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Scripts: Psycho (revised draft, 01/Dec/1959) - part 7

                                         QUICK CUT TO:

 INT. NORMAN'S PARLOR BEHIND OFFICE - (NIGHT)

 Norman sits in the dim, one-lamp light, the phone next to 
 him, his hand still near it as if he had not been able to 
 move his hand after hanging up. He is staring at the shrike-
 like bird which is perched on the lamp shade. Decision and 
 resolution are beginning to show in his face. Suddenly he 
 rises, starts quickly out of the room, tries to switch off 
 the lamp as he goes and in so doing succeeds only in knocking 
 the bird off the shade.

 He watches it fall, does not try to catch it. It hits the 
 floor with a thud and sawdust spills out. He stares sadly at 
 it, for a moment, then tends down, scoops up the sawdust, 
 tries to press it into the split seam, picks up the bird, 
 puts it in a drawer. Then he puts out the lamp, goes out, 
 crosses the darkened office and goes outside.

                                                  CUT TO:

 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:

 INT. DOWNSTAIRS HALLWAY AND STAIRWAY - (NIGHT)

 SHOOTING UP THE STAIRS

 Norman goes up, pauses 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. Then 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!

                         NORMAN'S VOICE
         Please, mother...

                         MOTHER'S VOICE
                 (Sharp, laughter all 
                 gone)
         No! I will not hide in the fruit 
         cellar!
                 (A shrill laugh)
         Think I'm fruity, huh?
                 (Hard, cold again)
         I'm staying right here!  This is my 
         room and no one will drag me out of 
         it... least of all my big bold son!

                         NORMAN'S VOICE
                 (Rising now, anxiously)
         They'll come now, Mother. He came 
         after the girl and now someone will 
         come after him! How long do you think 
         you can go on... Mother, please, 
         just for a few days, just so they 
         won't find you!

                         MOTHER'S VOICE
                 (Mimicking)
         Just for a few days...
                 (Furious)
         In that dank fruit cellar? No!  You 
         hid me there once, boy, and you won't 
         do it again! Not ever again!  Now 
         get out!
                 (A pause, quiet)
         I told you to get out, boy!
                 (A longer pause)
         Norman! What do you think you're 
         going to do? Don't you touch me!
         Don't! Norman!
                 (A pause, then 
                 cajolingly)
         All right, son, put me down and I'll 
         go. I'll go on my own two feet. I 
         can go on my own two feet, can't I?

 During all this the CAMERA has been slowly creeping up the 
 stairs. It does 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.

                         NORMAN'S VOICE
         I'll carry you, mother.

 Norman comes out of the room, his mother held in his arms, 
 her head leaning against his shoulder. He carries her down 
 the stairs, 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 service is 
 just over, 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 
 away.

 Amongst the crowd, waiting and searching the faces, are Sam 
 and Lila. In their expressions there is no peace, no 
 contentment. CAMERA MOVES IN CLOSE. They are not speaking. 
 Lila looks as if she has had no sleep.

 Suddenly, Sam becomes alert, takes Lila's arm, starts toward 
 the church.

 CAMERA MOVES WITH THEM, stops as they approach Sheriff and 
 Mrs. Chambers. The Sheriff stares rather sympathetically at 
 Lila. Mrs. Chambers smiles nicely.

                         SAM
         We thought, if you didn't mind, we'd 
         go out to the motel with you.

                         MRS. CHAMBERS
         He's already been.

                         SHERIFF
         Went out before service.

                         MRS. CHAMBERS
         Have you two had breakfast?

                         SAM
                 (To Sheriff, not a 
                 question)
         You didn't find anything.

                         SHERIFF
         Nothing. Here, let's clear the path.

 He moves away and the others follow. CAMERA PANS them to the 
 curb.

                         LILA
                 (Interrupting)
         Did he say anything about my sister?

                         SHERIFF
         Just what he told your detective.

 She used a fake name, saw the register myself. Saw the whole 
 place, as a matter of fact. That boy is alone there.

                         SAM
         No mother.

