Jump to: navigation, search

Scripts: Psycho (revised draft, 01/Dec/1959) - part 4

 Mary goes out of the parlor. We see her, from Norman's 
 viewpoint, as she crosses the small office, goes out into 
 the night. Norman turns and looks at the table, and we see 
 his face now. It is bright with that drunken-like look of 
 determination and encouragement and like resolve. He starts 
 to clean up the table, pauses as he hears the closing of 
 Mary's door in the cabin next door.

 He holds still, listens. He goes into the office and looks 
 at the book.



 He goes back into the parlor with a mystified expression. 
 The sound of Mary moving about her room come over, soft 
 SOUNDS, somehow intimate in the night quiet. Norman turns 
 his ear from the direction of the SOUNDS, seems to be fighting 
 an impulse to listen, or more than listen.

 But slowly, he is forced to surrender to the impulse and, 
 resisting himself, he goes to the wall, presses the side of 
 his head against it. The SOUNDS come louder, as if we too 
 had our ear pressed against the wall. Now Norman looks at a 
 picture hanging on the far end of the wall he is leaning 
 against. Slowly he starts toward it.

 He reaches it, touches it, reluctantly lifts the small frame 
 off the wall.

 A tiny circle of light hits Norman's face, coming from the 
 hole in the wall behind the picture. This end of the room is 
 very dim and thus we are able to see clearly the light 
 striking Norman's face.

 We move close to Norman, extremely close, until his profile 
 fills the screen. The tiny spot of light hits his eye. See 
 the small hole through which the light comes. Norman peeps 


 Through the hole we look into Mary's cabin, see Mary 
 undressing. She is in her bra and halfslip. She stoops over 
 a bit, places her hands behind her upper back, begins to 
 unhook her bra.


 He watches as Mary removes her bra. We see his eye run up 
 and down the unseen figure of Mary.


 Mary, just slipping into a robe, covering her complete nudity.


 He turns from the hole, faces us for a moment, continues 
 turning until he can look out the small parlor window.

 We see, as he sees...



 He turns his face away, quickly, resentfully. In his face we 
 see anger and anguish. And then resolve.

 Quickly, precisely, he rehangs the picture over the hole in 
 the wall, turns, starts out of the parlor. We see him go 
 through the office and out onto the porch, not even bothering 
 to close the door behind him.

                                                  CUT TO:


 Norman walking along the porch, in the direction of the big 
 house. Once on the path he pauses, looks up at the light in 
 the bedroom window, then pulls himself up, squares his 
 shoulders, strides manfully up the path.

 CAMERA follows behind him. He opens the door of the house, 
 enters. We see him pause at the foot of the stairway, look 
 up at the bedroom door just at the head of the stair. He 
 holds for a moment, and then his resolve and courage 
 evaporates. His shoulders slump, sadly, mournfully. He by-
 passes the stairs and slowly makes his way to the kitchen. 
 At the far end of the hall. He enters the kitchen, drops 
 wearily into a chair. After a moment, he stretches out a leg 
 and gently pushes the kitchen door closed.

                                                  CUT TO:


 Mary is seated at the small desk, engrossed in figuring in a 
 small notebook. We see from these figures a calculation which 
 indicates her intention to make a restitution of the money 
 she has used of the forty thousand dollars. We see, too, her 
 bankbook. The paper reads thus: top figure, 40,000; directly 
 beneath it 500, the amount used for the new car; total after 
 subtraction, 39,500. In another spot we see a figure which 
 matches the balance in her bankbook; 624.00.

 Beneath this is the figure 500, and the amount after 
 subtraction, 124.00. She studies the figures, sighs, not 
 wearily but with a certain satisfaction, with the pleasure 
 that comes when one knows that at any cost one is going to 
 continue doing the right thing. After a moment she tears the 
 page out of the notebook and, rising, begins to rip it into 
 small pieces. She goes into the bathroom, drops the pieces 
 into the toilet bowl, flushes the toilet. Then she drops her 
 robe and steps into the tub and turns the shower on.


 Over the bar on which hangs the shower curtain, we can see 
 the bathroom door, not entirely closed. For a moment we watch 
 Mary as she washes and soaps herself.

 There is still a small worry in her eyes, but generally she 
 looks somewhat relieved.

 Now we see the bathroom door being pushed slowly open.

