НАЗВАНИЕ: Psycho (1960)
ГОД: 1960
СЦЕНАРИСТ: Joseph Stefano and Robert Bloch
ИСТОЧНИК: ScriptSlug (PDF) — https://www.scriptslug.com/script/psycho-1960
URL: https://assets.scriptslug.com/live/pdf/scripts/psycho-1960.pdf
СКАЧАНО: 2026-10-12 11:48
ПРИМЕЧАНИЕ: текст чужой, для личного изучения. Не распространять. Не исполнять.
======================================================================

         PROD. #9lWl


PSYCHO


         li-10-59
:    ,..
j   :.

                                           PSYatO

                             An   Alfred Hitchcock Production


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

                                                              MAR.ION CRANE*


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


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

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


                                 FADE IN:    (AFTER TITLE)"
                      l          EXT.' PHOE;•lIX~ ARIZO:-!A - · (D/i.Y) - HELICOPTER SHOT

                                 Abo\re i•1idtown section of the city.     It 1s early
                               afternoon, a hot mid-oummier day. The city is sun-
                               blancbodw'hite and its drifted-up noises are muted in
                               their o\'lh echoes. We fly ·1ow, heading in a downtown
                               direction, passing over traffic-clogged streets,
                               parking lots, white business buildings, neatly
                               patterned rcside:1tial districts. As we approach
                             . downto,~-n section, the character of the ·city begins
                               to change , It .1s darker and shabby w1 th age and
                               industry. We see railroad traclcs., smokestacks,
                               wholesale fruit-and-vegetable Il'.arkets, old r.iunicipal
                               buildings, empty· lots. The very geography seems to
                               give us a climate of nefariousness, or back-doorness,
                               dark and shadowy. And secret.
                                 'We fly lower and faster now,. as if seeking out a
                                 spec1.fic location. A sl<:inny, high old hotel comes
                                 into view. On 1 ts exposed bricl~ side great painted
 ..           .                  letters advertise "Transients-Low Wee~:ly ~ates-Radio
(~                                in Everv Room. 11 We "pause Ieng &nougn t;O es~aoli.sh ·
~-
 \,., __ .,   . ~'
                  I              ~he shoddy chara.c"ter of' this hotel, · .Its open,
                                 curtainless windows, lts silent. resigned look so
                                 characteristic of such hole-and-corner hotels. We
                                 move forwa:-d with purposefulness to~•;ard a certain
                                 window. The sash 1s raised as high as it can go,
                                 but the shade is pulled do~m to three or four .inches
                                 of the inside sill, as if the occupants 0£ the room
                                 within wanted privacy but needed air. We are close
                                 now, so that only the lower half or the window f'rame
                                 is in shot. No sounds corne from within the room.
                                 Suddenly, we tip dm.mward, go to the narrow space
                                 between shade and sill, peep into the room.
                                 A young woman 1s stretched out on the mussed bed.
                                 She wears a full slip, stockings, no shoes. She
                                 lies in and attitude of physical relaxation, but
                                 her race, seen 1n the dim.."less of the room, betrays
                                 a certain in:1er-ten.sion, worrisome conflict.s. She
                                 is t•:A:lY CRANE, an attractive girl nearing the end
                                 or her twencies and her rope.
                                 A man starids beside the bed, only the lower half or
                                 his figure visible. We hold on this tableau for a
                                 long moment. then start forward. As we pass under
                                 the window shade,
                                 CUT TO:
                      li-10-59
           ,..
           '·                                       PSYCHO                    119401          2

      ·•:., '°~:        2          INT. T'rlE HOTEL ROOM - (DAY)
            :(. j···'
           J,.__,,,'
          ·,?·:~.--
      I

                                   A small room, a. slm•; fan buzzing on a shelf .?.bove
                                   the narrow bed. A ca~d of hotel rules is pasted
                                   on the mirror above the bureau. An unopened suit-
                                   case· and a iwm.,:,,n 's large, straw open-top hn.ndbs.g
                                   are on the bureau. On the table beside the be~
                                   there are a container of coco-cola and an unwrapped,
                                   untouched egg-salad sandwich. The1~e is t10 radio.
                                                                        ~




                                   The man standing by the bed, wearing only trousers,
                                   T-shirt and sox, is SAM LOOMIS, a good-looking,
                                   Sensual man w1 th i•.r,1r-m humorous eyes and a compelling
                                   smile. He is blotting his neck and face with a thin
                                   towel, and is staring down at Mary, a-small sweet
                                   smile playini:;: about his mouth. Mary keeps her face
                                   turned e.way frorn him. After a moment, Sam drops the
                                   towel, sits on the bed, leans over and talces Mary
                                   into his arms, kisses her long and·. warm1y, holds
                                   her .with a firm possessiveness. The kiss is disturbed
                                   and finally interrupted by the buzzing closeness of an
                                   inconsiderate fly. Sarr. smiles, pulls away enough to
                                   allow Mar~; to relax again against the pillow.       He
                                   studies her, frowns at her unresponsiveness, then
                                   speaks in a low, intir:i.a.te, playful voice.

          <t2i>
           ..___,..
                                                      SAM
                                         Never did eat your lunch, did
                                         you.
                                   Mary looks at his smile, has to respond, pulls. him
                                   to her, kisses him. T'.11en, and without breaking the
                                   kiss, she swings her legs over the side of the bed,
                                   toe-searches around, finds her shoes, slips her feet
                                   into them.   And f' in.ally p,111s away and sits up.
·,.
I                                                     MARY
                                         I better gst ha.ck to the off ice.
                                         These exten1ed lunch hours give
                                         my boss excess acid.
                                   She rises, goe~ to the bureau, takes a pa:tr of s!i'.all
                                   earrings out of her bag, begins putting them on, not
                                   bothering or perhaps not ;.,;anting to look at herself
                                   in the mirror. Sam watches her, concerned but unable
                                   to inhibit his cheer;y, humorous good mood, Throughout
                                   remainder of this scene, they occupy themselves with
                                   dressing, hair-combing, etc.
                        11-10-59                                              (Continued)
 ---.
r                                                                             ----------------------------
                 -=-----.-
    1/



         r·~·-
I
I

                                                                     PSYCHO                       #9401      3

                             2               (Contd)
                                                                       SAM
                                                     Call your boss and tell him
                                                     you're taking the rest of the
                                                     afternoon off. It's Friday
                                                     anyway . . . and hot .
                                                                      MARY
                                                            ( soft s~.rcasm)
                                                     What do I do with my free
                                                     afternoon, ~1alk you to the             ,.
                                                     airport?
                                                                      SA!Jl
                                                            (.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 ycu
                                                     come in, but when your tim~ 1 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 deliberatelj· spend occasional
                                                    nights. in cheap - hotels. They
                                                  · say it                     ·
                                                                      MARY
                                                              (interrupting)
                                                     lofuen you rre marr:ted you can do
                                                     a lot of things del~berately.
                                                                      SAM
                                                     You sure talk like a girl who's
                                                     been married.
                                                                      MARY
                                                     Saml

                                                                      SAM
                                                     I I m sorry, Na.ry.
                                                              (after a moment)
                                                     My old·Dad used to say 'when
                                                     you can't change a situation,
                                                     laugh at it. 1 ~r othing ridicules
                                                     a thing like laughing at it.
                             , 1 _, n_::;q                                                  (Continued)
                                                                              ------------------------------·-
                                                     PSYCHO                     #9401          4
                                                                                        ~·'·
                                 (Contd)
                                                     MARY
                                       I've lost my g.irlish laughter.
                                                     SAM
                                              (observing)
                                                                    -
                                       The only girlish thing you hav$
                                       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 busineEs
                                       trip8 and we steal lunch hours
                                       and ... I wish you.wouldn't
          ..   ··~\                    even come .
    . ;;:j.)
         \:_£....                                    SAM
                                       Okay. What do we do instead,
                                       write each other lurid love
                                       letters?
  .···,
                                                     MARY
                                              (abotit to argue,
                                              then turning· away).
                                       I haven't t.irr.e to argue. I'm
                                       a working girl.
                                                     :SAM
                                       And I'm a working manl We're
                                       a regular working-class tragedy!
                                                (he laughs)
                                                     MARY
                                      It .is tragic.i Or it will be ...
                                      if we go on meeting in shabby
                                      hotels whenever you can find a
                                      tax-deductible excuse for
                                      flying do\•m here ....
                                                     SAM
                                               ( i?1terrupting,
                                             seriously) ·
                                      You can't laugh at it, huh?

                      11-10-59                                            {Continued)
i ____    ..
                      ----~·   -~>~~: ..... ~ . : ·.-· ·••,.··-·•--·...::-.... _.,




        ··,,c)··                                                                                    PSYCHO                   #9401       5
        I . ____,.
        ~- -~.           2                                (Contd)

                                                                                     can you?
                                                                                                     SAM
                                                                                     Sure .   It rs like laughing_ through
                                                                                     a broken Jaw, but ....
                                                                                                                                             r
                                                        He breaks off, his cheeriness dissolved, goes to the
                                                        window, tries to raise the shade. It sticlrs. He pulls
                                                        at it. It comes dov.'n entirely,· and the hot sun glares
                                                         into the room, revealing it in all its shabbiness and-
                                                         sordidness as if corroborating Maryts words and attitude.
                                                         Same kicks at the fallen shade, laughs in f'rustration.,
                                                         grabs on to his humor again.
                                                                                                    SAM
                                                                                     And besides, when you say I
                                                                                     make tax-deductible excuses
                                                                                     you make me out a criminal .
                                                                                                .   MARY
       ·,r4_·.
                 ,:
                                                                                              (having to smile)
         ,______,                                                                    You couldn't be a·cr1m1nal 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.
                                                                                             (gpes 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 w.eek.
                                                                                                    MARY
                                                                                     No.
                                                                                                    SAM
                                                                                     Not even just to see you, to
                                                                                     have lunch ... in public?
                                                                                                    MARY
                                                                                 We can see each other, we can
                                                                                 even have dinner ... but re-
                                                                                 spectably, in my house with
I
~- -
                                                                                                                        ([!ont1nu1;;d)
         r~- .. ·--· .. __. ·- .                                                                  -   - ---- .. - ---- - - -                                           . · - -..,·:;\'
                                                                                                                                                                                   ' \
           ·-,,.~-
                                                                                                                                                                                   '\·

                                                                                               .PSYCHO                                    #9401
                                   2.                    (contd)
                                                                                                        MARY ( contd)
                                                                ..    my mother 1 s picture on the
                                                                      mnntel and rny_ sister helping me
                                                                      broil a big steak for threat
                                                                                                        SAM
                                                                      And attar tho s tea.k •       do we
                                                                      send Sisto.:r · to the mo~,ries and
                                                                                                                                     o.
                                                                      turn H.:~ma. rs pie tu.re to the wall'/

     .f ..,.                                                                                            MARY
     I                                                                Sam!               Mo!                                              ✓




                                                                                                        SAM
                                                                                         (after a pause,
                                                                                         simply)
                                                                      All right.
                                                        She· stares at hm, surprised at his willingness to con--
                                                        tintte. the affair on her tarms, as girls e.re so often
                                                        surprined when the.y discover men will cont in'.le to we.nt
                                                        them even after the sexuol bait hos been pulled in. San
                     -~.•                               smiles l'ec.ssuringly, place:; his hands gently on her a r::i.s,
           .

           l;:=2. '.
                           \
                                                        speaks with gentle and simple sincerity.
           . . .:.:,_ ,r
                                                                                   ,.·
                                                                                                        SAM
                                                                      Mar¥, whenever it's possible,
                                                                     · tax~dedti.cti ~le -or. not, I. want
                                                                       to see you.                         And under any
                                                                      condi t ion~ •
                                                                             (o. sr1ile)
                                                                      Even respoctabili t-y •..
                                                                                                        MARY
                                                                       You make respectabil:,tty sound •·•·•
                                                                     . d:tsrespec.ti'ul.
                                                                                                        SA.M
                                                                       .  --(brightly)
                                                                      r•~ all for itl                                  It reauir~s
                                                                      patience .o.nd. temperance and
                                                                      a lot of swoating~out •••
                                                                      otherwise, though, it's only hard
                                                                      work.
                                                                                     (n peu::ie)
                                                                      But ii' I. cn.n see you, touch you
                                                                      even as simply as this ••• I.
>   i ..            ··,,
                                                                      wonJ t n-.ind.
     .
      L.~1     '·                                       }Iomovss away c,nd ti.gain the wcitnt of h!.s pcdn. e.nd
                                                        p~obJ.c:ns cru~he s cwny his good hu.mor. Thore is a
                                                        quio t Z•!cr.ont.

                                   110\?.    11/2.3/59                                                                                    ( Cont inu.c d)
                                                                                                                                                                               I
                                            · - - - ..___ ··--·--- - ·"····· -~--,--. ·- -----~----~ .. --- --- . -··- --.- - ,._.
                                                                                                                                                     ......... --· ------·-.-i
                                       PSYCHO                                 7
         2           (Contd)
                                         SAM
                            I'm fed up withsweating for
                            people who aren•t there. I
                            sweat to pay orr my father's
                            debts ... and he's in.his
                            grave ... I sweat to pay my
                            ex-wif'e alimony, and she's
                            living on the other side of
                          · the world some~·rhere.
                                         MARY
                                    (a smile)
                           I pay, too. T'ney also pay who
                           meet in hotel rooms.
                                         SAM··
                           A couple of years. and the
                           debts Will be paid off. And
                           if she ever rc-rnarries, the
                           alimony stops ... and then ...

 /-·-.
                                        MARY
                           I.haven•t even been married
·\9:                       once yetl
                                         SAM
                           Yeah, but when-you do •.• you 1 11
                           swing.
                                         MARY.
                                   {smiling, then with
                                   a·terrible urgency)
                           Sam, ·letts go get married.
                                         SAM
                           And live with me in a storeroom
                           behind a hardware store in Fa1rvale.
                           We 1 11 have a lot cf laughs. · When
                           I send my ex-wife her money, you
                           can lick the stamps.
                                         MARY
                                   (a deep desperation}
                           I'll 11.ck the stamps.
                 Ee looks at her, lo:ig, pulls her close, kisses her
                 lightly, looks out the window and stares at the
                     wide sky.

                                         SAM
                           You know wha.t I'd like?     A
                           clear, empt~,· sky . . . and a
         11-10-•59                                              (Continued)
                                                                                  -·-- ___.J
, ....

     ,.,-·,



                                                            PSYCHO                  f/94-01   8
 -.n~~--.,
 i     ~
           ~   ....... ,,/.
                           •   • .   2   (Contd)
                                                             SAM
                                               plane, and us in it.... and
                                               somewhere a private island
                                               for sale, whc:re \'Te can run
                                               around without our . . . shoes
                                               on. And the wheret·ri thal to
                                               buy what I'd like.
                                                       (he moves away,
                                                       suddenly serious)
                                               Mary, you i•ran t to cut th 1 s
                                               o!'f, go out and find yourself
                                               someone available?
                                                             MARY
                                               I I m thinlcing of it.
                                                             SAM
                                                      (a cheerful shout)
                                               How can you even think a thing
                                               like that1
                                                             MARY
                                                        (pickip.g 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 goe.s out quickly, closing door behind her.
                                         As Sam stares down at his shoeless feet,
                                         CUT TO:

                                     3   EXT. DOWNTOWH 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.
                                         DISSOLVE TO:

                                     4   EXT. LOt·!ERY REAL ESTATE OFFICE - (DAY)
                                         A small, moderately successful office off the
                                   PSYCHO                                                                     9
            4    (Contd)
                 main street. A cab pulls up at the curb. We see
                ·Mary get out of cab, pay driver, cross pavement to
                 the office door.

            5   mT. OUTER OFFICE          (DAY)
                Mary enters office, crosses to her desk, s1ts down,
                rubs her temples, finally loolcs over at Caroline,
                a girl in the last of her teens.
                                     MARY
                       Isn't Mr. Lowery back .rrom lunch?
                                     CAROLiltE
                                 (a high, bright, eager-
                                 to-talk voice laced with
                                 a vague Texan accent)
                       He.• s. lunching with the man who ' s
                       buying the Ha.rris Street property,
                       you know, that oil lease man ...
                       so that.1 s why he 1 s late.
                                 (a pause, then, as Mary
                                 does not resoond to the
                                 pointed thrust)
                       You getting a h_eadache'?
                                     MARY
                       It'll pass. Headaches are like
                       resolutions ·.... you forget them
                       soon as they stop hurting.
                                    CAROLINE
                       You got.aspirins? I have some-
                       thing •.. not aspirins, but
                           .  ( cheerf'ully takes
                              bottle of -oills out
                              of desk dra\'ler)
                       my mother's doctor gave these to
                       me the day of my wedding.
                              (laughs)
                       Teddy was furious when he found
                       out I 1 d taken tranquilizersl
                She rises, starts for Mary's desk, pills in hand.
                                     MARY
 .   ··.,              Were there any calls?
(_)
I...J                                CAROLINE
                       Teddy called.       Me . . . And rny
                       mother called to see if Teddy
                       called. Oh, and your sister

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




                                                  PSYCHO                                 10
    ~-
't.
.~---,_/'.       5            (Contd)
                                                   CAROLINE ( contd)
                                    called to say she's going to
                                    'l\lcs.on to do some buying and
                                    she'll be gone the whole week--
                                    end and •••
                            She breaks off, distracted by the SOUND of the door
                            Ofening. MR. LOWERY and his oil-lease client, T0!,1
                            cp.SSIDY enter- the office. Lowery is a pleasant,
                            worried-faced man, big and a-trifle pompous. Cassidy
                            is very loud and has a lunch-tour load on. H.e is a
                          ..gross man, exuding a kind or piti'ful vulgarity.
                                                   CASSIDY
                                    Wow!  Hot as fresh milk! You
                                    girls should ge.t your boss to
                                    air-condition you up. He can
                                    afford it today .
                                             .
                              Lowery flashes an embaz•rassed smile at Mary, tries
                              to lead Cassidy toward the private oi'fice.
       '    •,                                    LOWERY
    \s;:)·                          Mary, will you get those copies
                                    ·of the d.eed ready f'or tt.r. Cassidy.
                              Cassidy pauses beside.. Mary 1 s desk, hooks a haunch
                              on~o the desktop, smiles a wet SlT'.ileat Mary.
                                                  CASSIDY
                                   . Tomorrow• s the day l    My   sweet
                                     11:ttle ~irl . . . . ·          ·
                                    .   .   ( laughs as Mary
                                            looks up at him)·
                                    Not you, my daughter! A baby,
                                    and tomorrow she stands up there .
                                    and gets her sweet, self marri.ed
                                    away from me!
                                            (pulling out wallet)
                                    I .want you to look at my baby~
                                    Eighteen years old .•. and she 1 s
                                   .never had an unhappy day in any
                                    one of those years!
                                            (flashes photo)
                              ~ary glances, cannot bring herself to smile or
                              make some remark, continues sorting out the
                              deed copiea, tries to ignore the. man 1 s hot-breath
                              closeness.

                 11.,,10-59                                                {Continued)
                                                  PSYCHO                          1/9401                      ll

                   5          (Contd)
                                                LOWERY
                                    Come on, Tom, my office is
                                    air-conditioned.
                                                   ·cASSIDY
                                             (ignoring Lowery)
                                    You l<:now what I do with unhap-
                                    piness? I buy it orrt You
                                    unhappy?
                                                    MARY
                                    Not inordinately.
                                           (puts deed copy
                                           into cassidy 1 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 ot'f unhappiness!
                                    That penniless punk she's
                                    marryin' ...
.   f . -·· .. .                        .   (laughs)
.,::>,'                             Probably a good kid ..• it 1 a
                                    Just that I hate him.·
                                           (looks at deed)
                                    Yup! Forty thousand, says
                                    here .•..
                                           (to Lowery)
                                    Casharoonie!
                              He takes out of his ins.ide pocket, two separate
                              bundle~ of ne,·r $100 bills and. throws them onto
                           the desk, under Nar:1 1 s nose . . Caroline's eyes go
                           wide at the sight of the glorious green bundles
                          .of bil1s, 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 'eml
                                                 LOWERY
                                           ( shoc.ked, worried)
                                    Tom ... cash transactions of
                                    this eizc l     !-:03t irregular ..•.

                                                    CASSIDY
                                    So what?      It 1 s my private money!

                   11-10-59                                                  ( 11 ,-, .... f- -h<>, .-..4 \
                                                                                                               ·······---J
                                   PSYC}!O                                      12•
                                   -  -                          #9~.0l

    5.        (contd)
                                      CASSIDY ( Contd)
                                ( lnUghs , wi n1':s ,
                           elbows Lows:ry)
                    And now it 1 s you:rs.
                                     CARCLIME
                            (sta:ring at the money)·
                     I declaret
                                  CASSIDY
                             (whisper.in,;)
                    I don I tt That• s how I I ni able            ,
                    to keep itJ
                               · (laughs)
                                 LOh'ERY
                            (hastily i u terrupt,i ng)
                    Suppose we jusi; put this in the
                    sai'e und then HondEl.y morning
                    when you're feeling good ••••
                                     CASSIDY
                    Speakin. 1 of.fe-Jl'!.n;; good, ·where's
                    tha. t bottle you said YOll had
                    in .you.,· desk ••••
                              (laughs, as if
                              havinJ giveu ewe.y
                            •Lowery's secret) ·
                    Oopsl
                              (to· Ni!:ry, patting
                              hel' ar-m)    ·
                    Usually I can ko!.>p my mouth shut!
•
             He rises, reels toward I,o~ierys of'fice, pauses, turns,
             speaks to· !-iary •• mea ::iing~'ull,/~ ·

                                     CASSID'Y
                    Honest, I can keep any p1•ivate
                    transe.c tion .;. secret .••• any pri •••••
                             (s topp~d by t'ia.ry ts·
                            cold. gaze)
                    Lo~rery!     I'm dyin I of: thirstaroonie !.
             I,owery starts after him, pauses, turns to Mary,.
             Cassidy has gone on into Lower 1 s off'ice.

                                     LCWBRY
                               (quietly)
                    I don't even wont it in the -office
                    over the it1eel•:...cnd. Put it in the
                    se..fe deposit.; b;,;-;;-,· at tho bank,".Mary·.
                    And we '11 get him to gi vo us D. check
                    on l-,onday _, ins tcad.

    Rov; 11/23/59                                                ( Cont:.mwd)
                                                           .   -----------------~---
--,.- -·--- .. ~-- ..... - ...




     '
     \




                                                                        PSYCHO                                         #9401            13
         ·n·•·--·
         ~- . .                  5          (Contd)
         ·,·-<
..


  . ('•

                                            He starts quick1.y away when it looks like Cassidy is
                                            going to come c-:.,t and pull him bodily into the off ice.
                                            When the men ar·c gone and the door is closed, Caroline
                                            picks up a bundle, smiles at it.
     (                                                                   CAROLINE
                                                  He was flirting wlth you. I
                                                  gue.ss he noticed my wedding
                                                  ring.
                                         Mary has put one bundle into a large envelope and takes
                                        -the other from Caroline. When the bills are ai·ray, she
                                         putts the filled envelope in her handbag, notices the
                                         remaintngdeed copies on her desk; picks them up, goes
                                         to the private office door, knocks, starts to open
                                         door as:
                                                                        LOWERY (o.s.)
                                                  Come 1n.

                                 6          INT. LOWEiT::: 1 S PRIVATE OFFICE - (DAY)
                                            Mary opena 0001 loolcs in. Cassldy is drinking from a
                                                                1
                                                                    ,

                                            large tumbler, winks at her 't1it.hcut pausing in his
                                            drinking. Mary remains on threshold a moment, then
                                            crosses to the deek,-talking as she goes.
                                                                        JIU!.RY
                                                  The copies. Mr. Lowery, if
                                                  you don. 1 t mind, I 1d like to
                                                  go .right on home after the
                                                  banlc. ·· I ha.ve a slight ...•
                                                                C.~SSIDY
                                                  You go r:! ght home I Me and
                                                  your boss are going out to
                                                  get ours.elves a little drinkin 1
                                                  done!
                                                               (to Lowery)
                                                  Right?

                                                                       LOWERY
                                                               ( to ··Mary)
                                                  or course.            You feeling ill?
                                                                        MARY
                                                  A headache.
                                                                        CASSIDY
                                                  You need a week-end in Las Vegas
                                                  ... pla.yground of the worldl


                                 11-10-59
                                              ______            ..;........----------~-,·-------··•·•"··   ,   .....   ··-··   ·-····
                                PSYCHO                        #9l\.Ol

6.        (contd)
                                 MARY
                 I •m going to apend this weel{-
                 end in b<3d,
                         (starts ou';)
                                 CASSIDY
                          ( to Lo;;a,,y)
                 Only playground ttln t bea. ts
                 Las 'leg.as!       ·
          Mary goes back out into the outer o.f.fice, closes dooz,,
                                                               ,
7.       ·INT. OUTER OFv'ICE ~ (DAY)-
         Me.r:, goes to her desk, t;a!ces the handbag, checks to w.ake
         sllI'e, the ::ion,;,y-filled envelope is tucked well down into
         1.t, • During this:

                                 CAROLIUE
                 Aren't you goin.; to. take the pills?
                          (as Har; shske s bead)
                 They 1 11 k.no,;1-: tii..at hea-dacJ-1e out •.
                          l!..\RY
              I don't need, ;i.Uls • • • just sleep •
         She gees to the door,
         D.!SSOLVB:
8.       INT. W,RY'S BEDROOH - (DAY)
          A do.uble bed in th., foreground. We just see the far sid.e
          as· the C:,H'"RA S 0,C.0'I'S a,~t'ass. · Kary enters the scene, clad.
         -only in he!"l]lip. · Pe;:•naps she is about to get into bed •
          .Behind her is en open Closet, but. too dark inside for us·
          to see any contents. As l-'.ar:r t=ns to the closet the
         .CAI-!EilA LO',iEEiS to show e, clo.se view of the $.40,000 tn the
          envelope on our zid.9 ·o.r ttl-'l bed.: Mary- takea e. dress f!:'c;::;,
          the closet and star~s to put it on as the CA.HE-RA RETREATS
          to reveal a pa-:,ke:i but not yet closed suitca_se also an
          the bed. Hat'y zips up her dress and then brings sor.te
          .final ga:r.:ients fro:1 ';he closet, She comes a.rou::id ta the
          suitcase and put.s them on th.A top. Mary works with haste
          and in tension, es if acting on an L-t1pulse which might
          vanish as quick.1y as i t came. The suitcase filled now,
          she· checks around che roc:n,. th,m takes her handbag to the
          be'd, puts- in t.~·3 r-,6'!1.e:,1"..-.ftlled. ·envelop·e J and then slnrn.s the
          sui tense s~'..~t:. Th~n :th") looks at_- her s!'.'lall bedroom des}:,
          goes to it, re0ovcs a s~gll .file-envelope .fro01 cno of t::c:
          drawers •. It i::; 0:1.e of -c11.0Je brown envelopes in whicfl enc

Rvv-. 11/2)/59                                                 (Continued)
~:-:;.:.~.~-·--·.




      r··

                                                                                                     PSYCHO                              #9401         15

    .(
        cs                            8                   (contd)
                                                          keeps important papers and poJ.icies and certificates.
                                                          She checkn its cor.tents briefly, puts it on the bed,
                                                          opens another desk drawer., takes out her bank l:,ook,
                                                          tosses lt on the bed. Then she packs both the file-
                                                          envelope and the banlc book, into her handbag, takes
                                                          one quick last look around the room, picks up the
                                                          handbag and the suitcase and goes out of the room.
                                                          CUT TO:
                                                                                                                                     ✓



                                      9                 -EXT. MARY'S GARAGE - (DAY)
                                                          A two-car garage. One car is gone. Mary•s car 1s
                                                          parked in the driveway. The CAHERA is low enough so
                                                          that we can easily read the Arizona number plate 1.n the
                                                          foreground. Mary comes out of house, starts for the
                                                          trunk, intending to put the suitcase in, changes her
                                                          mind, places the suitcase and her handbag on the front
                                                          seat, gets 1n, starts the car, begins to back out of
                                                          driveway.
                                                          DISSOLVE TO:

                                      10                  EXT. MAIH STREET IN MIDTOWN PHOENIX - (DAY)
                                                          We are close on ?'.ary rs car, shooting in at ner troubled,
                                                          guilty face. She seems to be driving with that excess
                                                          care of one who does not wish to be· stopped for a minor
                                                          traffic irregularity.                                     She st.ops for a. red light at a
                                                          main intersection.

                                      11                  FROM MARY'S VIEWPOINT - (DAY)
                                                          We see Lowery and Cassidy crossine;·the street, passing
                                                          right in front of Mary's car.

                                     12                   MARYtS CAR - (DAY)
                                                          Mary freezes.

                                      13                  EXT. MAIN STREET I?·l MIDTOi-rN PHOE!lIX -- (DAY)
                                                          Cassidy, glancing into car, sees Mary, lets out a cheery
            l_)                                           exclar:ta t ton, cJ.bo~·:s Lowery. Lo;•:ery turns, flees !•!a.ry,
                                                          smiles pleasantly, puils Cassidy on.

                                      ll-10-59
                                                                                                                                                                     I

                                                                                                                                                            ... ___ _j
    I ! . . . - - - ~ - - - ' - - - - - - - - - ~ · · · · - · · · · · ······ ··----·---·-····-·· ······-·-······ .. ········ .....
--:-·· •~·•·· ·- ··-··--···· ··--··-···~ - -·



  .\

                                                                                                                                                                ---
                                                                                                                                                                ?S:-:C:}:0                                               -{~1~}  101
                                                                                                                                                                                                                         , • .,/ 1' -
                                                                                                                                                                                                                                        -"'lo,,. ..
                                                                                                                             , .... !\•• ,-
                             J)t                                                                                              ' ..~....r.,.l. .•

··c                                              Nary ·.-:at,c~-!~.s tt.. ~. : f~Ct, 1.re <.~:-:.chZ1.n~~ with a look o.f
                                                     stony horror on her f3~9.

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




  •c:                                            Now w£"~ lo0k cln.ur.ly at L~wcry. ·_As he renches the·
                                                 curl'>, o s.tn.1.:~1 cor:i.'trnic;-1:, ·nri;:1ten'.':I h:to face. .He
                                                 r~r:t;..1!b0r3 thzzt !-~ r:, :tntended to ii sp.:md the t·1eek-
                                                         ··-cl
                                                          v~:-;_k• "
                                                     ,,,_,........ r~
                                                     v               ... -:-: !'\Qr'--i·,;-,.
                                                                     l-',
                                                                   :...1,   -{,....
                                                                             .~.-.                    ..
                                                                                  J-.-; •.• •_,.,;-,.:_.,~, l'>···rio••nls:r
                                                                                                            ••. ~ . . . . . ,,.J, t11rn"'   l.,.·                                               ~.~1        .1   -•~.,

                                                 .lockz ba<:,k at her, a ,,light i'ro\'m on h.:!.s .face.



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

                             17
                                                 :tor a r.t~m1-:;n-; it (;WE.-m_ look:~. as if Lowery_ m:tgh:. be
                                                 m-eanir.g ~o croeg b~ok to tl:e cur.·

                                                 ,.,."~,---, s· "'!\R.
                                                .\•t-r'.~.'
                                                 :.:~·--.::.    ~.           __ I·
                                                                                      .
                                                                                          1
                                                                                              f:-1    ·    -··
                                                                                                                        fr-"•·'
                                                                                                                    . .\-·
                                                                                                                          ••t.,1·1.J' ---
                                                 .
                                                     1
                                                         -r~n:,..r;:; t0rs.i,?"" 1,:-: 1.:.?:'h-:··t.ir.?ble.                                                                           P.nd           ~t t.i!Iit motkent
                                                 wa h&ar tr.r: ::t.r:Lll ehr:Ltik of tho traffic cc,p rs
                                                 wii.tr-;tle. H'!l.ry 2oon1.s tt;.-,:, car a".-;oy •-

                                                .DISSOL"=!.E TO:


                             19                                                                                                           .... ,
                                                                                                                                   \'DA~..,, . .

                                                 r1ar"; · 111 c~.i•, · dri•.'ing, · safely away from. to 1.-rr.. :!er
                                                 10,k is la.;~ ts-nse n:.n::i Z>-n-i more purpo.se.!"'ul. After
                                                 ., . m~m-,•·+-          ,..\.,.. -,.._·\.,_,,_,..,         ._,____ f·,,,,_,..,.
                                                                                                    •.<:!.. ~-\...,:;                      ... e ' ·fro' ·n"'·
                                                 ·U•            .• ~---\-~ .......... .,  ~,-n......  .;) • ..-......   --'--- ·c,-.,.,,
                                                                                                                                 b'-"'•'--f»
                                                                                                                            .., .......              . t"i• .:.,,.,., look~
                                                 ""J.-on::r
                                                 ... .         h~,... ,"•·:ei·y
                                                         •..3 -•         ,ii"'-.•. for ,a c-a" ,.... ~c-1.v... ion •. ·
                                                                                    .     ..1. 9 ••                                                 0      ,:.)   ;;:,-...




                                                 FAS"!- DISSOL7E TO:

                                                                                                                        1
                             lJA
                                                ------·
                                                f £Jl.RY' S CAR - ,D.4.7)
                                                      1




      .. ..,
        ___




- - - - - - - - - - - - - - - - - ·-···-· - ..                                                                                                                                                                                          - ----1
      .-~--·--    '-~·   ·-·                                        ... ,.._




•
              (

                                                                                        i'S"fCI!O                                 17.
                                             1M!JX - (DAl')
                                             !.<ioks at-cas gauge,
                                                       ' .

                               190.          C. rJ, GAS GAUt1E -               (DA.Y)
          r
          '                    20            Erl', A GAS STAT .!Olf - (DAY)
                                             We see Ma-ry's car d.I'ive in, cor.!e to a st~p.                         ~!iere
                                             are :io ot.!,er oiir:.; .ibout, tl11s beinG o. gal! irtat1o!'l.
                                             o.tt: tlie -m,:d.n hi;inwo.;y, . and tl1c ~ttcnd'.t:m; ls .,_";;,·::..cus::.:,
                                             .1n. t:he 11ha.ok; M!lcy loolcs worried ,:fbout };o.v.:.?1& ';c
                                             malte th.i.s etop, keeps her 1's.ce turned s.w1:.y J:rr:m the
                                            ·aha.ck,. not wishing. it to be ·see..,.
                                             No one col:ies. and<for a ·mornent .nlry considers .ctr.1:villg
                                            . on,. as, it the. ;,1:1p.t1nass ot the stat.ion wer1: a· warning,.
                                             an ~"':1,en·· that: .ahe.. Ghou.ld llfi.t~n to·.       ~.::."J·. t-he gn.z reg~a:-
                                             ters almost 611lp:;;y•~             She• h.is to b2.ow her r.or::.

                                              A YOU?!ol Wu'i ac.T.es out O:f' the shack, star.ts ;;oward .
                                             .b6r cvr., At: ~.bnt- .rr,.01:;e11t., t1e- HEAR th,; :t:1:t\:•-~!if~f of
                                              tht; TE~-;:rHo:-r~ 'i..'1 ~he sb:J.c.k .• , The Atte:ndat1t "::1::!.ka a:·


•
                                           · -teW :stsps·. flrr.th-:!?\t. t~;ar-rj Hney' s c.~:\, t-'.r.:~~r, d~n.:tC.es
                                            1:;o .g:0 'back and. answer t!'Ul :;>hone •. ·· The ·~hon-s'·s' ins-1.s.-
                                            tent rini;:bg unra..-,a.s na::-:;.                  She atz:;:-ts lier -.,:ar,
                                            zooms ...o:!.'i' .; ·
                                            We see the AttAndnnt, phone. in hi:nd, 1n the doon,;iy
                                            or. shack •. ·Ee. looka after the depnrtini; car w1t:::i
                                            little. or no e;G>resa!on;.
                               •
                               aoA.
    \.-                                    · ..The oar. r:r<ms. :malJ..er .as ::l.t races tt.P the road.             Tr.e
                                            <'lttn. ·1s s,;.tt:l.ni;., T.!lsi'e is so:::et:!ling \'<1 6 :.!r•.!y om""ous
                                            abcitt. t.h'ff ·d&I'kt:ning 3k'J into ~h.1.c!\ t.:ie. ~a:t t:O.:.~!•t-S ~o 1::,e,::
                                            disappearing;.

