Scripts: Psycho (revised draft, 01/Dec/1959) - part 5
EXT. STREET - (DAY)
They emerge from the store and walk along to the hotel. As
they enter, Arbogast is in the act of taking over a white
Ford sedan from a rental car man. They glance at him and he
returns a cynical look.
DISSOLVE TO:
EXT. HOTEL - (DAY)
Outside another hotel we see Arbogast alight from the white
car and go into new hotel.
DISSOLVE TO:
EXT. COUNTRYSIDE - (DAY)
The white car speeding along the highway.
DISSOLVE TO:
EXT. NEW MOTEL - (DAY)
Arbogast going into the office - we see the sign above him.
DISSOLVE TO:
EXT. BATES' MOTEL - (DAY)
A high shot showing the freeway and Bates house and motel on
the side old highway. A pause and then across the bottom of
the picture a white car speeds by on the freeway.
DISSOLVE TO:
EXT. HOTEL - (DUSK)
Another Hotel. Arbogast goes in.
DISSOLVE TO:
EXT. BATES' MOTEL - (DAY)
The white car speeding along the freeway again going in the
opposite direction to last time. Norman, a tiny figure, is
seen going up the steps to his mother's house.
DISSOLVE TO:
EXT. BOARDING HOUSE - (DAY)
Arbogast's search is getting down in the scale. This is an
entrance to a cheesy boarding house. "Rooms to Rent," etc.
He looks at his list and then goes in.
DISSOLVE TO:
EXT. BATES' MOTEL - (DAY)
The white car goes by on the freeway again.
DISSOLVE TO:
EXT. ROOMING HOUSE - (DAY)
Arbogast goes in.
DISSOLVE TO:
EXT. BATES' MOTEL - (TWILIGHT)
Heavy traffic on the freeway. A beat or two - again the white
car. It slows up opposite the distant motel. It makes a turn
and goes back out of scene. A pause and it reappears on the
old road and slowly makes its way toward the Bates' Motel.
EXT. THE BATES' HOUSE AND MOTEL - (TWILIGHT)
We now see Norman. He has brought out an old rocking chair
and has placed it on the office porch and is sitting hunched
in it. And he is darning one of his own socks. CAMERA HOLDS.
Beyond the porch, and Norman, we see the old house and can
barely make out, in the twilight dimness, the figure of his
mother seated at the window. Here, too, there is that quality
of quiet peace surrounded by a vague foreboding.
Now Norman looks up at the SOUND of the approaching car.
And continues looking as the car comes to a stop and Arbogast
gets out. Arbogast gives the place a quick once-over, gazes
at Norman, starts forward. In his steps and manner there is
that bored, routine-logged quality of a man who has seen too
many motels and asked question of too many hotel managers
over too short a period of time.
Norman rises as Arbogast comes forward.
NORMAN
(shoving sock in his
pocket)
I always forget to put the sign on,
but we do have vacancy.
(Cheerfully)
Twelve in fact. Twelve cabins, twelve
vacancies.
ARBOGAST
(pleasantly)
In the past two days I've been to so
many motels, my eyes are bleary with
neon. This is the first one that
looked like it was hiding from the
world at large.
NORMAN
I don't really forget the sign, it
just doesn't seem... any use.
(Points)
This used to be the main highway.
(Starts for office)
Want to register, please?
ARBOGAST
Sit down. I don't want to trouble
you, just want to ask...
NORMAN
No trouble. Today's linen day. I
change all the beds once a week,
whether they've been used or not...
dampness. I hate the smell of
dampness.
(Opening office door)
It's such a dank smell.
Norman is holding the door open, so Arbogast walks in.
Norman follows.
INT. MOTEL OFFICE - (TWILIGHT)
Norman switches on the overhead light, starts for the linen
closet, suddenly pauses, turns, studies Arbogast, who has
remained standing by the door.
NORMAN
You out to buy a motel?
ARBOGAST
No.
NORMAN
Oh. I thought... you said you'd been
to so many in two days... What was
it you wanted to ask?
ARBOGAST
I'm looking for a missing person.
(takes out and opens
wallet and extends
it as he speaks)
My name's Arbogast, private
investigator...
(takes back wallet
when Norman doesn't
look at it)
Trying to trace a young girl who's
been missing almost a week. From
Phoenix.