 The noise of the shower drowns out any sound. The door is 
 then slowly and carefully closed.

 And we see the shadow of a woman fall across the shower 
 curtain. Mary's back is turned to the curtain. The white 
 brightness of the bathroom is almost blinding.

 Suddenly we see the hand reach up, grasp the shower curtain, 
 rip it aside.

                                                  CUT TO:


 As she turns in response to the feel and SOUND of the shower 
 curtain being torn aside. A look of pure horror erupts in 
 her face. A low terrible groan begins to rise up out of her 
 throat. A hand comes into the shot. The hand holds an enormous 
 bread knife. The flint of the blade shatters the screen to 
 an almost total, silver blankness.


 An impression of a knife slashing, as if tearing at the very 
 screen, ripping the film. Over it the brief gulps of 
 screaming. And then silence. And then the dreadful thump as 
 Mary's body falls in the tub.


 The blank whiteness, the blur of the shower water, the hand 
 pulling the shower curtain back. We catch one flicker of a 
 glimpse of the murderer. A woman, her face contorted with 
 madness, her head wild with hair, as if she were wearing a 
 fright-wig.  And then we see only the curtain, closed across 
 the tub, and hear the rush of the shower water. Above the 
 shower-bar we see the bathroom door open again and after a 
 moment we HEAR the SOUND of the front door slamming.

                                                  CUT TO:


 Lying half in, half out of the tub, the head tumbled over, 
 touching the floor, the hair wet, one eye wide open as if 
 popped, one arm lying limp and wet along the tile floor.  
 Coming down the side of the tub, running thick and dark along 
 the porcelain, we see many small threads of blood. CAMERA 
 FOLLOWS away from the body, travels slowly across the 
 bathroom, past the toilet, out into the bedroom. As CAMERA 
 approaches the bed, we see the folded newspaper as Mary placed 
 it on the bedside table.


 beside the bed. The CAMERA now moves away over to the window 
 and looks up to the house, and as it gets there we HEAR, 
 coming from within the house, the SOUND of Norman's fearful, 
 shocked voice.

                         NORMAN'S VOICE
         Mother! Oh God, what... blood, 
         blood... mother...!

 We cannot entirely distinguish these exclamations.

 After a moment or two of silence, Norman emerges from the 
 front door, dashes down the path toward the motel.

                                         QUICK CUT TO:


 Norman is coming AT CAMERA, running head-on. He dashes into 
 an extreme close up and we see the terror and fear ripe in 
 his face. CAMERA PANS as Norman races past, holds as Norman 
 runs to the porch and quickly along it and directly to Mary's 


 Norman pauses a moment in the doorway, glances about the 
 room, hears the shower going, sees the bathroom door is open. 
 He goes to the bathroom, looks in, sees the body.

 Slowly, almost carefully, he raises his hands to his face, 
 covers his eyes, turns his face away. Then he crosses to the 
 window, looks out at the house. Shot is so angled that we 
 see the bedside table with the newspaper on it.

 After a moment, Norman moves from the window, sinks onto the 
 edge of the bed.


 Norman sitting on bed, the bathroom in b.g. of shot. We can 
 see only the hand of the dead girl, lying along the tile 
 floor. Norman presses his eyes, fights to find a way out of 
 his dilemma. Slowly, a kind of settling comes upon him, the 
 peace that comes with decision.

 Norman rises, goes to the window, looks out, and then, with 
 resolution, closes the window and draws the curtain across 
 it. Then he crosses to the front window, facing the porch, 
 and draws those curtains closed. Then he switches off the 
 bedroom light, leaving the room lit only by the spill from 
 the bathroom. He opens the front door, goes out.


 Norman comes out of Mary's cabin, closes the door carefully 
 behind him, goes along the porch to his office, goes in. We 
 stay outside. Immediately, the "Vacancy" sign goes off, and 
 then the motel sign goes off. As CAMERA GOES closer to the 
 office, the lights within go off and we HEAR a closet door 
 opening and then the SOUND of a pail being picked up. Norman 
 comes out of office, closes door, looks cautiously about, 
 goes along porch, carrying pail with mop in it, goes into 
 Mary's cabin, closing the door after him.


