Scripts: Psycho (revised draft, 01/Dec/1959) - part 6
FADE IN
INT. BACK ROOM OF HARDWARE STORE - (NIGHT)
Lila is sitting close by the phone, and looks as if she hasn't
moved from it in the last hour. Sam is pacing, occasionally
stopping at the window, glancing out, pacing again. The ash
tray close to Lila is filled.
There is a thick atmosphere of smoke, tension and weariness
in the small, otherwise cozy room.
SAM
(at window, quietly)
Sometimes Saturday night has a lonely
sound. Ever notice, Lila?
LILA
(unable to keep up
small talk)
Sam. He said an hour. Or less.
SAM
It's been three.
LILA
Are we just going to go on sitting
here?
SAM
(suddenly cheerful)
He'll be back. Let's sit still and
hang on, okay?
LILA
You have an awfully nice habit, Sam.
SAM
Hundreds! Which one is your pet?
LILA
Whenever I start contemplating the
panic button, your back straightens
up and your eyes get that God-looks-
out-for-everybody look and... I feel
better.
SAM
I feel better when you feel better.
LILA
(a pause - then she
rises)
Where's the old highway?
SAM
You want to run out there, bust in
on Arbogast and the sick old lady,
shake her up and maybe spoil
everything Arbogast's been building
for the last three hours.
LILA
Yes.
SAM
That wouldn't be a wise thing to do.
LILA
Patience doesn't run in our family.
Sam, I'm going out there!
SAM
Arbogast said...
LILA
An hour! Or less!
Sam stares at her, frowns in concern over her very real
anxiety, goes to the phone, dials operator.
SAM
(into phone)
Got the number of the motel out on
the old highway? Bates, I think.
(waits)
LILA
Sam! Why call when we can go?
SAM
And maybe pass Arbogast on the road?
(into phone)
Thanks.
He presses down the receiver, releases it, dials Bates'
Motel. The faint other-end ringing tones can be heard,
repeatedly, annoyingly. He waits.
SAM
(to Lila)
Probably on his way back right now.
LILA
Sam, I'm going.
SAM
(hangs up and picks
up his jacket)
You'll never find it.
He starts for the door. Lila follows after him into the store.
INT. STORE
He pauses halfway down, turns, puts his hands on her arms.
SAM
Stay here.
LILA
Why can't I go out there with you?
SAM
(looks at her)
I don't know...
(he collects himself)
One of us has to be here in case
Arbogast's on the way.
LILA
(nervously)
Just wait here?
SAM
(a warm smile)
Contemplate your... panic button.
He hurries down to the street door and out. CAMERA HOLDS on
Lila as she stares after Sam. As she stands alone in the
darkened store, all the hardware seems to take on sinister
shapes.
C.U.
Among some bathroom fittings a nozzle from a shower falls
onto the floor.
MEDIUM SHOT
Lila turns and picks if from the floor and puts it back in
its place. She turns and again looks to the deserted street
with a touch of anxiety. She gives a slight unconscious
shiver.
DISSOLVE TO:
EXT. THE SWAMP - (NIGHT)
Tall and lonely still against the moonlight, the figure of
Norman, silhouetted. He doesn't move, merely stands there at
the edge of the swamp, staring down at the now calm and quiet
face of it.
CUT TO:
EXT. THE MOTEL AND HOUSE - (NIGHT)
All light are out, except the light in Norman's mother's
room. And her figure can be seen sitting in the window,
relaxed in a high-back chair, her face turned into the room.
After a second, we hear the SOUND OF A MOTOR, and then Sam's
small pick-up truck swings into the driveway.
Sam stops the motor, automatically switches off headlights,
pauses as he observes the silence and darkness of the area.
Then he hops out of the cab, goes quickly to the office,
knocks on the door. As he waits for a response, he looks
down the long porch, studies the darkened cabins, knocks
again, louder, looks in the other direction and sees the
house and the figure at the one lit window. He stares a moment
then calls loudly:
SAM
Arbogast?
CUT TO:
EXT. THE SWAMP
The silhouette of Norman. He is still. Over shot, very dimly,
comes the SOUND OF SAM'S VOICE, calling again for Arbogast.
Norman turns slowly until, in silhouette, we see his profile,
his chin lowered furtively as he looks over his shoulder in
the direction of the house. There is silence for a moment,
and then again the SOUND of Sam POUNDING at the door.
DISSOLVE TO:
INT. HARDWARE STORE - (NIGHT)
The store is in darkness, only the glow from the back room
spilling in.
L.S.
With CAMERA placed with its back to the street door, we can
see the distant tiny figure of Lila seated and waiting in
the back room beyond. There is a SOUND of a car pulling up.
The tiny figure jumps up and runs all the way from the back
room down the aisle of hardware and comes into a BIG HEAD.
We see Lila's desperate anxious look.
MEDIUM SHOT
From her viewpoint we see Sam alighting from his truck and
coming toward the door of the store. He enters. He and Lila
exchange quiet glances.
SAM
He didn't come back here?
LILA
(worriedly)
Sam.
SAM
No Arbogast. No Bates. And only the
old lady at home...
