Psycho Page #4

Synopsis: Psycho is a 1960 American psychological horror thriller film directed by Alfred Hitchcock starring Anthony Perkins, Janet Leigh, John Gavin, Vera Miles and Martin Balsam. The screenplay by Joseph Stefano was based on the 1959 novel of the same name by Robert Bloch.
Director(s): Gus Van Sant
Production: Paramount Pictures
  Nominated for 4 Oscars. Another 5 wins & 9 nominations.
 
IMDB:
8.5
Metacritic:
97
Rotten Tomatoes:
97%
R
Year:
1960
109 min
858,490 Views


After a moment, during which there are no other vehicles

passing, we see, coming from the far distance, a HIGHWAY

PATROLMAN in a patrol car. He passes Mary's car, notes its

apparent emptiness, U-turns, comes back up behind the car.

He gets out and approaches the driver's side window.

EXT. MARY'S CAR - (DAWN)

The Patrolman looks down into the car.

INT. CAR (DAWN) FROM HIS VIEWPOINT

Mary turns with a start, sits up, is startled and unnerved

by the sight of the Patrolman, and, as if by automatic reflex,

turns the ignition and presses down on the starter.

EXT. CAR (DAWN)

The Patrolman holds up his hand.

PATROLMAN:

(startled)

Hold it there!

Mary slams down on the brake, tries to pull herself together.

The Patrolman raps again, less gently.

Reluctantly, Mary rolls down the window. The Patrolman studies

her for a moment.

PATROLMAN:

In quite a hurry.

MARY:

Yes.

(because he seems to

be awaiting an

explanation)

I didn't mean to sleep so long. I

was afraid I'd have an accident last

night, from sleepiness... so I decided

to pull over...

PATROLMAN:

You slept here all night?

MARY:

(a faint edge of

defensiveness)

Yes. As I said, I couldn't keep my

eyes...

PATROLMAN:

(mere concern)

There are plenty of motels in this

area. You should have... I mean,

just to be safe...

MARY:

I didn't intend to sleep all night!

I just pulled over... have I broken

any laws?

PATROLMAN:

No, m'am.

MARY:

Then I'm free to go...?

PATROLMAN:

(a pause)

Is anything wrong?

MARY:

Of course not! Am I acting as if...

something's wrong?

PATROLMAN:

(almost a smile)

Frankly, yes.

MARY:

Please... I'd like to go...

PATROLMAN:

Is there?

MARY:

Is there what?

(not waiting for an

answer)

I've told you there's nothing wrong...

except that I'm in a hurry and you're

taking up my time...

PATROLMAN:

(interrupting, sternly)

Now wait just a moment! Turn your

motor off, please.

Mary seems about to object, thinks better of it, turns off

the ignition.

PATROLMAN:

In the course of my duty, I never

"take up" anyone's time, whether

it's to give a warning, or a ticket,

or help! Believe that, M'am.

(a little softer)

Now if you woke up on the wrong side

of... the car seat, that's one thing.

But when you act as if I've just

placed you under arrest...

MARY:

I'm sorry.

PATROLMAN:

No need to apologize...

Mary starts the car, her face turned as if she wishes the

matter were all settled and the Patrolman had already gone.

The Patrolman isn't exactly one of those civil servants who

demands a thank-you, but he does feel her manner is a bit

too abrupt. He calls:

PATROLMAN:

Wait a minute!

MARY:

(jamming down the

brake)

Now what?

The Patrolman gazes at her a moment, then:

PATROLMAN:

May I see your license?

MARY:

Why?

PATROLMAN:

Please.

Mary pulls her handbag up from the floor, where she'd placed

it when she stretched out for sleep. She puts her hand in

it, rummages for her wallet, cannot find it.

The Patrolman is staring at her. She glances at him nervously,

pokes in her bag a bit more, sighs, realizes she'll have to

remove some of its contents. Nervously, badly controlling

her fear, she takes out the money-filled envelope, and then

the important papers envelope, filled then a couple of other

items, places them on the seat, finally finds her wallet,

opens it, hands it to him. He looks at the wallet, then at

the car.

EXT. ROAD SHOULDER - (DAWN)

The Patrolman walks around to the front of the car, checks

the license plate, and returns.

