Bates Motel

TEASER:

INT. BOY’S BEDROOM - DAY

OVERHEAD SHOT -- The light tells us it’s late afternoon and

we are looking down at a BEAUTIFUL TEENAGE BOY splayed on his

back across his bed -- still dressed like he fell asleep in

his clothes. Completely still -- unconscious? Dead? In the

BG we hear what sounds like DIALOGUE from an old romantic

comedy - David Nivens and Doris Day. We SLOWLY MOVE DOWN AND

CLOSER until we are RIGHT UP AGAINST HIS FACE...

CU ON NORMAN CHARLES BATES

Angelic in sleep. Sixteen years old. Good looking. Refined

features. A sweetness and a sensuality. We HEAR him

breathing. Good, he’s not dead. Soft, even breaths.

Then his eyes open. He just stares for a moment, almost as

if he isn’t sure where he is. Then he slowly sits up. Looks

a little disoriented. Turns off the TV. Was I watching this?

INT. HALLWAY - MOMENTS LATER

Norman walks down the hall. The way it’s shot is STYLIZED.

We see him from the back, shadowed. Then from a LOW ANGLE as

he PASSES BY CAMERA.

CU on his hands -- steadying himself on the wall for a

second. He seems almost dizzy.

Norman’s head tracks past FAMILY PHOTOS on the wall. Old,

black and white photos of hard scrabble depression-era

family members staring out at us hauntingly, like the photos

of Dorthea Lange or Walker Evans.

Further down, the photos get newer. BABY PHOTOS. Other

family members now in COLOR. We land on one photo in

particular -- a MAN and a WOMAN on their wedding day. All

happiness and light...

Norman stops to look at the PHOTO. The wide smiles of the

couple. It’s almost like it takes him out of his trance.

Norman starts to remember where he is. Then, anxious...

NORMAN:

Mom?

2.

INT. KITCHEN - MOMENTS LATER

CLOSE ON TWO POTS ON THE STOVE -- ANGRILY BOILING OVER.

STEAMING WHITE FOAM running down the sides into the FLARING

GAS BURNERS. Dinner ignored. CLOSE ON NORMAN’S HANDS

turning off the BURNERS.

NORMAN:

(where the hell is she)

Mother?

NORMAN’S POV - A FLICKERING LIGHT

What the hell is that? Sputtering on and off, coming through

the door into the house FROM THE GARAGE.

ON NORMAN:

Approaching the open door. Slowly. Not sure what’s

happening. He looks into the garage. STAY ON HIS FACE as he

sees something horrible and heartbreaking...

INT. GARAGE - CONTINUOUS

CLOSE ON A MAN’s FACE...head against the floor...eyes

open...staring...blood pooling on the floor around the back

of his head.

This is SAM BATES (45). PULL BACK SLOWLY to see A HUGE METAL

SHELVING UNIT has FALLEN OVER ON TOP OF HIM...Paint and tools

and hardware all over the place... PAINT PLOPS slowly from

one of the cans onto the floor.

BACK ON SAM’S UNSEEING EYES. We may recognize Sam -- he is

the man in the wedding picture in the hallway...

THE OVERHEAD FLUORESCENT LIGHT was hit by the falling

shelving unit. It is DANGLING on one side and slowly

SWAYING, FLICKERING and HUMMING, trying to stay lit.

CU ON NORMAN’S FACE as he kneels down and touches Sam’s face.

Realizes he’s DEAD.

NORMAN:

(shouting)

Mother!

He jumps up.

3.

INT. HALLWAY - CONTINUOUS

SMASH CUT TO Norman RACING DOWN THE HALLWAY, shot from

EXTREME UP ANGLES. Toward the BEDROOM. We now HEAR A

RUNNING SHOWER...

NORMAN:

MOTHER!

He runs THROUGH HER BEDROOM. HIS FISTS POUND on the BATHROOM

DOOR --

NORMAN (CONT’D)

MOTHER! OPEN THE DOOR!

The DOOR FINALLY OPENS and we see...

