 'PSYCHO' By Joseph Stefano Based on the novel by Robert Bloch REVISED December, PHOENIX, ARIZONA DAY HELICOPTER SHOT Above Midtown section of the city. It is early afternoon, a hot mid-summer day. The city is sun-sunblanched white and its drifted-up noises are muted in blanched their own echoes. We fly low, heading in a downtown direction, passing over traffic-clogged streets, parking lots, white business buildings, neatly patterned residential districts. As we approach downtown section, the character of the city begins to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit-and vegetable markets, old municipal buildings, empty lots. vegetable The very geography seems to give us a climate of nefariousness, of back-doorness, dark and shadowy. And secret. We fly lower and faster now, as if seeking out a specific location. A skinny, high old hotel comes into view. On its exposed brick side great painted letters advertise 'Transients Low Weekly Rates-Radio in Every Room.' We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels. We move forward with purposefulness and-toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside 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 downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner-tension, worrisome conflicts. She is MARY CRANE, an tension, attractive girl nearing the end of her twenties and her rope. A man stands beside the bed, only the lower half of his figure visible. We hold on this tableau for a long moment, then start forward. As we pass under the window shade, THE HOTEL ROOM DAY A small room, a slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suitcase and a woman's large, straw open top handbag are on the bureau. On the table beside the bed there are a container of Coco Cola and an unwrapped, untouched egg-salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T-shirt and sox, is SAM LOOMIS, a good-looking, sensual shirt man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a small sweet smile playing about his mouth. Mary keeps her face turned away from him. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessiveness. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow. He studies her, frowns at her unresponsiveness, then speaks in a low, intimate, playful voice. SAM Never did eat your lunch, did you. Mary looks at his smile, has to respond, pulls him to her, kisses him. Then, 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 searches them. And finally pulls away and sits up. MARY I better get back to the office. These extended lunch hours give my boss excess acid. She rises, goes to the bureau, takes a pair of small earrings out of her bag, begins putting them on, not bothering or perhaps not wanting to look at herself in the mirror. Sam watches her, concerned but unable to inhibit his cheery, humorous good mood. Throughout remainder of this scene, they occupy themselves with dressing, hair-combing, etc. SAM Call your boss and tell him you're taking the rest of the afternoon off. It's Friday anyway and hot. MARY soft sarcasm What do I do with my free afternoon, walk you to the airport? SAM meaningfully We could laze around here a while longer. MARY Checking out time is three P.M. Hotels of this sort aren't interested in you when you come in, but when your time's up a small anguish Sam, I hate having to be with you in a place like this. SAM I've heard of married couples who deliberately spend occasional nights in cheap hotels. They say it MARY interrupting When you're married you can do a lot of things deliberately. SAM You sure talk like a girl who's been married. MARY Sam! SAM I'm sorry, Mary. after a moment My old Dad used to say 'when you can't change a situation, laugh at it.' Nothing ridicules a thing like laughing at it. MARY I've lost my girlish laughter. SAM observing The only girlish thing you have lost. MARY a meaningful quiet, then, with difficulty:) Sam. This is the last time. SAM For what? MARY This! Meeting you in secret so we can be secretive! You come down here on business trips and we steal lunch hours and I wish you wouldn't even come. SAM Okay. What do we do instead, write each other lurid love letters? MARY about to argue, then turning away I haven't time to argue. I'm a working girl. SAM And I'm a working man! We're a regular working-class tragedy! he laughs MARY It is tragic! Or it will be if we go on meeting in shabby hotels whenever you can find a tax-deductible excuse for flying down deductible here SAM interrupting, seriously You can't laugh at it, huh? MARY Can you? SAM Sure. It's like laughing through a broken jaw, but He breaks off, his cheeriness dissolved, goes to the window, tries to raise the shade. It sticks. He pulls at it. It comes down entirely, and the hot sun glares into the room, revealing it in all its shabbiness and sordidness as if corroborating Mary's words and attitude. Sam kicks at the fallen shade, laughs in frustration, grabs on to his humor again. SAM And besides, when you say I make tax deductible excuses you make me out a criminal. MARY having to smile You couldn't be a criminal if you committed a major crime. SAM I wish I were. Not an active criminal but a nice guy with the conscience of a criminal. goes close to mary, touches her Next best thing to no conscience at all. MARY pulling away I have to go, Sam. SAM I can come down next week. MARY No. SAM Not even just to see you, to have lunch in public? MARY We can see each other, we can even have dinner but respectably, in my house with my mother's picture on the mantel and my sister helping me broil a big steak for three! SAM And after the steak do we send Sister to the movies and turn Mama's picture to the wall? MARY Sam! No! SAM after a pause, simply All right. She stares at him, surprised at his willingness to continue the affair on her terms, as girls are so often surprised when they discover men will continue to want them even after the sexual bait has been pulled in. Sam smiles reassuringly, places his hands gently on her arms, speaks with gentle and simple sincerity. SAM Mary, whenever it's possible, tax deductible or not, I want to see deductible you. And under any conditions. a smile Even respectability. MARY You make respectability sound disrespectful. SAM brightly I'm all for it! It requires patience and temperance and a lot of sweating out otherwise, though, it's only hard work. a pause But if I can see you, touch you even as simply as this I won't mind. He moves away and again the weight of his pain and problems crushes away his good humor. There is a quiet moment. SAM I'm fed up with sweating for people who aren't there. I sweat to pay off my father's debts and he's in his grave I sweat to pay my ex-wife alimony, and she's living on the other side of the world somewhere. MARY a smile I pay, too. They also pay who meet in hotel rooms. SAM A couple of years and the debts will be paid off. And if she ever re marries, the alimony stops and then MARY I haven't even been married once yet! SAM Yeah, but when you do you'll swing. MARY smiling, then with a terrible urgency Sam, let's go get married. SAM And live with me in a storeroom behind a hardware store in Fairvale. We'll have a lot of laughs. When I send my ex-wife her money, you can lick the stamps. MARY a deep desperation I'll lick the stamps. He looks at her, long, pulls her close, kisses her lightly, looks out the window and stares at the wide sky. SAM You know what I'd like? A clear, empty sky and a plane, and us in it and somewhere a private island for sale, where we can run around without our shoes on. And the wherewithal to buy what I'd like. he moves away, suddenly serious Mary, you want to cut this off, go out and find yourself someone available. MARY I'm thinking of it. SAM a cheerful shout How can you even think a thing like that! MARY picking up handbag, starting for door Don't miss your plane. SAM Hey, we can leave together can't we? MARY at door I'm late and you have to put your shoes on. Mary goes out quickly, closing door behind her. As Sam stares down at his shoeless feet, DOWNTOWN STREET DAY HIGH ANGLE Shooting down at hotel entrance. Mary comes out, walks quickly to a parked cab, gets in. The cab zooms up the awful street. LOWERY REAL ESTATE OFFICE DAY A small, moderately successful office off the main street. A cab pulls up at the curb. We see Mary get out of cab, pay driver, cross pavement to the office door. OUTER OFFICE DAY Mary enters office, crosses to her desk, sits down, rubs her temples, finally looks over at Caroline, a girl in the last of her teens. MARY Isn't Mr. Lowery back from lunch? CAROLINE a high, bright, eager to-talk voice laced to-with a vague Texan accent He's lunching with the man who's buying the Harris Street property, you know, that oil lease man so that's why he's late. a pause, then, as Mary does not respond to the pointed thrust You getting a headache? MARY It'll pass. Headaches are like resolutions you forget them soon as they stop hurting. CAROLINE You got aspirins? I have something not aspirins, but cheerfully takes bottle of pills out of desk drawer my mother's doctor gave these to me the day of my wedding. laughs Teddy was furious when he found out I'd taken tranquilizers! She rises, starts for Mary's desk, pills in hand. MARY Were there any calls? CAROLINE Teddy called. Me And my mother called to see if Teddy called. Oh, and your sister called to say she's going to Tucson to do some buying and she'll be gone the whole weekend and She breaks off, distracted by the SOUND of the door opening. MR. LOWERY and his oil-lease client, TOM CASSIDY enter the office. Lowery is a pleasant, worried-faced man, big and a trifle pompous. Cassidy is very faced loud and has a lunch hour load on. He is a gross man, exuding a kind of pitiful vulgarity. CASSIDY Wow! Hot as fresh milk! You girls should get your boss to air-condition you up. He can afford it today. Lowery flashes an embarrassed smile at Mary, tries to lead Cassidy toward the private office. LOWERY Mary, will you get those copies of the deed ready for Mr. Cassidy. Cassidy pauses beside Mary's desk, hooks a haunch onto the desktop, smiles a wet smile at Mary. CASSIDY Tomorrow's the day! My sweet little girl laughs as Mary looks up at him Not you, my daughter! A baby, and tomorrow she stands up there and gets her sweet self married away from me! pulling out wallet I want you to look at my baby. Eighteen years old and she's never had an unhappy day in any one of those years! flashes photo Mary glances, cannot bring herself to smile or make some remark, continues sorting out the deed copies, tries to ignore the man's hot-breath closeness. LOWERY Come on, Tom, my office is air conditioned. CASSIDY ignoring Lowery You know what I do with unhappiness? I buy it off! You unhappy? MARY Not inordinately. puts deed copy into Cassidy's too-close hand CASSIDY I'm buying this house for my baby's wedding present. Forty thousand dollars, cash! Now that ain't buying happiness, that's buying off unhappiness! That penniless punk she's marryin'... laughs Probably a good kid it's just that I hate him. looks at deed Yup! Forty thousand, says here to Lowery Casharoonie! He takes out of his inside pocket, two separate bundles of new $ bills and throws them onto the desk, under Mary's nose. Caroline's eyes go wide at the sight of the glorious green bundles of bills, and she comes close to the desk. Cassidy leans terribly close to Mary, flicks through the bills, laughs wickedly. CASSIDY I never carry more than I can afford to lose! closer to Mary Count 'em! LOWERY shocked, worried Tom cash transactions of this size! Most irregular CASSIDY So what? It's my private money! laughs, winks, elbows Lowery And now it's yours. CAROLINE staring at the money I declare! CASSIDY whispering I don't! That's how I'm able to keep it! laughs LOWERY hastily interrupting Suppose we just put this in the safe and then Monday morning when you're feeling good CASSIDY Speakin' of feeling good, where's that bottle you said you had in your desk laughs, as if having given away Lowery's secret Oops! to Mary, patting her arm Usually I can keep my mouth shut! He rises, reels toward Lowery's office, pauses, turns, speaks to Mary, meaningfully. CASSIDY Honest. I can keep any private transaction a secret any pri stopped by Mary's cold gaze Lowery! I'm dyin' of thirstaroonie! Lowery starts after him, pauses, turns to Mary. Cassidy has gone into Lower's office. LOWERY quietly I don't even want it in the office over the weekend. Put it in the safe deposit box, at the bank, Mary. And we'll get him to give us a check on Monday instead. He starts quickly away when it looks like Cassidy is going to come and pull him bodily into the office. When the men are gone and the door is closed, Caroline picks up a bundle, smiles at it. CAROLINE He was flirting with you. I guess he noticed my wedding ring. Mary has put one bundle into a large envelope and takes the other from Caroline. When the bills are away, she puts the filled envelope in her handbag, notices the remaining deed copies on her desk, picks them up, goes to the private office door, knocks, starts to open door as: LOWERY Come in. LOWERY'S PRIVATE OFFICE DAY Mary opens door, looks in. Cassidy is drinking from a large tumbler, winks at her without pausing in his drinking. Mary remains on threshold a moment, then crosses to the desk, talking as she goes. MARY The copies. Mr. Lowery, if you don't mind, I'd like to go right on home after the bank. I have a slight CASSIDY You go right home! Me and your boss are going out to get ourselves a little drinkin' done! to Lowery Right? LOWERY to Mary Of course. You feeling ill? MARY A headache. CASSIDY You need a week-end in Las Vegas playground of the world! MARY I'm going to spend this week-end in bed. starts out CASSIDY to Lowery Only playground that beats Las Vegas! Mary goes back out into the outer office, closes door. OUTER OFFICE DAY Mary goes to her desk, takes the handbag, checks to make sure the money-filled envelope is tucked well down into it. During this: CAROLINE Aren't you going to take the pills? as Mary shakes her head They'll knock that headache out. MARY I don't need pills just sleep. She goes to the door. DISSOLVE: MARY'S BEDROOM DAY A double bed in the foreground. We just see the far side as the CAMERA SHOOTS across. Mary enters the scene, clad only in her slip. Perhaps she is about to get into bed. Behind her is an open closet, but too dark inside for us to see any contents. As Mary turns to the closet the CAMERA LOWERS to show a close view of the $, in the envelope on our side of the bed. Mary takes a dress from the closet and starts to put it on as the CAMERA RETREATS to reveal a packed but not yet closed suitcase also on the bed. Mary zips up her dress and then brings some final garments from the closet. She comes around to the suitcase and puts them on the top. Mary works with haste and in tension, as if acting on an impulse which might vanish as quickly as it came. The suitcase filled now, she checks around the room, then takes her handbag to the bed, puts in the money-filled envelope, and then slams the suitcase shut. Then filled she looks at her small bedroom desk, goes to it, removes a small file-envelope from one of the drawers. It is one of those brown envelopes in which one keeps important papers and policies and certificates. She checks its contents briefly, puts it on the bed, opens another desk drawer, takes out her bank book, tosses it on the bed. Then she packs both the file-envelope and the bank book, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room. MARY'S GARAGE DAY A two-car garage. One car is gone. Mary's car is parked in the driveway. The CAMERA is low enough so that we can easily read the Arizona number plate in the foreground. Mary comes out of house, starts for the trunk, intending to put the suitcase in, changes her mind, places the suitcase and her handbag on the front seat, gets in, starts the car, begins to back out of driveway. MAIN STREET IN MIDTOWN PHOENIX DAY We are close on Mary's car, shooting in at her 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 stops for a red light at a main intersection. FROM MARY'S VIEWPOINT DAY We see Lowery and Cassidy crossing the street, passing right in front of Mary's car. MARY'S CAR DAY Mary freezes. MAIN STREET IN MIDTOWN PHOENIX DAY Cassidy, glancing into car, sees Mary, lets out a cheery exclamation, elbows Lowery. Lowery turns, sees Mary, smiles pleasantly, pulls Cassidy on. MARY'S CAR DAY Mary watches the entire exchange with a look of stony horror on her face. MAIN STREET IN MIDTOWN PHOENIX DAY Now we look closely at Lowery. As he reaches the curb, a small confusion brightens his face. He remembers that Mary intended to 'spend the weekend in bed.' He considers, curiously, turns, looks back at her, a slight frown on his face. MARY'S CAR DAY Mary sees the pause and the look. MAIN STREET IN MIDTOWN PHOENIX DAY For a moment it even looks as if Lowery might be meaning to cross back to the car. MARY'S CAR DAY Mary's tension is unbearable. And at that moment we hear the shrill shriek of the traffic cop's whistle. Mary zooms the car away. HIGHWAY DAY Mary in car, driving, safely away from town. Her look is less tense now, and more purposeful. After a moment, she checks the fuel gauge, frowns, looks along highway for a gas station.  