic, and of the television eq'J.i,i:,:r.er.:.t beir.g 1-:loved into the court- house, for on-the-~:cene r-epor.ting., e.n-:. th~ ste1•n voices

-: :

of policer::.en tryir.,~ to 1<:eep people back. The scene has a brieht gl&.re about. it, ths.t quality of sudden light thro\'m o.n a fearful darkness.

,: . 245. CLOSER. AUGLE C!J S~S?S OF COURT"nO-:JSE 'i

A POLIC.EN.AN trying to rr..s.irn way for the television men,

muttering keep back," ~tc., to the spectators. A TELE?TSIOtr MJ..N, c.::.rrying a piece of equipment goes through door, and. CAMERA FOLI.OWS him into the courthou::.e ves titttle.

- ,,,,,.. -- ,,.. ___ ,._i, ••• -.:i\

__ ..:...,. .. ·....,. .. _;,....~- ... -·.

PSYCHO 127.

Here, too~ there is a crowd, composed of Policeman, Reporters, Tialevision Men. i:::-ie Television Man we 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 1bly hava to. (A r·ueful sr.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- MOVES ON~ doi•m the corridor·, gets to the door c,r the of.'fice of' the Chief of Police just as a your.. g :'ellcw with a carton box filled· ,~•ith paper conta.iner-5 o-f' sent-01.lt-for coffee reaches this

door. CAHERA HOWS as the. -COF.BES BOY pauses a momsnt, then goes into the rocm.

246. IHT. · OFFICE OF ':"'.:-{E C"'nIEP OF' ?OLICE - (NIG3T)

Lila 1s se~.ted in a. chair, Sam .3tc1.r.ding close by. A bit· apart f'rcm them·, we see Sherif'!'. Chambers, 1n quiet conference with thg CHIEF O;i1 POLICE., 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~iner of· coi'fe:a from the box, carries it to Lila, checking· the notation. on the lid as he goes.

247. MED. CLOSE CI{ SftJ,l .A.N'D LILA

\ . ll-16-59 (Continued) .... .

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

- PSYCHO #91.t-01 128.

247 (Cont'd)

Sam smiles enco,.1ra.gir:.gly, hands her the coffee. Sheriff Chambers E:N'TERS S~!O'?, · gives Sam a container of coffee he has brought f,:,r hirn. Sam takes it, nods a thanlc you. For a moment no one speaks. Lila looks badly shaken, Sam disheveled, but contained.

LIL.a\ No. I 1m all right. 1 111 feel

••. if it can be.

Sam lool-:s a question :it Sheriff. Chambers. Cha:rn.bers shrugs. doubtfully.

Lila::ts about 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!!£::: OF POLICE_ - FUtL SHOT

A young man with a serious, ·frowning face has just come into the room. He is DR. SIHON, the Psychiatrist. He goes to the desk •,rhere the box of coffee containers has been placed, takes up a container.

DIS'I'RICT ATrORUEY Did he talk to you?

11-16-59 (Continued)

·,

N;YcHO 'J.2j.

248. (cont'd)

EVeryone gazes at 11.:!.m.1 ~~rstt.C.t•,?J. iC...~ speaks as he remo.ves lid !'rom co.t'fee co11t:..1n,~t•.

SI.1':ll!J Norman :t.,:).t'3s n◊ lou_;~c~"' e-;c~.i::;t.s. Ke only balr~ex13tad to begin with • • • now, tha othez• half has taken ove~. ?~~b~bl~ for all time.

L!IA. (With dit'fi.nnlty) Did he kill my sister'?

Sil·t(ii'l Yes • •. • and. no·•·

D!:l'.i.'iltCT /\'1' roru1£Y too le, ii" you I t'':I t::;. 1.,1s; t., J.,.y a lot o.£ psyctia t:·r:1.c c:r~:111~1.iu.:;.r,k f:o~ .sow,s sort of plea tilid · f,, llr,;i 110\lld. like to C.O]J •-•·•

S!fl.:1~! A poych:!:$ t:1:•ist :.:··,-.;~;n 1 1; 1a1 the groundito]:J, • • • t·.,:t :,~..:t·•tl.l~r -c•~i~tl to. e.xpla!u · i.l;.

L!LA But icy Sid.t,;r is •••

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!;a t .s~':r-.;:1p .w:,;f.t.)~1he.:r.e in the ~ric.!rd.tr ')f· i;~F: ci..".')t~i .... ( To the Cfll:1::? of: ~}:>lice') Have you. a.ny unsol~:-.::tl :atnci:is persons cace.s -,r: Y-'::-ttt• b·:toks?

cm:EP OF POLICE

Young girls?

Cif!i:V Ol~1 PO LIC!: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,..f i.••~;::,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 would keep.. And that still wasn't enough. She was there, but she was a corpse. So he began to think and ·speak for her,. gave her ha~f hisr lif.e, so to speak. At times he could be both personalities, carry on conversations ...,. at other times., t.he .rnotber-hal.f took 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~ion to 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:d her.. A.nd this

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 ( cont l d) fJ:-om a deep sleep ••• and like a dutiful son, cover.ad up all traces of the crime he ~as convinced his mother had committed.

