Scripts: Psycho (revised draft, 01/Dec/1959) - part 5
EXT. STREET - (DAY) They emerge from the store and walk along to the hotel. As they enter, Arbogast is in the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look. DISSOLVE TO: EXT. HOTEL - (DAY) Outside another hotel we see Arbogast alight from the white car and go into new hotel. DISSOLVE TO: EXT. COUNTRYSIDE - (DAY) The white car speeding along the highway. DISSOLVE TO: EXT. NEW MOTEL - (DAY) Arbogast going into the office - we see the sign above him. DISSOLVE TO: EXT. BATES' MOTEL - (DAY) A high shot showing the freeway and Bates house and motel on the side old highway. A pause and then across the bottom of the picture a white car speeds by on the freeway. DISSOLVE TO: EXT. HOTEL - (DUSK) Another Hotel. Arbogast goes in. DISSOLVE TO: 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 up the steps to his mother's house. DISSOLVE TO: EXT. BOARDING HOUSE - (DAY) Arbogast's search is getting down in the scale. This is an entrance to a cheesy boarding house. "Rooms to Rent," etc. He looks at his list and then goes in. DISSOLVE TO: EXT. BATES' MOTEL - (DAY) The white car goes by on the freeway again. DISSOLVE TO: EXT. ROOMING HOUSE - (DAY) Arbogast goes in. DISSOLVE TO: EXT. BATES' MOTEL - (TWILIGHT) Heavy traffic on the freeway. A beat or two - again the white car. It slows up opposite the distant motel. It makes a turn and goes back out of scene. A pause and it reappears on the old road and slowly makes its way toward the Bates' Motel. EXT. THE BATES' HOUSE AND MOTEL - (TWILIGHT) We now see Norman. He has brought out an old rocking chair and has placed it on the office porch and is sitting hunched in it. And he is darning one of his own socks. CAMERA HOLDS. Beyond the porch, and Norman, we see the old house and can barely make out, in the twilight dimness, the figure of his mother seated at the window. Here, too, there is that quality of quiet peace surrounded by a vague foreboding. Now Norman looks up at the SOUND of the approaching car. And continues looking as the car comes to a stop and Arbogast gets out. Arbogast gives the place a quick once-over, gazes at Norman, starts forward. In his steps and manner there is that bored, routine-logged quality of a man who has seen too many motels and asked question of too many hotel managers over too short a period of time. Norman rises as Arbogast comes forward. NORMAN (shoving sock in his pocket) I always forget to put the sign on, but we do have vacancy. (Cheerfully) Twelve in fact. Twelve cabins, twelve vacancies. ARBOGAST (pleasantly) In the past two days I've been to so many motels, my eyes are bleary with neon. This is the first one that looked like it was hiding from the world at large. NORMAN I don't really forget the sign, it just doesn't seem... any use. (Points) This used to be the main highway. (Starts for office) Want to register, please? ARBOGAST Sit down. I don't want to trouble you, just want to ask... NORMAN No trouble. Today's linen day. I change all the beds once a week, whether they've been used or not... dampness. I hate the smell of dampness. (Opening office door) It's such a dank smell. Norman is holding the door open, so Arbogast walks in. Norman follows. INT. MOTEL OFFICE - (TWILIGHT) Norman switches on the overhead light, starts for the linen closet, suddenly pauses, turns, studies Arbogast, who has remained standing by the door. NORMAN You out to buy a motel? ARBOGAST No. NORMAN Oh. I thought... you said you'd been to so many in two days... What was it you wanted to ask? ARBOGAST I'm looking for a missing person. (takes out and opens wallet and extends it as he speaks) My name's Arbogast, private investigator... (takes back wallet when Norman doesn't look at it) Trying to trace a young girl who's been missing almost a week. From Phoenix. (A look at Norman's frightened expression) It's a private matter... family wants to forgive her... (smiles) She isn't in trouble. NORMAN (forcing a smile) I didn't think the police went searching for people who weren't in trouble. ARBOGAST I'm not the police. NORMAN Oh. He waits a moment, then opens closet, starts counting out sheets and pillow cases, keeps his back to Arbogast. Arbogast takes a photograph out of his pocket, talks as he crosses to Norman. ARBOGAST We have reason to believe she came this way... might have stopped in this area... (extends photograph, which Norman doesn't glance at) Did she stop here? NORMAN No. No one has stopped here in weeks... ARBOGAST Mind looking at the picture before committing yourself? NORMAN Committing myself to what? You sure talk like a Policeman. ARBOGAST Look at the picture. Please. Norman glances, briefly, turns away, lifts sheets and pillow cases off the shelf holds them close, almost protectively. NORMAN No. At least I don't recall. ARBOGAST She might have used an alias. Mary Crane's the real name, but she might've registered... NORMAN (interrupting) I don't even bother with guests registering any more... I mean, little by little, you drop the formalities. (more relaxed, because Arbogast is listening with a pleasant smile) I shouldn't even bother to change the linen. I guess habits die hard. Which reminds me... He goes to the