(A look at Norman's
frightened expression)
It's a private matter... family wants
to forgive her...
(smiles)
She isn't in trouble.
NORMAN
(forcing a smile)
I didn't think the police went
searching for people who weren't in
trouble.
ARBOGAST
I'm not the police.
NORMAN
Oh.
He waits a moment, then opens closet, starts counting out
sheets and pillow cases, keeps his back to Arbogast.
Arbogast takes a photograph out of his pocket, talks as he
crosses to Norman.
ARBOGAST
We have reason to believe she came
this way... might have stopped in
this area...
(extends photograph,
which Norman doesn't
glance at)
Did she stop here?
NORMAN
No. No one has stopped here in
weeks...
ARBOGAST
Mind looking at the picture before
committing yourself?
NORMAN
Committing myself to what? You sure
talk like a Policeman.
ARBOGAST
Look at the picture. Please.
Norman glances, briefly, turns away, lifts sheets and pillow
cases off the shelf holds them close, almost protectively.
NORMAN
No. At least I don't recall.
ARBOGAST
She might have used an alias. Mary
Crane's the real name, but she
might've registered...
NORMAN
(interrupting)
I don't even bother with guests
registering any more... I mean, little
by little, you drop the formalities.
(more relaxed, because
Arbogast is listening
with a pleasant smile)
I shouldn't even bother to change
the linen. I guess habits die hard.
Which reminds me...
He goes to the wall, flips a light switch.
NORMAN
The vacancy sign. Just in case.
We had a couple the other night, said if the sign hasn't
been on they'd have thought this was an old deserted mining
town or something.
ARBOGAST
Now there's a couple even remarking
about your sign, and see how easily
you forgot them?
NORMAN
What?
ARBOGAST
You thought no one has stopped here
in weeks. Now, try to remember if
this girl...
ARBOGAST
(A pause, a study)
Maybe she even signed the register...
because habits die hard. Let's check
it, huh?
Norman says nothing. Arbogast goes to the desk, pulls the
registry book around, flips back a page or two.
Norman simply stares at the man. Arbogast hums faintly,
pleasantly, as he examines the pages. Then:
ARBOGAST
Yes sir! Marie Samuels. Interesting
alias.
He takes a slip of paper out of his pocket, lays it beside
the signature in the registry book, all the while nodding
and smiling nicely, as if this discovery will make Norman as
happy as it is making him.
ARBOGAST
Don't know where she got "Marie,"
but "Samuels" figures. Her boy
friend's name is Sam.
(Turns to Norman, the
smile gone)
Was she in disguise? Or do you want
to check the picture again?
NORMAN
I didn't lie to you. I just have
trouble keeping track of... time.
Arbogast has reached him, the picture extended. Norman looks
dutifully at it.
NORMAN
It was raining and her hair didn't
look like that... damped out, I guess.
ARBOGAST
Tell me all about her.
NORMAN
She arrived kind of late, wet and
hungry and she was very tired and
went right to bed and left early.
ARBOGAST
How early?
NORMAN
Very early. Dawn.
ARBOGAST
Of which morning?
NORMAN
The following morning. Sunday.
ARBOGAST
No one met her?
NORMAN
No.
ARBOGAST
Or arrived with her.
NORMAN
No.
ARBOGAST
She didn't call anyone? Even locally?
NORMAN
No.
ARBOGAST
You didn't spend the whole night
with her did you?
NORMAN
No! Of all...
ARBOGAST
How do you know she didn't make a
call?
NORMAN
She was tired. She said she had a
long drive ahead of her, in the
morning... Yes, now I'm remembering
very clearly because I'm picturing.
When you make a picture of the moment
in your mind, you can remember every
detail. She was sitting back there,
no she was standing up, with some
sandwich still in her hand, and she
said she had to drive a long way.
ARBOGAST
Back where?
NORMAN
What do you mean?
ARBOGAST
You said she was sitting "back there,"
or standing rather...
NORMAN
Oh. My private parlor. She had an
awful hunger... so I made her some
supper. And then she went to bed and
left in the morning. I didn't even
see her leave.
ARBOGAST
How did she pay you?
NORMAN
What?
ARBOGAST
Cash or check? For the cabin...
NORMAN
Cash.
ARBOGAST
And when she left, she never came
back.