FAST MARY'S CAR DAY Approaching and leaving city limits. MARY DAY Looks at gas gauge. C.U. GAS GAUGE DAY A GAS STATION DAY We see Mary's car drive in, come to a stop. There are no other cars about, this being a gas station off the main highway, and the attendant is obviously in the shack. Mary looks worried about having to make this stop, keeps her face turned away from the shack, not wishing it to be seen. No one comes and for a moment Mary considers driving on, as if the emptiness of the station were a warning, an omen that she should listen to. But the gas registers almost empty. She has to blow her horn. A YOUNG MAN comes out of the shack, starts toward her car. At that moment, we HEAR the RINGING of the TELEPHONE in the shack. The Attendant walks a few steps further, toward Mary's car, then decides to go back and answer the phone. The phone's insistent ringing unnerves Mary. She starts her car, zooms off. We see the Attendant, phone in hand, in the doorway of shack. He looks after the departing car with little or no expression. CAR The car grows smaller as it races up the road. The sun is setting. There is something vaguely ominous about the darkening sky into which the car seems to be disappearing. MARY IN CAR NIGHT The oncoming headlights hurt Mary's eyes. She is getting sleepy and her vision is blurring. Her eyes close, involuntarily, snap open again. She stretches than wide, as if forcing them to stay open. The oncoming lights seem to glare to a point beyond endurance. She murmurs 'Sam Sam.' LONG LAP DISSOLVE: ROAD SHOULDER DAWN We see Mary's car, dim in the early dawn, tilted on the soft shoulder of the road, looking somehow sad and pathetic, like a child's thrown-away toy. And from this angle it would appear that the car is empty. After a moment, during which there are no other vehicles passing, we see, coming from the far distance, a HIGHWAY PATROLMAN in a patrol car. He passes Mary's car, notes its apparent emptiness, U-turns, comes back up behind the car. He gets out and approaches the driver's side window. MARY'S CAR DAWN The Patrolman looks down into the car. CAR DAWN FROM HIS VIEWPOINT Mary turns with a start, sits up, is startled and unnerved by the sight of the Patrolman, and, as if by automatic reflex, turns the ignition and presses down on the starter. CAR DAWN The Patrolman holds up his hand. PATROLMAN startled Hold it there! Mary slams down on the brake, tries to pull herself together. The Patrolman raps again, less gently. Reluctantly, Mary rolls down the window. The Patrolman studies her for a moment. PATROLMAN In quite a hurry. MARY Yes. because he seems to be awaiting an explanation I didn't mean to sleep so long. I was afraid I'd have an accident last night, from sleepiness so I decided to pull over PATROLMAN You slept here all night? MARY a faint edge of defensiveness Yes. As I said, I couldn't keep my eyes PATROLMAN mere concern There are plenty of motels in this area. You should have I mean, just to be safe MARY I didn't intend to sleep all night! I just pulled over have I broken any laws? PATROLMAN No, m'am. MARY Then I'm free to go...? PATROLMAN a pause Is anything wrong? MARY Of course not! Am I acting as if something's wrong? PATROLMAN almost a smile Frankly, yes. MARY Please I'd like to go PATROLMAN Is there? MARY Is there what? not waiting for an answer I've told you there's nothing wrong except that I'm in a hurry and you're taking up my time PATROLMAN interrupting, sternly Now wait just a moment! Turn your motor off, please. Mary seems about to object, thinks better of it, turns off the ignition. PATROLMAN In the course of my duty, I never 'take up' anyone's time, whether it's to give a warning, or a ticket, or help! Believe that, M'am. a little softer Now if you woke up on the wrong side of the car seat, that's one thing. But when you act as if I've just placed you under arrest MARY I'm sorry. PATROLMAN No need to apologize Mary starts the car, her face turned as if she wishes the matter were all settled and the Patrolman had already gone. The Patrolman isn't exactly one of those civil servants who demands a thank-you, but he does feel her manner is a bit too abrupt. He calls: PATROLMAN Wait a minute! MARY jamming down the brake Now what? The Patrolman gazes at her a moment, then: PATROLMAN May I see your license? MARY Why? PATROLMAN Please. Mary pulls her handbag up from the floor, where she'd placed it when she stretched out for sleep. She puts her hand in it, rummages for her wallet, cannot find it. The Patrolman is staring at her. She glances at him nervously, pokes in her bag a bit more, sighs, realizes she'll have to remove some of its contents. Nervously, badly controlling her fear, she takes out the money-filled envelope, and then the important papers envelope, filled then a couple of other items, places them on the seat, finally finds her wallet, opens it, hands it to him. He looks at the wallet, then at the car. ROAD SHOULDER DAWN The Patrolman walks around to the front of the car, checks the license plate, and returns. MARY'S CAR DAWN The Patrolman peers in, checks the car registration on the steering wheel, returns Mary's wallet. She takes it, looks at him for a flicker of a moment. He says nothing. She starts ahead, fast. ROAD SHOULDER DAWN The Patrolman stares after Mary as she drives off, then starts back to his automobile. MARY IN CAR DAWN She is quite shaken, realizes she caused herself a great deal of trouble and placed herself in unnecessary danger. She is disturbed and angry and frightened at her inability to act normally under the pressure of guilt. As she drives, she glances into her rear-view mirror. MARY'S REAR-VIEW MIRROR DAWN The Patrolman is following in his automobile, keeping behind her at a matched speed. MARY IN CAR DAWN She glances out at her surroundings. MARY'S POV DAWN The Freeway ahead. MARY'S CAR DAWN She suddenly turns off the highway. MARY IN CAR DAWN She checks her mirror. MARY'S REAR-VIEW MIRROR DAWN The Patrolman is no longer following, has not turned off after her. MARY IN CAR DAWN She breathes a sigh of relief, thinks a moment, makes a quick decision. DISSOLVE: USED CAR LOT DAY The big sign reads 'California Charlie Automobile Paradise.' We see Mary's car drive onto the lot and stop. Mary gets out of the car, glances toward the lot office, turns her attention to the line of cars, notice the California licence plates on all of them. The CAR DEALER calls out from his office: CAR DEALER With you in a second! Mary nods, starts walking along the line of cars as if making a selection. Her eye is caught by the iron newspaper stand on the corner, just outside the lot. She stares at the papers, turns away, as if what she is fearing would have to be impossible, then, having to satisfy herself, goes to the stand, drops a dime in the iron slot, picks up a LOS ANGELES newspaper, starts back into the car lot as she glances worried at the front page. As she goes, we see, coming up the street toward the lot, the same PATROLMAN. He sees Mary, slows, swerves over to the opposite side of the street, stops by the curb. Mary, engrossed in the newspaper, and walking back ease the lot, does not see the Patrolman. The car dealer is out on the lot now, standing and waiting for Mary. As she approaches, lost in her newspaper, he smiles. CAR DEALER I'm in no mood for trouble! MARY glancing up, thrown for a moment What? CAR DEALER cheerfully There's an old saying, 'First customer of the day is always the most trouble!' But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me MARY interrupting Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to and bein' a woman, you will! chin-indicating her car That yours? MARY Yes, it's nothing wrong with it, I'm just CAR DEALER Sick of the sight of it! laughs Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and want some coffee? I was just about MARY No. Thank you. I'm in a hurry. I just want to make a change and start She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN MARY'S POV DAY He is staring over at her, his face dispassionate. USED CAR LOT DAY Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! starting away toward her car But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE MARY'S POV DAY Mary's car is in it. USED CAR LOT DAY Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN MARY'S POV DAY He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you and it's all in the feel, believe me, you feel that one around the block MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? laughs You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well heck, this is the first time I ever saw the customer high-pressure the salesman! laughs, sees she is in no mood for it I'd figure roughly looks at the car, then back at the garage your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER slowly I take it you can prove that car's yours I mean, out of state and all got your pink slip and your MARY I think I have the necessary papers. Is there a Ladies Room CAR DEALER In the building indicates, continues to stare quietly Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN MARY'S POV DAY He still sits, his motor throbbing, his face quiet. THE USED CAR LOT DAY Mary goes into the office building. LADIES ROOM DAY Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. THE USED CAR LOT DAY The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER too cheerfully I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but MARY interrupting But what? Is there anything so terribly wrong about making a decision and wanting to hurry? Do you think I've stolen my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test that's all. MARY handing him the ownership papers and the new bills I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN MARY'S POV DAY He is still at the far curb. USED CAR LOT DAY The Car Dealer goes into his office. Mary follows. THE PATROLMAN DAY A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY as Mechanic reaches car Just put it right in here, please beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The 'imagined voice' we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: HIGHWAY LONG SHOT Mary's car dashing along. MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE a worried tone Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these 'invented' scenes of her imagination. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be unable to answer the phone CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw a pause, a thought wait a minute, I did see her, an hour or so later, driving a pause, then with solemn fear Ah, I think you'd better come over here to my office. Quick. a pause, a click Caroline, get Mr. Cassidy for me. HIGHWAY It is completely dark now, night. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you all that cash I'm not taking the responsibility Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT THE ROAD AHEAD MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE undrunk, sharp with rage Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy I still can't believe it must be some kind of a mystery I can't CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out hardly even looked at it, plannin' and and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP MARY Peering through the blurred windshield. CLOSEUP THE CAR WHEELS slowing down in the flooding highway. CLOSEUP MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read 'Motel.' Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: 'BATES MOTEL.' Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. BATES' MOTEL NIGHT Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees MARY'S VIEWPOINT A LARGE OLD HOUSE NIGHT A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. PORCH OF BATES' MOTEL NIGHT Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. OFFICE OF BATES' MOTEL NIGHT The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft spoken and hesitant. NORMAN Dirty night. MARY not really a question You have a vacancy? NORMAN simply, almost cheerfully We have twelve vacancies. Twelve cabins, twelve vacancies. a pause They moved away the highway. MARY I thought I'd gotten off the main NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY glancing at newspaper sticking out of her handbag Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything right next to the office. CLOSEUP NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. CABIN ONE NIGHT Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. turns to her Well the mattress is soft and there're hangers in the closet and stationary with 'Bates' Motel' printed on it in case you want to make your friends back home envious and the over there he points to the bathroom, fairly blushes MARY The bathroom. NORMAN quickly, starting to leave I'll be in the office if you want anything just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN not really a question You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? without waiting for her response Will you have supper here? I was just about to, myself nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and I don't set a fancy table but the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and change those wet shoes, and I'll come for you soon as it's ready starts out with my trusty umbrella. he laughs a small laugh, runs off Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper an ugly, sneering note creeps into the voice by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger hungry, and the weather's bad WOMAN'S VOICE mimicking cruelly Mother, she's just a stranger! hard, cruel again As if men don't desire strangers, as if oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE pause Go on, go tell her she'll not be appeasing her ugly appetite with my food or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE blurted cut fury and shame Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT NIGHT We see Norman coming down the path, carrying a napkin-covered tray. CABIN ONE NIGHT Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. THE MOTEL PORCH NIGHT Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother a hollow little laugh, an attempt at sardonic humor what is the phrase 'she isn't herself today'... I think that's it. MARY looking at the tray You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish people could apologize for other people. MARY Don't worry about it. a warm smile But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. THE MOTEL OFFICE NIGHT Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office a rueful smile to officious, even for me. I have the parlor behind this if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. NORMAN'S PARLOR -(NIGHT In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP THE VARIOUS BIRDS TWO SHOT MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of 'Taxidermy.' CLOSE UP THE BOOKS ON TAXIDERMY MED. CLOSE SHOT MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats 'like a bird,' is really a falsie, I mean a falsity, because birds eat a tremendous lot. A pause, then explaining Oh, I don't know anything about birds. My hobby is stuffing things taxidermy. And I guess I'd just rather stuff birds because well, I hate the look of beasts when they're stuffed, foxes and chimps and all some people even stuff dogs and cats but I can't I think only birds look well stuffed because they're rather passive, to begin with most of them He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust the chemicals are all that cost anything. He goes quiet, looks disturbed MARY A man should have a hobby. NORMAN It's more than a hobby sometimes a hobby is supposed to pass the time, not fill it. MARY after a pause, softly Is your time so empty? NORMAN Oh, no! forcing brightness again I run the office, tend the cabins and grounds, do little chores for mother the ones she allows I might be capable of doing. MARY You go out with friends? NORMAN Friends? Who needs friends. Laughs, then with gallows humor A boy's best friend is his mother. Stops laughing You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry MARY A wistful smile I'm