wall, flips a light switch. NORMAN The vacancy sign. Just in case. We had a couple the other night, said if the sign hasn't been on they'd have thought this was an old deserted mining town or something. ARBOGAST Now there's a couple even remarking about your sign, and see how easily you forgot them? NORMAN What? ARBOGAST You thought no one has stopped here in weeks. Now, try to remember if this girl... ARBOGAST (A pause, a study) Maybe she even signed the register... because habits die hard. Let's check it, huh? Norman says nothing. Arbogast goes to the desk, pulls the registry book around, flips back a page or two. Norman simply stares at the man. Arbogast hums faintly, pleasantly, as he examines the pages. Then: ARBOGAST Yes sir! Marie Samuels. Interesting alias. He takes a slip of paper out of his pocket, lays it beside the signature in the registry book, all the while nodding and smiling nicely, as if this discovery will make Norman as happy as it is making him. ARBOGAST Don't know where she got "Marie," but "Samuels" figures. Her boy friend's name is Sam. (Turns to Norman, the smile gone) Was she in disguise? Or do you want to check the picture again? NORMAN I didn't lie to you. I just have trouble keeping track of... time. Arbogast has reached him, the picture extended. Norman looks dutifully at it. NORMAN It was raining and her hair didn't look like that... damped out, I guess. ARBOGAST Tell me all about her. NORMAN She arrived kind of late, wet and hungry and she was very tired and went right to bed and left early. ARBOGAST How early? NORMAN Very early. Dawn. ARBOGAST Of which morning? NORMAN The following morning. Sunday. ARBOGAST No one met her? NORMAN No. ARBOGAST Or arrived with her. NORMAN No. ARBOGAST She didn't call anyone? Even locally? NORMAN No. ARBOGAST You didn't spend the whole night with her did you? NORMAN No! Of all... ARBOGAST How do you know she didn't make a call? NORMAN She was tired. She said she had a long drive ahead of her, in the morning... Yes, now I'm remembering very clearly because I'm picturing. When you make a picture of the moment in your mind, you can remember every detail. She was sitting back there, no she was standing up, with some sandwich still in her hand, and she said she had to drive a long way. ARBOGAST Back where? NORMAN What do you mean? ARBOGAST You said she was sitting "back there," or standing rather... NORMAN Oh. My private parlor. She had an awful hunger... so I made her some supper. And then she went to bed and left in the morning. I didn't even see her leave. ARBOGAST How did she pay you? NORMAN What? ARBOGAST Cash or check? For the cabin... NORMAN Cash. ARBOGAST And when she left, she never came back. NORMAN Why should she? I'm sorry, I have work to do, Mr... if you don't mind... ARBOGAST I do mind. If it don't jell, it ain't aspic! (smiles) This ain't jelling. NORMAN I don't know what you expect me to know about... people come and go... ARBOGAST She isn't still here, is she? NORMAN Not at all! ARBOGAST Suppose I wanted to search the cabins, all twelve... would I need a warrant? NORMAN (as if pleasantly exasperated) Look, if you won't believe me, go ahead. You can help me make beds if you like. (laughs, shakes his head) Come on. He starts out. Arbogast pauses, momentarily confused by the young man's openness. CUT TO: EXT. THE MOTEL PORCH - (NIGHT) Norman walks down the porch, hesitates before Cabin One, walks on a bit toward Cabin Two, stops, turns to see if Arbogast is following. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch and is standing at its edge, looking up at the old house. The upstairs window is in darkness. The neon of the Vacancy and Motel signs splash strange light over the scene. NORMAN Change your mind? Arbogast does not reply. Norman becomes apprehensive, starts to Arbogast, forcing himself to remain calm and cheerful. NORMAN I guess I've got one of those faces you can't help believing. ARBOGAST (to Norman, but continuing to stare at the house) Anyone at home? NORMAN I live there. Alone. ARBOGAST Someone is sitting in that window. NORMAN My mother. Arbogast turns, gazes seriously at him. NORMAN She's... ill. Confined to her room. It's practically living alone. ARBOGAST (after a pause) If this girl Mary Crane were here, you'd have no reason to hide her would you? NORMAN Of course not. ARBOGAST If she paid you well? NORMAN Now, look...! ARBOGAST Or if she had you say... gallantly protecting her... you wouldn't be fooled... you'd know she was just using you. Wouldn't you? NORMAN I'm not a fool! And I'm not capable of being fooled! Not even by women! ARBOGAST I didn't mean that as a slur on your manhood. I'm sorry. NORMAN (disturbed now) That's all right. maybe she could have fooled me. But... (a rueful smile) She didn't fool my mother. ARBOGAST Your mother met her? (quickly) Can I talk to your mother? NORMAN No. I told you, she's confined... ARBOGAST Just for a moment. She might have picked up a hint you'd miss. ARBOGAST Sick old women are sharp. Come on, I won't disturb... NORMAN No! Just no! I have one of those breaking points like any other man, believe it or not, and I'm near it. There's just so much pushing I can take and I think... ARBOGAST All