(frowning)
A sick old lady unable to answer the
door... or unwilling.
LILA
Where could he have gone?
SAM
Maybe he got some definite lead.
Maybe he went right on...
LILA
Without calling me?
SAM
In a hurry.
LILA
Sam, he called me when he had nothing
definite, nothing but a dissatisfied
feeling. Don't you think he'd have
called if he had anything...
SAM
(interrupting)
Yes. I think he would have.
Lila goes quiet. Sam starts toward the back room, pauses at
the doorway, turns. Lila has remained by the door, looking
out at the street. She feels his pause, turns, and for a
moment they share at each other across the darkened room.
SAM
Let's go see Al Chambers.
LILA
Who's he?
SAM
He's the Deputy Sheriff around here.
As he starts forward.
DISSOLVE TO:
EXT. STREET THE SHERIFF LIVES ON - (NIGHT)
A dark, quiet, tree-ceilinged street, the small neat houses
dim in the moonlight. Sam's pick-up truck comes down the
street, pulls up before the house of Sheriff Chambers. CAMERA
MOVES IN on Sam and Lila as they remain for a moment in the
truck's cab, staring quietly at the sleeping house.
SAM
Our Deputy sleeps.
LILA
Well?
SAM
Nothing. Just... all the lights
out... must be asleep.
LILA
(a small exasperation)
Does that mean we can't...
SAM
No. I'm just procrastinating. People
hate when the doorbell rings in the
middle of the night.
(gives up, starts out)
Come on.
He gets out of cab, goes around to help Lila. She is already
out. CAMERA FOLLOWS them up the small path to the front door.
Sam presses the bell button. Both he and Lila are almost
knocked over by the shocking, clanging, ear-splitting BLAST
OF THE BELL within the house, a ring which sounds more like
a fire alarm than a doorbell.
He tries to smile, fails. Lila doesn't even try. The
downstairs hall light goes on and a moment later the door is
unhesitatingly opened by MRS. CHAMBERS, a small, lively stick
of a woman wrapped in a thick flannel robe and a corona of
hospitality.
MRS. CHAMBERS
Oh?
SAM
Sorry, Mrs. Chambers. I hate bothering
you...
MRS. CHAMBERS
You didn't!
(a cross look up at
the bell)
It's tinkerbell.
(a quick smile at
Lila)
Al wants to be sure he'll hear it if
anyone rings it in the middle of the
night.
(to Sam)
Well come on in, at least!
As she opens the door wide,
CUT TO:
INT. DOWNSTAIRS HALL OF SHERIFF'S HOUSE - (NIGHT)
Fat roses splatter the wallpaper. The stairs are carpeted.
The lighting is bright.
There is a perfectly fitting wall phone by the parlor arch.
Mrs. Chambers goes to the stairway, yells up.
MRS. CHAMBERS
Albert!
(a tiny wait, a smile
as Sam and Lila enter)
Al Chambers!
Sam is about to close the door behind him. Mrs. Chambers
motions for him not to, scurries across the hall, leans
outside, presses the doorbell. The RING within the house is
even more shattering. She closes the door, starts to the
stairway, pauses as the SOUNDS of movement above COME OVER
SHOT.
MRS. CHAMBERS
Customers!
SHERIFF CHAMBERS comes down the stairs, in a bathrobe which
matches his wife's. He is a tall, narrow man with a face
originally destined for Mount Rushmore. He nods at Sam, looks
at him with wide-awake eyes and a no-nonsense concern.
SAM
We have a problem.
MRS. CHAMBERS
(to Lila)
Let's go out back and have some coca
while the men are talking.
LILA
No, thank you. It's my problem, too.
SAM
I don't know where to start...
(a look at Lila)
Except at the beginning.
LILA
Yes.
SAM
(to Sheriff)
This is Lila Crane, from Phoenix.
She's been here for a few days,
looking for her sister. There's a
private detective helping... and,
well, we got a call tonight, from
this detective, saying he'd traced
Mary...
MRS. CHAMBERS
Mary is Lila's sister?
SAM
Yes. He traced her to that motel,
out on the old highway...
MRS. CHAMBERS
(to the Sheriff)
Bates' Motel.
(to Lila)
He has a mind like a mechanical brain
and the more information you feed
it... Go on, Sam.
SAM
He traced her there and called us to
say he was going to question Mrs.
Bates...
MRS. CHAMBERS
(a pleasant shock)
Norman took a wife?
SAM
No. An old woman, his mother.
(to Sheriff, quickly)
That was early this evening. And we
haven't seen or heard from him since.
I went out to the motel, just got
back. No one was in the office, and...
LILA
(interrupting,
anxiously)
Will you help us? I think something's
wrong out there!
SHERIFF
(after a considerate
pause)
Now. Your sister is missing how long?
LILA
She left Phoenix a week ago yesterday.
And no trace until...
SHERIFF
How'd you and this detective come to
trace her to Fairvale?
SAM
They thought she'd be coming to me.
SHERIFF
Left Phoenix under her own steam?
LILA
Yes.
SHERIFF
(a pause)
She ain't missing so much as she's
run away.
SAM
Yes.
SHERIFF
From what?