looking for a private island. NORMAN What are you running away from? MARY Alert Why do you ask that? NORMAN No. People never run away from anything. A pause The rain didn't last very long. Turning suddenly You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should mind it. NORMAN Oh I do but I say I don't. Laughs boyishly MARY Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard The way she spoke to you, I don't think I could ever laugh again. NORMAN Controlled resentment Sometimes when she talks that way to me I'd like to curse her out and leave her forever! A rueful smile Or at least, defy her. A pause, a hopeless shrug But I couldn't. She's ill. MARY She sounded strong NORMAN I mean ill. A pause She had to raise me all by herself after my dad died I was only five and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something anyway, a few years ago Mother met a man. He talked her into building this motel We could have talked her into anything and when. Well It was just too much for her when he died, too And the way he died Oh, it's nothing to talk about when you're eating. Pauses, smiles Anyway, it was too much of a loss for my mother she had nothing left. MARY Critically Except you. NORMAN A son is a poor substitute for a lover. Turns away as if in distaste of the word MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides who'd look after her? She'd be alone up there, the fire would go out damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate what she's become. I hate the illness. MARY Slowly, carefully Wouldn't it be better if you put her in someplace She hesitates. Norman turns, slowly, looking at her with a striking coldness. NORMAN An Institution? A madhouse? People always call a madhouse 'someplace.' Mimicing coldly Put her in Someplace! MARY I'm sorry I didn't mean it to sound uncaring NORMAN The coldness turning to tight fury What do you mean about caring? Have you ever seen one of those places? Inside? Laughing and tears and cruel eyes studying you and my mother there? Why? has she harmed you? She's as harmless as one of these stuffed birds. MARY I am sorry. I only felt it seemed she was harming you. I meant NORMAN High fury now Well? You meant well? People always mean well, they cluck their thick tongues and shake their heads and suggest so very delicately that The fury suddenly dies, abruptly and completely, and he sinks back into his chair. There is a brief silence. Mary watches the troubled man, is almost physically pained by his anguish. NORMAN Quietly I've suggested it myself. But I hate to even think such a thing. She needs me and it isn't Looks up with a childlike pleading in his eyes it isn't as if she were a maniac, a raving thing it's just that sometimes she goes a little mad. We all go a little mad sometimes. Haven't you? MARY After a long thoughtful pause Yes, and just one time can be enough. Rises Thank you. NORMAN Cheerfully, correcting Thank you, Norman. MARY Norman. NORMAN You're not going to to your room already? MARY I'm very tired. And I'll have a long drive tomorrow. All the way back to Phoenix. NORMAN Phoenix? MARY I stepped into a private trap back there and I want to go back and try to pull myself out. Looking close at Norman Before it's too late for me, too. NORMAN Looking at her Why don't you stay a little while, just for talking. MARY I'd like to, but NORMAN Alright. I'll see you in the morning. I'll bring you breakfast. What time will you MARY Very early. Dawn. NORMAN Alright, Miss He has forgotten her name MARY Crane. NORMAN That's it. He frowns, as if bothered by not being able to match the name to the memory of the name in the registration book MARY Good night. She goes out of the parlor. We see her, from Norman's viewpoint, as she crosses the small office, goes out into the night. Norman turns and looks at the table, and we see his face now. It is bright with that drunken-like look of determination and encouragement and like resolve. He starts to clean up the table, pauses as he hears the closing of Mary's door in the cabin next door. He holds still, listens. He goes into the office and looks at the book. C.U. THE NAME 'SAMUELS' M.S. NORMAN He goes back into the parlor with a mystified expression. The sound of Mary moving about her room come over, soft SOUNDS, somehow intimate in the night quiet. Norman turns his ear from the direction of the SOUNDS, seems to be fighting an impulse to listen, or more than listen. But slowly, he is forced to surrender to the impulse and, resisting himself, he goes to the wall, presses the side of his head against it. The SOUNDS come louder, as if we too had our ear pressed against the wall. Now Norman looks at a picture hanging on the far end of the wall he is leaning against. Slowly he starts toward it. He reaches it, touches it, reluctantly lifts the small frame off the wall. A tiny circle of light hits Norman's face, coming from the hole in the wall behind the picture. This end of the room is very dim and thus we are able to see clearly the light striking Norman's face. We move close to Norman, extremely close, until his profile fills the screen. The tiny spot of light hits his eye. See the small hole through which the light comes. Norman peeps through. NORMAN'S VIEWPOINT Through the hole we look into Mary's cabin, see Mary undressing. She is in her bra and halfslip. She stoops over a bit, places her hands behind her upper back, begins to unhook her bra. NORMAN ECU He watches as Mary removes her bra. We see his eye run up and down the unseen figure of Mary. NORMAN'S VIEWPOINT Mary, just slipping into a robe, covering her complete nudity. NORMAN He turns from the hole, faces us for a moment, continues turning until he can look out the small parlor window. We see, as he sees THE HOUSE IN THE BACKGROUND NORMAN He turns his face away, quickly, resentfully. In his face we see anger and anguish. And then resolve. Quickly, precisely, he rehangs the picture over the hole in the wall, turns, starts out of the parlor. We see him go through the office and out onto the porch, not even bothering to close the door behind him. THE MOTEL OFFICE PORCH NIGHT Norman walking along the porch, in the direction of the big house. Once on the path he pauses, looks up at the light in the bedroom window, then pulls himself up, squares his shoulders, strides manfully up the path. CAMERA follows behind him. He opens the door of the house, enters. We see him pause at the foot of the stairway, look up at the bedroom door just at the head of the stair. He holds for a moment, and then his resolve and courage evaporates. His shoulders slump, sadly, mournfully. He by passes the stairs and slowly makes his way to the kitchen. At the far end of 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 closed. MARY'S MOTEL ROOM NIGHT Mary is seated at the small desk, engrossed in figuring in a small notebook. We see from these figures a calculation which indicates her intention to make a restitution of the money she has used of the forty thousand dollars. We see, too, her bankbook. The paper reads thus: top figure,  directly beneath it, the amount used for the new car; total after subtraction,  In another spot we see a figure which matches the balance in her bankbook;  Beneath this is the figure, and the amount after subtraction,  She studies the figures, sighs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows that at any cost one is going to continue doing the right thing. After a moment she tears the page out of the notebook and, rising, begins to rip it into small pieces. She goes into the bathroom, drops the pieces into the toilet bowl, flushes the toilet. Then she drops her robe and steps into the tub and turns the shower on. MARY IN SHOWER Over the bar on which hangs the shower curtain, we can see the bathroom door, not entirely closed. For a moment we watch Mary as she washes and soaps herself. There is still a small worry in her eyes, but generally she looks somewhat relieved. Now we see the bathroom door being pushed slowly open. The noise of the shower drowns out any sound. The door is then slowly and carefully closed. And we see the shadow of a woman fall across the shower curtain. Mary's back is turned to the curtain. The white brightness of the bathroom is almost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside. MARY ECU As she turns in response to the feel and SOUND of the shower curtain being torn aside. A look of pure horror erupts in her face. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knife. The flint of the blade shatters the screen to an almost total, silver blankness. THE SLASHING An impression of a knife slashing, as if tearing at the very screen, ripping the film. Over it the brief gulps of screaming. And then silence. And then the dreadful thump as Mary's body falls in the tub. REVERSE ANGLE The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one flicker of a glimpse of the murderer. A woman, her face contorted with madness, her head wild with hair, as if she were wearing a fright-wig. And then we see only the curtain, closed across the tub, and hear the rush of the shower water. Above the shower-bar we see the bathroom door open again and after a moment we HEAR the SOUND of the front door slamming. THE DEAD BODY Lying half in, half out of the tub, the head tumbled over, touching the floor, the hair wet, one eye wide open as if popped, one arm lying limp and wet along the tile floor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAMERA FOLLOWS away from the body, travels slowly across the bathroom, past the toilet, out into the bedroom. As CAMERA approaches the bed, we see the folded newspaper as Mary placed it on the bedside table. CLOSE UP THE NEWSPAPER beside the bed. The CAMERA now moves away over to the window and looks up to the house, and as it gets there we HEAR, coming from within the house, the SOUND of Norman's fearful, shocked voice. NORMAN'S VOICE Mother! Oh God, what blood, blood mother...! We cannot entirely distinguish these exclamations. After a moment or two of silence, Norman emerges from the front door, dashes down the path toward the motel. QUICK  THE PATH NIGHT Norman is coming AT CAMERA, running head-on. He dashes into an extreme and we see the terror and fear ripe in his face. CAMERA PANS as Norman races past, holds as Norman runs to the porch and quickly along it and directly to Mary's room. MARY'S CABIN NIGHT Norman pauses a moment in the doorway, glances about the room, hears the shower going, sees the bathroom door is open. He goes to the bathroom, looks in, sees the body. Slowly, almost carefully, he raises his hands to his face, covers his eyes, turns his face away. Then he crosses to the window, looks out at the house. Shot is so angled that we see the bedside table with the newspaper on it. After a moment, Norman moves from the window, sinks onto the edge of the bed. FRESH ANGLE BEHIND NORMAN Norman sitting on bed, the bathroom in b.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 way out of his dilemma. Slowly, a kind of settling comes upon him, the peace that comes with decision. Norman rises, goes to the window, looks out, and then, with resolution, closes the window and draws the curtain across it. Then he crosses to the front window, facing the porch, and draws those curtains closed. Then he switches off the bedroom light, leaving the room lit only by the spill from the bathroom. He opens the front door, goes out. THE HOTEL PORCH NIGHT Norman comes out of Mary's cabin, closes the door carefully behind him, goes along the porch to his office, goes in. We stay outside. Immediately, the 'Vacancy' sign goes off, and then the motel sign goes off. As CAMERA GOES closer to the office, the lights within go off and we HEAR a closet door opening and then the SOUND of a pail being picked up. Norman comes out of office, closes door, looks cautiously about, goes along porch, carrying pail with mop in it, goes into Mary's cabin, closing the door after him. MARY'S CABIN 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 pail on the tiled floor, and then we HEAR the shower being turned off. And there is total silence. CAMERA MOVES FORWARD so that we can see into bathroom. CAMERA is ANGLED that we see Norman only from the waist up. Quickly and deftly he unhooks the shower curtain, emerges with it into the bedroom. CAMERA PANS down and we see him spread the shower curtain on the bedroom floor, just outside the bathroom door. He spreads the curtain so that one end of it comes up against the bathroom 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 Norman. He works carefully, with his arms extended away from his body, slowly pulls the dead body out of the tub, drags it across the tile floor and onto the spread-out shower curtain in the bedroom. Having arranged the body, he straightens up, examines his hands, sees bloodstains on them. He returns to the bathroom, goes to the hand-basin. CLOSE SHOT We see his hands being washed, see the bloodstains being diluted and washed away by the gush of the faucet water. NORMAN We see Norman shake his hands free of the water, then turn to the job of cleaning the bathroom. He places the pail in the tub, runs water into it, dips the mop in, swabs the tile floor. With a towel he wipes off the wall over the tub and the edges and sides of the tub and even the shower curtain rod. Then he takes a second towel and goes over the cleaned areas, carefully drying them. Finally he rinses and squeezes out the mop, empties the pail, cleans out the tub, and goes out into the bedroom. MARY'S BEDROOM Norman steps carefully around the unseen body, crosses to the desk, starts going through Mary's handbag, in search of her car keys. He suddenly notices them lying on the desk, where he'd thrown them after parking her car. He picks up the keys, crosses the room, goes out. THE PORCH We see Norman pauses at the door, check cautiously, then hurry across the porch and into Mary's car. He circle-turns the car, so that its trunk is backed up to the turns porch, directly opposite Mary's door, as close as it can go. Then he alights, goes to the trunk, opens it with the key and, leaving the trunk lid raised, goes back into the cabin. MARY'S ROOM From a raised angle, we see Norman bend down and begin to wrap the shower curtain around the body. We see the edges of the curtain as they are raised and laid down again. Then he picks up the wrapped body, crosses to the door, uses his foot to pull the door open, and, leaving the door open behind him, goes quickly across the porch and gently lays the body in the trunk. He closes the lid then, but does not lock it. He comes back into the cabin, closes the door completely, flicks on the light. Again the newspaper is in the foreground. For a moment he pauses, closes his eyes against the realization of what he is doing, then quickly pushes all thoughts away, continues with his work. With the room lighted, he now proceeds to gather up all Mary's articles and toss them into the suitcase. He checks all drawers and the closet, gets down and checks under bed and bureau, goes into the bathroom, checks that room again, comes back into the bedroom, looks about carefully, spots Mary's handbag, throws even that into the suitcase, is finally satisfied that all traces of the girl are gone from the room. Then he closes Mary's suitcase, picks it up. With his free hand he picks up the pail, in which are the mop and the used towels. He crosses to the door, switches off the light with his shoulder, pulls open the door, starts out. THE PORCH As Norman stands in the doorway, he is suddenly and blindingly 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 few seconds for Norman to regain his former tense composure. Then he goes to the car trunk, raises it with his foot, throws 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's cabin. He returns to cabin. As he enters, his eye is caught by the newspaper on the bedside table. He goes to it, takes the newspaper, and looks once again into the bathroom. His glance goes right over the toilet bowl. He turns out the lights, crosses the darkened cabin, goes out onto the porch. He reopens the trunk, tosses in the newspaper and closes it. He goes around and jumps into the car and starts away. We HOLD on the trunk, follow it for a while, then THE SWAMP NIGHT The car pulls away from a CLOSE ANGLE on the trunk and as CAMERA HOLDS we see that we are now in a swamp area. It is quiet except for the irritating noises of night insects. Norman stops the car at the very edge of the swamp, turns off the lights, gets out, leaving door open. He looks at the swamp, seems doubtful of its ability to swallow up the car, realizes he has no choice. He leans into the car, releases the emergency brake, starts to push. The