Psycho Page #14

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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.

EXT. PHONE BOOTH - (NIGHT)

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.

EXT. MOTEL OFFICE - (NIGHT)

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

look around he opens it.

C.U. - THE EMPTY SAFE

C.U. - ARBOGAST

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