Psycho by Joseph Stefano Based On The Novel by Robert Bloch: Revised December 1, 1959

PSYCHO
by
Joseph Stefano
Based on the novel by
Robert Bloch
FOR EDUCATIONAL PURPOSES ONLY
REVISED
December 1, 1959
Converted to PDF by ScreenTalk Online
http://www.screentalk.org
PSYCHO PSYCHO
FADE I N: FADE I N:
EXT. PHOENI X, ARI ZONA - ( DAY) - HELI COPTER SHOT EXT. PHOENI X, ARI ZONA - ( DAY) - HELI COPTER SHOT
Above Mi dt own sect i on of t he ci t y. I t i s ear l y Above Mi dt own sect i on of t he ci t y. I t i s ear l y
af t er noon, a hot mi d- summer day. The ci t y i s sun- af t er noon, a hot mi d- summer day. The ci t y i s sun-
bl anched whi t e and i t s dr i f t ed- up noi ses ar e mut ed i n bl anched whi t e and i t s dr i f t ed- up noi ses ar e mut ed i n
t hei r own echoes. We f l y l ow, headi ng i n a downt own t hei r own echoes. We f l y l ow, headi ng i n a downt own
di r ect i on, passi ng over t r af f i c- cl ogged st r eet s, par ki ng di r ect i on, passi ng over t r af f i c- cl ogged st r eet s, par ki ng
l ot s, whi t e busi ness bui l di ngs, neat l y pat t er ned l ot s, whi t e busi ness bui l di ngs, neat l y pat t er ned
r esi dent i al di st r i ct s. As we appr oach downt own sect i on, r esi dent i al di st r i ct s. As we appr oach downt own sect i on,
t he char act er of t he ci t y begi ns t o change. I t i s t he char act er of t he ci t y begi ns t o change. I t i s
dar ker and shabby wi t h age and i ndust r y. We see dar ker and shabby wi t h age and i ndust r y. We see
r ai l r oad t r acks, smokest acks, whol esal e f r ui t - and- r ai l r oad t r acks, smokest acks, whol esal e f r ui t - and-
veget abl e mar ket s, ol d muni ci pal bui l di ngs, empt y l ot s. veget abl e mar ket s, ol d muni ci pal bui l di ngs, empt y l ot s.
The ver y geogr aphy seems t o gi ve us a cl i mat e of The ver y geogr aphy seems t o gi ve us a cl i mat e of
nef ar i ousness, of back- door ness, dar k and shadowy. And nef ar i ousness, of back- door ness, dar k and shadowy. And
secr et . secr et .
We f l y l ower and f ast er now, as i f seeki ng out a We f l y l ower and f ast er now, as i f seeki ng out a
speci f i c l ocat i on. A ski nny, hi gh ol d hot el comes i nt o speci f i c l ocat i on. A ski nny, hi gh ol d hot el comes i nt o
vi ew. On i t s exposed br i ck si de gr eat pai nt ed l et t er s vi ew. On i t s exposed br i ck si de gr eat pai nt ed l et t er s
adver t i se " Tr ansi ent s- Low Weekl y Rat es- Radi o i n Ever y adver t i se " Tr ansi ent s- Low Weekl y Rat es- Radi o i n Ever y
Room. " We pause l ong enough t o est abl i sh t he shoddy Room. " We pause l ong enough t o est abl i sh t he shoddy
char act er of t hi s hot el . I t s open, cur t ai nl ess wi ndows, char act er of t hi s hot el . I t s open, cur t ai nl ess wi ndows,
i t s si l ent r esi gned l ook so char act er i st i c of such hol e- i t s si l ent r esi gned l ook so char act er i st i c of such hol e-
and- cor ner hot el s. We move f or war d wi t h pur posef ul ness and- cor ner hot el s. We move f or war d wi t h pur posef ul ness
t owar d a cer t ai n wi ndow. The sash i s r ai sed as hi gh as t owar d a cer t ai n wi ndow. The sash i s r ai sed as hi gh as
i t can go, but t he shade i s pul l ed down t o t hr ee or f our i t can go, but t he shade i s pul l ed down t o t hr ee or f our
i nches of t he i nsi de si l l , as i f t he occupant s of t he i nches of t he i nsi de si l l , as i f t he occupant s of t he
r oomwi t hi n want ed pr i vacy but needed ai r . We ar e cl ose r oomwi t hi n want ed pr i vacy but needed ai r . We ar e cl ose
now, so t hat onl y t he l ower hal f of t he wi ndow f r ame i s now, so t hat onl y t he l ower hal f of t he wi ndow f r ame i s
i n shot . No sounds come f r omwi t hi n t he r oom. i n shot . No sounds come f r omwi t hi n t he r oom.
Suddenl y, we t i p downwar d, go t o t he nar r ow space Suddenl y, we t i p downwar d, go t o t he nar r ow space
bet ween shade and si l l , peep i nt o t he r oom. bet ween shade and si l l , peep i nt o t he r oom.
A young woman i s st r et ched out on t he mussed bed. She A young woman i s st r et ched out on t he mussed bed. She
wear s a f ul l sl i p, st ocki ngs, no shoes. She l i es i n and wear s a f ul l sl i p, st ocki ngs, no shoes. She l i es i n and
at t i t ude of physi cal r el axat i on, but her f ace, seen i n at t i t ude of physi cal r el axat i on, but her f ace, seen i n
t he di mness of t he r oom, bet r ays a cer t ai n i nner - t he di mness of t he r oom, bet r ays a cer t ai n i nner -
t ensi on, wor r i some conf l i ct s. She i s MARY CRANE, an t ensi on, wor r i some conf l i ct s. She i s MARY CRANE, an
at t r act i ve gi r l near i ng t he end of her t went i es and her at t r act i ve gi r l near i ng t he end of her t went i es and her
r ope. r ope.
A man st ands besi de t he bed, onl y t he l ower hal f of hi s A man st ands besi de t he bed, onl y t he l ower hal f of hi s
f i gur e vi si bl e. We hol d on t hi s t abl eau f or a l ong f i gur e vi si bl e. We hol d on t hi s t abl eau f or a l ong
moment , t hen st ar t f or war d. As we pass under t he wi ndow moment , t hen st ar t f or war d. As we pass under t he wi ndow
shade, shade,
CUT TO: CUT TO:
PSYCHO Revi sed December 1, 1959 2. PSYCHO Revi sed December 1, 1959 2.
I NT. THE HOTEL ROOM - ( DAY) I NT. THE HOTEL ROOM - ( DAY)
A smal l r oom, a sl ow f an buzzi ng on a shel f above t he A smal l r oom, a sl ow f an buzzi ng on a shel f above t he
nar r ow bed. A car d of hot el r ul es i s past ed on t he nar r ow bed. A car d of hot el r ul es i s past ed on t he
mi r r or above t he bur eau. An unopened sui t case and a mi r r or above t he bur eau. An unopened sui t case and a
woman' s l ar ge, st r aw open- t op handbag ar e on t he bur eau. woman' s l ar ge, st r aw open- t op handbag ar e on t he bur eau.
On t he t abl e besi de t he bed t her e ar e a cont ai ner of On t he t abl e besi de t he bed t her e ar e a cont ai ner of
coco- col a and an unwr apped, unt ouched egg- sal ad coco- col a and an unwr apped, unt ouched egg- sal ad
sandwi ch. Ther e i s no r adi o. sandwi ch. Ther e i s no r adi o.
The man st andi ng by t he bed, wear i ng onl y t r ouser s, T- The man st andi ng by t he bed, wear i ng onl y t r ouser s, T-
shi r t and sox, i s SAM LOOMI S, a good- l ooki ng, sensual shi r t and sox, i s SAM LOOMI S, a good- l ooki ng, sensual
man wi t h war mhumor ous eyes and a compel l i ng smi l e. He man wi t h war mhumor ous eyes and a compel l i ng smi l e. He
i s bl ot t i ng hi s neck and f ace wi t h a t hi n t owel , and i s i s bl ot t i ng hi s neck and f ace wi t h a t hi n t owel , and i s
st ar i ng down at Mar y, a smal l sweet smi l e pl ayi ng about st ar i ng down at Mar y, a smal l sweet smi l e pl ayi ng about
hi s mout h. Mar y keeps her f ace t ur ned away f r omhi m. hi s mout h. Mar y keeps her f ace t ur ned away f r omhi m.
Af t er a moment , Samdr ops t he t owel , si t s on t he bed, Af t er a moment , Samdr ops t he t owel , si t s on t he bed,
l eans over and t akes Mar y i nt o hi s ar ms, ki sses her l ong l eans over and t akes Mar y i nt o hi s ar ms, ki sses her l ong
and war ml y, hol ds her wi t h a f i r mpossessi veness. The and war ml y, hol ds her wi t h a f i r mpossessi veness. The
ki ss i s di st ur bed and f i nal l y i nt er r upt ed by t he buzzi ng ki ss i s di st ur bed and f i nal l y i nt er r upt ed by t he buzzi ng
cl oseness of an i nconsi der at e f l y. Samsmi l es, pul l s cl oseness of an i nconsi der at e f l y. Samsmi l es, pul l s
away enough t o al l ow Mar y t o r el ax agai n agai nst t he away enough t o al l ow Mar y t o r el ax agai n agai nst t he
pi l l ow. He st udi es her , f r owns at her unr esponsi veness, pi l l ow. He st udi es her , f r owns at her unr esponsi veness,
t hen speaks i n a l ow, i nt i mat e, pl ayf ul voi ce. t hen speaks i n a l ow, i nt i mat e, pl ayf ul voi ce.
SAM SAM
Never di d eat your l unch, di d you. Never di d eat your l unch, di d you.
Mar y l ooks at hi s smi l e, has t o r espond, pul l s hi mt o Mar y l ooks at hi s smi l e, has t o r espond, pul l s hi mt o
her , ki sses hi m. Then, and wi t hout br eaki ng t he ki ss, her , ki sses hi m. Then, and wi t hout br eaki ng t he ki ss,
she swi ngs her l egs over t he si de of t he bed, t oe- she swi ngs her l egs over t he si de of t he bed, t oe-
sear ches ar ound, f i nds her shoes, sl i ps her f eet i nt o sear ches ar ound, f i nds her shoes, sl i ps her f eet i nt o
t hem. And f i nal l y pul l s away and si t s up. t hem. And f i nal l y pul l s away and si t s up.
MARY MARY
I bet t er get back t o t he of f i ce. I bet t er get back t o t he of f i ce.
These ext ended l unch hour s gi ve my These ext ended l unch hour s gi ve my
boss excess aci d. boss excess aci d.
She r i ses, goes t o t he bur eau, t akes a pai r of smal l She r i ses, goes t o t he bur eau, t akes a pai r of smal l
ear r i ngs out of her bag, begi ns put t i ng t hemon, not ear r i ngs out of her bag, begi ns put t i ng t hemon, not
bot her i ng or per haps not want i ng t o l ook at her sel f i n bot her i ng or per haps not want i ng t o l ook at her sel f i n
t he mi r r or . Samwat ches her , concer ned but unabl e t o t he mi r r or . Samwat ches her , concer ned but unabl e t o
i nhi bi t hi s cheer y, humor ous good mood. Thr oughout i nhi bi t hi s cheer y, humor ous good mood. Thr oughout
r emai nder of t hi s scene, t hey occupy t hemsel ves wi t h r emai nder of t hi s scene, t hey occupy t hemsel ves wi t h
dr essi ng, hai r - combi ng, et c. dr essi ng, hai r - combi ng, et c.
SAM SAM
Cal l your boss and t el l hi myou' r e Cal l your boss and t el l hi myou' r e
t aki ng t he r est of t he af t er noon t aki ng t he r est of t he af t er noon
of f . I t ' s Fr i day anyway . . . and of f . I t ' s Fr i day anyway . . . and
hot . hot .
MARY MARY
( sof t sar casm) ( sof t sar casm)
What do I do wi t h my f r ee What do I do wi t h my f r ee
af t er noon, wal k you t o t he ai r por t ? af t er noon, wal k you t o t he ai r por t ?
SAM SAM
( meani ngf ul l y) ( meani ngf ul l y)
We coul d l aze ar ound her e a whi l e We coul d l aze ar ound her e a whi l e
l onger . l onger .
MARY MARY
Checki ng out t i me i s t hr ee P. M. Checki ng out t i me i s t hr ee P. M.
Hot el s of t hi s sor t ar en' t Hot el s of t hi s sor t ar en' t
i nt er est ed i n you when you come i n, i nt er est ed i n you when you come i n,
but when your t i me' s up . . . . but when your t i me' s up . . . .
( a smal l angui sh) ( a smal l angui sh)
Sam, I hat e havi ng t o be wi t h you Sam, I hat e havi ng t o be wi t h you
i n a pl ace l i ke t hi s. i n a pl ace l i ke t hi s.
SAM SAM
I ' ve hear d of mar r i ed coupl es who I ' ve hear d of mar r i ed coupl es who
del i ber at el y spend occasi onal del i ber at el y spend occasi onal
ni ght s i n cheap hot el s. They say ni ght s i n cheap hot el s. They say
i t . . . i t . . .
MARY MARY
( i nt er r upt i ng) ( i nt er r upt i ng)
When you' r e mar r i ed you can do a When you' r e mar r i ed you can do a
l ot of t hi ngs del i ber at el y. l ot of t hi ngs del i ber at el y.
SAM SAM
You sur e t al k l i ke a gi r l who' s You sur e t al k l i ke a gi r l who' s
been mar r i ed. been mar r i ed.
MARY MARY
Sam! Sam!
SAM SAM
I ' msor r y, Mar y. I ' msor r y, Mar y.
( af t er a moment ) ( af t er a moment )
My ol d Dad used t o say ' when you My ol d Dad used t o say ' when you
can' t change a si t uat i on, l augh at can' t change a si t uat i on, l augh at
i t . ' Not hi ng r i di cul es a t hi ng i t . ' Not hi ng r i di cul es a t hi ng
l i ke l aughi ng at i t . l i ke l aughi ng at i t .
MARY MARY
I ' ve l ost my gi r l i sh l aught er . I ' ve l ost my gi r l i sh l aught er .
SAM SAM
( obser vi ng) ( obser vi ng)
The onl y gi r l i sh t hi ng you have The onl y gi r l i sh t hi ng you have
l ost . l ost .
MARY MARY
( a meani ngf ul qui et , ( a meani ngf ul qui et ,
t hen, wi t h t hen, wi t h
di f f i cul t y: ) di f f i cul t y: )
Sam. Thi s i s t he l ast t i me. Sam. Thi s i s t he l ast t i me.
SAM SAM
For what ? For what ?
MARY MARY
Thi s! Meet i ng you i n secr et so we Thi s! Meet i ng you i n secr et so we
can be . . . secr et i ve! You come can be . . . secr et i ve! You come
down her e on busi ness t r i ps and we down her e on busi ness t r i ps and we
st eal l unch hour s and . . . I wi sh st eal l unch hour s and . . . I wi sh
you woul dn' t even come. you woul dn' t even come.
SAM SAM
Okay. What do we do i nst ead, wr i t e Okay. What do we do i nst ead, wr i t e
each ot her l ur i d l ove l et t er s? each ot her l ur i d l ove l et t er s?
MARY MARY
( about t o ar gue, t hen ( about t o ar gue, t hen
t ur ni ng away) t ur ni ng away)
I haven' t t i me t o ar gue. I ' ma I haven' t t i me t o ar gue. I ' ma
wor ki ng gi r l . wor ki ng gi r l .
SAM SAM
And I ' ma wor ki ng man! We' r e a And I ' ma wor ki ng man! We' r e a
r egul ar wor ki ng- cl ass t r agedy! r egul ar wor ki ng- cl ass t r agedy!
( he l aughs) ( he l aughs)
MARY MARY
I t i s t r agi c! Or i t wi l l be. . . i f I t i s t r agi c! Or i t wi l l be. . . i f
we go on meet i ng i n shabby hot el s we go on meet i ng i n shabby hot el s
whenever you can f i nd a t ax- whenever you can f i nd a t ax-
deduct i bl e excuse f or f l yi ng down deduct i bl e excuse f or f l yi ng down
her e . . . . her e . . . .
SAM SAM
( i nt er r upt i ng, ( i nt er r upt i ng,
ser i ousl y) ser i ousl y)
You can' t l augh at i t , huh? You can' t l augh at i t , huh?
MARY MARY
Can you? Can you?
SAM SAM
Sur e. I t ' s l i ke l aughi ng t hr ough Sur e. I t ' s l i ke l aughi ng t hr ough
a br oken j aw, but . . . . a br oken j aw, but . . . .
He br eaks of f , hi s cheer i ness di ssol ved, goes t o t he He br eaks of f , hi s cheer i ness di ssol ved, goes t o t he
wi ndow, t r i es t o r ai se t he shade. I t st i cks. He pul l s wi ndow, t r i es t o r ai se t he shade. I t st i cks. He pul l s
at i t . at i t .
I t comes down ent i r el y, and t he hot sun gl ar es i nt o t he I t comes down ent i r el y, and t he hot sun gl ar es i nt o t he
r oom, r eveal i ng i t i n al l i t s shabbi ness and sor di dness r oom, r eveal i ng i t i n al l i t s shabbi ness and sor di dness
as i f cor r obor at i ng Mar y' s wor ds and at t i t ude. Sam as i f cor r obor at i ng Mar y' s wor ds and at t i t ude. Sam
ki cks at t he f al l en shade, l aughs i n f r ust r at i on, gr abs ki cks at t he f al l en shade, l aughs i n f r ust r at i on, gr abs
on t o hi s humor agai n. on t o hi s humor agai n.
SAM SAM
And besi des, when you say I make And besi des, when you say I make
t ax- deduct i bl e excuses you make me t ax- deduct i bl e excuses you make me
out a cr i mi nal . out a cr i mi nal .
MARY MARY
( havi ng t o smi l e) ( havi ng t o smi l e)
You coul dn' t be a cr i mi nal i f you You coul dn' t be a cr i mi nal i f you
commi t t ed a maj or cr i me. commi t t ed a maj or cr i me.
SAM SAM
I wi sh I wer e. Not an act i ve I wi sh I wer e. Not an act i ve
cr i mi nal but . . . a ni ce guy wi t h cr i mi nal but . . . a ni ce guy wi t h
t he consci ence of a cr i mi nal . t he consci ence of a cr i mi nal .
( goes cl ose t o mar y, ( goes cl ose t o mar y,
t ouches her ) t ouches her )
Next best t hi ng t o no consci ence at Next best t hi ng t o no consci ence at
al l . al l .
MARY MARY
( pul l i ng away) ( pul l i ng away)
I have t o go, Sam. I have t o go, Sam.
SAM SAM
I can come down next week. I can come down next week.
MARY MARY
No. No.
SAM SAM
Not even j ust t o see you, t o have Not even j ust t o see you, t o have
l unch . . . i n publ i c? l unch . . . i n publ i c?
MARY MARY
We can see each ot her , we can even We can see each ot her , we can even
have di nner . . . but r espect abl y, i n have di nner . . . but r espect abl y, i n
my house wi t h my mot her ' s pi ct ur e my house wi t h my mot her ' s pi ct ur e
on t he mant el and my si st er hel pi ng on t he mant el and my si st er hel pi ng
me br oi l a bi g st eak f or t hr ee! me br oi l a bi g st eak f or t hr ee!
SAM SAM
And af t er t he st eak . . . do we send And af t er t he st eak . . . do we send
Si st er t o t he movi es and t ur n Si st er t o t he movi es and t ur n
Mama' s pi ct ur e t o t he wal l ? Mama' s pi ct ur e t o t he wal l ?
MARY MARY
Sam! No! Sam! No!
SAM SAM
( af t er a pause, si mpl y) ( af t er a pause, si mpl y)
Al l r i ght . Al l r i ght .
She st ar es at hi m, sur pr i sed at hi s wi l l i ngness t o She st ar es at hi m, sur pr i sed at hi s wi l l i ngness t o
cont i nue t he af f ai r on her t er ms, as gi r l s ar e so of t en cont i nue t he af f ai r on her t er ms, as gi r l s ar e so of t en
sur pr i sed when t hey di scover men wi l l cont i nue t o want sur pr i sed when t hey di scover men wi l l cont i nue t o want
t hemeven af t er t he sexual bai t has been pul l ed i n. Sam t hemeven af t er t he sexual bai t has been pul l ed i n. Sam
smi l es r eassur i ngl y, pl aces hi s hands gent l y on her smi l es r eassur i ngl y, pl aces hi s hands gent l y on her
ar ms, speaks wi t h gent l e and si mpl e si ncer i t y. ar ms, speaks wi t h gent l e and si mpl e si ncer i t y.
SAM SAM
Mar y, whenever i t ' s possi bl e, t ax- Mar y, whenever i t ' s possi bl e, t ax-
deduct i bl e or not , I want t o see deduct i bl e or not , I want t o see
you. And under any condi t i ons. you. And under any condi t i ons.
( a smi l e) ( a smi l e)
Even r espect abi l i t y. Even r espect abi l i t y.
MARY MARY
You make r espect abi l i t y sound . . . You make r espect abi l i t y sound . . .
di sr espect f ul . di sr espect f ul .
SAM SAM
( br i ght l y) ( br i ght l y)
I ' mal l f or i t ! I t r equi r es I ' mal l f or i t ! I t r equi r es
pat i ence and t emper ance and a l ot pat i ence and t emper ance and a l ot
of sweat i ng- out . . . ot her wi se, of sweat i ng- out . . . ot her wi se,
t hough, i t ' s onl y har d wor k. t hough, i t ' s onl y har d wor k.
( a pause) ( a pause)
But i f I can see you, t ouch you But i f I can see you, t ouch you
even as si mpl y as t hi s . . . I won' t even as si mpl y as t hi s . . . I won' t
mi nd. mi nd.
He moves away and agai n t he wei ght of hi s pai n and He moves away and agai n t he wei ght of hi s pai n and
pr obl ems cr ushes away hi s good humor . Ther e i s a qui et pr obl ems cr ushes away hi s good humor . Ther e i s a qui et
moment . moment .
SAM SAM
I ' mf ed up wi t h sweat i ng f or peopl e I ' mf ed up wi t h sweat i ng f or peopl e
who ar en' t t her e. I sweat t o pay who ar en' t t her e. I sweat t o pay
of f my f at her ' s debt s . . . and he' s of f my f at her ' s debt s . . . and he' s
i n hi s gr ave . . . I sweat t o pay my i n hi s gr ave . . . I sweat t o pay my
ex- wi f e al i mony, and she' s l i vi ng ex- wi f e al i mony, and she' s l i vi ng
on t he ot her si de of t he wor l d on t he ot her si de of t he wor l d
somewher e. somewher e.
MARY MARY
( a smi l e) ( a smi l e)
I pay, t oo. They al so pay who meet I pay, t oo. They al so pay who meet
i n hot el r ooms. i n hot el r ooms.
SAM SAM
A coupl e of year s and t he debt s A coupl e of year s and t he debt s
wi l l be pai d of f . And i f she ever wi l l be pai d of f . And i f she ever
r e- mar r i es, t he al i mony st ops . . . r e- mar r i es, t he al i mony st ops . . .
and t hen . . . and t hen . . .
MARY MARY
I haven' t even been mar r i ed once I haven' t even been mar r i ed once
yet ! yet !
SAM SAM
Yeah, but when you do . . . you' l l Yeah, but when you do . . . you' l l
swi ng. swi ng.
MARY MARY
( smi l i ng, t hen wi t h a ( smi l i ng, t hen wi t h a
t er r i bl e ur gency) t er r i bl e ur gency)
Sam, l et ' s go get mar r i ed. Sam, l et ' s go get mar r i ed.
SAM SAM
And l i ve wi t h me i n a st or er oom And l i ve wi t h me i n a st or er oom
behi nd a har dwar e st or e i n behi nd a har dwar e st or e i n
Fai r val e. We' l l have a l ot of Fai r val e. We' l l have a l ot of
l aughs. When I send my ex- wi f e her l aughs. When I send my ex- wi f e her
money, you can l i ck t he st amps. money, you can l i ck t he st amps.
MARY MARY
( a deep desper at i on) ( a deep desper at i on)
I ' l l l i ck t he st amps. I ' l l l i ck t he st amps.
He l ooks at her , l ong, pul l s her cl ose, ki sses her He l ooks at her , l ong, pul l s her cl ose, ki sses her
l i ght l y, l ooks out t he wi ndow and st ar es at t he wi de sky. l i ght l y, l ooks out t he wi ndow and st ar es at t he wi de sky.
SAM SAM
You know what I ' d l i ke? A cl ear , You know what I ' d l i ke? A cl ear ,
empt y sky . . . and a pl ane, and us empt y sky . . . and a pl ane, and us
i n i t . . . and somewher e a pr i vat e i n i t . . . and somewher e a pr i vat e
i sl and f or sal e, wher e we can r un i sl and f or sal e, wher e we can r un
ar ound wi t hout our . . . shoes on. ar ound wi t hout our . . . shoes on.
And t he wher ewi t hal t o buy what I ' d And t he wher ewi t hal t o buy what I ' d
l i ke. l i ke.
( he moves away, ( he moves away,
suddenl y ser i ous) suddenl y ser i ous)
Mar y, you want t o cut t hi s of f , go Mar y, you want t o cut t hi s of f , go
out and f i nd your sel f someone out and f i nd your sel f someone
avai l abl e. avai l abl e.
MARY MARY
I ' mt hi nki ng of i t . I ' mt hi nki ng of i t .
SAM SAM
( a cheer f ul shout ) ( a cheer f ul shout )
How can you even t hi nk a t hi ng l i ke How can you even t hi nk a t hi ng l i ke
t hat ! t hat !
MARY MARY
( pi cki ng up handbag, ( pi cki ng up handbag,
st ar t i ng f or door ) st ar t i ng f or door )
Don' t mi ss your pl ane. Don' t mi ss your pl ane.
SAM SAM
Hey, we can l eave t oget her can' t we? Hey, we can l eave t oget her can' t we?
MARY MARY
( at door ) ( at door )
I ' ml at e . . . and you have t o put I ' ml at e . . . and you have t o put
your shoes on. your shoes on.
Mar y goes out qui ckl y, cl osi ng door behi nd her . As Sam Mar y goes out qui ckl y, cl osi ng door behi nd her . As Sam
st ar es down at hi s shoel ess f eet , st ar es down at hi s shoel ess f eet ,
CUT TO: CUT TO:
EXT. DOWNTOWN STREET - ( DAY) - HI GH ANGLE EXT. DOWNTOWN STREET - ( DAY) - HI GH ANGLE
Shoot i ng down at hot el ent r ance. Mar y comes out , wal ks Shoot i ng down at hot el ent r ance. Mar y comes out , wal ks
qui ckl y t o a par ked cab, get s i n. The cab zooms up t he qui ckl y t o a par ked cab, get s i n. The cab zooms up t he
awf ul st r eet . awf ul st r eet .
DI SSOLVE TO: DI SSOLVE TO:
EXT. LOWERY REAL ESTATE OFFI CE - ( DAY) EXT. LOWERY REAL ESTATE OFFI CE - ( DAY)
A smal l , moder at el y successf ul of f i ce of f t he mai n A smal l , moder at el y successf ul of f i ce of f t he mai n
st r eet . A cab pul l s up at t he cur b. We see Mar y get st r eet . A cab pul l s up at t he cur b. We see Mar y get
out of cab, pay dr i ver , cr oss pavement t o t he of f i ce out of cab, pay dr i ver , cr oss pavement t o t he of f i ce
door . door .
I NT. OUTER OFFI CE - ( DAY) I NT. OUTER OFFI CE - ( DAY)
Mar y ent er s of f i ce, cr osses t o her desk, si t s down, r ubs Mar y ent er s of f i ce, cr osses t o her desk, si t s down, r ubs
her t empl es, f i nal l y l ooks over at Car ol i ne, a gi r l i n her t empl es, f i nal l y l ooks over at Car ol i ne, a gi r l i n
t he l ast of her t eens. t he l ast of her t eens.
MARY MARY
I sn' t Mr . Lower y back f r oml unch? I sn' t Mr . Lower y back f r oml unch?
CAROLI NE CAROLI NE
( a hi gh, br i ght , eager - ( a hi gh, br i ght , eager -
t o- t al k voi ce l aced t o- t al k voi ce l aced
wi t h a vague Texan wi t h a vague Texan
accent ) accent )
He' s l unchi ng wi t h t he man who' s He' s l unchi ng wi t h t he man who' s
buyi ng t he Har r i s St r eet pr oper t y, buyi ng t he Har r i s St r eet pr oper t y,
you know, t hat oi l l ease man . . . you know, t hat oi l l ease man . . .
( mor e) ( mor e)
CAROLI NE ( cont ' d) CAROLI NE ( cont ' d)
so t hat ' s why he' s l at e. so t hat ' s why he' s l at e.
( a pause, t hen, as ( a pause, t hen, as
Mar y does not r espond Mar y does not r espond
t o t he poi nt ed t hr ust ) t o t he poi nt ed t hr ust )
You get t i ng a headache? You get t i ng a headache?
MARY MARY
I t ' l l pass. Headaches ar e l i ke I t ' l l pass. Headaches ar e l i ke
r esol ut i ons . . . you f or get t hem r esol ut i ons . . . you f or get t hem
soon as t hey st op hur t i ng. soon as t hey st op hur t i ng.
CAROLI NE CAROLI NE
You got aspi r i ns? I have somet hi ng You got aspi r i ns? I have somet hi ng
. . . not aspi r i ns, but . . . not aspi r i ns, but
( cheer f ul l y t akes ( cheer f ul l y t akes
bot t l e of pi l l s out bot t l e of pi l l s out
of desk dr awer ) of desk dr awer )
my mot her ' s doct or gave t hese t o me my mot her ' s doct or gave t hese t o me
t he day of my weddi ng. t he day of my weddi ng.
( l aughs) ( l aughs)
Teddy was f ur i ous when he f ound out Teddy was f ur i ous when he f ound out
I ' d t aken t r anqui l i zer s! I ' d t aken t r anqui l i zer s!
She r i ses, st ar t s f or Mar y' s desk, pi l l s i n hand. She r i ses, st ar t s f or Mar y' s desk, pi l l s i n hand.
MARY MARY
Wer e t her e any cal l s? Wer e t her e any cal l s?
CAROLI NE CAROLI NE
Teddy cal l ed. Me . . . And my mot her Teddy cal l ed. Me . . . And my mot her
cal l ed t o see i f Teddy cal l ed. Oh, cal l ed t o see i f Teddy cal l ed. Oh,
and your si st er cal l ed t o say she' s and your si st er cal l ed t o say she' s
goi ng t o Tucson t o do some buyi ng goi ng t o Tucson t o do some buyi ng
and she' l l be gone t he whol e and she' l l be gone t he whol e
weekend and . . . weekend and . . .
She br eaks of f , di st r act ed by t he SOUND of t he door She br eaks of f , di st r act ed by t he SOUND of t he door
openi ng. MR. LOWERY and hi s oi l - l ease cl i ent , TOM openi ng. MR. LOWERY and hi s oi l - l ease cl i ent , TOM
CASSI DY ent er t he of f i ce. Lower y i s a pl easant , wor r i ed- CASSI DY ent er t he of f i ce. Lower y i s a pl easant , wor r i ed-
f aced man, bi g and a t r i f l e pompous. Cassi dy i s ver y f aced man, bi g and a t r i f l e pompous. Cassi dy i s ver y
l oud and has a l unch- hour l oad on. He i s a gr oss man, l oud and has a l unch- hour l oad on. He i s a gr oss man,
exudi ng a ki nd of pi t i f ul vul gar i t y. exudi ng a ki nd of pi t i f ul vul gar i t y.
CASSI DY CASSI DY
Wow! Hot as f r esh mi l k! You gi r l s Wow! Hot as f r esh mi l k! You gi r l s
shoul d get your boss t o ai r - shoul d get your boss t o ai r -
condi t i on you up. He can af f or d i t condi t i on you up. He can af f or d i t
t oday. t oday.
Lower y f l ashes an embar r assed smi l e at Mar y, t r i es t o Lower y f l ashes an embar r assed smi l e at Mar y, t r i es t o
l ead Cassi dy t owar d t he pr i vat e of f i ce. l ead Cassi dy t owar d t he pr i vat e of f i ce.
LOWERY LOWERY
Mar y, wi l l you get t hose copi es of Mar y, wi l l you get t hose copi es of
t he deed r eady f or Mr . Cassi dy. t he deed r eady f or Mr . Cassi dy.
Cassi dy pauses besi de Mar y' s desk, hooks a haunch ont o Cassi dy pauses besi de Mar y' s desk, hooks a haunch ont o
t he deskt op, smi l es a wet smi l e at Mar y. t he deskt op, smi l es a wet smi l e at Mar y.
CASSI DY CASSI DY
Tomor r ow' s t he day! My sweet Tomor r ow' s t he day! My sweet
l i t t l e gi r l . . . . l i t t l e gi r l . . . .
( l aughs as Mar y l ooks ( l aughs as Mar y l ooks
up at hi m) up at hi m)
Not you, my daught er ! A baby, and Not you, my daught er ! A baby, and
t omor r ow she st ands up t her e and t omor r ow she st ands up t her e and
get s her sweet sel f mar r i ed away get s her sweet sel f mar r i ed away
f r omme! f r omme!
( pul l i ng out wal l et ) ( pul l i ng out wal l et )
I want you t o l ook at my baby. I want you t o l ook at my baby.
Ei ght een year s ol d . . . and she' s Ei ght een year s ol d . . . and she' s
never had an unhappy day i n any one never had an unhappy day i n any one
of t hose year s! of t hose year s!
( f l ashes phot o) ( f l ashes phot o)
Mar y gl ances, cannot br i ng her sel f t o smi l e or make some Mar y gl ances, cannot br i ng her sel f t o smi l e or make some
r emar k, cont i nues sor t i ng out t he deed copi es, t r i es t o r emar k, cont i nues sor t i ng out t he deed copi es, t r i es t o
i gnor e t he man' s hot - br eat h cl oseness. i gnor e t he man' s hot - br eat h cl oseness.
LOWERY LOWERY
Come on, Tom, my of f i ce i s ai r - Come on, Tom, my of f i ce i s ai r -
condi t i oned. condi t i oned.
CASSI DY CASSI DY
( i gnor i ng Lower y) ( i gnor i ng Lower y)
You know what I do wi t h You know what I do wi t h
unhappi ness? I buy i t of f ! You unhappi ness? I buy i t of f ! You
unhappy? unhappy?
MARY MARY
Not i nor di nat el y. Not i nor di nat el y.
( put s deed copy i nt o ( put s deed copy i nt o
Cassi dy' s t oo- cl ose Cassi dy' s t oo- cl ose
hand) hand)
CASSI DY CASSI DY
I ' mbuyi ng t hi s house f or my baby' s I ' mbuyi ng t hi s house f or my baby' s
weddi ng pr esent . For t y t housand weddi ng pr esent . For t y t housand
dol l ar s, cash! Now t hat ai n' t dol l ar s, cash! Now t hat ai n' t
buyi ng happi ness, t hat ' s buyi ng of f buyi ng happi ness, t hat ' s buyi ng of f
unhappi ness! That penni l ess punk unhappi ness! That penni l ess punk
she' s mar r yi n' . . . she' s mar r yi n' . . .
CASSI DY CASSI DY
Pr obabl y a good ki d . . . i t ' s j ust Pr obabl y a good ki d . . . i t ' s j ust
t hat I hat e hi m. t hat I hat e hi m.
( l ooks at deed) ( l ooks at deed)
Yup! For t y t housand, says her e . . . . Yup! For t y t housand, says her e . . . .
( t o Lower y) ( t o Lower y)
Cashar ooni e! Cashar ooni e!
He t akes out of hi s i nsi de pocket , t wo separ at e bundl es He t akes out of hi s i nsi de pocket , t wo separ at e bundl es
of new $100 bi l l s and t hr ows t hemont o t he desk, under of new $100 bi l l s and t hr ows t hemont o t he desk, under
Mar y' s nose. Car ol i ne' s eyes go wi de at t he si ght of Mar y' s nose. Car ol i ne' s eyes go wi de at t he si ght of
t he gl or i ous gr een bundl es of bi l l s, and she comes cl ose t he gl or i ous gr een bundl es of bi l l s, and she comes cl ose
t o t he desk. Cassi dy l eans t er r i bl y cl ose t o Mar y, t o t he desk. Cassi dy l eans t er r i bl y cl ose t o Mar y,
f l i cks t hr ough t he bi l l s, l aughs wi ckedl y. f l i cks t hr ough t he bi l l s, l aughs wi ckedl y.
CASSI DY CASSI DY
I never car r y mor e t han I can I never car r y mor e t han I can
af f or d t o l ose! af f or d t o l ose!
( cl oser t o Mar y) ( cl oser t o Mar y)
Count ' em! Count ' em!
LOWERY LOWERY
( shocked, wor r i ed) ( shocked, wor r i ed)
Tom. . . cash t r ansact i ons of t hi s Tom. . . cash t r ansact i ons of t hi s
si ze! Most i r r egul ar . . . . si ze! Most i r r egul ar . . . .
CASSI DY CASSI DY
So what ? I t ' s my pr i vat e money! So what ? I t ' s my pr i vat e money!
( l aughs, wi nks, el bows ( l aughs, wi nks, el bows
Lower y) Lower y)
And now i t ' s your s. And now i t ' s your s.
CAROLI NE CAROLI NE
( st ar i ng at t he money) ( st ar i ng at t he money)
I decl ar e! I decl ar e!
CASSI DY CASSI DY
( whi sper i ng) ( whi sper i ng)
I don' t ! That ' s how I ' mabl e t o I don' t ! That ' s how I ' mabl e t o
keep i t ! keep i t !
LOWERY LOWERY
( hast i l y i nt er r upt i ng) ( hast i l y i nt er r upt i ng)
Suppose we j ust put t hi s i n t he Suppose we j ust put t hi s i n t he
saf e and t hen Monday mor ni ng when saf e and t hen Monday mor ni ng when
you' r e f eel i ng good . . . . you' r e f eel i ng good . . . .
CASSI DY CASSI DY
Speaki n' of f eel i ng good, wher e' s Speaki n' of f eel i ng good, wher e' s
t hat bot t l e you sai d you had i n t hat bot t l e you sai d you had i n
your desk . . . . your desk . . . .
( mor e) ( mor e)
CASSI DY ( cont ' d) CASSI DY ( cont ' d)
( l aughs, as i f havi ng ( l aughs, as i f havi ng
gi ven away Lower y' s gi ven away Lower y' s
secr et ) secr et )
Oops! Oops!
( t o Mar y, pat t i ng her ( t o Mar y, pat t i ng her
ar m) ar m)
Usual l y I can keep my mout h shut ! Usual l y I can keep my mout h shut !
He r i ses, r eel s t owar d Lower y' s of f i ce, pauses, t ur ns, He r i ses, r eel s t owar d Lower y' s of f i ce, pauses, t ur ns,
speaks t o Mar y, meani ngf ul l y. speaks t o Mar y, meani ngf ul l y.
CASSI DY CASSI DY
Honest . I can keep any pr i vat e Honest . I can keep any pr i vat e
t r ansact i on a secr et . . . any pr i . . . . t r ansact i on a secr et . . . any pr i . . . .
( st opped by Mar y' s ( st opped by Mar y' s
col d gaze) col d gaze)
Lower y! I ' mdyi n' of t hi r st ar ooni e! Lower y! I ' mdyi n' of t hi r st ar ooni e!
Lower y st ar t s af t er hi m, pauses, t ur ns t o Mar y. Cassi dy Lower y st ar t s af t er hi m, pauses, t ur ns t o Mar y. Cassi dy
has gone i nt o Lower ' s of f i ce. has gone i nt o Lower ' s of f i ce.
LOWERY LOWERY
( qui et l y) ( qui et l y)
I don' t even want i t i n t he of f i ce I don' t even want i t i n t he of f i ce
over t he weekend. Put i t i n t he over t he weekend. Put i t i n t he
saf e deposi t box, at t he bank, saf e deposi t box, at t he bank,
Mar y. And we' l l get hi mt o gi ve us Mar y. And we' l l get hi mt o gi ve us
a check on Monday - i nst ead. a check on Monday - i nst ead.
He st ar t s qui ckl y away when i t l ooks l i ke Cassi dy i s He st ar t s qui ckl y away when i t l ooks l i ke Cassi dy i s
goi ng t o come and pul l hi mbodi l y i nt o t he of f i ce. When goi ng t o come and pul l hi mbodi l y i nt o t he of f i ce. When
t he men ar e gone and t he door i s cl osed, Car ol i ne pi cks t he men ar e gone and t he door i s cl osed, Car ol i ne pi cks
up a bundl e, smi l es at i t . up a bundl e, smi l es at i t .
CAROLI NE CAROLI NE
He was f l i r t i ng wi t h you. I guess He was f l i r t i ng wi t h you. I guess
he not i ced my weedi ng r i ng. he not i ced my weedi ng r i ng.
Mar y has put one bundl e i nt o a l ar ge envel ope and t akes Mar y has put one bundl e i nt o a l ar ge envel ope and t akes
t he ot her f r omCar ol i ne. When t he bi l l s ar e away, she t he ot her f r omCar ol i ne. When t he bi l l s ar e away, she
put t s t he f i l l ed envel ope i n her handbag, not i ces t he put t s t he f i l l ed envel ope i n her handbag, not i ces t he
r emai ni ng deed copi es on her desk, pi cks t hemup, goes r emai ni ng deed copi es on her desk, pi cks t hemup, goes
t o t he pr i vat e of f i ce door , knocks, st ar t s t o open door t o t he pr i vat e of f i ce door , knocks, st ar t s t o open door
as: as:
LOWERY ( O. S. ) LOWERY ( O. S. )
Come i n. Come i n.
I NT. LOWERY' S PRI VATE OFFI CE - ( DAY) I NT. LOWERY' S PRI VATE OFFI CE - ( DAY)
Mar y opens door , l ooks i n. Cassi dy i s dr i nki ng f r oma Mar y opens door , l ooks i n. Cassi dy i s dr i nki ng f r oma
l ar ge t umbl er , wi nks at her wi t hout pausi ng i n hi s l ar ge t umbl er , wi nks at her wi t hout pausi ng i n hi s
dr i nki ng. Mar y r emai ns on t r eshol d a moment , t hen dr i nki ng. Mar y r emai ns on t r eshol d a moment , t hen
cr osses t o t he desk, t al ki ng as she goes. cr osses t o t he desk, t al ki ng as she goes.
MARY MARY
The copi es. Mr . Lower y, i f you The copi es. Mr . Lower y, i f you
don' t mi nd, I ' d l i ke t o go r i ght on don' t mi nd, I ' d l i ke t o go r i ght on
home af t er t he bank. I have a home af t er t he bank. I have a
sl i ght . . . . sl i ght . . . .
CASSI DY CASSI DY
You go r i ght home! Me and your You go r i ght home! Me and your
boss ar e goi ng out t o get our sel ves boss ar e goi ng out t o get our sel ves
a l i t t l e dr i nki n' done! a l i t t l e dr i nki n' done!
Ri ght ? Ri ght ?
LOWERY LOWERY
( t o Mar y) ( t o Mar y)
Of cour se. You f eel i ng i l l ? Of cour se. You f eel i ng i l l ?
MARY MARY
A headache. A headache.
CASSI DY CASSI DY
You need a weekend i n Las Vegas You need a weekend i n Las Vegas
. . . pl aygr ound of t he wor l d! . . . pl aygr ound of t he wor l d!
MARY MARY
I ' mgoi ng t o spend t hi s weekend i n I ' mgoi ng t o spend t hi s weekend i n
bed. bed.
( st ar t s out ) ( st ar t s out )
CASSI DY CASSI DY
Onl y pl aygr ound t hat beat s Las Onl y pl aygr ound t hat beat s Las
Vegas! Vegas!
Mar y goes back out i nt o t he out er of f i ce, cl oses door . Mar y goes back out i nt o t he out er of f i ce, cl oses door .
I NT. OUTER OFFI CE - ( DAY) I NT. OUTER OFFI CE - ( DAY)
Mar y goes t o her desk, t akes t he handbag, checks t o make Mar y goes t o her desk, t akes t he handbag, checks t o make
sur e t he money- f i l l ed envel ope i s t ucked wel l down i nt o sur e t he money- f i l l ed envel ope i s t ucked wel l down i nt o
i t . Dur i ng t hi s: i t . Dur i ng t hi s:
CAROLI NE CAROLI NE
Ar en' t you goi ng t o t ake t he pi l l s? Ar en' t you goi ng t o t ake t he pi l l s?
( as Mar y shakes her ( as Mar y shakes her
head) head)
They' l l knock t hat headache out . They' l l knock t hat headache out .
MARY MARY
I don' t need pi l l s . . . j ust sl eep. I don' t need pi l l s . . . j ust sl eep.
She goes t o t he door . She goes t o t he door .
DI SSOLVE: DI SSOLVE:
I NT. MARY' S BEDROOM - ( DAY) I NT. MARY' S BEDROOM - ( DAY)
A doubl e bed i n t he f or egr ound. We j ust see t he f ar A doubl e bed i n t he f or egr ound. We j ust see t he f ar
si de as t he CAMERA SHOOTS acr oss. Mar y ent er s t he si de as t he CAMERA SHOOTS acr oss. Mar y ent er s t he
scene, cl ad onl y i n her sl i p. Per haps she i s about t o scene, cl ad onl y i n her sl i p. Per haps she i s about t o
get i nt o bed. Behi nd her i s an open cl oset , but t oo get i nt o bed. Behi nd her i s an open cl oset , but t oo
dar k i nsi de f or us t o see any cont ent s. As Mar y t ur ns dar k i nsi de f or us t o see any cont ent s. As Mar y t ur ns
t o t he cl oset t he CAMERA LOWERS t o show a cl ose vi ew of t o t he cl oset t he CAMERA LOWERS t o show a cl ose vi ew of
t he $40, 000 i n t he envel ope on our si de of t he bed. t he $40, 000 i n t he envel ope on our si de of t he bed.
Mar y t akes a dr ess f r omt he cl oset and st ar t s t o put i t Mar y t akes a dr ess f r omt he cl oset and st ar t s t o put i t
on as t he CAMERA RETREATS t o r eveal a packed but not yet on as t he CAMERA RETREATS t o r eveal a packed but not yet
cl osed sui t case al so on t he bed. Mar y zi ps up her dr ess cl osed sui t case al so on t he bed. Mar y zi ps up her dr ess
and t hen br i ngs some f i nal gar ment s f r omt he cl oset . and t hen br i ngs some f i nal gar ment s f r omt he cl oset .
She comes ar ound t o t he sui t case and put s t hemon t he She comes ar ound t o t he sui t case and put s t hemon t he
t op. Mar y wor ks wi t h hast e and i n t ensi on, as i f act i ng t op. Mar y wor ks wi t h hast e and i n t ensi on, as i f act i ng
on an i mpul se whi ch mi ght vani sh as qui ckl y as i t came. on an i mpul se whi ch mi ght vani sh as qui ckl y as i t came.
The sui t case f i l l ed now, she checks ar ound t he r oom, The sui t case f i l l ed now, she checks ar ound t he r oom,
t hen t akes her handbag t o t he bed, put s i n t he money- t hen t akes her handbag t o t he bed, put s i n t he money-
f i l l ed envel ope, and t hen sl ams t he sui t case shut . Then f i l l ed envel ope, and t hen sl ams t he sui t case shut . Then
she l ooks at her smal l bedr oomdesk, goes t o i t , r emoves she l ooks at her smal l bedr oomdesk, goes t o i t , r emoves
a smal l f i l e- envel ope f r omone of t he dr awer s. I t i s a smal l f i l e- envel ope f r omone of t he dr awer s. I t i s
one of t hose br own envel opes i n whi ch one keeps one of t hose br own envel opes i n whi ch one keeps
i mpor t ant paper s and pol i ci es and cer t i f i cat es. She i mpor t ant paper s and pol i ci es and cer t i f i cat es. She
checks i t s cont ent s br i ef l y, put s i t on t he bed, opens checks i t s cont ent s br i ef l y, put s i t on t he bed, opens
anot her desk dr awer , t akes out her bank book, t osses i t anot her desk dr awer , t akes out her bank book, t osses i t
on t he bed. Then she packs bot h t he f i l e- envel ope and on t he bed. Then she packs bot h t he f i l e- envel ope and
t he bank book, i nt o her handbag, t akes one qui ck l ast t he bank book, i nt o her handbag, t akes one qui ck l ast
l ook ar ound t he r oom, pi cks up t he handbag and t he l ook ar ound t he r oom, pi cks up t he handbag and t he
sui t case and goes out of t he r oom. sui t case and goes out of t he r oom.
CUT TO: CUT TO:
EXT. MARY' S GARAGE - ( DAY) EXT. MARY' S GARAGE - ( DAY)
A t wo- car gar age. One car i s gone. Mar y' s car i s A t wo- car gar age. One car i s gone. Mar y' s car i s
par ked i n t he dr i veway. The CAMERA i s l ow enough so par ked i n t he dr i veway. The CAMERA i s l ow enough so
t hat we can easi l y r ead t he Ar i zona number pl at e i n t he t hat we can easi l y r ead t he Ar i zona number pl at e i n t he
f or egr ound. f or egr ound.
Mar y comes out of house, st ar t s f or t he t r unk, i nt endi ng Mar y comes out of house, st ar t s f or t he t r unk, i nt endi ng
t o put t he sui t case i n, changes her mi nd, pl aces t he t o put t he sui t case i n, changes her mi nd, pl aces t he
sui t case and her handbag on t he f r ont seat , get s i n, sui t case and her handbag on t he f r ont seat , get s i n,
st ar t s t he car , begi ns t o back out of dr i veway. st ar t s t he car , begi ns t o back out of dr i veway.
EXT. MAI N STREET I N MI DTOWN PHOENI X - ( DAY) EXT. MAI N STREET I N MI DTOWN PHOENI X - ( DAY)
We ar e cl ose on Mar y' s car , shoot i ng i n at her t r oubl ed, We ar e cl ose on Mar y' s car , shoot i ng i n at her t r oubl ed,
gui l t y f ace. She seems t o be dr i vi ng wi t h t hat excess gui l t y f ace. She seems t o be dr i vi ng wi t h t hat excess
car e of one who does not wi sh t o be st opped f or a mi nor car e of one who does not wi sh t o be st opped f or a mi nor
t r af f i c i r r egul ar i t y. She st ops f or a r ed l i ght at a t r af f i c i r r egul ar i t y. She st ops f or a r ed l i ght at a
mai n i nt er sect i on. mai n i nt er sect i on.
FROM MARY' S VI EWPOI NT - ( DAY) FROM MARY' S VI EWPOI NT - ( DAY)
We see Lower y and Cassi dy cr ossi ng t he st r eet , passi ng We see Lower y and Cassi dy cr ossi ng t he st r eet , passi ng
r i ght i n f r ont of Mar y' s car . r i ght i n f r ont of Mar y' s car .
MARY' S CAR - ( DAY) MARY' S CAR - ( DAY)
Mar y f r eezes. Mar y f r eezes.
Cassi dy, gl anci ng i nt o car , sees Mar y, l et s out a cheer y Cassi dy, gl anci ng i nt o car , sees Mar y, l et s out a cheer y
excl amat i on, el bows Lower y. Lower y t ur ns, sees Mar y, excl amat i on, el bows Lower y. Lower y t ur ns, sees Mar y,
smi l es pl easant l y, pul l s Cassi dy on. smi l es pl easant l y, pul l s Cassi dy on.
Mar y wat ches t he ent i r e exchange wi t h a l ook of st ony Mar y wat ches t he ent i r e exchange wi t h a l ook of st ony
hor r or on her f ace. hor r or on her f ace.
Now we l ook cl osel y at Lower y. As he r eaches t he cur b, Now we l ook cl osel y at Lower y. As he r eaches t he cur b,
a smal l conf usi on br i ght ens hi s f ace. He r emember s t hat a smal l conf usi on br i ght ens hi s f ace. He r emember s t hat
Mar y i nt ended t o " spend t he weekend i n bed. " He Mar y i nt ended t o " spend t he weekend i n bed. " He
consi der s, cur i ousl y, t ur ns, l ooks back at her , a sl i ght consi der s, cur i ousl y, t ur ns, l ooks back at her , a sl i ght
f r own on hi s f ace. f r own on hi s f ace.
Mar y sees t he pause and t he l ook. Mar y sees t he pause and t he l ook.
For a moment i t even l ooks as i f Lower y mi ght be meani ng For a moment i t even l ooks as i f Lower y mi ght be meani ng
t o cr oss back t o t he car . t o cr oss back t o t he car .
Mar y' s t ensi on i s unbear abl e. And at t hat moment we Mar y' s t ensi on i s unbear abl e. And at t hat moment we
hear t he shr i l l shr i ek of t he t r af f i c cop' s whi st l e. hear t he shr i l l shr i ek of t he t r af f i c cop' s whi st l e.
Mar y zooms t he car away. Mar y zooms t he car away.
EXT. HI GHWAY - ( DAY) EXT. HI GHWAY - ( DAY)
Mar y i n car , dr i vi ng, saf el y away f r omt own. Her l ook Mar y i n car , dr i vi ng, saf el y away f r omt own. Her l ook
i s l ess t ense now, and mor e pur posef ul . Af t er a moment , i s l ess t ense now, and mor e pur posef ul . Af t er a moment ,
she checks t he f uel gauge, f r owns, l ooks al ong hi ghway she checks t he f uel gauge, f r owns, l ooks al ong hi ghway
f or a gas st at i on. f or a gas st at i on.
FAST DI SSOLVE TO: FAST DI SSOLVE TO:
Appr oachi ng and l eavi ng ci t y l i mi t s. Appr oachi ng and l eavi ng ci t y l i mi t s.
MARY - ( DAY) MARY - ( DAY)
Looks at gas gauge. Looks at gas gauge.
C. U. GAS GAUGE - ( DAY) C. U. GAS GAUGE - ( DAY)
EXT. A GAS STATI ON - ( DAY) EXT. A GAS STATI ON - ( DAY)
We see Mar y' s car dr i ve i n, come t o a st op. Ther e ar e We see Mar y' s car dr i ve i n, come t o a st op. Ther e ar e
no ot her car s about , t hi s bei ng a gas st at i on of f t he no ot her car s about , t hi s bei ng a gas st at i on of f t he
mai n hi ghway, and t he at t endant i s obvi ousl y i n t he mai n hi ghway, and t he at t endant i s obvi ousl y i n t he
shack. Mar y l ooks wor r i ed about havi ng t o make t hi s shack. Mar y l ooks wor r i ed about havi ng t o make t hi s
st op, keeps her f ace t ur ned away f r omt he shack, not st op, keeps her f ace t ur ned away f r omt he shack, not
wi shi ng i t t o be seen. wi shi ng i t t o be seen.
No one comes and f or a moment Mar y consi der s dr i vi ng on, No one comes and f or a moment Mar y consi der s dr i vi ng on,
as i f t he empt i ness of t he st at i on wer e a war ni ng, an as i f t he empt i ness of t he st at i on wer e a war ni ng, an
omen t hat she shoul d l i st en t o. But t he gas r egi st er s omen t hat she shoul d l i st en t o. But t he gas r egi st er s
al most empt y. She has t o bl ow her hor n. al most empt y. She has t o bl ow her hor n.
