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Psycho Page #9
- R
- Year:
- 1960
- 109 min
- 858,493 Views
MARY:
(After a long
thoughtful pause)
Yes, and just one time can be enough.
(Rises)
Thank you.
NORMAN:
(Cheerfully, correcting)
Thank you, Norman.
MARY:
Norman.
NORMAN:
You're not going to... to your room
already?
MARY:
I'm very tired. And I'll have a long
drive tomorrow. All the way back to
Phoenix.
NORMAN:
Phoenix?
MARY:
I stepped into a private trap back
there -- and I want to go back and...
try to pull myself out.
(Looking close at
Norman)
Before it's too late for me, too.
NORMAN:
(Looking at her)
Why don't you stay a little while,
just for talking.
MARY:
I'd like to, but...
NORMAN:
Alright. I'll see you in the morning.
I'll bring you breakfast. What time
will you...
MARY:
Very early. Dawn.
NORMAN:
Alright, Miss...
(He has forgotten her
name)
MARY:
Crane.
NORMAN:
That's it.
(He frowns, as if
bothered by not being
able to match the
name to the memory
of the name in the
registration book)
MARY:
Good night.
She goes out of the parlor. We see her, from Norman's
viewpoint, as she crosses the small office, goes out into
the night. Norman turns and looks at the table, and we see
his face now. It is bright with that drunken-like look of
determination and encouragement and like resolve. He starts
to clean up the table, pauses as he hears the closing of
Mary's door in the cabin next door.
He holds still, listens. He goes into the office and looks
at the book.
M.S. - NORMAN
He goes back into the parlor with a mystified expression.
The sound of Mary moving about her room come over, soft
SOUNDS, somehow intimate in the night quiet. Norman turns
his ear from the direction of the SOUNDS, seems to be fighting
an impulse to listen, or more than listen.
But slowly, he is forced to surrender to the impulse and,
resisting himself, he goes to the wall, presses the side of
his head against it. The SOUNDS come louder, as if we too
had our ear pressed against the wall. Now Norman looks at a
picture hanging on the far end of the wall he is leaning
against. Slowly he starts toward it.
He reaches it, touches it, reluctantly lifts the small frame
off the wall.
A tiny circle of light hits Norman's face, coming from the
hole in the wall behind the picture. This end of the room is
very dim and thus we are able to see clearly the light
striking Norman's face.
We move close to Norman, extremely close, until his profile
fills the screen. The tiny spot of light hits his eye. See
the small hole through which the light comes. Norman peeps
through.
NORMAN'S VIEWPOINT
Through the hole we look into Mary's cabin, see Mary
undressing. She is in her bra and halfslip. She stoops over
a bit, places her hands behind her upper back, begins to
unhook her bra.
NORMAN - ECU
He watches as Mary removes her bra. We see his eye run up
and down the unseen figure of Mary.
NORMAN'S VIEWPOINT
Mary, just slipping into a robe, covering her complete nudity.
NORMAN:
He turns from the hole, faces us for a moment, continues
turning until he can look out the small parlor window.
We see, as he sees...
NORMAN:
He turns his face away, quickly, resentfully. In his face we
see anger and anguish. And then resolve.
Quickly, precisely, he rehangs the picture over the hole in
the wall, turns, starts out of the parlor. We see him go
through the office and out onto the porch, not even bothering
CUT TO:
EXT. THE MOTEL OFFICE PORCH - (NIGHT)
Norman walking along the porch, in the direction of the big
house. Once on the path he pauses, looks up at the light in
the bedroom window, then pulls himself up, squares his
shoulders, strides manfully up the path.
CAMERA follows behind him. He opens the door of the house,
enters. We see him pause at the foot of the stairway, look
up at the bedroom door just at the head of the stair. He
holds for a moment, and then his resolve and courage
evaporates. His shoulders slump, sadly, mournfully. He by-
passes the stairs and slowly makes his way to the kitchen.
At the far end of the hall. He enters the kitchen, drops
wearily into a chair. After a moment, he stretches out a leg
and gently pushes the kitchen door closed.
CUT TO:
INT. MARY'S MOTEL ROOM - (NIGHT)
Mary is seated at the small desk, engrossed in figuring in a
small notebook. We see from these figures a calculation which
indicates her intention to make a restitution of the money
she has used of the forty thousand dollars. We see, too, her
bankbook. The paper reads thus: top figure, 40,000; directly
beneath it 500, the amount used for the new car; total after
subtraction, 39,500. In another spot we see a figure which
matches the balance in her bankbook; 624.00.
Beneath this is the figure 500, and the amount after
subtraction, 124.00. She studies the figures, sighs, not
wearily but with a certain satisfaction, with the pleasure
that comes when one knows that at any cost one is going to
continue doing the right thing. After a moment she tears the
page out of the notebook and, rising, begins to rip it into
small pieces. She goes into the bathroom, drops the pieces
into the toilet bowl, flushes the toilet. Then she drops her
robe and steps into the tub and turns the shower on.
Over the bar on which hangs the shower curtain, we can see
the bathroom door, not entirely closed. For a moment we watch
Mary as she washes and soaps herself.
There is still a small worry in her eyes, but generally she
looks somewhat relieved.
Now we see the bathroom door being pushed slowly open.
The noise of the shower drowns out any sound. The door is
then slowly and carefully closed.
And we see the shadow of a woman fall across the shower
curtain. Mary's back is turned to the curtain. The white
brightness of the bathroom is almost blinding.
Suddenly we see the hand reach up, grasp the shower curtain,
rip it aside.
CUT TO:
MARY - ECU
As she turns in response to the feel and SOUND of the shower
curtain being torn aside. A look of pure horror erupts in
her face. A low terrible groan begins to rise up out of her
throat. A hand comes into the shot. The hand holds an enormous
bread knife. The flint of the blade shatters the screen to
an almost total, silver blankness.
THE SLASHING:
An impression of a knife slashing, as if tearing at the very
screen, ripping the film. Over it the brief gulps of
screaming. And then silence. And then the dreadful thump as
Mary's body falls in the tub.
REVERSE ANGLE:
The blank whiteness, the blur of the shower water, the hand
pulling the shower curtain back. We catch one flicker of a
glimpse of the murderer. A woman, her face contorted with
madness, her head wild with hair, as if she were wearing a
fright-wig. And then we see only the curtain, closed across
the tub, and hear the rush of the shower water. Above the
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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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