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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