A YOUNG MAN comes out of t he shack, st ar t s t owar d her A YOUNG MAN comes out of t he shack, st ar t s t owar d her
car . car .
At t hat moment , we HEAR t he RI NGI NG of t he TELEPHONE i n At t hat moment , we HEAR t he RI NGI NG of t he TELEPHONE i n
t he shack. The At t endant wal ks a f ew st eps f ur t her , t he shack. The At t endant wal ks a f ew st eps f ur t her ,
t owar d Mar y' s car , t hen deci des t o go back and answer t owar d Mar y' s car , t hen deci des t o go back and answer
t he phone. The phone' s i nsi st ent r i ngi ng unner ves Mar y. t he phone. The phone' s i nsi st ent r i ngi ng unner ves Mar y.
She st ar t s her car , zooms of f . She st ar t s her car , zooms of f .
We see t he At t endant , phone i n hand, i n t he door way of We see t he At t endant , phone i n hand, i n t he door way of
shack. He l ooks af t er t he depar t i ng car wi t h l i t t l e or shack. He l ooks af t er t he depar t i ng car wi t h l i t t l e or
no expr essi on. no expr essi on.
CAR CAR
The car gr ows smal l er as i t r aces up t he r oad. The sun The car gr ows smal l er as i t r aces up t he r oad. The sun
i s set t i ng. Ther e i s somet hi ng vaguel y omi nous about i s set t i ng. Ther e i s somet hi ng vaguel y omi nous about
t he dar keni ng sky i nt o whi ch t he car seems t o be t he dar keni ng sky i nt o whi ch t he car seems t o be
di sappear i ng. di sappear i ng.
MARY I N CAR - ( NI GHT) MARY I N CAR - ( NI GHT)
The oncomi ng headl i ght s hur t Mar y' s eyes. She i s The oncomi ng headl i ght s hur t Mar y' s eyes. She i s
get t i ng sl eepy and her vi si on i s bl ur r i ng. Her eyes get t i ng sl eepy and her vi si on i s bl ur r i ng. Her eyes
cl ose, i nvol unt ar i l y, snap open agai n. She st r et ches cl ose, i nvol unt ar i l y, snap open agai n. She st r et ches
t han wi de, as i f f or ci ng t hemt o st ay open. The t han wi de, as i f f or ci ng t hemt o st ay open. The
oncomi ng l i ght s seemt o gl ar e t o a poi nt beyond oncomi ng l i ght s seemt o gl ar e t o a poi nt beyond
endur ance. She mur mer s " Sam- Sam. " endur ance. She mur mer s " Sam- Sam. "
A LONG LAP DI SSOLVE: A LONG LAP DI SSOLVE:
EXT. ROAD SHOULDER - ( DAWN) EXT. ROAD SHOULDER - ( DAWN)
We see Mar y' s car , di mi n t he ear l y dawn, t i l t ed on t he We see Mar y' s car , di mi n t he ear l y dawn, t i l t ed on t he
sof t shoul der of t he r oad, l ooki ng somehow sad and sof t shoul der of t he r oad, l ooki ng somehow sad and
pat het i c, l i ke a chi l d' s t hr own- away t oy. And f r omt hi s pat het i c, l i ke a chi l d' s t hr own- away t oy. And f r omt hi s
angl e i t woul d appear t hat t he car i s empt y. angl e i t woul d appear t hat t he car i s empt y.
Af t er a moment , dur i ng whi ch t her e ar e no ot her vehi cl es Af t er a moment , dur i ng whi ch t her e ar e no ot her vehi cl es
passi ng, we see, comi ng f r omt he f ar di st ance, a HI GHWAY passi ng, we see, comi ng f r omt he f ar di st ance, a HI GHWAY
PATROLMAN i n a pat r ol car . He passes Mar y' s car , not es PATROLMAN i n a pat r ol car . He passes Mar y' s car , not es
i t s appar ent empt i ness, U- t ur ns, comes back up behi nd i t s appar ent empt i ness, U- t ur ns, comes back up behi nd
t he car . He get s out and appr oaches t he dr i ver ' s si de t he car . He get s out and appr oaches t he dr i ver ' s si de
wi ndow. wi ndow.
EXT. MARY' S CAR - ( DAWN) EXT. MARY' S CAR - ( DAWN)
The Pat r ol man l ooks down i nt o t he car . The Pat r ol man l ooks down i nt o t he car .
I NT. CAR ( DAWN) FROM HI S VI EWPOI NT I NT. CAR ( DAWN) FROM HI S VI EWPOI NT
Mar y t ur ns wi t h a st ar t , si t s up, i s st ar t l ed and Mar y t ur ns wi t h a st ar t , si t s up, i s st ar t l ed and
unner ve by t he si ght of t he Pat r ol man, and, as i f by unner ve by t he si ght of t he Pat r ol man, and, as i f by
aut omat i c r ef l ex, t ur ns t he i gni t i on and pr esses down on aut omat i c r ef l ex, t ur ns t he i gni t i on and pr esses down on
t he st ar t e. t he st ar t e.
EXT. CAR ( DAWN) EXT. CAR ( DAWN)
The Pat r ol man hol ds up hi s hand. The Pat r ol man hol ds up hi s hand.
PATROLMAN PATROLMAN
( st ar t l ed) ( st ar t l ed)
Hol d i t t her e! Hol d i t t her e!
Mar y sl ams down on t he br ake, t r i es t o pul l her sel f Mar y sl ams down on t he br ake, t r i es t o pul l her sel f
t oget her . The Pat r ol man r aps agai n, l ess gent l y. t oget her . The Pat r ol man r aps agai n, l ess gent l y.
Rel uct ant l y, Mar y r ol l s down t he wi ndow. The Pat r ol man Rel uct ant l y, Mar y r ol l s down t he wi ndow. The Pat r ol man
st udi e her f or a moment . st udi e her f or a moment .
PATROLMAN PATROLMAN
I n qui t e a hur r y. I n qui t e a hur r y.
MARY MARY
Yes. Yes.
( because he seems t o ( because he seems t o
be awai t i ng an be awai t i ng an
expl anat i on) expl anat i on)
I di dn' t mean t o sl eep so l ong. I I di dn' t mean t o sl eep so l ong. I
was af r ai d I ' d have an acci dent was af r ai d I ' d have an acci dent
l ast ni ght , f r omsl eepi ness . . . so l ast ni ght , f r omsl eepi ness . . . so
I deci ded t o pul l over . . . . I deci ded t o pul l over . . . .
PATROLMAN PATROLMAN
You sl ept her e al l ni ght ? You sl ept her e al l ni ght ?
MARY MARY
( a f ai nt edge of ( a f ai nt edge of
def ensi veness) def ensi veness)
Yes. As I sai d, I coul dn' t keep my Yes. As I sai d, I coul dn' t keep my
eyes. . . eyes. . .
PATROLMAN PATROLMAN
( mer e concer n) ( mer e concer n)
Ther e ar e pl ent y of mot el s i n t hi s Ther e ar e pl ent y of mot el s i n t hi s
ar ea. You shoul d have . . . I mean, ar ea. You shoul d have . . . I mean,
j ust t o be saf e. . . . j ust t o be saf e. . . .
MARY MARY
I di dn' t i nt end t o sl eep al l ni ght ! I di dn' t i nt end t o sl eep al l ni ght !
I j ust pul l ed over . . . have I I j ust pul l ed over . . . have I
br oken any l aws? br oken any l aws?
PATROLMAN PATROLMAN
No, m' am. No, m' am.
MARY MARY
Then I ' mf r ee t o go. . . ? Then I ' mf r ee t o go. . . ?
PATROLMAN PATROLMAN
I s anyt hi ng wr ong? I s anyt hi ng wr ong?
MARY MARY
Of cour se not ! AmI act i ng as i f Of cour se not ! AmI act i ng as i f
. . . somet hi ng' s wr ong? . . . somet hi ng' s wr ong?
PATROLMAN PATROLMAN
( al most a smi l e) ( al most a smi l e)
Fr ankl y, yes. Fr ankl y, yes.
MARY MARY
Pl ease . . . I ' d l i ke t o go. . . . Pl ease . . . I ' d l i ke t o go. . . .
PATROLMAN PATROLMAN
I s t her e? I s t her e?
MARY MARY
I s t her e what ? I s t her e what ?
( not wai t i ng f or an ( not wai t i ng f or an
answer ) answer )
I ' ve t ol d you t her e' s not hi ng wr ong I ' ve t ol d you t her e' s not hi ng wr ong
. . . except t hat I ' mi n a hur r y and . . . except t hat I ' mi n a hur r y and
you' r e t aki ng up my t i me. . . . you' r e t aki ng up my t i me. . . .
PATROLMAN PATROLMAN
( i nt er r upt i ng, st er nl y) ( i nt er r upt i ng, st er nl y)
Now wai t j ust a moment ! Tur n your Now wai t j ust a moment ! Tur n your
mot or of f , pl ease. mot or of f , pl ease.
Mar y seems about t o obj ect , t hi nks bet t er of i t , t ur ns Mar y seems about t o obj ect , t hi nks bet t er of i t , t ur ns
of f t he i gni t i on. of f t he i gni t i on.
PATROLMAN PATROLMAN
I n t he cour se of my dut y, I never I n t he cour se of my dut y, I never
" t ake up" anyone' s t i me, whet her " t ake up" anyone' s t i me, whet her
i t ' s t o gi ve a war ni ng, or a i t ' s t o gi ve a war ni ng, or a
t i cket , or hel p! Bel i eve t hat , t i cket , or hel p! Bel i eve t hat ,
M' am. M' am.
( a l i t t l e sof t er ) ( a l i t t l e sof t er )
Now i f you woke up on t he wr ong Now i f you woke up on t he wr ong
si de of . . . t he car seat , t hat ' s si de of . . . t he car seat , t hat ' s
one t hi ng. But when you act as i f one t hi ng. But when you act as i f
I ' ve j ust pl aced you under I ' ve j ust pl aced you under
ar r est . . . ar r est . . .
MARY MARY
I ' msor r y. I ' msor r y.
PATROLMAN PATROLMAN
No need t o apol ogi es. . . . No need t o apol ogi es. . . .
Mar y st ar t s t he car , her f ace t ur ned as i f she wi shes Mar y st ar t s t he car , her f ace t ur ned as i f she wi shes
t he mat t er wer e al l set t l ed and t he Pat r ol man had t he mat t er wer e al l set t l ed and t he Pat r ol man had
al r eady gone. The Pat r ol man i sn' t exact l y one of t hose al r eady gone. The Pat r ol man i sn' t exact l y one of t hose
ci vi l ser vant s who demands a t hank- you, but he does f eel ci vi l ser vant s who demands a t hank- you, but he does f eel
her manner i s a bi t t oo abr upt . He cal l s: her manner i s a bi t t oo abr upt . He cal l s:
PATROLMAN PATROLMAN
Wai t a mi nut e! Wai t a mi nut e!
MARY MARY
( j ammi ng down t he ( j ammi ng down t he
br ake) br ake)
Now what ? Now what ?
The Pat r ol man gazes at her a moment , t hen: The Pat r ol man gazes at her a moment , t hen:
PATROLMAN PATROLMAN
May I see your l i cense? May I see your l i cense?
MARY MARY
Why? Why?
PATROLMAN PATROLMAN
Pl ease. Pl ease.
Mar y pul l s her handbag up f r omt he f l oor , wher e she' d Mar y pul l s her handbag up f r omt he f l oor , wher e she' d
pl aced i t when she st r et ched out f or sl eep. She put s pl aced i t when she st r et ched out f or sl eep. She put s
her hand i n i t , r ummages f or her wal l et , cannot f i nd i t . her hand i n i t , r ummages f or her wal l et , cannot f i nd i t .
The Pat r ol man i s st ar i ng at her . She gl ances at hi m The Pat r ol man i s st ar i ng at her . She gl ances at hi m
ner vousl y, pokes i n her bag a bi t mor e, si ghs, r eal i zes ner vousl y, pokes i n her bag a bi t mor e, si ghs, r eal i zes
she' l l have t o r emove some of i t s cont ent s. Ner vousl y, she' l l have t o r emove some of i t s cont ent s. Ner vousl y,
badl y cont r ol l i ng her f ear , she t akes out t he money- badl y cont r ol l i ng her f ear , she t akes out t he money-
f i l l ed envel ope, and t hen t he i mpor t ant paper s envel ope, f i l l ed envel ope, and t hen t he i mpor t ant paper s envel ope,
t hen a coupl e of ot her i t ems, pl aces t hemon t he seat , t hen a coupl e of ot her i t ems, pl aces t hemon t he seat ,
f i nal l y f i nds her wal l et , opens i t , hands i t t o hi m. He f i nal l y f i nds her wal l et , opens i t , hands i t t o hi m. He
l ooks at t he wal l et , t hen at t he car . l ooks at t he wal l et , t hen at t he car .
The Pat r ol man wal ks ar ound t o t he f r ont of t he car , The Pat r ol man wal ks ar ound t o t he f r ont of t he car ,
checks t he l i cense pl at e, and r et ur ns. checks t he l i cense pl at e, and r et ur ns.
I NT. MARY' S CAR - ( DAWN) I NT. MARY' S CAR - ( DAWN)
The Pat r ol man peer s i n, checks t he car r egi st r at i on on The Pat r ol man peer s i n, checks t he car r egi st r at i on on
t he st eer i ng wheel , r et ur ns Mar y' s wal l et . t he st eer i ng wheel , r et ur ns Mar y' s wal l et .
She t akes i t , l ooks at hi mf or a f l i cker of a moment . She t akes i t , l ooks at hi mf or a f l i cker of a moment .
He says not hi ng. She st ar t s ahead, f ast . He says not hi ng. She st ar t s ahead, f ast .
The Pat r ol man st ar es af t er Mar y as she dr i ves of f , t hen The Pat r ol man st ar es af t er Mar y as she dr i ves of f , t hen
st ar t s back t o hi s aut omobi l e. st ar t s back t o hi s aut omobi l e.
MARY I N CAR - ( DAWN) MARY I N CAR - ( DAWN)
She i s qui t e shaken, r eal i zes she caused her sel f a gr eat She i s qui t e shaken, r eal i zes she caused her sel f a gr eat
deal of t r oubl e and pl aced her sel f i n unnecessar y deal of t r oubl e and pl aced her sel f i n unnecessar y
danger . She i s di st ur bed and angr y and f r i ght ened at danger . She i s di st ur bed and angr y and f r i ght ened at
her i nabi l i t y t o act nor mal l y under t he pr essur e of her i nabi l i t y t o act nor mal l y under t he pr essur e of
gui l t . As she dr i ves, she gl ances i nt o her r ear - vi ew gui l t . As she dr i ves, she gl ances i nt o her r ear - vi ew
mi r r or . mi r r or .
MARY' S REAR- VI EWMI RROR - ( DAWN) MARY' S REAR- VI EWMI RROR - ( DAWN)
The Pat r ol man i s f ol l owi ng i n hi s aut omobi l e, keepi ng The Pat r ol man i s f ol l owi ng i n hi s aut omobi l e, keepi ng
behi nd her at a mat ched speed. behi nd her at a mat ched speed.
She gl ances out at her sur r oundi ngs. She gl ances out at her sur r oundi ngs.
MARY' S POV - ( DAWN) MARY' S POV - ( DAWN)
The Fr eeway ahead. The Fr eeway ahead.
EXT. MARY' S CAR - ( DAWN) EXT. MARY' S CAR - ( DAWN)
She suddenl y t ur ns of f t he hi ghway. She suddenl y t ur ns of f t he hi ghway.
She checks her mi r r or . She checks her mi r r or .
MARY' S REAR- VI EWMI RROR - ( DAWN) MARY' S REAR- VI EWMI RROR - ( DAWN)
The Pat r ol man i s no l onger f ol l owi ng, has not t ur ned of f The Pat r ol man i s no l onger f ol l owi ng, has not t ur ned of f
af t er her . af t er her .
She br eat hes a si gh of r el i ef , t hi nks a moment , makes a She br eat hes a si gh of r el i ef , t hi nks a moment , makes a
qui ck deci si on. qui ck deci si on.
DI SSOLVE: DI SSOLVE:
EXT. USED CAR LOT - ( DAY) EXT. USED CAR LOT - ( DAY)
The bi g si gn r eads " Cal i f or ni a Char l i e - Aut omobi l e The bi g si gn r eads " Cal i f or ni a Char l i e - Aut omobi l e
Par adi se. " We see Mar y' s car dr i ve ont o t he l ot and Par adi se. " We see Mar y' s car dr i ve ont o t he l ot and
st op. Mar y get s out of t he car , gl ances t owar d t he l ot st op. Mar y get s out of t he car , gl ances t owar d t he l ot
of f i ce, t ur ns her at t ent i on t o t he l i ne of car s, not i ce of f i ce, t ur ns her at t ent i on t o t he l i ne of car s, not i ce
t he Cal i f or ni a l i cence pl at es on al l of t hem. The CAR t he Cal i f or ni a l i cence pl at es on al l of t hem. The CAR
DEALER cal l s out f r omhi s of f i ce: DEALER cal l s out f r omhi s of f i ce:
CAR DEALER CAR DEALER
Wi t h you i n a second! Wi t h you i n a second!
Mar y nods, st ar t s wal ki ng al ong t he l i ne of car s as i f Mar y nods, st ar t s wal ki ng al ong t he l i ne of car s as i f
maki ng a sel ect i on. Her eye i s caught by t he i r on maki ng a sel ect i on. Her eye i s caught by t he i r on
newspaper st and on t he cor ner , j ust out si de t he l ot . newspaper st and on t he cor ner , j ust out si de t he l ot .
She st ar es at t he paper s, t ur ns away, as i f what she i s She st ar es at t he paper s, t ur ns away, as i f what she i s
f ear i ng woul d have t o be i mpossi bl e, t hen, havi ng t o f ear i ng woul d have t o be i mpossi bl e, t hen, havi ng t o
sat i sf y her sel f , goes t o t he st and, dr ops a di me i n t he sat i sf y her sel f , goes t o t he st and, dr ops a di me i n t he
i r on sl ot , pi cks up a LOS ANGELES newspaper , st ar t s back i r on sl ot , pi cks up a LOS ANGELES newspaper , st ar t s back
i nt o t he car l ot as she gl ances wor r i ed at t he f r ont i nt o t he car l ot as she gl ances wor r i ed at t he f r ont
page. As she goes, we see, comi ng up t he st r eet t owar d page. As she goes, we see, comi ng up t he st r eet t owar d
t he l ot , t he same PATROLMAN. He sees Mar y, sl ows, t he l ot , t he same PATROLMAN. He sees Mar y, sl ows,
swer ves over t o t he opposi t e si de of t he st r eet , st ops swer ves over t o t he opposi t e si de of t he st r eet , st ops
by t he cur b. Mar y, engr ossed i n t he newspaper , and by t he cur b. Mar y, engr ossed i n t he newspaper , and
wal ki ng back ease t he l ot , does not see t he Pat r ol man. wal ki ng back ease t he l ot , does not see t he Pat r ol man.
The car deal er i s out on t he l ot now, st andi ng and The car deal er i s out on t he l ot now, st andi ng and
wai t i ng f or Mar y. As she appr oaches, l ost i n her wai t i ng f or Mar y. As she appr oaches, l ost i n her
newspaper , he smi l es. newspaper , he smi l es.
I ' mi n no mood f or t r oubl e! I ' mi n no mood f or t r oubl e!
MARY MARY
( gl anci ng up, t hr own ( gl anci ng up, t hr own
f or a moment ) f or a moment )
What ? What ?
( cheer f ul l y) ( cheer f ul l y)
Ther e' s an ol d sayi ng, " Fi r st Ther e' s an ol d sayi ng, " Fi r st
cust omer of t he day i s al ways t he cust omer of t he day i s al ways t he
most t r oubl e! " But l i ke I sai d, most t r oubl e! " But l i ke I sai d,
I ' mi n no mood f or i t so I ' mj ust I ' mi n no mood f or i t so I ' mj ust
goi ng t o t r eat you so f ai r and goi ng t o t r eat you so f ai r and
squar e you won' t have one human squar e you won' t have one human
r eason t o gi ve me. . . r eason t o gi ve me. . .
MARY MARY
Can I t r ade i n my car and t ake Can I t r ade i n my car and t ake
anot her ? anot her ?
You can do anyt hi ng you' ve a mi nd You can do anyt hi ng you' ve a mi nd
t o . . . and bei n' a woman, you wi l l ! t o . . . and bei n' a woman, you wi l l !
( chi n- i ndi cat i ng her ( chi n- i ndi cat i ng her
car ) car )
That your s? That your s?
MARY MARY
Yes, i t ' s . . . not hi ng wr ong wi t h Yes, i t ' s . . . not hi ng wr ong wi t h
i t , I ' mj ust . . . . i t , I ' mj ust . . . .
Si ck of t he si ght of i t ! Si ck of t he si ght of i t !
Wel l , suppose you l ook ar ound f or Wel l , suppose you l ook ar ound f or
somet hi ng t hat st r i kes your eyes somet hi ng t hat st r i kes your eyes
and meanwhi l e I ' l l have my mechani c and meanwhi l e I ' l l have my mechani c
gi ve your s t he once over and . . . gi ve your s t he once over and . . .
want some cof f ee? I was j ust want some cof f ee? I was j ust
about . . . . about . . . .
MARY MARY
No. Thank you. I ' mi n . . . a No. Thank you. I ' mi n . . . a
hur r y. I j ust want t o make a hur r y. I j ust want t o make a
change and st ar t . . . change and st ar t . . .
She st ops suddenl y, al most wi t h a gasp. She has seen She st ops suddenl y, al most wi t h a gasp. She has seen
t he Pat r ol man. t he Pat r ol man.
THE PATROLMAN - MARY' S POV - ( DAY) THE PATROLMAN - MARY' S POV - ( DAY)
He i s st ar i ng over at her , hi s f ace di spassi onat e. He i s st ar i ng over at her , hi s f ace di spassi onat e.
Mar y has t o f or ce her sel f t o l ook away. Mar y has t o f or ce her sel f t o l ook away.
One t hi ng peopl e never ought t o be One t hi ng peopl e never ought t o be
when t hey' r e buyi ng a used car i s when t hey' r e buyi ng a used car i s
i n a hur r y! i n a hur r y!
( st ar t i ng away t owar d ( st ar t i ng away t owar d
her car ) her car )
But l i ke I sai d, t oo ni ce a day f or But l i ke I sai d, t oo ni ce a day f or
ar gui ng. I ' l l j ust shoot t hi s i nt o ar gui ng. I ' l l j ust shoot t hi s i nt o
t he gar age. t he gar age.
He st ar t s i nt o Mar y' s car . She l ooks at hi m, i n near He st ar t s i nt o Mar y' s car . She l ooks at hi m, i n near
pani c, want i ng t o ski p t he whol e t hi ng. Tor n, wonder i ng pani c, want i ng t o ski p t he whol e t hi ng. Tor n, wonder i ng
i f t he pr esence of t he Pat r ol man doesn' t negat e t he i f t he pr esence of t he Pat r ol man doesn' t negat e t he
val ue of changi ng car s, wonder i ng how she can get away, val ue of changi ng car s, wonder i ng how she can get away,
wonder i ng i f she' l l be f ol l owed, or i f t he Pat r ol man wonder i ng i f she' l l be f ol l owed, or i f t he Pat r ol man
wi l l go away i f she does st ay her e. wi l l go away i f she does st ay her e.
Al l t hese pani c- f ear s r ush her mi nd and she can do Al l t hese pani c- f ear s r ush her mi nd and she can do
not hi ng. The Car Deal er has dr i ven her car i nt o t he not hi ng. The Car Deal er has dr i ven her car i nt o t he
gar age. She st ands i n t he mi ddl e of t he l ot , f eel i ng gar age. She st ands i n t he mi ddl e of t he l ot , f eel i ng
l i ke a shoot i ng t ar get . She l ooks t owar d t he gar age. l i ke a shoot i ng t ar get . She l ooks t owar d t he gar age.
THE GARAGE - MARY' S POV - ( DAY) THE GARAGE - MARY' S POV - ( DAY)
Mar y' s car i s i n i t . Mar y' s car i s i n i t .
Mar y deci des she cannot back out now wi t hout ar ousi ng Mar y deci des she cannot back out now wi t hout ar ousi ng
f ur t her suspi ci on, i s compel l ed t o l ook agai n at t he f ur t her suspi ci on, i s compel l ed t o l ook agai n at t he
Pat r ol man. Pat r ol man.
He st i l l wat ches. Wi t h a sel f - angr y si gh of r esi gnment , He st i l l wat ches. Wi t h a sel f - angr y si gh of r esi gnment ,
she goes t o a cl ose car , l ooks at i t . The Car Deal er i s she goes t o a cl ose car , l ooks at i t . The Car Deal er i s
r et ur ni ng. r et ur ni ng.
That ' s t he one I ' d' ve pi cked f or That ' s t he one I ' d' ve pi cked f or
you mysel f ! you mysel f !
MARY MARY
How much? How much?
Go ahead! Spi n i t ar ound t he Go ahead! Spi n i t ar ound t he
bl ock. Now I know you don' t know bl ock. Now I know you don' t know
anyt hi ng about engi ne condi t i on, anyt hi ng about engi ne condi t i on,
but you can f eel , can' t you . . . and but you can f eel , can' t you . . . and
i t ' s al l i n t he f eel , bel i eve me, i t ' s al l i n t he f eel , bel i eve me,
you f eel t hat one ar ound t he you f eel t hat one ar ound t he
bl ock. . . . bl ock. . . .
MARY MARY
I t l ooks f i ne. How much wi l l i t I t l ooks f i ne. How much wi l l i t
be, wi t h my car . . . ? be, wi t h my car . . . ?
You mean you don' t want t he usual You mean you don' t want t he usual
day and a hal f t o t hi nk i t over ? day and a hal f t o t hi nk i t over ?
You ar e i n a hur r y! Somebody You ar e i n a hur r y! Somebody
chasi n' you? chasi n' you?
MARY MARY
Of cour se not . Pl ease. Of cour se not . Pl ease.
Wel l . . . heck, t hi s i s t he f i r st Wel l . . . heck, t hi s i s t he f i r st
t i me I ever saw t he cust omer hi gh- t i me I ever saw t he cust omer hi gh-
pr essur e t he sal esman! pr essur e t he sal esman!
( l aughs, sees she i s ( l aughs, sees she i s
i n no mood f or i t ) i n no mood f or i t )
I ' d f i gur e r oughl y . . . I ' d f i gur e r oughl y . . .
( l ooks at t he car , ( l ooks at t he car ,
t hen back at t he t hen back at t he
gar age) gar age)
. . . your car pl us f i ve hundr ed. . . . your car pl us f i ve hundr ed.
MARY MARY
Fi ve hundr ed. Fi ve hundr ed.
Aha! Al ways got t i me t o ar gue Aha! Al ways got t i me t o ar gue
money, huh. . . ? money, huh. . . ?
MARY MARY
Al l r i ght . Al l r i ght .
As t he car deal er l ooks at her i n amazement , she r eaches As t he car deal er l ooks at her i n amazement , she r eaches
i nt o her bag, f eel s t he money- f i l l ed envel ope, pauses. i nt o her bag, f eel s t he money- f i l l ed envel ope, pauses.
( sl owl y) ( sl owl y)
I t ake i t . . . you can pr ove t hat I t ake i t . . . you can pr ove t hat
car ' s your s . . . I mean, out of car ' s your s . . . I mean, out of
st at e and al l . . . got your pi nk st at e and al l . . . got your pi nk
sl i p and your . . . sl i p and your . . .
MARY MARY
I t hi nk I have t he necessar y I t hi nk I have t he necessar y
paper s. I s t her e a Ladi es Room. . . paper s. I s t her e a Ladi es Room. . .
I n t he bui l di ng . . . I n t he bui l di ng . . .
( i ndi cat es, cont i nues ( i ndi cat es, cont i nues
t o st ar e qui et l y) t o st ar e qui et l y)
Mar y st ar t s f or t he bui l di ng, gl anci ng once i n t he Mar y st ar t s f or t he bui l di ng, gl anci ng once i n t he
di r ect i on of t he Pat r ol man. di r ect i on of t he Pat r ol man.
He st i l l si t s, hi s mot or t hr obbi ng, hi s f ace qui et . He st i l l si t s, hi s mot or t hr obbi ng, hi s f ace qui et .
EXT. THE USED CAR LOT - ( DAY) EXT. THE USED CAR LOT - ( DAY)
Mar y goes i nt o t he of f i ce bui l di ng. Mar y goes i nt o t he of f i ce bui l di ng.
CUT TO: CUT TO:
I NT. LADI ES ROOM - ( DAY) I NT. LADI ES ROOM - ( DAY)
Mar y ent er s, l ocks door , t akes envel ope out of her Mar y ent er s, l ocks door , t akes envel ope out of her
handbag, ext r act s one bundl e of bi l l s f r omt he envel ope, handbag, ext r act s one bundl e of bi l l s f r omt he envel ope,
count s of f f i ve, put s t he bundl e back i nt o t he envel ope count s of f f i ve, put s t he bundl e back i nt o t he envel ope
and t he envel ope back i nt o t he bag. Then she r emember s, and t he envel ope back i nt o t he bag. Then she r emember s,
t akes out t he i mpor t ant paper s envel ope, goes t hr ough t akes out t he i mpor t ant paper s envel ope, goes t hr ough
i t , f i nds sever al paper s havi ng t o do wi t h her car , i t , f i nds sever al paper s havi ng t o do wi t h her car ,
t akes t hemal l out , put s back t he envel ope, st ar t s out t akes t hemal l out , put s back t he envel ope, st ar t s out
of t he l adi es Room. of t he l adi es Room.
CUT TO: CUT TO:
EXT. THE USED CAR LOT - ( DAY) EXT. THE USED CAR LOT - ( DAY)
The Car Deal er has moved t he car of her choi ce out of The Car Deal er has moved t he car of her choi ce out of
t he l i ne. I t st ands i n t he cl ear i ng. t he l i ne. I t st ands i n t he cl ear i ng.
( t oo cheer f ul l y) ( t oo cheer f ul l y)
I t hi nk you' d bet t er gi ve i t a I t hi nk you' d bet t er gi ve i t a
t r i al spi n. Don' t want any bad t r i al spi n. Don' t want any bad
wor d of mout h about Cal i f or ni a wor d of mout h about Cal i f or ni a
Char l i e. Char l i e.
MARY MARY
I ' d r eal l y r at her not . Pl ease. I ' d r eal l y r at her not . Pl ease.
Can' t we j ust set t l e t hi s and . . . Can' t we j ust set t l e t hi s and . . .
I ' l l be per f ect l y honest wi t h you, I ' l l be per f ect l y honest wi t h you,
Ma' am. I t ' s not t hat I don' t t r ust Ma' am. I t ' s not t hat I don' t t r ust
you, but . . . you, but . . .
MARY MARY
But what ? I s t her e anyt hi ng so But what ? I s t her e anyt hi ng so
t er r i bl y wr ong about . . . maki ng a t er r i bl y wr ong about . . . maki ng a
deci si on and want i ng t o hur r y? Do deci si on and want i ng t o hur r y? Do
you t hi nk I ' ve st ol en . . . my car ? you t hi nk I ' ve st ol en . . . my car ?
No, M' am. I was onl y about t o say, No, M' am. I was onl y about t o say,
I ' ve sent my mechani c out t o gi ve I ' ve sent my mechani c out t o gi ve
your car a l i t t l e t est . . . t hat ' s your car a l i t t l e t est . . . t hat ' s
al l . al l .
MARY MARY
( handi ng hi mt he ( handi ng hi mt he
owner shi p paper s and owner shi p paper s and
t he new bi l l s) t he new bi l l s)
I ' d l i ke t o be r eady when he get s I ' d l i ke t o be r eady when he get s
back. back.
Okay. I f you' l l come al ong . . . Okay. I f you' l l come al ong . . .
He st ar t s t owar d t he of f i ce bui l di ng. Mar y f ol l ows, He st ar t s t owar d t he of f i ce bui l di ng. Mar y f ol l ows,
cl osel y, anxi ousl y. She gl ances, sees: cl osel y, anxi ousl y. She gl ances, sees:
He i s st i l l at t he f ar cur b. He i s st i l l at t he f ar cur b.
The Car Deal er goes i nt o hi s of f i ce. Mar y f ol l ows. The Car Deal er goes i nt o hi s of f i ce. Mar y f ol l ows.
THE PATROLMAN - ( DAY) THE PATROLMAN - ( DAY)
A second l at er , he st ar t s hi s aut omobi l e, checks A second l at er , he st ar t s hi s aut omobi l e, checks
t r af f i c, comes acr oss t he st r eet , sl owl y, and dr i ves t r af f i c, comes acr oss t he st r eet , sl owl y, and dr i ves
ont o t he l ot . He pauses a moment , t hen dr i ves acr oss ont o t he l ot . He pauses a moment , t hen dr i ves acr oss
t he l ot , passi ng t he of f i ce, goi ng on t o t he ot her exi t , t he l ot , passi ng t he of f i ce, goi ng on t o t he ot her exi t ,
st ops t her e as Mar y' s car i s dr i ven back ont o t he l ot . st ops t her e as Mar y' s car i s dr i ven back ont o t he l ot .
The MECHANI C st ops Mar y' s car , hops out , waves t o t he The MECHANI C st ops Mar y' s car , hops out , waves t o t he
Pat r ol man. The Pat r ol man waves back, goes on a bi t Pat r ol man. The Pat r ol man waves back, goes on a bi t
unt i l he i s behi nd Mar y' s car , st ops agai n, l ooks over unt i l he i s behi nd Mar y' s car , st ops agai n, l ooks over
at t he of f i ce. I n a moment , Mar y comes out , hur r i es at t he of f i ce. I n a moment , Mar y comes out , hur r i es
acr oss t o her new car , get s i n, st ar t s t he mot or . The acr oss t o her new car , get s i n, st ar t s t he mot or . The
Mechani c yel l s: Mechani c yel l s:
MECHANI C MECHANI C
Hey! Mi ss? Hey! Mi ss?
Mar y pauses, t ur ns, sees t he Pat r ol man, t hen t he Mar y pauses, t ur ns, sees t he Pat r ol man, t hen t he
Mechani c. Her f ace goes whi t e. She doesn' t know whi ch Mechani c. Her f ace goes whi t e. She doesn' t know whi ch
man cal l ed her . Then t he Mechani c waves, st ar t s f or war d man cal l ed her . Then t he Mechani c waves, st ar t s f or war d
wi t h her sui t case. wi t h her sui t case.
MARY MARY
( as Mechani c r eaches ( as Mechani c r eaches
car ) car )
J ust put i t r i ght i n her e, pl ease J ust put i t r i ght i n her e, pl ease
. . . besi de me. . . . besi de me.
The Mechani c smi l es, t hr ows t he sui t case i n. Mar y zooms The Mechani c smi l es, t hr ows t he sui t case i n. Mar y zooms
of f . As she dr i ves out of l ot we see t he Mechani c, t he of f . As she dr i ves out of l ot we see t he Mechani c, t he
Car Deal er and t he Pat r ol man al l l ooki ng af t er her . Car Deal er and t he Pat r ol man al l l ooki ng af t er her .
MARY I N NEWCAR ON ROUTE 99 MARY I N NEWCAR ON ROUTE 99
Mar y i s dr i vi ng t ensel y. She checks t he r ear - vi ew Mar y i s dr i vi ng t ensel y. She checks t he r ear - vi ew
mi r r or , i s mor e shocked t han pl eased when she sees. . . mi r r or , i s mor e shocked t han pl eased when she sees. . .
MARY' S REAR- VI EWMI RROR MARY' S REAR- VI EWMI RROR
No si gn of t he Pat r ol man. No si gn of t he Pat r ol man.
She t ur ns her f ace, l ooks out at t he hi ghway. She t ur ns her f ace, l ooks out at t he hi ghway.
ROUTE 99 - MARY' S POV ROUTE 99 - MARY' S POV
I t i s heavy wi t h t r af f i c. I t i s heavy wi t h t r af f i c.
Agai n she checks t he mi r r or and al t hough . . . Agai n she checks t he mi r r or and al t hough . . .
Ther e i s st i l l no si gn of t he Pat r ol man. Ther e i s st i l l no si gn of t he Pat r ol man.
She cannot r el ax or f eel saf e, cannot convi nce her sel f She cannot r el ax or f eel saf e, cannot convi nce her sel f
t hat not hi ng wi l l come of t he man' s wat chi ng and t hat not hi ng wi l l come of t he man' s wat chi ng and
suspi ci ons. suspi ci ons.
CAMERA I S CLOSE on Mar y' s f ace now, r ecor di ng her CAMERA I S CLOSE on Mar y' s f ace now, r ecor di ng her
anxi et y, her f ear s. Her gui l t shi nes br i ght i n her eyes anxi et y, her f ear s. Her gui l t shi nes br i ght i n her eyes
and she i s a per son unaccust omed t o cont ai ni ng t hi s much and she i s a per son unaccust omed t o cont ai ni ng t hi s much
gui l t i n t hi s r eal i st i c a si t uat i on. Suddenl y, we hear gui l t i n t hi s r eal i st i c a si t uat i on. Suddenl y, we hear
t he SOUND of t he Used Car Deal er ' s l augh, hear i t as t he SOUND of t he Used Car Deal er ' s l augh, hear i t as
cl ear l y as Mar y hear s i t i n her i magi nat i on. The cl ear l y as Mar y hear s i t i n her i magi nat i on. The
" i magi ned voi ce" we hear i s act ual l y t he voi ce of t he " i magi ned voi ce" we hear i s act ual l y t he voi ce of t he
Car Deal er : Car Deal er :
CAR DEALER' S VOI CE CAR DEALER' S VOI CE
Heck, Of f i cer , t hat was t he f i r st Heck, Of f i cer , t hat was t he f i r st
t i me I ever saw t he Cust omer hi gh- t i me I ever saw t he Cust omer hi gh-
pr essur e t he Sal esman! Somebody pr essur e t he Sal esman! Somebody
chasi ng her ? chasi ng her ?
PATROLMAN' S VOI CE PATROLMAN' S VOI CE
I bet t er have a l ook at t hose I bet t er have a l ook at t hose
paper s, Char l i e. paper s, Char l i e.
CAR DEALER' S VOI CE CAR DEALER' S VOI CE
She l ook l i ke a wr ong- one t o you? She l ook l i ke a wr ong- one t o you?
PATROLMAN' S VOI CE PATROLMAN' S VOI CE
Act ed l i ke one. Act ed l i ke one.
Mar y bl i nks, shakes her head, as i f t r yi ng t o shake away Mar y bl i nks, shakes her head, as i f t r yi ng t o shake away
t hese voi ces of her i magi nat i on. She checks t he r ear - t hese voi ces of her i magi nat i on. She checks t he r ear -
vi ew mi r r or . vi ew mi r r or .
St i l l no si ght of t he Pat r ol man. St i l l no si ght of t he Pat r ol man.
MARY I N NEWCAR MARY I N NEWCAR
She t r i es t o f or ce her sel f t o r el ax, al most succeeds She t r i es t o f or ce her sel f t o r el ax, al most succeeds
when she i s spr ung t o t ensi on agai n by . . . . when she i s spr ung t o t ensi on agai n by . . . .
EXT. HI GHWAY 99 EXT. HI GHWAY 99
The si ght of a pol i ce car . As she dr i ves past , we hear The si ght of a pol i ce car . As she dr i ves past , we hear
t he squeaky, uni nt el l i gi bl e voi ce comi ng over t he car t he squeaky, uni nt el l i gi bl e voi ce comi ng over t he car
r adi o. Mar y zooms down on t he gas, whi zzes ahead. r adi o. Mar y zooms down on t he gas, whi zzes ahead.
DI SSOLVE THROUGH TO: DI SSOLVE THROUGH TO:
EXT. HI GHWAY 99 - LONG SHOT EXT. HI GHWAY 99 - LONG SHOT
Mar y' s car dashi ng al ong. Mar y' s car dashi ng al ong.
Mar y l ooks wear y, t i r ed wi t h st r ai n and wi t h har d Mar y l ooks wear y, t i r ed wi t h st r ai n and wi t h har d
dr i vi ng. Her eyes ar e heavy wi t h wor r y and deep t hought . dr i vi ng. Her eyes ar e heavy wi t h wor r y and deep t hought .
OUT THE WI NDSHI ELD OUT THE WI NDSHI ELD
We can see t hat i t i s much l at er i n t he day, al most dusk. We can see t hat i t i s much l at er i n t he day, al most dusk.
We HEAR t he sound of an agi t at ed BUZZ of an i nt er com We HEAR t he sound of an agi t at ed BUZZ of an i nt er com
syst em, a sound emanat i ng f r omMar y' s i magi nat i on. syst em, a sound emanat i ng f r omMar y' s i magi nat i on.
Af t er t he second BUZZ, we HEAR t he voi ce of Car ol i ne. Af t er t he second BUZZ, we HEAR t he voi ce of Car ol i ne.
CAROLI NE' S VOI CE CAROLI NE' S VOI CE
Yes, Mr . Lower y. Yes, Mr . Lower y.
LOWERY' S VOI CE LOWERY' S VOI CE
( a wor r i ed t one) ( a wor r i ed t one)
Car ol i ne . . . ? Mar y st i l l i sn' t i n? Car ol i ne . . . ? Mar y st i l l i sn' t i n?
No, Mr . Lower y . . . but t hen she' s No, Mr . Lower y . . . but t hen she' s
al ways a bi t l at e on Monday al ways a bi t l at e on Monday
mor ni ngs. mor ni ngs.
Buzz me t he mi nut e she comes i n. Buzz me t he mi nut e she comes i n.
Agai n Mar y shakes her head, f or ces her sel f t o st op Agai n Mar y shakes her head, f or ces her sel f t o st op
hear i ng t hese " i nvent ed" scenes of her i magi nat i on. hear i ng t hese " i nvent ed" scenes of her i magi nat i on.
Now we cut t o t he vi ew of t he r oad, f r omMar y' s Now we cut t o t he vi ew of t he r oad, f r omMar y' s
vi ewpoi nt . Dar kness of eveni ng i s comi ng. I n t he di m vi ewpoi nt . Dar kness of eveni ng i s comi ng. I n t he di m
t wi l i ght we see t he neon si gn of r oadsi de r est aur ant s t wi l i ght we see t he neon si gn of r oadsi de r est aur ant s
and gas st at i ons begi nni ng t o bl aze on. and gas st at i ons begi nni ng t o bl aze on.
I NT. MARY' S NEWCAR I NT. MARY' S NEWCAR
Back on Mar y' s f ace, and af t er a moment , t he i magi ned Back on Mar y' s f ace, and af t er a moment , t he i magi ned
voi ces agai n: voi ces agai n:
Cal l her si st er ! I f no one' s Cal l her si st er ! I f no one' s
answer i ng at t he house. . . . answer i ng at t he house. . . .
I cal l ed her si st er , Mr . Lower y, I cal l ed her si st er , Mr . Lower y,
wher e she wor ks, t he Musi c Maker s wher e she wor ks, t he Musi c Maker s
Musi c St or e, you know? And she Musi c St or e, you know? And she
doesn' t know wher e Mar y i s any mor e doesn' t know wher e Mar y i s any mor e
t han we do. t han we do.
You bet t er r un out t o t he house. You bet t er r un out t o t he house.
She may be . . . unabl e t o answer t he She may be . . . unabl e t o answer t he
phone. . . . phone. . . .
Her si st er ' s goi ng t o do t hat . Her si st er ' s goi ng t o do t hat .
She' s as wor r i ed as we ar e. She' s as wor r i ed as we ar e.
A f l ush of pai nf ul gui l t and r egr et r i ses up i n Mar y' s A f l ush of pai nf ul gui l t and r egr et r i ses up i n Mar y' s
f ace. She cl oses her eyes f or one t i ght swi f t moment . f ace. She cl oses her eyes f or one t i ght swi f t moment .
We cut agai n t o t he hi ghway. The f i r st oncomi ng We cut agai n t o t he hi ghway. The f i r st oncomi ng
headl i ght s sl ash at t he wi ndshi el d. headl i ght s sl ash at t he wi ndshi el d.
Cut t i ng back t o Mar y, we can sense by t he t ense muscl es Cut t i ng back t o Mar y, we can sense by t he t ense muscl es
of her f ace t hat she i s dr i vi ng f ast er . The oncomi ng of her f ace t hat she i s dr i vi ng f ast er . The oncomi ng
headl i ght s bl ur t at her . headl i ght s bl ur t at her .
Suddenl y we HEAR Lower y' s voi ce, l oud now and Suddenl y we HEAR Lower y' s voi ce, l oud now and
f r i ght ened, as i f t he anxi et y i n t he man' s voi ce was f r i ght ened, as i f t he anxi et y i n t he man' s voi ce was
st r ong enough t o br eak t hr ough Mar y' s ef f or t t o keep her st r ong enough t o br eak t hr ough Mar y' s ef f or t t o keep her
mi nd si l ent and her i magi nat i on bl ank. mi nd si l ent and her i magi nat i on bl ank.
No! I haven' t t he f ai nt est i dea. No! I haven' t t he f ai nt est i dea.
As I sai d, I l ast saw your si st er As I sai d, I l ast saw your si st er
when she l ef t t hi s of f i ce on Fr i day when she l ef t t hi s of f i ce on Fr i day
. . . she sai d she di dn' t f eel wel l . . . she sai d she di dn' t f eel wel l
and want ed t o l eave ear l y and I and want ed t o l eave ear l y and I
sai d she coul d. And t hat was t he sai d she coul d. And t hat was t he
l ast I saw . . . l ast I saw . . .
( a pause, a t hought ) ( a pause, a t hought )
. . . wai t a mi nut e, I di d see her , . . . wai t a mi nut e, I di d see her ,
an hour or so l at er , dr i vi ng. . . an hour or so l at er , dr i vi ng. . .
( a pause, t hen wi t h ( a pause, t hen wi t h
sol emn f ear ) sol emn f ear )
Ah, I t hi nk you' d bet t er come over Ah, I t hi nk you' d bet t er come over
her e t o my of f i ce. Qui ck. her e t o my of f i ce. Qui ck.
( a pause, a cl i ck) ( a pause, a cl i ck)
Car ol i ne, get Mr . Cassi dy f or me. Car ol i ne, get Mr . Cassi dy f or me.
I t i s compl et el y dar k now, ni ght . I t i s compl et el y dar k now, ni ght .
We cut back t o her f ace. We cut back t o her f ace.
Af t er al l , Cassi dy, I t ol d you . . . Af t er al l , Cassi dy, I t ol d you . . .
al l t hat cash . . . I ' mnot t aki ng al l t hat cash . . . I ' mnot t aki ng
t he r esponsi bi l i t y . . . Oh, f or t he r esponsi bi l i t y . . . Oh, f or
heaven' s sake, a gi r l wor ks f or you heaven' s sake, a gi r l wor ks f or you
f or t en year s, you t r ust her ! Al l f or t en year s, you t r ust her ! Al l
r i ght , yes, you bet t er come over . r i ght , yes, you bet t er come over .
EXT. THE ROAD AHEAD - FROM MARY' S VI EWPOI NT EXT. THE ROAD AHEAD - FROM MARY' S VI EWPOI NT
Fast cut back t o Mar y' s f ace. Oncomi ng headl i ght s t hr ow Fast cut back t o Mar y' s f ace. Oncomi ng headl i ght s t hr ow
a bl i ndi ng l i ght acr oss her f eat ur es. a bl i ndi ng l i ght acr oss her f eat ur es.
CASSI DY' S VOI CE CASSI DY' S VOI CE
( undr unk, shar p wi t h ( undr unk, shar p wi t h
r age) r age)
Wel l I ai n' t about t o ki ss of f Wel l I ai n' t about t o ki ss of f
f or t y t housand dol l ar s! I ' l l get f or t y t housand dol l ar s! I ' l l get
i t back and i f any of i t ' s mi ssi n' i t back and i f any of i t ' s mi ssi n'
I ' l l r epl ace i t wi t h her f i ne sof t I ' l l r epl ace i t wi t h her f i ne sof t
f l esh! I ' l l t r ack her , never you f l esh! I ' l l t r ack her , never you
doubt i t ! doubt i t !
Hol d on, Cassi dy . . . I st i l l can' t Hol d on, Cassi dy . . . I st i l l can' t
bel i eve . . . i t must be some ki nd of bel i eve . . . i t must be some ki nd of
a myst er y . . . I can' t . . . . a myst er y . . . I can' t . . . .
CASSI DY' S VOI CE CASSI DY' S VOI CE
You checked wi t h t he bank, no? You checked wi t h t he bank, no?
They never l ai d eyes on her , no? They never l ai d eyes on her , no?
You st i l l t r ust i n' ? Hot cr eeper s, You st i l l t r ust i n' ? Hot cr eeper s,
she sat t her e whi l e I dumped i t out she sat t her e whi l e I dumped i t out
. . . har dl y even l ooked at i t , . . . har dl y even l ooked at i t ,
pl anni n' and . . . and even f l i r t i n' pl anni n' and . . . and even f l i r t i n'
wi t h me. . . . ! wi t h me. . . . !
A l ook of r evul si on makes Mar y cl ose her eyes. A l ook of r evul si on makes Mar y cl ose her eyes.
THROUGH THE WI NDSHI ELD AGAI N THROUGH THE WI NDSHI ELD AGAI N
Bi g dr ops of r ai n begi n t o appear . Bi g dr ops of r ai n begi n t o appear .
CLOSEUP - MARY CLOSEUP - MARY
She i s becomi ng awar e of t he r ai n st ar t i ng. She i s becomi ng awar e of t he r ai n st ar t i ng.
THROUGH THE WI NDSHI ELD THROUGH THE WI NDSHI ELD
The r ai n i ncr easi ng and backl i t by t he oncomi ng The r ai n i ncr easi ng and backl i t by t he oncomi ng
headl i ght s. headl i ght s.
Mar y st ar t s t he wi ndshi el d wi per s. Mar y st ar t s t he wi ndshi el d wi per s.
The wi per s ar e havi ng a bat t l e wi t h t he now t or r ent i al The wi per s ar e havi ng a bat t l e wi t h t he now t or r ent i al
r ai n. r ai n.
Peer i ng t hr ough t he bl ur r ed wi ndshi el d. Peer i ng t hr ough t he bl ur r ed wi ndshi el d.
CLOSEUP - THE CAR WHEELS CLOSEUP - THE CAR WHEELS
sl owi ng down i n t he f l oodi ng hi ghway. sl owi ng down i n t he f l oodi ng hi ghway.
peer i ng t hr ough t he wi ndshi el d. The oncomi ng l i ght s ar e peer i ng t hr ough t he wi ndshi el d. The oncomi ng l i ght s ar e
f ewer . f ewer .
CLOSEUP - THE CAR WHEELS CLOSEUP - THE CAR WHEELS
al most comi ng t o a sl ow t ur n. al most comi ng t o a sl ow t ur n.
j ust bl ackness and r ai n. j ust bl ackness and r ai n.
peer i ng. peer i ng.
MARY' S VI EWPOI NT MARY' S VI EWPOI NT
An al most undi scer ni bl e l i ght i n t he f ar di st ance, a An al most undi scer ni bl e l i ght i n t he f ar di st ance, a
neon si gn bl ur r ed by t he r ai n- sheet ed wi ndshi el d. neon si gn bl ur r ed by t he r ai n- sheet ed wi ndshi el d.
MARY' S CAR MARY' S CAR
She pr esses down, f or ces t he car t o move on t hr ough t he She pr esses down, f or ces t he car t o move on t hr ough t he
f l ooded r oad. f l ooded r oad.
EXT. THE ROAD EXT. THE ROAD
As we move cl oser , we see t he neon si gn mor e cl ear l y and As we move cl oser , we see t he neon si gn mor e cl ear l y and
can f ai nt l y make out t he l ar ge l et t er s whi ch r ead can f ai nt l y make out t he l ar ge l et t er s whi ch r ead
" Mot el . " Mar y st ops t he car , l ower s t he wi ndow " Mot el . " Mar y st ops t he car , l ower s t he wi ndow
sl i ght l y, l ooks out . We see t he si gn cl ear l y now: sl i ght l y, l ooks out . We see t he si gn cl ear l y now:
" BATES' MOTEL. " Mar y opens t he car door and dashes out " BATES' MOTEL. " Mar y opens t he car door and dashes out
i nt o t he r ai n and up ont o t he por ch of t he mot el of f i ce. i nt o t he r ai n and up ont o t he por ch of t he mot el of f i ce.
EXT. BATES' MOTEL - ( NI GHT) EXT. BATES' MOTEL - ( NI GHT)
Mar y pauses on t he por ch. The l i ght s ar e on wi t hi n t he Mar y pauses on t he por ch. The l i ght s ar e on wi t hi n t he
of f i ce. She t r i es door , f i nds i t open, goes i nt o of f i ce. She t r i es door , f i nds i t open, goes i nt o
of f i ce. CAMERA FOLLOWS her i nt o of f i ce. Ther e i s no of f i ce. CAMERA FOLLOWS her i nt o of f i ce. Ther e i s no
one pr esent . Mar y goes t o t he desk, r i ngs a smal l one pr esent . Mar y goes t o t he desk, r i ngs a smal l
pushbel l . Ther e i s no r esponse. Mar y r ubs her f or ehead pushbel l . Ther e i s no r esponse. Mar y r ubs her f or ehead
i n wear i ness and f r ust r at i on, goes back out ont o t he i n wear i ness and f r ust r at i on, goes back out ont o t he
por ch. She l ooks of f i n anot her di r ect i on, sl i ght l y por ch. She l ooks of f i n anot her di r ect i on, sl i ght l y
behi nd t he of f i ce, and sees . . . . behi nd t he of f i ce, and sees . . . .
MARY' S VI EWPOI NT - A LARGE OLD HOUSE - ( NI GHT) MARY' S VI EWPOI NT - A LARGE OLD HOUSE - ( NI GHT)
A pat h f r omt he mot el of f i ce l eads di r ect l y up t o t hi s A pat h f r omt he mot el of f i ce l eads di r ect l y up t o t hi s
house. Ther e i s a l i ght on i n one of t he upst ai r s house. Ther e i s a l i ght on i n one of t he upst ai r s
r ooms. A WOMAN passes t he wi ndow, pauses, peer s out . r ooms. A WOMAN passes t he wi ndow, pauses, peer s out .
We see her i n cl ear si l houet t e. She qui ckl y goes away We see her i n cl ear si l houet t e. She qui ckl y goes away
f r omt he wi ndow. f r omt he wi ndow.
EXT. PORCH OF BATES' MOTEL - ( NI GHT) EXT. PORCH OF BATES' MOTEL - ( NI GHT)
Mar y, havi ng seen t he woman, expect s now t hat she wi l l Mar y, havi ng seen t he woman, expect s now t hat she wi l l
get some at t ent i on. She st ands a f ew moment s, wai t i ng. get some at t ent i on. She st ands a f ew moment s, wai t i ng.