DISTRICT ATT'.)R~:EY He 1 s a transvestite, ✓ SIMON· Not exactly. A man who dresses in women.• s clo·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 11erything possible to keep alive the illuoionof his mothsr being alive. And whenever reality came to9 close, when dan3e~ or desire threatened that illusion .• he I d dress 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 his m:,ther. (A sad .smile) And. now he 1s •.

That• s what I. meant when I eaid I. got the story from the mot;ber. She thinks No·rman has been taken. a111a~.••• because or his cri.TI:'::S .• She insists.she did nothing, that Norman corr..'!tl. tted all the murders jm:; t to keep her from being di.sc.overed. She even smiled a bit coquattishly as she said that. Of course, she feels badly about 1 t .... 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-;:-0~1ed hums.n beings of this world. Sam bends be.:Jii:le h~r-, put.s his arms about her, comforts her.

( To . Sirr.on) And th~ :f'ort,\r thouriand dollars? Who got th3.t?

S!:1l':1N The i:iwar.:.p. Tht::::?-:: we~a ~'.l!'ders.- or passio:-i, not pi'ofit.

A POLICE GUARD puts 1-:is head in tte door, spealcs, in a near-whispe::':, to the Ctisf of Pclice. The Guard is carrying a i'olde:d ~lanket over hi.s arm.

POLICE GU.~RD He !'eels a 11 ttle chill •••. can I bi.. ing him this ":)lanket'?

The Chief of p,;lir:e ncd:;~. i::~e Guar·.:i gees a;-1ay, and CAMERA FOLI£J;o{S :1:tr:1. cut o.C- tht3 roo::-r: ,JnJ out into the halh;ay. Gua:.':'J .:no•.ras ~b~cvgh the• ~rnJ. ting men, heading down the ccr~~dor~

249. IHT. ANOTHEJt CQfuc.IDO:R II! COt"'R?:ROUS.E

A narrower- co:-ridor in the :-e_a::- of th~ building. .In r..g .. , of shot, we ;:ee a door.Y the top half of which . is wire-co•,e::-.ad gla5s~ A GUARD in uniform is posted by the door, locki:ng ~ep:::e ► •."ingl:r :1. t the two or three people trying to get a gle.r.ce into ti11e room. The Police Guard, ~a::-:":ring the bls.nket, ccnes down this corridor, goes t~ the door. CAMERA :-:-JilES CLOSE. The uniformed Gua.rd op ans · the doc~, all.cw s the rr.an to go in.. Shot is RA?::EJ so tta t t-ie can r1ot see into the room. After a moment, the G\1a.:-d cor:.es out and the u.r1i- formed Guard closes and lock.: the doer and we

250 .. !NT. HOR!(Ai't 1 S DETEHTIOH 1180t·1 - {NIGH!)

The Nalls a.r·s: 1;,h1. te and ;il:::.:!.n. The~e is no ~,iindow.

;,•·-'···1

There :::l.s no .rur·ni tu::-:·e 1:,::r.c~pt th~ ::; ':;:r~ight-back chair

' ) ...___ __ J--~ in which Horrn.un sits, in t::e center- 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.rd bad place~'. the blanket on Norman 1 s

blanket., un!"cldiz:!g it. !!!..s £ace, although without makeup and w1~hout the surrou~tlins ~cftness of the wig, has a ce!'ta.in fominini t;y :a.bo'.1t; i ta a softness about the mouth an·i t::. k:!.:1.t of. a.re:: w,:,~-'3.nliness about the brows. ca.JJ?:ly ,. Norr.:..~n places t~1tl l:Ianket about his shoulders, as 1! 1 t ~•1e!'e a casri.m~::-e ·shawl. CAI,!ERA REMAINS in a poa.1. t:Lon so that our ~.'i1:1w of' t;orma.n is - ·a. FULL ONE. When the shawl is in po.-z:!.tion., and Norman is settled, we F...EAll, OV1:.H. Sr!JTr the voice of his mother., coming from the calm of his thoughts.

~OTHER'S VOICE {o.s.) It r a s.ad •••. when a mo th-er has to spes.lc the '"ord.E tha. t cr;nd.em:."l her own son ••• 'but ! co~.1ldn 1 t allow the~ t;o bel1e-ve t:h9.t I i'lOUld ,fom:JT.1 t mm.--de:-. ( A •03.U:lei . I T'aey• 11 put him at"a.y no\i ••.• a.a I shoul:l h:3. •,te • • • ysaro a.go • He ·was alw~ya ••• bad.. A:nd 1n the end~ he intended to tell t~em I killed thos6 gi;:ol.3 •.••. and Tua t rr,,~n. As 1!' I coul:l do any~n. ~1 ng e:xoep.,,~ i.,1~ ..1s ~~ s 1~.•-1 an,:1~ stare ••• like ~ne of.hL~ atut~ed birds.

- 250. (Cont 1d)

l·1aI'HER S VOICE ( Cont I d) (A pause) Well, they knoi:1 I -can rt even move a finger. And I won I t. -I 111 just sit here and be quiet. Just· in case they do ••• suspect me.

A fly buzzes close, and then continues bt1zzing and flying about Norman's face. .

Norman continues to gaze ahead into nothing. $cene begins to DISSOLVE SLD'~•:LY to: -

251 •. THE S~of Af·IP

As E.~D TELES FADE IN., \fe see the swamp, the chain o~ a tow-truck. The chairJ is attnched to MariJ 1 s car. The car is co1?-1ng out of the swamp •.

----,. -