Bates Motel Page #3

Synopsis: "Bates Motel" is a contemporary prequel to the genre-defining film "Psycho," and gives a portrayal of how Norman Bates' (Freddie Highmore) psyche unravels through his teenage years. Fans discover the dark, twisted backstory of Norman Bates and how deeply intricate his relationship with his mother, Norma (Vera Farmiga), truly is.
Genre: Drama, Horror, Mystery
  Nominated for 3 Primetime Emmys. Another 5 wins & 61 nominations.
 
IMDB:
8.2
TV-MA
Year:
2013
45 min
1,686 Views


BRADLEY:

(handing it to him)

Bradley Kenner. You have any

questions at school, you call me.

Bradley is more friendly and kind than flirtatious. But

there is still an attraction there. It’s just down played.

NORMAN:

(takes the phone)

Thanks.

12.

INT. BATES HOUSE - LATER

CLOSE ON WEDDING PHOTO (we saw from teaser). We now know it

is Norma and Sam.

FIND NORMA stopping to look at the photo as she unpacks it.

Her face is both sad and angry. There is a lot of history

there. She puts it on the shelf, in a prominent spot, among

other photos she has put out. STAY ON HER FACE A LONG

MOMENT, just looking at it, a weird reverie of conflicting

emotion. None of them good. She’s lost in it. Then, CUTTING

THROUGH...

WOMAN’S VOICE (O.S.)

Hello? Can I come in?

Norma, startled, turns sharply to see...

MARCIE CALAHAN:

Thirty-eight. Cute in a soccer mom way. Holds a large,

pretty basket with something wrapped in butcher paper inside.

MARCIE:

The doorbell’s broken. I saw your

car outside --

NORMA LOUISE:

(guarded)

What can I do for you?

Marcie extends her hand.

MARCIE:

Marcie Calahan. I live up the road

at Calahan Creek Farms. Just

stopped by to welcome you to the

neighborhood.

Norma visibly relaxes. Shakes Marcie’s hand. (NOTE: Marcie,

like the girls at the bus stop, is dressed really well for

someone who owns small pig farm. Her clothes and

accessories are very upscale.)

NORMA LOUISE:

Norma Bates.

MARCIE:

Hope it’s okay I just opened the

front door and walked in. We’re

all pretty friendly around here.

Small town, you know -

(then; remembering)

Here, I brought you something -

13.

She hands it to Norma. Norma looks in the basket. Some

BLOOD is seeping through the butcher paper.

MARCIE (CONT’D)

It’s pork.

(off Norma’s face)

We have an artisan pork farm. All

free range and organically fed.

NORMA LOUISE:

Well, thank you. This is so kind -

MARCIE:

(looking at photos)

It’s the loin and the ribs. It’s

the best part --

(then seeing wedding

photo)

Is this you and your husband?

He’s a nice looking man. Kind of a

Mitt Romney thing going on -

NORMA LOUISE:

Sam actually passed away about six

months ago. There was an accident

at our house -

MARCIE:

Oh my God. Oh my holy God. I’m

so, so DEEPLY sorry. You must miss

him terribly -

A beat, then. We sense Norma has some deep feelings about

this and not pleasant ones. But we see her swim to the

surface and smile and speak with utter, heartfelt

conviction...

NORMA LOUISE:

Yes. Sam was a wonderful man. A

loving husband and father.

(then)

But here we are. My son and I,

starting over -

MARCIE:

Oh sh*t. I’m so sorry. There’s

blood dripping on your floor.

Norma realizes the fresh pork blood is seeping through the

basket. There’s blood on her hands. She’s trying not to

look horrified. Marcie, apparently used to this, grabs a WAD

OF TISSUES from her purse and cleans it up. Hands it to

Norma to wipe off her hand.

14.

MARCIE (CONT’D)

Sorry. Side effect of slaughter.

It’s fresh!

(then)

Well I’ll let you get back to

unpacking.

(heading out)

And I know this may be “too early”.

But there’s some cute, wealthy

divorced men here -- I could

introduce you to when you’re ready-

(off Norma’s face)

I’m sorry! Shot my mouth off.

