![Find Psycho on Amazon](https://www.scripts.com/images/script/61_psycho.png)
Psycho Page #10
- R
- Year:
- 1960
- 109 min
- 858,493 Views
CUT TO:
THE DEAD BODY:
Lying half in, half out of the tub, the head tumbled over,
touching the floor, the hair wet, one eye wide open as if
popped, one arm lying limp and wet along the tile floor.
Coming down the side of the tub, running thick and dark along
the porcelain, we see many small threads of blood. CAMERA
FOLLOWS away from the body, travels slowly across the
bathroom, past the toilet, out into the bedroom. As CAMERA
approaches the bed, we see the folded newspaper as Mary placed
it on the bedside table.
beside the bed. The CAMERA now moves away over to the window
and looks up to the house, and as it gets there we HEAR,
coming from within the house, the SOUND of Norman's fearful,
shocked voice.
NORMAN'S VOICE
Mother! Oh God, what... blood,
blood... mother...!
We cannot entirely distinguish these exclamations.
After a moment or two of silence, Norman emerges from the
front door, dashes down the path toward the motel.
QUICK CUT TO:
Norman is coming AT CAMERA, running head-on. He dashes into
an extreme close up and we see the terror and fear ripe in
his face. CAMERA PANS as Norman races past, holds as Norman
runs to the porch and quickly along it and directly to Mary's
room.
INT. MARY'S CABIN - (NIGHT)
Norman pauses a moment in the doorway, glances about the
room, hears the shower going, sees the bathroom door is open.
He goes to the bathroom, looks in, sees the body.
Slowly, almost carefully, he raises his hands to his face,
covers his eyes, turns his face away. Then he crosses to the
window, looks out at the house. Shot is so angled that we
see the bedside table with the newspaper on it.
After a moment, Norman moves from the window, sinks onto the
edge of the bed.
Norman sitting on bed, the bathroom in b.g. of shot. We can
see only the hand of the dead girl, lying along the tile
floor. Norman presses his eyes, fights to find a way out of
his dilemma. Slowly, a kind of settling comes upon him, the
peace that comes with decision.
Norman rises, goes to the window, looks out, and then, with
resolution, closes the window and draws the curtain across
it. Then he crosses to the front window, facing the porch,
and draws those curtains closed. Then he switches off the
bedroom light, leaving the room lit only by the spill from
the bathroom. He opens the front door, goes out.
EXT. THE HOTEL PORCH - (NIGHT)
Norman comes out of Mary's cabin, closes the door carefully
behind him, goes along the porch to his office, goes in. We
stay outside. Immediately, the "Vacancy" sign goes off, and
then the motel sign goes off. As CAMERA GOES closer to the
office, the lights within go off and we HEAR a closet door
opening and then the SOUND of a pail being picked up. Norman
comes out of office, closes door, looks cautiously about,
goes along porch, carrying pail with mop in it, goes into
Mary's cabin, closing the door after him.
INT. MARY'S CABIN
With the paper in the foreground, Norman enters. We can see
him in the dim spill of light. He pauses by the door, then
gathers his strength and goes into the bathroom. We HEAR him
set the pail on the tiled floor, and then we HEAR the shower
being turned off. And there is total silence. CAMERA MOVES
FORWARD so that we can see into bathroom.
CAMERA is ANGLED that we see Norman only from the waist up.
Quickly and deftly he unhooks the shower curtain, emerges
with it into the bedroom. CAMERA PANS down and we see him
spread the shower curtain on the bedroom floor, just outside
the bathroom door. He spreads the curtain so that one end of
it comes up against the bathroom threshold and slightly over
and onto the tile floor. Again he goes into the bathroom and
CAMERA TILTS up so that we see only the upper half of Norman.
He works carefully, with his arms extended away from his
body, slowly pulls the dead body out of the tub, drags it
across the tile floor and onto the spread-out shower curtain
in the bedroom. Having arranged the body, he straightens up,
examines his hands, sees bloodstains on them. He returns to
the bathroom, goes to the hand-basin.
CLOSE SHOT:
We see his hands being washed, see the bloodstains being
diluted and washed away by the gush of the faucet water.
NORMAN:
We see Norman shake his hands free of the water, then turn
to the job of cleaning the bathroom.
He places the pail in the tub, runs water into it, dips the
mop in, swabs the tile floor. With a towel he wipes off the
wall over the tub and the edges and sides of the tub and
even the shower curtain rod. Then he takes a second towel
and goes over the cleaned areas, carefully drying them.
Finally he rinses and squeezes out the mop, empties the pail,
cleans out the tub, and goes out into the bedroom.
INT. MARY'S BEDROOM
Norman steps carefully around the unseen body, crosses to
the desk, starts going through Mary's handbag, in search of
her car keys. He suddenly notices them lying on the desk,
where he'd thrown them after parking her car. He picks up
the keys, crosses the room, goes out.
EXT. THE PORCH
We see Norman pauses at the door, check cautiously, then
hurry across the porch and into Mary's car. He circle-turns
the car, so that its trunk is backed up to the turns porch,
directly opposite Mary's door, as close as it can go.
Then he alights, goes to the trunk, opens it with the key
and, leaving the trunk lid raised, goes back into the cabin.
INT. MARY'S ROOM
From a raised angle, we see Norman bend down and begin to
wrap the shower curtain around the body. We see the edges of
the curtain as they are raised and laid down again. Then he
picks up the wrapped body, crosses to the door, uses his
foot to pull the door open, and, leaving the door open behind
him, goes quickly across the porch and gently lays the body
in the trunk. He closes the lid then, but does not lock it.
He comes back into the cabin, closes the door completely,
flicks on the light.
Again the newspaper is in the foreground. For a moment he
pauses, closes his eyes against the realization of what he
is doing, then quickly pushes all thoughts away, continues
with his work. With the room lighted, he now proceeds to
gather up all Mary's articles and toss them into the suitcase.
He checks all drawers and the closet, gets down and checks
under bed and bureau, goes into the bathroom, checks that
room again, comes back into the bedroom, looks about
carefully, spots Mary's handbag, throws even that into the
suitcase, is finally satisfied that all traces of the girl
are gone from the room. Then he closes Mary's suitcase, picks
it up.
With his free hand he picks up the pail, in which are the
mop and the used towels. He crosses to the door, switches
off the light with his shoulder, pulls open the door, starts
out.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Psycho" Scripts.com. STANDS4 LLC, 2024. Web. 1 Sep. 2024. <https://www.scripts.com/script/psycho_61>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In