front of the car begins to roll into the swamp. Suddenly there is the LOW, THROBBING SOUND of a motor. Norman freezes, listens. The SOUND grows louder and Norman realizes it is an airplane flying overhead. The car is rolling quickly now. Norman jumps away, slams the door shut, stands tense. The SOUND of the plane overhead grows louder. Norman looks up. NORMAN'S VIEWPOINT THE BLACK SKY We see no plane. The SOUND of the motor is beginning to diminish. CUT BACK TO: 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 refusing to go the rest of the way. Norman begins to panic, he steps dangerously close, pushes with his foot. And slowly the car sinks, until finally it is gone and we hear only the gentle plop of the swamp's final gulp, and see only the small after-bubble, like a visual burp. Norman waits a moment, then begins stamping out the tire marks, so obvious in the wet ground around the swamp. He stamps and drags his feet over the markings as we: CLOSE UP NORMAN standing on the porch of the motel, leaning against a post. He is staring out into the night, a look of guarded, casual innocence on his face, as if he were taking one last moment of peaceful night air before retiring. Then he glances down and CAMERA follows his gaze. A hose is lying on the ground outside Mary's cabin, its stream of water obliterating the tire marks. After a moment, Norman's hand comes into shot, picks up hose, places it in a new position. As CAMERA PULLS BACK, we see that the water from the hose has erased and rearranged the road markings so that it would be impossible to tell that a car had been parked here. After a short wait, Norman goes to the hose-faucet, turns it off, unscrews the hose. As he rolls the hose, he walks away from the spot, past the office, heading for the path that leads to the house. He goes up the path, pauses at the steps of the house, tosses the curled hose onto the lawn, goes up the steps and into the house. CAMERA FOLLOWS him in, PAUSES as he pauses at the foot of the stairs. Norman goes up the stairs. On the landing he stops. The door to his mother's room is closed. Lying in a heap outside the door are a blood-stained dress and a pair of elderly-woman's shoes. From an EXTREMELY HIGH ANGLE, we look down on Norman as he bends to pick up the stained dress and shoes. He rolls the shoes into the dress, tucks the small, neat bundle under his arm, and starts down the stairs, heading for the basement. A LONG SHOT OF THE OLD HOUSE NIGHT It stands silhouetted against the sky. There is a long wait. Then, slowly, a curl of smoke comes out of the chimney. FADE OUT: FADE IN BACK ROOM OF SAM'S HARDWARE STORE IN FAIRVALE DAY Sam is seated at his desk, writing a letter. Sequence begins with CAMERA IN CLOSE, over Sam's shoulder, and we can read as mush as he has written of the letter. The letterhead reads 'Sam Loomis Hardware,' and the letter reads: 'Dearest right-as-always Mary: I'm sitting in this tiny back room which isn't big enough for both of us, and suddenly it looks big enough for both of us. So what if we're poor and cramped and miserable, at least we'll be happy! If you haven't come to your senses, and still want to CAMERA begins PULLING AWAY as Sam turns the sheet of paper over, continues backing away out of the small back room and heads, backwards, down the corridor, we see a young clerk, BOB SUMMERFIELD, Sam's assistant, standing behind the counter, a look of handsome patience on his face. He is waiting on a meticulous, elderly woman customer, who is holding and examining a large can of insecticide. As CAMERA PASSES: WOMAN CUSTOMER They tell you what its ingredients are and how it's guaranteed to exterminate any insect in the world, but they do not tell you whether or not it's painless. And I say insect or man, death should always be painless. CAMERA, by this has reached the front door of the hardware store and we now see a girl standing just inside the door. She is an attractive girl with a rather definite manner, a look of purposefulness. She carries a handbag and a small overnight case. She is Mary's sister, LILA CRANE. Bob Summerfield has noticed Lila, smiles brightly at her, gives her an I'll-be-with-you-in-a-moment nod. Lila starts to walk toward the counter, never taking her eyes off Bob. As she approaches, she asks quietly: LILA Sam? SUMMERFIELD You want to see Sam? LILA Sam Loomis. SUMMERFIELD yelling toward back room Sam! Lady wants to see you! Lila looks to the back room. The woman customer goes on worriedly examining the fine print of the insecticide can. Sam comes to the door of his room, pauses, looks at Lila a moment, starts toward her, his expression indicating that he does not know her. Lila studies him with a quiet, worried expression. SAM Yes? LILA May I talk to you? SAM a bit mystified Sure Lila glances at the customer and the clerk, turns, starts toward the front of the store. Sam holds a moment, then follows. As he reaches her, she turns, her eyes studying him intently as she says: LILA I'm Mary's sister. SAM Lila. LILA quickly Is Mary here? Sam is mystified, and is also aware of the worried, hostile expression on Lila's face. He studies her for a quiet moment. Behind them is a display of various size carving knives. SAM Is something wrong? LILA I want to know if my sister is here. SAM Here? LILA With you. SAM Where? LILA I don't know where. In your store, somewhere in your town anywhere. SAM What's the matter? LILA Don't you know? As Sam is about to speak, the Woman Customer comes sailing past, speaking as she goes and wearing a satisfied smile. WOMAN CUSTOMER All I can do is hope if it isn't painless, it's quick! She speaks 'quick' with a kind of delicious bite, nods happily, goes on out of the store. Sam is now staring apprehensively at Lila. SAM What should I know? LILA To begin with, where Mary is. Do you? SAM No. I take it you don't either? As Lila shakes her head How long? LILA Last Friday. She left work, and home I was in Tucson over the weekend I haven't heard from her, not even a phone call. SAM And you thought she'd come up here, to me? If she had, what reason would she have for not calling you? LILA A good reason, I suppose. SAM Slightly exasperated Well what do you think, we eloped or something? Or we're living in sin and LILA Mr. Loomis, you're so busy being defensive that you haven't even reacted to the most serious fact of all. Mary is missing. SAM I was getting to that! LILA What do you know about it? SAM Nothing! You're putting me on the defensive. LILA Look, if you two are in this thing together, I don't care, it's none of my business But I want to see Mary. I want her to tell me she's all right and it's none of my business. Then I'll go back to Phoenix and She stops, the anxiety and fear building up in her, her eyes beginning to fill with worried tears. Sam studies her for a moment, then turns and calls: SAM Bob? Run out and get yourself some lunch. SUMMERFIELD It's okay, Sam, I brought it with me. SAM Run out and eat it. Bob gets the message, goes out through the back way. Sam goes closer to Lila, speaks with soft seriousness. SAM What thing? LILA Huh? SAM What thing could we be in together? LILA A pause I hate tears. Takes out hankie SAM Is Mary in trouble? LILA Yes. SAM Well why didn't she come to me call me...? LILA Not that kind Almost a smile You men and your egos. SAM Seriously Never mind my ego. Let's talk about Mary. Their attention is distracted by a man who has strolled quietly into the room. He ignores them, walks past them, goes behind the counter, takes down a sign reading 'CLOSED FOR LUNCH,' walks back to the door, closes door, hangs the sign across the door window, locks the door, turns to Sam and Lila, folds his arms, smiles a particularly unfriendly smile. ARBOGAST Let's all talk about Mary. SAM Who are you, friend? ARBOGAST Milt Arbogast, Private Investigator. To Lila Where is she, Miss Crane? LILA I don't know. ARBOGAST Wouldn't have been able to tail you if you did. SAM What's your interest? ARBOGAST Money. There is a moment's silence and then, unable to tolerate the sudden frightening happenings, Sam explodes. SAM Somebody better tell me what's going on and tell me fast! I can take so much and then ARBOGAST Interrupting calmly Your girl friend stole forty thousand dollars. Sam looks at Arbogast in utter shock and in that state asks one of those seemingly ridiculous questions. SAM Why? ARBOGAST An almost amused smile Must've needed it. SAM What are you talking about? To Lila What is this? LILA She was supposed to bank it, on Friday, for her boss. She didn't. And no one has seen her since. ARBOGAST Looking at Sam Someone has seen her. Someone always sees a girl with forty thousand dollars. To Sam She is your girl friend, isn't she? LILA Sam, they don't want to prosecute, they just want the money back. It was all in cash ARBOGAST Correcting with Cassidy's word Casharoonie! LILA Sam, if she's here SAM She isn't! A real look of anguish comes into Lila's face. And Arbogast studies it, then speaks. ARBOGAST You came up here on a hunch, Miss Crane? Nothing more? No phone call from him, or from your sister herself? LILA wearily Not even a hunch. Just hope. ARBOGAST With a little checking, I could get to believe you. LILA anxiously I don't care if you do or I want to see Mary before she gets in any deeper SAM Did you check in Phoenix hospitals maybe she had an accident a hold-up ARBOGAST She was seen leaving town in her car. Seen by her very victims, I might add. SAM after a moment I don't believe it. to Lila, slowly Do you? LILA a thoughtful pause Yes I just did. The moment they told me SAM You might have doubted for say five minutes or so, Sister. Lila turns from Sam, a flush of guilt and regret in her face. Arbogast looks at her, quiet sympathetically. ARBOGAST We're always quickest to doubt people who have a record for being honest. I think she's here, Miss Crane. Where there's a boyfriend Trails off, smiles encouragingly She won't be back there among the nuts and bolts but she'll be in this town somewhere. I'll find her. He nods, takes down the closed-for-lunch sign, sails it to the counter, opens door, goes out into the street. After a quiet moment: LILA I just listened and believed everything they told me. 'She stole the money.' 'We don't want to get her in trouble.' 'No don't bring the police in'... SAM It was her boss' idea not to report it to the police? LILA No. The man whose money she he talked so loud and fast, and I I should've called the police. SAM He must have had a darn good reason for wanting them kept out of it All that cash LILA I ought to call the police right now! SAM No. LILA Why not? Sam, is she hiding here? Are you two planning to go away with the money? SAM How could I go away? I'm in debt up to my Smiles at the incongruity of his reply, then goes serious If she did steal that money It's hard to believe she did because it's hard to see why she would. Unless she had some wild idea that it would help me us LILA She haven't even called you? SAM I didn't see her and I didn't hear from her! Believe that! LILA I need to I need to believe something. This is the first time I've ever come up against anything I couldn't understand. SAM You've led a charmed life. LILA No. I just think anything can be explained. But Mary, doing a thing like this I don't know how to handle SAM Maybe we can handle it together. He smiles encouragingly LILA A rueful shrug I came flying up here expecting to get some explanation for all I know, she may be trying to get in touch with me, at home. I'd better go home. SAM A thoughtful pause I think she'll contact me if she contacts anybody. Why don't you stay here. When she shows up or calls be here. LILA A long study, her suspicion of him evaporating You want me to stay here? SAM She'll need both of us. LILA considers, then:) Where can I stay? SAM brightly First rate hotel, fifty yards up the street. Come on. as he reaches for the closed-for-lunch sign After we check you in we'll go to the drugstore and get you a sandwich. Then we'll come back here and wait. He hangs the sign on the door, ushers Lila out, closes door behind him. STREET DAY They emerge from the store and walk along to the hotel. As they enter, Arbogast is in the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look. HOTEL DAY Outside another hotel we see Arbogast alight from the white car and go into new hotel. COUNTRYSIDE DAY The white car speeding along the highway. NEW MOTEL DAY Arbogast going into the office we see the sign above him. BATES' MOTEL DAY A high shot showing the freeway and Bates house and motel on the side old highway. A pause and then across the bottom of the picture a white car speeds by on the freeway. HOTEL DUSK Another Hotel. Arbogast goes in. BATES' MOTEL DAY The white car speeding along the freeway again going in the opposite direction to last time. Norman, a tiny figure, is seen going up the steps to his mother's house. BOARDING HOUSE DAY Arbogast's search is getting down in the scale. This is an entrance to a cheesy boarding house. 'Rooms to Rent,' etc. He looks at his list and then goes in. BATES' MOTEL DAY The white car goes by on the freeway again. ROOMING HOUSE DAY Arbogast goes in. BATES' MOTEL TWILIGHT Heavy traffic on the freeway. A beat or two again the white car. It slows up opposite the distant motel. It makes a turn and goes back out of scene. A pause and it reappears on the old road and slowly makes its way toward the Bates' Motel. THE BATES' HOUSE AND MOTEL TWILIGHT We now see Norman. He has brought out an old rocking chair and has placed it on the office porch and is sitting hunched in it. And he is darning one of his own socks. CAMERA HOLDS. Beyond the porch, and Norman, we see the old house and can barely make out, in the twilight dimness, the figure of his mother seated at the window. Here, too, there is that quality of quiet peace surrounded by a vague foreboding. Now Norman looks up at the SOUND of the approaching car. And continues looking as the car comes to a stop and Arbogast gets out. Arbogast gives the place a quick once-over, gazes at Norman, starts forward. In his steps and manner there is that bored, routine-logged quality of a man who has seen too many motels and asked question of too many hotel managers over too short a period of time. Norman rises as Arbogast comes forward. NORMAN shoving sock in his pocket I always forget to put the sign on, but we do have vacancy. Cheerfully Twelve in fact. Twelve cabins, twelve vacancies. ARBOGAST pleasantly In the past two days I've been to so many motels, my eyes are bleary with neon. This is the first one that looked like it was hiding from the world at large. NORMAN I don't really forget the sign, it just doesn't seem any use. Points This used to be the main highway. Starts for office Want to register, please? ARBOGAST Sit down. I don't want to trouble you, just want to ask NORMAN No trouble. Today's linen day. I change all the beds once a week, whether they've been used or not dampness. I hate the smell of dampness. Opening office door It's such a dank smell. Norman is holding the door open, so Arbogast walks in. Norman follows. MOTEL OFFICE TWILIGHT Norman switches on the overhead light, starts for the linen closet, suddenly pauses, turns, studies Arbogast, who has remained standing by the door. NORMAN You out to buy a motel? ARBOGAST No. NORMAN Oh. I thought you said you'd been to so many in two days What was it you wanted to ask? ARBOGAST I'm looking for a missing person. takes out and opens wallet and extends it as he speaks My name's Arbogast, private investigator takes back wallet when Norman doesn't look at it Trying to trace a young girl who's been missing almost a week. From Phoenix. A look at Norman's frightened expression It's a private matter family wants to forgive her smiles She isn't in trouble. NORMAN forcing a smile I didn't think the police went searching for people who weren't in trouble. ARBOGAST I'm not the police. NORMAN Oh. He waits a moment, then opens closet, starts counting out sheets and pillow cases, keeps his back to Arbogast. Arbogast takes a photograph out of his pocket, talks as he crosses to Norman. ARBOGAST We have reason to believe she came this way might have stopped in this area extends photograph, which Norman doesn't glance at Did she stop here? NORMAN No. No one has stopped here in weeks ARBOGAST Mind looking at the picture before committing yourself? NORMAN Committing myself to what? You sure talk like a Policeman. ARBOGAST Look at the picture. Please. Norman glances, briefly, turns away, lifts sheets and pillow cases off the shelf holds them close, almost protectively. NORMAN No. At least I don't recall. ARBOGAST She might have used an alias. Mary Crane's the real name, but she might've registered NORMAN