No one comes. I mpat i ence and anger r i se i n Mar y. She No one comes. I mpat i ence and anger r i se i n Mar y. She
dashes out i nt o t he r ai n, t o her car , get s i n, opens t he dashes out i nt o t he r ai n, t o her car , get s i n, opens t he
si de wi ndow, begi ns t o honk t he hor n. Af t er a moment , si de wi ndow, begi ns t o honk t he hor n. Af t er a moment ,
a YOUNG MAN open t he f r ont door of t he house, pauses, a YOUNG MAN open t he f r ont door of t he house, pauses,
st ar t s down t he pat h. Af t er a f ew st eps, he t ur ns and st ar t s down t he pat h. Af t er a f ew st eps, he t ur ns and
r uns back i nt o t he house. Mar y l eaves her car , st ar t s r uns back i nt o t he house. Mar y l eaves her car , st ar t s
a dash f or t he shel t er of t he por ch. As she r uns, we a dash f or t he shel t er of t he por ch. As she r uns, we
see t hat t he Young Man has gone back onl y t o get an see t hat t he Young Man has gone back onl y t o get an
umbr el l a. Seei ng t hat Mar y i s on her way t o t he por ch, umbr el l a. Seei ng t hat Mar y i s on her way t o t he por ch,
he r uns qui ckl y, t he umbr el l a unopened i n hi s hand. He he r uns qui ckl y, t he umbr el l a unopened i n hi s hand. He
get s t o t he por ch a moment af t er Mar y has r eached i t . get s t o t he por ch a moment af t er Mar y has r eached i t .
He st ops shor t , l ooks at her , t hen at t he umbr el l a He st ops shor t , l ooks at her , t hen at t he umbr el l a
hangi ng usel ess i n hi s hand, t hen back t o her . hangi ng usel ess i n hi s hand, t hen back t o her .
Ther e i s somet hi ng sadl y t ouchi ng i n hi s manner , i n hi s Ther e i s somet hi ng sadl y t ouchi ng i n hi s manner , i n hi s
l ook. Mar y' s i mpat i ence goes and she smi l es and t hi s l ook. Mar y' s i mpat i ence goes and she smi l es and t hi s
makes hi mal most smi l e. He gest ur es her i nt o t he makes hi mal most smi l e. He gest ur es her i nt o t he
of f i ce, st andi ng back t o i ndi cat e t hat he wi l l go af t er of f i ce, st andi ng back t o i ndi cat e t hat he wi l l go af t er
her . She goes i nt o t he of f i ce. her . She goes i nt o t he of f i ce.
I NT. OFFI CE OF BATES' MOTEL - ( NI GHT) I NT. OFFI CE OF BATES' MOTEL - ( NI GHT)
The Young Man f ol l ows Mar y i n, cl oses t he door . He i s The Young Man f ol l ows Mar y i n, cl oses t he door . He i s
NORMAN BATES, somewher e i n hi s l at e t went i es, t hi n and NORMAN BATES, somewher e i n hi s l at e t went i es, t hi n and
t al l , sof t - spoken and hesi t ant . t al l , sof t - spoken and hesi t ant .
NORMAN NORMAN
Di r t y ni ght . Di r t y ni ght .
MARY MARY
( not r eal l y a quest i on) ( not r eal l y a quest i on)
You have a vacancy? You have a vacancy?
NORMAN NORMAN
( si mpl y, al most ( si mpl y, al most
cheer f ul l y) cheer f ul l y)
We have t wel ve vacanci es. Twel ve We have t wel ve vacanci es. Twel ve
cabi ns, t wel ve vacanci es. cabi ns, t wel ve vacanci es.
They moved away t he hi ghway. They moved away t he hi ghway.
MARY MARY
I t hought I ' d got t en of f t he I t hought I ' d got t en of f t he
mai n. . . . mai n. . . .
NORMAN NORMAN
I knew you must have. No one st ops I knew you must have. No one st ops
her e anymor e unl ess t hey do. her e anymor e unl ess t hey do.
He i s behi nd t he count er now, pushi ng f or war d t he He i s behi nd t he count er now, pushi ng f or war d t he
r egi st r at i on book. r egi st r at i on book.
NORMAN NORMAN
But i t ' s no good dwel l i ng on our But i t ' s no good dwel l i ng on our
l osses, i s i t . l osses, i s i t .
We go r i ght ahead l i ght i ng si gns We go r i ght ahead l i ght i ng si gns
and f ol l owi ng t he f or mal i t i es . . . and f ol l owi ng t he f or mal i t i es . . .
Woul d you si gn, pl ease. Woul d you si gn, pl ease.
Mar y has pl aced her handbag on t he count er . She t akes Mar y has pl aced her handbag on t he count er . She t akes
t he r egi st r at i on book, pi cks up t he pen, i s suddenl y t he r egi st r at i on book, pi cks up t he pen, i s suddenl y
st r uck wi t h t he r eal i zat i on t hat she' d bet t er use an st r uck wi t h t he r eal i zat i on t hat she' d bet t er use an
al l i es. She wr i t es t he name Mar i e Samuel s. al l i es. She wr i t es t he name Mar i e Samuel s.
NORMAN NORMAN
Your home addr ess. Oh, j ust t he Your home addr ess. Oh, j ust t he
t own wi l l do. t own wi l l do.
MARY MARY
( gl anci ng at newspaper ( gl anci ng at newspaper
st i cki ng out of her st i cki ng out of her
handbag) handbag)
Los Angel es. Los Angel es.
She r eal i zes he di dn' t ask her t o t el l hi m, mer el y t o She r eal i zes he di dn' t ask her t o t el l hi m, mer el y t o
wr i t e i t down. She smi l es, wr i t es Los Angel es besi de wr i t e i t down. She smi l es, wr i t es Los Angel es besi de
t he f al se name. Nor man smi l es, st ops smi l i ng out of t he f al se name. Nor man smi l es, st ops smi l i ng out of
embar r assment . embar r assment .
NORMAN NORMAN
Cabi n One. I t ' s cl oser i n case you Cabi n One. I t ' s cl oser i n case you
want anyt hi ng . . . r i ght next t o t he want anyt hi ng . . . r i ght next t o t he
of f i ce. of f i ce.
CLOSEUP - NORMAN CLOSEUP - NORMAN
He r emoves a key f or Cabi n One. We see t hat t her e i s a He r emoves a key f or Cabi n One. We see t hat t her e i s a
r emani ng key on t he boar d. r emani ng key on t he boar d.
TWO SHOT - MARY AND NORMAN TWO SHOT - MARY AND NORMAN
MARY MARY
I want sl eep mor e t han anyt hi ng. I want sl eep mor e t han anyt hi ng.
Except maybe, f ood. Except maybe, f ood.
NORMAN NORMAN
Ther e' s a bi g di ner about t en mi l es Ther e' s a bi g di ner about t en mi l es
on up . . . j ust out si de Fai r val e. on up . . . j ust out si de Fai r val e.
MARY MARY
AmI t hat cl ose t o Fai r val e? AmI t hat cl ose t o Fai r val e?
NORMAN NORMAN
Fi f t een mi l es. I ' l l get your bags. Fi f t een mi l es. I ' l l get your bags.
He goes t o door , opens i t . The r ai n has sl owed down He goes t o door , opens i t . The r ai n has sl owed down
consi der abl y. He smi l es at t hi s f act , as i f t o consi der abl y. He smi l es at t hi s f act , as i f t o
communi cat e some pl eassur e he f i nds i n i t . Mar y f ol l ows communi cat e some pl eassur e he f i nds i n i t . Mar y f ol l ows
hi mt o t he door , goes out on t he por ch, wai t s and hi mt o t he door , goes out on t he por ch, wai t s and
wat ches as Nor man r uns t o her car , get s i n, dr i ves i t t o wat ches as Nor man r uns t o her car , get s i n, dr i ves i t t o
t he par ki ng space i n f r ont of Cabi n One. Mar y wal ks t he par ki ng space i n f r ont of Cabi n One. Mar y wal ks
al ong t he por ch, wai t s bef or e t he door of Cabi n One. al ong t he por ch, wai t s bef or e t he door of Cabi n One.
Nor man get s out of car , wi t h sui t case, r uns t o t he door , Nor man get s out of car , wi t h sui t case, r uns t o t he door ,
opens i t , pushes t he door open, put s hi s hand i n and opens i t , pushes t he door open, put s hi s hand i n and
swi t ches on a l i ght . Mar y goes i nt o t he cabi n. Nor man swi t ches on a l i ght . Mar y goes i nt o t he cabi n. Nor man
f ol l ows her . f ol l ows her .
I NT. CABI N ONE - ( NI GHT) I NT. CABI N ONE - ( NI GHT)
Nor man pl aces sui t case on bed, goes t o t he wi ndow, opens Nor man pl aces sui t case on bed, goes t o t he wi ndow, opens
i t . i t .
NORMAN NORMAN
St uf f y i n her e. St uf f y i n her e.
( t ur ns t o her ) ( t ur ns t o her )
Wel l . . . t he mat t r ess i s sof t and Wel l . . . t he mat t r ess i s sof t and
t her e' r e hanger s i n t he cl oset and t her e' r e hanger s i n t he cl oset and
. . . st at i onar y wi t h " Bat es' Mot el " . . . st at i onar y wi t h " Bat es' Mot el "
pr i nt ed on i t i n case you want t o pr i nt ed on i t i n case you want t o
make your f r i ends back home envi ous make your f r i ends back home envi ous
. . . and . . . t he . . . ever t her e . . . . . . . and . . . t he . . . ever t her e . . . .
( he poi nt s t o t he ( he poi nt s t o t he
bat hr oom, f ai r l y bat hr oom, f ai r l y
bl ushes) bl ushes)
MARY MARY
The bat hr oom. The bat hr oom.
NORMAN NORMAN
( qui ckl y, st ar t i ng t o ( qui ckl y, st ar t i ng t o
l eave) l eave)
I ' l l be i n t he of f i ce i f you want I ' l l be i n t he of f i ce i f you want
anyt hi ng . . . j ust t ap on t he wal l . anyt hi ng . . . j ust t ap on t he wal l .
MARY MARY
Thank you, Mr . Bat es. Thank you, Mr . Bat es.
NORMAN NORMAN
Nor man Bat es. Nor man Bat es.
He pauses at t he door , gazes at her . She smi l es. He pauses at t he door , gazes at her . She smi l es.
NORMAN NORMAN
You have somet hi ng most gi r l s never You have somet hi ng most gi r l s never
have. have.
MARY MARY
I have? I have?
NORMAN NORMAN
Ther e' s no name f or i t . . . But i t ' s Ther e' s no name f or i t . . . But i t ' s
somet hi ng t hat , t hat put s a per son somet hi ng t hat , t hat put s a per son
at ease. at ease.
MARY MARY
Thank you. Agai n. Thank you. Agai n.
NORMAN NORMAN
( not r eal l y a quest i on) ( not r eal l y a quest i on)
You' r e not goi ng t o go out agai n You' r e not goi ng t o go out agai n
and dr i ve up t o t hat di ner , ar e you? and dr i ve up t o t hat di ner , ar e you?
MARY MARY
No. No.
NORMAN NORMAN
Then wi l l you do me a f avor ? Then wi l l you do me a f avor ?
( wi t hout wai t i ng f or ( wi t hout wai t i ng f or
her r esponse) her r esponse)
Wi l l you have supper her e? I was Wi l l you have supper her e? I was
j ust about t o, mysel f . . . not hi ng j ust about t o, mysel f . . . not hi ng
mor e t han some sandwi ches and a l ot mor e t han some sandwi ches and a l ot
of mi l k, but I ' d l i ke i t i f you' d of mi l k, but I ' d l i ke i t i f you' d
come up t o t he house and . . . I come up t o t he house and . . . I
don' t set a f ancy t abl e but . . . t he don' t set a f ancy t abl e but . . . t he
ki t chen' s awf ul homey. ki t chen' s awf ul homey.
MARY MARY
I ' d l i ke t o. I ' d l i ke t o.
NORMAN NORMAN
Al l r i ght , you get your dr esses Al l r i ght , you get your dr esses
hangi ng out and . . . change t hose hangi ng out and . . . change t hose
wet shoes, and I ' l l come f or you wet shoes, and I ' l l come f or you
soon as i t ' s r eady. . . soon as i t ' s r eady. . .
( st ar t s out ) ( st ar t s out )
. . . wi t h my t r ust y umbr el l a. . . . wi t h my t r ust y umbr el l a.
( he l aughs a smal l ( he l aughs a smal l
l augh, r uns of f ) l augh, r uns of f )
Mar y cl oses t he door , goes t o sui t case, opens i t , st ar t s Mar y cl oses t he door , goes t o sui t case, opens i t , st ar t s
t o t ake out a dr ess. Her handbag i s next t o t he t o t ake out a dr ess. Her handbag i s next t o t he
sui t case. She gl ances down i nt o i t , pauses, dr ops t he sui t case. She gl ances down i nt o i t , pauses, dr ops t he
dr ess, r eaches i nt o t he handbag, t akes out t he money- dr ess, r eaches i nt o t he handbag, t akes out t he money-
f i l l ed envel ope, st ar es at i t , al most wi t h r egr et , f i l l ed envel ope, st ar es at i t , al most wi t h r egr et ,
cont empl at es hi di ng i t , deci des t o, st ar t s l ooki ng f or cont empl at es hi di ng i t , deci des t o, st ar t s l ooki ng f or
a r easonabl e hi di ng pl ace. She l ooks about , at t he a r easonabl e hi di ng pl ace. She l ooks about , at t he
cl oset , t he dr awer s et c. , r eal i zes al l such pl aces ar e cl oset , t he dr awer s et c. , r eal i zes al l such pl aces ar e
obvi ous. Cat chi ng si ght of t he newspaper i n her bag, obvi ous. Cat chi ng si ght of t he newspaper i n her bag,
she hi t s on a sol ut i on. She opens t he newspaper , pl aces she hi t s on a sol ut i on. She opens t he newspaper , pl aces
t he envel ope wi t hi n i t , l ock- f ol ds t he paper agai n and t he envel ope wi t hi n i t , l ock- f ol ds t he paper agai n and
t hen pl aces i t on t he bedsi de t abl e as i f i t wer e t her e t hen pl aces i t on t he bedsi de t abl e as i f i t wer e t her e
f or l at er r eadi ng. She consi der s t hi s f or a moment , f or l at er r eadi ng. She consi der s t hi s f or a moment ,
accept s i t , goes t o her sui t case t o st ar t unpacki ng. accept s i t , goes t o her sui t case t o st ar t unpacki ng.
Suddenl y t he qui et i s shat t er ed by t he shr i l l , ugl y Suddenl y t he qui et i s shat t er ed by t he shr i l l , ugl y
sound of a woman' s voi ce, r ai sed i n anger . sound of a woman' s voi ce, r ai sed i n anger .
WOMAN' S VOI CE WOMAN' S VOI CE
No! I t el l you no! No! I t el l you no!
Mar y wal ks sl owl y t o t he wi ndow, r eal i zi ng t hat t he Mar y wal ks sl owl y t o t he wi ndow, r eal i zi ng t hat t he
t er r i bl e voi ce i s comi ng f r omt he house behi nd t he t er r i bl e voi ce i s comi ng f r omt he house behi nd t he
cabi ns. CAMERA FOLLOWS her t o wi ndow and once t her e we cabi ns. CAMERA FOLLOWS her t o wi ndow and once t her e we
see t he l i ght i s st i l l on i n t he upst ai r s bedr oomand see t he l i ght i s st i l l on i n t he upst ai r s bedr oomand
t he voi ce i s comi ng f r omt hat r oom. The r ai n has t he voi ce i s comi ng f r omt hat r oom. The r ai n has
st opped and t he moon i s out . st opped and t he moon i s out .
I won' t have you br i ngi ng st r ange I won' t have you br i ngi ng st r ange
young gi r l s i n f or supper . . . young gi r l s i n f or supper . . .
( an ugl y, sneer i ng ( an ugl y, sneer i ng
not e cr eeps i nt o t he not e cr eeps i nt o t he
voi ce) voi ce)
. . . by candl el i ght , I suppose, i n . . . by candl el i ght , I suppose, i n
t he cheap er ot i c f ashi on of young t he cheap er ot i c f ashi on of young
men wi t h cheap, er ot i c mi nds! men wi t h cheap, er ot i c mi nds!
NORMAN' S VOI CE NORMAN' S VOI CE
Mot her , pl ease . . . Mot her , pl ease . . .
And t hen what ? Af t er supper , And t hen what ? Af t er supper ,
musi c? Whi sper s? musi c? Whi sper s?
Mot her , she' s j ust a st r anger . . . Mot her , she' s j ust a st r anger . . .
hungr y, and t he weat her ' s bad . . . hungr y, and t he weat her ' s bad . . .
( mi mi cki ng cr uel l y) ( mi mi cki ng cr uel l y)
Mot her , she' s j ust a st r anger ! Mot her , she' s j ust a st r anger !
( har d, cr uel agai n) ( har d, cr uel agai n)
As i f men don' t desi r e st r anger s, As i f men don' t desi r e st r anger s,
as i f . . . oh, I r ef use t o speak of as i f . . . oh, I r ef use t o speak of
di sgust i ng t hi ngs because t hey di sgust i ng t hi ngs because t hey
di sgust me! You under st and, Boy? di sgust me! You under st and, Boy?
( pause) ( pause)
Go on, go t el l her she' l l not be Go on, go t el l her she' l l not be
appeasi ng her ugl y appet i t e wi t h my appeasi ng her ugl y appet i t e wi t h my
f ood . . . or my son! Or do I have f ood . . . or my son! Or do I have
t o t el l her , cause you don' t have t o t el l her , cause you don' t have
t he gut s? Huh, boy? You have t he t he gut s? Huh, boy? You have t he
gut s, boy? gut s, boy?
( bl ur t ed cut f ur y and ( bl ur t ed cut f ur y and
shame) shame)
Shut up! Shut up! Shut up! Shut up!
Ther e i s t he SOUND of a door cl osi ng i n t hat r oomup Ther e i s t he SOUND of a door cl osi ng i n t hat r oomup
t her e. Mar y has st ood by t he wi ndow, l i st eni ng wi t h t her e. Mar y has st ood by t he wi ndow, l i st eni ng wi t h
mount i ng di st r ess and concer n and sympat hy. She t ur ns mount i ng di st r ess and concer n and sympat hy. She t ur ns
her f ace away now, gazes sadl y at t he l i t t l e empt y r oom. her f ace away now, gazes sadl y at t he l i t t l e empt y r oom.
I n a moment t her e i s t he SOUND of t he house' s f r ont door I n a moment t her e i s t he SOUND of t he house' s f r ont door
sl ammi ng shut . Mar y t ur ns, l ooks out t he wi ndow. sl ammi ng shut . Mar y t ur ns, l ooks out t he wi ndow.
FROM MARY' S VI EWPOI NT - ( NI GHT) FROM MARY' S VI EWPOI NT - ( NI GHT)
We see Nor man comi ng down t he pat h, car r yi ng a napki n- We see Nor man comi ng down t he pat h, car r yi ng a napki n-
cover ed t r ay. cover ed t r ay.
I NT. CABI N ONE - ( NI GHT) I NT. CABI N ONE - ( NI GHT)
Mar y l ooks at hi mf or a moment , t hen t ur ns qui ckl y, goes Mar y l ooks at hi mf or a moment , t hen t ur ns qui ckl y, goes
t o t he door , opens i t and goes out ont o t he por ch. t o t he door , opens i t and goes out ont o t he por ch.
EXT. THE MOTEL PORCH - ( NI GHT) EXT. THE MOTEL PORCH - ( NI GHT)
Mar y pauses out si de t he door , i s about t o st ar t f or war d Mar y pauses out si de t he door , i s about t o st ar t f or war d
when Nor man comes r ound t he bui l di ng and wal ks al ong t he when Nor man comes r ound t he bui l di ng and wal ks al ong t he
por ch, past t he of f i ce, st oppi ng onl y when he i s cl ose por ch, past t he of f i ce, st oppi ng onl y when he i s cl ose
t o her . He st ar es wi t h pai nf ul embar r assment at t he t o her . He st ar es wi t h pai nf ul embar r assment at t he
knowi ng l ook i n her eye. knowi ng l ook i n her eye.
MARY MARY
I ' ve caused you some t r oubl e. I ' ve caused you some t r oubl e.
NORMAN NORMAN
Mot her . . . Mot her . . .
( a hol l ow l i t t l e ( a hol l ow l i t t l e
l augh, an at t empt at l augh, an at t empt at
sar doni c humor ) sar doni c humor )
. . . what i s t he phr ase . . . " she . . . what i s t he phr ase . . . " she
i sn' t her sel f t oday" . . . I t hi nk i sn' t her sel f t oday" . . . I t hi nk
t hat ' s i t . t hat ' s i t .
MARY MARY
( l ooki ng at t he t r ay) ( l ooki ng at t he t r ay)
You shoul dn' t have bot her ed. I You shoul dn' t have bot her ed. I
r eal l y don' t have t hat much of an r eal l y don' t have t hat much of an
appet i t e. appet i t e.
Nor man f l i nches, r eal i zi ng she has hear d hi s mot her ' s Nor man f l i nches, r eal i zi ng she has hear d hi s mot her ' s
r ef er ence t o Mar y' s appet i t e. r ef er ence t o Mar y' s appet i t e.
NORMAN NORMAN
I ' msor r y. I wi sh . . . peopl e coul d I ' msor r y. I wi sh . . . peopl e coul d
apol ogi ze f or ot her peopl e. apol ogi ze f or ot her peopl e.
MARY MARY
Don' t wor r y about i t . Don' t wor r y about i t .
( a war msmi l e) ( a war msmi l e)
But as l ong as you' ve made us But as l ong as you' ve made us
supper , we may as wel l eat i t . Huh? supper , we may as wel l eat i t . Huh?
She begi ns t o back i nt o her r oom. Nor man st ar t s t o She begi ns t o back i nt o her r oom. Nor man st ar t s t o
f ol l ow, hesi t at es as he sees t he t ot al pi ct ur e of an f ol l ow, hesi t at es as he sees t he t ot al pi ct ur e of an
at t r act i ve young woman and a mot el r oom. Br i ngi ng down at t r act i ve young woman and a mot el r oom. Br i ngi ng down
t he t r ay of f ood, i n def i ance of hi s mot her ' s or der s, i s t he t r ay of f ood, i n def i ance of hi s mot her ' s or der s, i s
about t he l i mi t of hi s def i ance f or one day. He cannot about t he l i mi t of hi s def i ance f or one day. He cannot
go i nt o Mar y' s r oom. go i nt o Mar y' s r oom.
NORMAN NORMAN
I t mi ght be ni cer . . . war mer i n t he I t mi ght be ni cer . . . war mer i n t he
of f i ce. of f i ce.
Wi t hout wai t i ng f or appr oval or di sappr oval , he t ur ns, Wi t hout wai t i ng f or appr oval or di sappr oval , he t ur ns,
hur r i es t o t he of f i ce. Mar y l ooks af t er hi m, her f ace hur r i es t o t he of f i ce. Mar y l ooks af t er hi m, her f ace
showi ng amused sympat hy, t hen f ol l ows. showi ng amused sympat hy, t hen f ol l ows.
I NT. THE MOTEL OFFI CE - ( NI GHT) I NT. THE MOTEL OFFI CE - ( NI GHT)
Nor man l ooks about , t r ay i n hand, sees t her e i s no Nor man l ooks about , t r ay i n hand, sees t her e i s no
r easonabl e pl ace t o spr ead out a supper . He t ur ns, sees r easonabl e pl ace t o spr ead out a supper . He t ur ns, sees
Mar y st andi ng i n t he door way. Mar y st andi ng i n t he door way.
NORMAN NORMAN
Eat i ng i n an of f i ce . . . Eat i ng i n an of f i ce . . .
( a r uef ul smi l e) ( a r uef ul smi l e)
. . . t o of f i ci ous, even f or me. I . . . t o of f i ci ous, even f or me. I
have t he par l or behi nd t hi s . . . i f have t he par l or behi nd t hi s . . . i f
you' d l i ke. you' d l i ke.
Mar y nods. Nor man wal ks on, behi nd t he count er and i nt o Mar y nods. Nor man wal ks on, behi nd t he count er and i nt o
t he dar kened par l or . Mar y f ol l ows. t he dar kened par l or . Mar y f ol l ows.
I NT. NORMAN' S PARLOR - ( NI GHT) I NT. NORMAN' S PARLOR - ( NI GHT)
I n t he dar kened r oom, l i t onl y by t he l i ght f r omt he I n t he dar kened r oom, l i t onl y by t he l i ght f r omt he
of f i ce spi l l i ng i n, we see Nor man pl aci ng t he t r ay on a of f i ce spi l l i ng i n, we see Nor man pl aci ng t he t r ay on a
t abl e. Mar y comes t o t he door way, pauses. Nor man t abl e. Mar y comes t o t he door way, pauses. Nor man
st r ai ght ens up, goes t o l amp, t ur ns on t he l i ght . st r ai ght ens up, goes t o l amp, t ur ns on t he l i ght .
Mar y i s st ar t l ed by t he r oom. Even i n t he di mness of Mar y i s st ar t l ed by t he r oom. Even i n t he di mness of
one l amp, t he st r ange, ext r aor di nar y nat ur e of t he r oom one l amp, t he st r ange, ext r aor di nar y nat ur e of t he r oom
r ushes up at one. I t i s a r oomof bi r ds. St uf f ed r ushes up at one. I t i s a r oomof bi r ds. St uf f ed
bi r ds, al l over t he r oom, on ever y avai l abl e sur f ace, bi r ds, al l over t he r oom, on ever y avai l abl e sur f ace,
one even cl i ngi ng t o t he ol d f ashi oned f r i nged shade of one even cl i ngi ng t o t he ol d f ashi oned f r i nged shade of
t he l amp. The bi r ds ar e of many var i et i es, beaut i f ul , t he l amp. The bi r ds ar e of many var i et i es, beaut i f ul ,
gr and, hor r i bl e, pr eyi ng. Mar y st ar es i n awe and a gr and, hor r i bl e, pr eyi ng. Mar y st ar es i n awe and a
cer t ai n f asci nat ed hor r or . cer t ai n f asci nat ed hor r or .
CLOSE UP - THE VARI OUS BI RDS CLOSE UP - THE VARI OUS BI RDS
TWO SHOT - MARY AND NORMAN TWO SHOT - MARY AND NORMAN
NORMAN NORMAN
Pl ease si t down. On t he sof a. Pl ease si t down. On t he sof a.
As Nor man goes about spr eadi ng out t he br ead and hamand As Nor man goes about spr eadi ng out t he br ead and hamand
pour i ng t he mi l k, we f ol l ow Mar y acr oss t he r oom. She pour i ng t he mi l k, we f ol l ow Mar y acr oss t he r oom. She
st udi es t he bi r ds as she wal ks, br i ef l y exami nes a st udi es t he bi r ds as she wal ks, br i ef l y exami nes a
bookcase st acked wi t h books on t he subj ect of bookcase st acked wi t h books on t he subj ect of
" Taxi der my. " " Taxi der my. "
CLOSE UP - THE BOOKS ON TAXI DERMY CLOSE UP - THE BOOKS ON TAXI DERMY
MED. CLOSE SHOT - MARY MED. CLOSE SHOT - MARY
She not i ces, t oo, t he pai nt i ngs on t he wal l ; nudes, She not i ces, t oo, t he pai nt i ngs on t he wal l ; nudes,
pr i mar i l y, and many wi t h a vaguel y r el i gi ous over t one. pr i mar i l y, and many wi t h a vaguel y r el i gi ous over t one.
Fi nal l y Mar y r eaches t he sof a, si t s down, l ooks at t he Fi nal l y Mar y r eaches t he sof a, si t s down, l ooks at t he
spr ead. spr ead.
MARY MARY
You' r e ver y . . . ki nd. You' r e ver y . . . ki nd.
NORMAN NORMAN
I t ' s al l f or you. I ' mnot hungr y. I t ' s al l f or you. I ' mnot hungr y.
Pl ease go ahead. Pl ease go ahead.
Mar y begi ns t o eat , her at t i t ude a bi t t ense. She t akes Mar y begi ns t o eat , her at t i t ude a bi t t ense. She t akes
up a smal l sl i ce of ham, bi t es of f a t i ny bi t e, ni bbl es up a smal l sl i ce of ham, bi t es of f a t i ny bi t e, ni bbl es
at i t i n t he manner of one di st ur bed and pr eoccupi ed. at i t i n t he manner of one di st ur bed and pr eoccupi ed.
Nor man gazes at her , at t he t i ny bi t e she has t aken, Nor man gazes at her , at t he t i ny bi t e she has t aken,
smi l es and t hen l aughs. smi l es and t hen l aughs.
NORMAN NORMAN
You eat l i ke a bi r d. You eat l i ke a bi r d.
MARY MARY
You' d know, of cour se. You' d know, of cour se.
NORMAN NORMAN
Not r eal l y. I hear t hat Not r eal l y. I hear t hat
expr essi on, t hat one eat s " l i ke a expr essi on, t hat one eat s " l i ke a
bi r d, " i s r eal l y a f al si e, I mean bi r d, " i s r eal l y a f al si e, I mean
a f al si t y, because bi r ds eat a a f al si t y, because bi r ds eat a
t r emendous l ot . t r emendous l ot .
( A pause, t hen ( A pause, t hen
expl ai ni ng) expl ai ni ng)
Oh, I don' t know anyt hi ng about Oh, I don' t know anyt hi ng about
bi r ds. My hobby i s st uf f i ng t hi ngs bi r ds. My hobby i s st uf f i ng t hi ngs
. . . t axi der my. And I guess I ' d . . . t axi der my. And I guess I ' d
j ust r at her st uf f bi r ds because . . . j ust r at her st uf f bi r ds because . . .
wel l , I hat e t he l ook of beast s wel l , I hat e t he l ook of beast s
when t hey' r e st uf f ed, f oxes and when t hey' r e st uf f ed, f oxes and
chi mps and al l . . . some peopl e even chi mps and al l . . . some peopl e even
st uf f dogs and cat s . . . but I can' t st uf f dogs and cat s . . . but I can' t
. . . I t hi nk onl y bi r ds l ook wel l . . . I t hi nk onl y bi r ds l ook wel l
st uf f ed because t hey' r e r at her . . . st uf f ed because t hey' r e r at her . . .
passi ve, t o begi n wi t h . . . most of passi ve, t o begi n wi t h . . . most of
t hem. . . t hem. . .
He t r ai l s of f , hi s exuber ance f ai l i ng i n t he r ushi ng He t r ai l s of f , hi s exuber ance f ai l i ng i n t he r ushi ng
r et ur n of hi s nat ur al hesi t ancy and di scomf or t . Mar y r et ur n of hi s nat ur al hesi t ancy and di scomf or t . Mar y
l ooks at hi m, wi t h some compr essi on, smi l es. l ooks at hi m, wi t h some compr essi on, smi l es.
MARY MARY
I t ' s a st r ange hobby. Cur i ous, I I t ' s a st r ange hobby. Cur i ous, I
mean. mean.
NORMAN NORMAN
Uncommon, t oo. Uncommon, t oo.
MARY MARY
I i magi ne so. I i magi ne so.
NORMAN NORMAN
I t ' s not as expensi ve as you' d I t ' s not as expensi ve as you' d
t hi nk. Cheap, r eal l y. Needl es, t hi nk. Cheap, r eal l y. Needl es,
t hr ead, sawdust . . . t he chemi cal s t hr ead, sawdust . . . t he chemi cal s
ar e al l t hat cost anyt hi ng. ar e al l t hat cost anyt hi ng.
( He goes qui et , l ooks ( He goes qui et , l ooks
di st ur bed) di st ur bed)
MARY MARY
A man shoul d have a hobby. A man shoul d have a hobby.
NORMAN NORMAN
I t ' s mor e t han a hobby . . . I t ' s mor e t han a hobby . . .
somet i mes . . . a hobby i s supposed somet i mes . . . a hobby i s supposed
t o pass t he t i me, not f i l l i t . t o pass t he t i me, not f i l l i t .
MARY MARY
( af t er a pause, sof t l y) ( af t er a pause, sof t l y)
I s your t i me so empt y? I s your t i me so empt y?
NORMAN NORMAN
Oh, no! Oh, no!
( f or ci ng br i ght ness ( f or ci ng br i ght ness
agai n) agai n)
I r un t he of f i ce, t end t he cabi ns I r un t he of f i ce, t end t he cabi ns
and gr ounds, do l i t t l e chor es f or and gr ounds, do l i t t l e chor es f or
mot her . . . t he ones she al l ows I mot her . . . t he ones she al l ows I
mi ght be capabl e of doi ng. mi ght be capabl e of doi ng.
MARY MARY
You go out . . . wi t h f r i ends? You go out . . . wi t h f r i ends?
NORMAN NORMAN
Fr i ends? Who needs f r i ends. Fr i ends? Who needs f r i ends.
( Laughs, t hen wi t h ( Laughs, t hen wi t h
gal l ows humor ) gal l ows humor )
A boy' s best f r i end i s hi s mot her . A boy' s best f r i end i s hi s mot her .
( St ops l aughi ng) ( St ops l aughi ng)
You' ve never had an empt y moment i n You' ve never had an empt y moment i n
your whol e l i f e. Have you? your whol e l i f e. Have you?
MARY MARY
Onl y my shar e. Onl y my shar e.
NORMAN NORMAN
Wher e ar e you goi ng? I don' t mean Wher e ar e you goi ng? I don' t mean
t o pr y . . . t o pr y . . .
MARY MARY
( A wi st f ul smi l e) ( A wi st f ul smi l e)
I ' ml ooki ng f or a pr i vat e i sl and. I ' ml ooki ng f or a pr i vat e i sl and.
NORMAN NORMAN
What ar e you r unni ng away f r om? What ar e you r unni ng away f r om?
MARY MARY
( Al er t ) ( Al er t )
Why do you ask t hat ? Why do you ask t hat ?
NORMAN NORMAN
No. Peopl e never r un away f r om No. Peopl e never r un away f r om
anyt hi ng. anyt hi ng.
( A pause) ( A pause)
The r ai n di dn' t l ast ver y l ong. The r ai n di dn' t l ast ver y l ong.
( Tur ni ng suddenl y) ( Tur ni ng suddenl y)
You know what I t hi nk? I t hi nk You know what I t hi nk? I t hi nk
we' r e al l i n our pr i vat e t r aps, we' r e al l i n our pr i vat e t r aps,
cl amped i n t hem, and none of us can cl amped i n t hem, and none of us can
ever cl i mb out . We scr at ch and ever cl i mb out . We scr at ch and
cl aw . . . but onl y at t he ai r , onl y cl aw . . . but onl y at t he ai r , onl y
at each ot her , and f or al l of i t , at each ot her , and f or al l of i t ,
we never budge an i nch. we never budge an i nch.
MARY MARY
Somet i mes we del i ber at el y st ep i nt o Somet i mes we del i ber at el y st ep i nt o
t hose t r aps. t hose t r aps.
NORMAN NORMAN
I was bor n i n mi ne. I don' t mi nd I was bor n i n mi ne. I don' t mi nd
i t anymor e. i t anymor e.
MARY MARY
You shoul d . . . Mi nd i t . You shoul d . . . Mi nd i t .
NORMAN NORMAN
Oh I do . . . but I say I don' t . Oh I do . . . but I say I don' t .
( Laughs boyi shl y) ( Laughs boyi shl y)
MARY MARY
( St ar i ng at hi m, ( St ar i ng at hi m,
shaki ng her head shaki ng her head
sof t l y. ) sof t l y. )
I f anyone ever spoke t o me, t he way I f anyone ever spoke t o me, t he way
I hear d . . . The way she spoke t o I hear d . . . The way she spoke t o
you, I don' t t hi nk I coul d ever you, I don' t t hi nk I coul d ever
l augh agai n. l augh agai n.
NORMAN NORMAN
( Cont r ol l ed r esent ment ) ( Cont r ol l ed r esent ment )
Somet i mes when she t al ks t hat way Somet i mes when she t al ks t hat way
t o me I ' d l i ke t o . . . cur se her out t o me I ' d l i ke t o . . . cur se her out
and l eave her f or ever ! and l eave her f or ever !
( A r uef ul smi l e) ( A r uef ul smi l e)
Or at l east , def y her . Or at l east , def y her .
( A pause, a hopel ess ( A pause, a hopel ess
shr ug) shr ug)
But I coul dn' t . She' s i l l . But I coul dn' t . She' s i l l .
MARY MARY
She sounded st r ong . . . She sounded st r ong . . .
NORMAN NORMAN
I mean . . . i l l . I mean . . . i l l .
She had t o r ai se me al l by her sel f She had t o r ai se me al l by her sel f
af t er my dad di ed . . . I was onl y af t er my dad di ed . . . I was onl y
f i ve . . . and i t must have been a f i ve . . . and i t must have been a
st r ai n. Oh, she di dn' t have t o go st r ai n. Oh, she di dn' t have t o go
out t o wor k or anyt hi ng, Dad l ef t out t o wor k or anyt hi ng, Dad l ef t
us wi t h a l i t t l e somet hi ng . . . us wi t h a l i t t l e somet hi ng . . .
anyway, a f ew year s ago . . . Mot her anyway, a f ew year s ago . . . Mot her
met a man. He t al ked her i nt o met a man. He t al ked her i nt o
bui l di ng t hi s mot el . . . We coul d bui l di ng t hi s mot el . . . We coul d
have t al ked her i nt o anyt hi ng . . . have t al ked her i nt o anyt hi ng . . .
and when. Wel l . . . I t was j ust t oo and when. Wel l . . . I t was j ust t oo
much f or her when he di ed, t oo . . . much f or her when he di ed, t oo . . .
And t he way he di ed . . . Oh, i t ' s And t he way he di ed . . . Oh, i t ' s
not hi ng t o t al k about when you' r e not hi ng t o t al k about when you' r e
eat i ng. eat i ng.
( Pauses, smi l es) ( Pauses, smi l es)
Anyway, i t was t oo much of a l oss Anyway, i t was t oo much of a l oss
f or my mot her . . . she had not hi ng f or my mot her . . . she had not hi ng
l ef t . l ef t .
MARY MARY
( Cr i t i cal l y) ( Cr i t i cal l y)
Except you. Except you.
NORMAN NORMAN
A son i s a poor subst i t ut e f or a A son i s a poor subst i t ut e f or a
l over . l over .
( Tur ns away as i f i n ( Tur ns away as i f i n
di st ast e of t he wor d) di st ast e of t he wor d)
MARY MARY
Why don' t you go away? Why don' t you go away?
NORMAN NORMAN
To a pr i vat e i sl and, l i ke you? To a pr i vat e i sl and, l i ke you?
MARY MARY
No, not l i ke me. No, not l i ke me.
NORMAN NORMAN
I t ' s t oo l at e f or me. And besi des I t ' s t oo l at e f or me. And besi des
. . . who' d l ook af t er her ? She' d be . . . who' d l ook af t er her ? She' d be
al one up t her e, t he f i r e woul d go al one up t her e, t he f i r e woul d go
out . . . damp and col d, l i ke a out . . . damp and col d, l i ke a
gr ave. When you l ove someone, you gr ave. When you l ove someone, you
don' t do t hat t o t hem, even i f you don' t do t hat t o t hem, even i f you
hat e t hem. Oh, I don' t hat e her . hat e t hem. Oh, I don' t hat e her .
( mor e) ( mor e)
NORMAN ( cont ' d) NORMAN ( cont ' d)
I hat e . . . what she' s become. I I hat e . . . what she' s become. I
hat e . . . t he i l l ness. hat e . . . t he i l l ness.
MARY MARY
( Sl owl y, car ef ul l y) ( Sl owl y, car ef ul l y)
Woul dn' t i t be bet t er i f you put Woul dn' t i t be bet t er i f you put
her i n . . . somepl ace . . . her i n . . . somepl ace . . .
She hesi t at es. Nor man t ur ns, sl owl y, l ooki ng at her She hesi t at es. Nor man t ur ns, sl owl y, l ooki ng at her
wi t h a st r i ki ng col dness. wi t h a st r i ki ng col dness.
NORMAN NORMAN
An I nst i t ut i on? A madhouse? An I nst i t ut i on? A madhouse?
Peopl e al ways cal l a madhouse Peopl e al ways cal l a madhouse
" somepl ace. " " somepl ace. "
( Mi mi ci ng col dl y) ( Mi mi ci ng col dl y)
Put her i n Somepl ace! Put her i n Somepl ace!
MARY MARY
I ' msor r y . . . I di dn' t mean i t t o I ' msor r y . . . I di dn' t mean i t t o
sound uncar i ng . . . sound uncar i ng . . .
NORMAN NORMAN
( The col dness t ur ni ng ( The col dness t ur ni ng
t o t i ght f ur y) t o t i ght f ur y)
What do you mean about car i ng? What do you mean about car i ng?
Have you ever seen one of t hose Have you ever seen one of t hose
pl aces? I nsi de? Laughi ng and pl aces? I nsi de? Laughi ng and
t ear s and cr uel eyes st udyi ng you t ear s and cr uel eyes st udyi ng you
. . . and my mot her t her e? Why? has . . . and my mot her t her e? Why? has
she har med you? She' s as har ml ess she har med you? She' s as har ml ess
as . . . one of t hese st uf f ed bi r ds. as . . . one of t hese st uf f ed bi r ds.
MARY MARY
I amsor r y. I onl y f el t . . . i t I amsor r y. I onl y f el t . . . i t
seemed she was har mi ng you. I seemed she was har mi ng you. I
meant . . . meant . . .
NORMAN NORMAN
( Hi gh f ur y now) ( Hi gh f ur y now)
Wel l ? You meant wel l ? Peopl e Wel l ? You meant wel l ? Peopl e
al ways mean wel l , t hey cl uck t hei r al ways mean wel l , t hey cl uck t hei r
t hi ck t ongues and shake t hei r heads t hi ck t ongues and shake t hei r heads
and suggest so ver y del i cat el y and suggest so ver y del i cat el y
t hat . . . t hat . . .
The f ur y suddenl y di es, abr upt l y and compl et el y, and he The f ur y suddenl y di es, abr upt l y and compl et el y, and he
si nks back i nt o hi s chai r . Ther e i s a br i ef si l ence. si nks back i nt o hi s chai r . Ther e i s a br i ef si l ence.
Mar y wat ches t he t r oubl ed man, i s al most physi cal l y Mar y wat ches t he t r oubl ed man, i s al most physi cal l y
pai ned by hi s angui sh. pai ned by hi s angui sh.
NORMAN NORMAN
( Qui et l y) ( Qui et l y)
I ' ve suggest ed i t mysel f . But I I ' ve suggest ed i t mysel f . But I
hat e t o even t hi nk such a t hi ng. hat e t o even t hi nk such a t hi ng.
She needs me . . . and i t i sn' t . . . She needs me . . . and i t i sn' t . . .
( Looks up wi t h a ( Looks up wi t h a
chi l dl i ke pl eadi ng i n chi l dl i ke pl eadi ng i n
hi s eyes) hi s eyes)
. . . i t i sn' t as i f she wer e a . . . i t i sn' t as i f she wer e a
mani ac, a r avi ng t hi ng . . . i t ' s mani ac, a r avi ng t hi ng . . . i t ' s
j ust t hat . . . somet i mes she goes a j ust t hat . . . somet i mes she goes a
l i t t l e mad. We al l go a l i t t l e mad l i t t l e mad. We al l go a l i t t l e mad
somet i mes. Haven' t you? somet i mes. Haven' t you?
MARY MARY
( Af t er a l ong ( Af t er a l ong
t hought f ul pause) t hought f ul pause)
Yes, and j ust one t i me can be Yes, and j ust one t i me can be
enough. enough.
( Ri ses) ( Ri ses)
Thank you. Thank you.
NORMAN NORMAN
( Cheer f ul l y, ( Cheer f ul l y,
cor r ect i ng) cor r ect i ng)
Thank you, Nor man. Thank you, Nor man.
MARY MARY
Nor man. Nor man.
NORMAN NORMAN
You' r e not goi ng t o . . . t o your You' r e not goi ng t o . . . t o your
r oomal r eady? r oomal r eady?
MARY MARY
I ' mver y t i r ed. And I ' l l have a I ' mver y t i r ed. And I ' l l have a
l ong dr i ve t omor r ow. Al l t he way l ong dr i ve t omor r ow. Al l t he way
back t o Phoeni x. back t o Phoeni x.
NORMAN NORMAN
Phoeni x? Phoeni x?
MARY MARY
I st epped i nt o a pr i vat e t r ap back I st epped i nt o a pr i vat e t r ap back
t her e - - and I want t o go back and t her e - - and I want t o go back and
. . . t r y t o pul l mysel f out . . . . t r y t o pul l mysel f out .
( Looki ng cl ose at ( Looki ng cl ose at
Nor man) Nor man)
Bef or e i t ' s t oo l at e f or me, t oo. Bef or e i t ' s t oo l at e f or me, t oo.
NORMAN NORMAN
( Looki ng at her ) ( Looki ng at her )
Why don' t you st ay a l i t t l e whi l e, Why don' t you st ay a l i t t l e whi l e,
j ust f or t al ki ng. j ust f or t al ki ng.
MARY MARY
I ' d l i ke t o, but . . . I ' d l i ke t o, but . . .
NORMAN NORMAN
Al r i ght . I ' l l see you i n t he Al r i ght . I ' l l see you i n t he
mor ni ng. I ' l l br i ng you br eakf ast . mor ni ng. I ' l l br i ng you br eakf ast .
What t i me wi l l you . . . . What t i me wi l l you . . . .
MARY MARY
Ver y ear l y. Dawn. Ver y ear l y. Dawn.
NORMAN NORMAN
Al r i ght , Mi ss. . . Al r i ght , Mi ss. . .
( He has f or got t en her ( He has f or got t en her
name) name)
MARY MARY
Cr ane. Cr ane.
NORMAN NORMAN
That ' s i t . That ' s i t .
( He f r owns, as i f ( He f r owns, as i f
bot her ed by not bei ng bot her ed by not bei ng
abl e t o mat ch t he abl e t o mat ch t he
name t o t he memor y of name t o t he memor y of
t he name i n t he t he name i n t he
r egi st r at i on book) r egi st r at i on book)
MARY MARY
Good ni ght . Good ni ght .
She goes out of t he par l or . We see her , f r omNor man' s She goes out of t he par l or . We see her , f r omNor man' s
vi ewpoi nt , as she cr osses t he smal l of f i ce, goes out vi ewpoi nt , as she cr osses t he smal l of f i ce, goes out
i nt o t he ni ght . Nor man t ur ns and l ooks at t he t abl e, i nt o t he ni ght . Nor man t ur ns and l ooks at t he t abl e,
and we see hi s f ace now. I t i s br i ght wi t h t hat dr unken- and we see hi s f ace now. I t i s br i ght wi t h t hat dr unken-
l i ke l ook of det er mi nat i on and encour agement and l i ke l ook of det er mi nat i on and encour agement and
r esol ve. He st ar t s t o cl ean up t he t abl e, pauses as he r esol ve. He st ar t s t o cl ean up t he t abl e, pauses as he
hear s t he cl osi ng of Mar y' s door i n t he cabi n next door . hear s t he cl osi ng of Mar y' s door i n t he cabi n next door .
He hol ds st i l l , l i st ens. He goes i nt o t he of f i ce and He hol ds st i l l , l i st ens. He goes i nt o t he of f i ce and
l ooks at t he book. l ooks at t he book.
C. U. - THE NAME " SAMUELS" C. U. - THE NAME " SAMUELS"
M. S. - NORMAN M. S. - NORMAN
He goes back i nt o t he par l or wi t h a myst i f i ed He goes back i nt o t he par l or wi t h a myst i f i ed
expr essi on. The sound of Mar y movi ng about her r oom expr essi on. The sound of Mar y movi ng about her r oom
come over , sof t SOUNDS, somehow i nt i mat e i n t he ni ght come over , sof t SOUNDS, somehow i nt i mat e i n t he ni ght
qui et . Nor man t ur ns hi s ear f r omt he di r ect i on of t he qui et . Nor man t ur ns hi s ear f r omt he di r ect i on of t he
SOUNDS, seems t o be f i ght i ng an i mpul se t o l i st en, or SOUNDS, seems t o be f i ght i ng an i mpul se t o l i st en, or
mor e t han l i st en. mor e t han l i st en.
But sl owl y, he i s f or ced t o sur r ender t o t he i mpul se But sl owl y, he i s f or ced t o sur r ender t o t he i mpul se
and, r esi st i ng hi msel f , he goes t o t he wal l , pr esses t he and, r esi st i ng hi msel f , he goes t o t he wal l , pr esses t he
si de of hi s head agai nst i t . The SOUNDS come l ouder , as si de of hi s head agai nst i t . The SOUNDS come l ouder , as
i f we t oo had our ear pr essed agai nst t he wal l . Now i f we t oo had our ear pr essed agai nst t he wal l . Now
Nor man l ooks at a pi ct ur e hangi ng on t he f ar end of t he Nor man l ooks at a pi ct ur e hangi ng on t he f ar end of t he
wal l he i s l eani ng agai nst . Sl owl y he st ar t s t owar d i t . wal l he i s l eani ng agai nst . Sl owl y he st ar t s t owar d i t .
He r eaches i t , t ouches i t , r el uct ant l y l i f t s t he smal l He r eaches i t , t ouches i t , r el uct ant l y l i f t s t he smal l
f r ame of f t he wal l . f r ame of f t he wal l .
A t i ny ci r cl e of l i ght hi t s Nor man' s f ace, comi ng f r om A t i ny ci r cl e of l i ght hi t s Nor man' s f ace, comi ng f r om
t he hol e i n t he wal l behi nd t he pi ct ur e. Thi s end of t he hol e i n t he wal l behi nd t he pi ct ur e. Thi s end of
t he r oomi s ver y di mand t hus we ar e abl e t o see cl ear l y t he r oomi s ver y di mand t hus we ar e abl e t o see cl ear l y
t he l i ght st r i ki ng Nor man' s f ace. t he l i ght st r i ki ng Nor man' s f ace.
We move cl ose t o Nor man, ext r emel y cl ose, unt i l hi s We move cl ose t o Nor man, ext r emel y cl ose, unt i l hi s
pr of i l e f i l l s t he scr een. The t i ny spot of l i ght hi t s pr of i l e f i l l s t he scr een. The t i ny spot of l i ght hi t s
hi s eye. See t he smal l hol e t hr ough whi ch t he l i ght hi s eye. See t he smal l hol e t hr ough whi ch t he l i ght
comes. Nor man peeps t hr ough. comes. Nor man peeps t hr ough.
NORMAN' S VI EWPOI NT NORMAN' S VI EWPOI NT
Thr ough t he hol e we l ook i nt o Mar y' s cabi n, see Mar y Thr ough t he hol e we l ook i nt o Mar y' s cabi n, see Mar y
undr essi ng. She i s i n her br a and hal f sl i p. She st oops undr essi ng. She i s i n her br a and hal f sl i p. She st oops
over a bi t , pl aces her hands behi nd her upper back, over a bi t , pl aces her hands behi nd her upper back,
begi ns t o unhook her br a. begi ns t o unhook her br a.
NORMAN - ECU NORMAN - ECU
He wat ches as Mar y r emoves her br a. We see hi s eye r un He wat ches as Mar y r emoves her br a. We see hi s eye r un
up and down t he unseen f i gur e of Mar y. up and down t he unseen f i gur e of Mar y.
NORMAN' S VI EWPOI NT NORMAN' S VI EWPOI NT
Mar y, j ust sl i ppi ng i nt o a r obe, cover i ng her compl et e Mar y, j ust sl i ppi ng i nt o a r obe, cover i ng her compl et e
nudi t y. nudi t y.
NORMAN NORMAN
He t ur ns f r omt he hol e, f aces us f or a moment , cont i nues He t ur ns f r omt he hol e, f aces us f or a moment , cont i nues
t ur ni ng unt i l he can l ook out t he smal l par l or wi ndow. t ur ni ng unt i l he can l ook out t he smal l par l or wi ndow.
We see, as he sees . . . We see, as he sees . . .
THE HOUSE I N THE BACKGROUND THE HOUSE I N THE BACKGROUND
NORMAN NORMAN
He t ur ns hi s f ace away, qui ckl y, r esent f ul l y. I n hi s He t ur ns hi s f ace away, qui ckl y, r esent f ul l y. I n hi s
f ace we see anger and angui sh. And t hen r esol ve. f ace we see anger and angui sh. And t hen r esol ve.
Qui ckl y, pr eci sel y, he r ehangs t he pi ct ur e over t he hol e Qui ckl y, pr eci sel y, he r ehangs t he pi ct ur e over t he hol e
i n t he wal l , t ur ns, st ar t s out of t he par l or . We see i n t he wal l , t ur ns, st ar t s out of t he par l or . We see
hi mgo t hr ough t he of f i ce and out ont o t he por ch, not hi mgo t hr ough t he of f i ce and out ont o t he por ch, not
even bot her i ng t o cl ose t he door behi nd hi m. even bot her i ng t o cl ose t he door behi nd hi m.
CUT TO: CUT TO:
EXT. THE MOTEL OFFI CE PORCH - ( NI GHT) EXT. THE MOTEL OFFI CE PORCH - ( NI GHT)
Nor man wal ki ng al ong t he por ch, i n t he di r ect i on of t he Nor man wal ki ng al ong t he por ch, i n t he di r ect i on of t he
bi g house. Once on t he pat h he pauses, l ooks up at t he bi g house. Once on t he pat h he pauses, l ooks up at t he
l i ght i n t he bedr oomwi ndow, t hen pul l s hi msel f up, l i ght i n t he bedr oomwi ndow, t hen pul l s hi msel f up,
squar es hi s shoul der s, st r i des manf ul l y up t he pat h. squar es hi s shoul der s, st r i des manf ul l y up t he pat h.
CAMERA f ol l ows behi nd hi m. He opens t he door of t he CAMERA f ol l ows behi nd hi m. He opens t he door of t he
house, ent er s. We see hi mpause at t he f oot of t he house, ent er s. We see hi mpause at t he f oot of t he
st ai r way, l ook up at t he bedr oomdoor j ust at t he head st ai r way, l ook up at t he bedr oomdoor j ust at t he head
of t he st ai r . He hol ds f or a moment , and t hen hi s of t he st ai r . He hol ds f or a moment , and t hen hi s
r esol ve and cour age evapor at es. Hi s shoul der s sl ump, r esol ve and cour age evapor at es. Hi s shoul der s sl ump,
sadl y, mour nf ul l y. He by- passes t he st ai r s and sl owl y sadl y, mour nf ul l y. He by- passes t he st ai r s and sl owl y
makes hi s way t o t he ki t chen. At t he f ar end of t he makes hi s way t o t he ki t chen. At t he f ar end of t he
hal l . He ent er s t he ki t chen, dr ops wear i l y i nt o a hal l . He ent er s t he ki t chen, dr ops wear i l y i nt o a
chai r . Af t er a moment , he st r et ches out a l eg and chai r . Af t er a moment , he st r et ches out a l eg and
gent l y pushes t he ki t chen door cl osed. gent l y pushes t he ki t chen door cl osed.