                                            DISSOLVE '.i'O:

                               21
                                           .1.·he.- oneo:nipi; headli.:;hts hurt J:L?cy '·s: eyss. 5.=:_9 is·            .
                                            g;sJ;.t.~~n~ ::;leo1-.,y · n:1:i h-~:r- visi.op i~ blu~tnr;. !!~r · e.yee
                                            c.!:lst.~.: in•:o;un~·Jrti.y J- 5rl~P c.r.:c:n ~r.1in. Sl~": s'::r ❖ tchGS
    l)                                      thr~Y!l w!~d1;?., n ri .if. !.'o.rcd.r.,1 thn.":1 to 3tay op-3n. . ~~he c,ncomi'nf;


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




L .. -. -·---··-· _,.....··-------··----- --·--------~- ..
                                      ·~
                                                                      So.~''. .                 .
-- ·: ;~·
  ',




                                                                                     PSYCHO                                                                         ~

                                                                                                                                                                           ...
                                                                                                                                                                        .....
                                                                                                                                                                     ' ...
                                                                                                                                                                    _....,


            23

            24      01,1n1


            25       OMIT
                    __....__________ _
            26      Exr ROAD 3:!()UIDER - (DAWN)
                               O




                    We sse Mnry. 1 s c.nr., d:l.r,1 in th~ early da;·m., t.i).:'::-&d. ~n the
                    so:ft t'.ho·..1).rir,r of ti-1e ro.:1d.f looki.ni so:.1~ho~-: · aad e.:r.d ra-
                    t.hetic., !.tke a ~hild 1 s thrown-r.wrn:y to~;. A~•i i'ro~. -t~:ts
                    angle it wou::.d appe~r tb~t- the. cur i;.) cTl.,pt.y.
                    After n mot1~nt,, dur1.ng ':·Thic,h there ~re: no o"t.!ler v·et::.:t,:;les
                                                                                                                   ~-!- .,,,r,         .., "' ..;,•--••.:.t!
                    P....."' .:-,.si..1.!t;
                         eel          ~:~-.. 11,,
                                      .f
                                           1  ··r.. ,, ..,,~ · "o••l"lin,i
                                                    a.)t.:•.,v,j
                                                               V             - rcm
                                                                        c., ·1        ,.........,,, f"'r
                                                                                ..... +n·
                                                                   .. ,~ .. .:. ..
                                                                                                  0
                                                                                                     ..,;, d~.l,.-.,1;,.J'-'.'" ..... ,~-j
                                                                                                                                 I
                                                                                                                                          CA
                                                                                                                                              .::~1:.;""'. 'A·.,·
                                                                                                                                                              -

                    PATROI.::l.A:.! lri a patrol car. lb passes Ma.ry s :,:;;.~r, :ncr-;;es
                    its appo.re::":; e::!!ptine.ss, U-turns.11 comes b~. -Jl<: u;i beh!nd
                    th•:: car. Hs g-::~t~ O'.:tt and approaches tha d.r:!.::er 1:l side
                    tll.ndo,,:.

            27
                    'l:hc ?at.rol.-::.an look~ dcwn into the car.




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

                    - - - - - - - - --··--·· ------ -----·-··--·-·-·····--                                                                                          ----~
(




                                                PSYCHO                    it9401       19.

                    27A.
                           -
                           INT. CAR { DAWN) FROM HIS V1E1.1POINT
                           Mary turns with a start, sits up, is startled and umwrvc:
                           by the sight of the Pa trolr:lan, ti.nd, as if b)' auto.a1a tic
                           reflex, turns the ignition and presses down on the s t<lrt5:
                    27B.   EXT. CAR    (DAWU)
                           The Patrolman holds up his hand.
                                              PATROLHAN
                                         (startled)
                                        .
                                Hold it therel                       ✓




                           Mary slams down on the brake, tries-to pull herself to-
                           gether. The Pa. troln1an raps again, less gently. Reluc-
                           tantly, I1ary rolls down the windo,..1. The Pat.ro1-"!lan studi5::
                           her for a moment.
                                                FA.TROLHA.U
                                In quite a hurry~
                                                MARY
                                Yes.
                                         (because he seems
                                         to be a~aiting en
                                        explanation)
                                I didn't maen to sleep so long.
                                I was afraid_Itd have an accident
                                las:t night~. f1~crri sleepiness_••• so
                                I decided to pull eve~~ •••
                                            PATROL?·!Al;
                                You slept here all night?
                                              MARY
                                        {a faint edge of
                                        de fens ivona S$)
                                Yes. As I said, I couldn rt keep
                                my eyes •••
                                             PATROLNAH
                                        (mere concern)
                                There are plenty of notels in this
                                e.rea.. You should. have ••• I mean,.
                                just to bo sare.~.~
                                 .            1'1ARY
                                I didn ! t intend to sleep all night!
                                I just p~lled over ••• have I broken
     '      ·,                  e.ny la ~-:s?
    !       ):
     , . _;.-.· ·
    ('-,,_ ..
                                                 PAT RO LH.t... 11

                                               HARY
                                Then I 1r;1 free to 0 o •.• ?
                                ·-.. - - - - - -   -   ----




. r~--
. ·,.

                                                                                     #9401
                                                          PSYCHO                             20.

                     27   (contd)
   r ..
   \ .. :
                                                              PATROLMAN
                                               (a pause)
                                         Is anything wrong'?
                                                        MARY
   (                                     or course not!     Am I acting
                                         as 1.f" ••• something I s ~frong?
                                                       PATROLMAN
                                               (almost a smile)                  /
                                         Frankly, yes.
                                                      MARY
                                         Please ••• I'd like to go •••
                                                              PATROLMAN
                                         Is there?
                                                       MARY
                                         Is there what?
                                               (not ~iai ting f'or
               .(                               an answer)
                                         I've told you there's nothing
    ··c·
          ..    l.


                                         wrong ••• except that I'm in a
                                         hurry and you 1 re ta.king up my
                                         time •••
                                                              PATROLMAN
                                               (interrupting,
                                                sternly)
                                         Now wait just a moment!          Turn
                                         your motor off, please.
                          Mary seems aboµt to object, thinks petter or it, turns ·
                          o:t.r. the ignition.
                                                      PATROLMAN
                                         In the course of my duty, I
                                        never "take up 11 anyone's time,
                                        whether it's to give a warning,
                                        or a ticket, or help! Believe
                                        that, H'am.
                                              · (a little softer)
                                        Mow 1:t. you Noke up on the wrong
                                        side or .. the car seat, that's
                                        one thing. But when you act as
                                        i.f" I've just placed you under
                                        ar·rest •••
  . «)- . \' .....

                                                              MARY
                                         I'm sorry.
                                                              PATROLMAN
                                        No need to apologi:c •.•
                                                                                                   ·---·-----'
          .-~-- --· -· .... :...-•. -   ... - .   ,.




r···
                                                                                   •                                  #9401
                                                                                             PSYCHO                               21.

                                                       27             (contd)
                                                                      Mary starts the car, her face turned as it she wishes
                                                                      the-matter nere all settled and the Patrolman :iad
                                                                      already gone. The Patrolman isn 1 t exactly one of those
                                                                      civil servants who demands a thank-you, but he does
                                                                      reel her manner is a bit too abrupt. He calls:
                                                                                             PATROLMAN
                                                                                Wait a minute!
                                                                                                MARY
                                                                                      ( Jamming d·own
                                                                                       -on brake)
                                                                                Now what?
                                                                      The Patrol.man gazes. at her a moment, then:.
                                                                                             PATROLMAN
                                                                                May I see your license?
                                                                                                MARY·
                                                                                ·why?

                                                                                                PATROLMAN
       C(~,.:.                                                                  Please.
                                                                    Mary pulls her handbag u9 f'rom the floor-, ~1here she'd
                                                                    placed it when she stretched out to ~leep. She puts
                                                                    her hand in it, ru..-nrr.ages for her walletl cannot find it.
                                                                    The Patrolman 1s staring at her. She glances at r.im ne::>:..
                                                                    vo.usly, pokes in her bag a bit more, sighs, realizes she 1 11
                                                                    have to remove some of its contents.. Nervously., badly
                                                                    controlling her fear., she takes out the money-filled
                                                                    envelope, andthen the-important papers envelope., then a
                                                                ... couple of other items, places them on the seat, finally
                                                                    finds her Nallet, opens it, hands it to him •. He looks
                                                                    at the wall.et., than at the car.

                                                       28             EXT. ROAD SHOULDER - (DAWN)
                                                                      The Patrolman walks around to the front of the car, checks
                                                                      the license plate, and returns.
                                                       29             INT. MARY'S CAR - (DAWN)
                                                                      The Patrolman peers in, checks the car registration on
                                                                      the steering ;,iheel, returns Mary's wallet. She takes
               r·--.
        ,;-_ •f:                                                      it, looks at him fo:r a flicker of a rr.or.:cnt·. He says
              .,
                                                                      nothing. She starts ahead~ fast.

                                                       30 -           EXT. ROAD SHOULD£R -    (:)AWN)

                                                                      The Patrolman stares after M:i.ry as she drives orr, then.
                                                       11--\n_c::.a                                                                     ___ ---!
                                                                        PSYCHO           22
                    ( contd)
                   starts back to his· automobile.
C
         31~       MARY IN CAR .. (DAWN}
                   She is quite shaken, realizes she caused herself a great·
                    deal of· trouble and· placed her self in unnecessary danger.
                   She is disturbed and angry and frightened at her inab11'ity
                   to act n8rmally- under the pl"essure of gu.ilt. As she
                   drives,, she glances into her rear-view mirror.
                   _ _ _ _ _ _ _ _ _ _ _ _ _ _ _...._,.,._ _ _ _ _ _ _ _ cat     .
        . .32 •.   MARY'S REAR..;V:TEW MIRROR ;.. (DAWN)
                                                                                     /

                   The Patrolman is. follcwing 1n his automobJ.le, keeping
                   behind her at a matched speed •.
         33.       MARY IN CAR - (DAWN)
                   She glances out·at her surroundlngso

         34., ·    MARY'S. :rov - (DAWN)
                   The Freeway ahead.

                   EXT .MARY 1 S CAR -                       {DAWN)
                   She ·suddenly. turns off ~he . highway.

         ,36.      MARY IN CAR - {D/\WN)
                   . She .checks her m:i.rt"or •.


         370,      MARY1 S REAR-VlEW f:1IRfiOR ~ (D.AWN}
                   The Patrolman is no longer.tollow-ing., ttas not tu:rned
                    off after her.

        · 38,      MARY IN CAR -                      (DAWN)
                   She breathes a ·sigh. of relier, thinks a moment, makes a
                   quick decision.
                   DISSOLVE TO~
                                                                    \   ..


         REV 1.1.-,20-59
.•_f)
                                                            PSYCHO
          ..
        39.     ~'l'. USiO CAR tO!' - {DAY)
                '!he big Slgn reads "Call fom1a Cnarl le - Auto1110btle
                .raradlse;" We .se11 Maryis ear dr.ivll onto tile lot an.cl.
                s to'!>• Mary gats out o'f c-a. r-1 . g\aooes t=ard the· lot
                olfice, t\lrns her attention to the 11n:e of cars,.
                notlwdg .the Ca.11/ornUI license pl.ates on all of the111.
                The CAR DEALER oalls out from nu of:!'1.ce:              .

    ,                                          CA.ft Dif;l,.,EJl
                                Wtth you in a seeondl
                                 '
                 Mary nods A stans wall<l.ns along tile line of cars as
                 11' making a se ~ect1on •. Her eye is. oaught ,by. the• iron
                 news)la~ r !ftand on· the corner, jllSt out.:side the lot·.
                 Shi.' stares at the papers, tuni:i away, ..as i.f wllat sne
                 is fearing woui.c1. have .to· be· impoinsibl.e, theri, having
                 to sat1$fy her.self,, goeg to the. s tenet, drops e di.Pie
                 :tn the i:ron Slot,. picks up a· t:OS ANGtt.ES ne~spap.er,
                 start:s · ·back into tl\e l:l.iI' 10'.t a;s: .she glances ·.W(lrrie,dl.y
                 at. th:e fJ"Ont page •. · As slle aoes, we i;ee, coming. up the
               · street to'llilr<i the lot, the .same 1:'ATROLMAN. He sees·
                 Hary, &1lo~s, swerve:,. ove:r 1:0 -the opposite side of the.
                 street, stops by ~be our\>. "ary, engNssedih the
                 netf.spaper, and. wat·J<tng bade onto th.e lot, does no't
                 sa•. the Patrol.man, ·.:,.;, C·s :- Da1.1 ·~er· is i:;,,t c~ th::- l.>';
               now:-· .!,t&::dia_::,: ~h~ ..-i!.·:.t--:t3,. fc7"- !la:t"Y•        As, 1-;he .app.P~ac~es#.
               lest· l:-. !"...-:ir ncr!.c;;fap~r., i:..:~ s=ii:!.s.so
                                                              -     CAR ~Zf,tER
                                I•-m •in.·no :r~o_~d f.(·!~ tro~c,:4;$1-·




                                                                    CAR DEALER
                                    . ,t.•-··-··
                                           . ,' ..,'hi=i,.o-.Pu"t •.,.d'••
                                                                  +-•·..;:
                               Tb'?S 7 s a·n o::. si;.ying.; · ''Pir::-t':1
                               custoi'li!'t r.,;! ::ne ::~.s.y !;:.. alway3
                               th9 m,:,st t:-::::.~b:.-::~1 1' ~u-:; l!k,:
                               I ~a-id., z.::: tr..· no n1ccd: fcr.lt
                               so !" 1 ?n j-:..~s ~ bc:.:~e· to .tr.eat you
                               so i'aJ r- and !iq-...:.n =~ 7ou wor.:. 1 C
                              have en.•::: ·h'IJ.!can reason; to. g1"rs
J
                              m1:,. • ...

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

                                                                                            {Continued)
G"""--···· :"·-,··--·-··. --·
'.




                                              (contd)


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

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




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


                                        ,'                  .            .

                        ·1,0•·
                         ..,., &,.
                                   ..        fflE·-., P.A:l'RO't.l¼N   ..·. l-t.\B):,s .p'.j.'f · ..- ('DAY):
                                                                 ·. :·
                                                                     '




                                                  1.:~., ~ t!l'.;~).;~€' -.c ~: ·~ :· -J -~                          ;~ _I ,.
                                                                                                                     <,J,-',.:J",




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




          ,




        -                               ire ·s·t~r-br !.r;:~- !";,;i:-.71'.•. '.•-:.:·::-·. Sr,:·:;: ~·. ..:·-o;.~.'; __a(t h:!:m_1. .fn'J''te:·fl'r
                                        par.t>;:.. t ~..:ar :. :.::_"~;-. :. .: -. ~:(-:;.           i-:!·.o ~~:~: ;:r'.: in•;;.-~-·- t;-ci r:::r, ~ton-de:r-
                                        1ng -if t~,e. ;:.:.-..:::... :>. •., ...:·h~ p.;:·-t::r·.~_::"nar..... d6is.t::..it·
                                        ner;,rr\~:; tha ·.;::. .. ~ ..i:.. 'Ji' ·. ··:,::.::.:;; ~ -;~; -:-:~.a_·;:·.;:, .--~;_c,,~-5.:tu~.lng ·. h6~<-J1b.:$.
                       REV .11.. 20-5?
r--,· --·· ...                                                                                                       . ····- - - f


                              t
                                  I


                                                                           PSYCHO                     #9401

.
    . r"'~-;"f"'"·-
      .    --,--.
          ,, ___ ,/
                      I   .
                                               (contd)

                                              can get a.way, wondering i:f she 1 11 ba follm-rod, or if'
                                              the patrolman will go awa~r i r s be does stay here. All
                                              these pe.nic ... fears rush her mind. and she can do nothing~
                                              The Car Dealer has driven her car into the garageo
                                              She stands in the middle of the lot P feel:tng like a
                                              shooting target. She looks toward the gar·a ge.

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

                                              Mary's car is in it.

                                              EXT. USED CAR LOT - (DAY)
                                              Mary decides · she cannot back out now without arousing
                                              .further suspicion., is compelled to look again at the
                                              Pat1~01man~

                                              THE PATROLMAN - MARY'S POV -              (DAY)

                                              .He still watches~ With a sel.f-angry sigh o:f resign-
          ['                                  ment, she goes to a· close car, looks. a. t it. The Car
      ri··
      ,_    ____,._
                                              Deal.er is returning"
                                                                                 CAR DEALER
                                                         That's the one Itdfve picked for
                                                         you mys elf l ·
                                                                                 MARY
                                                         Row much?
                                                                         CAR DEALER
                                                         Go ahead!: Spin it around the block.
                                                         Now I know you don 1 t know anything
                                                         about engine condition, hi.:.t you can
                                                         i'eel, cantt you •.• , and it 1 s all in
                                                         the feel, belie~e 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 1 t want. the usual
                                                         day and a hal.f' to thin!-c it over?
                                                                ( l0.1J.£;hS )
                                                         Ynu e.ro ir. a hurryl            Somobody·                           .,
                                                         chasin' you.'?                                                        '
                                      REV .11-20-59                                                   ( Continued)
                      ,. .,.,~., ·-::-·-···- ...., .. ··-·"-"•-·····--~




                                                                                          --
                                                                                           PSYO:!'J                            #'9401   26.
::- ..                                 (conta)
                                                                                                    }Wt:l
                                                                  Ot c.oure-!: not.                  I'l.;o:z-;,
                                                                                     OAR tEAJ&
                                                                  Well ••• l!.,,ck, th.ts 1s -;;ho, .!'irst
                                                                  time ! &'"1.Gr saw· .the- ~uz":01-:J.er
                                                                  h1gh-.Pres«ure t.J".-; aale~.:r..a.n ! .
                                                                         · . {ltt'J.ghs, sees sh~ is
                                                                             ir, n-:; rcocd :C-o:r :tt)
                                                                  I 1-d. f:if('.lrB r,:--t~q:~1:r ••.•·
                                                                             (looks .a-::-. tl'"..e :ar, the.:1
                                                                   . •     ,.. __ ,, ·a,-.,,
                                                                           l>Q.i,i,J\.
                                                                                               L\--~
                                                                                               41,f.,.,.,;
                                                                                                             -,ilr~a
                                                                                                             ll
                                                                                                                        .. )
                                                                                                                  """!a,'w ·
                                                                  ·••.•your· .car p!:1.s .t":1~t~ h'~u.:lrad.



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

                                                                All -.ris;>:t •
                                    As· the' ·car· ·de~ler .iOc-k.:. e ~- h~r· .i.n .··affiuze:nient, .1 she·
                                    reaches into. her ba;;, .!'ei:..l:;:. t;he mon.3y-!'.l.lle.d envelope_.
                                    pauses·.·                       ·                 ·
                                                                                                 CAR r.::EA:;:.:e.?...
                                                                   . . (slowly)             ..
                                                                 r· t~ke. .i:t ,. •.•. .7(~~ can p::-ove tba!:
                                                                ca.r!.s J"'o~rtl' •••.. .:;. l!l~an, .Out of
                                                                st:ate. a:1.:i .all ........ g.ot· ;ro-t.:r. p1l)k
                                                                s:l1p ar.d yo ..r· .. .
                                                                                                Y!AKL
                                                               t thinlc :,: hav:1 .;:t,;, r.e,,easa~,
                                                               papers-. z·~· tl':.-e:--::. a.: l~.:i'ie:: Roo::i· •••
                                                                                     OA.R :CEAT,ll'R
                                                                I.ri the bi.iil:!1:ig • • •   .
                                                                          (ir.d.1.,:ar.i:1, cout, ;!mes
                                                                          to·--s~are- qt.~1.etly J
                                  Mary starts for ';~e b!!1J.<:i:Lr,g-, .;lancir,g on,1e in the
                                  .directio:1 of the !'at-ro!r.i,:m •.

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



         Rev. 11-20-59

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




                                                        PSYCHO_                     h-ig40l         27 •
  ..()                                                                                        ...
 \----~<~_ ..        46         EXT. THE USED CAR LOT -     (DAY)

                                Mary goes into the of!'ice b1.r1lding.
                                CUT TO:

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

                     48.    - EXT. THE USED CAR I.DT - (DAY)
                ..              The·car Dealer has-moved tl1e car of her coice-out of
                                the line. · It stands in the clear•ing.
                                                          CAR DEP.LER -
                                                {too chaer!'ully)
                                          I think you 1cd better g1 ve 1 t 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' 11 be perfectly honest ~'llith you,
                                          Ma'am. It's not that I don•t trust
                                          you., but •••
                                                            MARY
                                                 (1nterruptin3)
                                          But 'Nhat'?   rs there-anything so
                                          terribly wrong about . , • making a
                                          decision and i11antinJ to hurry? Do
                                          you think I.1 va stolen - • • • my car?
                                                            CAR DSALSR
                                          No, M1 am~    r was only c...b-.::,ut to say,
                                          ! 1 ve sent nw _mecb-::.nic out to give                                '
                                          your car a little test·~· that•s                                     i
                                                                                                               \
                                                                                                               (,.
                                          all.
      '              11-11-59                                                       ( continued)           ii
                                                                                                           _,.


                                                                                                           j
                                                 ... _.· .. ,. :. ~·-······




                                                                  PS?CHO                                  //9401
     ,,,---y-
 -\. /
{ ,·•-,··
                48    (contd)
I     _;,,,·'
<.
                                                        HARY
                                           (h:mding h1.t11 the
                                           01r·n1er~Jlip p.1pers ~nd
                                           the 1-:ew bills)
                                   I'd like to 2::-e ret~dy :vllen he gets
                                   back.
                                                     CAR DEALER
                                   Okay.     If you'll come alone                                ., •·.
                      He starts town rd tho office bu:tlding. Mary follo,,;n,
                      closely, anxiously. S;1e glances, sees:

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

                      He is still at the i'~r curb.

                -50   EXl'. USED CAR LOI' -            (DAY)
                      The Car Dealer goes_ int,;o his oi'flce,                                   l!acy follows.

                51
                      A second later., he st:.r~s his cluto:e.obile.:- checks
                      trat't'ic ,. coT.2.os iwross ~h~ street., slc1.1ly: z;nd dri v-e.s
                      onto the lot. Hs pn,-.;.~es a 1:1..orJ.~nt, them drives across
                      the lot~ pussing ~ha oftlce, going on to the other
                      exit,· stops there ~s E.:ir:r I s car is driven back onto
                      the lot •. T.hc r•:.EC~L\HIC □tots :-:0.ry's cur., hops out,
                      waves to the . r~troL:.-..:ir1. TJ::e P:\trolmzm waves bae;k,
                      goe:; on a ·bit until :.:.t: is bu!~::!.nd r,::i.ry I s c:.\r, stops
                      again, loolcs over .n-: t1":.o of'i'ic•~. In a moment, H~ry
                      comes 01.1t, hurries across to hGl"' nc:;1 car, get.s i.tl ,_
                      .starts the motor. The J,!,;c.J:umic. yells: ·
                                                                         MECHANIC
                                   Irey!   Miss?
                      Mary pauses, turns, sees the I'ctrolr.:.nn, then the
                      Mechanic. Ht:r 1'ace goes: white. She doesn 1 t lcno·w which
                      mr.n called her. Ther. the Mech~n:tc v;aves, starts for-
                      ward with her suitcase.                        ·
                                                                         !·~RY
                                                ·.a-:.. J.,1,-.,;,._· ':--" •.,,.._..,,.."le.S
                                            "3 ]·~n-c'-•-,ni...,
                                           (~                                   r;;:'4" vi  •
I   I
                                           cnr)
\._/
     . ·_:                         Just p,.lt it right in here J ple«se ....
     C.,..
         4,,

            I
                                   beside m-:.
                      'l'he Nechanic r.r:iilen., t.hrcw;:. the su! t c~se in.                              Mary
                      zooms off.      Aa she driv~s out of lot wo see the
                        .. ····· ..   . ... ·-- ·-······
                    ·.._.... ,~~- ..: ............... .      -·- .... ·-~- . -· ...-~ --""''
                                                                                -              ..   ,




                                                                                                                      PSYCHO                         119401         29.
                                                               51                              (contd)
                                                                                               Mechunic, the car Dealer and the Patrolman all look-
                                                                                               ing arter her.
                                                                                               DISSOLVE TO:

                                                               52                              MARY .IN NS.·l CAR ON ROUTE 99

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



                                                               53                              MARY1 S REAR-VIE"w MIRROR
                                                                                               No sign of' the Patrolman,_

                                                               54                              MARY IN NE'd CAR ON ROUTE 99

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

                                                               55                              ROUTE 99   - MARY'S POV
                                                                                               It is heaV'IJ t·1ith tra.f.f1c.

                                                               56                              ~iARY IN NEW CAR CN ROUTE 99
                                                                                               Again she checks th~ mirror and although             ...
                                                           . . 57                              MARY'S REAR-VIEW MIRROR
                                                                                               Thera is still no sign of the Patrolman.

                                                               58                              MARY IN NEW CAR OH ROUTE 99
                                                                                               She cannot relax or feel saf',a, cannot conYince herself'
                                                                                               that nothing will coma of the man's watching and sus-
                                                                                               picions.
                                                                                               CAMERA IS CLOSE on Mary' e face now, recording her
                                                                                               anxiety, her fears. H.}l:' guilt shines bright in her
                                                                                               eyes and f~h~ 13 a r,erson unaccustomed to containing
                                                                                               thiB mucil guilt ·:!.n this realistic a situation. Sud-
            ( _)                                                                               denly, \•le hear the SOUED of· the Used car Dealer's
                                                                                               laugh, hear it as clearly as Mary heara it in her
                     (___j                                                                     imaginn tion. Th8 "irr:ag1ned voice" Ne hear is actually
                                                                                               th~ voice of the car Dealer:
                                                               11-11-59                                                                               (continued)
...__. ·_ ... -- -.•· .. -----
                                                       PSYCHO                                  30.
                58             (contd)
                                                           CAR DEALER'S ~lOICE
                                             Heck, Officer, that was the first
                                             time I over saw the Customer
                                             high-pressure the Salesman! Somebody
                                             chasing her?
                                                             PATROLMAN'S VOICE
                                             I bettei~. have a look at those papers,
                                             Cbarlie.
                                                           CAR DEALER'S VOICE
                                             She look like a wrong-one to you?
                                                               PATROLMANtS VOICE
                                             Acted. l.11<:e one.
                               Mary blinlrn, shake.s he1.. head, as if trying to shake away
                               these voices or het" imagination. She checks the rear---
                               view mi2. 1~0::i •
                                         1




  .. L,,.


C;,_                           Still no s:!.ght or the Patrolman •
.Q
                60             MARY IN NEr,,r CAR                                               60
                                                                         .
                           She tries to !'orce herself to relax, almost succeeds
                           when she is sprung to tension again by ••••

                61             EXT. H!G:fl'!AY 99

                               The sight cf a police car. As she drives past, \1e hear
                               the squeaky, unintelligible voice coming over the car
                               radio. r,hry zooms do~-m on the gas, whizzes ahead.
                           DISSOL'tE THROUGH TO:


                62.            EXT. HIGifr!AY 99 - LON'G. SHOT

                               Mary-ts car a.ashing along.
                           DISSOLVE TO:

       I
   /        .


(.)
.......
                               Mary lookfJ 1,1~n.r·~,., tirced with strain and \·iith hard
                               drivin.;-. E::H' .:::ye!l a~e heavy t">'ith worry and deep thought.
                11 ... 11-59
                - ........ _, . .   .,   ...... .... --···-·
                                             •-




                                                                                      PSYC:-IO                . #9401        31

                                                    64          OUT T'.riE WI~fDSRIE::iD
                                                               We can e.se t!lat it 1s much later 1n. the day, almost dusk •.

                                                               MARY IN NEW CAR
                                                               We HEAR the sound of an agitated BUZZ of an inter-com
                                                               system, a scund emanating from r,1a.ry I s imagination. After
                                                                the eecond BUZZ, we F.EAR the voice or Caroline.
                                                                                           CAROLINE'S VOICE     ✓
                                                                       Yes, Mr. Lo·wery.
                                                                                           LOWERY'S VOICE
                                                                               (a. worried tone)
                                                                        Caroline .•• ? Mary still 1sn 1 t in?
                                                                                           CAROLINE'S VOICE
                                                                       No, Mr. !,.)Wery ••• but then she's
                                                                        always a bit late on Monday mornings.
                                                                                           LOWErri' S VOICE
              ··o-_.:
                !-:•-;_.,·
                                                                       Buzz me the minute she comes in~
                "-...~,                                         Again ?.fa:r=y sha..¼:es her head, forces herseJ.f to stop
                                                                hearing these ".inventedrl scenes or her ixr.agination.

                                                    66          EXT. H!G•:·iWAY 99
                                                               Now we cu.t to the vie.w of the road, from-Mary's viewpoint.
                                                                Darkness or evening 1s coming. · In the d~ t\iilight we s.ee
                                                                the ne~n s1gns of roa·isic.e restaurants and gas stations
                                                                beginning to c J.aze .on.

                                                    67          INT. MARY'S !-iE'H CAR
                                                                Back on Mar-y 1 s faoe, and after a moment, the imagined
                                                                voices again:
                                                                                   LOWERY'S VOICE
                                                                       Call her sisterl If no one's
                                                                       answering at the house ...•
 ,.

-r
_1
                                                                                           CAROLINE'S VOICE
                                                                        :t called. h,:;r ~ir;ter, Mr. Lowery,
                   "\
'.
      j
          '
                ·, ·""\.
                  j•-·.._                                               where she work::::, the Music Makers
                                                                        Music-St.::,re, you know? And she
                t -·    1 .
                                                                        clc~sn' t know t·r.here Mary is any
                                                                        moi·e than ·we do.

                                                    11-11--59                                                 (Continued)
                ,,._,.-!   _.__ .... _ .......                                    -
                                                             ......... ..:.- . - .... . .. . ·- ...,.

     C



     _(~).                                                                                              PSYCHO                                 32. ·,

                                                   (Cont'd)
                                                                                                LOWERY'S VOICE
                                                                                  You better run out to the house.
                                                                                  She may 'be • • • unable to ans1~er
                                                                                  the phone •••
                                                                                                             CAROLINE'S VOICE
                                                                                 Her sist~:r• s going t.o do tha.t.
                                                                                 Shl':l 1 s a.s rvorz-ied a.a ite a.!'e.

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

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

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

                                                   nrT. MARY' s NE';[ CAR
     .. .,,··



     0.                                           cutt:1.ng b?.~k to i·•!~.::'y ., we can sense 1):t tho tense muscles
     0·                                           of har tac~ thr:. t zhs is dr•i ving fa.st er.. The oncoming
                                                  headlights blu::t c1.t; her.'. Sudcbnllr we H~AR Lo:,;ery 1 s
                                                  voice, loud nc-11J and frightened, as if the anxiety in
                                                  the m3.n ta voice ';!==-!~ st1~on3 enough to break thro.ugh t;'~.ry rs
                                                  eff.'ort to keep he:!" mind silent and ·her imagination blank.
                                                                                                             LOWERY 1 S iTOICE
                                                                                Net I: haven't ths faintest idea.
                                                                              · As ·I s:tid, r la,st· saw ycur -sister
                                                                                when th~ l~ft this office on Friday.~.
                                                                                she r,aid she didn't feel i·sell and
                                                                                wanted to lea.ve early ana. I said she
                                                                                oould. And that ~•1~5 the la.st I saw ••••
                                                                                          (a pause, a thought)
                                                                                  ••• ~ait a minute, I d1d see her, an
                                                                                  hour 0:.1 so later, driving~·•
                                                                                         (a pause, then with
                                                                                          ~1olemn fear)
                                                                                  Ah., ! think you 1 d better come over
                                                                                 here to ~Y office. Quick.
                                                                                       (8. pause., a click)
                                                                                  Ca::-oline, get ;:rr. Cassidy for me.
/·   \
(_   )·
                            70.
                                                   It in c.o:r.pletel~,r dark now, night.

                            REV. ll-3C-59                                                                                        {continued)

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


   (
                                                                                                               PSYCHO                                 33.

                                                   71.                        INT, MARY'S HEW CAR
                                                                             We cut bacl<: to her !:ace.
                                                                                                                 LOWERY'S VOICE
                                                                                                   After all, Cassidy, I told you ..•
                                                                                                   all that cash ... I 1 m not ta1-:1ng
                                                                                                   the responsibility ... Oh, for -.,: ..
                                                                                               heaven's sake, a girl works for you
                                                                                               for ten.years, you trust herl
                                                                                               All right, yes, you better come over.
                                                                                                                 I


                                                   72.                        EXT. THE ROAD AHEAD                      FROM IJiARY I S VIEllP9INrl'


                                                   73.                        INT. MARY'S NEW CAR
                                                                             Fast cut back to· Mary's face. Oncoming headlights throw
                                                                             a blinding light across her f:eatures.
                                                                                                                     CASS!DY'S VOICE
                                                                                                          ( undrunk, sharp             ·
                                                                                                          with rage)
                                                                                               Well I ain't about to kiss off forty
                                                                                               thousand dollar-:-si 1'11 get it back
                                                                                               and if' any of it's missin 1 Ill re-
                                                                                               place it 1·ri th her f' lne soft flesh I
                                                                                                   I'll track her, never you doubt it!
                                                                                                             LOWERY I S VOICE_
                                                                                               Rold on, Cassidy . . . I still can't
                                                                                               believe ... it must be some kind
                                                                                               or a mystery ... I can't ....
                                                                                                             CASSIDY'S VOICE
                                                                                              You checked wtth the bank, no?
                                                                                              They. never laid eyes on her, no?
                                                                                              You still trustin'? Hot creepers,
                                                                                              she sat there while I dumped 1t out ...
                                                                                              hardly even lookc:l at it, plannin' a:1d
                                                                                             ..•. and even flirtin' with me .•... J
                                                                             A look of revulsion ~kes Mary close her eyes.

                                                   74.                       THROUGH THE WINDSHIELD AGAIN
                                                                             Big drops of raln begin to appear.

                                                   75.                       CLOSEUP - MARY
                                                                             She is becoming aware of the rain starting.

                                     REV.11-30-59
                                                                                                      ·.   .":•   .....



  r

                                                        PSYCHO                       #9401       34


  C·                                 THROUGH THE WIHDSHIELD
                                     T'ne rain increasing and backlit by the oncoming he~dlig~1ts.

                   77                CLOSEUP.., MARY
                                     _Mary starts the 1-11ndshield wipers,

                                     THROUGH THE WINDSHIELD
                                                                                 /

                                     The wipers are having a battle with the now torrential
                                     rain.

                   79                CLOSEUP - MARY
                                     Peering through the blurred windshield.

                   80                CLOSEUP - THE CAR WHEELS

  rj·.                               slowing clown in the flooding hichway.

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

                   82                CLOSEUP - THE CAR vJEEELS
                                     almost coming to a slow turn.

                   83                .THROUGH THE WINDSHIELD
                                     just blackness and rain.

                   84                CLOSEUP - MARY
                                     peering· ..

                   85                MARY'S VIEWPOINT
                                     An almost ind.1.S.;ernlble light in tr..e far dictance, a neon
                                     sign blurred by the rain-sheeted windshield.            ·

                   11-11-59

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




                                         PSYCHO                                  35

          86   •      MP.RY'S CAR
                   She oresse:s do;-m, forces the car to move on through the
                   ·r1ooded road.
(
                      EXT. THE RO,\D
                      As we move closer, we see the neon sign more clearly and
                    can faintly m9.ke out t.he large letters which read "Motel. ;i
                   Mary stops the car, lowers the windoi•1 slightly, looks out .
                   .We see the sign clearly now: ''BATES' MOTEL. 11   Mary opem:
                    the car door al"!d dashes out into the raln and up onto the
                   porch of the motel office.

          88          EXT. BATES ' MC 7:EL - (NIGHT)
                   Mary pauses on the perch. The lights are on within the
                   of'f'ice. She tries door, t'inds it open, goes into of>f'ice,
                   CAHERA F'OI.:LOWS he=:- into office. There is no one present.
                   Mary go~s to t:le dos1c, rings a small pushbell. There 1s
                   no response. i'-1.:?.!'Y r-ttbs her .t"'or•ehead in weariness and
                   frustration, g:~e:s t•ack out onto the porch. She looks of'f
                   in another dir-F.:ction, slightly b~h1nd the office, and
                      sees ....

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

          90          EXT. PORCH OF BATZS' HO~EL - (NIGHT)
                      Mary, having seen the ~-.;oman, expects now that she will get
                      some attention. She stands a r."'ew moments, waiting. No c.:v.
                      comes. Irr.patience ar.d anger rise in Mary. She dashes cu.t
                      into the rain, to her car, gets in, opens th.e side wir:cr:,•:1 ..
                   begins to hc1nk the horn.       After a moment, a YOUUG MAN ope::
                   the f'·ront door of'. the house, pauses, starts dm·m the patt.
                   Arter a few steps, he turns and runs back into the house.
                   Mary leaves her car, starts a dash for the shelter of tha
                   porch.      As she r·uns, He see that the    Young M8.n has gor:~
                      back only tog.At an umbrella.     See:tng that Mary is on her
                      way to the p_orch, he :::'Uns quickly, the uttbrelln. unopenea.
    I .
                      in his hand. He gets to t.he porch a r.1orr.ent after t,:ary
                      has reached lt. H9 stops short, looks at her, then at
CL-'                  the umbrella hanging 'useless in his hand., then back to hcH'.

          1.1-11-59                                             (Continued)
                                                                                                 PSYCHO                         #9401                                   36

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

                                                 91             IHT. OFFICE OF BA~E~' MOTEL - (NIGHT)

     (
                                                                The Yeung K.1r1 f'o.:.. l•:'i:·rs Mary in, closes the door. He
                                                                ·1s NOR.NAN B.A.:X:E~,., som~\•rhere in hiz late t~renties, thin
                                                                and tall, soft-spoken and hesitant •
                                                                           ... ....
                                                                          ;':
                                                                                ~
                                                                                    '   .
                                                                                                  NOfil.t!i.N ··
                                                                      · ·Dirty night.

                                                                                   MARY
                                                                              (net really a question)
                                                                       You hsse a vacancy?