interrupting I don't even bother with guests registering any more I mean, little by little, you drop the formalities. more relaxed, because Arbogast is listening with a pleasant smile I shouldn't even bother to change the linen. I guess habits die hard. Which reminds me He goes to the wall, flips a light switch. NORMAN The vacancy sign. Just in case. We had a couple the other night, said if the sign hasn't been on they'd have thought this was an old deserted mining town or something. ARBOGAST Now there's a couple even remarking about your sign, and see how easily you forgot them? NORMAN What? ARBOGAST You thought no one has stopped here in weeks. Now, try to remember if this girl ARBOGAST A pause, a study Maybe she even signed the register because habits die hard. Let's check it, huh? Norman says nothing. Arbogast goes to the desk, pulls the registry book around, flips back a page or two. Norman simply stares at the man. Arbogast hums faintly, pleasantly, as he examines the pages. Then: ARBOGAST Yes sir! Marie Samuels. Interesting alias. He takes a slip of paper out of his pocket, lays it beside the signature in the registry book, all the while nodding and smiling nicely, as if this discovery will make Norman as happy as it is making him. ARBOGAST Don't know where she got 'Marie,' but 'Samuels' figures. Her boy friend's name is Sam. Turns to Norman, the smile gone Was she in disguise? Or do you want to check the picture again? NORMAN I didn't lie to you. I just have trouble keeping track of time. Arbogast has reached him, the picture extended. Norman looks dutifully at it. NORMAN It was raining and her hair didn't look like that damped out, I guess. ARBOGAST Tell me all about her. NORMAN She arrived kind of late, wet and hungry and she was very tired and went right to bed and left early. ARBOGAST How early? NORMAN Very early. Dawn. ARBOGAST Of which morning? NORMAN The following morning. Sunday. ARBOGAST No one met her? NORMAN No. ARBOGAST Or arrived with her. NORMAN No. ARBOGAST She didn't call anyone? Even locally? NORMAN No. ARBOGAST You didn't spend the whole night with her did you? NORMAN No! Of all ARBOGAST How do you know she didn't make a call? NORMAN She was tired. She said she had a long drive ahead of her, in the morning Yes, now I'm remembering very clearly because I'm picturing. When you make a picture of the moment in your mind, you can remember every detail. She was sitting back there, no she was standing up, with some sandwich still in her hand, and she said she had to drive a long way. ARBOGAST Back where? NORMAN What do you mean? ARBOGAST You said she was sitting 'back there,' or standing rather NORMAN Oh. My private parlor. She had an awful hunger so I made her some supper. And then she went to bed and left in the morning. I didn't even see her leave. ARBOGAST How did she pay you? NORMAN What? ARBOGAST Cash or check? For the cabin NORMAN Cash. ARBOGAST And when she left, she never came back. NORMAN Why should she? I'm sorry, I have work to do, Mr if you don't mind ARBOGAST I do mind. If it don't jell, it ain't aspic! smiles This ain't jelling. NORMAN I don't know what you expect me to know about people come and go ARBOGAST She isn't still here, is she? NORMAN Not at all! ARBOGAST Suppose I wanted to search the cabins, all twelve would I need a warrant? NORMAN as if pleasantly exasperated Look, if you won't believe me, go ahead. You can help me make beds if you like. laughs, shakes his head Come on. He starts out. Arbogast pauses, momentarily confused by the young man's openness. THE MOTEL PORCH NIGHT Norman walks down the porch, hesitates before Cabin One, walks on a bit toward Cabin Two, stops, turns to see if Arbogast is following. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch and is standing at its edge, looking up at the old house. The upstairs window is in darkness. The neon of the Vacancy and Motel signs splash strange light over the scene. NORMAN Change your mind? Arbogast does not reply. Norman becomes apprehensive, starts to Arbogast, forcing himself to remain calm and cheerful. NORMAN I guess I've got one of those faces you can't help believing. ARBOGAST to Norman, but continuing to stare at the house Anyone at home? NORMAN I live there. Alone. ARBOGAST Someone is sitting in that window. NORMAN My mother. Arbogast turns, gazes seriously at him. NORMAN She's ill. Confined to her room. It's practically living alone. ARBOGAST after a pause If this girl Mary Crane were here, you'd have no reason to hide her would you? NORMAN Of course not. ARBOGAST If she paid you well? NORMAN Now, look...! ARBOGAST Or if she had you say gallantly protecting her you wouldn't be fooled you'd know she was just using you. Wouldn't you? NORMAN I'm not a fool! And I'm not capable of being fooled! Not even by women! ARBOGAST I didn't mean that as a slur on your manhood. I'm sorry. NORMAN disturbed now That's all right. maybe she could have fooled me. But a rueful smile She didn't fool my mother. ARBOGAST Your mother met her? quickly Can I talk to your mother? NORMAN No. I told you, she's confined ARBOGAST Just for a moment. She might have picked up a hint you'd miss. ARBOGAST Sick old women are sharp. Come on, I won't disturb NORMAN No! Just no! I have one of those breaking points like any other man, believe it or not, and I'm near it. There's just so much pushing I can take and I think ARBOGAST All right! starts away, toward his car, pauses Might save me a lot of leg-work if I could just talk to your mother. But I'd need a warrant for that, won't I? Norman does not respond. Arbogast gets in his car, starts the motor. Norman looks up, studies the man's face, his own face showing apprehension. Arbogast backs the car around very slowly, his gaze divided between the old house and the lighted window of Cabin Two. As he turns the car out, his headlights light up the porch. Norman stands, watching him drive away. PHONE BOOTH NIGHT The car pulls up and Arbogast gets out of car, leaving motor running. As he starts to walk across the highway, CAMERA PULLS AWAY and we HIGHWAY WITH TELEPHONE BOOTH NIGHT Arbogast gets to the phone booth, enters. CAMERA STARTS FORWARD, and we see Arbogast remove a small notebook from his pocket, check on a number, drop a dime in the slot and dial this number. As we reach phone booth, ARBOGAST into phone Miss Crane, please. listens She leave a number? listens Thanks. hangs up, dials again, waits Lila there, Mr. Loomis? Arbogast. waits Lila? Look, this isn't much, but it might make you feel a little better. Mary was up here. Spent last Saturday night at Bates' Motel, out here on the old highway. listens Young fellow runs it, said Mary spent the night, left, period! listens I did question him, believe me. I think I got all there was to get. Just have to try to pick up the scent from here. listens Well maybe that's because I don't feel entirely satisfied. He's got a sick old mother, confined type, and I think she saw Mary and talked to her. Shame, too confined old women love to talk to strangers. listens I was, but I think I'll go back to the motel, first. listens No, you stay put, Lila. With Loomis. I should be back in an hour. listens All right. And Lila You'll be happy to know what I think. I think our friend Sam Loomis didn't even know Mary was here. smiles See you in an hour. Or less. He hangs up, gets out of the phone booth. BATES' MOTEL NIGHT A distant view of the House and Motel. There is a light on in the house. There is also a light on in Norman's office. We see Norman emerge from his office and move along the porch toward the distant cabins. He carries sheets on his arm. He goes into the last cabin and switches the light on. Into the foreground the hood of the white Ford enters the scene and stops. Arbogast gets out. He goes over to the Motel office. MOTEL OFFICE NIGHT Arbogast goes in. OFFICE NIGHT Arbogast looks around the empty office and calls. ARBOGAST Bates! He goes over to the door to the parlor and enters. He looks around the bird-ridden room. He stops short as he sees: C.U. THE OLD SAFE IN THE CORNER C.U. ARBOGAST goes over to it. He finds it unlocked. With a quick, cautious look around he opens it. C.U. THE EMPTY SAFE C.U. ARBOGAST straightens up and goes out. MOTEL OFFICE NIGHT Arbogast comes out and looks off. He sees: THE LAST LIT CABIN The door ajar. C.U. ARBOGAST NIGHT would go along but he stops with a new thought. He turns around and looks off. L.S. THE OLD HOUSE FROM HIS VIEWPOINT NIGHT C.U. ARBOGAST comes to a decision. He goes off. L.S. ARBOGAST dashes up the stone steps to the House. MEDIUM SHOT CAMERA HOLDS as Arbogast goes up onto the porch. The house is dark within except, as we can now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living room window, looks in, sees only darkness. Then he goes to the door, listens for along moment, hears nothing. Very slowly, almost painfully, he turns the knob of the door and pushes gently with his arm and shoulder. The door begins to open. He allows it to open just enough for him to slip through and into the foyer. FOYER OF BATES' HOUSE NIGHT Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direction of the light, sees no one. The door at the head of the stairs is closed. Arbogast listens, holds his breath, hears what could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he crosses to the stairs, starts up, slowly, guardedly, placing a foot squarely on each step to test it for squeaks or groans before placing his full weight on it. CAMERA FOLLOWS, remaining on floor level but TRAVELLING ALONG the stairway as Arbogast makes his way up. EXTREMELY HIGH ANGLE STAIRWAY AND UPSTAIRS LANDING We see Arbogast coming up the stairs. And now we see, too, the door of the mother's room, opening, carefully and slowly. As Arbogast reaches the landing, the door opens and the mother steps out, her hand raises high, the blade of an enormous knife flashing. C.U. A BIG HEAD OF AN ASTONISHED ARBOGAST The knife slashes across his cheek and neck. Blood spurts. The sudden attack throws him off balance. He stumbles back and staggers down the whole of the staircase. He frantically gropes for the balustrade as he goes backwards down the stairs. The CAMERA FOLLOWS him all the way. A wicked knife keeps thrusting itself into the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the foreground as the CAMERA MOVES IN to contain the raising and descending murder weapon. FADE OUT FADE IN BACK ROOM OF HARDWARE STORE NIGHT Lila is sitting close by the phone, and looks as if she hasn't moved from it in the last hour. Sam is pacing, occasionally stopping at the window, glancing out, pacing again. The ash tray close to Lila is filled. There is a thick atmosphere of smoke, tension and weariness in the small, otherwise cozy room. SAM at window, quietly Sometimes Saturday night has a lonely sound. Ever notice, Lila? LILA unable to keep up small talk Sam. He said an hour. Or less. SAM It's been three. LILA Are we just going to go on sitting here? SAM suddenly cheerful He'll be back. Let's sit still and hang on, okay? LILA You have an awfully nice habit, Sam. SAM Hundreds! Which one is your pet? LILA Whenever I start contemplating the panic button, your back straightens up and your eyes get that God-looks out-for-everybody look and I feel better. SAM I feel better when you feel better. LILA a pause then she rises Where's the old highway? SAM You want to run out there, bust in on Arbogast and the sick old lady, shake her up and maybe spoil everything Arbogast's been building for the last three hours. LILA Yes. SAM That wouldn't be a wise thing to do. LILA Patience doesn't run in our family. Sam, I'm going out there! SAM Arbogast said LILA An hour! Or less! Sam stares at her, frowns in concern over her very real anxiety, goes to the phone, dials operator. SAM into phone Got the number of the motel out on the old highway? Bates, I think. waits LILA Sam! Why call when we can go? SAM And maybe pass Arbogast on the road? into phone Thanks. He presses down the receiver, releases it, dials Bates' Motel. The faint other-end ringing tones can be heard, repeatedly, annoyingly. He waits. SAM to Lila Probably on his way back right now. LILA Sam, I'm going. SAM hangs up and picks up his jacket You'll never find it. He starts for the door. Lila follows after him into the store. STORE He pauses halfway down, turns, puts his hands on her arms. SAM Stay here. LILA Why can't I go out there with you? SAM looks at her I don't know he collects himself One of us has to be here in case Arbogast's on the way. LILA nervously Just wait here? SAM a warm smile Contemplate your panic button. He hurries down to the street door and out. CAMERA HOLDS on Lila as she stares after Sam. As she stands alone in the darkened store, all the hardware seems to take on sinister shapes. C.U. Among some bathroom fittings a nozzle from a shower falls onto the floor. MEDIUM SHOT Lila turns and picks if from the floor and puts it back in its place. She turns and again looks to the deserted street with a touch of anxiety. She gives a slight unconscious shiver. THE SWAMP NIGHT Tall and lonely still against the moonlight, the figure of Norman, silhouetted. He doesn't move, merely stands there at the edge of the swamp, staring down at the now calm and quiet face of it. THE MOTEL AND HOUSE NIGHT All light are out, except the light in Norman's mother's room. And her figure can be seen sitting in the window, relaxed in a high-back chair, her face turned into the room. After a second, we hear the SOUND OF A MOTOR, and then Sam's small pick-up truck swings into the driveway. Sam stops the motor, automatically switches off headlights, pauses as he observes the silence and darkness of the area. Then he hops out of the cab, goes quickly to the office, knocks on the door. As he waits for a response, he looks down the long porch, studies the darkened cabins, knocks again, louder, looks in the other direction and sees the house and the figure at the one lit window. He stares a moment then calls loudly: SAM Arbogast? THE SWAMP The silhouette of Norman. He is still. Over shot, very dimly, comes the SOUND OF SAM'S VOICE, calling again for Arbogast. Norman turns slowly until, in silhouette, we see his profile, his chin lowered furtively as he looks over his shoulder in the direction of the house. There is silence for a moment, and then again the SOUND of Sam POUNDING at the door. HARDWARE STORE NIGHT The store is in darkness, only the glow from the back room spilling in. L.S. With CAMERA placed with its back to the street door, we can see the distant tiny figure of Lila seated and waiting in the back room beyond. There is a SOUND of a car pulling up. The tiny figure jumps up and runs all the way from the back room down the aisle of hardware and comes into a BIG HEAD. We see Lila's desperate anxious look. MEDIUM SHOT From her viewpoint we see Sam alighting from his truck and coming toward the door of the store. He enters. He and Lila exchange quiet glances. SAM He didn't come back here? LILA worriedly Sam. SAM No Arbogast. No Bates. And only the old lady at home frowning A sick old lady unable to answer the door or unwilling. LILA Where could he have gone? SAM Maybe he got some definite lead. Maybe he went right on LILA Without calling me? SAM In a hurry. LILA Sam, he called me when he had nothing definite, nothing but a dissatisfied feeling. Don't you think he'd have called if he had anything SAM interrupting Yes. I think he would have. Lila goes quiet. Sam starts toward the back room, pauses at the doorway, turns. Lila has remained by the door, looking out at the street. She feels his pause, turns, and for a moment they share at each other across the darkened room. SAM Let's go see Al Chambers. LILA Who's he? SAM He's the Deputy Sheriff around here. As he starts forward. STREET THE SHERIFF LIVES ON NIGHT A dark, quiet, tree-ceilinged street, the small neat houses dim in the moonlight. Sam's pick-up truck comes down the street, pulls up before the house of Sheriff Chambers. CAMERA MOVES IN on Sam and Lila as they remain for a moment in the truck's cab, staring quietly at the sleeping house. SAM Our Deputy sleeps. LILA Well? SAM Nothing. Just all the lights out must be asleep. LILA a small exasperation Does that mean we can't SAM No. I'm just procrastinating. People hate when the doorbell rings in the middle of the night. gives up, starts out Come on. He gets out of cab, goes around to help Lila. She is already out. CAMERA FOLLOWS them up the small path to the front door. Sam presses the bell button. Both he and Lila are almost knocked over by the shocking, clanging, ear-splitting BLAST OF THE BELL within the house, a ring which sounds more like a fire alarm than a doorbell. He tries to smile, fails. Lila