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Psycho
(1960)
In Alfred Hitchcock's complex, ground-breaking psychological
horror thriller - it is still considered
the "mother" of all modern horror suspense and "slasher" films. The
low-budget ($800,000), brilliantly-edited, stark black and white
film came after Hitchcock's earlier glossy Technicolor hits Vertigo
(1958) and North by Northwest (1959).
The film's screenplay by Joseph Stefano was adapted from the 1959
novel of the same name by author Robert Bloch.
It was Hitchcock's first real horror film and considered
extremely frightening for many audiences, yet it also had all of
the elements of a very dark, black comedy. Overt violence was present
for a total of about two minutes in only two shocking,
grisly murder scenes: the first was the celebrated 'slasher' shower
murder, and the second was the stabbing of Phoenix detective Arbogast (Martin
Balsam) at the top of a flight of stairs, causing him to topple backwards.
The remainder of the horror and suspense was solely created in the
mind of the audience, although the tale did include other taboo topics
at the time including transvestism, implied incest, and hints of necrophilia.
Hitchcock defied all film conventions
by having the lead female protagonist murdered in the first third
of the film (in the shocking, brilliantly-edited shower murder scene
accompanied by screeching violins). The film's four Academy Award
nominations failed to win Oscars: Best Supporting Actress (Janet
Leigh with her sole career nomination), Best Director (Alfred Hitchcock
with the last of his five losing nominations), Best B/W Cinematography,
and Best B/W Art Direction/Set Decoration. Bernard Herrmann's famous,
frightening and memorable score with shrieking, harpie-like piercing
violins was un-nominated.
The nightmarish, disturbing film's themes of corruptibility,
confused identities, voyeurism, human vulnerabilities and victimization,
the deadly effects of money, Oedipal murder, and dark past histories
were realistically revealed. Its themes were highlighted through
repeated uses of motifs, such as stuffed birds, eyes, hands, and
reflecting mirrors or glasses. Hitchcock cleverly and skillfully
manipulated and guided the audience into identifying with the main
character - luckless victim Marion (a Phoenix real-estate secretary),
and then with that character's murderer - a disturbed and timid taxidermist
named Norman (a brilliant typecasting performance by Anthony Perkins).
Hitchcock's techniques voyeuristically implicated the audience with
the universal, dark evil forces and secrets presented in the film.
- the title credits of the bleak, monochromatic
film (with an accompanying driving and frantic score) consisted
of abstract, gray horizontal and vertical lines that streaked and
criss-crossed back and forth, violently splitting apart the screens
and causing them to disappear; the patterns later referred to the
schizophrenic personality of the major male protagonist
- the opening shots came from an aerial-view camera
over the skyline of 1960s Phoenix, before the camera slowly descended
(in a series of dissolves) and voyeuristically entered into the
half-opened window of a cheap and drab room in a hotel-motel (not
the first motel in the film!); it was a hot Friday afternoon, December
11th, at 2:43 pm
- the camera intruded into a furtive, lunchtime love-making
scene between a post-coital, semi-nude couple; the female was 30-ish
real estate office secretary Marion Crane (Oscar-nominated Janet
Leigh) - wearing a white bra and half-slip - and reclining back
on a double bed; she was with her shirtless lover/fiancee Sam Loomis
(John Gavin), who had flown into town during a business trip; an
uneaten lunch signified that she had lost her hunger for any further
secretive meetings, due to their 'cheap' and lurid relationship,
multiple unresolved issues and mutual poverty; Marion gave Sam
an ultimatum - no more private trysts; her
real desire was for a respectable and public marriage to him
- working in a small-town (Fairvale, California)
as a hardware store proprietor, Sam explained how he was experiencing
serious financial difficulties (both his dead father's debts and alimony
payments to his ex-wife); Marion responded that she feared that she
would forever be a fallen woman and spinster, already stuck in the
same job for 10 years; unfulfilled by him, Marion refused to take the
afternoon off with him, and rushed back to her storefront real estate office
Phoenix Area Real Estate Office
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Real Estate Secretary Marion Crane (Janet Leigh)
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Mr. Lowery (Vaughn Taylor)
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Rich Client Mr. Tom Cassidy (Frank Albertson)
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- she arrived back before her boss
Mr. Lowery (Vaughn Taylor) had returned; an important meeting was set
up with a wealthy (and inebriated) millionaire - a cowboy-hatted
customer and "oil lease man" named Mr. Tom Cassidy (Frank
Albertson); Cassidy had just purchased a house
on Harris Street for his "sweet little girl" - a wedding
present for his 18 year old, soon-to-be-married "respectable" daughter
("baby"); the vulgar client pulled out $40,000
in illicitly-obtained cold, hard cash for the house purchase; Lowery
instructed Marion to put the large amount of cash in a bank's safe
deposit box over the weekend; Marion wrapped up the money and stuck
it in her purse; she was granted permission to go straight home
after the bank deposit because of her headache
