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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