![Find Psycho on Amazon](https://www.scripts.com/images/script/61_psycho.png)
Psycho Page #6
- R
- Year:
- 1960
- 109 min
- 858,490 Views
DISSOLVE TO:
Mary looks weary, tired with strain and with hard driving.
Her eyes are heavy with worry and deep thought.
OUT THE WINDSHIELD
We can see that it is much later in the day, almost dusk.
We HEAR the sound of an agitated BUZZ of an intercom system,
a sound emanating from Mary's imagination.
After the second BUZZ, we HEAR the voice of Caroline.
CAROLINE'S VOICE
Yes, Mr. Lowery.
LOWERY'S VOICE
(a worried tone)
Caroline...? Mary still isn't in?
CAROLINE'S VOICE
No, Mr. Lowery... but then she's
always a bit late on Monday mornings.
LOWERY'S VOICE
Buzz me the minute she comes in.
Again Mary shakes her head, forces herself to stop hearing
these "invented" scenes of her imagination.
EXT. HIGHWAY
Now we cut to the view of the road, from Mary's viewpoint.
Darkness of evening is coming. In the dim twilight we see
the neon sign of roadside restaurants and gas stations
beginning to blaze on.
INT. MARY'S NEW CAR
Back on Mary's face, and after a moment, the imagined voices
again:
LOWERY'S VOICE
Call her sister! If no one's answering
at the house....
CAROLINE'S VOICE
I called her sister, Mr. Lowery,
where she works, the Music Makers
Music Store, you know? And she doesn't
know where Mary is any more than we
do.
LOWERY'S VOICE
You better run out to the house.
She may be... unable to answer the
phone...
CAROLINE'S VOICE
Her sister's going to do that. She's
as worried as we are.
A flush of painful guilt and regret rises up in Mary's face.
She closes her eyes for one tight swift moment.
EXT. HIGHWAY
We cut again to the highway. The first oncoming headlights
slash at the windshield.
INT. MARY'S NEW CAR
Cutting back to Mary, we can sense by the tense muscles of
her face that she is driving faster. The oncoming headlights
blurt at her.
Suddenly we HEAR Lowery's voice, loud now and frightened, as
if the anxiety in the man's voice was strong enough to break
through Mary's effort to keep her mind silent and her
imagination blank.
LOWERY'S VOICE
No! I haven't the faintest idea. As
I said, I last saw your sister when
she left this office on Friday...
she said she didn't feel well and
wanted to leave early and I said she
could. And that was the last I saw...
(a pause, a thought)
...wait a minute, I did see her, an
hour or so later, driving...
(a pause, then with
solemn fear)
Ah, I think you'd better come over
here to my office. Quick.
(a pause, a click)
Caroline, get Mr. Cassidy for me.
EXT. HIGHWAY
It is completely dark now, night.
INT. MARY'S NEW CAR
We cut back to her face.
LOWERY'S VOICE
After all, Cassidy, I told you...
all that cash... I'm not taking the
responsibility... Oh, for heaven's
sake, a girl works for you for ten
years, you trust her! All right,
yes, you better come over.
FROM MARY'S VIEWPOINT
EXT. THE ROAD AHEAD INT. MARY'S NEW CAR
Fast cut back to Mary's face. Oncoming headlights throw a
blinding light across her features.
CASSIDY'S VOICE
(undrunk, sharp with
rage)
Well I ain't about to kiss off forty
thousand dollars! I'll get it back
and if any of it's missin' I'll
replace it with her fine soft flesh!
I'll track her, never you doubt it!
LOWERY'S VOICE
Hold on, Cassidy... I still can't
believe... it must be some kind of a
mystery... I can't...
CASSIDY'S VOICE
You checked with the bank, no? They
never laid eyes on her, no? You
still trustin'? Hot creepers, she
sat there while I dumped it out...
hardly even looked at it, plannin'
and... and even flirtin' with me...!
A look of revulsion makes Mary close her eyes.
THROUGH THE WINDSHIELD AGAIN
Big drops of rain begin to appear.
CLOSEUP - MARY
She is becoming aware of the rain starting.
THROUGH THE WINDSHIELD
The rain increasing and backlit by the oncoming headlights.
CLOSEUP - MARY
Mary starts the windshield wipers.
THROUGH THE WINDSHIELD
The wipers are having a battle with the now torrential rain.
CLOSEUP - MARY
Peering through the blurred windshield.
slowing down in the flooding highway.
CLOSEUP - MARY
peering through the windshield. The oncoming lights are fewer.
almost coming to a slow turn.
THROUGH THE WINDSHIELD
just blackness and rain.
CLOSEUP - MARY
peering.
MARY'S VIEWPOINT
An almost undiscernible light in the far distance, a neon
sign blurred by the rain-sheeted windshield.
MARY'S CAR
She presses down, forces the car to move on through the
flooded road.
EXT. THE ROAD
As we move closer, we see the neon sign more clearly and can
faintly make out the large letters which read "Motel." Mary
stops the car, lowers the window slightly, looks out. We see
the sign clearly now: "BATES MOTEL." Mary opens the car door
and dashes out into the rain and up onto the porch of the
motel office.
EXT. BATES' MOTEL - (NIGHT)
Mary pauses on the porch. The lights are on within the office.
She tries door, finds it open, goes into office. CAMERA
FOLLOWS her into office. There is no one present. Mary goes
to the desk, rings a small pushbell. There is no response.
Mary rubs her forehead in weariness and frustration, goes
back out onto the porch. She looks off in another direction,
slightly behind the office, and sees...
MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT)
A path from the motel office leads directly up to this house.
There is a light on in one of the upstairs rooms. A WOMAN
passes the window, pauses, peers out.
We see her in clear silhouette. She quickly goes away from
the window.
EXT. PORCH OF BATES' MOTEL - (NIGHT)
Mary, having seen the woman, expects now that she will get
some attention. She stands a few moments, waiting.
No one comes. Impatience and anger rise in Mary. She dashes
out into the rain, to her car, gets in, opens the side window,
begins to honk the horn. After a moment, a YOUNG MAN open
the front door of the house, pauses, starts down the path.
After a few steps, he turns and runs back into the house.
Mary leaves her car, starts a dash for the shelter of the
porch. As she runs, we see that the Young Man has gone back
only to get an umbrella. Seeing that Mary is on her way to
the porch, he runs quickly, the umbrella unopened in his
hand. He gets to the porch a moment after Mary has reached
it.
He stops short, looks at her, then at the umbrella hanging
useless in his hand, then back to her.
There is something sadly touching in his manner, in his look.
Mary's impatience goes and she smiles and this makes him
almost smile. He gestures her into the office, standing back
to indicate that he will go after her. She goes into the
office.
INT. OFFICE OF BATES' MOTEL - (NIGHT)
The Young Man follows Mary in, closes the door. He is NORMAN
BATES, somewhere in his late twenties, thin and tall, soft-
spoken and hesitant.
NORMAN:
Dirty night.
MARY:
(not really a question)
You have a vacancy?
NORMAN:
(simply, almost
cheerfully)
We have twelve vacancies. Twelve
cabins, twelve vacancies.
(a pause)
They moved away the highway.
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