CUT TO: CUT TO:
I NT. MARY' S MOTEL ROOM - ( NI GHT) I NT. MARY' S MOTEL ROOM - ( NI GHT)
Mar y i s seat ed at t he smal l desk, engr ossed i n f i gur i ng Mar y i s seat ed at t he smal l desk, engr ossed i n f i gur i ng
i n a smal l not ebook. We see f r omt hese f i gur es a i n a smal l not ebook. We see f r omt hese f i gur es a
cal cul at i on whi ch i ndi cat es her i nt ent i on t o make a cal cul at i on whi ch i ndi cat es her i nt ent i on t o make a
r est i t ut i on of t he money she has used of t he f or t y r est i t ut i on of t he money she has used of t he f or t y
t housand dol l ar s. We see, t oo, her bankbook. The paper t housand dol l ar s. We see, t oo, her bankbook. The paper
r eads t hus: t op f i gur e, 40, 000; di r ect l y beneat h i t 500, r eads t hus: t op f i gur e, 40, 000; di r ect l y beneat h i t 500,
t he amount used f or t he new car ; t ot al af t er t he amount used f or t he new car ; t ot al af t er
subt r act i on, 39, 500. I n anot her spot we see a f i gur e subt r act i on, 39, 500. I n anot her spot we see a f i gur e
whi ch mat ches t he bal ance i n her bankbook; 624. 00. whi ch mat ches t he bal ance i n her bankbook; 624. 00.
Beneat h t hi s i s t he f i gur e 500, and t he amount af t er Beneat h t hi s i s t he f i gur e 500, and t he amount af t er
subt r act i on, 124. 00. She st udi es t he f i gur es, si ghs, subt r act i on, 124. 00. She st udi es t he f i gur es, si ghs,
not wear i l y but wi t h a cer t ai n sat i sf act i on, wi t h t he not wear i l y but wi t h a cer t ai n sat i sf act i on, wi t h t he
pl easur e t hat comes when one knows t hat at any cost one pl easur e t hat comes when one knows t hat at any cost one
i s goi ng t o cont i nue doi ng t he r i ght t hi ng. Af t er a i s goi ng t o cont i nue doi ng t he r i ght t hi ng. Af t er a
moment she t ear s t he page out of t he not ebook and, moment she t ear s t he page out of t he not ebook and,
r i si ng, begi ns t o r i p i t i nt o smal l pi eces. She goes r i si ng, begi ns t o r i p i t i nt o smal l pi eces. She goes
i nt o t he bat hr oom, dr ops t he pi eces i nt o t he t oi l et i nt o t he bat hr oom, dr ops t he pi eces i nt o t he t oi l et
bowl , f l ushes t he t oi l et . Then she dr ops her r obe and bowl , f l ushes t he t oi l et . Then she dr ops her r obe and
st eps i nt o t he t ub and t ur ns t he shower on. st eps i nt o t he t ub and t ur ns t he shower on.
I NT. MARY I N SHOWER I NT. MARY I N SHOWER
Over t he bar on whi ch hangs t he shower cur t ai n, we can Over t he bar on whi ch hangs t he shower cur t ai n, we can
see t he bat hr oomdoor , not ent i r el y cl osed. For a see t he bat hr oomdoor , not ent i r el y cl osed. For a
moment we wat ch Mar y as she washes and soaps her sel f . moment we wat ch Mar y as she washes and soaps her sel f .
Ther e i s st i l l a smal l wor r y i n her eyes, but gener al l y Ther e i s st i l l a smal l wor r y i n her eyes, but gener al l y
she l ooks somewhat r el i eved. she l ooks somewhat r el i eved.
Now we see t he bat hr oomdoor bei ng pushed sl owl y open. Now we see t he bat hr oomdoor bei ng pushed sl owl y open.
The noi se of t he shower dr owns out any sound. The door The noi se of t he shower dr owns out any sound. The door
i s t hen sl owl y and car ef ul l y cl osed. i s t hen sl owl y and car ef ul l y cl osed.
And we see t he shadow of a woman f al l acr oss t he shower And we see t he shadow of a woman f al l acr oss t he shower
cur t ai n. Mar y' s back i s t ur ned t o t he cur t ai n. The cur t ai n. Mar y' s back i s t ur ned t o t he cur t ai n. The
whi t e br i ght ness of t he bat hr oomi s al most bl i ndi ng. whi t e br i ght ness of t he bat hr oomi s al most bl i ndi ng.
Suddenl y we see t he hand r each up, gr asp t he shower Suddenl y we see t he hand r each up, gr asp t he shower
cur t ai n, r i p i t asi de. cur t ai n, r i p i t asi de.
CUT TO: CUT TO:
MARY - ECU MARY - ECU
As she t ur ns i n r esponse t o t he f eel and SOUND of t he As she t ur ns i n r esponse t o t he f eel and SOUND of t he
shower cur t ai n bei ng t or n asi de. A l ook of pur e hor r or shower cur t ai n bei ng t or n asi de. A l ook of pur e hor r or
er upt s i n her f ace. A l ow t er r i bl e gr oan begi ns t o r i se er upt s i n her f ace. A l ow t er r i bl e gr oan begi ns t o r i se
up out of her t hr oat . A hand comes i nt o t he shot . up out of her t hr oat . A hand comes i nt o t he shot .
I NT. MARY I N SHOWER I NT. MARY I N SHOWER
Over t he bar on whi ch hangs t he shower cur t ai n, we can Over t he bar on whi ch hangs t he shower cur t ai n, we can
see t he bat hr oomdoor , not ent i r el y cl osed. For a see t he bat hr oomdoor , not ent i r el y cl osed. For a
moment we wat ch Mar y as she washes and soaps her sel f . moment we wat ch Mar y as she washes and soaps her sel f .
Ther e i s st i l l a smal l wor r y i n her eyes, but gener al l y Ther e i s st i l l a smal l wor r y i n her eyes, but gener al l y
she l ooks somewhat r el i eved. she l ooks somewhat r el i eved.
Now we see t he bat hr oomdoor bei ng pushed sl owl y open. Now we see t he bat hr oomdoor bei ng pushed sl owl y open.
The noi se of t he shower dr owns out any sound. The door The noi se of t he shower dr owns out any sound. The door
i s t hen sl owl y and car ef ul l y cl osed. And we see t he i s t hen sl owl y and car ef ul l y cl osed. And we see t he
shadow of a woman f al l acr oss t he shower cur t ai n. shadow of a woman f al l acr oss t he shower cur t ai n.
Mar y' s back i s t ur ned t o t he cur t ai n. The whi t e Mar y' s back i s t ur ned t o t he cur t ai n. The whi t e
br i ght ness of t he bat hr oomi s al most bl i ndi ng. Suddenl y br i ght ness of t he bat hr oomi s al most bl i ndi ng. Suddenl y
we see t he hand r each up, gr asp t he shower cur t ai n, r i p we see t he hand r each up, gr asp t he shower cur t ai n, r i p
i t asi de. i t asi de.
CI T TO: CI T TO:
MARY - ECU MARY - ECU
As she t ur ns i n r esponse t o t he f eel and SOUND of t he As she t ur ns i n r esponse t o t he f eel and SOUND of t he
shower cur t ai n bei ng t or n asi de. A l ook of pur e hor r or shower cur t ai n bei ng t or n asi de. A l ook of pur e hor r or
er upt s i n her f ace. A l ow t er r i bl e gr oan begi ns t o r i se er upt s i n her f ace. A l ow t er r i bl e gr oan begi ns t o r i se
up out of her t hr oat . A hand comes i nt o t he shot . The up out of her t hr oat . A hand comes i nt o t he shot . The
hand hol ds an enor mous br ead kni f e. The f l i nt of t he hand hol ds an enor mous br ead kni f e. The f l i nt of t he
bl ade shat t er s t he scr een t o an al most t ot al , si l ver bl ade shat t er s t he scr een t o an al most t ot al , si l ver
bl ankness. bl ankness.
THE SLASHI NG THE SLASHI NG
An i mpr essi on of a kni f e sl ashi ng, as i f t ear i ng at t he An i mpr essi on of a kni f e sl ashi ng, as i f t ear i ng at t he
ver y scr een, r i ppi ng t he f i l m. Over i t t he br i ef gul ps ver y scr een, r i ppi ng t he f i l m. Over i t t he br i ef gul ps
of scr eami ng. And t hen si l ence. And t hen t he dr eadf ul of scr eami ng. And t hen si l ence. And t hen t he dr eadf ul
t hump as Mar y' s body f al l s i n t he t ub. t hump as Mar y' s body f al l s i n t he t ub.
REVERSE ANGLE REVERSE ANGLE
The bl ank whi t eness, t he bl ur of t he shower wat er , t he The bl ank whi t eness, t he bl ur of t he shower wat er , t he
hand pul l i ng t he shower cur t ai n back. We cat ch one hand pul l i ng t he shower cur t ai n back. We cat ch one
f l i cker of a gl i mpse of t he mur der er . A woman, her f ace f l i cker of a gl i mpse of t he mur der er . A woman, her f ace
cont or t ed wi t h madness, her head wi l d wi t h hai r , as i f cont or t ed wi t h madness, her head wi l d wi t h hai r , as i f
she wer e wear i ng a f r i ght - wi g. And t hen we see onl y t he she wer e wear i ng a f r i ght - wi g. And t hen we see onl y t he
cur t ai n, cl osed acr oss t he t ub, and hear t he r ush of t he cur t ai n, cl osed acr oss t he t ub, and hear t he r ush of t he
shower wat er . Above t he shower - bar we see t he bat hr oom shower wat er . Above t he shower - bar we see t he bat hr oom
door open agai n and af t er a moment we HEAR t he SOUND of door open agai n and af t er a moment we HEAR t he SOUND of
t he f r ont door sl ammi ng. t he f r ont door sl ammi ng.
CUT TO: CUT TO:
THE DEAD BODY THE DEAD BODY
Lyi ng hal f i n, hal f out of t he t ub, t he head t umbl ed Lyi ng hal f i n, hal f out of t he t ub, t he head t umbl ed
over , t ouchi ng t he f l oor , t he hai r wet , one eye wi de over , t ouchi ng t he f l oor , t he hai r wet , one eye wi de
open as i f popped, one ar ml yi ng l i mp and wet al ong t he open as i f popped, one ar ml yi ng l i mp and wet al ong t he
t i l e f l oor . Comi ng down t he si de of t he t ub, r unni ng t i l e f l oor . Comi ng down t he si de of t he t ub, r unni ng
t hi ck and dar k al ong t he por cel ai n, we see many smal l t hi ck and dar k al ong t he por cel ai n, we see many smal l
t hr eads of bl ood. CAMERA FOLLOWS away f r omt he body, t hr eads of bl ood. CAMERA FOLLOWS away f r omt he body,
t r avel s sl owl y acr oss t he bat hr oom, past t he t oi l et , out t r avel s sl owl y acr oss t he bat hr oom, past t he t oi l et , out
i nt o t he bedr oom. As CAMERA appr oaches t he bed, we see i nt o t he bedr oom. As CAMERA appr oaches t he bed, we see
t he f ol ded newspaper as Mar y pl aced i t on t he bedsi de t he f ol ded newspaper as Mar y pl aced i t on t he bedsi de
t abl e. t abl e.
CLOSE UP - THE NEWSPAPER CLOSE UP - THE NEWSPAPER
besi de t he bed. The CAMERA now moves away over t o t he besi de t he bed. The CAMERA now moves away over t o t he
wi ndow and l ooks up t o t he house, and as i t get s t her e wi ndow and l ooks up t o t he house, and as i t get s t her e
we HEAR, comi ng f r omwi t hi n t he house, t he SOUND of we HEAR, comi ng f r omwi t hi n t he house, t he SOUND of
Nor man' s f ear f ul , shocked voi ce. Nor man' s f ear f ul , shocked voi ce.
Mot her ! Oh God, what . . . bl ood, Mot her ! Oh God, what . . . bl ood,
bl ood . . . mot her . . . ! bl ood . . . mot her . . . !
We cannot ent i r el y di st i ngui sh t hese excl amat i ons. We cannot ent i r el y di st i ngui sh t hese excl amat i ons.
Af t er a moment or t wo of si l ence, Nor man emer ges f r om Af t er a moment or t wo of si l ence, Nor man emer ges f r om
t he f r ont door , dashes down t he pat h t owar d t he mot el . t he f r ont door , dashes down t he pat h t owar d t he mot el .
QUI CK CUT TO: QUI CK CUT TO:
EXT. THE PATH - ( NI GHT) EXT. THE PATH - ( NI GHT)
Nor man i s comi ng AT CAMERA, r unni ng head- on. He dashes Nor man i s comi ng AT CAMERA, r unni ng head- on. He dashes
i nt o an ext r eme cl ose up and we see t he t er r or and f ear i nt o an ext r eme cl ose up and we see t he t er r or and f ear
r i pe i n hi s f ace. CAMERA PANS as Nor man r aces past , r i pe i n hi s f ace. CAMERA PANS as Nor man r aces past ,
hol ds as Nor man r uns t o t he por ch and qui ckl y al ong i t hol ds as Nor man r uns t o t he por ch and qui ckl y al ong i t
and di r ect l y t o Mar y' s r oom. and di r ect l y t o Mar y' s r oom.
I NT. MARY' S CABI N - ( NI GHT) I NT. MARY' S CABI N - ( NI GHT)
Nor man pauses a moment i n t he door way, gl ances about t he Nor man pauses a moment i n t he door way, gl ances about t he
r oom, hear s t he shower goi ng, sees t he bat hr oomdoor i s r oom, hear s t he shower goi ng, sees t he bat hr oomdoor i s
open. He goes t o t he bat hr oom, l ooks i n, sees t he body. open. He goes t o t he bat hr oom, l ooks i n, sees t he body.
Sl owl y, al most car ef ul l y, he r ai ses hi s hands t o hi s Sl owl y, al most car ef ul l y, he r ai ses hi s hands t o hi s
f ace, cover s hi s eyes, t ur ns hi s f ace away. Then he f ace, cover s hi s eyes, t ur ns hi s f ace away. Then he
cr osses t o t he wi ndow, l ooks out at t he house. Shot i s cr osses t o t he wi ndow, l ooks out at t he house. Shot i s
so angl ed t hat we see t he bedsi de t abl e wi t h t he so angl ed t hat we see t he bedsi de t abl e wi t h t he
newspaper on i t . newspaper on i t .
Af t er a moment , Nor man moves f r omt he wi ndow, si nks ont o Af t er a moment , Nor man moves f r omt he wi ndow, si nks ont o
t he edge of t he bed. t he edge of t he bed.
FRESH ANGLE - BEHI ND NORMAN FRESH ANGLE - BEHI ND NORMAN
Nor man si t t i ng on bed, t he bat hr oomi n b. g. of shot . We Nor man si t t i ng on bed, t he bat hr oomi n b. g. of shot . We
can see onl y t he hand of t he dead gi r l , l yi ng al ong t he can see onl y t he hand of t he dead gi r l , l yi ng al ong t he
t i l e f l oor . Nor man pr esses hi s eyes, f i ght s t o f i nd a t i l e f l oor . Nor man pr esses hi s eyes, f i ght s t o f i nd a
way out of hi s di l emma. Sl owl y, a ki nd of set t l i ng way out of hi s di l emma. Sl owl y, a ki nd of set t l i ng
comes upon hi m, t he peace t hat comes wi t h deci si on. comes upon hi m, t he peace t hat comes wi t h deci si on.
Nor man r i ses, goes t o t he wi ndow, l ooks out , and t hen, Nor man r i ses, goes t o t he wi ndow, l ooks out , and t hen,
wi t h r esol ut i on, cl oses t he wi ndow and dr aws t he cur t ai n wi t h r esol ut i on, cl oses t he wi ndow and dr aws t he cur t ai n
acr oss i t . Then he cr osses t o t he f r ont wi ndow, f aci ng acr oss i t . Then he cr osses t o t he f r ont wi ndow, f aci ng
t he por ch, and dr aws t hose cur t ai ns cl osed. Then he t he por ch, and dr aws t hose cur t ai ns cl osed. Then he
swi t ches of f t he bedr ooml i ght , l eavi ng t he r ooml i t swi t ches of f t he bedr ooml i ght , l eavi ng t he r ooml i t
onl y by t he spi l l f r omt he bat hr oom. He opens t he f r ont onl y by t he spi l l f r omt he bat hr oom. He opens t he f r ont
door , goes out . door , goes out .
EXT. THE HOTEL PORCH - ( NI GHT) EXT. THE HOTEL PORCH - ( NI GHT)
Nor man comes out of Mar y' s cabi n, cl oses t he door Nor man comes out of Mar y' s cabi n, cl oses t he door
car ef ul l y behi nd hi m, goes al ong t he por ch t o hi s car ef ul l y behi nd hi m, goes al ong t he por ch t o hi s
of f i ce, goes i n. We st ay out si de. I mmedi at el y, t he of f i ce, goes i n. We st ay out si de. I mmedi at el y, t he
" Vacancy" si gn goes of f , and t hen t he mot el si gn goes " Vacancy" si gn goes of f , and t hen t he mot el si gn goes
of f . As CAMERA GOES cl oser t o t he of f i ce, t he l i ght s of f . As CAMERA GOES cl oser t o t he of f i ce, t he l i ght s
wi t hi n go of f and we HEAR a cl oset door openi ng and t hen wi t hi n go of f and we HEAR a cl oset door openi ng and t hen
t he SOUND of a pai l bei ng pi cked up. Nor man comes out t he SOUND of a pai l bei ng pi cked up. Nor man comes out
of of f i ce, cl oses door , l ooks caut i ousl y about , goes of of f i ce, cl oses door , l ooks caut i ousl y about , goes
al ong por ch, car r yi ng pai l wi t h mop i n i t , goes i nt o al ong por ch, car r yi ng pai l wi t h mop i n i t , goes i nt o
Mar y' s cabi n, cl osi ng t he door af t er hi m. Mar y' s cabi n, cl osi ng t he door af t er hi m.
I NT. MARY' S CABI N I NT. MARY' S CABI N
Wi t h t he paper i n t he f or egr ound, Nor man ent er s. We can Wi t h t he paper i n t he f or egr ound, Nor man ent er s. We can
see hi mi n t he di mspi l l of l i ght . He pauses by t he see hi mi n t he di mspi l l of l i ght . He pauses by t he
door , t hen gat her s hi s st r engt h and goes i nt o t he door , t hen gat her s hi s st r engt h and goes i nt o t he
bat hr oom. We HEAR hi mset t he pai l on t he t i l ed f l oor , bat hr oom. We HEAR hi mset t he pai l on t he t i l ed f l oor ,
and t hen we HEAR t he shower bei ng t ur ned of f . And t her e and t hen we HEAR t he shower bei ng t ur ned of f . And t her e
i s t ot al si l ence. CAMERA MOVES FORWARD so t hat we can i s t ot al si l ence. CAMERA MOVES FORWARD so t hat we can
see i nt o bat hr oom. see i nt o bat hr oom.
CAMERA i s ANGLED t hat we see Nor man onl y f r omt he wai st CAMERA i s ANGLED t hat we see Nor man onl y f r omt he wai st
up. Qui ckl y and def t l y he unhooks t he shower cur t ai n, up. Qui ckl y and def t l y he unhooks t he shower cur t ai n,
emer ges wi t h i t i nt o t he bedr oom. CAMERA PANS down and emer ges wi t h i t i nt o t he bedr oom. CAMERA PANS down and
we see hi mspr ead t he shower cur t ai n on t he bedr oom we see hi mspr ead t he shower cur t ai n on t he bedr oom
f l oor , j ust out si de t he bat hr oomdoor . He spr eads t he f l oor , j ust out si de t he bat hr oomdoor . He spr eads t he
cur t ai n so t hat one end of i t comes up agai nst t he cur t ai n so t hat one end of i t comes up agai nst t he
bat hr oomt hr eshol d and sl i ght l y over and ont o t he t i l e bat hr oomt hr eshol d and sl i ght l y over and ont o t he t i l e
f l oor . Agai n he goes i nt o t he bat hr oomand CAMERA TI LTS f l oor . Agai n he goes i nt o t he bat hr oomand CAMERA TI LTS
up so t hat we see onl y t he upper hal f of Nor man. He up so t hat we see onl y t he upper hal f of Nor man. He
wor ks car ef ul l y, wi t h hi s ar ms ext ended away f r omhi s wor ks car ef ul l y, wi t h hi s ar ms ext ended away f r omhi s
body, sl owl y pul l s t he dead body out of t he t ub, dr ags body, sl owl y pul l s t he dead body out of t he t ub, dr ags
i t acr oss t he t i l e f l oor and ont o t he spr ead- out shower i t acr oss t he t i l e f l oor and ont o t he spr ead- out shower
cur t ai n i n t he bedr oom. Havi ng ar r anged t he body, he cur t ai n i n t he bedr oom. Havi ng ar r anged t he body, he
st r ai ght ens up, exami nes hi s hands, sees bl oodst ai ns on st r ai ght ens up, exami nes hi s hands, sees bl oodst ai ns on
t hem. He r et ur ns t o t he bat hr oom, goes t o t he hand- t hem. He r et ur ns t o t he bat hr oom, goes t o t he hand-
basi n. basi n.
CLOSE SHOT CLOSE SHOT
We see hi s hands bei ng washed, see t he bl oodst ai ns bei ng We see hi s hands bei ng washed, see t he bl oodst ai ns bei ng
di l ut ed and washed away by t he gush of t he f aucet wat er . di l ut ed and washed away by t he gush of t he f aucet wat er .
NORMAN NORMAN
We see Nor man shake hi s hands f r ee of t he wat er , t hen We see Nor man shake hi s hands f r ee of t he wat er , t hen
t ur n t o t he j ob of cl eani ng t he bat hr oom. t ur n t o t he j ob of cl eani ng t he bat hr oom.
He pl aces t he pai l i n t he t ub, r uns wat er i nt o i t , di ps He pl aces t he pai l i n t he t ub, r uns wat er i nt o i t , di ps
t he mop i n, swabs t he t i l e f l oor . Wi t h a t owel he wi pes t he mop i n, swabs t he t i l e f l oor . Wi t h a t owel he wi pes
of f t he wal l over t he t ub and t he edges and si des of t he of f t he wal l over t he t ub and t he edges and si des of t he
t ub and even t he shower cur t ai n r od. Then he t akes a t ub and even t he shower cur t ai n r od. Then he t akes a
second t owel and goes over t he cl eaned ar eas, car ef ul l y second t owel and goes over t he cl eaned ar eas, car ef ul l y
dr yi ng t hem. Fi nal l y he r i nses and squeezes out t he dr yi ng t hem. Fi nal l y he r i nses and squeezes out t he
mop, empt i es t he pai l , cl eans out t he t ub, and goes out mop, empt i es t he pai l , cl eans out t he t ub, and goes out
i nt o t he bedr oom. i nt o t he bedr oom.
I NT. MARY' S BEDROOM I NT. MARY' S BEDROOM
Nor man st eps car ef ul l y ar ound t he unseen body, cr osses Nor man st eps car ef ul l y ar ound t he unseen body, cr osses
t o t he desk, st ar t s goi ng t hr ough Mar y' s handbag, i n t o t he desk, st ar t s goi ng t hr ough Mar y' s handbag, i n
sear ch of her car keys. He suddenl y not i ces t heml yi ng sear ch of her car keys. He suddenl y not i ces t heml yi ng
on t he desk, wher e he' d t hr own t hemaf t er par ki ng her on t he desk, wher e he' d t hr own t hemaf t er par ki ng her
car . He pi cks up t he keys, cr osses t he r oom, goes out . car . He pi cks up t he keys, cr osses t he r oom, goes out .
EXT. THE PORCH EXT. THE PORCH
We see Nor man pauses at t he door , check caut i ousl y, t hen We see Nor man pauses at t he door , check caut i ousl y, t hen
hur r y acr oss t he por ch and i nt o Mar y' s car . He ci r cl e- hur r y acr oss t he por ch and i nt o Mar y' s car . He ci r cl e-
t ur ns t he car , so t hat i t s t r unk i s backed up t o t he t ur ns t he car , so t hat i t s t r unk i s backed up t o t he
por ch, di r ect l y opposi t e Mar y' s door , as cl ose as i t can por ch, di r ect l y opposi t e Mar y' s door , as cl ose as i t can
go. go.
Then he al i ght s, goes t o t he t r unk, opens i t wi t h t he Then he al i ght s, goes t o t he t r unk, opens i t wi t h t he
key and, l eavi ng t he t r unk l i d r ai sed, goes back i nt o key and, l eavi ng t he t r unk l i d r ai sed, goes back i nt o
t he cabi n. t he cabi n.
I NT. MARY' S ROOM I NT. MARY' S ROOM
Fr oma r ai sed angl e, we see Nor man bend down and begi n Fr oma r ai sed angl e, we see Nor man bend down and begi n
t o wr ap t he shower cur t ai n ar ound t he body. We see t he t o wr ap t he shower cur t ai n ar ound t he body. We see t he
edges of t he cur t ai n as t hey ar e r ai sed and l ai d down edges of t he cur t ai n as t hey ar e r ai sed and l ai d down
agai n. Then he pi cks up t he wr apped body, cr osses t o agai n. Then he pi cks up t he wr apped body, cr osses t o
t he door , uses hi s f oot t o pul l t he door open, and, t he door , uses hi s f oot t o pul l t he door open, and,
l eavi ng t he door open behi nd hi m, goes qui ckl y acr oss l eavi ng t he door open behi nd hi m, goes qui ckl y acr oss
t he por ch and gent l y l ays t he body i n t he t r unk. He t he por ch and gent l y l ays t he body i n t he t r unk. He
cl oses t he l i d t hen, but does not l ock i t . He comes cl oses t he l i d t hen, but does not l ock i t . He comes
back i nt o t he cabi n, cl oses t he door compl et el y, f l i cks back i nt o t he cabi n, cl oses t he door compl et el y, f l i cks
on t he l i ght . on t he l i ght .
Agai n t he newspaper i s i n t he f or egr ound. For a moment Agai n t he newspaper i s i n t he f or egr ound. For a moment
he pauses, cl oses hi s eyes agai nst t he r eal i zat i on of he pauses, cl oses hi s eyes agai nst t he r eal i zat i on of
what he i s doi ng, t hen qui ckl y pushes al l t hought s away, what he i s doi ng, t hen qui ckl y pushes al l t hought s away,
cont i nues wi t h hi s wor k. Wi t h t he r ooml i ght ed, he now cont i nues wi t h hi s wor k. Wi t h t he r ooml i ght ed, he now
pr oceeds t o gat her up al l Mar y' s ar t i cl es and t oss t hem pr oceeds t o gat her up al l Mar y' s ar t i cl es and t oss t hem
i nt o t he sui t case. He checks al l dr awer s and t he i nt o t he sui t case. He checks al l dr awer s and t he
cl oset , get s down and checks under bed and bur eau, goes cl oset , get s down and checks under bed and bur eau, goes
i nt o t he bat hr oom, checks t hat r oomagai n, comes back i nt o t he bat hr oom, checks t hat r oomagai n, comes back
i nt o t he bedr oom, l ooks about car ef ul l y, spot s Mar y' s i nt o t he bedr oom, l ooks about car ef ul l y, spot s Mar y' s
handbag, t hr ows even t hat i nt o t he sui t case, i s f i nal l y handbag, t hr ows even t hat i nt o t he sui t case, i s f i nal l y
sat i sf i ed t hat al l t r aces of t he gi r l ar e gone f r omt he sat i sf i ed t hat al l t r aces of t he gi r l ar e gone f r omt he
r oom. Then he cl oses Mar y' s sui t case, pi cks i t up. r oom. Then he cl oses Mar y' s sui t case, pi cks i t up.
Wi t h hi s f r ee hand he pi cks up t he pai l , i n whi ch ar e Wi t h hi s f r ee hand he pi cks up t he pai l , i n whi ch ar e
t he mop and t he used t owel s. He cr osses t o t he door , t he mop and t he used t owel s. He cr osses t o t he door ,
swi t ches of f t he l i ght wi t h hi s shoul der , pul l s open t he swi t ches of f t he l i ght wi t h hi s shoul der , pul l s open t he
door , st ar t s out . door , st ar t s out .
EXT. THE PORCH EXT. THE PORCH
As Nor man st ands i n t he door way, he i s suddenl y and As Nor man st ands i n t he door way, he i s suddenl y and
bl i ndi ngl y l i t by t he br i ght headl i ght s of a passi ng bl i ndi ngl y l i t by t he br i ght headl i ght s of a passi ng
car . The f l ash of t he l i ght s and t he SOUND of t he car . The f l ash of t he l i ght s and t he SOUND of t he
SPEEDI NG CAR ar e over i n a f l i cker of a moment , but i t SPEEDI NG CAR ar e over i n a f l i cker of a moment , but i t
t akes a f ew seconds f or Nor man t o r egai n hi s f or mer t akes a f ew seconds f or Nor man t o r egai n hi s f or mer
t ense composur e. Then he goes t o t he car t r unk, r ai ses t ense composur e. Then he goes t o t he car t r unk, r ai ses
i t wi t h hi s f oot , t hr ows t he sui t case and t he pai l i nt o i t wi t h hi s f oot , t hr ows t he sui t case and t he pai l i nt o
i t , sl ams i t shut . He pauses a moment , t hen r eal i zes he i t , sl ams i t shut . He pauses a moment , t hen r eal i zes he
has l ef t t he bat hr ooml i ght on i n Mar y' s cabi n. He has l ef t t he bat hr ooml i ght on i n Mar y' s cabi n. He
r et ur ns t o cabi n. As he ent er s, hi s eye i s caught by r et ur ns t o cabi n. As he ent er s, hi s eye i s caught by
t he newspaper on t he bedsi de t abl e. He goes t o i t , t he newspaper on t he bedsi de t abl e. He goes t o i t ,
t akes t he newspaper , and l ooks once agai n i nt o t he t akes t he newspaper , and l ooks once agai n i nt o t he
bat hr oom. Hi s gl ance goes r i ght over t he t oi l et bowl . bat hr oom. Hi s gl ance goes r i ght over t he t oi l et bowl .
He t ur ns out t he l i ght s, cr osses t he dar kened cabi n, He t ur ns out t he l i ght s, cr osses t he dar kened cabi n,
goes out ont o t he por ch. goes out ont o t he por ch.
He r eopens t he t r unk, t osses i n t he newspaper and cl oses He r eopens t he t r unk, t osses i n t he newspaper and cl oses
i t . He goes ar ound and j umps i nt o t he car and st ar t s i t . He goes ar ound and j umps i nt o t he car and st ar t s
away. away.
We HOLD on t he t r unk, f ol l ow i t f or a whi l e, t hen We HOLD on t he t r unk, f ol l ow i t f or a whi l e, t hen
EXT. THE SWAMP - ( NI GHT) EXT. THE SWAMP - ( NI GHT)
The car pul l s away f r oma CLOSE ANGLE on t he t r unk and The car pul l s away f r oma CLOSE ANGLE on t he t r unk and
as CAMERA HOLDS we see t hat we ar e now i n a swamp ar ea. as CAMERA HOLDS we see t hat we ar e now i n a swamp ar ea.
I t i s qui et except f or t he i r r i t at i ng noi ses of ni ght I t i s qui et except f or t he i r r i t at i ng noi ses of ni ght
i nsect s. Nor man st ops t he car at t he ver y edge of t he i nsect s. Nor man st ops t he car at t he ver y edge of t he
swamp, t ur ns of f t he l i ght s, get s out , l eavi ng door swamp, t ur ns of f t he l i ght s, get s out , l eavi ng door
open. He l ooks at t he swamp, seems doubt f ul of i t s open. He l ooks at t he swamp, seems doubt f ul of i t s
abi l i t y t o swal l ow up t he car , r eal i zes he has no abi l i t y t o swal l ow up t he car , r eal i zes he has no
choi ce. He l eans i nt o t he car , r el eases t he emer gency choi ce. He l eans i nt o t he car , r el eases t he emer gency
br ake, st ar t s t o push. The f r ont of t he car begi ns t o br ake, st ar t s t o push. The f r ont of t he car begi ns t o
r ol l i nt o t he swamp. Suddenl y t her e i s t he LOW, r ol l i nt o t he swamp. Suddenl y t her e i s t he LOW,
THROBBI NG SOUND of a mot or . Nor man f r eezes, l i st ens. THROBBI NG SOUND of a mot or . Nor man f r eezes, l i st ens.
The SOUND gr ows l ouder and Nor man r eal i zes i t i s an The SOUND gr ows l ouder and Nor man r eal i zes i t i s an
ai r pl ane f l yi ng over head. The car i s r ol l i ng qui ckl y ai r pl ane f l yi ng over head. The car i s r ol l i ng qui ckl y
now. Nor man j umps away, sl ams t he door shut , st ands now. Nor man j umps away, sl ams t he door shut , st ands
t ense. The SOUND of t he pl ane over head gr ows l ouder . t ense. The SOUND of t he pl ane over head gr ows l ouder .
Nor man l ooks up. Nor man l ooks up.
NORMAN' S VI EWPOI NT - THE BLACK SKY NORMAN' S VI EWPOI NT - THE BLACK SKY
We see no pl ane. The SOUND of t he mot or i s begi nni ng t o We see no pl ane. The SOUND of t he mot or i s begi nni ng t o
di mi ni sh. di mi ni sh.
CUT BACK TO: CUT BACK TO:
NORMAN NORMAN
We see t he r el i ef i n hi s f ace. He l ooks at t he car . We see t he r el i ef i n hi s f ace. He l ooks at t he car .
Mor e t han t wo- t hi r ds of i t have al r eady sunk i nt o t he Mor e t han t wo- t hi r ds of i t have al r eady sunk i nt o t he
swamp. The t r unk al one seems t o hol d poi sed above t he swamp. The t r unk al one seems t o hol d poi sed above t he
sand and sl i me, as i f r ef usi ng t o go t he r est of t he sand and sl i me, as i f r ef usi ng t o go t he r est of t he
way. Nor man begi ns t o pani c, he st eps danger ousl y way. Nor man begi ns t o pani c, he st eps danger ousl y
cl ose, pushes wi t h hi s f oot . And sl owl y t he car si nks, cl ose, pushes wi t h hi s f oot . And sl owl y t he car si nks,
unt i l f i nal l y i t i s gone and we hear onl y t he gent l e unt i l f i nal l y i t i s gone and we hear onl y t he gent l e
pl op of t he swamp' s f i nal gul p, and see onl y t he smal l pl op of t he swamp' s f i nal gul p, and see onl y t he smal l
af t er - bubbl e, l i ke a vi sual bur p. af t er - bubbl e, l i ke a vi sual bur p.
Nor man wai t s a moment , t hen begi ns st ampi ng out t he t i r e Nor man wai t s a moment , t hen begi ns st ampi ng out t he t i r e
mar ks, so obvi ous i n t he wet gr ound ar ound t he swamp. mar ks, so obvi ous i n t he wet gr ound ar ound t he swamp.
He st amps and dr ags hi s f eet over t he mar ki ngs as we: He st amps and dr ags hi s f eet over t he mar ki ngs as we:
CLOSE UP NORMAN CLOSE UP NORMAN
st andi ng on t he por ch of t he mot el , l eani ng agai nst a st andi ng on t he por ch of t he mot el , l eani ng agai nst a
post . He i s st ar i ng out i nt o t he ni ght , a l ook of post . He i s st ar i ng out i nt o t he ni ght , a l ook of
guar ded, casual i nnocence on hi s f ace, as i f he wer e guar ded, casual i nnocence on hi s f ace, as i f he wer e
t aki ng one l ast moment of peacef ul ni ght ai r bef or e t aki ng one l ast moment of peacef ul ni ght ai r bef or e
r et i r i ng. Then he gl ances down and CAMERA f ol l ows hi s r et i r i ng. Then he gl ances down and CAMERA f ol l ows hi s
gaze. A hose i s l yi ng on t he gr ound out si de Mar y' s gaze. A hose i s l yi ng on t he gr ound out si de Mar y' s
cabi n, i t s st r eamof wat er obl i t er at i ng t he t i r e mar ks. cabi n, i t s st r eamof wat er obl i t er at i ng t he t i r e mar ks.
Af t er a moment , Nor man' s hand comes i nt o shot , pi cks up Af t er a moment , Nor man' s hand comes i nt o shot , pi cks up
hose, pl aces i t i n a new posi t i on. As CAMERA PULLS hose, pl aces i t i n a new posi t i on. As CAMERA PULLS
BACK, we see t hat t he wat er f r omt he hose has er ased and BACK, we see t hat t he wat er f r omt he hose has er ased and
r ear r anged t he r oad mar ki ngs so t hat i t woul d be r ear r anged t he r oad mar ki ngs so t hat i t woul d be
i mpossi bl e t o t el l t hat a car had been par ked her e. i mpossi bl e t o t el l t hat a car had been par ked her e.
Af t er a shor t wai t , Nor man goes t o t he hose- f aucet , Af t er a shor t wai t , Nor man goes t o t he hose- f aucet ,
t ur ns i t of f , unscr ews t he hose. As he r ol l s t he hose, t ur ns i t of f , unscr ews t he hose. As he r ol l s t he hose,
he wal ks away f r omt he spot , past t he of f i ce, headi ng he wal ks away f r omt he spot , past t he of f i ce, headi ng
f or t he pat h t hat l eads t o t he house. He goes up t he f or t he pat h t hat l eads t o t he house. He goes up t he
pat h, pauses at t he st eps of t he house, t osses t he pat h, pauses at t he st eps of t he house, t osses t he
cur l ed hose ont o t he l awn, goes up t he st eps and i nt o cur l ed hose ont o t he l awn, goes up t he st eps and i nt o
t he house. CAMERA FOLLOWS hi mi n, PAUSES as he pauses t he house. CAMERA FOLLOWS hi mi n, PAUSES as he pauses
at t he f oot of t he st ai r s. Nor man goes up t he st ai r s. at t he f oot of t he st ai r s. Nor man goes up t he st ai r s.
On t he l andi ng he st ops. The door t o hi s mot her ' s r oom On t he l andi ng he st ops. The door t o hi s mot her ' s r oom
i s cl osed. Lyi ng i n a heap out si de t he door ar e a bl ood- i s cl osed. Lyi ng i n a heap out si de t he door ar e a bl ood-
st ai ned dr ess and a pai r of el der l y- woman' s shoes. st ai ned dr ess and a pai r of el der l y- woman' s shoes.
Fr oman EXTREMELY HI GH ANGLE, we l ook down on Nor man as Fr oman EXTREMELY HI GH ANGLE, we l ook down on Nor man as
he bends t o pi ck up t he st ai ned dr ess and shoes. he bends t o pi ck up t he st ai ned dr ess and shoes.
He r ol l s t he shoes i nt o t he dr ess, t ucks t he smal l , neat He r ol l s t he shoes i nt o t he dr ess, t ucks t he smal l , neat
bundl e under hi s ar m, and st ar t s down t he st ai r s, bundl e under hi s ar m, and st ar t s down t he st ai r s,
headi ng f or t he basement . headi ng f or t he basement .
EXT. A LONG SHOT OF THE OLD HOUSE - ( NI GHT) EXT. A LONG SHOT OF THE OLD HOUSE - ( NI GHT)
I t st ands si l houet t ed agai nst t he sky. Ther e i s a l ong I t st ands si l houet t ed agai nst t he sky. Ther e i s a l ong
wai t . Then, sl owl y, a cur l of smoke comes out of t he wai t . Then, sl owl y, a cur l of smoke comes out of t he
chi mney. chi mney.
FADE OUT: FADE OUT:
FADE I N: FADE I N:
I NT. BACK ROOM OF SAM' S HARDWARE STORE I N FAI RVALE - ( DAY) I NT. BACK ROOM OF SAM' S HARDWARE STORE I N FAI RVALE - ( DAY)
Sami s seat ed at hi s desk, wr i t i ng a l et t er . Sequence Sami s seat ed at hi s desk, wr i t i ng a l et t er . Sequence
begi ns wi t h CAMERA I N CLOSE, over Sam' s shoul der , and we begi ns wi t h CAMERA I N CLOSE, over Sam' s shoul der , and we
can r ead as mush as he has wr i t t en of t he l et t er . The can r ead as mush as he has wr i t t en of t he l et t er . The
l et t er head r eads " SamLoomi s - Har dwar e, " and t he l et t er l et t er head r eads " SamLoomi s - Har dwar e, " and t he l et t er
r eads: r eads:
" Dear est r i ght - as- al ways Mar y: " Dear est r i ght - as- al ways Mar y:
I ' msi t t i ng i n t hi s t i ny back r oom I ' msi t t i ng i n t hi s t i ny back r oom
whi ch i sn' t bi g enough f or bot h of us, whi ch i sn' t bi g enough f or bot h of us,
and suddenl y i t l ooks bi g enough f or and suddenl y i t l ooks bi g enough f or
bot h of us. So what i f we' r e poor and bot h of us. So what i f we' r e poor and
cr amped and mi ser abl e, at l east we' l l cr amped and mi ser abl e, at l east we' l l
be happy! I f you haven' t come t o your be happy! I f you haven' t come t o your
senses, and st i l l want t o . . . senses, and st i l l want t o . . .
CAMERA begi ns PULLI NG AWAY as Samt ur ns t he sheet of CAMERA begi ns PULLI NG AWAY as Samt ur ns t he sheet of
paper over , cont i nues backi ng away out of t he smal l back paper over , cont i nues backi ng away out of t he smal l back
r oomand heads, backwar ds, down t he cor r i dor , we see a r oomand heads, backwar ds, down t he cor r i dor , we see a
young cl er k, BOB SUMMERFI ELD, Sam' s assi st ant , st andi ng young cl er k, BOB SUMMERFI ELD, Sam' s assi st ant , st andi ng
behi nd t he count er , a l ook of handsome pat i ence on hi s behi nd t he count er , a l ook of handsome pat i ence on hi s
f ace. He i s wai t i ng on a met i cul ous, el der l y woman f ace. He i s wai t i ng on a met i cul ous, el der l y woman
cust omer , who i s hol di ng and exami ni ng a l ar ge can of cust omer , who i s hol di ng and exami ni ng a l ar ge can of
i nsect i ci de. As CAMERA PASSES: i nsect i ci de. As CAMERA PASSES:
WOMAN CUSTOMER WOMAN CUSTOMER
. . . They t el l you what i t s . . . They t el l you what i t s
i ngr edi ent s ar e and how i t ' s i ngr edi ent s ar e and how i t ' s
guar ant eed t o ext er mi nat e any guar ant eed t o ext er mi nat e any
i nsect i n t he wor l d, but t hey do i nsect i n t he wor l d, but t hey do
not t el l you whet her or not i t ' s not t el l you whet her or not i t ' s
pai nl ess. And I say i nsect or man, pai nl ess. And I say i nsect or man,
deat h shoul d al ways be pai nl ess. deat h shoul d al ways be pai nl ess.
CAMERA, by t hi s has r eached t he f r ont door of t he CAMERA, by t hi s has r eached t he f r ont door of t he
har dwar e st or e and we now see a gi r l st andi ng j ust har dwar e st or e and we now see a gi r l st andi ng j ust
i nsi de t he door . She i s an at t r act i ve gi r l wi t h a i nsi de t he door . She i s an at t r act i ve gi r l wi t h a
r at her def i ni t e manner , a l ook of pur posef ul ness. She r at her def i ni t e manner , a l ook of pur posef ul ness. She
car r i es a handbag and a smal l over ni ght case. She i s car r i es a handbag and a smal l over ni ght case. She i s
Mar y' s si st er , LI LA CRANE. Mar y' s si st er , LI LA CRANE.
Bob Summer f i el d has not i ced Li l a, smi l es br i ght l y at Bob Summer f i el d has not i ced Li l a, smi l es br i ght l y at
her , gi ves her an I ' l l - be- wi t h- you- i n- a- moment nod. her , gi ves her an I ' l l - be- wi t h- you- i n- a- moment nod.
Li l a st ar t s t o wal k t owar d t he count er , never t aki ng her Li l a st ar t s t o wal k t owar d t he count er , never t aki ng her
eyes of f Bob. As she appr oaches, she asks qui et l y: eyes of f Bob. As she appr oaches, she asks qui et l y:
LI LA LI LA
Sam? Sam?
SUMMERFI ELD SUMMERFI ELD
You want t o see Sam? You want t o see Sam?
LI LA LI LA
SamLoomi s. SamLoomi s.
( yel l i ng t owar d back ( yel l i ng t owar d back
r oom) r oom)
Sam! Lady want s t o see you! Sam! Lady want s t o see you!
Li l a l ooks t o t he back r oom. The woman cust omer goes on Li l a l ooks t o t he back r oom. The woman cust omer goes on
wor r i edl y exami ni ng t he f i ne pr i nt of t he i nsect i ci de wor r i edl y exami ni ng t he f i ne pr i nt of t he i nsect i ci de
can. Samcomes t o t he door of hi s r oom, pauses, l ooks can. Samcomes t o t he door of hi s r oom, pauses, l ooks
at Li l a a moment , st ar t s t owar d her , hi s expr essi on at Li l a a moment , st ar t s t owar d her , hi s expr essi on
i ndi cat i ng t hat he does not know her . Li l a st udi es hi m i ndi cat i ng t hat he does not know her . Li l a st udi es hi m
wi t h a qui et , wor r i ed expr essi on. wi t h a qui et , wor r i ed expr essi on.
SAM SAM
Yes? Yes?
LI LA LI LA
May I t al k t o you? May I t al k t o you?
SAM SAM
( a bi t myst i f i ed) ( a bi t myst i f i ed)
Sur e . . . Sur e . . .
Li l a gl ances at t he cust omer and t he cl er k, t ur ns, Li l a gl ances at t he cust omer and t he cl er k, t ur ns,
st ar t s t owar d t he f r ont of t he st or e. Samhol ds a st ar t s t owar d t he f r ont of t he st or e. Samhol ds a
moment , t hen f ol l ows. As he r eaches her , she t ur ns, her moment , t hen f ol l ows. As he r eaches her , she t ur ns, her
eyes st udyi ng hi mi nt ent l y as she says: eyes st udyi ng hi mi nt ent l y as she says:
LI LA LI LA
I ' mMar y' s si st er . I ' mMar y' s si st er .
SAM SAM
Li l a. Li l a.
LI LA LI LA
( qui ckl y) ( qui ckl y)
I s Mar y her e? I s Mar y her e?
Sami s myst i f i ed, and i s al so awar e of t he wor r i ed, Sami s myst i f i ed, and i s al so awar e of t he wor r i ed,
host i l e expr essi on on Li l a' s f ace. He st udi es her f or host i l e expr essi on on Li l a' s f ace. He st udi es her f or
a qui et moment . Behi nd t hemi s a di spl ay of var i ous a qui et moment . Behi nd t hemi s a di spl ay of var i ous
si ze car vi ng kni ves. si ze car vi ng kni ves.
SAM SAM
I s somet hi ng wr ong? I s somet hi ng wr ong?
LI LA LI LA
I want t o know i f my si st er i s her e. I want t o know i f my si st er i s her e.
SAM SAM
Her e? Her e?
LI LA LI LA
Wi t h you. Wi t h you.
SAM SAM
Wher e? Wher e?
LI LA LI LA
I don' t know wher e. I n your st or e, I don' t know wher e. I n your st or e,
somewher e i n your t own . . . somewher e i n your t own . . .
anywher e. anywher e.
SAM SAM
What ' s t he mat t er ? What ' s t he mat t er ?
LI LA LI LA
Don' t you know? Don' t you know?
As Sami s about t o speak, t he Woman Cust omer comes As Sami s about t o speak, t he Woman Cust omer comes
sai l i ng past , speaki ng as she goes and wear i ng a sai l i ng past , speaki ng as she goes and wear i ng a
sat i sf i ed smi l e. sat i sf i ed smi l e.
WOMAN CUSTOMER WOMAN CUSTOMER
Al l I can do i s hope i f i t i sn' t Al l I can do i s hope i f i t i sn' t
pai nl ess, i t ' s qui ck! pai nl ess, i t ' s qui ck!
She speaks " qui ck" wi t h a ki nd of del i ci ous bi t e, nods She speaks " qui ck" wi t h a ki nd of del i ci ous bi t e, nods
happi l y, goes on out of t he st or e. Sami s now st ar i ng happi l y, goes on out of t he st or e. Sami s now st ar i ng
appr ehensi vel y at Li l a. appr ehensi vel y at Li l a.
SAM SAM
What shoul d I know? What shoul d I know?
LI LA LI LA
To begi n wi t h, wher e Mar y i s. Do To begi n wi t h, wher e Mar y i s. Do
you? you?
SAM SAM
No. I t ake i t you don' t ei t her ? No. I t ake i t you don' t ei t her ?
( As Li l a shakes her ( As Li l a shakes her
head) head)
How l ong? How l ong?
LI LA LI LA
Last Fr i day. She l ef t wor k, and Last Fr i day. She l ef t wor k, and
home . . . I was i n Tucson over t he home . . . I was i n Tucson over t he
weekend . . . I haven' t hear d f r om weekend . . . I haven' t hear d f r om
her , not even a phone cal l . her , not even a phone cal l .
SAM SAM
And you t hought she' d come up her e, And you t hought she' d come up her e,
t o me? I f she had, what r eason t o me? I f she had, what r eason
woul d she have f or not cal l i ng you? woul d she have f or not cal l i ng you?
LI LA LI LA
A good r eason, I suppose. A good r eason, I suppose.
SAM SAM
( Sl i ght l y exasper at ed) ( Sl i ght l y exasper at ed)
Wel l what do you t hi nk, we el oped Wel l what do you t hi nk, we el oped
or somet hi ng? Or we' r e l i vi ng i n or somet hi ng? Or we' r e l i vi ng i n
si n and . . . si n and . . .
LI LA LI LA
Mr . Loomi s, you' r e so busy bei ng Mr . Loomi s, you' r e so busy bei ng
def ensi ve t hat you haven' t even def ensi ve t hat you haven' t even
r eact ed t o t he most ser i ous f act of r eact ed t o t he most ser i ous f act of
al l . Mar y i s mi ssi ng. al l . Mar y i s mi ssi ng.
SAM SAM
I was get t i ng t o t hat ! I was get t i ng t o t hat !
LI LA LI LA
What do you know about i t ? What do you know about i t ?
SAM SAM
Not hi ng! You' r e put t i ng me on t he Not hi ng! You' r e put t i ng me on t he
def ensi ve. def ensi ve.
LI LA LI LA
Look, i f you t wo ar e i n t hi s t hi ng Look, i f you t wo ar e i n t hi s t hi ng
t oget her , I don' t car e, i t ' s none t oget her , I don' t car e, i t ' s none
of my busi ness . . . But I want t o of my busi ness . . . But I want t o
see Mar y. I want her t o t el l me see Mar y. I want her t o t el l me
she' s al l r i ght and i t ' s none of my she' s al l r i ght and i t ' s none of my
busi ness. Then I ' l l go back t o busi ness. Then I ' l l go back t o
Phoeni x and . . . Phoeni x and . . .
She st ops, t he anxi et y and f ear bui l di ng up i n her , her She st ops, t he anxi et y and f ear bui l di ng up i n her , her
eyes begi nni ng t o f i l l wi t h wor r i ed t ear s. Samst udi es eyes begi nni ng t o f i l l wi t h wor r i ed t ear s. Samst udi es
her f or a moment , t hen t ur ns and cal l s: her f or a moment , t hen t ur ns and cal l s:
SAM SAM
Bob? Run out and get your sel f some Bob? Run out and get your sel f some
l unch. l unch.
I t ' s okay, Sam, I br ought i t wi t h I t ' s okay, Sam, I br ought i t wi t h
me. me.
SAM SAM
Run out and eat i t . Run out and eat i t .
Bob get s t he message, goes out t hr ough t he back way. Bob get s t he message, goes out t hr ough t he back way.
Samgoes cl oser t o Li l a, speaks wi t h sof t ser i ousness. Samgoes cl oser t o Li l a, speaks wi t h sof t ser i ousness.
SAM SAM
What t hi ng? What t hi ng?
LI LA LI LA
Huh? Huh?
SAM SAM
What t hi ng coul d we be i n t oget her ? What t hi ng coul d we be i n t oget her ?
LI LA LI LA
I hat e t ear s. I hat e t ear s.
( Takes out hanki e) ( Takes out hanki e)
SAM SAM
I s Mar y . . . i n t r oubl e? I s Mar y . . . i n t r oubl e?
LI LA LI LA
Yes. Yes.
SAM SAM
Wel l why di dn' t she come t o me . . . Wel l why di dn' t she come t o me . . .
cal l me . . . ? cal l me . . . ?
LI LA LI LA
Not t hat ki nd . . . Not t hat ki nd . . .
( Al most a smi l e) ( Al most a smi l e)
You men and your egos. You men and your egos.
SAM SAM
( Ser i ousl y) ( Ser i ousl y)
Never mi nd my ego. Let ' s t al k Never mi nd my ego. Let ' s t al k
about Mar y. about Mar y.
Thei r at t ent i on i s di st r act ed by a man who has st r ol l ed Thei r at t ent i on i s di st r act ed by a man who has st r ol l ed
qui et l y i nt o t he r oom. He i gnor es t hem, wal ks past qui et l y i nt o t he r oom. He i gnor es t hem, wal ks past
t hem, goes behi nd t he count er , t akes down a si gn r eadi ng t hem, goes behi nd t he count er , t akes down a si gn r eadi ng
" CLOSED FOR LUNCH, " wal ks back t o t he door , cl oses door , " CLOSED FOR LUNCH, " wal ks back t o t he door , cl oses door ,
hangs t he si gn acr oss t he door wi ndow, l ocks t he door , hangs t he si gn acr oss t he door wi ndow, l ocks t he door ,
t ur ns t o Samand Li l a, f ol ds hi s ar ms, smi l es a t ur ns t o Samand Li l a, f ol ds hi s ar ms, smi l es a
par t i cul ar l y unf r i endl y smi l e. par t i cul ar l y unf r i endl y smi l e.
ARBOGAST ARBOGAST
Let ' s al l t al k about Mar y. Let ' s al l t al k about Mar y.
SAM SAM
Who ar e you, f r i end? Who ar e you, f r i end?
ARBOGAST ARBOGAST
Mi l t Ar bogast , Pr i vat e I nvest i gat or . Mi l t Ar bogast , Pr i vat e I nvest i gat or .
( To Li l a) ( To Li l a)
Wher e i s she, Mi ss Cr ane? Wher e i s she, Mi ss Cr ane?
LI LA LI LA
I don' t know. I don' t know.
ARBOGAST ARBOGAST
Woul dn' t have been abl e t o t ai l you Woul dn' t have been abl e t o t ai l you
i f you di d. i f you di d.
SAM SAM
What ' s your i nt er est ? What ' s your i nt er est ?
ARBOGAST ARBOGAST
Money. Money.
Ther e i s a moment ' s si l ence and t hen, unabl e t o t ol er at e Ther e i s a moment ' s si l ence and t hen, unabl e t o t ol er at e
t he sudden f r i ght eni ng happeni ngs, Samexpl odes. t he sudden f r i ght eni ng happeni ngs, Samexpl odes.
SAM SAM
Somebody bet t er t el l me what ' s Somebody bet t er t el l me what ' s
goi ng on and t el l me f ast ! I can goi ng on and t el l me f ast ! I can
t ake so much and t hen . . . t ake so much and t hen . . .
