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