- tempted by the money, Marion brought
the money home to her small one bedroom apartment instead of directly
to the bank; wearing only a black bra and slip, she eyed the money
lying wrapped in an envelope on her bed;
unable to control her impulses (and still worried about her marital
prospects), she had packed her suitcase to ready herself for a trip
and stuffed the money back in her purse; a tracking shot linked
her packed suitcase to the envelope stuffed with money
- while driving out of Phoenix toward Fairvale, California
in her black car, Marion stared straight ahead and trance-like
while imagining that she was on her way to elope with Sam with
the large sum of cash with which to finance her elopement and marriage
to him; there were tense shots of Marion's face as she fled town
in her car (after embezzling $40,000 from her real estate office);
at a stoplight where she was paused, her boss Mr. Lowery crossed
the intersection in front of her and gave her a puzzled look as
he glanced back at her, remembering that she should be at home
sick; as she drove out of Phoenix, it turned to dusk and nighttime;
she repeatedly looked into her rear-view mirror - symbolically
checking out her own inner thoughts; headlights from approaching
cars spotlighted her face - and her crime
- the next morning after sleeping by the side of the
road, a California state trooper Highway Patrolman (Mort Mills),
with frightening and reflective dark glasses, stared at Marion
through her car window, and interrogated her on the side of the
road; because she was acting nervous and tense, the suspicious
cop asked to check her driver's license and registration, and then
let her go, but followed her for a short while
- shortly later in Bakersfield, Marion pulled into
a used car lot (without noticing the patrolman watching her
across the street, until later), and spoke to the affable, fast-talking
used car salesman California Charlie (John Anderson), and hurriedly
proposed trading her Arizona-plated car for a different one - a
light-colored '57 Ford, including an additional $700 dollars; she
entered the ladies room to count out 7 $100 dollar bills and paid
the difference before nervously driving off, as both the salesman
and the patrolman watched her in amazement
- after driving all day Saturday, that evening,
an exhausted Marion was tormented by menacing, inner monologues
from off-screen voices - her disintegrating mental state and self-destructive
conscience (and physical weariness) caused her to look inward and
punish herself - as she imagined and forecast events leading up
to her capture within a few days; headlights from other cars
illuminated her face - making it appear that she was being interrogated
- through Marion's rainy windshield that caused blurred
vision, she drove off the main road, and spotted a sign for a secluded,
dilapidated, remote off-road Bates Motel with a vacancy; behind the
slightly seedy, out-of-the-way cheap motel, she noticed a haunted-looking,
Gothic-styled house on the hillside; in a lighted
second story window, she saw the silhouetted figure of an old woman
pass in front of the window; she honked her horn a few times to signal her presence
- the nervous, thin, and shy proprietor-manager of the
hotel ran down the hill from the house and greeted her; he noted
that it was a "dirty night" and that that the motel was
completely empty: "We have twelve vacancies. Twelve cabins, twelve vacancies. They moved
away the highway"; Marion awkwardly registered in
the guest book under a false identity as Marie Sam-uels [a
reference to her unfulfilled wish to marry Sam] from Los Angeles;
the manager equivocated, but then selected the key to Room 1, the
unit closest to the office; she learned that she was only about 15
miles from Fairvale, Sam's town; eager-to-please, the manager led
her to the motel room, and showed her around; he stammered when he
pointed out the mattress and the brightly-lit bathroom
Marion Signing Guest Register
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Alias Name: Marie Samuels
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Norman Reaching For Cabin 1 Room Key
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Norman Showing Off Room # 1 to Marion
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- after introducing himself as Norman
Bates (Anthony Perkins), he invited her to his
back office parlor to eat dinner with him; while he returned to his
house to get sandwiches and milk, Marion took the cash from her handbag
and wrapped it in her Los Angeles Tribune newspaper (that she had purchased from
a vending machine at the car dealership), and put the paper on her
bed's nightstand; from her opened window facing the house, Marion
listened as "mother's boy" Norman engaged in an argument
with his shrill-voiced, jealous, domineering mother (voice of "Mother" by
Virginia Gregg) over his "cheap erotic"
dinner invitation to the young woman; Norman apparently defied his
disagreeable mother when he returned to the motel with sandwiches and
a pitcher of milk; he proposed that they eat in the motel's dark parlor behind the front office
- as Marion nibbled on a sandwich ("You eat like
a bird"), they engaged in conversation amidst Norman's stuffed birds, as he
described how he was an amateur avian taxidermist - a "strange,"
"uncommon" and "cheap" hobby "to
pass the time"; he dutifully confided that he didn't have friends
other than his mother - "Well, a boy's best friend is his mother";
he sensed that she might be running away from something, when he
also admitted that he was traumatized: "You know what I think?
