Scripts: Psycho (revised draft, 01/Dec/1959) - part 2
EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) We are close on Mary's car, shooting in at her troubled, guilty face. She seems to be driving with that excess care of one who does not wish to be stopped for a minor traffic irregularity. She stops for a red light at a main intersection. FROM MARY'S VIEWPOINT - (DAY) We see Lowery and Cassidy crossing the street, passing right in front of Mary's car. MARY'S CAR - (DAY) Mary freezes. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Cassidy, glancing into car, sees Mary, lets out a cheery exclamation, elbows Lowery. Lowery turns, sees Mary, smiles pleasantly, pulls Cassidy on. MARY'S CAR - (DAY) Mary watches the entire exchange with a look of stony horror on her face. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Now we look closely at Lowery. As he reaches the curb, a small confusion brightens his face. He remembers that Mary intended to "spend the weekend in bed." He considers, curiously, turns, looks back at her, a slight frown on his face. MARY'S CAR - (DAY) Mary sees the pause and the look. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) For a moment it even looks as if Lowery might be meaning to cross back to the car. MARY'S CAR - (DAY) Mary's tension is unbearable. And at that moment we hear the shrill shriek of the traffic cop's whistle. Mary zooms the car away. DISSOLVE TO: EXT. HIGHWAY - (DAY) Mary in car, driving, safely away from town. Her look is less tense now, and more purposeful. After a moment, she checks the fuel gauge, frowns, looks along highway for a gas station. FAST DISSOLVE TO: MARY'S CAR - (DAY) Approaching and leaving city limits. MARY - (DAY) Looks at gas gauge. C.U. GAS GAUGE - (DAY) EXT. A GAS STATION - (DAY) We see Mary's car drive in, come to a stop. There are no other cars about, this being a gas station off the main highway, and the attendant is obviously in the shack. Mary looks worried about having to make this stop, keeps her face turned away from the shack, not wishing it to be seen. No one comes and for a moment Mary considers driving on, as if the emptiness of the station were a warning, an omen that she should listen to. But the gas registers almost empty. She has to blow her horn. A YOUNG MAN comes out of the shack, starts toward her car. At that moment, we HEAR the RINGING of the TELEPHONE in the shack. The Attendant walks a few steps further, toward Mary's car, then decides to go back and answer the phone. The phone's insistent ringing unnerves Mary. She starts her car, zooms off. We see the Attendant, phone in hand, in the doorway of shack. He looks after the departing car with little or no expression. CAR The car grows smaller as it races up the road. The sun is setting. There is something vaguely ominous about the darkening sky into which the car seems to be disappearing. DISSOLVE TO: MARY IN CAR - (NIGHT) The oncoming headlights hurt Mary's eyes. She is getting sleepy and her vision is blurring. Her eyes close, involuntarily, snap open again. She stretches than wide, as if forcing them to stay open. The oncoming lights seem to glare to a point beyond endurance. She murmurs "Sam - Sam." LONG LAP DISSOLVE: EXT. ROAD SHOULDER - (DAWN) We see Mary's car, dim in the early dawn, tilted on the soft shoulder of the road, looking somehow sad and pathetic, like a child's thrown-away toy. And from this angle it would appear that the car is empty. After a moment, during which there are no other vehicles passing, we see, coming from the far distance, a HIGHWAY PATROLMAN in a patrol car. He passes Mary's car, notes its apparent emptiness, U-turns, comes back up behind the car. He gets out and approaches the driver's side window. EXT. MARY'S CAR - (DAWN) The Patrolman looks down into the car. INT. CAR (DAWN) FROM HIS VIEWPOINT Mary turns with a start, sits up, is startled and unnerved by the sight of the Patrolman, and, as if by automatic reflex, turns the ignition and presses down on the starter. EXT. CAR (DAWN) The Patrolman holds up his hand. PATROLMAN (startled) Hold it there! Mary slams down on the brake, tries to pull herself together. The Patrolman raps again, less gently. Reluctantly, Mary rolls down the window. The Patrolman studies her for a moment. PATROLMAN In quite a hurry. MARY Yes. (because he seems to be awaiting an explanation) I didn't mean to sleep so long. I was afraid I'd have an accident last night, from sleepiness... so I decided to pull over... PATROLMAN You slept here all night? MARY (a faint edge of defensiveness) Yes. As I said, I couldn't keep my eyes... PATROLMAN (mere concern) There are plenty of motels in this