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Psycho Page #14
- R
- Year:
- 1960
- 109 min
- 858,499 Views
NORMAN:
It was raining and her hair didn't
look like that... damped out, I guess.
ARBOGAST:
Tell me all about her.
NORMAN:
She arrived kind of late, wet and
hungry and she was very tired and
went right to bed and left early.
ARBOGAST:
How early?
NORMAN:
Very early. Dawn.
ARBOGAST:
Of which morning?
NORMAN:
The following morning. Sunday.
ARBOGAST:
No one met her?
NORMAN:
No.
ARBOGAST:
Or arrived with her.
NORMAN:
No.
ARBOGAST:
She didn't call anyone? Even locally?
NORMAN:
No.
ARBOGAST:
You didn't spend the whole night
with her did you?
NORMAN:
No! Of all...
ARBOGAST:
How do you know she didn't make a
call?
NORMAN:
She was tired. She said she had a
long drive ahead of her, in the
morning... Yes, now I'm remembering
very clearly because I'm picturing.
When you make a picture of the moment
in your mind, you can remember every
detail. She was sitting back there,
no she was standing up, with some
sandwich still in her hand, and she
said she had to drive a long way.
ARBOGAST:
Back where?
NORMAN:
What do you mean?
ARBOGAST:
You said she was sitting "back there,"
or standing rather...
NORMAN:
Oh. My private parlor. She had an
awful hunger... so I made her some
supper. And then she went to bed and
left in the morning. I didn't even
see her leave.
ARBOGAST:
How did she pay you?
NORMAN:
What?
ARBOGAST:
Cash or check? For the cabin...
NORMAN:
Cash.
ARBOGAST:
And when she left, she never came
back.
NORMAN:
Why should she? I'm sorry, I have
work to do, Mr... if you don't mind...
ARBOGAST:
I do mind. If it don't jell, it ain't
aspic!
(smiles)
This ain't jelling.
NORMAN:
I don't know what you expect me to
know about... people come and go...
ARBOGAST:
She isn't still here, is she?
NORMAN:
Not at all!
ARBOGAST:
Suppose I wanted to search the cabins,
all twelve... would I need a warrant?
NORMAN:
(as if pleasantly
exasperated)
Look, if you won't believe me, go
ahead. You can help me make beds if
you like.
(laughs, shakes his
head)
Come on.
He starts out. Arbogast pauses, momentarily confused by the
young man's openness.
CUT TO:
EXT. THE MOTEL PORCH - (NIGHT)
Norman walks down the porch, hesitates before Cabin One,
walks on a bit toward Cabin Two, stops, turns to see if
Arbogast is following. Arbogast has come out onto the porch,
but is not following. He has walked to the opposite end of
the porch and is standing at its edge, looking up at the old
house. The upstairs window is in darkness. The neon of the
Vacancy and Motel signs splash strange light over the scene.
NORMAN:
Change your mind?
Arbogast does not reply. Norman becomes apprehensive, starts
to Arbogast, forcing himself to remain calm and cheerful.
NORMAN:
I guess I've got one of those faces
you can't help believing.
ARBOGAST:
(to Norman, but
continuing to stare
at the house)
Anyone at home?
NORMAN:
I live there. Alone.
ARBOGAST:
Someone is sitting in that window.
NORMAN:
My mother.
Arbogast turns, gazes seriously at him.
NORMAN:
She's... ill. Confined to her room.
It's practically living alone.
ARBOGAST:
(after a pause)
If this girl Mary Crane were here,
you'd have no reason to hide her
would you?
NORMAN:
Of course not.
ARBOGAST:
If she paid you well?
NORMAN:
Now, look...!
ARBOGAST:
Or if she had you say... gallantly
protecting her... you wouldn't be
fooled... you'd know she was just
using you. Wouldn't you?
NORMAN:
I'm not a fool! And I'm not capable
of being fooled! Not even by women!
ARBOGAST:
I didn't mean that as a slur on your
manhood. I'm sorry.
NORMAN:
(disturbed now)
That's all right. maybe she could
have fooled me. But...
(a rueful smile)
She didn't fool my mother.
ARBOGAST:
Your mother met her?
(quickly)
Can I talk to your mother?
NORMAN:
No. I told you, she's confined...
ARBOGAST:
Just for a moment. She might have
picked up a hint you'd miss.
ARBOGAST:
Sick old women are sharp. Come on, I
won't disturb...
NORMAN:
No! Just no! I have one of those
breaking points like any other man,
believe it or not, and I'm near it.
There's just so much pushing I can
take and I think...
ARBOGAST:
All right!
(starts away, toward
his car, pauses)
Might save me a lot of leg-work if I
could just talk to your mother. But
I'd need a warrant for that, won't
I?
Norman does not respond. Arbogast gets in his car, starts
the motor. Norman looks up, studies the man's face, his own
face showing apprehension. Arbogast backs the car around
very slowly, his gaze divided between the old house and the
lighted window of Cabin Two. As he turns the car out, his
headlights light up the porch.
Norman stands, watching him drive away.
The car pulls up and Arbogast gets out of car, leaving motor
running. As he starts to walk across the highway, CAMERA
PULLS AWAY and we
CUT TO:
EXT. HIGHWAY WITH TELEPHONE BOOTH - (NIGHT)
Arbogast gets to the phone booth, enters. CAMERA STARTS
FORWARD, and we see Arbogast remove a small notebook from
his pocket, check on a number, drop a dime in the slot and
dial this number. As we reach phone booth,
CUT TO:
ARBOGAST:
(into phone)
Miss Crane, please.
(listens)
She leave a number?
(listens)
Thanks.
(hangs up, dials again,
waits)
Lila there, Mr. Loomis? Arbogast.
(waits)
Lila? Look, this isn't much, but it
might make you feel a little better.
Mary was up here. Spent last Saturday
night at Bates' Motel, out here on
the old highway.
(listens)
Young fellow runs it, said Mary spent
the night, left, period!
(listens)
I did question him, believe me. I
think I got all there was to get.
Just have to try to pick up the scent
from here.
(listens)
Well... maybe that's because I don't
feel entirely satisfied. He's got a
sick old mother, confined type, and
I think she saw Mary and talked to
her. Shame, too... confined old women
love to talk to strangers.
(listens)
I was, but I think I'll go back to
the motel, first.
(listens)
No, you stay put, Lila. With Loomis.
I should be back in an hour.
(listens)
All right. And Lila... You'll be
happy to know what I think. I think
our friend Sam Loomis didn't even
know Mary was here.
(smiles)
See you in an hour. Or less.
He hangs up, gets out of the phone booth.
DISSOLVE TO:
EXT. BATES' MOTEL - (NIGHT)
A distant view of the House and Motel. There is a light on
in the house. There is also a light on in Norman's office.
We see Norman emerge from his office and move along the porch
toward the distant cabins. He carries sheets on his arm. He
goes into the last cabin and switches the light on. Into the
foreground the hood of the white Ford enters the scene and
stops. Arbogast gets out. He goes over to the Motel office.
Arbogast goes in.
INT. OFFICE - (NIGHT)
Arbogast looks around the empty office and calls.
ARBOGAST:
Bates!
He goes over to the door to the parlor and enters. He looks
around the bird-ridden room. He stops short as he sees:
C.U. - THE OLD SAFE IN THE CORNER
C.U. - ARBOGAST
goes over to it. He finds it unlocked. With a quick, cautious
C.U. - ARBOGAST
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"Psycho" Scripts.com. STANDS4 LLC, 2024. Web. 1 Sep. 2024. <https://www.scripts.com/script/psycho_61>.
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