         ........   -.                                                                            NORMAN·
    ~.·;
                                                                                            ( ?:lir!ply, ~lmost
    g                                                                         chser-fu.lly)
                                                                       We have tw~l v,:: \."c.1caricies.               Twelve
                                                                       cabins, twelvi::: vacancies .
                                                                              .(a pause)
                                                                       They moved s.w-e.y the ·highway. -
                                                                                           .MARY
                                                                                                            . .th e
                                                                                       T i a• got. t· en o ff
                                                                       I •· th· oug_ht _
                                                                      · main .•..•
                                                                                                 . MORHAM
                                                                       I knew you nr,;.st h:a.,.-e.                No one
                                                                       stops h~re a.r:ymor-e unless
                                                                       they do.
                                                                He is behind th1-J counter now, pushing forward the
                                                                registration book.
                                                                                                  NORMAN
                                                                       But it's no geed dwelling
                                                                       on our losae3, is it. We go
                                                                       right ahead lighting signs
                                                                       and following the formalities ...
                                                                       Would you. sign, please .


                                           . 11-11-59                                                                       ( Continued)



/.,-------C ..... -      ··-··· •.   - · - · ' · · · · ··-···
                                                                                                                                 ············ - .. ·······   ... ·-- .... -·-····· ..   ····--1
                                                            ---
                                                            PS~CH0                               #9lJOl      37

                       . 91      (Contd)
                                Mary has placej her h~r!db:;.g on the counter. She
                                takef; the r,:=gi;;! tr;:;.;; ic:1 book:, picks up the pen, 1.s
                                sudd.e~ly str·0c'\.<: \·.,ith t~e realization that she I d
                                better use an .:!l.11,~~- She writes the name £ila.rj.e
                                Samuels.
                                                             NOP.HAN
                                         Ymi.r horna ecl:ir-ess.            Oh, just
                                         the toi:m. 1.-ri:i.l ,'io.
                                                            HARY
                                                     ( gla.nc ing ~ t news--
                                                     p.sµsr -~tic.king out
                                                     of.' her h::.nJbag)
                                         I.-0a Ang~:i.es.

                                She realizes he didn't ask her to tell him, merely
                                to write it d~. ;·m.. She .3miles, writes Los Angeles
                                beside th; f,,.lse: n-1.m.;;:. N,:>rman smiles, stops smiling
                                out of emoarr~ssmsnt.
                                                              NORl;iAM.
                                         Cabin O~a.           I~•a cloner in
        ~ ...     ,.                     caf:;e ~ro-:.l t•r3.n ~.:, 2a.n1tth:tr!g~ •..
, H,.
    '----
 \ .........
                                         right: next t.o th:3 ofi'ice.
                                 .   ,

                        92      CLOSEUP - NORHA!{

                                 He remortes -~ ke-:, fer· Cabin .One.                   We see that there is a
                                . remaining key on tl·~e board.



                                                             NARY
                                         I want Z!.et':lJ r1◊1'"= than anything.
                                         Exc.t::pt rr;;-17b-::!, feed.
                                                             NOF,. MJ.Ul
                                         There's a big diner about ten miles
                                         on up . . . J":..tst oi..4tside Fairvale..
                                                             MARY
                                         Am   I that clcse to Fairvale?
                                                             ~rnHHAH
                                         Fif~s~n ffiile~.           r 1i get your bags.
                                                                       1

  ,,          )
  ~
      ---~·   I

                        :Rev. 12-7-59                                                         (Continued)



L ....
             ._._·..,.·; . -:;..·..:..•. \;"•. -~:--:·~.:.:. .-. ,: . - ;




                                                                                                                                              --
                                                                                                                                               PSYCH~                        #9401          38 ..

                                                                                93.               (Contd)
                                                                                                  He goes to door, op?ns it. The rain has slowed down
                                                                                                  considerably. He smiles a.t this fact, as if to com-
                                                                                                  municate so1ne plea.sure he finds in it.. Mary .follows
                                                                                                  him to th,?. door, goos out on the porch, waits and
                                                                                                  watches as i-:o:rman runs to J.i.er ce.r, gets in, drives
                                                                                                  it to the parktnr; space in front o-f Cabin One. Nnry
                                                                                                  wa.lks a1.o:1g the porch, waits before the door of Co.bin
                                                                                                  One. Nor~an gats out of car, with suitcase, runs to
                                                                                                  the door, opens it, pushes the coor open, puts his
                                                                                                  hand in and. switches on a ·1igh t. Hary goes. 'into the
                                                                                                  cabin. Norr.:ian follows her..             ,.
                                                                                                  I:N'l\ CA Bnr ONI!! - (lIIGHT)
                                                                                                  Norman ple.ces suitcase on bed, goes to the window,
                                                                                                  opens it.
                                                                                                                                                 NORHA.N
                                                                                                               Stuffy in her~.
                                                                                                                          ( turns to her)
                                                                                                               Well           the mattress is soft
                                                                                                                                 oo•
                                                                                                               aivl fhe-:.'6- 1 r~ ha2!gcr.;; i:n the
                                                                                                               clo~et. ,:.ld .... o stationary with
                                                                                                                                   "'r~n..-,..,o.' en i ..
                                                                                                                                 1,~>•·
                                                                                                               ''?.~, .. .,,,,,. , . , •
                                                                                                                  " ' • - ' ~.-,.:,     ..>1,,,Q 1 '·
                                                                                                                                   l;.1 . .Lt~0   1
                                                                                                                                                           V\;;,,   .   /J

                                                                                                               in c.a:.;e you want to r.:a:-:e your
                                                                                                               .friends bacl.: home envious. ♦-o and
                                                                                                                    the .. • • 0 1rer there ••••
                                                                                                               • · • · SI

                                                                                                                         (he points to -che
                                                                                                                         ba throcm, fL'.irly
                                                                                                                         blushes)
                                                                                                                                                 MARY
                                                                                                               The ba-chroo:1..
                                                                                                                                                 }TORHAU
                                                                                                                        (quickly, starting
                                                                                                                        to 1 ea ..,e)
                                                                                                               1 '1.1 be in tt·..e office if you
                                                                                                               want anything .... just tap on
                                                                                                               the wall.
                                                                                                                                                 HARY
                                                                                                               Thank you, Mr. Bates.
                                                                                                                                                  UORHAN
                                                                                                               Nornsn Bo. r,es.
        .,      ·,,

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

I   .        .......
                                                                                                               Ycu have scnethinc most girls
                                                                                                                                                 NORMAN

l                                                                                                              nevc. t· h8.Vf1 ~


l                                                                           •
                                                                                       -   -   J-. ~   ,~,·"

                                                                                  -----•------•------•--w •
                                                                                                                                                                              (Continued)
                                                                                                                                                                                             ____J
                             ~SYCI-!0                  #9401           39.·

 (Contd)
   '.                        MARY
         I have'?
                             IIO.fil!Aff.
        Theret.s no n~~e for it••• But
        it 1 s ijomethir.g th~t, that puts
        a person at sase.
                              MARY
        · Thank you,         .Agt\in.

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

        No..        "--' ·

                        ZIO:t!•Z4JJ'
        Then .11.1.l :;ou ci.o .n-a a !:avo1.•1
               . (with.out ;r:i..!. ti.."lS" rcr
                 h'31' NJ !i!'POr.e.e)
        W1l1. you h.1.ve supper hei•e'?            I
        was jus:t abou.t to., myseli' .•••
        nothing r.,ore thlln s·or.ie sand-
        wiches and·a lot o~ !11.ilk, but
        I 1d like it if 701.1,'d come up
        to the house and ••• I. don• t
        set a t:ano-:r ·tab:!.e but ••.•. the .
        kitch<in's awtµlhOr.!ey- •.
                             MARY
        I'd like to.
                     UOID·l.\.U
        All rir;ht, you get your dresses
        hangi.tJS ou~ and .••• ohsnge
        those wet shoes, and I'll come tor
                                 s
        you. s1;ion as it 1 ready.,.•.
                  (.starts out)
        ♦, .with r.;,y trus.ty uribrolle.
                  (he 1-auehs .a sru1ll
                  1-n:ash, r~n;) o.t::f}
Mai•:; clo~e~ the ::l.◊or, r;oes ·to suitcase·, cpe.na it,. sta.r'ts
to tn-1:c c.1.~t a :=..:·e:1r:. Hor hS.:\ C.bcg i~ r1¢:xt- to vhe. s~i :.-
c11se, . She glGr,ces do:-111 into it,. p11uses. drops the dress,
roRcbcs into tho hi:riCb.P.g.,_ t1ri·:e·s 01.1t the rr:oncy-.:""i11.i::.d
cnvelc;,13 st:ur::::: at it., ulr.1ost !\'i t2'"' ,:ti)F,ret, contsr.1·01ntez
            1
hiding.it, d.c-ciae·s to, !: tartfi look1nr; i'or a _:::•e~s-o:n!i:,le


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




                                                                                                                  PSYC!!O                                  #-940l

                                              94. ·                        (Con~).
                                                                            ,.
                                                                       hidintr place. She loo::s abut, at the closet, the, d::-awGr,. .
                                                                       etc,, realiz'.ls all su•~h p::.a::es · are obvious. Catch.in.; ·
                                                                       sigh-c of ths: n.;,,wspa~ l' in her bag, she hi ts .on a
                                                                       solutior,. Sh,:, opan. the ne:;..,psper, places the envelope
                                                                     . within it,. lock~fol:is ehF., paper ag11in and then places
                                                                       1 t on the bedside tcb1.e as !.f it were there for l!>. ter
                                                                       reading. She cons!d~!"s th.i..s ro:r- a· moment,· accepta it,
                                                                       goe•s. to her sid tca~ei to s r,.:rt unp.:icking. , Suddenly t::ie
                                                                       quiet is shattered by the ·Sh,~il :.., ugly. sound or a
                                                                       woman's voi~e, raised in an~er.              ,
                                                                                                              \i'OMA.1{' S 'IC!C'S:
                                                                                         Not          I tel 1 you _I\<li.
                                                                          Mary walks s.lowly to the win•iow, realizing that the
                                                                          terrible .vo'l.::e !s .,..,:.:.b;; from the .house behind. the
                                                                          cabins.. CMiE~A FOLLO}fS he::- to win,;iow and once• there·
                                                                          we. ,see the ll1,ht :!.a $':.ill on in t,he upstairs. bedi-oon:
                                                                          atld- the vo-.1-ce .ls :~o:-:!rig f'roin ~at. root'l.                              Tha- z-ttill h,a·a"
                                                                          stopped lUld' the r.ioon ~s out,
                                                                                           .           i.,;yrt~N!S -vc.::~ (:.CnntQ.) .
                                                                                    . 'I won:1 t. hl(ve·, yc.:t· odngins. -strange
                                                                                      j'"oung- g:J.-!"1.s:.· .!n. ·/o~ su·p,r:~r · • ,·         ll

                                                                                        .        {.an -·..,gl.y.,. 3r.ee.ring. -r1.ote
                                                                                                 creeps.. into the vo l.::-e:) ·
                                                                                      •• , by. candl,;1if,ht, I supp,:i:se, in
                                                                                      the cheep ere t.ic J'as:h.l on of yot!l'lg
                                                                                     lll~m with .ch,a.p, erot.lc minds l .

                                                                                                    NO?,.t-l.\!l 'S VOICE'
                                                                                     Mo,ther-,. pleas:e .•.•·•
                                                                                                  WOlt.!11' S VOICE!
                                                                                     And then whli'':? After supper, muaic?
                                                                                     Whispers?
                                                                                               . l{OR!¼.tl I S VOICE
                                                                                    Mother, she's. jus ~ a s i:r·anger
                                                                                    hungr7, and·. the .1'e&th'='r' .s bad·
                                                                                                                                                     ...
                                                                                                                                                     ...
                                                                                                                  wo~1A~:' s· vo-rca:
                                                                                                       (mimick:!.r.,J r,t•uelly)
                                                                                   _.Mother,. she· 1 s jus: s strangerJ
                                                                                             (herd, cn:.-J. ai:;a.:..n)
                                                                                    As lf me~ don'c d~~!r& strangers,
                                                                                    as if •·•-•- 0!1,. ! r,:..fus:e ·1:0 speak
         )                                                                          of <iis,::iu.:~t!.::1.g tf'~i:1r,s bccau-se they-
                                                                                    d:!.s,gusc me:         You ur,d,;rs to.nd,. Boy?

                                           Jfov. 11/23/59                                                                                                  ( Continued)

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



                                                                                         PSYCHO                           119401

                                             94.     (Contd)
                                                                                            WOll/'~N I S VOICE (Contd)
                                                                                 (pause}
                                                                          Go en, go tell her $he'll not be
                                                                          appeasing her ugly appetite with
                                                                          rny food •.. er my sonl Or do I
                                                                          have to tell h(H', cause you don't
                                                                          have the guts? Huh, boy?           You
                                                                          have the guts, boy?
                                                                                            NORR!l.N' S VOICE
                                                                                  (blurted out fury
                                                                                  and shame)
                                                                          Shut up I     Shut up I                     /




                                                     There 1s th':l SOUND of a. door closing in that room up
                                                     there. Mary h.~s stood by the w1ndow, listening with
                                                     mounting d.:!.i:tress and concern and syr.ipathy. She turns
                                                     her face away nolt, gazes sadly at the little empty room.
                                                     In a moment there is the SOUl-TD of' the house I s front
                                                     door slamming shut. Mary turns, looks out the window.

                                             95.     FROM MA.RY'S VIEWPOINT - (NIGHT)
            ,·                                                                                                                                -        I
           •r-; •                                    We see Nor·man coming dti1m the path, carrying a napkin-
                 <::,
    I


                                                     covered tray:
                                                                                                                                        >
                                                                                                                                                  • I'

                                             96.     INT. _CAB IN ONE ~ ( NI--GHT)
                                                     Mary looks at him !'or a moment, then turns quickly,
                                                     goes to the door, 01,1ens it and goes out onto the porch.

                                             97.     EXT. THE t-~OTEL PORCH - {NIGHT)
                                                     Mary pauses. o·iJ.t8ide her doer, is about to start forward
                                                     when Nor-man comes round the building and walks along
                                                     the porch, past the office, stopping only when he is
                                                     close to her. He stares with painf"ul embarrassment
                                                     at the }mowing look in her eye.
                                                        - .. -~,0
                                                                    f..,. J
                                                      ,,.    l":
                                                            (',('     /                     MARY
                                                      0t·           " I I ve caused you some trouble.

                                                                                            NORMAN
                                                                          Mother· .•.
                                                                                  (a hollow little
                                                                                  la.1-igh, an atterr.:r,t
                   )                                                              at s~rdor.i: humor)
                                                                          ••. what is the phrase . . .       rr she
                 (.:)                                                     1snrt herself today" ..• I think
                                                                          that's it.
                                                                                                                          (Continued)
                                             REV. 11-30-59
J.. ___ . : __ _
                                                                                                                                                  -,
                                                                                                                                        - .. --'
       .:    --       ' ... , ....   _
                                     ........ ~.


            r·
                                                                                         PSYCHO                           //9401

             ,7,
             '                .                    97               (Contd)
        (\ -·
        r·- ·~-  ..           .

                                                                                      . MARY
                                                                                  ( lO('Jking a.t the tray)
                                                                           You shouldn't h.'1Ve bothered.       I
                                                                           really don 1 t have that much or
                                                                           an appetite.
                                                                    Normr1.n fllnchcu, renli~~ing she hao heard his mother I s
                                                                    reference to M~.ry rs appf~ti te.
                                                                                       NOTIMt\N
                                                                           I'm sorry. I wish ... people
                                                                           could apologize for other                .,.
                                                                           people.
                                                                                          MARY
                                                                           Don•t worry about it.
                                                                               · ( a warm fim:ile)
                                                                           But as long as you.' ~,e tn..'1.de
                                                                           us supper, i·1e may as well
                                                                           eat it, Huh?
                                                                    She begins to baclc into her room. Horman stnrts
                                                                    to follow, hesitaton na he sees the total picture
                                                                    or an attractive young woman and. a motel room .
                                                                    Bringing dotm the tray or .t'ood., .in defiance of
        . r-i•·

            v·
            ~c---',·
                                                                    his mother 1 s orders, is about the limit of his
                                                                    defiance for one day. He cannot go into MaI'y·• s
                                                                    room.
                                                                                          MORMAN
                                                                           It might be nicer , .. warraer
                                                                           in the o.r.r1ce.
                                                                    Without waiting for approval or· disapproval, he
                                                                    turns, hurries to the office. Mary looks after
                                                                    himj her face showing amused sympathy, then follot·rn.

                                                   98               INT. T"rlE !'.OTEL OF'FICE - (NIGHT)
                                                                    N'ot•1J1.an lco1cs ab:,ut, trc1.y 1n hand, seen there ls
                                                                    no reasonable place to spread out a suppF.r. He
1. .




                                                                    turns, se.es Nary standing in the doorway.
                                                                                          NORMAU
                                                                           Eating in an office •..
                                                                                    ( a !'\teful smile)
                                                                           ••. too orficious, even for me.
                                                                           I. have the parlor O(Jhlnd. this ...
                                                                           if you 1 d like.               ·
            (j
                                                                    Mary nods.  lror•n~n 1•r:1.llcs on, beh.1nd t.he co1.mt:cr and
                                                                    into the darkened parlor. Mary follc~s.

                                                   ,, .. ,1_:::;a
 r---··
   -~:... _·::.:;:~--~-t .....,i#.--!. : ........- ~....... . _ _ _ _ : - _ · , • ...:~


 . \. '·
                                                                                                               PSYCHO                                      /19401
                                                                                                                                                                              43,:
                                                      99.                         Il?r. NOR!!~lTl S PtTILQB -                   (NIGiiT ).

                                                                                  In the da1.. kened room., lit only by the li3ht f'4'.'om the
                                                                                  off'ico ·spilling in., we soc l-Jo.l~r,,.an ple.cing the t:riay
                                                                                  on a table. Hary comes to the doorway, pauses ..
                                                                                  No.t'Ins.n st.raightenD up, goes to lrunp.;1 tU!"ns 011 the
                                                                                  ligh·b.
                                                                                  Mary is stal:'tled by the l:'oom. Even int he dirrmess
                                                                                  o:f one ls.mp, the striange., cxt:ro.ordino.ry nature o.f'
                                                                                  the l:'oom rushes up at one. It is a. room of bil•c1s.
                                                                                  Stur".f'ed birdsJ all o7er tbe l"oom, on every ava:i.la.ble 1
                                                                                  surface,. 011e eve.n cli:r..ging to the old .fashioned         ,.
-· c·                                                                             f.t'inged she.de o.f' the lamp. The bi.::•as a.re of n~ny
                                                                                  varieties, beauti.ful, grand., horrible·:- preying.          .
                                                                                  Mal:'y star>es in awe and a certain ..t'ascino.ted bo.rl'o!'o

                                                      100 •.                    · CLOSE TJP - THE VARI 01:S· BIRDS

                                                      101 ..                      TWO SHOT
                                                                                                          1TORH.4.U
                                                                                                Please sit down.                   On the co:ra.
                                                                                  As !-Tol:'lnan soes about sp!'eading out the bread and h~.r.:·
{cd:,
    ·;.,;,,/
                                                                                  and po'J.!''11"~3 the milk, we f ollo~-; !•10.:.~~.,. aci--oss ti;e roo:m •.
                                                                                  She stud:.es the bil"c:is as she walks, brici"'ly exe..-nines
  .. --~.                                                                         a bookca.se·· stacked with books on the ·subject of
                                                                                  0 T·a..,.i·-a~"' ~''"I~ u
                                                                                     . .;-..    ......... J.

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

                                                      103.                        i!ED. CLOSE SHOT - i-!ARY. . . . . .
                                                                                     . -
                                                                                   She notices, too., the paintings on the wall; nudes.,
                                                                                   pl'ir.ia.r-il:y,. and r::any with a vaguely re.ligious overtone.,
                                                                                ·. Finally !-:ary reaches the sofa, sits down, looks at
                                                                                  the spread.
                                                                                                                   MARY
                                                                                                )7ou' ~e very ..... kind •.
                                                                                                           UORMAN
                                                                                                It rs all for you., I 1 m not
                                                                                                hungry. Please go ahead •.
                                                                                  Ma.l:'y begins to eat, ber attitude a bit tense, She
                                                                                  takes up a small slice of ha::11, bites off' a tiny bite,
                                                                                  nibble "'.:. a+cu ,··- t -; n "-\
                                                                                                                v,'le r:a . .""''"' - ..... 0.1.,... on:;- •
                                                                                                                               .u..i::.1.                    • t --·
                                                                                                                                                           C:J.S u.,.-ooa· -
                                                                                                                                                                           n.:.~a' P~""' e-
                                                                                  occupicd. ~-Tc,::,~:an sazes et her, at the tiny -bite she
                                                                                  has ta ken, sr.1ilo s and then laughs.
                                                                                                          HORI-t!\N
                                                                                                You ent like a.. bird •.

                                                      Rov. 11-23-59                                                                                        (Continued)
             103.    (Cont'd)
                                           --
                                           PSYCHO                                     44.


                                               MARY
                             You I d lmow, of course .
. C·
                                               NOfilll\N
                             Not really.     I hear that ex-
                             pressicn, that one eats "like a
                             bird," is really?... falsie, I
                             mean a falsity, because birds
                             eat a trera~ndous lot.
                                     ( A ps.us.::1,. then ex-
                                      plaining)
                             Oh, I dor"' t l:n,,w anything a.ccut
                             birds. Hy hobby is stut:'fing
                             things ... taxidermy. And :r guess
                             I I d just r!J.th~r stuff birds becaus·e ...
                             well, r. hate the look of beasts when
                             they're stuffed, foxas and chimps and
                             all ... some peopls even stuff dogs
                             and cats ... but I can 1 t . . . I think
                             only birds look well stuffed because
                             they•re ratr..er •.. passive, to begin
                             with, • . • I!l.O o t or them •••

                     He trails off·, his exi..:.ber:~nce fa.1ling 1n the rushing
 re•,.,              return of' h!..s ne t;_:ra.1. hes-i tancy and discomfort. Mary
/\~
                     looko at him, with scme compassion, smiles.
~.-··
                                               MARY
                              It's a strar-.. ge hobby.    curious,
                             .I mean.
                                               UORMAN
                             UnccrnmonJ too.
                                               MARY
                             I imagine so.
                                               HORM.;N
                             It.•s not as ex;.ens1ve as you 1 d
                             think. Cheap, r·!?:.:tlly. . Needles,
                             thrE:o.d, ~awd.ttst •.• the chemicals
                             are all that ccst anything.
                                      (He goes qu:!.et,
                                      looks disturbed)
                                               MARY
                             A man 3hculd have a hobby.
                                               NOfil1AN
                             It I s rr.01•e ths.n a hobby ..•
I
:
        ·,                   sot1eti:-r:•?S ••. a hC';bby is supposed
r . :)                       to pass the time, not fill it.
'-=-"
             REV. 11-30-59                                              (Continued)


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


                                                         PSYCl:0                                                                    '-15.
             103.   (Cont Id)
                                                                 Ht,aY
                                               (ai'te~ a pau~e, saftly)
                                        I a your t i::!e SO 9t!Pt 7?
                                                            NOtlI·lA11
                                        Oh,. nol
                                               (.t'orcl.tig bX'ightnesa
                                                  .again)
                                        I r-un tb~ offloe, t;t;t:VJ 4:iho·
                                        eabin;oi · and gl:'ou.w:!s,         ,jo   little ·
     .   "                              chores .t'o~ mothcr, •• the or.es
                                        she allows l rnlglit be capa:i!.e ·
                                        o£ do~.                   .                                ,,
                                                        I·I.~R!
                                    You. go· out, •. ,w1t!l .tl'iands?
                                                         liOB!-!.'UT
                                    P.ri·endS'? !ibo n.e:eJs i"l.l"il'nds._..
                                             (L!l.ugh:i, tlhlll '!ith·
                                                  gall-,:-rs. hlWc>.l:•}
                                    A boyr s ba$t !1•::.;i::d is his
                                    tothe)•,
                                             (Stops. le. :::;l.l.:!.1"-G)
                                    "!0\1.tve t;~'";e~- ha~ .~.n t\mpty l':loment
                                    :tn. yo~ ~hole l_l~e;-. iie.Vi:, to.uCZ'

                                    Only lllY she.re.
                                    .         .       .      -
                                                       NORMA?l
                                    Where are '!70U going? I· don 1 t
                                    mean tp- pry .•• •·
                                                             . NARY.
                                                 (A wistt'u1. :1r.:ile)
                                    I. 1in: looking fol:' e. pr~vate
                                    island,             .
                                                                 !TOBHA?!
                                   Whnt are you l'\l!'.rJ.ng away f :r--or.,'?
                                                                 ?-!ARY
                                         <Aiert)        .
                                   Wb7 do you ask t;ha t?
                                                                 liO:al·l<l.lT
                                   lro.         ?i::ople nevor- ~"1-Tl away £r-ot1
                                 . 8.l\jt.b.tr...:; .•
                                                 {A ;,.!iu.e")
                                   Th;.,. !;a·t:n tl t.:.';r~: t !.tJ.r.-:t; \"'el"'y lol"...g o
                                .·· .           '"""',.l'""'~
                                         .{2'~v-,1,  1              ,~,,tf•l.,..;
                                                    .. ,1..,.,.,~'1 ..,                .... )·
                                                                        .......... J.~-;;      .
                                   You knot•r what I" t-hin.tc? r tbtnk
                                   we· 1 1 t.1 al.l. ].11 o'lti.~ <,~:!';. 1::irivate
                                            1


                                   tr-a.ps ,. ci.!t!rt!'}e~ l r. -:-, i:c~, and r.one
                                   o:f u-:1 cnn ,,v'!lr· ~-:(1 r·,:, out. Wo

L.
                                                                                                                        /)9401

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

                                                               l-to\RY
                                              Soll!etimes we d1:1libe.:-ately step
                                              P1to those traps.
                                                                l!Olll·!f>...!·T
                                              I was born .;.n :,nin,:,. I don't iul,nd
                                              it an~re.                              ,
                                                             1-to\RY
                                              You should ••• M.1.nd it •
                                                              1:rORI•!AlI
                                              Ob·I do H • hw..I say r don 1 t,·
                                                    (Laugbs. bo;,rl.llbl7)
                                                                    ?'iARY
                                                        {St.arini;. e.t htm, shaking
                                                        >e-11n
                                                        • ~·
                                                                      ""•-@I:'"•~-:- ,,:to•"•·"i•i--)
                                                             . . . . . . . . c:....J ...  ..I.'-- ..•
                                              If an70nn · eV·el"'•· spt;,.,i.:~ ·~o ~-: tbe way
                                              I. he:ar-d -.•·•-• ~~~if·· wi=.:r .she spoke to·
                                                                              r
                                              yo~, r-·oor..rt · t·::Clt (?ou:l,.O· e\-~er·
                                              laugh. aga-il'I,
                                                                 l IORHAJ·T -
                                                                       1


                                                    ( Cor,!;ro·l;.ed r:esent::-.ent)
                                              Some.tbe,s wi:a1n s:ja talks that way to
                                              me I}·d:· 111:e 1:;,;:i •._.,. · r;u=-;fe- her ·out.· .ar..d
                                              leave ·be::- .fo:.. ve::-1                          ·
                                          .      '   .· (A l:>U.-S1'ul>.mile J
                                              or at l<Jast, ci,!y tier.
                                                ·   {A. pau11·e,. a ho;,e~•
                                          .         . lei! s .;;.hr-~). . .
                                              But I oouldri; ;-; •. Sbe I s ill.

                                              Sbe sound~d. s"-rong .....
                                                                               l!C:l?•!AU
                                            I. mean· , • , i l l .                     . .
                                             .             (A pau.:e)
                                            She l'lllQ tc :-e:t3,:; :,i;; all. by hers;,lf ~t'tel"
                                          . my dad ci!.t!.d ~-- r· ~-ra.s or. . l:, .f'ive ••• and
                                             it r:!~JS_t · ~:s,.,1£i. :>c~:~· ~ s·t.r!li.n. · Ob, she
                                            dicn:t bnv" ~,.,, fc ·.:,·nt• tt:i wo.rk o.l"I an:;-tbing,
                                            Do.-d·le.ft, \.\ ..'..'".:i:r_1~ :.t !i.t,,Je· ·~v1nr:,.~htng ,.~o
                                            an-:,'1.za.:,'": a J'-er.-, ·?eitr s. aco . ~., • r'!o t-tler met a.
                                            tnO.?'lo      Ht:: r.t:.:"i.!t.C·d_ ~n.r- i!'i~o.:pull::.Hnr, t.~'ls·
                                           ·r.ic-t;~l _. •·• :;e:. ~-<J_!.,il•i 1.1.ac~ -t<,al.~~cd ht:r into
                                            anycli"i:tlf.      /< .. ~ ~t.:..l :-.~~r·;,. v:~.11-      lt-t·H!S
                                                                                                      (!e- ...

                                            juct t-c,) t~•.1.~'.; :··,:.:- ·:,),:· :->t:~n no d! cd·, too .,,_,.
                                            r-1:d th~.~:,s,_:~ _-_··:. -·::-:,~:-    .i   ·-•¥•~ ~          "-'   ___        .


L _ ___ . . . . . .
                                       PSYC:IO                       f/9401   47.
        103.       ( Cont t d)
                                       l!Offi.!AU ( Cont t d)
                            Oh, it ts nothing to talk
                            about wben yout l."e ea.ting.
                                   (Pauso3., .sr.iiles)
                            Anyuay, it uas too much or a
                            loss for rey ~other••• she had
                            nothing left.
                                          1-:L\.RY
                                    ( C):'.'iti~a.lly)
                            Excep'f:;.you •
                                         . l{OBltl-r,_li
                            A son is a ooo~ substitute
                            fo·x- a lovex-·..
                                    ( Tur-ns away as if
                                    _in distaste of the
                                      wol:'d)
                                              .
                                       MARY
                            Why don rt you go a:wa.y?
                                           nom-rA.1:
                            To a p~ivate. island, like 7ou?

                                 I
                                           MARY
                             No, not li}t?.J.r..e.
                                           1ro:G-::ur            .
                            It ts too le.t9 __~or ne. _And
                            besidos ••• 1-Tho·, d look aft el:'
                             her?    She'd be alone up there,
                             the -i'il:'e ·would so out •·•. damp
                             and cold, like a gl:'ave. When
                             -you lo~rn so:nf::one, you don 1 t ao
                             that to tber.:, even i.f you~ bate
                             them. Oh, I dontt hate her.
                             I hate •·•. what sher s beco5.e.
                             I-hate ••• the illness.
                                           N..\RY
                                    ( Slowl:r, c a.rafully)
                            Wouldn!t it be better ii' ~rou
                            P.Ut hel:' in ••• sor.:e place : ••
                   She hesitates. !fo::::nan turns, slm-rl-y, looking at
t                  her with a st:•ikine5 coldness e

    Rev.11-23-59                                           • 1
                                                                     (Continued)
       .~.
                                                                                             ' .,
                                                                                              .... I
                                                                                                               J     '           '     .     .. ..
                                                                                                               t'·.--!.t, . ..__t -.... •, ,......_
                                                                                                                                                      I
                                                                         _................
                                                                   .....PSYCHO
                          10,3.           (Cont 1 d)
        r,~~--
        i/  \ .•
        \._/, .                                          .          lI OiU-1:~ N
   . i''·
       .....                                        An Ins.ti tut ion·? A :o;::,.dl:ons -5'/
                                                    People always call ;,1 . .-,~:.idhou:so
                                                    11
                                                       so1ncplnce. a
                                                           (Him.!.o.tng co l(lly)
                                                    Pu·t her in Someplace!
                                                                    MARY
                                                    I'm sorry ••• I c1idn 1 t mean it
                                                    to sound uncaring •••
                                                                    NORMAN
 •. r··                                                    (The coldr.ess. tu1•n-                      /


                                                            ing to t,igt.t f 1 1:.r·1}
                                                    What do you knou ab:,nt c.H.ri:ng?
                                                    Have you· ever s sen- on-:; of those                                 • I
                                                    places'? Insidt:-? Lauf~ili.ng
                                                    and tears and cruel e;/-iJ3 studying·
                                                ~
                                                    you.•••. and my moth!:lr there:;? Why'?
                                                    Has she h.a.1...-ne<l you? She 1 s as
                                                    harm~esa i.;.s ••.• (,ne ,;f these stuffed·
                                                    birds.
                                                                    MARY
                                                    I. arr1 sor1•y·a 1 c.•n1:y f'ei t •• , it
                                                    seemed she wa.s hanning ;tGUo I
                                                    meant .•• 11-
                                                                 UORHAN
                                                            (High fury nm!)
                                                    Well? You meant uall·? Pe;ople
                                                    always mean wcdl, thsy- cluck
                                                    the :tr thlc h: to n 5 u es _a1:d shake
                                                    their heads end sugg."':;~ t so very
                                                    d.elic•ately tnat ~. •·
                                         The fury sudd0nly d ien ,. ::i.b.:rct'i"lt.17 and completel:r, and he
                                         sinks back into his chair. There is a. brief silence.
                                         Macywatches thi~ troubled m.1n, is aimost physically
                                         pained b;y- his· anguish.

                                                                    MORMAN
                                                             (Quiotly)
                                                    I. 1 ve sueges tad i t IilYS 6lf. Bu ti
                                                    r hate to eYen think .=;uch. a. cr~ing.
                                                    She needaI,,
                                                                      rne
                                                                      I
                                                                          ••.• and
                                                                               i 4-,
                                                                                     it isn't•••
                                                                                        -
                                                             ~ ....,oo,~s up u   1.n n
                                                               chil~lika pl5ading
                                                                in his c'?-"J es )
: ..     ( )                                        ~ •• it   isn't as if sha wDre n
       (;.     ✓                                    maniac., e. ravine t:11ng ••• i.t 1 s
                                                     just that ••• ~on:otime.s arm go~s
                                                    a little ii.:d. Uc all go o._ 1i t.tlo
                                                    r,iad s O!:l\:d, .i "· ;:; • rill V f: n i t :,r OU'(

                              ,. ... 27-5')
                   H,.~v., . 11 ,.'   ..., .                                                               (Cont 1 l'lilr:·:.l)
                                                                                                          ·.. -•-•·"·-·
...---   --- ·-   .   -····· . --· - ...... .



                                                                                                 #9401.
                                                                           PSYCHO

                                                103.   (Cont'd)
  ., C                                                                     MARY
                                                                      (A.fter a long
                                                                      thoughtful.- pause)
                                                              Yes, and just one time can be
                                                              enough.
                                                                    (Rises)
                                                              Thank you.
                                                                           NORMAN
                                                                    (Cheerfully; correcting}
                                                              Thank you, ,Rorm~I,;•
         c·:                                                               MARY
                                                              Norman.
                                                                           NORMAU
                                                              You're not·going to •-•• to your
                                                              room already?
                                                                           MARY
                                                              I 1 m very- tired·. And I' 11 have
                                                              a long drive tomorrow. All
                                                              the way baok to Phoenix.
                                                                           NORMAN
                                                              Phoenix?
                                                                           MA.RY
                                                              I stepped into a pri.vate t-rap
                                                              b•ck there -- and I want t~
                                                              go back and ••• try to pull
                                                              mys.ell' out.·
                                                                      (Looking close
                                                                        at. Nonnan)
                                                              Before it's too late for me,
                                                              too-.
                                                                           NORMAN
                                                                      (Looking at her)
                                                              Why don't you stay a little
                                                              while, just for talking.

                                                                           MARY
                                                              I'd like to, but•••
                                                                           NORMAN·
                                                              Alright.     r~11 see you in the
                                                              morning. I'll bring you break-
                                                              .fast. What time will you •·••
                                                                           MARY
                                                              Very early..    Dawn.
    ,--.
'':


                                                                          1/9401
                                                    PSYCHO                         50.
                       103~     (Cont 1 d)
.   (
    '.                                             NORMAN
                                         Alright, Miss •••
                                               (He has forgotten
                                                her name)
                                                    MARY
                                         Crane.
                                                    NORMAN
                                         That's it.
                                               {He frowns, as 11'            /

                                                bothered by not being
                                                ab le to match the name
                                                to the memory of- the
                                                name in the reg is tra-
                                                tion book)      ·

                                                    MARY
                                         Good night.,

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

                       104.     c.u.     THE-NAME 11 SAHUELS11
                       105 •.   M.S..   NORMAN
                                He goes back into t.he parlor with a mys.tit ied expression
                                The sounds or Mary moving about her room come over, soft
                                SOUNDS., somehow intimate in the night quiet. Norman
                                turns his earfron the direction of the SOUNDS., seems to
                                be fighting an L"'.'lpulse to listen, or more than listen.
                                But slowly, he ls forced to surrender to the i::ipulse
                                and, resisting himself', he goes to the wall, presses th~
                                side of his head against it. · The SOUNDS come louder, as
                                if we too had our ears pressed agairts t the wall. Now
                                Norman looks at a pie ture hanging on the far end of' the
                                wall he is leaning a:gains t. . Slowly he starts toward 1 t.
                                Re reaches it, touches it, reluctantly lifts the small
                                frame o:fi' the wall.