                         SHERIFF
         You must've seen an illusion, Sam.
         Now, I know you're not the seeing-
         illusion type... But no woman was 
         illusion there and I don't believe 
         in ghosts, so there it is!

                         LILA
         I still feel...

                         SHERIFF
         Can see you do. Sorry I couldn't 
         make you feel better. You want to 
         come to my office this afternoon and 
         report a missing person... And the 
         theft, is what you want to do!  Sooner 
         you drop this thing in the lap of 
         the law, that's the sooner you'll 
         stand a chance of your sister bein' 
         picked up. How about that?

                         LILA
         I don't know.

                         MRS. CHAMBERS
         It's Sunday. Come over and do the 
         reporting at the house, 'round dinner 
         time. Make it 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, starts away. The Sheriff nods as he goes.

 Sam and Lila are alone now, at the curb, before the deserted 
 chapel. For a long moment they just stand there, their faces 
 as gray and overcast as the sky.

                         SAM
         Maybe I am the seeing-illusions type.

                         LILA
         You're not.

 Sam takes her arm, starts walking her up the street toward 
 the spot where his pick-up truck is parked.

 CAMERA FOLLOWS them.

                         SAM
         Want me to drop you at the hotel?  
         Or you want to come over to the store?

 Lila does not answer. They reach the truck. Lila looks 
 directly at Sam as he helps her into the cab.

                         LILA
         I won't feel satisfied unless I got 
         out there, Sam.

                         SAM
         Neither will I.

 He slams the door, hurries around truck, gets into driver's 
 seat, starts motor. As the truck drives off,

                                          DISSOLVE TO:

 SAM AND LILA IN TRUCK - (PROCESS - HIGHWAY)

 For a moment, both are silent; Sam watching the road as if 
 there were other cars on it, Lila staring at nothing in 
 particular, except perhaps her own inner fear.

                         LILA
         I wonder if we'll ever see Mary again.

                         SAM
         Of course we will.

                         LILA
         Alive.

 Sam looks as if he'd like to say something humorous, something 
 to cheer her. He cannot. He remains silent.

                         LILA
         We lived together all our lives.

 When we woke up one morning and found ourselves orphans, 
 Mary quit college and got a job, so I could go to college.

                         SAM
         Where'd you go to college?

                         LILA
         I didn't. I got a job, too.
                 (A pause)
         I wonder if that hurt her, my not 
         letting her sacrifice for me?  Some 
         people are so willing to suffer for 
         you that they suffer more if you 
         don't let them.

                         SAM
                 (Almost to himself)
         She was willing to lick the stamps.

 Lila looks quizzically at him, is too concerned to pursue 
 it.

                         LILA
         I wonder so many things about her 
         now.  Why she never told me about 
         you...  Funny, when you think there's 
         an answer to everything, you think 
         you know all the answers.

                         SAM
         We were going to get married. Are 
         going to get married!

                         LILA
         Do you know how I found out about 
         you? I found one of your letters... 
         it was a nice letter, Sam.

                         SAM
         This is the old highway.

                         LILA
         I suppose... when you were able to 
         marry her she'd have presented you, 
         all shiny and proper... she always 
         tried to be proper.

                         SAM
         Watch your tenses.

                         LILA
         Huh?

                         SAM
         She always tries to be proper.

 Sam slows the truck to a stop, sighs, starts to light up a 
 cigarette. Lila looks questioningly and impatiently at him.

                         LILA
         You going to wait here for me?

                         SAM
         I'm going with you. But we'd better 
         decide what we're going to say and 
         do when we walk in...

                         LILA
         We're going to register. As man and 
         wife. And get shown to a cabin... 
         and then search every inch of that 
         place, inside and... outside.

                         SAM
         You won't believe it...
                 (Starts motor)
         But this will be the first time
         I've ever pulled one of those man-
         and-wife-renting-cabin capers!

                         LILA
                 (A tiny smile, first 
                 in hours)
         I believe it.

 As truck starts to drive on,

                                                  CUT TO:

 EXT. THE BATES MOTEL AND HOUSE - (DAY)

 The place is empty and silent and washed dirty by the deep 
 gray of the cloudy sky. We see Sam's truck turning into the 
 driveway and pulling to a stop. After a moment, Sam and Lila 
 get out of the truck.