right! (starts away, toward his car, pauses) Might save me a lot of leg-work if I could just talk to your mother. But I'd need a warrant for that, won't I? Norman does not respond. Arbogast gets in his car, starts the motor. Norman looks up, studies the man's face, his own face showing apprehension. Arbogast backs the car around very slowly, his gaze divided between the old house and the lighted window of Cabin Two. As he turns the car out, his headlights light up the porch. Norman stands, watching him drive away. EXT. PHONE BOOTH - (NIGHT) The car pulls up and Arbogast gets out of car, leaving motor running. As he starts to walk across the highway, CAMERA PULLS AWAY and we CUT TO: EXT. HIGHWAY WITH TELEPHONE BOOTH - (NIGHT) Arbogast gets to the phone booth, enters. CAMERA STARTS FORWARD, and we see Arbogast remove a small notebook from his pocket, check on a number, drop a dime in the slot and dial this number. As we reach phone booth, CUT TO: ARBOGAST (into phone) Miss Crane, please. (listens) She leave a number? (listens) Thanks. (hangs up, dials again, waits) Lila there, Mr. Loomis? Arbogast. (waits) Lila? Look, this isn't much, but it might make you feel a little better. Mary was up here. Spent last Saturday night at Bates' Motel, out here on the old highway. (listens) Young fellow runs it, said Mary spent the night, left, period! (listens) I did question him, believe me. I think I got all there was to get. Just have to try to pick up the scent from here. (listens) Well... maybe that's because I don't feel entirely satisfied. He's got a sick old mother, confined type, and I think she saw Mary and talked to her. Shame, too... confined old women love to talk to strangers. (listens) I was, but I think I'll go back to the motel, first. (listens) No, you stay put, Lila. With Loomis. I should be back in an hour. (listens) All right. And Lila... You'll be happy to know what I think. I think our friend Sam Loomis didn't even know Mary was here. (smiles) See you in an hour. Or less. He hangs up, gets out of the phone booth. DISSOLVE TO: EXT. BATES' MOTEL - (NIGHT) A distant view of the House and Motel. There is a light on in the house. There is also a light on in Norman's office. We see Norman emerge from his office and move along the porch toward the distant cabins. He carries sheets on his arm. He goes into the last cabin and switches the light on. Into the foreground the hood of the white Ford enters the scene and stops. Arbogast gets out. He goes over to the Motel office. EXT. MOTEL OFFICE - (NIGHT) Arbogast goes in. INT. OFFICE - (NIGHT) Arbogast looks around the empty office and calls. ARBOGAST Bates! He goes over to the door to the parlor and enters. He looks around the bird-ridden room. He stops short as he sees: C.U. - THE OLD SAFE IN THE CORNER C.U. - ARBOGAST goes over to it. He finds it unlocked. With a quick, cautious look around he opens it. C.U. - THE EMPTY SAFE C.U. - ARBOGAST straightens up and goes out. EXT. MOTEL OFFICE - (NIGHT) Arbogast comes out and looks off. He sees: THE LAST LIT CABIN The door ajar. C.U. - ARBOGAST - (NIGHT) would go along but he stops with a new thought. He turns around and looks off. L.S. - THE OLD HOUSE FROM HIS VIEWPOINT - (NIGHT) C.U. - ARBOGAST comes to a decision. He goes off. L.S. ARBOGAST dashes up the stone steps to the House. MEDIUM SHOT CAMERA HOLDS as Arbogast goes up onto the porch. The house is dark within except, as we can now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living room window, looks in, sees only darkness. Then he goes to the door, listens for along moment, hears nothing. Very slowly, almost painfully, he turns the knob of the door and pushes gently with his arm and shoulder. The door begins to open. He allows it to open just enough for him to slip through and into the foyer. CUT TO: INT. FOYER OF BATES' HOUSE - (NIGHT) Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direction of the light, sees no one. The door at the head of the stairs is closed. Arbogast listens, holds his breath, hears what could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he crosses to the stairs, starts up, slowly, guardedly, placing a foot squarely on each step to test it for squeaks or groans before placing his full weight on it. CAMERA FOLLOWS, remaining on floor level but TRAVELLING ALONG the stairway as Arbogast makes his way up. CUT TO: EXTREMELY HIGH ANGLE INT. STAIRWAY AND UPSTAIRS LANDING We see Arbogast coming up the stairs. And now we see, too, the door of the mother's room, opening, carefully and slowly. As Arbogast reaches the landing, the door opens and the mother steps out, her hand raises high, the blade of an enormous knife flashing. C.U. - A BIG HEAD OF AN ASTONISHED ARBOGAST The knife slashes across his cheek and neck. Blood spurts. The sudden attack throws him off balance. He stumbles back and staggers down the whole of the staircase. He frantically gropes for the balustrade as he goes backwards down the stairs. The CAMERA FOLLOWS him all the way. A wicked knife keeps thrusting itself into the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the foreground as the CAMERA MOVES IN to contain the raising and descending murder weapon. FADE OUT
...continue to part 6