doesn't even try. The downstairs hall light goes on and a moment later the door is unhesitatingly opened by MRS. CHAMBERS, a small, lively stick of a woman wrapped in a thick flannel robe and a corona of hospitality. MRS. CHAMBERS Oh? SAM Sorry, Mrs. Chambers. I hate bothering you MRS. CHAMBERS You didn't! a cross look up at the bell It's tinkerbell. a quick smile at Lila Al wants to be sure he'll hear it if anyone rings it in the middle of the night. to Sam Well come on in, at least! As she opens the door wide, DOWNSTAIRS HALL OF SHERIFF'S HOUSE NIGHT Fat roses splatter the wallpaper. The stairs are carpeted. The lighting is bright. There is a perfectly fitting wall phone by the parlor arch. Mrs. Chambers goes to the stairway, yells up. MRS. CHAMBERS Albert! a tiny wait, a smile as Sam and Lila enter Al Chambers! Sam is about to close the door behind him. Mrs. Chambers motions for him not to, scurries across the hall, leans outside, presses the doorbell. The RING within the house is even more shattering. She closes the door, starts to the stairway, pauses as the SOUNDS of movement above COME OVER SHOT. MRS. CHAMBERS Customers! SHERIFF CHAMBERS comes down the stairs, in a bathrobe which matches his wife's. He is a tall, narrow man with a face originally destined for Mount Rushmore. He nods at Sam, looks at him with wide-awake eyes and a no-nonsense concern. SAM We have a problem. MRS. CHAMBERS to Lila Let's go out back and have some coca while the men are talking. LILA No, thank you. It's my problem, too. SAM I don't know where to start a look at Lila Except at the beginning. LILA Yes. SAM to Sheriff This is Lila Crane, from Phoenix. She's been here for a few days, looking for her sister. There's a private detective helping and, well, we got a call tonight, from this detective, saying he'd traced Mary MRS. CHAMBERS Mary is Lila's sister? SAM Yes. He traced her to that motel, out on the old highway MRS. CHAMBERS to the Sheriff Bates' Motel. to Lila He has a mind like a mechanical brain and the more information you feed it Go on, Sam. SAM He traced her there and called us to say he was going to question Mrs. Bates MRS. CHAMBERS a pleasant shock Norman took a wife? SAM No. An old woman, his mother. to Sheriff, quickly That was early this evening. And we haven't seen or heard from him since. I went out to the motel, just got back. No one was in the office, and LILA interrupting, anxiously Will you help us? I think something's wrong out there! SHERIFF after a considerate pause Now. Your sister is missing how long? LILA She left Phoenix a week ago yesterday. And no trace until SHERIFF How'd you and this detective come to trace her to Fairvale? SAM They thought she'd be coming to me. SHERIFF Left Phoenix under her own steam? LILA Yes. SHERIFF a pause She ain't missing so much as she's run away. SAM Yes. SHERIFF From what? LILA a look at sam, then:) She stole some money. SHERIFF A lot? LILA Forty thousand dollars. SHERIFF And the police haven't been able to SAM interrupting Everyone concerned thought if they could get her to give back the money they could avoid involving her with the police. SHERIFF Explains the private detective. He traced her to the Bates place. What'd he exactly say when he called you? LILA Mary had been there, one night, and had left. SHERIFF With the forty thousand dollars? LILA He didn't mention the money. anxiously What he said on the phone isn't important, is it? He was supposed to come back after he spoke to the mother, and he didn't! That's what I want you to do something about! SHERIFF Like what? LILA Go out there! Find somebody, ask some questions! a pause I'm sorry if I seem over-anxious to you. I keep thinking something's wrong. I have to know what! SHERIFF I think something's wrong, too, Miss. But not the same thing. I think your private detective is what's wrong. As Lila is about to object I think he got himself a hot lead as to where your sister was going probably from Norman Bates and called you to keep you still while he took off after her and the money. LILA He said he was dissatisfied and was going back. MRS. CHAMBERS to Sheriff Why don't you call Norman and let him say just what happened, if he give the man a hot lead and he did just scooted off it'll make the girl feel better, Albert. SHERIFF At this hour? SAM He was out when I was there. If he's back he probably isn't even in bed yet. SHERIFF He wasn't out when you were there. He just wasn't answering the door in the dead of night like some people do. This fellow lives like a hermit MRS. CHAMBERS Recluse. Kinder word. SHERIFF to Sam You must remember that bad business out there. About ten years ago SAM I've only been here five. Right now it feels like ten, but LILA All right! Then call! At least, call! Mrs. Chambers goes to phone, dials operator. MRS. CHAMBERS into phone Florrie, the Sheriff wants you to connect him with the Bates Motel. She hands the receiver to the Sheriff. He takes it, reluctantly, listens to the dim sound of RINGING on the other end. After a moment: SHERIFF into phone Norman? Sheriff Chambers. listens Been just fine, thanks. Listen, we got some worries here. Did you have a man stop out there tonight listens Well, this one wouldn't be a customer, anyway. A private detective, name of MRS. CHAMBERS Arbogast. SHERIFF into phone Arbogast. listens And after he left? listens No, it's okay, Norman. How's it been going out there? listens Well, I think you oughta unload that place and open up closer in to the action, a smaller place, you know but LILA Please! SHERIFF into phone Sorry I got you up, boy. Go back to sleep. Yeah, be glad to. hangs up, turns to Mrs. Chambers Said to give you his regards. SAM faint irony Was that all? SHERIFF This detective was out there and Norman told him about the girl and the detective thanked him and went away. LILA And he didn't go back? Didn't see the mother? The Sheriff looks long at Lila, shakes his head sympathetically. SHERIFF You should've called in the police the second you found your sister has skipped. You go starting private investigations, using people you don't even know LILA What difference does that SHERIFF Your Detective told you a nakedfaced lie. MRS. CHAMBERS Barefaced. SHERIFF He told you he wasn't coming right back cause he wanted to question Norman Bates' mother, right? LILA Yes. SHERIFF a pause, then calmly Norman Bates' mother has been dead and buried in Greenlawn Cemetery for the last ten years! There is a long silence. Sam and Lila stare at the Sheriff. MRS. CHAMBERS I helped Norman pick out the dress she was buried in. Periwinkle blue. SHERIFF It ain't only local history, Sam, it's the only murder-and-suicide case in Fairvale ledgers! Mrs. Bates poisoned this guy she was involved with, when she found out he was married, then took a helping of the same stuff herself. Strychnine. Ugly way to die. MRS. CHAMBERS Norman found them dead together. In bed. SAM You mean that old woman I saw sittin' in the window wasn't Norman Bates' mother? MRS. CHAMBERS hopefully, happily Maybe you saw Mary! SAM I'd know the difference between Mary and an old woman. SHERIFF Now wait a minute, Sam. You sure you saw an old woman? SAM Yes! In the house behind the motel. I pounded and called but she just ignored me. SHERIFF And you want to tell me you saw Norman Bates' mother. LILA It must've been. Arbogast said so, too and he said the young man wouldn't let him see her because she was ill! The Sheriff stares at both of them, and when he finally speaks there is an almost inaudible tone or irony in his voice. SHERIFF Well, if the woman up there is Mrs. Bates who's that woman buried out at Greenlawn Cemetery? QUICK  NORMAN'S PARLOR BEHIND OFFICE NIGHT Norman sits in the dim, one-lamp light, the phone next to him, his hand still near it as if he had not been able to move his hand after hanging up. He is staring at the shrike like bird which is perched on the lamp shade. Decision and resolution are beginning to show in his face. Suddenly he rises, starts quickly out of the room, tries to switch off the lamp as he goes and in so doing succeeds only in knocking the bird off the shade. He watches it fall, does not try to catch it. It hits the floor with a thud and sawdust spills out. He stares sadly at it, for a moment, then tends down, scoops up the sawdust, tries to press it into the split seam, picks up the bird, puts it in a drawer. Then he puts out the lamp, goes out, crosses the darkened office and goes outside. MOTEL AND HOUSE NIGHT Norman comes off the porch, walks to the path and directly up to the house, opens the door and goes in. DOWNSTAIRS HALLWAY AND STAIRWAY NIGHT SHOOTING UP THE STAIRS Norman goes up, pauses 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. Then we hear the cold shot of his mother's derisive laughter. MOTHER'S VOICE I am sorry, boy, but you do manage to look ludicrous when you give me orders! NORMAN'S VOICE Please, mother MOTHER'S VOICE Sharp, laughter all gone No! I will not hide in the fruit cellar! A shrill laugh Think I'm fruity, huh? Hard, cold again I'm staying right here! This is my room and no one will drag me out of it least of all my big bold son! NORMAN'S VOICE Rising now, anxiously They'll come now, Mother. He came after the girl and now someone will come after him! How long do you think you can go on Mother, please, just for a few days, just so they won't find you! MOTHER'S VOICE Mimicking Just for a few days Furious In that dank fruit cellar? No! You hid me there once, boy, and you won't do it again! Not ever again! Now get out! A pause, quiet I told you to get out, boy! A longer pause Norman! What do you think you're going to do? Don't you touch me! Don't! Norman! A pause, then cajolingly All right, son, put me down and I'll go. I'll go on my own two feet. I can go on my own two feet, can't I? During all this the CAMERA has been slowly creeping up the stairs. It does not stop at the top however, but continues on the same high angle that we had in Scene . She starts to laugh, a terrible sound like an obscene melody. NORMAN'S VOICE I'll carry you, mother. Norman comes out of the room, his mother held in his arms, her head leaning against his shoulder. He carries her down the stairs, along the lower landing to the cellar stairs, and then down those stairs to the basement. FAIRVALE PRESBYTERIAN CHURCH MORNING An overcast morning, but a sunny-faced crowd. The service is just over, 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 away. Amongst the crowd, waiting and searching the faces, are Sam and Lila. In their expressions there is no peace, no contentment. CAMERA MOVES IN CLOSE. They are not speaking. Lila looks as if she has had no sleep. Suddenly, Sam becomes alert, takes Lila's arm, starts toward the church. CAMERA MOVES WITH THEM, stops as they approach Sheriff and Mrs. Chambers. The Sheriff stares rather sympathetically at Lila. Mrs. Chambers smiles nicely. SAM We thought, if you didn't mind, we'd go out to the motel with you. MRS. CHAMBERS He's already been. SHERIFF Went out before service. MRS. CHAMBERS Have you two had breakfast? SAM To Sheriff, not a question You didn't find anything. SHERIFF Nothing. Here, let's clear the path. He moves away and the others follow. CAMERA PANS them to the curb. LILA Interrupting Did he say anything about my sister? SHERIFF Just what he told your detective. She used a fake name, saw the register myself. Saw the whole place, as a matter of fact. That boy is alone there. SAM No mother. SHERIFF You must've seen an illusion, Sam. Now, I know you're not the seeing illusion type But no woman was illusion there and I don't believe in ghosts, so there it is! LILA I still feel SHERIFF Can see you do. Sorry I couldn't make you feel better. You want to come to my office this afternoon and report a missing person And the theft, is what you want to do! Sooner you drop this thing in the lap of the law, that's the sooner you'll stand a chance of your sister bein' picked up. How about that? LILA I don't know. MRS. CHAMBERS It's Sunday. Come over and do the reporting at the house, 'round dinner time. Make it 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, starts away. The Sheriff nods as he goes. Sam and Lila are alone now, at the curb, before the deserted chapel. For a long moment they just stand there, their faces as gray and overcast as the sky. SAM Maybe I am the seeing-illusions type. LILA You're not. Sam takes her arm, starts walking her up the street toward the spot where his pick-up truck is parked. CAMERA FOLLOWS them. SAM Want me to drop you at the hotel? Or you want to come over to the store? Lila does not answer. They reach the truck. Lila looks directly at Sam as he helps her into the cab. LILA I won't feel satisfied unless I got out there, Sam. SAM Neither will I. He slams the door, hurries around truck, gets into driver's seat, starts motor. As the truck drives off, SAM AND LILA IN TRUCK PROCESS HIGHWAY For a moment, both are silent; Sam watching the road as if there were other cars on it, Lila staring at nothing in particular, except perhaps her own inner fear. LILA I wonder if we'll ever see Mary again. SAM Of course we will. LILA Alive. Sam looks as if he'd like to say something humorous, something to cheer her. He cannot. He remains silent. LILA We lived together all our lives. When we woke up one morning and found ourselves orphans, Mary quit college and got a job, so I could go to college. SAM Where'd you go to college? LILA I didn't. I got a job, too. A pause I wonder if that hurt her, my not letting her sacrifice for me? Some people are so willing to suffer for you that they suffer more if you don't let them. SAM Almost to himself She was willing to lick the stamps. Lila looks quizzically at him, is too concerned to pursue it. LILA I wonder so many things about her now. Why she never told me about you Funny, when you think there's an answer to everything, you think you know all the answers. SAM We were going to get married. Are going to get married! LILA Do you know how I found out about you? I found one of your letters it was a nice letter, Sam. SAM This is the old highway. LILA I suppose when you were able to marry her she'd have presented you, all shiny and proper she always tried to be proper. SAM Watch your tenses. LILA Huh? SAM She always tries to be proper. Sam slows the truck to a stop, sighs, starts to light up a cigarette. Lila looks questioningly and impatiently at him. LILA You going to wait here for me? SAM I'm going with you. But we'd better decide what we're going to say and do when we walk in LILA We're going to register. As man and wife. And get shown to a cabin and then search every inch of that place, inside and outside. SAM You won't believe it Starts motor But this will be the first time I've ever pulled one of those man and-wife-renting-cabin capers! LILA A tiny smile, first in hours I believe it. As truck starts to drive on, THE BATES MOTEL AND HOUSE DAY The place is empty and silent and washed dirty by the deep gray of the cloudy sky. We see Sam's truck turning into the driveway and pulling to a stop. After a moment, Sam and Lila get out of the truck. FRESH ANGLE Close on Sam and Lila as they meet on the porch side of the truck. The motel office and the house beyond can be seen in b.g. of shot. Sam and Lila merely stare for a moment, then turn and gaze up at the house. There is no figure in the window and the shade is drawn. Same goes to the office door, peers in, knocks, opens door, enters. Lila remains on the driveway, beside the truck. THE MOTHER'S ROOM DAY CLOSE ANGLE on Norman standing by the window. He has pulled the curtains very slightly apart, is staring out and down at the motel, his eyes studying the lone figure of Lila, who is standing by the truck and looking up at the house. Norman studies her, and as her eyes look up at this very window he closes the curtains, turns away. We see the suspicion and fear in his face, the surge of panic and his struggle to contain it. Then he goes away. CAMERA remains on window, shooting out and down, and through the frail curtains we can see Sam as he comes out of the motel office and joins Lila. MOTEL OFFICE CLOSE ON SAM AND LILA SAM Unconsciously whispering I wonder where Norman Bates does his hermiting? LILA Someone was at that window. I saw the curtain move. Sam takes Lila's arm. SAM Come on. He starts with her toward the path which leads to the old house. CAMERA PANS with them, and as they turn around the office corner, they see Norman coming down the path toward them. They pause and Norman pauses. He does not smile, nor speak. His usual grin and soft friendliness are gone; containment and impassivity lie in their place. SAM Cheerfully Just coming up to ring for you. NORMAN Coming forward I suppose you want a