 FRESH ANGLE

 Close on Sam and Lila as they meet on the porch side of the 
 truck. The motel office and the house beyond can be seen in 
 b.g. of shot. Sam and Lila merely stare for a moment, then 
 turn and gaze up at the house. There is no figure in the 
 window and the shade is drawn. Same goes to the office door, 
 peers in, knocks, opens door, enters. Lila remains on the 
 driveway, beside the truck.

                                                  CUT TO:

 INT. THE MOTHER'S ROOM - (DAY)

 CLOSE ANGLE on Norman standing by the window. He has pulled 
 the curtains very slightly apart, is staring out and down at 
 the motel, his eyes studying the lone figure of Lila, who is 
 standing by the truck and looking up at the house.  Norman 
 studies her, and as her eyes look up at this very window he 
 closes the curtains, turns away.

 We see the suspicion and fear in his face, the surge of panic 
 and his struggle to contain it. Then he goes away. CAMERA 
 remains on window, shooting out and down, and through the 
 frail curtains we can see Sam as he comes out of the motel 
 office and joins Lila.

 EXT. MOTEL OFFICE - CLOSE ON SAM AND LILA

                         SAM
                 (Unconsciously 
                 whispering)
         I wonder where Norman Bates does his 
         hermiting?

                         LILA
         Someone was at that window. I saw 
         the curtain move.

 Sam takes Lila's arm.

                         SAM
         Come on.

 He starts with her toward the path which leads to the old 
 house. CAMERA PANS with them, and as they turn around the 
 office corner, they see Norman coming down the path toward 
 them. They pause and Norman pauses. He does not smile, nor 
 speak. His usual grin and soft friendliness are gone; 
 containment and impassivity lie in their place.

                         SAM
                 (Cheerfully)
         Just coming up to ring for you.

                         NORMAN
                 (Coming forward)
         I suppose you want a cabin.

                         SAM
         We'd hoped to make it straight to 
         San Francisco, but we don't like the 
         look of that sky. Looks like a bad 
         day coming... doesn't it.

 Norman walks past Sam, giving him the sort of quick, 
 disapproving glance one gives a man who is obviously lying, 
 goes onto the porch and into the office. Sam and Lila follow 
 Norman.

 INT. MOTEL OFFICE - (DAY)

 Norman crosses to the desk, goes behind it, takes the key to 
 cabin number twelve off the keyboard. Sam and Lila have 
 entered and are almost to the desk-counter by this time.

                         NORMAN
         I'll take you to...

                         SAM
         Better sign in first, hasn't we?

 Sam eyes scan the counter, looking for a registration book.

                         NORMAN
         It isn't necessary.

                         SAM
                 (Interrupting with a 
                 friendly cheerfulness)
         Uh, uh! My boss is paying for this 
         trip... ninety percent business... 
         and he wants practically notarized 
         receipts. I better sign in and get a 
         receipt.

 Norman stares at Sam, as if he'd like to yell at him, call 
 him "liar." Instead he reaches under the desk counter, brings 
 out the registration book. Lila moves closer, studies the 
 book as Sam signs in. Sam signs "Joe and Mrs. Johnson."  The 
 signature and city of "Marie Samuels" and after it, the 
 notation "Cabin One," can be clearly seen three registrations 
 above Sam's.

 When Sam has finished he closes book, hands it back to Norman. 
 Norman does not take it, starts out from behind counter.

                         NORMAN
         I'll get your bags.

                         SAM
         Haven't any.

                         NORMAN
                 (after a stare)
         I'll show you the cabin.

 As he starts for the door, Sam laughs. Norman stops, turns, 
 looks at him.

                         SAM
         First time I've seen it happen.
                 (to Lila)
         Check in any place in this country 
         without bags, and you have to pay in 
         advance.

 Sam smiles as if at a funny remark, takes a bill out of his 
 pocket.

                         NORMAN
         Ten dollars...

 Norman returns to Sam, takes the extended bill, is about to 
 start out again.