NORMAN
Why should she? I'm sorry, I have
work to do, Mr... if you don't mind...
ARBOGAST
I do mind. If it don't jell, it ain't
aspic!
(smiles)
This ain't jelling.
NORMAN
I don't know what you expect me to
know about... people come and go...
ARBOGAST
She isn't still here, is she?
NORMAN
Not at all!
ARBOGAST
Suppose I wanted to search the cabins,
all twelve... would I need a warrant?
NORMAN
(as if pleasantly
exasperated)
Look, if you won't believe me, go
ahead. You can help me make beds if
you like.
(laughs, shakes his
head)
Come on.
He starts out. Arbogast pauses, momentarily confused by the
young man's openness.
CUT TO:
EXT. THE MOTEL PORCH - (NIGHT)
Norman walks down the porch, hesitates before Cabin One,
walks on a bit toward Cabin Two, stops, turns to see if
Arbogast is following. Arbogast has come out onto the porch,
but is not following. He has walked to the opposite end of
the porch and is standing at its edge, looking up at the old
house. The upstairs window is in darkness. The neon of the
Vacancy and Motel signs splash strange light over the scene.
NORMAN
Change your mind?
Arbogast does not reply. Norman becomes apprehensive, starts
to Arbogast, forcing himself to remain calm and cheerful.
NORMAN
I guess I've got one of those faces
you can't help believing.
ARBOGAST
(to Norman, but
continuing to stare
at the house)
Anyone at home?
NORMAN
I live there. Alone.
ARBOGAST
Someone is sitting in that window.
NORMAN
My mother.
Arbogast turns, gazes seriously at him.
NORMAN
She's... ill. Confined to her room.
It's practically living alone.
ARBOGAST
(after a pause)
If this girl Mary Crane were here,
you'd have no reason to hide her
would you?
NORMAN
Of course not.
ARBOGAST
If she paid you well?
NORMAN
Now, look...!
ARBOGAST
Or if she had you say... gallantly
protecting her... you wouldn't be
fooled... you'd know she was just
using you. Wouldn't you?
NORMAN
I'm not a fool! And I'm not capable
of being fooled! Not even by women!
ARBOGAST
I didn't mean that as a slur on your
manhood. I'm sorry.
NORMAN
(disturbed now)
That's all right. maybe she could
have fooled me. But...
(a rueful smile)
She didn't fool my mother.
ARBOGAST
Your mother met her?
(quickly)
Can I talk to your mother?
NORMAN
No. I told you, she's confined...
ARBOGAST
Just for a moment. She might have
picked up a hint you'd miss.
ARBOGAST
Sick old women are sharp. Come on, I
won't disturb...
NORMAN
No! Just no! I have one of those
breaking points like any other man,
believe it or not, and I'm near it.
There's just so much pushing I can
take and I think...
ARBOGAST
All right!
(starts away, toward
his car, pauses)
Might save me a lot of leg-work if I
could just talk to your mother. But
I'd need a warrant for that, won't
I?
Norman does not respond. Arbogast gets in his car, starts
the motor. Norman looks up, studies the man's face, his own
face showing apprehension. Arbogast backs the car around
very slowly, his gaze divided between the old house and the
lighted window of Cabin Two. As he turns the car out, his
headlights light up the porch.
Norman stands, watching him drive away.
EXT. PHONE BOOTH - (NIGHT)
The car pulls up and Arbogast gets out of car, leaving motor
running. As he starts to walk across the highway, CAMERA
PULLS AWAY and we
CUT TO:
EXT. HIGHWAY WITH TELEPHONE BOOTH - (NIGHT)
Arbogast gets to the phone booth, enters. CAMERA STARTS
FORWARD, and we see Arbogast remove a small notebook from
his pocket, check on a number, drop a dime in the slot and
dial this number. As we reach phone booth,
CUT TO:
ARBOGAST
(into phone)
Miss Crane, please.
(listens)
She leave a number?
(listens)
Thanks.
(hangs up, dials again,
waits)
Lila there, Mr. Loomis? Arbogast.
(waits)
Lila? Look, this isn't much, but it
might make you feel a little better.
Mary was up here. Spent last Saturday
night at Bates' Motel, out here on
the old highway.
(listens)
Young fellow runs it, said Mary spent
the night, left, period!