                                A tiny circle of light hits Nonnan 1 s :face, coming from
                                tho hole in the wall behind the picture. This end of
        l       ))
        "-..........            the room is very dim and thus we are able to see clearly
                                the light striking !formants face ..
                                                                         #9401
                                                   PSYCHO
                                (Cqnt'd)
                                We move close to Norman., extremely close, until his
                                profile fills the screen. The tiny spot of light hits
                                his .eye. See the smnll hole through which the light
                                comes. Norman peeps through.
C               106.            NORHAN 1 S VIEWPOINT
                                Through the hole we look into Mary 1 s cabin., see Marr
                                undressing. She is in her bra and halfslip. She
                                stoops over a bit, places her hand.s behind her upper
                                back,- begins to unhook her bra.         ,.
                107.,           NORMAN - ECU
                                He watches as_ Mary removef;J her bra. We see his eye
                                run up_ and down the unseen figure of Mary.
                108~,           NORHAN" 1 S VIEWPOINT
                                Mary., just slipping into a robe., covering her complete
                                nudity.
,· -=--. . .    109 •.          N0&'1AN
b                            He turns f'ro:n the hole, faces us ror a moment, continues
                             turning until he can -look out the small parlor window,
                           - We see, as he sees ....
               110.             THE HOUSE IN THE BACKGROUND
                111.            NORMA.N

                                He turns his face away, quickly., res entf'ully. In. his
                                face we see anger and anguish. - And then resol.ve.
                                Quickly, precisely., he rehangs the picture over the hole
                                in the wall, turns, starts out of the parloro We see
                                him go through the office and out onto the porch, not
                                even bothering to close the door behind him.
                                CUT TO:
               · 112.           EXT. THE MOTEL OFFICE POftCH - (NIGHT)
                                Norman walking -along the porch, in the direction or
                                the big house.. Once on the path he pauses, looks up
                                at the light in the bedroom. window, then pulls hi±:1.sel.f

f _):
·v--~-


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




                                                                                                                                                                                          · #94.0l.
           1\--                                                                                                                                                                  PSYCHO
  ·1\. ;
  .
 .-.--/
          . ·- .... (


                                                                       112.                                           (Cont 1 d)
                                                                                                                 up, squares his shoulders, strides manfully up the
                                                                                                                 path. CANERA. follows behind him. He opens the door
                                                                                                                 of the house, enters. We see him pause at the foot of
                                                                                                                 tho stairway, look up at the bedroo~ door just at the
                                                                                                                 head of' the stair. He holds for a moment, and then his
                                                                                                                 resolve and cournee evaporates. His shoulders slump,
                                                                                                                 sadly, mourni"'ully. He by--pa.sses the stairs ftnd slowly
                                                                                                                 inakes his way to the kitchen. At the i'ar end oi' the
                                                                                                                 hall. He enters the kitchen., drops wearily .into a
                                                                                                                 chair.. After a moment, he stretches out· a leg and
                                                                                                                 gently pushes the kitchen door cl.osed.
                                                                                                                  CUT TO:

                                                                        113.                                      !NT. ¥ARY' S MOTll.. ROOM - (NIGHT)
                                                                                                                Mary is seated e.t the small desk, engrossed in i'iguring
                                                                                                                in a small notebook. We see from these t'i.gu.res a
                                                                                                                ealcula tion which indicates her intent ion to make a
                                                                                                                restitution of th.e money she has used .of the forty
                                                                                                                 thousand dolla.rso 1-!e see, too, her bankbook. The paper
                                                                                                                reads thus: top figure, 40,000; directly benea.t.h i~
                                                                                                                ,500, the amount used .for the new ca1•; total after
                                                                                                                subtraction, 39,5000 In another spot we sec a figure
                                                                                                                which matches the balance in her bankbook; 624.00.
                                                                                                                Bene a th this is the f'°l3Ure 500, and the 2.!nount after
                                                                                                                subtraction, 124000. She studies the figures, signs,
                                                                                                                not wearily but with a certain satisfaction, with the
                                                                                                                pleasure that comes when one knows tl'..at at any cost
                                                                                                                one is going to continue doing the right thing. After
                                                                                                                a moment she tears the page out of the notebook and,
                                                                                                                rising, begins to rip it into srnall pieces. She goes
                                                                                                                into the bathroom., drops the pi.eces into the toilet
                                                                                                                bowl., flushes the toilet. Then she d1•ops her robe and
                                                                                                               ··steps into the tu.b and turns the shower on.
                                                                         114.                                         INT. MARY IN SHOWE.B

                                                                                                                 Ove·r the bar on which hangs the shower curtain, we can
                                                                                                                 aee the bathroom door, not entirely closed. For a
                                                                                                                 moment we watch Mary as she washes and soaps hersel.t'.
                                                                                                                 There is still a small worry in her eyes, but generally
                                                                                                                 she looks somewhat relieved.
                                                                                                                  Now we see the bo.th:room door being pushed slowly open.
                                                                                                                  The noise of the shower drowns out any sound.. The door
              ·i.                                                                                                 is then slowly and carefully closed., And we .see t.he
  ( 1.< .  .;.I                                                                                                                                                                                                ,•
                                                                                                                                                                                                          ,·    .



                                                                        ll-10··59                                                                                                           (Cpn t inUt':d) .
                                                                                           - -1




                                              PSYCHO               #9401


                             (Cont 1 d)
                             shadow of a woman fall across the shower curtain.. Mary• s
                             back is turned to the curtain. The white brightness of
                             the bathroom i.s almost blinding. Suddenly we see the
                             hand reach up, grasp the shower curtain, rip it aside.
                             CUT TO:
                      115.   MARY - ECU
                                                                      /


                             As she turns in response to the feel and SOUND of the-
                             shower curtain boing tom aside •. A look of pure horror
                             erupts in her i'ace. A low terrible groan begins to rise
                             up out of her throat. A hand comes into the shot. The
                             hand holds an enormous bread knii'e •. The !'lint of' the
                             blade shatters the screen to an almost total, silver
                             bla.nknes.s.
                      116.   THE.SLASHING
                             An impress ion of' a knite slashing, as if tearing at the
                             verry: screen, ripping the film.  Over it the brief gulps
..,{.           .
                             of' screaming. And then silence. And then the dread.ful
        ./..


~---
                             thump as Mary's body falls in the tub.

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

                             Lying half in, half out of the tub, the head tumbled over,
                             touching the floor, the hair wet., one eye wide open as if
                             popped, one a~ lying li."Tlp and wet along the ti.le floor.
                             Coming down the side of the tub, running thick and dark
                             along the porcelain, we see many small threads of blood.
                             CAHERA HOV:::S away fr:)m the body, travels slowly across
                             the ba throo:m, past the tolle t, out into the bed room. As
   ·• ·--" ........          CAHERA approaches the bed,. we see the folded newspaper,
                             s.s Mary placed lt on the bedside table.

                                                                                                   !
                                                                                                  _J
                                                                                                            #9401
                                                       PSYCHO


                            119.   CLOSE UP - THE NEWSPAPER
                                   bos;Lde the bed.  The CAME.RA now moves away over to the
                                   window and looks up to the house, and as it gets there we
                                   HEAR, coming from within the house, the SOUUD ai' Norman's
                                   £earful, shock.ad voice.
                                                        NORMA!PS VOICE
                                            MotherJ  Oh God, what •·• • blood,
                                            blood ••• mother ••• z
                                   We cannot entirely distinguish these exclamations. After
                                   a moment or two of silence, Norman emerges from the front
                                   door, dashes down the pa th toward the motel.

                                   Q,U!CK. CUT TO:

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

                            121.   INT. MARY'S CABI!-f •- (NIGHT)

                                   Norman pauses a moment _in t.rie doorway, glances about the
                                   roora, hears the shower going, sees th~ bathroom door is
                                   open •. He goes to the bathroom, looks in, sees i;;he body.
                                   Slowly, almost carefully, he raises his hands to his fa:e,
                                   covers his eyes, turns his face away. Then he crosses to
                                   the window, looks out at the house •. Shot is so angled
                                   that we see the bedside tab.le with the newspaper on it.
                                   After a moment., Norman moves from the window, sinks onto
                                   the edge o.f the bed.

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

                                   Norman rises, goes to the window, looks out, and then,
                                   with resolution, closes the winc.01-1 and draws the curtain
        ·,                         across it. Then he crosses to the front window, facing
     (C.'·.                        the porch., and draws those curtains closed. The::-:i r.c
                                   switches off the bedroom lig.ht., leaving the room lit only
                                   by the spill from the bathroom.     He opens the f' ront d oar 1
                                   goes out"

                            11-10-59
>w-------~ --   --- .. --
                                                                    ---- .. -----··-· ----- --·· ·---- -·
                                                    .... · ..   ---------· ·---·-· ·-·--·-·-···-··-·               ..
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                                                                                                                        -------··---··-·   .   _.··-··-·-----... -~--   .. ·-··--- ..... -·-        1




      ,,.... ..




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


                                     123 •.        EXT. THE MOTEL PORCH - (NIGHT}

                                                  Norman comes out ot Maryt;g cabin, closes the door care-
                                                  ::rully behind him, goos along the porch to his office, goes
      /'. ..
                                                  in. We stay outside. Immediately, the 11 Vacancy 11 sign goes
                                                  off, and then the motel sign goes off. AS CAMERA GOES.
                                                  closer to the office, the lights within go off and we HEAR
                                                  a closet door opening and then the SOUND of a pail being
                                                  picked up •. Norman c ornes out of office, closes door, looks
                                                  cautiously about, goes - along porch, carrying pail with niop
                                                  in it, goes into Mary's ·cabin, closing the· door after. him.
                                     124.. .       INT. MARY'S CABill

                                                    With the paper in the foreground., Norman enters. We can
                                                    see him in the dim spill of light. He pauses. by the. door,
                                                  · then gathers .his strength and goes into the bathroom. We
                                                  · HEAR him set the pai 1 on the ti1.ed i'loor, and then we HEAR
                                                    the shower be,ing turned off. And there is total silence.
                                                    CAHERA MOVES FORWARD so that we can see into bathroom.
                                                    CAMERA is so ANGLED that we. see Norr.1an only from the waist
                                                    up. Quickly and deftly- he unhooks the shower curtain,
                                                    emerges with it. into the bedroom. CAHER.A PANS down and we
                                                    see him spread the shower curtain on the bed.room floor, jus.t
                                                    outside the bathroom door •. He spreads the curtain so that:
                                                    one end of it comes up against the bathroom. threshold and
                                                    slightly over and onto the tile floor.~ Again he goes into.
                                                    the bathroom and CAMERA TILTS up so that we see only the
                                                    upper half of Nor:nano He works carefully., with his arms
                                                    extended away i'rom his body, slowly pulls the dead body out
                                                    of the tub, drags. it a.cross. the tile floor and. onto the
                                                    spre.ad-out shower curtain· in .the - bedroom.. Having arranged
                                                  · tb,.e body., he straightens up., exa."Tlines his ·hands, sees blo.od-
                                                    stains on them •. · He returns to the bathroom, goes to the
                                                    hand-bas.in.
                                     125 •.        CLOSE S..'9:0T

                                                  We see his hands being washed, see the bloodstains being
                                                  diluted and was.had away b.y the gush o:f the faucet water.
                                     126.         NORMAN

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

                                                  He places the pail in the tub, runs water into it., dips the
      ,)                                      \
.·. t:/
    \...:.;,,




                                                                                                                                                                                               :j
                                                                                                                                                                                               ,
                                                                                                                                                                                               .
                                                                                                                                                                                      . .....l
                                                                                          ·... ·..   ----- .·- ·--·-----~-
                                                                                                            -                ~




      .--


                                                                              #9401
                                           PSYCHO
     '7=,;·.                                                                               56.
     ~'---<-"
                126.    {Cont'd)
                        mop in,. swabs the tile i"loor. With a towel he wipes oi"-J:
                        the wall over tho tub and the edges and sides of the tub
                        e.nd even the showe1' curtain rod. Then he takes a second .
                        towel and goes over the cleaned areas, care.:Cully drying
                        them. It1 inally he rinses and squeez~s out the mop,. empties
                        the pail, cleans out the tub, and goes out into the bedroo:n.

                127.    IMT. MARY 1 S BEDROOM
                        Noman s taps carefully around the unseen body, crosses to
                        the desk., starts going through Mary ' s handbag, in search
II                      o.:C her car keys.  Re suddenly notices them lying on the
                        desk, where he 1 d thrown them a.fter parking her car. He
                        picks up the keys, crosses the room, goes out.

                128.    EXT. THE PORCH
                        We. see Norman .pause at the door, check cautiously, then
                        hu:r,:ry across the porch and into Mary's car. He circlc--
                        tu.:r-ns the car, so that. its trunk is 'o acked up to the porch,_
                        directly opposite Maryts doori as clos.e as it can go. Then
     t,p.·.·            he alights, gees to the trunk, opens it with the key and,
                        leaving the trunk lid raised, goes back into the cabin •.

                129.,   INT. MARY'S ROOM
                        From a z,aised angle, we see Uo:rman bend down and begin to
                        wrap the shower curtain around the body. We see the edges
                        or the curtain as they are raised and laid. down again.
                        Then he picks up the wrapped body, crosses to the door,
                        uses his foot to- pull. the door open, and, leaving the door
                        open behind him, goes quickly acros.s the porch and gently
                        lays the body in the tru11.k. He closes the lid then, but
                        does not lock it. He comes back into .the cabin, closes
                        the door completely, £licks on the light.
                        Again the newspaper is in the foreground.              For a moment he
                        pauses,· closes his eyes agair...st the realization o.f what he
                        is doing., then.- quickly pushe.s a·11 thoughts away., continues
                        with his work •. With the room lighted, he noi•I proceeds to
                        gather up all Mary•s articles and toss them into the suit-
                        case. Re checks all drawers and the closet, gets down and
                        checks u.nd er bed and bureau, go·es into the bathroom, checks.
                        that room again, comes back into the bedroom, looks about
                        caref'ully, spots MarJ' s handbag, throws even that into t.he
                        suitcase, is finally sa.tisi"ied that all traces o:f the girl
 . i .)~
     '-::.,,




                11-10-59                                                       (Continued)
                                            -- ----- ·- -----   --------------· -----------------'"'--
 .-..

                                                                                                        #9401
                                                        PSYCHO


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

              130.     EXT. THE PORCH
                       As Nonnan stands in the doot."'..ray, he is sud,denly and. blind ...
                       ingly lit by the bright headlights of a passing car~ The
                       flash of'.the lights and the SOUND of the SPEEDING CAR are
                       over in a :flicker of a moment, but it takes a f'ew seconds
                       tor Noman to regain his. former tense ccmpo.sureo Then he
                       goes to the car trunk, raises .it with his footr tr..?•ows the
                       suitcase and the pail into it, slams it shut.. He pauses a
                       moment, then realizes he has left the bathroom light on in
                       Mary 1 s cabino He returns to Cabin. As he enters, his eye·
                       is caught by the newspaper on the bedside te.ble. He goes
                       to it~ takes the newspaper., and looks once a.gain into the
                       b"athroomo His glance goes -rig·ht over the toilet bdwl. He
                       turns out the li_g,i,11:ts, crosses the darkened cabin, goes out
                       onto· the porch. He reopens the trunk, tosses in the news- ·
                       paper and closes it. He goes around and jumps into ";he
                       car and starts a.way.
                                                                     -
                       We HOLD on the trunk, follow it for a·while, then.
                       DISSOLVE TO:
              13:L.,   EXT. THE SWAHP - (NIGHT)
                       The. car pulls away from a CLOSE ANGLE on trunk and as CAMERA
                       HOLDS we see that we are no-w in a swamp a!'ea, •. .It is quiet
                       except .for the irritating noises of night insects. NoZT.1an
                       stops the car at the very edge of the swamp~ turns o!f' the
                       lightss gets out, leaving door open. He look.3 at the swamp,
                       seems doubtful of. its abi.J.i ty to swallow up t.he ca:?:' 1 :-eal~
                       izes he ha.s no choice. He leans into car, rel~ases the
                       emergency brake, starts to push., The fr'Jnt of the car be-
                       gins to roll into the swamp. Suddenly there is the LOW,
                       THROBBING SOUND of a motor. Norman freezes, llsten-3. The
                       SOUND grows louder and Norman realizes it is an air>Jlane
                       flying ovez•head. The car is rollir.g q_uickly now. Xor7.?.n
                       jumps away, slams the door shut, stands tense. The S0U1:D            r
                       of the plane overht:!ad grows louder. NormaIJ, locks up.
 ;.··   \
 ii     )',
 (\'.,./ .
.. ~ <




              ll-10-~Q
                                  - - - ~ - - - - · · - · · - · · - · · · · · · · - · · · ·-- ·······
    ..
/---·-




                                                          P S Y C H 0

        (                               FADE IN:   ( AFTER rl'ITLE)

                             1          EXT.' PHOE2'HX~ ARIZ◊:-rA - (DAY) - HELICOPTER SHOrI'
                                        Above Midtown section of' the city. It is early
                                        afternoon, a hot rr.id-sumn1er dny. The city is sun-
                                        blanc:'1.ed white and its drifted-up noises are muted in
                                        their m-m echoes. We fly ·1ow, heading in a downtown
                                        direction, passing over traffic-clogged streets,
                                        parking lots, white business buildings, neatly
                                        patterned residential districts. As we approach
                                        downtown section, the character of the ·city begin~
                                        to change. It is darker and shabby with age and
                                        industry. We see railroad tracks, smokestacks,
                                        wholesale fruit-and-vegetable markets, old ~unicipal
                                        buildings, empty lots. The very geography seems to
                                        give us a climate of nefario1.1sness; of back-doorness,
                                        dark and shadowy. And secret.
                                        W~ fly lower and faster now,· as if ~eeking out a
                                        specii'ic location. A s1{inny, high old hotel comes
                                        into view. On its exposed brick side great painted
                                        letters advertise 1'Transients-Lo·,,; Wee~:ly ?\ates-Radio
                                        .i,n Every Room. 11 We pa 1lse lcng. enough co es~aoli.sh
                                        the shoday cfiaracte~ of this hotel. Its open,
                                        curtainless windows, its silent resigned lock so
                                        characteriz-tic of such hole-and-corne~ hotels. We
                                        move forwa::-d with purposefulness to·.-;ard a certain
                                        window. The sash is raised as high as it can go,
                                        but the shade is pulled do~m to three or four inches
                                        oi' the inside sill, as if the occupants of the room
                                        within wanted privacy but needed air. We are close
                                        now, so that only the lower half of the window frame
                                        is in shot. No sounds come from within the room.
                                        Suddenly, we tip dm·mward, go to the narrow space
                                        between shade and sill, peep into the room.
                                        A young woman is stretched out on the mussed bed.
                                        She wears a full slip, stockings, no shoes. She
                                        lies in and attitude of physical relaxation, but
                                        her f'ace, seen in the dimness of the room, betrays
                                        a certain inner-tension, worrisome con£licts. She
                                        is MA~Y CRAN2, an attractive girl nearing the end
                                        or he~ twenties and her rope.
                                        A man stands beside the bed, only the lower half of
                                        his figure visible. We hold on this tableau for a
                                        long moment, then start forward. As we pass under
       :I.
                                        the window shade,
                .,.,,,1-.l
             .......
                                        CUT TO:
                             li-10-59


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



                       .-~




                                                                                                         PSYCHO                                              58.
                                                       132.                      NORMA!P S VIEWPOINT - THE BLACK SKY

                                                                                We see no plane.       The SOUND of the motor is beginning
                                                                                 to diminis hoa
                                                                                 CUT BA.CK ~O:

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

                                                                                 Noman waits a moment, then begins sta."'Tlping out the
                                                                                 tire marks, so obvious in t::Je wet ground arou!ld the
                                                                                 swatn.p. He stamp$ and drags his feet over the markings
                                                                                 as we:

            (sr?:-·
                 -...."'!',,   ,
                                                                                 DISSOLVE TO:

                                                                                  CLOSE UP !:ORMAN

                                                                                 standing on the porch a!' the motel, leaning agair.st
                                                                                 a post. He is staring out into the night., a look
                                                                                 0£ guarded, casual innocense on his face.t as if he
                                                                                 were taking one last moment of peaceful night ai~
                                                                                 be.fore retiring. Then he glances dc:wn and CAHS?...A.
                                                                                 .follows· his ga·ze. A hose is lying on the grot:nd
                                                                                 outside Hal,y 1 s cabin, its strea."l'l of: water· obJ.lters.ting
                                                                                 the ti.re marks., Ai'ter a moment, Norman 1 s hand comes ·
                                                                                 into shct., picks u:p hose, -places it. in a ne-w :.)osit.icn.
                                                                                 As CAl(ERA PULLS BACK.,, we see that the water .from the
                                                                                 hose has erased and rearra.·nged the road mar~l!1gs so
                                                                                 that it would be i."1',poss ible to tell that a. ca:- had
                                                                                 been parked here. After a short wait, }forman goes to
                                                                                 the hose-.ra.ucet, turns it off,. u.nacrews the r. 0ae. As
                                                                                 he rolls the hose, he walks e.wa:.,,. t'ro.m the spot,. pa.st
                                                                                  the office, heading for the path that leads to the
                                                                                 house. He g·oes up the pa th, pauses at the steps o!'
                                                                                 the house, tosses the curled hose onto the lawn, goes
                                                                                 up the steps and into the house.         GAUER.A FQLI..G~·IS hir.i
                                                                                 in, PAUSES as he pauses at the foot of tho stui:-s.
                                                                                 Norman_ goes up tl:-.e stai:13 •. On the land ins he stops.
                                                                                 The door to his mo t:ier' s room is closed. Lvi::::,-
                                                                                                                                    "     ::.;)
                                                                                 heap outside th.e d-::,or ar1;; a. blood-stained d -:,-,ess and.
                                                                                                                                                  in
                                                                                                                                                 .1

                                                                                 a pair of elderly-womant s shoes ...

                                                                                  From an EX'l'TIZ-!ELY HIGH !.EGLE; -,,;Fl 1ook f own on Hor:nan
                                                                                  as he bends to pick up the stnin~d dress and shoes~
L .......- ...
                                                                                                                                                       ' \
                                                                                                  ~\I_.'.· ........._                       ...... ,.1.:.:·
                                                                            PSYCHO...
                                                                           ...,.;;.;;...-                               ffi9401
                                 134.                (Cont 1 d)

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

                                 135.              EXT. A LOI:G SEOT OF TEE OW :!OUS - (?ITGf''Zr)
                                                    It stanc1s si ll1ouetted a3e.inst tho sky. There is•
                                                    a long 1·:ai t. 1l1hen, slo·wl:r: a cu!'l of smoke comes
                                                    out 0£ the chimney.
                                                   FADE OUT:

                                                   FADE !1?:
                                                           .
                                 116.               I'.NT • >lA.CK I1001T OF SA?!' S        H.-"..E,D~·!ARE STORE . IN
                                 tfl::-u           Fll'?mr"d . ... { m-L )-         .
                                 138.
                                                    sam· is seated at bis desk', writing a letter;·
                                                    s·equence !.)egins with C.Al-.32.A. IH CLOSE 1 over
                                                    Sa:r:i 1 s shot1..lde1"', and we·can read as much as
                                                    he ~as written of the letter. The letterhead
                                                    reads nsa.m Loomis - Ra.l:'dware,n and the letter
                                                    reads:.            _          .        _
                                                              . nnea1,est rigbt-as-alwa-y:s Ma:r-y:
         { .. ·.. ~ .,... ....                                 I 1 :m sittins in this tiny bacl-:: l'oor.i
         ·p_                               '•··-·--···
                                                               which isn't. big cn:,ugh for both cif us,
             ·--                                               and sudilenly it looks oie eno1.1.gh for
                                                               both· of us. So what i.f' we 1 l e ooor ana        1


                                                               c,:,amped e.11c miser-able, at least we r 11
                                                               be happ-y!     r.ryou 'nnv:en It ~o:me to your
                                                               s~_nses 1 and.still want to •••
                                                 · OAI>.IE'RA begins PUIZ~Il-TG At-!AY as Sam -turns the she et
                                                    of p~per o-ve~, conti::.ues ba.ckL""lg away out o-£ the
                                                    small b~~ck l'oon and·. beads,_ backwards, down the
                                                    cor;:,idor of .the harcwa.r•e store, · As it go.es past
                                                    the cotL.""J.ter, '(te see a youne::; clE>!'kJ B~B sm-:-SP.F:i:2::tD,
                                                    Sa.mt s a..ssiste::t, stancinz behind the countori~ .a
                                                   look of ba.ndsorr.a :Je.ti'3nce o:n nls face. Ee is
                                                   waiting on a n:.eticulo".l!l, elder-ly woman customer,
                                                   ·ubo is aoldim:; c:md exa.-n.inir:.g a large can or in--
                                                   secticide. As CAI•iEaA PASSES::
                                                                              WOMAlT CUSTCi·Z.R
                                                                •• , They tell you wh~t its ing.redient·e
                                                               are and ho\·T it 1 s gur..:?::>anteed to e,cte:r-
                                                               mi.ne te a."'1:r insect in t he ·world, but
                                                               t;hey do not tell :rou. whether or not
                                                               1t 1 s painless ....-lnd I se.;r insect o~
                                                               rne.n., doatb. shot1.lci a1•.·:ays be painless.
    'I       l
         t.,\:,..-                                 CAMERA,. by this tir.ie bas .reached the i~!.'ont door.


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



! -·-
                                                                                                                                                              _.(
                                                                                                               ._   .· ~   -·. -   ...   -~-------:: . .. ·   .. ...: ..-_: ... ·:-··•.--.




                                                                     --
                                                                      P3"'.£0t:0                                                                                 ::ar
                                                                                                                                                                 _,J,_, r. •

                                                                                                                                                                 Eo.
                     136.     (Cont'd)
                     thru
                     138.    or th~ hard.waz-e sto_t"e ~.n:i '••le now see a girl standing
                             Just inside t:;e d~o::-. S=:c i!'l an attractive girl with
                             a ra thar de:'1.ni t•~ ~an~e:!:.', F.!. lr.-ok er purposefulness.
                             She carries a band"c3.g and .9. srns.11 ovez-nigbt ca~e.                                                                 She
                             is Maz,y• ., sister, LIL/\ CRAZYE.

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




                                                              sur~:H.ER!< IELD                    1

                                                You want to zee Sam?
I.                                                                                LILA
                                                Sam Loo:rd,3'.

                                                                         S1D!.:·1U"t:· !ELD
                                                             . (ye1.li!1g -;c~·,a:.--:i back room)
                                                Sam I         L~d.z: ·;,: :i.t:.tt. tc see you I

     .r-J.
     -~~--                   Lila lcl)lC$ to tr:e 'b::!.~k :-•:i:::n:. ~::e ~:on::in customer goe3 on
                             wor~ie1ly ex~~ining ths fine print of the insecticide cac.
                             Sam c<:-IT'.eB tr.. tte d.oc,:.' cf: :.is room, pa\i.Se~, looks at Li3.a
                             a mor:l.ent, st:a.:-ts .::r:r:1.~.!.•d 1:r.:;.J,s.:-,: her, his expression i::-:-2i-
                             cat.:tng 'that !1e .:oe.s nc.t; 1:nc~-1 !ler. Lila studies biQ. r,·Jit;'.:J
                             a quiet, \'lO:."'::-ied e::cr-.rasw!.on •.
                                                                                  SAM
                                                Yes?
                                                                  L!LA
                                                l-13.y I talk to· l".OU?
                                                                          SAM.
                                                              (a ~ .., ··...f--'J .J..,........-..;.~d'I
                                                                 h1~   ™·•e-:;..1
                                                Sure         •••
                             L·11· a c:,
                                     0-.1· an.n~
                                              ___;:,. • -1-..._ +-. ,i_~.•-=~ c 1Js t -c-r.-.a:- and ,.+-h e c J erk,
                                                      !C>_                                                         1  t urns, s +-... ar-cs
                                                                                                                                         •
                             toward the f::=cr.t o:t"' the ~t~re. sa.m holds a. :nom~nt, then
                             follows. As ::e reacb!=.:~ her, she turns., her eyes study-
                             ing him intently as sh~ eaye:
                                                              LILA
                                                I'm ~~rJ's siGter.
     :      ) i
     \  . ·. ,: •'                              Lila.
     '---

                     Rev_. 12-1-59                                                                                         (con t.1nued)
                                                                                                            61.
            136,      (Oonl;.1 d)
            tht•u
            138,                                                 !.,!!,A
                                                  (qu:L~kly)
                                         :Cs f,';S.ry hr,re?
                      Sam 1s m.yst;i!iol, 1'...nd !.s a!so a1iare ct the worr!ed;
                    · hostile e:q:.:-sc~!o:i on Lila 1 ::.i fa-::e, Ee studies her for
                      a· quiet r.tc::l:'..n";. ~:ehind "";heni is· a display or .varicue
                      size carving kni;-e~.
                                                                 B.:\1f.
                                         Is s~~~t!:., rg wz-o,:Jg·?
                                                            L::r.A                     ,
                                         I ws...~~ ·to ·knew ~t q           siatsr 1s here •
        •                                                       SAM



                                        Wit~ fO\I •.
                                                                SAI~.

                                                             · r.z.:.;,4.
                                        I dc.u..t t kt:o:-, 'l;:'l~::.'~. !-"'l · you~- s. tore.,
                                        so::-si:l~-!le1~::- i:r yo,,i~ to~:n •.•. at17,1he:-e.
                                                         •      SAI·!
                                        W!::at•·s ~!~e. J:.S.tte:11

                                                                L!LA
                                        Don' ~ ;,cu kr:.c:;.;?
                               ~-"'~u·..h• h.:,, ~:,,,40:-,._
                    As-S"m •s·-~J-..,
                       -,   ;ii,"   -            -~.,_-;-.. , t!'".e W,;f,.an cus.t:>me::-: o.crnee
                    sailing pis 4; $. · zp;.:4}:U:g.- :..s a.he . gc es ~!! wearing a ·
                    sa t.ts£iec! smile.
                                                               WO}!A!: Ci!S:'O~!ER
                                        All I a.an ~c i~ hi?pe 1!' -it ·ian, t::
                                        pa1nles~, it'! ~uio~l
                    She speaks "qu:1ck" -'it,h a kind of delicious bil;e, nods
                    happily, gee~ c:, cut ,;.f the store. Sam iG · now staring
                    appre.hecsivel;: a.t Lila.
                                                                                            ( Cont1nus.d)



    i

            Rev. 12-1-59



L
! •• .:.~~ :a .. ' -   ".:•:.••·•                ·-····        . ··•--· - ..   ~. _,,.,_ _____ ...· --~- ..... .


                                                                                                                      =-:;.·tcEO                       #9i1-0l
                                                                                                                                                                                       ~· -
                                                                                                                      _ _ _ p __ , . . . . . . . , .

                                                                                                                                                                                   .
                                                                                                                                                                                       Ca::'
                                          136 • (Cont r d.)
                                          Tt.::--u
                                          ~ ,A
                                          l. .J~.
                                                                                     What should t k'1c~,r?
                                                                                                                           LILA
                                                                                     To beg.i.n. wi th.s where r,rary is.
                                                                                     Do you?
                                                                                                                           SA!·'1
                                                                                     No.   I tak~ it you don't either?
                                                                                         (As L.i.l.a sh~kl:)B
                                                                                            llez• h-3arl)
I                                                                                    How l·:r.g?

                                                                                                                           LILA                           /


                                                                                     Ls.at F' r. i dri:.r,, 2 !J e le rt wo1•k,
                                                                                     and hom<J o,,. l wa.s in Tu.c sc!l ovel'.'
                                                                                     the wa~k ➔ nd •o~~ I havenl'-f: heard
                                                                                     trc•rri her 11 not e 11en a phone call.
                                                                                                                           SJ...}!
                                                                                     And ye;u thcugh1:. she 1 d ccme up
                                                                                     here: to rr.e 1· 1:f she h:a.d t wh.a t
                                                                                     re a.sen wo~.il i sh8 have for not
                                                                                     ·cal 1 i·r: g ~;.-:,1..11·

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

                                                                                                                          SAM
                                                                                                 (Slightl7 exas~~rated)
                                                                                     Well 'Wh!".t cb yo·..i. thL"l.k, wg -eloped
                                                                                     or acraeth.L'1g': Or weii•e living in
                                                                                     s i::i e.r: d.          o •.•.


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

                                                                                                                          SAM
                                                                                     I was gettt~g t~ thatl
                                                                                                                          LILA
                                                                                    What do yell kr.ow about it?
                                                                                                                          SAM
                                                                                    Noth.in[;:        Y.c11.:r,.: putting me on
                                                                                     the def•-:-.r...-si·.,.e.~
                                                                                                                           LIL,;,
                  )
                                                                                     Look, if you. t,;-10 .are in this thing
         --·
       t ,:

                                                   -::-1-59·
                                     ~- :lJ •· ~_,__
                                    ...........
                                                                                     together, r don 1 t ca~e~ it's none
                                                                                                                                                              ( Cvu i,.i,nu.e<l)
                                                                                                                                 r,;-,
                                                                                                                   #9401         0..).


                     136-              (Cont'd)
                     Tr'~a
                     1~8.                                                      :;:.:;::.:.A (Cont t d)
 ·C
                                                      of my rr.:.otn~:s ••• Bu~ ! Nant
                                                      to oee a:1:.r.y. I t•:.3.~ t h•~r to
                                                      tell ~_.:3 G:.1'.: 1 :-i r.1. lJ. r:lgh t and it's
                                                      nom~ o.f: _:n;;," ~w;:!.n~s.s.               T.i1en I 1 11
                                                      go ~aok to Phc~nix and ••.
                                       She steps.• the an:x.1.-H,y ?..nrl fear b1.tbbling up in her-,
                                       her eyes 1:'1eg::.nr.. in5 :;,:;, fill w:!.tl1 \'ivr!"ied tears. Sam
                                       studies her fo.~• .:~ m-:.!!":.c:::it., !;h1::n tu:r·r..s and calls:
                                                                                  SAI1
                                                      Doo?   nun c·Jt :in<t gf!~t;, :v·ou:'se1r·       .      /
                                                      eorne 1·.;.nch.
                                                                                  ST.:.1\7:-IBB.F:CEtD
                                                      It':s okay., Sa.rri., I :,~r,i:.~bt it with
                                                      l:!.e.

                                                                                  SAH
                                                      Run c~t and eat :tt.

                                       Bob gets th-o ~:--::r:: $?.~e' p:,i;:c::. l~Ut thl'OUgh the back way.
                                                               0




                                       Sam goes cl~,:~~~ i;c .i:..:t.:.~.... ::p?a !c::? w:t th so.r:; serii::n1~;m.ess.
   r,
  ·~j'

                                                                                  LILA
                                                      Huh?

                                                                                  SAM
                                                     What tel~;                      We be in
                                                                             ~rjU:i.~-
                                                     tc-ge tn~-=~ i?
                                                                                  LILA
                                                                   (A p,1·i.1oa)
                                                      I hate -:;..~::c.
                                                            (Take;:s out h3.nk1o)
                                                                                  SA:,I
                                                                              in trouble?
                                                                                  LILA
                                                     Yes.
                                                                                  SA:-1
                                                     W~ll lhY didc 1 t she come to
                                                     me • • • cail rri~ , , • ?
  1{         .\                                                                   ... - ...'\
                                                                                  l.J..!.L ..'"\
       \.;'.:~'.-                                    ?;o t tb-J. t k:ind
                        .,.r_. , ,.         ,..,                                                                   (Continued)
                     •RE v     ... .:::-1•·::-9




~ - - - · -~~- ---      -----------·•··--•··•-·--...... ,--- .         .,.
    136.
    Thru
               (Cont'd)
                                              -----
                                               r\°lrc:;:1
                                                                                                 *I
                                                                                                 6tl.
                                                                                                         l
    138.                                          i,:CT.J.. ( 1:;o~.t.• d)
                                     (Aln-lJlt ~ .:~1iO)-
                             You m-::n .;i.n,l yr,:,i:· ogo.s •
                     ,.
                                                          SAI1
                                         (SA'"" ,1,1.:, 1 :r\
                                          '   --·-   -~ -   J
                             Neve:t• m:!.t!'l ey e:go •.         rat I s talk
                           · about. ~\E;.r:r •.
                Their atte-ctio.n :Ll -:i:tst! :!.r:lt,ed b~,. a r~n who has .strolled
                                                      1


                quietly 1ni;c, t:,,, ,; tc•:•,;. :,e 1;;..-,.:.:re!l them, walks past
              . them, gce-s 'jt:Jhl.:.:l ~l!t) ~c~.,~te:r, -tsk~.s dot1n, a sign reading
              ·n CLOSED ·z·Cll ·~}_1~:~:rt u_ w..:i.J..Z$ ~a.~k to: tho do')_!', closes dot-r,
                                                                                                         1·
             · hangs the sign ;;.~re,;:?;; the cJ.cor window, leeks the doo!:',                          I
               turns to Sar.;. a-rd Li:i.~,, fcldn his al'lll!!, - smiles a pa.rticu-
              la-rl-:,. unfri.enO.l:,1 . t.i~le      <                                                   \
                                                       ARb':iCrAS.T
                            I.et I s ·all i;~lk s):;~~4;- J.-:ery.~ .·
                                                · SA~•!
                            Who a.1.'0· ;.,rvu, l~iend~




                                                      !:I!..\
                            I dcn•t·k:10~ yo~..-:. •.
                                                      A!'.C.~~A,ST ·
                            wc,1l.ic 1:t br:-.. 70 · b-:?.en a'l,le · to,. t:l~l                         :'
                                                                                                         ;
                          • you i.t-ymi d..1;',:,                                                       ·,;


                                                   SAM
                           WbP...t·' -~· :rQ~" 'it:.tO!'~st?