 With the paper in the foreground, Norman enters. We can see 
 him in the dim spill of light. He pauses by the door, then 
 gathers his strength and goes into the bathroom. We HEAR him 
 set the pail on the tiled floor, and then we HEAR the shower 
 being turned off. And there is total silence. CAMERA MOVES 
 FORWARD so that we can see into bathroom.

 CAMERA is ANGLED that we see Norman only from the waist up. 
 Quickly and deftly he unhooks the shower curtain, emerges 
 with it into the bedroom. CAMERA PANS down and we see him 
 spread the shower curtain on the bedroom floor, just outside 
 the bathroom door. He spreads the curtain so that one end of 
 it comes up against the bathroom threshold and slightly over 
 and onto the tile floor. Again he goes into the bathroom and 
 CAMERA TILTS up so that we see only the upper half of Norman. 
 He works carefully, with his arms extended away from his 
 body, slowly pulls the dead body out of the tub, drags it 
 across the tile floor and onto the spread-out shower curtain 
 in the bedroom. Having arranged the body, he straightens up, 
 examines his hands, sees bloodstains on them. He returns to 
 the bathroom, goes to the hand-basin.


 We see his hands being washed, see the bloodstains being 
 diluted and washed away by the gush of the faucet water.


 We see Norman shake his hands free of the water, then turn 
 to the job of cleaning the bathroom.

 He places the pail in the tub, runs water into it, dips the 
 mop in, swabs the tile floor. With a towel he wipes off the 
 wall over the tub and the edges and sides of the tub and 
 even the shower curtain rod. Then he takes a second towel 
 and goes over the cleaned areas, carefully drying them.  
 Finally he rinses and squeezes out the mop, empties the pail, 
 cleans out the tub, and goes out into the bedroom.


 Norman steps carefully around the unseen body, crosses to 
 the desk, starts going through Mary's handbag, in search of 
 her car keys. He suddenly notices them lying on the desk, 
 where he'd thrown them after parking her car. He picks up 
 the keys, crosses the room, goes out.


 We see Norman pauses at the door, check cautiously, then 
 hurry across the porch and into Mary's car. He circle-turns 
 the car, so that its trunk is backed up to the turns porch, 
 directly opposite Mary's door, as close as it can go.

 Then he alights, goes to the trunk, opens it with the key 
 and, leaving the trunk lid raised, goes back into the cabin.


 From a raised angle, we see Norman bend down and begin to 
 wrap the shower curtain around the body. We see the edges of 
 the curtain as they are raised and laid down again. Then he 
 picks up the wrapped body, crosses to the door, uses his 
 foot to pull the door open, and, leaving the door open behind 
 him, goes quickly across the porch and gently lays the body 
 in the trunk. He closes the lid then, but does not lock it. 
 He comes back into the cabin, closes the door completely, 
 flicks on the light.

 Again the newspaper is in the foreground. For a moment he 
 pauses, closes his eyes against the realization of what he 
 is doing, then quickly pushes all thoughts away, continues 
 with his work. With the room lighted, he now proceeds to 
 gather up all Mary's articles and toss them into the suitcase. 
 He checks all drawers and the closet, gets down and checks 
 under bed and bureau, goes into the bathroom, checks that 
 room again, comes back into the bedroom, looks about 
 carefully, spots Mary's handbag, throws even that into the 
 suitcase, is finally satisfied that all traces of the girl 
 are gone from the room. Then he closes Mary's suitcase, picks 
 it up.

 With his free hand he picks up the pail, in which are the 
 mop and the used towels. He crosses to the door, switches 
 off the light with his shoulder, pulls open the door, starts 


 As Norman stands in the doorway, he is suddenly and blindingly 
 lit by the bright headlights of a passing car. The flash of 
 the lights and the SOUND of the SPEEDING CAR are over in a 
 flicker of a moment, but it takes a few seconds for Norman 
 to regain his former tense composure. Then he goes to the 
 car trunk, raises it with his foot, throws the suitcase and 
 the pail into it, slams it shut. He pauses a moment, then 
 realizes he has left the bathroom light on in Mary's cabin. 
 He returns to cabin. As he enters, his eye is caught by the 
 newspaper on the bedside table. He goes to it, takes the 
 newspaper, and looks once again into the bathroom. His glance 
 goes right over the toilet bowl.

 He turns out the lights, crosses the darkened cabin, goes 
 out onto the porch.

 He reopens the trunk, tosses in the newspaper and closes it. 
 He goes around and jumps into the car and starts away.