INT. MARY'S CAR - (DAWN)

The Patrolman peers in, checks the car registration on the

steering wheel, returns Mary's wallet.

She takes it, looks at him for a flicker of a moment.

He says nothing. She starts ahead, fast.

EXT. ROAD SHOULDER - (DAWN)

The Patrolman stares after Mary as she drives off, then starts

back to his automobile.

MARY IN CAR - (DAWN)

She is quite shaken, realizes she caused herself a great

deal of trouble and placed herself in unnecessary danger.

She is disturbed and angry and frightened at her inability

to act normally under the pressure of guilt. As she drives,

she glances into her rear-view mirror.

MARY'S REAR-VIEW MIRROR - (DAWN)

The Patrolman is following in his automobile, keeping behind

her at a matched speed.

MARY IN CAR - (DAWN)

She glances out at her surroundings.

MARY'S POV - (DAWN)

The Freeway ahead.

EXT. MARY'S CAR - (DAWN)

She suddenly turns off the highway.

MARY IN CAR - (DAWN)

She checks her mirror.

MARY'S REAR-VIEW MIRROR - (DAWN)

The Patrolman is no longer following, has not turned off

after her.

MARY IN CAR - (DAWN)

She breathes a sigh of relief, thinks a moment, makes a quick

decision.

DISSOLVE:

EXT. USED CAR LOT - (DAY)

The big sign reads "California Charlie - Automobile Paradise."

We see Mary's car drive onto the lot and stop. Mary gets out

of the car, glances toward the lot office, turns her attention

to the line of cars, notice the California licence plates on

all of them. The CAR DEALER calls out from his office:

CAR DEALER:

With you in a second!

Mary nods, starts walking along the line of cars as if making

a selection. Her eye is caught by the iron newspaper stand

on the corner, just outside the lot.

She stares at the papers, turns away, as if what she is

fearing would have to be impossible, then, having to satisfy

herself, goes to the stand, drops a dime in the iron slot,

picks up a LOS ANGELES newspaper, starts back into the car

lot as she glances worried at the front page. As she goes,

we see, coming up the street toward the lot, the same

PATROLMAN. He sees Mary, slows, swerves over to the opposite

side of the street, stops by the curb. Mary, engrossed in

the newspaper, and walking back ease the lot, does not see

the Patrolman.

The car dealer is out on the lot now, standing and waiting

for Mary. As she approaches, lost in her newspaper, he smiles.

CAR DEALER:

I'm in no mood for trouble!

MARY:

(glancing up, thrown

for a moment)

What?

CAR DEALER:

(cheerfully)

There's an old saying, "First customer

of the day is always the most

trouble!" But like I said, I'm in no

mood for it so I'm just going to

treat you so fair and square you

won't have one human reason to give

me...

MARY:

(interrupting)

Can I trade in my car and take

another?

CAR DEALER:

You can do anything you've a mind

to... and bein' a woman, you will!

(chin-indicating her

car)

That yours?

MARY:

Yes, it's... nothing wrong with it,

I'm just...

CAR DEALER:

Sick of the sight of it!

(laughs)

Well, suppose you look around for

something that strikes your eyes and

meanwhile I'll have my mechanic give

yours the once over and... want some

coffee? I was just about...

MARY:

No. Thank you. I'm in... a hurry. I

just want to make a change and

start...

She stops suddenly, almost with a gasp. She has seen the

Patrolman.

THE PATROLMAN - MARY'S POV - (DAY)

He is staring over at her, his face dispassionate.

Rate this script:3.8 / 12 votes

Joseph Stefano

Joseph William Stefano was an American screenwriter, best known for adapting Robert Bloch's novel for Alfred Hitchcock's film Psycho and for being the producer and co-writer of the original The Outer Limits TV series. more…

All Joseph Stefano scripts | Joseph Stefano Scripts

2 fans

Submitted by acronimous on March 22, 2016

Discuss this script with the community:

0 Comments

    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. 31 Aug. 2024. <https://www.scripts.com/script/psycho_61>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Psycho

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "resolution" in a screenplay?
    A The climax of the story
    B The rising action
    C The beginning of the story
    D The part of the story where the conflicts are resolved