(listens)
I did question him, believe me. I
think I got all there was to get.
Just have to try to pick up the scent
from here.
(listens)
Well... maybe that's because I don't
feel entirely satisfied. He's got a
sick old mother, confined type, and
I think she saw Mary and talked to
her. Shame, too... confined old women
love to talk to strangers.
(listens)
I was, but I think I'll go back to
the motel, first.
(listens)
No, you stay put, Lila. With Loomis.
I should be back in an hour.
(listens)
All right. And Lila... You'll be
happy to know what I think. I think
our friend Sam Loomis didn't even
know Mary was here.
(smiles)
See you in an hour. Or less.
He hangs up, gets out of the phone booth.
DISSOLVE TO:
EXT. BATES' MOTEL - (NIGHT)
A distant view of the House and Motel. There is a light on
in the house. There is also a light on in Norman's office.
We see Norman emerge from his office and move along the porch
toward the distant cabins. He carries sheets on his arm. He
goes into the last cabin and switches the light on. Into the
foreground the hood of the white Ford enters the scene and
stops. Arbogast gets out. He goes over to the Motel office.
EXT. MOTEL OFFICE - (NIGHT)
Arbogast goes in.
INT. OFFICE - (NIGHT)
Arbogast looks around the empty office and calls.
ARBOGAST
Bates!
He goes over to the door to the parlor and enters. He looks
around the bird-ridden room. He stops short as he sees:
C.U. - THE OLD SAFE IN THE CORNER
C.U. - ARBOGAST
goes over to it. He finds it unlocked. With a quick, cautious
look around he opens it.
C.U. - THE EMPTY SAFE
C.U. - ARBOGAST
straightens up and goes out.
EXT. MOTEL OFFICE - (NIGHT)
Arbogast comes out and looks off. He sees:
THE LAST LIT CABIN
The door ajar.
C.U. - ARBOGAST - (NIGHT)
would go along but he stops with a new thought. He turns
around and looks off.
L.S. - THE OLD HOUSE FROM HIS VIEWPOINT - (NIGHT)
C.U. - ARBOGAST
comes to a decision. He goes off.
L.S. ARBOGAST
dashes up the stone steps to the House.
MEDIUM SHOT
CAMERA HOLDS as Arbogast goes up onto the porch. The house
is dark within except, as we can now see, for a faint spill
of light in the foyer, light which comes from the upstairs
hall. Arbogast goes to the living room window, looks in,
sees only darkness. Then he goes to the door, listens for
along moment, hears nothing.
Very slowly, almost painfully, he turns the knob of the door
and pushes gently with his arm and shoulder. The door begins
to open. He allows it to open just enough for him to slip
through and into the foyer.
CUT TO:
INT. FOYER OF BATES' HOUSE - (NIGHT)
Arbogast gradually eases the door closed, stands against it,
waiting. He looks up in the direction of the light, sees no
one. The door at the head of the stairs is closed. Arbogast
listens, holds his breath, hears what could be human sounds
coming from upstairs but realizes these could also be the
sounds of an old house after sunset. After a careful wait,
he crosses to the stairs, starts up, slowly, guardedly,
placing a foot squarely on each step to test it for squeaks
or groans before placing his full weight on it. CAMERA
FOLLOWS, remaining on floor level but TRAVELLING ALONG the
stairway as Arbogast makes his way up.
CUT TO:
EXTREMELY HIGH ANGLE
INT. STAIRWAY AND UPSTAIRS LANDING
We see Arbogast coming up the stairs. And now we see, too,
the door of the mother's room, opening, carefully and slowly.
As Arbogast reaches the landing, the door opens and the mother
steps out, her hand raises high, the blade of an enormous
knife flashing.
C.U. - A BIG HEAD OF AN ASTONISHED ARBOGAST
The knife slashes across his cheek and neck. Blood spurts.
The sudden attack throws him off balance. He stumbles back
and staggers down the whole of the staircase. He frantically
gropes for the balustrade as he goes backwards down the
stairs. The CAMERA FOLLOWS him all the way. A wicked knife
keeps thrusting itself into the foreground. As he collapses
at the bottom, the black head and shoulders of Mrs. Bates
plunges into the foreground as the CAMERA MOVES IN to contain
the raising and descending murder weapon.
FADE OUT
...continue to part 6