 We HOLD on the trunk, follow it for a while, then

                                          DISSOLVE TO:


 The car pulls away from a CLOSE ANGLE on the trunk and as 
 CAMERA HOLDS we see that we are now in a swamp area.

 It is quiet except for the irritating noises of night insects. 
 Norman stops the car at the very edge of the swamp, turns 
 off the lights, gets out, leaving door open. He looks at the 
 swamp, seems doubtful of its ability to swallow up the car, 
 realizes he has no choice. He leans into the car, releases 
 the emergency brake, starts to push. The front of the car 
 begins to roll into the swamp. Suddenly there is the LOW, 
 THROBBING SOUND of a motor. Norman freezes, listens.

 The SOUND grows louder and Norman realizes it is an airplane 
 flying overhead. The car is rolling quickly now. Norman jumps 
 away, slams the door shut, stands tense. The SOUND of the 
 plane overhead grows louder.

 Norman looks up.


 We see no plane. The SOUND of the motor is beginning to 

                                          CUT BACK TO:


 We see the relief in his face. He looks at the car.

 More than two-thirds of it have already sunk into the swamp. 
 The trunk alone seems to hold poised above the sand and slime, 
 as if refusing to go the rest of the way. Norman begins to 
 panic, he steps dangerously close, pushes with his foot. And 
 slowly the car sinks, until finally it is gone and we hear 
 only the gentle plop of the swamp's final gulp, and see only 
 the small after-bubble, like a visual burp.

 Norman waits a moment, then begins stamping out the tire 
 marks, so obvious in the wet ground around the swamp.

 He stamps and drags his feet over the markings as we:

                                          DISSOLVE TO:


 standing on the porch of the motel, leaning against a post. 
 He is staring out into the night, a look of guarded, casual 
 innocence on his face, as if he were taking one last moment 
 of peaceful night air before retiring. Then he glances down 
 and CAMERA follows his gaze. A hose is lying on the ground 
 outside Mary's cabin, its stream of water obliterating the 
 tire marks.

 After a moment, Norman's hand comes into shot, picks up hose, 
 places it in a new position. As CAMERA PULLS BACK, we see 
 that the water from the hose has erased and rearranged the 
 road markings so that it would be impossible to tell that a 
 car had been parked here.

 After a short wait, Norman goes to the hose-faucet, turns it 
 off, unscrews the hose. As he rolls the hose, he walks away 
 from the spot, past the office, heading for the path that 
 leads to the house. He goes up the path, pauses at the steps 
 of the house, tosses the curled hose onto the lawn, goes up 
 the steps and into the house. CAMERA FOLLOWS him in, PAUSES 
 as he pauses at the foot of the stairs. Norman goes up the 

 On the landing he stops. The door to his mother's room is 
 closed. Lying in a heap outside the door are a blood-stained 
 dress and a pair of elderly-woman's shoes. From an EXTREMELY 
 HIGH ANGLE, we look down on Norman as he bends to pick up 
 the stained dress and shoes.

 He rolls the shoes into the dress, tucks the small, neat 
 bundle under his arm, and starts down the stairs, heading 
 for the basement.


 It stands silhouetted against the sky. There is a long wait. 
 Then, slowly, a curl of smoke comes out of the chimney.

                                                  FADE OUT:

                                                  FADE IN


 Sam is seated at his desk, writing a letter. Sequence

 begins with CAMERA IN CLOSE, over Sam's shoulder, and we can 
 read as mush as he has written of the letter. The letterhead 
 reads "Sam Loomis - Hardware," and the letter reads: "Dearest 
 right-as-always Mary: I'm sitting in this tiny back room 
 which isn't big enough for both of us, and suddenly it looks 
 big enough for both of us. So what if we're poor and cramped 
 and miserable, at least we'll be happy! If you haven't come 
 to your senses, and still want to...