NORMA LOUISE BATES

Closing the ROBE she’s just put on -- a quick flash of skin.

Norma is a strikingly beautiful woman in her early forties.

Smart and grounded. At the moment she has a peculiar,

HEARTBROKEN look on her face. Considering the circumstances,

should she not seem more alarmed?

We notice a SCRATCH MARK on her arm. She is nervous and

anxious but makes an effort to speak in an calm tone -

NORMA LOUISE:

What is it, Norman?

Norman is terrified.

NORMAN:

It’s Dad! He’s...

(too upset)

Hurry!

Norman turns and races back toward the garage. We STAY ON

NORMA a beat, watching her son go, bracing herself.

INT. GARAGE - MOMENTS LATER

CLOSE ON THE SHELVING. Norman GROANS like a weightlifter as

he LIFTS and SHOVES the unit, trying to get it off his

father. But it’s too heavy. It collapses back on top of

him. Norman falls down from the effort, starts CRYING.

CU ON NORMA as she STEPS INTO THE GARAGE and sees the scene.

Her expression is not SHOCK but SADNESS, an overwhelming

sadness, as tears flood her eyes.

4.

Norman starts trying to PULL HIS DAD OUT as Norma now comes

and kneels next to him.

NORMAN:

Mother, help me!

Norma looks at Sam’s dead face with REMORSE. She puts her

hand gently on Norman’s head.

NORMAN (CONT’D)

(anguished)

Dad? Dad?

NORMA LOUISE:

Norman.

Norman just keeps SOBBING. Gives up on his rescue efforts.

Instead, cradles his father’s bloody head in his arms, not

caring that his father’s blood is getting all over himself.

Norma gently pulls him away...

NORMA LOUISE (CONT’D)

Norman, honey, I’m so sorry...

Norman falls into her, sobbing. She sits on the floor

holding him. Rocking him against her. Her heart breaking.

But, we sense, only for him. We STAY ON TABLEAU OF THEM FOR

A LONG TIME. Maybe UNCOMFORTABLY LONG. It’s kind of

beautiful. These two beings who are like one, emotionally

absorbed into each other, sitting on the floor in the middle

of this complete chaos.

We now HEAR A DISTANT SIREN.

SMASH TO:

BLACK. Letters seep in reading, “Six Months Later”.

HOLD ON IT A MOMENT, then SMASH TO:

INT. NORMA’S CAR - DAY

NORMAN’S POV - A GORGEOUS NORTHERN CALIFORNIA COASTLINE

As we drive by Humboldt Bay Harbor. A small and picturesque

inlet. We are seeing at seventy miles an hour. It’s amazing.

FIND NORMAN looking out the window. Lost in thought. FIND

NORMA glancing over at him. Then...

NORMA LOUISE:

This is the part where you say

“Mother, this is beautiful.

(MORE)

5.

NORMA LOUISE (CONT'D)

I’m so happy we’re moving here.

You are so smart to have thought of

this...”

The car turns off the main road into the town: a quaint,

coastal town built in the 1920’s which sits next to the

harbor. Charming, but also with an upscale quality to its

“quaintness”.

Norman smiles the half smile of someone who loves the person

who’s being a needy-pain-in-the-ass-at-this-moment. And knows

them well. And knows this ritual.

NORMAN:

(rote)

“Mother this is beautiful. I’m so

happy you are making me move here.

You are so smart to force me to do

things I have no say in...”

Norma smiles the same half smile. They are related.

NORMA LOUISE:

(I love you)

You’re an a**hole.

(then)

Close your eyes...

NORMAN’S POV - BLACK

NORMA LOUISE (O.S.) (CONT’D)

Okay, here it is...

EXT. MOTEL/ BATES HOUSE - MINUTES LATER

Norma stands behind Norman, beaming as Norman opens his eyes

to see...

THE HOUSE AND MOTEL

A twelve unit, single story motel circa 1950 over which looms

a two story, California Victorian style house. There is

something odd and haunting about this place. And it’s

isolated -- on the edge of town.

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