ARBOGAST ARBOGAST
( I nt er r upt i ng cal ml y) ( I nt er r upt i ng cal ml y)
Your gi r l f r i end st ol e f or t y Your gi r l f r i end st ol e f or t y
t housand dol l ar s. t housand dol l ar s.
Saml ooks at Ar bogast i n ut t er shock and i n t hat st at e Saml ooks at Ar bogast i n ut t er shock and i n t hat st at e
asks one of t hose seemi ngl y r i di cul ous quest i ons. asks one of t hose seemi ngl y r i di cul ous quest i ons.
SAM SAM
Why? Why?
ARBOGAST ARBOGAST
( An al most amused ( An al most amused
smi l e) smi l e)
Must ' ve needed i t . Must ' ve needed i t .
SAM SAM
What ar e you t al ki ng about ? What ar e you t al ki ng about ?
What i s t hi s? What i s t hi s?
LI LA LI LA
She was supposed t o bank i t , on She was supposed t o bank i t , on
Fr i day, f or her boss. She di dn' t . Fr i day, f or her boss. She di dn' t .
And no one has seen her si nce. And no one has seen her si nce.
ARBOGAST ARBOGAST
( Looki ng at Sam) ( Looki ng at Sam)
Someone has seen her . Someone Someone has seen her . Someone
al ways sees a gi r l wi t h f or t y al ways sees a gi r l wi t h f or t y
t housand dol l ar s. t housand dol l ar s.
( To Sam) ( To Sam)
She i s your gi r l f r i end, i sn' t she? She i s your gi r l f r i end, i sn' t she?
LI LA LI LA
Sam, t hey don' t want t o pr osecut e, Sam, t hey don' t want t o pr osecut e,
t hey j ust want t he money back. I t t hey j ust want t he money back. I t
was al l i n cash . . . was al l i n cash . . .
ARBOGAST ARBOGAST
( Cor r ect i ng wi t h ( Cor r ect i ng wi t h
Cassi dy' s wor d) Cassi dy' s wor d)
Cashar ooni e! Cashar ooni e!
LI LA LI LA
Sam, i f she' s her e . . . Sam, i f she' s her e . . .
SAM SAM
She i sn' t ! She i sn' t !
A r eal l ook of angui sh comes i nt o Li l a' s f ace. And A r eal l ook of angui sh comes i nt o Li l a' s f ace. And
Ar bogast st udi es i t , t hen speaks. Ar bogast st udi es i t , t hen speaks.
ARBOGAST ARBOGAST
You came up her e on a hunch, Mi ss You came up her e on a hunch, Mi ss
Cr ane? Not hi ng mor e? No phone Cr ane? Not hi ng mor e? No phone
cal l . . . f r omhi m, or f r omyour cal l . . . f r omhi m, or f r omyour
si st er her sel f ? si st er her sel f ?
LI LA LI LA
( wear i l y) ( wear i l y)
Not even a hunch. J ust hope. Not even a hunch. J ust hope.
ARBOGAST ARBOGAST
Wi t h a l i t t l e checki ng, I coul d get Wi t h a l i t t l e checki ng, I coul d get
t o bel i eve you. t o bel i eve you.
LI LA LI LA
( anxi ousl y) ( anxi ousl y)
I don' t car e i f you do or . . . I I don' t car e i f you do or . . . I
want t o see Mar y . . . bef or e she want t o see Mar y . . . bef or e she
get s i n any deeper . . . get s i n any deeper . . .
SAM SAM
Di d you check i n Phoeni x . . . Di d you check i n Phoeni x . . .
hospi t al s . . . maybe she had an hospi t al s . . . maybe she had an
acci dent . . . a hol d- up . . . acci dent . . . a hol d- up . . .
ARBOGAST ARBOGAST
She was seen l eavi ng t own i n her She was seen l eavi ng t own i n her
car . Seen by her ver y vi ct i ms, I car . Seen by her ver y vi ct i ms, I
mi ght add. mi ght add.
SAM SAM
( af t er a moment ) ( af t er a moment )
I don' t bel i eve i t . I don' t bel i eve i t .
( t o Li l a, sl owl y) ( t o Li l a, sl owl y)
Do you? Do you?
LI LA LI LA
( a t hought f ul pause) ( a t hought f ul pause)
Yes . . . I j ust . . . di d. The moment Yes . . . I j ust . . . di d. The moment
t hey t ol d me . . . t hey t ol d me . . .
SAM SAM
You mi ght have doubt ed f or say f i ve You mi ght have doubt ed f or say f i ve
mi nut es or so, Si st er . mi nut es or so, Si st er .
Li l a t ur ns f r omSam, a f l ush of gui l t and r egr et i n her Li l a t ur ns f r omSam, a f l ush of gui l t and r egr et i n her
f ace. Ar bogast l ooks at her , qui et sympat het i cal l y. f ace. Ar bogast l ooks at her , qui et sympat het i cal l y.
ARBOGAST ARBOGAST
We' r e al ways qui ckest t o doubt We' r e al ways qui ckest t o doubt
peopl e who have a r ecor d f or bei ng peopl e who have a r ecor d f or bei ng
honest . I t hi nk she' s her e, Mi ss honest . I t hi nk she' s her e, Mi ss
Cr ane. Wher e t her e' s a Cr ane. Wher e t her e' s a
boyf r i end . . . boyf r i end . . .
( Tr ai l s of f , smi l es ( Tr ai l s of f , smi l es
encour agi ngl y) encour agi ngl y)
She won' t be back t her e among t he She won' t be back t her e among t he
nut s and bol t s . . . but she' l l be i n nut s and bol t s . . . but she' l l be i n
t hi s t own . . . somewher e. I ' l l f i nd t hi s t own . . . somewher e. I ' l l f i nd
her . her .
He nods, t akes down t he cl osed- f or - l unch si gn, sai l s i t He nods, t akes down t he cl osed- f or - l unch si gn, sai l s i t
t o t he count er , opens door , goes out i nt o t he st r eet . t o t he count er , opens door , goes out i nt o t he st r eet .
Af t er a qui et moment : Af t er a qui et moment :
LI LA LI LA
I j ust l i st ened . . . and bel i eved I j ust l i st ened . . . and bel i eved
ever yt hi ng t hey t ol d me. ' She ever yt hi ng t hey t ol d me. ' She
st ol e t he money. ' ' We don' t want st ol e t he money. ' ' We don' t want
t o get her i n t r oubl e. ' ' No don' t t o get her i n t r oubl e. ' ' No don' t
br i ng t he pol i ce i n' . . . br i ng t he pol i ce i n' . . .
SAM SAM
I t was her boss' i dea not t o r epor t I t was her boss' i dea not t o r epor t
i t t o t he pol i ce? i t t o t he pol i ce?
LI LA LI LA
No. The man whose money she . . . he No. The man whose money she . . . he
t al ked so l oud and f ast , and I . . . t al ked so l oud and f ast , and I . . .
I shoul d' ve cal l ed t he pol i ce. I shoul d' ve cal l ed t he pol i ce.
SAM SAM
He must have had a dar n good r eason He must have had a dar n good r eason
f or want i ng t hemkept out of i t . . . f or want i ng t hemkept out of i t . . .
Al l t hat cash . . . Al l t hat cash . . .
LI LA LI LA
I ought t o cal l t he pol i ce r i ght I ought t o cal l t he pol i ce r i ght
now! now!
SAM SAM
No. No.
LI LA LI LA
Why not ? Sam, i s she hi di ng her e? Why not ? Sam, i s she hi di ng her e?
Ar e you t wo pl anni ng t o go away Ar e you t wo pl anni ng t o go away
wi t h t he money? wi t h t he money?
SAM SAM
How coul d I go away? I ' mi n debt How coul d I go away? I ' mi n debt
up t o my . . . up t o my . . .
( Smi l es at t he ( Smi l es at t he
i ncongr ui t y of hi s i ncongr ui t y of hi s
r epl y, t hen goes r epl y, t hen goes
ser i ous) ser i ous)
I f she di d st eal t hat money . . . I f she di d st eal t hat money . . .
I t ' s har d t o bel i eve she di d I t ' s har d t o bel i eve she di d
because i t ' s har d t o see why she because i t ' s har d t o see why she
woul d. Unl ess she had some wi l d woul d. Unl ess she had some wi l d
i dea t hat i t woul d hel p me . . . i dea t hat i t woul d hel p me . . .
us . . . us . . .
LI LA LI LA
She haven' t even cal l ed you? She haven' t even cal l ed you?
SAM SAM
I di dn' t see her . . . and I di dn' t I di dn' t see her . . . and I di dn' t
hear f r omher ! Bel i eve t hat ! hear f r omher ! Bel i eve t hat !
LI LA LI LA
I need t o . . . I need t o bel i eve I need t o . . . I need t o bel i eve
somet hi ng. Thi s i s t he f i r st t i me somet hi ng. Thi s i s t he f i r st t i me
I ' ve ever come up agai nst anyt hi ng I ' ve ever come up agai nst anyt hi ng
I coul dn' t . . . under st and. I coul dn' t . . . under st and.
SAM SAM
You' ve l ed a char med l i f e. You' ve l ed a char med l i f e.
LI LA LI LA
No. I j ust t hi nk . . . anyt hi ng can No. I j ust t hi nk . . . anyt hi ng can
be expl ai ned. But Mar y, doi ng a be expl ai ned. But Mar y, doi ng a
t hi ng l i ke t hi s . . . I don' t know t hi ng l i ke t hi s . . . I don' t know
how t o handl e . . . how t o handl e . . .
SAM SAM
Maybe we can handl e i t t oget her . Maybe we can handl e i t t oget her .
( He smi l es ( He smi l es
encour agi ngl y) encour agi ngl y)
LI LA LI LA
( A r uef ul shr ug) ( A r uef ul shr ug)
I came f l yi ng up her e expect i ng t o I came f l yi ng up her e expect i ng t o
get some expl anat i on . . . f or al l I get some expl anat i on . . . f or al l I
know, she may be t r yi ng t o get i n know, she may be t r yi ng t o get i n
t ouch wi t h me, at home. I ' d bet t er t ouch wi t h me, at home. I ' d bet t er
go home. go home.
SAM SAM
( A t hought f ul pause) ( A t hought f ul pause)
I t hi nk she' l l cont act me i f she I t hi nk she' l l cont act me i f she
cont act s anybody. Why don' t you cont act s anybody. Why don' t you
st ay her e. When she shows up . . . st ay her e. When she shows up . . .
or cal l s . . . be her e. or cal l s . . . be her e.
LI LA LI LA
( A l ong st udy, her ( A l ong st udy, her
suspi ci on of hi m suspi ci on of hi m
evapor at i ng) evapor at i ng)
You want me t o st ay her e? You want me t o st ay her e?
SAM SAM
She' l l need bot h of us. She' l l need bot h of us.
LI LA LI LA
( consi der s, t hen: ) ( consi der s, t hen: )
Wher e . . . can I st ay? Wher e . . . can I st ay?
SAM SAM
( br i ght l y) ( br i ght l y)
Fi r st r at e hot el , f i f t y yar ds up Fi r st r at e hot el , f i f t y yar ds up
t he st r eet . Come on. t he st r eet . Come on.
( as he r eaches f or t he ( as he r eaches f or t he
cl osed- f or - l unch si gn) cl osed- f or - l unch si gn)
Af t er we check you i n we' l l go t o Af t er we check you i n we' l l go t o
t he dr ugst or e and get you a t he dr ugst or e and get you a
sandwi ch. Then we' l l come back sandwi ch. Then we' l l come back
her e . . . and wai t . her e . . . and wai t .
He hangs t he si gn on t he door , usher s Li l a out , cl oses He hangs t he si gn on t he door , usher s Li l a out , cl oses
door behi nd hi m. door behi nd hi m.
CUT TO: CUT TO:
EXT. STREET - ( DAY) EXT. STREET - ( DAY)
They emer ge f r omt he st or e and wal k al ong t o t he hot el . They emer ge f r omt he st or e and wal k al ong t o t he hot el .
As t hey ent er , Ar bogast i s i n t he act of t aki ng over a As t hey ent er , Ar bogast i s i n t he act of t aki ng over a
whi t e For d sedan f r oma r ent al car man. They gl ance at whi t e For d sedan f r oma r ent al car man. They gl ance at
hi mand he r et ur ns a cyni cal l ook. hi mand he r et ur ns a cyni cal l ook.
EXT. HOTEL - ( DAY) EXT. HOTEL - ( DAY)
Out si de anot her hot el we see Ar bogast al i ght f r omt he Out si de anot her hot el we see Ar bogast al i ght f r omt he
whi t e car and go i nt o new hot el . whi t e car and go i nt o new hot el .
EXT. COUNTRYSI DE - ( DAY) EXT. COUNTRYSI DE - ( DAY)
The whi t e car speedi ng al ong t he hi ghway. The whi t e car speedi ng al ong t he hi ghway.
EXT. NEWMOTEL - ( DAY) EXT. NEWMOTEL - ( DAY)
Ar bogast goi ng i nt o t he of f i ce - we see t he si gn above Ar bogast goi ng i nt o t he of f i ce - we see t he si gn above
hi m. hi m.
EXT. BATES' MOTEL - ( DAY) EXT. BATES' MOTEL - ( DAY)
A hi gh shot showi ng t he f r eeway and Bat es house and A hi gh shot showi ng t he f r eeway and Bat es house and
mot el on t he si de ol d hi ghway. A pause and t hen acr oss mot el on t he si de ol d hi ghway. A pause and t hen acr oss
t he bot t omof t he pi ct ur e a whi t e car speeds by on t he t he bot t omof t he pi ct ur e a whi t e car speeds by on t he
f r eeway. f r eeway.
EXT. HOTEL - ( DUSK) EXT. HOTEL - ( DUSK)
Anot her Hot el . Ar bogast goes i n. Anot her Hot el . Ar bogast goes i n.
The whi t e car speedi ng al ong t he f r eeway agai n goi ng i n The whi t e car speedi ng al ong t he f r eeway agai n goi ng i n
t he opposi t e di r ect i on t o l ast t i me. Nor man, a t i ny t he opposi t e di r ect i on t o l ast t i me. Nor man, a t i ny
f i gur e, i s seen goi ng up t he st eps t o hi s mot her ' s house. f i gur e, i s seen goi ng up t he st eps t o hi s mot her ' s house.
EXT. BOARDI NG HOUSE - ( DAY) EXT. BOARDI NG HOUSE - ( DAY)
Ar bogast ' s sear ch i s get t i ng down i n t he scal e. Thi s i s Ar bogast ' s sear ch i s get t i ng down i n t he scal e. Thi s i s
an ent r ance t o a cheesy boar di ng house. " Rooms t o an ent r ance t o a cheesy boar di ng house. " Rooms t o
Rent , " et c. He l ooks at hi s l i st and t hen goes i n. Rent , " et c. He l ooks at hi s l i st and t hen goes i n.
The whi t e car goes by on t he f r eeway agai n. The whi t e car goes by on t he f r eeway agai n.
EXT. ROOMI NG HOUSE - ( DAY) EXT. ROOMI NG HOUSE - ( DAY)
Ar bogast goes i n. Ar bogast goes i n.
EXT. BATES' MOTEL - ( TWI LI GHT) EXT. BATES' MOTEL - ( TWI LI GHT)
Heavy t r af f i c on t he f r eeway. A beat or t wo - agai n t he Heavy t r af f i c on t he f r eeway. A beat or t wo - agai n t he
whi t e car . I t sl ows up opposi t e t he di st ant mot el . I t whi t e car . I t sl ows up opposi t e t he di st ant mot el . I t
makes a t ur n and goes back out of scene. A pause and i t makes a t ur n and goes back out of scene. A pause and i t
r eappear s on t he ol d r oad and sl owl y makes i t s way r eappear s on t he ol d r oad and sl owl y makes i t s way
t owar d t he Bat es' Mot el . t owar d t he Bat es' Mot el .
EXT. THE BATES' HOUSE AND MOTEL - ( TWI LI GHT) EXT. THE BATES' HOUSE AND MOTEL - ( TWI LI GHT)
We now see Nor man. He has br ought out an ol d r ocki ng We now see Nor man. He has br ought out an ol d r ocki ng
chai r and has pl aced i t on t he of f i ce por ch and i s chai r and has pl aced i t on t he of f i ce por ch and i s
si t t i ng hunched i n i t . And he i s dar ni ng one of hi s own si t t i ng hunched i n i t . And he i s dar ni ng one of hi s own
socks. CAMERA HOLDS. Beyond t he por ch, and Nor man, we socks. CAMERA HOLDS. Beyond t he por ch, and Nor man, we
see t he ol d house and can bar el y make out , i n t he see t he ol d house and can bar el y make out , i n t he
t wi l i ght di mness, t he f i gur e of hi s mot her seat ed at t he t wi l i ght di mness, t he f i gur e of hi s mot her seat ed at t he
wi ndow. Her e, t oo, t her e i s t hat qual i t y of qui et peace wi ndow. Her e, t oo, t her e i s t hat qual i t y of qui et peace
sur r ounded by a vague f or ebodi ng. sur r ounded by a vague f or ebodi ng.
Now Nor man l ooks up at t he SOUND of t he appr oachi ng car . Now Nor man l ooks up at t he SOUND of t he appr oachi ng car .
And cont i nues l ooki ng as t he car comes t o a st op and And cont i nues l ooki ng as t he car comes t o a st op and
Ar bogast get s out . Ar bogast gi ves t he pl ace a qui ck Ar bogast get s out . Ar bogast gi ves t he pl ace a qui ck
once- over , gazes at Nor man, st ar t s f or war d. I n hi s once- over , gazes at Nor man, st ar t s f or war d. I n hi s
st eps and manner t her e i s t hat bor ed, r out i ne- l ogged st eps and manner t her e i s t hat bor ed, r out i ne- l ogged
qual i t y of a man who has seen t oo many mot el s and asked qual i t y of a man who has seen t oo many mot el s and asked
quest i on of t oo many hot el manager s over t oo shor t a quest i on of t oo many hot el manager s over t oo shor t a
per i od of t i me. per i od of t i me.
Nor man r i ses as Ar bogast comes f or war d. Nor man r i ses as Ar bogast comes f or war d.
NORMAN NORMAN
( shovi ng sock i n hi s ( shovi ng sock i n hi s
pocket ) pocket )
I al ways f or get t o put t he si gn on, I al ways f or get t o put t he si gn on,
but we do have vacancy. but we do have vacancy.
( Cheer f ul l y) ( Cheer f ul l y)
Twel ve i n f act . Twel ve cabi ns, Twel ve i n f act . Twel ve cabi ns,
t wel ve vacanci es. t wel ve vacanci es.
ARBOGAST ARBOGAST
( pl easant l y) ( pl easant l y)
I n t he past t wo days I ' ve been t o I n t he past t wo days I ' ve been t o
so many mot el s, my eyes ar e bl ear y so many mot el s, my eyes ar e bl ear y
wi t h neon. Thi s i s t he f i r st one wi t h neon. Thi s i s t he f i r st one
t hat l ooked l i ke i t was hi di ng f r om t hat l ooked l i ke i t was hi di ng f r om
t he wor l d at l ar ge. t he wor l d at l ar ge.
NORMAN NORMAN
I don' t r eal l y f or get t he si gn, i t I don' t r eal l y f or get t he si gn, i t
j ust doesn' t seem. . . any use. j ust doesn' t seem. . . any use.
( Poi nt s) ( Poi nt s)
Thi s used t o be t he mai n hi ghway. Thi s used t o be t he mai n hi ghway.
( St ar t s f or of f i ce) ( St ar t s f or of f i ce)
Want t o r egi st er , pl ease? Want t o r egi st er , pl ease?
ARBOGAST ARBOGAST
Si t down. I don' t want t o t r oubl e Si t down. I don' t want t o t r oubl e
you, j ust want t o ask . . . you, j ust want t o ask . . .
NORMAN NORMAN
No t r oubl e. Today' s l i nen day. I No t r oubl e. Today' s l i nen day. I
change al l t he beds once a week, change al l t he beds once a week,
whet her t hey' ve been used or not whet her t hey' ve been used or not
. . . dampness. I hat e t he smel l of . . . dampness. I hat e t he smel l of
dampness. dampness.
( Openi ng of f i ce door ) ( Openi ng of f i ce door )
I t ' s suck a dank smel l . I t ' s suck a dank smel l .
Nor man i s hol di ng t he door open, so Ar bogast wal ks i n. Nor man i s hol di ng t he door open, so Ar bogast wal ks i n.
Nor man f ol l ows. Nor man f ol l ows.
I NT. MOTEL OFFI CE - ( TWI LI GHT) I NT. MOTEL OFFI CE - ( TWI LI GHT)
Nor man swi t ches on t he over head l i ght , st ar t s f or t he Nor man swi t ches on t he over head l i ght , st ar t s f or t he
l i nen cl oset , suddenl y pauses, t ur ns, st udi es Ar bogast , l i nen cl oset , suddenl y pauses, t ur ns, st udi es Ar bogast ,
who has r emai ned st andi ng by t he door . who has r emai ned st andi ng by t he door .
NORMAN NORMAN
You out t o buy a mot el ? You out t o buy a mot el ?
ARBOGAST ARBOGAST
No. No.
NORMAN NORMAN
Oh. I t hought . . . you sai d you' d Oh. I t hought . . . you sai d you' d
been t o so many i n t wo days . . . been t o so many i n t wo days . . .
What was i t you want ed t o ask? What was i t you want ed t o ask?
ARBOGAST ARBOGAST
I ' ml ooki ng f or a mi ssi ng per son. I ' ml ooki ng f or a mi ssi ng per son.
( t akes out and opens ( t akes out and opens
wal l et and ext ends i t wal l et and ext ends i t
as he speaks) as he speaks)
My name' s Ar bogast , pr i vat e My name' s Ar bogast , pr i vat e
i nvest i gat or . . . i nvest i gat or . . .
( t akes back wal l et ( t akes back wal l et
when Nor man doesn' t when Nor man doesn' t
l ook at i t ) l ook at i t )
Tr yi ng t o t r ace a young gi r l who' s Tr yi ng t o t r ace a young gi r l who' s
been mi ssi ng al most a week. Fr om been mi ssi ng al most a week. Fr om
Phoeni x. Phoeni x.
( A l ook at Nor man' s ( A l ook at Nor man' s
f r i ght ened expr essi on) f r i ght ened expr essi on)
I t ' s a pr i vat e mat t er . . . f ami l y I t ' s a pr i vat e mat t er . . . f ami l y
want s t o f or gi ve her . . . want s t o f or gi ve her . . .
( smi l es) ( smi l es)
She i sn' t i n t r oubl e. She i sn' t i n t r oubl e.
NORMAN NORMAN
( f or ci ng a smi l e) ( f or ci ng a smi l e)
I di dn' t t hi nk t he pol i ce went I di dn' t t hi nk t he pol i ce went
sear chi ng f or peopl e who wer en' t i n sear chi ng f or peopl e who wer en' t i n
t r oubl e. t r oubl e.
ARBOGAST ARBOGAST
I ' mnot t he pol i ce. I ' mnot t he pol i ce.
NORMAN NORMAN
Oh. Oh.
He wai t s a moment , t hen opens cl oset , st ar t s count i ng He wai t s a moment , t hen opens cl oset , st ar t s count i ng
out sheet s and pi l l ow cases, keeps hi s back t o Ar bogast . out sheet s and pi l l ow cases, keeps hi s back t o Ar bogast .
Ar bogast t akes a phot ogr aph out of hi s pocket , t al ks as Ar bogast t akes a phot ogr aph out of hi s pocket , t al ks as
he cr osses t o Nor man. he cr osses t o Nor man.
ARBOGAST ARBOGAST
We have r eason t o bel i eve she came We have r eason t o bel i eve she came
t hi s way . . . mi ght have st opped i n t hi s way . . . mi ght have st opped i n
t hi s ar ea . . . t hi s ar ea . . .
( ext ends phot ogr aph, ( ext ends phot ogr aph,
whi ch Nor man doesn' t whi ch Nor man doesn' t
gl ance at ) gl ance at )
Di d she st op her e? Di d she st op her e?
NORMAN NORMAN
No. No one has st opped her e i n No. No one has st opped her e i n
weeks . . . weeks . . .
ARBOGAST ARBOGAST
Mi nd l ooki ng at t he pi ct ur e bef or e Mi nd l ooki ng at t he pi ct ur e bef or e
commi t t i ng your sel f ? commi t t i ng your sel f ?
NORMAN NORMAN
Commi t t i ng mysel f t o what ? You Commi t t i ng mysel f t o what ? You
sur e t al k l i ke a Pol i ceman. sur e t al k l i ke a Pol i ceman.
ARBOGAST ARBOGAST
Look at t he pi ct ur e. Pl ease. Look at t he pi ct ur e. Pl ease.
Nor man gl ances, br i ef l y, t ur ns away, l i f t s sheet s and Nor man gl ances, br i ef l y, t ur ns away, l i f t s sheet s and
pi l l ow cases of f t he shel f hol ds t hemcl ose, al most pi l l ow cases of f t he shel f hol ds t hemcl ose, al most
pr ot ect i vel y. pr ot ect i vel y.
NORMAN NORMAN
No. At l east I don' t r ecal l . No. At l east I don' t r ecal l .
ARBOGAST ARBOGAST
She mi ght have used an al i as. Mar y She mi ght have used an al i as. Mar y
Cr ane' s t he r eal name, but she Cr ane' s t he r eal name, but she
mi ght ' ve r egi st er ed. . . . mi ght ' ve r egi st er ed. . . .
NORMAN NORMAN
I don' t even bot her wi t h guest s I don' t even bot her wi t h guest s
r egi st er i ng any mor e . . . I mean, r egi st er i ng any mor e . . . I mean,
l i t t l e by l i t t l e, you dr op t he l i t t l e by l i t t l e, you dr op t he
f or mal i t i es. f or mal i t i es.
( mor e r el axed, because ( mor e r el axed, because
Ar bogast i s l i st eni ng Ar bogast i s l i st eni ng
wi t h a pl easant smi l e) wi t h a pl easant smi l e)
I shoul dn' t even bot her t o change I shoul dn' t even bot her t o change
t he l i nen. I guess habi t s di e t he l i nen. I guess habi t s di e
har d. Whi ch r emi nds me . . . har d. Whi ch r emi nds me . . .
He goes t o t he wal l , f l i ps a l i ght swi t ch. He goes t o t he wal l , f l i ps a l i ght swi t ch.
NORMAN NORMAN
The vacancy si gn. J ust i n case. The vacancy si gn. J ust i n case.
We had a coupl e t he ot her ni ght , We had a coupl e t he ot her ni ght ,
sai d i f t he si gn hasn' t been on sai d i f t he si gn hasn' t been on
t hey' d have t hought t hi s was an ol d t hey' d have t hought t hi s was an ol d
deser t ed mi ni ng t own or somet hi ng. deser t ed mi ni ng t own or somet hi ng.
ARBOGAST ARBOGAST
Now t her e' s a coupl e even r emar ki ng Now t her e' s a coupl e even r emar ki ng
about your si gn, and see how easi l y about your si gn, and see how easi l y
you f or got t hem? you f or got t hem?
NORMAN NORMAN
What ? What ?
ARBOGAST ARBOGAST
You t hought no one has st opped her e You t hought no one has st opped her e
i n weeks. Now, t r y t o r emember i f i n weeks. Now, t r y t o r emember i f
t hi s gi r l . . . t hi s gi r l . . .
( mor e) ( mor e)
ARBOGAST ( cont ' d) ARBOGAST ( cont ' d)
( A pause, a st udy) ( A pause, a st udy)
Maybe she even si gned t he r egi st er Maybe she even si gned t he r egi st er
. . . because habi t s di e har d. Let ' s . . . because habi t s di e har d. Let ' s
check i t , huh? check i t , huh?
Nor man says not hi ng. Ar bogast goes t o t he desk, pul l s Nor man says not hi ng. Ar bogast goes t o t he desk, pul l s
t he r egi st r y book ar ound, f l i ps back a page or t wo. t he r egi st r y book ar ound, f l i ps back a page or t wo.
Nor man si mpl y st ar es at t he man. Ar bogast hums f ai nt l y, Nor man si mpl y st ar es at t he man. Ar bogast hums f ai nt l y,
pl easant l y, as he exami nes t he pages. Then: pl easant l y, as he exami nes t he pages. Then:
ARBOGAST ARBOGAST
Yes si r ! Mar i e Samuel s. Yes si r ! Mar i e Samuel s.
I nt er est i ng al i as. I nt er est i ng al i as.
He t akes a sl i p of paper out of hi s pocket , l ays i t He t akes a sl i p of paper out of hi s pocket , l ays i t
besi de t he si gnat ur e i n t he r egi st r y book, al l t he whi l e besi de t he si gnat ur e i n t he r egi st r y book, al l t he whi l e
noddi ng and smi l i ng ni cel y, as i f t hi s di scover y wi l l noddi ng and smi l i ng ni cel y, as i f t hi s di scover y wi l l
make Nor man as happy as i t i s maki ng hi m. make Nor man as happy as i t i s maki ng hi m.
ARBOGAST ARBOGAST
Don' t know wher e she got " Mar i e, " Don' t know wher e she got " Mar i e, "
but " Samuel s" f i gur es. Her boy but " Samuel s" f i gur es. Her boy
f r i end' s name i s Sam. f r i end' s name i s Sam.
( Tur ns t o Nor man, t he ( Tur ns t o Nor man, t he
smi l e gone) smi l e gone)
Was she i n di sgui se? Or do you Was she i n di sgui se? Or do you
want t o check t he pi ct ur e agai n? want t o check t he pi ct ur e agai n?
NORMAN NORMAN
I di dn' t l i e t o you. I j ust have I di dn' t l i e t o you. I j ust have
t r oubl e keepi ng t r ack of . . . t i me. t r oubl e keepi ng t r ack of . . . t i me.
Ar bogast has r eached hi m, t he pi ct ur e ext ended. Nor man Ar bogast has r eached hi m, t he pi ct ur e ext ended. Nor man
l ooks dut i f ul l y at i t . l ooks dut i f ul l y at i t .
NORMAN NORMAN
I t was r ai ni ng and her hai r di dn' t I t was r ai ni ng and her hai r di dn' t
l ook l i ke t hat . . . damped out , I l ook l i ke t hat . . . damped out , I
guess. guess.
ARBOGAST ARBOGAST
Tel l me al l about her . Tel l me al l about her .
NORMAN NORMAN
She ar r i ved ki nd of l at e, wet and She ar r i ved ki nd of l at e, wet and
hungr y and she was ver y t i r ed and hungr y and she was ver y t i r ed and
went r i ght t o bed and l ef t ear l y. went r i ght t o bed and l ef t ear l y.
ARBOGAST ARBOGAST
How ear l y? How ear l y?
NORMAN NORMAN
Ver y ear l y. Dawn. Ver y ear l y. Dawn.
ARBOGAST ARBOGAST
Of whi ch mor ni ng? Of whi ch mor ni ng?
NORMAN NORMAN
The f ol l owi ng mor ni ng. Sunday. The f ol l owi ng mor ni ng. Sunday.
ARBOGAST ARBOGAST
No one met her ? No one met her ?
NORMAN NORMAN
No. No.
ARBOGAST ARBOGAST
Or ar r i ved wi t h her . Or ar r i ved wi t h her .
NORMAN NORMAN
No. No.
ARBOGAST ARBOGAST
She di dn' t cal l anyone? Even She di dn' t cal l anyone? Even
l ocal l y? l ocal l y?
NORMAN NORMAN
No. No.
ARBOGAST ARBOGAST
You di dn' t spend t he whol e ni ght You di dn' t spend t he whol e ni ght
wi t h her di d you? wi t h her di d you?
NORMAN NORMAN
No! Of al l . . . No! Of al l . . .
ARBOGAST ARBOGAST
How do you know she di dn' t make a How do you know she di dn' t make a
cal l ? cal l ?
NORMAN NORMAN
She was t i r ed. She sai d she had a She was t i r ed. She sai d she had a
l ong dr i ve ahead of her , i n t he l ong dr i ve ahead of her , i n t he
mor ni ng . . . Yes, now I ' m mor ni ng . . . Yes, now I ' m
r emember i ng ver y cl ear l y because r emember i ng ver y cl ear l y because
I ' mpi ct ur i ng. When you make a I ' mpi ct ur i ng. When you make a
pi ct ur e of t he moment i n your mi nd, pi ct ur e of t he moment i n your mi nd,
you can r emember ever y det ai l . She you can r emember ever y det ai l . She
was si t t i ng back t her e, no she was was si t t i ng back t her e, no she was
st andi ng up, wi t h some sandwi ch st andi ng up, wi t h some sandwi ch
st i l l i n her hand, and she sai d she st i l l i n her hand, and she sai d she
had t o dr i ve a l ong way. had t o dr i ve a l ong way.
ARBOGAST ARBOGAST
Back wher e? Back wher e?
NORMAN NORMAN
What do you mean? What do you mean?
ARBOGAST ARBOGAST
You sai d she was si t t i ng " back You sai d she was si t t i ng " back
t her e, " or st andi ng r at her . . . . t her e, " or st andi ng r at her . . . .
NORMAN NORMAN
Oh. My pr i vat e par l or . She had an Oh. My pr i vat e par l or . She had an
awf ul hunger . . . so I made her some awf ul hunger . . . so I made her some
supper . And t hen she went t o bed supper . And t hen she went t o bed
and l ef t i n t he mor ni ng. I di dn' t and l ef t i n t he mor ni ng. I di dn' t
even see her l eave. even see her l eave.
ARBOGAST ARBOGAST
How di d she pay you? How di d she pay you?
NORMAN NORMAN
What ? What ?
ARBOGAST ARBOGAST
Cash or check? For t he cabi n. . . Cash or check? For t he cabi n. . .
NORMAN NORMAN
Cash. Cash.
ARBOGAST ARBOGAST
And when she l ef t , she never came And when she l ef t , she never came
back. back.
NORMAN NORMAN
Why shoul d she? I ' msor r y, I have Why shoul d she? I ' msor r y, I have
wor k t o do, Mr . . . . i f you don' t wor k t o do, Mr . . . . i f you don' t
mi nd. . . mi nd. . .
ARBOGAST ARBOGAST
I do mi nd. I f i t don' t j el l , i t I do mi nd. I f i t don' t j el l , i t
ai n' t aspi c! ai n' t aspi c!
Thi s ai n' t j el l i ng. Thi s ai n' t j el l i ng.
NORMAN NORMAN
I don' t know what you expect me t o I don' t know what you expect me t o
know about . . . peopl e come and know about . . . peopl e come and
go . . . go . . .
ARBOGAST ARBOGAST
She i sn' t st i l l her e, i s she? She i sn' t st i l l her e, i s she?
NORMAN NORMAN
Not at al l ! Not at al l !
ARBOGAST ARBOGAST
Suppose I want ed t o sear ch t he Suppose I want ed t o sear ch t he
cabi ns, al l t wel ve . . . woul d I need cabi ns, al l t wel ve . . . woul d I need
a war r ant ? a war r ant ?
NORMAN NORMAN
( as i f pl easant l y ( as i f pl easant l y
exasper at ed) exasper at ed)
Look, i f you won' t bel i eve me, go Look, i f you won' t bel i eve me, go
ahead. You can hel p me make beds ahead. You can hel p me make beds
i f you l i ke. i f you l i ke.
( l aughs, shakes hi s ( l aughs, shakes hi s
head) head)
Come on. Come on.
He st ar t s out . Ar bogast pauses, moment ar i l y conf used by He st ar t s out . Ar bogast pauses, moment ar i l y conf used by
t he young man' s openness. t he young man' s openness.
CUT TO: CUT TO:
EXT. THE MOTEL PORCH - ( NI GHT) EXT. THE MOTEL PORCH - ( NI GHT)
Nor man wal ks down t he por ch, hesi t at es bef or e Cabi n One, Nor man wal ks down t he por ch, hesi t at es bef or e Cabi n One,
wal ks on a bi t t owar d Cabi n Two, st ops, t ur ns t o see i f wal ks on a bi t t owar d Cabi n Two, st ops, t ur ns t o see i f
Ar bogast i s f ol l owi ng. Ar bogast has come out ont o t he Ar bogast i s f ol l owi ng. Ar bogast has come out ont o t he
por ch, but i s not f ol l owi ng. He has wal ked t o t he por ch, but i s not f ol l owi ng. He has wal ked t o t he
opposi t e end of t he por ch and i s st andi ng at i t s edge, opposi t e end of t he por ch and i s st andi ng at i t s edge,
l ooki ng up at t he ol d house. The upst ai r s wi ndow i s i n l ooki ng up at t he ol d house. The upst ai r s wi ndow i s i n
dar kness. The neon of t he Vacancy and Mot el si gns dar kness. The neon of t he Vacancy and Mot el si gns
spl ash st r ange l i ght over t he scene. spl ash st r ange l i ght over t he scene.
NORMAN NORMAN
Change your mi nd? Change your mi nd?
Ar bogast does not r epl y. Nor man becomes appr ehensi ve, Ar bogast does not r epl y. Nor man becomes appr ehensi ve,
st ar t s t o Ar bogast , f or ci ng hi msel f t o r emai n cal mand st ar t s t o Ar bogast , f or ci ng hi msel f t o r emai n cal mand
cheer f ul . cheer f ul .
NORMAN NORMAN
I guess I ' ve got one of t hose f aces I guess I ' ve got one of t hose f aces
you can' t hel p bel i evi ng. you can' t hel p bel i evi ng.
ARBOGAST ARBOGAST
( t o Nor man, but ( t o Nor man, but
cont i nui ng t o st ar e cont i nui ng t o st ar e
at t he house) at t he house)
Anyone at home? Anyone at home?
NORMAN NORMAN
I l i ve t her e. Al one. I l i ve t her e. Al one.
ARBOGAST ARBOGAST
Someone i s si t t i ng i n t hat wi ndow. Someone i s si t t i ng i n t hat wi ndow.
NORMAN NORMAN
My mot her . My mot her .
Ar bogast t ur ns, gazes ser i ousl y at hi m. Ar bogast t ur ns, gazes ser i ousl y at hi m.
NORMAN NORMAN
She' s . . . i l l . Conf i ned t o her She' s . . . i l l . Conf i ned t o her
r oom. I t ' s pr act i cal l y l i vi ng r oom. I t ' s pr act i cal l y l i vi ng
al one. al one.
ARBOGAST ARBOGAST
( af t er a pause) ( af t er a pause)
I f t hi s gi r l Mar y Cr ane wer e her e, I f t hi s gi r l Mar y Cr ane wer e her e,
you' d have no r eason t o hi de her you' d have no r eason t o hi de her
woul d you? woul d you?
NORMAN NORMAN
Of cour se not . Of cour se not .
ARBOGAST ARBOGAST
I f she pai d you wel l ? I f she pai d you wel l ?
NORMAN NORMAN
Now, l ook . . . ! Now, l ook . . . !
ARBOGAST ARBOGAST
Or i f she had you say . . . gal l ant l y Or i f she had you say . . . gal l ant l y
pr ot ect i ng her . . . you woul dn' t be pr ot ect i ng her . . . you woul dn' t be
f ool ed . . . you' d know she was j ust f ool ed . . . you' d know she was j ust
usi ng you. Woul dn' t you? usi ng you. Woul dn' t you?
NORMAN NORMAN
I ' mnot a f ool ! And I ' mnot I ' mnot a f ool ! And I ' mnot
capabl e of bei ng f ool ed! Not even capabl e of bei ng f ool ed! Not even
by women! by women!
ARBOGAST ARBOGAST
I di dn' t mean t hat as a sl ur on I di dn' t mean t hat as a sl ur on
your manhood. I ' msor r y. your manhood. I ' msor r y.
NORMAN NORMAN
( di st ur bed now) ( di st ur bed now)
That ' s al l r i ght . maybe she coul d That ' s al l r i ght . maybe she coul d
have f ool ed me. But . . . have f ool ed me. But . . .
( a r uef ul smi l e) ( a r uef ul smi l e)
She di dn' t f ool my mot her . She di dn' t f ool my mot her .
ARBOGAST ARBOGAST
Your mot her met her ? Your mot her met her ?
( qui ckl y) ( qui ckl y)
Can I t al k t o your mot her ? Can I t al k t o your mot her ?
NORMAN NORMAN
No. I t ol d you, she' s conf i ned. . . No. I t ol d you, she' s conf i ned. . .
ARBOGAST ARBOGAST
J ust f or a moment . She mi ght have J ust f or a moment . She mi ght have
pi cked up a hi nt you' d mi ss. pi cked up a hi nt you' d mi ss.
( mor e) ( mor e)
ARBOGAST ( cont ' d) ARBOGAST ( cont ' d)
Si ck ol d women ar e shar p. Come on, Si ck ol d women ar e shar p. Come on,
I won' t di st ur b. . . I won' t di st ur b. . .
NORMAN NORMAN
No! J ust no! I have one of t hose No! J ust no! I have one of t hose
br eaki ng poi nt s l i ke any ot her man, br eaki ng poi nt s l i ke any ot her man,
bel i eve i t or not , and I ' mnear i t . bel i eve i t or not , and I ' mnear i t .
Ther e' s j ust so much pushi ng I can Ther e' s j ust so much pushi ng I can
t ake and I t hi nk . . . t ake and I t hi nk . . .
ARBOGAST ARBOGAST
Al l r i ght ! Al l r i ght !
( st ar t s away, t owar d ( st ar t s away, t owar d
hi s car , pauses) hi s car , pauses)
Mi ght save me a l ot of l eg- wor k i f Mi ght save me a l ot of l eg- wor k i f
I coul d j ust t al k t o your mot her . I coul d j ust t al k t o your mot her .
But I ' d need a war r ant f or t hat , But I ' d need a war r ant f or t hat ,
won' t I ? won' t I ?
Nor man does not r espond. Ar bogast get s i n hi s car , Nor man does not r espond. Ar bogast get s i n hi s car ,
st ar t s t he mot or . Nor man l ooks up, st udi es t he man' s st ar t s t he mot or . Nor man l ooks up, st udi es t he man' s
f ace, hi s own f ace showi ng appr ehensi on. Ar bogast backs f ace, hi s own f ace showi ng appr ehensi on. Ar bogast backs
t he car ar ound ver y sl owl y, hi s gaze di vi ded bet ween t he t he car ar ound ver y sl owl y, hi s gaze di vi ded bet ween t he
ol d house and t he l i ght ed wi ndow of Cabi n Two. As he ol d house and t he l i ght ed wi ndow of Cabi n Two. As he
t ur ns t he car out , hi s headl i ght s l i ght up t he por ch. t ur ns t he car out , hi s headl i ght s l i ght up t he por ch.
Nor man st ands, wat chi ng hi mdr i ve away. Nor man st ands, wat chi ng hi mdr i ve away.
EXT. PHONE BOOTH - ( NI GHT) EXT. PHONE BOOTH - ( NI GHT)
The car pul l s up and Ar bogast get s out of car , l eavi ng The car pul l s up and Ar bogast get s out of car , l eavi ng
mot or r unni ng. As he st ar t s t o wal k acr oss t he hi ghway, mot or r unni ng. As he st ar t s t o wal k acr oss t he hi ghway,
CAMERA PULLS AWAY and we CAMERA PULLS AWAY and we
CUT TO: CUT TO:
EXT. HI GHWAY WI TH TELEPHONE BOOTH - ( NI GHT) EXT. HI GHWAY WI TH TELEPHONE BOOTH - ( NI GHT)
Ar bogast get s t o t he phone boot h, ent er s. CAMERA STARTS Ar bogast get s t o t he phone boot h, ent er s. CAMERA STARTS
FORWARD, and we see Ar bogast r emove a smal l not ebook FORWARD, and we see Ar bogast r emove a smal l not ebook
f r omhi s pocket , check on a number , dr op a di me i n t he f r omhi s pocket , check on a number , dr op a di me i n t he
sl ot and di al t hi s number . As we r each phone boot h, sl ot and di al t hi s number . As we r each phone boot h,
CUT TO: CUT TO:
ARBOGAST ARBOGAST
( i nt o phone) ( i nt o phone)
Mi ss Cr ane, pl ease. Mi ss Cr ane, pl ease.
( l i st ens) ( l i st ens)
She l eave a number ? She l eave a number ?
Thanks. Thanks.
( hangs up, di al s ( hangs up, di al s
agai n, wai t s) agai n, wai t s)
Li l a t her e, Mr . Loomi s? Ar bogast . Li l a t her e, Mr . Loomi s? Ar bogast .
( wai t s) ( wai t s)
Li l a? Look, t hi s i sn' t much, but Li l a? Look, t hi s i sn' t much, but
i t mi ght make you f eel a l i t t l e i t mi ght make you f eel a l i t t l e
bet t er . Mar y was up her e. Spent bet t er . Mar y was up her e. Spent
l ast Sat ur day ni ght at Bat es' l ast Sat ur day ni ght at Bat es'
Mot el , out her e on t he ol d hi ghway. Mot el , out her e on t he ol d hi ghway.
Young f el l ow r uns i t , sai d Mar y Young f el l ow r uns i t , sai d Mar y
spent t he ni ght , l ef t , per i od! spent t he ni ght , l ef t , per i od!
I di d quest i on hi m, bel i eve me. I I di d quest i on hi m, bel i eve me. I
t hi nk I got al l t her e was t o get . t hi nk I got al l t her e was t o get .
J ust have t o t r y t o pi ck up t he J ust have t o t r y t o pi ck up t he
scent f r omher e. scent f r omher e.
Wel l . . . maybe t hat ' s because I Wel l . . . maybe t hat ' s because I
don' t f eel ent i r el y sat i sf i ed. don' t f eel ent i r el y sat i sf i ed.
He' s got a si ck ol d mot her , He' s got a si ck ol d mot her ,
conf i ned t ype, and I t hi nk she saw conf i ned t ype, and I t hi nk she saw
Mar y and t al ked t o her . Shame, t oo Mar y and t al ked t o her . Shame, t oo
. . . conf i ned ol d women l ove t o t al k . . . conf i ned ol d women l ove t o t al k
t o st r anger s. t o st r anger s.
I was, but I t hi nk I ' l l go back t o I was, but I t hi nk I ' l l go back t o
t he mot el , f i r st . t he mot el , f i r st .
No, you st ay put , Li l a. Wi t h No, you st ay put , Li l a. Wi t h
Loomi s. I shoul d be back i n an Loomi s. I shoul d be back i n an
hour . hour .
Al l r i ght . And Li l a . . . You' l l be Al l r i ght . And Li l a . . . You' l l be
happy t o know what I t hi nk. I happy t o know what I t hi nk. I
t hi nk our f r i end SamLoomi s di dn' t t hi nk our f r i end SamLoomi s di dn' t
even know Mar y was her e. even know Mar y was her e.
See you i n an hour . Or l ess. See you i n an hour . Or l ess.
He hangs up, get s out of t he phone boot h. He hangs up, get s out of t he phone boot h.
EXT. BATES' MOTEL - ( NI GHT) EXT. BATES' MOTEL - ( NI GHT)
A di st ant vi ew of t he House and Mot el . Ther e i s a l i ght A di st ant vi ew of t he House and Mot el . Ther e i s a l i ght
on i n t he house. Ther e i s al so a l i ght on i n Nor man' s on i n t he house. Ther e i s al so a l i ght on i n Nor man' s
of f i ce. We see Nor man emer ge f r omhi s of f i ce and move of f i ce. We see Nor man emer ge f r omhi s of f i ce and move
al ong t he por ch t owar d t he di st ant cabi ns. He car r i es al ong t he por ch t owar d t he di st ant cabi ns. He car r i es
sheet s on hi s ar m. He goes i nt o t he l ast cabi n and sheet s on hi s ar m. He goes i nt o t he l ast cabi n and
swi t ches t he l i ght on. I nt o t he f or egr ound t he hood of swi t ches t he l i ght on. I nt o t he f or egr ound t he hood of
t he whi t e For d ent er s t he scene and st ops. Ar bogast t he whi t e For d ent er s t he scene and st ops. Ar bogast
get s out . He goes over t o t he Mot el of f i ce. get s out . He goes over t o t he Mot el of f i ce.
EXT. MOTEL OFFI CE - ( NI GHT) EXT. MOTEL OFFI CE - ( NI GHT)
Ar bogast goes i n. Ar bogast goes i n.
I NT. OFFI CE - ( NI GHT) I NT. OFFI CE - ( NI GHT)
Ar bogast l ooks ar ound t he empt y of f i ce and cal l s. Ar bogast l ooks ar ound t he empt y of f i ce and cal l s.
ARBOGAST ARBOGAST
Bat es! Bat es!
He goes over t o t he door t o t he par l or and ent er s. He He goes over t o t he door t o t he par l or and ent er s. He
l ooks ar ound t he bi r d- r i dden r oom. He st ops shor t as he l ooks ar ound t he bi r d- r i dden r oom. He st ops shor t as he
sees: sees:
C. U. - THE OLD SAFE I N THE CORNER C. U. - THE OLD SAFE I N THE CORNER
C. U. - ARBOGAST C. U. - ARBOGAST
goes over t o i t . He f i nds i t unl ocked. Wi t h a qui ck, goes over t o i t . He f i nds i t unl ocked. Wi t h a qui ck,
caut i ous l ook ar ound he opens i t . caut i ous l ook ar ound he opens i t .
C. U. - THE EMPTY SAFE C. U. - THE EMPTY SAFE
st r ai ght ens up and goes out . st r ai ght ens up and goes out .
EXT. MOTEL OFFI CE - ( NI GHT) EXT. MOTEL OFFI CE - ( NI GHT)
Ar bogast comes out and l ooks of f . He sees: Ar bogast comes out and l ooks of f . He sees:
THE LAST LI T CABI N THE LAST LI T CABI N
The door aj ar . The door aj ar .
C. U. - ARBOGAST - ( NI GHT) C. U. - ARBOGAST - ( NI GHT)
woul d go al ong but he st ops wi t h a new t hought . He woul d go al ong but he st ops wi t h a new t hought . He
t ur ns ar ound and l ooks of f . t ur ns ar ound and l ooks of f .
L. S. - THE OLD HOUSE FROM HI S VI EWPOI NT - ( NI GHT) L. S. - THE OLD HOUSE FROM HI S VI EWPOI NT - ( NI GHT)
comes t o a deci si on. He goes of f . comes t o a deci si on. He goes of f .
L. S. ARBOGAST L. S. ARBOGAST
dashes up t he st one st eps t o t he House. dashes up t he st one st eps t o t he House.
MEDI UM SHOT MEDI UM SHOT
CAMERA HOLDS as Ar bogast goes up ont o t he por ch. The CAMERA HOLDS as Ar bogast goes up ont o t he por ch. The
house i s dar k wi t hi n except , as wee can now see, f or a house i s dar k wi t hi n except , as wee can now see, f or a
f ai nt spi l l of l i ght i n t he f oyer , l i ght whi ch comes f ai nt spi l l of l i ght i n t he f oyer , l i ght whi ch comes
f r omt he upst ai r s hal l . Ar bogast goes t o t he l i vi ng f r omt he upst ai r s hal l . Ar bogast goes t o t he l i vi ng
r oomwi ndow, l ooks i n, sees onl y dar kness. Then he goes r oomwi ndow, l ooks i n, sees onl y dar kness. Then he goes
t o t he door , l i st ens f or al ong moment , hear s not hi ng. t o t he door , l i st ens f or al ong moment , hear s not hi ng.
Ver y sl owl y, al most pai nf ul l y, he t ur ns t he knob of t he Ver y sl owl y, al most pai nf ul l y, he t ur ns t he knob of t he
door and pushes gent l y wi t h hi s ar mand shoul der . The door and pushes gent l y wi t h hi s ar mand shoul der . The
door begi ns t o open. He al l ows i t t o open j ust enough door begi ns t o open. He al l ows i t t o open j ust enough
f or hi mt o sl i p t hr ough and i nt o t he f oyer . f or hi mt o sl i p t hr ough and i nt o t he f oyer .
CUT TO: CUT TO:
I NT. FOYER OF BATES' HOUSE - ( NI GHT) I NT. FOYER OF BATES' HOUSE - ( NI GHT)
Ar bogast gr adual l y eases t he door cl osed, st ands agai nst Ar bogast gr adual l y eases t he door cl osed, st ands agai nst
i t , wai t i ng. He l ooks up i n t he di r ect i on of t he l i ght , i t , wai t i ng. He l ooks up i n t he di r ect i on of t he l i ght ,
sees no one. The door at t he head of t he st ai r s i s sees no one. The door at t he head of t he st ai r s i s
cl osed. Ar bogast l i st ens, hol ds hi s br eat h, hear s what cl osed. Ar bogast l i st ens, hol ds hi s br eat h, hear s what
coul d be human sounds comi ng f r omupst ai r s but r eal i zes coul d be human sounds comi ng f r omupst ai r s but r eal i zes
t hese coul d al so be t he sounds of an ol d house af t er t hese coul d al so be t he sounds of an ol d house af t er
sunset . Af t er a car ef ul wai t , he cr osses t o t he st ai r s, sunset . Af t er a car ef ul wai t , he cr osses t o t he st ai r s,
st ar t s up, sl owl y, guar dedl y, pl aci ng a f oot squar el y on st ar t s up, sl owl y, guar dedl y, pl aci ng a f oot squar el y on
each st ep t o t est i t f or squeaks or gr oans bef or e each st ep t o t est i t f or squeaks or gr oans bef or e
pl aci ng hi s f ul l wei ght on i t . CAMERA FOLLOWS, pl aci ng hi s f ul l wei ght on i t . CAMERA FOLLOWS,
r emai ni ng on f l oor l evel but TRAVELLI NG ALONG t he r emai ni ng on f l oor l evel but TRAVELLI NG ALONG t he
st ai r way as Ar bogast makes hi s way up. st ai r way as Ar bogast makes hi s way up.
CUT TO: CUT TO:
I NT. STAI RWAY AND UPSTAI RS LANDI NG - EXTREMELY HI GH ANGLE I NT. STAI RWAY AND UPSTAI RS LANDI NG - EXTREMELY HI GH ANGLE
We see Ar bogast comi ng up t he st ai r s. And now we see, We see Ar bogast comi ng up t he st ai r s. And now we see,
t oo, t he door of t he mot her ' s r oom, openi ng, car ef ul l y t oo, t he door of t he mot her ' s r oom, openi ng, car ef ul l y
and sl owl y. and sl owl y.
As Ar bogast r eaches t he l andi ng, t he door opens and t he As Ar bogast r eaches t he l andi ng, t he door opens and t he
mot her st eps out , her hand r ai ses hi gh, t he bl ade of an mot her st eps out , her hand r ai ses hi gh, t he bl ade of an
enor mous kni f e f l ashi ng. enor mous kni f e f l ashi ng.