LILA
(a look at sam, then:)
She stole some money.
SHERIFF
A lot?
LILA
Forty thousand dollars.
SHERIFF
And the police haven't been able
to...
SAM
(interrupting)
Everyone concerned thought... if
they could get her to give back the
money... they could avoid involving
her with the police.
SHERIFF
Explains the private detective. He
traced her to the Bates place. What'd
he exactly say when he called you?
LILA
Mary had been there, one night, and
had left.
SHERIFF
With the forty thousand dollars?
LILA
He didn't mention the money.
(anxiously)
What he said on the phone isn't
important, is it? He was supposed
to come back after he spoke to the
mother, and he didn't! That's what I
want you to do something about!
SHERIFF
Like what?
LILA
Go out there! Find somebody, ask
some questions!
(a pause)
I'm sorry if I seem over-anxious to
you. I keep thinking... something's
wrong. I have to know what!
SHERIFF
I think something's wrong, too, Miss.
But not the same thing. I think your
private detective is what's wrong.
(As Lila is about to
object)
I think he got himself a hot lead as
to where your sister was going...
probably from Norman Bates... and
called you to keep you still while
he took off after her and the money.
LILA
He said he was dissatisfied... and
was going back.
MRS. CHAMBERS
(to Sheriff)
Why don't you call Norman and let
him say just what happened, if he
give the man a hot lead and he did
just scooted off... it'll make the
girl feel better, Albert.
SHERIFF
At this hour?
SAM
He was out when I was there. If he's
back he probably isn't even in bed
yet.
SHERIFF
He wasn't out when you were there.
He just wasn't answering the door in
the dead of night... like some people
do. This fellow lives like a hermit...
MRS. CHAMBERS
Recluse. Kinder word.
SHERIFF
(to Sam)
You must remember that bad business
out there. About ten years ago...
SAM
I've only been here five. Right now
it feels like ten, but...
LILA
All right! Then call! At least, call!
Mrs. Chambers goes to phone, dials operator.
MRS. CHAMBERS
(into phone)
Florrie, the Sheriff wants you to
connect him with the Bates Motel.
She hands the receiver to the Sheriff. He takes it,
reluctantly, listens to the dim sound of RINGING on the other
end. After a moment:
SHERIFF
(into phone)
Norman? Sheriff Chambers.
(listens)
Been just fine, thanks. Listen, we
got some worries here. Did you have
a man stop out there tonight...
(listens)
Well, this one wouldn't be a customer,
anyway. A private detective, name
of...
MRS. CHAMBERS
Arbogast.
SHERIFF
(into phone)
Arbogast.
(listens)
And after he left?
(listens)
No, it's okay, Norman. How's it been
going out there?
(listens)
Well, I think you oughta unload that
place and open up closer in to the
action, a smaller place, you know...
but...
LILA
Please!
SHERIFF
(into phone)
Sorry I got you up, boy. Go back to
sleep. Yeah, be glad to.
(hangs up, turns to
Mrs. Chambers)
Said to give you his regards.
SAM
(faint irony)
Was that all?
SHERIFF
This detective was out there and
Norman told him about the girl and
the detective thanked him and went
away.
LILA
And he didn't go back? Didn't see
the mother?
The Sheriff looks long at Lila, shakes his head
sympathetically.
SHERIFF
You should've called in the police
the second you found your sister has
skipped. You go starting private
investigations, using people you
don't even know...
LILA
What difference does that...
SHERIFF
Your Detective told you a nakedfaced
lie.
MRS. CHAMBERS
Barefaced.
SHERIFF
He told you he wasn't coming right
back cause he wanted to question
Norman Bates' mother, right?
LILA
Yes.
SHERIFF
(a pause, then calmly)
Norman Bates' mother has been dead
and buried in Greenlawn Cemetery for
the last ten years!
There is a long silence. Sam and Lila stare at the Sheriff.
MRS. CHAMBERS
I helped Norman pick out the dress
she was buried in. Periwinkle blue.
SHERIFF
It ain't only local history, Sam,
it's the only murder-and-suicide
case in Fairvale ledgers! Mrs.
Bates poisoned this guy she was...
involved with, when she found out he
was married, then took a helping of
the same stuff herself. Strychnine.
Ugly way to die.
MRS. CHAMBERS
Norman found them dead together. In
bed.
SAM
You mean that old woman I saw sittin'
in the window wasn't Norman Bates'
mother?
MRS. CHAMBERS
(hopefully, happily)
Maybe you saw Mary!
SAM
I'd know the difference between Mary
and an old woman.
SHERIFF
Now wait a minute, Sam. You sure you
saw an old woman?
SAM
Yes! In the house behind the motel.
I pounded and called but she... just
ignored me.
SHERIFF
And you want to tell me you saw Norman
Bates' mother.
LILA
It must've been. Arbogast said so,
too... and he said the young man
wouldn't let him see her because she
was ill!
The Sheriff stares at both of them, and when he finally speaks
there is an almost inaudible tone or irony in his voice.
SHERIFF
Well, if the woman up there is Mrs.
Bates... who's that woman buried out
at Greenlawn Cemetery?
...continue to part 7