It’s too early. I’m an idiot. I

apologize -

NORMA LOUISE:

No, not at all. I really

appreciate it. I just -- I can’t

even think about that right now.

Norman’s been through so much. And

I have my hands full -- starting a

new business and raising a son.

And I just want to be here for

Norman right now. He’s a --

sensitive boy -

INT. CLASSROOM - LATER

A teacher, MISS WATSON, (28) perky and attractive, is reading

the last page from OF MICE AND MEN aloud to the class.

MISS WATSON:

‘We gonna get a little place’,

George began...

PAN AROUND CLASSROOM -- from one face to another -- no one

really engaged -- watching the clock -- texting -- bored --

etc...

MISS WATSON (CONT’D)

“...”me and you.’ ‘You ...an me.

Everybody gonna be nice to you.

Nobody gonna hurt nobody or steal

from them...’

FIND NORMAN who is completely engrossed. Leveled by this sad

story. His eyes starting to mist up and he’s trying to

control it. But it’s just so f***ing moving. Move CLOSER

AND CLOSER ON HIM...

15.

MISS WATSON (CONT’D)

Lennie begged, “Let’s do it now.

Let’s get that place now.” ‘Sure,

right now.” And George raised the

gun and steadied it and he brought

the muzzle of it close to the back

of Lennie’s head -

And the BELL RINGS. All the students are up and on their way

out before she can finish the sentence.

MISS WATSON (CONT’D)

Fine. Go. Test is going to be

tomorrow so make sure you’ve all

read it -

She notices Norman. Sniffling. Wiping his eyes a little.

He’s packing his stuff up.

MISS WATSON (CONT’D)

Norman? Can we talk for a minute?

Norman looks worried, wondering what she wants...

SAME - MINUTES LATER

Norman is seated across from Miss Watson. She has his school

records out. He is uncomfortable. Feels like he’s going to

get in trouble for something although he doesn’t know what

exactly.

NORMAN:

Is something wrong?

MISS WATSON:

No, no. Not at all. I’m going to

be your advisor here. Now, I’ve

just been reviewing your school

records and -- I have a question.

Your grades are less than stellar.

They’re actually less than average.

But then, here and there, you’ll

suddenly have an A plus in geometry

or, here, in life science. And

your test scores are really

impressive. But your grades don’t

match up with them. And that’s a

shame. Why do you think that is,

Norman?

NORMAN:

I don’t know - exactly.

16.

Awkward silence. She just looks at him. Smiles.

MISS WATSON:

Well, take a guess.

He really doesn’t know. This direct questioning is making

him really uncomfortable. Feeling very vulnerable. This is

not lost on Miss Watson. Finally...

NORMAN:

We move a lot?

MISS WATSON:

I see that. You’ve been in five

different schools.

He smiles. Awkward. Nervous. Miss Watson studies him for a

moment. Feels like there’s something going on with this kid.

MISS WATSON (CONT’D)

Is everything okay at home?

NORMAN:

Yeah. Yeah. My mom’s just a

little -- impulsive. She gets

ideas about things and then we move

and “start over”.

Miss Watson just studies him for a beat, then...

MISS WATSON:

Have you started thinking about

colleges?

NORMAN:

Not really.

MISS WATSON:

Don’t you ever think about the

future? About when you “grow up”?

NORMAN:

I guess not, really.

She smiles at him, but looks concerned and makes a few

notations on his records. He quietly tries to read them but

she notices and closes it. Still smiling. He smiles back,

awkward. A moment, then...

MISS WATSON:

I think it might be a good idea,

now that you’re here, for you to

try and put down some roots.

(MORE)

17.

MISS WATSON (CONT'D)

Get involved. Maybe try out for a

sports team -

Rate this script:3.3 / 3 votes

Carlton Cuse

Arthur Carlton Cuse (born March 22, 1959) is an American screenwriter, showrunner and producer, best known as an executive producer and screenwriter for the American television series Lost, for which he made the Time magazine list of the 100 most influential people in the world in 2010. Cuse is considered a pioneer in transmedia storytelling. more…

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Submitted on April 07, 2016

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