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.
C.U. - THE NAME "SAMUELS"
M.S. - NORMAN
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.
NORMAN'S VIEWPOINT
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.
NORMAN - ECU
He watches as Mary removes her bra. We see his eye run up
and down the unseen figure of Mary.
NORMAN'S VIEWPOINT
Mary, just slipping into a robe, covering her complete nudity.
NORMAN
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...
THE HOUSE IN THE BACKGROUND
NORMAN
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:
EXT. THE MOTEL OFFICE PORCH - (NIGHT)
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:
INT. MARY'S MOTEL ROOM - (NIGHT)
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.
INT. MARY IN SHOWER
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:
MARY - ECU
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.
THE SLASHING
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.
REVERSE ANGLE
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:
THE DEAD BODY
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.
CLOSE UP - THE NEWSPAPER
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:
EXT. THE PATH - (NIGHT)
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
room.
INT. MARY'S CABIN - (NIGHT)
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.
FRESH ANGLE - BEHIND NORMAN
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.
EXT. THE HOTEL PORCH - (NIGHT)
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.
INT. MARY'S CABIN
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.
CLOSE SHOT
We see his hands being washed, see the bloodstains being
diluted and washed away by the gush of the faucet water.
NORMAN
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.
INT. MARY'S 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.
EXT. THE PORCH
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.
INT. MARY'S ROOM
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
out.
EXT. THE PORCH
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:
EXT. THE SWAMP - (NIGHT)
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.
NORMAN'S VIEWPOINT - THE BLACK SKY
We see no plane. The SOUND of the motor is beginning to
diminish.
CUT BACK TO:
NORMAN
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:
CLOSE UP NORMAN
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
stairs.
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.
EXT. A LONG SHOT OF THE OLD HOUSE - (NIGHT)
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
INT. BACK ROOM OF SAM'S HARDWARE STORE IN FAIRVALE - (DAY)
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
painless.
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:
LILA
Sam?
SUMMERFIELD
You want to see Sam?
LILA
Sam Loomis.
SUMMERFIELD
(yelling toward back
room)
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
expression.
SAM
Yes?
LILA
May I talk to you?
SAM
(a bit mystified)
Sure...
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:
LILA
I'm Mary's sister.
SAM
Lila.
LILA
(quickly)
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.
SAM
Is something wrong?
LILA
I want to know if my sister is here.
SAM
Here?
LILA
With you.
SAM
Where?
LILA
I don't know where. In your store,
somewhere in your town... anywhere.
SAM
What's the matter?
LILA
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.
SAM
What should I know?
LILA
To begin with, where Mary is. Do
you?
SAM
No. I take it you don't either?
(As Lila shakes her
head)
How long?
LILA
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.
SAM
And you thought she'd come up here,
to me? If she had, what reason would
she have for not calling you?
LILA
A good reason, I suppose.
SAM
(Slightly exasperated)
Well what do you think, we eloped or
something? Or we're living in sin
and...
LILA
Mr. Loomis, you're so busy being
defensive that you haven't even
reacted to the most serious fact of
all. Mary is missing.
SAM
I was getting to that!
LILA
What do you know about it?
SAM
Nothing! You're putting me on the
defensive.
LILA
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
and...
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:
SAM
Bob? Run out and get yourself some
lunch.
SUMMERFIELD
It's okay, Sam, I brought it with
me.
SAM
Run out and eat it.
Bob gets the message, goes out through the back way.
Sam goes closer to Lila, speaks with soft seriousness.
SAM
What thing?
LILA
Huh?
SAM
What thing could we be in together?
LILA
(A pause)
I hate tears.
(Takes out hankie)
SAM
Is Mary... in trouble?
LILA
Yes.
SAM
Well why didn't she come to me...
call me...?
LILA
Not that kind...
(Almost a smile)
You men and your egos.
SAM
(Seriously)
Never mind my ego. Let's talk about
Mary.
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
smile.
ARBOGAST
Let's all talk about Mary.
SAM
Who are you, friend?
ARBOGAST
Milt Arbogast, Private Investigator.
(To Lila)
Where is she, Miss Crane?
LILA
I don't know.
ARBOGAST
Wouldn't have been able to tail you
if you did.
SAM
What's your interest?
ARBOGAST
Money.
There is a moment's silence and then, unable to tolerate the
sudden frightening happenings, Sam explodes.
SAM
Somebody better tell me what's going
on and tell me fast! I can take so
much and then...
ARBOGAST
(Interrupting calmly)
Your girl friend stole forty thousand
dollars.
Sam looks at Arbogast in utter shock and in that state asks
one of those seemingly ridiculous questions.
SAM
Why?
ARBOGAST
(An almost amused
smile)
Must've needed it.
SAM
What are you talking about?
(To Lila)
What is this?
LILA
She was supposed to bank it, on
Friday, for her boss. She didn't.
And no one has seen her since.
ARBOGAST
(Looking at Sam)
Someone has seen her. Someone always
sees a girl with forty thousand
dollars.
(To Sam)
She is your girl friend, isn't she?
LILA
Sam, they don't want to prosecute,
they just want the money back. It
was all in cash...
ARBOGAST
(Correcting with
Cassidy's word)
Casharoonie!
LILA
Sam, if she's here...
SAM
She isn't!
A real look of anguish comes into Lila's face. And Arbogast
studies it, then speaks.
ARBOGAST
You came up here on a hunch, Miss
Crane? Nothing more? No phone call...
from him, or from your sister herself?
LILA
(wearily)
Not even a hunch. Just hope.
ARBOGAST
With a little checking, I could get
to believe you.
LILA
(anxiously)
I don't care if you do or... I want
to see Mary... before she gets in
any deeper...
SAM
Did you check in Phoenix...
hospitals... maybe she had an
accident... a hold-up...
ARBOGAST
She was seen leaving town in her
car. Seen by her very victims, I
might add.
SAM
(after a moment)
I don't believe it.
(to Lila, slowly)
Do you?
LILA
(a thoughtful pause)
Yes... I just... did. The moment
they told me...
SAM
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.
ARBOGAST
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
encouragingly)
She won't be back there among the
nuts and bolts... but she'll be in
this town... somewhere. I'll find
her.
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:
LILA
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'...
SAM
It was her boss' idea not to report
it to the police?
LILA
No. The man whose money she... he
talked so loud and fast, and I... I
should've called the police.
SAM
He must have had a darn good reason
for wanting them kept out of it...
All that cash...
LILA
I ought to call the police right
now!
SAM
No.
LILA
Why not? Sam, is she hiding here?
Are you two planning to go away with
the money?
SAM
How could I go away? I'm in debt up
to my...
(Smiles at the
incongruity of his
reply, then goes
serious)
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...
LILA
She haven't even called you?
SAM
I didn't see her... and I didn't
hear from her! Believe that!
LILA
I need to... I need to believe
something. This is the first time
I've ever come up against anything I
couldn't... understand.
SAM
You've led a charmed life.
LILA
No. I just think... anything can be
explained. But Mary, doing a thing
like this... I don't know how to
handle...
SAM
Maybe we can handle it together.
(He smiles
encouragingly)
LILA
(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.
SAM
(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.
LILA
(A long study, her
suspicion of him
evaporating)
You want me to stay here?
SAM
She'll need both of us.
LILA
(considers, then:)
Where... can I stay?
SAM
(brightly)
First rate hotel, fifty yards up the
street. Come on.
(as he reaches for
the closed-for-lunch
sign)
After we check you in we'll go to
the drugstore and get you a sandwich.
Then we'll come back here... and
wait.
He hangs the sign on the door, ushers Lila out, closes door
behind him.
...continue to part 5