 CAMERA begins PULLING AWAY as Sam turns the sheet of paper 
 over, continues backing away out of the small back room and 
 heads, backwards, down the corridor, we see a young clerk, 
 BOB SUMMERFIELD, Sam's assistant, standing behind the counter, 
 a look of handsome patience on his face. He is waiting on a 
 meticulous, elderly woman customer, who is holding and 
 examining a large can of insecticide. As CAMERA PASSES:

                         WOMAN CUSTOMER
         ...They tell you what its ingredients 
         are and how it's guaranteed to 
         exterminate any insect in the world, 
         but they do not tell you whether or 
         not it's painless. And I say insect 
         or man, death should always be 

 CAMERA, by this has reached the front door of the hardware 
 store and we now see a girl standing just inside the door. 
 She is an attractive girl with a rather definite manner, a 
 look of purposefulness. She carries a handbag and a small 
 overnight case. She is Mary's sister, LILA CRANE.

 Bob Summerfield has noticed Lila, smiles brightly at her, 
 gives her an I'll-be-with-you-in-a-moment nod.

 Lila starts to walk toward the counter, never taking her 
 eyes off Bob. As she approaches, she asks quietly:


         You want to see Sam?

         Sam Loomis.

                 (yelling toward back 
         Sam! Lady wants to see you!

 Lila looks to the back room. The woman customer goes on 
 worriedly examining the fine print of the insecticide can. 
 Sam comes to the door of his room, pauses, looks at Lila a 
 moment, starts toward her, his expression indicating that he 
 does not know her. Lila studies him with a quiet, worried 


         May I talk to you?

                 (a bit mystified)

 Lila glances at the customer and the clerk, turns, starts 
 toward the front of the store. Sam holds a moment, then 
 follows. As he reaches her, she turns, her eyes studying him 
 intently as she says:

         I'm Mary's sister.


         Is Mary here?

 Sam is mystified, and is also aware of the worried, hostile 
 expression on Lila's face. He studies her for a quiet moment. 
 Behind them is a display of various size carving knives.

         Is something wrong?

         I want to know if my sister is here.


         With you.


         I don't know where. In your store, 
         somewhere in your town... anywhere.

         What's the matter?

         Don't you know?

 As Sam is about to speak, the Woman Customer comes sailing 
 past, speaking as she goes and wearing a satisfied smile.

                         WOMAN CUSTOMER
         All I can do is hope if it isn't 
         painless, it's quick!

 She speaks "quick" with a kind of delicious bite, nods 
 happily, goes on out of the store. Sam is now staring 
 apprehensively at Lila.

         What should I know?

         To begin with, where Mary is. Do 

         No. I take it you don't either?
                 (As Lila shakes her 
         How long?

         Last Friday. She left work, and 
         home... I was in Tucson over the 
         weekend... I haven't heard from her, 
         not even a phone call.

         And you thought she'd come up here, 
         to me? If she had, what reason would 
         she have for not calling you?

         A good reason, I suppose.

                 (Slightly exasperated)
         Well what do you think, we eloped or 
         something? Or we're living in sin 

         Mr. Loomis, you're so busy being 
         defensive that you haven't even 
         reacted to the most serious fact of 
         all. Mary is missing.

         I was getting to that!

         What do you know about it?

         Nothing! You're putting me on the 

         Look, if you two are in this thing 
         together, I don't care, it's none of 
         my business... But I want to see 
         Mary. I want her to tell me she's 
         all right and it's none of my 
         business. Then I'll go back to Phoenix 

 She stops, the anxiety and fear building up in her, her eyes 
 beginning to fill with worried tears. Sam studies her for a 
 moment, then turns and calls:

         Bob? Run out and get yourself some 

         It's okay, Sam, I brought it with 

         Run out and eat it.

 Bob gets the message, goes out through the back way.

 Sam goes closer to Lila, speaks with soft seriousness.

         What thing?


         What thing could we be in together?

                 (A pause)
         I hate tears.
                 (Takes out hankie)

         Is Mary... in trouble?


         Well why didn't she come to me...  
         call me...?

         Not that kind...
                 (Almost a smile)
         You men and your egos.

         Never mind my ego. Let's talk about 

 Their attention is distracted by a man who has strolled 
 quietly into the room. He ignores them, walks past them, 
 goes behind the counter, takes down a sign reading "CLOSED 
 FOR LUNCH," walks back to the door, closes door, hangs the 
 sign across the door window, locks the door, turns to Sam 
 and Lila, folds his arms, smiles a particularly unfriendly 

         Let's all talk about Mary.

         Who are you, friend?

         Milt Arbogast, Private Investigator.
                 (To Lila)
         Where is she, Miss Crane?

         I don't know.

         Wouldn't have been able to tail you 
         if you did.