I think that we're all in our private traps, clamped in them, and
none of us can ever get out. We scratch and, and claw, but only at
the air, only at each other. And for all of it, we never budge an
inch"; Marion suggested that he might want to free himself and break away
from his harsh mother and the traps set for him
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The Motel's Back Parlor Scene
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- Norman described how he was raised by his widowed
mother after the age of five, but then when his mother's lover
died under unusual circumstances, she was bankrupted and also went
insane; he told how he was forced into the role of nurse-maiding
his deranged and invalid [mentally - "ill" ?] mother after
his step-father's death ("She just goes a little mad sometimes.
We all go a little mad sometimes. Haven't you?"); all the whiile
during the conversation, Marion was comparing her own trapped condition
to Norman's entrapment without escape, his treatment by his mother
and his unhealthy, troubled devotion to her
- Marion thanked Norman and admitted to him that she
had regained her sanity and rationality, and would now extricate
herself from her own self-imposed "private trap
back there" due to lack of money and a frustrating romance;
she had obviously made the decision to drive back in the morning
to Phoenix to turn herself in and the stolen money "before
it's too late"; however, she made an error in telling him that
her last name was now "Crane" (not Samuels); after she
returned to her cabin, he smirked as he looked at her fake name and
address (Los Angeles) in the motel register
- in the back parlor, Norman removed a nude painting from the wall to
uncover a peephole, so he (and the audience) could voyeuristically
observe Marion undress down to her black brassiere and slip in front
of her open bathroom door; a gigantic closeup of his eye appeared,
as she stripped naked and covered herself with a robe
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"Peeping Tom" Voyeurism of Norman on
Marion in Motel Room
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- twitching, nervous, and possibly aroused, Norman
bounded up the steps to his hillside home, where he paused at the
carved staircase, placed his hand on the banister post - and then
with his hands in his pockets, retreated to the kitchen; meanwhile,
Marion seemed to reconsider returning the money by making some
calculations on a notepad about how to repay the money, but then
ripped up the scratch book paper and flushed it down the toilet
- she shut the bathroom door, removed her robe from
her naked back, draped the robe over the toilet, stepped naked
into the bathtub (the camera displayed her bare legs), pulled across
the translucent shower curtain and prepared to take a shower before
retiring - a final soul-cleansing act
- in the film's shocking, carefully-edited, dialogue-less
shower murder scene, a blurry female figure (a gray-haired woman
with an old-fashioned dress) wielding a knife high in the air entered
Marion's bathroom as she showered; the scene was at first a purifying
act that shockingly turned violent with the violin-screeching soundtrack
of Bernard Herrmann's score timed to the repeated stabbings, the ting-ting-ting sound
as the shower curtain rings pulled off the rod as she slid down
the wet wall, and the image of bloodied water spiraling counter-clockwise
down the drain that dissolved into a close-up of dead Marion's
stationary open eye
The Memorable Shower Slashing
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The Drain and Marion's Eye
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- after the murder, the camera panned from Marion's
face past the toilet and into the bedroom for a zoom close-up of
Marion's folded-up newspaper on the nightstand; then the camera
tracked over to the open window, where Norman's screams were heard
coming from the Gothic house on the hill behind the Bates Motel: "Mother!