                           Money.
             Ther~ i:a a nr,:r.ent'c ~3'!le:1.::e azl;'!- tt"en., U!':i!.ble- to· toleratc-
             the sudde.n f::·i;h ~ening hr,.!=pen±ngs, Sam explodes.
                                                  SAU
                           Sorr~eb::.dy ':iett.i;~~ t:.ell me whet•·s
                           gc!nr.; cc 9.n:l to;- l l.. ~e taa-t t T·
                           c-a~ '".;.:1.-ke




    RE\!. 12-1-5'9


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




                                                                                                          -PSYCHO                #9401
                                                                                                                                                    65 •.
  «    ·"'(~.        )
                     I
                            .
                            .
                                136~ {Cont' :i)

 r.~.Lr:::.                                                                                                ARBOGAST (Cont'd)
                                                                                            thousand·dollarso
                                                     . Sam l<'::ks at Arbor:;ast in utte2.~ shoe~-: and in that state
                                                       asl<'.;; one of those seemingly ridiculous questions •.

                                                                                                            SAM.
·c·                                                                                     Why?

                                                                                                            ARBOGAST
                                                                                                 (An almost         .
                                                                                                  amussd smile)                      ,,
.'
  ,-     .                                                                                  Mu.st•ve needed it.
                                                                                                            SAM
                                                                                     .What are you talking about?
                                                                                                 (To LiJ.a) ·
                                                                                            What is th.is?
 (
                                                                                                         · LILA
                                                                                            She was sup-posed to bank it,
                                                                                            on Friday, for her boss~ Sho
                                                                                            didn't.. .A.'l"ld no one has seen
                                                                                            her sinceo
                                                                                                            ARBOGAST
                                                                                                ( Locking at S ~rr:..)
                                                                                            Someone has seen her.. Someone
                                                                                            always sees a ~irl with forty
                                                                                            ~housand dollars.            ·
                                                                                                 (T·o Sa.rn) .
                                                                                            She is your girl friend., isn't
                                                                                            she?

                                                                                                         LILA.
                                                                                            Sain, they don I t wa.'!"l t to ·prosecute,
 '\..                                                                                       they just wa..'11 t the money back..    It
                                                                                            was all in cash o ...
                                                                                                            ARBOGAST
                                                                                                 {Correcting with
                                                                                                  c·assidy 1 s word)
                                                                                            C.asharoonie A
                                                                                                            LILA
                                                                                        Sam, if she's here              0 0 •·



                                                                                                            SAM
 '-···
                                                                                        She isn' tt
               .j.                                       A real look of a.."'lgulsh co::1.c:; into Lila's face                            0   And
             '·.!-..._.,,                                Arbogast studies it, then speaks~
                                        ~, - ' ... c:,:..                                                                        (Continued)
                                        -..- --· . ; .
                                                                                                       .... --   - - .---·· ;




                                                  PSYCHO                            179401       66.
                136 ·      {Contd)
                Tbr·;.1
                13-9.                             ARBOGAST
                                 You c.ame up here on a hunch,
                                 Kias Cr3ne? Nothing more?
                                 No phone c3ll ... from him,
                                 or from your ~ister he~self?
                                                  LILI\
                                           ( ~-rearil:i)
                                 Not even a hunch.          Just hope.
                                                  ARBOGAST
                                 With a littlt: checking,· I could
                                                                                    .,,.
                                 get to bal:!.e1.d:~ you.
                                                  LILA
                                        ( an:,:tousl::,•)
                                 I don't care if you do or .•.
                                 I want t,:, see Mary • • • before
                                 she gets in e.ny deeper ....
                                                  SAM
                                 Did you cheq1c in Phoenix ...
                                 hospitals . . . m:1ybe she had
                                 an accident .. ~ a hold-up ...
    . r,·/---
(H
.__ j                                             ARBOGA3T
                                 She was seen J.c:tv•ing to~·m in
                                 her car. Se~~ by her very
                                 victims, I might add.
                                                  SAM
                                        (afte.r· ~ m,,!"'.1i:mt.)
                                 I don't belie~:-:: it.
                                       · (to Lila~ slowly)
                                 Do·you?
                                                  trLr\
                                         (si. thoughtful pause)
                                 Yes •.. I Just ... did. The
                                 monient they told me .••
                                                  SAM
                                 You might h2~v-= doubted for,
                                 say five minutes or so, Sister.
                           Lila tur:1s f'_!To!:i Sam, a flush of guilt and regret in her
                           face. Arbogast lcc.,1-::s at her, quite sympathel:ically.
                                                  ARBOGAST.
                                 We 're al:·rays q_1.1.ic!-:est to do·..i.bt
                                 people ¼hJ have a record for
                                 being honest. I think she's
                                 he . . . e, ~-liss Gr,-.r",G. ·,iherc there I o
                                 a. boyf'riend .. _

                 12-1-59                                                           (Continued)
                                           .. ·. ·, ..... · -· ...... : ..,,~ -:.-..;,;;.·:.;:;_   .....
                                                                                                       _._--,· ~-   ~   .·· .... -· -.-·· . ·-·····•-o,




                                                                                                                                       ---
                                                                                                                                       PSYCHO
                                  l ?.6 ·                       (Cont'd)
                                  t. i:.',..,,
                                     U•...,
                                  ~   ... ,::,                                                                                         ARBOGAST ( Cont rd)
                                   ·..:;,•;.
                                                                                                          (T~ails off, SI;1iles
                                                                                                           encoU.l"'a g i ng 1:r)
                                                                                                   She won't be "baolc there a..'nong
                                                                                                   the nuts nnd bl:' lts c.,. but she 1 11
                                                                                                   be in t .hi3 tc;in • • • somewhere •.
                                                                                                    rr l l find her.
                                                               He ·nods, ta}:es c1own the closed-fol:" .. lu..11ch sign, sails it
                                                               to the ootmter.s 09ens doer, goes out into· the street.
                                                               After a quiet momant:
                                                                                                               LILA..                                         /

                                                                                                   I ju.at listet-_,ad .... and be1."tt,~ieo.
                                                                                                   everything they told me..            'She stole
                                                                                                   the mon~y. r     1 We don't want to get

                                                                                                   ber in t.t1ouble ~'      1 No don I t brins .
                                                                                                   the police. ir. . • • • .
                                                                                                                    1


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

                                                                                                               LILA
    .   (               ...
                  ·•-•.". ,                                                                        No.. The mar, wbo3e none:, she •••
             C)                                                                                    he tall:e d so lo;;.d and i'a.st ,. a::.d
                                                                                                   I • ~. I· should 1 ~,e callee the ·
                                                                                                   police •.
                                                                                                                                        SAH
                                                                                                   He must have had a cJa~n. good reason
                                                                                                   for wanting +.iher.1 kept out of it •.•.
                                                                                                   All t bat cash , • ,. •
                                                                                                             LIL.t
                                                                                                   I ought to call the police right
                                                                                                                                                                  ..
                                                                                                    nowt
                                                                                                                                        SAI-1


                                                                                                                                        LILA
                                                                                                   Why not?      Sa.-:i, is she .bidi:cs; hero?
                                                                                                   A1>e -you t1rro pla:u:in; to eo away
                                                                                                   with the money?


        '·        .
i        ·(                   )
              ·\··~·:,
              '




                                  Rev. 12-1-59                                                                                                               (Continued}
                                                  _,. .....
                                                    .           •'
                                                              .--.-                                        ~e.
         136    (Cont 1 d)
        •thru
         138                                      ~:1
                         How -.could I\;~.:, o:...ayZ            i:n. ir.
                        debt up to r·,:· •••
                                 (S1rdl-,s at. ·rh l~·-.~~n.-           1
                                                                         ~

                                 .. grutr.-; o t t: l. ,j r e;ily.,
                                    tbe::i. r;c<::s .:-,,r.to·,u.)
                        I.t·sbe did s~~e.1. t·ha.'t (!'".\illf;J •••-
                        l:t IS ba:r·d ~o · t.i::•1.;t•:;..,;~ .:;b'-~ did
                        bee. a"s~· ' • 1 , · .l,~
                                "'   .i;;
                                              '•·· ,.,,.
                                            •"'     ..... - -
                                                    o,7
                                                              •. .,. · ,,n•',l
                                                                      ..1,,
                                                                            - she·
                                                                              ,.,. .• ::;,   -

                        would.     UnvJ '"-' .,,B h,..i soi;1~ wild
                        idea. that it._ ·,.:,,~_.;:..1.~ l,\;"1.:p ~ •••
                        us.· ••• ·
                                     t!t;t
                        She ha-snt't ..ov'!:n,.:a).:!..a1.. :ot:.1
                                              SAJI
                        1·a.tan•t. ·3-ea. bs1·· •.•.• s:nd I.
                        didritt .hea::,; .t"r,,:i ?-, .,_-;,;                        B-::lieve,.
                        thatt
                                              L!!A
                        I rieed ·to. , , • : r•,,,.: to ,;,,,1tev-e
                        sotnEitb.ir~ •. 1. ~·:r.:s :.;.;.i :::1e .t'i.':"st
                        t.ii:~. I h;r. ot:·::..t· •·.~;;, ..1 ·,-;~• e,~:.e.ir1;':
                        a.nTthil"!~ I :.::: .t~i.-:-::: 1 ::. · •••. ~·ide:c-stand.,
                                                          1




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




                                             Ll.L,\
                                      .• ,I..~-'~
                                     (A           t•;J; rt._ ..._,-',
                                              - • ~ ·-  ;. ,t., . r,;.
                      · I oel:!e .fl7ir,i, u;: ~-"·:·-, r;:q:~,r.,;;ing
                        to -get· so::.~- ?;-:~plz.!:::. ~i:;~t- ........ ·for
                        e.11 ··r. kr..ow e t:e- T:=.:." :. ..t~ ~·ry!.n.g·
                                              !
                       to- get. in 7:ci:..:h -:•!i.~:t :-re~ et home •.
                       I'd better go· Le;,:.;,                     ·

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



                                                                                                 (Continu:ed)

I
                                                                                                       .   . ..   .. - ·~ .   '   ... .. -.-;· ..
                                                                                                                                     ,.-::




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


                                              be b.er-e,

                                                               LIIA
                                                             ::,i tu .:-l y, b e.t•
                                                        (A loitg
                                                     suspicion of him
                                                     evapol.7atin;) •
                                              You want nie to !1-1:a:r her•e?
                                                               SA.H
                                                                 1
                                              Sbe 1 11 r.1etid "::,ol-:h o.f' _USo

                                                           tI!Jt
                                                   (conside.r-s., then:)
                                           · Where • •. .. can I stay?
                                                               SAH ·
                                                        ( bi•igh·!; ly)
                                              First r-ate bc·cel; .r•i.ft-y yards up
                                              the S'C.i:'·90"t • Core.a O:Clo
                                                        (as he rea~hes ~or tLe
                                                       . closed-1~~-~·-:.iJ.nc:1 slQ1)
                                              After we -:b,1::;.k :,-01... i:t ,;10 1 11 ~o

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




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




     .       )   ,
      . ,-:·;;1-.
         \ ·.,,. / .
     ( .....;,..:.•


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


         r·--



                                                                                                                                       PSYCHO             #9401                   69.

                                                                  139.                                   EXT. STREET -              (D.4Y)
                                                                                                         They emerge .f'rom the store and walk along to the hotel.
                                                                                                         As they enter, Arb-og-ast is in the act of taking over a
                                                                                                         white Ford sedan from a rental car man. They glance at
                                                                                                         him and he returns a cynical look.
                                                                                                         DISSOLVE TO:

                                                                 140.                                    EX~. HOTEL - (DA°Y)
I
I
                                                                                                    . outside a.nether hotel· we see Arbogast aiight from the
                                                                                                      white car and go into this new hotel.
                                                                                                         DISSOLVE TO:

                                                                  141.                            . EXT. COUNTRYSIDE - (DAY)
                                                                                                         The white car speeding along the highway~
                                                                                                         DISSOLVE TO:
     'h>
      \'--<_·.••.' ~   .                                         142 ..                                  EXT. NEW MOTEL - (DAY)
                                                                                                         Arbogast going into the o.f'.f'ice - we see the sign above him.
                                                                                                     DISSOLVE. TO:

                                                                 143.                                    EXT. BATES'· MOTEL - (DAY)
                                                                                                     A high shot showing the freeway and Bates house and motel
                                                                                                     on the side old hig·hway. A pause and then across the
                                                                                                     bottom or the picture a white car speeds by on the freeway.
                                                                                                     DISSOLVE TO:

                                                                144.                                 EXT.               HOTEL - (DUSK)
                                                                                                     Another Hotel.                   Arbogast goes in.
                                                                                                     DISSOLVE TO:

              ·.,                                               145.                                 EXT. 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 u.p the steps to his mother's house.

                                                                11-12-59
. . -•·· ··:v·. •··---· ..::.




                                                                                   PSYCHO                                                                              70 •. ·
          A--
          \             .
                                                 DISSOLVE TO:
          i ..... ~··'<.J     .
   . ..            '---··
      ·, .                              146.     EXT4 BCAR'DING ~IOUSE - (DAY)
                                                 Arbogast I s sear•ch 1B getting down in the scale. This is
                                                 an entrance to a. cheesy boarding house. "Rooms to Rent 11 J
                                                 etc.    He locks at his list and then goes in .
   . <
                                                 DISSOL\."E TO:


                                                 EXT. BA TES ' MC~~E:L - (DAY)
                                                                                                                                      ,,.
                                                 The white c~=t.:- gees b-y- on the freeway aga,in.
                                                 DISSOL'\7E TO : -

                                        148 ..   EXT~ ROOMING HOUSE - (DAY)
                                                 Arbogast goes in.
                                                 DISSOLv"'E TO:

               _,,,,,.._ ..             149.     EXT. BATES' MO::'EI: - (TWILIGHT)
          ·n-· ··-----✓--.
                                                 Heavy tr:ai'fic on the f'r-aeway. A beat or two - again· the
                                                 white car. It nlow2 up opposite the distant motel. rt
                                                 makes a turn ar:d gce.s back out of' scene. A pause and it
                                                 reappears on the old. :t•oad an4 slowly makes its way toward
                                                 the:Bates' Motel.

                                        150.     EXT. T:--IE BATES' HOUSE Arm MOTEL - (TWILIGHT)
                                                 We now see Horm~no He h~s brought out an old rocking chair
                                                 and has placel it on th~ off'ice porch. and is sitting
                                                 hunched in 1 t.. And he is darning one of his o,·m socks.
                                                 CAMERA HOLDS.· Eriy◊nd the porch, and Norman, we can see
                                                 the old house ftn•1 can b.::.rely m:':3.ke out, in the twilight
                                                 dimness, the fig1.:.re of his mother seated at the window.
                                                 Here, too, there L, that quality of quiet peace surrounded
                                                 by a vague foreboding.
                                                 Now Norrnan look5 up at the .SOUND or the approaching car.
                                                 And continues locking as the car comes to a stop and
                                                 Arbogast gets c-ut. Arbogast gives the place a quick once-
                                                 over, gazes at Norr.1.1n, starts forward. In his step and
                                                 manner there 13 that bored, routine-logged q~ality of a man
                                                 who has seen too r:...~ny motels and as1ced question of too
              ..              '                  many hotel r:!.:..i.n6.gt::r~- over too short a period of time.
              l;              ,'
              "--·,/~.. ~          .'
                                                 Nor?!'.a.n rises as Arbogast comes forward.
                                                                                     NORir..AN
                                                                (Shoving sock in his pocket)
                                                         I always forge~ ~o put the sign
                                                         ~r, .. h,1t-. -'. 'I!'~... tlr.   n'!),tt"'...   '!,   "".""'""""'r'\""'•"
                                                                                                                                            .· ··-·   -- ··-·-· -~- -~- ___ .   ____   _____.:.:
 [ .          _. --···-· ·-'-·




                                                                   PSYC".tlO                       #9401    71.
                                 150.         (Cont•d)
                                                           .    N0&"4.AN (Cont'd)
                                                           (Cheerfully)
                                                    Twelve in fact. I·welve cabins,
                                                    twelve vacancies .
                                                                         .                                  •
                                                                    ARBO~AST     ·
                                                             (pleasantly}
                                                    In the past two d1-;y:.~ I' Ye been
                                                    to so zr..s.n:l" motels, my ~yes are
                                                    bleary with n~on. :nis is the
                                                    first one th.r,.t li:iokei-1 like .it was,.
                                                    hiding fz•om the world at large.
                                                                    NO.RMAM
                                                    I don't really forgat the sign.,
                                                    it just dcesn• t seem...• any ·
                                                    use.
                                                             {Points)
                                                    This used to be the m;iin highway.
                                                      .    (Starts· for of'fica)
                                                    Want to regi.ster, plea.se?
              .---·                                             ARBOGAST
     ·c,,,)                                         S:tt down. I di:,n I t we.nt to
                                                    trouble you, j1.1.st want to. ask      .. •-
                                                                    NOtMAM
                                                    No. trouble. Tc1c.yis linen day.
                                                    I change all tr.e b-sds once a week,
                                                    whether they! ve been used or not ••.
                                                    dampne·ss. I.hat~ the emell of
                                                    dampness:.      .
                                                            · (O;>enir.g· off'.tce door)
                                                   · It 1 s such . a d;;:.r..k smell.
                                              Norman is holding the dooi• open, so Arbogast .walks in .•
                                              Norman follows. ·

                                 151.         INT. MOTEL OFFICE - (TWILIGH'.1;)
                                              Norman switches on the overhead light, starts r·or
                                              the linen closet, suddenly pauses, turns, studies
                                              Arbogast, who has remained standing by the door.
                                                                    NORrtfl.lf
                                                    You out to buy a motel?
         f'            'I .:
                      ....                                          ARBOGAST
         ~:--s. .- -·                               No •.
_j
l    .
                                 11..:12-59                                                   (Continued)             '.i
                                                                                                                       .j
                                                                                                                         ·,

j                                                                                                                      ·J·,
.L
                                                                                                                  __ .....:
-~···--""'-•.·.. .... .;-   -._   ...




                                                                                              #9401
                                                               PSYCHO                                        72 •.
                                         (Cont'd}
                                                                     NORMAN
                                                    Oh. I thought••• you said
                                                    you'd been to so many in two
                                                    days•••• What waa it you
                                                    wanted to ask?
                                                                   ARBOGAST
                                                    I'm looking ~or a missing person.
                                                          (takes out and opens
                                                              wallet nnd extends
                                                              1 t 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 1 s· been missing·almost a
                                                    week. From Phoenix •.
                                                            (A look at Norman I s
                                                             frightened. expres~-:iion)
                                                    It 1 s a private matter ••• family
                                                    wants to forgive her· •••
                                                            (smiles)     ·
                                                    She isn 1 t in trouble.
                                                                     NORMAN
                                                           (~orcing a-smile)
                                                    I didn 1 t think the police went_
                                                    searching for people who weren 1 t
                                                    in trouble.

                                                                     ARBOGAS'l'
                                                    I'm not the police.
                                                                     NORMAN
                                                    Oh.
                                         He waits a moment, then opens closet, starts counting
                                        'out sheets and pillow cases, keeps his back to Arbogast.
                                         Arbogast takes a photograph out of his pocket, talks as
                                         he crosses to Norman.
                                                                     ARBOGAS'l'
                                                    We have reason to believe she
                                                    came trlis way ••• might have
                                                    stopped in this area •·• .,
                I
                                        11-12-59                                              ( continued)
 ·.,..·!        I
            /
                ..·
   ~       •'
s· ·-· .. ·. ·.· ... ·- .



. r.--
                                                                              PSYCHO                                   13.
                                          151.       (Cont 1 d)
     (-":-··.
         \.           ,.t
             . .-w:: .... ,_.,.
                                      .                                           ARBOGAS~ (Cont'd)
     C                                                                  ( extends photograph,
                                                                         which Norman doesn't
                                                                          glance at)_
                                                                  Did she stop here?
                                                                                  NORMAM
:-   /
                                                                  No.   No one has stopped here
                                                                  in weeks •••
                                                                                  ARBOGAST
                                                                  Mind looking at the picture
                                                                  bef'ore committing yoursel..f?         ,,
                                                                                  NORMAN
                                                                  Committing myself to what? You
                                                                  sure talk like a Policeman.
                                                                                  ARBOGAST
                                                                  Look at the picture..    Please.
                                                 Norman glances, briefly, turns away, lifts the sheets and
                                                 pillow ca~es off the shelf holds them close, almost
                                                 protect in g~-y •.

     ·v· .

                     /···--
                            .     .

                                                                  No.
                                                                                  NORNAN.
                                                                        At least I don't recall.
                                                                                  ARBOGAS l1 1

                                                                  She might have used an alias.
                                                                  Mary Crane I s the real name, but
                                                                  she· might' ve registered •••.•.
                                                                                  NORNAN .
                                                                         (interrupting)
                                                                  I don't even bother with guests
                                                                  :registering any more ••• J. mean,
                                                                  little by little, y.ou drop the
                                                                  formalities.
                                                                         (more relaxed, because
                                                                          Arbogast is· listening
                                                                          with a pleasant smile)
                                                                  I shouldn I t av.en bother to change
                                                                  the linen. I guess hab:Lts die
                                                                  hard., Which reminds me • , •
                                                 . He goes to the wall, flips a light switch.

                                                                                  NORMAH ·
                                                                  The vacancy sign. Just in
                                                                  case~- We had n couple the
                                          11-12-59                                                       {Continued)
                                                                  19401 74.,
J.,5l..   (cant 1_d)
                                          mR?&A?f ( cont• d)
                       other z:,1p,t., Said 11.' the s.1gn
                       baan 11; J:teezl on the7 1 d have.·
                       tholJBh1. tb1e 11as an. o1d deserted
                       m:1njng ton or aametb:ing.
                                        Aim,GAS~
                       Jtow there's a. oauple even remarld.ng
                       &bout 7om- 11~, and aae how sas~
                       Yoil twgo't tbem7                    . ·      ·
                                            .        .




                                            ....
                       •· . ·        •· ·. -:JAS~ (Cont'd)
                        !>r;m' t· .lmOW when &116. ·got "Marj.a.•
                        but; •samaa1a• .f1;uns .- . Ker
                        bQJ'-. fried 11 DIM 11 Sam..
                       . .      .("Dam to Jlonau., ·.
                        ·.        .the smu.c sa.ne)    ··
                        ~
                                  =-at
                               sbe ill dis;m.set ·. Or do ,-au.
                        .wa.a'\ to        tbe p1~tl.lH ap.in?
                                                                    (Continued)



 ·- llaT.. n-r-s, ·
                                                                                                    - -- - __ ,_ r




                                                              PSYCHO
                  151.               (Cont'd)
                                                                    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 •••
                                                 d~mped out,· I guess.
i,     •

                                                                ARBOGAST
                                                 Tel1 me all about her.
                                                                    NORMAN
                                                 She arrived kind or 1at·e, wet
                                                 and hungry and she was very
                                                 tired and went right to bed
                                                 and left early.
                                                                    ARBOGAST
     -·-·•                                       How early?
 C~J                                                                NORMAN
                                                 Very early.     Dawn.
                                                                   A"'RBOGAS'r
                                                 Of which morning?
                                                                    NORMAM
                                                 The following morning~          Sunday.
                                                                   ARBOGAST
                                                 No one met her?
                                                                    NORMAN
                                                 No.
                                                                    ARBOGAST
                                                 Or arrived with her.
                                                                   NORMAN
                                                No •.

                                                                   ARBOGAST
                                                · She didn t -c· ca.11 anyone?   Even
                                                 locally?.
.
"\
             )
             ,~

~i                                                                 NORNAN
                                                No,,

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




                                                 PSYCHO                                      76 •.
           (Cont 1d)
                                      ARBOGAST
                       You didn't snend the whole
                       night with her did you?
                                                      NORI~IAN
                       Nol           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 1 rn 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 so.me sandidch still in
                       her hand, e.n d she s~id she had
                       to drive a long way •.
                                                      ARBOGAST
                        Back where?
                                                      NORMAN
                       What do you mean?
                                                      ARBOGAST.
                       y·ou: said she was si.tting "back·
                        there, 11 or standing rather ••••
                                                      NORMAN
                        Oh.          My private parlor.
                                                  $he
                       had an awful hunger • , • so I
                       made her some supper. And then
                       she went to bod and left in the
                       morning. I didn't even see her
                       leave.
                                        ARBOGAS r                1


                       Hew did. she. pay :rou?

                                                      NORHAN
                       What?
                                                      ARBOGAST
                        Cash or check?                 F6r the cabin •••
11-12-59                                                                       {Continued)

                                                                                                     ...J
,···:-:.. :                                                                                    : ., ····r




                                                      PSYCHO                               77. ·
                          (Cont'd)
    ,, .. ,
                                                          NORMAN
                                       Cash.
                                                      ARBOGAST
                                       And when she left, she never
                                       came· back.
                                                           NORMAN".
                                       Why should she?  I 1m sorry,. I
                                       have work to do, Mr ••••. if you
                                       don't mind, ••                       .,,

                                                           ARBOGAST
                                       I do· mind, If it don't jell,
                                       it ain't aspict
                                             (smiles)
                                       This ain rt jelling.
                                                           NORMAN
                                       I don 1 t know what you expect
                                       me to -know about ••• people
                                       come and go •·•.
                                                           ARBOGAST
                                       She isn rt still here, is s.he?
                                                           NPRMAN
                                       Not at alll
                                                           ARBOGAS'l.1
                                       Suppose r wonted to search the
                                       cabins~ all twelve •. • • would
                                       I. need a warrant?
                                                  .        NORMAN
                                               (as    if pleasantly
                                              exasperated)
                                       Look, if you won'~ believe me,
                                       go ahead. You can help me make
                                       beds if you like.
                                             (laughs, shakes
                                                his head)
                                       Come on,
                          He ·start s out.     Arbogast pauses, momentarily confused
                      . by the young man 1 s openness.

          ,.              CUT. TO: ·

                          EXT. THE HO'I'EL PORCH - (NIGH'i')

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

               ll-12-59                                                      (Continued}
.~


                                                             PSYCHO                                 78. '
 Ct .· · 152.
 r~:·_                         {Cont'd)
     .', ....,:,..
··c                           ·walks on a bit toward Cabin Two, stops, turns to see
                               if Arbogast is followin~. Arbogast has come out onto
                               the porch, but is not following. He has walked to the
                               opposite end of the porch and is standing at its edge,
                               looking up at .the old house. The upstairs window is
                               in darkness. The noon of the Vacancy and Motel signs
                               splash strange light ovor the scene.
                                                                 NORMAN
                                           Change you1 mind?
                                                         1
                                                                                .,.

 -··
                               Arbogast does not reply. Norman becomes .apprehensive,
 '                             starts to Arbogast, .forcing himsel.f 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      ·
      tr
      .•... -'-. ...
        _..-.
                                                  stare at the house)
                                           Anyone at home?
        \._~)
                                                                 NORMAN
                                           I live there.         Alone.
                                                          ARBOGAST
                                           Someone is sitting in that window.
                                                                 NORHAN
                                           Mj'"mother.
                               Arbogast turns, gazes seriously at him.
                                                              NORllA.N
                                           She I s •'.•. ill. Conf :ned to
                                           her room. It I s practically
                                           11v ing alone.
                                                            ARBOGAST
                                                  (after a pause)
                                           If this girl Ma.ry Crane were
                                           here., you 1d have no reason to
                                           hide her would youi
                                                                UORHAN'
        r,-···~ :
                                           Oi' course not.

                                                                ARBOGAST
                                           If she paid you well?
                       11-12-59'                                                      (Continued)
        I
                                                                                                            j
       l
                                                      PSYCHO                              79.
                             (Conttd)
                                                           NORMAN
                                        Now, look ••• 1
                                                           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                     /
    ·(
                                        r•m not a .fooll       And I m not
                                                                     1
                                        capable 'or being fooled!
..
/
                                        Not· ev_en by women l
                                                           ARBOGAST
                                        I d:tdn 1 t mean that as a slur on
                                        your 111anhood..    I tm sorry •.
                                                  .        NORMAN
                                                 (disturbed now)
                                        That's all right. Maybe she
                                        could have fooled me. But.••
                                                 ( a rueful smile)
                                        She _didJ.'"'l 1 t fool my mother.

                                                      _    ARBOGAST
                                          Your mother· met her?
                                                 (.quickly)
                                        · Can. I talk to -your mother?
                                                           NORMAN·
                                        No...   r told you; she's c:on.fined ••. ,.
                                                           ARBOGAST
                                        Just for a moment. · She might
                                        have picked up a hint you'd miss.
                                        Sick old women are sharp. Come,
                                        on, I won't disturb ....
                                                        NORMAN
                                        Nol Just no l I have one of those
                                        breaking points like any other man,
                                        belie\'a it or not, and I 1 m near it.
                                        There's just so much pushing I can
                                        take· and I think ••.•
                                                            ARBOGAST
                                        All. right-1
                                                (starts away,. toward
                                                 his car, pauses}
                                        M:lght sa~,e m':! e. l0t of 1 og-work
                                        if I could just tnlk to your
         . .,.,   .,.,, ~n
                                                                                                              i/')40.l           80.
152.       (cont•d)

                            mother.
                            to"::- ~;~• .. t.

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

153.}      ·OMIT
154 .. )
155.                                      -· f,~-- .     -- ... ,
                                               f~--:'.':'.l:"n' \


           The c.a.r pulls up;:::;~ l'..::-!>c~~.~'j ;:··:::tz c~~ •:.f ~at-, l?.=.~rin.g
           motor- runnin~ •. · Ai ~:~ z -:;.I::,·.;.:;                          ~.., ,j-::!.~ !.: ':.(,:!O·SS.    t:Je i::!g!1w;.:y-   J

           CA:OIERA PULLS - AWA"{ ~.::.d               :it;

           CUT TCf:

156.
           Arboga2t ge.ts· ·to·--:.~:~ ... ;:~.,---:-.r-: :J·:-:-~t-;~-, :;,n4;~rn_.. CArZ..~ S~AR-::s·
           FORtiARD, and . ;re. se~ P.::-•:;.,:,z3.:z:t. :.~-:-::~c ?...i;- e. .-::t-;.ll not~:,c.ok
           £rom:·b1s . pock..j"e, ,;t,;;:;k              1~::.      ;:;.     ..i:·::.;; a· C.iz.5. i:i -:he
                                                                           : : . : . : : . ~ ~ : . \ ,.

           alot. and. dial t!:!.s. :::~::.~::+.. ;,,:,;. ·,~") ~:,';?l,)~. ~!°!C::lS. bc::,t:. . ,




Rev. !2-1-59
                                                                             ... ; ..   ·..... ·.. - ;· :.- .           . . -:.....   ·~




                                                       PSYCHO                                                   81. ·
                                INT. PHONE BOOTH
                                                           ARBOGAST
                                                    (into phone)
                                             Miss Crane, please.
                                                   (listens)
                                             She leave a number?
               (                                   (listens)
                                             Thanks.
                                                      (hangs- up, dials
                                         i             again, waits)
                                         r Lila there, Hr. Loomis?        Arbogast.
                                                      (waits)
                                            Lila? Look,. this isn 1 t much, but
                                             it might make you feel a little
                                            better. Mary was up here. Spent
                                             last Saturday night at the Bates
                                            Motel, out here. on the old highway •.
                                                      (listens) .
                                            Young 1'eJ.low runs it., said Mary·
                                             spent the night, left.,. perio.dt
                                                      (listens)
                                             I did question him, believe me.
                                             I think .I got e.11 there was to
                                             get~ Just have tb try to pick
           .(~-                              up the s c.ent :from here.
           .       ..
               '\,..; ~:•                             (listens)
                                            Well. ••• mo..ybe that·' s because I
                                             d·on't ~ entirely satis:Cied •.
                                          ·He's got a sick~ld mother,
                                          · confined. type, and I think she·
                                              saw Mary and talked to her.
                                             But he would.n 1 t le.t me see her.
                                          · Shame., too ••.• : confined old
                                            women: love~ to. talk to strangers •.
                                            ·       · (listens) .
                                             I was,. but· I think I 1 11 go ba.ck
                                              to ·the motel, fir st.
     ;
                                                      {listens)
    i                                       No, you stay pat, Lila. With
 . li
    }.
                                             Loomis. I should be back in B.Zl hour.
    :~                                                (listens)
    ..,·
    1
      ,.
    . ..                                    All. right.. And Lila • •·• You t 11 be
                                             happy to kn ow what I think. r
                                              think our t'riend Sam Loomis didn rt
                                             even know Mary was here.
. -~                                                  (smiles)
  ... J
   ~~.i
                                             See you in an hour. Or 1 ess •
                            l   He hangs up, gets out ot· the phone booth.
                                DISSOLVE TO: .

   '··I
                                     PSYCHO                                 82 •.
            EXT. BATES' MOTEL -      (NIGHT)

            A distant view of the House and Motel. There is a light
            on in the house. There is e.lso a light on in Norman's
            o!'i'ice. We see Norman emerge .from his oi'fice and move
            along the porch toward the distant cabins. He carries
            sheets on his arm. He goes into tho last cabin a.nd
            switches. tho light on. Into the foreground the hood
            o:r the white Ford enters the scene and stops. Arbogast
            gets out. He goes over to the Motel ofi'ice.
 1$9•       EXT. MOTEL OFFICE - (NIGHT)
            Arbogast goes in.
 160.       INT. OFFICE .. (NIGHT)                                         160
            Arbogast looks around the empty of'fice and calls:
                                          ABBOGAST
                        Batest
            He goes over to the door to the parlor· and enters. He looks
            arou~d the bird-ridden room. He stops short.as he sees:
            C. u~   - THE OLD SAFE n; THE CORNER
            C. U., - .ARBOGAST

            goes over· to it.. He finds. _it unlocked. With a quick,
            cautious look around he opens it.
 163•·      C •. T.T., - THE EMPTY $APE

 164 •      C. U•. - AP.BOG'AST

            straightens up a.nd goes out.
· 165•      BIT •. MOTEL OFFICE - (NIGHT)

            Arbogast comes out and looks off.        Ha sees:
 166 •   THE LAST LIT CABDT
         The door a jar.

 ll-12-59
                             ·.·~_;·~-·-- "".:.~ ..: - ............ ; ,, : . ...   ~.-------~·........   :..   .                            ._,_._ .. •.• ..   -I

                                                                                                                                                                I




                                                                                                                   PSYCHO                  83. '
                                                  C.U. - ARBOGAST - (NIGHT)

                                                  would go along but he stops with a new thought.                                     He
                                                  turns around and looks orr.
                          168.                    L.S. - THE OLD HOUS:E FROM HIS_VIEWl'OINT - (NIGHT)

                          169.                    C.U. - ARBOGAST
                                                  comes to a decision.                                              He goes off.
I .                       170.                    L.S. ARBOGAST
                                                   dashes up the stone steps to the House.
                          171..                   ?'1.EDIUM SHOT
                                                 CAMERA HOLDS as Arbogast goes up onto the porch.. The
                                                 house is dark within except, as lve can now see, for a
                                                  faint spill of light in the foyer, light which comes
                                                 from the upstairs hall. Arbogast goes to the living
                                                 :room windows, looks in, sees only darkness. Then he goes
                                                  tQ the door., listens for a long moment, hears nothing.
                                                 Very slowly I alm.c st painfully, he turns the kn9b of the
        ..
     ~~---                                        door and push.es gently with his arm and shoulder. The
 .    ~_  _....,:: ..-:
       ~,.:                                       door begins to open. ·He allows it to open ju.st enough
                                                 .for him to slip through and into the foyel'.
                                                   CUT TO:
                          1.72 .                  INT. POYER OF BATES HOUs:g                                                (NIGHT)

                                                 Arbogast gradually eases the door closed, stands
                                                 against it, waiting. He looks up in the direc·tion
                                                 of the light, sees no one. The door at the head o:r
                                                 the stairs is closed. Arbogast lis·tens, holds his
                                                 breath, hears whe.t could be human sounds coming from
                                                 upstairs but realizes these could also be the sounds
                                                 of an old house after sunset. After a careful wait,
                                                 he cro sse~ to the stairs, starts up, slowly, guardedly,
                                                 placing a f cot squarely on each step to test it for
                                                 squeaks or groans before placing his full weight on i·t.
                                                 CAMERA FOLL01:.1 S, r•emaining on floor level but TRAVELillG
                                                 ALOUG the stairway as Arbogast makes his way up.
                                                  CUT TO:
                          173.                    INT. STAIRWAY AND UPSTAIRS LANDING -- EXTREMELY HIGH ANGLE.
      . "•,\

'; ,i....                 11-12.-59
,..........~·•---··•···--•"'""•   ·,   ...




                                                                   PSYCHO
                                              (Cont'd)
                                             · s·rune angle as that used at the FADE OUT at the end
                                             of Scene #43• We see Arbogast coming up the stairs.
                                             And now we see,. too, the door of the moth.er·' s room.,
                                             opening, carefully and slowly.
                                             As Arbogast reaches the landing, the door opens and
                                             the mothor- steps out, her hand raised high, the blade
                                             of an enormous knife flashing. ·

                              174.           C •.U. - A BIG HEAD OF AN ASTONISHED.ARBOGAST
                                             The knii'e slashes across his cheek and neck.. Blood
                                             spurts. The sudden attack throws him of'f balance.
                                             He. stumbles back and staggers down the whole of the
                                             staircase. He frantically gropes for the balustrade
                                             as he goes. backwards down the stairs. The CANE.RA FOLLOWS
                                             him all the way. A wicked knife keeps· thrusting itsel.f'
                                             into the foreground. As he collapses at the bottom, the
                                             black head and shoulders of Mrs. Bates plunges into the
                                             r·oregrou.."ld as the CAHERA l'-IOVES IN to contain the raising
                                             and descending murder weapon.
     '.f. ..                                 FADE OUT.
     'lO
                                                                                                                      . ,_.   : -:-··.