         What's your interest?


 There is a moment's silence and then, unable to tolerate the 
 sudden frightening happenings, Sam explodes.

         Somebody better tell me what's going 
         on and tell me fast! I can take so 
         much and then...

                 (Interrupting calmly)
         Your girl friend stole forty thousand 

 Sam looks at Arbogast in utter shock and in that state asks 
 one of those seemingly ridiculous questions.


                 (An almost amused 
         Must've needed it.

         What are you talking about?
                 (To Lila)
         What is this?

         She was supposed to bank it, on 
         Friday, for her boss. She didn't.

 And no one has seen her since.

                 (Looking at Sam)
         Someone has seen her. Someone always 
         sees a girl with forty thousand 
                 (To Sam)
         She is your girl friend, isn't she?

         Sam, they don't want to prosecute, 
         they just want the money back. It 
         was all in cash...

                 (Correcting with 
                 Cassidy's word)

         Sam, if she's here...

         She isn't!

 A real look of anguish comes into Lila's face. And Arbogast 
 studies it, then speaks.

         You came up here on a hunch, Miss 
         Crane? Nothing more? No phone call... 
         from him, or from your sister herself?

         Not even a hunch. Just hope.

         With a little checking, I could get 
         to believe you.

         I don't care if you do or... I want 
         to see Mary... before she gets in 
         any deeper...

         Did you check in Phoenix... 
         hospitals... maybe she had an 
         accident... a hold-up...

         She was seen leaving town in her 
         car. Seen by her very victims, I 
         might add.

                 (after a moment)
         I don't believe it.
                 (to Lila, slowly)
         Do you?

                 (a thoughtful pause)
         Yes... I just... did. The moment 
         they told me...

         You might have doubted for say five 
         minutes or so, Sister.

 Lila turns from Sam, a flush of guilt and regret in her face. 
 Arbogast looks at her, quiet sympathetically.

         We're always quickest to doubt people 
         who have a record for being honest.  
         I think she's here, Miss Crane. Where 
         there's a boyfriend...
                 (Trails off, smiles 
         She won't be back there among the 
         nuts and bolts... but she'll be in 
         this town... somewhere. I'll find 

 He nods, takes down the closed-for-lunch sign, sails it to 
 the counter, opens door, goes out into the street.

 After a quiet moment:

         I just listened... and believed 
         everything they told me. 'She stole 
         the money.' 'We don't want to get 
         her in trouble.' 'No don't bring the 
         police in'...

         It was her boss' idea not to report 
         it to the police?

         No. The man whose money she... he 
         talked so loud and fast, and I... I 
         should've called the police.

         He must have had a darn good reason 
         for wanting them kept out of it...  
         All that cash...

         I ought to call the police right 


         Why not? Sam, is she hiding here?  
         Are you two planning to go away with 
         the money?

         How could I go away? I'm in debt up 
         to my...
                 (Smiles at the 
                 incongruity of his 
                 reply, then goes 
         If she did steal that money...  It's 
         hard to believe she did because it's 
         hard to see why she would. Unless 
         she had some wild idea that it would 
         help me... us...

         She haven't even called you?

         I didn't see her... and I didn't 
         hear from her! Believe that!

         I need to... I need to believe 
         something. This is the first time 
         I've ever come up against anything I 
         couldn't... understand.

         You've led a charmed life.

         No. I just think... anything can be 
         explained. But Mary, doing a thing 
         like this... I don't know how to 

         Maybe we can handle it together.
                 (He smiles 

                 (A rueful shrug)
         I came flying up here expecting to 
         get some explanation... for all I 
         know, she may be trying to get in 
         touch with me, at home. I'd better 
         go home.

                 (A thoughtful pause)
         I think she'll contact me if she 
         contacts anybody. Why don't you stay 
         here. When she shows up... or calls... 
         be here.

                 (A long study, her 
                 suspicion of him 
         You want me to stay here?

         She'll need both of us.

                 (considers, then:)
         Where... can I stay?

         First rate hotel, fifty yards up the 
         street. Come on.
                 (as he reaches for 
                 the closed-for-lunch 
         After we check you in we'll go to 
         the drugstore and get you a sandwich. 
         Then we'll come back here... and 

 He hangs the sign on the door, ushers Lila out, closes door 
 behind him.

...continue to part 5