C. U. - A BI G HEAD OF AN ASTONI SHED ARBOGAST C. U. - A BI G HEAD OF AN ASTONI SHED ARBOGAST
The kni f e sl ashes acr oss hi s cheek and neck. Bl ood The kni f e sl ashes acr oss hi s cheek and neck. Bl ood
spur t s. The sudden at t ack t hr ows hi mof f bal ance. He spur t s. The sudden at t ack t hr ows hi mof f bal ance. He
st umbl es back and st agger s down t he whol e of t he st umbl es back and st agger s down t he whol e of t he
st ai r case. He f r ant i cal l y gr opes f or t he bal ust r ade as st ai r case. He f r ant i cal l y gr opes f or t he bal ust r ade as
he goes backwar ds down t he st ai r s. The CAMERA FOLLOWS he goes backwar ds down t he st ai r s. The CAMERA FOLLOWS
hi mal l t he way. A wi cked kni f e keeps t hr ust i ng i t sel f hi mal l t he way. A wi cked kni f e keeps t hr ust i ng i t sel f
i nt o t he f or egr ound. As he col l apses at t he bot t om, t he i nt o t he f or egr ound. As he col l apses at t he bot t om, t he
bl ack head and shoul der s of Mr s. Bat es pl unges i nt o t he bl ack head and shoul der s of Mr s. Bat es pl unges i nt o t he
f or egr ound as t he CAMERA MOVES I N t o cont ai n t he r ai si ng f or egr ound as t he CAMERA MOVES I N t o cont ai n t he r ai si ng
and descendi ng mur der weapon. and descendi ng mur der weapon.
FADE OUT. FADE OUT.
FADE I N: FADE I N:
I NT. BACK ROOM OF HARDWARE STORE - ( NI GHT) I NT. BACK ROOM OF HARDWARE STORE - ( NI GHT)
Li l a i s si t t i ng cl ose by t he phone, and l ooks as i f she Li l a i s si t t i ng cl ose by t he phone, and l ooks as i f she
hasn' t moved f r omi t i n t he l ast hour . Sami s paci ng, hasn' t moved f r omi t i n t he l ast hour . Sami s paci ng,
occasi onal l y st oppi ng at t he wi ndow, gl anci ng out , occasi onal l y st oppi ng at t he wi ndow, gl anci ng out ,
paci ng agai n. The ash t r ay cl ose t o Li l a i s f i l l ed. paci ng agai n. The ash t r ay cl ose t o Li l a i s f i l l ed.
Ther e i s a t hi ck at mospher e of smoke, t ensi on and Ther e i s a t hi ck at mospher e of smoke, t ensi on and
wear i ness i n t he smal l , ot her wi se cozy r oom. wear i ness i n t he smal l , ot her wi se cozy r oom.
SAM SAM
( at wi ndow, qui et l y) ( at wi ndow, qui et l y)
Somet i mes Sat ur day ni ght has a Somet i mes Sat ur day ni ght has a
l onel y sound. Ever not i ce, Li l a? l onel y sound. Ever not i ce, Li l a?
LI LA LI LA
( unabl e t o keep up ( unabl e t o keep up
smal l t al k) smal l t al k)
Sam. He sai d an hour . Or l ess. Sam. He sai d an hour . Or l ess.
SAM SAM
I t ' s been t hr ee. I t ' s been t hr ee.
LI LA LI LA
Ar e we j ust goi ng t o go on si t t i ng Ar e we j ust goi ng t o go on si t t i ng
her e? her e?
SAM SAM
( suddenl y cheer f ul ) ( suddenl y cheer f ul )
He' l l be back. Let ' s si t st i l l and He' l l be back. Let ' s si t st i l l and
hang on, okay? hang on, okay?
LI LA LI LA
You have an awf ul l y ni ce habi t , Sam. You have an awf ul l y ni ce habi t , Sam.
SAM SAM
Hundr eds! Whi ch one i s your pet ? Hundr eds! Whi ch one i s your pet ?
LI LA LI LA
Whenever I st ar t cont empl at i ng t he Whenever I st ar t cont empl at i ng t he
pani c but t on, your back st r ai ght ens pani c but t on, your back st r ai ght ens
up and your eyes get t hat God- Looks- up and your eyes get t hat God- Looks-
out - f or - ever ybody l ook and . . . I out - f or - ever ybody l ook and . . . I
f eel bet t er . f eel bet t er .
SAM SAM
I f eel bet t er when you f eel bet t er . I f eel bet t er when you f eel bet t er .
LI LA LI LA
( a pause - t hen she ( a pause - t hen she
r i ses) r i ses)
Wher e' s t he ol d hi ghway? Wher e' s t he ol d hi ghway?
SAM SAM
You want t o r un out t her e, bust i n You want t o r un out t her e, bust i n
on Ar bogast and t he si ck ol d l ady, on Ar bogast and t he si ck ol d l ady,
shake her up and maybe spoi l shake her up and maybe spoi l
ever yt hi ng Ar bogast ' s been bui l di ng ever yt hi ng Ar bogast ' s been bui l di ng
f or t he l ast t hr ee hour s. f or t he l ast t hr ee hour s.
LI LA LI LA
Yes. Yes.
SAM SAM
That woul dn' t be a wi se t hi ng t o do. That woul dn' t be a wi se t hi ng t o do.
LI LA LI LA
Pat i ence doesn' t r un i n our f ami l y. Pat i ence doesn' t r un i n our f ami l y.
Sam, I ' mgoi ng out t her e! Sam, I ' mgoi ng out t her e!
SAM SAM
Ar bogast sai d . . . Ar bogast sai d . . .
LI LA LI LA
An hour ! Or l ess! An hour ! Or l ess!
Samst ar es at her , f r owns i n concer n over her ver y r eal Samst ar es at her , f r owns i n concer n over her ver y r eal
anxi et y, goes t o t he phone, di al s oper at or . anxi et y, goes t o t he phone, di al s oper at or .
SAM SAM
Got t he number of t he mot el out on Got t he number of t he mot el out on
t he ol d hi ghway? Bat es, I t hi nk. t he ol d hi ghway? Bat es, I t hi nk.
( wai t s) ( wai t s)
LI LA LI LA
Sam! Why cal l when we can go? Sam! Why cal l when we can go?
SAM SAM
And maybe pass Ar bogast on t he r oad? And maybe pass Ar bogast on t he r oad?
Thanks. Thanks.
He pr esses down t he r ecei ver , r el eases i t , di al s Bat es' He pr esses down t he r ecei ver , r el eases i t , di al s Bat es'
Mot el . The f ai nt ot her - end r i ngi ng t ones can be hear d, Mot el . The f ai nt ot her - end r i ngi ng t ones can be hear d,
r epeat edl y, annoyi ngl y. He wai t s. r epeat edl y, annoyi ngl y. He wai t s.
SAM SAM
( t o Li l a) ( t o Li l a)
Pr obabl y on hi s way back r i ght now. Pr obabl y on hi s way back r i ght now.
LI LA LI LA
Sam, I ' mgoi ng. Sam, I ' mgoi ng.
SAM SAM
( hangs up and pi cks up ( hangs up and pi cks up
hi s j acket ) hi s j acket )
You' l l never f i nd i t . You' l l never f i nd i t .
He st ar t s f or t he door . Li l a f ol l ows af t er hi mi nt o t he He st ar t s f or t he door . Li l a f ol l ows af t er hi mi nt o t he
st or e. st or e.
I NT. STORE I NT. STORE
He pauses hal f way down, t ur ns, put s hi s hands on her He pauses hal f way down, t ur ns, put s hi s hands on her
ar ms. ar ms.
SAM SAM
St ay her e. St ay her e.
LI LA LI LA
Why can' t I go out t her e wi t h you? Why can' t I go out t her e wi t h you?
SAM SAM
( l ooks at her ) ( l ooks at her )
I don' t know. . . I don' t know. . .
( he col l ect s hi msel f ) ( he col l ect s hi msel f )
One of us has t o be her e i n case One of us has t o be her e i n case
Ar bogast ' s on t he way. Ar bogast ' s on t he way.
LI LA LI LA
( ner vousl y) ( ner vousl y)
J ust wai t her e? J ust wai t her e?
SAM SAM
( a war msmi l e) ( a war msmi l e)
Cont empl at e your . . . pani c but t on. Cont empl at e your . . . pani c but t on.
He hur r i es down t o t he st r eet door and out . CAMERA He hur r i es down t o t he st r eet door and out . CAMERA
HOLDS on Li l a as she st ar es af t er Sam. As she st ands HOLDS on Li l a as she st ar es af t er Sam. As she st ands
al one i n t he dar kened st or e, al l t he har dwar e seems t o al one i n t he dar kened st or e, al l t he har dwar e seems t o
t ake on si ni st er shapes. t ake on si ni st er shapes.
C. U. C. U.
Among some bat hr oomf i t t i ngs a nozzl e f r oma shower Among some bat hr oomf i t t i ngs a nozzl e f r oma shower
f al l s ont o t he f l oor . f al l s ont o t he f l oor .
Li l a t ur ns and pi cks i f f r omt he f l oor and put s i t back Li l a t ur ns and pi cks i f f r omt he f l oor and put s i t back
i n i t s pl ace. She t ur ns and agai n l ooks t o t he deser t ed i n i t s pl ace. She t ur ns and agai n l ooks t o t he deser t ed
st r eet wi t h a t ouch of anxi et y. She gi ves a sl i ght st r eet wi t h a t ouch of anxi et y. She gi ves a sl i ght
unconsci ous shi ver . unconsci ous shi ver .
EXT. THE SWAMP - ( NI GHT) EXT. THE SWAMP - ( NI GHT)
Tel l and l onel y st i l l agai nst t he moonl i ght , t he f i gur e Tel l and l onel y st i l l agai nst t he moonl i ght , t he f i gur e
of Nor man, si l houet t ed. He doesn' t move, mer el y st ands of Nor man, si l houet t ed. He doesn' t move, mer el y st ands
t her e at t he edge of t he swamp, st ar i ng down at t he now t her e at t he edge of t he swamp, st ar i ng down at t he now
cal mand qui et f ace of i t . cal mand qui et f ace of i t .
CUT TO: CUT TO:
EXT. THE MOTEL AND HOUSE - ( NI GHT) EXT. THE MOTEL AND HOUSE - ( NI GHT)
Al l l i ght ar e out , except t he l i ght i n Nor man' s mot her ' s Al l l i ght ar e out , except t he l i ght i n Nor man' s mot her ' s
r oom. And her f i gur e can be seen si t t i ng i n t he wi ndow, r oom. And her f i gur e can be seen si t t i ng i n t he wi ndow,
r el axed i n a hi gh- back chai r , her f ace t ur ned i nt o t he r el axed i n a hi gh- back chai r , her f ace t ur ned i nt o t he
r oom. Af t er a second, we hear t he SOUND OF A MOTOR, and r oom. Af t er a second, we hear t he SOUND OF A MOTOR, and
t hen Sam' s smal l pi ckup t r uck swi ngs i nt o t he dr i veway. t hen Sam' s smal l pi ckup t r uck swi ngs i nt o t he dr i veway.
Samst ops t he mot or , aut omat i cal l y swi t ches of f Samst ops t he mot or , aut omat i cal l y swi t ches of f
headl i ght s, pauses as he obser ves t he si l ence and headl i ght s, pauses as he obser ves t he si l ence and
dar kness of t he ar ea. Then he hops out of t he cab, goes dar kness of t he ar ea. Then he hops out of t he cab, goes
qui ckl y t o t he of f i ce, knocks on t he door . As he wai t s qui ckl y t o t he of f i ce, knocks on t he door . As he wai t s
f or a r esponse, he l ooks down t he l ong por ch, st udi es f or a r esponse, he l ooks down t he l ong por ch, st udi es
t he dar kened cabi ns, knocks agai n, l ouder , l ooks i n t he t he dar kened cabi ns, knocks agai n, l ouder , l ooks i n t he
ot her di r ect i on and sees t he house and t he f i gur e at t he ot her di r ect i on and sees t he house and t he f i gur e at t he
one l i t wi ndow. He st ar es a moment t hen cal l s l oudl y: one l i t wi ndow. He st ar es a moment t hen cal l s l oudl y:
SAM SAM
Ar bogast ? Ar bogast ?
CUT TO: CUT TO:
EXT. THE SWAMP EXT. THE SWAMP
The si l houet t e of Nor man. He i s st i l l . Over shot , ver y The si l houet t e of Nor man. He i s st i l l . Over shot , ver y
di ml y, comes t he SOUND OF SAM' S VOI CE, cal l i ng agai n f or di ml y, comes t he SOUND OF SAM' S VOI CE, cal l i ng agai n f or
Ar bogast . Ar bogast .
Nor man t ur ns sl owl y unt i l , i n si l houet t e, we see hi s Nor man t ur ns sl owl y unt i l , i n si l houet t e, we see hi s
pr of i l e, hi s chi n l ower ed f ur t i vel y as he l ooks over hi s pr of i l e, hi s chi n l ower ed f ur t i vel y as he l ooks over hi s
shoul der i n t he di r ect i on of t he house. Ther e i s shoul der i n t he di r ect i on of t he house. Ther e i s
si l ence f or a moment , and t hen agai n t he SOUND of Sam si l ence f or a moment , and t hen agai n t he SOUND of Sam
POUNDI NG at t he door . POUNDI NG at t he door .
I NT. HARDWARE STORE - ( NI GHT) I NT. HARDWARE STORE - ( NI GHT)
The st or e i s i n dar kness, onl y t he gl ow f r omt he back The st or e i s i n dar kness, onl y t he gl ow f r omt he back
r oomspi l l i ng i n. r oomspi l l i ng i n.
L. S. L. S.
Wi t h CAMERA pl aced wi t h i t s back t o t he st r eet door , we Wi t h CAMERA pl aced wi t h i t s back t o t he st r eet door , we
can see t he di st ant t i ny f i gur e of Li l a seat ed and can see t he di st ant t i ny f i gur e of Li l a seat ed and
wai t i ng i n t he back r oombeyond. Ther e i s a SOUND of a wai t i ng i n t he back r oombeyond. Ther e i s a SOUND of a
car pul l i ng up. The t i ny f i gur e j umps up and r uns al l car pul l i ng up. The t i ny f i gur e j umps up and r uns al l
t he way f r omt he back r oomdown t he ai sl e of har dwar e t he way f r omt he back r oomdown t he ai sl e of har dwar e
and comes i nt o a BI G HEAD. We see Li l a' s desper at e and comes i nt o a BI G HEAD. We see Li l a' s desper at e
anxi ous l ook. anxi ous l ook.
Fr omher vi ewpoi nt we see Samal i ght i ng f r omhi s t r uck Fr omher vi ewpoi nt we see Samal i ght i ng f r omhi s t r uck
and comi ng t owar d t he door of t he st or e. He ent er s. He and comi ng t owar d t he door of t he st or e. He ent er s. He
and Li l a exchange qui et gl ances. and Li l a exchange qui et gl ances.
SAM SAM
He di dn' t come back her e? He di dn' t come back her e?
LI LA LI LA
( wor r i edl y) ( wor r i edl y)
Sam. Sam.
SAM SAM
No Ar bogast . No Bat es. And onl y No Ar bogast . No Bat es. And onl y
t he ol d l ady at home. . . t he ol d l ady at home. . .
( f r owni ng) ( f r owni ng)
A si ck ol d l ady unabl e t o answer A si ck ol d l ady unabl e t o answer
t he door . . . or unwi l l i ng. t he door . . . or unwi l l i ng.
LI LA LI LA
Wher e coul d he have gone? Wher e coul d he have gone?
SAM SAM
Maybe he got some def i ni t e l ead. Maybe he got some def i ni t e l ead.
Maybe he went r i ght on . . . Maybe he went r i ght on . . .
LI LA LI LA
Wi t hout cal l i ng me? Wi t hout cal l i ng me?
SAM SAM
I n a hur r y. I n a hur r y.
LI LA LI LA
Sam, he cal l ed me when he had Sam, he cal l ed me when he had
not hi ng def i ni t e, not hi ng but a not hi ng def i ni t e, not hi ng but a
di ssat i sf i ed f eel i ng. Don' t you di ssat i sf i ed f eel i ng. Don' t you
t hi nk he' d have cal l ed i f he had t hi nk he' d have cal l ed i f he had
anyt hi ng. . . anyt hi ng. . .
SAM SAM
Yes. I t hi nk he woul d have. Yes. I t hi nk he woul d have.
Li l a goes qui et . Samst ar t s t owar d t he back r oom, Li l a goes qui et . Samst ar t s t owar d t he back r oom,
pauses at t he door way, t ur ns. Li l a has r emai ned by t he pauses at t he door way, t ur ns. Li l a has r emai ned by t he
door , l ooki ng out at t he st r eet . She f eel s hi s pause, door , l ooki ng out at t he st r eet . She f eel s hi s pause,
t ur ns, and f or a moment t hey shar e at each ot her acr oss t ur ns, and f or a moment t hey shar e at each ot her acr oss
t he dar kened r oom. t he dar kened r oom.
SAM SAM
Let ' s go see Al Chamber s. Let ' s go see Al Chamber s.
LI LA LI LA
Who' s he? Who' s he?
SAM SAM
He' s t he Deput e Sher i f f ar ound her e. He' s t he Deput e Sher i f f ar ound her e.
As he st ar t s f or war d. As he st ar t s f or war d.
EXT. STREET THE SHERI FF LI VES ON - ( NI GHT) EXT. STREET THE SHERI FF LI VES ON - ( NI GHT)
A dar k, qui et , t r ee- cei l i nged st r eet , t he smal l neat A dar k, qui et , t r ee- cei l i nged st r eet , t he smal l neat
houses di mi n t he moonl i ght . Sam' s pi ckup t r uck comes houses di mi n t he moonl i ght . Sam' s pi ckup t r uck comes
down t he st r eet , pul l s up bef or e t he house of Sher i f f down t he st r eet , pul l s up bef or e t he house of Sher i f f
Chamber s. CAMERA MOVES I N on Samand Li l a as t hey Chamber s. CAMERA MOVES I N on Samand Li l a as t hey
r emai n f or a moment i n t he t r uck' s cab, st ar i ng qui et l y r emai n f or a moment i n t he t r uck' s cab, st ar i ng qui et l y
at t he sl eepi ng house. at t he sl eepi ng house.
SAM SAM
Our Deput y sl eeps. Our Deput y sl eeps.
LI LA LI LA
Wel l ? Wel l ?
SAM SAM
Not hi ng. J ust . . . al l t he l i ght s Not hi ng. J ust . . . al l t he l i ght s
out . . . must be asl eep. out . . . must be asl eep.
LI LA LI LA
( a smal l exasper at i on) ( a smal l exasper at i on)
Does t hat mean we can' t . . . Does t hat mean we can' t . . .
SAM SAM
No. I ' mj ust pr ocr ast i nat i ng. No. I ' mj ust pr ocr ast i nat i ng.
Peopl e hat e when t he door bel l r i ngs Peopl e hat e when t he door bel l r i ngs
i n t he mi ddl e of t he ni ght . i n t he mi ddl e of t he ni ght .
( gi ves up, st ar t s out ) ( gi ves up, st ar t s out )
Come on. Come on.
He get s out of cab, goes ar ound t o hel p Li l a. She i s He get s out of cab, goes ar ound t o hel p Li l a. She i s
al r eady out . CAMERA FOLLOWS t hemup t he smal l pat h t o al r eady out . CAMERA FOLLOWS t hemup t he smal l pat h t o
t he f r ont door . Sampr esses t he bel l but t on. Bot h he t he f r ont door . Sampr esses t he bel l but t on. Bot h he
and Li l a ar e al most knocked over by t he shocki ng, and Li l a ar e al most knocked over by t he shocki ng,
cl angi ng, ear - spl i t t i ng BLAST OF THE BELL wi t hi n t he cl angi ng, ear - spl i t t i ng BLAST OF THE BELL wi t hi n t he
house, a r i ng whi ch sounds mor e l i ke a f i r e al ar mt han house, a r i ng whi ch sounds mor e l i ke a f i r e al ar mt han
a door bel l . a door bel l .
He t r i es t o smi l e, f ai l s. Li l a doesn' t even t r y. The He t r i es t o smi l e, f ai l s. Li l a doesn' t even t r y. The
downst ai r s hal l l i ght goes on and a moment l at er t he downst ai r s hal l l i ght goes on and a moment l at er t he
door i s unhesi t at i ngl y opened by MRS. CHAMBERS, a smal l , door i s unhesi t at i ngl y opened by MRS. CHAMBERS, a smal l ,
l i vel y st i ck of a woman wr apped i n a t hi ck f l annel r obe l i vel y st i ck of a woman wr apped i n a t hi ck f l annel r obe
and a cor ona of hospi t al i t y. and a cor ona of hospi t al i t y.
MRS. CHAMBERS MRS. CHAMBERS
Oh? Oh?
SAM SAM
Sor r y, Mr s. Chamber s. I hat e Sor r y, Mr s. Chamber s. I hat e
bot her i ng you . . . bot her i ng you . . .
You di dn' t ! You di dn' t !
( a cr oss l ook up at ( a cr oss l ook up at
t he bel l ) t he bel l )
I t ' s t i nker bel l . I t ' s t i nker bel l .
( a qui ck smi l e at Li l a) ( a qui ck smi l e at Li l a)
Al want s t o be sur e he' l l hear i t Al want s t o be sur e he' l l hear i t
i f anyone r i ngs i t i n t he mi ddl e of i f anyone r i ngs i t i n t he mi ddl e of
t he ni ght . t he ni ght .
( t o Sam) ( t o Sam)
Wel l come on i n, at l east ! Wel l come on i n, at l east !
As she opens t he door wi de, As she opens t he door wi de,
CUT TO: CUT TO:
I NT. DOWNSTAI RS HALL OF SHERI FF' S HOUSE - ( NI GHT) I NT. DOWNSTAI RS HALL OF SHERI FF' S HOUSE - ( NI GHT)
Fat r oses spl at t er t he wal l paper . The st ai r s ar e Fat r oses spl at t er t he wal l paper . The st ai r s ar e
car pet ed. The l i ght i ng i s br i ght . car pet ed. The l i ght i ng i s br i ght .
Ther e i s a per f ect l y f i t t i ng wal l phone by t he par l or Ther e i s a per f ect l y f i t t i ng wal l phone by t he par l or
ar ch. Mr s. Chamber s goes t o t he st ai r way, yel l s up. ar ch. Mr s. Chamber s goes t o t he st ai r way, yel l s up.
Al ber t ! Al ber t !
( a t i ny wai t , a smi l e ( a t i ny wai t , a smi l e
as Samand Li l a ent er ) as Samand Li l a ent er )
Al Chamber s! Al Chamber s!
Sami s about t o cl ose t he door behi nd hi m. Mr s. Sami s about t o cl ose t he door behi nd hi m. Mr s.
Chamber s mot i ons f or hi mnot t o, scur r i es acr oss t he Chamber s mot i ons f or hi mnot t o, scur r i es acr oss t he
hal l , l eans out si de, pr esses t he door bel l . The RI NG hal l , l eans out si de, pr esses t he door bel l . The RI NG
wi t hi n t he house i s even mor e shat t er i ng. She cl oses wi t hi n t he house i s even mor e shat t er i ng. She cl oses
t he door , st ar t s t o t he st ai r way, pauses as t he SOUNDS t he door , st ar t s t o t he st ai r way, pauses as t he SOUNDS
of movement above COME OVER SHOT. of movement above COME OVER SHOT.
Cust omer s! Cust omer s!
SHERI FF CHAMBERS comes down t he st ai r s, i n a bat hr obe SHERI FF CHAMBERS comes down t he st ai r s, i n a bat hr obe
whi ch mat ches hi s wi f e' s. He i s a t al l , nar r ow man wi t h whi ch mat ches hi s wi f e' s. He i s a t al l , nar r ow man wi t h
a f ace or i gi nal l y dest i ned f or Mount Rushmor e. He nods a f ace or i gi nal l y dest i ned f or Mount Rushmor e. He nods
at Sam, l ooks at hi mwi t h wi de- awake eyes and a no- at Sam, l ooks at hi mwi t h wi de- awake eyes and a no-
nonsense concer n. nonsense concer n.
SAM SAM
We have a pr obl em. We have a pr obl em.
Let ' s go out back and have some Let ' s go out back and have some
coca whi l e t he men ar e t al ki ng. coca whi l e t he men ar e t al ki ng.
LI LA LI LA
No, t hank you. I t ' s my pr obl em, No, t hank you. I t ' s my pr obl em,
t oo. t oo.
SAM SAM
I don' t know wher e t o st ar t . . . I don' t know wher e t o st ar t . . .
( a l ook at Li l a) ( a l ook at Li l a)
Except at t he begi nni ng. Except at t he begi nni ng.
LI LA LI LA
Yes. Yes.
SAM SAM
( t o Sher i f f ) ( t o Sher i f f )
Thi s i s Li l a Cr ane, f r omPhoeni x. Thi s i s Li l a Cr ane, f r omPhoeni x.
She' s been her e f or a f ew days, She' s been her e f or a f ew days,
l ooki ng f or her si st er . Ther e' s a l ooki ng f or her si st er . Ther e' s a
pr i vat e det ect i ve hel pi ng . . . and, pr i vat e det ect i ve hel pi ng . . . and,
wel l , we got a cal l t oni ght , f r om wel l , we got a cal l t oni ght , f r om
t hi s det ect i ve, sayi ng he' d t r aced t hi s det ect i ve, sayi ng he' d t r aced
Mar y . . . Mar y . . .
Mar y i s Li l a' s si st er ? Mar y i s Li l a' s si st er ?
SAM SAM
Yes. He t r aced her t o t hat mot el , Yes. He t r aced her t o t hat mot el ,
out on t he ol d hi ghway . . . out on t he ol d hi ghway . . .
( t o t he Sher i f f ) ( t o t he Sher i f f )
Bat es' Mot el . Bat es' Mot el .
He has a mi nd l i ke a mechani cal He has a mi nd l i ke a mechani cal
br ai n and t he mor e i nf or mat i on you br ai n and t he mor e i nf or mat i on you
f eed i t . . . Go on, Sam. f eed i t . . . Go on, Sam.
SAM SAM
He t r aced her t her e and cal l ed us He t r aced her t her e and cal l ed us
t o say he was goi ng t o quest i on t o say he was goi ng t o quest i on
Mr s. Bat es . . . Mr s. Bat es . . .
( a pl easant shock) ( a pl easant shock)
Nor man t ook a wi f e? Nor man t ook a wi f e?
SAM SAM
No. An ol d woman, hi s mot her . No. An ol d woman, hi s mot her .
( t o Sher i f f , qui ckl y) ( t o Sher i f f , qui ckl y)
That was ear l y t hi s eveni ng. And That was ear l y t hi s eveni ng. And
we haven' t seen or hear d f r omhi m we haven' t seen or hear d f r omhi m
si nce. I went out t o t he mot el , si nce. I went out t o t he mot el ,
j ust got back. No one was i n t he j ust got back. No one was i n t he
of f i ce, and . . . of f i ce, and . . .
LI LA LI LA
( i nt er r upt i ng, ( i nt er r upt i ng,
anxi ousl y) anxi ousl y)
Wi l l you hel p us? I t hi nk Wi l l you hel p us? I t hi nk
somet hi ng' s wr ong out t her e! somet hi ng' s wr ong out t her e!
SHERI FF SHERI FF
( af t er a consi der at e ( af t er a consi der at e
pause) pause)
Now. Your si st er i s mi ssi ng how Now. Your si st er i s mi ssi ng how
l ong? l ong?
LI LA LI LA
She l ef t Phoeni x a week ago She l ef t Phoeni x a week ago
yest er day. And no t r ace unt i l . . . yest er day. And no t r ace unt i l . . .
SHERI FF SHERI FF
How' d you and t hi s det ect i ve come How' d you and t hi s det ect i ve come
t o t r ace her t o Fai r val e? t o t r ace her t o Fai r val e?
SAM SAM
They t hought she' d be comi ng t o me. They t hought she' d be comi ng t o me.
SHERI FF SHERI FF
l ef t Phoeni x under her own st eam? l ef t Phoeni x under her own st eam?
LI LA LI LA
Yes. Yes.
SHERI FF SHERI FF
She ai n' t mi ssi ng so much as she' s She ai n' t mi ssi ng so much as she' s
r un away. r un away.
SAM SAM
Yes. Yes.
SHERI FF SHERI FF
Fr omwhat ? Fr omwhat ?
LI LA LI LA
( a l ook at sam, t hen: ) ( a l ook at sam, t hen: )
She st ol e some money. She st ol e some money.
SHERI FF SHERI FF
A l ot ? A l ot ?
LI LA LI LA
For t y t housand dol l ar s. For t y t housand dol l ar s.
SHERI FF SHERI FF
And t he pol i ce haven' t been abl e And t he pol i ce haven' t been abl e
t o . . . t o . . .
SAM SAM
Ever yone concer ned t hought . . . i f Ever yone concer ned t hought . . . i f
t hey coul d get her t o gi ve back t he t hey coul d get her t o gi ve back t he
money . . . t hey coul d avoi d money . . . t hey coul d avoi d
i nvol vi ng her wi t h t he pol i ce. i nvol vi ng her wi t h t he pol i ce.
SHERI FF SHERI FF
Expl ai ns t he pr i vat e det ect i ve. He Expl ai ns t he pr i vat e det ect i ve. He
t r aced her t o t he Bat es pl ace. t r aced her t o t he Bat es pl ace.
What ' d he exact l y say when he What ' d he exact l y say when he
cal l ed you? cal l ed you?
LI LA LI LA
Mar y had been t her e, one ni ght , and Mar y had been t her e, one ni ght , and
had l ef t . had l ef t .
SHERI FF SHERI FF
Wi t h t he f or t y t housand dol l ar s? Wi t h t he f or t y t housand dol l ar s?
LI LA LI LA
He di dn' t ment i on t he money. He di dn' t ment i on t he money.
( anxi ousl y) ( anxi ousl y)
What he sai d on t he phone i sn' t What he sai d on t he phone i sn' t
i mpor t ant , i s i t ? He was supposed i mpor t ant , i s i t ? He was supposed
t o come back af t er he spoke t o t he t o come back af t er he spoke t o t he
mot her , and he di dn' t ! That ' s what mot her , and he di dn' t ! That ' s what
I want you t o do somet hi ng about ! I want you t o do somet hi ng about !
SHERI FF SHERI FF
Li ke what ? Li ke what ?
LI LA LI LA
Go out t her e! Fi nd somebody, ask Go out t her e! Fi nd somebody, ask
some quest i ons! some quest i ons!
I ' msor r y i f I seemover - anxi ous t o I ' msor r y i f I seemover - anxi ous t o
you. I keep t hi nki ng . . . you. I keep t hi nki ng . . .
somet hi ng' s wr ong. I have t o know somet hi ng' s wr ong. I have t o know
what ! what !
SHERI FF SHERI FF
I t hi nk somet hi ng' s wr ong, t oo, I t hi nk somet hi ng' s wr ong, t oo,
Mi ss. But not t he same t hi ng. I Mi ss. But not t he same t hi ng. I
t hi nk your pr i vat e det ect i ve i s t hi nk your pr i vat e det ect i ve i s
what ' s wr ong. what ' s wr ong.
( As Li l a i s about t o ( As Li l a i s about t o
obj ect ) obj ect )
I t hi nk he got hi msel f a hot l ead I t hi nk he got hi msel f a hot l ead
as t o wher e your si st er was goi ng as t o wher e your si st er was goi ng
. . . pr obabl y f r omNor man Bat es . . . . . . pr obabl y f r omNor man Bat es . . .
and cal l ed you t o keep you st i l l and cal l ed you t o keep you st i l l
whi l e he t ook of f af t er her and t he whi l e he t ook of f af t er her and t he
money. money.
LI LA LI LA
He sai d he was di ssat i sf i ed . . . and He sai d he was di ssat i sf i ed . . . and
was goi ng back. was goi ng back.
( t o Sher i f f ) ( t o Sher i f f )
Why don' t you cal l Nor man and l et Why don' t you cal l Nor man and l et
hi msay j ust what happened, i f he hi msay j ust what happened, i f he
di d gi ve t he man a hot l ead and he di d gi ve t he man a hot l ead and he
j ust scoot ed of f . . . i t ' l l make t he j ust scoot ed of f . . . i t ' l l make t he
gi r l f eel bet t er , Al ber t . gi r l f eel bet t er , Al ber t .
SHERI FF SHERI FF
At t hi s hour ? At t hi s hour ?
SAM SAM
He was out when I was t her e. I f He was out when I was t her e. I f
he' s back he pr obabl y i sn' t even i n he' s back he pr obabl y i sn' t even i n
bed yet . bed yet .
SHERI FF SHERI FF
He wasn' t out when you wer e t her e. He wasn' t out when you wer e t her e.
He j ust wasn' t answer i ng t he door He j ust wasn' t answer i ng t he door
i n t he dead of ni ght . . . l i ke some i n t he dead of ni ght . . . l i ke some
peopl e do. Thi s f el l ow l i ves l i ke peopl e do. Thi s f el l ow l i ves l i ke
a her mi t . . . a her mi t . . .
Recl use. Ki nder wor d. Recl use. Ki nder wor d.
SHERI FF SHERI FF
( t o Sam) ( t o Sam)
You must r emember t hat bad busi ness You must r emember t hat bad busi ness
out t her e. About t en year s ago . . . out t her e. About t en year s ago . . .
SAM SAM
I ' ve onl y been her e f i ve. Ri ght I ' ve onl y been her e f i ve. Ri ght
now i t f eel s l i ke t en, but . . . now i t f eel s l i ke t en, but . . .
LI LA LI LA
Al l r i ght ! Then cal l ! At l east , Al l r i ght ! Then cal l ! At l east ,
cal l ! cal l !
Mr s. Chamber s goes t o phone, di al s oper at or . Mr s. Chamber s goes t o phone, di al s oper at or .
Fl or r i e, t he Sher i f f want s you t o Fl or r i e, t he Sher i f f want s you t o
connect hi mwi t h t he Bat es Mot el . connect hi mwi t h t he Bat es Mot el .
She hands t he r ecei ver t o t he Sher i f f . He t akes i t , She hands t he r ecei ver t o t he Sher i f f . He t akes i t ,
r el uct ant l y, l i st ens t o t he di msound of RI NGI NG on t he r el uct ant l y, l i st ens t o t he di msound of RI NGI NG on t he
ot her end. Af t er a moment : ot her end. Af t er a moment :
SHERI FF SHERI FF
Nor man? Sher i f f Chamber s. Nor man? Sher i f f Chamber s.
Been j ust f i ne, t hanks. Li st en, we Been j ust f i ne, t hanks. Li st en, we
got some wor r i es her e. Di d you got some wor r i es her e. Di d you
have a man st op out t her e have a man st op out t her e
t oni ght . . . t oni ght . . .
Wel l , t hi s one woul dn' t be a Wel l , t hi s one woul dn' t be a
cust omer , anyway. A pr i vat e cust omer , anyway. A pr i vat e
det ect i ve, name of . . . det ect i ve, name of . . .
SHERI FF SHERI FF
And af t er he l ef t ? And af t er he l ef t ?
No, i t ' s okay, Nor man. How' s i t No, i t ' s okay, Nor man. How' s i t
been goi ng out t her e? been goi ng out t her e?
Wel l , I t hi nk you ought a unl oad Wel l , I t hi nk you ought a unl oad
t hat pl ace and open up cl oser i n t o t hat pl ace and open up cl oser i n t o
t he act i on, a smal l er pl ace, you t he act i on, a smal l er pl ace, you
know . . . but . . . know . . . but . . .
LI LA LI LA
Pl ease! Pl ease!
SHERI FF SHERI FF
Sor r y I got you up, boy. Go back Sor r y I got you up, boy. Go back
t o sl eep. Yeah, be gl ad t o. t o sl eep. Yeah, be gl ad t o.
( hangs up, t ur ns t o ( hangs up, t ur ns t o
Mr s. Chamber s) Mr s. Chamber s)
Sai d t o gi ve you hi s r egar ds. Sai d t o gi ve you hi s r egar ds.
SAM SAM
( f ai nt i r ony) ( f ai nt i r ony)
Was t hat al l ? Was t hat al l ?
SHERI FF SHERI FF
Thi s det ect i ve was out t her e and Thi s det ect i ve was out t her e and
Nor man t ol d hi mabout t he gi r l and Nor man t ol d hi mabout t he gi r l and
t he det ect i ve t hanked hi mand went t he det ect i ve t hanked hi mand went
away. away.
LI LA LI LA
And he di dn' t go back? Di dn' t see And he di dn' t go back? Di dn' t see
t he mot her ? t he mot her ?
The Sher i f f l ooks l ong at Li l a, shakes hi s head The Sher i f f l ooks l ong at Li l a, shakes hi s head
sympat het i cal l y. sympat het i cal l y.
SHERI FF SHERI FF
You shoul d' ve cal l ed i n t he pol i ce You shoul d' ve cal l ed i n t he pol i ce
t he second you f ound your si st er t he second you f ound your si st er
has ski pped. You go st ar t i ng has ski pped. You go st ar t i ng
pr i vat e i nvest i gat i ons, usi ng pr i vat e i nvest i gat i ons, usi ng
peopl e you don' t even know . . . peopl e you don' t even know . . .
LI LA LI LA
What di f f er ence does t hat . . . What di f f er ence does t hat . . .
SHERI FF SHERI FF
Your Det ect i ve t ol d you a Your Det ect i ve t ol d you a
nakedf aced l i e. nakedf aced l i e.
Bar ef aced. Bar ef aced.
SHERI FF SHERI FF
He t ol d you he wasn' t comi ng r i ght He t ol d you he wasn' t comi ng r i ght
back cause he want ed t o quest i on back cause he want ed t o quest i on
Nor man Bat es' mot her , r i ght ? Nor man Bat es' mot her , r i ght ?
LI LA LI LA
Yes. Yes.
SHERI FF SHERI FF
( a pause, t hen cal ml y) ( a pause, t hen cal ml y)
Nor man Bat es' mot her has been dead Nor man Bat es' mot her has been dead
and bur i ed i n Gr eenl awn Cemet er y and bur i ed i n Gr eenl awn Cemet er y
f or t he l ast t en year s! f or t he l ast t en year s!
Ther e i s a l ong si l ence. Samand Li l a st ar e at t he Ther e i s a l ong si l ence. Samand Li l a st ar e at t he
Sher i f f . Sher i f f .
I hel ped Nor man pi ck out t he dr ess I hel ped Nor man pi ck out t he dr ess
she was bur i ed i n. Per i wi nkl e bl ue. she was bur i ed i n. Per i wi nkl e bl ue.
SHERI FF SHERI FF
I t ai n' t onl y l ocal hi st or y, Sam, I t ai n' t onl y l ocal hi st or y, Sam,
i t ' s t he onl y mur der - and- sui ci de i t ' s t he onl y mur der - and- sui ci de
case i n Fai r val e l edger s! Mr s. case i n Fai r val e l edger s! Mr s.
Bat es poi soned t hi s guy she was . . . Bat es poi soned t hi s guy she was . . .
i nvol ved wi t h, when she f ound out i nvol ved wi t h, when she f ound out
he was mar r i ed, t hen t ook a hel pi ng he was mar r i ed, t hen t ook a hel pi ng
of t he same st uf f her sel f . of t he same st uf f her sel f .
St r ychni ne. Ugl y way t o di e. St r ychni ne. Ugl y way t o di e.
Nor man f ound t hemdead t oget her . Nor man f ound t hemdead t oget her .
I n bed. I n bed.
SAM SAM
You mean t hat ol d woman I saw You mean t hat ol d woman I saw
si t t i n' i n t he wi ndow wasn' t Nor man si t t i n' i n t he wi ndow wasn' t Nor man
Bat es' mot her ? Bat es' mot her ?
( hopef ul l y, happi l y) ( hopef ul l y, happi l y)
maybe you saw Mar y! maybe you saw Mar y!
SAM SAM
I ' d know t he di f f er ence bet ween I ' d know t he di f f er ence bet ween
Mar y and an ol d woman. Mar y and an ol d woman.
SHERI FF SHERI FF
Now wai t a mi nut e, Sam. You sur e Now wai t a mi nut e, Sam. You sur e
you saw an ol d woman? you saw an ol d woman?
SAM SAM
Yes! I n t he house behi nd t he Yes! I n t he house behi nd t he
mot el . I pounded and cal l ed but mot el . I pounded and cal l ed but
she . . . j ust i gnor ed me. she . . . j ust i gnor ed me.
SHERI FF SHERI FF
And you want t o t el l me you saw And you want t o t el l me you saw
Nor man Bat es' mot her . Nor man Bat es' mot her .
LI LA LI LA
I t must ' ve been. Ar bogast sai d so, I t must ' ve been. Ar bogast sai d so,
t oo . . . and he sai d t he young man t oo . . . and he sai d t he young man
woul dn' t l et hi msee her because woul dn' t l et hi msee her because
she was i l l ! she was i l l !
The Sher i f f st ar es at bot h of t hem, and when he f i nal l y The Sher i f f st ar es at bot h of t hem, and when he f i nal l y
speaks t her e i s an al most i naudi bl e t one or i r ony i n hi s speaks t her e i s an al most i naudi bl e t one or i r ony i n hi s
voi ce. voi ce.
SHERI FF SHERI FF
Wel l , i f t he woman up t her e i s Mr s. Wel l , i f t he woman up t her e i s Mr s.
Bat es . . . who' s t hat woman bur i ed Bat es . . . who' s t hat woman bur i ed
out at Gr eenl awn Cemet er y? out at Gr eenl awn Cemet er y?
QUI CK CUT TO: QUI CK CUT TO:
I NT. NORMAN' S PARLOR BEHI ND OFFI CE - ( NI GHT) I NT. NORMAN' S PARLOR BEHI ND OFFI CE - ( NI GHT)
Nor man si t s i n t he di m, one- l amp l i ght , t he phone next Nor man si t s i n t he di m, one- l amp l i ght , t he phone next
t o hi m, hi s hand st i l l near i t as i f he had not been t o hi m, hi s hand st i l l near i t as i f he had not been
abl e t o move hi s hand af t er hangi ng up. He i s st ar i ng abl e t o move hi s hand af t er hangi ng up. He i s st ar i ng
at t he shr i ke- l i ke bi r d whi ch i s per ched on t he l amp at t he shr i ke- l i ke bi r d whi ch i s per ched on t he l amp
shade. Deci si on and r esol ut i on ar e begi nni ng t o show i n shade. Deci si on and r esol ut i on ar e begi nni ng t o show i n
hi s f ace. Suddenl y he r i ses, st ar t s qui ckl y out of t he hi s f ace. Suddenl y he r i ses, st ar t s qui ckl y out of t he
r oom, t r i es t o swi t ch of f t he l amp as he goes and i n so r oom, t r i es t o swi t ch of f t he l amp as he goes and i n so
doi ng succeeds onl y i n knocki ng t he bi r d of f t he shade. doi ng succeeds onl y i n knocki ng t he bi r d of f t he shade.
He wat ches i t f al l , does not t r y t o cat ch i t . I t hi t s He wat ches i t f al l , does not t r y t o cat ch i t . I t hi t s
t he f l oor wi t h a t hud and sawdust spi l l s out . He st ar es t he f l oor wi t h a t hud and sawdust spi l l s out . He st ar es
sadl y at i t , f or a moment , t hen t ends down, scoops up sadl y at i t , f or a moment , t hen t ends down, scoops up
t he sawdust , t r i es t o pr ess i t i nt o t he spl i t seam, t he sawdust , t r i es t o pr ess i t i nt o t he spl i t seam,
pi cks up t he bi r d, put s i t i n a dr awer . Then he put s pi cks up t he bi r d, put s i t i n a dr awer . Then he put s
out t he l amp, goes out , cr osses t he dar kened of f i ce and out t he l amp, goes out , cr osses t he dar kened of f i ce and
goes out si de. goes out si de.
CUT TO: CUT TO:
EXT. MOTEL AND HOUSE - ( NI GHT) EXT. MOTEL AND HOUSE - ( NI GHT)
Nor man comes of f t he por ch, wal ks t o t he pat h and Nor man comes of f t he por ch, wal ks t o t he pat h and
di r ect l y up t o t he house, opens t he door and goes i n. di r ect l y up t o t he house, opens t he door and goes i n.
CUT TO: CUT TO:
I NT. DOWNSTAI RS HALLWAY AND STAI RWAY - ( NI GHT) I NT. DOWNSTAI RS HALLWAY AND STAI RWAY - ( NI GHT)
SHOOTI NG UP THE STAI RS SHOOTI NG UP THE STAI RS
Nor man goes up, pauses one moment out si de hi s mot her ' s Nor man goes up, pauses one moment out si de hi s mot her ' s
door , t hen opens i t and goes i n, l eavi ng t he door open. door , t hen opens i t and goes i n, l eavi ng t he door open.
For a moment we hear onl y Nor man' s l ow, qui et voi ce, hi s For a moment we hear onl y Nor man' s l ow, qui et voi ce, hi s
wor ds i ndi st i ngui shabl e. Then we hear t he col d shot of wor ds i ndi st i ngui shabl e. Then we hear t he col d shot of
hi s mot her ' s der i si ve l aught er . hi s mot her ' s der i si ve l aught er .
MOTHER' S VOI CE MOTHER' S VOI CE
I amsor r y, boy, but you do manage I amsor r y, boy, but you do manage
t o l ook l udi cr ous when you gi ve me t o l ook l udi cr ous when you gi ve me
or der s! or der s!
Pl ease, mot her . . . Pl ease, mot her . . .
( Shar p, l aught er al l ( Shar p, l aught er al l
gone) gone)
No! I wi l l not hi de i n t he f r ui t No! I wi l l not hi de i n t he f r ui t
cel l ar ! cel l ar !
( A shr i l l l augh) ( A shr i l l l augh)
Thi nk I ' mf r ui t y, huh? Thi nk I ' mf r ui t y, huh?
( Har d, col d agai n) ( Har d, col d agai n)
I ' mst ayi ng r i ght her e! Thi s i s my I ' mst ayi ng r i ght her e! Thi s i s my
r oomand no one wi l l dr ag me out of r oomand no one wi l l dr ag me out of
i t . . . l east of al l my bi g bol d son! i t . . . l east of al l my bi g bol d son!
( Ri si ng now, anxi ousl y) ( Ri si ng now, anxi ousl y)
They' l l come now, Mot her . He came They' l l come now, Mot her . He came
af t er t he gi r l and now someone wi l l af t er t he gi r l and now someone wi l l
come af t er hi m! How l ong do you come af t er hi m! How l ong do you
t hi nk you can go on . . . Mot her , t hi nk you can go on . . . Mot her ,
pl ease, j ust f or a f ew days, j ust pl ease, j ust f or a f ew days, j ust
so t hey won' t f i nd you! so t hey won' t f i nd you!
( Mi mi cki ng) ( Mi mi cki ng)
J ust f or a f ew days . . . J ust f or a f ew days . . .
( Fur i ous) ( Fur i ous)
I n t hat dank f r ui t cel l ar ? No! I n t hat dank f r ui t cel l ar ? No!
You hi d me t her e once, boy, and you You hi d me t her e once, boy, and you
won' t do i t agai n! Not ever agai n! won' t do i t agai n! Not ever agai n!
Now get out ! Now get out !
( A pause, qui et ) ( A pause, qui et )
I t ol d you t o get out , boy! I t ol d you t o get out , boy!
( A l onger pause) ( A l onger pause)
Nor man! What do you t hi nk you' r e Nor man! What do you t hi nk you' r e
goi ng t o do? Don' t you t ouch me! goi ng t o do? Don' t you t ouch me!
Don' t ! Nor man! Don' t ! Nor man!
( A pause, t hen ( A pause, t hen
caj ol i ngl y) caj ol i ngl y)
Al l r i ght , son, put me down and Al l r i ght , son, put me down and
I ' l l go. I ' l l go on my own t wo I ' l l go. I ' l l go on my own t wo
f eet . I can go on my own t wo f eet , f eet . I can go on my own t wo f eet ,
can' t I ? can' t I ?
Dur i ng al l t hi s t he CAMERA has been sl owl y cr eepi ng up Dur i ng al l t hi s t he CAMERA has been sl owl y cr eepi ng up
t he st ai r s. I t does not st op at t he t op however , but t he st ai r s. I t does not st op at t he t op however , but
cont i nues on t he same hi gh angl e t hat we had i n Scene 57. cont i nues on t he same hi gh angl e t hat we had i n Scene 57.
She st ar t s t o l augh, a t er r i bl e sound l i ke an obscene She st ar t s t o l augh, a t er r i bl e sound l i ke an obscene
mel ody. mel ody.
I ' l l car r y you, mot her . I ' l l car r y you, mot her .
Nor man comes out of t he r oom, hi s mot her hel d i n hi s Nor man comes out of t he r oom, hi s mot her hel d i n hi s
ar ms, her head l eani ng agai nst hi s shoul der . He car r i es ar ms, her head l eani ng agai nst hi s shoul der . He car r i es
her down t he st ai r s, al ong t he l ower l andi ng t o t he her down t he st ai r s, al ong t he l ower l andi ng t o t he
cel l ar st ai r s, and t hen down t hose st ai r s t o t he cel l ar st ai r s, and t hen down t hose st ai r s t o t he
basement . basement .
EXT. FAI RVALE PRESBYTERI AN CHURCH - ( MORNI NG) EXT. FAI RVALE PRESBYTERI AN CHURCH - ( MORNI NG)
An over cast mor ni ng, but a sunny- f aced cr owd. The An over cast mor ni ng, but a sunny- f aced cr owd. The
ser vi ce i s j ust over , t her e i s cont ent ment , and peace, ser vi ce i s j ust over , t her e i s cont ent ment , and peace,
and j ust a l i t t l e I - went - t o- chur ch- smugness i n t he f aces and j ust a l i t t l e I - went - t o- chur ch- smugness i n t he f aces
of t he chur chgoer s as t hey come out of t he chapel , and of t he chur chgoer s as t hey come out of t he chapel , and
spr ead t hei r separ at e ways away. spr ead t hei r separ at e ways away.
Amongst t he cr owd, wai t i ng and sear chi ng t he f aces, ar e Amongst t he cr owd, wai t i ng and sear chi ng t he f aces, ar e
Samand Li l a. I n t hei r expr essi ons t her e i s no peace, Samand Li l a. I n t hei r expr essi ons t her e i s no peace,
no cont ent ment . CAMERA MOVES I N CLOSE. They ar e not no cont ent ment . CAMERA MOVES I N CLOSE. They ar e not
speaki ng. Li l a l ooks as i f she has had no sl eep. speaki ng. Li l a l ooks as i f she has had no sl eep.
Suddenl y, Sambecomes al er t , t akes Li l a' s ar m, st ar t s Suddenl y, Sambecomes al er t , t akes Li l a' s ar m, st ar t s
t owar d t he chur ch. t owar d t he chur ch.
CAMERA MOVES WI TH THEM, st ops as t hey appr oach Sher i f f CAMERA MOVES WI TH THEM, st ops as t hey appr oach Sher i f f
and Mr s. Chamber s. The Sher i f f st ar es r at her and Mr s. Chamber s. The Sher i f f st ar es r at her
sympat het i cal l y at Li l a. Mr s. Chamber s smi l es ni cel y. sympat het i cal l y at Li l a. Mr s. Chamber s smi l es ni cel y.
SAM SAM
We t hought , i f you di dn' t mi nd, We t hought , i f you di dn' t mi nd,
we' d go out t o t he mot el wi t h you. we' d go out t o t he mot el wi t h you.
He' s al r eady been. He' s al r eady been.
SHERI FF SHERI FF
Went out bef or e ser vi ce. Went out bef or e ser vi ce.
Have you t wo had br eakf ast ? Have you t wo had br eakf ast ?
SAM SAM
( To Sher i f f , not a ( To Sher i f f , not a
quest i on) quest i on)
You di dn' t f i nd anyt hi ng. You di dn' t f i nd anyt hi ng.
SHERI FF SHERI FF
Not hi ng. Her e, l et ' s cl ear t he Not hi ng. Her e, l et ' s cl ear t he
pat h. pat h.
He moves away and t he ot her s f ol l ow. CAMERA PANS t hem He moves away and t he ot her s f ol l ow. CAMERA PANS t hem
t o t he cur b. t o t he cur b.
LI LA LI LA
( I nt er r upt i ng) ( I nt er r upt i ng)
Di d he say anyt hi ng about my si st er ? Di d he say anyt hi ng about my si st er ?
SHERI FF SHERI FF
J ust what he t ol d your det ect i ve. J ust what he t ol d your det ect i ve.
She used a f ake name, saw t he She used a f ake name, saw t he
r egi st er mysel f . Saw t he whol e r egi st er mysel f . Saw t he whol e
pl ace, as a mat t er of f act . That pl ace, as a mat t er of f act . That
boy i s al one t her e. boy i s al one t her e.
SAM SAM
No mot her . No mot her .
SHERI FF SHERI FF
You must ' ve seen an i l l usi on, Sam. You must ' ve seen an i l l usi on, Sam.
Now, I know you' r e not t he seei ng- Now, I know you' r e not t he seei ng-
i l l usi on t ype . . . But no woman was i l l usi on t ype . . . But no woman was
t her e and I don' t bel i eve i n t her e and I don' t bel i eve i n
ghost s, so t her e i t i s! ghost s, so t her e i t i s!
LI LA LI LA
I st i l l f eel . . . I st i l l f eel . . .
SHERI FF SHERI FF
Can see you do. Sor r y I coul dn' t Can see you do. Sor r y I coul dn' t
make you f eel bet t er . You want t o make you f eel bet t er . You want t o
come t o my of f i ce t hi s af t er noon come t o my of f i ce t hi s af t er noon
and r epor t a mi ssi ng per son . . . And and r epor t a mi ssi ng per son . . . And
t he t hef t , i s what you want t o do! t he t hef t , i s what you want t o do!
Sooner you dr op t hi s t hi ng i n t he Sooner you dr op t hi s t hi ng i n t he
l ap of t he l aw, t hat ' s t he sooner l ap of t he l aw, t hat ' s t he sooner
you' l l st and a chance of your you' l l st and a chance of your
si st er bei n' pi cked up. How about si st er bei n' pi cked up. How about
t hat ? t hat ?
LI LA LI LA
I don' t know. I don' t know.
I t ' s Sunday. Come over and do t he I t ' s Sunday. Come over and do t he
r epor t i ng at t he house, ' r ound r epor t i ng at t he house, ' r ound
di nner t i me. Make i t ni cer . You di nner t i me. Make i t ni cer . You
t oo, Sam. t oo, Sam.
She smi l es br i ght l y, as i f havi ng i nvi t ed t hemover t o She smi l es br i ght l y, as i f havi ng i nvi t ed t hemover t o
di scuss t hi s year ' s char i t y f andango, t akes t he di scuss t hi s year ' s char i t y f andango, t akes t he
Sher i f f ' s ar m, st ar t s away. The Sher i f f nods as he goes. Sher i f f ' s ar m, st ar t s away. The Sher i f f nods as he goes.
Samand Li l a ar e al one now, at t he cur b, bef or e t he Samand Li l a ar e al one now, at t he cur b, bef or e t he
deser t ed chapel . For a l ong moment t hey j ust st and deser t ed chapel . For a l ong moment t hey j ust st and
t her e, t hei r f aces as gr ay and over cast as t he sky. t her e, t hei r f aces as gr ay and over cast as t he sky.
SAM SAM
Maybe I amt he seei ng- i l l usi ons Maybe I amt he seei ng- i l l usi ons
t ype. t ype.
