Bates Motel Page #7

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


RICHARD (O.S.)

Hey Brad - who’s doing the

(f***ing) recycling in here?

INCLUDE RICHARD SYLMORE (17), good looking in a cool way,

pony tail, artsy. Tall and muscular. Confident. And worst of

all, Bradley’s boyfriend...

BRADLEY:

Oh, hey, Richard. Did you get your

diorama finished?

(then; to Norman)

Richard had to do a diorama of the

Globe Theater for his Drama Lit

class. Seriously, what grade are

we in?

RICHARD:

Yeah I got it done and it actually

kills.

(looking at the trash)

I mean look at this sh*t.

A**holes. They’ve got the trash

with the plastic with the bottles.

(F***ing) a**holes.

Richard starts organizing some of it. Norman helps him.

NORMAN:

We could put the bottles in this

bag -

RICHARD:

Thanks Dude.

35.

BRADLEY:

Oh Richard, this is Norman. He’s

new at our school.

Something in the way that Bradley tried to make that sound so

“offhand” makes Richard stop and actually look at Norman for

a minute. Checking him out. That sort of primal thing that

guys do. Norman just looks back at him, a weird combination

of a blank stare and also not-backing-down.

RICHARD:

Hey.

NORMAN:

Hey.

They finish with the trash.

RICHARD:

There. Whatever. Morons.

(turns to Bradley)

Jones just got here. Let’s go say

hi -

BRADLEY:

Oh, okay.

(to Norman)

Want to come?

Richard takes Bradley around her waist. Norman sees this.

Gets it.

NORMAN:

No, I’m good.

Bradley nods and smiles and disappears into he party with

Richard. STAY ON NORMAN. Watching her walk away. Deflated.

She has a boyfriend. I’m an idiot. We HEAR HIS HEART START

THUMPING (OVER). He starts breathing hard. Trying to hide

it.

NORMAN’S POV - looking around room. Everything looks f***ed

up and “dark” all of a sudden - dancing, hooking up, inhaling

smoke from a bong...

RESUME NORMAN:

His heart thumping LOUDER AND LOUDER...filling with

anxiety...Why am I here? Where am I? How do I get home?

SMASH TO:

36.

EXT. PARTY HOUSE - MINUTES LATER

Norman sneaks out a back door. Just wants to get the f***

out of there. He finds the car he came in. Reaches through

an open window to get his history book. Gets it. Starts

walking. Trotting. Running. It’s emotional. He’s

overwhelmed. Anxious. Heart pounding. Why did I come? Why

did I come? Running faster and faster. Just wants to get

home -

Then he stops at a crossroad, realizes he recognizes nothing.

He has no idea where he is. He spins around in all

directions -- totally lost. And he’s in the middle of

nowhere. F***! F***! F***!

Norman wants his mother.

INT. BATES HOUSE/KITCHEN - LATER

Norma is finishing cleaning out a cupboard. Several huge

trash bags filled with old crap sit on the floor. She’s

finishing scrubbing them. And she scrubs like she’s gong to

do surgery in there. It’s microscopically clean.

Finally done, Norma stands back and admires it all for a

moment. Proud of herself. Then she HEARS SOMETHING outside.

Like something got knocked over. Weird. She looks out the

glass-pained kitchen door...

NORMA’S POV - OUTSIDE

Nothing unusual. The wind stirs the trees a bit. A wind

chime blows...

Norma feels a little unsettled. Trying to convince herself

she’s just scaring herself. Turns to look out the glass door

one more time, just to reassure herself when --

KEITH SUMMER’S FACE APPEARS RIGHT THERE, about twelve inches

away from her. Sheer horror. She SCREAMS.

NOW -- SMASH! KEITH’S HAND WRAPPED IN A RAG PUNCHES THROUGH

A GLASS PANE.

He reaches in and UNLOCKS THE DOOR. THROWS IT OPEN. He’s

inside now. Norma SCREAMS OUT --

NORMA LOUISE:

Norman!

But there is no answer. Now Keith starts across the room

toward her. He is wearing the same dirty clothes and an old

leather POLICE BELT COMPLETE WITH HANDCUFFS and FLASHLIGHT.

37.

In his hand he’s carrying a roll of DUCT TAPE and a BOX

CUTTER.

Norma spins around, looking for help, grabs a KNIFE from the

wood block on the counter. She starts SLASHING AT HIM, but

he moves surprisingly well, DODGING HER.

WHOOSH. She SLASHES again at empty air. And as the knife

swings by, Keith rears back and KICKS HER IN THE STOMACH --

sending Norma FLYING ACROSS THE FLOOR IN A HEAP.

The Knife skitters away. She’s on the ground, HURT. Keith

unpeels a strip of DUCT TAPE and advances on her as she tries

to get up -

NORMA LOUISE (CONT’D)

Norman! Norman... Norman!

But no one comes. Keith kneels over the top of her. She

punches at him, trying to fight him off. He SLICES HER with

the box cutter, causing her to retract her hand in pain. Her

hand is now bleeding badly.

Keith cuts off a piece of DUCT TAPE and covers her mouth.

Now Keith HARSHLY TURNS HER OVER. Removes the handcuffs from

his belt. Fastens them on her. He picks her up by the

waist and throws her over the kitchen table.

Norma SCREAMS and STRUGGLES to no avail. He throws up her

skirt and uses the BOX CUTTER to cuts her panties off.

He unbuckles his pants, leans over her and presses his sweaty

mouth right up into her ear --

KEITH:

This is my house. And what’s in

this house is mine.

STAY CLOSE ON NORMA

Keith starts RAPING HER. His hand PRESSES THE SIDE OF HER

FACE FLAT INTO THE TABLE, next to a plate of cookies.

CLOSE ON NORMA as she tries to ENDURE THE RAPE, trying to

think of how she can get out of this, waiting for it to end,

helpless, angry, broken, when -

THUNK. Keith suddenly FALLS AWAY. Norma turns to see -

NORMAN:

38.

Standing there, eyes wide, holding an ANTIQUE IRON DOORSTOP.

(He is sweating. Breathing hard. This is from running home,

although Norma doesn’t know this or notice at first.)

She stands up and her skirt falls down covering her.

Norman hurries over and pulls the duct tape from her mouth.

Norma is a flood of emotions, but all she can say is -

NORMA LOUISE:

Norman! Where were you? Why

didn’t you come?

Norman doesn’t know what to say. Doesn’t want to tell her.

KEITH:

Aggnnnhhhnn...

They spin around. OH F***. Keith is GROANING, coming to --

NORMA LOUISE:

Quick! Norman, the handcuffs. He

must have a key -

Norman runs to Keith, fumbles around in the pockets of the

police belt. SH*T. SH*T... He can’t find anything.

NORMA LOUISE (CONT’D)

Hurry! Norman...

Norman is sweating, shaking. SEARCHING. Finally --

NORMAN:

Found it.

He runs back over and tries unlocking his mother’s wrists.

He’s so nervous, he can’t do it. Meanwhile, Keith is MOANING

SOME MORE and STIRRING.

CLICK. Norman finally unlocks one. Norma grabs the key and

unlocks the other one. Rushes to Keith. Norma wrenches

Keith’s arms behind his back. Norman fumbles with the

handcuffs --

NORMA LOUISE:

Jesus, Norman, hurry -

NORMAN NORMA LOUISE

I’m trying ---

Give ‘em to me!

But Norman finally gets them on Keith -- CLINKS THEM SHUT.

They catch their breaths, feeling a moment of relief. Now

Norman notices Norma’s hand is bleeding badly --

39.

NORMAN:

Mom. Your hand -

She realizes how bad it is.

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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