cabin. SAM We'd hoped to make it straight to San Francisco, but we don't like the look of that sky. Looks like a bad day coming doesn't it. Norman walks past Sam, giving him the sort of quick, disapproving glance one gives a man who is obviously lying, goes onto the porch and into the office. Sam and Lila follow Norman. MOTEL OFFICE DAY Norman crosses to the desk, goes behind it, takes the key to cabin number twelve off the keyboard. Sam and Lila have entered and are almost to the desk-counter by this time. NORMAN I'll take you to SAM Better sign in first, hasn't we? Sam eyes scan the counter, looking for a registration book. NORMAN It isn't necessary. SAM Interrupting with a friendly cheerfulness Uh, uh! My boss is paying for this trip ninety percent business and he wants practically notarized receipts. I better sign in and get a receipt. Norman stares at Sam, as if he'd like to yell at him, call him 'liar.' Instead he reaches under the desk counter, brings out the registration book. Lila moves closer, studies the book as Sam signs in. Sam signs 'Joe and Mrs. Johnson.' The signature and city of 'Marie Samuels' and after it, the notation 'Cabin One,' can be clearly seen three registrations above Sam's. When Sam has finished he closes book, hands it back to Norman. Norman does not take it, starts out from behind counter. NORMAN I'll get your bags. SAM Haven't any. NORMAN after a stare I'll show you the cabin. As he starts for the door, Sam laughs. Norman stops, turns, looks at him. SAM First time I've seen it happen. to Lila Check in any place in this country without bags, and you have to pay in advance. Sam smiles as if at a funny remark, takes a bill out of his pocket. NORMAN Ten dollars Norman returns to Sam, takes the extended bill, is about to start out again. SAM That receipt...? Norman goes reluctantly behind counter, lays down the key to cabin twelve, takes a receipt book out of the drawer under counter, starts to write. Lila steps up to the desk, picks up the key, quickly, starts out. LILA I'll start ahead. Norman looks up, gazes her as she goes out door. THE MOTEL DAY Lila comes along the porch, pauses before cabin one, tries the door. It opens. She closes it quickly as she hears Sam and Norman coming out of the motel office, continues on down the porch. SAM To Norman, who is following Don't bother yourself we'll find it. He goes on down the porch, doesn't even glance at cabin one, walks quickly and catches up to Lila just as she reaches cabin twelve. CAMERA REMAINS with Norman, who is standing by the office door, looking after Sam and Lila, his face alert and no longer impassive. He waits a moment, after they have closed their cabin door, then crosses to the pickup truck. CAMERA MOVES with him. He studies the truck, then leans in through the driver's window, twists the registration card around, reads it. It gives the correct name and address of Sam Loomis. Norman comes back out of the window, glances once more toward cabin twelve, then at the old house. His suspicions are confirmed, and now there is the relaxation of relief in his face. He takes on a purposeful air, turns, strides up the path, up onto the porch of the house, opens the door, goes in. CABIN TWELVE DAY Lila is at the cabin's rear window, looking out, straining for a glimpse of the old house, which cannot be seen from the window of this cabin. She turns, frustrated, anxious. Sam is standing at the foot of the bed, staring at the smooth coverlet, his brow creased in a sadness. LILA We should have asked for Cabin One The one Mary was in. SAM I'm glad we didn't. He pulls his eyes from the bed, crosses to the desk, sits wearily, lights a cigarette. Lila watches him for a moment, feels a real compassion, goes to the bed, sits on its edge, turns again and looks at Sam's back. LILA We have to go into that cabin and search it, Sam no matter what we're afraid of finding and no matter how much it may hurt. SAM I know. A pause Do you think if something happened, it happened there? LILA A pause, then:) Sam, if you owned a useless business like this motel one you probably couldn't even sell what would you need to get away, to start a new business, somewhere else? As Sam studies her Forty thousand dollars? SAM How could we prove An almost hopeless laugh Well, if he opens a new motel on the new highway say, a year from now LILA There must be some proof that exists right now! Something that proves he got that money away from Mary Some way! SAM What makes you sound so certain? LILA Arbogast! Sam, he liked me or felt sorry for me and he was starting to feel the same about you. I heard it when he called in his voice, a caring. He wouldn't have gone anywhere or done anything without telling us. Unless he was stopped. And he was stopped, so he must have found out something! Sam considers a moment, nods agreement, rises. SAM We'll start with Cabin One. He goes to the door, opens it slightly, looks out, then, back to Lila: SAM If he sees us we're just taking the air. Lila goes to the door. He holds it open and she goes out. THE MOTEL DAY Sam closes the door, joins Lila, takes her hand. Together they walk along the porch in the direction of Cabin One. CAMERA FOLLOWS. They pause before the door of Cabin One. Sam motions Lila to wait, to hold still, then goes on to the office, opens the door, calls in: SAM Bates? He waits, there is no response. He goes in and in a moment comes back out, closes the door, goes to Lila. She has already opened the door of Cabin One and has started to enter. CABIN ONE DAY The blinds are closed and the room is almost night-dark. Sam comes in after Lila, closes the door behind him. For a moment they just gaze at the room, as if willing it to tell them some satisfactory story. Neither speaks. Then, in dark silence, they begin to search, going methodically and thoroughly through all drawers, the closet, the desk, searching under the bed and in dark corners, not knowing what they expect to find and yet expecting to find some thing. Lila opens the bathroom door, looks in. The windowless room is very dark. She switches on the light, goes in. Sam moves toward the bathroom, is about to follow her in when he notices which room it is and automatically catches himself up, backs out. SAM Sorry. LILA Hospital clean. SAM What? LILA The bathroom. Look at how clean it is. The one in our cabin is clean but this is clean! Sam goes in, glances around, nods. Lila goes through the medicine cabinet, finds nothing but a glass and two tiny tabs of soap. Sam leans against the door-jamb, looks at the tub, the shower pipe above it. He continues to stare, more interested suddenly, as if bothered by some off-key evidence he can't put his finger on. Then he looks at the shower curtain rod. And realizes there is no shower curtain. He frowns, is about to say something when Lila, who has been momentarily out of shot, interrupts. Sam turns, CAMERA TURNS, and we see Lila is standing above the toilet bowl, a tiny piece of wet paper stuck to the tip of her right index finger. SAM What is it? LILA It didn't get washed down. It's figuring the kind you tear up and get rid of. Extending her finger toward Sam Some figure has been added to or subtracted from forty thousand. Sam lifts the piece of paper off her finger, studies it, takes out his wallet, presses the wet scrap to his driver's license shield, puts it back in the wallet and puts the wallet away. LILA That's proof Mary was here! It would be too wild a coincidence for somebody else to SAM Reminding Bates never denied Mary was here. LILA Reminded Yes. A thought But maybe this proves that Bates found out about the money. SAM Do we simply ask him where he's hidden it? LILA Sam, that old woman, whoever she is. I think she told Arbogast something! And I want her to tell us the same thing! She starts out of the bathroom. Sam takes hold of her arm, stops her. SAM You can't go up there. LILA Why not? SAM Bates. CAMERA STARTS TO PAN AWAY from them, moves slowly over the room, very slowly. LILA'S VOICE Let's find him. One of us can keep him occupied while the other gets to the woman. SAM'S VOICE You won't be able to hold him still if he doesn't want to be held. And I don't like you going into that house alone, Lila. CAMERA HAS PANNED clear across to the opposite wall now, and is moving up closer and closer to the tiny-flowered wall paper, finally closing in on one small rosebud. LILA'S VOICE I can handle a sick old woman. Now we see that the rosebud has been cut out, that this is the reverse side of the hole Norman peeped through to watch Mary. And we see the pupil of Norman's eye now. SAM'S VOICE All right. I'll find Bates and keep him occupied. The eye moves away and there is a brief flash of light before the hole is covered, on the other side, by the wall-hung painting. FRESH ANGLE LILA AND SAM They are about to start out. Sam stops her again. SAM Wait a minute. If you get anything out of the mother A thought Can you find your way back to town? As Lila nods yes If you do get anything, don't stop to tell me. Lila nods quickly, hurries to the door. Sam gets to it first, opens it a slight crack, looks out, then opens it wide enough for Lila and Himself to pass through. THE MOTEL DAY ANGLE CLOSE on cabin one as Lila comes out, turns to her left, goes along porch toward cabin twelve. Sam remains at the door, then turns right, heading for the path. As he passes the office, he is shocked to see Norman standing just inside the open door. NORMAN Looking for me? SAM Recovering Yes, matter of fact. The friendly grin The wife's taking a nap and I can never keep quiet enough for her so I thought I'd look you up and talk. NORMAN Satisfied with your cabin? SAM Fine. Sam starts into the office. Just before going in, he glances down the long porch, sees Lila standing outside the door of cabin twelve, waves her a tiny 'all clear' signal. LILA CAMERA ANGLES to include Lila and her point of view. She watches Sam disappear 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 of this L of cabins, starts toward it. REAR OF MOTEL S.C.U. LILA DAY Behind the motel Lila hesitates. She looks ahead. LONG SHOT DAY The old house standing against the sky. CLOSE UP DAY Lila moves forward. LONG SHOT DAY The CAMERA approaching the house. CLOSE UP DAY Lila glances toward the back of Norman's parlor. She moves on. LONG SHOT DAY The house coming nearer. CLOSE UP DAY Lila looks up at the house. She moves forward purposefully. S.L.S. DAY The house and the porch. CLOSE UP DAY Lila stops at the house and looks up. She glances back. She turns to the house again. S.L.S. DAY The CAMERA MOUNTS the steps to the porch. C.U. DAY Lila puts out her hand. S.C.U. DAY Lila's hand pushes the door open. We see the hallway. Lila ENTERS PAST CAMERA. DOWNSTAIRS HALLWAY OF OLD HOUSE DAY Lila closes the door, remains by it for a moment, quiet, listening. Her eyes scan the layout, the closed door which leads off the hallway, to the dining room on the right and the parlor on the left. Down at the end of the hall is the kitchen, the door wide open, the room beyond dim and silent. She notices the stairs leading down to the basement, stares at them, then back to the stairs leading to the second floor. She starts forward, and seems about to investigate the parlor and dining room. THE MOTEL OFFICE DAY Norman is behind the counter, standing, staring at Sam who is sitting relaxedly on a small sofa. Norman has the look of one who is protecting himself, as if the counter were a protective wall against the threatening world across it. SAM Cheerfully, as if after a self-conscious pause I've been doing all the talking so far, haven't I? NORMAN Yes. SAM I always thought it was the people who are alone so much who do all the talking when they get the chance. Yet there you are, doing all the listening! A pause You are alone here, aren't you? As Norman does not reply It would drive me crazy. NORMAN That would be a rather extreme reaction, wouldn't it? SAM Lightly Just an expression More seriously What I meant was I'd do just about anything to get away. Wouldn't you? DOWNSTAIRS HALLWAY AND STAIRS OF OLD HOUSE DAY Lila is halfway up the stairs. As she climbs she is startled by the creaks and groans of the old wood of the steps. She steps more carefully. CAMERA remains at foot of stair, TILTING UP as Lila climbs. She pauses at the head of the stair. The door on her right, which opens into the mother's room, is closed. To her left is another door, half-open. Directly before her is a third door, closed. She holds a long moment, trying to picture in her mind which room would look out on the front of the house, decides, chooses the correct door, the one on her right. She goes to it, knocks lightly. THE MOTHER'S ROOM DAY CLOSE ANGLE ON DOOR We hear Lila's second knock, then, faintly, her soft call. LILA'S VOICE Mrs. Bates? There is quiet for a moment, then the door begins to open, and we see Lila. She stands on the threshold, looking in at the room, instantly disturbed by it, almost chilled, her expression indicating an impulse to close the door and go away from this room forever. After a moment, she enters, leaving the door open behind her. CAMERA PULLS BACK AND AWAY and we now see the room as Lila sees it. It is ornate, damask-and-mahogany, thick and warm and ripe, an olla podrida of mismated furnishings and bric-a-brac of the last century. The bed is four poster, but uncanoped; the dressing table is fancy and flounced with satin; there is a great chiffonier, a big-doored wardrobe, a large, oval, full length pier-glass this against the wall directly opposite the door), a satin recamier, an upholstered armchair by the window, a white marble fireplace, its grate cold but piled with ashes. And there is in the room an unmistakably live quality, as if even though it is presently unoccupied, it has not been long vacated by some musty presence. Lila glances at the bed. The damask coverlet is thrown over it, but it is not neat, there is the imprint of a body on it, a body which obviously has slept in a curled-up, womb like position. Lila stares at it for a moment, up, then goes to the dressing table. Its top is scattered with boxes and jars of cosmetics and creams, traces of fresh powder, an opened bottle or perfume, a comb, and a brush with traces of hair in its bristles. Lila moves on, catches a glimpse of herself in the pier-glass, is startled, turns away, goes to the chiffonier, is about to open a drawer, sees the high wardrobe out of the corner of her eyes, goes to it, hesitantly. She opens one door. Fresh, clean, well pressed dresses hang neatly. Lila opens the other door. The sweaters and dresses and robes hang freely, none in moth-proof, storage type bags. There is even a well-brushed collar of foxes. Along the floor of the wardrobe is a line of clean, polished shoes. Lila stares, then closes the door, turns, looks once again over the whole room, starts out, THE UPSTAIRS HALLWAY OF THE OLD HOUSE DAY Lila comes out of the mother's room, closes the door behind her, looks down the stairs, then starts across the hall to the room whose door is half-open. The room within is dark, the shades drawn full. Lila pauses on the threshold, reaches in, feels the wall, throws on a switch. MOTEL OFFICE DAY Sam has risen, is standing by the counter now. SAM I'm not saying you shouldn't be contented here, I'm just doubting that you are. I think if you saw a chance to get out from under you'd unload this place NORMAN Angrily This place! This isn't 'a place.' It's my only world. I grew up in that house back there. I was a happy child. My mother and I we were more than happy. SAM And now that your mother's dead? Norman snaps a sharp, fast, ugly look at him. NORMAN My mother is not dead! SAM Softly I didn't think so. NORMAN'S ROOM IN THE OLD HOUSE DAY Lila is standing in the doorway, staring at the room in sick dismay. The room is grotesque, a horrible, ludicrous fantasy of childhood held beyond the point of decency. It is a small room. The walls are fancied with romping silhouettes of teddy-bears and sailboats and carousels and fat cows jumping over aghast moons. The bed is small, far too short for a man of Norman's height. And yet the rumpled covers indicate that it is in this bed that Norman sleeps. Next to the bed is an old-fashioned toy chest. On its top there are a bird-in-a-cage lamp, a plain-bound book, and an ash tray filled with ashes and cigarette stubs. A grown man's shirt hangs on a child's clothes tree. Against one wall there is a narrow, high bookcase filled with thick, unchildish-looking books. On the small, white chest of drawers there is an old, child's victrola. The record on the turntable is discovered, on close inspection, to be Beethoven's Eroica Symphony. Lila studies the room, fascinated and repelled. She