Oh, God! Mother! Blood! Blood!"; and then, at the bathroom
door after viewing the curtain-less shower and the dead body, he
turned away and cupped his hand to his mouth, revulsed and nauseated
by the horrific scene and possibly stifling a scream
- after turning out the lights and retrieving a mop
and pail from the office, Norman laboriously cleaned-up the murder
scene, and placed Marion's corpse on the shower curtain;
he showed off his 'dirty' hands to the camera on this "dirty
night; he backed up her car to the motel room, and deposited Marion's
corpse (wrapped up in the shower curtain) into her car's trunk; he
removed all remnants of Marion's possessions, including her folded
newspaper concealing the money - the last thing found in the room,
and drove the car to the nearby swamp; he stood by nervously and
nibbled at candy as the car slowly gurgled lower and lower as it
descended into the muck
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- about a week later, "Marion's sister" Lila
(Vera Miles) entered Sam's hardware store in Fairvale, California,
asking about Marion's strange disappearance and silence over the
past week; Sam had recently had a change of heart and wanted to
marry Marion immediately; a private detective and investigator
also entered the store: Milton Arb- O - gast (Martin Balsam), hired
by Marion's employer Mr. Lowery; he had been commissioned to search
for and recover the missing funds, but claimed Lowery wouldn't
press charges if the funds were returned; he inferred that "boyfriend" Sam
may have conspired with Marion to rob her employer, and might be
hiding out closeby
- during his investigation, private detective Milton
Arbogast canvassed many motels in the area, and pulled up
to the Bates Motel; he and Norman engaged in a tense conversation
at the front desk when he arrived to investigate Marion's strange
disappearance; Norman appeared uncomfortable as he answered questions;
Arbogast asked to see the register to discover if Marion Crane used an alias
(Norman chewed nervously on candy, almost bird-like; from a low
camera angle, his adam's apple moved up and down his giraffe-like
throat while awkwardly stretching to look at the register); Arbogast
proved that Marion stayed at the motel by matching her signature
to the "Marie Samuels" signature in the book - after Norman denied that he
had any recent guests; Norman finally changed his story for the detective - he remembered
Marion as an overnight guest at the motel (with a late arrival and
early departure), and her dinner of a sandwich in the parlor
- they continued their conversation on the motel's
front walkway, when the PI became even more suspicious when he glanced
up at the Victorian house on the hill behind the motel and spotted
a figure sitting in the window - he was told it was Norman's invalid
mother; the detective made the provocative implication that the
very suspicious Norman had been fooled by Marion, and that she
had paid him well to keep her hidden: "Let's
just say for the uh, just for the sake of argument that she wanted
you to, uh, gallantly protect her. You'd know that you were being used.
You wouldn't be made a fool of, would ya?"; Norman bristled at
the suggestion: "But, I'm, I'm not a fool. And I'm not capable
of being fooled. Not even by a woman... Let's put it this way. She
might have fooled me, but she didn't fool my mother"; Arbogast
was refused an interview with Norman's mother and was ordered to leave
- Arbogast drove off to a phone booth and called the
hardware store to inform Lila that Sam was innocent of
Marion's whereabouts by summarizing what he found at the old Bates
Motel - Marion was a guest there the previous Saturday night and
probably stayed in cabin number one; he said he would return to
further question the manager; during a second visit to the motel,
Arbogast was snooping around in the motel and then in the old dark
house behind the motel; he was shockingly murdered at the top of
the Gothic house's staircase when he snuck back there to investigate
and speak to Mrs. Bates; a high-angle overhead shot followed his
unbalanced fall backwards down the entire length of stairs - and
then after hitting the floor, he was relentlessly stabbed with
a butcher knife, presumably by Norman's "mother"
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Arbogast's Upper Stairway Knifing Murder by "Norman's
Mother" and Backwards Fall
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- when Sam and Lila didn't hear back from Arbogast,
Sam volunteered to visit the motel on his own; as Sam called out
for the manager at the motel, Norman heard him from the nearby
swamp (while sinking Arbogast and his car?) but didn't respond;
Sam was forced to return to the hardware store where he reported
his findings: "No Arbogast, no Bates," but he saw a "sick old lady
unable to answer the door, or unwilling" in the second floor window
- on that Saturday evening, Sam and Marion's sister
Lila visited the home of Deputy Sheriff Al Chambers (John McIntire) and his wife (Lurene Tuttle); after
explaining the situation to them, Mr. and Mrs. Chambers were dumbfounded
after hearing mention of a "Mrs. Bates"; they revealed
that ten years earlier, there was a double murder-suicide - Mrs.
