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Psycho Page #7
- R
- Year:
- 1960
- 109 min
- 858,490 Views
MARY:
I thought I'd gotten off the main...
NORMAN:
I knew you must have. No one stops
He is behind the counter now, pushing forward the registration
book.
NORMAN:
But it's no good dwelling on our
losses, is it. We go right ahead
lighting signs and following the
formalities... Would you sign,
please.
Mary has placed her handbag on the counter. She takes the
registration book, picks up the pen, is suddenly struck with
the realization that she'd better use an alias. She writes
the name Marie Samuels.
NORMAN:
Your home address. Oh, just the town
will do.
MARY:
(glancing at newspaper
sticking out of her
handbag)
Los Angeles.
She realizes he didn't ask her to tell him, merely to write
it down. She smiles, writes Los Angeles beside the false
name. Norman smiles, stops smiling out of embarrassment.
NORMAN:
Cabin One. It's closer in case you
want anything... right next to the
office.
CLOSEUP - NORMAN
He removes a key for Cabin One. We see that there is a
remaining key on the board.
MARY:
I want sleep more than anything.
Except maybe, food.
NORMAN:
There's a big diner about ten miles
on up... just outside Fairvale.
MARY:
Am I that close to Fairvale?
NORMAN:
Fifteen miles. I'll get your bags.
He goes to door, opens it. The rain has slowed down
considerably. He smiles at this fact, as if to communicate
some pleasure he finds in it. Mary follows him to the door,
goes out on the porch, waits and watches as Norman runs to
her car, gets in, drives it to the parking space in front of
Cabin One. Mary walks along the porch, waits before the door
of Cabin One.
Norman gets out of car, with suitcase, runs to the door,
opens it, pushes the door open, puts his hand in and switches
on a light. Mary goes into the cabin. Norman follows her.
Norman places suitcase on bed, goes to the window, opens it.
NORMAN:
Stuffy in here.
(turns to her)
Well... the mattress is soft and
there're hangers in the closet and...
stationary with "Bates' Motel" printed
on it in case you want to make your
friends back home envious... and...
the... over there....
(he points to the
bathroom, fairly
blushes)
MARY:
The bathroom.
NORMAN:
(quickly, starting to
leave)
I'll be in the office if you want
anything... just tap on the wall.
MARY:
Thank you, Mr. Bates.
NORMAN:
Norman Bates.
He pauses at the door, gazes at her. She smiles.
NORMAN:
You have something most girls never
have.
MARY:
I have?
NORMAN:
There's no name for it... But it's
something that, that puts a person
at ease.
MARY:
Thank you. Again.
NORMAN:
(not really a question)
You're not going to go out again and
drive up to that diner, are you?
MARY:
No.
NORMAN:
Then will you do me a favor?
(without waiting for
her response)
Will you have supper here? I was
just about to, myself... nothing
more than some sandwiches and a lot
of milk, but I'd like it if you'd
come up to the house and... I don't
set a fancy table but... the kitchen's
awful homey.
MARY:
I'd like to.
NORMAN:
All right, you get your dresses
hanging out and... change those wet
shoes, and I'll come for you soon as
it's ready...
(starts out)
...with my trusty umbrella.
(he laughs a small
laugh, runs off)
Mary closes the door, goes to suitcase, opens it, starts to
take out a dress. Her handbag is next to the suitcase. She
glances down into it, pauses, drops the dress, reaches into
the handbag, takes out the money-filled envelope, stares at
it, almost with regret, filled contemplates hiding it, decides
to, starts looking for a reasonable hiding place. She looks
about, at the closet, the drawers etc., realizes all such
places are obvious. Catching sight of the newspaper in her
bag, she hits on a solution. She opens the newspaper, places
the envelope within it, lock-folds the paper again and then
places it on the bedside table as if it were there for later
reading. She considers this for a moment, accepts it, goes
to her suitcase to start unpacking.
Suddenly the quiet is shattered by the shrill, ugly sound of
a woman's voice, raised in anger.
WOMAN'S VOICE
No! I tell you no!
Mary walks slowly to the window, realizing that the terrible
voice is coming from the house behind the cabins. CAMERA
FOLLOWS her to window and once there we see the light is
still on in the upstairs bedroom and the voice is coming
from that room. The rain has stopped and the moon is out.
WOMAN'S VOICE
I won't have you bringing strange
young girls in for supper...
(an ugly, sneering
note creeps into the
voice)
...by candlelight, I suppose, in the
cheap erotic fashion of young men
with cheap, erotic minds!
NORMAN'S VOICE
Mother, please...
WOMAN'S VOICE
And then what? After supper, music?
Whispers?
NORMAN'S VOICE
Mother, she's just a stranger...
hungry, and the weather's bad...
WOMAN'S VOICE
(mimicking cruelly)
Mother, she's just a stranger!
(hard, cruel again)
As if men don't desire strangers, as
if... oh, I refuse to speak of
disgusting things because they disgust
me! You understand, Boy?
WOMAN'S VOICE
(pause)
Go on, go tell her she'll not be
appeasing her ugly appetite with my
food... or my son! Or do I have to
tell her, cause you don't have the
guts? Huh, boy? You have the guts,
boy?
NORMAN'S VOICE
(blurted cut fury and
shame)
Shut up! Shut up!
There is the SOUND of a door closing in that room up there.
Mary has stood by the window, listening with mounting distress
and concern and sympathy. She turns her face away now, gazes
sadly at the little empty room.
In a moment there is the SOUND of the house's front door
slamming shut. Mary turns, looks out the window.
FROM MARY'S VIEWPOINT - (NIGHT)
We see Norman coming down the path, carrying a napkin-covered
tray.
Mary looks at him for a moment, then turns quickly, goes to
the door, opens it and goes out onto the porch.
EXT. THE MOTEL PORCH - (NIGHT)
Mary pauses outside the door, is about to start forward when
Norman comes round the building and walks along the porch,
past the office, stopping only when he is close to her. He
stares with painful embarrassment at the knowing look in her
eye.
MARY:
I've caused you some trouble.
NORMAN:
Mother...
an attempt at sardonic
humor)
...what is the phrase... "she isn't
herself today"... I think that's it.
MARY:
(looking at the tray)
You shouldn't have bothered. I really
don't have that much of an appetite.
Norman flinches, realizing she has heard his mother's
reference to Mary's appetite.
NORMAN:
I'm sorry. I wish... people could
apologize for other people.
MARY:
(a warm smile)
But as long as you've made us supper,
we may as well eat it. Huh?
She begins to back into her room. Norman starts to follow,
hesitates as he sees the total picture of an attractive young
woman and a motel room. Bringing down the tray of food, in
defiance of his mother's orders, is about the limit of his
defiance for one day. He cannot go into Mary's room.
NORMAN:
It might be nicer... warmer in the
office.
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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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