glances at the bookcase, comes into the room, goes to the bookcase and pulls out a thick, large, plain-bound book. She opens it. Her eyes go wide in shock. And then there is disgust. She slams the book closed, drops it. THE MOTEL OFFICE DAY Norman, behind the counter, has moved back against the wall. Sam is still on the other side of the counter, but is leaning forward, his eyes hard on Norman's face. Norman's face is no longer expressionless. It has the stark, high sheen of a cornered animal. SAM Pressing You look frightened. Have I been saying something frightening? NORMAN I don't know what you've been saying. SAM I've been talking about your mother about your motel. How are you going to do it? NORMAN Do what? SAM Buy a new one! In a new town! Where you won't have to hide your mother! NORMAN Shut up! SAM Where will you get the money to do that, Bates or do you already have it socked away a lot of it NORMAN Leave me alone! SAM Forty thousand dollars! NORMAN Leave me alone! He is close to panic now. He turns, swiftly, dashes back into his private parlor. Sam goes quickly around the counter, follows. NORMAN'S PRIVATE PARLOR DAY Norman hears Sam following, wants to run, to never be reached by this man. He crosses the small room, drawn to the rear window, as if he might fly through it. Sam enters, pauses. Norman turns, back against the window, as unable to fly away as are the many still, stuffed birds. Sam registers a brief flicker of reaction when he sees the birds, but continues to gaze at Norman, hard. SAM I bet your mother knows where the money is. And what you did to get it. And I think she'll tell us. Something self-assured and confident in Sam's tone gives Norman a new, more terrified alarm. He turns his head, glances out the window at the old house. He looks back at Sam and there is terror in his voice. NORMAN Where's that girl? The girl you came with! Where is she? Sam does not respond, smiles a half-smile, turns to examine a stuffed owl. Norman looks back at the house. NORMAN A horrible groan Oh, God! UPSTAIRS HALL OF THE OLD HOUSE DAY Lila, shaken and disturbed, almost sickened, is coming out of Norman's room. She has left the light on. She pauses in the middle of the landing, looks at the closed door opposite the stairs, goes to it, opens it, sees that it is the bathroom, pulls the door to, turns, starts toward the stairs. NORMAN'S PRIVATE PARLOR DAY Sam is lying on the floor, face downward, unmoving. A candlestick is on the floor, close by his head, still rocking as if just dropped. OVER SHOT comes the SOUND of Norman's footsteps and CAMERA TURNS in time to catch a brief glimpse of him going out into the office, almost at a run. STAIRWAY OF THE OLD HOUSE DAY Lila is on the top step, looking down toward CAMERA. She is listening, hoping to hear some human sound, some sound she might follow, pursue. She hears nothing. She starts down the stairs. Just below the halfway step, she looks at the front door, sees out through the door window: LILA'S VIEWPOINT DAY Norman coming. STAIRWAY OF THE OLD HOUSE DAY For a moment Lila panics, then she hurries down the steps, cannot go in the direction of the front door, remembers the stairway behind her, turns and runs in that direction. The SOUND of Norman bounding up the porch steps can be heard. Lila turns and dashes down the stairs which lead to the basement, going down far enough to conceal herself, crouching there. Norman enters the hallway, closes the door softly, listens. He glances once in the direction of the basement stairs. He seems about to smile, when suddenly all expression vanishes from his face, and he appears to enter a no-place, no-time state. He crosses to the stairway, goes up. Lila remains crouched on the basement stairs, listening to the SOUNDS of Norman. His footsteps on the stairs followed by the fast noises of doors opening, of fast moving about an upstairs room. Convinced that he is searching the upstairs for her, she decides to chance an escape. She starts up the steps, is about to turn into the hallway when her eye is caught by a glimmer of light down in the basement. She pauses, looks down, sees the crack of light coming from behind the not entirely closed door to the fruit cellar. The swift moving SOUNDS of Norman continue to come from upstairs. Lila is torn, knows she should get out of the house while she has the chance, is unable to resist the 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 quickly down the stairs. THE BASEMENT OF THE OLD HOUSE DAY Lila reaches the bottom, stops, listens, hears the stairboards creaking as footsteps fall hard and measured upon them. She turns, pulls open the fruit cellar door, looks in. The woman is sitting in a comfortable chair, the back of the chair, and the woman, turned to the door. Lila calls a harsh, frightened whisper. LILA Mrs. Bates...? Lila goes into the room. THE FRUIT CELLAR Lila goes to the chair, touches it. The touch disturbs the figure. It starts to turn, slowly, stiffly, a clock-wise movement. Lila looks at it in horror. It is the body of a woman long dead. The skin is dry and pulled away from the mouth and the teeth are revealed as in the skeleton's smile. The eyes are gone from their sockets, the bridge of the nose has collapsed, the hair is dry and wild, the cheeks are sunken, the leathery-brown skin is powdered and rouged and flaky. The body is dressed in a high-neck, clean, well-pressed dress, obviously recently laundered and hand-ironed. The movement of this stuffed, ill-preserved cadaver, turning as if in response to Lila's call and touch, is actually graceful, ballet-like, and the effect is terrible and obscene. Lila gazes for one flicker of a deathly moment, then begins to scream, a high, piercing, dreadful scream. And Lila's scream is joined by another scream, a more dreadful, horrifying scream which comes from the door behind her. NORMAN'S VOICE screaming Aye Am Norma Bates! Lila turns. NORMAN His face is contorted. He wears a wild wig, a mockery of a woman's hair. He is dressed in a high-neck dress which is similar to that worn by the corpse of his mother. His hand is raised high, poised to strike at Lila. There is a long breadknife in it. LILA Close on her face. She is dumb-struck. Her eyes are screaming. BACK TO NORMAN As he is about to start forward, a man's hand reaches in from the doorway behind, grabs Norman's wrist. Sam comes through the door, still holding tight to the wrist, pulling back the arm and at the same time throwing himself at Norman, football tackle style. SERIES OF CUTS THE FIGHT Norman and Sam, struggling. The wild fury in Norman's face, the mad noise of his screams and vile curses. The terrified, fight-to-the-death look of Sam. The still, staring Lila. MRS. BATES A close of her face, She appears to be watching and enjoying the fight. Over the shot, the SOUNDS of the struggle, the screams of Norman. COURTHOUSE AT READING NIGHT There are many people gathered about the steps, the curious and the concerned and the morbid. At the curb, a couple of newspaper cars, two or three police cars, and a mobile unit truck from the local television outlet. There is noise, and chattering as questions are asked and answers given, and the sounds of traffic, and of the television equipment being moved into the courthouse, for on-the-scene reporting, and the stern voices of policemen trying to keep people back. The scene has a bright glare about it, that quality of sudden light thrown on a fearful darkness. CLOSER ANGLE ON STEPS OF COURTHOUSE A POLICEMAN trying to make way for the television men, muttering 'keep back,' etc., to the spectators. A TELEVISION MAN, carrying a piece of equipment goes through door, and CAMERA FOLLOWS him into the courthouse vestibule. Here, too, there is a crowd, composed of Policemen, Reporters, Television Men. The Television Men we have been following stops beside a Policeman. TELEVISION MAN Indicating the front door he has just come in through You think they'll take him out that way? POLICEMAN Looking at waiting crowd, shrugging Probably have to. A rueful smile Besides, the taxpayers hate it when something gets slipped out the back door on them! Over this exchange, the buzz of other voices, the movement of men. CAMERA MOVES ON, down the corridor, gets to the door of the office of the Chief of Police just as a young fellow with a carton box filled with paper containers of sent-out for coffee reaches this door. CAMERA HOLDS as the COFFEE BOY pauses a moment, then goes into the room. OFFICE OF THE CHIEF OF POLICE NIGHT Lila is seated in a chair, Sam standing close by. A bit apart from them, we see Sheriff Chambers, in quiet conference with the CHIEF OF POLICE, the COUNTY SHERIFF, the DISTRICT ATTORNEY. The Coffee Boy stands in the doorway. Sam goes to him, takes a container of coffee from the box, carries it to Lila, checking the notation on the lid as he goes. MED. CLOSE ON SAM AND LILA SAM quietly It's regular. Okay? LILA ruefully I could stand something regular. Sam smiles encouragingly, hands her the coffee. Sheriff Chambers ENTERS SHOT, gives Sam a container of coffee he has brought for him. Sam takes it, nods a thank you. For a moment no one speaks. Lila looks badly shaken, Sam disheveled, but contained. CHAMBERS You two can go on home if you like. a sympathetic look at Lila Making that statement was enough for one night. SAM to Lila Want to? LILA No. I'm all right. I'll feel better when all this is explained if it can be. Sam looks a question at Sheriff Chambers. Chambers shrugs doubtfully. CHAMBERS If anybody gets any answers, it'll be the fellow talking to him now the Psychiatrist. Even I couldn't reach Norman and he knows me. to Lila You warm enough, Miss? Lila is about to answer, when she sees someone come into the room and rises anxiously. Sam and Sheriff Chambers turn, follow her gaze. OFFICE OF CHIEF OF POLICE FULL SHOT A young man with a serious, frowning face has just come into the room. He is DR. SIMON, the Psychiatrist. He goes to the desk where the box of coffee containers has been placed, takes up a container. DISTRICT ATTORNEY Did he talk to you? SIMON No. I got the whole story but not from Norman. I got it from his mother. Everyone gazes at him, mystified. He speaks as he removes lid from coffee container. SIMON Norman Bates no longer exists. He only half-existed to begin with now, the other half has taken over. Probably for all time. LILA With difficulty Did he kill my sister? SIMON Yes and no. DISTRICT ATTORNEY Look, if you're trying to lay a lot of psychiatric groundwork for some sort of plea this fellow would like to cop SIMON A psychiatrist doesn't lay the groundwork he merely tries to explain it. LILA But my sister is SIMON Yes. I'm sorry. to Chambers The Private Investigator, too. If you drag that swamp somewhere in the vicinity of the motel To the Chief of Police Have you any unsolved missing persons cases on your books? CHIEF OF POLICE Yes. Two. SIMON Young girls? CHIEF OF POLICE nods, astounded, then:) Did he confess to SIMON interrupting As I said, the mother Pauses, goes on afresh To understand it, as I understood it hearing it from the mother That is, from the mother-half of Norman's mind, you have to go back ten years to the time when Norman murdered his mother and her lover. A pause, then as no one interrupts He was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman and for years the two of them lived as if there was no one else in the world. Then she met a man and it seemed to Norman she 'threw him over' for this man. That pushed him over the thin line and he killed them both. Matricide is probably the most unbearable crime of all and most unbearable to the son who commit it. So he had to erase the crime, at least 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' it 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 half his life, so to speak. At times he could be both personalities, carry on conversations at other times, the mother-half took over completely. He was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed she was as jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild. To Lila When Norman met your sister, he was touched by her and aroused by her. He wanted her. And this set off his 'jealous mother' and 'mother killed the girl.' After the murder, Norman returned as if from a deep sleep and like a dutiful son, covered up all traces of the crime he was convinced his mother had committed. SAM Why was he dressed like that? DISTRICT ATTORNEY He's a transvestite! SIMON Not exactly. A man who dresses in woman's clothing in order to achieve a sexual change or satisfaction is a transvestite. But in Norman's case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And whenever reality came too close, when danger or desire threatened that illusion, he'd dress up, even to a cheap wig he brought, and he'd walk about the house, sit in her chair, speak in her voice He tried to be his mother. A sad smile And now he is. A pause That's what I meant when I said I got the story from the mother. She thinks Norman has been taken away because of his crimes. She insists she did nothing, that Norman committed all the murders just to keep her from being discovered. She even smiled a bit coquettishly as she said that. Of course, she feels badly about it but also somewhat relieved to be, as she put it, free of Norman, at last. A pause When the mind houses two personalities, there is always a battle. In Norman's case, the battle is over and the dominant personality has won. Lila begins to weep softly, for Mary, for Arbogast, for Norman, for all the destroyed human beings of this world. Sam bends beside her, puts his arm about her, comforts her. CHAMBERS To Simon And the forty thousand dollars? Who got that? SIMON The swamp. These were murders of passion, not profit. A POLICE GUARD puts his head in the door, speaks, in a near whisper, to the Chief of Police. The Guard is carrying a folded blanket over his arm. POLICE GUARD He feels a little chill can I bring him this blanket? The Chief of Police nods. The Guard goes away, and CAMERA FOLLOWS him out of the room and out into the hallway. Guard moves through the waiting men, heading down the corridor. ANOTHER CORRIDOR IN COURTHOUSE A narrower corridor in the rear of the building. In f.g. of shot, we see a door, the top half of which is wire-covered glass. A GUARD in uniform is posted by the door, looking reprovingly at the two or three people trying to get a glance into the room. The Police Guard, carrying the blanket, comes down this corridor, goes to the door. CAMERA MOVES CLOSE. The uniformed Guard opens the door, allows the man to go in. Shot is RAKED so that we can not see into the room. After a moment, the Guard comes out and the uniformed Guard closes and locks the door and we NORMAN'S DETENTION ROOM NIGHT The walls are white and plain. There is no window. There is no furniture except the straight-back chair in which Norman sits, in the center of the room. The room has a quality of no-whereness, of calm separation from the world. The Police Guard has placed the blanket on Norman's knees. Norman, as we come upon him, is lifting the blanket, unfolding it. His face, although without makeup and without the surrounding softness of the wig, has a certain femininity about it, a softness about the mouth and a kind of arch womanliness about the brows. Calmly, Norman places the blanket about his shoulders, as if it were a cashmere shawl. CAMERA REMAINS in a position so that our view of Norman is a FULL ONE. When the shawl is in position, and Norman is settled, we HEAR, OVER SHOT, the voice of his mother, coming from the calm of his thoughts. MOTHER'S VOICE It's sad when a mother has to speak the words that condemn her own son but I couldn't allow them to believe that I would commit murder. A pause They'll put him away now as I should have years ago. He was always bad. And in the end, he intended to tell them I killed those girls and that man. As if I could do anything except just sit and stare like one of his stuffed birds. A pause Well, they know I can't even move a finger. And I won't. I'll just sit here and be quiet. Just in case they do suspect me. A fly buzzes close, and then continues buzzing and flying about Norman's face. MOTHER'S VOICE V.O.) They're probably watching me. Well, let them. Let them see what kind of a person I am. A pause, as the fly lights on Norman's hand I'm not going to swat that fly. I hope they are watching. They'll see they'll see and they'll know and they'll say 'why, she wouldn't even harm a fly...' Norman continues to gaze ahead into nothing. SCENE BEGINS TO DISSOLVE SLOWLY TO: THE SWAMP As END TITLES FADE IN, we see the swamp, the chain of a tow truck. The chain is attached to Mary's car. The car is coming out of the swamp. 