LI LA LI LA
You' r e not . You' r e not .
Samt akes her ar m, st ar t s wal ki ng her up t he st r eet Samt akes her ar m, st ar t s wal ki ng her up t he st r eet
t owar d t he spot wher e hi s pi ckup t r uck i s par ked. t owar d t he spot wher e hi s pi ckup t r uck i s par ked.
CAMERA FOLLOWS t hem. CAMERA FOLLOWS t hem.
SAM SAM
Want me t o dr op you at t he hot el ? Want me t o dr op you at t he hot el ?
Or you want t o come over t o t he Or you want t o come over t o t he
st or e? st or e?
Li l a does not answer . They r each t he t r uck. Li l a l ooks Li l a does not answer . They r each t he t r uck. Li l a l ooks
di r ect l y at Samas he hel ps her i nt o t he cab. di r ect l y at Samas he hel ps her i nt o t he cab.
LI LA LI LA
I won' t f eel sat i sf i ed unl ess I got I won' t f eel sat i sf i ed unl ess I got
out t her e, Sam. out t her e, Sam.
SAM SAM
Nei t her wi l l I . Nei t her wi l l I .
He sl ams t he door , hur r i es ar ound t r uck, get s i nt o He sl ams t he door , hur r i es ar ound t r uck, get s i nt o
dr i ver ' s seat , st ar t s mot or . As t he t r uck dr i ves of f , dr i ver ' s seat , st ar t s mot or . As t he t r uck dr i ves of f ,
SAM AND LI LA I N TRUCK - ( PROCESS - HI GHWAY) SAM AND LI LA I N TRUCK - ( PROCESS - HI GHWAY)
For a moment , bot h ar e si l ent ; Samwat chi ng t he r oad as For a moment , bot h ar e si l ent ; Samwat chi ng t he r oad as
i f t her e wer e ot her car s on i t , Li l a st ar i ng at not hi ng i f t her e wer e ot her car s on i t , Li l a st ar i ng at not hi ng
i n par t i cul ar , except per haps her own i nner f ear . i n par t i cul ar , except per haps her own i nner f ear .
LI LA LI LA
I wonder i f we' l l ever see Mar y I wonder i f we' l l ever see Mar y
agai n. agai n.
SAM SAM
Of cour se we wi l l . Of cour se we wi l l .
LI LA LI LA
Al i ve. Al i ve.
Saml ooks as i f he' d l i ke t o say somet hi ng humor ous, Saml ooks as i f he' d l i ke t o say somet hi ng humor ous,
somet hi ng t o cheer her . He cannot . He r emai ns si l ent . somet hi ng t o cheer her . He cannot . He r emai ns si l ent .
LI LA LI LA
We l i ved t oget her al l our l i ves. We l i ved t oget her al l our l i ves.
When we woke up one mor ni ng and When we woke up one mor ni ng and
f ound our sel ves or phans, Mar y qui t f ound our sel ves or phans, Mar y qui t
col l ege and got a j ob, so I coul d col l ege and got a j ob, so I coul d
go t o col l ege. go t o col l ege.
SAM SAM
Wher e' d you go t o col l ege? Wher e' d you go t o col l ege?
LI LA LI LA
I di dn' t . I got a j ob, t oo. I di dn' t . I got a j ob, t oo.
I wonder i f t hat hur t her , my not I wonder i f t hat hur t her , my not
l et t i ng her sacr i f i ce f or me? Some l et t i ng her sacr i f i ce f or me? Some
peopl e ar e so wi l l i ng t o suf f er f or peopl e ar e so wi l l i ng t o suf f er f or
you t hat t hey suf f er mor e i f you you t hat t hey suf f er mor e i f you
don' t l et t hem. don' t l et t hem.
SAM SAM
( Al most t o hi msel f ) ( Al most t o hi msel f )
She was wi l l i ng t o l i ck t he st amps. She was wi l l i ng t o l i ck t he st amps.
Li l a l ooks qui zzi cal l y at hi m, i s t oo concer ned t o Li l a l ooks qui zzi cal l y at hi m, i s t oo concer ned t o
pur sue i t . pur sue i t .
LI LA LI LA
I wonder so many t hi ngs about her I wonder so many t hi ngs about her
now. now.
( mor e) ( mor e)
LI LA ( cont ' d) LI LA ( cont ' d)
Why she never t ol d me about you . . . Why she never t ol d me about you . . .
Funny, when you t hi nk t her e' s an Funny, when you t hi nk t her e' s an
answer t o ever yt hi ng, you t hi nk you answer t o ever yt hi ng, you t hi nk you
know al l t he answer s. know al l t he answer s.
SAM SAM
We wer e goi ng t o get mar r i ed. Ar e We wer e goi ng t o get mar r i ed. Ar e
goi ng t o get mar r i ed! goi ng t o get mar r i ed!
LI LA LI LA
Do you know how I f ound out about Do you know how I f ound out about
you? I f ound one of your l et t er s you? I f ound one of your l et t er s
. . . i t was a ni ce l et t er , Sam. . . . i t was a ni ce l et t er , Sam.
SAM SAM
Thi s i s t he ol d hi ghway. Thi s i s t he ol d hi ghway.
LI LA LI LA
I suppose . . . when you wer e abl e t o I suppose . . . when you wer e abl e t o
mar r y her she' d have pr esent ed you, mar r y her she' d have pr esent ed you,
al l shi ny and pr oper . . . she al ways al l shi ny and pr oper . . . she al ways
t r i ed t o be pr oper . t r i ed t o be pr oper .
SAM SAM
Wat ch your t enses. Wat ch your t enses.
LI LA LI LA
Huh? Huh?
SAM SAM
She al ways t r i es t o be pr oper . She al ways t r i es t o be pr oper .
Samsl ows t he t r uck t o a st op, si ghs, st ar t s t o l i ght up Samsl ows t he t r uck t o a st op, si ghs, st ar t s t o l i ght up
a ci gar et t e. Li l a l ooks quest i oni ngl y and i mpat i ent l y a ci gar et t e. Li l a l ooks quest i oni ngl y and i mpat i ent l y
at hi m. at hi m.
LI LA LI LA
You goi ng t o wai t her e f or me? You goi ng t o wai t her e f or me?
SAM SAM
I ' mgoi ng wi t h you. But we' d I ' mgoi ng wi t h you. But we' d
bet t er deci de what we' r e goi ng t o bet t er deci de what we' r e goi ng t o
say and do when we wal k i n . . . say and do when we wal k i n . . .
LI LA LI LA
We' r e goi ng t o r egi st er . As man We' r e goi ng t o r egi st er . As man
and wi f e. And get shown t o a cabi n and wi f e. And get shown t o a cabi n
. . . and t hen sear ch ever y i nch of . . . and t hen sear ch ever y i nch of
t hat pl ace, i nsi de and . . . out si de. t hat pl ace, i nsi de and . . . out si de.
SAM SAM
You won' t bel i eve i t . . . You won' t bel i eve i t . . .
( St ar t s mot or ) ( St ar t s mot or )
But t hi s wi l l be t he f i r st t i me But t hi s wi l l be t he f i r st t i me
I ' ve ever pul l ed one of t hose man- I ' ve ever pul l ed one of t hose man-
and- wi f e- r ent i ng- cabi n caper s! and- wi f e- r ent i ng- cabi n caper s!
LI LA LI LA
( A t i ny smi l e, f i r st ( A t i ny smi l e, f i r st
i n hour s) i n hour s)
I bel i eve i t . I bel i eve i t .
As t r uck st ar t s t o dr i ve on, As t r uck st ar t s t o dr i ve on,
CUT TO: CUT TO:
EXT. THE BATES MOTEL AND HOUSE - ( DAY) EXT. THE BATES MOTEL AND HOUSE - ( DAY)
The pl ace i s empt y and si l ent and washed di r t y by t he The pl ace i s empt y and si l ent and washed di r t y by t he
deep gr ay of t he cl oudy sky. We see Sam' s t r uck t ur ni ng deep gr ay of t he cl oudy sky. We see Sam' s t r uck t ur ni ng
i nt o t he dr i veway and pul l i ng t o a st op. Af t er a i nt o t he dr i veway and pul l i ng t o a st op. Af t er a
moment , Samand Li l a get out of t he t r uck. moment , Samand Li l a get out of t he t r uck.
FRESH ANGLE FRESH ANGLE
Cl ose on Samand Li l a as t hey meet on t he por ch si de of Cl ose on Samand Li l a as t hey meet on t he por ch si de of
t he t r uck. The mot el of f i ce and t he house beyond can be t he t r uck. The mot el of f i ce and t he house beyond can be
seen i n b. g. of shot . Samand Li l a mer el y st ar e f or a seen i n b. g. of shot . Samand Li l a mer el y st ar e f or a
moment , t hen t ur n and gaze up at t he house. Ther e i s no moment , t hen t ur n and gaze up at t he house. Ther e i s no
f i gur e i n t he wi ndow and t he shade i s dr awn. Same goes f i gur e i n t he wi ndow and t he shade i s dr awn. Same goes
t o t he of f i ce door , peer s i n, knocks, opens door , t o t he of f i ce door , peer s i n, knocks, opens door ,
ent er s. Li l a r emai ns on t he dr i veway, besi de t he t r uck. ent er s. Li l a r emai ns on t he dr i veway, besi de t he t r uck.
CUT TO: CUT TO:
I NT. THE MOTHER' S ROOM - ( DAY) I NT. THE MOTHER' S ROOM - ( DAY)
Cl ose angl e on Nor man st andi ng by t he wi ndow. He has Cl ose angl e on Nor man st andi ng by t he wi ndow. He has
pul l ed t he cur t ai ns ver y sl i ght l y apar t , i s st ar i ng out pul l ed t he cur t ai ns ver y sl i ght l y apar t , i s st ar i ng out
and down at t he mot el , hi s eyes st udyi ng t he l one f i gur e and down at t he mot el , hi s eyes st udyi ng t he l one f i gur e
of Li l a, who i s st andi ng by t he t r uck and l ooki ng up at of Li l a, who i s st andi ng by t he t r uck and l ooki ng up at
t he house. Nor man st udi es her , and as her eyes l ook up t he house. Nor man st udi es her , and as her eyes l ook up
at t hi s ver y wi ndow he cl oses t he cur t ai ns, t ur ns away. at t hi s ver y wi ndow he cl oses t he cur t ai ns, t ur ns away.
We see t he suspi ci on and f ear i n hi s f ace, t he sur ge of We see t he suspi ci on and f ear i n hi s f ace, t he sur ge of
pani c and hi s st r uggl e t o cont ai n i t . Then he goes pani c and hi s st r uggl e t o cont ai n i t . Then he goes
away. CAMERA r emai ns on wi ndow, shoot i ng out and down, away. CAMERA r emai ns on wi ndow, shoot i ng out and down,
and t hr ough t he f r ai l cur t ai ns we can see Samas he and t hr ough t he f r ai l cur t ai ns we can see Samas he
comes out of t he mot el of f i ce and j oi ns Li l a. comes out of t he mot el of f i ce and j oi ns Li l a.
EXT. MOTEL OFFI CE - CLOSE ON SAM AND LI LA EXT. MOTEL OFFI CE - CLOSE ON SAM AND LI LA
SAM SAM
( Unconsci ousl y ( Unconsci ousl y
whi sper i ng) whi sper i ng)
I wonder wher e Nor man Bat es does I wonder wher e Nor man Bat es does
hi s her mi t i ng? hi s her mi t i ng?
LI LA LI LA
Someone was at t hat wi ndow. I saw Someone was at t hat wi ndow. I saw
t he cur t ai n move. t he cur t ai n move.
Samt akes Li l a' s ar m. Samt akes Li l a' s ar m.
SAM SAM
Come on. Come on.
He st ar t s wi t h her t owar d t he pat h whi ch l eads t o t he He st ar t s wi t h her t owar d t he pat h whi ch l eads t o t he
ol d house. CAMERA PANS wi t h t hem, and as t hey t ur n ol d house. CAMERA PANS wi t h t hem, and as t hey t ur n
ar ound t he of f i ce cor ner , t hey see Nor man comi ng down ar ound t he of f i ce cor ner , t hey see Nor man comi ng down
t he pat h t owar d t hem. They pause and Nor man pauses. He t he pat h t owar d t hem. They pause and Nor man pauses. He
does not smi l e, nor speak. Hi s usual gr i n and sof t does not smi l e, nor speak. Hi s usual gr i n and sof t
f r i endl i ness ar e gone; cont ai nment and i mpassi vi t y l i e f r i endl i ness ar e gone; cont ai nment and i mpassi vi t y l i e
i n t hei r pl ace. i n t hei r pl ace.
SAM SAM
( Cheer f ul l y) ( Cheer f ul l y)
J ust comi ng up t o r i ng f or you. J ust comi ng up t o r i ng f or you.
NORMAN NORMAN
( Comi ng f or war d) ( Comi ng f or war d)
I suppose you want a cabi n. I suppose you want a cabi n.
SAM SAM
We' d hoped t o make i t st r ai ght t o We' d hoped t o make i t st r ai ght t o
San Fr anci sco, but we don' t l i ke San Fr anci sco, but we don' t l i ke
t he l ook of t hat sky. Looks l i ke t he l ook of t hat sky. Looks l i ke
a bad day comi ng . . . doesn' t i t . a bad day comi ng . . . doesn' t i t .
Nor man wal ks past Sam, gi vi ng hi mt he sor t of qui ck, Nor man wal ks past Sam, gi vi ng hi mt he sor t of qui ck,
di sappr ovi ng gl ance one gi ves a man who i s obvi ousl y di sappr ovi ng gl ance one gi ves a man who i s obvi ousl y
l yi ng, goes ont o t he por ch and i nt o t he of f i ce. Samand l yi ng, goes ont o t he por ch and i nt o t he of f i ce. Samand
Li l a f ol l ow Nor man. Li l a f ol l ow Nor man.
I NT. MOTEL OFFI CE - ( DAY) I NT. MOTEL OFFI CE - ( DAY)
Nor man cr osses t o t he desk, goes behi nd i t , t akes t he Nor man cr osses t o t he desk, goes behi nd i t , t akes t he
key t o cabi n number t wel ve of f t he keyboar d. Samand key t o cabi n number t wel ve of f t he keyboar d. Samand
Li l a have ent er ed and ar e al most t o t he desk- count er by Li l a have ent er ed and ar e al most t o t he desk- count er by
t hi s t i me. t hi s t i me.
NORMAN NORMAN
I ' l l t ake you t o . . . I ' l l t ake you t o . . .
SAM SAM
Bet t er si gn i n f i r st , hasn' t we? Bet t er si gn i n f i r st , hasn' t we?
Sameyes scan t he count er , l ooki ng f or a r egi st r at i on Sameyes scan t he count er , l ooki ng f or a r egi st r at i on
book. book.
NORMAN NORMAN
I t i sn' t necessar y. I t i sn' t necessar y.
SAM SAM
( I nt er r upt i ng wi t h a ( I nt er r upt i ng wi t h a
f r i endl y cheer f ul ness) f r i endl y cheer f ul ness)
Uh, uh! My boss i s payi ng f or t hi s Uh, uh! My boss i s payi ng f or t hi s
t r i p . . . ni net y per cent busi ness t r i p . . . ni net y per cent busi ness
. . . and he want s pr act i cal l y . . . and he want s pr act i cal l y
not ar i zed r ecei pt s. I bet t er si gn not ar i zed r ecei pt s. I bet t er si gn
i n and get a r ecei pt . i n and get a r ecei pt .
Nor man st ar es at Sam, as i f he' d l i ke t o yel l at hi m, Nor man st ar es at Sam, as i f he' d l i ke t o yel l at hi m,
cal l hi m" l i ar . " I nst ead he r eaches under t he desk cal l hi m" l i ar . " I nst ead he r eaches under t he desk
count er , br i ngs out t he r egi st r at i on book. Li l a moves count er , br i ngs out t he r egi st r at i on book. Li l a moves
cl oser , st udi es t he book as Samsi gns i n. Samsi gns cl oser , st udi es t he book as Samsi gns i n. Samsi gns
" J oe and Mr s. J ohnson. " The si gnat ur e and ci t y of " J oe and Mr s. J ohnson. " The si gnat ur e and ci t y of
" Mar i e Samuel s" and af t er i t , t he not at i on " Cabi n One, " " Mar i e Samuel s" and af t er i t , t he not at i on " Cabi n One, "
can be cl ear l y seen t hr ee r egi st r at i ons above Sam' s. can be cl ear l y seen t hr ee r egi st r at i ons above Sam' s.
When Samhas f i ni shed he cl oses book, hands i t back t o When Samhas f i ni shed he cl oses book, hands i t back t o
Nor man. Nor man does not t ake i t , st ar t s out f r ombehi nd Nor man. Nor man does not t ake i t , st ar t s out f r ombehi nd
count er . count er .
NORMAN NORMAN
I ' l l get your bags. I ' l l get your bags.
SAM SAM
Haven' t any. Haven' t any.
NORMAN NORMAN
( af t er a st ar e) ( af t er a st ar e)
I ' l l show you t he cabi n. I ' l l show you t he cabi n.
As he st ar t s f or t he door , Saml aughs. Nor man st ops, As he st ar t s f or t he door , Saml aughs. Nor man st ops,
t ur ns, l ooks at hi m. t ur ns, l ooks at hi m.
SAM SAM
Fi r st t i me I ' ve seen i t happen. Fi r st t i me I ' ve seen i t happen.
Check i n any pl ace i n t hi s count r y Check i n any pl ace i n t hi s count r y
wi t hout bags, and you have t o pay wi t hout bags, and you have t o pay
i n advance. i n advance.
Samsmi l es as i f at a f unny r emar k, t akes a bi l l out of Samsmi l es as i f at a f unny r emar k, t akes a bi l l out of
hi s pocket . hi s pocket .
NORMAN NORMAN
Ten dol l ar s . . . Ten dol l ar s . . .
Nor man r et ur ns t o Sam, t akes t he ext ended bi l l , i s about Nor man r et ur ns t o Sam, t akes t he ext ended bi l l , i s about
t o st ar t out agai n. t o st ar t out agai n.
SAM SAM
That r ecei pt . . . ? That r ecei pt . . . ?
Nor man goes r el uct ant l y behi nd count er , l ays down t he Nor man goes r el uct ant l y behi nd count er , l ays down t he
key t o cabi n t wel ve, t akes a r ecei pt book out of t he key t o cabi n t wel ve, t akes a r ecei pt book out of t he
dr awer under count er , st ar t s t o wr i t e. Li l a st eps up t o dr awer under count er , st ar t s t o wr i t e. Li l a st eps up t o
t he desk, pi cks up t he key, qui ckl y, st ar t s out . t he desk, pi cks up t he key, qui ckl y, st ar t s out .
LI LA LI LA
I ' l l st ar t ahead. I ' l l st ar t ahead.
Nor man l ooks up, gazes her as she goes out door . Nor man l ooks up, gazes her as she goes out door .
EXT. THE MOTEL - ( DAY) EXT. THE MOTEL - ( DAY)
Li l a comes al ong t he por ch, pauses bef or e cabi n one, Li l a comes al ong t he por ch, pauses bef or e cabi n one,
t r i es t he door . I t opens. She cl oses i t qui ckl y as she t r i es t he door . I t opens. She cl oses i t qui ckl y as she
hear s Samand Nor man comi ng out of t he mot el of f i ce, hear s Samand Nor man comi ng out of t he mot el of f i ce,
cont i nues on down t he por ch. cont i nues on down t he por ch.
SAM SAM
( To Nor man, who i s ( To Nor man, who i s
f ol l owi ng) f ol l owi ng)
Don' t bot her your sel f . . . we' l l Don' t bot her your sel f . . . we' l l
f i nd i t . f i nd i t .
He goes on down t he por ch, doesn' t even gl ance at cabi n He goes on down t he por ch, doesn' t even gl ance at cabi n
one, wal ks qui ckl y and cat ches up t o Li l a j ust as she one, wal ks qui ckl y and cat ches up t o Li l a j ust as she
r eaches cabi n t wel ve. CAMERA REMAI NS wi t h Nor man, who r eaches cabi n t wel ve. CAMERA REMAI NS wi t h Nor man, who
i s st andi ng by t he of f i ce door , l ooki ng af t er Samand i s st andi ng by t he of f i ce door , l ooki ng af t er Samand
Li l a, hi s f ace al er t and no l onger i mpassi ve. He wai t s Li l a, hi s f ace al er t and no l onger i mpassi ve. He wai t s
a moment , af t er t hey have cl osed t hei r cabi n door , t hen a moment , af t er t hey have cl osed t hei r cabi n door , t hen
cr osses t o t he pi ckup t r uck. CAMERA MOVES wi t h hi m. He cr osses t o t he pi ckup t r uck. CAMERA MOVES wi t h hi m. He
st udi es t he t r uck, t hen l eans i n t hr ough t he dr i ver ' s st udi es t he t r uck, t hen l eans i n t hr ough t he dr i ver ' s
wi ndow, t wi st s t he r egi st r at i on car d ar ound, r eads i t . wi ndow, t wi st s t he r egi st r at i on car d ar ound, r eads i t .
I t gi ves t he cor r ect name and addr ess of SamLoomi s. I t gi ves t he cor r ect name and addr ess of SamLoomi s.
Nor man comes back out of t he wi ndow, gl ances once mor e Nor man comes back out of t he wi ndow, gl ances once mor e
t owar d cabi n t wel ve, t hen at t he ol d house. Hi s t owar d cabi n t wel ve, t hen at t he ol d house. Hi s
suspi ci ons ar e conf i r med, and now t her e i s t he suspi ci ons ar e conf i r med, and now t her e i s t he
r el axat i on of r el i ef i n hi s f ace. He t akes on a r el axat i on of r el i ef i n hi s f ace. He t akes on a
pur posef ul ai r , t ur ns, st r i des up t he pat h, up ont o t he pur posef ul ai r , t ur ns, st r i des up t he pat h, up ont o t he
por ch of t he house, opens t he door , goes i n. por ch of t he house, opens t he door , goes i n.
I NT. CABI N TWELVE - ( DAY) I NT. CABI N TWELVE - ( DAY)
Li l a i s at t he cabi n' s r ear wi ndow, l ooki ng out , Li l a i s at t he cabi n' s r ear wi ndow, l ooki ng out ,
st r ai ni ng f or a gl i mpse of t he ol d house, whi ch cannot st r ai ni ng f or a gl i mpse of t he ol d house, whi ch cannot
be seen f r omt he wi ndow of t hi s cabi n. be seen f r omt he wi ndow of t hi s cabi n.
She t ur ns, f r ust r at ed, anxi ous. Sami s st andi ng at t he She t ur ns, f r ust r at ed, anxi ous. Sami s st andi ng at t he
f oot of t he bed, st ar i ng at t he smoot h cover l et , hi s f oot of t he bed, st ar i ng at t he smoot h cover l et , hi s
br ow cr eased i n a sadness. br ow cr eased i n a sadness.
LI LA LI LA
We shoul d have asked f or Cabi n One We shoul d have asked f or Cabi n One
. . . The one Mar y was i n. . . . The one Mar y was i n.
SAM SAM
I ' mgl ad we di dn' t . I ' mgl ad we di dn' t .
He pul l s hi s eyes f r omt he bed, cr osses t o t he desk, He pul l s hi s eyes f r omt he bed, cr osses t o t he desk,
si t s wear i l y, l i ght s a ci gar et t e. Li l a wat ches hi mf or si t s wear i l y, l i ght s a ci gar et t e. Li l a wat ches hi mf or
a moment , f eel s a r eal compassi on, goes t o t he bed, si t s a moment , f eel s a r eal compassi on, goes t o t he bed, si t s
on i t s edge, t ur ns agai n and l ooks at Sam' s back. on i t s edge, t ur ns agai n and l ooks at Sam' s back.
LI LA LI LA
We have t o go i nt o t hat cabi n and We have t o go i nt o t hat cabi n and
sear ch i t , Sam. . . no mat t er what sear ch i t , Sam. . . no mat t er what
we' r e af r ai d of f i ndi ng and no we' r e af r ai d of f i ndi ng and no
mat t er how much i t may hur t . mat t er how much i t may hur t .
SAM SAM
I know. I know.
Do you t hi nk i f somet hi ng happened, Do you t hi nk i f somet hi ng happened,
i t happened t her e? i t happened t her e?
LI LA LI LA
( A pause, t hen: ) ( A pause, t hen: )
Sam, i f you owned a usel ess Sam, i f you owned a usel ess
busi ness l i ke t hi s mot el . . . one busi ness l i ke t hi s mot el . . . one
you pr obabl y coul dn' t even sel l . . . you pr obabl y coul dn' t even sel l . . .
what woul d you need t o get away, t o what woul d you need t o get away, t o
st ar t a new busi ness, somewher e st ar t a new busi ness, somewher e
el se? el se?
( As Samst udi es her ) ( As Samst udi es her )
For t y t housand dol l ar s? For t y t housand dol l ar s?
SAM SAM
How coul d we pr ove . . . How coul d we pr ove . . .
( An al most hopel ess ( An al most hopel ess
l augh) l augh)
Wel l , i f he opens a new mot el on Wel l , i f he opens a new mot el on
t he new hi ghway . . . say, a year t he new hi ghway . . . say, a year
f r omnow . . . f r omnow . . .
LI LA LI LA
Ther e must be some pr oof t hat Ther e must be some pr oof t hat
exi st s r i ght now! Somet hi ng t hat exi st s r i ght now! Somet hi ng t hat
pr oves he got t hat money away f r om pr oves he got t hat money away f r om
Mar y . . . Some way! Mar y . . . Some way!
SAM SAM
What makes you sound so cer t ai n? What makes you sound so cer t ai n?
LI LA LI LA
Ar bogast ! Sam, he l i ked me . . . or Ar bogast ! Sam, he l i ked me . . . or
f el t sor r y f or me . . . and he was f el t sor r y f or me . . . and he was
st ar t i ng t o f eel t he same about st ar t i ng t o f eel t he same about
you. I hear d i t when he cal l ed . . . you. I hear d i t when he cal l ed . . .
i n hi s voi ce, a car i ng. He i n hi s voi ce, a car i ng. He
woul dn' t have gone anywher e or done woul dn' t have gone anywher e or done
anyt hi ng wi t hout t el l i ng us. anyt hi ng wi t hout t el l i ng us.
Unl ess he was st opped. And he was Unl ess he was st opped. And he was
st opped, so he must have f ound out st opped, so he must have f ound out
somet hi ng! somet hi ng!
Samconsi der s a moment , nods agr eement , r i ses. Samconsi der s a moment , nods agr eement , r i ses.
SAM SAM
We' l l st ar t wi t h Cabi n One. We' l l st ar t wi t h Cabi n One.
He goes t o t he door , opens i t sl i ght l y, l ooks out , t hen, He goes t o t he door , opens i t sl i ght l y, l ooks out , t hen,
back t o Li l a: back t o Li l a:
SAM SAM
I f he sees us . . . we' r e j ust t aki ng I f he sees us . . . we' r e j ust t aki ng
t he ai r . t he ai r .
Li l a goes t o t he door . He hol ds i t open and she goes Li l a goes t o t he door . He hol ds i t open and she goes
out . out .
Samcl oses t he door , j oi ns Li l a, t akes her hand. Samcl oses t he door , j oi ns Li l a, t akes her hand.
Toget her t hey wal k al ong t he por ch i n t he di r ect i on of Toget her t hey wal k al ong t he por ch i n t he di r ect i on of
Cabi n One. CAMERA FOLLOWS. They pause bef or e t he door Cabi n One. CAMERA FOLLOWS. They pause bef or e t he door
of Cabi n One. Sammot i ons Li l a t o wai t , t o hol d st i l l , of Cabi n One. Sammot i ons Li l a t o wai t , t o hol d st i l l ,
t hen goes on t o t he of f i ce, opens t he door , cal l s i n: t hen goes on t o t he of f i ce, opens t he door , cal l s i n:
SAM SAM
Bat es? Bat es?
He wai t s, t her e i s no r esponse. He goes i n and i n a He wai t s, t her e i s no r esponse. He goes i n and i n a
moment comes back out , cl oses t he door , goes t o Li l a. moment comes back out , cl oses t he door , goes t o Li l a.
She has al r eady opened t he door of Cabi n One and has She has al r eady opened t he door of Cabi n One and has
st ar t ed t o ent er . st ar t ed t o ent er .
I NT. CABI N ONE - ( DAY) I NT. CABI N ONE - ( DAY)
The bl i nds ar e cl osed and t he r oomi s al most ni ght - dar k. The bl i nds ar e cl osed and t he r oomi s al most ni ght - dar k.
Samcomes i n af t er Li l a, cl oses t he door behi nd hi m. Samcomes i n af t er Li l a, cl oses t he door behi nd hi m.
For a moment t hey j ust gaze at t he r oom, as i f wi l l i ng For a moment t hey j ust gaze at t he r oom, as i f wi l l i ng
i t t o t el l t hemsome sat i sf act or y st or y. i t t o t el l t hemsome sat i sf act or y st or y.
Nei t her speaks. Then, i n dar k si l ence, t hey begi n t o Nei t her speaks. Then, i n dar k si l ence, t hey begi n t o
sear ch, goi ng met hodi cal l y and t hor oughl y t hr ough al l sear ch, goi ng met hodi cal l y and t hor oughl y t hr ough al l
dr awer s, t he cl oset , t he desk, sear chi ng under t he bed dr awer s, t he cl oset , t he desk, sear chi ng under t he bed
and i n dar k cor ner s, not knowi ng what t hey expect t o and i n dar k cor ner s, not knowi ng what t hey expect t o
f i nd and yet expect i ng t o f i nd some t hi ng. Li l a opens f i nd and yet expect i ng t o f i nd some t hi ng. Li l a opens
t he bat hr oomdoor , l ooks i n. The wi ndowl ess r oomi s t he bat hr oomdoor , l ooks i n. The wi ndowl ess r oomi s
ver y dar k. She swi t ches on t he l i ght , goes i n. Sam ver y dar k. She swi t ches on t he l i ght , goes i n. Sam
moves t owar d t he bat hr oom, i s about t o f ol l ow her i n moves t owar d t he bat hr oom, i s about t o f ol l ow her i n
when he not i ces whi ch r oomi t i s and aut omat i cal l y when he not i ces whi ch r oomi t i s and aut omat i cal l y
cat ches hi msel f up, backs out . cat ches hi msel f up, backs out .
SAM SAM
Sor r y. Sor r y.
LI LA LI LA
Hospi t al cl ean. Hospi t al cl ean.
SAM SAM
What ? What ?
LI LA LI LA
The bat hr oom. Look at how cl ean i t The bat hr oom. Look at how cl ean i t
i s. The one i n our cabi n i s cl ean i s. The one i n our cabi n i s cl ean
. . . but t hi s i s cl ean! . . . but t hi s i s cl ean!
Samgoes i n, gl ances ar ound, nods. Li l a goes t hr ough Samgoes i n, gl ances ar ound, nods. Li l a goes t hr ough
t he medi ci ne cabi net , f i nds not hi ng but a gl ass and t wo t he medi ci ne cabi net , f i nds not hi ng but a gl ass and t wo
t i ny t abs of soap. Saml eans agai nst t he door - j amb, t i ny t abs of soap. Saml eans agai nst t he door - j amb,
l ooks at t he t ub, t he shower pi pe above i t . He l ooks at t he t ub, t he shower pi pe above i t . He
cont i nues t o st ar e, mor e i nt er est ed suddenl y, as i f cont i nues t o st ar e, mor e i nt er est ed suddenl y, as i f
bot her ed by some of f - key evi dence he can' t put hi s bot her ed by some of f - key evi dence he can' t put hi s
f i nger on. Then he l ooks at t he shower cur t ai n r od. f i nger on. Then he l ooks at t he shower cur t ai n r od.
And r eal i zes t her e i s no shower cur t ai n. He f r owns, i s And r eal i zes t her e i s no shower cur t ai n. He f r owns, i s
about t o say somet hi ng when Li l a, who has been about t o say somet hi ng when Li l a, who has been
moment ar i l y out of shot , i nt er r upt s. moment ar i l y out of shot , i nt er r upt s.
Samt ur ns, CAMERA TURNS, and we see Li l a i s st andi ng Samt ur ns, CAMERA TURNS, and we see Li l a i s st andi ng
above t he t oi l et bowl , a t i ny pi ece of wet paper st uck above t he t oi l et bowl , a t i ny pi ece of wet paper st uck
t o t he t i p of her r i ght i ndex f i nger . t o t he t i p of her r i ght i ndex f i nger .
SAM SAM
What i s i t ? What i s i t ?
LI LA LI LA
I t di dn' t get washed down. I t ' s I t di dn' t get washed down. I t ' s
f i gur i ng . . . t he ki nd you t ear up f i gur i ng . . . t he ki nd you t ear up
and get r i d of . and get r i d of .
( Ext endi ng her f i nger ( Ext endi ng her f i nger
t owar d Sam) t owar d Sam)
Some f i gur e has been added t o or Some f i gur e has been added t o or
subt r act ed f r om. . . f or t y t housand. subt r act ed f r om. . . f or t y t housand.
Saml i f t s t he pi ece of paper of f her f i nger , st udi es i t , Saml i f t s t he pi ece of paper of f her f i nger , st udi es i t ,
t akes out hi s wal l et , pr esses t he wet scr ap t o hi s t akes out hi s wal l et , pr esses t he wet scr ap t o hi s
dr i ver ' s l i cense shi el d, put s i t back i n t he wal l et and dr i ver ' s l i cense shi el d, put s i t back i n t he wal l et and
put s t he wal l et away. put s t he wal l et away.
LI LA LI LA
That ' s pr oof Mar y was her e! I t That ' s pr oof Mar y was her e! I t
woul d be t oo wi l d a coi nci dence f or woul d be t oo wi l d a coi nci dence f or
somebody el se t o . . . somebody el se t o . . .
SAM SAM
( Remi ndi ng) ( Remi ndi ng)
Bat es never deni ed Mar y was her e. Bat es never deni ed Mar y was her e.
LI LA LI LA
( Remi nded) ( Remi nded)
Yes. Yes.
( A t hought ) ( A t hought )
But maybe t hi s pr oves t hat Bat es But maybe t hi s pr oves t hat Bat es
f ound out about t he money. f ound out about t he money.
SAM SAM
Do we si mpl y ask hi mwher e he' s Do we si mpl y ask hi mwher e he' s
hi dden i t ? hi dden i t ?
LI LA LI LA
Sam, t hat ol d woman, whoever she Sam, t hat ol d woman, whoever she
i s. I t hi nk she t ol d Ar bogast i s. I t hi nk she t ol d Ar bogast
somet hi ng! And I want her t o t el l somet hi ng! And I want her t o t el l
us t he same t hi ng! us t he same t hi ng!
She st ar t s out of t he bat hr oom. Samt akes hol d of her She st ar t s out of t he bat hr oom. Samt akes hol d of her
ar m, st ops her . ar m, st ops her .
SAM SAM
You can' t go up t her e. You can' t go up t her e.
LI LA LI LA
Why not ? Why not ?
SAM SAM
Bat es. Bat es.
CAMERA STARTS TO PAN AWAY f r omt hem, moves sl owl y over CAMERA STARTS TO PAN AWAY f r omt hem, moves sl owl y over
t he r oom, ver y sl owl y. t he r oom, ver y sl owl y.
LI LA' S VOI CE ( O. S. ) LI LA' S VOI CE ( O. S. )
Let ' s f i nd hi m. One of us can keep Let ' s f i nd hi m. One of us can keep
hi moccupi ed whi l e t he ot her get s hi moccupi ed whi l e t he ot her get s
t o t he woman. t o t he woman.
SAM' S VOI CE ( O. S. ) SAM' S VOI CE ( O. S. )
You won' t be abl e t o hol d hi mst i l l You won' t be abl e t o hol d hi mst i l l
i f he doesn' t want t o be hel d. And i f he doesn' t want t o be hel d. And
I don' t l i ke you goi ng i nt o t hat I don' t l i ke you goi ng i nt o t hat
house al one, Li l a. house al one, Li l a.
CAMERA HAS PANNED cl ear acr oss t o t he opposi t e wal l now, CAMERA HAS PANNED cl ear acr oss t o t he opposi t e wal l now,
and i s movi ng up cl oser and cl oser t o t he t i ny- f l ower ed and i s movi ng up cl oser and cl oser t o t he t i ny- f l ower ed
wal l paper , f i nal l y cl osi ng i n on one smal l r osebud. wal l paper , f i nal l y cl osi ng i n on one smal l r osebud.
I can handl e a si ck ol d woman. I can handl e a si ck ol d woman.
Now we see t hat t he r osebud has been cut out , t hat t hi s Now we see t hat t he r osebud has been cut out , t hat t hi s
i s t he r ever se si de of t he hol e Nor man peeped t hr ough t o i s t he r ever se si de of t he hol e Nor man peeped t hr ough t o
wat ch Mar y. And we see t he pupi l of Nor man' s eye now. wat ch Mar y. And we see t he pupi l of Nor man' s eye now.
SAM' S VOI CE ( O. S. ) SAM' S VOI CE ( O. S. )
Al l r i ght . I ' l l f i nd Bat es and Al l r i ght . I ' l l f i nd Bat es and
keep hi moccupi ed. keep hi moccupi ed.
The eye moves away and t her e i s a br i ef f l ash of l i ght The eye moves away and t her e i s a br i ef f l ash of l i ght
bef or e t he hol e i s cover ed, on t he ot her si de, by t he bef or e t he hol e i s cover ed, on t he ot her si de, by t he
wal l - hung pai nt i ng. wal l - hung pai nt i ng.
FRESH ANGLE - LI LA AND SAM FRESH ANGLE - LI LA AND SAM
They ar e about t o st ar t out . Samst ops her agai n. They ar e about t o st ar t out . Samst ops her agai n.
SAM SAM
Wai t a mi nut e. I f you get anyt hi ng Wai t a mi nut e. I f you get anyt hi ng
out of t he mot her . . . out of t he mot her . . .
( A t hought ) ( A t hought )
Can you f i nd your way back t o t own? Can you f i nd your way back t o t own?
( As Li l a nods yes) ( As Li l a nods yes)
I f you do get anyt hi ng, don' t st op I f you do get anyt hi ng, don' t st op
t o t el l me. t o t el l me.
Li l a nods qui ckl y, hur r i es t o t he door . Samget s t o i t Li l a nods qui ckl y, hur r i es t o t he door . Samget s t o i t
f i r st , opens i t a sl i ght cr ack, l ooks out , t hen opens i t f i r st , opens i t a sl i ght cr ack, l ooks out , t hen opens i t
wi de enough f or Li l a and Hi msel f t o pass t hr ough. wi de enough f or Li l a and Hi msel f t o pass t hr ough.
Angl e cl ose on cabi n one as Li l a comes out , t ur ns t o her Angl e cl ose on cabi n one as Li l a comes out , t ur ns t o her
l ef t , goes al ong por ch t owar d cabi n t wel ve. Samr emai ns l ef t , goes al ong por ch t owar d cabi n t wel ve. Samr emai ns
at t he door , t hen t ur ns r i ght , headi ng f or t he pat h. As at t he door , t hen t ur ns r i ght , headi ng f or t he pat h. As
he passes t he of f i ce, he i s shocked t o see Nor man he passes t he of f i ce, he i s shocked t o see Nor man
st andi ng j ust i nsi de t he open door . st andi ng j ust i nsi de t he open door .
NORMAN NORMAN
Looki ng f or me? Looki ng f or me?
SAM SAM
( Recover i ng) ( Recover i ng)
Yes, mat t er of f act . Yes, mat t er of f act .
( The f r i endl y gr i n) ( The f r i endl y gr i n)
The wi f e' s t aki ng a nap and . . . I The wi f e' s t aki ng a nap and . . . I
can never keep qui et enough f or her can never keep qui et enough f or her
. . . so I t hought I ' d l ook you up . . . so I t hought I ' d l ook you up
and . . . t al k. and . . . t al k.
NORMAN NORMAN
Sat i sf i ed wi t h your cabi n? Sat i sf i ed wi t h your cabi n?
SAM SAM
Fi ne. Fi ne.
Samst ar t s i nt o t he of f i ce. J ust bef or e goi ng i n, he Samst ar t s i nt o t he of f i ce. J ust bef or e goi ng i n, he
gl ances down t he l ong por ch, sees Li l a st andi ng out si de gl ances down t he l ong por ch, sees Li l a st andi ng out si de
t he door of cabi n t wel ve, waves her a t i ny " al l cl ear " t he door of cabi n t wel ve, waves her a t i ny " al l cl ear "
si gnal . si gnal .
LI LA LI LA
CAMERA ANGLES t o i ncl ude Li l a and her poi nt of vi ew. CAMERA ANGLES t o i ncl ude Li l a and her poi nt of vi ew.
She wat ches Samdi sappear i nt o t he of f i ce, wai t s unt i l She wat ches Samdi sappear i nt o t he of f i ce, wai t s unt i l
she hear s t he door cl ose, t hen l ooks about f or anot her she hear s t he door cl ose, t hen l ooks about f or anot her
way t o r each t he house. She sees t he smal l al l ey at t he way t o r each t he house. She sees t he smal l al l ey at t he
end of t hi s L of cabi ns, st ar t s t owar d i t . end of t hi s L of cabi ns, st ar t s t owar d i t .
EXT. REAR OF MOTEL - S. C. U. LI LA - ( DAY) EXT. REAR OF MOTEL - S. C. U. LI LA - ( DAY)
Behi nd t he mot el Li l a hesi t at es. She l ooks ahead. Behi nd t he mot el Li l a hesi t at es. She l ooks ahead.
LONG SHOT - ( DAY) LONG SHOT - ( DAY)
The ol d house st andi ng agai nst t he sky. The ol d house st andi ng agai nst t he sky.
CLOSE UP - ( DAY) CLOSE UP - ( DAY)
Li l a moves f or war d. Li l a moves f or war d.
The CAMERA appr oachi ng t he house. The CAMERA appr oachi ng t he house.
Li l a gl ances t owar d t he back of Nor man' s par l or . She Li l a gl ances t owar d t he back of Nor man' s par l or . She
moves on. moves on.
The house comi ng near er . The house comi ng near er .
Li l a l ooks up at t he house. She moves f or war d Li l a l ooks up at t he house. She moves f or war d
pur posef ul l y. pur posef ul l y.
S. L. S. - ( DAY) S. L. S. - ( DAY)
The house and t he por ch. The house and t he por ch.
Li l a st ops at t he house and l ooks up. She gl ances back. Li l a st ops at t he house and l ooks up. She gl ances back.
She t ur ns t o t he house agai n. She t ur ns t o t he house agai n.
S. L. S. - ( DAY) S. L. S. - ( DAY)
The CAMERA MOUNTS t he st eps t o t he por ch. The CAMERA MOUNTS t he st eps t o t he por ch.
C. U. - ( DAY) C. U. - ( DAY)
Li l a put s out her hand. Li l a put s out her hand.
S. C. U. - ( DAY) S. C. U. - ( DAY)
Li l a' s hand pushes t he door open. We see t he hal l way. Li l a' s hand pushes t he door open. We see t he hal l way.
Li l a ENTERS PAST CAMERA. Li l a ENTERS PAST CAMERA.
I NT. DOWNSTAI RS HALLWAY OF OLD HOUSE - ( DAY) I NT. DOWNSTAI RS HALLWAY OF OLD HOUSE - ( DAY)
Li l a cl oses t he door , r emai ns by i t f or a moment , qui et , Li l a cl oses t he door , r emai ns by i t f or a moment , qui et ,
l i st eni ng. Her eyes scan t he l ayout , t he cl osed door l i st eni ng. Her eyes scan t he l ayout , t he cl osed door
whi ch l eads of f t he hal l way, t o t he di ni ng r oomon t he whi ch l eads of f t he hal l way, t o t he di ni ng r oomon t he
r i ght and t he par l or on t he l ef t . Down at t he end of r i ght and t he par l or on t he l ef t . Down at t he end of
t he hal l i s t he ki t chen, t he door wi de open, t he r oom t he hal l i s t he ki t chen, t he door wi de open, t he r oom
beyond di mand si l ent . She not i ces t he st ai r s l eadi ng beyond di mand si l ent . She not i ces t he st ai r s l eadi ng
down t o t he basement , st ar es at t hem, t hen back t o t he down t o t he basement , st ar es at t hem, t hen back t o t he
st ai r s l eadi ng t o t he second f l oor . She st ar t s f or war d, st ai r s l eadi ng t o t he second f l oor . She st ar t s f or war d,
and seems about t o i nvest i gat e t he par l or and di ni ng and seems about t o i nvest i gat e t he par l or and di ni ng
r oom. r oom.
I NT. THE MOTEL OFFI CE - ( DAY) I NT. THE MOTEL OFFI CE - ( DAY)
Nor man i s behi nd t he count er , st andi ng, st ar i ng at Sam Nor man i s behi nd t he count er , st andi ng, st ar i ng at Sam
who i s si t t i ng r el axedl y on a smal l sof a. Nor man has who i s si t t i ng r el axedl y on a smal l sof a. Nor man has
t he l ook of one who i s pr ot ect i ng hi msel f , as i f t he t he l ook of one who i s pr ot ect i ng hi msel f , as i f t he
count er wer e a pr ot ect i ve wal l agai nst t he t hr eat eni ng count er wer e a pr ot ect i ve wal l agai nst t he t hr eat eni ng
wor l d acr oss i t . wor l d acr oss i t .
SAM SAM
( Cheer f ul l y, as i f ( Cheer f ul l y, as i f
af t er a sel f - af t er a sel f -
consci ous pause) consci ous pause)
I ' ve been doi ng al l t he t al ki ng so I ' ve been doi ng al l t he t al ki ng so
f ar , haven' t I ? f ar , haven' t I ?
NORMAN NORMAN
Yes. Yes.
SAM SAM
I al ways t hought i t was t he peopl e I al ways t hought i t was t he peopl e
who ar e al one so much who do al l who ar e al one so much who do al l
t he t al ki ng when t hey get t he t he t al ki ng when t hey get t he
chance. Yet t her e you ar e, doi ng chance. Yet t her e you ar e, doi ng
al l t he l i st eni ng! al l t he l i st eni ng!
You ar e al one her e, ar en' t you? You ar e al one her e, ar en' t you?
( As Nor man does not ( As Nor man does not
r epl y) r epl y)
I t woul d dr i ve me cr azy. I t woul d dr i ve me cr azy.
NORMAN NORMAN
That woul d be a r at her ext r eme That woul d be a r at her ext r eme
r eact i on, woul dn' t i t ? r eact i on, woul dn' t i t ?
SAM SAM
( Li ght l y) ( Li ght l y)
J ust an expr essi on . . . J ust an expr essi on . . .
( Mor e ser i ousl y) ( Mor e ser i ousl y)
What I meant was . . . I ' d do j ust What I meant was . . . I ' d do j ust
about anyt hi ng . . . t o get away. about anyt hi ng . . . t o get away.
Woul dn' t you? Woul dn' t you?
I NT. DOWNSTAI RS HALLWAY AND STAI RS OF OLD HOUSE - ( DAY) I NT. DOWNSTAI RS HALLWAY AND STAI RS OF OLD HOUSE - ( DAY)
Li l a i s hal f way up t he st ai r s. As she cl i mbs she i s Li l a i s hal f way up t he st ai r s. As she cl i mbs she i s
st ar t l ed by t he cr eaks and gr oans of t he ol d wood of t he st ar t l ed by t he cr eaks and gr oans of t he ol d wood of t he
st eps. She st eps mor e car ef ul l y. CAMERA r emai ns at st eps. She st eps mor e car ef ul l y. CAMERA r emai ns at
f oot of st ai r , TI LTI NG UP as Li l a cl i mbs. She pauses at f oot of st ai r , TI LTI NG UP as Li l a cl i mbs. She pauses at
t he head of t he st ai r . The door on her r i ght , whi ch t he head of t he st ai r . The door on her r i ght , whi ch
opens i nt o t he mot her ' s r oom, i s cl osed. To her l ef t i s opens i nt o t he mot her ' s r oom, i s cl osed. To her l ef t i s
anot her door , hal f - open. Di r ect l y bef or e her i s a t hi r d anot her door , hal f - open. Di r ect l y bef or e her i s a t hi r d
door , cl osed. She hol ds a l ong moment , t r yi ng t o door , cl osed. She hol ds a l ong moment , t r yi ng t o
pi ct ur e i n her mi nd whi ch r oomwoul d l ook out on t he pi ct ur e i n her mi nd whi ch r oomwoul d l ook out on t he
f r ont of t he house, deci des, chooses t he cor r ect door , f r ont of t he house, deci des, chooses t he cor r ect door ,
t he one on her r i ght . She goes t o i t , knocks l i ght l y. t he one on her r i ght . She goes t o i t , knocks l i ght l y.
I NT. THE MOTHER' S ROOM - ( DAY) - CLOSE ANGLE ON DOOR I NT. THE MOTHER' S ROOM - ( DAY) - CLOSE ANGLE ON DOOR
We hear Li l a' s second knock, t hen, f ai nt l y, her sof t We hear Li l a' s second knock, t hen, f ai nt l y, her sof t
cal l . cal l .
Mr s. Bat es? Mr s. Bat es?
Ther e i s qui et f or a moment , t hen t he door begi ns t o Ther e i s qui et f or a moment , t hen t he door begi ns t o
open, and we see Li l a. She st ands on t he t hr eshol d, open, and we see Li l a. She st ands on t he t hr eshol d,
l ooki ng i n at t he r oom, i nst ant l y di st ur bed by i t , l ooki ng i n at t he r oom, i nst ant l y di st ur bed by i t ,
al most chi l l ed, her expr essi on i ndi cat i ng an i mpul se t o al most chi l l ed, her expr essi on i ndi cat i ng an i mpul se t o
cl ose t he door and go away f r omt hi s r oomf or ever . cl ose t he door and go away f r omt hi s r oomf or ever .
Af t er a moment , she ent er s, l eavi ng t he door open behi nd Af t er a moment , she ent er s, l eavi ng t he door open behi nd
her . CAMERA PULLS BACK AND AWAY and we now see t he r oom her . CAMERA PULLS BACK AND AWAY and we now see t he r oom
as Li l a sees i t . as Li l a sees i t .
I t i s or nat e, damask- and- mahogany, t hi ck and war mand I t i s or nat e, damask- and- mahogany, t hi ck and war mand
r i pe, an ol l a podr i da of mi smat ed f ur ni shi ngs and br i c- a- r i pe, an ol l a podr i da of mi smat ed f ur ni shi ngs and br i c- a-
br ac of t he l ast cent ur y. The bed i s f our post er , but br ac of t he l ast cent ur y. The bed i s f our post er , but
uncanopl ed; t he dr essi ng t abl e i s f ancy and f l ounced uncanopl ed; t he dr essi ng t abl e i s f ancy and f l ounced
wi t h sat i n; t her e i s a gr eat chi f f oni er , a bi g- door ed wi t h sat i n; t her e i s a gr eat chi f f oni er , a bi g- door ed
war dr obe, a l ar ge, oval , f ul l - l engt h pi er - gl ass ( t hi s war dr obe, a l ar ge, oval , f ul l - l engt h pi er - gl ass ( t hi s
agai nst t he wal l di r ect l y opposi t e t he door ) , a sat i n agai nst t he wal l di r ect l y opposi t e t he door ) , a sat i n
r ecami er , an uphol st er ed ar mchai r by t he wi ndow, a whi t e r ecami er , an uphol st er ed ar mchai r by t he wi ndow, a whi t e
mar bl e f i r epl ace, i t s gr at e col d but pi l ed wi t h ashes. mar bl e f i r epl ace, i t s gr at e col d but pi l ed wi t h ashes.
And t her e i s i n t he r ooman unmi st akabl y l i ve qual i t y, And t her e i s i n t he r ooman unmi st akabl y l i ve qual i t y,
as i f even t hough i t i s pr esent l y unoccupi ed, i t has not as i f even t hough i t i s pr esent l y unoccupi ed, i t has not
been l ong vacat ed by some must y pr esence. been l ong vacat ed by some must y pr esence.
Li l a gl ances at t he bed. The damask cover l et i s t hr own Li l a gl ances at t he bed. The damask cover l et i s t hr own
over i t , but i t i s not neat , t her e i s t he i mpr i nt of a over i t , but i t i s not neat , t her e i s t he i mpr i nt of a
body on i t , a body whi ch obvi ousl y has sl ept i n a cur l ed- body on i t , a body whi ch obvi ousl y has sl ept i n a cur l ed-
up, womb- l i ke posi t i on. Li l a st ar es at i t f or a moment , up, womb- l i ke posi t i on. Li l a st ar es at i t f or a moment ,
t hen goes t o t he dr essi ng t abl e. I t s t op i s scat t er ed t hen goes t o t he dr essi ng t abl e. I t s t op i s scat t er ed
wi t h boxes and j ar s of cosmet i cs and cr eams, t r aces of wi t h boxes and j ar s of cosmet i cs and cr eams, t r aces of
f r esh powder , an opened bot t l e or per f ume, a comb, and f r esh powder , an opened bot t l e or per f ume, a comb, and
a br ush wi t h t r aces of hai r i n i t s br i st l es. Li l a moves a br ush wi t h t r aces of hai r i n i t s br i st l es. Li l a moves
on, cat ches a gl i mpse of her sel f i n t he pi er - gl ass, i s on, cat ches a gl i mpse of her sel f i n t he pi er - gl ass, i s
st ar t l ed, t ur ns away, goes t o t he chi f f oni er , i s about st ar t l ed, t ur ns away, goes t o t he chi f f oni er , i s about
t o open a dr awer , sees t he hi gh war dr obe out of t he t o open a dr awer , sees t he hi gh war dr obe out of t he
cor ner of her eyes, goes t o i t , hesi t ant l y. She opens cor ner of her eyes, goes t o i t , hesi t ant l y. She opens
one door . Fr esh, cl ean, wel l pr essed dr esses hang one door . Fr esh, cl ean, wel l pr essed dr esses hang
neat l y. Li l a opens t he ot her door . The sweat er s and neat l y. Li l a opens t he ot her door . The sweat er s and
dr esses and r obes hang f r eel y, none i n mot h- pr oof , dr esses and r obes hang f r eel y, none i n mot h- pr oof ,
st or age- t ype bags. Ther e i s even a wel l - br ushed col l ar st or age- t ype bags. Ther e i s even a wel l - br ushed col l ar
of f oxes. Al ong t he f l oor of t he war dr obe i s a l i ne of of f oxes. Al ong t he f l oor of t he war dr obe i s a l i ne of
cl ean, pol i shed shoes. Li l a st ar es, t hen cl oses t he cl ean, pol i shed shoes. Li l a st ar es, t hen cl oses t he
door , t ur ns, l ooks once agai n over t he whol e r oom, door , t ur ns, l ooks once agai n over t he whol e r oom,
st ar t s out , st ar t s out ,
I NT. THE UPSTAI RS HALLWAY OF THE OLD HOUSE - ( DAY) I NT. THE UPSTAI RS HALLWAY OF THE OLD HOUSE - ( DAY)
Li l a comes out of t he mot her ' s r oom, cl oses t he door Li l a comes out of t he mot her ' s r oom, cl oses t he door
behi nd her , l ooks down t he st ai r s, t hen st ar t s acr oss behi nd her , l ooks down t he st ai r s, t hen st ar t s acr oss
t he hal l t o t he r oomwhose door i s hal f - open. The r oom t he hal l t o t he r oomwhose door i s hal f - open. The r oom
wi t hi n i s dar k, t he shades dr awn f ul l . wi t hi n i s dar k, t he shades dr awn f ul l .