                                                                                                             1/9401                      85.
                                                            PSYCHO


                          FADE IN

                   175.   I.NT. BACK ROON OF HAFU.vARE STORE - (UIGHT)
                          Lila is si ttizi..g close by the phone., and looks as ii"
                          sbe hasn:t moved f'ro.m it in the last bout'. Sa..'ll is
                          pacing, occasionall:;- stopping at the window, glancing
                          out, pacing again. The ash tray close to Lila is
                          .filled. Tba~e is a thick atmosphere oi' smoke,
                          tension and woal'iness in tbe small., otherwise cozy
                          l'oom.
                                                  SAM
                                           (at· window, q·uietly)
                                   Sometimes Saturdaynight bas a
                                   lonel:y so'Ulld •. Eve:r notice., Lila.~
                                                             LILA
                                                        {unable to keep
                                                        up·small talk)
                                   Sam..            He said an hour.                            Ol:' less.
                                                                      SAM
                                   It's been tb~ee.
                                                                      LIIA
                                   Are lire just. going to go on
                                   sitting hez,e?
                                                                      SAM
                                              (audd~~nl7 chee:r.-£u.l)
                                   He- 1 ll- be back. Let.ts sit. still
                                   and ha.ner ou, oke.,y-1 -
                                                LILA.
                                   You hav·e an aw.fully nice habi.t,
                                   Sam.
                                                                      SAM
                                   Rund~eds!                         Which one.is your pet?
                                                                     LIIA
                                   Wbeneve~ I start oontemplatir..g the
                                   panic button: -your back straightens
 :J'.                              up and your eyes get that God-looks-
 '/
                                   out-i'o!'c•everybody look and· .••.• I.
                                   !eel. better.
j (         )
 j      ' [ ' -)                                   SAH
..\       '-....
                                   I :t:'eel. better when you .feel better •
                                                                     T,TT.A                 •
                                                        {a pause - then
                                                        she t•isos)
                                   ,.H   . ~~ -   p -    J-t ... ~   "·:,;    h~ ~hT. 1't'lV?
  ----··-···--•···.   s·




                                                           PSYCHtJ                   #9401            86~
                           175.   (Cont'd)
                                                           SAM
                                        You want to .r-un out there,
                                        bust in on Arbogast and the
                                        sick old lady, sbnke h~r up
                                        and maybe spoil eve~ything
                                        Arbogast I s 'been building f'or
                                        tho last-tbl'ee bout's.
                                                           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
                                        Arbogas.t said •••.
                                                            LILA.
                                        An ·hour!       Ol:' less l
H,
tS::.·                            Sam stares at hel:',' frot•m·s in concern over bar very
                                  l:'eal anxiety, goes to the phone, dials opet-ator.
                                                           sAM
                                                     (into phone)
                                        Got the nu..'Tilber oi' the motel
                                        out on the old bighway'?
                                        Bates, I think.
                                                     (waits·) ..
                                                           LILA
                                        Sam!        Why call when we o~n go?
                                                    SAM
                                        And maybe pass Arbogast on the
                                         l:'oa.d?
                                                     (into phone)
                                        Thanks.
                                  He presses down the .receiver, releases it, dials tbe
                                  Bates Hotel. The faint other-end ringing tones can
                                  be heal:'d, repeatedly,· anncyingl:,.      Re waits.
                                                           SAM
                                                     (to Lila)
                                        Probably on his way back .right
                                        now •.
                                                           LILA..
                                        Se:m, I'm going .. ·
                                                                                     (CTC"!ntinued)
,---
1   '   ........ -   - ••••,   ••• -




                                                                          PSYC'HO                    #9401
                                       175.     (Cont t d)
                                                                    SAM
                                                               (hangs up and picks
                                                               .up his jacket)
                                                        You'll never t'ind it-.
                                                He stal:'ts for the door.           Lila i'ollows after him into
                                                the store.

                                       175-A.   INT. STORE,
                                                  .     .
                                                He pauses hal.1"wa:y down., t\U'ns., puts bis hands on her
                                                a~.                                              /
                                                                          SAM
                                                        Sta..,- here •.
                                                                          LILA
                                                        Wh~ cantt I go out there with
                                                        you?
                                                                          SAM
                                                                  (looks at her)
                                                        I don 1 t know •••
                                                            · - ( he collects himself)
                                                        One of us bas to be here in.case
                                                        Arbogast 1 s on the way.
                                                                          LI~
                                                               {nervously)
                                                        Just wait here?
                                                                        SAM·
                                                                   (a.wann sm-ile)
                                                        Contemplate you.r •••. panic button.
                                                He hut-rie s down to the street door and out. CAf.tsRA.
                                                HOLDS on Lila as she stares after Sam. As sbe·s-tands
                                                alone in the dar1rened store, all the hardware seems
                                                to take on sinister shapes.

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

                                       177.     MEDIUJ,! SHOT
                                                                                                                          J
                                                Lila turns and oicks it rrom the floor and puts it                      .)

                                                back in its place,      She turns and again looks to the                  ~


                                                deserted str~et with e. touch of ar..1.,xiety. She gives
                                                a slight uncorn:iulou;:; shiver.
                                                DISSOLVE TO:
                                                                                                                   •• .....:.i'
  -~~...._..,. .•. :__.-· :·.,,_~ ..·
,. .--- ··-· ·-
  __
                         --- ...
                               ~           ;·-,
                                  ......--...,;.
  ----~-_,;:..... -• ... •·•-··•-c·-·•.~•-------• .... - .... ..,..-- .. --~--•--••....:..•-   . ... - .. .:-..-..;-.•. --~..:-.:----...i. . - -        --· . --· ..: ..... ·-·
                                                                                                                                                                          .;.     .   . . . ~-: -· ·-· .: . -·.. :·..   .   --·•   .-:-,




                                                                                                PSYCHO                                                               #94-0l                            88.

                                                   178.   EXT. THE SWAMP - ( NIGh"T )
                                                          ~ell and lonely and still against tbe moonlight,
                                                           the .figu:re of lfoma.n 1 silhouetted.                                                           He doesn't n,ove,
                                                          merely stands there at the edge of the swamp, staring
                                                           down at .the now calr11 a.1:id quiet .face oi' it.
                                                          · CUT TO:

                                                                                                  .
                                                   179.   EXT • TEE HO~L AND HOUSE - {NIGHT)
                                                          All lights al:'e out, except the light in l1o.t'lnan 1 s
                                                          .motberr s room. And her figU!'e oan be seen sitting
                                                           in tbe .windo·w, :relaxed in a big'n-back chair, be::r
                                                           .race turned into the room. After a. second, we hear
                                                           the SOU17D OP A 1-ZOTOR, e.nd then-Sam's small pick-up
                                                           tx-uck swings into the d:t!ivewa7.
                                                          Sam stops the motor, automatically switches o:C:C head-
                                                          lights, pauses as he observes the silence a:nd dark-
                                                          ness of the area. Then he bops out o.f the cab, goes
                                                          quickly to the ofi'ice ~ knocl:s on tbe door. As be
                                                          waits i'ol" a response, he. looks down the long porch,
                                                          studies tbe daX'ke1:tscJ cabins, knocks again, louder,
                                                          looks in the other direction and sees. the house and
                                                           the .figure at the one lit window.                                                             He stares a moment
                                                           then .calls loudly:

                                                                    Al'bogast?
                                                          _CUT. TO:                                                                                ,.


                                                   IBO.    EXT • THE SWPJ·lP
                                                          T.be silhouette ot' Mor-man. He is still. Over shot,
                                                          ve'J:ty dimly, comes the SOU!ID OP SAH 1 S VOICE, calli:ng
                                                          again for Arbogast. Norr.1an tul"ns slowly until, in
                                                           silhouette, we see his profile, bis chin lowered
                                                          .furtively as. he looks over bis shoulder in the direc-
                                                          tion or the house. Tb.ere is silence for a moment,
                                                          .and then again tbe                       somro o.f' Sam ?OIDIDING at the dool:'.
                                                           DISSOLVE TO:

                                                   181.    Il~. HARDHARE STORE -                              (NIGHT)

                                                          The store is in dar•Imes3, only the glow .fron tbe
                                                          back l:'oom 3pilling in.

                                                   182.   L.   s.
                                                          With CA!-2:RA placod with its back to the street door,
....-, ... ·· .
-----'~•·- ....... -..:..-. ··- ._,_:,;--.·...:'... :"i>:.:. :•:......:.-.-'"/?- ::• .··   ,,   ;••.·..,.•::•   ·.. ~ ·.   - . . ..                                                   "•   .... ·---·-·-·-· .·:-: ....: ·, ...:.:-
                                                                                                                                                                                                .. - ··.·


  r-

                                                                                                                                                  PSYCHO                #9401                    89.
                                                                  182.                                          (Cont d)     1


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

                                                                   18 3.                                    MEDI1J1.I. SHOT
                                                                                                                                                              i
                                                                                                           .F.rom hel"' viewpoint we see Sa..•111 alighting .f.rom his
                                                                                                            tl:'Uck and comi:ngtowa.rd the door of the store.
                                                                                                            He enters. He and Lila exchange quiet glances.
                                                                                                                                                  SAM
                                                                                                                                 He didn't come baok here'?
                                                                                                                                                    ,   .

                                                                                                                                               LIU
                                                                                                                                          (worriedly)·
                                                                                                                                 Sam.
                                                                                                                                                  SAM
                                                                                                                              No Arboga·st. !fo Bates. And
                                                                                                                              only the olo lady at home •••
                                                                                                                                      · (i':t:>ol-mir,..g)
                                                                                                                              A sick old lady unable to answe.r
                                                                                                                              the doo.l."' • • • or u.-,,1,-1illing.
                                                                                                                                                  LIU.
                                                                                                                              Wbel:'e could he bave gone-?
                                                                                                                                             SAM
                                                                                                                                 Maybe.be got some de.finite lead •
                                                                                                                              .Maybe he went right on ....
                                                                                                                                                  LILA..
                                                                                                                                 Without calling me?
                                                                                                                                                  SAM
                                                                                                                                 In a hlll:'ry.
                                                                                                                                                  LIL.~.
                                                                                                                                 Sam, he called me wben he had
                                                                                                                              nothing de.finite, nothing but
                                                                                                                              a dissatisi'ied i'eeling. Don I t
                                                                                                                              you think he'd have. called ii'
                                                                                                                              be had anything •••
                                                                                                                                                  SAM
                                                                                                                                         ( intex-1.,npting)
                                                                                                                              Yes.      I think. he woulq havo.
                                                                                                           Lila goes quiet.                       Sam starts toward tho back !'oom,
                                                                                                           pauses at t; l·Je Joo.1.-,;.rn:,., turiw. Lila ha~ rer:.!!.ined by
                                                                                                           the doo~~ lookin~ out at the street. Sho i'eels bis
                                                                                                      . -···




                                                                                  #9401             90.
            {Cont'd)                                                                                           •.

            pause, turns, ar:,:! fc;r " '1•.)F.sr.t -:.nsy stare a't; each
            other ncrosa the darlrn.n,~,i ror.!I.,
                                                       SAt1
                            Let I s go .see .Al C.:iamb,;rs.
                                                       L!.LA
                            Who's h~?
                                                     SM4
                            He.ts th-a- Ds:;1?..it.:, Sher!.t!" a-round bere •.
            As~- he. st-art.s- :t.o~!ird..                                        .,,
            DISSOLVE TO:·
           .m·-~·, ST·rtEE? T!IE· 5:-~::s-r trtes a~r - .{nIO!-IT)                                                  ,
    184.
           A dark,• qu:!.o:t,· t,rct.l-ce!.l.'.nGe~ street, the· s.-nall neat
           hoUses,di?a in :;l1s, reoon.lt,;>:i.,. S<1."1 1 s :;>ick-up truck
           com.es down t.:-~s $1:;r":;,:,\ , i;·tJ.l~ u, be:l'ore .the house: of·
           Shl?rii'i' l-:1.l.:ill:h.;rs. GA'.·!7Jr A ic'.0'.''.:::S nr oi, Sam and Lila .
           as they r.;.'!',,1i.'l for-· a n•.:-;;:,m,, tn. ~i-.'1! truck's cab,..
           ~tar1ns q,1~et--.ly at:. ·-1;:•..-j s-.1.~i:.~.tig hov.t:e .•
                                                      S/1.,M
                           Ou.r Dep\1t-y. sl~f-lr-s· ~
                                                      L~.
                           Wellf
                                                      s,~;;,
                           Nothing.          •i'J.St· ••• all the lights
                        · ·. ou~ •-• •. rlt.:at.: .- ~ .asls.t;~. ·
                                                      L!!:.,A
                                      (a-.- ::r:';a1·1 · ".u:-z.s;;.,7rati;,n)
                         ·· .D-:,es tha~; . m.e.a!1: js ,-s.n 1-·t·. • •.•

                                                      Si1}t
                           No.      !'~ j:1sr.. i:,:-,,,:r:;st iuat.ini'.
                          People. hat;,:; ,,h,·,~ l;f:cy dO"'J:>bell rings
                          1n the. rnid,iJ.t:r er ";:he_ n.:.;:ht •.
                               .     (.g1i.:·~5.- n.P, ata:rt.;s .... o~t.}
                           Come <1!!.
           ll.e gets. out of cac, r·:»,~ .;i:-01;:":rl to ha!1i I.1la. She
           is· a_lreadY out,, 'J.Al·iEIL.\ ?(J!:.i!'tc;1s 1:h.:-:1 u;, tho· sr.iall
           pa'th ~o t~h~ fr::ir.-+; door•.. S.;J!n. t·rct'36S ttu?· be·i-1 button.
           :Both he and 1!.1~ '.::ir5: .~ :t:1~.:.~. -~-:r:o~~·~cd OV'O.P by the
           shocking:, cl3!1;:;!::i;, c.:<3..:"-::,;:•ll.t.r,.t;·,!_: B.L.~\:SI· 0F THE. BELL
;          tiithiri t-he hour,e .1 a. rin;· t·;! ~ !_.-; h ,-s•Jt.tn.:i~ ~ore Like a
           !-ire ala!"=t· than a dflcr':~:-;-J.J: ..


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




                                                                                                        #9401            91.
7284,                                (cont I d)
                                                                                                                                   i
)                               He tries t.o l).T..iJ.,!,, !ails. Li.!.(! doe:m•t even try.
                                                                                                                                   j
                                                                                                                                    l
                                The downi:;tal.rs h:a.:..l l:t.rr.~ go;:, o:, e,;<i a moment later
                                the door ia i.:.nhi!:s.it.;tin;,-: l:,, or,,.mad ty MRS, CHANBERS,
                                a ewa11, lf.•:.;1:r st.i.-,k 01· ii :,·o:,i~n t1rapped in a thick                                  I'
                                                                                                                                   '
                                fl.arinal robe and a ::::iro1,a o!' hosrittality. ·                                                '\
                                                                                                                                   )
                                                  Oh?
                                                                         3AM
                                                  So-rr1; i~s .. c~. a~bgrs .-       I hate
                                                  bot;herine yo•:· • •.                                .,




                                As· she opens t1ie          door ~: i.c.li,.
                                CUT 1'0:
    185,                        mr 1 DO:•n~ST"A!RS .I!ffLI· a; S"..r:21··r~-~.,-· §· ~12'7T3·- ~ .(N~G~)
                                Fat rosee spla'.tte~ 1:':h7 ~.-.l-l.1r;1:r-;r. · The Stai;i,s- Sre
                                carp·et·ea .: The ·_l-lt.:1t!:ig ~.s b!""1.gJ:t:-. There: 1.s a
                                pa'!.'fectl7 f.itt.'l.n.; wu.l.l. ;;,h•:,na by tne parlor a.rc.h.
                                Mr-s .. Chamber.s .toe.o it·o i:'!!.e. _s~·airi1_a:,·1-· :,"8.lla·- UP-~·.


                                                  Alberti
                                                         (a tin-; .-a.it, a sm12e
                                                         as Sam ~r.1 Lila enter)
                                                  Al Chambers.!
                                Sam is ab.out to c~.;rne thri door tehin~ him, Mrs.
                                Chambers r.iot io:1s for U.m no,; to, l!ourries across the
                                hall, leans out sld;,; p:-ess~s t.r.e, doorbell •. The Rl?!G.
                                w1th1n the hcuse i:; even r-:cr,;i sh:i.t<;ering. She closes




                                                                                                         ( Contitiued)
            . ···- .. ~-··-- .       .-.
    --: .                        ,
                                                                                                                 . .   --   ·.-·   ~- ·.-~.--: _. ···'·•·•~. ----.,.



      r

                                                                            PSYCHO                       #9401                     92. ·

                                           · 18~.   (Cont rd)
                                                    the door, sta.rts to the stairway, pauses as the
                                                    SOUNDS of: movement above CONE OVER SHOT.
                                                                           MRS. CHAMBERS
                                                          Custome.rst
                                                    SHERIFF CF!.l\.'MBERS comes dot·m the· stairs, in a bath-
                                                    robe which nratches his wife ts. He is a tall, narrow
                                                    man with a face originally destined :for Mount
                                                    Rushmore..     He nods at Sam, looks at bim with wide-
                                                    aw.ake e-yes and a no-nonsense concern.
                                                                            SAM
                                                          We ·bave a p1•oblem •.
                                                                           MRS. CHAMBERS
                                                                     (to Lila)
                                                          Letts go out back and have some
                                                          cocoa while tbe men are talking •.
                                                                           LILA
                                                          No, thank you.           It ts ra.y problem,
'ri.'                                                     too •
.   \~~~
                                                                           SAM
                                                          I don't know where to start •.•
                                                                 ( a look a. t Li la)
                                                          Except at the beginning •.
                                                                            LILA
                                                          Yes-•.
                                                                           SAM ..
                                                                     ( t.o S be.r-iff)
                                                          This 1$ Lila C1•ane, i':rom Phoenix •.
                                                          Sb&'s been be~e fo~ a few days,
                                                          looking for her .:dster. Ther-e: s
                                                          a p.rivate detective helping •.•.••
                                                          and, well; we got a call tonight,
                                                          i'rom this detective., saying he'd
                                                          t.raced Mary •••
                                                                           MRS. CHA.HEERS
                                                          Mary 1s Lila I s sister?
                                                                           SAM.
                                                          Yes.  He traced her to that motel,
                                                          out on t b.e old hi 6 hws.y •••

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

                                                                                                         (Continued)
                                                                                                                                                          j
    C
                                                       P3".::GHO                                          93.
                            (Cont'd)                      ~rn-i:-
                                                         1'Lfl-...J t    CEA!•lBERS
                                               (to Lila)
    (                                   He has.· a mind like a
                                        mechanical brain and the more
                                        j_nfon:1ation you f e:ed it , , .
                                        Go on, Sam.
                                                          SAM
    (
                                        He traced her thera and called us
                                        to say he i•tas going to question
                                        Mrs~ Bates •••
                                                         MRS. CHAt·.-ffiERS
    (
                                               (a pleasant shock)
                                        Norman took a ·wife?
                                                          SAM
                                        No.   An old ·wom.:m,. his mother.
                                               (to Sheri!'f, quickly)
                                        That was early this evening.
                                        And we haven't scan or heard
                                        £rem him since. I went ot·.t
                                        t,o the motel, ju·'5t got back.

        ........
                                        No one was in thE: office, and •··,.          .
                                                         LILA
    :;.CJ
     ..__.__.                                  {interrttptine, anxiously}
                                        Will you balp :.iz?             I think
                                        something I s vrrong out there I
                                                            -·
                                                       SHERIFF
                                              (after a considerate pause)
                                        Now.  Your sister is missing
                                        how long?
                                                         LILA
                                         She left F11oenix a \·:eek ago
                                       . yesterday. And no tra.ce until •••
                                                          SHERIFF
                                        ·How' d you and this detective
                                         come to trace her to Fairvale'?
                                                         SAM
                                        They thought she 1 d be coming
                                        to me.




                   REV. 11-23-59                                                          (Ccntinue<.1)
L
    ......,.._
    . .- .....-... ... ..., ____ .....·~·.. .... , ..... ··-·- - .... .
                             ,. .. . .
                      ..........         .
                                                                                                                                           -..... - ..-:-,- ·.-·,·. -~-- ....   ~




                                                                                               PSYCHO                        #9401

                                                 185.                     (Cont'd)
                                                                                               · SHERIFF
                                                                               Le~t Phoenix uncer her own steam?
                                                                                               LILA
                                                                                Yes.
                                                                                               SHERIFF
                                                                                         (s. pause)
                                                                                She ain't missing so much as
                                                                                sbers run away'?                         /




                                                                                Yes.
                                                                                               SHERIFF
                                                                                Fl'omwhat?
                                                                                               LILA
                                                                                         {a lool';: at Sam, then:)
                                                                                She stole some money.
                                                                                               SHERIFF
                                                                                A lot?
                                                                                            - LIIA
                                                                                Fol'ty thousancf dolla.:r,s.
                                                                                               SHERIFF
                                                                                And the police haventt been.
                                                                                able to • • •
                                                                                               SAM
                                                                                         finter.rupting)
                                                                                Evex-yone conce:tT..ed tbpugbt ••• ii'
                                                                                they could get be.r to give back
                                                                                the money ••• they could avoid
                                                                                involving her witb the police.
                                                                                               SHERIFF
                                                                               Explains the pl:'iva.te detective.
                                                                               He traced her to the Bates place.
                                                                               What I d he exactly say when he
                                                                                called you'?
                                                                                               LILA.
                                                                                Ma.ry bad beon t be.re,. on& night,
                                                                               and 'nad 'left •.
                                                                                               SHERIFF
                                                                               With the i'o~ty thousand dolla.rs?

i
                                                 ll-16-59                                                                    (Continued)
l
-                                                    ~~ - - ~
        ···-··-·-··---·~··. • •.•. . ·: .• ~:.·- .... ..      ~
                                                             •. • . . . . ~ •.-.~--:7-;-,------: .• ,--· -·   . ...   ..   ·.· . . ·       -····   -·   ·•-. · · - · .
                                                                                                                                                                                       •••• •
                                                                                                                                                                                         .      -   •-••••••M•~••   •-•




                                                                                                                                 PSYCHO                                                 95.
                               185.                     (Cont'd)
    ·A···- -
    .
        . .
                  '
                   .   .
                           .                     .-                                                                                        LILA
             ''-·-/··
        [                                                                              He didn 1 t mention the money.
                                                                                                              (anxiously)
                                                                                       What he said on th~ phone isn't
                                                                                       important, is it? He \·ras supposed
                                                                                       to come bac1c aft~r he spo1<:e to the
                                                                                       mother, and he didn't! That's nhat I
                                                                                       want you to do something about!
                                                                                                                                            SHERIFF
                                                                                       Like what?
                                                                                                                                           LILA                          /
                                                                                        Go out therel Find sot:tebocy.,
                                                                                        ask so.me questions!
,,-                                                                                     •     (a pause)
                                                                                       I'm sorry · if I seem over-anxious
                                                                                       to you.. I. keep thinking •••. some-
                                                                                       thing's wrong. I have to lmow
                                                                                       whatt                                           .
                                                                                                        SHERIFF
                                                                                        I think sonat°h1ng 1 s wrong, too,
                                                                                       Miss.                  But not the same thing.
                                                                                      I think your pri vzte detective
                                                                                     -is what I s wrong.
                                                                                                              (As Lila is about to
                                                                                                              object) .    ·
                                                                                       I. think he got h-imself a hot lead
                                                                                       as to where your sister was going •••
        '·
                                                                                       probably i'rc:m. :-rorman Eates • • • and
                                                                                       called you to keep you still while
                                                                                       he tool~- off afti~r her fillg_ the
                                                                                       money.,

                                                                                                                                            LILA
                                                                                       He said he was dis::1atis.fied ••• and
                                                                                       was going back.
                                                                                                                                           MRS • Cn.AI•1BERS
                                                                                             (to Sheriff)
                                                                                       Why don't you call. Norman and let
                                                                                       him say just i•;hat happened, if he
                                                                                       did give the nan a hot lead and he
                                                                                       Just scooted off ••• 1t 1 ll make the
                                                                                       girl feel better, Albe~t~
                                                                                                                                            ~HERIFF
                                                                                        At this hour?
                                                                                                                                           SAH
                                                                                       He was out when I i·rn.s there..
                                                                                                                     If
                                                                                       he's back he probably isn't even
                                                                                       in bed yet.         ·
                               REV. 11-23-59                                                                                                                             (continued)
       ----···----




                                      PSYCHO                    #9401.                  96. ·

               (Cont.' d)

                                              SHERIFF
                      He wasn 1 t out when you were there.
                      Re just v1asn I t answering the door
                      in the dead of night ••• like some
                      people do. This fellow lives
                      like a hermit •••
                                              MRS. CHAMBERS
                      Recluse.        Kinder wqrd •.
                                                                     /
                                              SRERIFF
                                  (to·srun)
                      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 l.      Then calll      At lea.st,
                      call!
           Mrs. Ch21llbers goes to phone, dials ·operator.
                                          - MRS. CHAMBERS
                             (into phone)
                      Florri.a,· the Sheriff wants you
                      to connect him with the Bates.
                      J,fr,,tel .".

           She hands the receive:r- to the Sheriff. Ke t·akes it,
           reluctantly, listens to the dim sound of RilfGilfG on
           the other end. After· a mo:m~nt:
                                              SHERIFF
                                  ( tnto phone}
                      Norman? Sheriff Chambers.
                        ·   (listens)
                      Been just fine, thanks. Listen,
                      we got some worries here •. Pid you
                      have a man stop out there tonight
                               ( listens J
                                                                         ..    •-
                      'We11, this one wouldn't be a
                       cust.or.rer, anyway. A private
                      det ec ti ve, na.rne of •••

                                              MRS.. CHA~IBERS
                      Arbogast •.
,,
 '
i ',
';

           11-30-59                                                       (Continued)
- - - - - - - - · - . . . -· ··--      -~--   .· -:-:-~-
                                                     .. - - .- -




                                                                                          PSYCHO                        119401               97.
                                      185-.                    (Cont'd)
                                                                                               SHERIFF
                                                                                 (into phone)
                                                                          Arbogast. ·
                                                                                 (listens)
                                                                          And after he 1-::ft '?
                                                                                 (li~i~Emz)
                                                                          No, it I s ol~ay, Norman.        How I s 1t
                                                                          been goins out thare?
   ,(                                                                            (lis"l;ens)
                                                                          Well, I thinl-: you oughta unload
                                                                          that place and open up closer in
                                                                          to the action, a smaller place.,
                                                                          you· know ••• but. • •    ·                   /


                                                                                               LI"LA
                                                                          Pl.easel
                                                                                               SHERlli'F
                                                                                (into phone.)
                                                                          Sorry I got you up, boy. Go back
                                                                          to sleep. Yeah~ be glad to.
                                                                                (hanis up.,. turns
                                                                                to Mrs. Chambers)
                                                                          Sa~d to give you his_regards~
     1.       ,,-,,--:'t:1'_'~··• ;                                                            SAN
.. ,t;,
    __,/  ,                                                                      (faint iro.ny).
                                                                          Wasthat all?
                                                                                               SP.£RJJ?F
                                                                          Th.is detective ~·ras out there and
                                                                          Nor::nan told him about the girl
                                                                          and the detective thanked him
                                                                          and went away._
                                                                                           LILA.
                                                                          And he didn 1 t go back?         Didn't see
                                                                          the mother?
                                                              The Sherif':f looks long at Lila, shakes his head
                                                              sympathetically.
                                                                                               SHERIFF
                                                                          You should've called in the police
                                                                          the second you found your sister
                                                                          had skipped. You go starting
                                                                          private investigations, using
                                                                          people you don I t e:ven know ••••.
                                                                                               LILA
                                                                          What difference does that ••••
          \             \      .
          '-,;;./-

                                      REV. 11-23-59                                                                         ( Cont inuecl)
·,'    ,-,



                                               PSYCHO                     #9401              98.
·: ~'i"·
 : \•✓::;'               (Cont'd)
 ·o
                                               SHERIFF
                               Yo\U' Detective told you a naked-
                               raced lie.
                                               MRS. CHAMBERS
                               Bare.t'e.ced.
                                               SHERIFF
                               He told you he wasn 1 t coming ~ight
                               back cause he wanted to question
                               Nol"l'nan Bates r motbo.ri ,. right?
      '·
                                               LILA
                               Yes •.

                                               SHERIFF
                                        (a pause,.then calJnly)
                               Nol:'man Bates' mother has been dead
                               and:. buried in Greenla1•m Cemetery
                               for the past ten yearsl
                         Thel."e is a long silence.       S8.l!l. and Lila stare at the Sberifi',
       -~·-.
           o.                                  MRS.. CR.~MBERS
                               I helped Norman pick out the
                               dress she was bWied in.
                               Periwinkle blue.
                                               SHERIFF.
                               It ain't only local hi.story, Sam,
                               it 1 s< t\:le only murder-and-suicide
                               case ·on Fai.r'Tale ledgers·! Hrs.
                               Bates poisoned this guy sbe was
                                ••.• involved with, when she 1'ound
                               out be was married, then took a
                               ne·lping of' the same . stuff herself.
                               Strychnine. Ugly way to die.
                                               MRS. CHA.MEERS
                               Norman .found tbem dead together.
                               In bed.
                                             SAM
                               You mean that old woman I saw
                               sittin' in the window wasn 1 t
                               No.t'man-Bates I mother?
              ··-,\
                    I
                                               MRS.. CHAMBERS
       '·:........:f/.                   (hopefully, happily)
                               Maybe you saw Hary !
                                                                          ( Coi"i~.i.nued)
           ---~~-.



                                                                   J:SYCSO                                                                       9S.
                     185.    (Cont'd)
                                                                          SA.M
                                                   I 1 d know the diff·erence between
                                                   Mary and an. old woman.

                                                                 SHERIFF
                                                   Now wait a minute, Sam.                                      You sure
                                                   you sav1 an old ;•mman?

                                                                          SAM                                       ,.
                                                   Yes!  In the house behind the
                                                   motel. I pounded and calletl
                                                   but she , .• Just ignored m~.
      I.
                                                                          SHERIFF
                                                   And you want to tell me you
                                                   saw Norman J.:,a tes 1 1r.o tl"!er.

                                                                          LILA
                                                                                                                         ..
                                                   It must t ve been.                      A:rb'.)ga;; t
                                                   said zo, too ., . and he said
                                                   the young n:.s.n wou.ldn: t let
            e.
             ~-



            ~~
                                                   him sea her because aha ~as illl
                             The Sherif·r otares :it both of them, and ~·. l1en he                                       1



                             finally spea.!rn tbe:>Q i~ an aln:::,st inaudible tone
                             of' irony· in. :'11s ·v~icFJ.
                                                                          SHERIFF
                                                   Well, if the f;mma.n up ther-~ in
                                                   H. . . s • :aa te s • . . who ' s th?. t ;-1 or...:1..n
                                                   buried out at Greenlawn ca~etery?
                             QUICK CUT 1'0 :
      !
     .
,,
·'. rl
.,I
                     186.    IMT. NOR!-,t\N' S PARLOR DST!HD OF'FI0E - (NIGHT)
,,
, ;J.                       Norman sits in tl:e dim., or:.e.-la.np light, the phone
                            next to him, his hand still near 1t as if he had
,l                          not been able ~c, mova his hand after har:..ging up.
      1!                    He is starin5 2.. t the shrike-like birid vihich is
                            perched en the ll·'.mp shade. De~isio:r. and resolution
I'
                            are beginning to sh~w in his face. Suddenly he
                            rises, s t.~r·ts c~ui.cl-:ly out; of' the room, trie:3 to sv1i tch
      i
      ''
                            off the 1~~8 as he go~~ and in so doin3 succeeds cnly
'
                            in knocki:."1_:; -:;:-,,:: r,:!..:.·d oi'.f' tr:0 s!-13.dc.               Ee ;·1a. tcl:ie-s it
                            fall, d:,,:);::; not ;;p r t:i catcll it, ::t hits the fJ~oor
                                                              0


                            ~·,i.th a thud and :::s::i.\•idust spill~ :>u-:.:. H'=' st8.res frndl~r
. •.
i
                            a ~. it "-,r"' ..,tom~-,-·t
                              IJ     ,   ~. -,_,    r~•~!•":: •-
                                                         •       ' th"r·
                                                                    •.Sl:! \.-,,-,n,~-. a.·...,,,.,n., Scoonc:- U'"'i~ r··n.::.~
                                                                           ,I.   VI..'..     \.._1..)   .._,   'I             •   .. ,   I




                     REV, 11-23-59                                                                                                (continuGci)
                                            PSYCHO                #9401
            186.       (Cont'd)
                       sawdust, tries to press it into the split seam, picks
                       up the bi:-d; puts it in a drawer. Then he puts out
                       the lamp, goes out, c-rosses the darkened office and
                       goes outside.
                       OUT TO:.

            . 187.     EXT. 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.
                       CUT _TO:

            188.       INT. DOWHSTAIRS HALLWAY AND STAIRWAY - (NIGHT)
                       SHOOTING UP ':CHE STAIRS
                       Norman goes up, paus·es one moment outside his mother's
                       door, then opens it and· goes in, leaving the door open ..
                       For a moment we hear only Norman's low, quiet voice,
                       his.words indistinguishable, · T'nen·we hear the cold
                       shot of his mother's derisive laughter.
                                             MOTHER'S VOICE
                                  I am sorry, boy, but you do
                                  manage to look.ludicrous when
                                  you give me orders I -
                                             NORMAN IS VOICE
                                  Please, mother ..••
                                               MOTHER'S VOICE
                                       (Sharp, laughter all gone)
                                  Nol I will not hide in the fruit
                                  cellarl            ·
                                       (A shrill laugh)
                                  Think I 1 m fruity, huh?
                                       (Hard, cold again)
                                  I'm staying right herel This is
                                  my room and no one will drag me
                                  out of it ... least of all my
                                  big bold sent
                                             NORMAN'S VOICE
,:·                                   (Rising now, anxiously)
(     _);                         They'll come now, Mother. He
                                  came after the girl and now
                                  someone will come after him!

            11-16-59                                              (Continued)
                    . --··-------
                    ---- -  ---·· --------
                                  -- -·    ------ ..




                                                                        PSYCHO                                    101.·
 .@-~--
 ··\\L_ j_·
·.·.         ·_-,:,.~,
                                           188.        {Cont'd)
  ,    ✓-,



                                                                         UORMA1-PS VOICE (Cont'd)
                                                              How long do you think you can
                                                              go on •.. Mother, please, Just
                                                              for a few days, just so they
                                                             .won't find youf
                                                                          MOTHER 1 S VOICE
                                                                  (Mimicking)
                                                              Just for a few days •••
                                                                  tFurious)        _
                                                              In that dank fruit cellar?       Nol .
                                                              You hid me there once, boy, and ·
                                                              you won't do it again! Not ever
                                                              again 1 lfow get out I
                                                                 · ( A pause, quiet)
                                                              I told you to get out, boyt
                                                                   (A longer pause)
                                                              NormanI What do you think you•re
                                                              going to do? Don't you touch met
                                                              Don'tl   Normanl
                                                                   (A pause, then cajolingly)
                                                              All right., son, put rae doi·m and I 1 11
                                                              go·. Ir 11 go on rn:y otm two feet. - I
                                                              ---
                                                              -can go on rr..y own two feet,. can I t I?
                                                       During all this the CAMERA has been slowly creeping
                                                       up the stairs. It qoes not stop at the top however,
                                                       but continues on the same high angle that we had in
                                                       Scene 57.
                                                       She starts to laugh, a terrible sound like an obscene
                                                       melody.
                                                                          NOR!-1AN 1 S VOICE
                                                              I'll carry you, mother.
                                                       Nor?T'.an comes out of the room, his mother held 1rt his
                                                       arms, her head leaning 9.gainst his shoulder. Re
                                                       carries her dm'ln the sta.irs, along the lower landing
                                                       to the cellar stairs, and then down those stairs to
                                                       the basement.
                                                       DISSOLVE·TO:

                                                       EXT. FAIRVALE PRESBYTERIAN CHURCH - (MORNING)
                                                       An overcast morning, but a sunny-faced crowd. The
              \I                                       service is just o~er, there is contentment, and peace,
         ·---·
                 ( .•
                                                       and Just a little I-went-to-church-smugness in the
                                                       faces of the churchgoers as they come out of the
                                                       chapel, and spread their separate ways a.way,

                                           ll-16-59                                                (Continued)
                          -
        -~ ·,..,;..._ . ... ---....._________
                                        --
                                              .
                                                                                                                       '·.:;:.-;::.-~




                                                                        PSYCHO                      #9401          102. ·

                                                  (Cont'd)
                                                  Amongst the crovJd, waiting and searching the faces,
                                                  are-Sam and Lila. In their expressions there 1s
                                                  no peace, no contentment. CP.I-tc:RA r-'iOVES IH CLOSE. .
                                                  They a.re not sp-3ah:ing. Lila looks as if' _she has had
                                                  no sleep. Suddenly, Sam becomes alert, takes Lilars
                                                  arm,. starts to,·iard. the church.· CJ\ViSRA MOVES WITH
                                                  THEM, sto·ps as they approach Sherif!:' and t-11.'s. Chamoers.
                                                  The Sheriff st'f"res rathar sympathetically at Lila.
                                                  Mrs. Chambers ,s:niles nicely.
                                                                            -SAM
                                                              We-thought, if you didn't
                                                             ·mind, we I d go out to tl)e motel
                                                              with you.
                                                                             MRS. CHAMBERS
                                                             He., s already been.
                                                                           SHERIFF
                                                             Went out before service.
                                                                           MRS. CHAMBERS
        n                                                    Have you two had breakfast'?
        ,t:1>                                                                SAM
                                                                    ( To. Sheriff, not
                                                                     a. question)
                                                             You o.idn' t find anything. -
                                                                          SHERIFF
~ '·
,,                                                           Nothing. Here, let's clear
f'
                                                             the path.-
                                                  He moves away and the others follow.       CAMERA PANS
                                                  the.m · to the curb.
                                                                             LILA
                                                                   (Interrupting)
 1                                                           Did he say anything about my
 I
 I
 ;
                                                             sister?