Bates had poisoned her unfaithful lover and then took her own life;
the Deputy Sheriff then revealed information about her burial in
Greenlawn Cemetery: "Norman
Bates' mother has been dead and buried in Greenlawn Cemetery for
the past ten years....It's the only case of murder and suicide
on Fairvale ledgers. Mrs. Bates poisoned this guy she was involved
with when she found out he was married. Then took a helping of
the same stuff herself. Strychnine. Ugly way to die....You want
to tell me you saw Norman Bates' mother?...Well, if the woman up
there is Mrs. Bates, who's that woman buried out in Greenlawn Cemetery?" -
[Note: Norman Bates stole his mother's corpse and had a weighted coffin buried]
- meanwhile, back at the Gothic house behind the motel,
Norman was seen carrying his mother in his arms from the 2nd floor
to a new location - the fruit cellar; the cackling old lady protested
vehemently with a macabre joke: ("No! I will not hide
in the fruit cellar! Ah ha! You think I'm fruity, huh?")
- the next day, Sunday, after Lila and Sam heard from
the Sheriff that there seemed to be nothing suspicious at the Bates
Motel, he suggested that they file a "missing person" report
later in the day; Lila and Sam decided
to return to the motel on their own and snoop around, by registering
as husband and wife; they were assigned to Cabin 10, and then began
searching Cabin 1 and found two clues - a missing shower curtain
and a scrap of paper in the toilet with a notation of $40,000 dollars;
they planned to split up and have Sam divert Norman's attention
and keep him distracted and occupied within the office while Lila
was sneaking up to explore the Gothic house; suspenseful parallel
editing cut back and forth between the motel office
and Lila's entrance into the house
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Lila Sneaking Up to the House - From Her Perspective,
While Sam Distracted Norman
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- Sam mercilessly and aggressively challenged Norman
to confront him and force him to provide answers, while Lila searched
in three areas - the mother's bedroom, the attic, and then the
fruit cellar; in the bedroom, Lila found a deep impression in the
mattress of a woman's body; in the little boy's room attic, she
discovered child's toys and Norman's
slept-in single bed
- realizing that he was being set up and diverted,
and that Lila had disappeared, Norman struggled
with Sam, knocked him out, and raced up the hill to the house; as
Norman ran up the stairs into the 2nd floor bedroom, Lila decided to
tiptoe down into the darkness of the basement's fruit-cellar where
she made a shocking and revealing discovery; as she turned a chair
holding an elderly woman - she saw Norman's mummified "Mother" under
the swinging light casting ghastly images onto the wall; she shrieked
in response; behind her, Norman (in his disguise of an old woman's
clothes, signifying his split personality) attacked Lila with a
knife, but was grabbed from behind by Sam and rescued; as Sam fought
the old woman, Norman was metamorphosized
and revealed as his "Mother" when his drag disguises
(the wig and dress) were stripped away and ripped off
- in the Chief of Police's office,
smug and officious police psychiatrist Dr. Fred Richman (Simon Oakland)
reconstructed or 'explained' the mystery of Norman's
schizophrenic psychosis - after interviewing and questioning not
Norman but 'his mother' - the dominant personality: ("I got the
whole story, but not from Norman. I got it from his 'mother'. Norman
Bates no longer exists"); in all likelihood, a "disturbed" Norman
had an incestuously possessive and jealous love for his mother, so
he poisoned both her and her lover after he discovered them in bed
together; to wipe clean and obliterate the unbearable, intolerable
crime of matricide from his conscience and consciousness, a remorseful
Norman developed a split personality; he could
be both personalities, but when he was his "Mother" (to keep
the illusion alive), he would dress up in her clothes; presently after
the latest crime, the "Mother" side had taken over completely
- to make the illusions of his life
a physical reality, Norman dug up and stole his mother's body, and
used his taxidermist skills to preserve and stuff her corpse, and
keep her 'alive'; Dr. Richman explained, in part: "Matricide
is probably the most unbearable crime of all - most unbearable to
the son who commits it. So he had to erase the crime, at least in
his own mind. He stole her corpse. A weighted coffin was buried.