Li l a pauses on t he t hr eshol d, r eaches i n, f eel s t he Li l a pauses on t he t hr eshol d, r eaches i n, f eel s t he
wal l , t hr ows on a swi t ch. wal l , t hr ows on a swi t ch.
I NT. MOTEL OFFI CE - ( DAY) I NT. MOTEL OFFI CE - ( DAY)
Samhas r i sen, i s st andi ng by t he count er now. Samhas r i sen, i s st andi ng by t he count er now.
SAM SAM
I ' mnot sayi ng you shoul dn' t be I ' mnot sayi ng you shoul dn' t be
cont ent ed her e, I ' mj ust doubt i ng cont ent ed her e, I ' mj ust doubt i ng
t hat you ar e. I t hi nk i f you saw t hat you ar e. I t hi nk i f you saw
a chance t o get out f r omunder . . . a chance t o get out f r omunder . . .
you' d unl oad t hi s pl ace . . . you' d unl oad t hi s pl ace . . .
NORMAN NORMAN
( Angr i l y) ( Angr i l y)
Thi s pl ace! Thi s i sn' t ' a pl ace. ' Thi s pl ace! Thi s i sn' t ' a pl ace. '
I t ' s my onl y wor l d. I gr ew up i n I t ' s my onl y wor l d. I gr ew up i n
t hat house back t her e. I was a t hat house back t her e. I was a
happy chi l d. My mot her and I . . . happy chi l d. My mot her and I . . .
we wer e mor e t han happy. we wer e mor e t han happy.
SAM SAM
And now t hat your mot her ' s dead? And now t hat your mot her ' s dead?
Nor man snaps a shar p, f ast , ugl y l ook at hi m. Nor man snaps a shar p, f ast , ugl y l ook at hi m.
NORMAN NORMAN
My mot her i s not dead! My mot her i s not dead!
SAM SAM
( Sof t l y) ( Sof t l y)
I di dn' t t hi nk so. I di dn' t t hi nk so.
I NT. NORMAN' S ROOM I N THE OLD HOUSE - ( DAY) I NT. NORMAN' S ROOM I N THE OLD HOUSE - ( DAY)
Li l a i s st andi ng i n t he door way, st ar i ng at t he r oomi n Li l a i s st andi ng i n t he door way, st ar i ng at t he r oomi n
si ck di smay. The r oomi s gr ot esque, a hor r i bl e, si ck di smay. The r oomi s gr ot esque, a hor r i bl e,
l udi cr ous f ant asy of chi l dhood hel d beyond t he poi nt of l udi cr ous f ant asy of chi l dhood hel d beyond t he poi nt of
decency. decency.
I t i s a smal l r oom. The wal l s ar e f anci ed wi t h r ompi ng I t i s a smal l r oom. The wal l s ar e f anci ed wi t h r ompi ng
si l houet t es of t eddy- bear s and sai l boat s and car ousel s si l houet t es of t eddy- bear s and sai l boat s and car ousel s
and f at cows j umpi ng over aghast moons. The bed i s and f at cows j umpi ng over aghast moons. The bed i s
smal l , f ar t oo shor t f or a man of Nor man' s hei ght . And smal l , f ar t oo shor t f or a man of Nor man' s hei ght . And
yet t he r umpl ed cover s i ndi cat e t hat i t i s i n t hi s bed yet t he r umpl ed cover s i ndi cat e t hat i t i s i n t hi s bed
t hat Nor man sl eeps. Next t o t he bed i s an ol d- f ashi oned t hat Nor man sl eeps. Next t o t he bed i s an ol d- f ashi oned
t oy chest . On i t s t op t her e ar e a bi r d- i n- a- cage l amp, t oy chest . On i t s t op t her e ar e a bi r d- i n- a- cage l amp,
a pl ai n- bound book, and an ash t r ay f i l l ed wi t h ashes a pl ai n- bound book, and an ash t r ay f i l l ed wi t h ashes
and ci gar et t e st ubs. A gr own man' s shi r t hangs on a and ci gar et t e st ubs. A gr own man' s shi r t hangs on a
chi l d' s cl ot hes t r ee. chi l d' s cl ot hes t r ee.
Agai nst one wal l t her e i s a nar r ow, hi gh bookcase f i l l ed Agai nst one wal l t her e i s a nar r ow, hi gh bookcase f i l l ed
wi t h t hi ck, unchi l di sh- l ooki ng books. On t he smal l , wi t h t hi ck, unchi l di sh- l ooki ng books. On t he smal l ,
whi t e chest of dr awer s t her e i s an ol d, chi l d' s whi t e chest of dr awer s t her e i s an ol d, chi l d' s
vi ct r ol a. The r ecor d on t he t ur nt abl e i s di scover ed, on vi ct r ol a. The r ecor d on t he t ur nt abl e i s di scover ed, on
cl ose i nspect i on, t o be Beet hoven' s Er oi ca Symphony. cl ose i nspect i on, t o be Beet hoven' s Er oi ca Symphony.
Li l a st udi es t he r oom, f asci nat ed and r epel l ed. She Li l a st udi es t he r oom, f asci nat ed and r epel l ed. She
gl ances at t he bookcase, comes i nt o t he r oom, goes t o gl ances at t he bookcase, comes i nt o t he r oom, goes t o
t he bookcase and pul l s out a t hi ck, l ar ge, pl ai n- bound t he bookcase and pul l s out a t hi ck, l ar ge, pl ai n- bound
book. She opens i t . Her eyes go wi de i n shock. And book. She opens i t . Her eyes go wi de i n shock. And
t hen t her e i s di sgust . She sl ams t he book cl osed, dr ops t hen t her e i s di sgust . She sl ams t he book cl osed, dr ops
i t . i t .
I NT. THE MOTEL OFFI CE - ( DAY) I NT. THE MOTEL OFFI CE - ( DAY)
Nor man, behi nd t he count er , has moved back agai nst t he Nor man, behi nd t he count er , has moved back agai nst t he
wal l . Sami s st i l l on t he ot her si de of t he count er , wal l . Sami s st i l l on t he ot her si de of t he count er ,
but i s l eani ng f or war d, hi s eyes har d on Nor man' s f ace. but i s l eani ng f or war d, hi s eyes har d on Nor man' s f ace.
Nor man' s f ace i s no l onger expr essi onl ess. I t has t he Nor man' s f ace i s no l onger expr essi onl ess. I t has t he
st ar k, hi gh sheen of a cor ner ed ani mal . st ar k, hi gh sheen of a cor ner ed ani mal .
SAM SAM
( Pr essi ng) ( Pr essi ng)
You l ook f r i ght ened. Have I been You l ook f r i ght ened. Have I been
sayi ng somet hi ng f r i ght eni ng? sayi ng somet hi ng f r i ght eni ng?
NORMAN NORMAN
I don' t know what you' ve been I don' t know what you' ve been
sayi ng. sayi ng.
SAM SAM
I ' ve been t al ki ng about your mot her I ' ve been t al ki ng about your mot her
. . . about your mot el . How ar e you . . . about your mot el . How ar e you
goi ng t o do i t ? goi ng t o do i t ?
NORMAN NORMAN
Do what ? Do what ?
SAM SAM
Buy a new one! I n a new t own! Buy a new one! I n a new t own!
Wher e you won' t have t o hi de your Wher e you won' t have t o hi de your
mot her ! mot her !
NORMAN NORMAN
Shut up! Shut up!
SAM SAM
Wher e wi l l you get t he money t o do Wher e wi l l you get t he money t o do
t hat , Bat es . . . or do you al r eady t hat , Bat es . . . or do you al r eady
have i t . . . socked away . . . a l ot have i t . . . socked away . . . a l ot
of i t . . . of i t . . .
NORMAN NORMAN
Leave me al one! Leave me al one!
SAM SAM
. . . For t y t housand dol l ar s! . . . For t y t housand dol l ar s!
NORMAN NORMAN
Leave me al one! Leave me al one!
He i s cl ose t o pani c now. He t ur ns, swi f t l y, dashes He i s cl ose t o pani c now. He t ur ns, swi f t l y, dashes
back i nt o hi s pr i vat e par l or . Samgoes qui ckl y ar ound back i nt o hi s pr i vat e par l or . Samgoes qui ckl y ar ound
t he count er , f ol l ows. t he count er , f ol l ows.
I NT. NORMAN' S PRI VATE PARLOR - ( DAY) I NT. NORMAN' S PRI VATE PARLOR - ( DAY)
Nor man hear s Samf ol l owi ng, want s t o r un, t o never be Nor man hear s Samf ol l owi ng, want s t o r un, t o never be
r eached by t hi s man. He cr osses t he smal l r oom, dr awn r eached by t hi s man. He cr osses t he smal l r oom, dr awn
t o t he r ear wi ndow, as i f he mi ght f l y t hr ough i t . Sam t o t he r ear wi ndow, as i f he mi ght f l y t hr ough i t . Sam
ent er s, pauses. Nor man t ur ns, back agai nst t he wi ndow, ent er s, pauses. Nor man t ur ns, back agai nst t he wi ndow,
as unabl e t o f l y away as ar e t he many st i l l , st uf f ed as unabl e t o f l y away as ar e t he many st i l l , st uf f ed
bi r ds. Samr egi st er s a br i ef f l i cker of r eact i on when bi r ds. Samr egi st er s a br i ef f l i cker of r eact i on when
he sees t he bi r ds, but cont i nues t o gaze at Nor man, har d. he sees t he bi r ds, but cont i nues t o gaze at Nor man, har d.
SAM SAM
I bet your mot her knows wher e t he I bet your mot her knows wher e t he
money i s. And what you di d t o get money i s. And what you di d t o get
i t . And I t hi nk she' l l t el l us. i t . And I t hi nk she' l l t el l us.
Somet hi ng sel f - assur ed and conf i dent i n Sam' s t one gi ves Somet hi ng sel f - assur ed and conf i dent i n Sam' s t one gi ves
Nor man a new, mor e t er r i f i ed al ar m. He t ur ns hi s head, Nor man a new, mor e t er r i f i ed al ar m. He t ur ns hi s head,
gl ances out t he wi ndow at t he ol d house. He l ooks back gl ances out t he wi ndow at t he ol d house. He l ooks back
at Samand t her e i s t er r or i n hi s voi ce. at Samand t her e i s t er r or i n hi s voi ce.
NORMAN NORMAN
Wher e' s t hat gi r l ? The gi r l you Wher e' s t hat gi r l ? The gi r l you
came wi t h! Wher e i s she? came wi t h! Wher e i s she?
Samdoes not r espond, smi l es a hal f - smi l e, t ur ns t o Samdoes not r espond, smi l es a hal f - smi l e, t ur ns t o
exami ne a st uf f ed owl . Nor man l ooks back at t he house. exami ne a st uf f ed owl . Nor man l ooks back at t he house.
NORMAN NORMAN
( A hor r i bl e gr oan) ( A hor r i bl e gr oan)
Oh, God! Oh, God!
I NT. UPSTAI RS HALL OF THE OLD HOUSE - ( DAY) I NT. UPSTAI RS HALL OF THE OLD HOUSE - ( DAY)
Li l a, shaken and di st ur bed, al most si ckened, i s comi ng Li l a, shaken and di st ur bed, al most si ckened, i s comi ng
out of Nor man' s r oom. She has l ef t t he l i ght on. She out of Nor man' s r oom. She has l ef t t he l i ght on. She
pauses i n t he mi ddl e of t he l andi ng, l ooks at t he cl osed pauses i n t he mi ddl e of t he l andi ng, l ooks at t he cl osed
door opposi t e t he st ai r s, goes t o i t , opens i t , sees door opposi t e t he st ai r s, goes t o i t , opens i t , sees
t hat i t i s t he bat hr oom, pul l s t he door t o, t ur ns, t hat i t i s t he bat hr oom, pul l s t he door t o, t ur ns,
st ar t s t owar d t he st ai r s. st ar t s t owar d t he st ai r s.
I NT. NORMAN' S PRI VATE PARLOR - ( DAY) I NT. NORMAN' S PRI VATE PARLOR - ( DAY)
Sami s l yi ng on t he f l oor , f ace downwar d, unmovi ng. A Sami s l yi ng on t he f l oor , f ace downwar d, unmovi ng. A
candl est i ck i s on t he f l oor , cl ose by hi s head, st i l l candl est i ck i s on t he f l oor , cl ose by hi s head, st i l l
r ocki ng as i f j ust dr opped. OVER SHOT comes t he SOUND r ocki ng as i f j ust dr opped. OVER SHOT comes t he SOUND
of Nor man' s f oot st eps and CAMERA TURNS i n t i me t o cat ch of Nor man' s f oot st eps and CAMERA TURNS i n t i me t o cat ch
a br i ef gl i mpse of hi mgoi ng out i nt o t he of f i ce, al most a br i ef gl i mpse of hi mgoi ng out i nt o t he of f i ce, al most
at a r un. at a r un.
I NT. STAI RWAY OF THE OLD HOUSE - ( DAY) I NT. STAI RWAY OF THE OLD HOUSE - ( DAY)
Li l a i s on t he t op st ep, l ooki ng down t owar d CAMERA. Li l a i s on t he t op st ep, l ooki ng down t owar d CAMERA.
She i s l i st eni ng, hopi ng t o hear some human sound, some She i s l i st eni ng, hopi ng t o hear some human sound, some
sound she mi ght f ol l ow, pur sue. She hear s not hi ng. She sound she mi ght f ol l ow, pur sue. She hear s not hi ng. She
st ar t s down t he st ai r s. J ust bel ow t he hal f way st ep, st ar t s down t he st ai r s. J ust bel ow t he hal f way st ep,
she l ooks at t he f r ont door , sees out t hr ough t he door she l ooks at t he f r ont door , sees out t hr ough t he door
wi ndow: wi ndow:
LI LA' S VI EWPOI NT - ( DAY) LI LA' S VI EWPOI NT - ( DAY)
Nor man comi ng. Nor man comi ng.
I NT. STAI RWAY OF THE OLD HOUSE - ( DAY) I NT. STAI RWAY OF THE OLD HOUSE - ( DAY)
For a moment Li l a pani cs, t hen she hur r i es down t he For a moment Li l a pani cs, t hen she hur r i es down t he
st eps, cannot go i n t he di r ect i on of t he f r ont door , st eps, cannot go i n t he di r ect i on of t he f r ont door ,
r emember s t he st ai r way behi nd her , t ur ns and r uns i n r emember s t he st ai r way behi nd her , t ur ns and r uns i n
t hat di r ect i on. The SOUND of Nor man boundi ng up t he t hat di r ect i on. The SOUND of Nor man boundi ng up t he
por ch st eps can be hear d. Li l a t ur ns and dashes down por ch st eps can be hear d. Li l a t ur ns and dashes down
t he st ai r s whi ch l ead t o t he basement , goi ng down f ar t he st ai r s whi ch l ead t o t he basement , goi ng down f ar
enough t o conceal her sel f , cr ouchi ng t her e. enough t o conceal her sel f , cr ouchi ng t her e.
Nor man ent er s t he hal l way, cl oses t he door sof t l y, Nor man ent er s t he hal l way, cl oses t he door sof t l y,
l i st ens. He gl ances once i n t he di r ect i on of t he l i st ens. He gl ances once i n t he di r ect i on of t he
basement st ai r s. He seems about t o smi l e, when suddenl y basement st ai r s. He seems about t o smi l e, when suddenl y
al l expr essi on vani shes f r omhi s f ace, and he appear s t o al l expr essi on vani shes f r omhi s f ace, and he appear s t o
ent er a no- pl ace, no- t i me st at e. He cr osses t o t he ent er a no- pl ace, no- t i me st at e. He cr osses t o t he
st ai r way, goes up. st ai r way, goes up.
Li l a r emai ns cr ouched on t he basement st ai r s, l i st eni ng Li l a r emai ns cr ouched on t he basement st ai r s, l i st eni ng
t o t he SOUNDS of Nor man. Hi s f oot st eps on t he st ai r s t o t he SOUNDS of Nor man. Hi s f oot st eps on t he st ai r s
f ol l owed by t he f ast noi ses of door s openi ng, of f ast f ol l owed by t he f ast noi ses of door s openi ng, of f ast
movi ng about an upst ai r s r oom. Convi nced t hat he i s movi ng about an upst ai r s r oom. Convi nced t hat he i s
sear chi ng t he upst ai r s f or her , she deci des t o chance an sear chi ng t he upst ai r s f or her , she deci des t o chance an
escape. She st ar t s up t he st eps, i s about t o t ur n i nt o escape. She st ar t s up t he st eps, i s about t o t ur n i nt o
t he hal l way when her eye i s caught by a gl i mmer of l i ght t he hal l way when her eye i s caught by a gl i mmer of l i ght
down i n t he basement . She pauses, l ooks down, sees t he down i n t he basement . She pauses, l ooks down, sees t he
cr ack of l i ght comi ng f r ombehi nd t he not ent i r el y cr ack of l i ght comi ng f r ombehi nd t he not ent i r el y
cl osed door t o t he f r ui t cel l ar . The swi f t movi ng cl osed door t o t he f r ui t cel l ar . The swi f t movi ng
SOUNDS of Nor man cont i nue t o come f r omupst ai r s. SOUNDS of Nor man cont i nue t o come f r omupst ai r s.
Li l a i s t or n, knows she shoul d get out of t he house Li l a i s t or n, knows she shoul d get out of t he house
whi l e she has t he chance, i s unabl e t o r esi st t he whi l e she has t he chance, i s unabl e t o r esi st t he
i mpul se t o check t hat hi dden- l ooki ng r oomdown bel ow, a i mpul se t o check t hat hi dden- l ooki ng r oomdown bel ow, a
r oomi n whi ch, she desper at el y bel i eves, t her e must l i e r oomi n whi ch, she desper at el y bel i eves, t her e must l i e
some answer t o what happened t o Mar y. She t ur ns and some answer t o what happened t o Mar y. She t ur ns and
goes sof t l y and qui ckl y down t he st ai r s. goes sof t l y and qui ckl y down t he st ai r s.
I NT. THE BASEMENT OF THE OLD HOUSE - ( DAY) I NT. THE BASEMENT OF THE OLD HOUSE - ( DAY)
Li l a r eaches t he bot t om, st ops, l i st ens, hear s t he Li l a r eaches t he bot t om, st ops, l i st ens, hear s t he
st ai r boar ds cr eaki ng as f oot st eps f al l har d and measur ed st ai r boar ds cr eaki ng as f oot st eps f al l har d and measur ed
upon t hem. She t ur ns, pul l s open t he f r ui t cel l ar door , upon t hem. She t ur ns, pul l s open t he f r ui t cel l ar door ,
l ooks i n. The woman i s si t t i ng i n a comf or t abl e chai r , l ooks i n. The woman i s si t t i ng i n a comf or t abl e chai r ,
t he back of t he chai r , and t he woman, t ur ned t o t he t he back of t he chai r , and t he woman, t ur ned t o t he
door . Li l a cal l s a har sh, f r i ght ened whi sper . door . Li l a cal l s a har sh, f r i ght ened whi sper .
LI LA LI LA
Mr s. Bat es. . . ? Mr s. Bat es. . . ?
Li l a goes i nt o t he r oom. Li l a goes i nt o t he r oom.
I NT. THE FRUI T CELLAR I NT. THE FRUI T CELLAR
Li l a goes t o t he chai r , t ouches i t . The t ouch di st ur bs Li l a goes t o t he chai r , t ouches i t . The t ouch di st ur bs
t he f i gur e. I t st ar t s t o t ur n, sl owl y, st i f f l y, a cl ock- t he f i gur e. I t st ar t s t o t ur n, sl owl y, st i f f l y, a cl ock-
wi se movement . Li l a l ooks at i t i n hor r or . I t i s t he wi se movement . Li l a l ooks at i t i n hor r or . I t i s t he
body of a woman l ong dead. The ski n i s dr y and pul l ed body of a woman l ong dead. The ski n i s dr y and pul l ed
away f r omt he mout h and t he t eet h ar e r eveal ed as i n t he away f r omt he mout h and t he t eet h ar e r eveal ed as i n t he
skel et on' s smi l e. The eyes ar e gone f r omt hei r socket s, skel et on' s smi l e. The eyes ar e gone f r omt hei r socket s,
t he br i dge of t he nose has col l apsed, t he hai r i s dr y t he br i dge of t he nose has col l apsed, t he hai r i s dr y
and wi l d, t he cheeks ar e sunken, t he l eat her y- br own ski n and wi l d, t he cheeks ar e sunken, t he l eat her y- br own ski n
i s powder ed and r ouged and f l aky. The body i s dr essed i s powder ed and r ouged and f l aky. The body i s dr essed
i n a hi gh- neck, cl ean, wel l - pr essed dr ess, obvi ousl y i n a hi gh- neck, cl ean, wel l - pr essed dr ess, obvi ousl y
r ecent l y l aunder ed and hand- i r oned. r ecent l y l aunder ed and hand- i r oned.
The movement of t hi s st uf f ed, i l l - pr eser ved cadaver , The movement of t hi s st uf f ed, i l l - pr eser ved cadaver ,
t ur ni ng as i f i n r esponse t o Li l a' s cal l and t ouch, i s t ur ni ng as i f i n r esponse t o Li l a' s cal l and t ouch, i s
act ual l y gr acef ul , bal l et - l i ke, and t he ef f ect i s act ual l y gr acef ul , bal l et - l i ke, and t he ef f ect i s
t er r i bl e and obscene. t er r i bl e and obscene.
Li l a gazes f or one f l i cker of a deat hl y moment , t hen Li l a gazes f or one f l i cker of a deat hl y moment , t hen
begi ns t o scr eam, a hi gh, pi er ci ng, dr eadf ul scr eam. begi ns t o scr eam, a hi gh, pi er ci ng, dr eadf ul scr eam.
And Li l a' s scr eami s j oi ned by anot her scr eam, a mor e And Li l a' s scr eami s j oi ned by anot her scr eam, a mor e
dr eadf ul , hor r i f yi ng scr eamwhi ch comes f r omt he door dr eadf ul , hor r i f yi ng scr eamwhi ch comes f r omt he door
behi nd her . behi nd her .
NORMAN' S VOI CE ( O. S. ) NORMAN' S VOI CE ( O. S. )
( scr eami ng) ( scr eami ng)
Ayeeeeeeeeeeeeeeeeeeeeee AmNor ma Ayeeeeeeeeeeeeeeeeeeeeee AmNor ma
Bat es! Bat es!
Li l a t ur ns. Li l a t ur ns.
NORMAN NORMAN
Hi s f ace i s cont or t ed. He wear s a wi l d wi g, a mocker y Hi s f ace i s cont or t ed. He wear s a wi l d wi g, a mocker y
of a woman' s hai r . He i s dr essed i n a hi gh- neck dr ess of a woman' s hai r . He i s dr essed i n a hi gh- neck dr ess
whi ch i s si mi l ar t o t hat wor n by t he cor pse of hi s whi ch i s si mi l ar t o t hat wor n by t he cor pse of hi s
mot her . Hi s hand i s r ai sed hi gh, poi sed t o st r i ke at mot her . Hi s hand i s r ai sed hi gh, poi sed t o st r i ke at
Li l a. Ther e i s a l ong br eadkni f e i n i t . Li l a. Ther e i s a l ong br eadkni f e i n i t .
LI LA LI LA
Cl ose on her f ace. She i s dumb- st r uck. Her eyes ar e Cl ose on her f ace. She i s dumb- st r uck. Her eyes ar e
scr eami ng. scr eami ng.
BACK TO NORMAN BACK TO NORMAN
As he i s about t o st ar t f or war d, a man' s hand r eaches i n As he i s about t o st ar t f or war d, a man' s hand r eaches i n
f r omt he door way behi nd, gr abs Nor man' s wr i st . Sam f r omt he door way behi nd, gr abs Nor man' s wr i st . Sam
comes t hr ough t he door , st i l l hol di ng t i ght t o t he comes t hr ough t he door , st i l l hol di ng t i ght t o t he
wr i st , pul l i ng back t he ar mand at t he same t i me wr i st , pul l i ng back t he ar mand at t he same t i me
t hr owi ng hi msel f at Nor man, f oot bal l t ackl e st yl e. t hr owi ng hi msel f at Nor man, f oot bal l t ackl e st yl e.
A SERI ES OF CUTS - THE FI GHT A SERI ES OF CUTS - THE FI GHT
Nor man and Sam, st r uggl i ng. The wi l d f ur y i n Nor man' s Nor man and Sam, st r uggl i ng. The wi l d f ur y i n Nor man' s
f ace, t he mad noi se of hi s scr eams and vi l e cur ses. The f ace, t he mad noi se of hi s scr eams and vi l e cur ses. The
t er r i f i ed, f i ght - t o- t he- deat h l ook of Sam. The st i l l , t er r i f i ed, f i ght - t o- t he- deat h l ook of Sam. The st i l l ,
st ar i ng Li l a. st ar i ng Li l a.
MRS. BATES MRS. BATES
A cl ose of her f ace, She appear s t o be wat chi ng and A cl ose of her f ace, She appear s t o be wat chi ng and
enj oyi ng t he f i ght . Over t he shot , t he SOUNDS of t he enj oyi ng t he f i ght . Over t he shot , t he SOUNDS of t he
st r uggl e, t he scr eams of Nor man. st r uggl e, t he scr eams of Nor man.
EXT. COURTHOUSE AT READI NG - ( NI GHT) EXT. COURTHOUSE AT READI NG - ( NI GHT)
Ther e ar e many peopl e gat her ed about t he st eps, t he Ther e ar e many peopl e gat her ed about t he st eps, t he
cur i ous and t he concer ned and t he mor bi d. At t he cur b, cur i ous and t he concer ned and t he mor bi d. At t he cur b,
a coupl e of newspaper car s, t wo or t hr ee pol i ce car s, a coupl e of newspaper car s, t wo or t hr ee pol i ce car s,
and a mobi l e uni t t r uck f r omt he l ocal t el evi si on and a mobi l e uni t t r uck f r omt he l ocal t el evi si on
out l et . Ther e i s noi se, and chat t er i ng as quest i ons ar e out l et . Ther e i s noi se, and chat t er i ng as quest i ons ar e
asked and answer s gi ven, and t he sounds of t r af f i c, and asked and answer s gi ven, and t he sounds of t r af f i c, and
of t he t el evi si on equi pment bei ng moved i nt o t he of t he t el evi si on equi pment bei ng moved i nt o t he
cour t house, f or on- t he- scene r epor t i ng, and t he st er n cour t house, f or on- t he- scene r epor t i ng, and t he st er n
voi ces of pol i cemen t r yi ng t o keep peopl e back. The voi ces of pol i cemen t r yi ng t o keep peopl e back. The
scene has a br i ght gl ar e about i t , t hat qual i t y of scene has a br i ght gl ar e about i t , t hat qual i t y of
sudden l i ght t hr own on a f ear f ul dar kness. sudden l i ght t hr own on a f ear f ul dar kness.
CLOSER ANGLE ON STEPS OF COURTHOUSE CLOSER ANGLE ON STEPS OF COURTHOUSE
A POLI CEMAN t r yi ng t o make way f or t he t el evi si on men, A POLI CEMAN t r yi ng t o make way f or t he t el evi si on men,
mut t er i ng " keep back, " et c. , t o t he spect at or s. A mut t er i ng " keep back, " et c. , t o t he spect at or s. A
TELEVI SI ON MAN, car r yi ng a pi ece of equi pment goes TELEVI SI ON MAN, car r yi ng a pi ece of equi pment goes
t hr ough door , and CAMERA FOLLOWS hi mi nt o t he cour t house t hr ough door , and CAMERA FOLLOWS hi mi nt o t he cour t house
vest i bul e. vest i bul e.
Her e, t oo, t her e i s a cr owd, composed of Pol i cemen, Her e, t oo, t her e i s a cr owd, composed of Pol i cemen,
Repor t er s, Tel evi si on Men. The Tel evi si on Men we have Repor t er s, Tel evi si on Men. The Tel evi si on Men we have
been f ol l owi ng st ops besi de a Pol i ceman. been f ol l owi ng st ops besi de a Pol i ceman.
TELEVI SI ON MAN TELEVI SI ON MAN
( I ndi cat i ng t he f r ont ( I ndi cat i ng t he f r ont
door he has j ust come door he has j ust come
i n t hr ough) i n t hr ough)
You t hi nk t hey' l l t ake hi mout t hat You t hi nk t hey' l l t ake hi mout t hat
way? way?
POLI CEMAN POLI CEMAN
( Looki ng at wai t i ng ( Looki ng at wai t i ng
cr owd, shr uggi ng) cr owd, shr uggi ng)
Pr obabl y have t o. Pr obabl y have t o.
( A r uef ul smi l e) ( A r uef ul smi l e)
Besi des, t he t axpayer s hat e i t when Besi des, t he t axpayer s hat e i t when
somet hi ng get s sl i pped out t he back somet hi ng get s sl i pped out t he back
door on t hem! door on t hem!
Over t hi s exchange, t he buzz of ot her voi ces, t he Over t hi s exchange, t he buzz of ot her voi ces, t he
movement of men. CAMERA MOVES ON, down t he cor r i dor , movement of men. CAMERA MOVES ON, down t he cor r i dor ,
get s t o t he door of t he of f i ce of t he Chi ef of Pol i ce get s t o t he door of t he of f i ce of t he Chi ef of Pol i ce
j ust as a young f el l ow wi t h a car t on box f i l l ed wi t h j ust as a young f el l ow wi t h a car t on box f i l l ed wi t h
paper cont ai ner s of sent - out - f or cof f ee r eaches t hi s paper cont ai ner s of sent - out - f or cof f ee r eaches t hi s
door . CAMERA HOLDS as t he COFFEE BOY pauses a moment , door . CAMERA HOLDS as t he COFFEE BOY pauses a moment ,
t hen goes i nt o t he r oom. t hen goes i nt o t he r oom.
CUT TO: CUT TO:
I NT. OFFI CE OF THE CHI EF OF POLI CE - ( NI GHT) I NT. OFFI CE OF THE CHI EF OF POLI CE - ( NI GHT)
Li l a i s seat ed i n a chai r , Samst andi ng cl ose by. A bi t Li l a i s seat ed i n a chai r , Samst andi ng cl ose by. A bi t
apar t f r omt hem, we see Sher i f f Chamber s, i n qui et apar t f r omt hem, we see Sher i f f Chamber s, i n qui et
conf er ence wi t h t he CHI EF OF POLI CE, t he COUNTY SHERI FF, conf er ence wi t h t he CHI EF OF POLI CE, t he COUNTY SHERI FF,
t he DI STRI CT ATTORNEY. t he DI STRI CT ATTORNEY.
The Cof f ee Boy st ands i n t he door way. Samgoes t o hi m, The Cof f ee Boy st ands i n t he door way. Samgoes t o hi m,
t akes a cont ai ner of cof f ee f r omt he box, car r i es i t t o t akes a cont ai ner of cof f ee f r omt he box, car r i es i t t o
Li l a, checki ng t he not at i on on t he l i d as he goes. Li l a, checki ng t he not at i on on t he l i d as he goes.
MED. CLOSE ON SAM AND LI LA MED. CLOSE ON SAM AND LI LA
SAM SAM
( qui et l y) ( qui et l y)
I t ' s r egul ar . Okay? I t ' s r egul ar . Okay?
LI LA LI LA
( r uef ul l y) ( r uef ul l y)
I coul d st and somet hi ng r egul ar . I coul d st and somet hi ng r egul ar .
Samsmi l es encour agi ngl y, hands her t he cof f ee. Sher i f f Samsmi l es encour agi ngl y, hands her t he cof f ee. Sher i f f
Chamber s ENTERS SHOT, gi ves Sama cont ai ner of cof f ee he Chamber s ENTERS SHOT, gi ves Sama cont ai ner of cof f ee he
has br ought f or hi m. Samt akes i t , nods a t hank you. has br ought f or hi m. Samt akes i t , nods a t hank you.
For a moment no one speaks. Li l a l ooks badl y shaken, For a moment no one speaks. Li l a l ooks badl y shaken,
Samdi shevel ed, but cont ai ned. Samdi shevel ed, but cont ai ned.
CHAMBERS CHAMBERS
You t wo can go on home i f you l i ke. You t wo can go on home i f you l i ke.
( a sympat het i c l ook at ( a sympat het i c l ook at
Li l a) Li l a)
Maki ng t hat st at ement was enough Maki ng t hat st at ement was enough
f or one ni ght . f or one ni ght .
SAM SAM
Want t o? Want t o?
LI LA LI LA
No. I ' mal l r i ght . I ' l l f eel No. I ' mal l r i ght . I ' l l f eel
bet t er when al l t hi s i s expl ai ned bet t er when al l t hi s i s expl ai ned
. . . i f i t can be. . . . i f i t can be.
Saml ooks a quest i on at Sher i f f Chamber s. Chamber s Saml ooks a quest i on at Sher i f f Chamber s. Chamber s
shr ugs doubt f ul l y. shr ugs doubt f ul l y.
CHAMBERS CHAMBERS
I f anybody get s any answer s, i t ' l l I f anybody get s any answer s, i t ' l l
be t he f el l ow t al ki ng t o hi mnow be t he f el l ow t al ki ng t o hi mnow
. . . t he Psychi at r i st . Even I . . . t he Psychi at r i st . Even I
coul dn' t r each Nor man . . . and he coul dn' t r each Nor man . . . and he
knows me. knows me.
You war menough, Mi ss? You war menough, Mi ss?
Li l a i s about t o answer , when she sees someone come i nt o Li l a i s about t o answer , when she sees someone come i nt o
t he r oomand r i ses anxi ousl y. Samand Sher i f f Chamber s t he r oomand r i ses anxi ousl y. Samand Sher i f f Chamber s
t ur n, f ol l ow her gaze. t ur n, f ol l ow her gaze.
I NT. OFFI CE OF CHI EF OF POLI CE - FULL SHOT I NT. OFFI CE OF CHI EF OF POLI CE - FULL SHOT
A young man wi t h a ser i ous, f r owni ng f ace has j ust come A young man wi t h a ser i ous, f r owni ng f ace has j ust come
i nt o t he r oom. He i s DR. SI MON, t he Psychi at r i st . i nt o t he r oom. He i s DR. SI MON, t he Psychi at r i st .
He goes t o t he desk wher e t he box of cof f ee cont ai ner s He goes t o t he desk wher e t he box of cof f ee cont ai ner s
has been pl aced, t akes up a cont ai ner . has been pl aced, t akes up a cont ai ner .
DI STRI CT ATTORNEY DI STRI CT ATTORNEY
Di d he t al k t o you? Di d he t al k t o you?
SI MON SI MON
No. I got t he whol e st or y . . . but No. I got t he whol e st or y . . . but
not f r omNor man. I got i t f r om. . . not f r omNor man. I got i t f r om. . .
hi s mot her . hi s mot her .
Ever yone gazes at hi m, myst i f i ed. He speaks as he Ever yone gazes at hi m, myst i f i ed. He speaks as he
r emoves l i d f r omcof f ee cont ai ner . r emoves l i d f r omcof f ee cont ai ner .
SI MON SI MON
Nor man Bat es no l onger exi st s. He Nor man Bat es no l onger exi st s. He
onl y hal f - exi st ed t o begi n wi t h . . . onl y hal f - exi st ed t o begi n wi t h . . .
now, t he ot her hal f has t aken over . now, t he ot her hal f has t aken over .
Pr obabl y f or al l t i me. Pr obabl y f or al l t i me.
LI LA LI LA
( Wi t h di f f i cul t y) ( Wi t h di f f i cul t y)
Di d he ki l l my si st er ? Di d he ki l l my si st er ?
SI MON SI MON
Yes . . . and no. Yes . . . and no.
Look, i f you' r e t r yi ng t o l ay a l ot Look, i f you' r e t r yi ng t o l ay a l ot
of psychi at r i c gr oundwor k f or some of psychi at r i c gr oundwor k f or some
sor t of pl ea t hi s f el l ow woul d l i ke sor t of pl ea t hi s f el l ow woul d l i ke
t o cop . . . t o cop . . .
SI MON SI MON
A psychi at r i st doesn' t l ay t he A psychi at r i st doesn' t l ay t he
gr oundwor k . . . he mer el y t r i es t o gr oundwor k . . . he mer el y t r i es t o
expl ai n i t . expl ai n i t .
LI LA LI LA
But my si st er i s . . . But my si st er i s . . .
SI MON SI MON
Yes. I ' msor r y. Yes. I ' msor r y.
( t o Chamber s) ( t o Chamber s)
The Pr i vat e I nvest i gat or , t oo. I f The Pr i vat e I nvest i gat or , t oo. I f
you dr ag t hat swamp somewher e i n you dr ag t hat swamp somewher e i n
t he vi ci ni t y of t he mot el . . . t he vi ci ni t y of t he mot el . . .
( To t he Chi ef of ( To t he Chi ef of
Pol i ce) Pol i ce)
Have you any unsol ved mi ssi ng Have you any unsol ved mi ssi ng
per sons cases on your books? per sons cases on your books?
CHI EF OF POLI CE CHI EF OF POLI CE
Yes. Two. Yes. Two.
SI MON SI MON
Young gi r l s? Young gi r l s?
CHI EF OF POLI CE CHI EF OF POLI CE
( nods, ast ounded, ( nods, ast ounded,
t hen: ) t hen: )
Di d he conf ess t o . . . Di d he conf ess t o . . .
SI MON SI MON
As I sai d, t he mot her . . . As I sai d, t he mot her . . .
( Pauses, goes on ( Pauses, goes on
af r esh) af r esh)
To under st and i t , as I under st ood To under st and i t , as I under st ood
i t hear i ng i t f r omt he mot her . . . i t hear i ng i t f r omt he mot her . . .
That i s, f r omt he mot her - hal f of That i s, f r omt he mot her - hal f of
Nor man' s mi nd, you have t o go back Nor man' s mi nd, you have t o go back
t en year s . . . t o t he t i me when t en year s . . . t o t he t i me when
Nor man mur der ed hi s mot her and her Nor man mur der ed hi s mot her and her
l over . l over .
( A pause, t hen as no ( A pause, t hen as no
one i nt er r upt s) one i nt er r upt s)
He was al r eady danger ousl y He was al r eady danger ousl y
di st ur bed, had been ever si nce hi s di st ur bed, had been ever si nce hi s
f at her di ed. Hi s mot her was a f at her di ed. Hi s mot her was a
cl i ngi ng, demandi ng woman . . . and cl i ngi ng, demandi ng woman . . . and
f or year s t he t wo of t heml i ved as f or year s t he t wo of t heml i ved as
i f t her e was no one el se i n t he i f t her e was no one el se i n t he
wor l d. Then she met a man and i t wor l d. Then she met a man and i t
seemed t o Nor man she " t hr ew hi m seemed t o Nor man she " t hr ew hi m
over " f or t hi s man. That pushed over " f or t hi s man. That pushed
hi mover t he t hi n l i ne . . . and he hi mover t he t hi n l i ne . . . and he
ki l l ed t hembot h. Mat r i ci de i s ki l l ed t hembot h. Mat r i ci de i s
pr obabl y t he most unbear abl e cr i me pr obabl y t he most unbear abl e cr i me
of al l . . . and most unbear abl e t o of al l . . . and most unbear abl e t o
t he son who commi t i t . So he had t he son who commi t i t . So he had
t o er ase t he cr i me, at l east i n hi s t o er ase t he cr i me, at l east i n hi s
own mi nd. own mi nd.
He st ol e her cor pse . . . and a He st ol e her cor pse . . . and a
wei ght ed cof f i n was bur i ed. He hi d wei ght ed cof f i n was bur i ed. He hi d
t he body i n t he f r ui t cel l ar , even t he body i n t he f r ui t cel l ar , even
" t r eat ed" i t t o keep i t as wel l as " t r eat ed" i t t o keep i t as wel l as
i t woul d keep. And t hat st i l l i t woul d keep. And t hat st i l l
wasn' t enough. She was t her e, but wasn' t enough. She was t her e, but
she was a cor pse. So he began t o she was a cor pse. So he began t o
t hi nk and speak f or her , gave her t hi nk and speak f or her , gave her
hal f hi s l i f e, so t o speak. At hal f hi s l i f e, so t o speak. At
t i mes he coul d be bot h t i mes he coul d be bot h
per sonal i t i es, car r y on per sonal i t i es, car r y on
conver sat i ons . . . at ot her t i mes, conver sat i ons . . . at ot her t i mes,
t he mot her - hal f t ook over t he mot her - hal f t ook over
compl et el y. compl et el y.
( mor e) ( mor e)
SI MON ( cont ' d) SI MON ( cont ' d)
He was never al l Nor man, but he was He was never al l Nor man, but he was
of t en onl y mot her . And because he of t en onl y mot her . And because he
was so pat hol ogi cal l y j eal ous of was so pat hol ogi cal l y j eal ous of
her , he assumed she was as j eal ous her , he assumed she was as j eal ous
of hi m. Ther ef or e, i f he f el t a of hi m. Ther ef or e, i f he f el t a
st r ong at t r act i on t o any ot her st r ong at t r act i on t o any ot her
woman, t he mot her si de of hi mwoul d woman, t he mot her si de of hi mwoul d
go wi l d. go wi l d.
When Nor man met your si st er , he was When Nor man met your si st er , he was
t ouched by her . . . and ar oused by t ouched by her . . . and ar oused by
her . He want ed her . And t hi s set her . He want ed her . And t hi s set
of f hi s " j eal ous mot her " and . . . of f hi s " j eal ous mot her " and . . .
" mot her ki l l ed t he gi r l . " Af t er " mot her ki l l ed t he gi r l . " Af t er
t he mur der , Nor man r et ur ned as i f t he mur der , Nor man r et ur ned as i f
f r oma deep sl eep . . . and l i ke a f r oma deep sl eep . . . and l i ke a
dut i f ul son, cover ed up al l t r aces dut i f ul son, cover ed up al l t r aces
of t he cr i me he was convi nced hi s of t he cr i me he was convi nced hi s
mot her had commi t t ed. mot her had commi t t ed.
SAM SAM
Why was he . . . dr essed l i ke t hat ? Why was he . . . dr essed l i ke t hat ?
He' s a t r ansvest i t e! He' s a t r ansvest i t e!
SI MON SI MON
Not exact l y. A man who dr esses i n Not exact l y. A man who dr esses i n
woman' s cl ot hi ng i n or der t o woman' s cl ot hi ng i n or der t o
achi eve a sexual change . . . or achi eve a sexual change . . . or
sat i sf act i on . . . i s a t r ansvest i t e. sat i sf act i on . . . i s a t r ansvest i t e.
But i n Nor man' s case, he was si mpl y But i n Nor man' s case, he was si mpl y
doi ng ever yt hi ng possi bl e t o keep doi ng ever yt hi ng possi bl e t o keep
al i ve t he i l l usi on of hi s mot her al i ve t he i l l usi on of hi s mot her
bei ng al i ve. And whenever r eal i t y bei ng al i ve. And whenever r eal i t y
came t oo cl ose, when danger or came t oo cl ose, when danger or
desi r e t hr eat ened t hat i l l usi on, desi r e t hr eat ened t hat i l l usi on,
he' d dr ess up, even t o a cheap wi g he' d dr ess up, even t o a cheap wi g
he br ought , and he' d wal k about t he he br ought , and he' d wal k about t he
house, si t i n her chai r , speak i n house, si t i n her chai r , speak i n
her voi ce . . . He t r i ed t o be hi s her voi ce . . . He t r i ed t o be hi s
mot her . mot her .
( A sad smi l e) ( A sad smi l e)
And now he i s. And now he i s.
That ' s what I meant when I sai d I That ' s what I meant when I sai d I
got t he st or y f r omt he mot her . She got t he st or y f r omt he mot her . She
t hi nks Nor man has been t aken away t hi nks Nor man has been t aken away
. . . because of hi s cr i mes. . . . because of hi s cr i mes.
( mor e) ( mor e)
SI MON ( cont ' d) SI MON ( cont ' d)
She i nsi st s she di d not hi ng, t hat She i nsi st s she di d not hi ng, t hat
Nor man commi t t ed al l t he mur der s Nor man commi t t ed al l t he mur der s
j ust t o keep her f r ombei ng j ust t o keep her f r ombei ng
di scover ed. She even smi l ed a bi t di scover ed. She even smi l ed a bi t
coquet t i shl y as she sai d t hat . Of coquet t i shl y as she sai d t hat . Of
cour se, she f eel s badl y about i t cour se, she f eel s badl y about i t
. . . but al so somewhat r el i eved t o . . . but al so somewhat r el i eved t o
be, as she put i t , f r ee of Nor man, be, as she put i t , f r ee of Nor man,
at l ast . at l ast .
When t he mi nd houses t wo When t he mi nd houses t wo
per sonal i t i es, t her e i s al ways a per sonal i t i es, t her e i s al ways a
bat t l e. I n Nor man' s case, t he bat t l e. I n Nor man' s case, t he
bat t l e i s over . . . and t he domi nant bat t l e i s over . . . and t he domi nant
per sonal i t y has won. per sonal i t y has won.
Li l a begi ns t o weep sof t l y, f or Mar y, f or Ar bogast , f or Li l a begi ns t o weep sof t l y, f or Mar y, f or Ar bogast , f or
Nor man, f or al l t he dest r oyed human bei ngs of t hi s Nor man, f or al l t he dest r oyed human bei ngs of t hi s
wor l d. Sambends besi de her , put s hi s ar mabout her , wor l d. Sambends besi de her , put s hi s ar mabout her ,
comf or t s her . comf or t s her .
CHAMBERS CHAMBERS
( To Si mon) ( To Si mon)
And t he f or t y t housand dol l ar s? And t he f or t y t housand dol l ar s?
Who got t hat ? Who got t hat ?
SI MON SI MON
The swamp. These wer e mur der s of The swamp. These wer e mur der s of
passi on, not pr of i t . passi on, not pr of i t .
A POLI CE GUARD put s hi s head i n t he door , speaks, i n a A POLI CE GUARD put s hi s head i n t he door , speaks, i n a
near - whi sper , t o t he Chi ef of Pol i ce. The Guar d i s near - whi sper , t o t he Chi ef of Pol i ce. The Guar d i s
car r yi ng a f ol ded bl anket over hi s ar m. car r yi ng a f ol ded bl anket over hi s ar m.
POLI CE GUARD POLI CE GUARD
He f eel s a l i t t l e chi l l . . . can I He f eel s a l i t t l e chi l l . . . can I
br i ng hi mt hi s bl anket ? br i ng hi mt hi s bl anket ?
The Chi ef of Pol i ce nods. The Guar d goes away, and The Chi ef of Pol i ce nods. The Guar d goes away, and
CAMERA FOLLOWS hi mout of t he r oomand out i nt o t he CAMERA FOLLOWS hi mout of t he r oomand out i nt o t he
hal l way. Guar d moves t hr ough t he wai t i ng men, headi ng hal l way. Guar d moves t hr ough t he wai t i ng men, headi ng
down t he cor r i dor . down t he cor r i dor .
CUT TO: CUT TO:
I NT. ANOTHER CORRI DOR I N COURTHOUSE I NT. ANOTHER CORRI DOR I N COURTHOUSE
A nar r ower cor r i dor i n t he r ear of t he bui l di ng. I n A nar r ower cor r i dor i n t he r ear of t he bui l di ng. I n
f . g. of shot , we see a door , t he t op hal f of whi ch i s f . g. of shot , we see a door , t he t op hal f of whi ch i s
wi r e- cover ed gl ass. A GUARD i n uni f or mi s post ed by t he wi r e- cover ed gl ass. A GUARD i n uni f or mi s post ed by t he
door , l ooki ng r epr ovi ngl y at t he t wo or t hr ee peopl e door , l ooki ng r epr ovi ngl y at t he t wo or t hr ee peopl e
t r yi ng t o get a gl ance i nt o t he r oom. t r yi ng t o get a gl ance i nt o t he r oom.
The Pol i ce Guar d, car r yi ng t he bl anket , comes down t hi s The Pol i ce Guar d, car r yi ng t he bl anket , comes down t hi s
cor r i dor , goes t o t he door . CAMERA MOVES CLOSE. The cor r i dor , goes t o t he door . CAMERA MOVES CLOSE. The
uni f or med Guar d opens t he door , al l ows t he man t o go i n. uni f or med Guar d opens t he door , al l ows t he man t o go i n.
Shot i s RAKED so t hat we can not see i nt o t he r oom. Shot i s RAKED so t hat we can not see i nt o t he r oom.
Af t er a moment , t he Guar d comes out and t he uni f or med Af t er a moment , t he Guar d comes out and t he uni f or med
Guar d cl oses and l ocks t he door and we Guar d cl oses and l ocks t he door and we
CUT TO: CUT TO:
I NT. NORMAN' S DETENTI ON ROOM - ( NI GHT) I NT. NORMAN' S DETENTI ON ROOM - ( NI GHT)
The wal l s ar e whi t e and pl ai n. Ther e i s no wi ndow. The wal l s ar e whi t e and pl ai n. Ther e i s no wi ndow.
Ther e i s no f ur ni t ur e except t he st r ai ght - back chai r i n Ther e i s no f ur ni t ur e except t he st r ai ght - back chai r i n
whi ch Nor man si t s, i n t he cent er of t he r oom. The r oom whi ch Nor man si t s, i n t he cent er of t he r oom. The r oom
has a qual i t y of no- wher eness, of cal msepar at i on f r om has a qual i t y of no- wher eness, of cal msepar at i on f r om
t he wor l d. t he wor l d.
The Pol i ce Guar d has pl aced t he bl anket on Nor man' s The Pol i ce Guar d has pl aced t he bl anket on Nor man' s
knees. Nor man, as we come upon hi m, i s l i f t i ng t he knees. Nor man, as we come upon hi m, i s l i f t i ng t he
bl anket , unf ol di ng i t . Hi s f ace, al t hough wi t hout bl anket , unf ol di ng i t . Hi s f ace, al t hough wi t hout
makeup and wi t hout t he sur r oundi ng sof t ness of t he wi g, makeup and wi t hout t he sur r oundi ng sof t ness of t he wi g,
has a cer t ai n f emi ni ni t y about i t , a sof t ness about t he has a cer t ai n f emi ni ni t y about i t , a sof t ness about t he
mout h and a ki nd of ar ch womanl i ness about t he br ows. mout h and a ki nd of ar ch womanl i ness about t he br ows.
Cal ml y, Nor man pl aces t he bl anket about hi s shoul der s, Cal ml y, Nor man pl aces t he bl anket about hi s shoul der s,
as i f i t wer e a cashmer e shawl . CAMERA REMAI NS i n a as i f i t wer e a cashmer e shawl . CAMERA REMAI NS i n a
posi t i on so t hat our vi ew of Nor man i s a FULL ONE. When posi t i on so t hat our vi ew of Nor man i s a FULL ONE. When
t he shawl i s i n posi t i on, and Nor man i s set t l ed, we t he shawl i s i n posi t i on, and Nor man i s set t l ed, we
HEAR, OVER SHOT, t he voi ce of hi s mot her , comi ng f r om HEAR, OVER SHOT, t he voi ce of hi s mot her , comi ng f r om
t he cal mof hi s t hought s. t he cal mof hi s t hought s.
MOTHER' S VOI CE ( O. S. ) MOTHER' S VOI CE ( O. S. )
I t ' s sad . . . when a mot her has t o I t ' s sad . . . when a mot her has t o
speak t he wor ds t hat condemn her speak t he wor ds t hat condemn her
own son . . . but I coul dn' t al l ow own son . . . but I coul dn' t al l ow
t hemt o bel i eve t hat I woul d commi t t hemt o bel i eve t hat I woul d commi t
mur der . mur der .
They' l l put hi maway now . . . as I They' l l put hi maway now . . . as I
shoul d have . . . year s ago. He was shoul d have . . . year s ago. He was
al ways . . . bad. And i n t he end, he al ways . . . bad. And i n t he end, he
i nt ended t o t el l t hemI ki l l l ed i nt ended t o t el l t hemI ki l l l ed
t hose gi r l s . . . and t hat man. As t hose gi r l s . . . and t hat man. As
i f I coul d do anyt hi ng except j ust i f I coul d do anyt hi ng except j ust
si t and st ar e . . . l i ke one of hi s si t and st ar e . . . l i ke one of hi s
st uf f ed bi r ds. st uf f ed bi r ds.
Wel l , t hey know I can' t even move Wel l , t hey know I can' t even move
a f i nger . And I won' t . I ' l l j ust a f i nger . And I won' t . I ' l l j ust
si t her e and be qui et . J ust i n si t her e and be qui et . J ust i n
case t hey do . . . suspect me. case t hey do . . . suspect me.
A f l y buzzes cl ose, and t hen cont i nues buzzi ng and A f l y buzzes cl ose, and t hen cont i nues buzzi ng and
f l yi ng about Nor man' s f ace. f l yi ng about Nor man' s f ace.
MOTHER' S VOI CE ( V. O. ) MOTHER' S VOI CE ( V. O. )
They' r e pr obabl y wat chi ng me. They' r e pr obabl y wat chi ng me.
Wel l , l et t hem. Let t hemsee what Wel l , l et t hem. Let t hemsee what
ki nd of a per son I am. ki nd of a per son I am.
( A pause, as t he f l y ( A pause, as t he f l y
l i ght s on Nor man' s l i ght s on Nor man' s
hand) hand)
I ' mnot goi ng t o swat t hat f l y. I I ' mnot goi ng t o swat t hat f l y. I
hope t hey ar e wat chi ng. They' l l hope t hey ar e wat chi ng. They' l l
see . . . t hey' l l see . . . and t hey' l l see . . . t hey' l l see . . . and t hey' l l
know . . . and t hey' l l say . . . ' why, know . . . and t hey' l l say . . . ' why,
she woul dn' t even har ma f l y . . . ' she woul dn' t even har ma f l y . . . '
Nor man cont i nues t o gaze ahead i nt o not hi ng. Scene Nor man cont i nues t o gaze ahead i nt o not hi ng. Scene
begi ns t o DI SSOLVE SLOWLY t o: begi ns t o DI SSOLVE SLOWLY t o:
THE SWAMP THE SWAMP
As END TI TLES FADE I N, we see t he swamp, t he chai n of a As END TI TLES FADE I N, we see t he swamp, t he chai n of a
t ow- t r uck. The chai n i s at t ached t o Mar y' s car . The t ow- t r uck. The chai n i s at t ached t o Mar y' s car . The
car i s comi ng out of t he swamp. car i s comi ng out of t he swamp.
FADE OUT FADE OUT
THE END THE END

Psycho by Joseph Stefano Based On The Novel by Robert Bloch: Revised December 1, 1959

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Psycho by Joseph Stefano Based On The Novel by Robert Bloch: Revised December 1, 1959

Uploaded by

Copyright:

Available Formats

PSYCHO

You might also like