area. You should have... I mean, just to be safe... MARY I didn't intend to sleep all night! I just pulled over... have I broken any laws? PATROLMAN No, m'am. MARY Then I'm free to go...? PATROLMAN (a pause) Is anything wrong? MARY Of course not! Am I acting as if... something's wrong? PATROLMAN (almost a smile) Frankly, yes. MARY Please... I'd like to go... PATROLMAN Is there? MARY Is there what? (not waiting for an answer) I've told you there's nothing wrong... except that I'm in a hurry and you're taking up my time... PATROLMAN (interrupting, sternly) Now wait just a moment! Turn your motor off, please. Mary seems about to object, thinks better of it, turns off the ignition. PATROLMAN In the course of my duty, I never "take up" anyone's time, whether it's to give a warning, or a ticket, or help! Believe that, M'am. (a little softer) Now if you woke up on the wrong side of... the car seat, that's one thing. But when you act as if I've just placed you under arrest... MARY I'm sorry. PATROLMAN No need to apologize... Mary starts the car, her face turned as if she wishes the matter were all settled and the Patrolman had already gone. The Patrolman isn't exactly one of those civil servants who demands a thank-you, but he does feel her manner is a bit too abrupt. He calls: PATROLMAN Wait a minute! MARY (jamming down the brake) Now what? The Patrolman gazes at her a moment, then: PATROLMAN May I see your license? MARY Why? PATROLMAN Please. Mary pulls her handbag up from the floor, where she'd placed it when she stretched out for sleep. She puts her hand in it, rummages for her wallet, cannot find it. The Patrolman is staring at her. She glances at him nervously, pokes in her bag a bit more, sighs, realizes she'll have to remove some of its contents. Nervously, badly controlling her fear, she takes out the money-filled envelope, and then the important papers envelope, filled then a couple of other items, places them on the seat, finally finds her wallet, opens it, hands it to him. He looks at the wallet, then at the car. EXT. ROAD SHOULDER - (DAWN) The Patrolman walks around to the front of the car, checks the license plate, and returns. INT. MARY'S CAR - (DAWN) The Patrolman peers in, checks the car registration on the steering wheel, returns Mary's wallet. She takes it, looks at him for a flicker of a moment. He says nothing. She starts ahead, fast. EXT. ROAD SHOULDER - (DAWN) The Patrolman stares after Mary as she drives off, then starts back to his automobile. MARY IN CAR - (DAWN) She is quite shaken, realizes she caused herself a great deal of trouble and placed herself in unnecessary danger. She is disturbed and angry and frightened at her inability to act normally under the pressure of guilt. As she drives, she glances into her rear-view mirror. MARY'S REAR-VIEW MIRROR - (DAWN) The Patrolman is following in his automobile, keeping behind her at a matched speed. MARY IN CAR - (DAWN) She glances out at her surroundings. MARY'S POV - (DAWN) The Freeway ahead. EXT. MARY'S CAR - (DAWN) She suddenly turns off the highway. MARY IN CAR - (DAWN) She checks her mirror. MARY'S REAR-VIEW MIRROR - (DAWN) The Patrolman is no longer following, has not turned off after her. MARY IN CAR - (DAWN) She breathes a sigh of relief, thinks a moment, makes a quick decision. DISSOLVE: EXT. USED CAR LOT - (DAY) The big sign reads "California Charlie - Automobile Paradise." We see Mary's car drive onto the lot and stop. Mary gets out of the car, glances toward the lot office, turns her attention to the line of cars, notice the California licence plates on all of them. The CAR DEALER calls out from his office: CAR DEALER With you in a second! Mary nods, starts walking along the line of cars as if making a selection. Her eye is caught by the iron newspaper stand on the corner, just outside the lot. She stares at the papers, turns away, as if what she is fearing would have to be impossible, then, having to satisfy herself, goes to the stand, drops a dime in the iron slot, picks up a LOS ANGELES newspaper, starts back into the car lot as she glances worried at the front page. As she goes, we see, coming up the street toward the lot, the same PATROLMAN. He sees Mary, slows, swerves over to the opposite side of the street, stops by the curb. Mary, engrossed in the newspaper, and walking back ease the lot, does not see the Patrolman. The car dealer is out on the lot now, standing and waiting for Mary. As she approaches, lost in her newspaper, he smiles. CAR DEALER I'm in no mood for trouble! MARY (glancing up, thrown for a moment) What? CAR DEALER (cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead.
...continue to part 3