                         SAM
         That receipt...?

 Norman goes reluctantly behind counter, lays down the key to 
 cabin twelve, takes a receipt book out of the drawer under 
 counter, starts to write. Lila steps up to the desk, picks 
 up the key, quickly, starts out.

                         LILA
         I'll start ahead.

 Norman looks up, gazes her as she goes out door.

 EXT. THE MOTEL - (DAY)

 Lila comes along the porch, pauses before cabin one, tries 
 the door. It opens. She closes it quickly as she hears Sam 
 and Norman coming out of the motel office, continues on down 
 the porch.

                         SAM
                 (To Norman, who is 
                 following)
         Don't bother yourself... we'll find 
         it.

 He goes on down the porch, doesn't even glance at cabin one, 
 walks quickly and catches up to Lila just as she reaches 
 cabin twelve. CAMERA REMAINS with Norman, who is standing by 
 the office door, looking after Sam and Lila, his face alert 
 and no longer impassive. He waits a moment, after they have 
 closed their cabin door, then crosses to the pickup truck.  
 CAMERA MOVES with him. He studies the truck, then leans in 
 through the driver's window, twists the registration card 
 around, reads it.

 It gives the correct name and address of Sam Loomis.

 Norman comes back out of the window, glances once more toward 
 cabin twelve, then at the old house. His suspicions are 
 confirmed, and now there is the relaxation of relief in his 
 face. He takes on a purposeful air, turns, strides up the 
 path, up onto the porch of the house, opens the door, goes 
 in.

 INT. CABIN TWELVE - (DAY)

 Lila is at the cabin's rear window, looking out, straining 
 for a glimpse of the old house, which cannot be seen from 
 the window of this cabin.

 She turns, frustrated, anxious. Sam is standing at the foot 
 of the bed, staring at the smooth coverlet, his brow creased 
 in a sadness.

                         LILA
         We should have asked for Cabin One... 
         The one Mary was in.

                         SAM
         I'm glad we didn't.

 He pulls his eyes from the bed, crosses to the desk, sits 
 wearily, lights a cigarette. Lila watches him for a moment, 
 feels a real compassion, goes to the bed, sits on its edge, 
 turns again and looks at Sam's back.

                         LILA
         We have to go into that cabin and 
         search it, Sam... no matter what 
         we're afraid of finding and no matter 
         how much it may hurt.

                         SAM
         I know.
                 (A pause)
         Do you think if something happened, 
         it happened there?

                         LILA
                 (A pause, then:)
         Sam, if you owned a useless business 
         like this motel... one you probably 
         couldn't even sell...  what would 
         you need to get away, to start a new 
         business, somewhere else?
                 (As Sam studies her)
         Forty thousand dollars?

                         SAM
         How could we prove...
                 (An almost hopeless 
                 laugh)
         Well, if he opens a new motel on the 
         new highway... say, a year from now...

                         LILA
         There must be some proof that exists 
         right now! Something that proves he 
         got that money away from Mary... 
         Some way!

                         SAM
         What makes you sound so certain?

                         LILA
         Arbogast! Sam, he liked me... or 
         felt sorry for me... and he was 
         starting to feel the same about you. 
         I heard it when he called... in his 
         voice, a caring. He wouldn't have 
         gone anywhere or done anything without 
         telling us.  Unless he was stopped. 
         And he was stopped, so he must have 
         found out something!

 Sam considers a moment, nods agreement, rises.

                         SAM
         We'll start with Cabin One.

 He goes to the door, opens it slightly, looks out, then, 
 back to Lila:

                         SAM
         If he sees us... we're just taking 
         the air.

 Lila goes to the door. He holds it open and she goes out.

 EXT. THE MOTEL - (DAY)

 Sam closes the door, joins Lila, takes her hand.

 Together they walk along the porch in the direction of Cabin 
 One. CAMERA FOLLOWS. They pause before the door of Cabin 
 One. Sam motions Lila to wait, to hold still, then goes on 
 to the office, opens the door, calls in:

                         SAM
         Bates?