...
  i
  i




            \
            _I
        (. __ ,.'
          '...       .
                                         REV •. 11-23-59                                          (Continued)
..;-.
                                                     PSYCHO                         #9401       103.
                    189.   (cont'd)
t-·,
·,.
                                                     SHERIFF
                                      Just what he told your detective ..
                                      She used a fake name, saw the
                                      register· myself'. Sai,i the \•1hole
                                      place, as a matter of fact. That
                                      boy is alone there.
                                                         SAM
                                      No   mother.
                                                      SHERIFF                 ,.-
                                      You must 1 ve seen an illusion,
                                      Sam.    Now, I lr..now you I re not
                                      the seeing-illusions type .••
                                      But no \'roman was there and I
                                      don•t believe in ghosts, so
                                      there it: is !
                                                         LILA
                                      I still reel ••••
                                                         SP..ERIFF
       --·                            ca.n see you do.        Sorry I couldn 1 t
'ri                                   make :rou feel r;e tter. You ,·;ant to
   \...d,'
                                      come to my, office this afternoon
                                      and report a missing person •••
                                      And the thef'..t, is ',•Jhat you i•Jant
                                      to dot Sooner you drop this thing
                                      in the lap of the law, that's the
                                      sooner you 1 ll stand.a chance of
                                      your sis tsr bein I picked up•- How
                                      about that?
                                                         LILA
                                      I don• t know.
                                                         MRS. CHAMBS...>tS
                                      It's Sunday. Come over and do
                                      the reporting at the house, 1 round
                                      dlnne:::- time. Make ~ t nicer. You
                                      too, Sam.
                           She smiles brightly, as if having invited them over
                           to discuss this year's charity fandango, takes the
                           Sheriff's arm, s t2.r:ts a:.12.y. The Shariff nods as
                           he goes.

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




                    REV. 11-23-59                                              ( Contii1uecl)
    "\" •,::,:.·--,· .• < ·, _ _., ......... ' .... ~ ... - -~ ··-   ··• '··
                                                                                                                                                 r
                                                                                                                                                     -   -   -~- - ·-~·----
                                                                                                                                                                              ·-   --~- ~-




                                                                                                                  PSYCHO                     #9401                            104.
                                                                               189.    (cont'd)
                                                                                       Sam and Lila are. alone new, a".:- the curb, before the
                                                                                       deserted chJ.pel. For a long r.1oment they just stand
                                                                                       there, their fa.ces as gr-.:?.y and overcast as the sky.
     ,..                                                                                                              SAM
                                                                                                   Maybe I az;;. the. seeing-illusions
                                                                                                   type.
                                                                                                                      LILA.
                                                                                                   You 1 re not.
                                                                                       Sam takes he!" s.rm:, starts W-:3.lking her up the street
                                                                                       toi1ard. the spct where his pick-up· tr-uck is parlced.
                                                                                       CAMERA FOLL.OWS tbern •.

                                                                                                                      SA!•!
                                                                                                   wan.t I!'.e to dr-op y,:n.i at the
                                                                                                   hotel?    Or ycu i..-:.1nt to come·
                                                                                                   over to the store?
                                                                                       Lila does n.:it an~rne?'. T'~ey· r.·aach the tr·uck. Lila
                                                                                       looks ~i1•~ctly at S;3.m as he helps her into the cab·.
                                                                                                                      LILA
                                                                                                   I won't feel ~:itie.fied unless
                                                                                                   I go out tb.ere, Sam.
                                                                                                                     SAM.
                                                                                                   Neither will !.
                                                                                       He slams the door, hur:r:ies around. truck,. gets into
                                                                                       driver's seat, .• i3tarts moto~. As th9 truck drives
                                                                                       oi'r,
                                                                                       DISSOLv"E '!¢ :

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

                                                                                       For a momer.t, both·are s11i:nt~; Sa.11 "t-iat~hing ;;he
                                                                                       road as 11: the.?."'e ;•,ero 'olher cars on it, Lila stsring
                                                                                       at nothing in particular, except perhaps her own
                                                                                       inner fears.


       ,.   ,)··.,
            ; .
                      \


     . ~z:;_,-·~


                                                                               REV. 11-23-59
i                                                                                                                                                                                            i
L                                                                                                                                                                                       _J
                                                                                                                              .

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




                                                                 PSYCHO                                                     #9401                                        l05.
··c     190.    (Corit rd)
                                          ·LIL.t\.
                             I wonder if we•ll ever see
                             Mary again.
 i..'                                                                      SAM
                             or course we Will.
                                                                           LILA
                             Alive.
                                                                                                                        /


               ' Sam looks as if he'd like to say something humorous,
                 something to cheer her. He cannot. Ha remains
                 silent.
                                                                           LILA
                             We lived together all our
                             lives. 'i·lben. we woke up one
                             mornin3 and Eound ourselves
                             orpba.ns 1 Eary quit college and
                             got a Job, so r could go to
                             college.
                                                                           SAI4
                             \rlhere 1 d you go to college'?
                                                                           LILA
                             I' didn't.                             r go.t a Job, too.
                                   (A paus.e)                  ·
                             I wonder if that hurt her, my
                             not le.tting ber · sacrii'ic·e. for
                             me? Some people are so willing
                             to suffer for you that they
                             suf f'er mora. ii' you don 1 t let
                             them.
                                                                           SAt.Z
                                   (Almost to himself')
                             She was Nilling to lick the
                             stamps.'

                Lila looks quizzically at hirn., is too concerned to
                pursue it.
                                                                           LILA
                             r wond6r so many things about
                             bar not·1 ., Why she never told
                             me about you • . • Funny., when
                             you. think tl'i:::l"'a ! s an ans;•1er to
                             everythins,. you think you know
                             all the answers~
                                              SAM
                             We v-iere sciing to g~ t r.'13.rriecl •.
                             /\ tt...-..   ,.....~ -i n . . t"   i·r'\   ---~ ~-   ·..-.~,-.:-. ttYl-f ,o.rl f   __ _
r--
 .___, ...... -        ._•;;   ..... -..·-- .. -




                                                                                  PSYCHO                           #9401        106 •.

         ~~)~-                                     190 •   (Cont'd)
 .
     C '..___... ,
     .             •


                                                                                       LIL.A.
                                                                      Do you lmo,•J how I fauna out
                                                                      a.b::mt yo,.1.? I round one or
                                                                      your letters .•. it was a
                                                                      nice lettdr, Sam •
 .   ,--· ..
                                                                                       SAI,t
                                                                      This is tbe old high1,iay.

                                                                                       LILA
                                                                      I suppose •.• when you \·Jere
                                                                      ~ble to .CTJ.r:-y hi~:- she I d have
                                                                      presented :;.·ou, all shiny and
                                                                      proper ••• she alw~ys tried
                                                                      to be prep er.
                                                                                       SAM
                                                                      ~Iat.ch ~our t.en~es \
                                                                                        LILA
                                                                      Huh?

                                                                                        SAM
                                                                      She al0ays tries to be proper.
                                                           Sam slows the trur;it to o. ;!top, sighs, starts to
                                                           light up a cigarette •. Lila looks questioningly
                                                           and impatiently at.hinr.
                                                                                        LILA
                                                                      You going to wait here for
                                                                      zne?

                                                                                      SAM
                                                                      I'm going \·~ith you •.    But 't'-Je 1 d
                                                                      better decide what we 1 re going
                                                                      to aa.y and do when t-Je Halk in •••
                                                                                        LILA
                                                                      We're going to register. As
                                                                      man and \•Ji!' e. And get shoNn
                                                                      to a cabin ... and then
                                                                      search every inch of that
                                                                      place, inside and ••• outside.
                                                                                        SAM
                                                                      You won't believe it ...
                 ·.\

                       )
          ,:···::.-_ .......
               ·--
                                                    REV. 11-23-59                                                 (continued)
                                           ·--·
             -----·--•·····•·"'""




                                                                                                          #9401
                                                                                                                   107.
                         --'r·-
                              J    ·•
      . ·,
        .;
             ,,
                            ,J.
                             ...
                                   ..
                                        190 •      (Cont'd)
             .__-,                                                   .           SAM (Cont I d)
                                                                    . (Starts motor)
                                                              But this w~ll be the first time
                                                              I 1 ve·evcr pulled one of those
                                                              man-and-w!fe-renting-cabin capers!
                                                                                 L!LA
                                                                    (A ti1~y smile., first
                                                                    in hours}
                                                              I beli~,..e :!.t •
                                                   As truck starts to drive on.,                      /



                                                   CUT TO:


                                        191.       EXT. THE BATES KO:EL .~llD HOUSE -     (DAY)

                                                   The place is empty and silent and washed dirty by the
                                                   deep gray of the cl01.:.dy sk.-,y. We see Sam I s truck turn-
                                                   ing into the dr:'..-reway a.nd p:!.lling to a stop. Af'ter a
                                                   moment.,. Sam. and Lila get o-..it of the truck.

       ·e2.                             192.       FRESH .ANGLE
                                                   Close on Sam and. :Sila. a.s t!'ley meet on the po1•ch side
                                                   of the truck. 'The motel office.and the house beyond
                                                   can be seen iI1 b. g. of snot .     Sar.1 and Lila merely
                                                   stare for a nome:nt, then turn and gaze·up at the
                                                   house. · There is no f.igu!'e :!:.n the window and the
                                                   shade is drawn. Same goes to the office door, peers
                                                   in, knocks, opens c!oor: enters. Li.la remains on· the
                                                   driveway,. beside the truck •.
                                                   CUT TO.:

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

                                                   Close angle on Norman ~tanding by the window. He has
                                                   pulled the curtai~s ,,ory slightly apart, is staring
                                                   out and down at the motel, his eyes studying the lone
                                                   figure of Lila, who i;; z-:anding by the truck and
  '                                                looking· up at the house. Norm.an studies her., and as
  I                                                her eyes loo;<: up at this very window he. c1oses the
  i                                                curtains, turns away. w~ !ee the suspicion and fear
                                                   in his face, the ;:;urge of panic and his struggle to
                                                   contain it.. Then he goes a'11 ay. CAHERA remains on
                     '                             window, shooting o~t and down, and through the frail
       '--J                                        curtains we can s~e Sam as he comes out of the motel
                                                   of'fi.ce: and Joins L!.J.a.•,

                                        11-16-59
,.
{'.

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




     ·''


                                                                                                             PSYCHO                         #9401   108.
                                                    194.                        EXT. MarEL OFFICE - CLOSE ON SAM AND LILA

                                                                                                                SAM
                                                                                                 (Unconscioasly wh.ispering)
                                                                                           I wonder ~·rhere Uorman Bates does
                                                                                           his herm.iting?
                                                                                                             LILA
                                                                                              Someone was at that window.       I
                                                                                              saw the curtain move.
                                                                                Sam takes Lila's arm.
                                                                                                                                     ,,I'

                                                                                                                SAM.
                                                                                              Co.me on •.
                                                                                He starts with her toward the path which leads to the
                                                                                old house..     CA!'1~RA E'ANS with them, and as they turn
                                                                                 around the office corner, they see Norma.n coming down
                                                                                 the path toward them. They pause· and Norman pauses·.
                                                                                ·He· does not :smile, nor speak. His usual grin and
                                                                                 soft :Criendl1ness ai~e gone; contain:nent and impassivity
                                                                                 lie in their place.      ·
                                                                                                                SAN
                                                                                                    {Cheeri'ulJ.y)
         Q_                                                                                   Just com.ing up to ring· for you.
                                                                                                                NORMAN
                                                                                                      ( Coming .fon-:ard)
                                                                                              I. suppose    you want a cabin.
                                                                                                                SAM
                                                                                              We· 1 d hoped to make it straight to
                                                                                              San Fra:r:cisco, but we don't like
                                                                                              the look er that sky. Look!l like
                                                                                              a bad qay coming • • • doesn 1 t it.

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


                                                    195.                        mr. MOTEL OFFICE - (DAY)
                                                                                Norman crosses to the dssk., goes behind it, takes the
                                                                                key to cabin ntt."llber twelve off the key-board..            Sam
                                                                                and Lila have entered and. are almost to the desk-
               .:,. ~,.
                                                                                counter by this tiw~ .,.
                      !
j          ~                                                                                                    NORHAN
                                                                                              I' 11 tal-:e you to •.••.
                                                                                                                SAM
                                                                                           Better n1gn in first, hadn't we?
                                                    ,,            ,i::.. c;:n
                                                                       #¼Ol                109.
    195.     (Cont'd J
             Se.m I s eyes s--e.n ';;\:,ii ,:•Jw'l ".'ol', l~old.ng f"Ot" a
             registration bcok.
                                                    Jl(.,'RMAN
                        It iSl'l 1 1- llSoess,:il•y •
                                                    SAM
                               (:Lntel'rupt:.l.ng with a
                                 triendiy oheerCulness)
                       Uh, uhl_ Ny c-oas i. l paying tor
                       this r;:'.1.p •. ,. nine~y pe!';:.:ent
                       business.· ..... and he \.r:,mts
                       practi-~.!llly no:a::.... .izs¢i r.e:oe-i-p.t.a. ,,.
                       I bettel.' aig:,: in and get a vecaeipt •.
            Norman si;ar&s ai: Sa."11, a.a i!' he'd :1:l.ke to yell at..
            hilll, · call hlm "1,ta:-.!I Irn1tead he veao.nes under
            'the de.sit c·ou.-,1;11:-·, b:.,~ln;.,; ou-:; .tne registration. book.
            Lila :no<tes •:lo•;!,;:•, :st,~.l,s.4 'i:ne book as. Sam signs
            .in. Sa?!l sf.gn.s '· :.ic? i:.r.:.l :;z-:1. ,for,n,;,m, n 'l'he signature
             and. ct.ey o!' ·•·"::::ttf.:. 3~u9.:;s" and atter it,. th.e. notation
           · ."Cabin One," ·can :,;. :;J..,,ar.;..y se·en di.ree regist:r:-ation.s.
             above ::iam.i s. W: ..~n s~ b.e.J fin.!;s.hed. he· aloses book,·
             hands it 1;.a,;,; ~.: 1;",:•ian. · :fo."r.l;,.n d()es no,:; take it,
             si:11rt·a · out· ft-,)Jt c;ar~~nd. _.,~.,u~--:e.:-..     ·
                                                ~f.l.lj;( l-fA!f .
                       I 1 .i.l e;~n: yc'.1!' ·:,ags,

                      Haven ' ~- an7. ·
                                                  ·wuRMAN .
                                  ( s.ftel' a s::aioe.'
                     . r~.u sho:. you :;fl.;, oac!n.
           As be starts· fo::-           tne. dO•~r, Saro laue;hs ► Norman. sto-ps,
            turns, looks ai: hilll,
                                        .s;~'4
                      Pirst time r:..,,; ever seen it happen.
                             (to !.lla)
                      Cheok in any, pJ.ace in oh:!.s country
                      withoui: bags~ a.no. you have to pa-y
                      in advs.nofi,
           '5am s~iles.as- if a-:. a t'\t:,n7 r_e:mar·               ,ake:i. a bill out
           or· his p oci-:e·:.


           llor:man returns to Sar.:,. talce;:; the. extended !:till, is
           a.bout to s v::rr. t ,:, 1.lt- again·.
                                                                           ( Contin,Hod)
L
                                                                                             ..   .   -- - .. ___   ,,.,   -- . -·- .   ·-···---   ..   -- ..



                                                                                                      ,


                                                                  PSYCHO                   #9401                                           110.
    O"•
-. C.
                 -c~ ••...:.,. . .
                                     195.    (cont'd)
                                                                    SAM
                                                     That receipt ..••• ?
                                             Norman goes reluctantly behind counter, lays do~m
.,.........                                  the key to cabin t~-.ielve, takes a receipt book out
                                             ot the drawer under counter, .starts to write. Lila
                                             steps up to the desk, picks up the key, quickly~
                                             s.tarts out.
                                                                    LILA
    (
       '··
             '                                        I'll start ahead.
                                             Norman looks up J gazes after her as she goes out·
                                             door.
                                     196.•   EXT. THE MOTEL - (DP.Y)
·(..
                                             Lila comes along the porch, pauses before cabin
                                             one, tries the door. It opens. She closes it
                                             qµickly as she hears Sam and Nor•tr,9.n coning out
                                             or the motal office, continuea on down the porch.
   (~!-                                                             SJ..M
    ~                                                     (To Norman, who
                                                           1s follm•;ing)
                                                      Don I t both~r yourself •.• we'll.
                                                      find 1.t.
                                             He goes. on dot\ln the porch, doesn't e.ven glance at
                                             cab.in one., rJalks qu1.ckly and catches up to Lila
                                             just .as she reache2 cabin twelve. CAMERA REMAINS
                                             with Norman,. who is .standing by the of:f'i.ce door,
                                             looking after Sam and ila, bis fa,ce alert and
                                             nolonger impassive. He waits a mo;;.ent, after
                                             they have closed thei~ cabin door, then crosses
                                             to the pickup truck.           CAM2RA MOVES with hi.-n.                          He
                                             studies the truclc, then J.enn5 in through the dr1~1er's
                                             window, twists the registration card around, reads
                                             it. It gives tha corrsct name an~ address of Sam
   (                                         Loomis. Norman comeo back out or the Nindow, glances
                                             once more to~·:ard cabin ti·,elve, then at the old house ..
                                             His suspicions are conf'irr.1ed, 2.nd now there is the
                                             relaxation of relief in his face. He takes on a
                                             purposeful air, turns, st:-ides up the pach, up onto
                                             the. porch of the house, opens the door, goes 1n.

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

                                                                                                                                        ----~-------
                                                           PSY:";HO                     #9401       111 •.
. '. er)-··.
.           \
                            197 .   (Cont'd)
    :
           \::::·, .:
        ,-~,
                        .
    . \.
                                    She turns, fr,.1st:t•~"..te::l, anxious. Sam is standing
                                    at the fc,ot cf the: 'bed., r::ta:t·lng at the smooth
                                    cove~!et, h!s_brcw creased in a sadness.
                                                                  LILA
                                               We should lB7E: a.sked !'or Cabin
        C                                      One • • • 'l'he cne ;.~,u•y vias in.

                                                                  SAM
                                               I_I m glad ,,,e rlidn 1 t.

                                    He pulls·· his.· e:y-:-:s fi"or;1 the bed, c::-osses to the
                                    desk, sits weo.ril::, lights a. cigarette. Lila
                                    watches him for a .m,:>ment, f'oels a real compassion,
                                    goes. to the bed,· sit;~ on its edge, turns again and
                                    looks at Sam's b:!.ok.
                                                                     L!LA
                                               We have to go into that cabin and
                                               se,irc!1 it, Sam ••• no :matter what
                                               we 1 re s.f:::c:.id. cf. fin ding and no
                                               ma ttor b:i•;J much 1 t may hurt.

        ·;a:
           • !'~- .••                          ·I kno.w •.
                                                                  SAM
                                                 ·      (A pause)
                                               Do you think if scmething happened,
                                               it happen;2;d -the::e '?




                            REV•· 11-23-59                                            (Continued)
          .,-..




                                                                                   . PSYCHO                                                     1,.191~01      1 .:.., .r,.:.   .
          r.~·-.
          d   /.                    197.    (Cont 1 d)
                '--:.•:-f
                     ...;...... •
          _.,... .. ,,
                                                                                               LILA
                                                               (A P,1-"""ov
                                                                     .,,•,-:oa .•• t-l;-:-.
                                                                                    ..., •• r... .,..,
                                                                                                 4a •) ..
                                                         Sam, if yi: u o:m~d a. usele::'s
                                                                                    1

                                                         busino~rn li 1-:e th.t8 notel .••
                                                         one yoi:t p:;:-ot.a.bly e;oulcl:-.. 1 t even
                                                         sell • • • wh[!. t wot1ld you need
                                                         to get a.:·ia.y, to start a. new
                                                         bus:tn~ss, s•:Jr::oi·1here else?
                                                                (As S::!:n st:ud.ies her·)
                                                         For-ty tbi:,uz.;and dolla:i;,s 7
                                                                                               SAM
                                                         How cotild 'Ne provr.: •••.
    I                                                                       (An almost
                                                                   .        hope.less la.ugh)
                                                         Well., ii' he opens a naw motel
                                                         on th•::: new hig::ww.y • • • say, a
    I.
                                                         year f'rc:>m now· ••.•
                                                                                               LILA.
                                                         Tl1.e1~e !!!Uot be ~ome proof that
                                                         exists !".ig~1.t nr.ivJ ! Sorr.ething
                                                         tr:a t p-::-·,.,ves he f:/J t th.:t t; m◊ney
          ·-a-    .-·'".
                                                         away i':::O!:'!. 11~:r-~, • • • Soms r,-ra~, t
                                                                                             ·-, SAM
                                                         What mak&5 you ecitmd so oertain?··
                                                                              LIL.~
                                                         Arbog.3.s t 1 S-am., he liked me •••
                                                         or telt sorry t:'O!.' r.ie ••• and he
                                                         was. startirn; to fEh:l. the same
                                                         a ~·o1u.4- ·ye,,.
                                                           1,,,i   . ..,.  i" h~"'"',:, it "'h"'·n he·
                                                                             • ..,....   -     ........ ~.:........   .   f""4 .•   -   · ...

                                                         cal16d • • • in. tis voic-'), · a ca.ring •.
                                                         F.;e, iwu.l-::.n 1 t hava gone anywher~ or
                                                         dona e.:::ything ~ii t!"!01.lt. telling· us.
                                                         Unlesn he ;B..-~. s tcpped. Ancl he
                                                         was stoppc-d, so he must have
                                                         !'our..d out i=:,ornsthir.gl
                                           Sam considers a n:or.1cnt., n,:,ds agree!Ilent ,. rises.
                                                                            SAH
                                                         We 1 11 st.art ;'Ji th cabin One.
                                           He goes to t;h~ ctr.c,:-., openf! it sliih'..;1:y, looks 9ut,
                                           then, ba.ck t;0 LlLl:
                         ·-\                                                                   SAl:·1
          . ·::/)·                                       If he se~s us .•• we 1 re Ju~t
                                                         takinG the a1r.

                                    REV. 11-23-59                                                                                                (Continued)
J
.......
,----
•    ..__,._,._-~   - - . . . . . - ... • · • · fi•- . . . •                                                                                .   -,


                                                                                           PSYCI!O                     #-91+01       113.
    --~,

      ~-       .)
    - c>.:.:.::.:.. -
                        ;
                                                               197.    {Cont'd)
                                                                       Lila gees to the door.        He holds it open and she
                                                                       goes out.

                                                               198.    EXT. THE YiCTEL - (DAY)
                                                                      ·sam closes the door, joins Lila, takes her hand.
                                                                       Togethe;r they walk along the porch in the direction
                                                                       of Cabin One.     CAMERA FOLLO~ds.    'r'hsy pauise bef'.c,!'e
                                                                       the door of· Cabin One. Sam motions Lils to wait,
                                                                       to hold still, then goes on to the office, opena
                                                                       the door, calls 1n:
                                                                                             SAM
                                                                               Bates?
                                                                       He waits, there iE no resp~nl:le. He goes in and in
                                                                       a moment comes back out, closes the door, soes to
                                                                       Lila. She has already opened the doer of Cabin One
                                                                       and ·has starte:i to enter.


        -
      ·c::Y:                                                   199.
                                                                        T.he blin.is are cJ.osed and the room is alrr.ost nig.;11 t-
                                                                      . dark. Sam comes in after Lila, cle,s&s the door be-
                                                                        hind him. For a r::cn;.ent they just ga.ze :::.t the ·rcc·::1,
                                                                        as 1!' willing it to tell them some ss.tisfa.cto:-y
                                                                        story. Neithe:-- speaks. 'l:hen, in dark silence, they
                                                                        begin. to search, going methodically and thoro .:gh!y    1

                                                                        through all dr-s\.\ers, the clos~t., the desk, se:e.rchir!g
                                                                        under the bed and 1n dark corners, not knowir..g wh:;;;j
                                                                        they expect to fin•:l and yet expecting to fin:5. sc-me
                                                                       thing. Lila opens th,~ bath!'oom doer, lc0!-:.s 1n. !'he
                                                                       windo;•;l-sss r·:::ora 1s very dark. She switches: ou the
                                                                       light., gc,es in. Sam moves toward the bat.hr-com, is
                                                                       about to f'ollo·.-; 1:er 1n when ha notices which room
                                                                       1t is and automatically catches himself up, backs
                                                                       out.
                                                                                            SAM
                                                                               Sorry.
                                                                                          LIL.A.·
                                                                               Hospital clean.·
                                                                                            SAM.
                                                                               "What?
               J
        w                                                                                 LILA
                                                                               The bathroom. Look at ho~-r clean.
                                                                               it is. The one in our cabin is
                                                                               clean ... uut this is cle::>.n I

                                                                                                                        (Continued)
r-
                                                           PS-IC.H.O                                    //91~01
                199.        (Cont'd)
                            Sam goes in, glances aro 1..md., nr..1ds. Lila goes through
                            the medicine cab:triot, finds nothing but a glass and
                            two tiny tabs of r;oap. S?.m lsai,3 against the door-
                            Jamb, 1ookz at thf; tub, th(-? zho:-.rer pipe above it. He
                            conti;.1ues to stare .• more lr:te;rested suddenly, as if
                            b.othered by some off-key evidence he can't put his
                            :f'ingei', on. Then he looks at the shm·:er curtain rod.
                            And realizes there is no shower curtain. He frowns,
                            is about to say so::wthlng; ~-:h-:n Lila, who has been
                            momeutarily out o:r s:1ot, i.ntarrupts.
                            Sam tu.rns, C.AlT.ERA TT.,TRHS~ e.nd we see !::!~:.a.: is standing
                            above the toilst bowl, a t:!.ny piace of we-t paper
                            stuck to the tip of her rish~ index t.:f..nger.
                                                                  SAM
                                        What is it?
                                                                           LILA
                                        It d1dn 't get washed down. It 's
                                        :figuring ••• the ki111 you tsar up
                                        and get rid of.
                                                   r.:...-t:,=.nu·;- •n"'
                                                 ( -··-...,.....        0 ,..,
                                                                       ... :-,
                                                                                         .Pi n•':f'er
                                                                               h ....,._ .,._ 0
                                                to~,.!ard Sc1n)                            .
                                        Some .figure h-:£.3 been added to or
                                        a1i-btract;!d r rom ••• fortY thousand.
                            Sam lifts the piece of paper off her finger, studies
                            it, takes out his :Iall-nt, ;,r~sses the -;•1st scrap to
                            his driver's license shj.sld., puts it• back in the
                            wallet and puts tl!e wallet. away.
                                                           LILA.
                                                                     It
                                        That's p!'oof I'11.t":'J wad here!
                                        would b0 too wild a coincidence
                                        £or somer:ocly olse to ......
                                                                  SAN
                                                        ~U---n· d"'.:., •Yl•·•)
                                              (R ...i::.,.,.,"'
                                                      ~                   .;-::,.
                                        Bates never d,:;nied r,1~ry was here.
                                                                  LILA
                                                  (Reminded)
                                        Yes.
                                                  (A thought)
                                        But maybe this p~ovos that Bates
                                        f'ound o~t abo~.tt th~ money.
                                                                  SAN
 . -- .......
                                        Do we sl!11:ply a~k h:Lrn i·rhE:?re he I s hidden it?
\:._:s.l,)
                                                                                                        ( Contim1ed)
                Rev,   ·J.l-23-59
..:....:.: ::.~: ;::.:,.l ;·. _.,_. -~ •• ,' .:. ....




                                                                                                                            #9401                      115~
                                               199.     (Cont'd)
                                                                                      LILA
                                                                   Sam, that old 'T;JOman, whoever
                                                                   she is, I think she told Arbogast
                                                                   somethi.ng 1 And I i·:ant her to tell
                                                                   us tht:1   same thlng I
                                                        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 STA..~TS TO PAN AWAY from them., moves slowly
                                                        ov-er the room., vecy slowly •.
                                                                                      LILA 1 S VOICE (o.s.)
                                                                   ,Let's find him.      One of us can
                                                                   keep hi.m occupi~d \,rhile the
                                                                   other gets· to the woman •.
                                                                                    SAf1I' S VOICE ( o • s • )
                                                                   Ym.1 wont t be able to hold hi.111
                                                                   still.if he doesn't want to be
                                                                   held.. And I doz:; 't like you -
                                                                   going into that house alone,
                                                                   Lila.
                                                        CAMERA HAS PANNED clear ar.:ross to the opposite wall now,
                                                        and is moving up closer and closer to the tiny-flowered
                                                        wall papar., final·l-y closing in on one small rosebud.,
                                                                                  LILA'SVOICE (o.s.)
                                                                   I can handl~ 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 Nacy. And we see the pupil of' Norman I s eye now•:
                                                                                        SAN'S VOICE (.o.s.)
                                                                   All right.      I 1 11 find Bates and
                                                                   keep hj~1 ocoupied.

             ·,,
                                                                                                                        (continued)
                 I

     ··-::;{.·                                Rev .. lL-23-59




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




                                                                                          PSYCHO                     #9401           116.
                                                199.               (Cont'd)
                                                                   The· eye moYeS away and thera is a brief flash of
                                                                   light before the hole is cov·E:red, on the other side,
                                                                   by the wall-hung painting.

     (",
                                                200.               FRESH ANGLE - LILA AND .SJ'.M
                                                                   They are ~bout to start out.            Sam stops her again.
                                                                                          SAM
                                                                           Wait a.minute.       I:f' yo"J. get anything
                                                                            out of the mother ...
                                                                                 (A thought)
                                                                            Can you find your way back to to,m?
                                                                                 ( ~\s Lila nods yes)
                                                                            It you do gst anything., don't stop
                                                                            to tell ma.                ·
                                                                   Lila nods quickly, hurries to the door. Sam gets to
                                                                   1.t first, operrs it a slight era.ck, ::!.ooks out, then opens
                                                                   1.t wide er.ough for Lila. s.nd him~sll" to pass through.

                                                201.               EXT. THE MOTEL - (DAY)
                                                                   Angle close on cabin one as Lila comes cut., turns to
                                                                   her left, goes along- porch tOi·tard cabln t·nelve. Sa.111
                                                                   rerr.a.ins at the door, t~er~ turns right, heading for the
                                                                   path. As he passes the office, he is shocked to see
                                                                   Norman standing ju.st inside· the open door.
                                                                                          NORMAN.·
                                                                            Looking· r c,r· ms'?
                                                                                          SAM
                                                                                   (Recovering)
                                                                           Yes, matter of fact.
                                                                                {The friendly gr:!.n)
                                                                           The wi.f'e 1 s taking a. nap and ...
                                                                           I can naver keep quie-c cn-:iugh
                                                                           £or her . • . so .I thought I'd.
                                                                           look you up and • . • tallc.
                                                                                          NORMAN
                                                                           Satisfied with your cabin?
                                                                                          SAM
                                                                           Fine,
                                                                   s·am starts into the off' ice. Just before going ln, he
                                                                   glances do·:tm 'che long porch, see3 Lila standing out-
                                                                   side t.r.e (!ocr of c~'t'.:!.:1 t'dclve., v.12.vcs her a tiny 1'all
                                                                   clear)! signal,
,·
!
I
                                        PSYC-rlO                  #9401           117.

           202.    LILA
                   CAMERA AMGLES to include Lila and her point of view.
                   She watches So.m dios.ppear into the office, waits until
                   she hears the door close, then looks about for another
                   way to reach the house. She sees the small alley at
                   the · end 0£. this L o!' ca.bins,· starts toward 1t.

           203.    EXT. REAR CF MO'::EL - S.C.U. LILA - (DAY)
                   Behind the motel Lila hesitates.         She looks ahead.

           204.    LONG SHOT -{DAY)

                   The old houae standing against the sky.

          · 205.   CLOSE UP ... (DAY)
                   Lila moves forward.

I~'       206 •.   LONG- SHOT - (DAY)
--
€ .....
                   T'ne CAMERA approachir.i.g the house .

          207.     CLOSEUP - (DAY)
                   Lila glan.ces tc,ward the back of Morni.an• s parlor.       She
                   moves on.

          208.     LONG SHOT - (DAY)
                   The house coming nearer.

          209 ~-   CLOSEUP .. (DAY)

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

          210.     S.L.S. - (DAY)
                   The house and the porch.

          211.     CLOSEUP - (DAY')
                   Lila stops at the house and looks up.        Slit:: ~:.b.n(;es back.
                   She turns to the house again.
'   ~-


                                                                      PSYC"rlO                #9401         118.

    '(q···-. ,
    •.
    'I
    'l
                 C"
                  ·•.·
                  . . _..
                          '
                              l   212.       S.L.S. - (DAY)
    ;. '· ......J
    r,                                       The CA~ERA MOUNl1S the steps to the porch.
'·_,_


                                  213.       C.U. - (DAY)
                                             Lila puts out her hand.

                                  214.       S.C.U. - (DAY)
                                          Lila's hand p 1J.zhss the door open.         We see the hallway.
                                         -Lila El:fi:-ERS ?.;S'!,1 CAM.ERA.
    ';·


                                  215.       INT~ DO'WNS'!'J\IRS HAL:?,-TAY . OF OLD HO'J.SE - (DAY)
                                             Lila cloec.s th.e doer, re~a.ins by it for a moment, quiet,
                                             listening. Her eyes soH.n the layout, the closed door
                                             which lQ.s.ds cf-f: th-e hallway, to the dining room on the
                                             right ar..d the p~~lo:- -:m the left. Dc\·m at the end of
                                             the· h";tll 1s the ·kitchen, the door wicte·open, the room
                                             beyond ~Hr:: .s.:--.:.-:1 ~!lent. She notices the stairs leading
          r,,                                dow:1 to the base:ient, sta:,es at them, then back to the
                                             stairs le.~•iing t:."': t;.he second floor.     She starts i'orward,
          '1~
           '--.../
                                             and seern3 about to investigate the parlor and dining room.

                                  216.
                                                                          -
                                             INT. THE MOTEL 03':..1!ICE - (DAY)
                                             Nor~..$.n. is behind the counter, standing, staring at Sam
                                             who is sitting !''3la:tedly en a small sof'a. ffor=-an has
                                             the look of one who is pro tee t·ing himself, as if the
                                             counter l':ere a.. :pr-otactivs 1,~·a.11 against the threatening·.
                                             world across it.
                                                                  SAM
                                                            (Ch9erfull:y, as 1r
                                                            after a self-conscious
                                                            paus-2)
                                                     I 1 ·1e heeri do in~ all the talking
                                                     so far, haven't I?
                                                                      NORMAN
                                                     Yes.
                                                                      SAM
                                                     I alw::1.yt thought it was the   people
                                                     who are c.lone so m-.ich ·who do all the
          ,"I
             I                                       talking i:hen they get the chance. Yet
          ·~             . .,~                       there yo-;..l are, doing all the licteningl
                  , ___ _)                                  ( f1 i:;ci.use)
                                                    . You are '-1.:cne her·e, aren I t you?
                                                         · (As H0r·:r12.n does not r~ply)
                                                      It wou.11 d.ri ve rr.e crazy I
                                                                                               ,_
                                  11-16-59
.......;.;;.;,-,.:.......,..........., ··- .,..~---- ., .




                                                                                               PSYC'dO                                            119.

                                                            216.      (Cont'd)
                                                                                             NOR.M.!Ui
                                                                               That w;:,ul:! be a. rather extreme
                                                                               reaction, -... ou::dn I t lt?
                                                                                               S~M
                                                                                      (LiS-'1 !:ly)
                                                                               Juet an expr-essicn ••.
                                                                                    (;,1ore 11erio,11slY)
                                                                               What· .! 1n~,1,n:t wsa • ~. !''d do
                                                                               Just ab,.,:.ic snvth:l.n11; •••. t.o            ,
                                                                               p;e t away • W1:yu:,.:n I t you?