He hid the body in the fruit cellar, even treated it to keep it as
well as it would keep. And that still wasn't enough. She was there,
but she was a corpse"; from Norman's pathologically-crazed
point of view, his "Mother" would often become pathologically
jealous of his attraction to women (such as Marion), and the murders
(committed by his 'Mother') were symbolic sexual acts of his own feelings
of anger and hatred of his mother's dominance
- the next-to-last image was of the schizophrenic and
crazed Norman wrapped in a blanket; with his Mother's voice-over,
who condemned her son for the crimes while she claimed that she was
harmless: (the film's last monologue: "It's sad when a Mother
has to speak the words that condemn her own son, but I couldn't allow
them to believe that I would commit murder. They'll put him away
now, as I should have years ago. He was always bad, and in
the end, he intended to tell them I killed those girls and
that man, as if I could do anything except just sit and stare, like
one of his stuffed birds. Oh, they know I can't even move a finger
and I won't. I'll just sit here and be quiet, just in case they do suspect
me. They're probably watching me. Well, let them. Let them see what
kind of a person I am. I'm not even gonna swat that fly. I hope they are watching.
They'll see. They'll see and they'll know, and they'll say, 'Why,
she wouldn't even harm a fly.'")
- Norman/"Mother" watched
a fly crawl across his/her hand, displaying his/her innocence by sparing
the insect's life; a grinning smile slowly crept
over Norman's face - subliminally superimposed by and dissolving
into the grinning skull of his mother's mummified corpse
"Why, she wouldn't even harm a fly"
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Insane Norman Bates - A Grinning Evil Smile
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Marion's Dredged Car in Swamp
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- the film's final image - a dissolve into the dredging
of the swamp - showed that Marion's car with her body and the almost-$40,000
in the trunk was being hauled trunk-first from the muck by a heavy
clanking chain on a winch; horizontal black bars partially, and
then completely, covered the image
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A Phoenix-Area Hotel Room
Marion Crane's Furtive Lunchtime Love-Making With Sam Loomis
(John Gavin)
The $40,000 Dollars in Envelope, in Marion's Apartment
Marion Packing and Eyeing the Money
Stuffing the Money Into Her Purse
Mr. Lowery Surprised to See Marion Driving Out of Town
Marion's Drive Out of Phoenix After The Illicit Theft
of $40,000 From Her Real-Estate Office
Suspicious California Highway Patrolman (Mort Mills)
Fearing Being Followed
Used Car Salesman California Charlie (John Anderson)
Counting Out $700 Dollars From Stolen Money to Pay For Car
Menacing Voices in Marion's Head
First View of the Bates Motel Sign
Gothic House Behind Bates Motel
Marion Wrapping The Stolen Money in Her LA Newspaper
Marion's Financial Calculations on Scratch Paper
Motel Manager Norman's (Anthony Perkins) Reaction
to the Motel's Shower Murder
The Murder Scene - With Ripped Down Shower Curtain
Mopping Up Blood Splatter in the Bathroom
Norman Carrying Out Body (Wrapped in Shower Curtain) To Trunk of
Marion's Car
Marion's Sister Lila (Vera Miles) Arriving to Speak to Sam in Fairvale,
CA Store
Private Investigator Milton Arbogast (Martin Balsam) Also In Sam's
Hardware Store
Arbogast Questioning Nervous Norman at the Bates Motel (Adam's
Apple View) Front Desk
Arbogast's View of a Figure Sitting in Window
Arbogast's Continued Questioning of Norman on the Front Walkway
of Motel
Norman Disposing of Arbogast and His Car in the Swamp
Sam and Lila with the Fairvale Deputy Sheriff
"Well, if the
woman up there is Mrs. Bates, who's that
woman buried out in Greenlawn Cemetery?"
Norman Carrying His Complaining 'Mother' From the 2nd Floor Down
To the Fruit Cellar
Sam and Lila at the Bates Hotel - Pretending
to be Guests
Lila's View of Impressions in 2nd Floor Bedroom
Norman's Sleeping Area in Attic
Lila's Search for "Mother" Inside the Old House
Norman's Mummified 'Mother' in Fruit Cellar
Lila's Shrieking Response
Sam Struggling With "Mother"/Norman to
Save Lila
Dr. Richman's Explanation of Norman's Psychosis
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