 He waits, there is no response. He goes in and in a moment 
 comes back out, closes the door, goes to Lila.

 She has already opened the door of Cabin One and has started 
 to enter.

 INT. CABIN ONE - (DAY)

 The blinds are closed and the room is almost night-dark.

 Sam comes in after Lila, closes the door behind him.

 For a moment they just gaze at the room, as if willing it to 
 tell them some satisfactory story.

 Neither speaks. Then, in dark silence, they begin to search, 
 going methodically and thoroughly through all drawers, the 
 closet, the desk, searching under the bed and in dark corners, 
 not knowing what they expect to find and yet expecting to 
 find some thing. Lila opens the bathroom door, looks in. The 
 windowless room is very dark. She switches on the light, 
 goes in. Sam moves toward the bathroom, is about to follow 
 her in when he notices which room it is and automatically 
 catches himself up, backs out.

                         SAM
         Sorry.

                         LILA
         Hospital clean.

                         SAM
         What?

                         LILA
         The bathroom. Look at how clean it 
         is. The one in our cabin is clean... 
         but this is clean!

 Sam goes in, glances around, nods. Lila goes through the 
 medicine cabinet, finds nothing but a glass and two tiny 
 tabs of soap. Sam leans against the door-jamb, looks at the 
 tub, the shower pipe above it. He continues to stare, more 
 interested suddenly, as if bothered by some off-key evidence 
 he can't put his finger on. Then he looks at the shower 
 curtain rod.

 And realizes there is no shower curtain. He frowns, is about 
 to say something when Lila, who has been momentarily out of 
 shot, interrupts.

 Sam turns, CAMERA TURNS, and we see Lila is standing above 
 the toilet bowl, a tiny piece of wet paper stuck to the tip 
 of her right index finger.

                         SAM
         What is it?

                         LILA
         It didn't get washed down. It's 
         figuring... the kind you tear up and 
         get rid of.
                 (Extending her finger 
                 toward Sam)
         Some figure has been added to or 
         subtracted from... forty thousand.

 Sam lifts the piece of paper off her finger, studies it, 
 takes out his wallet, presses the wet scrap to his driver's 
 license shield, puts it back in the wallet and puts the wallet 
 away.

                         LILA
         That's proof Mary was here!  It would 
         be too wild a coincidence for somebody 
         else to...

                         SAM
                 (Reminding)
         Bates never denied Mary was here.

                         LILA
                 (Reminded)
         Yes.
                 (A thought)
         But maybe this proves that Bates 
         found out about the money.

                         SAM
         Do we simply ask him where he's hidden 
         it?

                         LILA
         Sam, that old woman, whoever she is. 
         I think she told Arbogast something! 
         And I want her to tell us the same 
         thing!

 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 STARTS TO PAN AWAY from them, moves slowly over the 
 room, very slowly.

                         LILA'S VOICE (O.S.)
         Let's find him. One of us can keep 
         him occupied while the other gets to 
         the woman.

                         SAM'S VOICE (O.S.)
         You won't be able to hold him still 
         if he doesn't want to be held. And I 
         don't like you going into that house 
         alone, Lila.

 CAMERA HAS PANNED clear across to the opposite wall now, and 
 is moving up closer and closer to the tiny-flowered wall 
 paper, finally closing in on one small rosebud.

                         LILA'S VOICE (O.S.)
         I can handle 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 
 Mary. And we see the pupil of Norman's eye now.

                         SAM'S VOICE (O.S.)
         All right. I'll find Bates and keep 
         him occupied.

 The eye moves away and there is a brief flash of light before 
 the hole is covered, on the other side, by the wall-hung 
 painting.

 FRESH ANGLE - LILA AND SAM

 They are about to start out. Sam stops her again.

                         SAM
         Wait a minute. If you get anything 
         out of the mother...
                 (A thought)
         Can you find your way back to town?
                 (As Lila nods yes)
         If you do get anything, don't stop 
         to tell me.

 Lila nods quickly, hurries to the door. Sam gets to it first, 
 opens it a slight crack, looks out, then opens it wide enough 
 for Lila and Himself to pass through.


...continue to part 8