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

                                                                       L1la·ii1 halfway up the St!:.1rs • . As she cliinbs she is-
                                                                     . startled ty the c:;;'e:i>..ks. and groans of _the old wood of'
                                                                       the. stepe.. 3he etc;::; m~:::-.i. caref'ully. CAHERA · reniains
                                                                     at; f:oot of: st;a.!r,   ·:'IL·Tl!:!G- ,rr· as Lil.r, clJ.ll!J;;s.   She
                                                                     pa.uses at tl-_'!' h-,ad -,!'.' the sta:t:::-. T'-a.e C.◊or on her
                                                                     right~ :11hi.oh ~Jz~e.nE :intQ the. moth.er.,.s· -room,. i~ closed.
                                                                     To· h9:' l~!'t :!.:£.; .e.not:l-e1., · :to.•.:•r·, hs.l!'-:,p.en. Directly
                                                                     'oetore nio::- ia a t.:-.::.r,:::. door, -::losed. St:'; he lds a J.on$1;
                                                                     l!IO!lient, trying. t,::; pictur-e in. her r.und Which room would
                                                                     look out on ti:.:'! !'r::sn.t cit' the ho:.tse, dec:t.dea, .cliooses
                                                                     the corroo t .:J..:,.:,r, the ,::,ne on hi;r rig.'lt. . She. goes to
                                                                     it, k-n.oclta ligI--..tly. -                              .

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

                                                                     We. hear :::.12:1 's s,e.ci:-nc la:ock, then, faintly, he!:' sott call .
                                                                                              .LILA •s VOICE. (o.s.)
                                                                              Mrs·. Bates?

                                                                     There is qui-et f,,r :a "1.Jment, then th.e door begins to
                                                                     open, e!vwl v, and W''; see L1la.. She stends on the
                                                                     threshold, i.ooh::!.ng: in at the room, inst,mtly disturbed
                                                                     b.;y it, a.1.tt.c~t i;h11le.:1, her e.xpre.~rsion, ir:dlcatl.ng an.
                                                                     impulse. to cl.:,;;,:i the c.oor ar.d go a.way from this room
                                                                     forever·. After a moment, she enters, leaving the
                                                                     door open behlnd h&r. CJl!-lEP.A PULLS BAC1C AND AWAY and
                                                                     we. now. see the ro::m as Lila sees it.
                                                                     It 1s ornate, dz.mssk-an:.1-mahogsny, thick and warm and·
                                                                     ripe, an o].l!lpcd:>:tda .:-t: misw..1ted furn1Sh1ngs and br1c-
                                                                     a-brac or· tl:e_ lG.Y>t cen.t:-1.r~r. T'ne bed is four pOster,
                                                                     but unc~anc-pl,,d.; thrs dr·t'!&~ing; table is i'ancy and
                                                                     flounce.d vrith ;~.tin; th-:::r·e is a great chiffonier, a

                                                        ll-l.6-,59                                                                 (Continued)
~:    ·-·-- ·-···-····- -· . . ·······-·--·                                                                                       ..• :.. -'.'._. I

                                                                                                                  #9l~0l          120.             I
                                                                                                                                                   I


                                      218.       {cont I d)                                                                                        I
                    .- ..                        big-doored wardrobe, a lzrge, oval, full-length pier-
     ··'
      '
          J
            )               ><•:::
                                  .              glass (this ac;atnst the :raJ.l dj.rcctly opposite th-._
                                                                                  1


      _.; ..
            ,J
               _
                          ,,
                                                 door), a satin :."'ecar:1i~r, an \lpholsterad armchair by
                                                 the window_. a Nl1ite marble f:l1•eplace, its grate cold
                                                 but P1lcd W~-th o.shes •                           .
                                                 And tl1ere is 1n the room an unmistakably live q_ti.ality,
                                                 as 1!' even thou~h it in presently unoccupied., 1t has
                                                 not been long vacated by scr.ie musty presence"
                                                 Lila glances. at the bed. The damaslt cov~rlet is
                                                 thrown over it,. but it is not neat, there is the
                                                 imPrlnt of a body on it, a body which obviouely 11a.s
                                                 slept in a curled-up., Homb-liks;l posi.tion ~ Lila stares
                                                 at lt . for a 1~1oment, then goes to the drassing table.
                                                 Its top is scatt.ered ~'Tith boxes and Jars of co;:;r:1etics
                                                   and crcems, traces of fresh powder, an opened bottle-
                                                   o~ perfun,e, a cori:b., and a brush ,;•rith traces or
                                                  ha!r in lts bristl:=s. Lila moves on., catches a glir.i;,se
                                                   0£ herselt' i.n the. pier-glass, is startled, turns· away,
                                                   goes to the chi:f.fonier, in about to open a dra~-;er,.
                                                  ·sees the t".igh 1;;0.rd.·!'Jbe out of the corner of' her eyes~
                                              . · goes to it, hez:ttantly. Sim opens· one door. F'r€fsh,
                                                   clean, well PZ"t~.::;sed dr~sses h--ang neatly. L;!.la opi;:ns
                                                  the othe~ ~oor. The ~wcaters and treszes and rotos
                   ~-:---~·-.,,                   hang freely, nor.~ in r:ioth-proor"J storase-type bags.
            o~                                   There is even a ·.·:ell--bru.~h~d coll~r of .to:;~os.. Along
                                                 the f'loo1.. · of the wardrob,~ is a 1.:Lne of clean., polished
                                                 shoes.. rJ.la stares., then alosss the doors, turn3,
                                                 looks once again over the whole roo!:l, starts out,

                                      219.       D,TI'. THE U?STAI??S J:!A!.,L~-TA":? OF OLD HOUSE .,. (DAY)
                                                 Lila comes out of the .mother 1 s room, closes the door
                                                 behind· he1", looks .down the. stairs, thtm starts· across
                                                 the hall to the rc0!':\ \1hose door is hnlf-open, The
                                                 room within is darl~, the shad:es dra~m full. Lisa
                                                 pauses on the th~eshold, reaches in, reels the wall,
                                                 throws on a switch.

                                      220.       INT. NOl'EJ., OFFICE - (D.AY)
                                                 Sorn has rise1l, is stancling· 'by the counter new ..
                                                                                      SAR
                                                              I.1t:t not say in:.; you shouldn t t. -1,e
                                                              contented here, I' r:1 just d:01.ibtins
                                                              thut you nr~. ! thin1c 1.f :,·cu ·saw
                                                              a chance to s-~t o'..r: i'ro:n tmdor • , ,.
                           \      .                           you.' d unJ.o.:Jd thiz r:lacc •••
                           ;:
                                                                                      110R:-1Ml
                                                                      (Angril;T)
                                                              ~h13 plncul       This ion 1t       la   placa,r
                                                              J,;-1;' s ray only worlcl e     I g:--e~,, up in,
                                      ncv. lL-23 .. 59                                                            { Ccnt.inucd)
                                                                                                                                               .   __ _:.
~=~----···


i,                                                                                                                 • i
                                                                         PSYCHO                #9401    121 . .
       (~--
       \.._,d.
     ,.,.,
                                220.   {Cont'd}
 . '
                                                                UOffii!.AN ( Cont I d)
                                                  that hou.se back there. I was a
                                                  happy ch111. i~y mother and I .
                                                  we were ::ric•re than happy •
                                                                                          ..
                                                                 .       SAM
                                                  And new .tha. t :tour mother's dead?
                                       Norman. snap.s a sh~rp, fa.st, ugly look at him.
                                                                                          ,,
                                                             ?iOR!l!A~f
                                                 M-y mother is not dead 1
                                                                         S.AM
                                                         ·(sottly)
                                                .I d1dn.' t: th1ri..k so •

                                221.
                                       -------------------
                                       IMT •. NOFO'iANIIS RG ::M IN THE OLD HO:JSE - (DAY)
                                                                     1




                                       Lila is standing in the door'"..         staring at the room
                                                                                  to.y,
                                       ·1n sick dis:r.-..:3.y.
                                                        '!-:,.e roc,rn ts gr~tesque, a horrible,
                                       ludicroun fantasy of childhcod held beyon-:i the point
                                       of· decency.
                                       It is a sma11 1~:,om. The walls are fancied with romp-
                                       ing a1lho•~~;ttes of t~ddy-bears e.cd sailboats and
                                       carousel~ at:d !':;.t c~ws jumping over aghast moons. T'ne
                                       bed is sr..3ll., f'e.r too short f'or a !112n of tTorman I s height.
                                       And yet the rmr.-p:(:-i co\·ers indicate that it is in this
                                       bed that 1:or·m~r. . sleeps. Next t.o the bed is an old-
                                       i'ashioned toy chest. On its top there ere a b.1.rd-1n-a-
                                       cage lamp, a. p:.sin-boun.:i book, and an ash. tray filled
                                       wi.th a5h-.::s a:-~ll <:ig:::rette st1.1bs. A gr.oi•m man 1 s shirt hangs
                                       on. s child 7 s cloth~a tr-ae. Again.st onewa.!.1.there is a
                                       nerrow, hig!1 bc.:,kcs.se r-11:.ed iiith thick,. unchild1sh-
                                       looking bcoks. C-r.. the :;;m3.ll, white cheat of drawers
                                       there is an cld, ohi~d rs -;,r1ctrola.. The record on the
                                       turntable 1s rl1acovered, en close tnspecticn, to be
                                       Beethoven's Eroica..Syrn;,hony.
                                       Lila studies ·the rcc,m, :t'·ascinated and !'epelled. She
                                       glances at the bookcase, comes into the room., goes to
                                       the bookcase ~ni pulls out a thick, large, plain-bound
                                       book. Sha opens it. He:- eyes go wic.e in shock. And then
                                       there is disb.1vt. She slams the book closed, drops it.

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

                                       Horr:i3.n, behind.. the counter, h&.5 moved back against the
                                       wall. Semis stili on the other side of the 6ounter,
·.•_('
                                                   PSYG1!0                    #9401       122,
          2~2.     (cont'd)                                                           \

                  but is leaning foi~·rard, -_ h.13 eyes hard on Horman rs face.
                  Uorman 1 s face is no longer expressionless. It has the
                  stark, high sheen of a cornered animaJ. •
                                          . ., .     SAM
                                      (P.ressirig)
     ,,                       You look fright~ned. Have I
                              been saying something frightening?
                                                     HO?J•!AN   ,
                              I don't lcnow what ycu' ve been
                              saying.
                                                                       ,, .
                                                     SAM
                               I've been talki~g. abcn.tt your
                              mother ••• abov.~ you.r motel •
                              .How are you going to do it?
                                                     NORM.Ali
                              Do what.?

                                                     SAM
                              Buy a n~w one 1 J..n a new to\'m f
                              \f1.1t:rc yc:u won I t hs.ve "vO hide your
                              raotherl
                                                     NORMAN
                              Shut upl
                                                SAN
                              Where will you get the money to
                              do that, Bate3 ••• or do you
                              already hav~ it .. .. socked away
                              •.•• a lo:t of: it •••
                                              NORMAN
                              Leave me alone I
                                                     SAl·1
                              ••.•• Forty thoum:mJ. dollars l
                                                     NORMAM
                              Leave me alone!
                  He 1s close to panic now .. He -turns, swiftly, dashes
                  back into his r-rivat-e parlor. Sam goes quickly around
                  the count or, folJ.c,i•;s.
          Rev. 11-23-59




                                                                                                 _I
                                                                                                    123
    223.
             Norman hears Sa':1 f'ollo,1:l.ng, w"'nts to run, to never be
             reached by this mm. Ha •oro.ssas the ::-mall room, dra'wn
             to the rear wind<:n, ;;;; if ho :nigJ1t r: 1y through it. Sam
             ente1l3., p-:i,;.ze s. ~T'.>-r!~an t1.1rn:.;: ba-c1·: agalnst the .windo\.·1 i
             as unable t:o fly ,,:·:,w a;, ar;,1 r.!1s nany still, stuffed·
             'b:Lrds.     Se.:;t r~g;i.r;t.:}r-D a P:--ief flicker c,f :r-1;;;action when
             he sees the birds, bt:.t, contim1es to gaze at No=an, hard •.
                                                          SM1
                            I .t,et yc,_1r ro.qther- h-no,,;s H11ere
                            the r,1oni.:,v lE •. ·h:Hl 1,;hat ~.. ou -.:1.id
                            to get it. And I think she I ll tt:.lJ.
                            us •
            . Something sel!'-a sin.\r~d and con:f'id.ant L11 Sam rs tone
             gives, Nonna.n a n~~;; r;o1"$e· t.err-ii'.ied._ a-larm.               Me tu:r;-ns
           · · his head, glance" o•~t t:he ~.J.njow at the old. house. He
               lo.oks b.aoJ;. .at Sa,11 and ':he!'e is terror in his voice.
                                                          NORMAN
                            Wher'2:' s 1.::.!'t~t !,;ir-J. '?      Ths g~rl
                            ::ro1.1. ·1:,am? l1 ..ttht·    1-Jh~-:"'e la. she:?.

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

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

    224.




    225.
             Salli is lying on th.,~ floo::-, face downward, unmoving-. A
             candlestick is o:i tho floor, clos,, by his head, still
             rocking ·e.:-. i:' ..hl~~t. ,:1!"(1pp.e,:L 04;7-='R .3;:,:.::r COln~.S thG -SCtn:D
             cf. Honna1;r' t:i :'0,-:: 1.; ~-:~r;r;;1 and. G;~r•':Z2). TURHS. :tn ti:~ta to catch
             a brief· gli;:ipse of him goinf; cm-::. tnto the of'f'.tce, al.-:toat
             at a l'Un~

j   REV. ll-23-59
                                                                                        '!'·   ·•   ' ·:...--•- .   ... -~ .. : -
                                                                                                                      :
                               .:.,   ..,. ····- ,::..,....




  r-
. '·.
                                                              PSYCHO            #9401                        124,



.·ec:
                    226 •      INT •. STAIRWAY OF Ti-IE 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 mi~ht folloi-'t, pursue. She hears nothing.
                               She starts dm·m the stnirs. Just below the halfway step,
                               she looks at the front door, sees out through the door
                               window:
   (
                    227.    ·LILA'S VIEWPOINT - (DAY)

                               Norman coming·.
                                                                            /




                    228.       INT. STAIRWAY OF THE OLD HOUSE -· (DAY)
                               For a moment Lila panics, then she hurries dm•m the steps,
                               cannot go in the direction of the front door, remembers
                               the_ stair-way behind. her, turns and runs in that direction.
        r·                     The SOUND of Norman bounding up the porch steps can be
                               heard. Lila t 1J.rns and dashes do,·m the stairs which lead
                               to . the basement, -· going dot-m far enough to conceal herself,
                               crouching there.
                            Norm.an enters the hallway, · clo_ses the door softly.,.. listens.
        ( ·f.> ..
        ·o·                 He glances once in the direction of the basement stairs.
                            He seems about to s~ile, when suddenly all expression
                            vanishes fx·cm his i'.ace, and he appears to enter a no-plac$,
                            no-t:ime state. He crosses to the stairway, goes up.
                            Lila remg,ins crouched on the basement stairs, listening:
                            to the sornrDS of N'orr.z.n. His footsteps on the stairs
                            followed by the fast noises of doors opening, of -fast.
                            moving E-.bo·...tt an upstairs.· room. convinced that he is
                            searching tha up3ta.irs for her, she decides to chance an
                            escape.· She starts up the steps, is about to turn into
                            the hallway when her eye 1s caught by a glirmner of light
                            down in the ba~ement4 She pauses, looks dm·m, sees the
                            crack of' light coming from behind.the not entirely closed
                            door to the fruit cella:r-. Tne s1·1ift moving SOUNDS of
                            Norman continue to com~ from upstairs. Lila is torn,
                            knows she should get out of the house while she has the
                            chance, is unable to resist the impulse to check that
                            hidden-looking room down below, a room in which, she
                            desperately believes, there must lie some answer to what
                            happened to Mary. She turns-and goes softly and qulckly
                            down the stairs.

                    229.       INT. THE BASEMENT OF T'rlE OLD HOUSE -   ( DAY)

                            Lila reaches. the bottom, stops,. listens, hears the
                            stairboards creaking as footsteps fall hard and

                    11-16-59                                                    (Continued)
r-                                                             PSYCHO                                  #·9401   125.
                        229.     (cont'd)
  fi. 1........-!.
                                measured upon thei,.
                                 cellar door, looks in.
                                                           She turns, pulJ.s open the f'ruit-
                                                                The woman is sitting in a
r·
'•.                             comfortable chair, the back of the c~a1r, and the
                                woman, turned to the door. Lila calls a harsh,
                                frightened \'Jhispi1r.

                                            Mrs. Bates     ........LILA
                                                                   ?


                                 Lila goes into the room.

                                                                                                   .
                        230.     D!T • THE FRUrr CELLAR                                        /




                                 Lila goes to the chair:, touches it. The· touch disturbs
                                 the r.igu.re. It starts to turn, slovrly, stiffly, a
                                 clock-wj.se movement. Lila loolcs at it in horror. It
                                 is the body of a woman long dead. The sl-::in is dry and
                                 p:u.lled away i'1"'om the mouth and the teeth are revealed
                                 as in the skeleton's smile. The eyes are gone from their
                                 sockP-ts, the bridge of the nose has collapsed, the hair
                                 is. dry and. wild, the cheelcs are sunlcen, the .leather-J-brcwn
                                 skin is po,-rdered and roug~d aild flaky. The body is dressed
                                 in a high-neck, clea;1, i.-;ell-pr~:ssed dress, obviou.sly
                                 recently laundered and hand-ironed.
                                The movement of. this stuffed, ill-prese1.,ved cadaver, turning_
                                as 1.f in response to Lilats call and touch, is actually
                                grnce.ful, ballet-like, and the effect is terrible and ·
                                 obscene.
                                 Lila gazes for one flicker of a deathly mcr.:.e.nt., then
                                 begins to scream, a high, piercing, dreadful scream.
                                 And Lila's scream is joined by another screc.m, a riore
                                 dread_.ful., horrifying scream which comes from.. the door
                                pehind her •.
                                                                  N'ORff.i.AN' 1 S VO ICE ( o • s • )
                                                  ( s.c. ;re ar.i_ng
                                                                 i   )
                                            Ayeeeeeeeeeeeeeseeeee Am Morm.a Bates!
                                 Lila turns.
                        231.     NORHAN
                                His race is contorted. He wears a wild wig, a MockernJ or
                                a wor.ian' : -, hair.. H~ :ts dressed in a high-neck ctrer,s which
                                is· s:.L-nilrtr to that ',·rnrn .by the corpse or his mother. HiG
                                hand. is raised hif;h, poised to stri1ce at Lila.. There is
                                a long bread~·:nife in it.•
. r---~.
      \,            }
           ··.-.,.-•I




                        REV. 11-23-59
           r-,
           ' ....
                ·




                                                                  PSYC-rlO                       #9401                                 126.   ·
               ~.......


          •~-J..,'
           '·
                          232.                LILA
                                              Cloae on her face.      She is· dumb~struck.          Her eyes are
                                              screaming.

                          233                 BACK TO UORMAM
                                              As he is about to star~ forward, a rran' s hand reaches
                                              in from the door-w:?..y behind, g1•abs Nort1s.n' s wrist. Sam
                                              comes through tr;e door, st:i:J_l holding tight to the
                                              wrist, pulling ,:~tclc the arm and at the ss.:me tir.ie
                                              throwing himself at Norman, footb3.ll tackle style.

                          234.                A SERIES OF CUTS - TrlE FIGH~
                          thru
                          242.                Normg,n and Sain, struggling.            The wild fury in Morman•s
                                              .face,. the mad n~ise of his s::::re,s.ms :;:n::i vile curses.             The
                                              terrif'ie::l, fight-t:,-the-.ieath look or Sam.                  T"ne still,.
                                              starir..g Lila.

                          243.                MRS. BATES

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


                          244.
 ···•
''
.,   ~                                        There are rri.s.ny p.a◊ple gathered. s.b..:,ut the steps, the
                                              curious and the c~•ncsrns::i .si.n:i thz monbid. At the curb,
                                              a couple of ·new~par,:er cars, tw~r or three poll.ce cars,
.j         •                                  and a mobile unit tr7.:wk f'rc~n the· loca: tale\?ision outlet .
                                              There is noi~e, ar..:1 ch:1 tte:r1r.g :?~:3 cr,:.estions are asked
                                              and answers gi•te:n, ~nd the so'..:i.nd.s of traffic, and of
                                              the television eq'J.i,i:,:r.er.:.t beir.g 1-:loved into the court-
-: :
                                              house, for on-the-~:cene r-epor.ting., e.n-:. th~ ste1•n voices
                                              of policer::.en tryir.,~ to 1<:eep people back. The scene has
                                              a brieht gl&.re about. it, ths.t quality of sudden light
                                              thro\'m o.n a fearful darkness.

,:
 'i
      .                   245.                CLOSER. AUGLE C!J S~S?S OF COURT"nO-:JSE
                                              A POLIC.EN.AN trying to rr..s.irn way for the television men,
                                                          11
                                              muttering      keep back," ~tc., to the spectators. A
                                              TELE?TSIOtr MJ..N, c.::.rrying a piece of equipment goes
                                              through door, and. CAMERA FOLI.OWS him into the courthou::.e
                                              ves titttle.

                             - ,,,,,..   --                                                      , , . . ___ , . _ i , • • •   -.:i\
                                      __ ..:...,. .. ·....,.                                                     .. _;,....~- ...   -·.




                                                                      PSYCHO                                               127.

                 245
                            Here, too~ there is a crowd, composed of Policeman,
                            Reporters, Tialevision Men.                              i:::-ie Television Man we
                            have been t'ollowing .stops beside a Policeman.
                                                                      TELEVISION rt!AU
                                                               (Indicating the
                                                               front door he has
                                           Just com~ in through)
                                      You think they 1- ll take him out
                                       that way?
                                                                                                 /

     (                                                                POLICEiV1A~f
                                             (Looking· at waiting
                                             crowd, shurggin)
                                      Prob 1 bly hava to.
                                                               (A r·ueful sr.iile)
                                      Besides, the taxpayers hate it
                                      when something g·ats slipped out
                                      the back dcor on themJ
                            Over this exchange, the buzz or other voices, the
                            movement cf" z::e:n. CM,1ERA- MOVES ON~ doi•m the corridor·,
                            gets to the door c,r the of.'fice of' the Chief of Police
                            just as a your.. g :'ellcw with a carton box filled· ,~•ith
                            paper conta.iner-5 o-f' sent-01.lt-for coffee reaches this
                            door.     CAHERA HOWS as the. -COF.B1ES BOY pauses a momsnt,
                            then goes into the rocm.
                            CUT TO:

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

                            Lila 1s se~.ted in a. chair, Sam .3tc1.r.ding close by.                                   A
                            bit· apart f'rcm them·, we see Sherif'!'. Chambers, 1n quiet
                            conference with thg CHIEF O;i1 POLICE., the COUN·n SHERI.FF,
                            the DISTRICT AT:r-om:EY.
                            The Coffee Boy stands in the doorway.                                 Sam goes to him,
                            takes a cor..t~iner of· coi'fe:a from the box, carries it to
                            Lila, checking· the notation. on the lid as he goes.

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

                                                                      SAM
                                            (qu.1.etly)
                                      It' s resular. Oka~t?
                                                                     LILA
                                           (ruefully)
                                      I could ~ta.nd something regular.

         \   .   ll-16-59                                                                            (Continued)
.... .
                 ··... _.:·   ·_:.   _....
                                                                                                     .   -- - ---   --   ....   ----,


                                                     -
                                                   PSYCHO                        #91.t-01                128.

247        (Cont'd)
           Sam smiles enco,.1ra.gir:.gly, hands her the coffee. Sheriff
           Chambers E:N'TERS S~!O'?, · gives Sam a container of coffee he
           has brought f,:,r hirn. Sam takes it, nods a thanlc you.
           For a moment no one speaks. Lila looks badly shaken,
           Sam disheveled, but contained.
                                     CHAMBERS
                          You two can go on home 1.f': you
                              like.
                        (a sympathetic
                        look at Lila)    .
                  Making th.at statement was enough,
                   for one night.
                                                   SAM
                               (to Lila)
                          Want to?
                                                   LIL.a\
                          No.                I 1 m all right.
                                              1 1 11 feel
                     .· better when all this· is explained
                              ••. if it can be.
           Sam lool-:s a question :it Sheriff. Chambers.                               Cha:rn.bers
           shrugs. doubtfully.
                                                    CHAMBERS
                          If anybody ge..ts ~ny answers, it' 11
                          be· the fellow talking to him now .•.
                          the P sy.chia tr· is t . Even I couldn't
                          reach N'orrns.n • • • and he Knows me.
                                (.to Lila.)
                          You warm enough, Mi.as?
           Lila::ts about to answer, when she sees someone come into
           the room and rises anxiously, Sam and Sheriff Champers
           turn, follow her gg,ze.

248 •.     INT. OFFICE CF Cr!!£::: OF POLICE_ - FUtL SHOT

           A young man with a serious, ·frowning face has just come
           into the room. He is DR. SIHON, the Psychiatrist. He
           goes to the desk •,rhere the box of coffee containers has
           been placed, takes up a container.
                                                   DIS'I'RICT ATrORUEY
                         Did he talk to you?
                                                   SIMOH
                         No.
                         not from norman.
                                             I got the i1hole story  . ·- ' but
                                                            I got it from    .• ....
                         his mother.

11-16-59                                                                         (Continued)
                                                                                                             ·,


                                          N;YcHO                                                    'J.2j.
248.   (cont'd)
       EVeryone gazes at 11.:!.m.1 ~~rstt.C.t•,?J. iC. .~ speaks as he
       remo.ves lid !'rom co.t'fee co11t:..1n,~t•.
                                                      SI.1':ll!J
                    Norman :t.,:).t'3s n◊ lou_;~c~"' e-;c~.i::;t.s.
                    Ke only balr~ex13tad to begin
                    with • • • now, tha othez• half
                    has taken ove~.                         ?~~b~bl~ for
                    all time.
                                  L!IA.
                          (With dit'fi.nnlty)
                    Did he kill my sister'?
                                       Sil·t(ii'l
                    Yes • •. • and. no·•·

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

                                       S!fl.:1~!
                   A poych:!:$ t:1:•ist :.:··,-.;~;n 1 1; 1a1 the
                   groundito]:J, • • • t·.,:t :,~..:t·•tl.l~r -c•~i~tl
                    to. e.xpla!u · i.l;.
                                    L!LA
                   But icy Sid.t,;r is •••
                                       S!J•t;,,lif
                  . Yea-~." !,h;1 2b~r;;-. ..
                                  ft-~
                                  \., .
                                        :,"t!--:.•'.rl,P.:1"'")
                                          v~•• ... ·•"'--·  ~

                   The ?r1 ·.,a-t:;• !nva:.1 :.;.-1.r·:. ;.:1:r, too..                         If
                   you d.rag·- .t!;a t .s~':r-.;:1p .w:,;f.t.)~1he.:r.e in
                   the ~ric.!rd.tr ')f· i;~F: ci..".')t~i ....
                                  ( To the Cfll:1::? of: ~}:>lice')
                   Have you. a.ny unsol~:-.::tl :atnci:is
                   persons cace.s                   -,r: Y-'::-ttt• b·:toks?
                                                    cm:EP OF POLICE
                  .:{es•         Two.

                   Young girls?
                                                    Cif!i:V Ol~1 PO LIC!:i:.
                           (nod:.., ;.s~ou~1lled., then:.)
                   Di.tl h~ conf~~a ~o , ..
                                                 Sil1C1H
                          t1nt"
                          \   .. ., ',!
                                        r,..,,~·        .. -, ..,.)
                                          ... ' -~• ; • ..:..:. ••.:,

                   As r 1:/li.d, ~h,, "i'!UJ,)l'                          •••
                                 ( P?.1,:r-~;:;;;, -;;-:.::., L~   01i.   c,..f i.••~;::,n.)
""-..:.:,;;,;-.                                -   .. : .. .:..~.·: ... ..:_ ~:---~....; ....... .
                                                                                                                    ••-'•••••••.. ~ , - • • - - • • • - w • •




      r-
                                                       PSYCHO                                             #9401                       129A.
                  248.    (Cont'd)
                                                    SIMON (Cont 1 d)
                                     To understand it, as I understood
                                     it hearing it from tha 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 dangerousJ.~r disturbed,
                                     had been ever since. his f·.::1.-:her die.d ..
                                       His mother was a clinging, demanding
                                       woman • • • and for years the ti•m or
                                       them lived as if there was no one
                                      else in the world. Then she met
                                      a man and' it seemed to Nor-r:ian she
                                      "threw him o,,er 11 for this man.
                                      That pushed him over the thin line •••
                                     . and. he killed them both. Matricide
                                       1s probably the most unbearable
                                       crime of. all ••• and most unbearable
                                       to the son who commits it. So he
                                       had to erase the crima, at laast
                                       in his own mind.
                                              (A pause)
                                      He stole her corpse .•• and a
                                       weighted coffin was buried. He
                                       hid the body in the fruit cellar,
                                       even "treated" 1t to keep.it as
                                       well as . it would keep.. And that
                                       still wasn't enough. She was
                                       there, but she was a corpse. So
                                       he began to think and ·speak for
                                       her,. gave her ha~f hisr lif.e, so
                                       to speak. At times he could be both
                                       personalities, carry on conversations
                                       at other times., t.he .rnotber-hal.f took
                                                                                                                  ...
                                                                                                                    ,.



                                      over· completely. He was never all
                                       Norman., but he was often only mother •
                                     .And because he was so pathologically
                                       jealous of her, he assu.-rnect. she \~as
                                       as• jealous of him. Therefore., i.f
                                       he felt a strong attr::!c~ion to any
                                       o~her woman., the moth~r side                                 of
                                       h~m would go wild •.
                                            (To Lila)
                                     When Norman met your sister, he
                                     was touched by her .•• and .aroused
                                     by her.       He i·iant5:d her..                 A.nd this
                                                                   11
                                     set off his                         Jzalous m.oth~r 11 and • , .
                                     11
                                      mother killed the girl. 11 After
                                     the murder, Norman returned as if

                  REy. 11-30-59                                                                           ( Continued)

                                                                                                                                                                ..:.
                                                             PSYCHO                       #9401         130.
                           248.    ( Cont'd)
                                                               SI!i!ON ( cont l d)
                                               fJ:-om a deep sleep ••• and like
                                               a dutiful son, cover.ad up all
                                               traces of the crime he ~as
                                               convinced his mother had committed.
                                                                   SAM
                                               Why was he ••• dressed like
                                               that?
                                                                   DISTRICT ATT'.)R~:EY
                                               He 1 s a transvestite,
                                                                                     ✓




                                                                   SIMON·
                                               Not exactly.        A man who dresses
                                               in women.• s clo·thing in . or-del" to
                                               achieve a sexual change ••• or
                                               satist'a.ction •.• is a tran;11vestite.
                                               But in Norman's case, he was
                                               simply doing e 1erything possible
                                                                   1

                                               to keep alive the illuoionof
                                               his mothsr being alive. And
                                               whenever reality came to9 close,
                                               when dan3e~ or desire threatened
                                               that illusion .• he I d dress up,
                                               even to a cheap wig ha bought,
                                               and he'd walk about the house, sit
                                               in her chair, speak in her voice •.••
                                               He tried. to- be his m:,ther.
                                                      (A sad .smile)
                                               And. now he 1s •.
                                                       .(A pause)
                                               That• s what I. meant when I eaid
                                               I. got the story from the mot;ber.
                                               She thinks No·rman has been taken.
                                               a111a~.••• because or his cri.TI:'::S .•
                                               She insists.she did nothing,
                                               that Norman corr..'!tl. tted all the
                                               murders jm:; t to keep her from
                                               being di.sc.overed. She even
                                               smiled a bit coquattishly as she
                                               said that. Of course, she feels
                                               badly about 1 t .... but also
                                               somewhat relievad to be, as she
                                               put it, free of Norman, at last.
                                                        (A pause)
                                               When the mind houses t\-.io
                                               persotial~ties, there is always
                                               a. battle.. In Nor•man' s case,
.         I •~
    ,./ \··-,                                  the battl~ is over . . . and the
      l      l -i                              dominant personal.ity ha~ won •.
      '...........___ I'
                 ,-,,
                                   Lila begins to Heep softly, for M3.ry, for Arbogast,
      _




                           REV. 11-30-59                                                  (Continued)
                                                                                                                      ·-. ·~-----·-·   ---
                                                                                                                                             '



                                                                  PSYC!r0                            · 119401         131.

                                  (Cont'd)
                                  tor Nor.nan, fo:- all the dest-;:-0~1 ed hums.n beings of this
                                  world.     Sam bends be.:Jii:le h~r-, put.s his arms about her,
                                  comforts her.
                                                                       . CHA!~:s.-qs
                                                     ( To . Sirr.on)
                                               And th~ :f'ort,\r thouriand dollars?
                                               Who got th3.t?
                                                                       S!:1l':1N
                                                The i:iwar.:.p.     Tht::::?-:: we~a ~'.l!'ders.-
                                                or passio:-i, not pi'ofit.
                                  A POLICE GUARD puts 1-:is head in tte door, spealcs, in
                                  a near-whispe::':, to the Ctisf of Pclice.                        The Guard is
                                  carrying a i'olde:d ~lanket over hi.s arm.
                                                                 POLICE GU.~RD
                                                He !'eels a 11 ttle chill •••. can
                                                I bi.. ing him this ":)lanket'?
                                  The Chief of p,;lir:e ncd:;~. i::~e Guar·.:i gees a;-1ay, and
                                  CAMERA FOLI£J;o{S :1:tr:1. cut o.C- tht3 roo::-r: ,JnJ out into the
                                  halh;ay. Gua:.':'J .:no•.ras ~b~cvgh the• ~rnJ. ting men, heading
                                  down the ccr~~dor~
                                  CUT TO:
                         249.     IHT. ANOTHEJt CQfuc.IDO:R II! COt"'R?:ROUS.E

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



                         250 ..   !NT. HOR!(Ai't 1 S DETEHTIOH 1180t·1 - {NIGH!)
                                  The Nalls a.r·s: 1;,h1. te and ;il:::.:!.n. The~e is no ~,iindow.
;,•·-'···1                        There :::l.s no .rur·ni tu::-:·e 1:,::r.c~pt th~ ::; ':;:r~ight-back chair
'                    )
    . .___ __ J--~                in which Horrn.un sits, in t::e center- ct: the room. The
                         REV •. 11-30-59                                                              (Continued)

                                                                                                                                        -i
                                   PSYC.F.O                       #9401             132 •.

· 250.    (Cont'd)
          room has a quality or no-whereness, or calm separation
          £rom the world.
           The Police Gu9.rd bad place~'. the blanket on Norman 1 s
         . knees. Ncrman, as we coms upcn him, is lifting the
           blanket., un!"cldiz:!g it. !!!..s £ace, although without
           makeup and w1~hout the surrou~tlins ~cftness of the
           wig, has a ce!'ta.in fominini t;y :a.bo'.1t; i ta a softness
           about the mouth an·i t::. k:!.:1.t of. a.re:: w,:,~-'3.nliness about
           the brows. ca.JJ?:ly ,. Norr.:..~n places t~1tl l:Ianket about
           his shoulders, as 1! 1 t ~•1e!'e a casri.m~::-e ·shawl. CAI,!ERA
           REMAINS in a poa.1. t:Lon so that our ~.'i1:1w of' t;orma.n is -
          ·a. FULL ONE. When the shawl is in po.-z:!.tion., and Norman
           is settled, we F...EAll, OV1:.H. Sr!JTr the voice of his mother.,
           coming from the calm of his thoughts.
                                          ~OTHER'S VOICE {o.s.)
                      I t r a s.ad •••. when a mo th-er has
                      to spes.lc the '"ord.E tha. t cr;nd.em:."l
                      her own son ••• 'but ! co~.1ldn 1 t
                      allow the~ t;o bel1e-ve t:h9.t I i'lOUld
                      ,fom:JT.1 t mm.--de:-.
                              ( A •03.U:lei
                                    .     I
                      T'aey• 11 put him at"a.y no\i ••.• a.a
                      I shoul:l h:3. •,te • • • ysaro a.go •
                      He ·was alw~ya ••• bad.. A:nd 1n
                      the end~ he intended to tell t~em
                      I killed thos6 gi;:ol.3 •.••. and
                      Tua t rr,,~n. As 1!' I coul:l do
                        . ~1ng e:xoep.,,~ i.,~ 1..1s ~~ s 1~ an,:1~
                      any~n                          .•-1

                      stare ••• like ~ne of.hL~ atut~ed
                      birds.
                                                                      (Continued)




  REV. 11-30-59
                                            PSYCHO                        #9401    133.
- 250.   (Cont 1 d)
                                               l·1aI'HER 1 S VOICE ( Cont I d)
                                 (A pause)
                          Well, they knoi:1 I -can rt even move a
                          finger. And I won I t. - I 1 11 just sit
                          here and be quiet. Just· in case
                          they do ••• suspect me.
         A fly buzzes close, and then continues bt1zzing and
         flying about Norman's face.              .
                                          MOTHER' S VOIC.E ( Cont I d)
                          They' re probably watching r.1e. ~fall..,
                          let them. - Let them see \·1hat kind··
                          of a person I am.
                                (A pause., as the
                                 fly lights on _
                                 Norman's hand)
                          I 1 m not going to s}·1at that fly. I
                          hope they ~ watching. They'll
                          see ... they r ll see ••• and theyt 11 know .....
                          and they I ll say • • • 1 why·, she -
                          wouldn I t .even· harm a fly •.•• r
         Norman continues to gaze ahead into nothing.                      $cene
         begins to DISSOLVE SLD'~•:LY to: -
251 •.   THE S~of Af·IP

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

         FADE OUT




                                      THE
                                      ----,.   -END
